When the predecessors talked about Su Shi's ci, they regarded him as a great poet who created a new fashion in the Song Dynasty, regardless of praise or disapproval. Like the catalogue of Siku Quanshu? Songs and songs? The conclusion of Dongpo's ci is: "Since the late Tang Dynasty, the style of ci is mainly beautiful and graceful, and it has changed since Liu Yong. For example, the poet Bai Juyi and the poet Han Yu, so they started a school of Xin Qiji in the Southern Song Dynasty, tracing back to the source. However, it is impossible to say no, but it is also impossible to say no. Therefore, today, it is still in the same school as Huajian, and it cannot be neglected. "
The above quotation compares Su Shi and Han Yu, and holds that Su Shi's position in the history of ci poetry is roughly the same as that of Han Yu in the history of poetry. Whether this view is acceptable or not, Han Yu's poetry is really unique in the history of poetry, which is conclusive. And what kind of deformity is Su Shi's ci in the history of ci? This is obviously not clear in a few words, and will be explained in detail below. The following is a famous sentence of the Song Dynasty poet's evaluation of Su Shi's ci: "Retreat and take prose as poetry, and the son takes poetry as ci, such as teaching the workshop to make the thunder dance." Although extremely world-famous, it should be non-original. " (1) Chen Shidao's point of view is basically consistent with the above quotation, and further points out that the basic feature of Su Ci is "taking poetry as a word".
What does Chen Shidao mean by "taking poetry as a word"? He didn't make it clear, but his evaluation of Su Ci was clear. Generally speaking, he thinks that Su Ci is an exception and an alternative in Ci, not a true color, which should be clear. The question is why "taking poetry as a word" is "although it is extremely world-class, it must be unnatural" The reason can only be "different poems".
First, the reason for taking poetry as a word: poetry is different.
(1) Differences in external forms: A poem cannot be read without being repaired.
Poetry is different. As far as the form of words is concerned, most of them are miscellaneous words, but there are a few exceptions. Take "Jade Tower Spring" as an example. Four sentences and seven words in each sentence. At first glance, it looks very similar to the Seven Laws. Therefore, it is inevitable that mistakes will be made when poetry is distinguished only by appearance.
If the difference between poetry and poetry is limited to this, it is not a big problem for literati's creation, especially for everyone, but just changing the arrangement of words and phrases is completely competent. But the problem is that the lyrics are sung with music and need to be sung according to the sound.
Lyrics, that is, according to the prescribed phonological relationship, are also called "Quzi Ci". Compared with uninspired modern poetry, words are more closely related to music. It is said that Su Shi's ci poems are often inconsistent, as Li Qingzhao said: "Perilla is eager to learn from heaven and man and write small words, as straight as the water shines on the sea. But every sentence is not harmonious and often inconsistent. " (2) If the lyrics can't keep up with the sound, this so-called "poem that you don't read if you don't fix it".
There are always different opinions about Li Yian's theory, and Su Shi's understanding and reconciliation records are also found in the works of Song people. Because the study of the word law is almost lost, it is a difficult point in the word law, especially for a beginner. So you can only press
1
According to the old adage, "those who don't know don't know" is a bit short.
(2) The theme of artistic conception is different: poetry is wide and long.
Poetry is different, the biggest difference is the difference in artistic conception and theme, which is of course in terms of the basic style of traditional graceful words and words, because "graceful words" account for the vast majority of the total words compared with the so-called "bold words"
Regarding the difference of artistic conception theme between poems, Wang Guowei has a very accurate comment in "Ci Hua on Earth": "Ci is the body, so it should be reserved and appropriate, and it can say what poetry can't say, but it can't say what poetry can say. Poetry has a wide territory and a long speech. " The so-called "wide" means that the artistic theme of "poetry" is broader and grander than that of "ci", while the so-called "long words" means subtle and meticulous, so the artistic conception is delicate and feminine. Therefore, "word" should be more graceful than "poem".
