The Song Dynasty poetry altar, the passages that express the thoughts of the journey are all pitched, and Liu Yong's words are the deepest and most subtle songs. Chen Zhensun's "Zhizhai Shulu Solution" Volume 21 Comment: "Its words are not high, but the rhythm is harmonious, the language is appropriate, the weather is flat, the description is exhausted, and the work is especially in bondage." The reason why Liu Ci can describe Chengping weather to the end is that Liu Yong adapted to the requirements of the times and created slow words, which not only met the needs of the court bureaucracy, but also adapted to the needs of the city into the people and the needs of the fence tiles. The times called for a more grand system to express the prosperity and wealth of the country, and the xiaoling system represented by Yan Ou could not better fulfill this requirement, and could only back down to Liu Yong's slow word system. Thus, accordingly, there was a situation in which "wherever there is well water to drink, that is, he can sing willow words", and even when Song Renzong was young, "he had quite good words, and every pair of feasts will make the attendants sing repeatedly." (Chen Shidao's "Poetry of Houshan") Although Liu Yong achieved "changing the old voice into a new voice, producing a collection of music and movements, so big that it claimed to be in the world" (Li Qingzhao's "Theory of Words"), however, his life was inevitably bumpy, even if he got a small official, he still could not get rid of the end of the eunuch tour. Therefore, wherever you go, there is a lyric of melancholy that is snubbed. Such as the famous "Eight Voices of Ganzhou":
To Xiao Xiao twilight rain sprinkled on the river sky, a bit of Xian Qingqiu. 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 in the 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 over the years, what is the bitter drowning. Want to look at the beauty makeup building, mistakenly a few times the skyline to return to the boat. Knowing me, leaning on the railing, I was frowning.
Wandering the ends of the world and thinking of sorrow shows that Liu Yong has a deep experience of the wanderer's life situation. Li Zhiyi said: "Until Liu Qi Qing first laid out the layers, there was nothing left to prepare. Describe the shengming, a thousand years like the day. Compared with the collection of "Flowers", the rhyme is invincible in the end, and it is known that it is difficult to be able to do it" ("The Little Words of The Way of Wu SiDao"). Compared with Xiao Ling, the slow words are known for laying out narratives, the scene is larger, the room for maneuver is wider, and it can be elegant and vulgar, this "Eight Voices Ganzhou" is. After the rain, the sky is as clear as a wash, and the words "right", "sprinkle" and "wash" are recited in a high voice, and the breath runs through the autumn sky. The word "gradually" made the situation turn sharply, the autumn wind was miserable but strong, the prosperous and beautiful scenery was tightened with the "frost wind", only the water of the Yangtze River flowed wordlessly, and looked back at the lander mercilessly with great sorrow. "The scenes of ascending high and overlooking in the words are all seen when they are 'leaning on the bridesmaids'; the feeling of homesickness arises from 'condensation'; and the three words of 'contending for knowing me' turn reality into fiction, making the pain of thinking about returning home and the expression of nostalgia more tortuous and moving." (Xia Chengtao et al., ed. "Song Ci Appreciation Dictionary") This song is orderly, the structure is meticulous, and it is integrated into the lyricism when laying out the scenery, so that the homesickness and nostalgia are fully developed, coupled with white painting techniques and popular words, the sorrow of thinking about the return of the journey is even more tortuous and moving.
