Song ci is another literary school after Tang poetry, which is basically divided into two categories: graceful school and wild school.

Representatives of graceful and restrained school: Li Yu, queen of Southern Tang Dynasty, and Li Qingzhao, poetess of Song Dynasty.

Representatives of the uninhibited school: Xin Qiji, Yue Fei, etc.

Song Ci is a brilliant diamond in the crown of China ancient literature. In the ancient literature of Yuen Long, it is a fragrant and gorgeous garden. With colorful and changeable spirit, she competes with Tang poetry and Yuanqu, and has always been said to be the best with Tang poetry, representing the victory of a generation of literature. It not only draws nutrition from The Book of Songs, Songs of the South and the poems of the Han, Wei and Six Dynasties, but also conveys organic elements to the operas and novels of the Ming and Qing Dynasties. Until today, she is still edifying people's sentiments and bringing us high artistic enjoyment.

In the early days, Ci was very flashy and popular in street restaurants. For example, Liu Yong offended the emperor at that time because he wrote "and changed his name to shallow singing", and he was depressed and frustrated. He wandered between karaoke bars and brothels all his life, writing lyrics for geisha. As the saying goes, "Where there is well water to drink, there must be Liu Ci", so that a prime minister in the Song Dynasty (whose name I can't remember) seems to deny that he wrote all the words he wrote before. As we all know, there were many prostitutes in the Song Dynasty, and their level was rare in other dynasties. Together with the literati of the Song Dynasty, they formed the hedonism and vanity culture of the Song Dynasty.

When a dynasty or a country is strong, it means paying equal attention to literature and quality. Here, the article refers to the style of writing or the atmosphere of a society. We know that if a person specializes in reading and learning knowledge, he must be divorced from productive labor and cannot go to war. This was called "cultivating scholars" in the Song Dynasty. After stereotyped writing was established, scholars from all over the world came to drill this thing to gain fame and fortune. To rebel, the more "literary style" a country has, the fewer people will do practical things, and there will be problems in this country. Many people have written poems in the past dynasties, and Song poetry is also very famous. Why is the quatrains named after Tang? Even if the Tang poetry praises the romantic scenery, it also has a simple beauty, revealing the simplicity, roughness and magnificence of this nation, while the Song poetry is more pretentious and exaggerated. If a country's culture promotes the development of this country, then it is strong and vital.

In the theory of evolution and history, there is never a "if" or "hypothesis", only a cruel reality. As a result, the Song Dynasty was wiped out by barbarians, and the degradation of the personality of the literati group began to show signs from this helpful society.

The origin of the inscription name

Fisherman's Song: Also known as Fisherman. The title and intonation of Tang are both created by Zhang.

Xiaoxiang God: Also known as Xiaoxiang Song. ChristianRandPhillips Sacrificial Divine Comedy in Xiaoxiang Area of Tang Dynasty.

Sauvignon Blanc: The tune is taken from Yuefu in the Southern Dynasties, saying, "Sauvignon Blanc is the first, and long separation is the second". That's don's real name.

Wang Jiangnan: The real name is Xie Qiuniang, written by Li Deyu for Xie Qiuniang, a dead prostitute. Because Bai Juyi's ci has the words "Can you not forget Jiangnan", it was renamed as "Remembering Jiangnan", also known as "Dreaming Jiangnan", "Looking at Jiangnan" and "Being Good in Jiangnan".

Foot Golden Gate: Tang Jiaofang's original name, Dunhuang Quzi has a sentence "Foot Golden Gate into the DPRK", which is suspected to be the original intention.

Cangwu ballad: commonly known as 16-character order.

Like a dream: it was created by the Li school in the Tang Dynasty and named after the word "dream, dream".

Jade case: The title comes from Heng's Four Sorrow Poems: "Beauty gives me a splendid section, how to report the jade case?"

Klang Ganzhou: Adapted from Ganzhou in the frontier fortress song in the Tang Dynasty, Klang was named after its eight rhymes.

Niannujiao: Niannujiao, a famous geisha in the Tianbao period of Tang Dynasty, was named here.

Fairy: The original name of Tang Dynasty was Nian, but it was renamed because of the phrase "Fairy should be annoyed" in Huangfusong's ci.

