<h1 class="pgc-h-arrow-right" > preface</h1>
Since "poetry" is called "poetry", it is obviously inextricably linked to music. The source of Chinese literature is the "Three Hundred Pieces", and the "Three Hundred Pieces" has six meanings, that is, the so-called wind, elegance, praise, endowment, ratio, and xing, according to the "Zheng Kangcheng Six Arts" quoted Zhu Xi's omission is Yun: "Wind Ya Song, the name of the vocal part." Fu Bixing, so the production of the style of ya song body also", but as the literati class gradually expanded the social function of "poetry", poetry can be called "Yanzhi", "Xingguan Group Grievances", "Poetry Teaching" --------- at the same time, the music system also changes or disappears with the change of dynasties, under this and other, poetry and music have been separated, and at the same time completed the independence of style.
Obviously, the social function and creative direction of poetry will also change with the transfer of this musical relationship. Contrasting with the poems of the Han Le Fu period and the Jian'an period, the former was the first "musical revival" after the decline of Ya Song' sleeping sound, and the role of le fu poems at that time was mostly used to be played at sacrifices or banquets; while the poems of the Jian'an period, divorced from musicality, became the carrier of the literati's lyrical emotions----- function was different, and their artistic style and creative pursuit were obviously different.
< h1 class= "pgc-h-arrow-right" > Han Le Fu combined with poetry and music, and the north-south style under the music is divided</h1>
For a long time, singing and music were very decadent, until Lady Tangshan of the Han Dynasty composed "The Ancestral Music in the Room", poetry did not have the potential to recover, and then with the Han Wu Emperor when he established the Music House. The Book of Han and Li Lezhi records that Yun: "Li Le Fu, poetry recited at night, there were Zhao, Dai, Qin, and Chu Zhizhi, with Li Yannian as the assistant lieutenant." Sima Xiangru and dozens of others were cited as poetry, and a brief discussion of the law was made, and the song of the nineteen chapters was composed in the tune of eight tones." From the perspective of the form and role of this "gathering", it is reasonable for Long Yusheng to call it "the system of the direct "Three Hundred Pieces" ("History of Chinese Rhymes"), but in terms of "poetic teaching function" alone, Han Le Fu poetry is still far from the "Three Hundred Pieces", because its musicality is greater than the function of poetry.
Yuan Shu's "Preface to the Ancient Inscriptions of Lefu" once said: "In the case of the elegant style, as for the flow of music, it is not possible to satirize the events of the time, to the people of the descendants, to follow the ancient themes, sing and repeat, Yu Wen may have short and long, Yu Yixian is redundant, it is not as good as the meaning of the ancient title, the thorn beauty sees things, and there are poets who cite the ancient to satirize the righteousness", the "poets citing the ancient to satirize the meaning" recorded here are actually "later generations" authors, hanle fu four categories, for the suburban temple, advocacy, harmony, miscellaneous songs. Except that most of the suburban temples were used by literati to make priests, and the other items were either folk music or miscellaneous -------- which were mixed by later generations of folk-------- this kind of poetry collection with a huge structure is unlikely to have a very clear aesthetic orientation, and it is difficult to teach poetry. The Wenxin Carved Dragon Lefu says, "Or a feast, or a wounded bondage, the will not come out of lasciviousness, the resignation is not separated from mourning, although the three tones of the right voice, the Zheng Qu of Shi Shao Xia"
Therefore, Han Le Fu is extremely susceptible to musical influences. There are fourteen types of songs recorded in the Tongzhi Leluo, including the Han "Short Xiao Song", the Han "Dance Song", the Hujiao Song, the Xianghe Song, the Xiangxiang Song Sighing Song, the Xianghe Song Four Strings, the Xianghe Song Ping Tune, the Xianghe Song Qing Tune, the Xianghe Song Tune, the Xianghe Song Chu Tune, the Han Emperor Wudi's "Song of the Suburbs", the Ban Gu "Five Poems of Dongdu", the Han "Three Princes' Chapter", and the Han "Fangzhong Ancestral Music", of which the "Drum blowing" song is unknown, and the "Military Salute" Yun: ""Drumming", unknown its origin. Hanban Yixiong Shuo is wild and has it. Chimes are made with a harmonious sound, not an eight-tone also. And because of the influence of foreign musical tonality, this part of the work appears to be very different from the aesthetic will of the three hundred "poetry noble and gentle", such as "Battle City South" a que yun: "For me to say Wu:" and for the guest. Wild death forgives not to be buried, rotten meat Ann can go to the son to escape? Aggressive brushwork, apparently out of "orthodoxy."
