Using poetry as lyrics—a brief discussion of Su Shi’s contribution to poetry. Poetry is a style that needs to be considered and cultivated. He can say what poetry cannot, but he cannot say all that poetry can say. The realm of poetry is broad and the words of words are long. - Wang Guowei's "Human Words" Poetry and poetry are the twins of Chinese literature. However, each has its own strengths and weaknesses. Although the poem has a broad scope, it is difficult to express the subtle emotions; although the words are long, it is difficult to express the bold and unrestrained ambition. Su Shi, the literary giant of the Northern Song Dynasty, made a bold change in "using poetry as lyrics", taking the strengths of both and avoiding the shortcomings of both. This greatly expanded the subject matter of poetry, enriched the content of poetry, and broke the "colorful" style of poetry since the late Tang and Five Dynasties. The barriers of "Ke" and "Xiaodao" made the literary form of Ci begin to fully reflect social reality and reflect people's lives. With this as a symbol, the Bofang Ci School's status in the CI world was officially established. Before Su Shi, influenced by the "Huajian" and Southern Tang poetry schools of the late Tang and Five Dynasties, the Northern Song poetry circles basically sang about the love affairs between men and women, and the sadness of separation and resentment. Looking at Wen Tingyun, Wei Zhuang, Li Yu, Liu Yong, Yan Shu, and Ouyang Xiu, their poems are mostly full of "Qiluo Xiangze", and even "man's boudoir tone". Although there are some works about climbing mountains and rivers and feeling about the distant past, it is also the graceful words that dominate the world. The emergence of Su Shi brought about a qualitative leap in the style of Ci. This kind of leap is not a leap in Liu Yong and Zhang Xian's development of Xiaoling into slow Ci, but a leap in the content of Ci after "using poetry as Ci". After the revolution of "poetry as words", words are no longer just a tool to express feelings and love, nor are they just an embellishment for entertaining guests, but have been given new life and pushed to a new climax. In Dongpo's poetry, anyone who can be included in poetry can be included in poetry, just as Liu Xizai said, "No intention can be included, and nothing can be said." It can be said that its words cover almost all aspects of society, and they mainly fall into the following categories: First, patriotic words. Before Su Shi, the most famous patriotic poem was Fan Zhongyan's "The Proud Fisherman", but it was called "the poem of a poor poet" by Ouyang Xiujian. Su Shi's patriotic poems are impassioned, inspiring, full of life, and unyielding. For example, "Jiang Chengzi, Mizhou Hunting" writes: "I will draw the eagle bow like a full moon, look northwest, and shoot at the wolf." The second is the word for friendship. There are many poems describing friendship in Tang poetry, such as the popular "I urge you to drink another glass of wine, and there will be no old friends when you leave Yangguan in the west" (Wang Wei's "Send Off the Second Envoy of the Yuan Dynasty to Anxi"), "Don't worry about having no friends in the road ahead, no one in the world will have friends." "Know the king" (Gao Shi's "Farewell to Dong Da") and so on. But before Su Shi, friendship words were rare. Su Shi had rich experiences throughout his life and had extensive interactions with people from all walks of life, which was reflected in many of his poems. His communication words have a wide range of contents, including banquets, farewells, nostalgia, nostalgia, gifts and replies, etc. For example, "Jiangchengzi Farewell to Xuzhou" writes: "I want to send a thousand tears of lovesickness, but I can't shed them, Chu Jiangdong." The third is the pastoral poem. The poems of Wang Wei and Meng Haoran, the landscape and pastoral poets of the Tang Dynasty, are fresh and beautiful. Su Shi's reform of "taking poetry as lyrics" greatly expanded the lyrics on this theme. In his paintings, the motherland's beautiful rivers, mountains, farmland and water towns are fresh and natural, such as spring water flowing eastward, summer trees shading, autumn chrysanthemums blooming, and winter snow fragrant. For example, "Nanxiangzi" writes: "I recognize the spring snow waves in Minshan Mountain. When I first come, the tens of thousands of hectares of grapes are full of fermented grains." The fourth is the poetry of chanting things. The poetry of chanting things originated from the Bixing technique in the Book of Songs, and there are many famous works in the past dynasties. In this regard, Su Shi put forward his own point of view. He said that "poets have the ability to write about objects", and believed that poets should not only chant objects that are similar in spirit, but also have festival words. In Tang poetry, there are many verses about festival commemoration and celebration, such as "I miss my relatives more often during the festive season" (Wang Wei's "Remembering the Brothers in Shandong on September 9th"), "Cold food makes the east wind protect the willows" (Han Hong's "Cold Food") ) etc. The founder of festival poetry should be Su Dongpo. For example, "Huanxisha Dragon Boat Festival" has the line "The flowing fragrance fills the Qingchuan. Colorful threads are lightly wrapped around the ruby ??arms, and small charms are hung slantingly on green cloud servant girls." It depicts the ladies bathing in orchids and wearing bright robes on the day of the Dragon Boat Festival. Wearing gauze and colorful ornaments. The sixth is the eulogy. Since Pan Yue wrote "Poems of Mourning" in the Jin Dynasty, poems of mourning have become a patent for mourning deceased wives, among which Yuan Zhen's poem "Removal of Sorrow" is the representative one. Su Dongpo was the first to write mourning poems. One of his most famous poems - "Jiangchengzi's Dream on the 20th day of the first lunar month of Yi Mao" was written when he was in office in Mizhou after he dreamed of his deceased wife Wang Fu at night. The pain of life, separation and death, and the depth of longing are so heart-breaking that one cannot bear to read them. There is also a song called "Moon over the Xijiang River", which uses plum blossoms to mourn his concubine Wang Chaoyun, and has the line "The high love has chased the dawn clouds, and I will not dream with the pear blossoms." The seventh is the sentimental words. "What is beautiful in the forest will be destroyed by the wind." Due to his frank and upright character and extraordinary talent, Su Shi was involved in party disputes and incurred slander. His official career was ups and downs, he was demoted three times, and his official career was bumpy. But he often shows an optimistic and broad-minded attitude towards life, so the style of this type of poetry is clear and vigorous. This had an important impact on the later style of poetry, and Dongpo's poetry was therefore dubbed "bold and unrestrained". For example, Zhang Yao of the Ming Dynasty said: "Su Zizhan's works are mostly bold and unrestrained." However, in addition to being bold and unrestrained, they are also similar to Lao Du's melancholy. His representative works include "Nian Nujiao, Chibi Nostalgia", "Man Ting Fang" (Wojiao's false name), etc. The above is the general internal type of Dongpo's Ci, but because "no intention can be entered, nothing can be said", it is difficult to make a specific classification of his Ci. The reason why Dongpo's Ci can be all-encompassing is precisely because Su Dongpo's revolution of "using poetry as lyrics" promoted the liberation of Ci style.
Regarding the liberation of the style of poetry, Long Yusheng wrote in the book "History of Chinese Rhythm": "Since Liu Yongduo has written slow poetry...the style has been expanded and the tunes have become extremely popular. Noble literati, They are also very skilled in it; they feel that this new system cannot be applied in any way, and only talking about children's personal relationships is not enough to satisfy the desires of the intellectual class; therefore, the expansion of content promotes the style of poetry, so as to enter the liberation However, Su Shi used his outstanding talents to create a sect in the world of Ci. This drastic change in the history of Ci is the reason why Ci style can be kept fresh for a long time. "The liberation of Ci style has an objective need. , and has a realistic basis. The objective needs were the spiritual life needs of the scholar-bureaucrat class in the Song Dynasty. Since the founding of the Northern Song Dynasty, the rulers have learned from the lessons of the Tang Dynasty's separatist rule that led to the country's subjugation. In order to weaken local forces and strengthen centralization of power, the rulers implemented the ruling policy of "defending the internal and external, emphasizing civility over military power." By the time of Renzong, a group of scholar-bureaucrats had formed in the Northern Song Dynasty, who were "a class of scholar-bureaucrats" who "talked and laughed with great Confucian scholars, but had no idle contacts". Su Shi is one of the best. With the increase in the number of people taking imperial examinations, the ranks of this class have continued to grow; at the same time, social stability and economic development have enriched and improved their spiritual life. This huge social class has vast social and cultural needs, but they increasingly feel that poetry and prose cannot satisfy the expression of their inner thoughts and emotions, so they gradually adopt Ci, a literary style that "can express what poetry cannot". However, for a long time, the tradition of poetry as lingering and soft, emphasizing female voices and singing love songs has made it difficult for these feudal literati to accept it. Even in their eyes, poetry, as a "colorful subject" and "little way", is difficult to reach the level of elegance. Hall. Therefore, the liberation of word styles is an objective requirement to meet the spiritual and cultural needs of the scholar-official class. The real possibility is that the expansion of word form provides the possibility for the liberation of word style. In the early Northern Song Dynasty, "the scholar-bureaucrats inherited the legacy of the Five Dynasties, paid attention to vocal music, and made the poetry more prosperous." ("History of Chinese Rhythm") Influenced by the poetry of the Western Shu and Southern Tang Dynasties in the Five Dynasties, the poetry of this