Shuidiao Song: There is Shuidiao Song in Tang Daqu, which was written by Yang Di when he was digging Bianhe River. This song is a new song made by intercepting its opening paragraph.

Bodhisattva Man: Jiao Fang's original song title, also known as Midnight Song and A Cloud in Wushan. According to records, in Xuanzong of the Tang Dynasty, the female barbarian country paid tribute, wearing a high bun and a golden crown, so it was called Mandui Bodhisattva, and musicians wrote Manqu Bodhisattva.

Chaitoufeng: Take the name of "poor and lonely as Chaitoufeng" from the collection of unknown fragrant words.

Xijiangyue: The name is taken from Li Bai's Visit to the Ancient Times by Su Tai. Today, Xijiangyue is the only one who has ever taken a photo of someone in Wugong.

Linjiangxian: The original name of Tang Dynasty was originally dedicated to Xiangling.

Nan Gezi: Tang's original name was taken from Zhang Heng's Du Nan Fu, "Sitting in Nan Ge Xi, Playing Zheng Dance".

Pruning plums: It was named after Zhou Bangyan's saying "Pruning plums and opening yellow flowers".

Shuilongyin: The tune is taken from Li Bai's poem "Chuixiao Shuilongyin".

Qinyuanchun: Qinyuan was originally the Princess Garden of Qinshui in Han Dynasty, which was called Princess Garden by poets in Tang Dynasty.

Butterfly Love Flowers: The original name of Tang Dynasty was taken from the poem Butterfly Love in the Gorge by Wendi, also known as Queta and Wu Fengqi.

Broken array: the original name of Tang Dynasty, also known as Ten Beats, comes from the large-scale military dance music "Qin Wang Broken Array" made by Qin Wang in the early Tang Dynasty.

Brief description of inscription

Every word has a label. For example, Manjianghong, Xijiangyue and so on. The so-called epigraph is the name of the word format. In the Qing Dynasty, Wan Shu's Ci Gui received more than 1,180 * *, but actually there were more than this number of epigrams.

The origin of epigraph, about the following three kinds:

First of all, it was originally the name of music. The predecessor of Ci is a song with music, such as Bodhisattva Man. According to legend, when Emperor Xuanzong of the Tang Dynasty proclaimed himself emperor, barbarian countries paid tribute, wearing gold crowns and wreaths (; Jewelry worn on the body), shaped like a bodhisattva, so some people sang it as a bodhisattva, and later became a epigraph. The same is true of Xijiangyue and Qinyuanchun.

Second, take a few words from the words as epigrams. If you remember Jiangnan, it comes from Bai Juyi's "Jiangnan is good ... Can you not remember Jiangnan". Nian Nujiao, also known as no return to the river, comes from Su Dongpo's "no return to the river" sentence.

Third, it turned out to be the title of the word. For example, fishermen sing about fishermen's life, waves and sands sing about big waves and sands, and leaks and rains sing about the night. Where the inscription indicates "original intention", that inscription is the title.

The vast majority of epigrams are not the original meaning of words, but the code of a word spectrum, and the title of words has nothing to do with epigrams. Ordinary people should set up another topic or quote the following words to express their feelings.

The development of Song Ci can be divided into three stages. In the first stage, Yan Shu, Yan and Ouyang Xiu inherited the works in Huajian Collection, which is a transitional stage from Tang Dynasty to Song Dynasty. In the second stage, the new development of Liu Yong and Su Shi in form and content, as well as the artistic creation of Qin Guan, Zhao Lingzhi and He Zhu, promoted the prosperity of various styles of Song Ci. In the third stage, Zhou Bangyan's artistic creation embodies the deepening and maturity of Song Ci. These three stages are not completely separated in time, but intertwined; As far as its development and evolution are concerned, inheritance and innovation are not separated from each other.

