Introduction: The Ming and Qing Revolutions, along with politics, have undergone major changes in social life, academic thought, literary creation and other aspects, and these changes did not appear out of thin air, but had complex reasons for development and mutual agitation. Under this change, the lexical concept of the Qing Dynasty poet Zhu Yizun also underwent great changes.
Looking at his lyrics, in addition to the "Meishang Zi" that has been verified as shen Qingrui's "MeishangZi" in the Qianlong period, Zhu Yizun's collection of words includes "Jing Zhi Ju Qin Fun", "Jianghu Wine Collection", "Fan Jin Collection", and "Tea And Tobacco Pavilion Body Objects Collection". Therefore, the following will analyze the changes in Zhu Yi's works from before and after zhu Yizunzi:
<h1 class="pgc-h-arrow-right" > the lexical theory of the previous monothesis</h1>
From the thirteenth year of Shunzhi, Zhu Yizun traveled south to the Ling table; in September of the third year of the Kangxi Dynasty, to cao rong in the clouds, Zhu Yizun's lyrics in this period were mostly small orders and slow words, and his creative purpose was mostly to sing and sing. As he himself said: "Yu Zhuangri traveled from Mr. Cao Rong to the south to the mountains, northwest to the clouds, and the wine was illuminated, often singing in small orders and slow words. ”
Zhu Yizun believes that the words composed during this travel career cannot be regarded as his official works strictly speaking, and he set the time point when he began to compose lyrics in middle age: "To give a few days to be bad at lyrics, it is started in middle age." It's hard to be done, and it's good." Zhu Yizun was born in the second year of Ming Chongzhen, so it is more appropriate to determine that his "beginning" is more appropriate in the third year of the Kangxi Dynasty, when Zhu was 35 years old, or can be called middle-aged.
Therefore, the early period of Zhu Yi's honorific words should be set from the third year of Kangxi to the seventeenth year of Kangxi. During this period, Zhu Yizun had three collections of words, namely: "Jing Zhi Ju Qin Fun", "Jianghu Zai Wine Collection" and "Pan Jin Collection".
Zhu Yizun's early lexical theory is the main sentiment, and his "Chen Weiyun Red Salt Word Order" cloud:
"Although words are small skills, they used to be confucian and jugong, and they were often for it. Those who are difficult to speak in the cover of poetry, rely on the sound, the words are weaker, and the purpose is far more distant. The words of those who are good at words, the words of the woman in the false boudoir, are generally in the meaning of "Leaving the Troubles" and changing the "Ya", which is especially inappropriate for those who are willing to send affection to the times. ”
The introduction of emotional sustenance into boudoir words was a common stereotype in the early years of the Kangxi Dynasty. In the middle and late Ming Dynasty, the popular male voice endorsement body, even in the obscene, aftermath affected the early Qing Dynasty. After the Ding Revolution of the Ming and Qing dynasties, people of insight who were determined to think bitterly blamed the cause of the subjugation of the country on the corruption of social customs and demanded that the scholars improve their moral construction, such as Li Yu was reprimanded by Dong Han for composing obscene songs:
"The ancient Fugu people's words are still a warning, and now guan Kasa Wong's "Family Speech" is about a bad and immoral language, and there is no doubt that when the tongue is plucked, hell is also."
In the early Qing Dynasty, many poets grew up in the late Ming society that valued the exaggeration of human emotions, and they naturally received the habit of indulgence and hoped to solve the problem brought about by it- the contradiction between color and virtue. At this time, they have not yet been strongly driven to complete the change of word style, and what they consider is to continue to create "blurted out" erotic words without hindering their own morality.
They use very subtle means, in an era when the power of social habits is strong, on the one hand, they write the words of the main sentiment, and on the other hand, they carefully guard the boundaries of morality. There are about three kinds of propaganda they seek, and almost all of them are reflected in Zhu Yizun's paragraph:
First, Confucian princes such as Sima Guang, Fan Zhongyan, Ouyang Xiu, Zhu Xi, and so on, often do so; second, the Book of Poetry and the Han Le Fu are unavoidable; third, sustenance is said. Word order writing in this period was mostly this pattern, excusing someone's word writing before it was appreciated.
