In addition to the patriotic lyricists Xin Shuyi, Zhang Yuangan, Chen Liang, and Liu Guo, there is also a lyricist, who is a lyricist who people can't get around when talking about the Southern Song Dynasty, he is Jiang Kui.
Jiang Kui (江夔), also spelled Yao Zhang, was a native of Baishi Dao, a native of Poyang, Raozhou, and a famous writer and musician of the Southern Song Dynasty. Jiang Fu lost his father at a young age, repeatedly failed to succeed, never made a career, and roamed in the Xiang, Hubei, Gansu, Anhui, Jiangsu, and Zhejiang regions all his life, living a wandering and uncertain living life.
Although Jiang Kui fell off the list, this could not hide his knowledge and talent. Jiang Fu is studious, hospitable, versatile, poetry, song, music, calligraphy and painting, all of which are proficient and proficient. Jiang Fu was obsessed with music, he had a super talent and talent in music, especially known for composing music and filling lyrics, which was deeply appreciated by the celebrities of the time, Xin Zhiyi, Yang Wanli, Fan Chengda, and Xiao Dezao.
Jiang Kui's style of words is unique and self-contained, and he is a veritable classic lyricist who combines composing music and filling words. He integrated the aesthetic styles of Qinggang, Shulang, Emptying, and Saoya into his lyrics, and achieved high artistic achievements, which can be called a generation of lyricists. Jiang Kui's collection of lyrics, "Songs of Baishi Daoren", is the only complete Song Dynasty musical score document in the history of Chinese music, and is regarded as a rare treasure in the history of Chinese music.
Although Jiang Kui's words are more about personal love in terms of content, and the scope is relatively narrow, they are very distinctive in art. Jiang Kui was a poet and calligrapher who was proficient in music and never served as an official in his lifetime. But he understands the rhythm of the music, and the language used in his words can closely cooperate with the music and be condensed, flexible and loud.
Jiang Kui's lyrics pay great attention to the structure of the chapter, and his small orders are implicit, and the large opening and closing are measured and focused on the ending. In his lyrics, Jiang Kui chants things and uses imaginative and rich Bixing techniques, which not only have more sustenance and convey the gods in a vain place, but also intend to be outside the words, with endless afterglow, forming a unique artistic style. The Southern Song Dynasty lexicographic critic Zhang Yan once praised Jiang Kui's lyrics as "the words are beaten loudly".
In one of Wu Xing's spring travels, Jiang Kui wrote the lyrics "Pipa Immortal", which can be said to express the connotation and artistry of the beauty of Song Ci to the fullest, which can be called a classic in Song Ci, and the original words are as follows:
"Wu Dufu" Yun: "Huzang Yanpu, furniture painting boat." "Only Wu Xing is for it. Spring tourism is flourishing, and the West Lake has not been able to pass also. At the age of his own unitary, he and Xiao Shi's father carried wine Nanguo, and felt that the encounter became a song.
When the paddles came, there were people who looked like old curved peach roots and peach leaves. The song fan is light about the flying flower, and the moth's eyebrow is amazing. Spring is getting farther away, Tingzhou is green, and a few cries of birds have been added. Ten Mile Yangzhou, Three Lives Du Mu, former Hugh said.
Again, the palace candles are divided into smoke, and the seasons are changed in a hurry. All put a placket, with an empty order elm pod. Thousands of wisps, hidden crows and fine willows, for the jade dignity, dancing back to the snow. I want to see the west out of yangguan, so the people first said goodbye.
In the preface, Jiang Kui states the time, "The Age of Self-Unitary", which is the sixteenth year of Chunxi (i.e., 1189). In the late spring of this year, Jiang Kui and his friend Xiao Shi's father were carrying wine in Wuxing (present-day Huzhou, Zhejiang), and Xiao Shi's father, the son and nephew of the poet Xiao Dezao. Xiao Dezao had the grace of knowing Jiang Kui and gave his niece Xu to Jiang Kui.
