The Song Dynasty was the heyday of the word world, the Yuan and Ming dynasties, and the creation and development of words once declined. However, in the Qing Dynasty, the lexicon ushered in its second prosperity, known as the cipote ZTE, and Chen Weisong, Naran Zhide and Zhu Yizun were collectively known as the three masters of the early Qing Dynasty because of their outstanding achievements in lexicology.
Chen Weisong, Zi Qi nian, number Jialing, Yixing, Jiangsu, famous lyricist in the early Qing Dynasty, more than 2,000 works in existence, collected in the "HuhaiLou Dictionary". In terms of the number of lyrics, Chen Weisong's works can be said to be eye-catching words, unprecedented and unprecedented, not only far exceeding the total number of works of Naran Zhide and Zhu Zun in the same era, but also surpassing the former pronouns.
The word was originally a folk lyrical ballad, and later because of the influence of the literati, it gradually departed from the initialization form of the early popular minor key, and brought the aesthetic taste of the literati. The participation of the literati will undoubtedly introduce the themes and techniques that were already used in poetry at that time into the words, so in the selection of themes, the chants will naturally become new branches of the lyrics.
The word was first produced in the Tang Dynasty and reached its peak in the Song Dynasty. Compared to this long period of time, the chant seems to be a bit short-lived, because it did not reach its peak until the Southern Song Dynasty. After the decline and brewing of the Yuan and Ming dynasties, the Chanting Words ushered in a new creative climax in the Qing Dynasty. In the early Qing Dynasty, Chen Weisong was undoubtedly a well-known poet.
Chen Weisong likes the creation of chants, in his collection of words, chants account for a large proportion, as many as 160 songs, this number is enough for him to climb to the top of the list of all generations of chants, Chen Weisong is called the ceiling of the wingers.
Unlike many writers of the previous generation who liked to repeatedly chant certain things, Chen Weisong's use of words is very wide, and in his pen, almost nothing is indispensable, and it can make it full of emotion.
No matter what it is, Chen Weisong's pen can be arranged appropriately and depicted realistically and movingly. Moreover, most of Chen Weisong's chants do not completely stay at the level of chants, because the lyricists express themselves well at the same time, so the works have strong poetic characteristics. It is no wonder that the late Qing Dynasty poet Chen Tingzhuo commented in the "Words and Sayings of Bai Yu Zhai": "The poets of the early years of the country broke the Jialing (Chen Weisong) as a huge wall. ”
As a special form of poetry, words place special emphasis on lyricism. Words of course are no exception. Because the degree of participation of the lyricist in the personal experience of the writing process is different, such works often manifest as two tendencies: the first is that in the things being chanted, the image of the lyricist is everywhere, and the experience and feelings of the lyricist are profoundly contained in the words; the other is to stay more at the perceptual level, revel in the lyricism of instantaneous emotions and the depiction of the appearance of things, and do not go deep into the essential experience of the lyricist.
Most of Chen Weisong's chants are felt and developed, so the creation method of the first kind of chants is dominant in Chen Weisong's lyrics. Chen Weisong's personal experience enters the work through many levels and perspectives: both lamentations about the past and the present in history, as well as portrayals of long-term wandering and sorrow.
However, in his chants, this exclamation of rise and fall and the sigh of the past and present is not expressed through direct outpouring, but through or emerges or is implied in the portrayal of the things he is chanting, such as this chant "Basho Rain" written about autumn rain:
Like a dream like dust, at first there is no time, when to rest? The night Yongsan will be more desperate, just as the anvils of the curved lanes are singing, and the decadent walls are swallowing.
The gusts of Luo Yuan were cool, and the small screen folds were folded. When the white geese come from the north, they say to the people. Speaking of the Tang Tombs of the Han Dynasty, tonight the rain sprinkled Dan Feng and shed all red blood.
In the first film of this autumn rain lyric, Chen Weisong describes the troubles brought by the continuous autumn rain and the melancholy mood of the rainy night.
