One of the problems: "dual gender" and "men playing boudoir"
Jia (surname of China)
The duality in the study of Lingci refers to the early stage of the development of Lingci. In the conscious mind, male ci writers write with female identity and female tone (such as complaining about their wives and abandoning their wives), but in the subconscious mind, their feelings of getting along with each other or thinking about the country are often accidentally revealed, which makes their ci have dual nature. As for the objective environment that produces "men's boudoir", it is because there are few female writers in ancient China, so most female works are written by men. In Mr. Ye's view, the phenomenon of "men pretending to be boudoir" can be divided into three categories: one is intentional and clear metaphor, and its object is the women in the image, such as the beauty in Qu Yuan's works and the concubines in Cao Zhi's poems; One is objective imitation, such as women in some Yuefu poems and Gongti poems, whose objects all come from real life. The poets described in Ouyang Jiong's Nanxiangzi (Ba Er Hua Hua) generally belong to this category. These "materialized" female images naturally have no deep meaning. The so-called "double gender" in Jialing Ci is the third situation, and the most typical one is literary Ci. Although the female images in ci are objective and the author has no metonymy, readers can think of metonymy. The reason for this third situation mainly lies in the difference between the author's writing psychology and female identity. As far as poetry is concerned, under the traditional understanding of "poetry expresses ambition", the author's subjective consciousness is very clear when creating. In the early days, because the lyrics were only written for geisha, the author thought that they could not represent his own will, and the object was not a good woman, which led to less scruples in creation. It is in this seemingly unconstrained style of writing that some of the author's subconscious mind is actually revealed. This is what Wang Guowei said, "It is written for poets, not for the truth of poets." Therefore, the scope of "men playing boudoir" is wider, and "dual gender" is just a special case of "men playing boudoir".
In addition, there is one thing to be added about "dual gender". In fact, some female writers, such as Li Qingzhao, also have some male-style ci works, such as The Pride of the Fisherman. With the continuous progress of society, women's awareness of gender independence is also increasing. After the Ming and Qing Dynasties, a large number of educated poets emerged. In their works, there is also a phenomenon of "strong women speak", such as Qiu Jin's "Man Jiang Hong" (staying in Beijing). On the surface, it seems to be a kind of "bisexual person", but it is not, at least it is different from the "bisexual person" in Jialing's ci. Although Li Qingzhao's ci is somewhat masculine, her creation obviously has the motivation to compete with men. However, Qiu Jin's Ci is an explosion of women's rebellious consciousness under the oppression of the patriarchal society, and it is an intentional change of gender roles. However, there is no gain from her feelings, and of course there is no unintentional profound implication.
Question 2: "Double Context" and "Knowing People and Commenting on the World"
The so-called "double context" of Jialing Ci refers to the so-called "small context" and "big context" created by the author intentionally or unintentionally in his works. "Context" is the situation of language, that is, what kind of situation the author said this sentence was. Taking Feng Yansi's "Magpie Walking" (who cares about leisure) as an example, from the perspective of "small context", Feng Yansi wrote only personal feelings of hurting spring; Judging from the "big context", Feng Yansi, as an important official with a very close relationship with the Li Dynasty, was always worried subconsciously when the situation in the Southern Tang Dynasty was already turbulent. The formation of the "double context" of his ci is because when Feng Yansi wrote his personal feelings of hurting Chun, although he didn't consciously have the concept of loyalty to the monarch and patriotism in his mind, his ci made people think of it, so Mr. Zong Rao thought it was "opening the old minister's arms". So is this "small context" and "big context" the traditional so-called "knowing people and discussing the world"? Not exactly. If we compare Li Shangyin's poems, we can see the difference. Li Shangyin's distinctive poem Untitled, although traditionally regarded as a work with other sustenance, does not have the effect of "double context" in Mr. Ye's view. Because of course, Li's poems can also be called implicit and poetic aesthetic characteristics, but this is only in terms of language style. In fact, Li Shangyin's untitled poems, whether because they involve politics or because they involve privacy, are not convenient to say. In short, the author knows exactly what he is doing when he creates them. In other words, this obscurity was deliberately created by him. As for readers, we can also learn from them. This is not a "double context", but just a "text potential" of his poems.