All in all, between the Han Dynasty and the Southern and Northern Dynasties, the essential meaning of Lefu poetry is to sing with music, so it is difficult to discuss the meaning of Bixing, and it is easy to be transferred by the musical relationship and change in style, especially in the Music House of the Southern and Northern Dynasties, the music tune of the Southern Dynasty is warm and soft, and the love of children is warm and soft, and the Northern Dynasty is secluded and rough, multi-shaped border plug style, and its style is frank and powerful-------- but whether it is Hanle Fu, Nanle Fu or Bei Le Fu, their common characteristics are "their beginnings are all songs, and they are orchestrated" (Jin Shu Lezhi).
<h1 class= "pgc-h-arrow-right" > Jian'an Seven Sons: Five-Seven Lyric Poems for Literati After Leaving Music</h1>
Most of the Han Le Fu poems are fixed in music (both by music and by music, and non-selected with soundtracks. "Lefu Ancient Inscription Sequence"), therefore, there must be very large restrictions on the tone and words, that is, the four voices of ping and the four voices must be in harmony with the "music", yuan shu so-called: "In the sound of the sound, because the sound of the word, the moderation of the singing in the verse, the number of short and long sentences, the difference in the level of sound rhyme, the accuracy of the inexorable." And don't be guided by those who are in the qinser.". Once you have to consider the vocal function, you have to make some concessions in content. Qian Zhongshu has a very well-thought-out exposition in the "Tan Yi Lu", its cloud: "The words and strings are songs, each of which is good at its own." The material knowledge of art is both partial and the thinking of the heart, but also difficult to spread, strong and combined, unable to be both beautiful, or two injuries, not to do their best, each to hide each other's strengths"
As poetry became independent of the characteristics of "musical literature", the literati did not need to set limits for harmonic rhythms, and even after the abandonment of musicality, the poetry should be circulated and independent, so as to facilitate deeper social functions, such as lyricism. In terms of poetic style, the poetry genre that is independent of the music house is the five-seven-word poem. The origin of the Five Words Poem, Zhong Rong is called "Catching Han Li Ling, The Beginning of the Five Words of the Eye" ("Poetry"); doubtful, the debater has no definite number, but the only one that can be affirmed is from the Han Dynasty; the Seven Words Poem is more unique, since the origin of the "Bailiang Lian sentence" was refuted by Gu Yanwu, it can only be considered that the Seven Words are detached from Chu Sheng. However, although the source of the Wuqi poetry is difficult to determine, the obvious change is the author group, that is, the literati completed the absorption and improvement of folk genres-------- and the most critical pivot era was the time.
Jian'an is a very important historical symbol in poetics and even literature, and Cao Pi's "Treatise on Classics" Zeng Yun: "The literati of the present, Lu Guo Kong Rong Wenju, Guangling Chen Lin Kong Zhang, Shanyang Wang Yue Zhongxuan, Beihai Xu Ganweichang, Chen Liu Ruan Yu Yuanyu, Runan Ying Yue Delian, Dongping Liu Zhen Gonggan." The Seven Sons of S. Yu Xue has left nothing to be spared, yu has nothing to say, and Xian has walked thousands of miles with self-reliance, and he has walked together with his feet." Cao Pi's evaluation has actually summed up two very important transitions in the Jian'an period.
The first is the literati of the author community. In the Han Le Fu, most of them were the form of song-making of "people who collected the people's songs for the ballads and prepared the music", and the literati were not specialized in this way, and the literati who were good at poetry and music were after all a minority. However, Jian'an is near, the world is chaotic, and the literati urgently need to use literature to pin lyricism or spiritual escape, so the richer the creation, the more authors;
The second turning point is the technological progress after poetry has been noticed by the literati. Lefu poetry is collected from the folk, although simple and shallow, but it is really not "technical; literati poetry is different, these revised works will be given some research on the artistic characteristics of literature and internal creation laws, such as "qi bone", such as "word collection". We compare the Cao Zhi poem of the Seven Sons of Jian'an with the poem of Lefu.
