Category: Art
Problem description:
Looking for a good paragraph of 150 words, preferably with appreciation
Analysis:
1.
Lonely Sandbank Leng
Lyrics: Chen Xinrong Music: Zhou Chuanxiong
------
From My heart is haggard after you left
The white tung trees are flying in the wind
The fallen flowers are like human beings in this season
The wind by the river is blowing wildly
< p> Constantly playing with the tears of separationSuch strong love can no longer be given
Sad night after night
When the thread of memory is entangled and the past is fragmented
It is panic that has taken over my heart
There are flowers accompanying butterflies
Lone swallows can fly together
Wandering alone in the dead of night
When happy lovers send red messages to share their joy
I close my eyes and feel sad and don’t dare to look back
I still pick up all the cold branches and refuse to rest with a hint of regret
Who should I miss on the lonely sandbank
The residence of Bu Suanzi in Dinghuiyuan, Huangzhou
The missing moon hangs sparse tung trees, which breaks one's initial tranquility. Sometimes I see lonely people coming and going alone, misty and lonely shadows.
Startled but looked back, no one can forgive him for his hatred. Picking out all the cold branches and refusing to live on them, the lonely sandbank is cold.
There are many successful examples in this regard. The most famous one is the album "A Touch of Love", which includes Li Yu's "Meeting Happily" (Silent Alone at the Theater), Su Shi's " "Shui Tiao Ge Tou" (When will the bright moon appear), Fan Zhongyan's "Su Mu Zhe" (blue sky, yellow leaves on the ground), Qin Shaoyou's "Taoyuan Recalling Old Friends" (Jade Tower Locks Up the Sentimental Kinds), Nie Shengqiong's "Partridge Sky" ( The sorrowful flowers in the jade come out of Fengcheng), Li Yu's "Crying in the Night" (the forest flowers have faded the spring red) and "The Poppy Beauty", Ouyang Xiu's "Spring in the Jade House" (I don't know whether you are far or near after leaving), Zhu Shuzhen's "Birth Cha Zi" "(On the Lantern Festival last year, the lights in the flower market were as bright as day) (Qiong Yao also used this, in the interlude "Mandarin Duck Brocade" she wrote for "Smoke Locks the Chonglou" or "New Moon Princess", Liu Yong's "Rain" "Lin Ling", Xin Qiji's "Ugly Slave" (A young man doesn't know the feeling of sorrow), Li Zhiyi's "Divination" (I live at the head of the Yangtze River, and you live at the end of the Yangtze River), etc., including the famous Taiwanese composers Gu Yue, Liu Jiachang, Weng Qingxi, Chen Yang and others composed the music. The music and lyrics are a perfect match and complement each other. This album has become a masterpiece that can be praised in the history of modern music. "Audio World Magazine" once rated the film as "the ten albums most suitable for listening at night." ". The two most famous songs in this album are Li Yu's "Yu Meiren" ("When are the spring flowers and autumn moon, how much do you know about the past"), and the other is "Hope You Live Longer", which was later sung by Faye Wong. That's true. This is a modern interpretation of this classic masterpiece. In fact, there are many versions of this poem in mainland China. The one that has the deepest impression is in the TV series "Wu Song" broadcast in 1983 and 1984. The maid of Zhang Dujian's family, Later, the one who jumped off the building for Wu Song once played and sang this song. However, these are mostly vocal works, which are far away from popular music. But from another perspective, they illustrate the integration of classic poetry and music. From another perspective, pop songs mostly express a kind of popular culture, and the intervention of classical poetry just brings its elegant side to the public. It also proves that there is no insurmountable gap between elegance and vulgarity in art. The key is
2. Su Shi
Chinese poetry of the Tang and Song Dynasties has always been praised by people, and the poetry culture has become a unique landscape in the treasure house of traditional Chinese literature. As a representative figure, we have to talk about Su Shi. Su Shi changed the style of writing poetry at that time, just like Wang Anshi's reform of the same era, which had a huge impact on that time and later generations.
