2. What are the characteristics of Song literature? The literature of Song Dynasty mainly covers words, poems, essays, storytelling novels and drama scripts. Among them, the creative achievements of Ci are the highest, followed by poetry and prose, followed by storytelling novels. The literary works of the Song Dynasty inherited the style of the early Northern Song Dynasty and the late Tang Dynasty, with colorful words, which were mostly used for singing and responding. With Wang Yucheng's concern for people's livelihood and the court's attention to Confucianism, literary writers began to attach importance to the missionary function of Confucianism, but their achievements were not high. It was not until the second ancient prose movement brought by Ouyang Xiu that literary talents began to write in plain language, and the content reflected the disadvantages of life, and literary creation entered a peak. The literature of Song Dynasty has an important special position in the history of China literature development, which is in the stage of connecting the past with the future, that is, the period when China literature changed from "elegance" to "vulgarity"
Characteristics of Song Dynasty Literature: The literature in the early Northern Song Dynasty was basically in the transitional stage after the style of writing in the late Tang Dynasty and the Five Dynasties, but there were also some new changes, such as Liu Kai and others advocating ancient prose, Yu Wang innovating poetic style, and Yang Yi and others' Kunxi style being all the rage, which all played a certain role in the development of literature in this period and paved the way for the development of Song Dynasty literature to a certain extent.
3. The general characteristics of the literature in Song Dynasty. The literature of Song Dynasty has an important and special position in the history of China literature development. It is in a stage of connecting the past with the future, that is, in the transition period of China literature from elegance to vulgarity.
The so-called "elegance" refers to the literati literature mainly circulating in the upper and middle classes of society, which refers to poetry, prose and ci; The so-called "vulgarity" refers to novels and operas mainly circulating in the lower classes of society. Traditional sayings such as "Tang Poetry", "Song Ci", "Yuanqu" and "Novels and Dramas of Ming and Qing Dynasties" pointed out the key points of the development and prosperity of literary styles in various dynasties.
We should fully evaluate the achievements of poetry and prose in Yuan, Ming and Qing Dynasties, but we can assert that it failed to surpass Song, Yue and Tang Dynasties. If the poetry and songs of the Song Dynasty (especially the poetry and songs) are yesterday that writers of the Yuan, Ming and Qing Dynasties yearn for and admire constantly, then the great development of novels and operas in the Yuan, Ming and Qing Dynasties is the brilliant tomorrow of vernacular novels and operas that have just developed in the Song Dynasty.
The unique and profound aesthetic consciousness in Song Dynasty was cultivated by its cultural soil and nourished by its cultural spirit. Through organic integration and melting, it has produced a specific aesthetic form, style and charm, and has become a cultural aesthetics, which is different from the previous Tang aesthetics. Song Wenhua influenced the emergence, expression and state of aesthetics from the following aspects.
Nostalgia consciousness Song people seem to be particularly nostalgic, as can be seen from books such as Tokyo Dream of China and Old Wulin Stories. Zhicheng Deng's "Preface to Notes on China in Tokyo Dream" once talked about the homesickness consciousness and emotion at that time and its reasons: "The difficulty of getting well-off is that people in the Central Plains are all over Zhejiang, and everyone does not miss their homeland.
Zhou's "Qing Bo Biezhi" cloud, the beginning of Shaoxing, so the old leisure must talk about the scenery of the capital. Besides, I like to sing ten songs of Cao Yuanchong's "When I have to go back to Beijing", and I feel my nose running.
So at that time, the northwest was old, and people who told propaganda stories were highly valued. The story of "announcing (harmony) politics (harmony)" in the Northern Song Dynasty has become a thing of the past that people in the Southern Song Dynasty can't stop thinking and chewing from time to time, just as people in the Tang Dynasty often miss the story of "opening (yuan) heaven (treasure)".
Liu Chenweng's "Broken Magnolia" wrote: "Bronze camel is old, and talking about peace is like treasure." The fall of the old country triggered the idea of leaving the wheat show, and the sense of nostalgia was particularly strong.
Zhang said in Gui Er Ji: "(Li) has often missed the past since he filmed Nan Du." Li Qingzhao's own "Bodhisattva Man" also said: "Where is my hometown? Unless you are drunk, you will forget. "
As a result, such a social and cultural atmosphere emerged: The Riverside Scene at Qingming Festival in the Northern Song Dynasty should be rigid and should be popular in China. Xu's Confessions of the Three Dynasties (the second year of Jingkang) recorded Zhao's history of Zhongxing, that is, it was not easy to copy the word "New Year's Day Meeting".