This time, Jiang Fu made a special trip to Wuxing to visit Xiao Dezao. In his spare time, his father Xiao Shi, who was of the same generation, came to the lake to play, and accidentally saw a singer in the cruise ship, who looked very similar to a woman he met in Hefei, which could not help but make the lyricist feel a thousand emotions, and his thoughts could not help but return to the memories of the time when he met the Hefei singer. So I wrote this sentimental work.
There is also a small preface in front of this poem, which quotes the famous sentence "Huzang Yanpu, furniture painting boat" in the Western Jin Dynasty literary scholar Zuo Si's "Wu Dufu". The lyricist Jiang Kui believes that Wu Xingde's unique geographical location and long-standing humanistic connotation are described by "households hiding smoke pools, furniture painting boats", which is very pertinent and appropriate.
Wuxing, a famous historical and cultural city in China, is bordered by Taihu Lake in the north and north, across the lake from Wuxi and Suzhou, adjacent to Jiaxing in the east, Hangzhou in the south, Tianmu Mountain in the west, and the waters of the East and West Amaranth Streams flow into the city, converging into the Xiaxi River and flowing into the Taihu Lake. Wuxing is a city named after the lake in the Taihu Lake area.
"Spring tourism is grand, the West Lake has not passed", these two sentences in the small preface are said to be very prosperous and lively in the Wuxing area, and even the spring tour of the West Lake is not as good as Wuxing. People who have been to the West Lake and Taihu Lake know that the West Lake wins with rhyme, and Taihu Lake wins with weather.
Wu Xing's spring tour, painting the boat carrying wine, the tourists are weaving, and many literati who have been here have expressed the grandeur of the spring tour in the form of lyrics. Zhang Xian, a famous lyricist of the Northern Song Dynasty, wrote in "Mulan Flower Yi Di Wu Xing Cold Food": "Dragon head ship Wu Erjing, bamboo shoot pillar swing girl and female", in Zhang Xian's pen, in the Wuxing Cold Food Festival, local youth compete in small dragon boats, and spring girls swing bamboo swings in pairs.
After reading the small preface of this poem, you must think that the main purpose of this poem is to write about Wu Xing's spring travel. In fact, Jiang Kui's words do not focus on the spring tour, but on the feelings caused by seeing things and thinking about people. It can also be said that this small preface only explains the place and time of the word composition, as well as the cause of the word composition, which can be said to be a short introductory text.
For this Wuxing spring tour, the lyricist only used "when the double oars came" to brush it over. A small boat with a double oar swinging on the river indicates the footprints and sight of the person who said this, and he is also a figure among the tourists on the boating lake.
Suddenly on the surface of the water came double oars, the painting boat from far and near, a singer on the boat is singing affectionately, her beautiful and gentle singing voice attracted the cheers of tourists. Jiang Kui, who is a person with great musical talent and talent, has discovered the musical literacy of beauty and appreciation, and after hearing such a beautiful singing voice, he can't help but pay more attention to the singers.
When the cruise ship passed him, she found that the singer's appearance was very similar to his former lover, which made the lyricist's heart flutter. But when he looked closely, he found that the singer was not his former lover, she just looked a little similar to her former lover.
When I think about it, the past is like smoke, and when I think about it, the past can't look back. A short surprise, in exchange for the ripples in the heart of the lyricist, after the ripples, the heart of the lyricist is calm again. Jiang Fu met a singer in Hefei in his youth, the two once spent a romantic time, Jiang Fu composed the lyrics, Hefei women put into the singing voice, their romance is very much like the "Flower Words" in the "Feast Gongzi, embroidery beauty, handing leaves of the flower note, Wen Shu Li Jin; lift the jade finger of the fiber, pat the champagne".
But good times are always short-lived, and their romantic love is lost in the passage of time. When Jiang Kui came to Hefei again, the time passed, and he searched for this woman bitterly, but it was difficult to find. Former lovers may already have a new life.
