In the process of the development and prosperity of Song Ci, the guiding role of the whole society is also very obvious. If the poets in the Tang Dynasty were just tools and playthings for the royal family and its rulers to some extent, then the poets in the Song Dynasty have jumped onto the political stage from being appreciated by others and become the protagonists in the political stage in the Song Dynasty. Every emperor in the Song Dynasty loved Ci, and every minister in the Song Dynasty was a poet. Song Dynasty politicians Fan Zhongyan, Wang Anshi, Sima Guang and Su Shi were all famous poets at that time. Li Qingzhao, a woman who never appeared in the feudal society, has also become a pronoun, and her name has been immortal. In the imperial examination at that time, there was a proverb: "Su Wen is ripe and eats mutton; Su Wensheng, eat vegetable soup. " This shows the extent to which the poet Su Shi was worshipped. It is the recognition and admiration of the whole society that makes Song Ci have a long-lasting influence.
The reasons are as follows:
① The prosperity of handicraft industry and commercial economy in the cities of the Song Dynasty is the material basis for the prosperity of Song Ci.
② The expansion of the civil class and the improvement of living standards require a rich cultural and recreational life.
③ The social contradictions in the Song Dynasty are acute, and writers can express their thoughts and feelings better with Ci.
Let's talk about the achievements of Song Ci first. Ci originated from the lyrics of the Tang Dynasty, and the sentences are long and short, which are closely combined with the music and can be sung. Due to the commercial development, urban prosperity and the increasing number of citizens in Song Dynasty, the words that can be sung were more suitable for the entertainment life in the market than other forms of literary works. At that time, the class contradictions and ethnic contradictions were sharp, and the words with irregular sentences were more convenient to express people's thoughts of worrying about the country and the people, so they gradually flourished and became the mainstream of literature instead of poetry. According to the four stages of the early Northern Song Dynasty, the middle and late Northern Song Dynasty and the Southern Song Dynasty, the text introduces the style and achievements of Liu Yong, Su Shi, Li Qingzhao, Xin Qiji and Lu You respectively. Liu Yong is an important representative of the graceful school in the northern song dynasty. He has lived in the city for a long time, and his works mostly show the prosperity of the city and the feelings of joys and sorrows of men and women, especially the loneliness and homesickness of his journey. His ci works are mostly colloquial, popular and vivid. "Wherever there is a well water, you can sing willow ci" (Ye Mengde: "Summer Stories"), so they are widely circulated. His ci works also incorporated a lot of narrative elements, which not only expanded the realm of ci, but also opened the door for the development of Yuan Qu. Su Shi is the pioneer and main representative of the bold school in the middle and late Northern Song Dynasty. His ci poems have a wide range of themes, which greatly expanded the content of ci poems and injected great vitality into ci poems with heroic and unrestrained feelings. At the turn of the Song Dynasty, Li Qingzhao was an outstanding graceful poetess. She put forward the idea that "Ci is not the same" and was good at expressing her true feelings with simple words and expressions. Xin Qiji and Lu You, a poet in the Southern Song Dynasty, advocated active resistance to gold, and their works were mainly bold and unconstrained, which deeply expressed their strong desire to restore the Central Plains. Su Shi and Xin Qiji were the most representative and accomplished ci writers in the Song Dynasty, and their lives were introduced in the "History and Verticality" column and the illustrations respectively. It must be pointed out that the bold writers in the Song Dynasty mainly wrote bold and unconstrained works, but they also wrote some very touching graceful words, not just bold and unconstrained.
Ci is a kind of poetic art form, which is also called Song Ci, Quzi Ci, poem surplus and long and short sentences in ancient China. The Southern Liang Dynasty, which began in the Southern and Northern Dynasties in China, was formed in the Tang Dynasty and reached its peak in the Song Dynasty. Singing with music at first, so writing lyrics is also called lyrics and relying on sound. Later, it gradually became independent and became a special art of poetry.
epigraph, also known as figure of speech, is the name of the tune used to write lyrics. Words were originally sung with music, and all the songs had certain melody and rhythm. The sum of these melodies and rhythms is the tone of words. Between words and tones, or according to the tone of words, or according to the tone of words, tunes are called epigrams, which usually depend on the content of words. After the Song Dynasty, Ci changed through continuous development, mainly according to the melody, and the epigraph was not related to the content of Ci. When the word is completely divorced from the song, the epigraph is only used as a formula of the structure of words and phonology.
According to the length and scale, words can be roughly divided into Xiao Ling (within 58 words), Zhong Diao (59-9 words) and Long Diao (over 91 words, with the longest word reaching 24 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 triple or quadruple.
According to the nature of music, words can be divided into nine types: Ling, Yin, Slow, Santai, Preface, Faqu, Daqu, Lingering and Zhugong Tune.
There are four common types of beats: Ling, also known as Xiao Ling, with shorter beats; Lead, lead long with small order; Near, similar in tone, thus leading to long; Slow, the longer the lead.
