Wu Mei's "General Theory of Lexicology" once quoted Lu You and Hu Yin to comment on Su Shi's words: "Dongpo words, the song of the song at the end, feel the wind and sea rain in the sky. Hu Zhitangyun: "The song goes to the eastern slope, washes the state of QiLuo Xiangze, gets rid of the degree of silk and turning, makes people ascend to the heights and look far away, raises their heads and sings, and is full of arrogance, beyond the dust, so that the flowers are soap, and the qi qing is the public opinion. The introduction has roughly the following meanings, one is that the Dongpo word has opened up the scope of expression of the word, and the heavens and the earth and the earth of the wind and the sea and the rain have all the words; the second is to change the word style again after Liu Yong, from the feminine word style to the masculine word style; the third is that several major lyrical paradigms in the history of song song are prominently established. Mr. Wang Zhaopeng is classified as the Huajian paradigm, the Dongpo paradigm and the halal paradigm. The following is intended to be based on the emotional tone of Song Ci's sentiments to analyze the characteristics of the main position, narrative function and aesthetic style of the "Dongpo paradigm".
First, establish the main position of "my word"
The lyrics are Yanke, which is closely related to the social entertainment activities between the respects of the previous feast, and the singers and prostitutes generally appear as the main body of singing. As the main body of the creation of the text, the lyricist often empathizes with the lyrics in the song filling in the lyrics, as a "woman's language", and lyrically expresses the lyricism of the singer and prostitute. "On behalf of the singer and prostitute, the singing subject and the lyrical subject become one, and the creative subject plays the role of entertainment, but entertainment is an important part of the lyric." The reason for this is related to the morphological characteristics of Yanke, and it is also related to the functional structure of the initial rise of the word. From the fifth dynasty of the late Tang Dynasty to the beginning of the Song Dynasty, words were less based on the specific love affairs of the lyricists and their friends, and more on the "nizi state" and "nickname children's language", which made the three functional structures of the word social, entertainment and lyrical divided and integrated, and it was difficult to integrate. Therefore, even if it is lyrical, it is also the sentiment of the singer; in the same way, if it is sad, it is also the sorrow of the singer. Of course, entertainment is not only a staggered wine-side teasing entertainment, but always has some "speech sorrow" factors to a greater or lesser extent, whether it is the sorrow of the singing subject or the sorrow of the creative subject, it is inevitable to be attached to the "endorsement" word. However, the melancholy expressed by the huajian paradigm before Dongpo lacks a distinct and unique "I say" consciousness, that is, the subject consciousness is relatively indifferent, basically expressing a general melancholy. For example, Wen Tingjun's "Bodhisattva Man Nanyuan Is Full of Light Silk", which depicts that at dusk when the spring rain is pouring and the apricot blossoms are scattered, a woman leans on the door and is bored with her life, without determining what she refers to, showing the hidden melancholy and boredom of the woman in a specific time and space, and it is not easy to see the specific love affairs, nor is it easy to perceive the emotional movements of the creative subject. This is a typical "endorsement" sentiment. The Song Chu lyrics of the Chenghuajian paradigm are also quite similar, and most of the lyricists also have the "Xie Niang Heart Song" and make "women's language", that is, Qing Ren Tian Tongzhi's "Xipu Ci Shu" said that "men make boudoir". Hu Zai quoted the "Eye of Poetry" to record Yan Shu's deeds:
Uncle Yan originally saw Pu Chuan Zhengyun: "First fair day, although there are many small words, they have not tasted as a woman's language." Chuan Zhengyun: "'Green poplar grass long pavilion road, young people throw people easy to go. Isn't it a woman's words? Yan Yue: "What is the common meaning of 'young'?" "Isn't it pleasing to you?" Yan Yue: "Because of the words of the public, sui Xiao Lotte poem two sentences cloud: 'I want to stay young and wait for the rich, and the rich do not come and go young'." Chuanzheng smiled and realized.
