This disagreement is not surprising. From the formal point of view, seven ancient poems and seven-character songs are all seven-character poems, and neither of them can be regarded as seven-character poems, so it is natural to classify them into one category, aiming at seven ancient poems. However, there are obvious differences in the origin, style and style of their respective poems.
First of all, the Seven-character Song originated from ancient Yuefu, and the Seven-character Song is a separate poetic style after the emergence of the Seven Laws, with different origins. There are Long song, short songs, Yan songs, Qige, Yan songs, plaintive songs, lamentation songs, bow songs and songs in Yuefu in Han and Wei Dynasties, which can be regarded as the ancestors of Yuefu in Tang Dynasty. Among them, Qiyan Song is the natural development of Qiyan Yuefu since Han and Wei Dynasties. In Qing Dynasty, Wu Qiao's "Poems around the Furnace Taste the Clouds": "Seven words were created in Han Dynasty, Wei Wendi had Yan Ge Xing, and the ancient poem Dong Fei Bo Lao flourished at the end of Liang Dynasty. There were also people who used five or seven words miscellaneous, and they were the founders of the Tang Dynasty." The so-called ancient poem "Flying East Shrike" is the "Flying East Shrike Song" recorded in Yuefu poetry anthology and miscellaneous songs. Therefore, the seven-character rhyme originated from Yuefu in the Han, Wei and Southern Dynasties. As for the seven-character ancient poems, it is said that they originated from Bailiangtai poems during the reign of Emperor Wu of the Han Dynasty. However, there are as many as 24 authors of Bailiangtai Poetry, each of whom has one sentence, which can only be regarded as a joint sentence, not a complete seven ancient poems. Therefore, from the perspective of poetic style, the two have different sources.
Secondly, as far as the main characteristics of the style are concerned, the requirement of the seven ancient poems is to draw a clear line with the seven-character poems (including the seven laws and seven laws). Stone? There is a cloud in the theory of ancient poetry: "Seven words have their own level. If the rhyme is flat, it must not be mixed. " In seven-character ancient poems, there are three sounds at the end of the sentence, and the sentence emphasizes loneliness and dullness, which are all reactions to metrical poems. As for the Seven-character Song, although some early works are quite similar to the ancient Seven Dynasties in style and style, the phenomenon of legalization has become more and more serious in its evolution. According to Wang Li's China Poetics, there are 53 metrical and quasi-metrical sentences in Bai Juyi's 88 sentences of Pipa Xing, and the song of everlasting regret 120 accounts for as many as 100 sentences. The formation of this legalization trend is not accidental, it is the result of pursuing harmony of sound and rhyme due to the requirements of singing poetry.
Thirdly, from the literary style, the typical style of the ancient seven dynasties is correct, vigorous, solemn and elegant, while the typical style of singing is elegant and gorgeous. The preface to the analysis of the style of the article holds that "seven-character ancient poetry lies in bold sentences and ancient customs", and the style of "lyric for a long time" is different from that of "running script" "Seven Ancient Poems" also said: "Ancient poems are embarrassed by style, and their system lies in melody, but their lines are short and long, and they are intricate and unsystematic, so they can make people think deeply. Li and Du Zhicai are not only in ancient poems, but also in songs. " In addition to the seven ancient and seven laws, the seven-character songs are regarded as one because of their different styles. Zhao Wei Zhan Yan said that "seven words are wonderful, simple, clumsy, trivial, curved, hard and light, and they are indispensable." Always say "old" and "whenever you sing, be honest and don't ask the police." Man "means that love words are swaying and flowing;" Police "means dignified justice and sophisticated language." These comments all reveal the differences in aesthetic styles between seven-character ancient poems and seven-character songs. Although it was once popular to write poems with seven ancient styles and poems with seven ancient styles in specific poetry creation, it is not difficult to see the difference between them on the whole. For example, Du Fu's Notes on Examining Korea, Lu Tong's Poem on Eclipse, Han Yu's Poem on Hengshan Temple Don't Me, and Li Shangyin's Han Bei can only be a seven-character ancient poem; However, Wang Wei's Peach Blossom Star, Li Bai's Climbing in the Dream of Tianmu Mountain, Bai Juyi's Song of Eternal Sorrow and Wei Zhuang's Ode to Fu Qin can only be seven-character poems. The difference between the two is obvious.
