1, Dunhuang Quzi Ci
As a new poetic style, Ci first spread widely among the people. To be sure, there were certainly many words circulating among the people at that time. Unfortunately, for various reasons, the vast majority of folk words have died out. 1900, by chance, hundreds of copied folk words were found in Cave 288 of Mingsha Mountain in Dunhuang, which provided extremely precious materials for studying the development of lyrics and songs. Dunhuang Quzi Ci has been compiled: Wang Zhongmin's Collection of Dunhuang Quzi Ci, 164; Zong Zhen's Dunhuang Qu, 3 18 characters; Ren Erbei first compiled Dunhuang Quxuelu, and other folk songs, such as Biography of Wugeng, were expanded to 545. After Ren Erbei, he compiled a collection of Dunhuang Lyrics, which was expanded to include 1 200 songs for all musicians. But generally speaking, people who talk about Dunhuang Quzi Ci still focus on those Quzi Ci whose names are adjustable and conform to the style of Ci, that is, Wang Zhongmin's Quzi Ci is taken as the research object to distinguish it from Yuefu Ci and other folk songs. As far as Dunhuang folk words are concerned, their contents are quite extensive. Among them, "there are moans of wanderers, brave words of loyal ministers and righteous men, and joy and happiness of hermits;" The eagerness and disappointment of young students, as well as the praise of Buddha and the singing of doctors, are all in tune. Less than half of people talk about their feelings and flowers. " (See Wang Zhongmin's Dunhuang Quzi Xu Ci Recorded Collection), among which the most prominent is the work praising patriotic unity. For example, Bodhisattva Man (The Great Masters of Dunhuang Dynasties) and devotion to loyalty (Good Life and Death). These words show the sufferings of the people in the border areas after the "An Shi Rebellion" and their eager desire for the prosperity of the country and the unification of the Tang Empire. In addition, some folk words also reflect the travel conditions and hardships of businessmen's wanderers, the love life and the desire for a happy life of singers and dancers, and some words also express the boredom of couples in unjust wars, and so on. The existing Dunhuang Quzi Ci not only has a wide range of themes and rich contents, but also retains the simple and fresh characteristics of folk works in art and has diverse styles. It is this kind of folk discourse circulating in the lower class that nurtures the literati and promotes the creation and development of literati ci. At the same time, among the Quzi Ci found in Dunhuang, there are still some long tunes that are rare among the existing literati Ci in Tang Dynasty.
It is worth noting that the best and most written works in Dunhuang Quzi Ci are still about the love between men and women. The lyrics sung by popular Yan music in public and private banquets are inevitably influenced by the creative environment and atmosphere, showing a general creative tendency, that is, talking about eroticism between men and women and drinking to entertain. As you can imagine, young singers who sing a ditty to cheer up the wine will suddenly sing "I was born useful, spinning a thousand silver, come back!" " Let's slow down the song "Supreme King, Yao and Shun, and then make the customs pure", a little heavier and dignified. How incongruous it is with the surrounding atmosphere, it will definitely spoil the scenery. At this time, if you sing erotic tunes to help you get drunk, it will be in harmony with the atmosphere. Therefore, in Dunhuang Quzi Ci, although less than half of the words express their affection for women, they are the most frequently expressed. If we make a classified summary of Dunhuang Quzi Ci collection, we can find that lovers and lovers' works account for more than one third, accounting for the largest proportion. Citizens like to talk about flashy topics. The creative tendency of Dunhuang Quzi Ci from the beginning catered to their appreciation interest and aesthetic habits. This kind of work is also the most vivid artistic achievement. Take two words for example:
Tears wet on Luo Qi, and the teenager is more grateful. At the beginning, my sisters clearly knew that they should be more sincere than him. I think about it. I don't know how to smell it, okay? ("throwing the ball")
Looking out of the window, the hazy moon is like a piece of silver. The night is getting longer and longer, and the wind is getting tighter and tighter, blowing away the clouds that circled the moon for slaves and seeing ungrateful people. ("Looking at Jiangnan")
Throwing Ball Music is a "confession" of a prostitute in a brothel, which describes a woman's experience of being played and abandoned, as well as her inner pain and regret afterwards. She regrets her sincere efforts and that she didn't listen to her sisters' kind advice, which is profound and touching. Only these people can tell the truth of their feelings, the incisive taste and the pain of meaning. "Looking at the South of the Yangtze River" is also a song of complaint in the boudoir. At the thought of "ungrateful people", you can't restrain your inner bitterness. "Heartbroken, affectionate woman" is a common theme of ancient people. This word is novel and unique in conception, which increases the artistic expression of lyric, which is the charm of folk songs.
