The representative works Dimfragrance and Thin Shadow express their melancholy feelings through Yongmei. Wang Guowei's "Words on Earth" said: "The style of ancient and modern poets is as high as white stone, and they barely exert themselves in artistic conception. Therefore, the party has no overtones, overtones. " His novel Yangzhou Slow (Huaizuo Mingdu) is a realistic work. It depicts the broken scene of Yangzhou after the looting of the Southern Song Dynasty, and expresses the mourning for the decline of the Southern Song Dynasty and the hatred for the atrocities of the Southern Song Dynasty. A word of "Twenty-four Bridges" is still there, and the waves shake Leng Yue silently. After reading the red medicine by the bridge, you will know who to live for every year! " A few words were highly praised. In his later years, influenced by Xin Qiji, the style of ci poetry changed, such as Never Meeting Joy (Lost in the Cloud Tower) and Spring in the Palace of Han Dynasty (Clouds Return to Gong Lin), showing a bold style. Song of Taoist Baishi has 17 self-directed and self-performed songs, with music notes, which is the only complete music score data circulated so far. Jiang Kui is a representative writer of metrical school, inheriting Zhou Bangyan and enlightening Wu Wenying and Zhang Yan, which has a great influence on later generations. Huang Tingjian began to learn poetry, and later studied Lu Guimeng in the late Tang Dynasty. Although his words are careful and deliberate, there are few delicate traces, and his poetry style is beautiful and far-reaching, such as ten poems from Shihu to Tiaoxi. The book Shi Shuo is quite original. For details about his life, please refer to the summer chronicle and notes. The year of death is based on a new study of the year of death of Jiang Kui. There are Taoist Baishi's songs, Taoist Baishi's poems, poems, Jiang Tieping, continued book scores, and ancient music. There is a love story in Jiang Kui's poem The Life of Baishi, which is unforgettable and unforgettable. In his words, he often shows scale, but he is always vague. Half a century ago, Mr. Xia carefully searched for it and finally made this relationship surface more completely.
Generally speaking, Jiang Baishi lived in Hefei in his early years and met two sisters who were good at playing the pipa. Since then, he has formed an indissoluble bond with one of them, but because Baishi can't make a living, he has to travel all over the world and can't be together forever. Among his poems, there are only three quatrains "Send Fan Bona to Hefei", and according to Mr. Xia's textual research, there are as many as 22 poems related to this situation, accounting for a quarter of all his poems, which shows that it is unforgettable. Predecessors often blame them for their inexperience, and Wang Guowei even made a mockery of "White Stone is dignified and heartless". But in fact, Baishi's expertise in emotion is comparable to that of Lu You among the literati in the Song Dynasty. This also makes his ci have extremely touching quality, as Mr. Xia said, "it is the most prominent love story in Tang and Song Dynasties". Jiang Kui's poems were written by an unknown father, whose ancestral home was in Dexing County under Raozhou. Shaoxing has been a scholar for 30 years, and he knows Hanyang County of Hubei Province with his new Yucheng. Because of the convenience of livelihood and exams, the family moved to Poyang County for naturalization. Poyang is the gateway to the northeast of Jiangxi, a land and water transportation hub, with rich products and merchants. After the bust of Jiang Kui moved south in the Song Dynasty, the population soared and the rich were prominent, and the prosperity became more and more obvious. Wei Xiao was born in a scholarly family. Educated by his father since childhood, he is good at poetry and music. Restored the infection of his parents' literary and ink friends and the influence of urban songs and dances, and created good conditions for his hobbies and knowledge. Jiang Kui lost his father and lived alone with his sister. Introduced by relatives and friends, he studied under the famous poet Yan Qian Laoxiao Mandzao, gained his appreciation, and married his niece. Wei Xiao is lofty, does not seek fame, and suffers all his life.
