Reading and appreciation of Liu Yongzi

We suspect that many of the negative evaluations of Liu Yong in the history of words have something to do with Liu Yong's early fame in the show business circle (joke). Most of the biographical materials of Liu Yong that we see today are not from the main history but from the notes of the Song people and local chronicles. (It can be seen that the morally upright Song Dynasty literati were a little disdainful of being with him) Liu Yong was intoxicated with lyrics creation because of his musical talent and romantic nature in his youth. (Among them, the relationship between the environment of the times is also very important.)

Ye Jiaying pointed out in "On Liu Yong's Words": Originally, the writing of lyrics by scholars was also a common phenomenon in northern Song society, but the reason why Liu Yong was humiliated was that the tone of the cards he used and its content style were different from those of ordinary scholars, and then the occasions when Liu Yong appeared were also different from those of scholars. Those who have attained the position of Kodylu can either keep a prostitute in their homes or summon high-ranking singers to cheer up while they are drunk and ear-warming, and then drink the pen and pretend to be elegant. Before he won the first prize, Liu Yong "became famous as a lowly teenager for his love of composing the folk songs of musicians and prostitutes and interacting with musicians and prostitutes." (pp. 68-69) (Rather than being elegant and vulgar, it is better to say that there is a big trick of the tree).

And this rejection of the upper-class literati undoubtedly added a sense of humiliation and injustice to the pain of Liu Yongshi's journey. (This sentiment pervades many of Liu Yong's works.)

It is customary to think that Liu Yong has begun a new change of words, but the content of the new change has not yet reached a consensus. But first of all, it is a consensus to affirm his contribution to the word style. Liu Yong vigorously created slow words, which had a great influence on later words. The production of slow words actually began as early as the middle and late Tang Dynasties, but it was not until the Song Dynasty that they became popular. The name of the slow word comes from "slow song", which refers to the word that is based on the length of the slow song. Volume 10 of the "Lexicon" calls the slow word "cover the long beat slowly, that is, the meaning of the ancient Man sound." "Slow, the ancient book wrote Man, is also the meaning of extending the extension, the song is extended, it is sung slowly." Slow music is relative to "urgent music", and slow and urgent are distinguished according to the rhythm of the music.

The "Etymology" volume down said: "Slow song is not more than a hundred words, the middle is suppressed and high, Ding resists dragging, there are big ton, small ton, big pillar, small pillar, beating, beating, and other words, the real so-called upper is like resistance, down is like falling, curved like a fold, stop is like a mallet, even in the middle of the moment, in the middle of the sentence hook, tired like a pearl, si is difficult." In this passage, there are many singing terms, which we can no longer understand, but we can also understand that the reason why slow music is slow is because there are various ways of singing that extend and extend. The Tang Dynasty poet Lu Lun has a poem "Fu Yao Beauty Shoots The Song of the Kite", which has a sentence cloud: "Sometimes I gently play the song of Helang, and the slow voice is more late." ”

It can be seen that the Tang dynasty has been slow to sing. In the Song Dynasty, there were slow words, so there was a difference between quick and slow songs. About order, quote, close, the rhythm is more urgent, the slow words and sentences are long, the rhyme is less, and the rhythm is more relaxed. But in the order of slowness, there is also a difference between urgency and slowness. For example, to promote the picking of mulberries, it is a quick song in the song. Santai is the promotion song of the ancient ten beats, which is the urgent song in the slow word.

The word calls the slow word, and this slow word can often be omitted. For example, Jiang Baishi has a long pavilion complaint, and Zhou Gongjin and Zhang Yutian all complain about the long pavilion. Wang Yuanze has a tired search for Fang, and Pan Yuanqian is titled Tired of Finding Fang Slow, in fact, they are all the same word. The "Poetry Map" divides the tired search for fang and the tired search for fang slow into two tones, which is extremely wrong. I don't know that the "New Language of the Wind" quotes Wang Yuanqian, also known as tired and slow, which can prove that this slow word was dispensable in the Song Dynasty.

