The Collected Sayings
Tang Min
Published by Shanghai University Press
Poetry and words, their birth first and one after the other, their forms are scattered, their content has always been a song, and their style is solemn and harmonious, so that it is not too much to call them a man and a woman. Indeed, many people agree with the nature of words, and on the whole, they tend to be feminine, especially the jagged sentence patterns, which are most suitable for the expression and performance of perceptual thinking, and are also used and used by the vast majority of women. Over the past thousand years, although due to the change of times, the expansion of themes and the personality of the lyricists, words have often moved closer to poetry, fu, and literature or even mutated, but this is not recognized by most people as the right body. It can be seen that for words, femininity is not an accidental metaphor, but an inevitable divine meeting, the beauty of which is that it is related to the mainstream word composition and word theory of the past generations, but it is not consistent and not so precise, which instead produces a certain kind of intentional and pleasing emotion, creating more words to appreciate words and even fill in the words. It must be noted that the feminization of words only refers to the combination of a part of a person's personality temperament and the general creative thinking of words, not to the individual gender and tendencies of people, nor to the specific content and style of the words, so soft and tough, gentle and strong, can be entered into words, can become good words, but there must be scattered imagery, jumping ideas, hidden song meaning and aesthetic appearance... That is, everything that is dominated and presented by feminine perceptual thinking is the temperament essence of words. If a person's personality temperament matches the temperament of the word, or a lifetime, or a moment, it must be the person closest to the word.
Ms. Tang Min loved words since childhood, and was intoxicated by them, but because of the world's hesitations, her fate was delayed, until her old age, she first tried to fill in the words, and in more than ten years, she made thousands of works, collected three volumes, and used words to pull herself back to the youth era, as if she had another life. This time, about 500 new and old works were compiled, and once again the various images and jumping thoughts were placed, "exhausting the state of personal life", named "self-talk", which was about to be completed. From "looking at the butterflies and clouds" to "stormy over the eaves", from "the small salary is difficult on a small fire day" to "the mirror is good to change the face", and then to "the weak crown Lang Feng wings, the marriage partner Gonglan boat." Evening sun and autumn leaves full of poetry notes", a large number of words in the book, can make people read her youth, youth, middle age and now, but I think it can be these four que "has passed the year of hurry" "Huan Xi Sha" as a representative work. Ms. Tang Min has reached the age of ancient rarity, and it is inevitable that the feelings of contrasting the past and the present will be frequent. When the same window meets, "as if the sound of the piano is passed on to the world, who plays in the dream"; when the old place is revisited, "because of the stone of the Pavilion Mountain, the pond is built to build a path back to the reed." Beauty leans everywhere to remember the lotus kaoru.". Ms. Tang Min is good at using household items and the scenery of the four seasons as her own reflection, so she depicts the scenery, always as if she sees her people, everywhere as in the present, and what she likes and dislikes, what she tends to avoid, all in it. When occasionally I saw old furniture, "camphor wood boxes, basswood boxes." Looking at The grace of Na's old clothes, the wind shakes like a pink rose"; when it comes to the Chongyang Festival, "the ancient ornaments of the stage are cute water sleeves, and the now simmered sugar porridge sings nursery rhymes." The old people worry about the begonia cake." The inevitable melancholy of old age is always whisked away and replaced by the living objects around them, just like the old pond is born every time due to the arrival of new rain. Ms. Tang Min is good at hosting things, among which the flowers of the four seasons and ordinary snacks are the most, the former has morning plum and late cherry blossoms, summer lotus autumn gui and rose tulips, the latter has spring rolls, chicken cakes, crab shell yellow, raw fried steamed buns, sake stuffed rounds and Nanxiang small cages, in the appreciation and depiction of things, there is an understanding and warmth of people, while injecting their own experiences and long memories into it. Some white depictions are sketched and refreshed, such as the middle sentences of "Long Day Summer, Mung Bean Rice Kernel Soup" and "A Few Leaves of Mint Fragrant"; some have exquisite