Yan Shu and Ouyang Xiusheng live in a peaceful world, and they love Feng Yansi Ci in Southern Tang Dynasty without Feng Yansi's experience and emotion. Their words are either rich in ink and heavy in color, beautiful and elegant, or sparse and profound, which are both obscene and have many similarities with the flowers of West Shu. Yan Shu's Zhu Yu Ci, Ouyang Xiu's Body Approaching Yuefu, and an interesting song Drunken Qin never broke through the traditional theme in ideological content, nor did they see any new creation in artistic form. In the first stage of the development of Ci in the Northern Song Dynasty, the creation of Yan Shu and Ouyang Xiu mainly lies in inheritance; He Yan's creation has shown the characteristics of Song people.

On the basis of inheritance, we have made innovations. Although Zhang Xian's ci never broke through the category of "flower room", he created some slow ci, which prepared for the change of ci style in artistic form. Although Yan's creation is still a lyric ditty in the form of "Flower Collection", it "contains the poet's syntax, is clear and powerful, and can shake people's hearts" (Preface to Mountain Collection by Huang Tingjian), which is the first innovation in the ideological content of Song Ci, and can't be regarded as "chasing flower collection" (Volume 21 of Xie Zhi Zhai Lu by Chen). The development of Song Ci has really completed the transition from Tang Dynasty to Song Dynasty.

However, in this transitional stage, the transformation of Song Ci has begun. Among them, the first reformer was Liu Yong. Liu Yong is four years older than Yan Shu and 12 years older than Ouyang Xiu, both of whom belong to lyric writers in the early Northern Song Dynasty. But Liu Yong's influence was not limited to the early Northern Song Dynasty, but spread to the whole Northern Song Dynasty. Liu Yong took a completely different road from Yan and Ou. Yan and Ou are both prominent figures in politics and literature, while Liu Yong is a pioneer scholar who is "frustrated and bored, wandering around". But because of this, Liu Yong has the opportunity to go deep into the lower classes of society. His works are widely exposed to social life. In addition to the love between men and women, they also reflect some aspects of urban life and, to a certain extent, the lives, thoughts and feelings of the lower classes in the city. Moreover, he is also good at absorbing the nutrients of folk lyrics, picking folk tunes into words, creating a large number of slow words, effectively expanding the system of words. Therefore, Liu Yong's creation gained a broad social foundation, which laid the foundation for the development of Song Ci. In the middle and late Northern Song Dynasty, Su Shi stepped onto the field of ci, which opened up a new situation for the development of ci in the Northern Song Dynasty. Su Shi regarded Ci as a "descendant of poetry" (A poem for Zhang Ziye), and further "reformed" it on the basis of Liu Yong's expansion of boundaries and system. Chapters in Dongpo Yuefu, such as Qinyuanchun, Dengguting, Jiangchengzi, Old People Chatting with Teenagers, Shuidiao Tou, When is the Moon, Niannujiao, and No Return to the River, have added luster to the ci circles in the Northern Song Dynasty. Ci to Su Shi, "I can't talk about anything without heart" (Liu Xizai's "Art Outline" Volume 4), became an independent lyric poem; In Europe and Yan State, the creation of ci is not only to respond to songs and express opinions for prostitutes, but also to express feelings and aspirations directly. The appearance of Su Shi promoted the development of Ci in the Northern Song Dynasty towards multipolarization. On the one hand, Liu Yong's influence is far-reaching, and the creation of slow ci in the Northern Song Dynasty has become more prosperous since Su Shi and Qin Guan. On the other hand, at the same time and later, Su Shi's followers learned his lyrics, although they gained something, but they did not stick to one model and developed in different directions. The "transformation" between Liu and the Soviet Union and the result of their mutual competition led to the prosperity of hundred schools of thought contending in the Northern Song Dynasty. Ci in the northern song dynasty, which is in the stage of development and change, cannot be summarized by the so-called "graceful" and "bold" two styles. At this stage, apart from the "transformation" of Liu Yong and Su Shi, the artistic creation of Qin Guan, Zhao Lingzhi and He Zhu also played a certain role in promoting the development of Ci in the Northern Song Dynasty. Qin Guan was born in Su Shi's family, and he "found his own way and became an outstanding master" (Volume 2 of Kuang Zhouyi HSBC Thorn). His ci "elegance and exquisiteness" (Wang Zhuo's Biji Manzhi, Volume II) is not similar to Su Shi's ci. Zhao Lingzhi, a disciple of Su Shi, imitated Su Shi's lyrics, but didn't get the essence. However, Qin Guan wrote 10 (a poem), which sang the stories of many beautiful women in history. Zhao Lingzhi wrote 12, which added the stories of Zhang Sheng and Cui Yingying into the lyrics, forming the embryonic form of Daqu, which originated from later operas and added many styles of Northern Song Ci. In addition, He Zhu's ci "The highest person is the best in the world, and she is as beautiful as gold, while she is enchanting, quiet and clean as Qu Song, and tragic as Su Li" (Preface to He Fanggui's Yuefu) also adds a gesture to the developing ci of the Northern Song Dynasty.

