Liu Kezhuang, known as the "Houcun Resident", was a writer, historian and lyricist of the late Song Dynasty who had no biography of the History of the Song Dynasty but enjoyed a high reputation. When he was alive, Song Lizong called him "a long-standing literary masterpiece, and his historiography is particularly refined." It can be seen that in the eyes of the people of the time, Liu Kezhuang is famous for his achievements in literature, history and poetry.
Liu Kezhuang, a native of Putian, Fujian, was born in the fourteenth year (1187) of Emperor Xiaozong of Song and died in the fifth year of Emperor Xianchun of Song (1269), at the age of eighty-three. Putian's cultural traditions, customs, mountains, scenic spots, customs and languages, or implicitly or explicitly influence Liu Kezhuang's creation, these factors and his literary literacy have formed a close relationship, Putian in Liu Kezhuang's literary works and spiritual world presented as a complex space.
Portrait of Liu Kezhuang
Putian, since the fourth year of the Taiping Revival of the Northern Song Dynasty (979), began to belong to the Fujian Road Xinghua Army, and after the eighth year of the Taiping Xingguo (983), it was the seat of state governance, where the mountains and rivers are beautiful and the customs are mellow. It can be seen from the phrase "three homes and two bookstores" popular in Putian that there is a good atmosphere of culture, learning and education here.
Cai Xiang, a Northern Song Dynasty writer who was also a member of the Xinghua Army, also proudly said that among the counties and counties in the country, the admission rate of Xinghua was also among the best, especially the number of admissions in the top ranks was very large. Liu Kezhuang's "He Panhou Persuasion rhymes" also says that "Tang Ji Min You Duo Jinshi, Song Xingpu has four Kui Kui". From these records, it can be seen that the putian area has a very strong talent and humanistic atmosphere.
Putian scenery
Liu Kezhuang grew up in Putian, Putian humanistic atmosphere and environment gave him a unique temperament, shaped his character, influenced his thinking, portrayed his memory, is the root of his life, and the influence on his literature is particularly profound.
Although Liu Kezhuang has traveled a lifetime and has a rich resume, in the course of his eighty-three years of life, nearly fifty years have been spent in his hometown of Putian. This is a land that nurtured him, and his literature is nourished in the tradition here, so it is naturally marked by Putian.
One winter in the third year of Song Lizong Jiaxi (1239), Liu Kezhuang received a new appointment in his hometown of Putian to go to Guangzhou to serve as a Changping official on Guangnan East Road, and his good friend Wang Mai bid farewell to him, and the place of farewell was at the Fengting Station in Putian.
The lyrics completely abandon the traditional way of parting with the wounds of "doing nothing in the wrong way, and the children are wet together", and depict the parting between two like-minded and experienced literati, and the character characteristics of the lyricists are open, indifferent, frank, and self-satisfied, and at the same time, the lyrics are also full of deep sorrow and agitated pride, the original words are as follows:
Shu Ji walked ten miles strong, picked the poetry bag, and threw away the clothes bag. Tianhan Road slippery horseshoe stiff, Yuan is Wang Lang, come to send Liu Lang. Drunken ear heat said article, startled down the adjacent wall, pushed back the bed. Bystander clapping hands and laughing at the madness, neglect and why bother, crazy and why bother!
The lyrics are straight to the point, directly saying the farewell scene: It turned out that Liu Kezhuang set off overnight, which was determined by the time when the lyricist went to Guangzhou, and the road was far away, and he had to leave overnight so as not to delay the trip.
Therefore, the opening description of the lyrics is that he took a torch, walked more than ten miles in the starry night, and came to the Wind Pavilion Station, and it was his friend Wang Mai who waited for him to walk in the Ten Mile Pavilion. "Bundle" is a torch that bundles up the hemp and makes it into a lighting torch.
The use of the term "supper" suddenly expresses the situation of day and night and long journey. Because this word is a use of the "Book of Poetry, Zhao Nan, Xiaoxing": "Su Su Su Yan Zheng, Dream night in the public", and this poem in the "Book of Poetry" is a poem describing the hardships of the night and food, long journeys.
Therefore, it can be seen from the description of the overnight trip with a torch: Liu Kezhuang's itinerary is urgent in time, and second, the road to the writer is also full of hardships. Because he was already an old man in his fifties at this time, of course he had to overcome the physical problems.
