Representative figures are Li Qingzhao (the most famous poetess in Song Dynasty), Li Yu, Yan Shu, Ouyang Xiu, Liu Yong, Qin Guan, Zhou Bangyan and so on.
Li Qingzhao's Yu Shu Ji, Li Zhiyi's Gu Xi Ci and Ouyang Xiu's Liu Yici are all very good works.
One of the styles of Song Ci. It is generally believed that the poet Zhang (Zi Shi) clearly pointed out that Ci can be divided into graceful and unrestrained schools, and he has written Poems and Poems of Nanhu. Wang□ said in the Annals of Flowers and Plants: "Zhang Nanhu's ci can be divided into graceful and unconstrained schools." The same is true of the words quoted in Wang's On Ancient and Modern Ci. Xu Shizeng, who was a little later than □ (word Bolu, born in Jiajing, Ming Dynasty), also pointed out in the preface to distinguishing styles: "As far as his words are concerned, there are graceful and unconstrained people. Elegant people want their words to be meaningful, while uninhibited people want their weather to be magnificent. Although the cover is expensive and touching because of its quality, it must be graceful. " Xu Shizeng's statement is similar to Zhang's. Gracefulness and boldness are not enough to summarize the rich and varied styles of Song Ci, but they can show that there are two basic tendencies in Song Ci, either feminine or masculine, which is helpful to understand the artistic style of Song Ci.
Graceful and restrained means implicit. This word first appeared in the pre-Qin Dynasty, and people used it to describe literary rhetoric in the Wei, Jin and Six Dynasties, such as Chen Lin's For Yuan Shao and Gongsun Zan: "I have enough words to write, and my words are graceful." Lu Ji's Wen Fu: "Or empty is graceful." In the history of ci poetry, femininity has become a habit for a long time. The lyrics were originally written for concert singing. At first, the purpose of singing was to entertain guests, and the occasion of singing was nothing more than your home in the palace, the Chuge in Qin Lou. Therefore, the content of the lyrics is nothing more than leaving your thoughts and feelings, forming a "sweet and soft" word style represented by Huajian Collection. Yan Shu, Ouyang Xiu, Liu Yong, Qin Guan, Zhou Bangyan and Li Qingzhao in the Northern Song Dynasty inherited the rest. Although they have developed in content and are more exquisite in brushwork, they all have their own charm and have their own families, but they have not deviated from the gentle track. Therefore, the predecessors often used the words "graceful beauty" (the afterwords of Tiaoxi Echoes), "gentle" (etymology), "take precautions" (preface to wine) and "tortuous euphemism" (Yuefu Yu Lun) to describe the style of his works. It should be said that it has been brewing for a long time to summarize this kind of ci style with the "graceful school" in the Ming Dynasty. The characteristics of graceful words The characteristics of graceful words school are mainly that the content focuses on children's customs. The structure is profound and meticulous, paying attention to the harmony of melody, the language is round and fresh, and there is a gentle beauty. Narrow content.
For a long time, characters tend to be gentle and graceful, so people have formed the concept that grace is authentic. For example, ci writers, such as Liu Yong and Zhou Bangyan, regarded "the authenticity of words" as "the authenticity of words" in "On Zhoushan People's Ci", which represented this view. Graceful words have long occupied a dominant position in the field of ci. Until the Southern Song Dynasty, a large number of poets such as Jiang Kui, Wu Wenying and Zhang Yan were influenced by it from different aspects. Bold Ci is one of the two schools of Song Ci. Because his ci is different from the graceful school in subject matter, style, intonation and brushwork, he is called "new force", "different school" and "different school" by the orthodox ci theorists of the graceful school. Representative poets are Su Shi and Xin Qiji. [Edit this paragraph] The formation and development of the uninhibited school can be divided into four stages.
Fan Zhongyan wrote "The Pride of Fisherman, the Scenery of Qiu Lai", which sent out the first sound of grandiose words, which can be called the preparation stage.
