In the Song Ci, the slightly more famous lyricist, I dislike Zhou Bangyan's words the most, for two reasons:
The first reason is the feeling of reading. His words, like he wrote after deep thinking, business out, he and Wen Tingjun, Liu Yong are music masters, so he has a large number of words to pass on, but if you compare with other people's words, you will find that Zhou Bangyan's word rhythm is complex, he pays too much attention to the rhythm, like a skilled craftsman, exquisite technique, words, syllables are impeccable, but there is no emotion, read the whole text, only feel that he is showing off his skills.
It's like a musician who can play a piece of music skillfully, but doesn't have his own emotions and understanding, especially some long tunes, such as "Six Ugly", such as "Four Crimes of Linglong". And the literary genre of words, whether it is a euphemism to express subtle and meticulous emotions, or a bold word to express exuberant feelings, the most important thing is that I am afraid that there must be the author's emotions that resonate with the reader. It's a feeling of dislike for reading.
(Image of Kunihiko Zhou)
Another reason is mainly a lack of appreciation for his personality. Zhou Bangyan was talented in his youth, entered Beijing at the age of 23 (1079) and became a Tai student, and at the age of 28 he wrote the "Fendu Fu", praising Wang Anshi's new law (the pure praise of the endowment also reaches 10,000 words, and su Dongpo's "ten thousand words table" that states his opinions can be seen), was appreciated by the Divine Sect, and was promoted to Taixuezheng. Seeing that the career path was smooth, unexpectedly, Song Shenzong died, Zhezong succeeded to the throne, and the empress dowager used things, so the new law was abolished, Su Dongpo and other old parties were used, and Zhou Bangyan was expelled from the imperial court. Then later, when Emperor Zhezong succeeded to the throne, the New Party gained power again, summoned Zhou Bangyan to the dynasty, and asked him to re-present the "Fendu Fu", which was another opportunity for life, and as a result, he gave up, experienced the ups and downs of the eunuch sea, he was discouraged (or some people say, he saw through), he adopted a non-cooperative foolish attitude, "people look up to him like wooden chickens, think they are happy", he is no longer enterprising.
Therefore, Zhou Bangyan's personality is mainly based on private gains and losses, which is completely different from Su Dongpo and Xin Shuyi, who are mainly based on the gains and losses of the country, and Zhou Bangyan's pattern is smaller.
(Ye Jiaying's "Seventeen Lectures on Tang and Song Dynasties")
However, Zhou Bangyan is an important figure in the history of Song Ci, and Mr. Ye Jiaying's evaluation of Zhou Bangyan is very accurate:
"Zhou Bangyan is a figure who has opened the north and opened the south, he is a figure who gathered the Great Cheng of the Northern Song Dynasty and pioneered the Southern Song Dynasty." (Seventeen Lectures on Tang and Song Dynasties, Peking University Press, 295 pp.)
His achievements are mainly in eclecticism, eclecticism, and the adoption of a "discarded" attitude, thus guiding the creation of words to gradually embark on the road of rich and colorful craftsmanship. In Zhou Bangyan's words, there are both Wen Tingjun's Qili and Wei Zhuang's Qingyan, and Feng Yanmi's lingering pity and Li Hou's deep sorrow, but also Yan Shu's implications and Ouyang Xiu's Xiu's Xiuyi, Liu Yong's long narrative, and even the obscene Xiangyan He can also be compatible, and even Su Shi's Qing kuang haoda, in his words we can also see examples, so he is a master.
Because he is important, we can't easily jump over and not read, so we also picked one of his small orders to read, that is, this song "Young Swim and Knife Like Water", the whole word is as follows:
And the knife is like water, Wu Yan wins the snow, and the hand breaks the new orange. The brocade is warm at the beginning, the animal fragrance is continuous, and it is relatively sitting. Whispered: To whom do you stay? The city has changed three times. Horse slippery cream thick, it is better to go hugh, straight less people!