Dunhuang Quzi Ci, as the initial form of Ci, is also obviously different from the lyrics formed later. The characteristics of its initial form can be summarized as six points in Mr. Wu's General Theory of Tang and Song Ci: inter-line, indefinite number of words, eclectic, indefinite, multi-person reciting the original intention of the topic, and rich and diverse forms. At the same time, in artistic expression, many works are too vulgar and rough, which often makes people unbearable. The pearl of Qu Zici is still buried in the sand and needs to be excavated, wiped and polished by literati.
2. Literati Ci in the Middle Tang Dynasty
In the process of folk circulation, the lively form, distinct rhythm and colorful musicality of Ci are not only loved by the broad masses of lower classes, but also inevitably attract the attention of the broad masses of literati. Literati may have written lyrics by voice long ago. Some people think that the earliest extant literati poems are Li Bai's Bodhisattva Man (a lonely forest woven like smoke) and Qin Yi E (Xiao Tun). In the Song Dynasty, Huang Sheng thought these two poems were the "ancestors of one hundred generations of lyrics and songs" in Selected Poems of Tang and Song Dynasties. But most people think that these two words are forgeries, and there is no conclusion so far. The conclusion is as follows: In the early Tang Dynasty, both folk and literati began to create "Qu Zi Ci", which was accepted by the academic community.
In the middle Tang Dynasty, more and more writers wrote lyrics. Among them, Zhang, Wei, Liu Yuxi and Bai Juyi are all famous. Zhang's "Fishing Songs" ("Egrets fly in front of Mount Cisse, peach blossoms flow and mandarin fish are fat. Green bamboo hat, green hemp fiber, oblique wind and drizzle don't have to go back. ") has a greater impact. Its writing is beautiful, its description is vivid and it has the flavor of folk songs. The image and interest of the fisherman in the poem is actually a hermit who escaped from the dirty officialdom. Therefore, this word is greatly appreciated by scholars. Wei Wuying's "teasing" ("Huma, Huma, let's go down the mountain. It glided on the sand and snow, whining alone. It stopped to look at the east, looked at it and found itself lost. Lost, lost, the grass grows and the warbler flies. " ) Writing the scenery of the northwest grassland, the weather is open, picturesque, and the style is vigorous, which is different from the general ci style at that time. Bai Juyi and Liu Yuxi were great poets who wrote more poems in the middle Tang Dynasty. Bai Juyi's "Recalling Jiangnan" ("Jiangnan is good, the scenery is old. When spring comes, the sun rises from the river, the flowers on the river are brighter than red, and the green river is greener than the blue grass. Can you not remember Jiangnan? ) depicts the beautiful and charming natural scenery in the south of the Yangtze River and shows his love for the rivers and mountains of the motherland. His style is fresh and lively, and it is widely spread. When Liu Yuxi was in Luoyang, he also sang with the tune of "Recalling Jiangnan" and noted: "He Letian's Spring Poetry is based on the tune of" Recalling Jiangnan ". The proposal of "taking music as a sentence" sums up the experience of lyrics with music in Tang Dynasty, and consciously improves the writing of lyrics to a new stage of lyrics with sound. The great development of the creation of five pronouns in the late Tang Dynasty is also the inevitable result of the accumulation of experience in the creation of ci in the middle Tang Dynasty and the theory of "taking music as a sentence".