Su Shi strongly advocated writing Zhuang Ci and wanted to compete with Liu Yong and Cao Yuanchong, so the bold school entered the second stage, that is, the foundation stage. At that time, only 1 12 people studied Su Ci, and 78 people studied it, but after all, the uninhibited school started here. Wang Zhuo, a poet in the Southern Song Dynasty, said that Su Shi's ci works "point out the heaven all the way, which will refresh the world and make the author only know what he does." Zhang Yan's Etymology compares "bold words" with "elegant words". Shen Yi floating "Yuefu Fan Zhi" said: "Modern lyricists don't know the melody, so they are bold and unconstrained, so they blame themselves on Dongpo and Jiaxuan sages." All of the above can confirm this statement.
After Su Shi, with the spread of He Zhu and the launch of the Jingkang incident, the unrestrained school developed rapidly and achieved great success. This is the third stage, which is the peak stage. During this period, in addition to Xin Qiji, a leading figure in the field of bold and unconstrained ci, a large number of outstanding poets such as Li Gang, Chen, Ye Mengde, Zhang, Lu You, Liu Guo emerged. They encouraged and comforted each other, and formed a broad lineup with the sophistry of patriotic restoration, which ruled the whole ci world.
The fourth stage is the continuation stage, and the representative poets are Liu Kezhuang, Huang Ji, Dai Fugu and Liu Chenweng. They inherited Xin Qiji's ci style, and their ci works are still magnificent. However, due to the decline of the Southern Song Dynasty, there was no hope of recovery, the elegance and vulgarity of ci poetry flourished, and the ci poetry gradually tilted. In addition, bold poets were good at rough and straight ci poetry, bold ci poetry was rough or elegant, and sadness and ashes were gradually enriched, which was the common trend of all bold poets at that time. [Edit this paragraph] The characteristics of the uninhibited school are generally characterized by broad creative vision, great momentum, love to use poetic techniques and syntax to write words, a wide range of words, many things, and unconventional temperament. However, sometimes it is flat and even includes crazy screams. Later, due to the great changes of the times, the high tone of tragic generosity came into being, and Chen, Ye Mengde,,,, Liu Guo and others followed suit, becoming a common practice. The school of bold and unconstrained ci not only shocked the ci circle in Song Dynasty, but also widely influenced the school of post-ci. From the Song and Jin Dynasties to the Qing Dynasty, there were always poets who held high the banner of being bold and unconstrained and made great efforts to study Su and Xin.
It not only describes flowers, moonlight and relationships between men and women. Moreover, I prefer to absorb major themes such as military affairs and state affairs, so that words can reflect life like poems. The so-called "nothing to enter, nothing to enter". It is grand, imposing, informal, Wang Yang is wanton, advocates frankness, and does not take subtle and graceful music as its function. Ci critics' comments on Su Shi's ci are "outstanding", "poetic spirit moving forward" and "books full of storms on the sea", while Xin Qiji's comments on "bold and unrestrained" can be transferred to the bold school. There are few internal operations of the Boldness School, only the fine branches of the Su School, the Xin School and the Noisy School. Although its style is generally called bold and unconstrained, the style of poets is slightly different: Su Ci is beautiful and bold, while some bold and unconstrained ci works in the late Southern Song Dynasty are extensive, and bold and unconstrained ci writers in the Qing Dynasty are also known for their boldness. Because bold poets love to use allusions, pursue prose and talk too much, some bold poems have some shortcomings, such as lack of charm, obscure meaning, unclear image, and inaccurate meter, which is needless to say.
Although it is dominated by unconstrained style, there are also many delicate and graceful works, such as "Nobody's House" and "Famous Artists". Su Ci "He Xinlang flies like smoke", "Water dragons sing like flowers that are not flowers", Xin Ci "Pink Butterfly Yesterday Spring" and "Night East Wind Jade Case" are all masterpieces that can be equally graceful. The "bold school" and "graceful school" in Song Ci rose in the late Tang Dynasty, developed in the Five Dynasties (907-960), flourished in the Northern Song Dynasty (960- 1 127), and derived from the Southern Song Dynasty (1 127). Of course, this staging is extremely simple and rude, just to illustrate the problem. We have to put a few hooks on the wall of history for the time being, so as to hang up some historical facts and see the relationship between them clearly, so as to avoid being abstract and unpredictable, or even making a mistake of the times and doing the historical facts well.