Chuanzheng's "laughter and enlightenment" refers to the understanding in his heart that Yan's several strong words are justified by his father, not to being persuaded by Yan's several words. In fact, there is no need to forcibly distinguish, because the "man and make a boudoir" of the flower endorsement paradigm is very common, not only Yan Gong, even Su Shi, who later "washed the state of Qiluo Xiangze", also made some endorsements of the "woman's language" in the early days, such as "Yu Meiren Bing Muscle is Born Thin", "Three Pieces of Music , Scene , Beauty Like the Moon", etc., although the words depict the beauty of the beauty, look, psychology, behavior, etc., but Dongpo's own temperament is not very obvious, basically it is the lyricism of the beauty.
Su Shi's involvement with lyrics began during the general sentence in Hangzhou, during which he wrote a lot of lyrics for the prostitutes, plus the intermittent lyrics of the lyrics in the future, the number is also considerable, and the length of the performance of "Xie Niang's Heart Song" is not small. It can be seen that Su Shi expanded the context of words, improved the quality of words, innovated the style of words, and realized the transformation from "endorsement" to "my words", which was not achieved overnight. It should also be noted that Dongpo's "endorsement" words dissolve into more true feelings, which are not only the words of the singers, but also the direct lyricism of their own feelings, so that the main body of singing in music and the creative subject in the text are integrated. According to Kao, the prostitute in the lyrics of "Three Pieces of Music and Scenes" is his favorite Wang Chaoyun, and Dongpo injected his own affection at that time. The grievances of the singers are actually writing about their own emptiness about love. Moreover, sometimes Su Shi also put political feelings into the "endorsement" words, venting the depression and sorrow that ambitions could not be stretched, which was one step closer to the position of "my words". For example, "Drunken and Depressed, Presenting Yang Elements on the Table": "Carrying it like yesterday." Life floats everywhere. Occasional reunions are also out of touch. Sick and sentimental, we must believe that it is never wrong. Zun Qian smiled and resigned. The end of the world is also wounded and fallen. The old mountain is still in the covenant of life. Looking west to Emei, long envy returns to the flying crane. Although he spoke for the singer prostitute, through the mouth of the prostitute, he sang about his encounter and sorrow that "the same is hurt and fallen" in the new and old party struggles with Yang Yi, so that the works of Zun Qian's song had a specific personnel content and produced signs of "my words".
In addition to the "endorsement" of the lyrics, most of its words are "I speak", or "speak me", which greatly changes the one-dimensional way of saying melancholy in the paradigm of huajian, focusing on expressing the complexity and contradiction of the self-subject's mind, and showing the social environment's life feelings when the individual forms a persecutory state. For example, "Water Tune Song Head , When is the Bright Moon", according to the consistent practice, Dongpo still directly uses the word "I", indicating that in the lyrics, it is "I speak" of his own emotions, not on behalf of others. The turning point of words such as "I want", "I am afraid", "what is similar" and other words show ambivalence, "heaven" and "earth", "moon" and "man", "space" and "time", "circle" and "lack", "separation" and "union", these interrelated categories imply that the author is wandering between "birth" and "entry", that is, the confused mentality of making a choice between "retreat" and "advancement", "Shi" and "cain". The emergence of this mentality complicates the melancholy, summarizes the intricate nature of human affairs, and even penetrates into the leisurely philosophy, revealing the wise and flexible concept of human life. "Su Shi's life has been through many storms in the eunuch sea, and the journey of life is full of contradictions such as advance and retreat, rise and sink, glory and humiliation, bitterness and pleasure. His whole life is to choose, struggle, and struggle in these multiple contradictions, so that the contradictions and conflicts of the subject's mind are naturally revealed and externalized in his lyrics. It is precisely because the melancholy is gradually weakened in the complex process of "I say", the reader's understanding is also diversified, no wonder Song Shenzong said after reading it, "Su Shi is the ultimate love jun." Therefore, at this time, the words are lyrical to the feelings of "I", and it is the "I" with the sense of subjectivity that expresses the deepest affection on the night of the Mid-Autumn Moon.