period was formally restricted by the poetry of the Xiao Dynasty. Therefore, in terms of content, there are many private affairs between children and entertaining guests, and it is difficult to express complex thoughts and emotions in a narrative way. With the "Central Plains ceased troops and Bianjing prospered", society gradually gained stability and development. In order to adapt to the needs of social and cultural development and people's lives, the Song Dynasty began to restore the old system of Tang Jiaofang and included Jiangnan music, "creating new sounds because of the old music." Because Liu Yong was "on the gold list, he occasionally missed the lead", so he stopped thinking about his official career, and instead "leaned on the red and nestled in the green", "lingered in the streets", and at the request of the musicians and singers, "changed the old voice into a new one" ". Therefore, the Ci "has changed since Liu Yong, just like the poet Bai Juyi" ("Sikuquanshu General Catalog"). Not only has it changed in content, but more importantly, it has developed in form. Slow Ci began to rise. . After the style of Ci has been expanded, the CI world has "opened up a wide range of methods". Through the technique of narration, scene description, narrative, lyricism and discussion can be integrated into one pot, which greatly enhances the expressive ability of words and thus creates prerequisites for the liberation of word styles. So, why was Su Shi able to "use poetry as words" and thus promote the liberation of words? That is, in addition to the above reasons, what are the reasons why Su Shi was the "liberator" of word styles? I think there should be the following points: First of all, Su Shi was knowledgeable and talented. Su Shi was a rare literary and artistic talent in ancient my country. He was a master in poetry, lyrics, prose, calligraphy, painting and literary theory. His poems are fresh and bold, and he is called "Su Huang" together with Huang Tingjian; his lyrics are informal, and he is called "Su Xin" together with Xin Qiji; his writing is Wangyang and unrestrained, and he is one of the eight great masters of the Tang and Song Dynasties, and is called "Ou Su" together with Ouyang Xiu. ; His calligraphy is free and easy, and together with Huang Tingjian, Mi Fu, and Cai Xiang, he is known as one of the "Four Masters of the Song Dynasty", and "Huangzhou Cold Food Post" is known as "the third running script in the world"; his paintings are novel and unique, and he has a well-thought-out approach; his literary and artistic theoretical insights are unique , Zhuoran family. Throughout the three thousand years of Chinese literary history, Su Shi is the only one who has such a versatile talent. His extensive knowledge laid a solid foundation for him to liberate Ci style. Secondly, Su Shi had a lot of experience in his official career. After Su Shi became a Jinshi in the second year of Jiayou's reign, he was awarded the title of Dali judge and signed a letter to the judge of Fengxiang Mansion. In the second year of Xining (1069), when his father's mourning period expired, he returned to the court and sued the court for the magistrate. Because he opposed Wang Anshi's radical implementation of the new law, he asked for a foreign post and became the general judge of Hangzhou. He was transferred to Mizhou (now Zhucheng in Shandong), Xuzhou and Huzhou. In the second year of Yuanfeng (1079), the "Wutai Poetry Case" broke out, and he was demoted to the deputy envoy of Tuanlian in Huangzhou (now Huanggang, Hubei), and later moved to Ruzhou. Zhe Zong was established, the New Party forces collapsed, Sima Guang was reinstated as prime minister, and Su Shi was restored to the imperial court of Fenglang Zhidengzhou (today's Penglai, Shandong). He was later called to Beijing and became a scholar of the Hanlin Academy (second grade). Because he opposed the new party and abolished the new law, he went to Hangzhou in the fourth year of Yuanyou (1089). In the sixth year of Yuanyou (1091), he was recalled to the court, but soon he was sent to Yingzhou and learned about Yangzhou and Dingzhou. In the eighth year of Yuanyou (1093), Zhezong was in charge of his own affairs and was demoted to Huizhou (today's Huiyang, Guangdong) and then to Danzhou (today's Danzhou City, Hainan). Huizong ascended the throne, returned to the north after being pardoned, and died in Changzhou (now Jiangsu) in the first year of Jianzhong's reign (1101). The rough and rugged road of life is full of joys and sorrows, which provides him with rich materials for liberating the style of his poetry. Thirdly, Su Shi has a complex character. Su Shi's life was deeply influenced by Confucianism, Buddhism and Taoism, and there were contradictions in his worldview, which to some extent created the complexity and multiplicity of his character. He is bold and open-minded by nature, "striving hard and determined to lead the world". However, due to his frankness and integrity, he could not hold a grain of sand in his eyes, so he was politically frustrated for a long time. In this regard, although he always maintains a positive and optimistic spirit, he also reveals some Lao-Zhuang thoughts of escaping reality and seeking relief from time to time.
