Su Shi, as a leading figure in the literary circle of the Song Dynasty, he is an all-powerful encyclopedic figure in the literary and art circles of poetry, literature, books and paintings, and in poetry, he and Huang Tingjian jointly laid the foundation for the tone of Song poetry, that is, the rich charm and implicit connotation that distinguish it from Tang poetry, and are known for their rationality.
Song Ci is known as "a generation of literature", Su Shi's achievements in word composition are also extraordinary, in the filling of words and composing music in China, Su Shi broke through the barrier of "words for Yanke", and extended the theme of words to writing scenes, traveling, lyrics and other aspects.
Su Shi, as the leading figure in the literary circle of the Northern Song Dynasty, naturally there will be many people who will admire and vote under his door, and Su Shi's side has always gathered many protégés who are willing to follow the travels and like-minded people, the most famous of which is the "Sumen Four Bachelors".
Su Shi was promoted to Hanlin Bachelor in the early years, and during the Yuan Dynasty, Zhang Qi, Together with Huang Tingjian, Chao Shuzhi, and Qin Guanju traveled under Su Shi's men, and because all four of them were serving in the pavilion at that time, they were called "Bachelors", so they were called "Four Bachelors of Sumen".
The four sumen scholars have their own literary attainments and their own creative styles, but they have all received awards and promotions from Su Shi, and their life experiences and poetry creations are also deeply influenced by Su Shi.
Su Shi's friendship with the four protégés, as well as academic and literary exchanges and discussions, is a major event in the history of Chinese literature, so the history is called "the grandeur of cultural relics for a while, since the Han and Tang Dynasties have not come." ”
Su Shi did not easily evaluate others, but he was quite satisfied with these four protégés, so according to the different styles of the four people, Su Shi gave corresponding praise.
For example, when he evaluated Qin Guan, he said that "the mountain smears the clouds of Qin Bachelor, and the dew flowers reflect Liu Tuntian", which means that Qin Guan's words are elegant and incomparable, lingering and compassionate, which can be compared with Liu Yong's word style. And the four words "mountain smearing micro clouds" happen to come from Qin Guan's lyric "Man Ting Fang".
Huang Tingjian's poetry is first-class, the founding father of the "Jiangxi Poetry School", his poetry and Su Shi are called "Su Huang", Su Shi once commented that Huang Tingjian's "magnificent literature is wonderful in the world, and the journey of filial piety is matched with the ancients", in this sentence, Su Shi not only gave full praise to Huang Tingjian's literary achievements, but also affirmed Huang Tingjian's character.
For Chao Supplement, Su Shi gave the comment that "Yu Wen is omnipotent, Bo Debate Junwei, absolutely far away, and will be revealed to the world", Su Shi gave full affirmation to Chao Supplement's style and works.
Su Shi commented on another protégé, Zhang Qian, and said: "Wang Yang rushed to the ground, and there was a three-sigh voice of one initiative (tong"). Su Shi's implication is that Zhang Qian's works are widely used in a wide range of materials, the style is concise and smooth, the momentum is bold, the swing is free, the elegance is gentle and the meaning is profound. This is a high evaluation, which can also be seen from Su Shi's praise and affirmation of Zhang Qian.
From Su Shi's comments on these four people, it is not difficult to see that the four of them have achieved outstanding artistic achievements in their respective literary fields and have their own unique styles, but Su Shi's evaluation of Zhang Qian can be described as the most pertinent.
Zhang Qi (1054 -1114), ziwen qian, called himself Keshan. Originally from Bozhou County, he grew up in Huaiyin, Chuzhou, one of the "Four Scholars of Sumen", which can be described as a famous talent, Zhang Yun is an important writer who ended the Northern Song Dynasty literary circle and influenced the Southern Song Dynasty literary circle. Because after the deaths of Su Shi, Qin Guan, Huang Tingjian, and Chao Shuzhi, Zhang Qian was still alive.