Dongpo's attitude towards life is detached and self-adaptable, and the same is true for dealing with sorrows and sorrows, never diving into it and not extricating himself. He seems to be standing at a certain height, looking down on all things, insight into the mysteries of life, so he is determined to get rid of his worries and guide others to create a detached self-image together. This is different from other paradigms, especially the Huajian paradigm, and may also be the reason why "Su Zizhan is like poetry, and Qin Shaoyou is like poetry". Sometimes, in order to better show the determination of the lyrical subject to cleanse away sorrow, boldly adopt argumentative methods, such as "Manting Fang, Snail Horn False Name", "Nanxiangzi Zhongjiu Hanhui Lou Presents Xu Junyou Frost Precipitation Traces", etc., it is not difficult for readers to substitute themselves into the political context of Dongpo through words as argumentative words. "Man Ting Fang" is basically based on discussion, and deeply reflects on his own experience and practice of "sorrow and wind and rain". The author was degraded to Huangzhou because of the disaster of party strife, and the inner world was cynical and ethereal, and his attitude towards life was detached. The lyricist begins with an argument, and uses the art of imagery to summarize the world's favorite fame and fortune to make a merciless mockery. This is not only a self-narrative of life, but also a transcendence of the false name of the sad snail. "Nanxiangzi" was written in the fourth year of Yuanfeng (1081), expressing the author's ambivalent state of mind with slight sorrow, sorrow, and smoothness and optimism. The last few sentences use the poems of Pan Lang and Zheng Gu, which have both argumentative and lyrical effects, and are similar to "the world is like a dream", "the world is a big dream", "when the head is not turned, it is a dream", "ancient and modern is like a dream, He Zeng dreamed", "Junchen a dream, ancient and modern false name" and other sighs, showing Su Shi's attitude of getting rid of sighs and sorrows, sober and self-exhilarating. Chen Zhirou's "Poetry of Hugh Zhai": "Although the change of his language will eventually have this, is it not in the who's house, when you encounter it, you sigh, don't you feel that it is a language?" This means that not being hurt by sorrow and being at will is Dongpo's consistent practice. Huang Su's "Selected Words of the Garden" also said: "Where the past and the future are different, in my ankymith can learn the love of bees and butterflies?" "The self-learning is evident.
Second, the emotional affair: strengthen the narrative function of words
Mr. Wang Zhaopeng believes that the Huajian paradigm focuses on the lyricism of generalization, "even if its emotions are triggered by specific events, it also consciously conceals specific events, tries to dilute the certainty and specific direction of emotions, and enhances the uncertainty and universality of emotions, so that words are rich in artistic tension." This is the advantage of the Huajian paradigm, which is recommended and borrowed by the lyricists of the major genres in later generations to express the deep inner world of the lyrical protagonist' hidden song; but because it ignores the accounting and depiction of specific events, it is not easy to express the feelings and reflections of the lyrical subject on the objective world, the complicated life, and the social history. Therefore, a breakthrough in it is imperative. Liu Yong's use of slow words has been largely innovative and strengthened the narrative function of words. Su Shi continued to make breakthroughs on this basis, and most of the lyrics he composed were due to events, which were the product of emotions that had to be issued in his chest after his soul was shaken by real life, that is, he composed lyrics because of emotions.