After all, he is a piece of cloth; But I make a living by interacting with people through poetry, music and calligraphy. Since his youth, he has made many friends and has been stuck between Jianghuai and Hangzhou. I met Fan Chengda, Yang Wanli, Xin Qiji and other famous scholars who lived in Confucianism at that time, enriched my knowledge and improved the creative level of poetry and music. Ci reached its peak in the Southern Song Dynasty, with a large number of poets, a wide range of materials, different styles and colorful. What ordinary poets do is mostly filled in according to traditional words; Some of them are difficult to sing. Jiang Kui, who is proficient in temperament, creates a brand-new music score and can play the piano in harmony. The old intonation was written by him, and some of them broke through because of the meaning of words and the need of singing, such as the rhyme "Man Jiang Hong". This was really commendable at that time. Only Zhou Bangyan in the Northern Song Dynasty can compare with him in his own lyrics, and he is famous for "there was a beauty before, and then there was Yao Zhang". Jiang Kui's poems are elegant in style, inheriting and developing the charm of Jiangxi Poetry School, and Baishi's poems are handed down from generation to generation. Zhu Yizun, a poet in Qing Dynasty, said in his Preface to Qiu Sizhi's Poems that "after Xiao Dongfu (that is, Xiao Dezao), Jiang is particularly outstanding." His lyrics and songs are more respected by later generations. Jiang Kui and Wu Wenying became the main representatives of graceful and restrained poets in the early Southern Song Dynasty. After Huajianji, they emphasized musicality and were regarded as authentic poets. The style of Jiang Kui's ci is: fresh and bold, profound in conception, well-chosen in words and sentences, full of sound and emotion. There are 80 lyrics in "The Song of Taoist Baishi", of which 17 has music score. Fourteen songs such as Yangzhou Slow, Apricot Blossom Sky Shadow, Bleak and Worrying, Dimfragrance, Thin Shadow, Zhao Zhao and Jiao Zhao are all his own tunes and music. I wrote three songs, including lyrics and music, one of which was Fan Chengda's Yu Mei Ling.
This 17 song, each capital must have a gong tune, and it is marked with a diagonal line in the Song Dynasty (different from the popular gong notation now) and buckled next to the characters. These musical notes are the essence of his life's literary creation, leaving a rich legacy for later generations to study and sing, which had a great influence on the innovation of ci poetry and the change of meter in the late Southern Song Dynasty. The Adagio in Yangzhou, written by Baishi, is his masterpiece in his mature period. Xiaozong Xichun lived for three years (1 176), aged 22. He started from Hanyang and passed through Yangzhou, which was ravaged by Jin people twice and suffered from war. When he saw the bustling commercial capital of the past, it was already "the dust in the city was exhausted, and the night corner was cold", which was even more desolate and desolate. The scene in front of him and patriotic feelings aroused his strong feelings. He wrote this song with the words of Jing Jun, which was passed down as a masterpiece. In the second year of Guangzong Shaoxi (1 19 1), he had to play the long-lost ancient song "Drunk Yin Shang Dynasty Weizhou" in the home of the famous poet Yang Wanli. He modestly studied the string method of songs and wrote a fresh "Drunken Poem". Later, when I arrived in Hefei, I witnessed the introduction of Jiang Kui in Border Town, and I missed the ancient heroism. I wrote a profound song (including a tone sandhi), a desolate crime. In the same year, Fan Chengda retired and returned to his hometown. At the invitation of Fan, Jiang Kui visited Fan Village in Wuxian (now Suzhou). After enjoying the plum blossoms, he composed two songs, Dimfragrance and Thin Shadow, which were dedicated to Fan. Fan Lingqi's Maid —— Singer Xiaohong's Xi Zhi. Fan appreciated the beautiful syllables and later dedicated Xiaohong to Jiang Kui. The poem "Crossing the Rainbow" said: "The rhyme of self-created words is the most charming, and Xiaohong sings and I play the flute; At the end of the song, we crossed Songling Road and looked back at Yanbo Bridge 24.
"That's probably it. Jiang Kui lived in Xing Wu for a long time. Later, he wrote songs similar to ancient music, such as Meiling in the stream, Jiao Zhao and Zheng Zhao. These quasi-ancient tunes also have certain reference value for the study of ancient music songs in China. From the phonology of Baishi's songs, we can know that Jiang Kui once paid attention to the rhythm of all nine songs in Chu Ci, and also paid attention to fingering. It can be seen that he is proficient in guqin performance besides studying the rhythm of ancient songs. In his later years, he wrote Yue Jiu Ge with reference to Zhejiang folk songs. According to his style of playing the lyre as an alternate singer, he wrote the piano music "Ancient Complaints" in Sao style, expressing his resentment and lament over the broken mountains and rivers, the bleak life experience and the bumpy times. With his various talents, Jiang Kui kept making friends and studying, became a successful family and won a great reputation. In the third year of Qingyuan (1 197), Jiang Kui wrote a volume of "Dayue Instrument" and an archaeological map of harps and instruments, which were presented to the court to discuss the music code. He attached great importance to the study of Qin, and expounded the guqin palace tune in the Southern Song Dynasty in the lyre diagram, and proposed that Qin could be divided into three marks (superscript from the first emblem to the fourth emblem, subscript from the fourth emblem to the seventh emblem, and subscript from the seventh emblem to Longya), and each of the three marks had twelve methods. They each described the harmony diagram of the strings and summarized the method of "answering" the piano. These writings are of great value for us to study the performance of ancient music and guqin and other musical instruments. Two years later, Jiang Kui presented Twelve Chapters of Song Anger to the imperial court, hoping to be adopted and promoted by the imperial court again, but failed. It was not until ten years after Jiang Kui's death that Li Zongcai "wrote a letter to Kui and handed it to Taichang (the official in charge of the rites and music of the ancestral temple)".
