Liu Yong was the first professional poet in Song Dynasty and the founder of the prosperity of Song Ci. Zhang Xi 'an and Yan Shu, poets in the early Song Dynasty, both had hundreds of volumes of poems, among which Ouyang Xiu's poems were the most famous. Now the complete works 103 volumes, and they are all non-professional poets. Only Liu Yong, the capital of Wen Yi, has no poems, and only a poem "Boiling Sea Song" and zero chapters are scattered in local chronicles. His ci collection is called "music collection", and there are more than 200 poems handed down so far, which shows that his life's energy is concentrated on ci. In the Song Dynasty, Hu Zai's "Tiaoxi Fishing and Conceiving Conghua" later volume 33 quoted Li Qingzhao's "On Ci" as saying: "When we grasp the present dynasty, we should prepare all the rituals and music, and practice it for more than a hundred years. Only then did Liu Tuntian become a hero. He changed the old voice into a new one and produced a set of actions, which was great enough to declare to the world. Although melodious, the words fell under the dust. There are also brothers Song, Shen Tang, Yuan Jiang, and Chao Gai. Although there are witticisms from time to time, why break them? " It can be seen from this that Liu Ci is the beginning and Zhang Ci is the successor; Liu first, Zhang last; Liu is given priority to, supplemented by Zhang.
The origin of 26 words
On the one hand, Liu Yong inherited the popular and simple style of folk words in the Tang Dynasty, on the other hand, he absorbed the fine tradition of the previous generation of literati poems, thus changing old songs, creating new sounds and developing slow words. We didn't know the common characters in the Tang Dynasty before. Since the publication of Dunhuang documents, we know that there are more than 60 folk songs in the Tang Dynasty, and there are more than 100 songs of "pour cup music" and "Neijiajiao", which shows the popularity of folk music and folk music lyrics at that time. Song Taizong destroyed the Northern Han Dynasty and the whole country was completely unified. He himself knows how to create music through law. The one hundred and forty-second cloud in the History of Song Dynasty says, "There are 390 people who are familiar with the melody in Taizong Cave, making large and small songs before and after, and creating new sounds because of the old songs." With his profound literary accomplishment, Liu Yong is accustomed to Tang Le and Tang poetry, and also to the new music and new words of his time. He often lingers in Quli Lane, associates with musicians and geisha, and creates a large number of slow words, which are quite Song-style.
The spread of three or six words
In the Song Dynasty, Ye Mengde's Story of Xia recorded three clouds: "Shi Yu was an apprentice, and there was a Xixia official who said,' Where there is well water to drink, you can sing Liu Ci', which was widely circulated. Forever, I will make a reservation for a long time, and I will die in Runzhou Temple. Wang Ho-fu begged to be on time, not late, in order to pay for the funeral expenses. " This shows the wide spread of Liu Ci and the depression behind Liu Yong. Zheng Linzhi's History of Korea's Ming Dynasty also contains Liu Ci, which was presented to Korea by Song Huizong as a song and music. It can be seen that Liu Ci also spread to South Korea. Liu Ci spread to Xixia in the northwest and Korea in the northeast, and was loved by the general public in the Central Plains. In Song Dynasty, it was said that his ci was "sung in the world" in Poems of Houshan and "spread in all directions" in Volume 16 of Random Records of Cangaizhai, which also confirmed the widespread spread of Liu Ci. In the Song Dynasty, Xu Du's Que Sao Bian also recorded a story: During the Xuanhe period, Liu, his assistant minister, strongly criticized Liu Ci. Suddenly, an old official took out a pen and paper, knelt in front of Gao Ji and asked him to write one. High-tech is speechless, which also shows that Liu Ci, which is deeply loved by the people, cannot be erased.
The influence of Liu Si-ci
Famous writers in the Northern Song Dynasty, such as Zhang Xian, Yan Shu, Ouyang Xiu and even Yan, all studied the style of Western Shu and Southern Tang Dynasty and devoted themselves to this poem. Although there are slow words in Zhang Xian's Ye Zi Ci and Ouyang Xiu's Liu Yici, there are not many. Only Liu Yong created the slowest ci, which influenced writers such as Su Shi, Qin Guan, He Zhu and Zhou Bangyan. In particular, their slow ci-poetry, learning from others' strengths, learning from others' strengths, has its own characteristics and shines brilliantly, forming an unprecedented grand occasion in the ci world. That is to say, in the Southern Song Dynasty, Xin Qiji's Hidden Water begins with "Dora in the former Chu Tian, and the water is endless from day to autumn", while Wu Wenying's "Klang Ganzhou" begins with "When the sky is far away, the sky will fall and the stars will fall", which is not similar to the open weather of Liu Ci's "Klang Ganzhou". In addition, on the basis of public love, it also influenced the rise of novels and dramas in the Song and Yuan Dynasties. Flowers and Songs written by Song Dynasty's anonymous Talk about Drunken Weng and Xie Tianxiang written by Yuan Dynasty's famous dramatist Guan Hanqing are also Liu Yong's stories.