Su Shi's poetry covers a wide range of topics and records. Travels, nostalgia, gifts, farewells, and reasoning are all included in the lyrics, and the strict restraints of music are also broken, which promotes the development of poetry. The famous works include "Nian Nujiao", "Shui Diao Ge Tou", etc., which pioneered the bold style of poetry. Together with Xin Qiji, he is also called "Su Xin"
3. Gracefulness and boldness - the two main artistic styles in Song poetry
Ming Dynasty Zhang Ao: "You travel less and are more graceful, Zizhan." If you are bold and unrestrained, elegance should be the main one." Wang Shizhen of the Qing Dynasty added: "The servants are called graceful, with Yi An as the ancestor, and bold and unrestrained, but You'an is the first." (See "Flowers and Grass Meng Shi") These summarize the two aspects of Song poetry from a macro perspective. This is the main artistic style, with Qin Guan, Li Qingzhao, Su Shi and Xin Qiji as their representative authors respectively. This has almost become a general theory in the study of Song Ci.
The graceful school is the school with the longest history, the largest number and the greatest influence in the world of Chinese poetry. Its representative figures include: Qin Guan, Li Qingzhao, etc.
Compared with the graceful school, the bold school is very different from content to form, subject matter and style. It breaks through the barriers of "Yanke" Ci and opens up a new world for the Ci world. Its representatives are Su Shi, Xin Qiji, etc.
Graceful School
Chinese Song Ci School. The person who clearly proposed the distinction between graceful and bold words is generally considered to be Zhang Wei from the Ming Dynasty. Graceful, that is, tactful and subtle. The lyrics are intended to be a song for the purpose of entertaining and amusing the guests, but the content is nothing more than the sadness of separation and the love and resentment of a boudoir.
During the Five Dynasties, the Xiangruan Ci style represented by "Hua Jian Ji" and Li Yu's Ci had already formed. The poets of the Northern Song Dynasty, such as Yan Shu, Ouyang Xiu, Liu Yong, Qin Guan, Zhou Bangyan, Li Qingzhao, etc., although they have developed some content, made their writing more sophisticated, and each has its own charm and style, they still have not broken away from the gentle and graceful style. . Therefore, people in the Ming Dynasty used the term graceful style to summarize this type of Ci style. Its main characteristics are that the content focuses on the customs of children, the structure is deep and meticulous, the melody is gentle and harmonious, the language is mellow and clear, and it has a soft and graceful beauty. But the content is relatively narrow, and people have formed the concept of euphemism. The graceful style of poetry dominated the poetry world for a long time until the Southern Song Dynasty, when a large number of poets such as Jiang Kui, Wu Wenying and Zhang Yan were affected.
The "bold school" and "graceful school" in Song Ci
Ci arose in the late Tang Dynasty, developed in the Five Dynasties (907-960), flourished in the Northern Song Dynasty (960-1127), and derived In the Southern Song Dynasty (1127-1279). This periodization is of course extremely simple and rough. It is just for the convenience of explaining the problem. It is necessary to temporarily insert a few hooks on the big wall of history to hang some historical facts and see clearly the relationship between it. , to avoid abstract assumptions that are difficult to grasp, and even lead to anachronisms and historical facts.
From the rise of Ci to the end of the Northern Song Dynasty, in about two centuries, Ci as a folk hobby was written by literati. It can also be said that the better half of all literary works were produced after this period, that is, during the Southern Song Dynasty. Although factions grew and authors increased, their overall quality was limited. The theory is no longer as good as the works before the Southern Song Dynasty. Those works and their authors were all written according to a tradition since the late Tang Dynasty. This tradition is what later generations called "minor tunes". Songs: Their content is also quite simple, mostly with themes about the love between men and women or praising local scenery and customs. This is originally an old tradition and theme that has been in existence for thousands of years since "Three Hundred Chapters". The Yuefu of the Han and Wei dynasties are even more prominent. The relationship between Song Ci and Yuefu is very close. Song poetry collections are sometimes called "Yuefu", such as "Dongshan Yusheng Yuefu", "Dongpo" "Yuefu", "Songyin Yuefu", "Chengzhai Yuefu", etc. Yan Jidao called his collection of poems "Bu Ming". He himself explained: "The volume of "Bu Ming" is to supplement the "Yue Fu"." In other words, his poetry was the "Yuefu" of the Song Dynasty.