I am lofty and unrestrained. He once became a close friend with Zhang Jian, the grandson of Zhang Jun, the main battle star against gold, and received his support for a long time. After the death of Jian, Wei Xiao's life became increasingly difficult. However, Jiang Kui's image is still poor and self-controlled, and he refuses to compromise for his official position. In his later years, he often traveled between Jia Hu and Konka Lake. When he lived in Wukang, he was adjacent to Baishi Cave, and he was known as "Taoist Baishi". Wei Xiao replied, "What do the immortals in Nanshan eat? They cook white stone in the mountains every night, and the world calls them white stone immortals. Spend a lifetime without money. " It is used to solve your own suffering. After a hard life, he died in the first year of Jiading in Lin 'an (now Hangzhou) (1208). Thanks to the donations from my friends, I was buried nearby. Jiang Baishi had a hard life and his talents were not exhausted, but he left us a rich and valuable literary and artistic heritage. Yang, a historian of China folk music, has a book, A Study on the Songs of Taoist Baishi, which is very detailed and can be used for reference. The style of ci is ethereal and noble, imaginative, and the language is smart and natural. Jiang Kui's Ci "The Origin of Yan Ci" Volume II: Words fly like wild clouds, leaving no trace. Sheng's "Selected Poems since Zhongxing" Volume 6: A Taoist priest in Baishi, a famous poet in ZTE, uses exquisite words, no less than * * * Yuefu. In the meantime, there is something beautiful. Preface to Wang Qingsen's Ci Summary: After the Western Shu and Southern Tang Dynasties, the author became increasingly prosperous, preaching the harmony between the monarch and the minister and praising him instead. The more tunes, the different genres. In the short and long term, a lover may lose slang, so this person may lose it. Poyang River blows out, and every sentence is cut and practiced, which is attributed to mellow elegance. So Shi Dazu, high wings; Zhang Jihe Wu Wenying studied before; Zhao Yifu,,,, Wang, Zhang Jian, Zhang Jian, etc. are all effective in the future. They are similar to music. As for the nine changes in dance, ci can be done.
Preface to Song Sijia's Selected Poems by Zhou Ji in Qing Dynasty: White Stone emerged from Jiaxuan, from vigorous to vigorous, from rapid to slow. Both of them are sexy, so the smells match well. The new wide river is narrow, the wide river is hidden, and the narrow river is fighting. Liu Qingxi published "Outline of Art", Volume 4: Words of Whitehead Talents and Jiaxuan Heroes. Talented people and beautiful women love each other according to their types, and each says gains and losses. Jiang Baishi's ci is full of Leng Xiang, which is memorable. In a word, music is a piano and flowers are plum blossoms. Chen Qingting's White Jade Zhai Volume 2: Jiang Ci is elegant and elegant. Every time he is here, he is the enemy of * * *, and everyone in the Southern Song Dynasty is also famous. Dream window, Yutian people, it is not easy to pick up weapons. Preface to Zhu Yizun's Summary of Ci in Qing Dynasty: Ci is not good at Jiang Kui, but followers of Ci, such as Lu Zugao, Wang, Zhang Qian, Chen, Zhang Ke and Yang Ji, are all in one. After laying the foundation stone, few of them are successful. Wang Guowei's "Tales on Earth" Volume: Baishi's landscape works, such as: "Twenty-four Bridges are still there, and the waves are shaking in Leng Yue." "Several peaks are bitter, and it is rainy in Shang Lue." "The tree is late, and the west wind is the news." Although the rhyme is high, it is like seeing flowers in the fog, separated by a layer. Meixi's illness and Mengchuang's landscape writing are all one word apart. It is impossible to cross the river in the romantic Northern Song Dynasty. Will there really be luck during this period? Asking whether to leave or not to leave Yue: Tao and Xie Shi are inseparable, but only slightly during the New Year. Dongpo's poems are not separated, and the valley is slightly separated. The beauty of the words "spring grass grows in the pond" and "empty beams fall in the mud" lies in their non-separation. So are words. That is to say, the word "one person" is used. For example, the first half of Ouyang Gong's "Youth Tour Singing Spring Grass" said: "Twelve withered spring alone, the sky is far away.