layouts and exquisite words, such as the sentence "Spring Tree Spring Plum Spring Taste, Sauce Hoof Sauce Elbow Sauce Melon Strips" in "Huan Xi Sha Spring In Zhujiajiao", "Carry back a box of orange and red cakes"; some have a kind and humorous context, such as the middle sentence of "Painting Hall Spring Welcome" "The doorbell rings, and the kitchen in front of the hall is busy." First serve the lotus seed cinnamon ball soup, do not forget to add sugar." In addition to a large number of clear objects and life scenes, there are also many illusory dreams and melancholy moods, which are mostly missing deceased relatives, sadness about the beauty of the past, and palpitations of the pain of the past, such as the sentence "The Case of Qingyu , The Chest of Drawers" says, "Smoke fans are intrigued, dreams are returned, and they are stored in the cupboard." Ms. Tang Min was very happy in her later years, husband and wife love, children and grandchildren around the knees, just as the sentence in "Dotted Lips , Sandalwood Olives" is "astringent and sweet, just like life is long" and "taste jun, read poetry and books". This collection contains many inscriptions and travel words, Ms. Tang Min's husband is a painter, so her lyrics are inevitably very related to her husband's fine art works and style sketches, and the more closely related to the affection of the couple. For example, the honeymoon of "Qingyu Case • Every Year today" is reminiscent of the honeymoon, "still in love, the reeds are fluttering, and the painting inscription verses"; and the silver wedding commemoration of "Manting Fang , Thatched House is Also Warm", "Yellow and green years, coarse tea, vegetarian taste is particularly fragrant." Long hand in hand, nong er mo, chanting words", elegant and approachable, lyrical light and deep.
The character temperament of the word is exactly the choice of man. As mentioned earlier, Since Ms. Tang Min has completely combined her life experience with the situation of life with words, any fragmentary records and random depictions point to her very complete personality temperament. If personality is choice, then choice is also personality, so the process of Ms. Tang Min filling in words is also the process of knowing and growing each other. It should be added that in addition to the foregoing, in the feminine personality, spiritual purity is extremely important. Lin Daiyu is the most sincere and true personified image, Ms. Tang Min is the most beloved, not only repeatedly use the word "Xiaoxiang", but also filled in a que "Manjiang Hong, who is burying flowers", and Lin Daiyu's words in the god meeting, "the essence of the pure to how to come to the water, a pure land from the beginning of the appointment.". When she saw the TV audition program "Dream of the Red Chamber", Ms. Tang Min wrote "Fang Dust in the Grand View Garden." Jasper gold is feminine, difficult to imitate the eyebrows", believing that Dai Yu is "the body of the immortal grass and the pearl body, the scroll is the soul", and the contemporary "who interprets Lan Qin". From this, it is not difficult for readers to understand Ms. Tang Min's disgust and ridicule of the world, and the standard and care for ideals. Most of Ms. Tang Min's words are elegant, but there are also a few powerful works, most of which are issued for inspiration, such as "Nian Nu Jiao, Reading Dongpo Words< Chibi Nostalgia ancient >" and so on.
The literary nature of words is not innate. The lyrics were born of music and composed with songs, but from the beginning of the Ming Dynasty, the music was gradually lost, and the words began to be stripped away, until they were completely independent and became a separate genre. In short, a thousand years ago, "relying on the sound to fill in the words", and now it is "filling in the words according to the card". The so-called cards, which roughly point to the rhythm of words, are almost nothing to do with music. It has been argued that contemporary fillers should still determine the tone of the words according to the tune of the wordboard, which is reasonable, but the disconnect between words and music makes it at most partially fulfilled and difficult to say accurate. In my opinion, in the current situation that the word plate and the music have been separated for a long time and cannot be glued again, the filler can neither reproduce its musicality, but only increase its literaryness. This is also the goal and main value of the words filled in by people from the Ming and Qing dynasties to the modern and contemporary people. This is certainly a big regret, but it is also a big opportunity - the filler is no longer a secondary creation attached to music, nor is it a so-called poetry, but an independent style dominated by feminine creative thinking and with the characteristics of cultivating aesthetics, and it is a special kind of "grammatical poetry" that contemporary people borrow from the form of ancient times and think about the present.