However, in the golden age of poetry from the Five Dynasties to the Northern Song Dynasty, although there were numerous famous writers and their works were flourishing, no one had ever divided them into factions. , give a name and label. The works of the Five Dynasties come from at least four different regions: Xishu, Jingchu, Southern Tang, and Dunhuang. But later, perhaps for the convenience of discussion, the name "Huajian School" was proposed, that is, It is of course incorrect to use the name of "The Collection of Flowers" compiled by Zhao Chongzuo of Xishu to determine the faction, because the works of Wen Tingyun and Wei Zhuang selected in this collection are quite different. Either one of them is different from Persian Some of Li Xun's works are very different, but in the eyes of Northern Song Dynasty literati, "Huajian Collection" was the collection and model of this new literary genre at that time, and it was the standard and orthodoxy for lyricists to praise someone. The poem is inseparable from the word "Huajian" and is an "original" poem, which is a very high evaluation①. Chen Zhensun praised Yan Jidao's poem as "among all the famous places, it can only surpass "Huajian". It can be seen from this." Connoisseurs, collectors or bibliographers of the Southern Song Dynasty regarded the "Huajian" episode as the authentic one, and the poets regarded the "Huajian" style as the criterion for measuring the works of the Northern Song poets. , those who are not as good as "Huajian" will inevitably be ridiculed as "below Xi". In fact, let's look at several great masters in the Northern Song Dynasty, such as Ouyang Xiu, Fan Zhongyan, Yan Shi and his son, Zhang Xian, He Zhu, Qin Guan, Zhao Lingju, etc. Zhou Bangyan's lyrics are all like this. Liu Yong is slightly different from them, but the only difference is that he writes about his personal feelings of separation and hatred, and the person he feels is still the same as his best friend and mistress. Regarding these works, no one of the word theorists or critics in the Northern and Southern Song Dynasties at that time divided them into factions. They just looked for chapters and excerpts to talk about their personal preferences and appreciation of certain words and couplets.
Most of the great poets of the Northern Song Dynasty have similar styles, which is not surprising, because they all inherited it from "Flower Room". Their works can be confused with each other (楮 chǔ, from the chapter "Han Feizi·Yu Lao", a metaphor for imitating lifelike), they can be confused with the works of "Flower Room", and they can even be confused with the works of the Southern Tang Dynasty. The works are chaotic because the living environment, cultural level, sentiment and taste of the writers of the Southern Tang Dynasty are basically similar to those of the writers of the Northern Song Dynasty, and the themes they chant are roughly similar. The feelings of feudal literati are not far different, and their expression methods are also similar. The similarities are inevitable. An obvious example is the fourteen poems "Magpies Stepping on the Branches" (i.e. "Die Lian Hua") in Feng Yansi's "Yangchun Collection". Among them, "Looking Back ②" was seen in Ouyang Xiu's "Six Words" and was renamed "Die Lian Hua". ③If these four poems are removed, Feng composed only ten poems. Another example is using "Six Words" as the basis for verification, and there are even more problems. Twenty-two "old engravings" of "Dieluan Flower" were collected, and only seventeen are left in the current Jigu Pavilion version. Mao Jin wrote in the title of "Die Lian Hua":
Twenty-two poems were originally engraved. "Gao Leisure Walking in the Remote Night Pavilion" is the main work of Li Zhong, "Six curves of the railing nestled against the green trees", and "Bilingual Swallows in the Breeze Curtain" are all found in "Zhuyu Ci". "Lonely leaning on the dangerous building, the wind blows softly", and "Singing quietly under the curtain and outside the curtain" are both found in the "Collection of Movements". All deleted now.
Among the five songs that Mao Jin named for deletion, there are still two that he did not name.
In addition, Mao Jin knew that the word appeared in two books, but he seemed to be afraid to determine who wrote it. He recorded the original word and noted that it had also appeared in other people's collections. There are four poems about this situation: "How deep is the courtyard?" In one poem, Mao's annotation goes: "When I saw "Yangchun Lu". Yi An Li called it "Six Words". "It shows that there is a basis for why he thinks this is Ouyang Xiu's work. The poem "The Pear Leaves Are Red at First Red and the Cicada Rhymes Rest" has a note in the title: "One moment I am with my uncle (Yan Shu), and one moment I am looking at him (Su Shi)." "Who knows? The poem "The leisurely love has been abandoned for a long time" has the following annotation: "It is also recorded in "Yangchun Lu". "The poem "Where are the clouds going in a few days" has the following annotation: "It is also recorded in "Yangchun Lu"."