In addition, words such as Xizi makeup and Qing Dynasty, in the Song people's books, some add slow characters, some do not add, there is no difference. Probably the song of the same name is still popular, so the name of the slow word must be added to the slow word. If the song of the same name is no longer popular, or if there is no song at all, there is no need to add a slow word.

Due to the longer tune, the increase in words, and the slower rhythm, the slow words have more musical changes than Xiao Ling, which is melodious and beautiful. Therefore, it is also suitable for expressing personal emotions that are more tortuous and complex.

The words of the early Song Dynasty were mainly Xiao Ling. After Liu Yong, long slow words began to become popular. Liu Yongqian's total of slow words is only more than ten, and Liu Yong alone created 122 slow words. Liu Yong's pioneering innovation in word style provides the most basic art form and textual norms for the development of Song Ci. Without Liu Yong's exploration and creation of slow words, the later Su Xin and others may only be able to clash in the Xiaoling world (Su Xin's famous passages are mostly slow words). Even Zhou Bangyan, who has innovated in word style, has learned a lot from Liu Yong.

1. Associated with slow words is a change in the method of expression. The most common lyrical method of traditional words is image setting, that is, through a series of external objects to set off and reflect the emotional psychology of momentary nature, and some also attach a certain degree of Bixing sustenance. Liu Yong transplants the assignment method into words, spreads out the narrative, or directly portrays the modal psychology of the characters, or depicts the scenes and processes of the occurrence and development of love events layer by layer, so as to show the emotional mentality of the characters in different time and space scenes. This gives its words more plot and narrative meaning (note that all words actually have different degrees of plot and narrative meaning, which is almost a fact that historical commentators have ignored).

In this regard, everyone is familiar with "Raining Bells":

The chill is miserable, the long pavilion is late, and the rain is at the beginning of the break. Dumen tent drinking nowhere, nostalgic, Lan Zhou urged. Holding hands and looking at each other with tears in their eyes, they were speechless and choked. Thoughts go, thousands of miles of smoke, twilight and mist. 　　Amorous parting since ancient wounds, more that kan, snubbed the Autumn Festival! Where is the wine awake tonight? Willow shore, dawn wind and moon. This past year should be a good day and a good scene. Even if there are a thousand styles, who to say?

This song is different from Xiao Ling's method of selecting fragments and using scenery to set off emotions and then abruptly leaving a residual rhyme, but adopts the method of advancing from near and far, from shallow to deep, and advancing layer by layer, giving a meticulous depiction of the entire farewell scene, process, farewell before, other time, farewell after, farewell environment, atmosphere, and the character's action and demeanor, so that the parting wound is truly vivid and tortuous. What is even more valuable is that although the whole word has a process, each link is interlocked in terms of time and mood, and it is very graceful. The last sentence is very similar to a sigh, like a galloping horse taking reins, there is a tendency to live but not stay; and it is like the flow of the crowd returning to the sea, there is an end but not an end.

Also inseparable from the assignment is the way it is structured. A typical work in this regard is "Midnight Music":

Frozen clouds dim weather, flat boat a leaf, take the pleasure away from the river. Crossing thousands of rocks and crossing the depths of the creek. The angry waves gradually subsided, the woods and winds rose, and the merchants and travelers called each other, and the sails were held high. Pan painting cranes, flying over Nanpu. 　　

Looking at the wine sparkling, a cluster of smoke villages, several rows of frost trees. The sun was falling, and the fisherman was returning with a hammer. The defeated lotus is scattered, the fading willows are hidden, and the shore is two or three, and the huansha is a wandering woman. Avoid pedestrians and smile shyly. 　

　At this point, because of the thought, the embroidery cabinet was lightly thrown, and the wave ping was difficult to stay. Sigh after the covenant, Ding Ning actually he according! Tragic departure, empty hatred of the late return of the year. Tearful eyes, Shenjing Road. The sound of the broken hung is far away from the twilight.

