1. Every word has a musical tone (epigraph). Generally speaking, the tone of a word is not the theme of the word, but only a score. In the Song Dynasty, some poets often added topics or wrote prefaces to express the meaning of words. 2. Words are generally divided into two paragraphs (called upper and lower paragraphs or upper and lower paragraphs), and few words are not segmented or not segmented. Generally speaking, the number of words in tones and the length of sentences are fixed and have a certain format. 4. The sentence patterns of words are uneven, and they are basically long and short sentences. 5. The rules of phonology in words are particularly strict, and words should be hierarchical. The tone of each word has its own rules, which are different.
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Ci is one of China's ancient poems. It began in Liang, became in Tang and flourished in Song, so it is commonly known as Song Ci. According to Old Tang Book; "Since Kaiyuan (the year of Emperor Xuanzong of Tang Dynasty), singers have mixed the songs of Okoyi Lane." At that time, there were many talented musicians in the city who made a living by singing. According to the need to coordinate the lyrics with the music beat, they created or adapted some long and short sentence lyrics, which are the earliest words. It can also be seen from Dunhuang Quzi Ci that the words produced by the people are decades earlier than those created by the literati. word
In the Tang Dynasty, most folk words reflected the themes of love and lovesickness, so they were not elegant in the eyes of literati and were regarded as the trail after poetry. Only those who pay attention to absorbing the artistic advantages of folk songs, such as Bai Juyi and Liu Yuxi, write some words with simple and natural style and full of rich life flavor. Wen Tingyun and the "Huajian School" in the Five Dynasties, which are famous for their rich ci works, have a certain position in the history of ci. However, Li Houzhu's poems after his capture in the Southern Tang Dynasty opened up a new and profound artistic realm, which strongly infected later poets. Ci originated from the folk, but it was difficult to see folk works in the study before 1900 Dunhuang stone room was opened. It was not until the lyrics and songs of Dunhuang manuscripts came out that these defects were made up. There are a lot of Dunhuang lyrics and songs. There are five poems by Wen, () and Ouyang Jiong, and the rest are anonymous. The author has a wide range of subordinates, and his writing time began from the last years of Wu Zetian to the Five Dynasties. Among them, the most important one is "Yun Yao Ji Za Ge", with 30 words. The copying time was not later than the first year of Hou Liang Ganhua (9 1 1), and it was nearly 30 years earlier than the compilation of Huajianji (940 in the third year of Zheng Guang, Shu Dynasty). Except Neijiajiao, all the other 12 songs are included in Jiao Fangji's List of Songs. Among them are slow characters and couplets. The early creation of Dunhuang Ci and the folk origin of the author's creation make the works show transitional characteristics in content, system and language style, and initially break away from the general cultural system of poetry and begin to become independent adults. The postscript of Zhu Zumou's "Yunyao Zaqu" said: "It is a simple and gratifying poem, and it is a big song that relies on the sound of the vertebral wheel." It can be used to evaluate the whole Dunhuang ci.
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Ci originated in the Tang Dynasty, flourished in the Five Dynasties, flourished in the Song Dynasty, declined in the Yuan and Ming Dynasties and flourished in the Qing Dynasty. In the history of literature, Ci has become a popular literary genre with its unique musical beauty, intricate rhythm, uneven syntax and strong and profound emotional expression. word
Ci is a new kind of folk poetry in Tang Dynasty, that is, singing ci. In the Tang Dynasty, "Hu Yue", especially Qiuci music, which originated in the western regions, was introduced into the Central Plains in large quantities, and merged with the Han musicians who were mainly engaged in Qing music, resulting in a new kind of music-Yanle. There are many tunes of Yanle, including dance music and songs. Lyrics are the embryonic form of words, which were then called "Quzi Ci". In the course of its development, the lyrics of Yanle in Tang Dynasty gradually formed a remarkable feature, that is, the lyrics were created in strict accordance with the requirements of music, including segmentation according to the movement structure, sentence making according to the beat, word selection according to the music sound, etc., and its glyph became a form with irregular sentence length and fixed frame. After the middle Tang Dynasty, many literati used this method to create poems, which were later commonly known as "Ci". Many tunes in Yan music are folk songs, including songs and words, which have different lengths or interlining forms. Many notes and lyrics found in Dunhuang in modern times were written for speeches. The structure of these lyrics is long or short. It can be seen that these lyrics are in line with or changed according to the requirements of music singing, which shows that the lyrics of Yanle written for music are an etymology. Another source of ci is the poetry of literati. The beat of some music in the Tang Dynasty and the lyrics of poems, especially Yang Liuzhi, are not much different from metrical poems. However, there are also some inconsistencies between poetry and music. In order to adapt to the melody format, some changes need to be made, such as sentence breaking and overlapping. According to the explanations of Shen Kuo and Zhu in Song Dynasty, "harmony" and "overtone" should be added to sing these songs to match the uneven beat length. This