They are separated from each other and will not enter each other's hearts again, but they will still think of people at some point. But the Hefei woman has become the sustenance of Jiang Fu's lifelong emotions, and her voice and smile have also made Jiang Fu's soul haunt her dream for a lifetime.
Therefore, Jiang Kui wrote in a tone of sudden looking back: "There are people who seem to be old songs peach roots and peach leaves", to the effect that the lyricist suddenly found that there was a singer on the ship, and her appearance seemed to be that of a former lover. Why is it understood this way?
It turns out that "peach root peach leaf" is an allusion. The name of the lover of the Jin Dynasty calligrapher Wang Xianzhi was Taoye, and Taogen was Taoye's younger sister. Wang Xianzhi has a deep affection for Taoye, and once wrote "Peach Leaf Song" to give to her, and Taoye also wrote a "Tuan Fan Song" to give back to Wang Xianzhi.
Jiang Fuhua uses Wang Xianzhi's allusion, the word "peach leaf, peach root", in fact, refers to the singer he met in Hefei that year, because she is good at playing the pipa, so Jiang Fu named this self-created tune "Pipa Immortal".
The next "song fan light about flying flowers, moth eyebrows are amazing" is a description of the singer in front of her, to the effect that she is gently greeting those flying Yang flowers with a tuan fan, and her eyes are really chuchu and moving.
The song fan is the group fan held in the hands of the singer when singing, in fact, it is a prop used by the singer, one can cover the facial expression in the process of singing, increase the feminine mood, just like the pipa girl in Bai Juyi's "Pipa Line", she plays the pipa for Bai Juyi when "a thousand calls begin to come out, like holding the pipa half covered", although it is a different situation and performance method, but the performance art effect is a little similar; second, the literati at the banquet, there is a tradition of giving lyrics to the singer, they improvise on the singer's fan, When the singer sings with a fan, she can sing the original song while watching the lyrics above, which is equivalent to the function of the group fan and the memorandum.
What is the posture of this singer in front of Jiang Fu? Seeing the red dots falling in the air, she gently raised the song fan and gently picked up the flying flowers, which could clearly see her true face, which was really beautiful. This also shows from one side, since the singer in front of her has a beautiful and moving appearance, and her appearance is so similar to the lyricist's red face confidant at that time. It is not difficult to see that the singer who met the lyricist in Hefei should also be a beautiful woman with a beautiful face and outstanding posture.
These three sentences describe the exquisite and dynamic, the lyricist portrays the woman's graceful, flexible posture and beautiful and incomprehensible appearance to the fullest, if these two sentences are sung, it must be a moving rhythm and rhythm, which also fully reflects the lyricist's artistic expression of capturing details.
Jiang Fu is very proficient in musical rhythm, good at creating music scores, because he has a special sensitivity to music, is well versed in the dynamic charm of music scores and is keen on music, often expressing his inner world through the creation of music lyrics, so his lyrics will show the rhythmic beauty and dynamic beauty of music.
Then, the lyricist turned to the time season of the spring tour, and he cleverly avoided the positive depiction of the singer in front of him and turned to the artistic realm of borrowing scenery lyricism. You see, the writer wrote that "spring is getting farther away, Tingzhou is green, and it has added and a few cries."
These three sentences are written in one go, so that the meaning of the word is long, invisibly adding a few traces of smoke and water to the twilight of Jiangnan. These three sentences basically mean that the spring light is gradually fading away, the sandbar naturally turns green, and a few poignant birdsong are added.
Rhododendrons often chirp in late spring, and in late spring, it is the season of falling flowers. Therefore, when the ancients heard the cries of the cuckoos, they often evoked their inner feelings of sad spring and cherishing spring and saying goodbye. For example, the Song Dynasty poet Wang Ling wrote in the poem "Sending Spring" that "Zi Zhi is half a night and half crying blood, and does not believe that the east wind cannot be recalled"; Xin Qijie also wrote in "Yu Meiren" that "(Pelican) cries until the spring returns to nowhere, and bitterly hates Fang Fei Du Xie"; the Yuan Dynasty literary scholar Guan Hanqing also wrote in "Da De Ge Chun": "Zi Zhi cries, it is better to return, the Tao is that spring returns to people who have not returned".
