Li Qingzhao is an outstanding female writer in the Song Dynasty, and she is known as the graceful and restrained ci school. She is knowledgeable and talented. She is good at poetry, melody and painting. She is a dazzling pearl among ancient writers in China. Such a versatile woman writer is rare in the history of China literature, and it is also rare in the world literature corridor. Especially as a cultural woman, Li Qingzhao has a lady's feelings different from those of ordinary women.
The word "lady" comes from the article "The Book of Songs Nan Zhou Guanluo": "My fair lady, a gentleman is a good gentleman". "Lady" refers to a kind, beautiful and educated woman. Li Qingzhao's feelings for ladies are the same as those of ancient traditional ladies, but there are also different aspects, mainly in that Li Qingzhao is a cultural woman in feudal society. In addition to the feminine and kind characteristics of ordinary women, she also has the characteristics of cultural women, such as liking to send letters.
Love mountains and rivers, love literature and art, and care about state affairs. The following are discussed separately.
First, look at Li Qingzhao's lady feelings from her living environment and lifestyle.
Li Qingzhao was born in the seventh year of Yuanfeng in Song Shenzong (A.D. 1084) in an official family of a famous scholar. His ancestral home is in Jinan, Shandong, and his father and mother were born under Han Qi, who is famous for fleas and knowledgeable. His father, Li, is a foreign minister from official to does. He is proficient in classical poetry and has close contacts with Chao, the fourth bachelor of Huang Tingjian, Huang Tingjian, Huang Tingjian, Huang Tingjian, Huang Tingjian, Huang Tingjian, Huang Tingjian, Huang Tingjian, Huang Tingjian, Huang Tingjian, Huang Tingjian. He enjoyed a high reputation in the literary world of the Northern Song Dynasty, and was also called "the last four sons" with Liao Zhengyi. My mother, Wang, is also a well-educated woman. She knows everything about literature and poetry. Li Qingzhao grew up in a family with a strong literary flavor, and her education was not comparable to that of ordinary women.
Li Qingzhao is a lively and cheerful woman who loves life. Unlike ordinary ladies, she confined her life to the boudoir embroidery building, but she often went out of the courtyard and threw herself into the embrace of nature, showing her fluffy spring breath. For example, the word "Like a Dream" written at the age of seventeen or eighteen concentrated her feelings of loving nature and life:
I often remember the pavilion by the stream next to the pavilion until the sunset, intoxicated by the beautiful scenery and lingering. Always had a good time, but lost to the swimming pool deep in Zhu Feng. Fight for the ferry, fight for the ferry, and open a beach of gulls.
From this sentence, we can clearly see Li See's lively and cheerful personality when he was young. She is free and carefree, growing healthily like a seed of freedom. There is basically no shadow of feudal boudoir and the shackles of ethics, but the sunset of nature, the famous scenery of green water red lotus and gull heron waterfowl have left a simple and free natural impression on her. In the word "Qing Qing is slow", her unrestrained, lively and cheerful personality is once again vividly displayed: in the spring when peony is in full bloom, she gallops in the garden with the incense wheel to enjoy the flowers. She was intoxicated by the beautiful spring scenery and blooming flowers, and she was so happy that she drank and enjoyed the flowers until late at night. This kind of life in Li Qingzhao's early poems is full of vitality and sincere love for nature, although it is somewhat leisurely for aristocratic girls. Between the lines, you can clearly see the unrestrained and innocent lady image of a girl of seventeen or eighteen. The image of a lady in her works is different from that of an aristocratic girl who was attached to lakes and mountains in ancient times and an ordinary girl who was tired of traveling. But attachment to mountains and rivers, entrusted to nature. The formation of Li Qingzhao's lady image is closely related to her good family background and her own literary accomplishment. Although she was born in a famous family, her taste in life was not in debauchery and her ideal in life was not in pampering, but she devoted herself to writing, studying academics and taking poetry creation as her career.
At the age of eighteen, Li Qingzhao married Zhao Mingcheng, a bachelor. Zhao Mingcheng is a smart and studious young man, and he likes to collect inscriptions for examination since he was a child. It is natural for Li Qingzhao, who loves literature and art, to marry such a husband who is obsessed with the collection and appreciation of literature and art. The couple hit it off and lived happily. But after all, she said goodbye to the unrestrained girlhood. In this deep, prominent and heavily guarded Zhao family, only her husband Zhao Mingcheng is a bosom friend. However, her husband often went out to study and be an official, which brought great sadness and anguish to the affectionate Li Qingzhao. As an intelligent and talented cultural woman, she can't help but pour out her thoughts and feelings in words. As she wrote "Dried Plums" shortly after her marriage:
Red lotus root is fragrant, and jade is lingering in autumn. Who sent the brocade book, the word geese returned, and the moon was full of the West Building. Flowers from Shui Piao to water, one kind of lovesickness, two places of leisure.
