Long-key words refer to long-form words, divided according to the number of words, which are relatively small and medium-key words. Slow songs are divided according to the musical rhythm of the songs. Qing Mao Xianshu's "Explanation of Filled Words" Volume III: "Words are named slowly, and slow songs are also." Dragging the sound of Na Na, do not want to run out. "There is both a connection and a difference between the two.
The relationship between slow words and long tones is mixed, not one-to-one.
First, slow words are mostly long tones
This is a common phenomenon in words. Late Tang Zhong's "Bu Operator Slow", 89 characters, is the earliest name that can be seen today marked as "slow". Li Cunxun's "Song Head", double tone, 136 characters, is known as the "ancestor of long tone". Wu Xionghe believes: "The 'song head' is the first song in the middle sequence or arrangement of the big song, so it is called 'song head.'"
Second, some of the songs are long tones
For example, Liu Yong's "Lotus Picking Order" has 91 words; "Six Orders" has 94 words. Ouyang Xiu's "Liangzhou Order" has 105 words, "Liangzhou Order" has 106 words, and "Dongxian Song Order" has 84 characters and 82 characters each. These words, in terms of word count, can be attributed to long tones, but they are still order words rather than slow songs. It can be seen that the lingqu also has a long tune, and the long tune is not all a slow tune.
Ouyang Xiu
Third, there is no stable asana
For example, in the tone of "Ten Thousand Years of Joy" (slow), the number of words, sentences and sentences of the five words are different, the longest is more than 100 words, and the shortest is less than 50 words. In this way, the long tone can be a slow word, it can also have a command word, the short tone can be a slow word, and more often than not, a small order.
Take "ManJiang Hong" as an example of the development of the Song Dynasty's long tune
"Manjiang Hong" is one of the commonly used tones of the Song Dynasty, with a total of 551 words transmitted by the two Song Dynasties, ranking third in the "Four Long Tones" of the Song Dynasty, second only to "Water Tune Song Head" and "Nian Nu Jiao" and ranking before "Qinyuan Spring". Among the more than 500 "Manjiang Hong" poems that have survived from the two Song Dynasties, Yue Fei's "Manjiang Hong, Writing Huai" is the most famous. However, the creation of the two Song Dynasties "ManJiang Hong" is not limited to this style of boldness, and even does not mostly use works of the bold style, but shows a relatively rich and diverse artistic style and aesthetic characteristics.
1. Fresh and gentle
When we enter the art world of "Manjiang Hong" for aesthetic experience, we still feel that it is more objective and appropriate to borrow the phrase "fresh mianmiao" summarized by Yuan Ren to summarize a more subjective and universal art style embodied in the lyrics of "Manjiang Hong" in the two Song Dynasties. Zhou Deqing's "Zhongyuan Yin Rhyme" said: "All the sounds should be in the law, divided into eleven tones of the six palaces, a total of seventeen palace tones." Xianlu tune fresh and mianmiao, Nanlu Palace sighed sadly."
Liu yong
Although the tone of "Manjiang Hong" is not created by Liu Yong, Liu Yong was the first lyricist to create "Manjiang Hong" in the Northern Song Dynasty, and he was also one of the most numerous lyricists in the Northern Song Dynasty to create "Manjiang Hong", so Liu Yong played an important role in laying the basic type of artistic style of "Manjiang Hong". The lyrics of this work after the late release reflect the fresh and gentle artistic style that is closer to the true color of "Man Jiang Hong". The full words are quoted as follows: "The twilight rain begins to harvest, the long river is quiet, and the sails are falling at night." Near the island, the smoke is faint, and the reeds are windy. A few fishermen flew short boats and returned to the village with lights. Send the traveler, when this thought returns, the wound drifts. Tongjiang is good, smoke desert. The waves are like dyes, and the mountains are like cutting. Around the shore of Yanling Beach, herons fly fish leap. The eunuch area is a bottom thing, and the ordinary life situation has a cloud spring about. Returning, a song of zhongxuan, from the military music. ”
The sentimentality of the sentimentality expressed in this word has been greatly reduced, and the focus of the writer's ink is on the description of the customs and human feelings of the Tongjiang River. The first film depicts the scenery and island style of Changchuan seen at the beginning of the twilight rain and the night setting of the sails, and there is no lack of warmth and brightness in the sparse depression; the next film depicts the beauty of the Tong River and the scenery of Yanling Beach seen by the daytime boat, which is even more picturesque, like a splashed ink landscape. The whole piece is refreshing, the style is smooth, the language is natural and fluent, the artistic conception is broad and long, the final beat is elegant, and the lyricism is also implicit, which can be called the foundation and exemplary work of the fresh and mianmiao style of the two Song Dynasties "ManJiang Hong".