There are many other Northern Song poets whose poems appear in a collection of two or three people, so there is no need to record them in detail here. I give these examples not to verify the author of these words in order to study the value of someone's work. Rather, it is to illustrate a historical phenomenon: from the Tang and Five Dynasties to the Northern Song Dynasty, the styles of poetry were very similar, and the works of each person were so similar that they could "mess with each other". If one person's poetry was dropped into someone else's collection, it would be impossible to compare it. They can be distinguished, so they cannot be divided into factions. In fact, the people of the Northern Song Dynasty themselves never realized which faction his works belonged to. If someone divided them into factions and put labels on them, they would definitely be unhappy. Generally speaking, in the Northern Song Dynasty, all the good lyrics originated from "Huajian". There is nothing wrong with you saying that they are all "Huajian School", but there is no need to mention it because this was known to all intellectuals at that time and was taken as a matter of course. You should specifically point out that someone's works in the Northern Song Dynasty were close to the "Huajian School". time" is like saying that sea water is salty. Therefore, if we say that there were no Ci schools in the Five Dynasties and Northern Song Dynasty, it is more consistent with historical facts than insisting that someone belonged to a certain school at that time.
So some people expressed different opinions. They said: "Obviously there were "bold and unrestrained" and "graceful" schools in the Northern Song Dynasty. Wasn't Su Dongpo a "bold and unrestrained" school? Isn't this what almost every literary history and word theory says? The point of the question is: They are like this What is the basis? The answer should be their works. So, the first question is, what are the "bold" words of Dongpo? So I opened every literary history or poetry theory and cited "Dajiangdong" as usual. ", "I'm Talking about Teenage Madness", "When Will the Bright Moon Come", etc. How can these words be called "bold and unrestrained"? Examples of "bold and unrestrained" works include Li Bai before Dongpo and Xin Qiji after Dongpo. Comparing the works of these two poets with Dongpo's often cited works, we can see that Dongpo's works can only be described as broad-minded, not even generous, let alone "bold". I don’t know when the saying "bold and bold" originated. Chen Deng ignored Xu Si, who said that he was "a man of lakes and seas, and his 'heroism' has not been eliminated." "Obviously, it is not a compliment to say that Chen Deng is arrogant. The word "fang" seems to have originated from the term "liberal and unrestrained" in the Wei and Jin Dynasties. It combined the word "hao" and "fang" to become bold, which probably originated in the Tang Dynasty. , "Book of Tang" calls Li Yong "bold and unruly, unable to control fine conduct", which refers to his character. Lu You defended others who said that Dongpo's poems "cannot sing": "If you are not public, you cannot sing, but you are bold and don't like to tailor your poems to suit your voice." Law ears. "It also means that Dongpo's character is "bold and unrestrained", but it does not mean that his poetry belongs to the bold and unrestrained school. Because the poets of the Northern Song Dynasty did not form any school at all, and there is no distinction between their works as "graceful" and "bold and unrestrained". Of course, Su Dongpo has some long tunes. Compared with the early Ou, Zhang, and Er Yan, the choice of themes and the way of expression are a little different. However, this can only be said that Su Dongpo, a prolific poet, in addition to writing more than 300 poems and "Flowers" In addition to the same works as other poets, he also wrote some works that are different from other poets. We can say that in the treasure house of Northern Song Dynasty Ci, Su Dongpo contributed some unique works. His contribution is to have a good understanding of Ci. It is an addition, not a change in the ethos of the Ci world.
Except for adding some words with different contents, Su Dongpo did not have the "state of washing Qiluo Xiangze" as Hu Yin said. This was completely nonsense. Among the more than 340 poems in "Dongpo Yuefu", there are no less than 50 poems dedicated to female beauty (the so-called "Qiluo Xiangze"), and the most concentrated poems are nearly 100 poems about farewelling friends and entertaining officials. Almost everyone praised the kabuki ("beautiful ladies") because at that time, the banquets usually included singing, dancing, and drinking, and sometimes the performers who sang and danced were the host's family dancers (such as the twelve girls singing in "A Dream of Red Mansions"). Among all Dongpo's lyrics, more than half of them are "Qiluo Xiangze", and there are more than 30 other poems (especially poems about flowers). Without the image of "beauty" in his mind, he would not be able to write it. Even reading and painting are indispensable. "Red sleeves add fragrance". Who can be deceived by saying that a romantic and talented man like Su Dongpo can "wash away the fragrance of Qiluo" in his poems?