From the rise of Ci to the end of the Northern Song Dynasty, Ci, as a folk hobby, reached its golden age in about two centuries. It can also be said that half of all the better characters were produced during this period. Later, in the Southern Song Dynasty, despite the proliferation of factions and the increase of authors, the overall quality was still not as good as that of works before the Southern Song Dynasty. These works and their authors are written along the tradition since the late Tang Dynasty. This tradition is simple and clear, which is the so-called "minor" in later generations. A minor is a song sung in a folk alley: the content is also quite simple, mostly about love between men and women or praising local scenery and customs. This was originally an old tradition and theme for thousands of years since the "three hundred articles", but the Han and Wei Yuefu, which "feels sadness and joy, stems from things", is more prominent. The relationship between Song Ci and Yuefu is very close. Ci collections of Song people are sometimes called Yuefu, such as Dongshan Yuefu, Dongpo Yuefu, Song Yin Yuefu and Chengzhai Yuefu. Yan claimed that his ci collection was Buwu, and he explained himself: "Buwu is a volume that supplements the death of Yuefu." It shows that his ci is "Yuefu" in Song Dynasty.
However, in the golden age of the word from the Five Dynasties to the Northern Song Dynasty, although there were many famous artists whose works were like Yun Zheng and Xia Wei, no one ever divided them into factions, named them or labeled them. The works of the Five Dynasties came from at least four different regions: Xishu, Jingchu, Nantang and Dunhuang, but later, perhaps for the convenience of discussion, the name of "Huajian School" was put forward, that is, the genre was determined by the name of Huajian Collection compiled by Zhao Chongzuo of Xishu, which was of course incorrect, because the selected articles in this collection were very different from Wei Zhuang's works. However, in the Northern Song Dynasty, flowers were the epitome and model of this new literary genre at that time, and they were the standard and authenticity of poets. Generally speaking, praising someone is "true colors" rather than "flowers", which is a high evaluation. Chen praised Yan's words, "among all the scenic spots, flowers are the only thing that can be chased." . Higher or higher than it. "It can be seen that connoisseurs, collectors or catalogers in the Southern Song Dynasty regard Huajianji as an original, and lyricists regard Huajianji as a routine. The style of "Huajianjie" has become a yardstick to measure the works of poets in the Northern Song Dynasty, and people who are not as good as "Huajianjie" are bound to be ridiculed as "lower than themselves". What is the truth? We look at several famous poets in the Northern Song Dynasty, such as Ouyang Xiu, Fan Zhongyan, Yan and his son, He Zhu, Qin Guan, Zhao Lingzhi and Zhou Bangyan. Liu Yong is a little different from them, but the difference between him and them is nothing more than writing about his personal feelings of staying away from hate. What he feels is still his close friend and mistress. For these works, there was no division among the ci theorists or critics in the Northern and Southern Song Dynasties at that time. They just looked for chapters to talk about their personal appreciation of a certain word.
It is not surprising that most of the great poets in the Northern Song Dynasty have similar styles, because they are all handed down from Huajian. Their works can be "confused" with each other, with Huajian's works, and even with Southern Tang's works, because of the living environment, cultural level, and so on. The obvious example is Fourteen Magpies Tread in Feng Yansi's "Yang Chun Ji" (that is, "Die Lian Hua"), in which "Looking Back" is found in Ouyang Xiu's "Liu Yici" and renamed "Die Lian Hua". Another example is to use "Liu Yici" as a raid, but there are more problems. There are 22 Old Prints and Irises, of which only 17 are left. Golden retriever gambles on clouds in the title of recent flowers;
Twenty-two old paintings. Jong Li's main work is A Night Pavilion, and "six songs are tired of leaning on the green trees" and "the curtain is light and bilingual" are all found in Zhu Yu's ci. "Alone in a dangerous building, the wind is fine" and "under the curtain, outside the Quqing curtain" are all seen in the collection of movements. Delete today.
