He was the first professional poet in the Song Dynasty. His poems mostly describe the prosperity of urban life, the joys and sorrows of geisha, their wishes and the love between men and women. He is especially good at expressing the feelings of imprisonment and service. In addition, there are some things that reflect the miserable life of workers, such as chanting things, chanting history, traveling around the mountains and so on. There are many slow words. Description, scene blending, popular language and harmonious melody were widely spread at that time, which had a certain influence on the development of Song Ci. Yulin, Klang, Ganzhou and Wang Haichao are all famous. But there are decadent ideas and low tastes in his works. There are only a few poems left, "Boiling the Sea Song" describes the poor life of the salt people, which is very painful. Because of Liu Yong's innovation in ci, Song Ci entered a new stage with slow ci as the main body, and Liu Yong made great contributions to the development of Song Ci. Liu Ci inherited and developed the folk slow words in Tang Dynasty and laid the foundation of slow words in Song Dynasty. It is recognized as the "graceful school" in the Northern Song Dynasty, with nearly 200 words, including Wang, Li, Ling.
Liu Yong was a romantic genius when he was young. He likes to write lyrics and write down their thoughts for the girls in Qin Lou Chu Guan and the musicians (performers) in the teaching workshop in the spoken language at that time. Liu Yong is probably not married. After his death, no family members came to the funeral camp, and singers raised funds for the funeral camp, so he became a legend. In the future, they will hold a "hanging willow party" for him every year. The "Jiang" in "Qing Ping Shan Tang Huaben" is just to perfunctory this matter and turn it into a novel. The legend of Liu Yong's love story was written as a script, written by Guan Hanqing in the Yuan Dynasty. The script shows that he got married before going to the exam. From his words, we can see that he often travels and lives in the singer's house in the city.
His contribution to the history of Ci has two aspects: First, he advocated long tune (slow ci). Secondly, he used proverbs to fill in the words. In the early Song Dynasty, Hua Jian Ji, a ci school, sang more poems. Liu Yong vigorously opened up a new situation. From the early years of the Northern Song Dynasty to the Hui Zong era, almost all the ci works of several famous artists were poems. For example, there are more than 30 songs of1in "Yan Shu". Except for the five songs at the end of the volume, they are all poems. Most of Ouyang Xiu's poems on June 1st are minor, and some tunes are used a lot, such as 【 Yu Jiaao 】 30, 【 Yu Louchun 】 29, 【 butterfly lovers 】 17, 【 picking mulberry seeds 】 13. All these situations are in line with the true color tradition of flowers and southern Tang Dynasty. Among the collections of everyone in the Northern Song Dynasty, Liu Yong's works are the most well-preserved, and the name of Gongdiao is also indicated in the title collection of music movements, so as to guide instrument players to play music according to the key. Such as Gong Zheng, Lv Xian Palace and The Great Stone Carving. It can be seen that he not only advocates writing long tunes, but also emphatically proves that long tunes can be sung in music, just like Xiao Ling. His works are both collections of poems and songs, hence the name "Music".
At the same time as Liu Yong, Zhang Xian also wrote some slow words, but much less than Liu Yong. Except for a few popular ballads at that time, such as "Jade Louchun", "A Cloud in Wushan", "Youth Tour", "Magnolia" and "Butterfly Lovers", most of them were long tunes, and many of them were composed by him. Its longest words are "Qijia" 265,438+02 and "Throw the Ball Music" 65,438+088, which was not available before. Su Shi began to write long tunes, and also wrote long tunes such as Qijia and Whispering. Liu Yong's "Remembering the Imperial Capital" said: "It is the heart of my life and I owe you a thousand tears." Su Shi's "Flowers Slow in the Rain" said: "It's your fault, tears in front of your pillow, a thousand lines." It can be seen from these materials that Su Shi was influenced by Liu Yong. As for Su Shi's ci, it is not true that the world says that he regards Liu Yong as a slave.