Liu Yong was a famous tune artist in the Northern Song Dynasty, writing more than 180 slow words and long tones, far surpassing others. And its slow words in the laying out of the narrative writing method is often "a stroke to the end, always unremitting". "Eight Voices of Ganzhou" meets this characteristic. Cai Songyun, a Qing Dynasty man, once said of this word: "The victory of the willow word is in the qi bone, not in the literal." Its writing scene is far better than its lyrical place, and the chapter method is wide open, which is taken by the later halal and dream window families, and the letter is a famous artist. (Cai Songyun's "Treatise on Keting Words") then listed willow words, saying that "An Gongzi", "Jade Butterfly", and "Eight Voices of Ganzhou" wrote about the Mid-Autumn Festival scene of the travel service, all of which were extremely poor and skillful. Liu Xizai also said: "Qi Qing's words are delicate and appropriate, clear and commonplace, good at narrative, and have had others. In fact, Liu Ci is not only good at narrative, but also not inferior to his predecessors, and Li Zhiyi said that he was "inferior to the collection of "Flowers", and the rhyme was ultimately invincible", which was not in line with the actual situation. It should be said that there are many words in the willow word that rhyme quite high. Su Shi said that the sentence "The frost wind is tight, the Guanhe is cold, and the remnants of the Building" in the Eight Voices of Ganzhou are "This phrase does not reduce the Tang people in the poem" or "The Tang people are good but so" (Zhao Deling's "Hou Malu" and Yang Shen's "Ci Pin", vol. 3). Such an evaluation can be a useful supplement, indicating that Liu Yong's words have the charm of Xiao Ling, and there are also slow words of one song and three sighs. Of course, the acquisition of these artistic effects is closely related to Liu Yong's own frustrated and lonely life experience. The predecessor Mr. Xia Jingguan noticed that Liu Yong 's "elegant words were used in the Six Dynasties Essay Endowment Method", and later generations traced it back to earlier Fu style literature, linking Liu Yong with Song Yu. For example, Song Yu's "Nine Debates" is a lyrical poem of the lexical body, breaking through Qu Yuan's Bixing writing method, achieving lyrical effects by describing the natural environment, and interweaving Xiao Ser's snubbed autumn scenery and frustrated and sad mood, reflecting each other, and spreading out an emotional atmosphere of hatred and difficult to condemn. This point, perhaps even Liu Yong himself admitted, look at his "Xuemeixiang":
Jing Xiaosuo, the dangerous building independent side of the clear sky. Moving the mood of sorrow and autumn, Song Yu should be the same at that time. The fishing market is lonely and cold, and the remnants of the water village are dancing red. Chu Tiankuo, the waves soaked in the sun, a thousand miles dissolved. Linfeng, think of Jiali, don't be sad, and calm down the eyebrows. Unfortunately, at that time, the rain was traced. Ya Shi Yanzi is chatting happily, and the falling flowers and water are suddenly flowing from west to east. No hatred, lovesickness, all pay Zhenghong.
"Moving the mood of sorrow and autumn, Song Yu should be the same at that time", standing on the dangerous building, facing the natural scenery such as clear skies, lonely smoke, water villages, residual leaves, and slanting suns, comparing with the similar fates of ancient and modern characters, lamenting the alternating process of prosperity and decline of world affairs, showing the process of individual souls struggling in the spiritual world of self-destruction and self-help, escape and bearing, infatuation and negative feelings, self-confidence and inferiority, self-control and indulgence. The long tune of the slow song is mostly composed of two pieces of music, and the long tune of the three or four pieces of music is also many, and the corresponding slow words are also more used in two pieces or two pieces, or three stacks and four stacks, with a complex structure and a grand system. However, there are still general rules to follow. Zhou ZengJinyun: "Liu Qi Qing's words, the big rate before the laying out of the scenery, or write about the bondage travel, the latter time to write about the old joys, wounds and parting, almost the same, rarely change, can not get rid of the mold." ("Lying Words and Sayings") is very reasonable in the front, and the slow word creation law of its sad part is roughly like this, but it is too much to say that he is almost the same. And look at his long and slow words "Qi Shi Zhonglu Tune":
In the late autumn, a light rain sprinkled on the garden. The sills are sparse, the wells are chaotic, and the smoke is mutilated. Sadly, looking at the river pass, flying clouds between the dim sunset. At that time, Song Yu felt sad and went to this water and climbed the mountain. Long distances, pedestrians miserable, tired of listening to the babbling of Longshui. The cicadas groaned at the leaves, and the grass faded, and the corresponding noise was made.
The lonely house lives like a year, and the wind and dew gradually change, quietly to the point of becoming more distant. Long heaven is pure, the river is shallow, and Haoyue Chanjuan. Thinking about it, the night is eternally opposite the scene, that is very delicate, secretly thinking about the past. Unnamed and unnamed, Qi Mo Red Chamber, often extended by years.
The scenery of Dili is good, and when there is a young day, the twilight feast is happy. In the case of crazy friends and strange couples, when the song is in the wine competition, staying connected. Don't come to the scenery like a shuttle, the old tour is like a dream, and the smoke and water are limited. Reading the name of the li, haggard and long haunting. Chasing the past, empty sadness. The missing arrow moves, and the slight chill is felt. Gradually whimpering, painting corners a few times. To the idle window, stop the lights to dawn, holding the shadow sleeplessly.
