Bang Yan is good at music, can compose his own music, make music house long and short sentences, rhyme clearly, and pass it on to the world.
- "The Biography of Song Shi Wenyuan"
The sentence quoted above is an accurate evaluation of Zhou Bangyan and his words in the History of Song. Zhou Bangyan was an outstanding representative of the "gentle school" of the Northern Song Dynasty, and during the time of Emperor Huizong of the Song Dynasty, Zhou Bangyan was in charge of the country's highest musical institution", "DashengFu". On the basis of inheriting the creation of Liu Yong's long and slow words, Zhou Bangyan's lyrics further developed the art form of euphemisms and became the master of the euphemisms.
Zhou Bangyan was born in a musical family, he himself is a big musician and high-level music official, whether it is his lyrics and composition, or during the Dasheng Mansion to renovate and sort out the old music scores, there are strict norms. Therefore, Zhou Bangyan's lyrics and sentences are neat, showing the stereotype of word composition, and his word composition is the first to open the precursor of the Song dynasty.
Due to the rigor of Zhou Bangyan's lyrics and his achievements in lyrics, in the Southern Song Dynasty, his word style was inherited and relayed by professional lyricists such as Jiang Kui, Wu Wenying, and Zhang Yan. It can also be said that Zhou Bangyan's grammar has set a precedent for Jiang Kui, Wu Wenying and other grammatical poets.
Zhou Bangyan has integrated a variety of creative techniques into his lyrics, especially in the creation of slow words, which has greatly expanded the narrative function of words. However, in Zhou Bangyan's lyrics, there are also many lyrical works, these words do not have the laying out and narrative of long-tone slow words, but they can melt into the scene and send the money affectionately between the lines, and his "Youth Tour" is a representative work in this category of words:
Towards the clouds desert scattered light silk. Pavilion light spring posture. Willows cry, the mud on the Ninth Street is heavy, and the swallows outside the door are late.
And now the Sun Ming Golden House, spring color in the peach branches. Unlike at that time, the small bridge was raining, and the two people hated to know.
In the early days of the Northern Song Dynasty, most of the words were known for small orders, such as the tone of "such as dream order" and "picking mulberries", etc., because of the favor of the word people and popular, Liu Yong and Zhang Xian, in addition to the traditional small order, also created many long words and slow tones, such as the tone of "magnolia slow", etc., Liu Yong's slow word long tone, popular in the sea, once formed a "where there is well water, that is, can sing willow words" grand situation.
However, the long tone of slow words also has a fly in the ointment, because there are too many narratives, and it is impossible to form an artistic style of blending scenes and blending into one, the reason is that there is no specific thing between the slow words and lyricism as a correlation between the two, so that the correlation between the two is lacking, and the slow words of the willow word have not been able to make up for this "hard wound" very well.
Zhou Bangyan, as the aggregator who drew a successful end to the Northern Song Dynasty's euphemisms, found a tacit connection between narration and lyricism, and reached a delicate balance between the two. In layman's terms, it is Zhou Bangyan who skillfully integrates the narrative into the words while writing lyrically.
Zhang Bangyan's narrative in the words is like a displacement in the chemical reaction, so that the narrative and lyricism have a subtle reaction, thus bringing people a beautiful visual and auditory experience. It can be said that Zhang Bangyan's groundbreaking word-filling technique perfectly makes up for the "hard wound" of Liu Yong's words, thus pushing the euphemism to the peak.
Zhou Bangyan's "Youth Tour", although it is a small order, but there are all kinds of scenes, lyricism and narrative, forming a unique artistic style of trinity. The lyrics are an imitation of two different love life scrolls with sharp contrasts, one in the upper half and one in the lower half. The middle of the two stories is only connected by the word "and now", so that the two stories before and after, but also the two realms deliberately depicted by the lyricist, form a sharp contrast, and then relive the first story, resulting in endless charm.
The first half is a recollection of past love scenes, and the lyricist recounts an unforgettable meeting scene that he still remembers today: on a cloudy, drizzling morning, a couple secretly runs to a small attic to meet. Although the season is already spring, there is not much spring weather and warmth, no spring brightness and cheerfulness, only the obscurity of spring rain.
The rain became heavier and heavier, and the raindrops hit the delicate willow branches and flowed to the ground, like a willow weeping. The two met in such a miserable and cold situation, and for some reason they had to separate. The small building connects to the attic, which is where the two of them date. But both braved the spring rain and walked on the muddy streets to separate from each other, and they held a grudge and parted. The streets were muddy and difficult to navigate, and even the swallows were wet, their feathers curled up together, and they could only fly slowly outside the door.