Here, Jin Mao deleted five named songs and two unnamed songs. Besides, Jin Mao knew that the word appeared in two books, but he didn't seem sure who wrote it, so he recorded the original word and noticed that it also appeared in other people's collections. There are four songs about this situation: "How deep is the courtyard?" In a song, Shi Mao wrote: "I saw Yangchun Road. Yi Lee Ann called it "June 1st Word". "That he thinks this is the reason why Ouyang Xiu's works are also well-founded. A poem entitled "Pear Blossoms Bloom and Cicada Rest" says: "For a while, I will be with my uncle (Yan Shu) and my son (Su Shi). "Song's" Abandoning Idleness for a Long Time "Note:" Yangchun Record is also recorded. " "Where will the cloud go in a few days?" The title is gambling cloud: "Also recorded in Yangchun. "
There were many other poets in the Northern Song Dynasty who wrote the same poem in the collections of two or three poets, so there is no need to remember it in detail here. I don't give these examples to study the authors of these words, so as to study the value of someone's work. It is to illustrate a historical phenomenon: from the Tang and Five Dynasties to the Northern Song Dynasty, the styles of words are very similar, and everyone's works are similar enough to "confuse leaves" with each other. One person's words fall into other people's collections, and it is almost impossible to distinguish them, so it is impossible to divide factions. In fact, people in the Northern Song Dynasty never realized which school his works belonged to. If someone divides them into factions and labels them, they will definitely be unhappy. Generally speaking, all schools of writing characters in the Northern Song Dynasty originated from "Huajian". There is nothing wrong with saying that they are all "flower schools", but there is no need to reinvent the wheel, because all intellectuals at that time knew it and took it for granted. You should especially point out that some people's works in the Northern Song Dynasty are close to the "Flower School", just like saying that the sea water is salty. Therefore, it is more in line with historical facts to say that there were no ci schools in the Five Dynasties and the Northern Song Dynasty than to insist that someone belonged to a certain school at that time.
So someone put forward different opinions. They said: "Obviously, there were" unrestrained "and" graceful "schools in the Northern Song Dynasty. Isn't Su Dongpo "uninhibited"? Isn't that what almost every literary history and ci theory say? The point of the question is: what is the basis for them to say this? The answer should be their works. So, the first question is, what are Dongpo's "bold" words? So I opened every book on the history of literature or ci, and quoted several poems as usual, such as Gone for Never, Old People Chatting About Juvenile Madness, When Will the Bright Moon Come. How can these words be called "unruly"? Examples of "bold and unconstrained" works are Li Bai before Dongpo and Xin Qiji after Dongpo. Comparing the works of these two poets with those of Dongpo, who is often quoted, we can see that these works of Dongpo can only be said to be broad-minded, not even generous, not to mention "bold". I don't know when the theory of "unruly" began. Chen Deng ignored Xu Li, who said that he was "a Jianghu person, and his heroism had not been removed." Obviously, Chen Deng is arrogant, not flattering. The word "Fang" seems to originate from the word "Waitui" in the Wei and Jin Dynasties, and the combination of the words "Hao" and "Fang" is bold and unconstrained, probably starting from the Tang Dynasty. The Book of the Tang Dynasty called Li Yong "wild and unruly, unable to control his own behavior". Lu You defended others' saying that Dongpo Ci "can't sing", saying: "The public can't sing, but they are bold and don't like to cut it to suit their temperament." That is to say, Dongpo's character is "bold", not that his ci belongs to the bold school. Because the poets in the Northern Song Dynasty did not form any genre at all, and their works were not divided into "graceful" and "bold". Of course, Su Dongpo has some long tunes. Compared with the early Ou, Zhang and Er Yan, it is slightly different in the choice of theme and expression, but it can only be said that Su Dongpo, a prolific poet, has written more than 300 works similar to the "Flower Collection" poet, which is slightly different from other poets. It can be said that Su Dongpo contributed some unique works in the treasure house of Ci in the Northern Song Dynasty. His achievement is to increase the number of words instead of changing the atmosphere of the word circle.
