Liu Yong was born in Bai Yi Xiang Qing Dynasty (about 987- about 1053) and Chong 'an (now Wuyishan, Fujian). Poet of the Northern Song Dynasty, one of the most representative figures of graceful and restrained school, his masterpiece Yulinling. Formerly known as trilateral, the word Jingzhuang. Later renamed Yong, the word Qing. Ranked seventh, also known as Liu Qi. He is a scholar in the imperial court, and the official is Yuan Wailang, so he is known as Liu Tuntian in the world. He called himself "Liu Sanbian, who wrote lyrics in sequence", devoted himself to lyrics all his life and called himself "the beauty in white".
Because of his bumpy career and poor life, he turned from pursuing fame to being tired of officialdom, indulging in the charming and prosperous urban life, and looking for sustenance in "leaning on the red and leaning on the green" and "singing lightly". As the first poet in the Northern Song Dynasty, Liu Yong is a great poet in the Northern Song Dynasty and occupies an important position in the history of ci. He opened up the field of ci and created many excellent works. He not only developed the theme of ci, but also produced a large number of slow words, developed narrative skills, promoted the popularization and colloquialism of ci, and had a great influence in the history of ci. Jing You is a scholar. He is a foreign minister. As a bohemian, he was down and out all his life. His ci mostly describes the city scenery and the life of geisha, and he is especially good at expressing the feelings of traveling and service. Ci is very popular, "there is a well to drink, and you can sing Liu Ci". Many chapters sang the pain of some down-and-out literati in the prosperous times with sad tunes, which was really touching. He also described the bustling scene of the city and the scenery of the four seasons, as well as other themes such as visiting immortals, chanting history and chanting things. Liu Yong developed the style of ci and kept more than 200 words. There are as many as 150 tones used, most of which are new tones that have never been seen before, and 78 of them are long tones and slow tones, which have made great contributions to the liberation and progress of Ci. Liu Yong also enriched the expression of ci. His ci pays attention to the structure of rules, the style of ci is clear, the language is natural and fluent, and it has distinct personality characteristics. He inherited Dunhuang music, wrote a large number of "slang words" in folk spoken language, and created Jin and Yuan music. Liu Ci also uses novel and beautiful tunes, which are full of charm, close to feelings and full of musical beauty. His ci was not only widely circulated at that time, but also had a great influence on later generations. He was the most accomplished poet in the early years of the Northern Song Dynasty, and he wrote the Collection of Movements.
Liu Yong's father, uncle and brother are all Jinshi, even his son and nephew. Liu Yong's own career is also bumpy. He was awarded the Jinshi background in the first year of Jingyou (1034), which has been nearly half a year. The lyrics are excellent and widely circulated. Only one volume of his works, The Collection of Movements, has survived to this day. Describe the hardships of travel, such as Ling and Klang Ganzhou. They sang unbearable parting and unforgettable memories with a serious attitude, which is very infectious.
Young Liu Yong wandered in Yanhua Lane. At the age of 5 1, Liu Yong finally went to Fujian, leaving behind "Boiling the Sea Song", giving deep sympathy to the people who cooked salt for a living at that time. In just two years' official career, his name was recorded in "Official Records of Country Names", which shows his talent in economic affairs. Unfortunately, due to his personality, he made rows of derogatory remarks many times, so he entered the wandering "floating life" and developed a preference for bleak scenery and autumn scenery. Liu Yong often compares himself with Song Yu, and he doesn't comment on it. Liu Yong was poor in his later years and died penniless. It was his geisha sisters who raised money for the funeral in the camp. After death, there were no relatives to pay homage. Every year in Tomb-Sweeping Day, geisha meet to pay homage to their tombs, and they are used to each other, which is called "Hanging Willow Seven" or "Hanging Willow Meeting".
The Liu family has been an official for generations. Liu Yong studied hard in his hometown when he was a teenager, hoping to inherit his family business and go from official to official. After finishing his studies, he went to Bianjing to take the exam, ready to make great achievements and try his hand in politics. Unexpectedly, Liu Yong, a romantic young genius in his bones, was attracted by the geisha in the brothel and completely forgot his political ideal. He spent all his days in the romantic field, became close friends with geisha in brothels, and wrote his romantic life into his own words:
"In recent days, my heart is steep. In Luo Qi, there is a person who can care about it. " "Know several conspiracy, Qin Lou drunk. I joined hands and fell in love with embroidered quilts. " (Changshoule) On this trip, he certainly didn't forget the goal of being a scholar, but he was "conceited and romantic", confident that he was "good at art" and "versatile and good at diction" ("Hitting the Indus"), and didn't take the exam seriously, so that he could get a scholar and a top scholar easily. He once boasted to his potential sweetheart that even if the emperor came to the porch to try it himself, he would "be the best in the world" ("Long Life"). Unexpectedly, when it was released, it fell out of Sun Shan. Frustrated and resentful, he wrote the famous work "He Tianchong" (Golden List), claiming to "tolerate superficial fame and change to shallow singing". Your prince won't let me be a scholar and an official. If I am not an official, what can I do? Isn't it the same honor to be all-powerful in the ci world? A talented poet is born in white.
On the surface, Liu Yong has contempt for fame and fortune and is a little rebellious. In fact, this is just a complaint after disappointment. I still can't forget fame and fortune in my bones. On the one hand, he said in Like Fish and Water that "fame and fortune, I intend to fight for it." Don't worry about right and wrong. On the other hand, he comforted himself by saying that "wealth is not decided by people, and it will be rewarded when the time comes." Therefore, shortly after the first defeat, he rallied and fought again.
In the early years of Renzong, the exam results have passed, but because the word "He Tianchong" spread to the Forbidden City, it was heard by Shang Minister. When Lin Xuan released the list, Renzong used the word "He Tianchong" as an excuse, saying that Liu Yong was politically unqualified and dismissed him, and instructed: "Why bother to be superficial?" (The Biography of Wu Zeng Gaizhai (Volume 16))
After another failure, Liu Yong was really angry. He simply called himself "Liu Sanbian, who wrote lyrics in sequence", and since then he has wandered freely between prostitutes' houses and devoted himself to the artistic creation of folk new sounds and new words. Unfortunately, in officialdom, on the contrary, Liu Yong, a talented poet, gave full play to his artistic talent in the field of ci creation. At that time, the musicians and singers in the workshop asked Liu Yong to write lyrics for them every time they got a new song, and then they could be handed down and recognized by the audience. Many of Liu Yong's new songs and words are the result of cooperation with teachers, musicians and prostitutes.
Liu Yong wrote lyrics for musicians and geisha in the workshop, let them sing in the karaoke bars of restaurants, and often got their financial support. Therefore, Liu Yong can survive in a workshop without much food and clothing. In the Southern Song Dynasty, Ye Luo's "Drunken Weng Tan Lu" Volume II said that "Qi Qing lived in Beijing and visited prostitutes in his spare time. Everywhere they go, prostitutes often give them gold materials. "Liu Yong earned a certain economic income by virtue of his popular literature and art creation, which marked the beginning of commercialization of literature in the Song Dynasty and set a precedent for the professionalization of talents engaged in popular literature and art creation later.