eventually led the literati to write lyrics directly according to the musical beat. Poetry into music has contributed to the lyrical trend of musical words. Judging from Zeng's poems, most of them are five-character quatrains or seven-character quatrains, and the contents are mostly chanting mountains and rivers, expressing feelings, or reflecting friends' friendship and parting feelings, which gradually forms remarkable artistic characteristics: the content is mainly to express daily life feelings, the artistic conception is more delicate, the expression method is more euphemistic, and the language is more concise and delicate. Popular folk words in the early Tang Dynasty are the embryonic stage of words. The inflectional characters written by the literati in the prosperous Tang Dynasty are basically neat five-character and seven-language forms, and some are long and short sentences. In the mid-Tang Dynasty, literati began to seriously rely on sound to write lyrics. After the end of Yuan Dynasty, the number of literati ci gradually increased, and ci formally became one. However, at this time, the scope of literati's use of tunes is still relatively narrow. As far as the available materials are concerned, they usually use a limited number of tunes, such as Qi Yiling, Yi Chang 'an, teasing and Santai. But in terms of language, they began to introduce the language of modern poetry, writing exquisitely concise, delicate and gorgeous. In this way, the language, thoughts and feelings of literati poetry began to penetrate into ci, which gradually broke away from the original pure and sincere, simple and vivid but rough primitive state and formed a formal literary genre of literati. By the end of the Tang Dynasty, literary words described images and psychology with rich colors, gorgeous rhetoric and delicate techniques, forming an artistic style of fragrance, softness, density and concealment. This is a sign that literati ci tends to mature. word
Since writing, more and more scholars have begun to write ci. In the Five Dynasties and Ten Kingdoms period, it was even more popular to write lyrics by voice. Xishu and Nantang, which have the most developed economy and culture, have become two bases for poets to gather. Huajian Collection contains most of the words of poets in West Shu. Among the poets in Xishu, Wei Zhuang has the highest achievement; Li Jing, Li Yu and Feng Yansi are the most outstanding poets in the Southern Tang Dynasty. Ci reached its peak in the Song Dynasty and became a completely independent literary form, competing with poetic style. In the history of literature, Ci is called Song, which reflects the important position of Song Ci as a generation of literature. The mainstream of Ci in the Northern Song Dynasty is still following the late Tang Dynasty and the Five Dynasties, paying attention to the lyricism and musicality of Ci, such as Er Yan and Zhang Xi 'an. They deliberately refined, making the form of words richer, the language of words more refined, the artistic conception of words more profound, the style of words more delicate, especially the rhythm of words more delicate and harmonious. However, there were other poets in the Northern Song Dynasty, such as Su Shi and Liu Yong, who started with the style of ci and focused on the reform of it. In the early years of the Northern Song Dynasty, Fan Zhongyan's "Fisherman's Passion" and Wang Anshi's "Guizhixiang" were dripping, full of pen and ink, broad and desolate in tone, broad and tragic in realm, and depressed in feelings, which opened the prelude to the bold ci works represented by Su Shi and Xin Qiji. After that, Su Shi deliberately used some characteristics of ci in language form to express all kinds of life interests and feelings freely and smoothly. He not only wrote the content of "expressing ambition" that originally belonged to poetry into his words, but also applied the prose sentence patterns and words that had appeared in poetry to his words, enriching the content of his words and changing the formal skills of his words. In addition, before Su Shi, music was the life of ci, and the characteristics of music were more important than those of literature, so harmony and music were the primary conditions of ci. Su Shi liberated Ci from the framework of attaching importance to music for the first time, and initially separated Ci from music, making Ci become a literary genre first, not just a vassal of music, thus making Ci have an independent position in the history of literature. word
After Du Nan, poets wrote in different attitudes and ways on their own creative paths, which played different roles in the continued development of Song Ci. Li Qingzhao's Ci is the transition from the Northern Song Dynasty to the Southern Song Dynasty. Li Qingzhao personally experienced social changes from north to south, and her life experience, thoughts and feelings have undergone great changes. Correspondingly, the content, artistic conception, color and voice of her words have also changed, from bright and fresh to melancholy and deep sorrow, but the true colors of her words have never changed. Her creation set an example for poets in the Southern Song Dynasty to express new content in old forms. After the middle period, a generation of heroes Xin Qiji and Jiang Kui formed another prosperous period of Ci in Song Dynasty. Xin Qiji, in particular, not only represents the highest achievement of Ci in the Southern Song Dynasty, but also occupies a very important position in the whole history of China literature. The failure of Kathy's Northern Expedition was a turning point in the Southern Song Ci. At this time, the theme of ci creation is to lament the feelings of daily life and linger in the natural scenery, and the mood turns to sadness. But this is not just a return to tradition. After long-term development and many poets' explorations in many