Taking Wen as the originator, most of the works can only describe women's clothing and posture with gorgeous words, with narrow subject matter and empty content. In art, they unilaterally develop literary language and carve words, but lack the creation of artistic conception. The style of Hua Ci has formed a turbid stream in the history of Ci development, which has always influenced Changzhou Ci School in Qing Dynasty.
It seems that Xishu Ci has no merit and status in the history of Ci.
The content of Xishu Ci is "decadent", but how many Xishu Ci are there? If we compare the "decadent" poets in Xishu Ci with the "decadent" poets written by Ouyang Xiu and Liu Yong in the Northern Song Dynasty, who is more decadent? It can be said that except for a few works, most of Xishu Ci poems are healthy or at least harmless love.
Even if the content of Xishu Ci is not satisfactory, does it mean that Xishu Ci has no position in the history of Ci development? I'm afraid I can't kill him with a stick. Looking at Xishu Ci in the long history of Ci development, we can find that Xishu Ci has a very important position in the history of Ci. This paper intends to talk about the position of Xishu Ci in the history of Ci, in order to help experts and scholars.
First of all, Xishu Ci completed the transformation from Gong Yue Ci to literati Ci.
The Scholars and Ouyang Jiong's Preface to Flowers are also called "Poet Qu Zi Ci". Judging from the early Tang Dynasty, poets were mostly happy people, while literati only did it occasionally. Although there are not many musicians' ci poems today, it is certain that musicians in the Tang Dynasty are the main writers of ci poems, as evidenced by the discovery of Dunhuang Quzi Ci poems.
There are 956 poems written by literati in Five Pronouns of the Tang Dynasty (edited by Zhang Zhang and Huang She, the same below), but many of the collected works are of the same style, so it is hard to say that they must be poems. If we exclude these works and the 500 poems written by the Book of Changes in the tune of Looking at the South of the Yangtze River, the Tang Dynasty can really be regarded as a scholar. Scholars have never paid attention to it. Literati only set foot in the creation of ci in a state of occasional interest, which is in sharp contrast to the prosperity of Tang poetry. Therefore, the creation of literati ci in the whole Tang Dynasty showed a cold state, let alone formed a so-called genre.
Wen is a key figure in the history of ci development. His ci can be said to be a transitional period from Gong Yue's ci to literati's ci, and it can also be said to be a transitional period from initial creation to maturity. This is because there are not many mature literati and poets in the literary age.
Great changes have taken place in the development of Xishu Ci, and the transformation from Gong Yue Ci to literati Ci has been completed. From the sporadic creation of a few literati in the Tang Dynasty, a large number of "Poet Qu Zi Ci" came into being in West Shu.
Xishu Ci should include those written by Xishu people, those who lived in Xishu, and those who lived in other places after Xishu became famous.
The five pronouns in the whole Tang Dynasty include Wang Yan, Wei Zhuang, Xue, Niu Qiao, Zhang Mi, Niu Xiji, Yin E: Li Yan, Mao Wenxi, Yu Chuansu and Wei Chengban, and the five pronouns in the latter Shu Dynasty include Gu Fu, Han Cong, Lu Qian, Yan Xuan and Mao.
In my opinion, in addition to the above 23 schools, Sun Guangxian, who is listed in the south of Beijing, should also be regarded as a poet of Western Shu. Sun Guangxian belongs to Guiping, Renshou County, Lingzhou (now Renshou County, Sichuan Province). According to the Life of Zhuang and Sun Guangxian's Works (see Journal of Sichuan Normal University, Social Science Edition, No.4+0986), Sun Guangxian was the former judge of Shuling County, and went out of Sichuan in about 925 AD to be the secretary of Jingzhou Gao Jixing. Before Sun Guangxian, who was always conceited academically, left Shu, he should have been a poet in China and had a wide influence. Therefore, in the third year of Guangxing in Houshu (940), he wrote a book in the Collection of Flowers, and only received 62 poems, the number of which was second only to the first one.
In this way, there are 24 poets in West Shu, with a total of 5 15 existing words, as well as a half sentence in Mrs. Hua Rui's "Picking Mulberry Seeds" and a sentence broken by Li Yan's unbalanced nouns, which are far richer than those in Tang Dynasty.
The above is a vertical comparison between the literati ci of Western Shu and the literati ci of Tang Dynasty, and now it is a horizontal comparison between the literati ci of Western Shu and other five dynasties.