Liu Kezhuang's "A Cut of Plum" Word Intent
Coupled with the reason for the rain, the road surface is slippery, the luggage is heavy, and the bumps on the horse's back can be imagined on such a night, which brings a lot of inconvenience to the writer. So in order to hurry, he had to abandon some bags to reduce the bearing of the horses.
When he abandoned his bags, he made the decision to abandon the bags containing clothes than the bags containing books. The book bag is full of his favorite books, books that he usually likes to let go, and there are books he has written in the bag, which took him a lot of time and energy to complete, so that he abandoned books, such a choice he could not make.
The book bag contains his poems and his pain, joy and pride, which is precisely the embodiment of the true character and true disposition of the writer.
The phrase "slippery horseshoe stiff on the cold road" describes the muddy and difficult road in great detail, especially the word "stiff", which portrays the scene of the horse's difficult progress in a vivid and realistic way, which is a picture that is easy to form in people's minds: the horse moving forward on the slippery road and the lyricist who bumps on the horse's back, braving the cold wind at night, rushing to the road with difficulty, such a scene is vividly remembered.
For the first three sentences, this sentence can be regarded as a supplement, and there is also an element of inversion in the sentence form, and the clever arrangement of the words and sentences highlights the situation of "bundled and curfew".
Next, the lyricist talked about the wind pavilion farewell. "Wang Lang" is Wang Mai, who is for him, Wang Mai, literally, is Liu Kezhuang's best friend, the two are like-minded, have the same career experience, and are excluded because they dare to speak out. They congratulated each other in letters, sang poems and talked about their hearts, and Liu Kezhuang sang and Wang Mai in the tune of "He Bridegroom", and there were as many as six songs.
Liu Kezhuang praised Wang Mai: "Wang Lang of heaven, the number of characters Fang Jin is the first. From the letters and poems of the two men, it can be seen that Liu Kezhuang only has great respect and appreciation for this person. Of course, friendship is mutual, and Wang Mai also admires Liu Kezhuang, so when Liu Kezhuang is about to go to Guangzhou, he came to send each other in the middle of the night, and the deep friendship between the two is self-evident.
Liu Kezhuang, on the other hand, called himself "Liu Lang" and compared himself to the Tang Dynasty poet Liu Yuxi, who had the same surname as him. Liu Yuxi was once caught by people and was ostracized and suppressed because of the poem "The peach trees in the Xuandu Temple are all planted after Liu Lang goes".
Liu Kezhuang was falsely accused of dismissing the official because of the sentence "Dongfeng falsely holds the power of the flower, but is afraid of being lonely and high and not advocating" in the poem "Falling Plum". Before writing this poem, he had experienced three career setbacks.
He has a poem in "Visiting Mei Jiujie After Illness": "Dreaming of moving left because of the number of peaches, Changyuan is in power for Liu Chen." Fortunately, I didn't know peach and willow, but I was tired of plum blossoms for ten years! Therefore, in his poems, the feeling of indignation is overflowing and obvious, but his character and arrogance are also very clear, and compared with the Tang Dynasty poet Liu Yuxi, the encounter and situation are quite similar.
Although he was used again to take up a post in Guangzhou, the uneven atmosphere in his heart like Liu Yuxi's will not disappear for a while and a half. Therefore, at the Fengting Station where Wang Mai was traveling for him, the lyricist touched the scene and felt it, and only then did he say the words "Yuan is Wang Lang, come and send Liu Lang". "Wang Lang" sends "Liu Lang", a pun, and the use of the code is subtle and clever.
The film "Drunken Ear Fever Article", structurally speaking, is a constraint on the plot of the previous film. One is "Heavenly Land King Lang" and the other is "Shihao" Liu Lang. The difference between close friends is naturally a little more arrogant and a little less twisted, which is also the embodiment of the true disposition of the lyricist.
As the beginning of the next film, the lyricist brushes over the previous emotions, arranges a new plot with the trend, and innovates just right. In this way, the layout of the article seems logical and natural, and in fact, it can also be seen that the lyricist's unique literary skills can be seen.