The fresh Mianmiao style began to be presented in the early stage of the creation of "Manjiang Hong", even after the enthusiastic singing voice had been sung on the lyrics of nandu, this style of words with fresh and subtlety as the main quality was still inherited and popular, and the number of lyrics occupied was relatively large, which was a clear embodiment of the tone's more authentic vocal appearance and aesthetic characteristics.
2. Generous and tragic
In the creation of "ManJiang Hong" in the two Song Dynasties, although the generous and tragic singing voice was sung on the lyrics as late as the time of the Southern Crossing, the far-reaching and huge influence of the history of the word and the aesthetic significance were beyond the creation of "Man Jiang Hong" that surpassed the fresh and gentle wind.
Xin abandons the disease
Xin Not only pushed the creation of "Manjiang Hong" to a climax with the number of works of 34 songs, but also deepened the generous and tragic stylistic beauty of "Manjiang Hong" with a broad mind and a deep penmanship. Look at the words "Jiankang Shi Zhi Dao Left behind on the Table": "Peng's wings are hanging in the air, laughing at the world, and nothing." Also to the depths of the nine levels, the jade steps are standing. The pocket is rare and colorful, and he has to make up the northwest of the sky every year. And return, talk and laugh to protect the Yangtze River, Bo Chengbi. Bellely, article Bo. Golden wisps sing, red teeth beat. Watch the front of the zun fly down, the news of the sun. Expected Baoxiang Huangge Dream, still painting Fang Qingxi Flute. Wait for now, the end of the bell mountain, long acquaintance. ”
The word was roughly written around the fifth year (1169) of Emperor Xiaozong of Song's Qiandao. This is a song of socializing, and it is also an earlier work of Xin Zhiyi's "Man Jiang Hong". Although he was a subordinate lyricist who praised and praised his superiors, Xin Zhiyi was able to inspire him with the great cause of recovering from the War of Resistance Against Japanese Aggression, exert his ambitions in the clouds, pin his patriotic feelings, write majestically, and have a bold and unrestrained style. Chen Tingzhuo's "Yunshao Collection" Volume V Commentary: "You'an's "ManJiang Hong" and "Water Tune Song Head" are all capable of opening up the machine and are extremely calm and happy. ”
After the inheritance and deepening of Xin Renyi, the style of impassion and majestic tragedy has always run through the middle and late Period of the Southern Song Dynasty, and has a more prominent performance in the creation of Zhang Xiaoxiang, Wu Qian, Fang Yue, Huang Ji, Dai Retro, Liu Kezhuang, Wang Qinghui, Wen Tianxiang and others, and has become the most representative and influential main style of "Manjiang Hong".
3. Idle and super-leisurely
The lyrics of this style are mainly concentrated in the genres of leisure, seclusion, chanting, section order, and scene writing, and mostly express the thoughts, feelings, and aesthetic tastes of indisputable world, wonderful understanding of landscapes, idyllic leisure, tranquility and far-reaching. The feelings of the aesthetic subject have reached the otherworldly realm, and the style of the lyrics works naturally tends to be idle and superfluous. Compared with the fresh and gentle style of clarity and meticulous elegance, it is more diluted and simple, and the transcendence is more relaxed.
