The status of Yi An's style in the history of poetry:
Li Qingzhao's poetry is famous in the world of poetry for its unique artistic style and is known as "Yi'an style". Her outpouring of true feelings shows a cold introspection and understanding of the value of life. All of Li Qingzhao's lyrics constitute a masterpiece that describes changes in personal temperament, displays spiritual history, and forms a complete artistic system. Because the author turns his personal emotions into art, the art as a whole reproduces a lyrical protagonist with a distinctive and evolving personality, a vivid and colorful image. In other words, Li Qingzhao's words are the art of self-image, and the writer uses words to describe her rich and tortuous life. This is unique in the Song Dynasty and even in the entire history of Ci. Therefore, we can say that Li Qingzhao wrote his autobiography with superb artistic skills, thus forming the distinctive feature of "Yi An Ti".
The influence of Yi'an style in the history of Ci:
Li Qingzhao is an outstanding figure in the history of Chinese literature and has had a profound influence on subsequent literature. The exquisite language of Li Qingzhao's poetry represents a new height of the Northern Song Dynasty literati's language. Liu Yong once achieved certain success in the innovation of language, but in the process of quoting slang and colloquialisms into his lyrics, he failed to deliberately cleanse and eliminate the messy and vulgar elements, which led Li Qingzhao to criticize him for "the dust of his words" ("Ci Lun") . Qin Guan extracted a beautiful and refined literary language from written language, but it lacked the liveliness of folk spoken language. When Dasheng poets in the late Northern Song Dynasty paid attention to rhythm and elegance, Li Qingzhao was able to make use of his strengths and avoid weaknesses, absorbing vital and expressive elements from written language and contemporary colloquialism, tempering them into lyrics, and creating a fresh, natural, lively, and rich style. The exquisite language with a sense of music has positive significance for carrying forward the fine tradition of folk poetry and insisting on the development of poetry in a healthy direction. No wonder Shen Qian, a native of the Qing Dynasty, said that the language of Yi'an's Ci "is extremely true to its original character" ("Miscellaneous Comments on Filling Ci").
In short, the outstanding personality and achievements of "Yi'an's" laid the foundation for the author's reputation in ancient times. Her important position in the history of poetry and literature has given her works a lasting artistic life, lasting for thousands of years, influencing and inspiring countless writers and readers throughout the ages.
Attachment: Five Outstanding Features of "Easy Body"
Unique Emotional Model
The uniqueness of emotional model is another outstanding feature of "Easy Body" in France. Rodin pointed out: "Art is emotion" ("On Art"). As "pure" literature, this is especially true because human emotions are complex and diverse, so the works present a colorful landscape. Li Qingzhao is famous for "Yanke", and the expression of love is its traditional theme. Li Qingzhao did not break through the old barriers in this regard, and still used the expression of love as the basic theme. She is deep in love, specializes in love, and is devoted to love, more than any other poet People express love more concentratedly, deeply and artistically. However, the love model in Li Qingzhao's poems is very different from that of his predecessors.
First of all, Yi An's poems write about the love between husband and wife. Love. This emotion is the most common, most sincere, most sincere, most beautiful, and purest emotion among human beings, but few people express it artistically. Most of the love words of the previous generation were "abnormal love" at that time. "The product of "The Love between Scholars and Doctors and Singing Girls and Dancers" reflects the "extramarital affair". Although Su Shi also has outstanding and excellent works such as "Jiang Chengzi: Ten Years of Life and Death", after all, they are few and There are few, and they are just mourning. Li Qingzhao's works, especially his early poems, directly express love to his husband.
Secondly, Yi An's poems express the true feelings of women in their own experience. Most of the love poems of the previous generation were written in a fictional style, and the authors were mainly male, simulating women's romance, which is the so-called "men as boudoir voices" (Tian Tongzhi's "Liangpu Ci Theory"). Even though they are "realistic", their essence is nothing more than Li Qingzhao writes about love with the unique tenderness and delicacy of a woman, using her own personal experience and unique feelings, showing readers a little-known mysterious and wonderful inner world of her. With the creative writing of a genius, the emotions between couples that everyone has, but not everyone dares to express, are vividly displayed, and they are sincere and touching.
