Zhao Chongzuo compiled ten volumes of Hua Jian Ji in three years (940), and selected "Poet Qu Zi Ci" 18, with 500 poems. Wen Zhong, the author, heard that Yun Yun and Huang Fusong lived in the late Tang Dynasty and did not enter the Five Dynasties. Sun Guangxian was an official in Jingnan, Ning He was an official in the Later Jin Dynasty, and the rest were officials in Xishu. Huajian Collection is the earliest collection of literati ci. It represents the standardization of words in terms of meter, marks the further establishment of the characteristics of parts of speech in terms of diction, sentence formation, style and artistic conception, and lays the foundation for the future development of word style with the nature of its word set and literary examples.
Ouyang Jiong described the creative scene of the poets in West Shu in "Picking Inflorescences": "The son of Qi Yan embroiders beautiful women, hands flowers and leaves, and paints beautiful flowers; Hold the slender jade finger and pat the sandalwood. Don't be heartless, use it to help you become attractive. Since the Southern Dynasties Palace, it has advocated the wind of the north. "In this kind of life background and literary atmosphere, what you write is colorful words used in the song banquet, which is naturally beautiful and elegant. Huajian Ci completely turned its vision to petticoat powder, enchanting and romantic, and wrote about women's beauty and life, especially their inner life. Love can't leave without hurting spring. The scene is nothing more than a wedding banquet and a winding path in Fiona Fang. In addition, although I have also written about the experiences of men and women in the outing, Chun Qing, a female Taoist priest, and the bitterness of maids, etc. The center is still the love between men and women. Adapting to this state of mind is prosperous, soft and gorgeous in art. The so-called "carving jade and carving jade" is skillful in chemical industry. Cut clothes and leaves, seize the beauty of spring and strive for freshness "(Introduction to Flowers). Advocating sculpture and pursuing verve, it is full of the taste of fat powder. Although the specific authors of Huajian Ci are different, they are generally the same.
Wen ranked first in the flower collection, with 66 works selected. He was the first person who tried to write lyrics. He has been in and out of Chu Museum for a long time, and "it is a kind word to be able to play this sound one by one". He combined Ci with Ci in the Southern Dynasties and Ci in the Northern Dynasties to advocate the wind and became the originator of Huajian School. The style of diction is not single, and there are some descriptions with wide boundaries, such as "Ruyan Liu on the river and geese flying in the sky" ("Bodhisattva Man"); There are also some works that are fresh, sparse and even popular, such as "Jiangnan Dream": "Wash and dress, and lean on Wangjianglou alone. After all, Qian Fan is not here, the oblique light is full of water, and Baiping is heartbroken. " However, in general, the activities of the literary heroes are generally confined to the boudoir, and most of their works are colorful and delicate, and their density is vague. Such as "bodhisattva man":
The mountains overlap, and the clouds want to smell the snow. Lazy painting and slicing, late makeup and washing. Look in the mirror before and after the flowers, and look at the flowers. Newly embroidered rollo, both golden partridges.
A series of charming and casual modes such as sleeping, being lazy, thrusting, looking in the mirror, dressing and so on, as well as the furnishings, atmosphere and rollo embroidered with partridges in the boudoir are displayed one by one, which gives people the stimulation of senses and impressions one after another. It does not clearly express the feeling of beauty, but only vaguely reveals a sense of emptiness and loneliness. From the beginning, this kind of works of Wen can be said to be the most popular. Its artistic characteristics, first of all, are not expressed in lyricism, but in sensory stimulation. It describes women and their living environment with rich and colorful words, attracting the senses, like a beautiful picture of a lady, with decorative characteristics similar to handicrafts. Due to the appeal to sensory intuition, the internal meaning of language mainly depends on hints, which is deep and implicit.
Wei Zhuang, a poet in Western Shu, is as famous as Wen. The Collection of Flowers contains 48 poems by Wei Zhuang. Wen and Wei are good at writing poems at the same time, and Wei Zhuang is deeply influenced by Bai Juyi, which is different from Wen's distant Qi Liang and his near teacher Li He. Wei Ci, like Huajian Ci, has the characteristics of charm, softness and lightness. For example, "don't be melancholy at night in the red chamber, and the incense lamp is half fringed." . When the waning moon rises, the beauty tears (the first part of Bodhisattva Man), which is beautiful and touching, gentle and touching, is a typical flower style. However, Wei Ci is different from Wen and others because of its clear brushwork and straightforward lyricism. Although the objective description of Wenci may contain depression and frustration, it is vague and only evokes deep association with beauty. Wei's ci is straightforward. Images in literary words come and go, and one or two sentences can contain multiple meanings, while Wei Ci is leisurely around one thing. The literary words are dense and the Wei words are sparse, the literary words are carved and the Wei words are natural. Such as "The Female Crown":
April 17 is today last year. When you left your husband, you were in tears and your eyebrows were half closed with shame. I've been heartbroken since we broke up last time. Now I can only meet you in my dream. My love, except the moon in the sky, who knows?