directions, Ci is facing another opportunity to sum up after absorbing the expressive techniques of poetry and prose. Poets in the late Southern Song Dynasty played a great role in this respect. Although they paid more attention to tradition, they also screened and sorted out the techniques of previous poets, and made a new summary in the form and language skills of words. Although their works are not strong enough and the realm is not open enough, they have made important contributions to the development of Ci. Although Yuan Ci inherited the legacy of the Song Dynasty, its achievements were unsustainable, but there were many poets, including many famous works. The creation of meta-words can be divided into two stages. The first stage includes the creation of poets born in Mongolia before the unification of Yuan Dynasty. Poets at this stage include Yuan Haowen, Lu Wengui, Zhang Zhihan and Liu Min. Because most of them have the experience of national subjugation and war, the most valuable part of their poems is to express their yearning for the motherland and the feeling of thorns and camels brought about by the change of the world. The second stage includes the works of poets born after the unification of Yuan Dynasty and before the death of Yuan Dynasty. The poets in this period are Yu Ji, Wang Xu, Zhang Yu, Sadulla and Zhang Jian. They were born after Kublai Khan's political reform and did not experience too many wars. Their main content is to explore the origin of luggage and praise the semi-hidden and semi-vulgar life. In addition, there are a considerable number of Taoist words in Yuan Ci, accounting for about one seventh of the total. This is closely related to the reclusive social nature of neo-Taoists in the Jin and Yuan Dynasties and the fact that Taoists often associate with intellectuals. The achievements of these words are not high either. Generally speaking, the number of meta-words that are perfect in thought and art is very small, and the whole creative situation is declining. Ci in Ming Dynasty is still in decline. But there are also some poets who are quite influential in the field of ci, leaving some excellent works. At the beginning of the Ming Dynasty, Liu Ji, Yang Ji, Gao Qi and others suffered political setbacks, and their ci became a school of their own, each with its own characteristics, and the legacy of the Song and Yuan Dynasties remained. After the middle of Ming Dynasty, the style of ci declined. Yang Shen, Wang Shizhen, Tang Xianzu and others have created many works, but they are not writers. By the time of Yang Shen's creation, there were many incongruities with the movement, which actually led Ming Ci astray. At this time, the creation of ci has gradually declined. At the end of the Ming Dynasty, due to social changes, it brought a glimmer of life to the creation of Ci. Chen Zilong and Xia Wanchun died in the Qing Dynasty. Chen Zilong's ci is full of coquettish meaning and profound implication. His early works are romantic and gorgeous, graceful and restrained, while his later works are tender and sad, natural and charming. He is the first person to change the style of ci, and can be said to be a master of Ming ci. Ci experienced the decline in Yuan and Ming Dynasties and prospered again in Qing Dynasty, which is closely related to the changes of the times. Traditionally, words and Sanqu are more relaxed, close to daily life and fresh in emotion than poetry. Compared with Sanqu, the words are more elegant, and the language of Sanqu is sharp, novel, vulgar and lively, close to spoken language. The decline of Ci in Yuan and Ming Dynasties was actually the result of Sanqu replacing Ci. The language style of Sanqu is not suitable for introverted and elegant literati in Qing Dynasty. On the other hand, although many styles of Qing poetry coexist, from the beginning of Qing dynasty, the trend of emphasizing learning and knowledge is obvious. This has also caused the defect of lyric function of poetry, which needs to be made up from other styles. The prosperity of ci is the compensation for poetry. The main poets in the early Qing Dynasty were Chen Weisong, Zhu Yizun and Nalan Xingde.
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The original name of the word is "Quci" or "Quci", and it is also called long and short sentences, songs, Quci, Yuefu, music movement, musical interest and poetry, with music as its companion. From the music point of view, it is the same literary genre as Yuefu, and it also comes from folk literature. Later, like Yuefu, Ci gradually separated from music and became a unique poetic style, so some people called Ci "poetry". Scholars' Ci is deeply influenced by metrical poems, so there are many metrical sentences in Ci. word
There are long words and short sentences, but the number of words in the whole article is certain. The level of each sentence is also certain Characters can be roughly divided into three categories: (1) poem; (2) alto; (3) Long tune. Some people think that words below 58 are minor, words between 59 and 90 are middle key, and words below 9 1 are long key. This method was imposed by the Ming Dynasty and unscientific. Song people divided ci into four categories: near quotation and slow quotation. However, this method also has the disadvantage of unclear classification. Simply put, the order is a minor order, the introduction and progress are equal to the middle tone, and the slow word is the so-called long tone. There are 60 pieces of Liang Zhu and 70 pieces of Jiang Chengzi, but they all belong to the spiritual ci of the Song Dynasty. Dunhuang Quzi ci has some medium-long tunes. Liu Yong wrote some long tunes in the early Song Dynasty. Su Shi, Qin Guan, Huang Tingjian and others followed closely, and long tunes became popular. The characteristics of long tunes, in addition to the large number of words, are that the rhyme is generally sparse.
