Qin Guan, one of the four bachelors of Su School, is closely related to Su Shi and is both a teacher and a friend. Political setbacks linked them, so Qin Guan was unhappy all his life. But Su Shi and Qin Guan are completely different in character and style. In the face of setbacks, Su Shi is cheerful, knows life, has a broad mind, and is still full of confidence in life and the future. Although he had negative thoughts, he was not depressed. Qin Guan is different. Although he was "ambitious" when he was young, judging from his poems and words, his character is weak. As his poem says, "Light thunder fell all over the ground overnight, and the waves and tiles were uneven. Affectionate peony contains spring tears, and the rose lies weak at night. " (Spring Rain) The style is close to euphemism. Taosun Ao's "Mi Weng Poetry Review" said: "Qin Shaoyou is like a woman, weak and powerless." The "world language" quoted in "Houshan Poetry Talk" also says: "Qin Shaoyou's poems are like words." After repeated blows, due to Shi's lack of broad mind and firm belief, deep sorrow has surrounded him for a long time and it is difficult to get rid of it. His lyrics often reveal a desperate sadness. Therefore, in the creation of ci, he took a different road from Su Shi. Influenced by Yan Shu, Ouyang Xiu and Liu Yong, he is particularly handy in writing sentimental love stories and is good at writing delicate and subtle emotional realm. In the development of graceful words, his creative art entered a new stage and became a graceful poet. Qin Guan has three volumes of Hai Huai Ji, 72 poems, 28 pirated poems by Wang Jingzhi and 28 supplementary poems by flowers and plants Nazi. Among the existing texts, Xiao Ling still accounts for the majority, and the articles are beautiful, exquisite and moving. Although the number of slow words retained by Qin Guan is far from that of Liu Yong, it has reached a new height in euphemism, narration and circulation. To discuss Qin Guan's ci, we need to combine his slow ci with Xiao Ling's achievements.
Due to the influence of life experience and weak personality, Qin Guan can neither make bold innovations in the content and style of ci as Su Shi did, nor make bold discussions and new attempts in the form or artistic skills of ci as Liu Yong did. Under the traditional influence of graceful words, Qin Guan can only explore aspects that reflect his inner life within a relatively narrow range of life. Therefore, although Qin Guan's ci has its own characteristics and has made some progress in art, he can only become a distinctive and influential poet in that era when the old and the new alternate and famous artists come forth in large numbers, but he can't become a first-class poet.
For the creation of ci, Qin Guan first has two noteworthy characteristics. First, the sincere investment of feelings. Qin Guan is a lyricist who is full of emotion and willing to pay for it. He can devote himself wholeheartedly to his love and his "sense of life experience". He himself was moved at first, and when these feelings are expressed artistically, they can also impress readers. Feng Xu called Qin Guan a "sorrowful person in ancient times" (Sixty-one Song Ci), and Qin Guan was deeply moved. This is different from Liu Yong's attitude towards geisha. Most of them are joking and just playing. Liu Yong's ci tends to be superficial and erotic, while Qin Guan's works with similar themes appear pure, devoted and profound. "If you want to send your love to a brothel, you can flow with the ruthless Hexi" (Yu Meiren), "Everyone starts with heartbroken, and there is no bowel" (Ruan Langgui), "How many sunsets are green, and you know who will hate the west wind" (Yu Meiren), "People go to the water and empty, and flowers fly half to cover the door" (Yu Meiren). Therefore, although Qin Guan inherited Liu Yong's ci style, in terms of theme, form and style, All the works listed above have the characteristics of "pure love". But Qin Guan's "pure feeling" is a kind of "pure feeling" addicted to self-emotion. Whether it is a geisha or a friend, the end point is self-pity and self-pity. "Young Beauty" said: peaches are planted in the sky and exposed, not the number of flowers. The water lingers in the depths of the chaotic mountains, but it is picturesque. Who is it for? What is the limit of light cold and drizzle? It is difficult to manage spring without saying anything. What's wrong with being drunk for you? I'm afraid my intestines will break when I wake up! Poets appreciate themselves and pity themselves. The word "peach" in the word "heaven" has been integrated with the poets on earth. This "peach blossom" planted alone in the "deep mountain" is beautiful and picturesque, but no one appreciates it. It is attacked by "light cold and drizzle". Isn't it because the poet has no talent and can't use it, but he has been relegated repeatedly and experienced many ups and downs in his official career? At this point, readers can understand why the poet did not hesitate to "get drunk" and why he "broke his intestines when he woke up". He cried for his life, drunk and heartbroken! "Combining the feeling of life experience with eroticism", "the feeling of life experience" is the place where the poet's emotion is implemented, and "eroticism" and the like often become the background of the poet's lyric. This kind of "pure love" indulged in self, written in fantasy or ideal, is radiant. The expression of ideal love in The Fairy of the Magpie Bridge is a good example. Qin Guan has a dream in "Good Things Close", that is, writing an imaginary world, which is natural, real and very touching. Between the lines, he said:
A spring rain has added a lot of flowers to the mountain road, and the flowers are swaying in the wind, bringing a breath of spring to the mountain. I went deep into the stream, and countless orioles were singing. Clouds flying in the sky spread out in the blue sky like a galloping dragon. At this time, I am lying drunk under the clouds, hazy and blurred, completely unaware of the north and south.
