Li Qingzhao's style of words changes with life encounters, gentle but not charming, forming a unique style

Li Qingzhao (13 March 1084 – c. 1155) was a native of Jinan, Qi prefecture (present-day Zhangqiu District, Jinan, Shandong). She was a woman, a lone runner, and crowned for a while. Her words are unique in addition to Su Hao (bold words), Liu Vulgar (folk words), and Zhou Lu (Ge Lu words), euphemism and delicacy wash away the feminine and untrue atmosphere in the previous lyrics. To the word world to bring a clear meaning, a long-distance feeling, an ethereal mood, "for the word family a large number", outstanding family. Shen Zengzhi, a Qing dynasty, said in the "Trivia of the Fungus Pavilion", "Yuyang calls Yi'an and You'an the second an of Jinan, and it is difficult to continue. Yi An is the gentle Lord, and Young An is the Arrogant Lord. ”

Therefore, before analyzing Li Qingzhao's artistic style, we should also have an in-depth understanding and appreciation of his personal experience, artistic achievements, and the artistic content of his poems. In order to summarize and organize the beauty of its artistic style.

Li Qingzhao's person and works are preserved

Li Qingzhao, self-proclaimed Yi'an Jushi, a native of Zhangqiu, Shandong. Born in Shuxiangmendi, he received a good family education since childhood. "Father Li Gefei, granddaughter of the mother King Gongchen, all work articles." Li Gefei (李格非), Ziwen Shu (字文叔), jinshi and di of the ninth year (1076) of Emperor Shenzong of Song, served as a professor of YunZhou, a doctor of Taixue, and a secretary to proofread Huang Benshu, and belonged to the ranks of "handsome in the world" and "became a celebrity".

Li Gefei

Li Gefei had contacts with su shi and the "four scholars of Sumen", and was appreciated by Su Shi. Influenced by the education and influence of his parents, Li Qingzhao has been reading books since childhood, chanting poems and writings, so "since he was a teenager, he has poetry names, talents and gambles, and he is close to his predecessors", especially in words.

Li Qingzhao was born more than 70 years old, spanning the Northern Song Dynasty and the Southern Song Dynasty, with the second year of Emperor Gaozong jianyan of the Song Dynasty (1127) and Li Qingzhao's 44-year-old southern crossing as the boundary, which is obviously divided into two periods. Roughly divided, Li Qingzhao's 32 pre-existing words and 28 late-stage words are ignored for doubtful dialectics, anecdotes and other words. And "the extant works are compiled by scholars since the Ming and Qing dynasties from anthologies and notes of the past." ”

From the overall examination of Li Qingzhao's works before and after, it can be clearly seen that due to the difference in political background, living environment and life experience, the content and ideological and artistic style reflected in Li Qingzhao's lyrics are also different.

A work of poetry that changes with the circumstances of life

(1) Early songs of nature, songs of the joy of girls' lives and interests

Li Qingzhao was a teenager, clever and intelligent, in addition to studying hard, "su xi yifang, rough "poetry", "etiquette", there are also happy times to play with female companions, travel, and more adolescent girls' adolescent desires and worries about love and marriage. Therefore, Li Qingzhao's pre-marriage intriguing works depicting his life in the year of the bean.

Some reflect the unrestrained personality, and the foreign nourishes the cheerful atmosphere of youth, such as the dramatic scene of "Like a Dream Order" writing about wild traveling with female companions, "fighting for the ferry, fighting for the ferry, and frightening a beach of gulls and herons", highlighting the innocent girl's free and willful interest and lively and active nature.

Li Qingzhao

Some lyrics reveal the adolescent girl's yearning for love, such as "Dotted Lips" writing about young girls, "see guests come, socks scratch gold and slip, and shy away." Leaning on the door to look back, but sniffing the green plum", with the help of vivid details, it delicately shows the shyness and boldness of its spring love, which can be described as "qu full of surprise".

(2) The flowers fall into the Zhao family, the body returns to Mingcheng, and the joy of the new marriage jumps on the paper

However, heaven was kind to Li Qingzhao, and in the first year of the reign of Emperor Huizong of Song (1101), Li Qingzhao married the 21-year-old Ruyi Langjun Zhao Mingcheng when he was 18 years old. Since then, Li Qingzhao's fate has been closely linked to Zhao Mingcheng, and the two have lived together for nearly 30 years.