"Drunken ear heat" expresses the joy of drinking and confidant, and at the same time stimulates the enthusiasm of the lyricist, because the sad feelings generated by parting are all dissipated in a glass of wine. With the opening of the lips of the lyricist, the wine loaded with farewell sentiment was drunk by him, and what flowed in the heart of the lyricist was warmth, which was enough to dispel the cold brought by the weather.
For the transportation that was not very convenient at that time, the separation from the close friend also meant that from this day on, the opportunity to meet and drink and chat was very rare, at this time there were many things that should be said, but they were not willing to mention the word separation, and all the words full of preciousness were not as good as this cup of farewell wine. Maybe it's a better way to say it all, or maybe there's a different way to say goodbye.
This is why the writer did not deliberately describe the other scene, but directly wrote the scene of "speaking the article". At this time, they commented on each other's articles and poems, and through wine, they pointed out each other's gains and losses in articles, and deliberated on how to make words and sentences with each other.
Under such a cold night sky, in the Wind Pavilion Station in Putian, the voice of the two literati stirring up the words broke the silence of the night, and the fire and passion in their chests also drove away the cold of winter. This scene is so real that reading such a text gives people an immersive feeling.
The lyricist deliberately took a screenshot of this scene, and in the capture of typical pictures and scenes, it can also be seen that the lyricist's cutting technique is clever.
Wang Mai has a straight personality and a heroic temperament, and people at the time called him "Zi Ang TaiBai". Wang Mai and Liu Kezhuang are like-minded and like-minded, and Liu Kezhuang talks about heroism and fearlessness, so their discussion of a certain issue will be a fierce scene and must be a wonderful process.
The two sentences of "shocking the neighboring wall, pushing down the bed" show two very picturesque characters, they take advantage of the wine and ear heat, talk about the fierce rhetoric, which is the image performance of the heroic temperament, so it can "shock the neighboring wall". Of course, this is an exaggeration of the image, and not exaggerating is not enough to show their pride, and the plot of the word has thus entered a peak.
"Bystander clapping hands and laughing at the madness", this is the idea of the lyricist: if there are bystanders here to watch us talk loudly, they will definitely clap their hands and laugh at the madness of the two of us.
But the writer does not care about the eyes of others at all, he thinks that "neglect" is an attitude, and his attitude is clear and firm, so he replied loudly: "Why neglect, why crazy!" ”
This song vividly writes the farewell of the best friend, with the activities of the characters and the development of the plot, much like a moving one-act play. In the image description, the dynamics of the characters are emphasized, from which the development and change of feelings are expressed: at first, the lyricist shows sorrow because of the itinerary, followed by indignation, followed by generosity, and finally pushes the plot to the peak with heroic momentum.
This kind of writing avoids direct discussion and increases the artistic effect of the dramatization of the words, which is a very distinctive one in Liu Kezhuang's words.
Portrait of Liu Kezhuang
Liu Kezhuang actively pursues the value of life and realizes his ideal ambitions with high enthusiasm, and the loose side of his personality is particularly obvious.
As a literary artist, the truth rate is the basis for his literary works to carry the real life, if the true rate is lost, the work will lose the value of literature, and will only become a line of text that is arbitrarily arranged and combined. With the truth, he did not hide the depression behind the neglect, and did not hide the anxiety behind the openness.
His truthfulness is reflected in his works, forming his own unique literary color and style, so we will also read it in his sad words.
Liu Kezhuang said: "Idle Yin does not compete with Jun, and makes himself a Murata Happy Scattering. "Compared with the loose personality and the open mind, the self-satisfied disposition is more direct to the depths of the soul, and the life it represents is the most artistic life."
Statue of Liu Kezhuang
What self-enjoyment pursues is the freedom of the mind and the indifference of interest, and there is a deep isomorphism and compatibility between the artistic spirit, so this attitude often becomes an important way to realize self-worth. Liu Kezhuang's poetry and literary creations, especially the creation of the period of idle residence in Putian's hometown, such a character is particularly prominent.
Whether it is madness, openness, or self-enjoyment, they are all associated with the true rate of temperament, and the existence of this true rate is the reason for Liu Kezhuang's outspoken inner character, after all, all goodness and beauty must be true, and such true rate has brought a steady stream of inspiration and achievement to his creation.