It was Zhang Qian, who spread and continued the light of Sumen's literature, who taught his students what he had learned all his life without reservation, and his articles and poems influenced many people, and his literary theory and poetry creation techniques were passed down from generation to generation.
In his lifetime, Zhang Qi composed nearly 2600 poems, essays, historical theories, and discussions, of which nearly 2400 were poems alone.
In the early years of the Southern Song Dynasty, the lyricist Zhang Biaochen also called Zhang Qian's works in the "Preface to Zhang Youshi's Collected Works": "Profound and elegant, delicate and magnificent, and omnipotent", which is also a very high evaluation of Zhang Qi's works.
Although Zhang Qian's lyrics are not many, only 6 have been handed down. The poem "Flowing Winds", which he wrote near the Chongyang Festival, is not only a work passed down from generation to generation, but also has become a classic work of flowing for hundreds of years because of the artistic techniques and meticulous emotional expressions of Jing Yunqing. The original words are as follows:
Under the wooden leaf pavilion, the heavy sun is near, and it is the autumn of the pounding clothes. Nai is worried into the intestines, the old invades Pan sideburns, the yellow chrysanthemum, and the flowers should also be ashamed. At night, the white apple smoke was exhausted, and the red indigo was at the edge of the water. The grass is sentient, the sunset is speechless, the geese cross the South Pu, and the people lean on the West Building.
Yu Rong Zhi'an? Incense sticks are written together, and there are two leisurely places. Empty hate blue clouds clutch, blue birds sink and float. Chagrin before the wind, a little heart, two leaves of eyebrows, forbidden to be idle? The love is beyond words, and the payment is in vain.
Zhang Yun has been working in a place far away from home since the day he stepped into his career, the husband and wife have gathered less and more, and his thoughts about his wife are particularly deep, and this longing is particularly strong in the festival.
Since the thoughts cannot be seen, then use words to talk about thoughts, which is not only the common feeling of people, but also the emotional catharsis of the writer under the pain of lovesickness.
The opening three sentences are to the effect that the leaves have fallen to the flat ground by the water's edge, the Chongyang Festival is approaching, and it is autumn to pound the cold clothes. These three sentences point out the place and time of the writer.
Wooden leaves, referring to leaves, the words point out that the leaves fall, indicating the time and season of late autumn, grass and trees falling in classical literature is not only synonymous with the expression of late autumn, but also the meaning of expressing nostalgia and nostalgia. For example, Fan Zhongyan's famous work "Su Mu Sha", from the autumn scenery of "blue clouds and yellow leaves", leads to the deep emotion of "wine into the intestines and turns into tears of lovesickness".
Tinggao, the flat land by the water; Chongyang, refers to the Chongyang Festival, one of the traditional Chinese festivals, in the ninth day of the ninth month of the lunar calendar every year, the ancients had the custom of ascending to the top, pegging zhuyi, and drinking chrysanthemum wine in the Chongyang festival.
For the wanderers who think of traveling, the Chongyang Festival is also a day of special homesickness and special miss of relatives, and this mood is also Wang Wei's "thinking of relatives every festive season".
The third sentence , " Again " is the autumn of the pounding clothes " is a very key sentence of the whole word, and the three words of "pounding clothes autumn" are the key of the key, because these three words carry the function of narrative and lyricism, "pounding clothes" is a narrative, ancient women in the autumn when the cold, on the anvil stone pounding clothes in preparation for sending relatives out of the country for winter.
Why mash up? It turns out that the pounding of clothes is actually a process of making clothes, people first put the pulp washed cloth on the anvil, the anvil stone is a kind of grinding stone specially used to pound clothes, and then use a special wooden stick to mash the folds on the surface of the cloth to mash and soften, so that the clothes are very comfortable to wear, which is the process of pounding clothes.
What can be aroused by the pounding of clothes is the emotional resonance of people who separate two places in the same time and space. Family members pounding clothes is a concern for relatives who go out, which is a concern for the warmth; and the wanderers who are traveling abroad, whenever the weather is getting colder, will naturally think of the warmth of home and the care of relatives.