Again, Yi. An's poem expresses pure and noble love. The erotic poems of the previous generation are highly realistic and even have naturalistic descriptions, such as Liu Yong's "Slow Song" "Snuggle with the fragrance and warmth, hold the sun high and feel still." "Sleep", "You can only sleep in one place" in Huang Tingjian's "The Order of the Drum and Flute", "The joy is extremely delicate and feeble, the jade is soft and the flowers are falling" in "Qianqiu Sui", etc., cannot give readers a sense of beauty. The so-called "words in the dust" lack The aesthetic refinement and artistic generalization are "not yet up to date" ("Yi Zhi"), and the style is not high. On the contrary, the description of love in Li Qingzhao's poems is of an elegant nature. High-purity refining and purification have sublimated the pursuit of love into the aesthetics of love, expressing the unique and profound aesthetic experience of love with its own unique sensitivity and delicacy. Therefore, her poems appear to be extraordinarily pure, extraordinarily noble, extraordinarily beautiful, and their artistic appeal is also extraordinarily strong. The love in Yi An's poems has been covered with a halo of romanticization and idealization and has become sublime, which is very different from that of her predecessors. place.
Lao Chengwan pointed out in "Theory of Aesthetic Intermediation": "If an artist uses his own artistic means to express some novel and unique emotional mode, that will be a great contribution.
"One of Li Qingzhao's greatest contributions in the history of literature is that he used words to express a unique emotional pattern that had never been expressed by previous generations of poets. Gorky said: Real poetry is always poetry from the bottom of the heart. It is always the song of the soul. Li Qingzhao's lyrics are exactly this kind of "song of the soul" and "poetry of the heart".
In addition, Li Qingzhao's model of expressing love also provides reference for future generations. The successful experience is in sharp contrast to the obscene and pornographic descriptions in contemporary novels and movies.
Personalization of artistic charm
The personalization of artistic charm is "Yi An". The third outstanding feature of "style". Wang Shizhen, the leader of the Qing Dynasty literary circle, once said: "Yi An is the ancestor of the graceful school, and You'an is the leader of the bold style" ("Flowers and Grass Collection"), promoting Li Qingzhao as an outstanding representative of the graceful school. "Summary of the General Catalog of Sikuquanshu" also said that Yi An "kicked against Yizhou (Bangyan) and Liu (Yong)", and Shen Zengzhi said that she "had a very similar temperament and rarely traveled" ("Junge Suotan"), both of which pointed out Li Qingzhao However, they only saw the style of Yi An's poems and did not point out its unique personality.
First of all, the styles of Yi An's poems are diverse and graceful. , dominant style. At the same time, she also has famous bold poems, such as "The Proud Fisherman: The Sky Connects with the Clouds and the Waves Lian Xiaowu". The whole poem uses the dream travel as a clue to highlight the dialogue with the Emperor of Heaven and express her emotions. It is magnificent, magical, bold and unrestrained, and full of romanticism. The predecessors thought that this poem is "definitely like Su (Shi) Xin (Qiji)" ("Selected Poems of Yihengguan"). Although among Li Qingzhao's handed down lyrics, Such chapters are rare, but they are enough to show that Li also has a bold style.
Secondly, Yi An's graceful works also have different styles. For example, the early chapters show the life of girls. The style is cheerful, lively and interesting, expressing the natural mood of a girl. The above-mentioned "Red Lips·Playing on the Swing" and "Ru Meng Ling·Chang Ji Xi Pavilion Sunset" are all typical of the style of expressing the life of husband and wife. Relaxed and full of humor, "Magnolia Flowers" depicts the psychology of buying flowers. It not only expresses the sweetness of a wedding, but also reveals its playful character. It is an unforgettable work that expresses separation and lovesickness. Most of them are euphemistic and implicit, and the style of his later poems becomes sad and melancholy.
Compared with other euphemistic writers, the personalized color of Yi An's poems is more obvious and prominent. . Elegance is the common characteristic of the Wanyue school, but different writers have different expressions. Gree lost his weakness" ("Tiaoxi Yuyincong Talk"). Li Qingzhao, on the other hand, exploited his strengths and avoided weaknesses, integrating the tender beauty of women, the ideal beauty of poets and the masculine beauty of character, forming his own unique artistic personality: being polite and straightforward, There is firmness in the softness. It also writes farewell:
"Looking at each other with tears in his hands, he was speechless. "
——Liu Yong's "Yulin Ling"
"When will we see you here? There are cries in the sky above the sleeves. "
——Qin Guan's "Man Ting Fang"
"Who in the clouds sent brocade books? When the wild goose returns, the moon is full on the west tower. ”
——Li Qingzhao’s “A Cut of Plum Blossoms”
Liu’s Ci is graceful but also revealing, Qin’s Ci is sweet yet soft, and Li’s Ci is sweet yet straightforward. Liu Yong’s Ci and Yi An’s Ci Both have the characteristics of "straight" and candid, but Liu's poems are straight and slang, while Li's poems are straight and elegant. It's like writing about lovesickness. Liu Yong said: "I feel haggard for Yi, and my clothes are getting wider and I don't regret it." "Feng Qiwu"); Yi Anyun said, "There is no way to eliminate this feeling, so I only lower my brows, but it is in my heart" ("Yijian Mei").