In February and March, Wan Li, thousands of miles away, was sad. "Language is present, it is not separated. Zhiyun: "On Xie Jiachi, on the bank of Jiang Yanpu. "Then separate it. Bai Shi's Ode to Cuilou: "There should be immortals here to play games with Suyun Yellow Crane. The jade ladder gazed for a long time and sighed that the grass was thousands of miles long. "Not separated. To "wine will clear sorrow, flowers will eliminate heroic spirit" will be separated. However, although there was no separation in the Southern Song Dynasty, it was different from before. The elegance of Jianghu Ci School in Southern Song Dynasty originated from Jiang Kui. Jiang Kui's ethereal and elegant style originated from Su Shi and Xin Qiji respectively. Su Xin didn't mean to write lyrics, and their ethereal and elegant were realized through poetic ways. Jiang Kui is the same as Su Xin in quoting poems and auxiliary words, but he deliberately writes words, integrating the rhythm, creative style and aesthetic ideal of words to a certain extent, and combining the emptiness and elegance that are not necessarily related to each other to form a new style of words. The theory and creation of Jianghu Ci School in Southern Song Dynasty is to explain and popularize this ethereal and elegant ci style. Imagination is a creative style of Song Ci. Zhang Yan talked about two kinds of etymological emptying, one represented by Su Shi and the other represented by Jiang Kui. What they have in common is that they all take poetry as their words, which indicates the rising trend of Song Ci. However, there are great differences in specific methods. Su Shi despised all laws and regulations and turned Ci into a new style poem with long and short sentences. Chen Shidao said that he "took poetry as his ci", while Li Qingzhao criticized Dongpo's ci as "an unreadable poem". This unrealistic style of ci became the mainstream of ci in the early and middle schools of the Southern Song Dynasty. At that time, the quality of Ci improved rapidly, but Ci went further and further in the direction of non-localization.
It was not until Jiang Kui became a poet that this trend changed. Jiang Kui engaged in the creation of Ci with a conscious mind, and earnestly explored various statutes of Ci. There is not much information about Jiang Kui's comments on Ci, which involves the literal meaning, syntax, composition, and living methods outside these specific laws. Since then, Wu Wenying and Shen Yifu have put forward substantial morphology, that is, the basic rules of choosing songs to fill words, choosing words to make sentences and arranging articles. Both quality and emptiness are the statutes of practical learning, with different degrees, but there is no fundamental opposition. Zhang Yan constructed an empty space based on Shen Yifu's quality. He took this simple and simple morphology a big step forward, and saw the essence behind the law from the extreme need for labor and ten days of training. Don't copy the meaning of predecessors and find interest in emptying; From poking fun at romance and writing temperament, I realized the elegance beyond romance. Later, Lu Fuzhi's Ci Zhi inherited Zhang Yan's theory of word form, thinking that "etymology" refers to the essence of mystery, which is all empty. This kind of empty morphology includes elegance of * * * words, elegance of Baishi words, literariness of Mengchuang words and syntax of Meixi words, which is similar to "one ancestor and three schools" of Jiangxi poetry school. From the perspective of lexical abstraction, it combines two creative styles of Jianghu Ci School. The aesthetic ideal of Song Ci is "Sao Ya", which is determined by the characteristics of Ci style. The original name of Ci is Quzi Ci, and the so-called Quzi was introduced from the west by Le Yan. This kind of pop music in Okoyi Lane is very popular because of its unique charm of entertaining others, inducing desire and assisting prostitution. However, Yan Yue is not specially designed for Ci style, and it does not need to be spread by Ci style. During the Sui and Tang Dynasties, there were many incongruities between lyrics and songs. Some words are songs and poems of that era, such as Li Yi and Li He's, which are searched by musicians in the workshop, sung as lyrics for sacrifice, and even considered as lyrics by the world. The lyrics are mostly sung by people from all walks of life. Dunhuang Quzi Ci is complex in content and rich in subject matter, involving all aspects of real society. "Broaden the realm and be inclusive.