Regarding this poem, zhang Duanyi's "Gui'er Collection" has a skill in the next volume, which is worth saying:
"Daojun (referring to Emperor Huizong of Song) was fortunate that Master Li's family, even Zhou Bangyan was in Yan first, knew Junzhi, so he hid under the bed, Daojun brought a new orange, Yun Jiangnan first came in, and then he talked with The Master. Bang Yan heard about it and concealed it as the "Youth Tour" cloud. ”
This kind of "skill", similar to wild history, like the plot in Zhou Xingchi's "Nine Pin Sesame Officer", can be read and laughed. Let's read the original words.
("Nine Pin Sesame Officer" like smoke under the bed)
And the knife is like water, Wu Yan wins the snow, and the hand breaks the new orange. Zhou Bangyan's words have many storylines, although this one is a small order, it is also a split head is a plot, writing about the new fruit - orange when male and female lovers enter together.
(and knife like water)
"Knife" is a fruit cutting tool, and "salt" is a seasoning. But both sentences have a use. The knives produced in Hezhou are particularly sharp, and Du Fu has a poem praised as: "Yande and Zhou fast scissors, cut Wu Song half of the river water" (Du Fu's "Drama Title Wang Zai Painting Landscape Drawing Song"); the salt color of Wu Real Estate is the whitest, Li Bai has a poem praising: "Yupan Yangmei is set for the king, Wu salt is like a flower and white snow" (Li Bai's "Liang Garden Yin").
(Broken new orange)
This is a detailed description, that is, men and women eating a fruit together, because of the essence of the utensils and the scene is wonderful. Shiny knives, crystalline salt, new fruits, and a pair of fibrous hands of women, exquisite and meticulous life scenes are in front of you. Eat orange dipped in salt, delicious, I don't know, but now there is still this way to eat in the south. All in all, exquisite and beautiful!
(Wu Yanshengxue)
But that's not all—
The brocade is warm at the beginning, the animal fragrance is continuous, and it is relatively sitting. This is the boudoir environment, "Jinman" is just the first temperature, not warm and dry, just the right temperature, the smoke in the animal-shaped incense burner rises in the air, only to say that the incense is continuous, obviously, this incense is not strong, just a faint fragrance, two people face each other just sit together, not one person blowing sheng, one has listening, but just "tuning sheng", this "relative", how emotional, this is a delicate and warm picture.
(Three more in the city)
Whispered: To whom do you stay? The city has changed three times. Words to the next film, obviously the storyline has been greatly advanced a paragraph, from "Jinmi ChuWen" to "three more", the first half of the night of the love affair is ignored and not written, only write the man to go, the woman to persuade to stay, obviously, this is the man to go, the woman will definitely ask the words. This question seems to be a strange thing to keep, "Where are you going to stay tonight?" It's not too early, and the city has already reported three changes. ”
Horse slippery cream thick, it is better to go hugh, straight less people! The road is slippery, the horse is not good to walk, the weather is late, the frost is heavy, it is better not to go, at this time, few people are in a hurry.
(Better to go hugh)
This kind of retention and resignation is reluctant and implicit in the woman, and hesitant in the man's desire. No wonder Wang Youhua of the Qing Dynasty quoted Mao Zhihuang (a person from the late Ming and early Qing dynasties) in the "Treatise on Ancient and Modern Words":
Hou Yan never made a word, only with the three words of "whispering questions" to the end, containing Yuanna, and the infinite situations were spoken from the "thin hands" and "broken oranges" population, let alone another word. The meaning is subtle, the chapter is wonderful, and the true god is also.
It is indeed a miracle!
Whether the man is gone or not, the writer does not say, which leaves unlimited room for people to think.
Chen Tingzhuo said in the fourth volume of the Yunshao Collection: "Beautiful, urgent and very gentle, wonderful ancient and modern. These evaluations may be exaggerated, but this little word writes about the love between men and women, the mood is lingering, but it is not extravagant, it does not involve the beauty, it is really just right, obviously it is the story of The Qin Lou Chu Pavilion, but it is like a meeting between little lovers.
([Love Tang Song Ci] No. 56, some of the pictures originate from the Internet, the copyright belongs to the original copyright owner)