The difference between the two is obvious. "Drunk Flower Yin", which has been praised by many as "quiet and desolate, with exquisite voice and emotion" ("Selected Poems from Zi Yixuan"), is a famous poem in which the poet expresses his deep thoughts to her husband during the Double Ninth Festival. The loneliness at night is unbearable. The next part recalls the past when the couple enjoyed autumn chrysanthemums together, and ends with "People are thinner than yellow flowers." It conveys the situation of my face being haggard due to deep longing, and not a single word of longing is mentioned in the whole poem. The depth of longing fills the lines. It can be said that the language is euphemistic and implicit, "not a word is not elegant" ("Yun Shao Collection"), but the meaning is straightforward and clear, "it makes people chant it again and again with lingering taste" (Wu Jingxu's "Poems of the Past"). 》Volume 38).
Li Qingzhao's artistic charm of straightforward emotion, implicit expression, gentle yet strong, soft yet strong, is closely related to her own bold and cheerful personality. Therefore, "Junge Suotan" says, "Yi An is suave and manly, and he is the Su and Xin in the boudoir." ”
New and ingenious expression techniques
Novelty and ingenuity in expression techniques are the fourth outstanding feature of “Yi An Ti”. Wang Zhuo of the Song Dynasty’s "Bi Ji Manzhi" 》 said that Li Qingzhao "can create long and short sentences that are full of twists and turns, light and sharp, and full of gestures." The formation of this artistic realm is mainly due to the novel expression techniques of Yi An, which are highlighted in:
First, Li Qingzhao is good at empathizing with objects, and likes to combine his personal subjective feelings with objective scenes, making the scenery a carrier of emotion, which not only enhances the implicitness of the words, but also enriches the meaning of the words. rhyme.
For example, "Drunken Flower Yin" starts with "Misty and thick clouds, worrying about the eternal day, auspicious brains selling golden beasts": the indoor cigarette smoke is lingering, hitting the nostrils, refreshing the heart, but the owner does not notice it, and thinks it is "thick mist and thick clouds" ; The Double Ninth Festival is a joyful and easy day, but the owner feels that the days are like years and regarded as "eternal day"; in this way, the author mixes his subjective feelings of "sadness" and "unbearable" into the objective space scenery and During the time, he skillfully expressed his loneliness and conveyed his deep longing for his husband. From the film "Slow Voice·Xun Xun Mi Mi", "Yellow flowers are piled up all over the ground, haggard and damaged, who can pick them now?" The chrysanthemums blooming like clouds all over the ground were originally pleasing to the eye and very beautiful, but the author was alone and her husband had already died. After passing away, how can I not recall the scene of admiring chrysanthemums together in those days without touching my heart? Therefore, in the eyes of the protagonist, the blooming chrysanthemums are just "accumulation" and have no sense of beauty at all. Here, the poet skillfully integrates the sadness of missing her deceased husband and the depression and irritability into the description of the objective scenery, which is both profound and implicit, and reasonable. Examples like this can be found everywhere in Yi'an Ci. This technique of empathizing with objects is actually a transformation and renovation of the traditional technique of "borrowing scenes to express emotions".
Second, he is good at turning abstractions into images. This is also a technique commonly used by predecessors, but Li Qingzhao is good at changing it to surprise. For example, there have been many vivid descriptions by predecessors to express "sorrow", an inner feeling that can only be understood. Li Yu "Ask you how much sorrow you can have? Just like a river of spring water flowing eastward"; He Zhu "Ask me about leisurely sorrow" How much is it? A river of tobacco, the city is full of wind and plums are yellow and the rain is raining"; these are all famous sayings praised by people. In Li Qingzhao's writing, the word "sorrow" has more forms. It can have length, concentration, body, weight, and action:
"From now on, there is a new sadness." ( "Reminiscences of Flute Blowing on the Phoenix Stage")
"Whose transverse flute can play the heavy sorrow." ("Man Ting Fang")
"There is no good dream to hold the heavy sorrow alone. "("Butterfly Loves Flowers")
"I'm afraid that a grasshopper boat on two streams cannot carry many sorrows." ("Wulingchun")
"There is no way to deal with this situation. "Eliminate it, it only lowers the brow, but touches the heart." ("One Cut Plum")
The metaphors, descriptions and descriptions of these images all give people a sense of newness and wonder.