The creation of literati ci in this period is the result of learning from folk songs. Therefore, it still maintains the natural charm and clear characteristics of folk songs. From the early Tang Dynasty to the middle Tang Dynasty, the creative situation of "Quzi Ci" was relatively calm. Since the mid-Tang Dynasty, Bai Juyi, Liu Yuxi and others have rarely responded to the saying that "taking music as a sentence". On the one hand, the creation of Tang poetry at this time is heading for the peak, leading the way in the literary world; On the other hand, since the early Tang Dynasty and the prosperous Tang Dynasty, the ethos of scholar-officials actively using the world is not in harmony with the elegant and low style of Qu Zi Ci, and the social environment suitable for the growth of Qu Zi Ci has not yet appeared.
3. Literati Ci in the Late Tang and Five Dynasties
The late Tang Dynasty and the Five Dynasties were the first climax of lyrics creation in China's ci history. Five Pronouns in Tang Dynasty edited by Lin, 1 147 words; Five Pronouns in Tang Dynasty, edited by Mr. Zhang Zhang and others, contains more than 2,500 works; The Five Pronouns of Tang Dynasty compiled by Zeng et al. has a total of 264 words1word (65438 in the original edition and 678 in the supplementary edition), of which 689 are in the original edition. It can explain the prosperity of lyrics creation since the late Tang and Five Dynasties.
The late Tang Dynasty and the Five Dynasties were a period of great social chaos, with warlordism and frequent wars, and the vast Central Plains region was in dire straits. On the other hand, however, the rulers live an extremely luxurious and decadent life. After the sudden death of Xianzong, the power to abolish the emperor was in the hands of eunuchs. Emperors Mu, Jing, Wen, Wu, Xuan, Yi, Nuo and Zhao were all supported by eunuchs to succeed to the throne. In order to control the emperor and state affairs, eunuchs deliberately set mediocre people to inherit the throne and guide them to entertain themselves. It was because of playing polo with eunuchs that Tang Muzong fell ill and died. His son Jing Zong was in office for three years, but the same game was extravagant and the intimate group was small. Finally, he got drunk with eunuch Liu Keming and general Su Zuoming. Living a more luxurious life, he said in Historical Records: "Li's death depends on this." Zong Yi likes music parties. "There are nearly 500 musicians in front of the temple, and there are more than one banquet per month 10. Land and water are ready. Listen to optimism, give thousands of gifts, and never get tired of listening. " (Zi Jian, Volume 250) The youngest son, Zong Yi, succeeded to the throne as a Norse Sect. Lured by eunuch Tian, he is fond of gambling and good at cuju, cockfighting and hitting the ball. He even said to the wild boar in Youlingshi: "If I want to hit the ball and treat it as a scholar, I must be a champion." (Zi Tongzhi Jian, Volume 253)
The self-indulgence of the emperor and the court induced the transfer of social atmosphere. From the central to the local, the pursuit of debauchery has become a common behavior. At the same time, with the decline of the Tang empire, the political ideals of the scholars were disillusioned, and they could not see the prospect of their official career, which further urged them to retreat to the narrow circle of their own lives, eat and drink, and kill time with beautiful women. The style of poetry in the late Tang Dynasty tends to be beautiful, showing an artistic style similar to that of Ci in the late Tang Dynasty. Wen is a famous poet as famous as Li Shangyin and the originator of Huajian Ci. This series of aesthetic phenomena with the characteristics of the times is closely related to the changes of social environment since the middle and late Tang Dynasty. That is to say, since the middle and late Tang Dynasty, the arrogant and extravagant world style has provided a good opportunity for the maturity of Qu Zi Ci, and finally promoted the formation of euphemistic and romantic stylistic features in Ci.