"(A Preliminary Study of Dunhuang Quzi by Ren Erbei) These so-called" words "are only easy to remember by secondment. Huajianji is the earliest anthology of elegant words by literati in China, which undoubtedly has the function of standardizing the style of words. The genre selected in Huajianji is mostly Xiao Ling; The content is mainly based on romance, and other themes are also derived from romance. These "famous snow, stereos and love songs; Very sonorous poetic lyrics (Ouyang Jiong's "Picking Inflorescences") are not only suitable for singing, but also have the characteristics of specific theme, rich emotion and romantic words belonging to all elegance and righteousness. Unfortunately, after entering the Song Dynasty, the wind of indulging in pleasure and not making progress was rampant. Sluts became prostitutes, and wild whoring and gambling replaced autumn feuds. Liu Yong's poems about boudoir, travel and courtship are popular all over the world. Where there is well water, Liu Ci can be sung. These literati words are as low-level as folk vulgar words. The reason is mainly caused by lyrics and songs. Poets after Liu Yong often talk about words without abandoning them. Su Shi's introduction of poems as auxiliary words enriches the forms of expression and emotional content of words, and points out the poetic road of Song Ci. This style of taking poetry as words reached the point of * * in Xin Qiji in the Southern Song Dynasty. Xin Qiji's words are loud and grand, and he achieved emotional elegance with the help of poetry. Jiang Kui abides by statutes and uses almost vulgar themes such as lyricism, chanting things, festivals and customs. , but also by comparing happiness to common lyrical ways such as sustenance and chanting things, it has reached the elegance of the meaning of words. According to Zhang Yan's etymological description of emptiness and elegance, Jiang Kui's emptiness comes from Su Shi and elegance from Xin Qiji. Different from Su Xin, Jiang Kui put the creation of Ci into a certain statute.
According to his own understanding of the spirit of music, he reformed the music scores of Tang and Song Dynasties, so that the spirit of popular music and traditional elegant music was interlinked. He summed up the statutes of practical learning, drew their common meanings from countless allusions, and sublimated concrete emotions into ethereal and vague interests; He used vulgar themes to express elegant and upright feelings. Based on the characteristics of ci style, he guided the situation, followed the custom and refined, integrated ethereal and elegant, and formed a new ci style. Song people take wisdom as their word, and their feelings are vague. Being reduced to Jianghu and far away from * * *, the feelings expressed by Jianghu poets are mostly a kind of elegance. The emotion of Jiang Kui's ci is that he flies in a lonely cloud and disappears without a trace. Because there is no definite meaning, the themes of Dimfragrance and Shuying have not been determined for more than a thousand years. Although Shi Dazu, Wu Wenying, Zhou Mi and other small officials have certain realistic feelings, they are mainly lyrical and have the characteristics of ethereal structure. What Zhang Qian, Wang and others expressed was the pain of national subjugation and the sorrow of leaving the old people behind in the existing houses in Song Dynasty, which was difficult to implement in specific events. Living in the Jianghu, comparing with social reality, has contributed to the combination of ethereal emotion and coquettish character. Any art form is a perfect combination of creative style and ideological content, and there is a natural connection between them. Zhang Yan believes that the creative style of Ci in Song Dynasty tends to be "empty" and the aesthetic ideal tends to be "elegant". It was only under Jiang Kui's pen that they were tied up. Jiang Kui abides by his true colors, and everything starts from statutes, which makes the combination of ethereal and elegant inevitable.
Jiang Kui made a comprehensive refinement of ci style. Poets changed greatly in the middle and late Southern Song Dynasty, and all poets had their own style characteristics. Later, these similar styles came together to form a school of ci. This is the Southern Song Dynasty Jianghu Ci school with Jiang Kui as the model. In three words and two episodes, the frequent gatherings of Jianghu Ci-poetry clubs are all practicing and conveying Jiang Kui's ethereal and elegant words. Such a typical school of Ci, which integrates five elements: poet, ci-writing, ci-selection, ci-theory and ci-society, is still rare in the history of ancient China literature.