Recall an awkward parting with your lover. Blurt out, write directly and clearly with line drawings, and hint at overlapping images without hesitation. It's really touching and vivid.
The lyricism of Wei Ci is both deep and soft. "It seems tall and elegant, but also vivid and gloomy" (Chen Tingzhuo's "White Jade Zhai Thorn") has achieved the effect of complementary opposites. For example, the second chapter of Bodhisattva Man:
Everyone says that Jiangnan is good, and tourists should stay in Jiangnan until they are old. The spring water is greener than the sky, and tourists can sleep on the boat listening to the rain. The women selling wine in Jiangnan restaurant are all very beautiful, and their arms exposed when selling wine are as white as snow. Don't go home when the light is not fading. It must be extremely sad to go home.
The whole article focuses on rendering the intoxicating Jiangnan from two aspects: scenery and characters. However, at the beginning, "everyone said their own words", pointing out that "Good Jiangnan" came from other populations, paving the way. At the end, "don't go back to your hometown before you get old", with the words of inheritance, turned over and fell out of the sigh that "going back to your hometown will break your heart". It implies that there is a war in the Central Plains and it is difficult to return home. External forces are straightforward, but they contain twists and turns.
Other writers in China have also expanded their subjects. Such as Ouyang Jiong and Li Xun's description of southern Xinjiang:
This road enters the hinterland of Lingnan, and the Polygonum hydropiper beside the water is purple and red, reflecting dark green brown leaves. After a light rain, every household went to pick red beans, delicate hands and a pair of white jade under the tree.
(Ouyang Jiong's Nanxiangzi)
At the meeting place, on a sunny evening, Erythrina walked off the stage. Looking back, I was deeply interested, leaving a pair of greens riding elephants and carrying people first.
Through the water
(Li Xun's Nanxiangzi)
Both poems show the scenery and customs of Lingnan area, which are beautiful and fresh. Even in five-character and seven-character poems, it is rare. The erotic elements in these words are still conspicuous, which is also very suitable for the needs of the Song banquet at that time.
Section 3 Li Yu and Other Southern Tang Poets
Li Yu's lingering ci style in Feng Yansi of Southern Tang Dynasty
The rise of Ci in Southern Tang Dynasty was slightly later than that in Western Shu. The main poets are Feng Yansi (903 ~ 960), Li Jing (9 16 ~ 96 1) and Li Yu (937 ~ 978). In the Southern Tang Dynasty, the monarch and ministers indulged in debauchery, which was similar to that of the Western Shu, but with higher cultural accomplishment and more elegant artistic taste. Therefore, from Huajian Ci to Nantang Ci, the atmosphere has obviously changed.
Feng Yansi's ci is in the middle, and his works rank first among the five pronouns. Although his ci is still based on lovesickness, it no longer focuses on women's looks and costumes, nor is it limited to specific plots, but focuses on expressing the mood and mood of the characters, causing many inspirations and associations. For example, Golden Gate:
The spring breeze suddenly started and blew out a pool of clear water. Nothing was done. The believers in the pool folded the apricot flowers and crushed them gently on the path among the flowers. The duck-fighting bar is independent, and the jade head falls obliquely. He missed his sweetheart all day, but he never came back, and suddenly he heard a magpie calling.
Although a woman has always been written in my mind, there are also some specific plots, but women's psychology of suffering for others is concentrated in words, but it is not limited by boudoir or specific personnel. Feng Yansi also has some words, even has nothing to do with the specific situation, but expressed a state of mind:
Who knows how to throw leisure a little longer? Every spring comes, melancholy remains. I don't care whether I look thin in the mirror or not. Why do willows on the green and black embankment by the river worry about new things every year? The independent bridge is full of sleeves, and Lin Ping returns to the new moon. ("Magpie Tread")
In vain, I wrote a kind of melancholy feeling of self-loss, without relief, and the specific content and reasons of depression, if hidden, were left to the reader to imagine. Feng Yansi is an official, addicted to pleasure and mediocre in politics. It is not credible to say that his words "A sage and a gentleman can't do whatever he wants" (Zhang Caitian's Preface to Datura A3), but at that time, the Southern Tang Dynasty was threatened by the Zhou and Song Dynasties and was in jeopardy. Feng Yansi himself has been repeatedly condemned in factional struggles, and it is inevitable that he has a sense of hardship. His writing of this typical state of mind is caused by the author's whole environmental experience and ideological character, which provides readers with a broad imagination space, much wider than Huajian Ci. Wang Guowei said: "Although Feng's ci has not lost the wind of the Five Dynasties, it is extremely huge." He not only created the ci style in the Southern Tang Dynasty, but also influenced poets such as Yan Shu and Ouyang Xiu in the Song Dynasty.
Four poems by Li Jingcun, a master of Southern Tang Dynasty. The sense of hardship contained in Ci is deeper than that of Feng Yansi.