The whole word is more than 200 words, basically in chronological order to organize what a solitary traveler saw, heard and felt in three periods of time. The whole rhyme is harmonious and the syntactic rhyme is intricate. The scenery of Shangyan is gradually drifting away, the autumn rain sycamore, the west wind cold chrysanthemum, dotted with deserted inns, landing on the head of the word "ya", showing its reluctant gesture and swaying branches, which is more and more pitiful. Following the "miserable" is the sunset longshui, the cold cicada fading grass, the contrast and empathy, the quiet and the sound, the sense of desolation melts into the scene. Zhongyan wrote that the wind was clear and cold, the voice was quiet, sitting alone at night, and could not help but feel depressed and sad. The sorrow in the detention trip has a very specific and complex content for the lyricist, perhaps Liu Yong's mixed traces in the Qi Mo Red Chamber are more for the pleasure of time, after all, the entanglement of fame and fortune makes him sad. The writing method is based on the virtual lining, the straight book, and the flow between the reality and the past. Xia Yan is still born of virtual reality, moving and moving, crazy friends and strange couples, Yancun Shuiyi, the remembrance of Qian Huan, especially the desolation of the present. The final shot "Stop the lights to dawn, hold the shadow without sleep" is a word eye, writing the taste of leaning on the virtual window and the lonely place. Liu Yong pins his gripping life experience on the sadness of the voice and emotion, turning it into a song of unsustainable grievances.
The second volume of Wang Zhuo's "Biji Manzhi" quotes the predecessors: "Predecessor Yun: 'After a thousand years of loneliness in 'Departure from Sorrow', 'Qi Shi' is desolate and ends. 'Qi Shi', liu's work, Liu He dares to know that there is "Departure from Sorrow" in the world, but He Fanghui and Zhou Meicheng have it from time to time. (Wang Zhuo's "Biji Manzhi") In his words, he was quite dismissive of his predecessors' comparison of "Qi Shi" to "Leaving sorrow", naturally out of dissatisfaction with Liu Yong's tracking and the prejudice of personal Shang Yazheng's view of lexicography. In fact, to be fair, "Liu Yongqi's words typically reflect the living conditions and mental states of Hanshi in a specific historical stage and a specific cultural environment, and show the gains and losses and bitterness of the Hanshi class in the turmoil of multiculturalism." (Cao Zhiping, "On the Multiple Connotations of Liu Yong's Social Role and Its Cultural Implications") At this level, the slow word "Qi" has the same fate association as the riot fu, reflecting the high level and high realm of Song Ci's sentimentality. Liu Yong's attitude towards life is contradictory, and the concept of eunuchs can be regarded as positive and enterprising, conforming to the upper class, and even submissive and stoic; but the concept of life is carried with too many worldly lusts and rebellious consciousness. In this way, his spiritual world must be full of tragedy, "whether it is ostentatious and hidden, famous and world-weary, or pragmatic and detached, etc., can only be one level of his deep mode, and the contradictions at each level are superimposed with other contradictions." (Nie Mao's "Self-Destruction and Self-Salvation: The Deep Model of Liu Yong's Spiritual World") These contradictions caused Liu Yong to constantly create the slow words of sorrow and resentment in his chest, arousing the same feelings of many people, such as the Ming Dynasty Shen Jifei's "Caotang Poetry Yu Zheng Collection" commented: "Unnamed and unnamed, write my generation when I fell, borrow a red pink lady as a confidant, will daytime wear, cry, laugh, so on! "This feeling is really deeply pertinent.