Su Dongpo didn't "wash away beauty and fragrance" as Hu Yin said, except adding some words with different contents. It was just nonsense. Among the more than 340 poems of Dongpo Yuefu, more than 50 poems are devoted to the beauty of women (the so-called "beauty Luo Xiangze"), and the most concentrated poems are nearly 100 poems that bid farewell to friends and entertain officialdom. Almost every capital will praise geisha ("beauty"), because there is singing and dancing wine at the banquet as usual, and sometimes it is the master's geisha who comes out to sing and dance (for example, among all Dongpo's words, the words that don't wash "Luo Qi Xiang Ze" account for more than half, and there are more than 30 songs (especially flowers), so you can't write the image of "beauty" without thinking about it in your mind. Even reading and painting should have "black tea to add fragrance". It is said that Su Dongpo, a romantic genius, can, in his words, "wash away beauty and fragrance". Who will bully him and bully the sky?
In terms of Dongpo's life experience, the character and talent caused by the environment can only be broad-minded and not daring. Dongpo's experience of his own experience can make him sad, can make him sad, can make him broad-minded, can make him generous, but can't let him be "bold" alone. It is fundamentally wrong to say that ancient words like Nian Nujiao and Dongpo Don't Return to the River are "bold" words. Dongpo once wrote all his poems during Tao Yuanming's imprisonment, and wrote the Complete Collection of Tao Poems by himself. Taoist poetry itself is perfect, so how can reading and being in harmony with Taoism be unaffected by it? Those who can make such efforts have already restrained their "bold and unconstrained" spirit. A person's poetry is bold and unrestrained, and he must have a proud pen in his life experience, and then he becomes bold and unrestrained. Li Bai is an uninhibited poet. I'm afraid I can't write "uninhibited" poems when I come back, not to mention Dongpo's experience is much worse than Li Bai's!
As for the word "graceful", it was first seen in Guoyu Wuyu: "Therefore, it is graceful to follow the king's ambition." It means humble and let nature take its course. In ancient times, women took obedience as a virtue, so they borrowed it as a way of female education. The preface to Yu Tai Xin Yong says: "Reading poems and paying tribute is not the media of the east neighbors;" Graceful and romantic, different beauty education. "Flower Collection" Volume 7 Sun Guangxian's "Huanxi Sand": "Half a step of long skirt wants to go, and the night curtain is bright. At this time, I hate it. "Nine Mao Xizhen's" Huanxisha "another volume is" pretending to be ethereal and graceful, laughing and charming words are too rampant. "forbear to teach and hate the dark shape." Ibid. Linjiang Fairy: "Slim waist and graceful steps."
As can be seen from the above examples, this word has different meanings in different times, but when it is used as an adjective, it seems to refer to the implicit and restrained expression of the so-called "beautiful translation" and beautiful scenery. Once used in the position of contrast with "bold and unconstrained" words, graceful words are considered to be conservative, progressive and conformist. Sometimes they even write beautiful words about relationships, especially the relationship between men and women, to leave their sadness and not hate their dissolute lives, and even say that their thoughts are empty and pale. Obviously, this mechanical division does not conform to the reality of the Northern Song Dynasty, and it is difficult to justify itself. Therefore, sometimes we can't strictly abide by the portal boundaries of these two factions, and sometimes we can't help but ask the spirit to change from unrestrained to elegant. For example:
Su Shi is also good at graceful writing of traditional love themes. However, graceful poets (without this name according to Su Shi's fashion) generally focus on the sincerity and delicacy of lyricism, and their words are particularly dignified and sincere in sincerity and delicacy, such as "Butterfly Love Flowers": "Flowers wither, red apricots are small, and when swallows fly, people are surrounded by green water. There are few willows blowing on the branches, but there are many herbs in the sea. Autumn in the wall? Outside the wall. The layman in the wall, the beauty in the wall laughs. Laughter dies in silence, but passion is mercilessly annoyed. (See Yan Wen Institute's History of China Literature, Volume II, pp. 594-595).