Zhao Mingcheng was a father of virtue, and when he married, he was "a student in Taixue". His father, Zhao Ting, was a servant of the bureaucracy. Zhao Mingcheng is smart and liberal, especially good at collecting Jinshi calligraphy and paintings. After the marriage of Li and Zhao, the piano was harmonious, the husband sang with the woman, chanted poems and words in his leisure time, or traveled to admire the flowers, or "walked into the Xiangguo Temple, the city inscriptions and fruits returned, relatively exhibited and chewed, and called themselves the people of the Ge Tianshi clan".

After the flowers fell into the Zhao family and returned to Mingcheng, Li Qingzhao's poetry naturally changed. There is no shortage of words that describe the joy of new marriage and the happiness of love. Such as "Minus Magnolia", "Huan Xi Sha · Girlfriend". The former word borrows a delicate plum blossom bought from "selling flowers on the shoulder", which compares and sets off the beauty of the young woman, with the action of "obliquely replacing the clouds, teaching Lang Bi and looking", showing the delicate style of pleasing and loving Lang Jun, full of newlywed love. The latter words write about a beautiful woman with "embroidered hibiscus", capture her charm and teasing of "eye wave movement is guessed", show the initiative and persistence of love, and show the brave and sincere "style", including the figure of the lyricist who is in the warm stage of love.

(3) Lyrics of the lyricist's farewell after marriage, and the beautiful words of the spring regret

However, after all, the husband often travels to study as a eunuch, which brings sorrow and bitterness to the amorous lyricist. In the midst of thoughts, it is natural to borrow paper and pencil to pour out their true feelings. Most of Li Qingzhao's lyrics and works that expressed sorrow and farewell during this period were based on his real life situation and thoughts and feelings. Compared with the previous words, this kind of word expresses the feelings of the lyricist more deeply, strongly and boldly. Such as: "Red lotus incense residue jade in autumn." Gently dissolve Luo Xie and get on the orchid boat alone. Whoever sent the jinshu in the clouds came, when the goose word returned, the moon was full of the West Building. Flowers float from zero water. One kind of lovesickness, two places of idleness. There was no way to eliminate this feeling, so I lowered my eyebrows, but I was worried. ”

Zhao Mingcheng

This song expresses the love of the lyricist and her husband after parting. The lyricist of the film boarded the boat alone in the early autumn and was far away, although there was not a word of sorrow, but everywhere was full of deep sorrows. "One kind of lovesickness, two places of idleness", reflecting the deep feelings of Li Qingzhao and his wife. However, the deeper the affection, the more bitter the thoughts, so it is "there is no way to eliminate this feeling, only to raise an eyebrow, but to the heart." From these two sentences, we can see that Li Qingzhao is extremely good at visualizing abstract and elusive feelings, making them more concrete, vivid, and truly touching.

(4) Express the author's patriotic hatred and the sense of rise and fall

In the third year of Jianyan (1129), Zhao Mingcheng fell ill and died. Since then, Li Qingzhao has been forced to come out of the boudoir and study and embark on the road of escape and exile. The term "Wuling Spring" by Li Qingzhao can be described as a summary of later life. The whole word sums up the tragic experience of her life. For example: "The wind and dust and fragrant flowers have run out, and I am tired of combing my hair at night." Things are people and things are not things, and tears flow first. It is said that sungai spring is still good, and it is also intended to pan a light boat. I am only afraid of the Twin Streams Ship Boat, and I can't carry many worries. ”

The upper part of the word is extremely written by the lyricist's sad feelings caused by the scenery of the remnant spring. "The wind has lived in the dust and flowers have run out", in the push of the scenery, it is a metaphor for the heavy sense of life of the lyricist and the sadness of the subjugation of the country. Next, "tired of combing his hair at night", the lyricist through the description of the typical details of the sun is high, the sky is not early, and he is too lazy to freshen up and dress up, tortuously and delicately shows his true mood of touching the scene and suffering. "I can't carry many sorrows" is a portrayal of the devastated soul.

From the lyricist's later lyrics, we can feel the strong and deep personal emotions expressed in the works. And this emotion coincided with the sadness of the loss of the land in the Southern Song Dynasty, the desire to restore the Central Plains and other emotions of the times, thus forming the unique social value of her later lyrics. After that, Li Qingzhao's whereabouts were difficult to examine, and only shaoxing was still alive in the twenty-fifth year (1155). A generation of outstanding female lyricists is not known in history, and the age of death is difficult to determine, which is enough to make people sigh.