Seeing my husband off, I can't help feeling a sense of loss. Everything I see, whether it's white clouds, flying geese, bright moon or falling flowers, is always associated with my husband. I can't get rid of this feeling, I can't get rid of it. I can't let go: "This feeling can't be eliminated, but I frown, but I feel it." The lovesickness between husband and wife is described delicately and tactfully, which makes us seem to see the frown of the hostess, the inner shock, and the sadness of parting, so that the lovesickness and thoughts shortly after marriage are presented in images, eyes and hearts. Acacia and yearning are one of the most common emotions of human beings. Once they germinate, it is difficult to disappear. It is unforgettable and haunts my mind like a hairspring. It can disappear from the "brow" of external modality, but it cannot but enter the "heart". Li Qingzhao made a unique and profound observation and grasp of this feeling. The poetess writes all the way, either in the scenery or in the scenery. Images are hidden or obvious, sometimes hidden and sometimes present, and suddenly appear at the end of words, such as mountain peaks, brightly lit, which makes readers shocked and thoughtful. It can be seen that Li Qingzhao not only has the gentle, kind and delicate characteristics of ordinary women, but also has the sentimental side as a cultural woman.
Before the age of 45, Li Qingzhao, as a scholar and writer, basically lived a relatively quiet life. She is immersed in love and career happiness. Therefore, what is revealed in her works is a naive cultural lady's feelings. In the later period, due to the change of living environment, Li Qingzhao was forced to walk out of the boudoir and study and embark on the road of escape and exile. Because of the bleak life experience of national mourning, family death and husband death, her creative style changed suddenly. "Where is my hometown? Unless you are drunk, forget it. " Bodhisattva Xia; "Everything is not for people, and tears flow first." Wu Lingchun; "Cold and clear, sad and sad." Works such as "The Sound is Slow" not only reflect personal misfortune, but also have deep pain of home and country. They associate personal misfortunes with national disasters and family feuds, and euphemistically express sadness, loneliness and melancholy.
Second, look at Li Qingzhao's lady complex from her literary pursuit.
Li Qingzhao grew up in a family with a very strong cultural atmosphere. Coupled with her diligence, erudition and memorization, she finally became a generation of poets who took Yi 'an as their religion. Abstract: Li Qingzhao's ci not only strengthens and maintains the characteristics of graceful ci school, but also has her own artistic style of graceful ci. Her ci reveals the life interest of cultural women, and values talent over art. Such as the previous work "Drunken Flowers":
The mist is thick and the clouds are thick, and the days are sad. Kapoor is among the birds in the incense burner. The festival is also a double ninth festival, and the jade pillow gauze kitchen is half cold at night. Dongli drinks until dusk, and faint chrysanthemum fragrance overflows his sleeves. Don't say clear autumn is not a person, the west wind rolls the flag and beads curtain, and the person in the curtain is thinner than that Huang Ju.
Through the description of chrysanthemum appreciation in Chongyang, Ci euphemistically expresses loneliness and parting in the boudoir, shows the poet's inner world, reveals her yearning for love, and objectively has the significance of breaking through the feudal cage and opposing the shackles of feudal ethics. The whole word is euphemistic, gentle and beautiful, revealing the faint sadness of the poet's temporary separation from her husband. In the past, graceful words often stayed in the description of women's boudoir furnishings, clothes and looks. Even if they write their mentality and actions, they are generally "slow and fragrant." Tianchang can't help traveling. Weeping willows only provoke the spring breeze, but can't hold pedestrians ",(Yan Shu)" Inch by inch, my heart is tender and my eyes are full of tears. The height of the building is not close to the dangerous chair, and the spring mountain is everywhere, and there are more laymen in the spring mountain "(Ouyang Xiu)," If you want to decorate the building, you will miss the sky several times and return to the boat "(Liu Yong). Although these also describe the deep affection of women, their images are generalized and can even be moved to any boudoir love story. The heroines in Li Qingzhao's poems are all her own, expressing her feelings with her own feelings, being frank and frank, and not having to ponder women's psychology like men; When she was a girl, when she stumbled on the swing and adjusted her hands inadvertently, she felt a thrill, but she didn't feel sweaty. Now that she has calmed down, she feels "skinny and sweaty." Seeing that the guests are coming, she "socks and gold slips." And ashamed to go. Look back at the door. But Wen Qingmei "(point crimson lips). The image of an innocent, lively and somewhat charming girl is so vivid and intriguing, which is even beyond the imagination of men. When Yaner got married, she bought a particularly fresh spring flower in the morning. "Afraid of lang guess, slave face is not as good as flower face. The hair of the cloud is crooked. I want to teach lang to compare. "(minus magnolia) A storm came late, and the heat dissipated. First, she straightened her spring, and then she put on light makeup. Then she wrote: "the crimson sheath is thin and the ice is fine, and the snow is greasy and crisp." Laugh at Tan Lang. "(picking mulberry seeds). These pens express frank feelings with frankness; Don't wriggle, don't rub. Isn't this what Li Qingzhao said after work, "Sit back in the hall, make tea, refer to the product of book history, and say that something wins or loses in the first line of the first page of a book, that is, raise a glass and laugh until the tea falls in your arms ("Li Qingzhao ")? How can men imagine such a natural and delicate life scene?