Chen's Guang Ji Sui Shi was quoted in many places. Liu Changshi's Lupu Notes recorded 15 yuan's word "Partridge Sky", which is said to be parallel to "Hua Lu in Tokyo Dream". "
For more than a hundred years, drunkenness is not about wine, the victory of the capital, the record of prosperous times, the past of Wulin and the dream of Liang Ji have come and gone, and the dream of China in Tokyo is the ancestor of Bois. Tokyo Dream is the pioneer and masterpiece of this nostalgia.
The author describes many scenic spots in the old capital Bianjing in detail, but there are feelings in the narrative, especially the preface at the beginning of the article. The preface explains the title of "Hua Meng Lu": "The ancients sleepwalked in the country of Hua Xu and had endless fun."
The author, however, is not in such a mood, saying, "It's not Hua Xu's dream to think about it now and look back disappointedly!" His mind is filled with sad emotions, almost looking back step by step, remembering the neon dreams of the past with emotions. After twenty years of washing, this memory has faded to pink.
The preface describes this sad situation: "When I meet my relatives recently and talk about the past, future generations often make mistakes." "epigenetic" has gradually lost this memory and is quite dissatisfied with the past.
The author is worried that with the change of time, the past will drift away, "it's a pity that those who talk about their customs can't see the facts", so "it's a pity to save and edit, but you can see the prosperity at that time after opening the book several times". On the surface, the general principles of preface are memos, which play a cognitive role, but in essence they have the author's deep heartfelt words.
It can be said that "Dream of China in Tokyo" sang an elegy for the pain of national subjugation of "the old country is unbearable to look back on the Ming Dynasty in the middle of the month". In the Postscript of Dream of China in Tokyo, poet Amin said that "Hua Xu, a layman in a secluded place (Lao Meng), had a dream and regarded it as a parting song of Mai Xiusu", which is indeed true.
Because I look back on the past with sentimental feelings and state many phenomena in the past, which is not like an explosive display of wealth by a big family, but a broken memory of the past. The author spread out, the mountain poured down, the sea poured down, and all kinds of objects jumped between strokes and rushed to the paper, arranged on a huge plane picture scroll.
The images are diverse and have the characteristics of fireworks. Food, clothing, housing and transportation, audio and video.
Colorful, magnificent, visually satisfying, auditory intoxicated, not enough to satisfy the senses. However, there is a strong sense of emotional loss between the lines, playing a sad song that is half nostalgic and half elegy. Since then, those similar descriptions have many similarities with China's Tokyo dream in sentimental sentiment.
For example, the preface to "A Record of Dream Beam" wrote: "Once upon a time, people lay down for a while and celebrated their careers all their lives. They still felt the same way, so they knew it was a dream, so they called it a dream." Things are different in different times, urban gardens are rich, and customs and figures are prosperous. How can we guarantee that it will always be like the past! Bao Tingbo, a poet in A Qing, also said: "A preface is full of sentimental feelings and sad thoughts about the old country and the old king, which not only lingers in the present and the past. "
These emotions and atmosphere pervaded the social strata in the Song Dynasty, with sad memories, and some unwilling to recall and review the past, but singing endlessly and sighing endlessly. Dai Fugu's Song of the Cave Fairy: "When you sell flowers, chrysanthemums are beginning to wither.
Say how empty Chongyang is. Look at the clusters of painting cities, restaurants and karaoke bars, but there is no clever place to arrange me.
My hometown is far away, so I thought, locking my eyebrows in vain and smiling. The small pavilion is full of fruits and vegetables. Write down three cups of marigold and ask if there is anything to sing. "This is the social emotion of the Song Dynasty, but it is full of aesthetic meaning in the form of expression, shifting to aesthetic emotion.
In the concrete communication, it is lingering and lingering. Nostalgia complex contains aesthetic feelings.
4. What are the characteristics of Song literature? The literature of Song Dynasty mainly covers words, poems, essays, storytelling novels and drama scripts. Among them, the creative achievements of Ci are the highest, followed by poetry and prose, followed by storytelling novels.
The literary works of the Song Dynasty inherited the style of the early Northern Song Dynasty and the late Tang Dynasty, with colorful words, which were mostly used for singing and responding. With Wang Yucheng's concern for people's livelihood and the court's attention to Confucianism, literary writers began to attach importance to the missionary function of Confucianism, but their achievements were not high.
It was not until the second ancient prose movement brought by Ouyang Xiu that literary talents began to write in plain language, and the content reflected the disadvantages of life, and literary creation entered a peak. The literature of Song Dynasty has an important special position in the history of China literature development, which is in the stage of connecting the past with the future, that is, the period when China literature changed from "elegance" to "vulgarity". The literature in the early Northern Song Dynasty was basically in the transitional stage of following the style of writing in the late Tang Dynasty and the Five Dynasties, but there were also some new changes, such as Liu Kai and others advocating ancient prose, Yu Wang innovating the style of poetry and prose, and Yang Yi and others' Kunxi style was all the rage.