The poems are known for their strength and beauty, and there are thirty volumes in the collection, which have been compiled by the Song people
Han Dynasty Lefu "Drinking Horse Great Wall Cave Line":
Green riverside grass, long thinking about the distance. The long way is inconceivable, and suede dreamed of it. Dreaming of being in my side, I suddenly felt that I was in another country. He is in different counties and does not see each other. Dry mulberry knows the wind, and the sea knows the cold. The entrance is charming, who is willing to talk to each other? The guest came from afar and left me a double carp. Hu'er cooks carp, and there is a ruler book. Long kneeling to read a plain book, what is the meaning of it? The upper words add meals, and the next words look like memories.
Cao Zhi's Seven Lamentations Part II:
The bright moon shines on the tall buildings, and the streamers are wandering. There are sorrowful women on the top, and there are sorrows and sorrows. By asking the sigher who, the word is the wife of the son. For ten years, the lone concubine often lived alone. If the king clears the road dust, the concubine is like turbid cement. Floating and sinking are different, and when to meet and when to harmonize. May the southwest wind, long death into the arms of the king. Jun Huailiang did not open, and the concubine should be HeYi.
"Drinking Horse Great Wall Cave Line" and "Seven Lamentations" are all five-character ancient poems, but the style is obviously not suitable for the same discussion. The Anthology of Selected Writings selects the poem "Drinking Horses" and notes to Yun "The Great Wall, built by Qin to prepare for hu." There is a spring cave under it where you can drink horses. The road is sad because of this. Saying that the world is conscripted, the army is not stopped, the woman thinks of the husband, pretending to be the act", from this point of view, the theme is the woman thinking of the husband. We pay attention to the difference between the two, "Drinking Horse Great Wall Cave Line" has no technical means, from waiting to return to the people to dream of love, and then to wait for the letter, and then to read the letter, which is a very common narrative technique, and the only turn in the middle is "dry mulberry knows the sky wind, the sea water knows the cold" A side pen.
The "Seven Lamentations" is different, although this poem is also written about si women, but it is obviously a ulterior motive, liu lu commented on the "Seven Lamentations" in the "Supplement to selected poems" at the end of the Yuan Dynasty and the beginning of the Ming Dynasty: "Zi Jian and Emperor Wen are the same mother's flesh and bones, and now they are floating and sinking, and they are not related to each other, so they are especially self-metaphorical to themselves as orphan concubines, and they are also "At the same time, in terms of technical techniques, in the theme of the narrative, more use of xingxiang and metaphor to enrich the expression, especially "Junruo Qinglu dust, concubines like turbid cement", metaphorically " dust" and "mud", the two are homologous things, only encounter different and different" Floating and sinking are different", "Cao ZhiJi's Annotations" is therefore called "its intention is that if Cao Pi wants to remember the friendship of flesh and bones, give less leniency, but through the words of Si Woman, use Shen Zi Yi" It is worth mentioning that the "Seven Lamentations" is also the most unpretentious poem in Cao Zhi's poems, and it is caught such as "Beauty Chapter" and "White Horse Chapter", with both words and appearance, laying out decorations, and to be the ultimate perfection of ancient poetry technology.
< h1 class="pgc-h-arrow-right" > concluded</h1>
As an aside, the clutching and changing of poetry is largely due to the times. In ancient times, every generation changed, and the old things of the previous dynasty were mostly discarded, and the same was true for vocal music. Fortunately, the process of changing poetry and music is very healthy, because in the "Three Hundred Pieces", Confucius gave poetry a social function outside of music, so poetry even if it is separated from music has a very strong social function, but the words are different, the words are happy to be born, born late, once the musicality is discarded, it is difficult to have the soil for survival, so the word style was not until the Qing Dynasty Changzhou was able to "Bixing" and "Sustenance" as the will, and completed the social function.