Spring is fading away, and the things that symbolize beauty have long since drifted away, have long become the past, and have long become the beautiful memories that the writer can only touch in the subconscious. The sandbar naturally turns green, symbolizing that there will always be beautiful things in life, which seems to become the norm of life, but it will increase the subconscious feeling of "similar flowers from year to year, different from year to year". The cries of the cuckoos are even more a metaphor for the deep sorrow of the beauty's twilight.
With the foil and rendering of these three sentences, the sentiments of the lyricists also progressed layer by layer, so he wrote "Ten Miles of Yangzhou, Three Lives du Mu, the former Hu said", these three sentences are to the effect that: Thinking back to that year, in the bustling Yangzhou Road, I also had the life experience of a happy life like Du Mu when he was young, but the times have changed, and the past cannot be looked back.
In the last three sentences of the previous film, Jiang Kui successively used the verses of Du Mu and Huang Tingjian, and Du Mu wrote in the "Farewell": "Lou Lou Yuanyuan thirteen years, cardamom head in early February." Spring breeze ten miles Yangzhou Road, rolling up the bead curtain is always better. Huang Tingjian wrote in "Early Spring in Guangling": "The spring wind is ten miles of beaded curtains, as if the three lives of Du Muzhi." ”
"Three lives", a Buddhist term, refers to the three lives of the past, present, and future in the lyrics. In the eyes of the lyricist, the beautiful past of his encounter with the hefei woman has long been sealed by the lyricist, and this past has long become a cloud of smoke, and no matter how much thoughts are like floating clouds in the sky, quietly changing their posture. Time is rushing, the world is uncertain, no matter how many thoughts and beautiful memories, they all belong to the past tense, and perhaps the thoughts at this moment will only make them more difficult to sustain themselves.
Therefore, at the beginning of the next film, the writer's pen sharpens, no longer carrying out emotional catharsis, but turning to the description of the scenery, "or, the palace candle smokes, Nai Sad, hurriedly changing seasons." In connection with the Tang Dynasty poet "Cold Food" poem, "Spring City is everywhere flying flowers, cold food East Wind Royal Willow Slope." Candles were passed down from the Han Palace at dusk, and light smoke spread into the Wuhou family", and it will be found that the reason why such words appear in the words is nothing more than that this spring tour coincides with the Qingming season after the cold food.
The next sentence is "Nai Sorrow, Hurry to Change seasons", the lyricist sees things and feels nostalgic, in the years of drifting in the living, he is no longer the teenager who greeted youth. After experiencing the precipitation of time, his face has been written with the vicissitudes of the years, and his youth has long gone.
In this beautiful late spring season, in the leisure and leisure of boating on the lake with friends, there is a deep feeling in the emotions of the lyricist. The meaning of this sentence is implicit, both the lamentation of the twilight spring scene, and the sigh of the impermanence of the present and the past, and the infinite sentimentality and infinite nostalgia in the heart of the writer have long been self-evident.
As a result, the lyricist turned his pen sharply and began to recall the beautiful past of encounters with Hefei women. "All put a fangsi, with the empty order elm pod." These two sentences are to the effect that you can only pay the elm flower full of grievances and let it fly to the empty stone steps.
In this beautiful late spring season, lovers can't think of it, and how should the lyricist be placed with full of affection and sorrow? The moonlight can stay on the steps, and his thoughts are like the elm flowers falling on the steps, coming with the wind, passing with the wind, and finally there is no trace.
The next two sentences, "Ten million wisps, hidden crows and fine willows, for the jade dignity, dancing back to the snow", to the effect that: thousands of wisps of fine willows, inside the crows are hiding here, and the soft willows seem to be flying and swirling for guests who come and go.