Ideological content of five or six words
First, reflect the prosperity of the city.
Bianjing (now Kaifeng) was the imperial capital of the Northern Song Dynasty. After the Song Dynasty unified the world, Bianjing became richer after a long period of rest. Developed commerce, dense population, magnificent architecture, Ming Xiu with flowers and trees, rich materials and the prevalence of singing and dancing all show the prosperous scenery, which is described in Liu Ci's Pour a Cup of Music and Throw a Pen at Smile. Zhu Mu's Yu Fang Sheng Lan in Song Dynasty quoted Fan Zhen as saying, "Ren Zongping has been in Hanyuan for forty-two years, and the town has been in Hanyuan for more than ten years. I can't sing a word, but I have seen it in Qi Qing's words. " This is a high evaluation of Liu Ci. In addition, Hangzhou, for example, is a famous financial capital in the southeast of China and a famous scenic spot in China. Liu Yong's "Looking at the Tide" also describes the luxury and beauty of Hangzhou. The word "Sanqiu devil, ten-mile lotus" has aroused the aggressive ambition of Jin people.
Second, describe the life in a brothel.
Under the rule of Song Renzong, Liu Yong lingered in Fangqu Lane, interacting with musicians and geisha, and creating new words, which was naturally reprimanded by the rulers. In the word "He Tianchong", he wrote: "I have to endure floating names and sing shallowly." It can be seen that he was extremely dissatisfied with the social reality at that time. He added, "The imperial edict is a lyric." (See "Tiaoxi Fishing in Conghua" quoted from "Huang Ru in the Art Garden") It can also be seen that he despised the powerful people at that time. In dealing with * * *, Liu Yong also showed sincere feelings. For example, "Recent Flowers" said: "I don't regret the widening of my belt, I am haggard for Iraq." Liu Yong is also very sympathetic to the unfortunate experience of * * *, such as "Fairy Tales" wrote: "Don't abandon fireworks companions. I don't want to teach people, but see the clouds and see the rain. " I only hope that they can get out of the fire pit as soon as possible and be free. But what needs to be put forward in particular is that Liu Yong wrote a lot of vulgar words to meet the needs of the masses, but they are all dross and must be criticized and abandoned.
Third, describe detention services.
Liu Yong was frustrated in fame, wandering around, homesick, caring about people and the imperial city. There was a time when he got together and wrote many sad and calm words. In Song Dynasty, Chen pointed out that Liu Ci was "especially devoted to his actions and affairs" in "Solving the Difficulties of Supporting Villages". Indeed, Liu Ci not only depicts the moving scenery of the hills and peaks in the mountain village, but also embodies his personal sense of sadness and resentment and life experience in Mountain Light Shui Ying. These contents have certain social significance. In his travel notes, Liu Yong wrote about the scenery of four seasons: spring, summer, autumn and winter, among which autumn scenery is the most desolate. The word "Qijia" is to compare Song Yu with himself and sing the voice of sad autumn. Wang Zhuo's "Bi Ji Man Zhi", Volume 2, quotes a poem from his predecessors: "Li Sao is lonely for a thousand years, and Qi's family finally sings bleak songs." He believes that this Liu Ci was influenced by Li Sao, inherited the rest of Chu Ci, and expressed his personal feelings of being demoted to the world with Song Yu's sad autumn style.
The Art of Liu Liu's Ci
First of all, this language is very popular.
From Chen Shidao, Hu Zai, Huang Sheng and Shen in the Song Dynasty to the Summary of Siku in the Qing Dynasty, the vulgarity of Liu Ci was turned into a disease, and they thought it was from Xialiba. In fact, the popularization of language is the essence of folk words in Tang Dynasty, and it is also the essence of Liu Ci. Liu Yong does not use flowery rhetoric or the old road of carving, but writes landscapes and expresses emotions in plain language, which is loved by the broad masses of the people. For example, midnight: "On the shore, in twos and threes, women wander, avoiding pedestrians and smiling shyly." How clear the language is! Depicting characters, how vivid!
Second, the syllables are loud.