In order to facilitate lyricism and avoid conflict with narrative and narrative, Dongpo words give new functions to word titles and word orders, so that the word style, small order and word text constitute an inseparable organic unity, complementing each other in terms of emotions and events. For example, "Yong Yu Le, Bright Moon Like Frost", the title cloud "Overnight stay in the Swallow Building, dreaming and hoping, because of this word", has already explained the motivation of the word as a narrative. This word is another inscription note cloud: Xuzhou night dream, Beideng Swallow Building. Zhang Yan's "Etymology" rolled down the clouds: "Words are the most difficult to use, and it is necessary to recognize the title and melt it without astringency." For example, Dongpo's "Forever Encounter east" cloud: 'The swallow building is empty, where is the beauty, and the empty lock building is in the swallow." 'Seal things with Zhang Jian. ...... This is all done, not done by things. The implication is that it is not easy to achieve that the inscription and this article, the narrative and the lyric melt are not astringent, but Dongpo has done it, which is reflected in: feelings and feelings of emotion, in other words, the title sequence explains the time, place, and reason for writing, and is also related to the content of the text, but it is not muddy in the old things, but can lyrically in the process of body and matter. The word on the film first writes the night scene, and then describes the dream garden, so the dream and the night scene reflect each other, seemingly real and illusory, trance and confusion. Dongpo has no intention of making a big fuss about the historical figure Guan Panpan, only absorbing scenes that can trigger his own sense of encounters in the world, and expressing the infinite regret and feeling in his chest. In the Swallow Building, I realized that "ancient and modern dreams are the same, He zeng dreamed, but there are old joys and new grievances", and the troubles and sorrows brought about by political twists and turns disappeared. Staying in the Swallow House overnight can be a fact, and it is not necessary to dream and look forward to it. Zheng Wenzhuo's "Words and Sayings of the Great Crane Mountain People" said: "The Swallow Building may not be able to stay, and it is even more necessary to dream, and the Residents of Dongpo will not do this idiotic dream, and it is urgent to correct it." Gong used the three sentences of 'swallow building empty' Qin Zhunhai to show the super tang of Yonggu, and the noble look was not expensive. The aftertaste of deep taste is speech, if it is enlightened. Whether true or not, the dream hope indicates that the title is closely related to the text, and together with the text serves the expression of the writer's idea of liberation from sorrow and no longer sorrow.
Another example is "Manjiang Hong, Sorrow and Joy Seeking", which has a long sequence: "Dong Yifu is famous, and he has returned to Poyang since Zi Cao's offense, and when he meets Dongpo in Qian, he blames his abundance and self-satisfaction." Yu asked, "I will marry Liu Shi again and leave for the official in three days." I am not related, and the Worried Liu Clan cannot forget about the advance and retreat. Having gladly shared the sorrows, as if they were rich and noble, I am at peace with them. Ordered his attendants to sing their songs full of rivers and red. The inadequacy of sighing is secondary to the rhyme. "Through the long sequence of words as the main text, Dongpo deliberately presents himself as a word, which is actually an indication to emphasize the narrative nature of the word composition. If you only look at the main text, there is no sign of a specific event between the lines of the word composition, and its lyrical way is similar to the paradigm of the flower, expressing a generalized emotion. However, with the title sequence, it can generate the reflection and persuasion of the lyrical subject on the world and human feelings, especially the transcendent state of Dongpo that will not sink into worry. Through the notes of the inscription, it can be found that the old friend Dong Yifu has no concern for the matter of "dismissing the official", and the stepmother is also "happy to share the troubles, such as being rich and noble", and Dongpo "sighs inadequacy, but is the second rhyme". "Man Jiang Hong" adds a long inscription sequence, indicating that Dongpo sighed because of fate, and wrote lyrics with pity for each other. The lyrical subjects in the lyrics are content with sorrow, transcending melancholy and the background of the creation can be reflected in detail in the mutual verification of the title and the main text. With the strengthening of the narrative record function of fate and events, Su Shi pulled the vision of words back to the individual's spiritual world and specific real life, and faced the joys and sorrows of social life.