Is this comment correct? Let's take scholars' essays in the late Tang Dynasty as an example to illustrate:
the temple of su wu
Su Wu saw Han for the first time, feeling sad and mixed feelings; Now the towering trees in the ancient temple are solemn. The detention of the North Sea book is cut off, and the moon is above the head; The hungry sheep are back, and the vast grassland has been blackened by dusk.
Back to Japanese architecture, he left it because of the young hat and sword. Marquis Hou Feng commemorates the emperor, who has never met his subjects; Empty to the eyes of the first emperor, lamenting the past years.
Bodhisattva is beautiful
The mountains overlap, and the clouds want to smell the snow on their cheeks. Lazy painting and slicing, late makeup and washing. Before taking pictures
In the rearview mirror, the pictures meet each other. Newly embroidered rollo, both golden partridges.
Wen is a famous poet in the late Tang Dynasty and a representative of the so-called "Huajian School" poets. Even if you haven't read the above two poems, anyone who knows a little can tell that one is a poem and the other is a poem. As Wang Jing 'an said above, the artistic conception of poetry is obviously different. As far as the works quoted above are concerned, the theme of the poem is homesickness, and the theme of the word is in my heart forever. And the artistic conception they create is obviously different. Poetry is sad, and words are gentle and delicate. But the problem followed. Why do the same writer have such obvious differences in artistic conception when writing poems and lyrics? Moreover, this is not an individual phenomenon. Comparing the poems of the literati in Song Dynasty, we will find many similar situations. A scholar-bureaucrat who always writes poems and articles is full of Taoist thoughts. Once he writes the lyrics, he will often be completely unrecognizable and completely different.
The reason is that the literati class in Song Dynasty realized the functional attributes of Ci. Song ci inherited the graceful and restrained style of five pronouns in the late Tang Dynasty. Until Su Shi set foot in the ci world, most poets were still consciously or unconsciously following the old road of "having a full meal and embroidering beauty" (3), and the theme was always inseparable from the love and melancholy between men and women. Most of the artistic conception created is delicate and sad. Although literati and scholars write lyrics for enthusiasm, they still think that lyrics are just for drinking and singing, which is not elegant enough and cannot be regarded as authentic poetry, so they are called "poems".
"Ci is more than poetry" is the basic cognition of Song people on the similarity of ci style. The so-called "teasing romance", Tao writes articles with temperament, and the words are more beautiful than poems. The voice of the cover is a bit close to the situation. " (4) Even Ouyang Xiu, the literary leader of the Northern Song Dynasty and the main leader of poetry innovation, agreed. He said, "Because I turned over old words, I wrote in a new style, dared to be modest, and chatted with friends." (5)
Chen Shidao's evaluation of Su Shi's "taking poetry as a word, though excellent, should not be true" is based on the differences in artistic conception and theme of the above poems, and also on his understanding that "words are redundant poems". It is believed that poetry has its own territory and should maintain its own aesthetic characteristics. Based on this understanding, Chen Houshan criticized Su Ci, who dared to break through the traditional barriers. It is true that his views are conservative in the history of Ci, but his affirmation of the aesthetic characteristics of Ci is different from that of poetry, and his affirmation of the unique aesthetic value of Ci is quite insightful.
Poetry and Ci are different in "true colors", which is obvious from the historical inheritance and overall creative practice of Ci. So for Su Shi, what kind of flavor will it be to bring the "true colors" (aesthetic features) of poetry into ci and express the theme and realm of poetry with ci?
Second, the practice of taking poetry as a word: the integration of poetry,
It is said that Su Shi didn't learn to write lyrics until middle age. He said in "A Book with the Sage": "Although it is a small print, it is also a family ..." Liu is Liu Yong and is recognized as a graceful school. Su Shi said, "No Willow and Seven Lang Style."