Xishu Ci plays a special role in five pronouns. According to the five pronouns in the whole Tang Dynasty, there are 803 words in the whole Five Dynasties (one pronoun in the whole Tang Dynasty is omitted from Zhang Mi's Huajianji and Huanxisha), with Liang, Tang, Jin, Han and Zhou in the north and Wu and Jingnan in the south. In fact, only Xishu and Nantang formed two groups of literary word creation. There are 5 15 words in West Shu, and only 2 14 words in South Tang, which is less than half of the words in West Shu. Although the achievements of Southern Tang Ci are slightly higher than those of Western Shu, the number of its creations cannot compete with those of Western Shu Ci.
More importantly, the creation time of Xishu Ci was earlier than that of Nantang Ci. Today, Hua Jian Ji, the earliest collection of Ci studies in China, contains most of the West Shu Ci. Huajian Collection contains 305 poems of Xishu poets, accounting for about two-thirds of the total of 5 15. According to Ouyang Jiong,
Huajianji is the oldest collection, which is a pronoun of the Tang Dynasty. .............................................................................................................................................................
In this way, under the influence of Wen, in less than forty years, the poets in West Shu appeared in the field of ci with a brand-new look of numerous poets and rich ci works. Since the poets in West Shu, the literati's ci has replaced Gong Yue's ci and occupied the stage of ci. The literati's ci is no longer occasionally involved, but consciously regarded it as a literary form, because ci has occupied the literary garden.
Second, the style of ci changes from the initial stage to the mature stage.
Ci belongs to the primary stage of Ci before writing, and it is not mature in terms of the establishment, stability and artistic expression of Ci.
The so-called word style problem is actually what is a word? This problem has not been solved until today. According to Mr. Zheng Zhenduo:
Words and poems are not mother-child relations. Ci is the general name of the new sounds that can be sung in the Tang Dynasty. Some of these new sounds can also be sung in poems with five or seven words, but the fixed syntax of five or seven words is difficult to control all the new sounds, so brand-new long and short sentences have to be produced.
-chapter 3 1 of the history of literary illustrations in China.
In Zheng's view, any new sound that can be sung can be regarded as a word. According to this view, works with five or seven words, such as Zhi Zhu and Yang Liuzhi, can be regarded as words.
However, Mr. Wang Li defined it like this in China's Theory of Poetry Rhythm:
A regular poem with long and short sentences and fixed words.
According to Mr. Wang Li's explanation of ci, works with five or seven words in the same style, such as Zhi Zhu and Yang Liuzhi, cannot be regarded as ci. This difference in the definition of words is caused by the immaturity of words in their initial stage.
Words have a very important attribute in the initial stage and for a long time after that, that is, they can sing. But in the Tang Dynasty, it was not always words that sang, but Yuefu, quatrains, dance music and folk songs could all be sung. Being able to sing and be a good dancer, long and short sentences coexist, and the boundaries between poetry and poetry are not strict. Therefore, Mr. Ren Bantang wrote in Tang Poetry
The Song Dynasty is close to the Tang and Five Dynasties, and the culture is closely related. Although poetry and ci are divided into music, the overall relationship is difficult to cut. According to the results of "strict differentiation", there are different styles but no differentiation, some are not strict in differentiation, and some are strict in differentiation but not strict in doing. In the complete works, not only poems, words and songs are seen together, but also they are impure. Although they were taken from the Tang Dynasty,
Mr. Ban Tang's view is really accurate and fair. Take the five pronouns in the whole Tang Dynasty as an example. Among the works collected by the Tang people, there are Jin Ge, Ta Ge, Yang Liuzhi, Green Pearl Complain, Mink Song, Peach Blossom Walk, Dancing the Horse for a Thousand Years, Yuefu Ci, Sumo Gai, Shile Ci, and Gu. Fantasy music, Jiangnan Spring, Wan Zhuan Qu, Gu Chai Tan, Ge Na Qu, Langtaosha, Ball-throwing Qu, Poems, Passwords, Farewell Difficulty, Wind Returning to Cloud, Nan Gezi, etc. In addition, there are a number of six-character parallel prose, whether these parallel prose or the remaining long and short sentences, it is difficult to determine whether it is true or not. Therefore, those that are regarded as words are included in the vocabulary. Those who regard it as Yuefu enter Yuefu Collection; As a poet, he was also included in the collection of poems, which was completely determined by the special conditions of ci in its initial stage.