Wang Zhuo's "Biji Manzhi" Volume 1 talks about the habit of "men making boudoirs" in the word world before Dongpo, mentioning that "the lyrics composed by the scholar are still graceful and charming, and the ancient meaning is exhausted", revealing a sense of criticism that is not satisfied. The old man is self-aware, how can the snow sideburns and frost whiskers compare to the jade people's bright teeth ice skin and voice trembling? Originally, the ancients did not choose men and women in their names; today, in the Northern Song Dynasty before Su Shi, the phenomenon of men and people with boudoir is very common, from the lower Riba people to the high-level scholars and doctors all focus on the female voice, Yan Shu, Ouyang Xiu, Zhang Xian and others are all incomparable. Of course, this is related to the morphological characteristics of the word Yanke, but also related to the origin of the word from the Sui and Tang Yanle and the Western Yiyin, at the same time, the song and dance in the song and prostitute system and the filling of the word to help the revival are also important factors in the prosperity of the Tang and Song dynasties and the emphasis on the female voice. Therefore, since the Hanama paradigm, "whether the lyricist expresses a generalized prostitute or writes about a specific state of mind in a specific time and space, it is the product of combining with the pleasure of prostitutes, and its language and style are mostly 'graceful'." Su Shi also has no shortage of works of "endorsement" of the song, but from the perspective of lyrical style and aesthetic ideals, most of these works in Dongpo are also born of events, written by feelings, and created words because of emotions, so it can produce Wang Xin's "Fang Ju Shi Yu Self-Narration": "Since the Tang and Song Dynasties, there have been many poets, and their words are mainly obscene, and they are not obscene. Why should the yu predicate be obscene, and also care about the meaning of what is like er. Yu Yu word, the love of the three people. Cover to the east slope and change, its magnificent atmosphere, faintly flowing out of words, natural and unique, not falsely perked up. The second change is Zhu Xizhen, a dusty thought, although mixed with dust, and the qing qi is indispensable. The three changes to Xin Jiaxuan are really written in his chest, especially yuanming. The third variation of this word also. "Nian Nu Jiao, The Great River Goes East" has not seen the slightest charm, only a little sadness and vicissitudes permeated the bold and open-mindedness. In the late Southern Song Dynasty, when the poets all admired the true colors of Zhou Meicheng and Jiang Yaozhang, Wang Xin was optimistic about the "magnificent atmosphere" of Su Shizi, mainly because the style of "what you are" and "true color" in Su Shi's words were very different, and they could wash away the breath of Qiluo Xiangze, and Su Shi was not like the last successors who blindly shouted rudely, but "vaguely flowed out of words", which was in line with the principles of Confucian poetry.
Third, the true color of the eyebrows: there is no text outside the temperament
Su Shizi's voice is male, and its aesthetic style is full of masculinity and grace, even if it is written for the lyrics of the prostitute. Relative to the true color of the boudoir of the word, the Qing Ren Ye Xie's "Xiao Danqiu Word Order" summarizes the style of Su Shi's words as "the true color of the eyebrows": "The tone of the tone of the meaning of the word, the sound of the language, the sound of the word, when it is a fifteen or sixteen-year-old soft concubine and a good woman, it is obtained from the embroidery carved rail, the low Dai fu bun, the promotion of Dai Wei Yin, the tone of the powder and the book, the meaning of its tune and its tone. If you want to make this life with an eyebrow man, try to put yourself in the shoes of a man, and don't you sweat? If there is no, it is still the true color of the eyebrows such as Su Ruxin, the true color of the eyebrows exists, and the true color of the words is dead. "The natural color of the eyebrows contains a masculine temperament, which is a fundamental transformation of the feminine temperament of eroticism.
Ye Xie supported the theory of true color in lexicography, and Shang Wan and consonant rhythm should be the aesthetic characteristics of words, in this sense, Su Shizi undoubtedly made people "sweat impressively" in his eyes. However, regardless of whether Ye Xie's lexical views are biased or not, it is appropriate for him to use "the true color of the eyebrows" to summarize the aesthetic style of Dongpo words. Dongpo word gives people the impression of male strength and open mind, even if you want to express the idea of going to the country and leaving, you can also do sadness without hurt, resentment without anger, sending anger for no reason, and opening up a different world of words. This is consistent with Dongpo's attitude towards life. Wu Mei said of Dongpo Ci's husbandly character in his "General Theory of Lexicology": "If you want it, you are open-minded in nature and cheerful, although the situation is chaotic, and those who are frank, have no public mind, are strong imitations, and it is common to see that they do not know how to measure their ears." Here are a few examples to see, such as "Xi Jiang Yue , A Big Dream in the World" and "Xi Jiang Yue Yu Bone That Melancholy Fog" two poems, all of which have been branded with the color of "poetry and speech". Before "Xi Jiang Yue", the first song of life is short, lamenting the difficult reward of ambition, implicating the fate of the individual