What do you think a writer who can become the suzerainty of the word altar should look like? Is it like Su Shi's "bamboo stick and mango shoes", or like Liu Yong's mixed smoke willows, or like Xin Abandoned Disease, "picking up the lamp and looking at the sword"? At the age of twenty-two, Jiang Kui, the patriarch of the Southern Song Dynasty, who created the famous passages for thousands of years, said that he could just do it himself.
I. "Fallen" literati who "do not fall" and are "not discouraged"
The poets of the Song Dynasty can be roughly divided into two categories from the perspective of social identity, one is the politician and lyricist who has achieved achievements in the dynasty, and the other is the subordinate petty official, the jianghu wanderer and the poor literati. Several of the northern Song Dynasty poets, except for Liu Yong, were all extremely popular subjects. In the Southern Song Dynasty, the economic conditions of Xin Abandoned Disease and Lu You were not bad, but more lyricists still lived in poverty, and so did Jiang Kui.
Jiang Fu's father was originally a Small Zhi County, but he died of a serious illness when Jiang Fu was more than ten years old. Therefore, what Jiang Fu could rely on later was also a sister. Although the economy of the Southern Song Dynasty was also prosperous, at that time, a weak woman obviously could not give the sisters and brothers a good living environment. So in the early years of Jiang Kui, there was no wind and moon song and wine in life, only to run around for survival.
But while God closed one window for Jiang Kui, he also opened many doors for him. Despite his poor living, Jiang Showed great enthusiasm for poetry, calligraphy and music, and showed his talent. Although Jiang Fu repeatedly failed in the examination room, and finally could not get the travel expenses to go to Beijing to catch the exam, in the simple literary and artistic creation, Jiang Fu soon had a lot of achievements.
When most of the lyricists were still filling in the words according to the score, Jiang Fu, who taught himself the musical rhythm music score, began to compose his own music. His masterpiece "Yangzhou Slow Huaizuo Mingdu" is exactly the use of his self-composed song. And the calligraphy that Jiang Fu said copied Wang Xizhi's "Orchid Pavilion Collection" that had not been able to grasp its essentials for more than twenty years had already allowed him to make a living. Coupled with proficiency in tasting, Jiang Fu also has the reputation of "Scholar Shen Han".
It can be said that although Jiang Kui is a disgraced literati who has no official and no lord and constantly has to worry about the next meal, he is actually living more and more unflustered. He has a relatively withdrawn personality and has no friends at first, but when he is "in the middle of the stream" and "the crescent moon is full at night", he is "singing alone", calmly and calmly, showing a hermit style beyond his age. When he was more than thirty years old, he met xiao Dezao, a true confidant, and formed his own small family with Xiao Dezao's niece.
In the last ten years of his life, although Jiang Fu was still the empty Jiang Fu, he was more spiritually rich. His daily contacts were Yang Wanli, Fan Chengda and other famous artists of the Jiangxi poetry school. His study of musical rhythm has also been recognized by more and more people, even the imperial court. Therefore, although he was poor and wandering all his life, Jiang Kui was not a poor and acid student who did nothing, but more like a great hermit outside the transcendent.
Second, "Yangzhou Slow" and the young Jiang Kui
Of course, the most eye-catching thing about Jiang Kui is his "Yangzhou Slow", especially "Yangzhou Slow Huaizuo Mingdu". At the time of writing this poem, he was only twenty-two years old, the age of a child in the eyes of the ancients.
In the third year (1176) of Emperor Xiaozong of Song, Jiang Kui, who had been traveling around Jiangxi and Hubei since childhood, passed through Yangzhou. As a "literary and artistic youth" who has the pursuit and personality of the Tang Dynasty poet Du Mu as an idol, passing by Du Mu once left behind the sentence "Who knows Zhuxi Road, the song blowing is Yangzhou", Jiang Kui is naturally easy to write something. Just coupled with the fact that after fifty years of what he knew and seen, but still did not return to the former prosperous Yangzhou, which had been ravaged by the iron hooves of the Jin Army, Jiang Fu really could not only trace the footsteps of his idols.
After "ten miles of spring wind, all the mustard green", Jiang Kui remembered the ruins of Yangzhou. From a pure scene to a lyrical sadness, Jiang Kui's "Yangzhou Slow" can become a famous passage throughout the ages, which is inseparable from this natural and important transformation.
And another subtlety of this word that is very characteristic of Jiang Kui is that he still leaves space for Du Mu in xiaque. "Counting the weight of the present day to be shocked" is not only a more straightforward use of Du Mu to highlight the decline of Yangzhou, but also a subtle interspersed vision of his predecessors. At only twenty-two years old, he can almost perfectly integrate his own small preferences under the big pattern of "Yu Yan Bing", so that "Yangzhou Slow" has a little more vitality in the moving feelings and exquisite techniques, and it is no wonder that people appreciate "Yangzhou Slow Huaizuo Mingdu" and Jiang Fu at this time.
Second, the word lord who leads a generation of word styles
Of course, if there is only a masterpiece of "Yangzhou Slow Huaizuo Mingdu", then Jiang Kui will only be praised for two sentences at most, and will not be pushed to the high position of the southern Song Dynasty word lord. In fact, what makes Jiang Kui have this identity is his overall achievement in the field of Yazi.
Although his life has always been poor and he often relies on others to help, Jiang Kui also has the traditional elegance of a literati doctor. This is also the root of his words "emptying" and "saury". His mastery of musical rhythm and lyric composition made him consciously and unconsciously devote himself to the tempering of words and phrases and artistic conceptions. The cold, clear, quiet, empty, cold, chaotic, and silent that often appear in Jiang's words are not only the exposure of his feelings of nostalgia, but also the elegant situation he has carefully carved.
Later generations referred to Jiang Kui and Zhou Bangyan, the great master of the Northern Song Dynasty, as "Zhou Jiang", also because jiang fu's style and elegance led to the mellow artistic appearance of the late Southern Song Dynasty. In the early Qing Dynasty, the Zhejiang Western School even believed that Jiang Kui's influence in the art of word composition and language even surpassed that of Su Shi.
In addition, Jiang Kui's use of word order has also stepped up to a peak since the two Song Dynasties. If the Northern Song Dynasty poet Zhang Xian set a precedent for word order, and Su Shi carried it forward, then Jiang Kui wrote out the word order "flower" and created a large number of excellent word orders with top artistic level.
It can be said that although Jiang Fu did not become a civilian general for the people of the country, he could not even pass the exam as a clerk who edited the music and law. Although he was poor all his life, he even had to rely on the powerful to make a living from time to time. However, "drawing a satisfactory end to the three hundred years of Song Ci" is still his position in the lexicon. What about being young? What about a lifetime of wandering? Jiang Kui said that he still lived out his appearance.