The rise of Gexing in Tang Dynasty was closely related to the prosperity of music and songs and the popularity of singing poems at that time. According to the Records of Music in the Old Tang Dynasty, there are many kinds of music in the Tang Dynasty, and there are still a lot of songs left over from the previous dynasty. As far as the palace records are concerned, the Qing Dynasty songs in the Southern Dynasties were "sixty-three songs during the reign of Empress Wu" and "there were hundreds of orchestral miscellaneous songs since the Zhou and Sui Dynasties" ... whose curvature was well known at that time. In addition to the old songs of the previous generation, there are also ethnic music (so-called Nanman, Beidi, Dongyi and Xirong). There are also new songs created by contemporary people. For example, Li Longji, Emperor Xuanzong of the Tang Dynasty, wrote more than 40 new songs and new music scores.
Since Kaiyuan, singers have mixed songs from Okoyi Lane. In this musical atmosphere, the popularity of songs is not difficult to imagine. There are countless people who write songs and poems into lyrics. Old Tang Lezhi: Taichang Temple "used to have palaces, merchants, horns, levies and feathers"? There is a volume of five-tone lyric poems in Yue, and most of the words are Zheng and Wei, all of which are modern poets' miscellaneous poems. In the Tang Dynasty, not only quatrains can be sung, but also rhymes can be sung. According to the Chronicle of Tang Poetry, at the end of Tianbao, Tang Xuanzong wanted to climb the stairs. When Li Yuan's disciples sang the following four sentences from Li Qiao's "Wandering in the Yin", Tang Xuanzong praised "(Li) is really a genius"! According to "Biography of Yuan Zhen in Old Tang Dynasty", Yuan Zhen "tasted 100 poems of Changqing Palace, and the capital competed to sing". Tang Xuanzong's poem "Hanging Bai Juyi" said: "The boy can sing the Song of Eternal Sorrow, and Hu Er can sing the pipa". The above-mentioned "Fenyinxing", "Evergreen Palace Ci" and "Pipa Star" are all seven words, which is the proof that seven words can be sung. The prosperity of seven-character songs in Tang Dynasty is not unrelated to the prevalence of chanting poems.
Poetry singing in the Tang Dynasty can be divided into two types: music accompaniment and apprentice songs. In the Tang Dynasty, in addition to the original harp, harp, sheng and flute, there were also pipa, Qiangdi, Hu Ru,. Therefore, there are Qin Song, hymn, Hu Ruqu and Luo Yu's names in Tang poetry. But at that time, most of the poems sung by the Tang people were disciples, and the so-called drunken songs, crazy songs, clapping songs, singing and dancing, and singing were mostly of this kind. Like the following poem:
Li Bai's Into the Wine: "Let me sing you a song! Please listen to me. "
Du Fu's "Drunk Song of Fu Xue Yanzhen and Xue Hua": "Xue Fushan in the seat is drunk, and drunk songs are old-fashioned."
Han Yu's Mid-Autumn Festival Official Zhang: "Please stop your song and listen to mine, a completely different song from yours!" "
Bai Juyi's "Short Song": "Raise the short song of wine for the king!"
Du Mu's "Chizhou Send the Ancestors of Meng Chi": "Drink this glass of wine and sing with you!"
Feng Xue's Tweezers White Song: "Time is green and wine is drunk."
This kind of choir is independent of the scene, impromptu, free and casual in form. The melody of some popular songs may be used in singing. When the lyrics are long, the melody will be repeated to meet the needs.
Seven-character ballads, which thrived in this musical atmosphere, gradually formed their own special style and style. Seven-character songs inherit the tradition of lyrical images in Yuefu poems, and adopt the exquisite charm of metrical poems, which means ethereal, beautiful melody and changeable customs. Therefore, the seven-character song should be the product of the combination of Yuefu and metrical poetry. Poets in the Tang Dynasty followed the trend of the times and created a large number of seven-character quatrains. Among these works, only a few are really orchestral music, which is played in music, and a large number are still popular in the world as poems. The preface to distinguishing styles says: "There are words in songs, and the songs contained in Yuefu are also; Words are silent, and it is true that later generations write songs. ..... So I don't go to Yuefu today, but I enclose it with modern songs to let scholars know that its origin is different, but its flow direction is different. "A large number of seven-character lines have not been used in actual singing, and they can only be regarded as' quasi-lyrics' (or' quasi-lyrics'). Bai Juyi's Preface to New Yuefu said that the new Yuefu poems were "smooth and elegant, and songs could be broadcast", while the imperial academy Table said that the poems accepted by Jinshi were "full of sound and emotion, and the lyrics and songs were well prepared", which indicated that these works were "quasi-lyric poems" in nature. Whether they can really be used for singing is another matter.
In a word, the purpose of seven-character song creation is to imitate the lyrics, and its style is stipulated by the lyrics suitable for singing. Seven-character ancient poetry is a kind of poetic style which mainly provides desk reading. Therefore, in the sense of style, there is a difference between the two.
