Date: July 6, 2006 Click: 17 I want to contribute.
The name "Evergreen Style" began in the Song Dynasty, which is a general term for the poems of Bai Juyi and Yuan Zhen in the Tang Dynasty, and it refers to a wider range. After the Qing Dynasty, its connotation and reference were gradually determined, and it became the proper name of seven-character long ballads with changeable narrative style, changeable language and even rhyme, represented by Song of Eternal Sorrow, Pipa Music and Lotus Palace Ci.
As far as the writing time is concerned, Song of Eternal Sorrow, Pipa Journey and Poem of Lotus Palace were all written during the first year of the reign of Emperor Zong, not during the period of 82 1-824 in Mu Zong. Therefore, "evergreen style" is not named after the time of creation. There is a cloud in Bai Juyi's poem "I haven't thought enough about six rhymes", saying that "the system has changed from Changqing to ancient, and the poem has changed to Yuan and Ti." On the sentence "Lingcong", the author bet that "the patent was made for a long time at the beginning of Qing Dynasty, and the style was high and ancient, and it became popular at the beginning, and the successor was effective." Bai also said in the Preface to the Epitaph of Yuan Zhen that "the imperial edict is made, and Wang Yan also." In modern times, it is often lost in ingenuity. Since the public refers to the text of Yuan Zhen, the vulgar becomes elegant, and the three changes are classic, which means the person. Under the sentence of "The Book of Poetry", Bai noted that "many people refer to yuan, while Bai is a poem with a thousand words, or several yuan." . It can be seen that in Bai Juyi's works, the title corresponding to the title of Changqing is Emperor's Patent, and the title corresponding to the title of Yuanhe is Poetry.
The name "Evergreen Style" is named after the Collection of Yuan Zhen by Bai Juyi. In December of the fourth year of Changqing, Yuan Zhen compiled Bai Juyi's poems into fifty volumes and named them Bai Changqing Collection. Yuan Zhen's own anthology is also titled "Evergreen Collection in Yuanshi County". Although "Changqing" is only four years, it is only a short stage in Yuan and Bai's creation, but the author himself agrees that "New Tang Shu Yi Wen Zhi" is recorded as "Bai's Changqing Collection" and "Yuan's County Changqing Collection" with a total of 75 volumes. The catalogues of Song people have been handed down to this day, such as Chao's Reading Record and Chen's Jie Zhi Zhai Lu. Also known as Bai Changqing Collection and yuanshi county Changqing Collection. It can be seen that in the Song Dynasty, the poems of Yuan Zhen and Bai Juyi were all called "Changqing Collection", and people used to call their own collections like this at that time. It can be inferred that "Evergreen Style" is another name for Baiyuan Style.
In the Southern Song Dynasty, Dai Fugu wrote "Looking at the south of the Yangtze River" and "Good lakes and mountains", with words between the lines. The poetic rhythm has become a long celebration style, and the lyrics are still elegant. This passage means Song Hushan and Song Zixun.No. Hushan's poems are of yuan and white physique, and the words have the flavor of Xin Jiaxuan. Liu Kezhuang commented on Du Fu's poem "Watching a Disciple Dance the Sword and the Piano" in Later Stories, saying: "I think this article is like a pipa, like a strong man going to the enemy field with dignity, like a son and daughter hating each other. Du Youjian is safe and proud, and Bai has not taken off his long celebration. The "Changqing style" here actually refers to Yuan Bai style. There is a saying in Song's "Reading Collection" called "dirty and ignorant, contemptible and white" ... You know, there is a confidant. So "Changqing Ji" is now full of ruling and opposition parties. "The' evergreen style' mentioned by the Song people is actually the' Bai Yuan style'.
Bai Yuan's poems were once regarded as "Changqing style" because of its rhythm, ancient style and lines. Ji Yun commented on Bai Juyi's seven-melody Yuhang Sheng Xing in the Review of Sui Hui in Britain and Lv Kui: "This so-called Changqing style is also easy to learn." This is an example of a seven-character poem that can be called evergreen style. Ji Yun also commented on Li Shangyin's poem entitled "Giving Four Roommates Seventy-two Sentences with Even Rhyme", saying: "Be straight in Changqing style, take the flat and blunt place, and do not lose the learning path of Bai Yuan. In the middle of the Great Depression, Bai Yuan could not do it. " This is an example that songs can be called evergreen style. Summary of the Catalogue of Sikuquanshu: When commenting on Fan Chengda's five-character ancient poems "There is a single mandarin fish in the Xijiang River" and "The Blowfish Sighs", he said it was "a complicated and long poem". This is an example of five-character ancient poetry, which can also be called evergreen style. The "Changqing style" mentioned in the above occasions refers to the style and style of Bai Juyi's and Yuan Zhen's poems, whether they are ancient poems, metrical poems or lines, regardless of length.