In the late Northern Song Dynasty, Zhou Bangyan learned from many experts and made a series of comprehensive work to promote the maturity of Ci. On the ideological content of lyrics creation, Zhou Bangyan's "Looking for Talents, Sending Long and Short Feelings" (preface to Liu Su's Pian Yu Collection) enhanced the "physique" of lyrics; In terms of artistic expression, Zhou Bangyan's "using Tang dialect to enter the law" (volume 21 of Solving Problems through Direct Zhai) pays attention to the arrangement and standardization of ci, which provides a model for the creation of ci.

After the transformation of ci style in the Southern Song Dynasty, the creation of ci appeared a new situation. On the one hand, the left side of the river is peaceful, and there is a "prosperous" situation in economy and culture. The wind of lyrics is still prevalent in society, which provides a favorable social environment for lyrics creation; On the other hand, the great changes in social history, from the Northern Song Dynasty to the Southern Song Dynasty, political turmoil will inevitably affect the ci and music circles, thus having a certain impact on the development and evolution of the ci style. Poets in the Southern Song Dynasty created with different attitudes and ways on their own creative paths, which played different roles in the continuous development and reform of Song Ci. Du Nan writers Li Qingzhao and Xiang Ziyin traveled from south to north, and their works were the transition from the Northern Song Dynasty to the Southern Song Dynasty.

Li Qingzhao personally experienced the social transformation between the north and the south, and her life experience, thoughts and feelings have undergone tremendous changes. The content, mood, even color and sound of the lyrics have changed accordingly, from bright and fresh to melancholy and deep sadness. However, the "true colors" of characters have not changed, and her creation has set an example for Du Nan writers to express new contents in old forms. Before the "Jingkang Revolution", Xiang Ziyin lived a leisurely and peaceful life, and most of his lyrics were entertainment products of "Flower Room" and "Respect for the Front", which were out-and-out wine-side words. After the "Jingkang Change", he was involved in the rapidly changing whirlpool of social life, and his lyrics, content and style were different from before. Xiangziyin put "Jiangnan New Words" in front, but what he did behind was called "Jiangbei Old Words", which had a purpose. Xiang Ziyin's creation also hints the way for the great changes in lyrics creation.

Poets after Du Nan, such as Lu You, Xin Qiji, Chen Liang, Liu Guo, Liu Kezhuang, Liu Chenweng, Jiang Kui, Shi Dazu, Wu Wenying and Zhang Yan. On the basis of Li Qingzhao and Xiang Ziyin, he inherited and carried forward the previous artistic creation experience, which promoted the continued development of Ci. Meanwhile, in the process of "work" and "change",

Xin Qiji was born in a declining world and "can't give full play to his talents". He posted his "loyalty and anger" and his "depression and boredom" where he had nowhere to vent. His ci not only expressed the great theme and feelings of resisting the restoration of gold, but also praised the natural scenery and the life of the peasant family, reflecting the social outlook at that time in many ways. In artistic creation, Xin Qiji has formed his own characteristics through various discussions and attempts. Xin Qiji's creation embodies the highest achievement of Ci in the Southern Song Dynasty. However, some of Xin Qiji's works are "loudly and quietly" (Liu Kezhuang's preface to Xin Jiaxuan), which is very wild; Some works that have devoted too much effort are inevitably nervous, which also plays a certain role in the transformation of ci style.