Lü Benzhong
At the turn of the Southern and Northern Song Dynasties or the time of the Southern Crossing, the most famous masterpiece of the "Manjiang Red" to express the idle and super-easy wind was written by Lü Benzhong, a Nandu lyricist who was called "Mr. Donglai". Zi Yun: "Mr. Dongli, where is the home, San'in Xiqu." On Ichikawa Hirano, there are several huts. Last night, new rain passed in the river, and the water in front of the door was as clear as jade. Leaning on the small bridge, ringing the willow towering sky, shaking the new green. Sparse hedge, bushes of chrysanthemums. Outside the eaves, Xiao Xiao bamboo. Sighing at the gains and losses of the past and the present is not honor and disgrace. You must believe that life will return, and when all things in the world will be enough. Ask how this spring and new wines are, ripe today. ”
This word Huang Gang's "Selected Wonderful Words Since Zhongxing" volume 1 is included, titled "Secluded", and covered after Nandu. The words "Mr. Dongli" are written in the home and village, and the idyllic leisure feelings, or the self-portrayal of his idle life after the southern crossing or in his later years. It is precisely because the lyricist sees through the "ancient and modern gains and losses" and "right and wrong honor and disgrace", and embraces the belief of "returning to the good" and the mentality of "everything is enough", the plain and simple village scenery and home life will appear so fresh and lovely in his eyes, leisurely and relaxed.
As far as the musical composition of the tone of "Manjiang Hong" and its true color and sound sentiment are concerned, it was originally rich in melodies and vocal sentiments of the broad and majestic, heroic and unrestrained side at the beginning of its creation, but in the early stage of the creation of the transformation into the tone, its fresh and gentle style was given priority development by Liu Yong and others, and the style of the generous and tragic side was suppressed; when the difficulty of Jing Kang triggered great changes in the social culture and literary creation of the Southern Song Dynasty, "Man Jiang Hong" not only sang the strongest sound of impassioned, heroic and tragic. It also expands a new style such as leisure and super ease.
The evolution of slow words in the Northern Song Dynasty
In the history of Northern Song Dynasty words, the development of slow words has undergone a process of continuous elegance. In this process, the creations of Liu Yong, Qin Guan, and Zhou Bangyan are highly representative, reflecting the different characteristics of the process of slow words from inception to elegance.
Qin Guan
1. A landmark poet in the history of northern Song Dynasty words - Liu Yong
Liu Yong was a landmark lyricist in the history of northern Song Dynasty words, and in terms of the significance of the development of literary history, Liu Yongdang was the pioneer of slow words, he conquered this form with his artistic genius, and provided a set of feasible experiences for future generations in his creative practice. As the creator of slow words, Liu Yong has almost no previous creative experience to inherit, relying on his own exploration and summary in creative practice, Liu Yong has created a method of laying narrative - straight-line flat direct narration, according to the natural relationship between time and space to expand the word situation. These experiences are typically reflected in his masterpiece "Raining Bells": "The cold cicadas are miserable, the long pavilion is late, and the rain begins to rest." Dumen tent drinking is unpublished, Fang Ling nostalgic, Lan Zhou urged. Holding hands and looking at each other with tears in their eyes, they were speechless and choked. Thoughts go, thousands of miles of smoke, twilight is heavy and the sky is wide. Amorous parting from ancient wounds, more kan, snubbed the Autumn Festival! Where is the wine awake tonight? Willow bank, dawn wind and moon. This past year should be a good day and a good scene. Even if there are a thousand styles, who to say? ”
From the content of this word, it can be seen that the lyricist pursues a natural feeling of power, and the true feelings in the depths of the soul are spewed out without concealment, so that we can see a pair of worldly small people relying on other moving scenes, rather than the "courtyard deep and deep" in the courtyard of the deep house, so this word is sincere and frank. In terms of expression techniques, the description method of layered narration is used, and the details are described at multiple levels and angles, and the scenes, narratives and lyrics are organically combined to blend the scenes. In terms of structure, although there are small setbacks in the words, the overall use of "linear structure": on the one hand, the author unfolds the words in the original order of time, from near to far, at a glance; on the other hand, the natural transformation of space, which is also from near and far, natural.