The scenery outside the door is undoubtedly a cold picture, which plays a certain role in setting off the couple's meeting. The two met under such embarrassing circumstances and, for some reason, had to separate. Because the meeting is hurried, so the parting is sad, in their eyes, the flowers and willows outside the door will cry like a complaint, and the double-flying swallows will fly with difficulty. This is the first story in the songwriting.
The bitter wind and rain set off the pain of lovesickness and the difficulty of seeing each other, they hurriedly gathered and hurriedly separated, from the last sentence of the lyric that said that when they met at that time, "the two people hated each other", we can understand that the hero and heroine were able to see each other without hiding from their families and breaking through many obstacles. Their love was tortuous and entangled, and although the two had to be separated at that time, the taste of love and love on that day is still haunting and nostalgic to this day.
If you only recall the beauty, hardship and bitterness of the love of the past, it is at best a song of remembrance of bitter love. The profoundness of this poem is that it writes that a couple of lovers eventually become dependents, but their love does not last forever, the fire of love is extinguished, and the flower of love withers.
The second half of the book is transitioned to "and now", which begins the second story telling. First of all, the lyricist uses the allusion of Kanaya Zangjiao, which is very profound, and the feelings of the couple in the metaphorical words are no longer as warm as in the past, and the beauty of the past can no longer be reproduced in the present.
Now the wind is beautiful and the golden house is delicate; the peach blossoms are bright and beautiful in the spring breeze, swaying and colorful, and they are now living happily together on this beautiful spring day, no longer experiencing the miserable wind and rain as before. Looking back, the small bridge at that time was raining, but it had a different taste.
But this bright spring light and peaceful life did not bring them the happiness they had hoped for, they always felt that they had lost something, and the carefree and carefree life in front of them was not as meaningful as the tense, miserable, hateful, and missing each other at that time. This is the second story in the songwriting.
The ten words "Li Ri Ming Golden House, Spring Color in peach branches" not only tell the story in front of you, but also "Li Ri" is also a symbol in the word, symbolizing the happiness of marriage and love. After the storm is a good day of spring intoxication, the couple finally live together in such a beautiful environment, they have entered marriage from love; at the same time, these ten words, but also have the role of comparison, that is, from the scene in front of the association of the past beautiful scenes, and make a comparison of the present is not as good as the past.
By figuring out the relationship between the two stories and understanding their tortuous processes, you can have specific feelings about the mood created by the words. This small order is only ten short sentences, and the picture is really concise, but the scene created by the lyricist deliberates on the words and sentences and refines them with a pen is intriguing.
Men and women in love always imagine love, the future, and life as particularly beautiful, and men and women in love even only want to have it, regardless of whether they can stay together. Zhou Bangyan's "Youth Tour" is ambitious in that it raises a very realistic and profound question:
In the years after marriage, when the passion is flat, when the lover's face is gone, when the romantic pursuit and beautiful imagination of the lover's love are drowned out by the trivialities of life and become worldly, when the feeling of hot love no longer exists, but their attention to each other is gradually reduced, when their appreciation of each other is gradually reduced, then, how to maintain the long-term love of the two?
Love is not only the two loves when they are in love before marriage, but also the careful cultivation and watering of the evergreen tree of love by both parties after marriage. Throughout the ages, the reason why love will end in the way of running things is because of the lack of careful watering after marriage, and the evergreen tree of love gradually withers and withers in the lack of attention and love.
Zhou Bangyan's "Young Tour" is written with the memories and feelings of the hero, although the words do not explain the reasons for his and her love and fatigue, but the love between him and her is flat. Maybe a bland marriage can last, and maybe it is the best feeling to return to plainness after passion.
Zhou Bangyan's "Youth Tour" can be regarded as a novel and extraordinary lyrics. This song breaks the song or writes away from sorrow and hate to express the pain of lovesickness, or writes about the pain of seeing each other short and writing about the joy of seeing each other, but it is lofty, writing a pair of lovers who have won the victory of love after the arduous trek of love, and have to face the passion after marriage to return to a flat married life.
Although the lyrics are only ten short sentences, the lyricist uses a concise pen, and the scene contains a deep narrative and a wave of lyrical color, the three are blended, and the two different pictures before and after are connected into a deep and emotional twist and turn story.
Zhou Bangyan's "Youth Tour" is written on the surface only two different love pictures, each picture of the characters with rich expressions, no need to use more lenses to render, the story line has been clearly presented in front of the reader's eyes.
The lyricist seems to express only the regret and sigh of loss, but in fact, it has touched on the practical problem of how to maintain eternal youth for love and marriage: how to always maintain love and marriage? How can the spark of passion in love never wither in marriage as always? This may be a thought-provoking essay question left by this little order.