Looking at Dongpo's life experiences, his character and talent shaped by his environment can only be broad-minded rather than bold. Dongpo's experiences can make him sad, angry, and sad. Broad-mindedness makes him generous, but it cannot make him "bold and unrestrained". It is fundamentally wrong to say that Dongpo's "Niannujiao" and "Da Jiangdong Goes" are "bold and unrestrained". He wrote all of Tao's poems and essays by himself. Tao's poems were extremely proficient. How could someone who could read Tao and harmonize Tao not be influenced by them?
If a person's poems have a bold and bold spirit, he must have a proud stroke of his life experience before he becomes bold and bold. 4. Li Bai is a bold and bold poet, but after Liu Yelang comes back, I am afraid that he will not be able to write The "bold" poem has come, not to mention that Dongpo's experience was much worse than that of Li Bai!
As for the word "graceful", it was first seen in "Guoyu·Wuyu": "Therefore, the words are graceful to follow the ambition of King Yi." It means to be humble and submissive to his words. In ancient times, women regarded obedience as a virtue, so it was used as a way of educating women. The preface to "New Odes of Yutai" says: "Reading poems to be polite is not like the self-matching of the east neighbor; being graceful and romantic is different from what Xi Shi taught." Sun Guangxian's "Huanxisha" in Volume 7 of "Flower Room Collection": "Half-stepping on the long skirt Wan Yue Okay, the curtains are sparse at night, and it is so clear that I can't help but hate my whole life." Also in Jiu Mao Xizhen's "Huanxi Sha", "Pretending to look down on people is empty and graceful, and the smiles and coquettish words are too rampant." Ibid. "Jiang Xian": "Slender waist and graceful steps like a golden lotus."
From the examples given above, it can be seen that this word has different meanings in different eras, but in recent times, it is used as an adjective opposite to "bold and unrestrained" , seems to specifically refer to the so-called "Qi Luo Xiang Yi", the implicit and restrained expression of the beautiful scenery. Once used in contrast to "bold" words, euphemistic words are regarded as conservative, unprogressive, and legalistic. Sometimes they even say that Wanyue Ci is dedicated to the love between men and women, the debauched life of separation and sorrow, and even goes so far as to say that their thoughts are empty, pale, etc. Obviously, this mechanical division method does not conform to the actual situation of the Northern Song Dynasty Ci world, and it is difficult to justify it. Therefore, sometimes it is not possible to strictly abide by the boundaries between the two factions, and there will be times when the bold faction begs for help from the graceful faction. For example:
Su Shi wrote traditional love themes and was also known for his elegance. However, the poets of the Graceful School (who did not have this name according to Su Shi's time) mostly focused on the sincerity and delicacy of lyricism. His poems are particularly dignified and honest in the sincerity and delicacy. For example, in "Die Lian Hua": "The flower faded and became red." The green apricots are small, and the green water is surrounded by people. There are few willow trees on the branches. There are no fragrant grasses in the sky. Outside the wall, the smiles of the beautiful people gradually become quieter and more affectionate. But he was ruthlessly annoyed ⑤ (See pages 594-595 of the second volume of "History of Chinese Literature" compiled by Wenyan)
What is dignity and what is honesty? The editor added words to explain the scriptures, but did not say anything at all. In order to be dignified and honest, the editor didn't understand the main sentence in the poem "There is no grass anywhere in the world", so he had to recruit Wang Shizhen from the early Qing Dynasty to help. But Wang couldn't help much (because he couldn't help either). He didn’t understand) so he had to look at the left and right and said, “I’m afraid even a person like Liu Yong who is good at writing love poems may not be able to surpass this sentence. " And far away from the key main clause "There is no grass anywhere in the world".
This example is very interesting. As soon as Su Shi is mentioned, the "bold and unrestrained" commentators put all his All the ceremonial guards that were thought to prove that Su Shi was a bold and unrestrained person were brought out, and it seemed that it was a grand and majestic event. In fact, very few people were directing it, and Su Shi, a general without soldiers, was allowed to perform a one-man show, and no one even participated in the "celebrations and weddings". (For example, the so-called "love themes" have to be accommodated by the annoying gentlemen.
Of course, when we say that there is no bold style in the Northern Song Dynasty, it does not mean that there must be no bold poetry in the Northern Song Dynasty. A few styles are relatively There are some high-spirited and magnificent works, such as Fan Zhongyan's "Su Muzhe", "The Proud Fisherman" and Su Dongpo's "The Great River Goes East". Even so, we cannot admit that they are works just based on these poems. A "bold and unrestrained school".