2. The poets who inherit the past and the future in the history of the Northern Song Dynasty - Qin Guan
Words have developed into the era of Qin Guan's life, and the creation of slow words has accumulated certain experience. The creation of Qin Guan's slow words directly inherits Liu Yong's achievements and expands deeply, and its characteristics of deepening are vividly expressed in the words of his masterpiece "Man Tingfang": "The mountains smear micro-clouds, the sky sticks and fades the grass, and the sound of the painting horns breaks the door." Pause the levy and talk about the common leader. How many old things in Penglai, empty looking back, smoke and mist. Outside the slanting sun, jackdaws counted, and the flowing water surrounded the isolated village. Soul destroyer. At this time, the sachet is secretly dissolved, and the strip is lightly divided. He won the favor and Qinglou Bo survived. When will I see you here? On the sleeves, there are empty cry marks. At the place of injury, the high city was broken, and the lights were already dusk. ”
"Man Ting Fang" and "Raining Bells" have the same theme, both are narrative parting feelings, but in the expression of content, the use of expression techniques, the arrangement of structure, and the tempering of language are many different from Willow Words. In this song, the author no longer expresses a single divorce in the willow word, but uses the expression of the divorce to pin the hazy and confused life situation. In terms of expression techniques, the author inherits the narrative technique of Willow Words and expands the words in this way. However, the author is not satisfied with the structure of Liu Yong's straight line, but uses the loop reciprocating structure, still takes the separation of men and women as the narrative clue, structures the whole word with his own emotional flow, and the past, present, and future time and space changes jump up and down around the narrative thread, the scene is constantly changing, and the pain of the unspeakable party struggle is mixed in the love, so that the parting feelings are expressive and confused and poignant, which makes people pitiful and lamentable, and can be described as endless and endless.
Kunihiko Zhou
3. The poet of the Northern Song Dynasty who has become a family of words in its own family - Zhou Bangyan
Later in qin guan, the lyricist Zhou Bangyan can be said to be the temple army in the northern Song Dynasty, he was eclectic, especially inheriting Qin Guan's slow word creation, becoming a family of his own, and eventually becoming the originator of the Southern Song Dynasty Gelug school. Zhou Bangyan is still known for his beautiful words, and his profound study of art has made him a master of slow word creation, and the characteristics of this collection are also reflected in the creation of his masterpiece "Lanling King": "The willow is straight, and the smoke is green." On the Sui causeway, I have seen it several times, and the water is wafting to send off the color. Landing on the homeland, who knows the Beijing tired guests. Changting Road, years to come, should be folded over a thousand feet. Idle looking for old traces, and wine to mourn the strings, the lights left the table, pear blossom elm fire to promote cold food. The wind is fast, the wave is warm, and the number of horses is counted back. Looking at people in the north of heaven. Pity, hatred piles up. Gradually parting Ura lingered, and Tsuki was silent. The slanting sun is rising and spring is endless. Nian Yue Xie joined hands, Lu Qiao smelled the flute. Contemplating the past, like a dream, tears dripping. ”
This song fully reflects the structural characteristics of the Zhou word, the word person recalls the pain of parting when he is not parting, and after parting, he recalls the joy of reunion, from the real to the virtual, from the virtual to the real, the virtual and the real are constantly converted, sometimes the picture of the virtual and the real is superimposed together, we can call this structure a superimposed loop reciprocating structure. This structure is more pulsating than Qinzi, the level of consciousness flow is more, and the author's feelings are more full and three-dimensional.
From the above discussion, we can see that the development of slow words has undergone a process of continuous elegance, and the progress of this process is caused by the evolution law within the word on the one hand, and on the other hand, it is closely related to the social environment and personal experience, and many factors have led to the continuous deepening of slow words in terms of content, expression methods, layout structure, language style and so on. On the basis of Zhou Ci, the Southern Song Dynasty poets further introduced the slow word into the Yutang Huawu and turned it into a Yangchun white snow for only a few people to appreciate, and at this point, the slow word also completed its historical mission of prosperity and declined.