Examining Zhu Yizun's lyrics in this period, it is also consistent with his main love word theory, and the words are full of emotions. "Fan Jin Ji" collects Tang dynasty poems, for the game, leave it alone. In the episode of "Jing Zhi Ju Qin Fun", Yang Qian's annotation of the "Exposure Book Pavilion Collection" sometimes has doubts about his wife and sister, but Cao Rong's "Phoenix Stage Memories blowing flute and title Zhu Shi < Jing Zhi Ju Qin Fun >" has sentences such as "Burning Candles hongtian, cherishing flower chicken plugs, Ma Qing prefers wounded spring", "Qi Lieyao kite sandalwood board, with Miao prostitute, Xu Bu xiangchen", which proves that "Jing Zhi Ju Qin Fun" was written in Datong and was made for a prostitute.
No matter what kind of statement is held, this collection of words is mainly about romance, and it is a sincere love between men and women that has no other sustenance. As its name suggests, "Jianghu Wine Collection" is written everywhere and has rich emotional content, both delicate male and female feelings, and desolate drifting feelings, as well as nostalgic words full of emotion. "Ten years of sharpening the sword, the five tombs are the guests, and the ordinary life and tears are all gone", which can summarize the main content of this collection of words.
<h1 class="pgc-h-arrow-right" > late-one-by-one sentimental lexical theory</h1>
The later period of Zhu Yizun's creation can be set from the seventeenth year of Kangxi to the thirty-first year of Kangxi. In the seventeenth year of the Kangxi Dynasty, Zhu Yizun entered Beijing to participate in the Erudite Hong confucian section, and the copied "Lefu Supplement" came back, the compilation of the "Dictionary Synthesis" was engraved, and the "Six Words of Zhejiang West" was compiled, which can be regarded as the year when the Zhejiang Western Poetry School was formed and Zhu Yizun's suzerainty was established, and some of the works of singing and "Lefu Supplement" were also made during the examination period in this year.
In the thirty-first year of the Kangxi Dynasty, Zhu Yizun returned to the field, "examining the existence of the scriptures and righteousness as a book, no longer relying on the sound according to the score", after which only one poem, "Manjiang Hong, Qiantang Guan tide, chasing and Cao Shilang Rhyme", was composed in the thirty-fifth year of Kangxi, "Qiluoxiang Kangxi Ding Ugly June, Shenan Chishang Red Lotus and Head Flower, Endowed with Ji Yi" two poems were written in the thirty-sixth year of Kangxi. The later representative collection of words is "Tea Smoke Pavilion Body Collection", all of which are the works of Chants, deliberately diluting the emotions in the words, reflecting a kind of literati elegance.
The changes in Zhu Yizun's later words are also reflected in his lexical concepts. The thirty-volume first inscribed version of the "Dictionary" was written in the seventeenth year of the Kangxi Dynasty (1678), and Zhu Yizun said in the "Fa Fan":
"The work of romance is easy to flow into obscenity, and this Song people choose words mostly for the purpose of elegance. Fa Xiu Dao people said in Fu Weng Yue: "When you make a beautiful word, you should fall into the hell of the plough tongue." 'It refers to the Fu Weng first-class system. ”
In the "Meng Yanlin Word Order" written later, it is said: "Qi is quiet and not affectionate, and the skeleton is not hurtful, and the husband is then enough to ride with the ancients." ”
Zhu Yizun realized that the trend of obscenity in the late Ming and early Ming dynasties was that it was excessive, and the opposite of obscenity was elegant, and if you wanted to be elegant, you needed to suppress emotion. The sound of Yazheng makes people calm, not drowning in affection, embodied in the words is a pearl realm, reflecting the author's calm and elegant posture, so most of Zhu Yizun's later body words are in this style.