The graceful beauty of Li Qingzhao's poetry

Qing Wang Shi Zhenyun "Zhang Nanhu Discourse School has two schools: one is gentle, and the other is bold. The servant is gentle with Yi An as the sect, and the arrogant is only the head of the young An. Also known as Yi An as "everyone in the word". According to the traditional view, euphemism is the "authentic" of the word, and the bold is the "side sect" of the word. It can be seen that Li Qingzhao's authentic status in the history of Chinese words is "the great sect of the word family". In view of this, the interpretation of Li Qingzhao's artistic style should be explored around the meaning of elegance.

(1) Euphemism and honesty

As the emperor of grace, Li Qingzhao composed the lyrics "The Lord's Affection". She demands that the lyrics be true and deep, and that the expression be euphemistic and subtle. Her creation is basically based on euphemism and subtlety, but it also has both sincerity and frankness, so that the two are organically combined, thus achieving a sincere and euphemistic situation, frank and not shallow. This dialectical combination, because the specific emotions expressed are not the same, present different ways.

Li Qingzhao

Sometimes, it is alternate between subtlety and sincerity, twists and turns and frankness, and this is the case with the song "Remembering the Blowing Flute on the Phoenix Stage". It was composed shortly after Li Qingzhao's marriage, expressing the inseparable mood of the female lyricist and her husband Zhao Mingcheng when they parted. At the beginning of the word, a picture of the boudoir is shown: "Fragrant cold gold, turned into a red wave, get up and brush your hair." Ren Bao is full of dust, and the curtain hooks on the sun." The incense burner is cold, the brocade is turned over, the head is not combed, the dust is full, and the sun is high, rendering a lazy atmosphere, no word involves the protagonist's state of mind, and everywhere hints at the extreme bad mood of the female lyricist, which is a euphemistic side writing.

Then, as soon as the gesture was "afraid of leaving the sorrow", it rushed out of the sky. This in turn shows the sincerity of the female lyricist. In feudal society, love was only a vassal of marriage, and in this case, the sincere love of the couple became more and more precious. They are like-minded, affectionate, and often very short partings, which can also bring extreme pain to the lyricist. Here the writer unabashedly tells people that the source of all sorrow is because of "parting from sorrow." She believes that this feeling is justified, reasonable, and should be cherished and affirmed.

However, when she was supposed to be in love with her dear husband, she was "many things, I want to say goodbye." Newcomer skinny, not dry sick wine, not sad autumn. The writer did not let the torrent of feelings go down the river and poured out a thousand miles, but cut off the sorrow that came out like a river on the high dam, and said nothing. Is it afraid of causing more sorrow to oneself, or is it unwilling to deepen the pain of the other party? Or is it that language simply doesn't convey the mood of the moment?

The female lyricist alone bears the burden of the spirit of pain, keeps sorrow, pain, and a thousand words in her heart, showing a kind of self-restraint. However, only this restraint makes the feelings of female lyricists more warm, thick and touching. This is the "implicit" force record.

As a result of "wanting to say goodbye", emotional pain is transformed into physical wear and tear. It is not "sick wine", nor is it "sad autumn", from the negation of the two reasons, it implies the ruthless torture of "leaving the sorrow of the other" to itself, this method of reversing the right, avoiding the direct expression of sorrow, is the side table of the thousands of sorrows and sorrows, this "want to say and rest", "Hugh" and "say" expression, but also wrote the lyricist's "can't stop". This makes it more and more heavy to see the sorrow, which is the power of "euphemism". In this way, the lyricist alternates between subtlety and frankness and honesty, and combines them perfectly.

Sometimes it seems to be true, but it is actually subtle, and it is euphemistic in frankness. For example, "Right River Immortal", which reflects his later life. This song was written after nandu, and its next film reads: "How many things have happened to the moon and the wind, now it is getting old and fruitless, who is more pitiful and haggard, the test lamp is meaningless, and the snow is not in the mood." The content contained in "how many things" here is probably much richer and more painful than the "many things" in the previous "fear of leaving the sorrow". However, here, the writer pays thousands of sighs with "now that he is old and has no success", and the attitude of waving his hands to sorrow is a sober confirmation and judgment. This is the truth, but in the truth we see the depth of suffering, and in the truth we see the mourning that we want to get rid of and cannot get rid of.