This situation changed later, and "Changqing Style" became the proper name of the seven-character swan song. Wu, a famous poet in the late Ming Dynasty and early Qing Dynasty, described the great historical changes of the rise and fall of the dynasty with his poems, expressing the poet's deep pain. His works such as He Yong Palace Ci and Yuan Yuanqu are well-known and praised by poets as "evergreen style". In fact, while inheriting the traditions of Yuan and Bai, Wu also borrowed and cast the creative experience of other poets. The summary of the catalogue of Sikuquanshu commented that "Wu Munian is bleak, and critics believe it." Among them, Song and line are integrated, and they are especially good at it. The plan is based on four outstanding figures, but it has a deep charm; The narration is similar to Xiangshan, which is elegant and wins. The palace merchants of Yunxie feel stubborn and gorgeous, especially for a while. " In other words, Wu learned from the songs of four masters in the early Tang Dynasty, and drew nutrition from them. The second comment in Zhu Tingzhen's "Xiao Yuan Poetry Talk" said: "Wu Meicun's wine-offering poems ... seven ancient poems are the best in the world, mostly in the form of pipa lines and everlasting regret songs, and all of them are elegant and charming, so the words are more colorful and sad than things, in the liver and spleen." This means that we can learn from Li Shangyin's rich rhetoric and tragic lyric skills. In this sense, Wu not only inherited the poetic style of "evergreen style", but also enriched the poetic art of "evergreen style", thus pushing the artistic achievement of this poetic style to the peak.
The Tang Dynasty was marked by the creation of "evergreen style" by Bai Juyi and Yuan Zhen, but this seven-character style with rhyme variation actually existed before Yuan and Bai. Luo, Lu, Zhang, Wang Wei, Li Bai, Du Fu, Gao Shi, etc. All have this rhyme-changing seven-character poem style. Therefore, Hu Yinglin's "Poetry" commented that "Li and Du Wai, the songs of the prosperous Tang Dynasty, are tired here, but the feelings are euphemistic and true." Later Lian Chang and Long Hate are all signs of this. Bai Juyi and Yuan Zhen created the "evergreen style" on the basis of the achievements of many poets in the early and prosperous Tang Dynasty.
As a long-line song, Evergreen Style has obvious internal and external characteristics. In terms of poetic style, it is a kind of "semi-orthodox and semi-ancient" poetic style. Unlike the arrangement of rhymes, it must follow the law of leveling. Different from the ordinary seven ancients, they pursued the ancient straightness and tried to avoid legal punishment. Compared with the seventh row, it looks lively and swaying; Compared with the ancient seven dynasties, it looks youthful and beautiful, elegant and luxurious. Poetry is right or scattered, just like an erratic cloud, flowing water, ups and downs. The use of rhymes is even and even, giving people a special sound effect. In content, it has the characteristics of "poetic novel", telling more about specific life experiences or describing the rise and fall of emperors and princes. The Book of Songs is China's first anthology of poems, with a long time span, voluminous contents and rich and complicated contents, which are well known by scholars. However, Confucius commented that it was "in a word" and "thinking innocently" (the Analects of Confucius was the government). Lightweight, simple and complex, one word difference, less is always more. It condenses very complicated literary phenomena into a few words, a sentence, a word or even a word. There are not many words, but one sentence is precious and the realm is full. This is one of the important features of China's ancient literary theory's way of thinking and expression-overall concentration.
The thinking mode of ancient literary theory is generally embodied in the theory of style, the theory of writers' works and the theory of time sequence Cao Pi's Dian Lun Wen pioneered the stylistic theory, and summed up the artistic characteristics of eight styles in four subjects: Shu Shu, Shu Lun, Inscription and Postscript, and Poetry. Lu Ji's Wen Fu directly inherited the expression of Dian Lun Wen and described the characteristics of 10 style in the form of coordinate phrases. Liu Xie's stylistic theory can be summarized in one sentence. Such as "Wen Xin Diao Ding Long Poetry": "When the chapter is played, it is close to elegance; Ode to poetry, then the feathers are beautiful; The word movement is clear, and the pattern is broken; If the preface of historical theory is annotated, then the teacher should focus on the core; If the inscription is engraved, the system is profound; Julian seven words engaged in Li Qiao. " Among them, "elegance", "beauty", "careful", "core", "depth" and "cleverness" are the most essential manifestations of the corresponding style. In the theory of writers' works, ancient literary theory often adopts the whole centralized expression. Although it is a few words, it hits the nail on the head and captures the artistic essence of the writer's works skillfully and vividly. Give a few examples to illustrate. Commenting on the similarities and differences between Ruan Ji and Ji Kang's literary styles, it is found that Shi Ming with Literary Mind and Carving Dragons has "Jun Qing of Ji, Shen Yao of Ruan Zhi". One is clear and profound, and the other is distant and profound. Needless to say, readers will understand the personality charm and style of the two writers. Li and Du Cai have different learning styles, and predecessors' comments are overwhelming. We think they are not as good as a sentence in Yan Yu's Canglang Poetry: "The beauty of a child can't be elegant as Taibai, and Taibai