Li Qingzhao is a writer who combines poetry, ci and prose, and his ci achievements are the highest. Her ci poetry combines the elegance of Erman, the charm of Qin Guan, the beauty of Jiangsu and Anhui, and the beauty of Zhou Bangyan, and it has become a unique "Yi 'an style" with Tao Zhu's integration and skillful use. Whether writing lively girls, young women, passionate women or lonely women, it is different from the female images written by poets in the past. They are no longer geisha dancers at the mercy of others, but female images with personality, temperament, personality and pursuit of life ideals. In these characters, there is naturally the shadow of her own lyric hero, ideologically and emotionally. This is also evident in Li Qingzhao's poems, such as "Besides, the love between father and son in the world is hot, but the heart can be cold", "Meng Xiao" and "Preface to the Story of the Stone".
Besides writing, she also discussed literary theory. On Ci systematically expounded his own thoughts and opinions on Ci, and the view of "being different from one school" played a certain role in the development of Ci in later generations.
Looking at Li Qingzhao's literary works, we can see that her works are "the first to open the atmosphere of the Southern Song Dynasty", and her words are particularly prominent, which can be called "inexhaustible". Its refinement can seize the seat of the dream window, and its beauty is really like a piece of jade. Everyone who not only looks down on women, but also wants to make faces, has formed his own artistic style of "cleverness and sparseness" in the feudal society where "a woman without talent is virtue". Whether she is a good family or a small jasper, she wants to be a good wife and mother. As a cultural woman in feudal society, Li Qingzhao poured out her thoughts and feelings in all directions, and wrote poems, words and essays as her life pursuit. She is one of the cultural women.
Thirdly, look at Li Qingzhao's lady consciousness from her social concern.
Li Qingzhao advocates freedom, despises wealth, and is extremely disgusted with the social fashion of pursuing fame and fortune. "The boat is profitable, and the boat is also named. I have always been guilty of going back and forth, and I was on the Diaoyutai all night. " The author tells people that those who rush about for fame and fortune have low personality and are small, so they can't associate with gentlemen. Li Qingzhao believes that many disputes in society are caused by fame and fortune: "Qingzhou is always happy to make trouble when he engages in (wine) Kong Fangxiong (money)" (Love). Tingzhi Zhao, Li Qingzhao's father-in-law, attacked and framed many good people, such as Su Wan, in pursuit of fame and fortune. Li Qingzhao once wrote a poem that satirized him angrily: "Hot hands can cool." Li Qingzhao hopes to get rid of the nuisance of utility and live a free and quiet life, but this ideal of life is difficult to realize in the real world, so she gallops in imagination and looks for spiritual sustenance in mythical dreams. The poem Meng Xiao depicts a wonderful and magical picture of life. Here, people get rid of secular troubles, abandon the pursuit of fame and fortune, become "guests" of immortals, and have "excellent wit" by talking and laughing with immortals. This is exactly the social pursuit of Li Qingzhao's life, and it is also the noble sentiment that Li Qingzhao's lofty autobiography does not conform to the secular world, and it is also a clear manifestation of Li Qingzhao's difference from a good family.