The study of Jialing Ci is deeply influenced by Changzhou Ci School's theory of "comparing prosperity with sustenance". Mr. Ye has clearly pointed out that the beauty of a word is that it contains profound, tortuous and intriguing meanings, and those formed by "dual gender" and "dual context" in a word are often good words; Changzhou school emphasizes "comparison", in fact, it pursues a kind of "intriguing" special beauty, which is different from the general sustenance in that the author intentionally or unintentionally. The "man's boudoir voice" in the poem, even if entrusted, is very obvious and can really refer to the author's intention; However, the early words, such as the works of Wen and others, can't be judged from a historical perspective that they have great sustenance intentions. Subjectively, the author has no intention of reposing, but objectively, the works are related to reposing, which is the unique feature of "dual gender" and "dual context" of Ci, and it is also the necessity of Mr. Ye's independent name. What needs special attention is that the so-called "dual gender" and "dual context" aesthetic characteristics of Jialing Ci are actually only for the early Ci. When Ci develops to the stage of "poetic" and "fu", the poet's subjective creative consciousness is clear, the ideological content of Ci expands, and this feature gradually disappears. For example, the works of Wang, a adherent of the Southern Song Dynasty, are clear ideological sustenance; However, once Changzhou Ci School reveals the "Bi Xing Pin" and theoretically reveals the aesthetic feeling of Ci, this feature of Ci is even more rare. The so-called "progress, nothing" theory can certainly be used as a guiding principle for learning words. However, it is easy to get in, but it is difficult to get out. The poets influenced by this theory will inevitably have the intention of being ahead in their creation, so their creation tends to be artificial and patterned, and it is almost impossible to return to the original state of Ci (the Five Dynasties and the Early Song Dynasty).
Question 3: What is the "special" of the aesthetic characteristics of words?
Many readers may ask that words with "dual gender" and "dual context" are good, but aren't words without this feature bad? This is actually just a common logical problem, which is not contradictory to Mr. Ye's theory of ci. Because logically speaking, the establishment of a proposition does not mean that its negative proposition is also established. In Jialing's ci, "a word with ambivalence is a good word" is an effective proposition, but it just shows that "ambivalence" is only a sufficient condition but not a necessary condition for a good word, and its equivalent proposition (negative proposition) can only be "a bad word without ambivalence". And "a word without dual gender and dual context is not a good word" is only its negative proposition, and the failure of this negative proposition does not prove that the original proposition is not established. Therefore, Mr. Ye thinks that words with the characteristics of "dual gender" and "dual context" are thought-provoking good words, but he never said that only words with such characteristics are good words. Ci naturally has many aesthetic characteristics. As mentioned above, the aesthetic characteristics of "duality" and "ambience" are only for the early Song Ci, and Mr. Ye also made a detailed analysis of the unique beauty of "poetic ci" and "fu ci", which is naturally no longer the aesthetic feeling produced by duality and ambience.
Traditionally, there are sayings in China, such as "Writing carries Tao", "Poetry expresses ambition" and "Speech expresses expression", but in fact this is only in the early stage of its development. When a style develops to a very mature stage, this difference becomes smaller and smaller. Genre is not the limiting factor to express the author's thoughts and feelings, and a truly great writer can do anything. Therefore, prose can express one's will, express one's expression, poetry can also express one's way, and words can naturally express one's meaning (this is one of the poetic expressions of words). Even the songs that are traditionally regarded as inferior are as heavy as the song "Sorrow for Jiangnan" in the rhyme of Peach Blossom Fan. This is why many people think that the so-called "aesthetic quality" of the word "to be implicit" actually exists in some poems. In fact, more than that, some aesthetic words of poetry and fu can also be possessed. However, we can't deny the "special" beauty of this word. The key point is that the word "special" cannot be understood as exclusivity and uniqueness.