Look at "testing the lights is not interesting, stepping on the snow is not in the mood." The lamp went to try, but thinking back to the old days of Beijing, "the boudoir door is more luxurious, remember to focus on three or five." Spreading the green crown, picking up the golden snow willows, and the clusters of belts are competing for help", how prosperous the society is! How cheerful the girlfriends are! The Lantern Festival is so lively! And now, the country is broken, the family is destroyed, the jiangnan is reduced, the ghosts laugh and the people cry, how can it be "interesting"? Back then, in Jiankang, every rain and snow, that is, with his dear husband, he went through the city and looked for poetry and singing. However, this happy life will never be repeated, and now, "things are people and not everything", how can you "have a mood" when you step on the snow again? "Meaningless" and "not in the mood" itself is of course true and straightforward, and the author is directly expressive. However, it is combined with "test lights" and "stepping on snow", especially combined with the changes in her life before and after, it reveals many unfinished words in the direct exposure, avoids the abstraction and conceptualization of lyricism, and makes the sorrow more profound.

Seeing implicit euphemisms in true frankness, and implicit euphemisms with a straightforward and frank spirit, this is a dialectic of art. Li Qingzhao was deeply impressed by this method. It is precisely because she faithfully conveys her sincere and strong feelings to the reader with the help of superb artistic means, and expresses her feelings vividly and deeply.

(2) Fresh and bright and solemn and elegant

Li Qingzhao is the best at words, and her lyrics can twist and turn to perfection, and her works are "extremely beautiful and lingering, and there is a sense of soul shaking". Although she opposed Liu Yong's "words under the dust", in fact, she still inherited Liu Yong's white painting technique, using the common language to enter into fresh thoughts; similarly, she also opposed su Shi's words "dissonance, reading poems for sentences", but still inherited the spiritual essence of Su Shi's words, and the words finally refused to tend to be soft and vulgar.

The artistic conception pursued by Qingzhaozi is elegance, and it is used to express the elegant style of lyrical characters. In her early years, she made a small order to remember her long-distance husband Zhao Mingcheng. On the film "Red Lotus Fragrant Remnant Jade Autumn." Gently dissolve Luo Xie and get on the orchid boat alone. Whoever sent the jinshu in the clouds came, when the goose word returned, the moon was full of the West Building. "Based on the scenery, there is no explicit lovesickness." However, from the autumn scenery of the "red lotus incense residue" jade and cold, the author's melancholy mood is vaguely revealed, and the feelings reveal a layer of "full moon West Building", seeing Zhenghong, thinking of the legend of Hongyan carrying a book, the feelings are revealed from the shadows. Because the lyricist's feelings are sincere, although the language is extremely light, but the emotion is extremely strong, although the words are extremely shallow, but the meaning is deep, the shallow mood has its own deep and gentle feelings.

Another example is "Drunken Flower Yin", "Mo Dao does not extinguish the soul, the curtain rolls in the west wind, and people are thinner than yellow flowers", comparing herself with the thin and beautiful state of chrysanthemums, setting off the weight of her sifu's sorrow and the pain of lovesickness. It is also "no word is not elegant", showing the lyrical protagonist's high cleanliness and elegance.

Li yu

Not only do these "somber" words that write parting words have a solemn and elegant beauty, but even those beautiful words that describe a happy life also have this characteristic, and we will see it very clearly if we compare her "Ru Meng Ling" with Li Yu's "Nan Gezi". Li Qingzhao said: "I often remember the sunset of xiting, and I am drunk and do not know the way back." Returning to the boat in the evening, I mistakenly fell into the depths of the lotus flower. Scramble for the ferry, scramble for the ferry, startle a beach of gulls and herons. Li Yu said: "Ride the color boat, cross the lotus pond, and the song frightens the sleeping mandarin duck." The wandering girl took flowers and smiled, competed with each other, and competed with the lotus to cover the evening photos. ”

The colors of both poems are very bright. The same event is written about the swing boat, the place is the same as the writing of the lotus pond, and the time is the same as the evening. Moreover, they also startled the waterfowl that inhabited it. However, the mood it creates is different. The former is a healthy and solemn joy, which writes the harmonious beating of the lyricist's heart and the beauty of the natural world. Fresh and elegant, condensed and sparse, and the latter, but can not create a fresh and elegant atmosphere like the qingzhao words, but has a erotic color, it can not give people innocent artistic cultivation, the key is that the latter can not "write scenes in love, all from a higher level of writing".