5. What are the characteristics of Song literature as a whole? The literature of Song Dynasty has an important and special position in the history of China literature development, which is in the stage of connecting the past with the future, that is, the period when China literature changed from elegance to vulgarity.
The so-called "elegance" refers to the literati literature mainly circulating in the upper and middle classes of society, which refers to poetry, prose and ci; The so-called "vulgarity" refers to short stories and operas that are mainly circulated in the lower classes of society. Traditional sayings such as "Tang Poetry", "Song Ci", "Yuanqu" and "Novels and Dramas of Ming and Qing Dynasties" pointed out the key points of the development and prosperity of literary styles in various dynasties.
We should fully evaluate the achievements of poetry and prose in Yuan, Ming and Qing Dynasties, but we can assert that it failed to surpass Song, Yue and Tang Dynasties. If the poetry and ci poetry in the Song Dynasty (especially prose and ci poetry) is yesterday that writers in the Yuan, Ming and Qing Dynasties yearn for and admire constantly, then the great development of novels and operas in the Yuan, Ming and Qing Dynasties is the brilliant tomorrow of vernacular novels and operas that have just developed in the Song Dynasty.
6. The writing characteristics of various poets in the Song Dynasty Yan Shu: The History of the Song Dynasty says that "the articles are rich and the applications are endless.
You Gong's poems are elegant and thoughtful. "Sometimes it reveals broad-minded feelings and summarizes the life philosophy that inspires people.
The artistic style is graceful, fresh and subtle. All his works are simple strokes, and he is good at expressing emotions on the spot. With vivid images, he forms an artistic conception with both form and spirit, and pays attention to spirit when writing scenes. His predecessor rated him as "more self-conscious".
The language is refined and muddy. This is the main reason why the content of his ci works can be widely spread.
Yan Shu has developed and perfected the writing skills of Xiaoling. Ouyang Xiu: Ouyang Xiu has also made great achievements in poetry creation.
His poems are mainly influenced by Han Yu in art, and his works such as Stone in Lingxi, Shi Zhuan and Zishiping Song imitate Han Yu's unique poetic style. Other poems are gloomy and dripping with emotion, integrating narration, discussion and lyricism, and their styles are close to Du Fu's, such as rereading Selected Poems of Solitary and Sending Du Qigong to Official. Other works are magnificent and bold, but close to Li Bai, such as "Lushan Mountain in Liu Zhongyun returns to Nankang in the same year".
However, most of his works mainly study the characteristics of Han Yu's "writing with poetry", that is, argumentative and prose culture. The characteristics of Su Shi's Ci: "Poetry as Ci": the formation of bold and elegant Ci Su Shi's bold and unconstrained Ci broke through the traditional pattern in subject matter, structure, artistic conception, image and connotation, which inevitably led to the innovation of the form of Ci itself.
In this respect, it is usually rated as "taking poetry as a word" by scholars. The development of the theme shows the direction from graceful and unrestrained, from "vulgar" to "elegant"
2. Observing everything from my point of view: the heroic image of the characters In Goya Sushi's poems, the image and angle of the protagonist have undergone fundamental changes. First of all, as far as the image is concerned, Su Shi's previous ci works are mostly soft-hearted and charming.
Most of them are female images: Huajian and Yan Owen are upper-class female images, while Liu Yong's works are mostly fallen women, and the male protagonists are mostly lovers holding hands and looking at each other with tears. However, in Su Shi's uninhibited ci poems, there are either "old ladies" who talk about teenagers, "Sun Lang who fights tigers", "drunkards who want to return with the wind", "heroic and heroic, heroes of Mao Yu fans" and so on.
Moreover, from the lyrical point of view, Su Shi further pushed himself to the front of the artistic stage of Ci. Huajian poetess, like a girl with an open mind, hides in a thin curtain, revealing implicit girlish charm; Liu Yong, like a dissolute young woman, shows you her wonderful body.
Therefore, the former sages said that the beauty of flowers is "inexhaustible" and Liu Yongmiao is "inexhaustible", but they are "inexhaustible" or "inexhaustible". Poets are like directors, only behind the scenes; Or, like the master of shadow play, operate his own beauty performance at the bottom of the stage. Su Shi is both a director and a hero. He pushed himself directly to the front desk, especially exposing his inner world to the world.