The autumn rain in the words we say, we naturally think of the song "Yu Meiren Listening to the Rain" by the songwriter Jiang Jie at the end of the Song Dynasty, and Jiang Jie summarizes the life of the lyricist in a gradual chronological order with three very dynamic pictures. These three pictures are the three scenes of the lyricist listening to the rain when he was a teenager, listening to the rain when he was in his prime, and listening to the rain in his twilight years, which is also the encounter between the lyricist and the sound of the rain, which is also the voice of the lyricist.
Perhaps it is the reason why Chen Weisong and Jiang Jie met each other to become confidants, or they have experienced the world of dynastic changes, or they have similar life experiences, Chen Weisong also expressed his heart like Jiang Jie by chanting autumn rain.
The autumn rain outside the window is continuous, the autumn rain is intermittent, the weather is always clear and clear, perhaps this rainy autumn affects the mood of the writer, the writer did not write sorrow, and the sorrow has long been pervaded between the lines, which is a cold picture.
At night, the sound of rain ticking under the eaves rose and fell, and the writer sat quietly in the house, he was not sleepy at all. The rainwater in the alleys merges into a small stream of water, and the autumn grass worms make a low sound in the quiet of the night. The sound of rain, water, and insects converge into a symphony of autumn nights.
In the next film, the cold and melancholy of the rainy night begins, and the continuous autumn rain alludes to the persistence and impatience of melancholy. On such a cold and rainy night, the writer is very worried and difficult to sleep.
Immediately afterward, the writer's pen turned sharply, and the Tang Tomb Han Bed and the rain-soaked Danfeng wrote the development cycle law of historical rise and fall and replacement. If the two are interpreted backwards according to normal logic, what these few sentences write is actually that the rise and fall of history and the ups and downs of the world always confirm this universal law in the change of generations.
Chen Weisong lived in the Ming and Qing Dynasties, he personally witnessed and experienced the vicissitudes of the changes brought to society and life by the changes of the times, so the sigh of the rise and fall of history and the past and the present of his family is particularly deep in his heart, which is not something that can be summarized in the general sense of the so-called "thinking about the ancients".
The emotions of the lyricist are more directly expressed in this poem, which may be related to the fact that the object of the chant is autumn rain, which is not easy to grasp from the form, and the lyricist relies more on his own feelings. In the eyes of the lyricist, history is so similar, on the stage of history, how many stories of changing masters have been performed.
The rise and fall of history, the change of dynasties, the change of owners of the country, the vivid faces of history, the strings of familiar names, and the historical stories that you sang and I appeared on the scene, all dissipated like fireworks in the starry sky of history.
It is easy to write and difficult to work, not only to write a sentence without departing from the image of the object itself, but also to convey the spirit of the eye, so that the subject of the object and the spiritual world of the person written are integrated, and can only be from the surface and the inside, so that the subjective and objective, the two coincide, and produce the power of infection. The following yongjing lyrics can be called the super wonderful works of Chen Weisong's yongwu words, and the lyrics are ingenious and very infectious to read:
Xiang Yiliang jianpan golden beast, back pressed jiaojiao button. The jade people are jealous of Xiao Linghua, and are accustomed to the two words of reunion, inferior to him.
Cui Luan Mo Dao's heart is like iron, and the spring shoots have been lifted. The red dust is in the place of others, and I am also pitied and worn by others.
This is a song of the bronze mirror, Chen Weisong integrates his own image into the object he is chanting, and the subject and the object complement each other in the words, achieving a seamless artistic effect.
Copper mirrors, also known as bronze mirrors, are mirrors made of copper in ancient times. The bronze mirror is generally made of round or square, and its back is cast with inscriptions and patterns, and is equipped with buttons to wear, and the front is polished to shine brightly, which can clearly illuminate the face. The bronze mirror made in the Han Dynasty has excellent craftsmanship, thick texture, rich and diverse mirror back inscriptions and patterns, and after two peaks of development in the Tang and Song dynasties, to the middle of the Qing Dynasty, with the widespread use of glass mirrors, copper mirrors gradually faded out of the historical stage, and the second road became a veritable cultural relic.