(3) Skillfully lay out and turn and open up

Li Qingzhao once criticized Yan Several words for "bitterness without laying out the narrative", and her so-called "laying out" is intended to advocate that lyricism should not be cramped, that feelings should be unfolded, and that they should be stretched in condensation.

In the famous "Slow Sound", the lyricist combines his mood with the seasons, weather, scenes, phenology, etc., and integrates the memories of the past and the sentimentality in front of him, not only let them come and go, but also let them be arranged in a row, and the more they write, the deeper they write, the deeper they write, and the feelings are constantly promoted, such as the babbling water, trickling, gradually drifting away and becoming infinite.

Of course, the method of laying out the narrative is not a single, and Li Qingzhao's lyrics are more used in the technique of turning and pioneering. In the lyrical scene, a stroke is suddenly swung away, depicted with a distinct confrontation with the original "scene", creating a unique weather to achieve the effect of emphasizing the original artistic conception. In the strong jump of the scene, you will always feel the turbulent, rational and chaotic wisps of emotion in the chest of the female lyricist, taking "Nian Nu Jiao" as an example to see this feature: "Depressed courtyard, sloping wind and rain, heavy doors must be closed." Pet willow flowers cold food near, all kinds of annoying weather. Dangerous rhymes, head up and sober, don't be idle. The conquest is too much, and it is difficult to send thousands of hearts. Upstairs for a few days in the cold spring, the curtains hanging on all sides, the jade dry and lazy. Be dispelled by the cold incense, and do not worry about people. Clear dew morning flow, new Tong chu introduction, how much travel spring. The day is high and smokey, and it is even more sunny to see today. ”

The film writes about the desolation and depression of the space, in order to dispel all kinds of troubles, the lyricist uses dangerous rhymes to compose poems, pouring sorrow with liexi, but when the poems wake up, they feel more empty and bored, so boring, and they look forward to zhenghong, and "thousands of hearts are difficult to send", it is layered and progressive, step by step, writing out the human feelings and scenes of spring. And all the emotions and scenes are heavily covered with a layer of miserable and obscure colors, constituting a desolate and desolate atmosphere. The first three sentences of the next film are a concentrated summary and further promotion of the content of the previous film, which makes the dark and obscure color more intense, and the lonely and troubled state of mind of the writer is more distinct.

Li Qingzhao

However, next, the writer's pen suddenly turned, and another path was opened: "clear dew morning flow, new Tong chu introduction, how much spring meaning". Originally, the writer did not even bother to lean on the railing in the attic, but here suddenly gave rise to the idea of swimming spring, which made people feel a little overjoyed for the lyricist. However, Mingli is only a flash, you see, it is clear that it is "the sun is high and smokey", the sun has risen, the fog has dissipated, but she wants to "look at today's sunny more", and a trace of spring joy flashed in the heart of the writer, and it disappeared in an instant. It uses the change of weather to express the lyricist's sad and joyful mood. Writing about spring thoughts and spring sorrows is not blindly indulging in it. Twists and turns, ups and downs, feelings have been fully expressed.

For another example, "Yong Yu Le" "sunset melts gold, twilight clouds meet the wall, where are people, dye willow smoke thick, blow plum flute complaints, spring know a little, Lantern Festival, melt the weather" is the time to celebrate the festival, but it turns to open "the second stage is no wind and rain", and it also has the same magic as "Nian Nu Jiao".

Of course, the twists and turns are not separated from the clever laying out, they are often closely linked, and we only talk about them separately for the sake of exposition. The mountain is high to see the depth of the water, with clever laying, to see the pioneering wonders. There is no ups and downs of development, laying out the narrative is also quasi-standard, and its ingenuity, the two complement each other, in order to achieve the artistic effect of deepening the theme.

(4) The language is new and shallow and natural

Words are not expensive and new, and words are especially important, and if they are not new, they can not be done." The so-called new is not a strange word that makes people confused. Instead, it is necessary to make words easy to know, and sentences to be easy to metaphorically use simple words, ordinary words, and fresh thoughts. Li Qingzhao can take "so" as new, "custom" as new, and can create a fresh language of ingenuity and nature.