According to the creative style, it can be roughly divided into graceful school and bold school
1. The inheritance relationship between Song Ci and Tang Poetry
The phrase "Tang Poetry and Song Ci" is not only the meaning of "literature of one era has one era", but also shows that Song Ci is a major poetic style comparable to Tang Poetry. Song Ji inherited the Tang Dynasty, but as Mr. Lu Xun said, good poems have almost been finished by the Tang people. Therefore, in the Song Dynasty, it was really difficult for Song people to keep up with the pattern of Tang people in poetry creation. However, the rich literary heritages left by the Tang people were not wasted by the Song people, but they were used more flexibly in the poetic style of "Ci", which made Ci achieve unprecedented development in the Song Dynasty.
When discussing the relationship between Song Ci and Tang Poetry, we often pay more attention to the differences between Song Ci and Tang Poetry. Differences are indeed important and important. In the part of Song Ci in this book, the author also focuses on the most important artistic features of Song Ci (of course, it is also different from Tang Poetry) to discuss. But in this introduction, just as we must explain the inheritance relationship between Tang poetry and the previous generation before discussing the artistic characteristics of Tang poetry, we must also explain the inheritance relationship between Song poetry and Tang poetry.
It can be said with certainty that it is absolutely inconceivable that Song Ci can achieve such outstanding achievements, if it is not based on such outstanding achievements and such skillful skills of Tang Poetry. From the later excavation of Dunhuang Quzi Ci, it can be seen that before the Ci entered the hands of Wen, it was no different from the previous folk songs except for its uneven sentence length, and the same was mainly expressed in a simple, simple and straightforward way. In the middle and late Tang Dynasty, after the literati began to experiment with lyrics, just like all the changes from folk literature to literati literature, the lyrics changed unconsciously, gradually taking on the literati's and therefore more artistic color (of course, there will be negative effects, such as less simplicity and frankness, but this ratio is secondary). Bai Juyi and Liu Yuxi, who first experimented with the creation of Ci, especially Wen Tingyun and Wei Zhuang, who later created Ci in large quantities, were important poets in the Tang Dynasty. Their participation will inevitably bring their skills in poetry creation to the creation of Ci. In addition, the ci writers of the Five Dynasties and the Song Dynasty were almost all poets. They wrote poems and wrote lyrics at the same time, so the skills of Tang poetry naturally merged and infiltrated into the creation of ci, making the creation of ci more exquisite. In fact, as long as we make a slight analysis of the art of Song Ci, we will find that Song Ci has an obvious inheritance relationship with Tang Poetry in terms of the use of imagery, lyrical techniques of scenery description, the creation of the realm of Ci, and even the use of language tempering, metonymy and allusions. Take the following Qin Guan's term "Eight Six Sons" as an example:
Rely on the dangerous pavilion, hate like grass, and the shovel is still alive. After saying goodbye to the willow, the water is red and stunned.
There is no reason for heaven and graceful demeanour, and jathyapple has a quiet dream. < p However, if we carefully taste it, we find that it is inextricably linked with Tang poetry in many ways. For example, the first sentence of "leaning against the dangerous pavilion" seems to be the poet's original creation, but in fact, climbing to express one's feelings and expressing one's worries is exactly what Tang poets often use. Such examples can be said to be numerous, such as Du Fu's "flowers, as high as my window, hurt the heart of a wanderer, for I see, from this high vantage, sadness everywhere" ("Climbing the Building"), Du Mu's "Building leaning against the frost tree, playing a dime in the mirror" ("Looking at Autumn in Chang 'an") and Li Shangyin's. Even the usage of the word "danger" can be traced back to the origin of Tang poetry, such as Du Fu's "a light wind is rippling at the grassy shore, through the night, to my motionless tall mast" and Li Shangyin's "Jiang Feng Yang Waves Move the Roots of Clouds, Pay Attention to Danger and Faint in the Day" ("To Liu Sihu Ben"). As for the following, the metaphor of "hate" is "grass" and "hate" Even the phrase "shovel everything and be born again" is not completely without reference, such as Bai Juyi's "boundless grasses over the plain, come and go with every season, wildfire never quite consumes them and they are tall once more in the spring wind" ("Giving the ancient grass a farewell") and Meng Haoran's "The flowers in the forest are swept away, and the grass is born again". The following "Liu Wai" and "Qing Qi" are the same. Needless to say, the simple image of "Liu", that is, the writing of "Liu Wai Qing Qi" to imply love and parting, is not completely unfounded. For example, in Li Shangyin's Untitled, there are "I will tether my horse to a river willow, where to stay in the southwest" and Chu Guangxi. As for the writing of "Qing Qi" for horses and chariots and "Hong Mei" for women, it is also all in the huge metonymy system in Tang poetry. As for the images of "jathyapple, spring breeze, flying flowers, drizzle and oriole" in the next film, as well as the writing method of using a large number of similar images to render melancholy, and the misty artistic conception it creates, it has a direct reference relationship with Tang poetry. For example, Wei Yingwu's "Cold Food to the Brothers of the Jingshi" reads: "Fire is forbidden in the rain, and it's cold, and the street warblers on the river sit alone and listen. I miss my brothers with wine and flowers, and Duling is cold and eats grass. " A large number of such images are also used to render melancholy, and their artistic conception is somewhat similar. It is the words "graceful demeanour, one curtain, ten miles tenderness" and their combinations that are also related to Tang poetry. For example, Du Mu's "Two Farewells" (Part I) contains almost all these images and sentence patterns, and its poems are as follows: "There are more than thirteen graceful flowers, and the cardamom is in the early February. The spring breeze is ten miles in Yangzhou Road, and it is better to roll up the bead curtain. " The author chooses the word Qin Guan to illustrate the inheritance relationship between Song Ci and Tang Poetry. It is not that it has much in common with Tang Poetry, but it is a common phenomenon in the creation of Song Ci. This is not surprising. Just as the Tang poetry was innovated and developed on the basis of the great heritage of the previous generation, the Song poetry was also created on the basis of the rich heritage of Tang poetry.