The field of dreams is colorful and fantastic. The poet in the dream is cheerful: the spring rain moistens everything, the stream gurgles, the mountains are colorful, and the orioles sing; The poet in the dream is also sad: the flying clouds are illusory, the dragon and snake are arrogant and frightened. Only in dreams can there be such a huge instantaneous change of scene and mood, and the "flying posture" (Chen Tingzhuo's "Don't assemble", Volume 1) is even more amazing. Dreams are the continuation of true feelings. The dream in the first part is what the poet yearns for, and the dream in the next part is what the poet actually bears. At the end of the sentence, "drunk lying" only points out that all the above are dreamland. This word was written during the period of being demoted to the state, and it still shows a feeling of self-pity. This sentence deeply touched Qin Guan's friends. Huang Tingjian wrote this poem: "The meaning of not swimming drunk is not wine, but lying under Gu Teng. Who will have a drink with you? "
Secondly, it won the special beauty of the lyrics. Ci developed between flowers and moons and was sung by singers and dancers. Even male writers imitate women's tone, which is doomed to the strong female literary characteristics of Ci. Qin Guan is sentimental and feminine, which helps him to understand the essential characteristics of female literature in Ci more deeply and observe the subtle characteristics of Ci more easily. Qin Guan's ci is sensitive and delicate, subtle and graceful, gentle and euphemistic, which has reached the highest level in expressing the feminine beauty of ci. Feng Xu praised: "Other people's words are just words; If you swim less, you will swear. Get it from the inside and don't pass it on. " Qin Guan's personal temperament and stylistic features have been integrated. Qin Guan's "Huanxisha" is a classic that expresses the beauty of the characteristics of words, which says:
With a chill, alone in the small building, the morning is cool and dreary, as if it were late autumn. Looking back at the screen, the light smoke, the flowing water, the mood is faint. Outside the window, the flowers are dancing freely, just like in a dream, the rain is falling and drifting aimlessly, like melancholy. Look again, the curtain of jewelry hangs on the silver hook at will.
The emotion expressed by this word is very subtle, and the poet does not express it directly, but reveals it euphemistically through the ever-changing picture. It is a kind of helpless "leisure worry" when time goes by, lovers leave and spring comes boring. Vivid pictures give people a broad imagination. This word is famous for its lightness, fluency, elegance and elegance. There is no heavy pen, no painful crying, no affectionate talk, no self-indulgence, no unbearable obsession with the past. Only the subtle feeling of "cold as ice" in nature, the keen observation of "silver hooligan" and the infinite feeling of "light smoke and flowing water" painting screen. What kind of emotion is the poet expressing? The first two sentences of the next movie are answered with novel, exquisite and natural antitheses: "flying flowers at home are as light as a dream, and endless rain is as thin as sorrow." Here, two groups of images are linked together: "flying flowers" and "dreams", "silk rain" and "sorrow". After connecting the poets' metaphors, we find that "the dream of spring has no trace" and that "dream" does have the characteristics of "flying flowers" and is fleeting; Inexplicable "leisure worry" is really like a misty "silk rain", not so violent, but endless and everywhere. These two groups of images have the characteristics of lightness and sadness. Qin Guan successfully expressed extremely abstract emotions with very vivid pictures. The last sentence, "There is a silver hook hanging on the curtain", is another picture, which is the living environment of the lyric hero and blends in with the previous scene. In the boring scene, the thoughts are long, and the faint bitterness is constantly infiltrating from it. Judging from the frivolous feeling expressed by this word, it should be done in the early stage. Zhou Ji said: "It is implicit to swim less, like the first child of a flower, so use less pens." (Preface to Song Sijia's Selected Poems) has a special understanding of the lightness and femininity of Qin Guan's poems.
From the creative point of view, Qin Guan's ci has three noteworthy characteristics in art: First, it successfully uses the traditional artistic technique of scene blending in China's poetry. His ci is more accustomed to using the scenery to express feelings and feelings in the scenery. There are almost no direct lyric poems in this kind of words, which express the poet's feelings through the comparison of scenery description and atmosphere. They are fresh, meaningful, implicit and profound, and can make people chew, such as Eighty-six Sons and Dream in a Dream. Another is the combination of reality and reality, and the combination of scenery and emotion. These words not only describe the scenery, but also express feelings directly. The two are in perfect harmony, such as Man Fang Ting, Stepping on Shakespeare, Queqiao Fairy and so on. The other is sensitive to time, expressing their feelings directly, rather than being good at depicting objective scenery and life details. Such as "Chitose". The word is quoted as follows:
Qin Guan's ci has had a far-reaching influence in the history of ci with its distinctive artistic characteristics. Qin Guan directly influenced Zhou Bangyan, Li Qingzhao and poets in the Southern Song Dynasty. Zhou Bangyan inherited the creation tradition of Liu Yong's slow ci, but also deliberately abandoned the vulgarity of Liu's ci. Instead, he carried forward the aspect of "not reducing the prosperity of Tang Dynasty" in Liu's ci, devoted himself to the elegance and beauty of ci, obviously accepted the influence of Qin Guan, and consolidated the achievements that Qin Guan had made in his creation. Chen Tingzhuo said: "Qin Shaoyou is a self-motivator. He is close to success and takes the lead." ("Bai Yuzhai Thorn" Volume 1) Li Qingzhao studied Qin Guan from a distance with Li Yu. Although she criticized Qin Guan for "valuing emotion over reality" in her own Luntz, the trace of her learning from Qin Guan is obvious. The elegant and elegant ci style of poets in the Southern Song Dynasty obviously inherited the achievements of Qin Guan.