The thoughts of "joining the world" and "coming out of the world" often caused him to have some contradictory psychology, which was inevitably reflected in his poems. Therefore, we can see the diversity of Dongpo's Ci style and the richness of content. Finally, Su Shi wrote lyrics later than he composed poems. Su Shi's poems and articles have long enjoyed a high reputation. There is a saying that "when Su Wen is cooked, he eats mutton; when Su Wen is alive, he chews vegetable roots". But he only started writing lyrics after he was demoted to Hangzhou. Judging from the age of creation, Su Shi's earliest poems should be "Langtaosha" (I left Dongcheng yesterday) and "Nan Gezi watched the tide on August 18th, with Su Bogu" written when he was the magistrate of Hangzhou in the fifth year of Xining. . Su Shi was thirty-seven years old this year. At this time, he was already able to achieve "the wonderful use of the composition and routines of poetry in one mind", and he believed that words are "the descendants of poetry", that is, poetry has the same origin but has different origins. According to the style of writing, lyrics should be based on adhering to the rhythm of words, but not being bound by them. Sometimes, one can even break through the limitations of the rhythm of words in order to express certain ideological contents. Therefore, he was able to "use poetry as words" and apply the characteristics of poetry's broad realm and expressive ambition to words, thus promoting the liberation of word style. Although Su Shi's revolution of "using poetry as lyrics" promoted the liberation of the style of poetry and established a bold and unrestrained style in the world of poetry, it also inevitably caused certain negative impacts. The poetic words inevitably do not meet the requirements of rhythm and lack musical beauty; at the same time, they violate the traditional lyrical principle of implicitness and implication, and the aftertaste is greatly reduced. This shortcoming is especially criticized by the authentic Ci School that emphasizes the rhythm and elegance at the end. Li Qingzhao, the "ci master of the generation", criticized Su Shi and others' poems in his "Ci Lun" for "their lyrics are all poems of different lengths, so they are all poems of different lengths." Often dissonant." In fact, Su Shi was not ignorant of music. His long tune "Shaobian" is a metaphor of "Gui Gu Lai Xi Ci" according to the rhythm, which shows that he is familiar with the rhythm. The reason why Dongpo's poems have "many dissonances" is that firstly, he is "not obsessed with the rhythm", and secondly, he is "but bold and unrestrained, and does not like to cut to suit the rhythm", but the more important reason is that he "uses poetry as lyrics" inevitable consequences. It can be seen from this that it is very difficult for words to achieve both cosonality and "impeccable application". In short, with his extensive knowledge, unparalleled talent, noble personality and extraordinary courage, Su Shi "pointed out the way up, new eyes and ears in the world" in his poetry, sweeping away the "Qiluo Xiangze state" of poetry since the late Tang Dynasty and the Five Dynasties. , breaking the dominance of euphemistic Ci and bringing Ci into a broader world. The reform of "poetry as lyrics" has made the literary genre of poetry "unintentional and everything cannot be described", thus greatly promoting the liberation of poetry. He was not only a reformer of graceful Ci, but also as a pioneer of Haofang Ci, he formally established the position of Haofang Ci School in the CI world. "History of Chinese Rhythm" commented: "To write words with a serious attitude and improve the status of words in literature can eliminate the mentality of scholar-bureaucrats who despise the style of words, which was actually Su Shi's idea.
"Although there are inevitable shortcomings in Dongpo's Ci, Su Shi's reform and innovation spirit of "dare to be the first in the world" and his outstanding contribution to the development of Ci, like himself, are enough for us to look up to for thousands of years!
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