These two emotions mingle in the sound of clothes pounding in late autumn. Zhang Qi, away from home, on the occasion of the Chongyang Festival, the thought of his wife is becoming more and more intense, so he appeals to his emotions to the end of the pen, and the opening three sentences are the embodiment of this emotion, and also the emotional clues of the whole word.
The writer stood at the water's edge, looking at the flakes of yellow leaves falling, looking at the yellow chrysanthemums blooming outside the pavilion, and the melancholy could not help but haunt his heart. What sorrow is there in the heart of the writer? It turned out that the writer was getting older and his hair was thinning, so he took off the chrysanthemums and put them in his hair, and the hair was so thin that even the chrysanthemums could not be stopped.
The sorrow in the heart of the writer is like a falling leaf that has fallen, accumulating more and more, accumulating more and more thickly, this melancholy contains the lyricist's deep sense of twilight, strong nostalgia, and parting mourning, when this melancholy is blown up by the autumn wind, all kinds of complex feelings rush into the heart for a while, and the writer completely breaks the defense.
"Chu Tian evening, the white apple smoke is exhausted, the red indigo water edge head", to the effect that it is late, the writer's line of sight along the direction of the water flow has been looking, where the water and the sky meet, is the white apple with water vapor and the red apple blossoming at the water's edge.
Chu Tian, pan guide to the sky; red indigo, born in the water name Ze Tateshina or water indigo, blooming light red small flowers; "white apple", duckweed, a drifting, drifting aquatic plant, so people naturally associate duckweed and wanderer, duckweed is even synonymous with wanderer, Tang Dynasty great poet Du Fu wrote in the poem: "Looking at each other thousands of miles away, the same is a duckweed." ”
These three sentences have an extremely wide field of vision, an extremely wide space, and the writer's line of sight is like a movie lens, from the sky to the ground, from high to low, from near to far, from the foothold to the end of the line of sight, successfully cutting a beautiful picture of the late autumn season in the southern country.
This sunset evening picture is the visual experience of the lyricist, and it is also the writing method of the lyricist's allegory of the scene. Wang Guowei said, "With me looking at things, everything is my color", which is the "realm of having me" in "Human Words", the writer looks at the scenery from a foothold, and the scenery will inevitably be contaminated with the emotional color of the main body of the writer, at this time, the scenery in the eyes of the writer will also become the carrier of feelings.
Just as the so-called "all scenery language is love language", at this time, the beautiful scenery of the southern country in the eyes of the writer has become the carrier of emotion, and it reveals the love of the lyricist everywhere. Therefore, the writer looks at the sunset in the southern country from afar, until the end of the steamy white apple, until he looks into the depths of the blooming red indigo at the water's edge.
The end of the world is at hand, the end of the world. The writer has been looking into the distance, and at this time, the writer, in the face of nostalgia and twilight, how he wants his vision to be able to cross the geographical restrictions and look all the way to his hometown.
"The grass has feelings, the sunset is speechless, the geese cross the South Pu, the people lean on the West Building", the writer leans on the pavilion to look into the distance, he sees the grass with affection, cuts off the silent sunset, sees the geese crossing the South Pu, but does not see the hometown.
These few words and sentences of the scene are implicit in meaning and complete in picture. "People leaning on the West Building" points out where the lyricist climbs the overlook, explains the words' observations in Nanpu, and the feelings caused by this, so the scenery in front of the lyricist's eyes is also given people's feelings.
"Nampo" is a polysemantic term that generally refers to the waterfront located on the south side of an area, and people in this area habitually refer to it as Nanpu; another meaning of "Nanpu" is the water's edge, shore, or the place where the river flows into the river and sea. Both can be called Nampo.
In any case, "Nampo" as a water-related place, naturally contaminated with some water-related characteristics, and when people send them to "Nanpu", they have to stop because of the water barrier, so "Nampo" has become synonymous with parting.