Another example is that the diction of Su Shi's poetry "forms a fresh, simple, fluent and smooth poetic language", so he concluded: "All of these express the bold and unrestrained poetry. "I can't see the logical relationship between these two sentences.
Here I think it is necessary to mention Liu Yong, who is a very important writer in the Northern Song Dynasty. He and " The traditional relationship between "Huajian" and "Huajian" has both inheritance and development. If we say that Su Shi expanded the subject matter scope of "ci" and added the literati emotions that his predecessors only used to write poems, that is correct, but this is not the case either. It is said that he can use this to establish a "bold school" or "opposition school" or "broad-minded school". He added some poetry-based creations to his works, which did not reduce his original traditional works of "Huajian". , it can only be said that he expanded the subject matter and possible new writing methods of his poems, but Liu Yong has already done this for a long time. He specializes in writing about love between men and women, Qi Luo Xiang Ze, Jin Xin Xiu Mou, and Hong. He is a romantic writer, so he did not break away from the Hanama tradition, but while inheriting this tradition, he also used the language and vocabulary used by Kabuki dancers in his works to "look down" and use their language tools. To write about their ideological content, this is something that Su Shi could not do because he was dealing with literati who wanted elegance and integrity. Therefore, although he also expanded his vocabulary like Liu Yong, he was a poet. "Looking up" instead of looking down is not a common saying in writing lyrics. Therefore, from China to Xixia, Liu Yong's lyrics were sung wherever he drank from wells. Liu Yong followed the mass line in the use of language. It was inspired by Liu Yong that he added some literati's emotions, complaints, mutual ridicule, and chanting of objects in the subject matter, which were rarely used or not used by predecessors⑥. Therefore, his works give people the impression of rich subject matter. Liu Yong wrote his own emotional works, such as the famous "Eight Sounds of Ganzhou" and "Yulin Ring", but because he has a new realm.
However, because he sometimes wrote about the life of prostitutes, Taoist teachers in the Song Dynasty disliked him, so the poet who talks about "bold and unrestrained" refers specifically to Su Shi and not to Liu Yong.
The above discussion is limited to the Northern Song Dynasty. Great writers in the Northern Song Dynasty, such as Ouyang Xiu and Er Yan, all regard "Huajian" as the authentic style, as mentioned above, so everyone refers to the poets of the Northern Song Dynasty as the "Wanyue" school. The style of writing is related to the living conditions of the times. After the Zhao and Song governments were founded, in order to strengthen the centralization of power, they required the founding officials to retire in time. As a condition of exchange, the government encouraged them to buy good land and beautiful houses for their children and grandchildren, and to raise singers and dancers for their own entertainment, so as not to cause trouble⑦. Therefore, it is a relatively common phenomenon for literati to have singers and dancers in their homes. Northern Song Dynasty literati wrote for the sake of singers and dancers. Of course, they could only follow the tradition of "Flower Room Collection". Yan Jidao said in the postscript of his "Xiaoshan Ci":
At the beginning, Shen Twelve Uncle Lian. Chen Shijun favored him, and his family had lotus, Hong, Ping, and Yun, and he entertained the guests with his exquisite taste. Every time he gets a solution, he teaches the children with grass. The three of us held wine and listened to it, laughing and having fun.
This explains the circumstances under which Yan Jidao's words were written. This situation is proved by the situation described in "The Biography of Shi Shouxin". It can be seen that this is not an isolated situation. In this atmosphere of "singing and dancing to promote peace", they solicit songs and dances, which is a common trend among the upper class encouraged by the government. atmosphere. It will become clearer if we look at Li Qingzhao's poem "Yong Yu Le" recalling the cultural life of Kaifeng in the heyday of the Northern Song Dynasty.