Talking about Gexing
Gexing is a kind of ancient poetry, mostly seven words, usually narrative. Chewing characters, "Song" and "Xing" have their own definitions. In Ming Dynasty, Xu Shi wrote a preface to Style Discrimination. Yuefu said: "Let love talk for a long time, those who are miscellaneous and have no way to sing, and those who are slow and not sluggish will do it." This is also a song. "In fact, there is no difference in form between Song of Eternal Sorrow and pipa.
Gexing is developed from Yuefu poetry. Yuefu was the official institution in charge of music in Han Dynasty. The songs and poems collected and catalogued by this organization are called Yuefu poems, which can be sung. Later generations re-write lyrics according to the score of Han Yuefu, or write the same topic, which is not fun, not even fun, nor the same topic, but it is similar to Han Yuefu in form, also known as Yuefu. For example, Bai Juyi advocated the "new Yuefu".
After the Han and Wei Dynasties, there were more and more poems with the theme of "Song" and "Xing", which were only one kind of classical poems or Yuefu poems, and gradually took shape from the late Six Dynasties to the early Tang Dynasty. When children grow up, they have to stand on their own feet and form a unique, fresh and smooth singing method. Generally speaking, the singing method is sparse, and it is red silk dance, not Shaolin boxing.
Good songs read like watching the combination of dance, music and modeling, which makes people feel uneasy. For example, Yuan Zhen's "Lianchang Palace Ci" begins with four sentences:
Lianchang Palace is full of palace bamboos. For a long time, no one is like a bunch of trees. On the wall, Chiba peaches are falling red and rustling.
Every time I meditate, it's like sitting in a theater. The curtain is opened on the stage, and the palace wall is hidden in front of you, with dense flowers and deep bamboo shadows. These bamboos and flowers are both elves and witnesses of history.
The old man beside the palace wept for Yu, and he ate it the next year.
The emperor is in Wangxian Building, and Taizhen is standing by the railing.
The story cuts through quickly. The narrative in the poem is difficult, the talent is slightly inferior, and the poem stands in a daze. Here, "Zheng" and "Tongzhi" are full of dynamics, highlighting everyone's skills. Reading all the way down, beautiful sentences piled up like mountains, and the words were meticulous, which gave me a feeling. For example:
Spring is full of eyes, red gauze sleeps, sweeping clouds and spinning.
Fly for nine days to sing, and twenty-five lang will play the pipe one by one.
After reading such a sentence, I really can't help clapping.
Du Fu's "Watching Gong Sundaniang's Disciples Dance Sword Dancer" and "Dan Qing Yin" are both good songs. The word (female danger) and (female painting) in A Dream of Red Mansions is also a typical singing method.
Gexing has been changed and developed in Wu's hands. From "Changqing Style", "Song of Eternal Sorrow" and "Pipa Journey", the so-called "Meicun Style" evolved. The lyrics are rich and colorful, with deeper feelings, giving people an absolute sense of beauty. The standard plum village style is generally flat and even, with a change of rhyme every four sentences, so it is easy to use antithesis and has a clear sense of rhythm. It really reads like "Liu Lou Xin low dance".
Try reading Yuan Hu Qu;
Yuanyang lake grass sticks to the sky, and it is easy to set the boat in the second spring.
Willow leaves rain in thousands of feet, peach blossoms with a wisp of smoke. Mist and rain are misty, but the old dike recognizes the trees in front of the door. There are three or two warblers in the tree. They have lived here in a boat for ten years.
The host loves a splendid banquet, and the water pavilion laughs.
The drum painting team urged the peach leaf prostitute to sound the jade flute out of the platform of philosophers. (antithesis) light boots and narrow sleeves, (rhyme) brittle pipes and countless strings are actually chasing. Children in Huan Yun dance in the army (Qubird) and the ancient bird (Gubird) according to their clothes. (antithesis) the wine moves away, and the lake is full of lights and intoxicating. Don't play new cover songs in the morning, but show Liu Di red makeup.
……
There are some other artistic features of Meicun style, such as the rhetorical device of thimble, that is, the ending word of the previous sentence is used as the beginning word of the next sentence. This technique is often used in yuanyuanqu:
Dinghu abandoned the world that day and defeated the enemy to take Yumenguan to Beijing.
Crying bitterly, all six armies are crowned, and anger is a beauty.
It is not my wish for a beautiful woman to live in exile.
Electric anti-pornography towels will gather in Montenegro, and crying will meet relatives.
When we first met, we passed Tian Dou's house, waiting for the door to sing and dance, like a flower.
……
Meicun style had a great influence on later songs. The poems of Yuanmingyuan and Summer Palace written by neighbors were all based on the gourd paintings of Meicun style. Wu did give songs more formal beauty, but his works are still not as good as those of his predecessors. Without him, the emotion in the poem is not deep, so.