when it comes to this inheritance, a question naturally arises here, that is, both Song poetry and Song Ci have inherited the heritage of Tang poetry. Then, why is the achievement of Song Poetry far behind that of Tang poetry and not as good as that of Song Ci? The reasons may be varied, but one thing is certain, that is, the different styles of poems and words are one of the important reasons for this difference. In order to better explain this problem, we might as well make an inappropriate metaphor: the creative art of Tang poetry is like a patent. Song poets use this patent to make the same thing. Although they are not completely without creation, innovation and addition, they are making poems and the same thing after all. Therefore, as soon as these things are listed, they will be spotted with similarities, imitations and plagiarism, and will be accused of infringement. For this reason (of course, there will be other reasons), Song poetry hopes to have something of its own, such as the argumentative and prose poetry, but unfortunately, these things are new, but they more or less violate the artistic laws of poetry. However, the poets in Song Dynasty were different. Although they also inherited the creative art of Tang poetry, they produced something else, words with long and short sentences. Although people with discerning eyes can see some inheritance relationship between them, it will not be regarded as infringement of patents. There is a perhaps more extreme phenomenon that can prove this point: there are also many imitations, pointillization and even copying of Tang poetry in Song poetry. If this kind of sentiment always appears in Song poetry, it is absolutely impossible to escape the ridicule. However, when it appeared in Song Ci, the situation was quite different. Because of the different frames and different charms of the long and short sentence patterns, it seemed to inject new life into the original sentence of Tang people. For example, Yan Jidao's "Butterfly Lovers":
I don't remember when I am drunk, and it's really easy to get together and get apart. I still don't sleep at the half-moon window, and the painting screen shows Wu Shancui at leisure.
It's always sad to see the words in the poem with wine stains on my clothes. The red candle has no good plan, and the night is cold and empty. In this wonderful word, don't say images. Du Mu's "Farewell" poem: "Affectionate but always ruthless, only to feel that you can't laugh before you die. Candles have a heart to say goodbye and cry for others until dawn. " If we compare it with individual sentences, Yan Jidao will never escape the name of a bookbag. However, from the overall perspective, these two poems of Du Mu are slightly changed and put into a new word with a new structure and charm, but they do not give people much imitation and outdated feeling. If we look at this phenomenon from the perspective of system theory, it is not surprising at all: Ci is a different system for poetry, and even if the same poem enters Ci, it will gain new systematicness. For this phenomenon, the predecessors actually knew something about it. For example, Ming Wang Shizhen said, "There are ten million points in Western jackdaw, and the water flows around the lonely village", and Emperor Sui Yang also wrote poems. Western jackdaw counts, and the water flows around the lonely village', and there are few words. Although the words are copied, the words are especially the masters. " Another example is Hu Weiyuan in Qing Dynasty, who also said: "Yan Yuanxian's" Zhuyu Ci "focuses on" Huanxisha? "Spring Hate":' There's nothing to do with flowers falling, and it's like getting acquainted with Yan's return'. In this seven-character law, the abdomen is linked, and once you enter the word, it becomes a wonderful sentence. In the poem, it doesn't work. The difference between this poem and the poem requires scholars to participate here, so that other words can be realized. " Why does the sentence "although the language is copied" mean that "the poet is especially the master"? Why is it that "you don't work in poetry" and "once you enter the word, it becomes a wonderful sentence"? This is because Ci is a new system different from poetry. As soon as the same poem enters Ci, it gains a new systematicness. As for the more ingenious and traceless use, it can be regarded as a brand-new creation. In this way, the phrase "Spring dreams and autumn clouds are easy to gather and disperse" can be said to be the use of the phrase "Come like a spring dream, go like an autumn cloud without finding a place" in Bai Juyi's Flowers. However, after the use of Yan Ci, it is not only more concise, but also has a deeper lasting appeal than the original poem because of the change of sentence patterns. This phenomenon is very common in Song Ci, and it can be said that there are countless examples.
Of course, when we say that Song Ci inherited the heritage of Tang Poetry, it doesn't mean that Song Ci didn't have its own creation. Earlier, we said that Song ci inherited the creative art of Tang poetry and produced a new thing. The "new" of this new thing is of course not in Tang poetry.