Five generations and ten countries, "you sing and I will appear." In this chaotic historical farce, most of the short-lived monarchs in the small court are short-sighted and have no political foresight. In addition to fighting bravely, they only seek sensual enjoyment and indulge in singing, dancing and drinking. After the Tang Dynasty, Zhuang Zong favored court officials, and even appeared black powder, and finally ended up in ruin. Wang Yan, the former ruler of Shu, and Meng Changjun, the latter ruler of Shu, are both famous emperors who are dissolute, shameless, fatuous and incompetent in history. Wang Yanyou boasted about his extravagant life in Drunk Makeup Ci, saying: "People who walk while walking are just looking for flowers and willows. Go wherever you go, and don't be tired of a golden cup of wine. " Li Yu, another gentleman of ten countries who made outstanding contributions to the development of Ci, was in a state of decline when he acceded to the throne in the Southern Tang Dynasty. Li Yu, unwilling to cheer up, indulged in the gentle countryside of debauchery and beauty day and night and paralyzed himself with debauchery. His writing also reveals a gorgeous and erosive life atmosphere. "Huanxisha" said: "The red sun is three feet high, and the golden stove adds incense to the beast. Red brocade lichens wrinkle every step. Beauty dances with golden hairpin, and wine smells bad. Don't listen to the flute and drums in the temple. " "Yu Zhai Chun" said: "There is snow in the early stage of evening makeup, and the temples are filed in spring. The flute broke the water, and the song "Nishang" was played again. Who smells better in spring? Drunk and exhausted. When you return, don't put out the candle until you set foot on the horseshoe to clear jathyapple. " These little emperors have closely combined their literary creation with their indulgence.
During the Five Dynasties and Ten Kingdoms period, the prosperity of the world continued to provide the most favorable environment for the development of Ci. At this stage, due to the geographical division, two groups, namely, West Shu Huajian poets and Southern Tang poets, gradually formed. Due to the relatively stable political situation in Western Shu and Southern Tang Dynasty, economic life even experienced temporary prosperity, which provided favorable conditions for the development of Ci. Because of the dangerous terrain, Xishu is called "one person defends it, and ten thousand people can't force it". Compared with the vast areas in the Central Plains, the situation is relatively stable and there are fewer war disasters. A large number of literati defected to West Shu, forming a creative group. Hua Jian Ji is one of the earliest ci collections in the history of literature. It was compiled by Zhao Chongzuo, the later Shu Dynasty, and was written in the third year of Zheng Guang (AD 940). 18 poets had a total of 500 words. Ouyang Jiong (a five-pronoun person, who was Shu in advance, then gave up his post as a Confucian scholar, Meng Zhixiang became prime minister, and finally fell to the Song Dynasty) once prefaced Huajianji, saying, "Carving gold and carving jade, using chemicals, is clever; Cut flowers and leaves, win the spring and compete for freshness. " "There is a banquet childe, beautifully embroidered, handing flowers and leaves, and pumping brocade; Hold the slender jade finger and pat the sandalwood. Not without clear words, but with a charming gesture. Since the Southern Dynasties Palace, prostitutes in the north have been incited, not just plain words. " These two paragraphs fully explain the characteristics and production process of the selected edition of Huajianji. It can be seen that it is no accident that the works describing lovesickness and the relationship between men and women occupy a considerable proportion in Flowers Collection. Of course, there are also some works that reflect the social features at that time, such as Sun Guangxian's Ding Xifan (riding in front of Luji Mountain) and Mao Wenxi's Ganzhou Times (autumn wind is tight), reflecting frontier life; Lu Qian-Yi's "Linjiang Fairy" ("Golden Lock Heavy Door Wilderness Quiet Garden") reflects the sadness of national subjugation; Li Xun's "A Cloud in Wushan" ("The Ancient Temple Depends on Teenagers") describes the sadness of Zhou Yun's departure; The ten poems in Nanxiangzi describe the scenery in the south of China, among which the works about life in Lingnan are particularly unique.