2
"Taste" is obviously a new way out of the traditional "lyrical" graceful ci style and has its own style. In this regard, the Song Dynasty poet Hu Yin's "Preface to Wine" said: "Liu Xiang is wonderful after the Qing Dynasty, and the good people think it is immeasurable. Meishan Sujia washes away the beauty and fragrance, takes off the smoothness, makes people climb high and look far, raises a magnificent song, and transcends the dust ... In his view, Su Ci is different from the traditional graceful words, which changes and enhances the artistic conception of the words and changes the so-called" posture " To achieve this transformation and promotion, the easiest way is obviously to learn the theme and realm of "poetry" into "words" and realize "the fusion of poetry". Throughout Su Shi's ci creation practice, the difference between Su Shi's ci creation and general graceful ci creation is mainly manifested in the following two aspects:
(A), a broad theme, a broad realm
Liu Xizai said in "An Outline of Art": "When the word reaches Dongpo, its territory is large, its body is respected, and its meaning is unintentional. There is nothing to say. " He spoke highly of Su Ci and put forward the idea of respecting style, which is by no means a compliment. On the basis of predecessors or contemporaries Fan Zhongyan, Ouyang Xiu and Wang Anshi pioneering the realm of Ci, Su Shi further brought the function of "expressing ambition" of "Poetry" into "Ci", and borrowed the theme and realm of "Poetry" from "Ci" to make the article moralized and implied. Looking at the style of Su Shi's ci, in addition to the traditional grace, as far as "taking poetry as ci" is concerned, the theme and realm of ci are roughly reflected in the following three aspects:
(1) "expressing ambition" expresses the ambition of governing the country and leveling the world.
"Expressing ambition" is the core of Song people's "poetic way" and the most common theme in Song people's poems. However, it was very rare to express the ambition of literati to govern the country and level the world in "Ci" before Su Shi. He made many useful attempts in this respect and set a good example for post-pronouns. For example:
Jiangchengzi
Mizhou hunting
I'm talking about teenage mania. I pull the yellow left, I hold the sky, wear a gold hat and mink fur, and ride a thousand times. To repay the prefect of the whole city, dear
Shoot the tiger and see Sun Lang. After drinking wine, my chest is still open; What's wrong with the slight frost on the temple? When will the emperor send someone down, like Emperor Han sent Feng Tang to the cloud to pardon Shang Wei? Can pull carving.
Bow like a full moon, look northwest and shoot Sirius.
Su Shi's poem is vigorous and powerful, sweeping away the powder gas prevailing in the ci world at that time, and indeed writing the grand occasion of hunting between the lines as he himself said, which can be described as vivid and vivid, making people feel immersive. The spirit of the second half is particularly heroic. The conclusion "Looking at the Northwest and Shooting at Cang Lang" expresses his ambition of taking the world as his own responsibility, eager to make contributions to the country and sweep away the border troubles. Another example is the poem "Qinyuanchun": "At that time, * * * was a guest in Chang 'an. Like a teenager from two places. There are thousands of words in writing, and there is thousands of books in your chest, which is very difficult for you. " It is even more straightforward, showing the author's ambition of "to be a gentleman."
(2) through the ancient expression of "ode to history"
"Ode to history" is a very common theme in China's classical poems. Most of them express their embrace by praising ancient events, and it is also a kind of "expressing ambition" in essence. Of course, historical allusions are also used in the above-mentioned "expressing aspirations", because they do not run through, and can only be regarded as the application of "comparing and pinning". As far as the differences in the use of writing methods (Fu, Bi and Xing) in poetry are concerned, writing focuses on Fu, that is, it is longer than narrative. And the application of skills in Su Shi's "Poetry as Ci"
Its essence is to apply the technique of "Bi Xing" in common poems to words. Obviously, "allusion" is an important means to realize "analogy".
When it comes to Su Shi's creation of "Ode to an Epic", we can't help but mention his "Nian Nu Jiao? Chibi nostalgia.