Third, be good at using contrast. Contrast is one of the most common artistic techniques in poetry. Li Qingzhao’s innovative use of this traditional technique is mainly reflected in two aspects: first, applying it to the artistic conception of the entire text; second, integrating virtuality and reality into one, Contrast highly condenses time and space. The former is like the contrast between the innocent and simple maid (curtain roller) in "Like a Dream: Last Night's Rain and the Wind" and the owner who "sleeps deeply and does not consume the remaining wine", highlighting the owner's sentimentality and delicacy; "Yong Yu Le·Sunset" "Molten Gold" conveys the author's nostalgia for his past home and country and his worry and anger about the current situation through the contrasting contrast between his personal situation and emotions during the good times and festivals. The latter is like "Nan Ge Zi·The Stars in the Sky", "The old weather, the old clothes, only feelings, not like the old home." The poet compares "weather", "clothes", and "feelings" with the past. The present is real, and the past is virtual. The real and virtual are compared to form a contrast. In "Drunken Flower Yin", "jade pillow and gauze kitchen, the coolness comes out in the middle of the night" is a real scene, a real feeling, and a scene at the moment, but it also contains the scene of the husband and wife living happily together in the past. In this way, the past and present are secretly intertwined. The contrast thus conveys the longing for the husband. The film sequence of "Slow Voice" also compares the past with the then. There was fiction in the past and reality now. The fiction is depicted with reality. There is fiction in reality. The combination of fiction and reality perfectly expresses the author's state of mind and emotions. Others, such as "Qing Ping Le·Nian Year in the Snow", express the pain of losing a country and a family, and falling to the end of the world through the contrast between "frequently planting plum blossoms and getting drunk" with her husband in the early years and now enjoying plum blossoms alone "earning tears all over her clothes"; "Lonely Goose" "The person who plays the flute goes to the empty jade tower, who can lean on him with a broken heart" describes the miserable situation of being alone and wandering, expressing the deep longing for his husband, etc., all of which skillfully use the contrast method of combining the virtual and the real, thus in a limited time. The content has been expanded in length.
In addition, Li Qingzhao also made creative use of illustrations, foils, and renderings, which were both novel and ingenious, enhancing his artistic appeal. I will not elaborate further here.
The refinement of language refinement
The refinement of language refinement is the fifth outstanding feature of "Yi'an Ti". People in the Song Dynasty said that Yi'an's poems were "number one in literary talent" (Wang Zhuo's "Biji Manzhi"); people in the Ming Dynasty said that he "driving Qin (Guan) Yihuang (Tingjian), Lingsu (Shi) and Liu (Yong) "("Licheng County Chronicle of Chongzhen"); the Qing Dynasty people said that "their refinement can win the seat of Mengchuang (Wu Wenying), and its beauty can directly join the class of Jade (Zhou Bangyan)" (Li Tiaoyuan's "Yucun Cihua") , "Zhi Yu and the old immortal Bai Shi advocate each other" (Chen Shikun's "Yun Shao Ji"), all spoke highly of the exquisite language of Shu Yu's Ci. The exquisite language of Li Qingzhao's poems is mainly due to the writer's careful tempering and careful polishing, color guessing, word refinement and sentence refinement, thus achieving a natural, accurate, fresh and smooth, refined and beautiful state of perfection, forming a kind of elegance and vulgarity. **Shang's language style is called "Yi'an style" and has been universally praised.
The language of Yi An's poems is fresh, natural and highly expressive. The predecessors of "Ru Meng Ling·Last Night Rained and Winded Up" thought that "the language is new and meaningful, and it is more affectionate" ("Yu Jun of Thatched Cottage Poems"). Jiang Yikui's "Yao Shan Tang Wai Ji" said: "At that time, the scribes all praised and rewarded each section, and there was no one who could understand it.