Among "Hua Jian Ci Ren", Wen Tingyun and Wei Zhuang have the greatest influence.
Wen was a famous poet and poet in the late Tang Dynasty. He did not belong to "Huajian" originally, but was called the originator of "Huajian" by later generations. There are as many as 66 poems in Huajian Collection. He is the first great poet in the history of China's Ci, with a unique artistic style. His words are insincere and insincere, and he can't finish talking. Later generations have different opinions on his ci. The reason for this is that his lyrics are deep in emotion, vague in artistic conception and difficult to understand. Such as "Bodhisattva Man": "The mountains overlap, and the clouds on the temples want to smell the snow on the cheeks. Lazy painting and slicing, late makeup and washing. Look in the mirror before and after the flowers, and look at the flowers. The new post embroidered Luo Luo, both of which are gold. " There is also: "the glass pillow in the crystal curtain warms your dreams and makes you dream." Miss acacia, the room is lukewarm, the incense burner is fragrant, and even the embroidered mandarin ducks are fragrant. Such an environment is unimaginable. The long and soft willow branches by the river, just sprouting, look hazy, like shrouded in a mist. The sideburns are red, and the Hosta has the upper hand. " It has such characteristics, and the previous explanations are quite different. The reason why his ci is obscure is that his ci mainly relies on the listing of famous objects and objective images, such as "mountain", "clouds on the temples", "fragrant cheeks", "crescent moon", "flower mirror", "embroidered Luo" and "golden partridge" in the previous pronouns. His ci poems have dense pictures, strong jumping and gorgeous words, which constitute a deep, implicit and colorful artistic style. Of course, the words are not all obscure works, and he also has some clear words, such as "Jiangnan Dream": "Wash and dress, and lean on Wangjianglou alone. After all, Qian Fan is not here, the light is full of water, and Bai Pingzhou is heartbroken. " But it is not the latter that represents the style and characteristics of words, but the words mentioned above. The feelings expressed in Wen's poems are all sensory and hierarchical, which is just a manifestation of his enjoyment of life. However, his practice of listing exquisite things and his feelings about boudoir "often coincide with the tradition of taking women as metaphors in China's classical poems". This not only provides a space for future generations to understand, but also provides another path for the development of ci. In the development history of Ci, Wen has made an indelible historical contribution. This is mainly manifested in the following aspects: first, through creation, the influence of ci has been expanded, the literary status of ci has been improved, and ci has become one of the new forms of poetry; Second, it opened up the creative road of ci, and formed the graceful ci school, which had a far-reaching influence on later generations.
Wei Zhuang lived in the rebellion of the late Tang Dynasty and the Five Dynasties. He was a scholar at the age of 59 and entered Shu at the age of 66. At the age of 72, Wang Jian of the former Shu Dynasty proclaimed himself emperor and became prime minister. He died at the age of 75. Wei Zhuang is not only a famous poet in the late Tang Dynasty, but also a famous poet in the Five Dynasties. In the history of Ci, Wen and Wei were both called, and some even classified them as one school. In fact, there are obvious differences between Wen and Wei. Wei Zhuang's ci is characterized by passionate subjective lyricism, showing a frank, earnest and simple style. Such as "Four Hometowns" ("Spring outing, apricot blossoms blow all over the head. Who is young and romantic? I'm going to marry him and spend the rest of my life together. Even if you are mercilessly abandoned, you can't be ashamed. ") and" The Female Crown Child "("April 17th, that was today last year, when I left you. Pretend to be low-faced with tears, and be ashamed and half-browed. ") and so on. His five famous poems, Bodhisattva Man, are also frank and open. Secondly, he said: "Everyone says that Jiangnan is good, and tourists only grow old in the south. The spring water is greener than the sky, so tourists can sleep on the boat listening to the rain. The hearth is like a moon, and the wrist is frozen with frost and snow. Returning home before you are old will break your heart. " Wei Zhuang changed Wen to express his feelings euphemistically and directly, which is quite different from the obscure judgment in the language. Wei Zhuang's Ci has a great influence on Li Yu, Su Shi and Xin Qiji.
