Reading Guo Feng's The Influence of Poetics in Tang and Song Dynasties on Ci

The study of Ci in Tang and Song Dynasties is a branch of poetics, which developed under the influence of poetics. Ci draws lessons from the creative methods of poetry, forming a tendency of "taking poetry as ci"; Ci also relies on the developed poetic theory to construct its own theoretical system, forming a decent series of Ci. The influence of poetics on ci began when scholars got their hands on ci. Pronouns in Tang and Five Dynasties, such as Li Bai, Wei, Liu Yuxi, Bai Juyi, Wen, Wei Zhuang, etc., were mostly famous poets, and most of them wrote poems as lyrics, so early literati words were called "poems". The early Song Dynasty was a transitional period of feudal society in China. Thoughts have changed from openness to introversion, and social atmosphere has changed from hard work to inaction. Literati also turned the lofty sentiments of making contributions into the elegance of listening to songs and watching dances. At this time, pop music flourished and the lyrics were very depressed, which formed a sharp contrast. Liu Yong catered to the interests of the street class with his vulgar ci style, so Liu Ci became popular for a while. Some of Liu Yong's words are magnificent and do not reduce the height of the Tang people. At the same time, Yan Shu's and Ouyang Xiu's poems are also called unreadable poems. Later, Yan inherited the tradition of Yuefu in Han and Wei Dynasties, and used small words to express the ups and downs and the feelings of the past and the present. At the end of the Northern Song Dynasty, all the words in Zhou Bangyan's ci poems were deliberately measured, and most of the words were translated from the poems of the sages of the Tang and Song Dynasties. He Zhu is also good at using Tang poetry allusions. It is said that his works have made Li Shangyin and Wen run around. The trend of thought of "taking poetry as ci" led by Su Shi had the greatest influence on the ci circle in the Northern Song Dynasty, and he washed away the remaining boundaries between poems. Su Shi was dissatisfied with the low style of Liu Yong's ci, and took it as his duty to improve the quality of his ci. He equated poetry with poetry; In order to improve the romantic taste of ci, Su Shi sacrificed the characteristics of ci style and broke it into ci. This is what Chen Shidao said about taking poetry as a word. Su Shi not only pointed out the rising trend of Song Ci, but also incorporated the characteristics of learning into Song Ci. Huang Tingjian said that Su Shi's "Divination Operator Huangzhou Dinghui Garden Residence" has a high rhyme. "Chest without thousands of books, pen without dust. Who can do this? " Dongpo Yuefu, a postscript to Valley Collection, fully shows the subtle influence of talent and temperament on the poet's ci style. With the demise of the Northern Song Dynasty and the instability of the Southern Song Dynasty, the times needed generous and energetic ci works, and Su Shi became a model of Du Nan ci circles. Hu Yin, Wang Zhuo and Wang Shen fully affirmed the significance of Su Shi's ci from the perspective of improving the quality of ci. Zhang Xiaoxiang deliberately imitated Su Shi's poems; Xin Qiji, on the other hand, inherited Su Shi's spirit of "taking poetry as ci" and interpreted it as a creative method of "taking prose as ci" and "taking fu as ci", which became popular and formed a new school of ci writers with a spectacular lineup. For this school of poets, the theme of ci has been infinitely expanded, and there is no restriction on the use of allusions in ci. All emotions that can be expressed in poetry can be expressed in words. The stylistic features of ci disappeared, and ci became a new style poem with long and short sentences. On the other hand, the school of natural color ci also drew rich nutrients from "taking poetry as ci". Jiang Kui hollowed out Su Shi's genius and personality and evolved into a creative style that contains a series of statutes and can be popularized. The further influence of Tang and Song poetics on Ci is theoretical infiltration and infiltration. In the subconscious of poetics, words are not an independent science, but a branch of poetics. Wu Zeng's Notes on Nenggai Zhai, Hu Zai's Tiaoxi Fishing in Conghua, Wei Qingzhi's Jade Chips, and Zhou Mi's Haoran Zhai Ya Tan all add words to poetry. Poets believe that writing is no different from poetry except singing with music. Lin Jingxi put forward the idea of poetic unity. He said: "The change of Yuefu poetry is also. Poetry focuses on emotion, only on propriety and justice, and beautifies the vulgar. Why send it? Is there a difference between being a Yuefu and poetry? In Song Dynasty, Qin Dynasty, Chao Dynasty, Zhou Dynasty and