In the Tang and Five Dynasties, Ci was introduced into teaching workshops and poetry circles by literati on the basis of folk creation, but what they did was still dominated by small poems, and qi and miscellaneous words coexisted. The appearance of a large number of slow words is the creation in the middle of Northern Song Dynasty. Since then, Song Ci has become another peak in the history of China's poetry.
The altar of the Song Dynasty flourished in Song Renzong and Zhao Zhen after the founding of the Northern Song Dynasty. The representative writers were Yan Shu (991-kloc-0/055), Ouyang Xiu, Zhang Xian (990- 1078) and Liu Yong. During the Five Dynasties, due to the monarch's advocacy, Southern Tang Ci was very prosperous. Yan Shu, Ouyang Xiu and other Jiangxi poets in the hometown of the south of the Yangtze River followed Seo Woo in the southern Tang Dynasty, posing as romantic, and devoted themselves to creating short and pithy ci. Liu Yong began to create a large number of slow words and long tunes, which opened up a broad road for the development of post-Song Ci. There are more than 200 pieces of Liu Yong's movements handed down from ancient times, including more than one slow word 100. Famous long tunes, such as "Looking at the Tide of the Sea" and "Klang Ganzhou" (it is raining at dusk), describe urban life and farewell scenes in a poetic way, with many words, which fully embodies the characteristics of large space and suitability for circulation of slow words, making Song Ci unique in the Tang Dynasty. Another contribution of Liu Ci is to develop the theme of Song Ci to a certain extent, and introduce the description scope of Ci from the small literati courtyard to the metropolis; At the same time, the singing method of ci was popularized, making it a literary form of "appealing to both refined and popular tastes" and "singing in the world".
Most of Liu Yong's ci poems were written by geisha, so he never got rid of the traditional bondage of "colourful ci". This shortcoming is the same as Yan Shu and Ouyang Xiu, and another Zhang Xian of Liu Yong's contemporaries can't avoid customs. After that, Su Shi, who suddenly emerged as a leader in the field of ci poetry, further "incorporated poetry into ci poetry" on the basis of the long tune of slow ci poetry initiated by Liu Yong, completely broke through the traditional theme and style of ci poetry, expanded the realm of ci poetry, improved the character of ci poetry, and made it a new poetic style that could express various contents, thus opening up a positive new direction for the development of Song ci poetry.
Regarding the difference between Su Shi's ci style and Liu Yong's, the Song people had Liu Langzhong's ci, so they had to sing "Yang Liuan Xiaofeng Canyue" with seventeen girls with red teeth. Bachelor degree, he must be a big shot in Kansai, singing "The River of No Return" (Yu Wenbao's "The Continuation of Blowing Sword"). "River of no return" means "Niannujiao? Red Cliff Nostalgia ",and similar" Jiangchengzi? Hunting in Mizhou, Water Tune (when is the bright moon), etc. Later generations summed up Su Shi's ci style with "bold school" and generally concentrated on this part of his works. In fact, Su Shi's lyrics are both rigid and flexible, and Dongpo Yuefu written by Su Shi contains many graceful words. But as far as the influence in the history of literature is concerned, the most representative works of Su Ci are Qing Xiong's works.
Su Shi's ci is mainly about meaning, which often breaks through the shackles of morphology. This aroused the dissatisfaction of later writers such as Li Qingzhao who adhered to the traditional word form. At that time, his favorite pupil and famous lyricist Qin Guan (1049- 1 100) did not follow the path he opened up. From Qin Guan to Li Qingzhao, it is generally considered to be the authentic style of graceful and restrained words. Qin Guan has words handed down from ancient times. His representative works, Walking on the Sand and Que Qiao Xian, are full of sounds and feelings, with beautiful language. They inherit the legacy of Liu Yong's "Giving Prostitutes", but the quality of words is higher than his. Li Qingzhao once wrote "On Ci", arguing that Ci is "not a single one". Handed down from ancient times, Drunken Flowers and Dream Order (the rain suddenly dispersed last night) describe the loneliness in the boudoir and the young women's feelings of cherishing spring, which has social significance of resisting the shackles of feudal ethics. The Sound Slow, written by Jiangnan in his later years to avoid chaos, reflects the national disaster at that time through the description of personal exile, and expresses deep patriotic feelings with traditional ci style, all of which are excellent works with high ideological value.
Zhou Bangyan (1056-1121) was an important poet in the late Northern Song Dynasty. Zhou Bangyan is proficient in melody and can compose his own music. When he was in Song Huizong, he presided over the Loud Department of the Central Music Organ, which was the main representative of the poets who paid attention to melody in the Song Dynasty. He is the author of "Halal Collection", which is popular all over the world with "true colors" and "doing things".