Niannujiao
Chibi nostalgia
The surging river flows eastward, and those heroes of the past are gone forever. To the west of the old base, humanity is the Red Cliff in Zhou Lang. riprap
Go through the air, pat the shore and roll up thousands of piles of snow. The majestic rivers and mountains are picturesque, and many heroes emerge at once. Think of that year, Xiao Qiao
Married, handsome and heroic. Feather fan nylon scarf, laughing and laughing, strong ashes. I wander in my motherland, smiling at me with enthusiasm,
Give birth to Fahua early. Life is like a dream, sprinkle a glass of wine to pay tribute to the bright moon on the river.
three
Hu Zaizan, a poet in the Song Dynasty, praised this poem as "a masterpiece of ancient and modern times", which was written by Su Shi Yuanfeng when he lived in Huangzhou and visited Chibi for five years. The author used the old story of Battle of Red Cliffs in the Three Kingdoms period to show his weapon. The poem describes the magnificent scenery of Chibi, portrays Zhou Yu's heroic image, and expresses the author's resentment that he is eager to make contributions but is trapped in impermanence. The style is extremely bold. It is Su Shi's borrowing ancient lyric techniques from poems that created this immortal poem.
(3) Entrust deep poems.
Since the Book of Songs, China's poems have a tradition of "happiness", and The Songs of the South created a fine tradition of lyricism with "the beauty of vanilla". It is very common in Song poetry to express feelings about life by means of "comparison and sustenance" and express feelings through scenery.
In the creation of ci, it is always based on chanting things, which contains a lyric style from a distance, and Su Ci has also set a good example. For example:
Bu operator
Huang Zhou Ding hui Ju Yuan building
The curved hook moon hangs on the sparse buttonwood; In the dead of night, the water from the water clock has been dripping. Who saw you alone, vague and lonely. At night, it suddenly becomes afraid, suddenly flies and comes back frequently, but no one always understands its infinite inner feelings. It kept wandering among the cold branches, but refused to perch on any tree, and finally landed alone on the cold shoal.
This word was written in Yuanfeng, Song Shenzong for six years, only one year after the above-mentioned Nian Nujiao and Red Cliff Nostalgia. After the Wutai Poetry Case, Su Shi lived in Huangzhou as a sinner and was extremely frustrated politically. In his words, he sang the lonely goose, expressing his attitude towards life that he would rather stick to the cold than go with the flow. There are only images in the whole poem, and people and geese are integrated into one, taking images as metaphors, placing them far away and deep, and the style is extremely cold.
Su Shi devoted himself to the development of the theme and realm of ci, and really achieved the integration of poetry. The theme and realm of his words are almost the same as poetry. However, due to the objective difference in rhythm between poetry and ci, there are inevitably differences in phonological arrangement when creating, but in terms of style, Su Shi also shows the tendency of "taking poetry as ci".
(b) Don't understand the meaning of words.
As mentioned above, Su Shi's ci is not harmonious, which is criticized by Li Qingzhao and others. People think that if the lyrics are "discordant", what they write is "a poem that cannot be read without mending". This can be considered as "taking poetry as a word" expressed by Li Yian. Before making specific comments, it is necessary to briefly discuss the difference between poetry and morphology:
The relationship between modern poetry and music is much looser than the words that need music. Early ci is a kind of music literature. In order to match the music, it is required to have a special beat, so that the tone of each word of the lyrics can be coordinated with the cadence of the music, so as to achieve harmonious tone, catchy singing and pleasant voice. Therefore, unlike poetry, which only focuses on leveling, the words are more and more detailed. Li Qingzhao said in "On Ci": "Poetry is divided into five tones (the right tone in the upper corner of the palace), five tones (Yin Ping, rising tone, rising tone, moral tone and entering tone) and six tones (six tones in the yang and six tones in the yin). The "six methods" here refer to the twelve methods, which are divided into clear and turbid. " In other words, the modulation must be harmonious. Music is played once, and songs are sung for music, so the lyrics are adapted to it paragraph by paragraph. In this way; Words must pay attention to deal with the relationship between films, and can't be segmented according to content like poetry. The rhyme of a poem has a fixed position, usually at the end of even sentences; But the rhymes of words are mostly placed at the pause of music; So words with different tones have different rhymes.