The niche status of words is of course the most so. The Dunhuang song lyrics "There are the groans of the wanderers of the border guests, the strong words of the loyal and righteous soldiers, the pleasant and joyful aspirations of the hidden gentlemen, the eagerness and disappointment of the young students, and the praises of the Buddhas, the songs of the doctors" (Wang Chongmin), indicating that in the early days, "the military generals of the wenchen, the chieftains of the envoys, the doctors and craftsmen, the merchants and the le people, the maids, the recruiters, the complaining women... There are no words" (Ren Erbei). In the millennia alone, the word has changed from a folk slang minor tune to a drunkard's after-pleasure writing, to an artist's playing song, to the scribe's entrustment, during which time the word has continued to become niche, until now. In fact, after the Song Dynasty, whether it is associated with le or separated from le, the word has passed its heyday, that is, the era of popularization. The development of the times is irresistible, the social aesthetic is difficult to change, and "the literature of one generation after another" is the fundamental reason why today's people are inferior to the ancients. However, the advantage of today's words is that while admiring her most beautiful portrait, you can use her posture and imitate her clothes, although it cannot become popular again, it is still so beautiful, so beautiful than the present. In my opinion, the subjective purpose and objective effect of contemporary fillers is not to change the niche status of words in contemporary times in reality, but to restore the popular status of words in ancient times in consciousness. Some of them are committed to continuing a certain subdivision tradition of slang, yanqu, poetry, and riots, but more often they imitate certain masterpieces of words at a certain stage. A history of words, from small orders to slow songs, from simple to complicated, from gentle to bold, from expressive feelings to show learning, including poetry into words, with words into words, with words into words, with words, etc., has exhausted all changes, like a fully unfolded "Qingming River Map", for today's people to choose calmly. Ms. Tang Min's selection is roughly in the middle of this "Qingming River Map" slightly ahead, which not only gets rid of the simple yinfeng and moon, but also avoids the complicated layout of the narrative. Ms. Tang Min is particularly fond of yi'an words, and many of them are for this reason. As an outstanding manifestation of feminine thinking, Yi'an words are mostly expressed as self-talking signs, and Ms. Tang Min named this episode "Self-Talk Collection", or for this reason. From the perspective of the internal drive of creation, this kind of "self-talk" can be traced directly from Yi'an words to Dunhuang lyrics, which shows that Ms. Tang Min has also achieved the effect of returning words from a niche status to the source of the public in the category of individual creation. This is similar to the tradition of contemporary ancient poets inheriting "speech zhi", which can be treated equally.
Flowers bloom all over the trees, and twilight stars triumph over rain. At that time, it was too late. The flower is not related to the flower, and the number of stars has not stopped because of the stars. Dreams come back, chasing with words. (Sending "A Trace of Sand")
This collective example is worth mentioning, but it is in the order of the words recorded in Long Yusheng's "Tang and Song Dynasty Word Rules". In my opinion, Ms. Tang Min's move should not be to show the basis of idioms or the systematicness of filling in words, but to clarify the importance of word plates as a stylistic form. Indeed, decades of education have made the philosophical view of contemporary Chinese solidified, such as "content determines form, form is counterproductive to content", and to observe and treat everything, including traditional Chinese culture, in this stereotype. However, this is probably not appropriate and applicable to classical Chinese art.