Separation is the norm of life, and parting is also a common emotion of people. The Southern Dynasty literary scholar Jiang Yan said in "Farewell" that "spring grass is blue, spring water ripples; send Jun Nanpu, hurt as it is", since Jiang Yan sustenance and integration of parting feelings into Nanpu, "Nanpu" contains a cultural connotation and has become an image in literature and poetry works.
At this time, the lyricist Zhang Qian, who is standing by the water's edge, must be splicing and stringing together memories of lovesickness and separation, whether it is the parting of relatives, the parting of friends, or the parting of lovers, in short, the splicing and stringing together of the lyricists must be a sad picture related to the parting of sorrow.
The so-called scenery is set for love, and words are made for love. The lyricist's longing for love is the lyrical clue of the whole word, so who is the lyricist thinking about? Is his thoughts widespread majority? Or is it a specific one?
In the next film, the lyricist begins with a rhetorical question, "Does Yu Rong know an?" The person who pointed out what he was thinking about was his wife, unveiled the main theme of the words, and also concretized and clarified the description of various scenes in the film, which is the literary expression method of "falling out of the water".
The next four sentences are "incense sticks, two leisurely." Empty hate blue clouds clutch, blue birds sink and float", expressing the endless longing of the lyricist for his wife. Incense sticks and blue birds mean family letters and letters, and because the place where the writer works is far from home, even the letters cannot be kept open.
He hadn't been home for a long time, and he didn't know if everything was okay. The meaning of the three words "know an or not" is even more profound. Words are both musical and literary works, if at this time, Zhang Qian's words and sentences are expressed in the form of music, it must be a song that makes people feel sad after listening to it.
The writer is so homesick, so homesick, so much that he is so envious of the clouds in the sky, because in the eyes of the writer, the clouds are free, there is no ties, the clouds can travel freely in the sky, and even meet another cloud at any time.
The next four sentences, "Chagrin before the wind, a little heart, two leaves of eyebrows, forbidden to be idle", is the poet's empathetic thinking, he imagines the pain of his wife when she misses herself.
When I miss you, you happen to be thinking about me, and it's the happiest thing in life. The lyricist expresses his longing for his wife in a transposed way and in the tone of his wife, precisely to express his deep love and deep thoughts for his wife.
"Love to the point of unspeakable, pay in vain", in the melody of long mourning, in the lyricist's deep thoughts about his wife, the lyrics slowly close the curtain. The more the writer's pen flowed, the deeper his thoughts became. It is better to share this lovesickness with the waters of the East Stream.
Thinking of the loved one in the heart, and being related to the heart, a person is also reunited, even if this thought is sweet and bitter, but what is the harm? The whole word is sad and not mournful, leisurely and endlessly and full of fullness, showing the infinite and deep longing of the lyricist, which makes people move to read.
Zhang Qian's poem has always been praised like a rave, and the evaluation of the Ming Dynasty opera composer Shen Jifei cannot be described as wonderful, he said: "Writing autumn thoughts away from sorrow, laying out the scenery and Lang Qian, and setting off the melancholy." Such a comment can be described as a one-sentence one-sentence comment.
In Zhang Qian's literary works, his artistic achievements in lyric writing are very high. Zhang Qian once wrote a preface to his friend He Zhu's collection of words "Dongshan Lefu", in which Zhang Lei commented: "Full of heart, unbridled, without thinking, without carving and beauty, all are natural nature, and the way of affection is also." Who would say that such a comment was used on Zhang Qian's own lyrics?
Zhang Yun believes that words, like poetry, are a literary form of "the way of temperament". Therefore, Zhang Qian's creation theory inevitably advocates the natural nature of "full of heart", "wanton mouth", and "direct intention", and those who think and work, sculpt and beautiful are ultimately slightly inferior to the former.
Zhang Qian's lexical point of view reveals the lyrical nature of words, and also explains the creation method of direct lyricism, which provides a precise and solid theoretical basis for the development of words in content and the bloom of style.
Such a lexical point of view is vividly reflected in his "Wind Flow", and it is no wonder that Su Shi will evaluate Zhang Qi with the praise of "Wang Yang rushing, there is an initiative and three sighs".