Li Qingzhao is also a lady with high patriotic enthusiasm. Seeing the broken mountains and rivers, the court refused to recover the Central Plains, and she was worried. At the end of the Northern Song Dynasty, when she was still a young woman who had no in-depth experience of the world, she expressed concern and warning about the country's decline. In two poems with Zhang Wenqian's Reading Zhongxing Monument, she used the ancient times to satirize the present, accused the emperor of the Song Dynasty of extravagance, and criticized the traitors' corruption and mistakes in the country, showing a clear political mind and keen political vision. In her poems, she compared the Northern Song Dynasty to the Middle Tang Dynasty before the Anshi Rebellion, which shows that she had a premonition of the gradual demise of the Northern Song Dynasty. Her premonition soon became a cruel reality. After Li Qingzhao crossed the south, she satirized and lashed the capitulators in her poems, reprimanded the ministers who could not assist the emperor in building the country and protecting the family, praised the famous figures in history, and publicized the idea of being the enemy. Li Qingzhao's ardent patriotic feelings are still very strong even in his later years. In the third year of Shaoxing, ministers Han Xiaoyao and Hu Songnian were sent to make Jin visit the Second Emperor. After hearing the news, Li Qingzhao immediately wrote poems to two ministers. In the poem, she stated her views on the current situation, her hatred for foreign invaders, and her yearning for the homeland of the Central Plains. She believes that the nature of the invaders will not change, and we should always be on guard against them: "If you are a slave of tigers and wolves, you will not be hurt." After Zhao Gou proclaimed himself emperor, he gave millions of gold, tens of millions of silver, tens of millions of pieces of cloth and silk, and a large area of land in the Central Plains to Jin people, in order to achieve peace in the south of the Yangtze River. Li Qingzhao skillfully imitated the tone of Zhao Gou's instructions to the envoys, and revealed: "Why not cut the meat? You can carry the fat on the car. The land is not cherished, and jade is like dust and mud. " She is always concerned about the situation in enemy-occupied areas and the fate of the people. "Are you still planting mulberry and hemp, and the remnants are like smelling the city wall?" In order to recover lost ground, she even gave her blood and life. "I want to send blood and tears to the mountains and rivers and sprinkle the soil around Dongshan." Li Qingzhao's ardent patriotic enthusiasm is also evident in her later poems, such as Eight Wings Tower, Spring Remnant, Rhyme on a Horse and so on. For life, she compared Sean, Han Xin, Qu Yuan and Xiang Yu: "Life is a hero, and death is a hero. I still miss Xiang Yu and refuse to cross Jiangdong. " Talking about life and death from the big picture shows a unique talented woman style.
Constrained by the lyrical tradition of poetry, her poems rarely touch on this major theme, unlike her poems, which are full of speeches on state affairs. However, the tragic disaster of the country's destruction and death hit her too hard. She is miserable and melancholy, and her heart is shrouded in gloom all day long. Naturally, her words also reveal the hatred of home and country and the feeling of rise and fall. The most famous is the Lantern Festival poem "Never Meet Joy":
The sunset melts gold, and the twilight clouds meet the wall. Where are people? Dye willow smoke and play plum blossom flute. What do you know about spring? On the Lantern Festival, the weather is beautiful, and there is no wind or rain at two o'clock. Come and greet BMW and thank him for his wine and poems. Zhongzhou is in its prime, and the boudoir is full of leisure. Remember points three to five. Pave the green crown, twist the golden snow willow, cluster and fight for Chu. Now haggard, windy and foggy, afraid to go out at night. Might as well go under the curtain and listen to people laugh.
This is Li Qingzhao's masterpiece in his later years. On the night of the Lantern Festival, the city of Hangzhou is decorated with colorful lights and a scene of "prosperity". Homesickness arises spontaneously, and the grand occasion of the Bianzhou Lantern Festival is just around the corner. At that time, the country was stable, Beijing was prosperous, and women were bejeweled. Look at today, I am in a foreign land, with a haggard face and pale sideburns, and I have no mind to watch the lights and enjoy the scenery. Through the contrast between the ups and downs of the past and the present, the poet connects his yearning for the motherland with his own pain, so that readers can clearly see that the poet is not smiling under the curtain of regret and envy, but chewing the bitterness and sadness of national subjugation.
As a cultural woman in feudal society, Li Qingzhao did not lock herself in a boudoir to kill her youth. Instead, she extended her sense of touch to the vast society and faced the society directly. With her keen and delicate observation and profound and exquisite artistic attainments, she reflected the upper class, ethnic relations and class contradictions in the Song Dynasty in literary language. It can be seen that Li Qingzhao's social care consciousness is different from that of ordinary feudal ladies, from which we can see a passionate person who cares about the court and state affairs. The spirit of this cultural lady is not only lacking in the living standards and narrow living world of feudal society at that time, but also has positive and healthy significance in today's society.
Generally speaking, the content of Li Qingzhao's literary works is mostly confined to her personal life. By expressing her personal happiness, pain, sadness and ideals, she vividly showed her inner world and generally reflected her life track. We can see how a talented, ambitious and ideal woman is imprisoned in a lonely boudoir and a depressed courtyard; We can also see how a lively and cheerful girl becomes a melancholy and sentimental person; We can also see that due to the decline of the country and the decline of the Central Plains, she was forced to be displaced and finally ended her life tragically.
Li Qingzhao's literary works also have their limitations and shortcomings in thought and art, with a low tone and weak feelings. However, the defects do not hide Yu. Generally speaking, Li Qingzhao's art of ci poetry is exquisite. As a cultural woman in feudal society, it is commendable that Li Qingzhao can break through the shackles of feudal society, go to nature and face the society directly. Her patriotic enthusiasm and positive spirit of caring for state affairs are praised by later generations. Her noble sentiment of "being a hero and dying a hero" inspired generations of people with lofty ideals to die for the country. Reviewing Li Qingzhao's literary works today, I still feel that Li Qingzhao's personality charm is radiant, and Li Qingzhao's lady feelings are different.