<h1 class="pgc-h-arrow-right" > or erotic word style under the influence of emotional word theory</h1>
In the Kangxi Poetry Altar of the Qing Dynasty, the Yongwu word was suddenly popular, and its originator was Zhu Yizun, the suzerainty of the Zhejiang Western Poetry Sect. Xie Zhangquan's "Words and Phrases of The Gambling Chess Villa" Yun:
"The Song people chant things, the high one imitates the gods, the second one is given shape, and there is sustenance in the title, and there is emotion outside the title, although the words are worthy of the six righteousnesses." To the kingdom of the small long reed out, the founding of the work of the classic,...... However, the real game is not enough for the standard also. But future generations will follow suit. That is, just like the matter of the wing cat, there are no less than a dozen self-preservation, bamboo, Taihong, xiugu and no less than a dozen. ”
It is pointed out that the difference between the Song People's Yongwu Words and the Zhu Yizun Yongwu Words is that the former has sustenance and emotion, while the latter is only a game work. Zhu Yizun's chants are included in the "Collection of Body Objects of the Tea Pavilion", where 1 14 songs, plus addendums, count 1 1 9 songs.
Among them, "Snow Lion" Wing Cat Three Dragons, "Golden Wisp Song" Wing Daffodil Four, "Qinyuan Spring" Wing Beauty Organ Twelve, etc., piled up allusions, obviously for the work of showmanship, there are sustenance but "Shadow" Wing Qiu Liu, "Long Pavilion Complaint Slow" Wing Goose, "ManJiang Hong" stuffed with Yong Reeds and so on, and these are made in the early stage of the curtain four directions.
Most of the other words are imitated as physical objects, and there is no sustenance and emotion, but it can be seen that the author's personal elegance is not easy to define as a game work.
The writing of yongwu words is mainly divided into two ways: "to the meaning" and "body objects", the former empathizes with things, using things as a medium to express their own feelings, such as the collection of yongwu words "Lefu Supplement", and the latter portrays the objects from a sideline perspective, without too much subjective intervention, such as most of the works in Zhu Yizun's "Tea Smoke Pavilion Body Objects Collection".
01
In fact, the comeback of the "Lefu Supplement" promoted the formation of Zhu Yizun's yongwu words and even the early Qing Dynasty yongwu style. Zhu Yizun has eight poems to sing and harmonize the "Lefu Supplement", which is different from the "toyi" of the original work, Zhu Yizun deliberately dilutes the emotions in the words and pursues objective "body objects". Compare two crab songs:
Guizhixiang Tianzhu Mountain House Proposed Crab (Lv Tonglao)
On the shore of the Matsue River. The leaves are falling red, and the residual waves are green. Remember that the lights are cold and dark, and the light is light. Hugh suspected Guo Suozun to smile in front of him, and he was open-minded and poured out the aromatic liquid. Emerald orange silk mist, jade onion raccoon snow, tender yellow first. Since that day, new poems have been exchanged. They met several times again, and the tide fell in autumn. It is often a hedge edge of the early chrysanthemum, comfort canal Cen silent. Nowadays, there are rivers and mountains, and who is more pitiful, grass and mud traces. But will be the life, floating drunk, the old tour rests.
Guizhixiang Crab (Zhu Yizun)
New Frost Late Crossing. See the reeds burning in the sky, the falling tide fish steps. Cover up the green basket and spit out. No one in Jinmen Water City asked, listening to rolling and rolling, and the car sounded. Bring nine strangers, I don't know if there are any, sprinkle the disciples idle. Not to mention, the autumn twilight of the township garden. Renkong River house, broken sand Naura. Crispy slices of gold that tube, jade fiber sticky. Orange Yin Chrysanthemum ascends to a high feast, catches the dragon Yang, and the urn side couple. Elderly, candle-slanted painting boat, water cool Zhuhu.