Inheriting the traditional literary language, the achievements of Qingzhaozi are outstanding. The use of allusions and the use of the previous sentences, are handy, natural and elegant. For example, in "Remembering the Blowing Flute on the Phoenix Stage", "Nian Wuling people are far away, and the smoke locks the Qin Lou" is to use Liu Chen and Ruan Zhaozhi's departure from the rooftop in Liu Yiqing's "Youming Lu" to compare Zhao Mingcheng's departure from home; to use the "Legend of the Immortals" Immortal Xiao Shi and Qin Mugong's daughter to make jade; to use "Qin Lou" to refer to the lyricist's own residence. The lyricist uses two well-known fairy love stories to imply that her and her husband's past happy married life is like a fairy lover and now a parting, then people go to the empty building, and the sky is different. In this way, the meaning is expressed more concisely, richly and profoundly. Taking a step back, if you don't understand this allusion, it's unlikely to hinder your correct understanding of the word, because the scene of the smoke and hatred of the fog locking the makeup building can be literally experienced.

In "Nian Nu Jiao", "Qing Lu Morning Stream, New Tong Chu Introduction" is directly borrowed from the sentence in "The New Language of the World", and the predecessors commented that these two sentences are "naturally blended, such as out of oneself". Indeed, Li Qingzhao's use of allusions and the use of the sentences of his predecessors are both in harmony with other sentences in the word and in line with the scene in front of him, without any suspicion of swallowing.

Li Qingzhao is also good at skillfully transforming the words and phrases of his predecessors, and has the ability to "turn iron into gold", the words are slightly older, but the meaning is extremely new. For example, the "socks and golden shoes" in "Dotted Lips" comes from two words by Li Yu, one is the "Bodhisattva Man" word "Socks step incense steps, carrying golden shoes." "It is written about the scene when I met with Xiao Zhouhou, and it is quiet. The second is the word "Courtyard Creek Sand" "Beauty Dance Point Golden Nobile Slip", which is written that the dancer dances quickly, even the gold nobile has slipped away, it is urgent. The female lyricist combined it as "socks and gold slips", which achieved the effect of slight appearance and god, the language was extremely concise, and the style was all out.

Han Wei

"And shy to go, leaning on the door to look back, but sniffing the green plum", is the use of Han Wei poem "see the guests come in and laugh away, hand rubbing plums in the middle of the door." "But Li Ci is not only more beautiful than the original poem, has a melody, and is catchy to read, but also the dynamics, looks, and psychology of walking and walking, walking and returning, leaning on the door and looking back, are all vividly carved.

It is particularly noteworthy that Li Qingzhao likes to use overlapping words, overlapping sentences and arranging sentences creatively. And this language feature is exactly what folk language is used to, they can make the work closer to the spoken language, more suitable for simple and fluent language, tactful and tortuous expression of affection. The most concentrated and successful use of overlapping words is "Slow Sound".

Before there was "seeking and seeking, cold and cold, miserable and miserable." Seven words were stacked in a row, followed by two stacks of "bit by bit", which was unanimously appreciated by predecessors. Some appreciate its tone as "really like a large pearl and a small bead falling on a jade plate"; some reward its "pen strength correction" and "qi machine flow", and some appreciate it as "such as the Gongsun Lady Dancing Instrument Hand". Indeed, this stack of words is the swallowing of blood and tears, the cry of sorrow and indignation to the heavens, and the true portrayal of the desolate and tragic life of the writer in the later period. Fourteen characters, divided into three layers, from shallow to deep, and the text is rich, after reading, people can hear their voices, as if they see their shapes, as if they perceive their feelings, and skillfully weave the shape, god, and appearance into the rhythm of the stacked characters. In this way, the lyricist makes full use of all artistic means to properly express her unspeakable feelings.

In summary, Li Qingzhao's unique "gentle" style has been formed, thus showing the characteristics of being gentle and not flattering, and being clean and vulgar. It is rich and handsome, and it is heart-stirring, so it can "drunkenly indulge the lovers of their fragrance, and the imaginers appreciate their divine horses."

Li Qingzhao is a representative of the gentle school in the Song Dynasty, she is like a plum blossom in the cold winter, self-congratulatory and proud of the crowd. She experienced the superficial prosperity, but also the dangers of the last years of the Northern Song Dynasty and social turmoil, the early years of the Southern Song Dynasty, she is a rare talent in the history of ancient Chinese literature, she is not only knowledgeable, talented, but also lofty ambitions, she has both the lady of the towel and the fortitude of the eyebrows; both the cynicism of ordinary people and the lofty patriotic feelings.