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Topics added before words when predecessors wrote words. When the literary genre of Ci first appeared, the tone and theme of Ci were basically integrated. Later, the content of the word was gradually separated from the tone of the word, and the tone of the word was not enough to express the content of the word, which led to the addition of the word title, which began in the Song Dynasty. For example, Su Dongpo's "More Leak" (the name of the word), plus "Send Sun Juyuan", explains why this word was written, and this is the title of this word.
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The epigraph is the name of the word format. The format of words is different from that of metrical poems: metrical poems have only four formats, while words have more than 1000 formats (these formats are called music scores). People can't call them the first class, the second class and so on, so they are given some names. These names are epigrams. Sometimes, several formats share a epigraph because they are several variants of the same format; Sometimes, the same format has several names, just because the names are different. About the source of epigrams, there are three situations: writing.
It was originally the name of music. For example, Bodhisattva Man is said to be due to the tribute paid by the female country in the early years of the Tang Dynasty. They wear a high bun, a golden crown and garlands (garlands are jewelry worn on their bodies), like bodhisattvas. At that time, the teaching workshop was also divided into "Bodhisattva Manqu". It is said that Tang Yizong loved to sing the word "Bodhisattva Crossing the River", which was a popular song at that time. Xijiangyue, Fengru Song, butterfly lovers, Chaitoufeng, etc. All fall into this category. These are folk tunes. (2) Choose a few words from a word as an inscription. For example, Qin Yi E, because the first two sentences of the first word written in this format are "Xiao Shengyan, dreams are broken", so the epigraph is called E, also called E. Memorizing Jiangnan was originally named Wang Jiangnan, also known as Xie Qiuniang. But Bai Juyi has a poem praising "Jiangnan is good", and the last sentence is "Can you forget Jiangnan", so the epigraph is also called memorizing Jiangnan. Dream as a Dream was originally named Yi Xian Zi and later renamed Dream as a Dream, which was written by Zhuang Zong in the late Tang Dynasty. Niannujiao is also called no return to the river, because Su Shi has a poem "Niannujiao", and the first sentence is "No return to the river". It is also called "the moon on the Yangtze River" because the last three words of Su Shi are "the moon on the Yangtze River". (3) It is the topic of words. The lyrics of "Treading on a Horse" are about dancing, the lyrics of "Riding and Dancing" are about riding and dancing, Ai Naiqu is about boating, the fishing song is about fishing, the waves are about scouring the sand, the ball throwing music is about throwing hydrangeas, and the lost son is about the night. This situation is the most common. Where the epigraph is marked with "original intention", that is to say, the epigraph is also a topic, and there are no other topics. But most words don't use the original meaning, so there are prefixes besides epigrams. Generally, the topic is marked with smaller words under the inscription. In this case, the inscription has nothing to do with the inscription. A "Waves on the Beach" is not about waves or sand at all; A poem "Recalling Jiangnan" can also not talk about Jiangnan at all. In this way, epigrams are nothing more than music scores, and there are also rivers full of red, ugly slaves and selling flowers.
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The words are monosyllabic, disyllabic, trisyllabic and tetrasyllabic. word
No segmentation is called monotony, and segmentation is called two tones, three folds and four butterflies. Also known as "thin film" or "terbium". "piece" means "all over", which means that the music has been played once. "Kan" originally meant "happy ending". A monotonous word is often a poem. It's like a poem, but only a long and short sentence.
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Ci can basically be divided into two categories: graceful and unrestrained. Representative of graceful and restrained school: Li Yu. Yan Shu, Liu Yong, Qin Guan, Zhou Bangyan, Wu Wenying, Li Qingzhao, Nalan Xingde, Yan, Jiang Kui, etc. Representatives of the uninhibited school: Xin Qiji, Su Shi, Yue Fei, Chen Liang, Lu You, etc. Words (existing differences between elegant words and popular words)
In the Ming Dynasty, Xu Shi summed up the form of ci as follows: "The sound has a fixed frame, the sentence has a fixed number, and the word has a fixed tone." The style characteristics of graceful and restrained school: graceful, tactful and implicit. Graceful ci school is mainly characterized by its love for children. The structure is profound and meticulous, paying attention to the harmony of melody, the language is round, fresh and beautiful, with a gentle beauty and narrow content. The style of the bold school is characterized by boldness of spirit and unrestrained interest. The bold school is characterized by a wide range of disciplines. It not only describes the love between men and women under the moon, but also tends to integrate major themes such as military affairs and state affairs into ci, so that ci can reflect life like poetry. It is grand, magnificent, informal and straightforward, but not subtle and graceful.