Judging from the four cases cited in the previous article, two cases are self-poets and two cases are self-symbols of the ancients. You can also cite dozens of words of self-expression: A hometown book came to Wan Li and asked me when it was, and it really became a plan.
(Dead Hua Lian) At different times, the night view of Taohuawu sighs for Yu Hao. I am an idle guest in the world, and I am here.
(Nan Gezi) But it makes me feel full. ("Huanxisha") It is expected that in a warm dream, seeing me is also uneven.
(Water) It's not only me who writes about me, but also others and everything in the world. From the perspective of "I", everything can't be separated from my temperament.
For example, "Affectionate wind sweeps the tide of Wan Li, and returns it mercilessly" (Klang Ganzhou). Visiting Liao Zi "). The ebb and flow of tides is natural. The word "love" in Dongpo's eyes is different, resulting in the illusion of "asking about Qiantang River, looking at Pukou in the west, and how many degrees of oblique light".
This situation, as the poet said, is "heartless and affectionate" ("Golden Boat"). Third, use drunken props: set aside constraints and form unrestrained props commonly used in Goya Sushi's poems, so that the characters in them are more chic and detached, and are not subject to various rational constraints of human society. Of course, "wine" can make words bold, but taking wine as words is not necessarily bold.
Ci was originally the product of a banquet, but it should be said that it began with Su Shi. It should be said that the effects and feelings of wine on people are generally similar, but people with different personalities and ideas will have different feelings after combining with wine.
Before Liu Yong wrote wine ci, there were no famous sentences, only Liu Yong's "Where to sober up tonight, Yang Liuan, the wind is getting weaker" is the most famous. However, drunkenness made him fantasize about "Yang Liuan, the morning breeze and the waning moon".
This is naturally a typical graceful situation. Let's take a look at a sentence in his "Journey to the Imperial Street" (the first part) with wine as the main background: Drinking in the Spring Courtyard in the past.
Regret breaking up. When I came back, I was drunk in the middle of the night, causing endless old grievances.
Although watching a horse fall from a building, Zheng Nai is not a mandarin duck. "Wine" can not only make him uninhibited, but also "evoke old grievances" and push his vulgar feelings to the extreme.
Being drunk not only makes Dongpo uninhibited, but also tells the truth after drinking, or rather covers his face with wine to express his thoughts and feelings that are inconvenient or even impossible to express under normal conditions. Fourth, to talk about things: the bold performance of Yago's traditional ci works is characterized by implication, delicate and in-depth description of scenery, and traditional images as the main means of expression. There are few direct lyricism, let alone direct comments.
In order to better express his inner world, express his feelings, opinions and understanding, and express himself more thoroughly, Su Shi introduced his usual "arguments" into his poems, thus forming the artistic characteristics of "bold and elegant words". For example, a "Man Ting Square" is the whole article: "argument" is just an expression, and adding "argument" may not be able to write bold words.
It depends on who put forward the argument and what kind of emotional "argument" Yi An's Searching, Despair and Sadness (Slow Voice) describes the weakness and pain in women's hearts and shows a feminine beauty.
However, Su Shi's exposition is magnificent and has a bird's-eye view. He describes the fame and fortune that is regarded as the root of life as "nominal meager profit", which is full of Su Shi's unique characteristics.
7. What are the characteristics of novels in Song Dynasty? Novels in the Song Dynasty are mainly "storytelling", which is the basic book of storytellers, that is, vernacular short stories.
There are about thirty or forty scripts in the Song Dynasty, which are scattered in books such as Jing Ben Popular Novel, Qing Ping Shan Tang Script and Sanyan. There are two distinct characteristics of the Matsumoto version: First, the color of civic literature.
Storytelling was a kind of "tile art" at that time, and it was a kind of literature and art for urbanites to express themselves, educate themselves and entertain themselves. For the first time, the lower class citizens appeared in batches as positive figures, such as Cui Ning, the jade grinder in Mo Yu Guan Yin, John Zhang, the manager in Zhang Zhicheng, and Cui Ning, the silk seller in Wrong Cutting Cui Ning, especially a group of rebellious lower class women such as Xiu Xiu, Zhou Shengxian, Xiao Nian and Li Cuilian.
The sociality and reality of the novel have been strengthened, which has opened the way for the future development of the novel. The second is the characteristics of vernacular literature.
The script language is vernacular, which is more detailed, vivid, tortuous and full of life flavor than classical Chinese novels (such as Tang legends). In particular, the personalization of character dialogue has made great progress.
Although there are still classical Chinese novels in later generations, they have to retreat to the second place compared with vernacular novels. As for the long "history-telling" story book, it also provides story material for future long historical novels.