Liu Yong's [Basheng Ganzhou] "The frost is tight, the river is cold, and the residual light is a building", which was once evaluated by Su Shi as "not reducing the height of the Tang people" (backstreet land). The words "only the Yangtze River water, no words flowing eastward" were originally written by Su Shi [Nian Nujiao] and "The River of No Return". In the next film, "I missed the horizon several times and returned to my boat", that is to say, Wen's words mean "I didn't do anything" Poets in the Northern Song Dynasty combined the excellent works of predecessors, with a large ratio.
Liu Yong enjoys the city life of Bianjing in the relatively prosperous and happy social environment of Renzong. In addition to some works describing the leisure and sadness of singers and maidens, he also wrote many complaints about his dissatisfaction and the pain of traveling and serving. Describing the picturesque landscape of the motherland in these works can really be described as "a state in which beauty and fragrance have been washed away". For example, The Red River, The Early Harvest of Twilight Rain, Looking into the Distance, The Dragon Airborne Mourning and Yulin Ridge are all landscapes, which make you feel like you are in nature. As for his description of the beauty of urban scenery, it can also make readers see it clearly. According to legend, Yan Hongliang, the gold owner, read Liu Yong's "Looking at the Tide of the Sea" and invaded the south, dreaming that "the first peak in Wu Shan is on the horse". Liu Ci [Wang Haichao] said, "There are hundreds of thousands of people crossing the bridge with smoke and willows and green curtains. Clouds and trees surround the bank and sand. The raging waves roll with frost and snow, and the natural hazards are endless. Pearl in the city, Luo Qi in every household, competing for luxury. " Also known as "Heavy Lake Stack □ Ting Anne". There are Sanqiu Guizi and Shili Lotus. "
The evaluation of Liu Yong's works has been divided since the Song Dynasty. One thing all the comments are consistent, that is, he quoted proverbs, which is not elegant, and the theme of his works is mostly related to women, which is inevitable, but it is also loved by the broad masses of the people. The messenger of Xixia said that where there is a well to drink, you can sing Liu Ci. This is related to his use of folk sayings. But as far as the existing Liu Ci is concerned, there are not many people who use common sayings in his Ci, which is not as good as Huang Tingjian's, and it has probably been deleted when he compiled it.
Among the people in the Song Dynasty, Liu Ci was fairly judged. Wang Zhuo said that he "tidies things up in his spare time, finishes what he started, and sometimes makes beautiful words, so he can choose those with harmonious melody to use" ("Bi Ji Man Zhi"). Chen said: "The style of his words is not high, but the melody is harmonious, the meaning is appropriate, the weather is calm and the music is perfect." This is because Liu Yong described the beautiful scenery of the capital at that time with the style of the late Tang Dynasty's law fu, such as the first song [Huang] in the Collection of Movements: "The oriole danced at first, moving in. Seeing the wet golden clothes, Ye Ying speaks like a spring. Xiao Lai's branches are so rough that he seems to whisper in his heart. " Write a beautiful image atmosphere of spring with fluent words. Therefore, it is more difficult than writing bad words, such as "the frost is tight, the river is cold, and the residual photos are buildings". He is particularly good at integrating words into ordinary people's daily life language. The so-called "when in Rome, do as the Romans do" can make the world sing for it. Scholars can't compete with him in this respect, so they have to admit that his writing is "extremely ingenious". But he also said that his words were "many"
Mixed with vulgar language, so vulgar people especially like it. "
More analytical is the comment of close friend Xia Jingguan. He believes that Liu Ci should be divided into two categories: elegance and vulgarity. The practice of writing elegant words with prose of the Six Dynasties. Layers of narration, layers of scenes, layers of harmony. A pen to the end, often unremitting. Vulgar words attacked the lewd style of the Five Dynasties, opening up the joy of the Jin and Yuan Dynasties. Compared with the ballads in the hutong, it is also unique.
It is very insightful to say that Liu Ci is divided into two categories: refined and popular, and the works of many poets in later generations are also treated in this way. For example, Xiangzi's Poems on the Edge of Wine is divided into two episodes: new words (Southern Song Dynasty) and old words (Bianjing). The works of Su Shi, Xin Qiji and Li Qingzhao should be divided into upper and lower parts and treated separately.