The opening two sentences of "XiangYi Liang Jian Pan Golden Beast, Back Press Jiao Mantis Button", the lyricist wrote the details of this copper mirror with exquisite carving and meticulous drawing, and the lyricist tried his best to lay out and focus on outlining the exquisite production process of this copper mirror, the chic shape, and the beauty of the image. It is a mirror with a life function, and the owner of this bronze mirror is a woman.
Beauty mirror, is a romantic and warm creative theme in classical Chinese literature, it is the crystallization of the encounter between bronze mirror and literature, through the depiction or shaping of the theme of beauty mirror, showing the living conditions of women in different eras, different classes and different environments. The Tang Dynasty poet Shi Yiwu once wrote a famous sentence about the beauty of the mirror: Every time you sit on the stage to see Yu Rong, this dynasty is not the same as yesterday's dynasty.
Walking into Chen Weisong's copper mirror words, the lyricist first wrote the mirror box, this copper mirror is very precious, carefully kept and cared for by its owner, and also made a fragrance for it. Then, the lyricist describes the mirror itself: the periphery of the bronze mirror is decorated with gold beasts and other cockroach patterns, and the mirror has a dragon-shaped mirror button on the back, which is more exquisite in craftsmanship.
Just like its name "Ice Classic", this bronze mirror is crystal clear and cold, and it is indeed a rare boudoir treasure. These two sentences are written from the bronze mirror itself, and are extremely elegant and elegant.
The next two sentences depict the hostess of the bronze mirror on the front. The jade man refers to the master of the mirror; habitually, always. Why should the hostess be jealous of this bronze mirror of diamond flowers that is so cherished? Not because the mirror is too beautiful, and causes the hostess's jealousy, but because the mirror is generally round, symbolizing the reunion, and the hostess's situation is difficult to reunite with the sweetheart, she and the sweetheart gather less and more.
Broken mirrors can be reunited, but people cannot be reunited with their sweethearts, so the hostess will issue a sigh that people are inferior to mirrors. Comparing people with mirrors, personifying people with objects, this is the exquisite pen of Chen Weisong's words that can reach the meaning and words can convey affection.
The first two sentences of the next film, "Cui Luan Mo Dao's heart is like iron, and the spring shoots are often mentioned", the lyricist uses the metaphor of the person, swings away, and carries out the dialogue between the person and the copper mirror, which is also the word of the person comforting the copper mirror in the word. These two sentences mean: O mirror! Don't say that the hostess's heart is like an iron stone, with less time for you, more time for idleness, but my delicate jade finger has personally carried and cared for you.
The last two sentences are "Where is the red dust?" I am also pitied for people to grind", following the previous article, the woman said a warm and soothing word of affection to the bronze mirror, indicating that the hostess, like her beloved mirror, has long been tied up by the red dust of the world, and is also pitied and trapped by love.
These two sentences are puns, the lyricist associates the situation of the bronze mirror with the fate of the hostess, and when he chants, the artistic conception of the word also deepens, and the bronze mirror that the lyricist describes and chants becomes a living thing. And the life of the writer is also residing in the words and lines, so the chant is really intended to be the magic of the pen and the spring wind.
Chen Weisong's chants, which seem to be written objects, are actually often pinned on the feelings and thoughts of the lyricists, and can also be said to be the works of the lyricists. Chen Weisong embodies humanistic thought through the subjective understanding of the things he is chanting, and to some extent, the objects in the words often represent Chen Weisong's self-image or the situation of the lyricist.
Although these feelings may not necessarily appear in a work at the same time, they reflect the voice of the same heart. Therefore, lamenting the rise and fall of history is one of the main life experiences expressed in Chen Weisong's lyrics. It can be said that every sigh and every chant of Chen Weisong is based on a realistic life.