As can be seen from the above discussion, due to the need of music, there are indeed great differences in melody between words and poems. As for whether Su Shi's lyrics are homophonic, predecessors have different opinions, but the lyrics can't be sung today. So it's hard to test right and wrong. In fact, the melody of harmony and disharmony will never be as sensitive as that of Li Qingzhao today, because we can't sing according to the music, so we can't compare the advantages and disadvantages of harmony and disharmony.
In creative practice, writing is obviously more binding to the author than poetry in form. In view of this, Lu You once said: "Mr. Wang will never sing, and he doesn't like to tune his ears." (6) Wang Zhuo, a poet in the Song Dynasty, also said: "Mr. Dongpo is not addicted to temperament ..." (7) Above.
four
Both of them have the intention of excusing Su Shi, because "those who are not addicted to melody" seem unfamiliar with melody, and "those who don't like tune cutting" indirectly point out that Su Ci does have dissonant melody.
As far as the unharmonious rhythm of Su Ci is concerned, because the aesthetic style of Su Ci belongs to masculine, it is different from the graceful words that express female beauty, but similar to what westerners call "sublime". In literary works, it pays attention to the expression of the inner spirit of thought, but not to the external form of expression, and temperament must belong to the latter in ci works, which is despised by Su Shi.
Therefore, no matter whether Su Shi is proficient in melody or not, when the ideological content he wants to express conflicts with melody, he will undoubtedly choose to adjust melody to adapt to the expression of content.
Facing Su Shi's "reaction" to tradition, not everyone can give him a positive evaluation like Hu Yin and Liu Xizai. On the contrary, there were not many people in favor of it at that time, and there were also many who opposed it. There are roughly two directions of attack, one is to broaden the realm of words, and the other is in melody. Yu Wenbao, a poet in the Song Dynasty, recorded an anecdote of Su Shi in The Continuation of Blowing the Sword: "Dongpo has a good teacher in Yutang. Because he asked,' What about my words and Liu?' Yue: "Liu Langzhong, a 178-year-old girl, with red fangs in her hand, sang" The morning breeze and the waning moon ". To get a bachelor's degree, you must be a big shot in Kanto, singing the river of no return with a bronze pipa and an iron rake. "Dongpo was fooled." .
According to the practice at that time, Ci was obviously sung by "Seventeen Girls". If it was changed to Kansai Korea, it would undoubtedly change the original aesthetic trend of Ci. This scholar's view coincides with Chen Shidao's. It seems that this should be a common concept at that time. As mentioned above, poetry and ci are indeed different in "true colors", but it is really difficult to judge whether Su Shi's behavior of "taking poetry as ci" is right or wrong, because whether based on aesthetics or facing up to historical existence, Su Ci has created the other side of ci and its existence is reasonable.
Third, take poetry as the core of ci: the unity of poetry and ci.
In the field of ci poetry, Su Shi is undoubtedly a revolutionary. For him, all the traditional shackles that hinder the expression of thoughts and feelings will be smashed to pieces by him. Whether it's theme or melody. However, any change in the field of literature has its inherent inevitability, and any change in literary creation style is the product of the changes of the times, that is, the so-called "literary change is influenced by the world." (8)
On the one hand, the creative practice of Su Ci is the mapping between the unique cultural background of the Song Dynasty and the mental state of the literati, on the other hand, it is also the reflection of Su Shi's own life interest and experience.
(A) the aftermath of poetry innovation
The creative practice of Su Ci is based on the Confucian trend of restoring ancient ways, that is, the so-called poetry innovation movement, which began in the middle of Northern Song Dynasty.