Writers of Xin Qiji's contemporaries, such as Lu You, Chen Liang and Liu Guo, or Jia Xuan's "Similarity in Talent and Ci" (Liu Xizai's "A Brief Introduction to Art, Ci and Qu"); Or follow Jia Xuan's example, "words are more powerful" ("Selected Poems of Huang Sheng Hua 'an, Wonderful Selection since Zhongxing", Volume 5); Or sentimental, there is Tai Jiaxuan (Liu Kezhuang's Complete Works of Houcun University 180 "Poetry Talk" continued). It can be said that it is Xin Qiji's "homology" or "vassal". Ci writers, Liu Kezhuang and Liu Chenweng were admirers of Xin Qiji at the end of the Southern Song Dynasty and between the Song and Yuan Dynasties, which was called the stamina of the Southern Song Ci. The creations of Chen Liang, Liu Guo, Liu Kezhuang, Liu Chenweng, etc. are the supplements to Xin Ci, and at the same time, they also develop the shortcomings of Xin Ci.

The achievements of writers after Du Nan, such as Lu You and Xin Qiji, mainly lie in reflecting the life of the times and embodying the spirit of the times in the form of lyric poems; Jiang Kui and others' explorations and attempts in the artistic expression of Ci are their achievements.

When Jiang Kui entered the ci world, he was faced with the problem of the transformation of ci style. According to his own theory of "harmony" and "difference" ("Self-narration of Taoist Baishi Poetry II"), Jiang Kui wrote his own poems with the poetic method of Jiangxi Poetry School, and created his own one except halal and Jiaxuan. At the same time, because he is good at temperament and proficient in music theory, the combination of words and music has reached the ultimate goal, the so-called "syllable literary talent, harmony and Excellence" (Catalogue of Siku Quanshu). His artistic pursuit has also made great achievements.

Shi Dazu's ci is beautiful and elegant, and his style is quite close to that of Jiang Kui. Critics either call Jiang history or take history as Jiang's wing. As far as artistic creation is concerned, historical poems are "light and round" and "full of emotion", and "have the advantages of uniqueness, alertness, freshness and leisure, without losing foul language" (Preface to Meixi by Zhang Zi). However, due to the lack of profound ideological content, and "using a pen skillfully is generous" (Zhou Ji's Xie Cun Zhai Za Shi), his achievements are still not as good as Jiang Kui's.

Wu Wenying was another great poet after Jiang Kui in the Southern Song Dynasty. Wu Wenying once put forward four criteria for evaluating words: "the melody should be harmonious, and if it is not harmonious, it will be long and short;" The next word should be elegant, while the indecent word is almost tangled; Words should not be too explicit, straight and without deep flavor; Don't be too ambitious. If you are tall, you will be crazy and lose your softness. " The so-called association and non-association, elegance and vulgarity, straightforwardness and profundity, madness and softness, as well as relative arguments show that Wu Wenying's proposition is put forward in view of the present situation of Ci. Wu Wenying's poem "Shen Jia is careful, and his pulse is well drilled, which can help him dive and open his own way" (postscript to Zhu Zumou's Poems of Dreaming Window). It should be related to this proposition. Wu Wenying, on the other hand, overemphasized elegance in content and pursued "combination" and "concealment" in form, and his words were "vague and unknown" (Shen Yifu refers to Yuefu as a fan). This led to the decline of Ci in the Southern Song Dynasty.

During the Song and Yuan Dynasties, Zhang Yan, known as "Laughter", was a poet and a good musician. Zhang Yan is not only "fragrant white stone for a long time, but also a teacher and friend" (Outline of Art, Ci and Qu), but also "can win by turning over the pen and writing horizontally" (Linz Chronicle, Volume 16) and "learn its melody, especially get a spiritual solution" (General Catalogue of Si Quan Shu). His Ci "Qing Yuan Han Qing" (Jian Yi Ci Qu Jian) is unique. However, in the case of "the way of sound has been abandoned for a long time", Zhang Qian's "single vibration leads to chaos" (Yin Zhongxu in White Clouds in the Mountains) failed to save the bad luck of Song Ci. At this point, the era of Song Ci is over.