with the country and the king, and the road is the husband's career, not the love of the children. The film laments the lost years, the bitter past, and the disturbing life, and captures the two typical autumn scenery of autumn wind and leaves, which tell the feelings of sorrow caused by life's worries. The lyrical subject of the next film is alone in a foreign land to appreciate the moon, and the situation is lonely. The impact of its emotions is very large: in the emotional vortex of worrying about state affairs and angry people, in the loneliness and loneliness, what is issued is the cry and catharsis of life. The front head seems to have a weak and gentle atmosphere of the flower paradigm, but in fact, it is not, and the posture of "looking at the north of the miserable" behind the head is different, and the strength of the male is highlighted. What is even more different is that the subject matter and emotion of the performance are by no means the melody of the tears of fat powder. Hu Zai's "Afterwords of the Yu yin cong of Amaranth Creek" volume 39 clouds: "Dongpo lives in Huangzhou with rumors, and whoever gives poetry and affixes will write what he cherishes, but one day does not live up to the imperial court, and his heart of the king can be seen in the last sentence." In the words, the true color of the eyebrows jumped in front of the eyes, and the neighbors were bold. The first subtitle of "Xi Jiang Yue" is Yong Mei, and its meaning is to commemorate Wang Chaoyun, a concubine who resolutely degraded Huizhou in Lingnan. From the charm of the plum blossom, although it is a plum, it really has sustenance, and the gorgeous and otherworldly beauty of the plum is also the style of the person who is pregnant. The lyrics are somewhat bitter, but the longing contained in Dongpo is deep, beyond the surface of dust, and is an overflow of the emotion of the eyebrows that are alive and free.
Yuan Hao asked the "New Xuan Le Fu Introduction" once said: "Tang lyrics are many palaces, and they are all trying their best. Since the east slope came out, outside of the emotional nature, I don't know whether there are words, there is really a 'wash of eternity' weather. Although it is a palace body at the time, how can it be generalized by the palace body! "Here the palace body refers to the feminine word or the song endorsement body. YuanHaoqing said that no matter what kind of words Dongpo made, they could be different from the style of their predecessors. The so-called "no words outside the emotional nature", which means that the words of the Dongpo paradigm are often style, that is, personality, words such as character, words like people. Therefore, the Dongpo word does not care about whether it is harmonious or not, but allows the natural flow of the mood, "like the source of the spring of Wan Hu, it comes out of nowhere", "always do what should be done, often stop at what must be done". Therefore, if the Dongpo word is sad, it must be true sorrow, not for no reason to seek sorrow and hatred, and it melts the body, mind and emotions, life experience and life attitude into it. For example, "Water Dragon Yin , Ciyun Zhang Zhifu Yang Hua Ci , Like a Flower or Like a Non-Flower "Like a Flower", according to a letter from Su Shi "with Zhang Zhifu", I know his ability: "A certain Qi. It is a metaphor for caution and tranquility to deal with troubles. Not to love me deeply, and what and this, I will put it on the right side. The words of "Willow Flower" are wonderful, so how to word the comers. Ben did not dare to continue the work, and thought about the patrol when the willow flowers flew, sat and thought of the four sons, closed the door and was sad, so he wrote his intentions, and sent a song of rhymes, and did not tell people to show people. "Although it is a harmony work, it is better than the original work." The inscription Yang Hua imagery, sending the appearance to take the gods, can be said to be overwhelming the ancient and modern. The whole passage is born from a "pity" word, and the soul of the god of Yang Hua's state is written through "falling", "haunting", and "dreaming with the wind". Followed by "Xiao lai rain" and inquired about Yang Hua's whereabouts, further highlighting the spring hatred of the departed. "A pool of Ping shattered" sentence, Su Shi self-annotated as "Yang Hua fell into the water as duckweed, test the faith." Chen Bandit's "Song Ciju" Yun: "Where the traces are, it is a word, it is eclipsed." The concluding sentence is the finishing touch, "Melting is not astringent, but also the right Dharma eye of the chant." Yu His Majesty Yun's "Selected Interpretations of the Two Song Words of the Five Dynasties of the Tang Dynasty" pointed out: "The nostalgia of the end sentence is full of resentment, and the strength penetrates the back of the paper, which is both wounded and detached, and has a sense of relocation." It can be seen that Su Shi has completely melted his own experience and attitude into the words, and on the surface, Yang Hua's sorrow is a metaphor for si woman's bosom, but in fact, the face of the lyricist is everywhere. The words echo at the beginning and end, the discussion and lyricism, the depiction and the narrative are integrated without gaps, the pen and ink are transformed and there is no trace of God, and the so-called "words are not known outside the emotional nature". Dongpo's sentimentality is formed in one go in this poem, the image structure is sequential, the momentum is unrestrained, and people are taught to distinguish between flowers and people, or flowers and people are the condensation of the human nature of words.