The early Song Dynasty ended the long-term separatist regime in the late Tang Dynasty and the Five Dynasties. Taking history as a mirror, the national policy of emphasizing literature over martial arts was implemented in Zhao and Song Dynasties, which on the one hand created an extremely prosperous culture in Song Dynasty. The so-called "China culture, which has evolved for thousands of years, reached its peak in Zhao and Song Dynasties" (9), on the other hand, it also caused the weakness of foreign policy in Song Dynasty. So that in the 300 years of Song Dynasty, border disputes and foreign invasions emerged one after another.
The late Tang Dynasty and the Five Dynasties are another absurd troubled times in the history of China. Facing the dark social reality of eunuch's autocratic power and separatist regime, the cultural ideal and political enthusiasm of the literati class turned into a "thin island". Compared with the prosperous Tang Dynasty, the style of poetry and prose is humble and powerless. As the saying goes, "At this point in the Tang Dynasty, the contacts of Tang people were weak, the scholar was born in Sri Lanka, and he had no career or brainwave, but he was embarrassed by a topic ... and there was no atmosphere of recovery" (10). In the late Tang Dynasty and the Five Dynasties, the style of poetry and prose was low and weak, which was closely related to the weakness of scholar-officials' personality and even the depression of the whole era. As Ouyang Xiu wrote in the New History of the Five Dynasties? Zazhuan lamented: "Three people won the whole festival, and five ministers died in ten cases ...".
The poetic style in the early Song Dynasty inherited the inferiority of the late Tang Dynasty and the Five Dynasties. In addition, shortly after the scholars entered troubled times, the situation of corrupt discipline and humble style of writing was difficult to reverse for a while. Scholars often take pleasure in singing peace with each other and whitewashing peace. They unilaterally pursue formal beauty and lack specific ideological content in their poetry and prose works, which is called "Quincy School" in history. Obviously, this is contrary to the idea of the rulers in the early Song Dynasty to revitalize culture and education and restore Confucian orthodoxy. Therefore, in the second year of Xiangfu (1009), Song Zhenzong wrote a letter to restore the ancients, denouncing that "in modern times, subordinate words have many disadvantages and extravagance, forgetting the great thoughts of ancestors, and carving workers are small but refined" and warning that "they will be scholars in the future"
five
If it is related to glitz, those who are ashamed of teaching by name must add imperial codes to the court and restore the ancient style. "The imperial edict of the Song royal family is undoubtedly to maintain the famous religion, but objectively it has dealt a blow to the Quincy School, which dominates the literary world. With the implementation of civil service politics and the improvement of the imperial examination system, the self-esteem and political responsibility of the literati class have been gradually improved and restored. Scholars are no longer just interpreters of Confucian classics, but also practitioners of Confucian thoughts and political opinions. During this period, the literati represented by Ouyang Xiu and Mei took the revival of Confucianism as their own responsibility and self-reliance as their purpose. Under the impetus of the imperial edict of restoring ancient ways in the Song Dynasty, they launched a far-reaching cultural revival movement-the poetry innovation movement.
The essence of the poetry innovation movement is to emphasize the political function of enlightenment and satire of poetry, embody and carry Confucian orthodox ethics in literary works, and oppose frivolous style of writing that has no practical effect in society. This makes poetry bear the heavy responsibility of "expressing Tao" and "expressing ambition", which is reflected in poetry, and it is inevitable to choose to return to the tradition of "expressing ambition" in Confucian poetics in the pre-Qin and Han dynasties. "Poetry expressing ambition" has political and ethical significance in the poetics of Han Dynasty, but the "ambition" mentioned by Song people is not a simple return to the previous poetics of politics and religion. The "ambition" mentioned by the Song people should be broader, transcend individual consciousness and embody the abstract subject spirit of the essence of the literati group, which can be described as "poetic way".
Song people generally believe that writing is the voice and literary accomplishment is the embodiment of character. Therefore, in their poetry and prose works, they often consciously implement the literary concepts of "Ming Dow's statecraft" and "making up for the world", and the main purpose of writing poetry and prose is education and satire.