Apart from Western Shu, another creative center of five pronouns is the Southern Tang Dynasty. There are 35 states in Southern Tang Dynasty, which were called great powers at that time. It relies on the natural barrier of the Yangtze River to keep a distance from the war in the Central Plains. During the war-torn period when small countries in the Central Plains conquered each other, the Southern Tang Dynasty did not suffer much war damage, but its economy developed. In this environment, the monarch and ministers feasted and enjoyed themselves, and each created his own, forming a group of poets in the Southern Tang Dynasty. Most of the works of poets in the Southern Tang Dynasty are the products of song and dance banquets. In the Northern Song Dynasty, Chen wrote a preface to Yangchun Collection, describing the creative environment at that time, saying, "When Jinling was in its heyday, there was nothing inside and outside, friends were close to the old, or when feasting, algae thought was often used as a new word for Yuefu, which made singers sing on silk and bamboo, so they invited guests to bid farewell." The lyrics created for "hospitality" in banquets must be personal and hedonistic, and the style must be relaxed, such as the two Li Yu ci poems quoted earlier. However, in the face of the strength of the later Zhou Dynasty and the subsequent rise of Zhao and Song Dynasties, the Southern Tang Dynasty was in danger, and the monarch and his subjects had a premonition that the inevitable end of the country was approaching day by day, but they were unable to revive it, resulting in a heavy sense of decline. Therefore, they seek spiritual sustenance and temporary escape in the banquet of singing and dancing, and that heavy sense of decline also permeates the creation of ci, which is obviously beyond the category of "flowers" The situation in Southern Tang Dynasty is different from that in Western Shu. No one wrote lyrics in the Southern Tang Dynasty, and there were not many surviving works. Only a few poets such as Li Jing and Li Yu had influence. Most of the poets in Western Shu are literati, while the poets in Southern Tang Dynasty are mainly emperors and ministers. Therefore, poets in Southern Tang Dynasty paid more attention to the fate of the country, even subconsciously.
Li Jing was the ruler of the Southern Tang Dynasty. He succeeded to the throne at the age of 28 (943) and was in office for 19 years. In the early days, he was able to expand the territory and expand the original 28 States to 35. But after the thirteenth year of Baobao (955), it was different. He became a vassal in Zhou. In the first year of ZTE (958), he went to court and proclaimed himself emperor, taking the country as his subordinate country. In the past six years, his situation has been very dangerous. Li Jing is brilliant, likes reading, and is surrounded by a group of civil servants. It's a pity that his works have been handed down so few times, with only four words, especially two famous poems, Tambu Huanxisha. The second cloud said, "The fragrant lotus leaves disappear, and the west wind worries about the green waves." Still skinny and ugly! The chicken is far away in the drizzle dream, and the small building blows through the cold. How many tears are infinitely hateful and dry up. "The feeling of associating the bleak autumn with Philip Burkart's farewell in the boudoir is unprovoked and profound, which Wang Guowei called" a feeling that many people are vulgar and beautiful "("Words on Earth ").