From Ci to the middle and late Tang Dynasty, Wen laid a solid foundation for the establishment of Ci style with its ability of "mustering momentum". According to Shi Zhecun, Wen Tingyun has 66 existing ci poems (see Collection of Ci Studies compiled by Classical Literature Research Office of Chinese Department of East China Normal University), * * *
Xishu Ci is very different from the early days of Xishu. Today, it is still based on five pronouns in the whole Tang Dynasty. Among the 24 poets in West Shu, * * used seventy-seven songs such as Huanxisha, among which only four songs by Magnolia, Yang Liuzhi, Yulouchun, and your son have four styles and five or seven words. This situation.
Judging from the tone of words, there are definite sentences in the article, definite characters in the sentences and definite meter in the words, which are basically confirmed in western Shu. Of course, the final form of ci meter should be Zhou Bangyan, a great poet in the Northern Song Dynasty.
Judging from the artistic expression of ci, the most important symbol of its maturity is the literary language of ci. In the initial stage of ci, the words written by musicians are rough and plain, as Ouyang Jiong said in "Picking Inflorescences": "What is said is not plain, so it is called beautiful but not true." "Not plain" means that musicians' words lack literary talent and are particularly vulgar. For example, Dunhuang Quzi Ci.
Don't climb me, I'm too wide. I am Linchiliu, a native of Qujiang, and I have been in love for some time.
In the sky and the moon, it looks like a silver cloud in the distance. The night is getting stronger and stronger, and the wind is getting tighter and tighter, blowing away the clouds that circled the moon for slaves and seeing ungrateful people.
Such works, like jingles, look vulgar and unpretentious.
At the same time, Gong Yue's words are often inaccurate. Shen Yifu pointed out this defect in Yuefu Finger Fan, saying:
There are many good words of the predecessors, which are often out of tune and no one sings. For example, most of the words sung by Chu Museum are made by musicians and ordinary people, so they are sung because of their good temperament. The words used in the next language are unreadable, even the moon says it is rainy, and spring says it is autumn.
On the other hand, the author of Xishu Ci has also changed from a musician to a scholar with a certain or higher social status and more Gao Wenxue cultivation. Ouyang Jiong called Xishu Ci "Poet's Quzi Ci" to distinguish it from musician's Quzi Ci. Xishu Ci absorbed the linguistic advantages of words and literary words, transformed them into written words, and absorbed expressive folk sayings.
In addition, Xishu Ci is also mature in layout, color selection and dubbing techniques.
In this way, the literary form of "poetry is above, happiness is below" and "separation from home" has matured in western Shu. Since then, this mature literary form has been further expanded by poets in the Southern Tang Dynasty and reached its peak in the Song Dynasty. The contribution of Xishu Ci to Ci in this respect is undeniable.
Thirdly, it established the authentic status of graceful and restrained ci school.
Ci can be divided into graceful words and bold words, which can be traced back to Zhang in Ming Dynasty. Zhang said in Biography of Poems: "There are roughly two styles of ci, one is graceful and the other is bold. Graceful people want their words to be elegant and magnificent. " Zhang's "style" refers to style, and he divides words into graceful and unconstrained types.
The so-called style refers to the unique artistic characteristics of mature writers, which are different from others. China scholars have long studied the basic types of literary styles. Liu Xie first classified the basic types of literary styles. In his article Wen Xin Diao Long, he divided the basic types of literature into elegance, elegance, elegance, complexity, beauty, novelty and lightness. The basic style of poetry can be divided into nineteen types, such as "Gao" and "Yi". Later, in Jiao Ran's Twenty-four Poems, Si Kongtu divided the basic styles of poetry into twenty-four kinds, such as vigorous and diluted. Yao Nai, one of the representative writers of Tongcheng School in Qing Dynasty, simplified the complexity and divided the basic literary styles into two types, which were called "masculinity". It's called femininity. Zhang divides ci into two basic styles: graceful and unconstrained. Gracefulness is equivalent to femininity described by Yao Nai, and unrestrained is equivalent to masculinity described by Yao Nai. Dividing styles into two basic types can make readers see the most typical works clearly. What is feminine and masculine, what is graceful and unrestrained, and what is unrestrained. However, it is impossible to classify the styles of some works that combine rigidity with softness.