Today, we don't know the singing method of Liu Ci, but we can feel the syllables are extremely loud by rhyming with four tones of Yin and Yang, disyllabic words, disyllabic words, disyllabic words and other words. For example, in the poem "Lin Yuling", "I have been hurt since ancient times" means that four tones are used together, and yin and yang are used alternately. Another example is midnight. "I came because of my thoughts, and the embroidered pavilion was lightly thrown, and the waves were hard to stay. What is the basis for Ding Ning after the sigh? " Each sentence has a disyllabic word, and four disyllabic words are used at the end of the sentence. The word "qusheng" has far-reaching significance, the loudest and the most alert. Liu Ci not only uses leading words, but also uses them at the end of sentences. Another example is the double-tone rhyme, which is also commonly used in China's poems. Liu Ci is also used a lot in this respect. For example, "Bamboo Horse" begins: "The solitary base is desolate, dangerous and wide, and the swallow bamboo is quiet." Among them, "desolation", "longing" and "tranquility" all rhyme. Finally, "the eyes are dim, the crows are chaotic, and the river is bleak." The south tower draws corners and sends away the sunset. "Ai Ji and Wei Fei here all rhyme, while the following words" messy ","little rope "and" send residual "are all disyllabic, which shows that there are rhymes or disyllabic words in every sentence. Su Shi reached the height of the Tang Dynasty (see Zhao Lingzhi's Backstreet Record), and each sentence also has a double voice. The word "cold cicada" at the beginning of Liu Ci "Yulin Ling" is a rhyme, and "cold cicada" is a double tone. Most of Liu's ci poems use disyllabic rhymes, which also shows the cadence and sonority of his new words. It is no accident that the words "right", "night", "shower", "account", "tears", "language", "since ancient times" are used together. For another example, the words "guest" and "roll" in the first part of Lotus Picking Order and the words "color" and "pulse" in the next part are not accidental. As for the beautiful city, Yingying and Celebration in Magnolia Slow, Ye Yun and Yuan Wudao also think that the tune is right (see Wu Libu's poem).
Third, the spirit is magnificent.
In the early Song Dynasty, there were some words famous for their boldness of vision, such as Fan Zhongyan's "A thousand miles away, a wisp of smoke, sunset and seclusion" ("Fisherman's Passion") and "A real pearl curtain rolls up the jade building, and the sky is blue and the milky way hangs down" ("Jade Jiexing"). But this is still a small order. As for the open realm of slow ci creation in the early Song Dynasty, it was magnificent, and Liu Yong had to count it. Such as: "think about it, a thousand miles of smoke, the twilight is heavy." ("Yulinling") "Tears are condensed, the road to the deep well is broken, and the sound is long." ("Midnight Song") "Looking back, I can't see the heavy city. There are two or three tobacco trees outside the Hanjiang River." (Preface to Picking Lotus) are all excellent words that penetrate the back of the paper in one breath. Song Yuwenbao's "Blowing Sword Record" thinks that Liu Ci is only suitable for girls of seventeen or eighteen to sing the graceful words of his "Yang Liuan Xiao Feng Canyue" ("Yulin Order"), which is still one-sided. It can be said that Liu Ci is graceful and unconstrained.
Fourth, the structure is complete.
Zhuo said that Liu Ci's "preface is leisure, with a beginning and an end" ("Bi Ji Man Zhi") has shown that the structure of Liu Ci is complete. On the cloud of Liu Ci in Zhou Ji's Selected Poems of Song Sijia in the Qing Dynasty: "Liu Ci is always good at plain narration, or the beginning, or the end, or the change of head, and it is very powerful to outline and remind in one or two sentences." This not only shows that Liu Ci's whole article is organized, but also shows that Liu Ci is strong in his bones. Liu Yongman's ci has two paragraphs and three paragraphs. Generally speaking, there are two paragraphs, the first paragraph is about scenery, and the second paragraph is about lyric. The first two paragraphs describe the scenery, and the second one is lyrical. For example, the first three paragraphs of Midnight are the most obvious examples. The first paragraph describes the prospect of thousands of rocks and valleys, the second paragraph describes the close-up of the two sides of the ship, and the last paragraph describes the feeling of being far away from home, which is very open and harmonious. Xu's "Sixty-one Selected Ci Poems" talks about Liu Ci Yun: "Qi Qing's ci poems can be straight, dense, flat and difficult to reach, and naturally they are huge in the Northern Song Dynasty." This is indeed a fair and accurate comment.
(selected from On Tang Guizhang's Ci, Shanghai Ancient Books Publishing House, 1986, 1).