Liu Dynasty, each according to its own foundation, romantic and romantic, solid and also washed away the ugliness of the Tang Dynasty, but not yet. At the end of Gong Jing's "Jinling Nostalgia", there is a poet's irony. When reading Dongpo's Yue Ci, Yuling said that Su Shi has always loved you. From this perspective; Ergong Yuefu is rooted in love, and the author is no different from poetry at first. " Wang Ruoxu, a native of A Jin, has a similar view, but he put it more bluntly: "Poetry is only a principle, and there is no room for objection." It is precisely because of the popularity of this concept that the poems of the Song people are often applicable to the study of Ci. Jiang Kui's poem by Taoist Baishi is a typical example. Jiang Kui is not only a pioneer poet of Jiangxi Poetry School, but also the founder of Jianghu Poetry School. His poetic theory had a far-reaching influence on the poetics and Ci studies in the Southern Song Dynasty. For example, the thought of kung fu and self-restraint was absorbed by Zhang Yan, which became the aesthetic ideal of "coquettish elegance" of Ci school: statutes and poetic methods of creation, clearing the bottom of the pool, and becoming an "empty" morphology. A series of terms such as "melting ci", "deep practice" and "interest" in Zhang Yan's Etymology all come from the poetic theory of Jiangxi Poetry School. Even the "emptiness" in Zhang Yan's etymology comes from Zhao Ruhui's preface to the collection of Gualou, and his theory is constructed with the help of Tang and Song poetics. Zhang Yan was also inspired by Fang Hui's theory of one ancestor and three schools, and constructed a decent system of pronouns in Song Dynasty. Zhang Yan put the decent series under the door of Zhou Bangyan, a poet in the Northern Song Dynasty, on the grounds that "scholars say that carved mandarin fish is not a good kind of mandarin fish." This is why Huang Tingjian emphasized the study of Du Fu's poems. He said: "To learn from the poems of old Du Fu, the so-called carving mandarin fish is not a good kind of mandarin fish. Learning the poetry of the late Tang Dynasty, the so-called' Liang Yu's practice, is still greedy; What will we do if we practice greed? If you want to read thoroughly, you must talk about people. For hundreds of years, poetry is not without benefits, but you don't have to learn it. If you also like calligraphy, you should take Zhong Wang as your ear. "(Wang Zhengde's Book of Shi Yulu and Zhao Bochong) Zhang Yan quoted this sentence, saying that Zhou Bangyan's words, like Lao Du's poems and copybooks, are elegant and have statutes, which are easy to learn and do not go out of shape. And he compared Zhou Bangyan to Du Fu, which set a creative model for decent series. The gist of Zhang Yan's ci theory also highlights Jiang Kui's practical contribution to the Jianghu ci school. Jiang Kui has a lofty position in this school, which is equivalent to Huang Tingjian of Jiangxi Poetry School. However, the shortcomings of Jiang Kui's ci, such as frankness and bluntness, have been corrected in Shi Dazu's syntax and Wu Wenying's literary talent. History and Wu's position played a certain auxiliary role in the formation of Jianghu ci style. The theme of Zhang Yan's On Ci is the same as that of Fang Hui's three schools, pointing out that there is actually a decent order of Tang and Song Ci: Zhou Bangyan-Jiang Kui-Wu Wenying-Zhang Yan. The purpose of later generations' recognition of ancestors is not only to affirm the style of predecessors' ci, but also to show their authentic lineal identity. The influence of Tang and Song poetics on Ci is mainly reflected in "taking poetry as Ci". In the northern song dynasty, the ci circle paid attention to the true colors of ci, strictly adhered to the boundaries of poetry, and often criticized "taking poetry as ci" as a shortcoming. After Nandu, poets fully absorbed the advantages of "taking poetry as ci", wrote ci by poetic methods, discussed ci by poetic standards, and established a theoretical system of ci with the help of Tang and Song poetics, especially the poetic theory of Jiangxi poetry school. Compared with the developed Tang and Song poetics, the theory of Ci is relatively rough. It often only has isolated concepts, without revealing the inevitable connection between concepts. Poetics just makes up for this deficiency. Its theory is more mature and perfect. Not only the concept is standardized and the expression is rigorous, but also the theoretical system is clear. It is with the help of poetic methods, concepts and theoretical systems that Ci expresses its thoughts and constructs its own system. Therefore, it is an indispensable and unavoidable theoretical approach to study Ci from the perspective of Tang and Song poetics.