Ci can be divided into two basic styles: graceful and unconstrained, so there are two schools of Ci. The so-called genre refers to a group of writers with similar literary opinions and creative styles. Wang Shizhen and Wang Shizhen in the early Qing Dynasty were the ones who divided Ci into graceful and unconstrained schools. Zhang Nanhu said in Flowers and Plants Picked that there are two schools of ci: one is graceful and restrained, and the other is bold and unconstrained. Servants call it elegance. Therefore, it is accepted by the academic community. There are few opponents, so the word is divided into graceful and unrestrained. Up to now, Mr. wu shichang has written in the ninth issue of Knowledge of Literature and History (1983), completely denying the distinction between the uninhibited and the graceful, saying: "Generally speaking, all factions in the Northern Song Dynasty filled in their words from the' flower house'. "More in line with historical facts" (the "bold school" and "graceful school" of Song Ci). This theory has a great influence. However, it seems that there are not many followers. It was not until 1988 that Michele Monique Reis wrote "On the two schools of Song Ci without grace and restraint" (see Jianghan Forum 1988).
There is no need to prove whether there is a difference between graceful ci school and bold ci school. From Su Shi, to Zhang, Yue Fei, Li Gang, and then to Xin Qiji, Liu Guo and Lu You in the middle of the Southern Song Dynasty, his works are quite different from Huajian, Zunqian, Yan, Ou, Liu and Qin.
Because this paper thinks that graceful words are authentic words, bold words are not, provided that there are two schools of graceful words and bold words. If this premise cannot be established, all theories are built on castles in the air. So I digress and express my opinion a little, but it is not the main idea of this article. I'm going to make a short statement here, and I won't discuss it in depth. If I have leisure in the future, I will discuss it in another article.
Ci can be divided into graceful school and bold school, which leads to the dispute of meaning change. However, scholars throughout the ages have not always talked about righteousness and change with graceful and unrestrained schools, and their connotations are not the same. For example, Amin Wang Shizhen wrote when talking about righteousness and change:
Use fine print skillfully, and the world is plain. The words in the thatched cottage are beautiful, and the words in the Six Dynasties are also called poetic. However, poets don't do this ... When it comes to their official careers, Li, Yan and his son, Yan, Mei and Xiao are unique and easy, and they all speak very authentically. Wen, Wei Yan promoted, Huang Jiujing.
Wang Shizhen's criterion for distinguishing between right and wrong words is another passage he said in Yi Yan Yuan Yan:
Words must be tactfully beautiful, shallow and beautiful, and played in the boudoir where fireworks are set off in spring. The words are gorgeous and fascinating; One-word works are amazing, but expensive.
Wang Shizhen distinguishes between positive and negative changes by "elegance and elegance, simplicity and elegance". Together, these eight words are authentic, and if they are not, they are variants. Therefore, he took the words of Wen and Wei Zhuang, the representative writers of Huajian School, as variants, which showed that Wang Shizhen's theory of word contingency had nothing to do with Graceful School.
Poet Zhang divides ci into graceful words and bold words, and takes graceful words as authentic. He said: "Gracefulness is the correct style of ci, so Dongpo called it the hand of modern ci, and Houshan commented Dongpo as the teacher who taught Lei Shi to dance. Although it is well-known in the world, it should not be original (Poems). In Qing Dynasty, Wang Shizhen officially issued graceful words.
The rest of the poems are also descendants of ancient poems. They are the ancestors of regular Yu and Yu, and they are extremely prosperous in Shu and Huaihai. When the language changed, Meishan was introduced to Jiaxuan, but it changed completely, and Chen and Liu were Yu.
-"prelude to sound"
Obviously, the positive and negative changes of Wang Shizhen's word segmentation are due to the fact that, as far as the two schools are concerned, he regards graceful poets such as Li Yu, Li Qingzhao, Qin Guan, Gao and Shi Dazu as authentic words, and unconstrained poets such as Su Shi, Xin Qiji, Lu You and Liu Guo as variations of words.
It should be pointed out that the ancients' comments on the correctness and variation of words were seriously biased. Those who respect the truth are regarded as models and models of ci. In this paper, the positive change of Ci is not to praise this and belittle that, but to praise the graceful and unconstrained, aiming at pointing out that two different styles and schools of works can better represent the mainstream of the development of Ci. The so-called authenticity and variation are the same word. But more depends on who represents the mainstream of ci in its development. If we respect the objective facts of historical development without prejudice, the conclusion is self-evident.