The words are divided into three pieces, the upper film writes the experience on the way, the middle film writes the experience on the way, and the next film is lyrical. Among them, the upper film "Chengxing" is the main eye, the former "bleak" can be contrasted, and the lower "crossing", "Yue", "more smell" sentences are all full of youxing, which can be described as full of pride. The scenery in the middle film is born from the "looking in the middle", first outlining the long-range view, and the close-up scene is the scattered lotus, the fisherman's hammer, and the wandering girl Huansha. The picture level is clear, the sound and color are complete, and the shyness and laughter of the three or two traveling women are particularly vivid and vivid, and also touch a certain thought in the poet's heart, which leads to the next film. (It can be seen that the middle piece carries up and down, and the needle and thread of the work are fine)

The next film uses "to this cause and thought", both regret that he left home rashly, and the traces of the waves are uncertain, calling leaving home "throwing", "throwing" before a "light" word, regret overflowing into words; self-comparison duckweed, and "Ping" before An'an a "wave" word, for the current uncertain life, sadness is seen in the words. What makes the lyricist feel most miserable is that it will be difficult to wait. The four sentences of "sighing after the appointment" are to express the feelings of difficulty in reuniting with relatives from different angles. The concluding sentence "Broken Hong" returned to the scene from love, looking at the gods and not seeing, and what came into sight was only the long sky, the twilight, and the only thing heard in the ears was the cry of the lonely geese fading away. This scenery, the realm is full of meaning, the atmosphere shown is very in tune with the feelings of the lyricist, and the sorrow of leaving the country and leaving the country and the hardships of the bondage are very sad to read.

2. New changes in content

Many of Liu Yong's lyrics directly describe the external appearance of the singer's prostitute's posture and voice, which is no different from other traditional lyricists, but for a long time mixing with the singers and prostitutes, they will inevitably have a deeper and more detailed observation, and they will have more understanding of their inner wishes, especially when Liu Yong is accepted by the upper class, the comfort he gets from the prostitutes and the sympathy he gives them is conceivable. This makes its traditional erotic lyrics begin to express the real emotions of the real life of the prostitute, such as "Fixing the Storm":

Since the spring, the tragic green and red, the heart is cocoa. The sun is on the flower shoots, the warblers wear willow ribbons, and the incense sticks are warm and crisp, and the greasy clouds are thick. Tired of combing all day long. Helpless! Once the hatred is gone, there is no sound book. 　　Did you know that? Repent of the beginning, do not lock the carved saddle. 　　To the chicken window, only with the barbarian notes, restrained to teach the bard lessons. 　　The town follows, and Mo throws away. Needle and thread idle with Yi sitting. 　　And I, lest I be young and have time wasted. “

The six sentences of "To the Chicken Window" express the ideal of ordinary women for love life, ordinary and true, real and interesting. Yan Shu and others ridiculed it for being shallow, not knowing that the prostitutes who were familiar with Liu Yong and appeared in the words used such language, and from this point of view, perhaps Liu Yong knew that literature came from life.

More and more contemporary literary historians affirm Liu Yong's works that convey the consciousness of the common people, and at the same time, there are more positive evaluations of the well-known words in the history of words. It should be said that this kind of word can indeed best reflect the pain and hope of Liu Yong's lifelong eunuch search and struggle in his career. Because of the "unnamed and unnamed", it is necessary to "run for fame and profit", so "the eunuch becomes a bondage brigade" and "knows the taste of eunuch travel" ("An Gongzi"). The long-term eunuch travel has missed the sweet and humorous joy with the beautiful people, and the frustrated emotions often aggravate the sadness and anger in his career travels.

The emotional world in his bondage words is Liu Yong's unique spiritual world, thus breaking the barriers of the generalized and typed emotional world in the previous words, adding individualized and self-colored colors to the emotional world of the words, and further making the words return to the inner world of the creative subject. Since then, Su Shi has been moving forward in the direction of self-ization and individualization opened up by Liu Yong in his lyrical orientation.