What is dignity and what is integrity? The editor added words to explain the classics, but didn't say anything dignified and sincere. The editor couldn't understand the main sentence of "There are plenty of fish in the sea" between the lines, so he had to pull Wang Shizhen in the early Qing Dynasty to help solve the problem. But Wang couldn't help much (because he didn't understand), so he said, "A person who is good at love poetry like Liu Yong may not be able to surpass this sentence." Stay away from the key clause "There are plenty of fish in the sea".
This example is very interesting. As long as Su Shi is mentioned, the "uninhibited" theorist moves out all the rituals that he thinks can prove Su Shi's uninhibited, as if he is magnificent and majestic. In fact, few people are directing, and Su Shi, a general who is not a soldier, is allowed to sing a one-man show, not even a walk-on When it comes to "weddings, funerals, weddings and happy events" (such as the so-called "love theme"), I have to bend the rules to that annoying handsome boy again.
Of course, when we say that there are no bold schools in the Northern Song Dynasty, we don't mean that there must be no bold words in the Northern Song Dynasty. There are a few works with high style and great spirit, such as Fan Zhongyan's Su Curtain Cover, Fisherman's Pride and Su Dongpo's River of No Return. Even so, we can't admit that they are "unruly" just by these words.
For another example, some people say that the language of Su Shi's ci "has formed a fresh, simple and fluent poetic language", so they come to the conclusion that "these all show the characteristics of bold and unconstrained ci school." I can't see the logical relationship between these two sentences.
I think it is necessary to mention Liu Yong here. He was a very important writer in the Northern Song Dynasty. His relationship with the tradition of "Huajian" has both inheritance and development. It is correct to say that Su Shi has expanded the subject matter of Ci and increased the literati's feelings that predecessors only used to write poems, but this does not mean that he can set up an "uninhibited school" or an "opposition". Adding some poems to his works has not reduced the traditional works he inherited from Hua Jian, but only expanded the subject matter of Ci and possible new writing methods. But this new way of writing, Liu Yong has already done so. Liu Yong is a writer with the theme of love, romance, sweetness, love and lush, so he has not broken away from the tradition of flowers. But while inheriting this tradition, he also used the language and vocabulary used by maiko dancers. His works "look down" and write their thoughts with their language tools, which Su Shi can't do. Because he is facing a bachelor of arts. Literati seek elegance and integrity. Therefore, although he writes words with enlarged vocabulary like Liu Yong, he "raises his head" instead of bowing his head, instead of learning the proverb to write. Therefore, from China to Xixia, Liu Yong's ci will be sung wherever he drinks well water, and Liu Yong takes the mass line in language use. Su Shi was inspired by Liu Yong, adding some literati feelings, complaining about others, teasing each other and chanting things, which were rarely used or not used by predecessors. So his works give people an impression of rich themes. Liu Yong wrote his own emotional works, such as the famous Klang Ganzhou and Yulin Ridge, which also reached a new level. But because he has a new realm. However, because he sometimes wrote about the life of prostitutes, which was disliked by Taoist teachers in the Song Dynasty, the word "uninhibited" specifically refers to Su Shi rather than Liu Yong.
The above discussion is limited to the Northern Song Dynasty. Everyone in the Northern Song Dynasty, such as Ouyang Xiu and Er Yan, regarded the Collection of Flowers as authentic, as mentioned above, so everyone called the poets in the Northern Song Dynasty "graceful and restrained". The style of writing is related to the life of the times. After the founding of the People's Republic of China, in order to strengthen centralization, the Zhao and Song governments demanded that the founding heroes abdicate in time. In exchange, the government encourages them to buy fertile fields and beautiful houses for their children and grandchildren, and raise song and dance artists to entertain themselves so as not to cause trouble. Therefore, it is a common phenomenon for literati to leave geisha at home. Of course, the literati in the Northern Song Dynasty can only write for the singer's singing, and can only follow the tradition of picking flowers. Yan said in his poem The Back Hill:
At first, Uncle Shen was in the 12th Company. Our pets have lotus flowers, red flowers, apples and clouds at home, and the goods are clear and entertaining. Every time I get a solution, I teach my children grass. The three of us drank wine, listened and laughed.