Lü Ci was composed around the beginning of the Song Dynasty, and expressed the sorrow of the fall of the country by chanting crabs. The first two rhymes explain the place and waiting of crab eating, "chaos", "falling", "crippled", a school of Xiao Sa scenery, that is, the mood of the word. "Ju ji" rhymes and writes about the crab hunting process. After the second rhyme retracted, writing drinking, crab eating, "aromatic liquid", "emerald orange", "jade onion", condiments are beautiful, how can the eater not be unmerciful?
The addition of a "and" reveals that this time the pleasure is only a strong pleasure, and the eater should have a pile of hearts in his heart. Change the head with Su Shi to exchange poetry for crab classics, so as not to write directly to appear abrupt. The rhyme of "a few degrees" gradually retracts, and the time shift is used to write the world. "Often" a rhyme empathizes with crabs, and the silence of "canal" is also the silence of "I".
"Now" adds that this loneliness comes from the traces of grass and mud after the change of jiangshan. After the knot used a heavy pen, he warned himself to float in the drunken country, forget the old tour, and be devastated. The whole word is intended to be written first, to convey the gods in form, and you can clearly feel the author's sense of disillusionment after experiencing the subjugation of the country.
Compared with Lü Zuo, Zhu Zuo's intention is simple. The first two rhymes explain the crab eating festival, and there is no decadence of Lü Word. The rhyme of "exhaustion" is also written about crab hunting, and the body is more subtle than the word. The following two rhymes are written from Jiangtou carrying crabs to the city to find wine partners. Although the head change is done in a progressive manner, it is always written at the beginning of the film. The two rhymes of "crispy slices" and "orange yin" write about the crab eating process, only making an objective narrative, and the elegance is seen outside the words.
The knot ends with the wish of "old age", and there is no special feeling, it seems that the crab is only because the crab tastes good, and the writer likes to eat it.
02
In the same period, chen Weisong inherited the tradition of Tuoyi, while Zhu Yizun deviated from it and focused on physical objects. Try to compare the works of the two men who chanted the White Lotus:
Water Dragon Yin Bai Lian (Chen Weisong)
Shui Ming looked downstairs, and the cool lotus was loose. The red bar is low pressure, the green clothes are lightly dipped, and the moon is bright and thousands of miles. The small garden pear blossom, the heavy door willow silk, counted as similar. The front of the egret, several times flew down, can not be found, lost at the bottom of the flower. Countless bead-trickers. Little crispy lady, water day idle. Bright makeup bundle, not off only love, put the non-Hua wash. For fear of autumn, the lake is full of red and pink, causing people to be haggard. Struggling with the jade appearance of the years, the river pond is quiet at night, condensed like lead tears.
Water Dragon Yin Bai Lian (Zhu Yizun)
Green clouds blow incense in ten miles, and gently cut out the machine in the element. Silver pond a song, pavilion he limit, dew plate icicles. The jade wrist slowly came, the green mud did not move, and the sound was soft. Ren sand gull pounced on the deer, the double fly was not seen, not to mention, the amphibian heron. Good hand painters are hard to come by. Qian Cui Wu and Rat Mane are depicted. A small bird in the green, a yellow-clothed butterfly, added into a flower tree. Mica screens, crystal curtains, cold light intersection. For Qiu Rong is too light, Yanran drove to, Xiaohongqiao Road.
The cliché is just a simple depiction of the scene. The first two rhymes with lotus leaves, like a huge picture scroll slowly unfolding, highlighting the green of the leaves. The latter two rhymes write lotus flowers, compared with pear blossoms and willow silks, saying that the egrets fly into the bottom of the flowers and do not see, they are all concentrated on writing the white of the lotus. The next film begins to empathize with White Lotus. Taking the little crispy lady as a metaphor, she idly leans on the water and keeps a distance from countless pearl makers. He also compared it to the jade appearance of not loving The Grace, and quietly weeped at night, which was different from the red pink of the lake in autumn.
The contrast between the two sets highlights the purity and independence of the white lotus, and the white lotus belongs to the thing, there is no such thing as purity and independence, and its quality is ultimately the migration of the subjective pursuit of the lyricist.