In fact, the emotional connotation in Liu Yongqian's travel words is very rich, and many factors intersect with love and journey, love and the hope and pain of his own life. The cold desert of mountains and rivers vividly and touchingly sets off the parting and hatred, and the labor, loneliness and desolation in the rush permeate the memories and imaginations of love. Liu Yong was also good at combining the theme of wandering sons and women in the Han Wei Le Mansion with the descriptions of male and female love and parting sorrow and hatred in the words since the late Tang Dynasty and the fifth dynasty, plus his own personal experience, so that his confinement and service words were praised by later generations of lyricists.

Chen Zhensun, a native of the Southern Song Dynasty, said that he was "particularly good at working in bondage and traveling.") Chen Tingzhuo, a Qing dynasty, said in his "Words and Circles": "Qin wrote about the scenery of mountains and rivers, and Liu wrote about the love of bondage and travel, all of which are extremely perfect, and there are those who cannot be described in words." "There are more than 60 liu yongqi travel words, and we can take "Pouring Cup" as an example:　

The birds fall on the frost island, and the geese cross the smoke, and the autumn colors are clearly drawn. The twilight rain is at first, the small night is berthed, and the reed village is mountain stationed. Whoever is near the wind under the moon, a Qiang flute is sounded. Away from the sorrows, idle shore grass, cut and cut like weaving.

After saying goodbye to Yifang, the water is far away from the mountains, and He Ji relies on the scales. Want to embroider the pavilion deeply, argue for haggard damage, the end of the world traveler. ChuXia Yungui, Gaoyang people scattered, lonely Kuang traces. Wangjingguo. Empty eyes, distant peaks condensed.

The film revolves around the "overnight stay in reed village", first the bird (wild duck) and the goose return to the nest, the poet all the way to the night after the reed village, but a little bit of stability and a qiang flute evoked the sorrow, and then with autumn grass full of eyes, the grass is woven like weaving to render the thickness of the sorrow.

The next piece is written in the sorrow mixed with the pain of running. There is no reason to meet each other, even the scales and wings have no reason to send a message, I have to stare at the suspense, but under the suspense, I reflect the loneliness of my own rush to the end of the world, and what is more fatal is that this love that can comfort the soul with memory is actually too much. The "Chu Xia" sentence uses the Song Yu classic, alluding to the fact that his old love has dissipated, and then turns back to the current situation, indicating that in the past, the "twilight feast and joy" have disappeared, and at this time, the isolated village sits alone, only to hurt the moon. The last two sentences, ending with the scenery, looking at the capital from afar, are not visible, but seeing the distant peaks and clear suffering, it seems to be gathered with thousands of sorrows, "eye judgment" and "standing up" are all strengthening tones, and this autumn scene is injected with strong emotional color, the meaning of lovesickness, and the feeling of pity are endless. The word Wangjingguo reveals that the poet's pain comes from the yearning for the career of the capital, and this means the value of life and the value of self for the literati. Therefore, the emotions in the words are not covered by the parting of sorrow.

3\ Inseparable from the content is the change of aesthetic characteristics (or artistic style). The history of words generally acknowledges the strengths of Liu Yong's two aspects, one is the beauty of the sound rhythm, and the other is the details of the narrative. Both of these points are actually related to the slow word. Contemporary Ye Jiaying discovered earlier the changes in Liu Yongzi's aesthetic qualities. She pointed out that in addition to the beauty of sound rhythm and the details of the narrative, which are the advantages of appearance, "in the world of his spiritual feelings and the meteorological quality of his works, he really has some more noteworthy characteristics." This is a feature that is known as near the height of Tang poetry.

Zhao Lingqi's "Records of Hou Mackerel" volume 7: "Dongpo Yun: The world's words are willow and the customs, not also. For example, the frost and wind in "Eight Voices of Ganzhou" are tight, the Guanhe river is cold, and the remnants of the building are still in the building, which does not reduce the height of the Tang dynasty in the poem. The Notes of the Song Dynasty also refer to this in poems and words. Ye Jiaying believes that Han Wei poems are mainly based on direct narration of love affairs, and their sensitization power comes mostly from affection and chapter structure and narrative tone, while Sheng Tang poetry is quite heavy on scenery and material dyeing, and its sensibility power is often derived from the touch of the scene, and the Sheng Tang era has a magnificent and broad atmosphere, so the scenes written by the Tang people often have an open and lofty artistic conception and a syllable of Shen Xiong. Predecessors praised Liu Yongzi with Tang poetry, precisely because Liuzi was as good as "Eight Voices of Ganzhou", and its scenery was also broad and broad, and the sound momentum was also majestic and strong, which was enough to convey a powerful sense of power.　