Feng Yansi was once a poet who lived in the world of poetry, but there were few cheerful songs in his poems. His works often reveal faint sadness and even deep sigh. He is good at expressing the sadness of the times with beautiful pen and ink. He should have realized that the country was bound to perish, but he could not get rid of its tragic fate. From an artistic point of view, Ci not only depicts the colorful objective image of Wen, but also directly expresses the inner feelings of Wei Zhuang's Ci. But because he wrote not only his own love songs, but also the lament of the rise and fall of his country, his words were more comprehensive and general. Such as "Magpie Tread": "Whoever has been in leisure for a long time, whenever spring comes, he is still disappointed. I often get sick before spending every day, but I don't care if I look thin in the mirror. Why do willows on the green and black embankment by the river worry about new things every year? The independent small bridge is full of sleeves, and Lin Ping Crescent returns. " It can be seen that these words are different from those of Wen and Wei Zhuang. This indicates that the five pronouns have made great progress after Wen and Wei in artistic conception and artistic techniques, and have exerted great influence on poets such as Yan Shu and Ouyang Xiu in the Song Dynasty. Wang Guowei said: "Feng did not lose the wind of the Five Dynasties, but the hall was very large, which opened the atmosphere of the Northern Song Dynasty." ("Words on Earth")
Li Yu is the sixth son of Li Jing, the founder of the Southern Tang Dynasty, and the last little emperor of the Southern Tang Dynasty. One year before Li Yu ascended the throne, Zhao Kuangyin had established the Song Dynasty regime in the Central Plains. During the reign of 15 years, Li Yu continued to implement the policy of his father Li Jing and surrendered to Duke Nan of Song Dynasty in an attempt to maintain peace. Of course, this is a broken dream that is doomed to be shattered. In the eighth year of Song Taizu Kaibao (AD 975), the Southern Tang Dynasty destroyed the Song Dynasty, and Li Yu was captured. He was a prisoner in Bianjing for three years and was poisoned. Li Yu's early poems mostly describe the court life of indulgence and enjoyment, and the style is fragrant. Some of these works can't hide their sadness and heaviness. Qingpingle said, "Don't come in the middle of spring, it will be sad. The order of autumn may be like snow in the snow, brush it off and then flow down full. Hongyan has flown back, the journey is far away, and the dream is hard to come true. Hate is like spring grass, and you are still alive as you go further and further. " The style of these words is similar to that of Feng Yansi, and there is an irretrievable sense of decline. After the national subjugation, the little emperor became a prisoner, unable to protect himself, with great feelings and sad tone. In real life, he has to wear a mask to deal with the outside world, but in the art world, he is extremely sincere. Life has changed too much, the inner gap is also great, and the pain experienced is extremely profound. When this personal pain is associated with the experience of national destruction, it has a fascinating artistic charm. Therefore, Li Yu's later works are rich in artistic conception, profound in emotion, full of strength and strong in appeal. Take two words for example:
When is the spring flower and autumn moon? How much do you know about the past? The small building was easterly again last night, and the old country could not bear to look back on the moon. The jade carving should still exist, but Zhu Yan changed it. Ask how much sorrow you can have, just like a river flowing eastward! (Yu Meiren)
The rain outside the curtain is gurgling, and the spring is fading. Luo Zhou can't stand the cold. I don't know if I am a dream guest, but I am insatiable in one day. Lonely, not relying on fences, infinite mountains and rivers. It's easier to see when it's not. Running water is gone, and spring is gone. ("Langtaosha")
Li Yu's poetry style is natural, and he can experience, observe and reflect the life he feels with the feelings of ordinary people, so it can resonate with readers. His ci, with clear pronunciation and mellow voice, beautiful sentences, ingenious, pure and concise, good at painting, without carving or whitewashing, just reflects the true nature of the poet. Li Yu had a great influence in the history of Ci. Although predecessors thought that Li Yu's ci could not be restrained, the artistic conception, frank lyricism and elegant and unrestrained style of his ci were not limited to the word "graceful". His influence on later generations is not only graceful poets, but also writers who are famous for their bold poets, such as Su Shi and Xin Qiji, all of whom are influenced by Li Yu to varying degrees.
From Wen to Li Yu, the creation of Ci changed from deep and obscure feelings to direct expression of the pain of national subjugation. Words are rich in content, varied in techniques and mature in art. Therefore, the pronouns in Tang and Five Dynasties not only created conditions for the development of Song Ci, but also made artistic preparations, and also won the love and praise of later readers.