The film on Zhu Ci is only an objective description of the scenery, and the content is much richer than the statement. The first rhyme wrote out the entire green and white of the statement, and also pointed out the fragrance of lotus. The second rhyme writes the stem of the lotus. "Jade wrist" rhymes with picking lotus. The knotted gull heron does not see reflecting the density of lotus leaves.
The next film, whether it is depicted by a painter or "Added into a painting spectrum", is an appreciation and love of the lotus flower in a bystander posture. After the knot, "for the autumn appearance is too light, Yanran opened to, Xiaohongqiao Road", a slight subjective assumption, but also from the love of hair. It can be seen from the whole word that Zhu Yizun does not serve things, and in the relationship between things and me, he always occupies the active side and carefully maintains a distance from things.
03
The style of physical objects in Zhu Yizun's words is not only different from others, but also different from his own early creations. There are a small number of words in the "Collection of Body Objects in Cha Yan Ge" that can be speculated to have been made in the early stage, and this part of the words has feelings and sustenance, which is obviously different from the "body objects" words written in the later period. Try "Man Jiang Hong Plugged in the Reeds":
The congestion is miserable, and who keeps the autumn sound. Outside the slanting sun, the cold sand swaying, the chaotic mountains have no owner. Cersei was heartbroken and overwhelmed. Sitting with the west window and lights at dusk, Xiao Xiao spoke.
Urge a burst, thatched rain; stir a piece, frost forest pestle. For Yi thought about it all over, don't leave the emotions. After the wine thirst two more people dispersed, the moon ming thousands of miles away. Dream of the cangjiang river, add a fishing boat, and the wind blows away.
At the beginning of the "absolute plug", it can be seen that this word was written in the early yun tour of the northwest, "miserable" set the emotional tone of the whole word, "autumn sound" always took the whole word, and Yong Reed was all written from its voice. "Cersei", "Vast", "Xiao Xiao", the lyricist is already "sad as promised", and listening to this desolate reed, how not to "heartbreak". The head change uses "thatch rain" and "frost forest pestle" as a metaphor for the sound of reeds. The separation emotions elicited by the "Frost Forest Pestle" seem to be the place of sorrow in the previous film. At the end, the reed leads out of the Cangjiang River, dreaming of "adding a fishing boat" and riding the wind. "ZiMu loves Wei Que, and the fisherman loves Cangjiang." (Chen Ziang's poem) In addition to the parting feelings, this song is more to express the yearning for retreat after tired of wandering.
In fact, zhu Yizun asked Qiantang Dai Cang to paint the "Map of Smoke and Rain Returning to Cultivation" in the twelfth year of Kangxi (1673), and already had the intention of returning to hiding, and the "Hundred Character Ling Suo Cao Qiuyue Painting Bamboo Map" composed by Kangxi in the thirteenth year clearly stated that "when I return next year, the small building will be added to the corner of the wall." Leaving aside the basic premise of the idea of the pen, the interior of the word arises from the sound of the reed, that is, the emotion is a material service.
< h1 class="pgc-h-arrow-right" > epilogue</h1>
The Southern Song Dynasty poets Jiang Kui and Zhang Yan had a great influence on Zhu Yizun's style and lexicography, in fact, Zhu Yizun's "if you want to be elegant, you need to suppress emotions", it is precisely from Zhang Yan's "etymology": "Words want to be elegant and correct, and the zhi is what is, and if it is served by love, it loses its elegant and righteous sound."
Although Zhu Yizun filled in the words late, his status in the Qing Dynasty lexicon was very high, and he was called "Zhu Chen" together with Chen Weisong, and was in charge of the lexicon niu'er; his patriarchal Southern Song Dynasty, his affectionate dilution of the style of physical words, changed the early Qing Dynasty lexicon continued in the late Ming Dynasty luxury and floating state, and had a profound impact on the entire Qing Dynasty.