Yang Liu symbolizes the feeling of parting, which was first derived from the "Past I Went to the Past, Yang Liu Yiyi" in the Book of Poetry. Since the poetry classic, the image of the willow symbolizing parting has gradually been accepted by poets, so the parting scene in the poetry work is often set off by the image of the willow. Liu Yuxi's "Yang Willow Branches" has "Chang'an Strange on the Infinite Tree, only the weeping willow pipe is separated", and Wang Wei's "Sending Yuan Er envoy Anxi" in "Weicheng Is light and dusty, and the guest house is green and green and willow-colored", are excellent examples.
In his lyrics, Jiang Kui often recalls his love affair with Hefei women, and Liu becomes the emotional support for her, as he wrote in the preface to "Pale Yellow Willow": "Living in the west of Chilan Bridge in hefei's southern city,...... Willow-colored sandwiched, yi yi pitiful. In the term "Desolate Prisoner", it is written: "Hefei Lane is strange and willows are planted, and the autumn wind and sunset are riotous." From Jiang Kui's text, it can be seen that he has a deep affection for hefei women, and the image of Yang Liu has become the carrier of his metaphor for this emotion.
These few words are full of emotion in expression and implicit in reading; the writing method is exquisite, and the subtlety lies in the fact that the lyricist from the Yang Liu Qingqing in front of him conjures up a scene of yiyi cherishing others.
Thousands of willows in front of the eyes are hanging down the turquoise branches, and flocks of crows hiding in the branches and leaves, this scene can't help but remind the lyricist of the scene of separating from his beloved woman in Hefei. Thin willows flutter, fly in the sky, lovers cling to each other. The transformation of scenery and emotion is natural, relevant and traceless, and the artistic conception is ethereal and clear, which is a subtle emotion that everyone can perceive, but it is difficult to describe in words.
However, the lyricist Jiang Kui expressed this feeling with the language of pulse affection and the words that infiltrated people's hearts, and there were traces to follow between the traces, and there was really a grass snake gray line technique. While tasting the words, people have to lament the lyricist's exquisite artistic expression.
With the layers of cushioning, rendering, and foiling in front of it, the emotions of the lyricists have reached the point where they have to be sent, so Jiang Kui wrote out in the tone of emotional migration, "I want to see the west out of Yangguan, the old people first bid farewell", which is the binding of the whole word, these two sentences use Wang Wei's "Send Yuan Er to Make Anxi" in the two sentences "Persuade the jun to make a cup of wine, the west out of yangguan without a reason". It also contains two meanings.
Wang Wei's poems also use the willow-colored Qingqing of Weicheng as the background of parting, and Jiang Kui also writes about the willow-color of Hefei in the words. The last two sentences are allegorical to the scene, which is the peak of the emotion of the whole word, but the meaning of the word stops abruptly at the peak, and the aftersound is endless, and the meaning is endless, which makes people feel unfinished when read.
Jiang Kui's nostalgic work, including life experience, can also see the lyricist's superb ability to capture the beauty of the moment and express the momentary feeling. The whole word scene blends, the lyricist borrows the twilight scene in front of him to write the infinite sentimentality of the past that cannot be looked back, lyrically the feeling that the years do not live, the seasons are like a stream, and also express the helplessness of things being human and impermanent, and the words are beautiful to read and natural.
Classics are formed under the washing of time, a writer, a work must pass a certain test of time, in a certain period of time both widely disseminated, but also deeply accepted, so as to have a long-term impact, which can be called classics.
Jiang Kui's lyrics are all treasures in the Song Ci, especially this "Pipa Immortal", which can be called a classic in the Song Ci. Feng Xu commented on Jiang Kui's work in the "Examples of Selected Words of the Sixty-One Families of Song", saying: "Heavenly manpower, two perfect", borrowing Feng Xu's words to evaluate this "Pipa Immortal", which is pertinent and appropriate.