However, in the field of ci, the situation is just the opposite. As a "poetic surplus", Ci seems to be unaffected in the poetic innovation movement. However, the style of ci has not changed much since it entered the Song Dynasty. Scholars seem to be satisfied with the function of ci (1 1), and the propositions of "carrying Tao" and "expressing ambition" advocated by "poetic innovation" have no practical influence on ci creation. One reason is that words have no "expression". Although Fan Zhongyan and Wang Anshi also wrote some works with high style, on the whole, Ci cases are undoubtedly not as good as poetry cases.
I believe that Su Shi's entry into the ci world is intended to change the above situation. In the face of relatively humble ci, on the one hand, he realized that poetry has different aesthetic characteristics, that is, the so-called "poetic rhyme", and ci focuses on expressing feminine beauty, so Su Shi devoted himself to changing the theme and realm of ci, so that ci could express masculine beauty at the same time. On the other hand, because pre-pronouns always seem to be influenced by a special cultural mentality when creating words, ci writers always like affectation rather than true temperament. Su Shi, on the other hand, with the concept of "my Tao is consistent", integrated the ideas of "carrying Tao" and "expressing ambition" in poetry and prose into the creation of ci, showing his true nature and true face, and disdaining learning language and affectation.
Su Shi inherited the innovation of poetry and reformed the style of ci, so that ci, as one of the literary styles of "speaking sincerely", can get rid of the traditional shackles and freely express the author's feelings. After his transformation, Ci finally got rid of the face of "poetic surplus" and embarked on the road of independent development.
(B) the publicity of the literati's subjective spirit
Scholars in Song Dynasty generally have the sense of mission to maintain the inheritance of orthodox culture and the consciousness of "making great efforts to govern and invigorate the style of writing". Su Shi, as a scholar in Song Dynasty, is even more so. However, when he entered the literary world, the poetry innovation movement had basically won.
In the field of poetry and prose, the literary proposition of "carrying Tao" and "expressing ambition" has been deeply rooted in the hearts of the people. He only needs to gallop his talents in the field of poetry and prose along the broad road opened by his predecessors, declare his political ideals and publicize his "Tao".
In the field of ci poetry, as mentioned above, due to historical inheritance and cultural mentality, it seems that literati always cling to the true colors of ci poetry, but have no intention of letting ci poetry play its social function of practical use. With the moral consciousness of "building a man" and "making a contribution to the world", and under the guidance of the literary view of "speaking as one's heart", Su Shi made great efforts to improve the literary status of Ci, so that it can be as famous as poetry and prose, and "express one's ambition" and "embody the Tao" for the literati.
With the practice of "integrating poetry", Su Shi carried out the literary ideas of "Ming Dow's statecraft" and "helping the world" in the field of Ci poetry, introduced "poetic way" into the creation of Ci poetry, carried forward relatively modest Ci poetry, publicized the personality strength and subjective spirit of literati in Ci poetry, and realized the unity of poetic way and Ci poetry way.
Reading Su Shi's literary works, we can truly feel his strong sense of mission (12) of "making a heart for heaven and earth, opening the way for the people, continuing the study of saints and creating peace for all things". It is precisely because of his sense of mission to the country, people and culture that he spent his whole life.
six
His official career is far less prominent and frank than his literary road, because he is always in the whirlpool of old and new party struggles, and he has his own background and will not be attached to his own personal interests or political likes and dislikes. So that his life is always full of slander and persecution of villains, and Su Shi has always been like this. He fully embodies the personality strength and subjective spirit of the scholar-officials. As Wang Guowei said: "Even without literary genius, his personality is self-sufficient through the ages." ( 13)
Su Shi has always been regarded as one of the greatest literati in Chinese history. The so-called "no poet under three generations is too good at bending the poem, profound, beautiful and ambitious ..." (14) is a great praise for his achievements in many literary fields on the one hand, and an affirmation of his extraordinary personality strength on the other.