Xin Qiji, a famous patriotic poet, was a representative figure of the main league ci circle in the early Southern Song Dynasty. As a singer of the times, Xin Qiji wrote a lot of words in his life, including more than 620 "Jia and Short Sentences", such as "Duan?" "Send the strong word to Chen Tongfu, such as Zhetian (strong year with a banner) and Shuilongyin? Deng Jiankang's Banquet Pavilion and Music I've Never Met? Gubeiting in Jingkou, nostalgia for the past, etc. , shows the major theme of War of Resistance against Japanese Aggression and patriotism at that time, and expresses the anxiety and indignation of the brave men who had no choice but to serve their country under the exclusion of the capitulators who controlled state affairs. From the artistic point of view, Jia Xuan's ci inherited the bold style initiated by Su Shi, and further developed "taking poetry as ci" to "taking literature as ci", and made unprecedented outstanding achievements in the thought and art of Song Ci. Later generations are called "Su and Xin", but Xin Qiji has his own characteristics. Xiang, Han Yuanji, Lu You, Liu Guo and Liu Kezhuang were all called new poets.
Jiang Kui (1 155? - 122 1? )。 Jiang Kui inherited Zhou Bangyan and started the school of metrical ci. There are six volumes of "Songs of Taoist Baishi", and there are many self-directed and self-performed songs, such as "Yangzhou Man" and other 17 self-directed and self-performed songs, all of which are accompanied by phonetic notation, which is the only complete music score seen in the existing Ci collections of Song people. At that time and later, more influential poets such as, Shi Dazu, Wang,,, Zhang Yan and so on. I'm far away from Zhou Bangyan, learning from Jiang Kui. They pay attention to rhythm, diction and sentence making, and emphasize form over content, which is just the opposite of the new poets. However, some poems by patriotic poets Wen Tianxiang and Liu Chenweng (1232- 1297) in the late Song Dynasty became the inheritors of patriotic poems such as Xin Qiji and Lu You.
As a cultural phenomenon, the prosperity of Ci in the113rd century is the spiritual wealth of the whole Chinese nation, including Liao, Xixia and Jin, which coexisted with Song successively. Ye Mengde's Summer Notes Volume III and Luo Dajing's Helin Yulu Volume XIII, about Xixia's "Where there is well water to drink, you can sing willow lyrics" and Jin Hailing's Wang Yanliang's "Watching the Tide", "I admire' Sanqiu Guizi, Shili Lotus', so I throw a whip to cross the river", which shows that the lyrics at that time have spread to the northwest and northeast. According to Wang Ding's Record of Burning Pepper, Xuanyi Queen Xiao Guanyin was in office1055-1kloc-01year, and wrote more than ten poems such as Hui. In the Jin Dynasty, Su and Xin Qiji were the ancestors, and outstanding poets such as Cai Songnian, Zhao Bingwen and Yuan Haowen emerged. According to legend, Xin Qiji learned Ci from the northern Jin people in his early years and became an example for Jin poets to learn after becoming famous. At that time, although China was temporarily divided into several opposing regimes, it was culturally integrated and kept pace with each other.
1 1 The prosperity of China's ci in the 20th century has many social reasons. For example, the development of commodity economy, the rise of urban culture, the development of geisha system and the leisure life of literati. The most important reason is the need of literati's cultural life and the need of literary form's own development. Shen Kuo's "Meng Qian Bi Tan" (Volume 5) records that the music of the former king was elegant, the new voice of his former life was clear, and the people who joined Hu Bu feasted, and described the music in three different periods in the history of music with poems. "Elegant Music" refers to "elegance" and "Fu" in The Book of Songs, and "Le Qing" refers to the Yuefu in the Han, Wei and Six Dynasties, which is mainly combined with Tang and Song Ci. The emergence of any literary form is always related to the value orientation of social, cultural and entertainment life, and singing with music is the traditional requirement of society for poetry creation. Poetry in the prosperous Tang Dynasty, especially modern poetry, has its own fans. After inheriting the middle and late Tang Dynasty, Song poetry developed into prose and discussion, and its writing became more and more literary. Therefore, the creation of poets adapted to the help of Chu Museum in funeral, and funeral activities gradually flourished. In the Yuan Dynasty, the literati's interest in literature and art turned to another new form with performance, and the important position of Song Ci in the history of literature was replaced by New Yuan Qu.