"The concluding sentence "green, fat, red and thin" uses simple and ordinary words. It not only vividly describes the scene of lush green leaves and withered red flowers after the storm, but also expresses the loneliness in the boudoir very vividly. The lyrical protagonist in the poem cherishes the spring, loves the flowers, and is extremely melancholy with delicate feelings. The so-called "hard work, with infinite meaning" ("Cottage Poetry Yu Bielu"), especially the use of "fat and thin" to write Begonia, is refreshing and extremely Full of interest, Wang Shizhen believes that "artificial and natural ingenuity can be called a masterpiece" ("Flowers and Grasses")
In "Reminiscences of Blowing Xiao on the Phoenix Stage" Mao Ying said, "It comes from nature, and there is no bad word." "("Ci"), which is preceded by three sentences: "I am newly thin, not because of illness and wine, not because of the sadness of autumn", "It is subtle and twists and turns, it is really wonderful. "The writing is excellent, and the aftertaste is particularly outstanding" ("Yun Shao Collection"). "Niannujiao·Desolation Courtyard" uses natural and smooth language to describe the spring scenery and the feeling of loneliness, with both scenes and charm, but also worry. It is especially praised by people for pampering the delicate willows and flowers, when the weather is cold and food is close, and all kinds of annoying weather. Huang Sheng in the Song Dynasty said: "The predecessors once called Yi An's "green, fat, red and thin" as a good sentence. I said that the sentence "pampering the willows and delicate flowers" in this article is also very strange and handsome. Before There is no one who can understand this" ("Selected Poems of the Sages of the Tang and Song Dynasties"). The poet creatively used the two ordinary words "pet" and "jiao" to describe people, and used them to write Liu Shahua, "pet" The word "Jiao" vividly embodies the graceful and graceful scene of the new willows, swaying and dancing slowly, and the word "Jiao" highlights the gorgeous and proud mood of the flowers. The pride and favor of the flowers and willows also reflect the neglect and loneliness of the poet, and the novelty and beauty of the new willows are reflected. Jun is thought-provoking. Xu Shijun in the Ming Dynasty said that these four characters "do not imitate the Han and Wei Dynasties, do not imitate the steps of the prosperous Tang Dynasty, respond to the situation, and mark their own positions" ("Ancient and Modern Ci Tong"), which pointed out that they are fresh and expressive. Characteristics. Others include white chrysanthemums as "snow is clear and jade is thin", and fallen flowers as "embracing red piles of snow": "dark and light yellow body is soft, clear and sparse, only the fragrance remains" ("Partridge Sky") writes osmanthus; The fragrant face is half-opened and charming. When in court. "The beautiful woman bathes with new makeup" ("The Proud Fisherman") writes about plum blossoms; all of them accurately capture the characteristics of things, giving people a natural, fresh and penetrating feeling.
Yi Anshan forged and refined The use of colloquial language is the so-called "using simple and vulgar language to express fresh thoughts" (Peng Sunyu's "Jin Su Ci Hua"), "Moving the Tune in the Manting Fang" expresses "Nowadays, it is no longer a hug, but it is like the old days". The sadness and depression of nostalgia and the present; "Reminiscing on the Phoenix Stage" film "Xi Xiu". "I have gone back thousands of times to the sun, but it's hard to stay", which expresses the husband's regret and attachment after separation; "Xing Xiangzi" concludes with "It's sunny, it's raining, it's windy". The ever-changing weather expresses the poet's concern and worry about the meeting and separation of the Cowherd and the Weaver Girl; both are completely colloquial; "Niannujiao" "Being refreshed by the cold fragrance, don't worry about others", "Slow Voice" "Shou". "How can I be alone with the window in the dark", "Yong Yu Le" "Now I am haggard, with wind and frost on my temples, and I am afraid of going out at night" - "They all use simple and vulgar language to express fresh thoughts, and the meaning of the words is well understood. "Emotional and unique tune" ("Jinli Ci Hua"), they are all examples of "using ordinary language to incorporate rhythm" (Zhang Duanyi's "Gui'er Collection"), refining the vulgar to the elegant.
The refinement of the language of Yi'an's Ci It also has a beautiful sense of music. The song "Slow Voice" starts with "Looking and searching, deserted and lonely, miserable and sad". The author chooses 14 repeated words and makes full use of their double-voiced rhymes and interlaced labial and dental sounds. The effect is to form a rhythmic and melodic tone that is rhythmic, heavy and depressing. It has layers, depths, and naturally and appropriately expresses complex and delicate emotions and moods such as loneliness, loneliness, desolation, melancholy, and sentimentality. It is soul-stirring to read and has been highly praised by predecessors. It is "a timeless masterpiece, and a unique novel" ("Miscellaneous Knowledge in the Cold House") in the second film of "Revelation of Heartfelt Love": "The person is quiet and charming, the sun is shining, and the green curtain is hanging." "Move the remaining pistils, twist the lingering fragrance, and get more time." With the help of description and rhetoric, it forms the rhythm and melody of Daimei, expressing the poet's deep longing for his hometown on a cold moonlit night. Before "Xingxiangzi" The ending is "gradually there is wind, rain and coolness", and the ending is "I hear the sound of an anvil pounding; the sound of crickets is thin and the sound of leaking is long"; both use distinctive rhythm and rhythm to exaggerate the sad and miserable atmosphere and set off the sadness. It relieves the loneliness and worry of being unable to sleep at night. The beautiful rhythm and rhythm of Yi An's words have a distinct sense of music. The combination of voice and emotion enhances the lyrical effect and the artistic charm of the work.