In the case of Su Zi, the aesthetic style seems to be close to flattery, but the essence of the eyebrows is injected into it, and the male eroticism melts into it, which has made "Dongpo words unique, wonderful ancient and modern", "self-contained in the song can not be bound" (Chen Tingzhuo's "Words in the Circle of Words"). If you look at his bold side again, you will see the weather of "washing the ancient mortal horse and sky" and the heroic posture of "washing the state of Qiluo Xiangze". Deng Tingzhen's "Words and Sayings of Shuang Yan Zhai" praised: "Dongpo is known for the uninhibited talent of Long Ji and the unique exercise of tree pine juniper, so its words are clear and rigid, including the heroes." Therefore, Su Shizi has the essence of eyebrows even if he is sad, which is related to his particular appreciation for the tragic and energetic musical aesthetic. Yu Wenbao's "Continuation of blowing swords" records: "Dongpo is in the Jade Hall, and there are shoguns who are good at praising, because I asked me how the words are better than the willow words? Right: Liu Lang in the middle of the word, only seventeen or eighteen girls, holding the red teeth clapboard, singing Yang Liu Wai Xiaofeng remnant moon; bachelor words, must Kansai Han, holding the iron plate, singing the great river east. The public is desperate. "Although the language is close to the tongue, it is actually a confidant. Su Shi's feminine and gentle aesthetic style in the feminine and gentle atmosphere of the world of words in the world of heredity has injected a fresh and robust temperament, broken through the musical attributes of the words, and broadened the aesthetic vision of the literati.
The Dongpo paradigm elevates the way of saying words and sorrows to the realm, realizes the transformation from "endorsement" to "I speak", expresses masculine temperament or eyebrow sorrow, and has its own authentic emotional nature immersed in it. Liu Chenweng's "Xin Jiaxuan Word Order" said: "Words to the eastern slope, pouring and falling, such as poetry, such as the wonders of heaven and earth, is it more clumsy than the group of female acoustics!" "Su Shi's words originate from events and lyrics because of emotions, which greatly strengthens the narrative function of words, does not give up discussion, calmly dispatches various methods of expression, describes all kinds of sorrows to the fullest, but its purpose points to the free level of life, advocating a detached and self-adapting attitude to free from various sorrows. Dongpo's aesthetic personality has a deep cultural historical influence, and its personality paradigm is based on reality and transcends, dealing with historical situations in a moderate way, rather than "staying in the king today, the Ming Dynasty is worried about killing people" ("Bodhisattva Man • West Lake"), it is better to "Mo provoke idleness, and fold the river plum on the small building" ("Minus Magnolia Flower Snow Word") or "wash idle for fifteen years" ("Minus Magnolia"); instead of "provoking sentimentality, worrying about the scenery" ("Flowers in the Rain"), it is better to "this body is my hometown" ("Dingfeng Wave"), which is " Dongpo paradigm "the attitude towards melancholy in its words." In short, although the huajian paradigm and halal paradigm also reflect the fashion of Song Ci's melancholy, the melancholy characteristics of the Dongpo paradigm are mainly: the main position of shifting from "endorsement" to "I speak"; emotional affairs, strengthening the narrative function of words; and presenting the aesthetic style of eyebrows and "no words outside the temperament". Su Ci calmly dispatches various expression methods, describes all kinds of melancholy to the fullest, but its purpose points to the free level of life, frees itself from various melancholy with a detached and adaptive cultural personality, more embodies the barrier of informal form of the original form of the word, and opens up a broader context and situation.