However, after the Jingkang Incident, the Northern Song Dynasty was subjugated and a large number of people fled to the south of the Yangtze River. The suffering of displacement, separation of wives and children, and the pain of the loss of the country aroused the tragic emotion of most intellectuals. Do you still want to "please entertain guests with quality products"? The works written under this situation are of course impassioned and indignant, so it is natural that there are many so-called "bold and unrestrained" poets in the Southern Song Dynasty. In fact, the word "bold and unrestrained" is not appropriate to use here. It should be called "angry faction", "encouraging faction" and "loyalty faction". The word "bold and unrestrained" also means somewhat freely, nonchalantly, and open-mindedly. Therefore, terms such as bold and graceful were not used by anyone at that time. Only commentators in later generations who were good at writing or labeling liked to use them to direct the ancients and listen to my arrangements. Moreover, the style and content of Ci at that time were mainly caused by changes in the political situation. It is certainly inappropriate to write about the beautiful scenery of feasting and feasting in the midst of war and chaos, and it is also inconsistent with the mood to write about people forgetting to have fun and having fun when the crisis is somewhat settled. The works of literati are mainly changed by the changes of the times. It is not that someone is born "graceful" or has been "bold" since childhood. We look at Xiang Ziyi's "Wine Side Poems" as the most appropriate example. Xiang Ziyi lived in the feasting and feasting Kaifeng for the first half of his life. His Ci is called "Jiangbei Old Ci", which is an authentic "graceful" style. During the Jingkang Disaster (1126), Bianjing fell, and he fled to Hangzhou. His subsequent works were called "Jiangnan New Ci" and he became an authentic "bold" school. Li Qingzhao's situation is similar, but her later works are not "bold" but tragic, which is natural. If the later works of Xiang Ziyi and Li Qingzhao are still full of joy, that would be completely heartless.
As for Xin Qiji, who led troops to fight guerrillas from enemy occupation and surrendered to the Southern Song Dynasty, his works are of course only the impassioned ones we see now. If Su Shi had lived into the Southern Song Dynasty, his works might have been more "bold" than what we see now. And if a writer like Zhou Bangyan, who was labeled as a "Graceful" or "Metrical" school, could have lived into the Southern Song Dynasty, I don't think he would have remained a "Graceful" or "Metrical" school throughout his life.
Now that I have recorded the works of two famous lyricists, don’t ask who wrote them. But based on its own content, readers are asked to judge which song was written by which school or by whom.
1. Nostalgic "West River" in Jinling
Beautiful land, who remembers the great events of the Southern Dynasties? The mountains surround the homeland and the Qingjiang River, and the servant girls in buns face each other. The raging waves hit the lonely city, and the wind blew across the sky. The tree on the cliff is still leaning upside down. Don't worry about the boat once tied. The remaining old traces are dark and gray, and the fog is half-covered. Late at night, when the moon comes over the female wall, I can enjoy looking eastward at the Huai River. Is there a place where wine, flags, and drums are played? I want to be vague and thank my neighbors. The swallows don't know where they live, but they talk about the rise and fall of ordinary people in the alleys in the setting sun.
2. The meaning is unforgettable
Flowers surround the mandarin duck room, remember that the hunchback shoulders are small and about the length of the temples and eyebrows. The swallow dances lightly and whispers. Wherever we meet, we will never forget it. I am willing to spend time with Yao.
Sing the Ying song to Ye Lai and change it to Han Xiang. It's hard to hear from others. Like clouds closing the Chu Gorge, rain scattering Wu Yang. The love is there when we meet, it is difficult to measure without words. These things are heartbreaking. How could I not help feeling miserable? When we can change roots and leaves with Yi, why not try?
After you read it, what opinions will you have on its content, its author, and what "school" it belongs to?
① Regarding "Huajian Ci", please refer to my humble work "A Brief Theory of Huajian Ci" in the 10th and 11th issues of this journal in 1982. ② That is, "Who knows how to abandon leisurely love for a long time", "Where will the clouds go in a few days?", "How deep is the courtyard", and "Six curved railings nestled against the green trees". ③According to the Siyinzhai version of "Yangchun Collection", the original version is the preface by Chen Shixiu of Song Jiayou Wucheng (1058) collected in Jigu Pavilion of Ming Dynasty. ④Chen Deng's "arrogance has not been eliminated". Because he has made great achievements in defeating Lu Bu and promoted General Fu Bo, he looks down on Xu Si. ⑤For the explanation of this poem, please refer to the article in the second issue of "Literary Heritage" in 1983. ⑥ Ode to things is a literary game that has existed since ancient times. The poems in "Xunzi" are of this type. "Youxian Cave" by Zhang Jiu of the Tang Dynasty has many pun-intended "chanting to things" words.
⑦See Zhao Kuangyin's advice to ministers in "History of Song Dynasty·Biography of Shi Shouxin". ⑧Of course, the name "bold and unrestrained" is not appropriate. To explain the problem, I will use this name. Please refer to Liu Yangzhong's "On Wine Side Ci".