As mentioned earlier, Liu Yong's slow words absorb the essence of Song Yu's sauering in the way they are written. Sun Weicheng believes that Liu Yong adopted the writing method of Song Yu's two fus (referring to "Gao Tang Fu" and "Goddess Fu") to "create the structure of the song dynasty slow words on the scene and the situation, combining the writing method of the fu with the creation of the mood, so that the mood in the word is mature and fixed, and plays a pioneering role in the development of the slow word". ("On the Influence of Song Yu< Gao Tang >< Goddess > Endowment on Liu Yongdeng's Pro-Word and Song Ci") The main purpose of Song Yu's two gifts is to write about the sorrows of life, to ascend to hope and rejoice, and then to warm the snubbed soul with female tenderness. Of course, the distant death of the goddess implies that the sorrow and sorrow in life are difficult to dispel. Liu Yong is undoubtedly Song Yu's cross-generation confidant: similar births and experiences, both close to Hai You; similar endowments, the same uninhibited talents; both sentimental, sometimes see weak temperament. Therefore, the willow word inherits this from the structure of the chapter to the emotional content:
Longshou clouds flew, the riverside night, smoke waves full of eyes for a long time. Looking at the Guanhe Xiaosuo, thousands of miles in autumn. Bear with your eyes. Jinjing, Yingying Fairy, don't come to Jinzi to end up with a puppet. The broken goose had no evidence, and Ran Ran flew down to Tingzhou. Think about it.
Secretly thinking about the beginning, how many and happy meetings, do you know the difficult period of gathering and dispersing, turning into rain and hatred clouds. Block the chase. Every time you climb the mountain near the water, you will provoke a lifelong heart, a dullness, never say a word, but go downstairs. - "Qu Yu Guan Dashi Tune"
Broken clouds and residual rain. Sprinkle slightly cool, raw Xuan household. Moving Qinglai, Xiao Xiaoting tree. The Milky Way is thick and faint, the stars are bright and extinguished, and the light clouds are timed. Sha Jie was silent. The ghost cuts through the autumn groans bitterly. Loose a trail, a few points of fireflies, flying back and forth.
To the moon is windy, empty and sleepless, secretly thinking about the old days. In the Qiluo bush, there were people, that back to drink and scattered, slightly harmonious Mandarin. Just by forbearance, you will be stunned. Acacia cannot be together for a long time. Good night, unprovoked provocation, a thousand worries. - "Female Crown Ōshi Tone"
There are three or two flat boats on the other side. The reeds are windy. Sha Ting Su Geese break the smoke and fly, the creek bridge remnant moon and frost white. Gradually, the dawn fades. Lu Yaoshan is far away from many battles. People come and go, only wheels and oars, all of them are famous customers.
A look at the township off the smoke and water. The sense of enlightenment is born of wings. Sorrowful clouds hate the rain and the two are haunted, and the new spring remnants are urged. Years are fleeting. Lang Pingfeng is sincere and beneficial. Back, deep in the Jade Building, there was a person reminiscing. - "Return to ChaoHuan: Double Tone"
In the writing scene, Liu Ci revealed his own skin-sensitive feelings about the fallen world and the thin eunuch brigade, which is the same as Song Yu's mentality of "ascending high and looking far away, making people's hearts go crazy", which is the same voice of different generations. However, Liu Yong obviously promoted the expression techniques, structural characteristics, artistic creation and emotional content of Song Yu and Yu's two endowments: laying out the narrative and layering, the paradigm of the upper scene and the lower scene, the artistic conception of the scene integration, and the desire for life for women to soothe. This is quite in line with the spirit of the times. The Song people generally pay attention to and think about life, while worrying and introverting life, and the Song words reflect the fragility and sensitivity of life, present a depressed and sad face, and seek the stylistic characteristics of female comfort. Therefore, "Liu Yong realized the sadness of Song Yu's life in the later life of Bo Eunuch, combined the sadness of Qiu Shi's susceptibility with the warmth of female comfort, and returned to the expression of the life emotions of the scholar, showing a far-reaching connotation of the artistic conception, and the slow word laying technique found a suitable expression with charm. (Sun Weicheng's "Song Yun: An Exploration of the Humanistic Spirit and Aesthetic Form of Song Ci") It can be seen that Liu Ci does not lack the rhyme of poetry or the rhyme of Xiao Ling, especially those slow words that express ascending to the far and reaching and harboring sorrows and grievances. Zhou Ji's "Miscellaneous Works on the Discourses of Jie Cun Zhai" said: "Qi Qing has been praised for a long time for the world, but his narration is like a commission, his words are close and far away, and Sen Xiu's faint interest is in the bones." There are many Qi Qing Lefu, so there are many evil and ridiculous people, so that they can cherish the pen, then the Northern Song Dynasty masters are also. "Limited by the differences in the environment of the times and the changes in aesthetic interests, Zhou Ji valued the euphemisms and elegance of Liu Ci, and was slightly dissatisfied with its popular parts.