can't be depressed as a child." Du Li's Gemini, shining through the ages, is "elegant" and "gloomy" and full of charm. What he said is superfluous. It is also said that both of them are bitter songs, and Su Shi's "Yu Wen of Liuzi" has a "thin suburban island", which is a wonderful comment. If a writer, a work and a sentence are not too difficult, it is not easy to express the style of writing of a period and a dynasty with a high concentration. Ancient critics often have a long-standing vision and mind overlooking the universe. With this vision and mind, they "talk about poetry from generation to generation" (Ye Xie's "Original Poetry"), looking up and down for thousands of years, often have many unique experiences and understandings. For example, Jian 'an Style and Meteorology in the Prosperous Tang Dynasty captured the style of an era so well that later literary historians said that Jian 'an must stress style. When it comes to meteorology in the Prosperous Tang Dynasty, it seems that there is nothing to say without style and meteorology. Cang Hua says that "modern people attach importance to reason, while Tang people attach importance to interest", and "reason" and "interest" are extremely accurate expressions. There are many writings about Tang and Song Dynasties in later generations, and their expressions are different, but they all seem to be beyond Yan Canglang's aesthetic perspective. As a way of thinking, it permeates all aspects of China literature. It can be said that China literary critics try their best to use concentrated and exquisite language when expressing the whole literary process. This is an overall grasp of literature based on impression. The beauty lies in going straight to the subject, grasping the main aspects of the object characteristics, and ignoring its details, that is, in a word. The ancients' so-called "making a point" (literary prose), "making a short speech to make a point" (carving a sound in the literary mind) and "making a poor speech" (carving a dragon in the literary mind to find it) all explained this meaning.
There are many reasons for the formation of the overall concentration characteristics of ancient literary theory. From the perspective of cultural inheritance, China culture is good at managing complexity with simplicity, and it is easy to lift weights. Everything in the world is ever-changing, and the rules of its operation should be complicated. But the philosopher in China described it as "one yin and one yang" in one sentence. What a highly concentrated expression it is to look at the world with yin and yang. This way of thinking directly inspired the literary expression of later generations. Yao Nai's description of masculine beauty and feminine beauty is obviously influenced by Zhouyi. "Fu Lu Xuan Shu Fei" vividly illustrates the thinking mode of ancient literary theory and the highly concentrated characteristics of Yin and Yang literature. The concise feature of China's literary theory is also inspired by cultural classics. In our early classics, the overall concentration is an important feature. As the "program" of China's poetics (Zhu Ziqing's Preface to Poetry), "Poetry Expressing Aspirations" in Shangshu Yaodian condensed the extensive and rich contents of poetry into one word "Aspirations". Laozi tried to grasp the life of heaven and earth and understand everything in the world with Tao. The whole thought of Taoism can also be summarized by one word "Tao". The Confucian classic Spring and Autumn Annals is "slightly correct" in content and "praised or criticized" in language. What is more significant to China's literary theory is that this feature of Chunqiu has attracted the attention of literary critics and has been repeatedly quoted. Wen Xin Diao zong long Jing said: "in the spring and autumn annals, it makes sense." Confucianism and Taoism culture is the cornerstone of the ideological wisdom of ancient literary theory, and its mode of thinking is the source of the concentrated characteristics of China's literary theory. Later metaphysics advocated "words don't convey all the meaning", while Zen advocated "heart to heart, not words to express", although it meant "emphasizing meaning rather than words", on the other hand, it urged literary critics to grasp the true meaning of literature with the most essential language. From the perspective of a person's clutch, we can see the disadvantages of politics, and from the rise and fall of a place, we can examine the rise and fall of a generation, so as to express the thoughts of our motherland and the feeling of rise and fall. Starting from the subtleties, starting with ink, the idea is close to ordinary people, the image changes from small to large, and the profound theme of the times and life is expressed in the narrative, which is the remarkable feature and literary charm of "Changqing Style" poetry.
"Changqing Style" has two relatively fixed theme types: one is to tell the gains and losses of imperial politics by telling someone's story. Some people write about emperors' empresses, some write about songgirls, and some write about ordinary people. What is important is that their life experiences are enough to reflect the pulse of an era. This genre began with Bai Juyi's Song of Eternal Sorrow and Pipa, and in the late Tang Dynasty, there were songs by Wei Zhuang, songs by Wu Youqu and Before and After the Colorful Clouds, all of which were works of this genre. Secondly, by describing the changes of a court, we can see the rise and fall of the national movement and place our worries about national affairs. This genre began with Yuan Zhen's Lotus Palace Ci, and Wu's Yonghe Palace Ci, Yuanmingyuan Ci and Wang Guowei's Summer Palace Ci are all works of this genre.
(Author: Wuhan University)