Classical Chinese literature, from pre-Qin poetry to Hanfu Tang poetry, to Song Ziyuanqu, to Ming and Qing novels, whenever a genre matures and prevails, its form often has a decisive role in the selection and transformation of content. Not only literature, but also classical drama, painting and calligraphy, craftsmanship, and even architecture are more common and common when form determines content or form equals content. Such an expression is by no means a one-sided highlight of the status and role of form in classical art, deliberately ignoring the meaning and function of content, but also showing that form can stabilize and develop content, but also limit and restrict content, precisely because the form of Chinese classical art is too powerful and stable, when the times and society undergo great changes, the old form is backward or even eliminated as a whole due to the requirements of new content for a long time. From the overall perspective of time and space, the form and content of Classical Chinese art are roughly equal in status, roughly equal in role, both mutual achievements, but also difficult for each other, when one of them has a breakthrough, it will inevitably lead to corresponding changes in the other party, its active or passive status continues to change, entangled with each other, subject and guest exchange, entangled competition, common development. This is a very slow process. As a contemporary lyricist, Ms. Tang Min knows the meaning, value and role of form for words, pays attention to abiding by the rules when filling in words, and reminds the research and creators of classical art and literature with this style when assembling - if the traditional culture that has existed for thousands of years is treated with the philosophical concepts accepted for decades, such as the division of form and content as the primary and secondary, it is not conducive to today's understanding and cognition of classical art, and it is easy to deviate and deviate from the inheritance and promotion of traditional spirit.
Related Reading:
Evening cherry blossoms are rainy
Spring flowers, spring moon, spring breeze, Yijing is always in a hurry. Greedy and disobedient, weeping branches tender pink. Qingguang smiled and listened to the birds mooing. Tomorrow the rain is heavy, and the fall of incense remains in the dream.
It's been a hurried year
It's been a hurried year, shaking the cardamom purple pole. Look at the butterflies among the clouds. Moon white wind clear green astringent dream, flower red willow green daughter chapter. Weave rings and buckets of grass like orchids.
It has been a year of hurrying, and the sleeves of the shirt have been fluttering in my dreams. The wind and rain rushed over the eaves. The furious waves of the angry sea are rolling, and the window of the pavilion is idle. Thin clouds light moon pillow sleepless.
It has been a year of hurry, and the small salary is a difficult day. Warm dream pen painting home. The blue cloth cold coat is warm with cotton wool, and the yangchun green garlic noodle soup is wide. Think about Chinese New Year's Eve prepare a good meal.
It has been a year since the rush, and the clouds have become mulberry fields. In the mirror, it is good to change the face. Weak crown er Lang Feng wing, befriended a partner Gonglan Ship. Evening leaves full of poetry.
Spring is in Zhujiajiao
The ancient town quietly developed willow branches, and the green turtle and red crucian carp were released from the bridge. The gong paddles for a long time. Rice dumplings and chestnut kernels are fragrant for ten miles, and a thousand pieces of bamboo baskets are picked out. Spring breeze in February tie silk harrier.
The water restaurant is apricot and beckons, and the window looks at the release bridge. The stew is fragrant on the stove. Spring tree spring plum spring taste, sauce hoof sauce elbow sauce melon strips. Bring back a box of orange cakes.
Shanghai snack --- sake stuffed dumplings
A bowl of pearl white jade soup, Xi Shi Dream Huan Yarn Row. Jiang Feng was drunk with the sound of osmanthus flowers. Scattered Yaochi Qianhu honey, to adjust the jade spoon wanxiangxin. The sweetness has not stopped.
Note: Sake-stuffed dumplings, a dessert that Shanghainese often serve during banquets, are favored by ladies for their tender and sweet characteristics. White as snow, pearl-like small rounds, soft and delicious, wandering in the soup, crushed jade-like wine and rice, intoxicating. Scoop a spoonful and a sweet sense of happiness will arise.
——Excerpt from "Self-Talk Collection", published by Shanghai University Press
Author: Hu Xiaojun
Editor: Jiang Chuting
![If you want to lose weight by your mind, you should give up, no matter what, you can't reach Tang Min's figure[fig]](data:image/gif;base64,R0lGODlhAQABAIAAAP///wAAACwAAAAAAQABAAACAkQBADs=)