Indeed, people have been mixed up and told. Li Qingzhao, Yan Youyi, Wang Zhuo, and others were represented by their words as "vulgar", "obscene", "slang", "abominable", "word dusty", and sometimes denigrated as "wild fox saliva"; Fan Zhen and Huang Bao thought that the willow word was "elegant and literary", comparable to the Du shi Su word. In fact, the concept of elegance does not change, with the differences in individuals, roles, psychology, supply and demand, time and space, etc., people's attitude towards the evaluation of liuzi also changes accordingly. Moreover, no matter how posterity views the elegance of Liu Ci, the status of Liu Zi is increasing day by day. Liu Yong, as a writer and a scholar, is different from the creators of folk songs and folk singers, and also different from the professional "singing and earning people", court musicians and local officials' private music tricks; his essence is elegant and vulgar, and he is a style and elegant literati in his bones; his family lineage and education have the "elegant" style of traditional scholars: reading as an official, and being a scholar through the world (Zhu Chongcai's "Transformation of elegant concepts from Liu Yongzi's Evaluation"). Therefore, if you want to discuss in detail, Liu Ci embodies the characteristics of "writing customs with elegance" between the lines of the words, and uses the language, perspective, and skills of the literati to write popular things, that is, the life history and cool experience of a literati who is mixed with the lower layers, as well as the social customs in the eyes. Let's take a look at his "Raining Bells, Double Tone":
Chilling and poignant. For the long pavilion late, the rain first rested. Dumen tent drinking is unorthorganized, nostalgic place, 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 waves, twilight Shen Shen Chu Tiankuo.
Amorous parting from ancient wounds. More that can be, snubbed the Autumn Festival. Where is the wine awake tonight, the willow bank, the wind and the moon. This past year should be a good day and a good situation. Even if there are a thousand customs, let alone who to say.
This is a well-known lyrical farewell, and the predecessors have a good reputation. According to Yu His Majesty's reading method, the first half of the void writes the autumn scene at the time of farewell, the latter is not to stay, do not tears, etc., the second half is written, the second half is a sad thing since ancient times, the last four sentences are the feelings after the farewell, with the end of the page, can be lifted, can hold, can not be weak pen. Indeed, the desolation of the guests, the tranquility of the scenery, and the beauty of the nostalgic people are all fully presented. Although the whole word is written directly, the word is also considered to be popular and well-known, and it contains many idioms; but the narrative is clear, the scene is written in a workmanship, and the theme is rendered with a specific and distinct natural landscape picture that can touch the sorrow, and the scene of the heartless is like at present, and the inexhaustible feelings are seen outside the words, and here we see the elegant rhyme of the Song Dynasty scholars. So confused and melancholy, it is only "it is advisable to seventeen or eighteen girls, beat with red teeth, and sing 'Yang Liu'an, Xiao Feng And Remnant Moon'", because only these seven words have been discovered in the words of Li Zhu.
Zheng Wenzhuo's "Collection of Criticism School Movements" Prologue: "Qi Qing's words are based on the scenery and affection, the silk is like a turn, and the changes are endless, since the Northern Song Dynasty relies on the voice of the family Yan hand." Its bones are high and strong, the charm is sparse, and only the halal can be compared with the jaw. And: "The willow word is wonderful and deeply beautiful, all in the scenery of people, people like." And reciprocating responses, but also can be entrusted to Qingyuan, reaching the front of the eyes, not too complicated. Just like the city of huaren, only to see non-smoke and non-fog. There is no sign of divine action, and there is no sign of it. This is a more appropriate summary of the aesthetic realm of Liu Ci. In short, in terms of creative methods, Liu Yong transplants the laid-out narrative method of fu into the slow words, "paying attention to the portrayal of the character's modal psychology in many aspects; or depicting the scenes and processes of love events layer by layer to show the different emotional mentalities of the characters in different time and space scenes", therefore, the sorrow of the bondage in his words has a certain narrative and plot, and there is no lack of "silk and turning" penmanship, high bone and sparse charm, He writes a contradictory attitude towards life and a sad statement: he wants to be both a prodigal son of madness and sentimentality, and a traditional scholar who wants to gain fame, and the result can only be endlessly reminisced and chanted in "shallow low singing".