As mentioned above, in the initial stage, words were basically exclusive to musicians, and literati only dabbled in them occasionally. Wen is the poet with the largest number of creations. Firstly, this paper makes a deep discussion on the topics of love between men and women and the difference between lovesickness. Literary ci is the first wave of literati appealing to both refined and popular tastes. The first wave of graceful words is a group of western poets. The appearance of Xishu Ci marks graceful and restrained. Feng Yansi, the second outstanding poet in Southern Tang Dynasty, is a representative group of poets and writers in Southern Tang Dynasty. From Ci to Song Dynasty, Wang Yang's sea wonders formed graceful words, which brought all-round prosperity to literati's graceful words. For two hundred years, the graceful and restrained ci style formed by Xishu Ci has been the mainstream of Ci. Yan, Ou, Liu, Qin, Li, Jiang, Gao, Shi, etc. were all influenced by Xishu Ci. However, its style has not deviated from the track of "Ci Cai" established by Xishu Ci. Only after Su Shi unified graceful and restrained words did it change, and bold and unconstrained words gradually occupied a place in the ci world. In this regard, Chen Tingzhuo once pointed out in Volume I of Baiyuzhai Thorn that "the words in the Northern Song Dynasty are as old as the five pronouns". In the eighth volume, he also pointed out that "Tang five pronouns"
In the view of Northern Song Dynasty, Wen Hua Ji is a collection and model of this new literary genre. It is the standard and authenticity of the lyricist ... The style of flowers has become the yardstick to measure the works of ice poets such as Ou, Fan, Er Yan, Zhang, He, Qin, Zhao Lingchou and Zhou.
-"The" bold school "and" graceful school "of Song Ci.
Mr. wu shichang regards "Huajian Style" as "authentic" and "formal", which indicates the existence of "non-authentic" and "formal" words.
On the other hand, we can also see that graceful words are the mainstream of vocabulary development. For example, Hu Yin said in Poems by Wine: "The Meishan Sujia washed away the graceful and fragrant realm and got rid of the degree of turning the corner." The so-called "graceful state" and "turning the corner" all refer to the style of graceful words. By the year 1075, when Su Shi wrote his first bold poem "Hunting in Mizhou", it should be the unification of graceful and restrained words in the history of 100 years. It was not until Su Shi wrote this word that it took on a new look. When Chen Shidao criticized Su Shi's ci, he said, "Zi Zhan takes poetry as his ci, and if thunder makes it dance, it is a masterpiece."
Judging from the discovery of Dunhuang Quzi Ci, some scholars today do not recognize graceful and restrained Ci as authentic Ci. It is true that Dunhuang Quzi Ci, which reflects the social life in the late Tang Dynasty and the Five Dynasties, has a wide range of themes, such as wandering home, frustrated officialdom, mountains and rivers, frontier scenery, imperial weather, interest in the forest, Wen Tao's martial arts, immortality and so on. "Not half as good."
After the prosperous Tang Dynasty, in order to meet the entertainment needs of literati, it was very common to store musical instruments in the homes of dignitaries. For example, Han Yu, who was famous for advocating orthodoxy in the middle Tang Dynasty, also had two maids who played the pipa together (Zhang Ji's "Sacrifice to Retreat"), and there were countless folk Qin Lou Chu Guan. Ouyang Jiong's Inflorescence makes this situation very clear. Jathyapple, Chang 'e is locked everywhere in the Red Chamber. "It is hard for us to imagine that the geisha abandoned the themes of lovesickness and parting, hurting spring and mourning autumn, and sang songs such as the emperor's longing for a good soldier and the alchemist's longing for longevity, which will be widely welcomed by people who send their feelings. We can only think that Dunhuang music is only a small part of the pronouns preserved in the Tang and Five Dynasties, but not all of them. Even in the Tang Dynasty, the so-called poems of Ke Yan were mainly about men and women.
To take a step back, even though the themes of Ci before Western Shu were really wide, and the themes were equally divided, graceful and restrained words were not authentic and mainstream, when Ci developed to Western Shu, the literati writers of "Poet Qu Zi Ci" rose in the field of Ci, and focused on graceful and restrained words, which fully expressed and developed the themes of eroticism and lovesickness between men and women, thus establishing the authentic status of graceful and restrained words and influencing Ci.
To sum up, we believe that the position of Xishu Ci is outstanding in the history of Ci: Xishu Ci has completed the transformation from Gong Yue Ci to literati Ci, which has made the style of Ci mature from the initial stage and established the authentic position of graceful Ci in the history of Ci. This position is unmatched by Yan, Europe, Liu and Qin, and Su Shishu, who initiated the school of bold and unconstrained Ci, is a minority.