The fragrant lotus leaves are withered, and the west wind worries about the green waves. With the light * * * gaunt, ugly. The chicken is far away in the drizzle dream, and the small building blows through the cold. How many tears hate, lean on the bar. ("Huanxisha")
The withering of beautiful things and the cold of the environment stand out. This kind of anxiety, set off by the broad background of "Han" and "Yu Sheng" and elegant and clean things, is more solemn than the sudden self-loss, and is closer to the sadness of Li Yu's later "Spring comes in bloom in the forest" and "Luo Yi can't stand the cold for five days".
Li Yu, whose word is Shigemitsu, was the heir of the Southern Tang Dynasty at the age of 25, and was captured by Song Jun at the age of 39. He lived in Bianjing for three years and was poisoned by Song Taizong. Today, there are more than 30 words He is versatile and has high attainments in poetry, painting, calligraphy and music. Although his ci is different in theme and content, it has its consistent characteristics in both the early and late periods, that is, "truth". This poet, who was born in the palace and grew up in the hands of women, has a shallow understanding of the world and has always maintained a relatively pure character. Between the lines, a person's true feelings are revealed and poured out, without rational restraint. Later, I wrote about the pain of national subjugation, and my blood and tears touched my feelings. In the early days, I wrote about the feeling of enjoying life in the court, and made no secret of my addiction and intoxication, such as Lou Yuchun:
Early morning makeup, clear muscles and snow, moths in the spring temple filed. The flute broke the water, and the song "Nishang" was played again. Who smells better in the wind, drunk. Don't dye the candles red when you come back, until you step on a horseshoe to clear jathyapple.
The true colors and true feelings of Li Yu's ci are highlighted in three aspects: first, he truly wrote his own misfortune of national subjugation and genocide with blood and tears, which was touching; Second, true colors are not carved, but spoken and painted. Although the word is beautiful, it is beautiful, not by decoration, not by words; Third, there is a lack of rational temperance because of pure feelings. After his national subjugation, he did not calm down and introspect himself, but realized the impermanence of life: "How can we avoid the sadness of life?" "There is no choice but to come to the cold rain and the evening breeze?" "Naturally, people grew up in the East and hated water." He summarized the painful experience of his country's demise and family's death, gained a wide range of forms and meanings, and led to the experience and examination of tragic life in the universe. Wang Guowei said: "Ci became a scholar-bureaucrat's ci by the last master, and his vision began to broaden and his feelings began to deepen." ("Words on Earth" XV) It is precisely because Li Yu, with his innocence, felt deep and extensive human sorrow such as "people grow up to hate" and "the past has become empty", so his love is deeper and wider than other poets in the Southern Tang Dynasty, such as:
When is the spring flower and autumn moon, how much is known about the past. The small building was easterly again last night, and the old country could not bear to look back on the bright moon. Carved fences and jade bricks should still exist, but Zhu Yan changed them. Ask how much sorrow you can have, just like a river flowing eastward.
(Yu Meiren)
The poem reveals the thoughts of the old country unabashedly, integrates the pain of national subjugation with the grief of impermanence, and expands the long-lasting sorrows such as "the past", "the old country" and "Zhu Yan" to a very profound and extensive extent. A person's unyielding sadness naturally converges into a scene of "a river flowing eastward", forming a strong appeal. The famous Langtaosha is also about his unbearable and infinite thinking about the prisoner's life:
The rain outside the curtain is gurgling, and the spring is fading. Allred-rochow is too cold to stand. I don't know if I am a dream guest, but I am insatiable in one day. Don't lean on the bar alone, it is infinite. It's easier to see when it's not. Running water is gone, and spring is gone.
From the real feelings of life, express the deep sorrow and great pain. "Running water is lighter than spring", and beautiful things cannot grow forever; "When it is different, it is easy to see", which has expanded into a universal life experience. It is also extremely profound and extensive, and can cause extensive * * *.
The Southern Tang Ci has made great progress in realm and meteorology, but its style is lingering. Feng Yansi's Magpie Tread (who cares about leisure) is full of melancholy and hard to get rid of. Not only suffering from "leisure", but also declaring "not afraid to look thin in the mirror" in a regretless tone, going back and forth in circles, euphemistically and incisively. Li Yu's "Young Beauty" (Spring Flowers and Autumn Moon) expresses deep sorrow by comparing it with transient personnel again and again, just as Chen Tingzhuo said, "Tears are full of blood" (Volume I of Shao Yunji). Waves on the Sand (the sound of rain outside the curtain) is about the ideological activities after the dream of Wu Geng, which is bitter and lingering. "Night Cry" says: "If you have nothing to say, go to the West Building alone, and the moon is like a hook. Lonely phoenix tree deep courtyard, lock clear autumn. Cutting is still messy, which is parting from sorrow. Especially the general taste is in my heart. " Avoid reality and be empty, and take care of the god who is compassionate. It is also a metaphor for sadness with the hemp of "cutting constantly, reasoning is still chaotic". It's hard to say, and it's really heartbreaking and touching. The advantages of Southern Tang Ci are relatively open realm and deep emotion.