Poets in the Southern Song Dynasty, whether Lu You, Xin Qiji, Jiang Kui and Zhang Yan, all explored and explored the artistic world of Ci in various ways, but failed to satisfactorily solve the new problems in the study of Ci. In the Southern Song Dynasty, on the one hand, Ci "gradually condensed between words to seek merit" (Feng Xu's "Haoan Thorn") developed in the direction of elegance and literati; On the other hand, it continues to combine music with songs, and it is integrated with folk lyric "minor" (mainly "singing", "singing" and various palace tunes) and turned into music.

This is the general trend of the development of lyrics of long and short sentences.

The greatest feature of Song Ci is the artistic conception that can bring people into it. For a simple example, Liu Yong's "Klang Ganzhou" will make every reader's mind emerge the scene of "the sky returns to the boat".

Song ci

Born in Anyang, Henan Province, 1932. 1950 began to publish his works, and 1952 was transferred to Nanjing Federation of Literary and Art Circles as a creator to engage in professional drama creation. His major works include the opera Mu Zaishou, the short story Youth in the Sunset, the long historical novel Eight Colors of Qinhuai, and the famous Gone with the Wind. , novella collection "sword falling book", film "a leaf boat" and classical poetry collection "Song".

Recommended reading:

Song Ci, Zhuhai Publishing House, Song Ci 2007.

Ci is one of China's ancient poems. It began in Liang Dynasty, formed in Tang Dynasty and flourished in Song Dynasty. According to Old Tang Book; "Since Kaiyuan (the year of Emperor Xuanzong of Tang Dynasty), singers have mixed the songs of Okoyi Lane." At that time, there were many talented musicians in the city who made a living by singing. According to the need to coordinate the lyrics with the music beat, they created or adapted some long and short sentence lyrics, which are the earliest words. It can also be seen from Dunhuang Quzi Ci that the words produced by the people are decades earlier than those created by the literati.

Folk words in the Tang Dynasty mostly reflect themes such as love and acacia, so they are not elegant in the eyes of literati. It is considered a poetic path. Only those who pay attention to absorbing the artistic advantages of folk songs, such as Bai Juyi and Liu Yuxi, write some words with simple and natural style and full of rich life flavor. Wen Tingyun and the "Huajian School" in the Five Dynasties, which are famous for their rich ci works, have a certain position in the history of ci. However, Li Houzhu's poems after his capture in the Southern Tang Dynasty opened up a new and profound artistic realm, which strongly infected later poets.

In the Song Dynasty, after a major breakthrough in the creation of Liu Yong and Su Shi, Ci developed greatly in form and content. Although ci is influenced by literati's poems in language, its elegant carving style has not replaced its popular folk style. The long and short sentences of words are more convenient to express feelings, so the saying that "poetry is blind and lyrics are lyrical" still has some basis.

Generally speaking, Ci can be divided into graceful school and wild school. Graceful words are elegant, graceful and full of music; Like Liu Yong's "Where do you wake up tonight?" Yang Liuan, Xiao Feng's waning moon "; Yan Shu's "Helpless Flowers Fall, I have met Yan Gui"; Yan's famous sentence, "Liu Lou's heart dances low, and the peach blossom fan sings at the bottom", is worthy of being a lyrical masterpiece with a blend of scenes and scenes, and has artistic merits. Bold ci began with Su Shi. He helped Ci break away from the world of entertaining guests and develop into an independent lyric art. Landscape scenery, farmhouse scenery, carefree travel and ambition to serve the country all became the theme of Ci in his hands, which made Ci move from flowers to flowers to broad social life. Judging from the tastes of our readers today, the works of this kind of unconstrained style, The River Never Returning, are more acceptable.

Characters can be roughly divided into Xiao Ling (less than 58 words), Middle Tone (59-90 words) and Long Tone (more than 9 1 word, with the longest word reaching 240 words). A word, some with only one paragraph, is called monotony; Some are divided into two sections, called double tones; Some are divided into three or four sections, which are called three or four sections.

Words have epigrams. Generally speaking, epigraph has the following situations: following the titles of ancient Yuefu poems or music; Such as "Six States Song Tou"; Name the words in several people's poems, such as Xijiangyue; According to a historical figure or allusion, such as Nian Nu Jiao; And the famous homemade epigram. Ci developed and gradually separated from music, becoming an independent style.