This shows that Yan's ci was written in what kind of environment. This situation is proved by the situation described in Biography of Shi Shouxin, which shows that this is not a case. In this "singing and dancing" atmosphere, they sing and choose dances, which is the general atmosphere of the upper class encouraged by the government. It will be clearer to look at Li Qingzhao's recollection of Kaifeng's cultural life in the heyday of the Northern Song Dynasty in the poem Song of Eternal Sorrow.
However, since the change of Jingkang, the people in the Northern Song Dynasty fled to the south of the Yangtze River and suffered from exile. The tragic situation of the separation of their wives and children and the pain of land decline aroused the tragic feelings of most intellectuals. Why are they still in the mood to "entertain guests"? The works written under such circumstances are of course impassioned and filled with indignation, so it is natural that there are many so-called "bold" poets in the Southern Song Dynasty. In fact, the word "unruly" is not appropriate here. It should be called "Fenqing School", "Inspirational School" and "Loyal School". The word "unruly" still means free, casual and open-minded. So these names, bold and graceful, were not used at that time. Only those commentators who are good at writing or labeling in later generations love to command the ancients and listen to my scheduling. Moreover, the style and content of words at that time were mainly caused by political changes. Of course, it is out of proportion to write colorful and charming scenery in the midst of war. Even if you get carried away and enjoy it, your mood is out of proportion. Literati's works mainly change with the times. It doesn't mean that someone is born "elegant" or "bold" from an early age. Let's take a look at Xiang Ziyin's "The Edge of Wine", which is the most appropriate example. Xiangziyin lived in Kaifeng for the first half of his life. His ci is called "Jiangbei Old Ci", which is an authentic "graceful and restrained" school. The difficulty of Jingkang (1 126) Bianjing fell and he fled to Hangzhou. Later, his work was called "Jiangnan New Words" and became an authentic "bold and unconstrained" school. The situation of Li Qingzhao is similar, but naturally, her later works are not "bold" but bitter. If Xiang Ziyin and Li Qingzhao's later works are still full of joy, they are heartless.
As for Xin Qiji's participation in guerrilla warfare in enemy-occupied areas in the Southern Song Dynasty, of course, his works are only impassioned works that we see now. If Su Shi had lived to the Southern Song Dynasty, his works might have been more "bold" than what we see now. And a writer who is labeled as "graceful and restrained" and "metrical" like Zhou Bangyan, if he can live to the Southern Song Dynasty, I don't think he will end up with "graceful and restrained" and "metrical".
① For "Huajian Ci", please refer to my humble book Huajian CiNo. 1982,No. 10,No.1. (2) that is, "Who has abandoned leisure for a long time" and "Where will you go in a few days?" How deep is the courtyard? Six songs are lazy to the green trees. (3) According to the four printed editions of Yangchun Ji, the original edition is Song Jiayou Wucheng (1058) and Chen Xu collected by Ming Ge. (4) Chen Deng is "heroic", because he won the meritorious service of Lu Bu, plus General Fu Bo, so he looks down on Xu Si. For the explanation of this word, please refer to the second issue of Literary Heritage (1983). ⑥ Chanting things is a literary game that has existed since ancient times. Xunzi's fu is this kind. There are many puns about "chanting things" in You Xian Dong in Tang Dynasty. ⑦ See the biography of Shi Shouxin in the Song Dynasty and Zhao Kuangyin's Advice to Ministers. Of course, the term "uninhibited" today is also inappropriate. To illustrate the problem, I used this name. See Liu Yang-zhong's Talk on Wine Prescriptions.