As the first poetess in China, Li Qingzhao deserves it. Otherwise, tell me, who else?
There are 300 Tang poems, none of which are poetess's poems, and 300 Song poems. Only Li Qingzhao is a woman. Although she came last, six poems were selected.
In fact, I believe that there must be more talented poets and poets in history than Li Qingzhao, but only Li Qingzhao's poems can be passed down to this day. Many other famous works, in fact, the author is doubtful and can't be confirmed. Most of them may be men expressing their feelings in the name of women. But it is also possible that many women's poems were published in the world under the guise of men, because in ancient China, women's poems and songs, like women's bodies, could not be made public.
However, Li Qingzhao is a special case. She has an enlightened father who cultivated her literary accomplishment from an early age. I also married a generous husband. They poured tea, gambled on books, played the harp and played harmonies. But even Li Qingzhao, because of the gender disadvantage of women, influenced the evaluation of her ci by later generations.
Lang Nuo, a professor of sinology at Stanford University, wrote Li Qingzhao's book "Fatigue of Talented Women: Li Qingzhao and Her Acceptance History", which showed that male poets' evaluation of Li Qingzhao before Ming and Qing Dynasties, even the most objective, would be entangled in her marriage history, and deliberately lowered the evaluation of her poems because of her remarriage.
In the Ming and Qing Dynasties, Li Qingzhao's remarriage was erased, and he was shaped into a chaste and fierce woman, just like her most affectionate poem:
Live and be a man among men; Die and become the soul in the soul. Today, people still miss Xiang Yu because he refused to live and returned to the East.
Even Jiang Xun refused to acknowledge the history of Li Qingzhao's remarriage. In fact, does a person's literary talent have anything to do with his marriage? We will never deny Li Bai's talent because of his indifference to his family; Does it matter whether Li Qingzhao remarries? I don't think it matters. It doesn't matter at all. To evaluate a person's talent, we should objectively strip off other factors and talk about things.
In Jiang Xun's On Song Ci and Jiang Xun's interpretation of Li Qingzhao's Ci, I feel that Li Qingzhao's female role is more emphasized. With tolerance and understanding, he said that Li Qingzhao was the only woman in the history of literature. The interpretation of her poems will also be analyzed and understood from the perspective of women. For example, writing "green, fat, red and thin" is women's playfulness; It is a woman's personal experience to write "Lonely boudoir is full of tenderness and sorrow".
Jiang Xun also has such a sentence in the book: "To evaluate Li Qingzhao, we must first determine her identity-this is a female creator, and you will feel the different meanings of her works."
I think this is just a denial of Li Qingzhao. If Li Qingzhao is not a woman, isn't she worth mentioning in the history of literature? Preferential treatment based on gender is also a form of discrimination. In other words, I think the title of talented woman, seemingly inclusive, is actually demeaning: because she is a woman, she is given a position.
If they are on the same stage, will Li Canqing's Ci still occupy a place in the history of ancient China literature?
In fact, Jiang Xun's interpretation of Li Qingzhao's ci was full of praise, and even gave a higher evaluation because of her female identity. He represents the ideas of most people. They think that Li Qingzhao's ci is self-created, autobiographical and narrowly based on his own thoughts and feelings.
However, "we should admit that Li Qingzhao, like contemporary male writers, has the ability to fabricate literary images and events;" Although she is the only woman in the male literature circle, it doesn't mean that she must write an autobiography. Other writers don't. Male poets often use the first-person narrator to write lyrics. Why can't Li Qingzhao? "
The question raised by Ai Lang Nuo in The Fatigue of Talented Women: Li Qingzhao and His Reception History is exactly what I think. If I put aside the gender identity of "female" and only regard Li Qingzhao as a poet, and then appreciate her works, will her poems still appear in the 300 Song Ci poems?
In the evaluation of Li Qingzhao by later generations, I think Lin Geng is the most pertinent one, because it ignores the gender distinction: although the Ci world in the Northern Song Dynasty is full of the power of slow words, it is still dominated by poetry. In the Northern Song Dynasty, a writer who ended this word was Li Qingzhao. However, the trend of the whole ci world has completely moved towards a slow tone, and poetry has since become like a quatrain, just an accidental embellishment of the poet. The fate of poetry seems to inevitably follow the same path. (History of China Literature)
Li Qingzhao lived in a special era, which spanned from the Northern Song Dynasty to the Southern Song Dynasty, and experienced national ruin, war escape, displacement and the loss of stone and stone cultural relics. The so-called poet's misfortune is the happiness of future generations. Life comes out of water, with words, so that future generations can sigh in a slow voice.
If Li Qingzhao lives in a peaceful and stable era, then even if she is talented, it will not be passed down to future generations; If Li Qingzhao hadn't experienced great changes in the motherland, she wouldn't have had such a profound experience. She wrote about the sadness of that era, just like Li Yu after the national subjugation. From romantic love to deep hatred of home and country, personal tragedy enriched the history of literature.
Postscript:
Lang Nuo devoted himself to the study of China's classical literature. Especially good at Song Dynasty poetics, Song Dynasty literati culture and Song Dynasty art history. Qian Zhongshu's "Pipe Taper Compilation" was selected and translated into English. Published monographs include:
1. Literary Works of Ouyang Xiu (Cambridge University Press,1984);
2. Su Shi's words, images and actions (Words, Images and Meaning in Su Shi's Life, Harvard University Press,1994);
3. The Anxiety of Beauty: the Aesthetic Thought and Pursuit of Scholar-officials in the Northern Song Dynasty (The Problem of Beauty: China's Aesthetic Thought and Purchase in the Northern Song Dynasty, Harvard University Press, 2006);
4. The Burden of Female Talent: Poet Li and Her History of China, Harvard University Press, 20 13.