On Xiao Xiao twilight rain sprinkled on the river sky, a wash of autumn. The frost and wind are tight, the Guanhe river is cold, and the building is left behind. It is a place where the red decays and the green is reduced, and the radial things are rested. Only the water of the Yangtze River flows east without words.

　　I can't bear to climb high and go far, look at my hometown, and it is difficult to return to my hometown. Sighing at the trail of years, what is the bitter drowning? Think of a beautiful person, look at the makeup building, mistake a few times, and the skyline knows the boat. Knowing me, leaning on the trunk, I am grieve.

The film above the word wins by writing a panorama, and the scenery is open and high, and the words "twilight rain", "frost wind" and "residual photo" in the middle hint at the change of scenery, and the overlapping words and double voices such as "Xiao Xiao", "Qing Qiu" and "Snubbed" give the reader a strong feeling. And the objects that come to the scene are not messy, and the two sentences are led by "right" and "gradually", and each sentence is thirteen words and one breath. The characteristics of liu ci, which are grand and syllables, are close to the poetry of the Sheng Tang Dynasty.

Ye Jiaying further analyzed that the emotional power conveyed by Liu Ci through its xingxiang contains a kind of sadness of "Qiu Shi susceptibility" of Guan he Liao Kuo and Qiu Lu Luotuo. Works such as Liu Yong convey the sadness of a talented man with a male protagonist who is afraid of losing his mind in his twilight years. This kind of content sentiment, as far as the development of words is concerned, is really a very noteworthy pioneering. In the willow words, what is enough to generate with his emotions is the open and vast scenery of sunset and autumn evening that he writes. In addition to the "Eight Voices of Ganzhou" Liu Yong has many words and phrases in many of his works. Such as "Snow Plum Fragrance", "Jade Butterfly" and so on.

Ye Jiaying's analysis is very incisive, and we can make another very simple discovery along her train of thought, that is, the formation of a heroic and powerful style is mutually exclusive with the open and broad object. And this is undoubtedly the direction of Su Shi's efforts.

In addition, there is also a point that Mr. Ye did not pay attention to, that many of the Liu Ci travel words reflect the same characteristics as Yan Shu's wealth and elegance in terms of language, such as many sentences in "Eight Voices of Ganzhou" from the poems of predecessors, "it is the red decay and green reduction" from Li Shangyin's "Gift of Lotus Flowers" poem "Cui Reducing Red Decline and Sorrow killing people"; "Can't bear to ascend to the heights of Linyuan" is suspected from "Chu Ci Nine Debates" "Mountaineering Linshui Xi will return"; "Mistakenly a few times, The Skyline Knows the Boat" comes from Xie Shuo's "Xuancheng County Out of the New Linpu Xiangbanqiao" "Skyline Knowledge Returns to the Boat" Discerning the River Tree in the Clouds" and so on. This undoubtedly reflects Liu Yong's elegant side as a literati.

The influence of liuzi on Su Shi is not limited to what we have seen above, and some other local components need to be discovered by everyone, such as the characteristics of multiple sentences in the collar character, which are first seen in Liuzi, and later Su Shi's "Eight Voices of Ganzhou" has a sentimental wind and a thousand miles to ruthlessly send the tide back. Ask the Qiantang River on the Xixingpu mouth a few degrees of oblique light. This syntax is also borrowed.

According to Ye Jiaying, the romance and female imagination in traditional words often have symbolic colors, which are hints and symbols as whether men's political aspects are known and appreciated; while the love affairs in liuzi are often extremely realistic and real, which makes liuzi praised by contemporary scholars as part of the reason for civilian consciousness.