How did Li Qingzhao point out the ills of Su Shi and nineteen other people as a confidant?
What is Zhiyin? One refers to people who are familiar with musical rhythms; the other refers to confidants and comrades; and the third refers to people who can deeply understand and correctly evaluate the work.
Obviously, Li Qingzhao is a person who knows the rhythm of music, because her criticism of Su Shi and other extravagant lyricists in her "Theory of Words" is based on "incoordination of musical rhythm". But can it be said that she and these ancestors are confidants? From her entire "Theory of Words" only said that "words are one family", it is not obvious that the word plate has begun to be poetic in the Northern Song Dynasty, it may be that "Zhiyin" does not "Zhixin".
However, at that time, the world's word plates were still mainly gentle, and it was no wonder that she could not see through the future direction of the convergence of poetry. It is precisely because I do not know the true face of Lushan Mountain, only because I am in this mountain." ”
Li Qingzhao is the first talented woman in the history of Chinese literature, with a long and elegant poetry and elegant words.
Her life and poetic style take the Zhao and Song Dynasties fleeing south as the dividing point, and the language of the first half of her life is fresh and natural, cheerful and happy, and occasionally embellished with idleness; after the change of Jing Kang, accompanied by the upheaval and displacement of life, she mainly writes about a desolate life and expresses the nostalgia for her hometown.
"The Theory of Words" was written before nandu, and during this period, although Li Qingzhao's own literary style did not have major emotional fluctuations, it had become more and more mature, and he had a relatively complete and mature view of the lyrics. Due to Li Qingzhao's own style of words, the Yan Ou school lacks an outward vision, and the role of Su Shi and others in the history of words is not as clear as that of our later generations, and there are also some limitations. Therefore, some people said to her: "There are many vain comments on the princes..."
Let's take a look at how many seniors Li Qingzhao has commented on, and whether there is any reason for her.
The "Treatise on Words" begins with Li Balang's Lefu poem, and when it comes to the five dynasties of the late Tang Dynasty, the dragonfly mentions the Southern Tang Junchen like water:
Five generations of gango, four seas of divided beans, Sven Dao rest. Dujiangnan Li's monarch Shang Wenya, so there are words such as "Xiaolou blowing through the jade sheng cold" and "blowing wrinkles a pool of spring water". Although the language is very strange, the so-called "sound of the subjugation of the country mourns and thinks" also.
"Xiao Lou Blowing Through Yusheng Han" is from Li Jing's "Spreading Out huanxi sha, Han Xiang Xiang selling green leaf residues", and "blowing a pool of spring water" is from Feng Yanwei's "Gurudwara Kinmen • The Wind Rises". And "the sound of the subjugation of the country mourning and thinking" naturally refers to Li Yu. Li Qingzhao still admired these predecessors, believing that they were "still elegant" and "very strange", which was also related to her own style of words.
Those three monarchs were from the previous dynasty, and in the Northern Song Dynasty, the first lyricist in the ranking was naturally "the three changes in the word Liu".
Captured to this dynasty, Li Le Wen Wu Was Prepared. After more than a hundred years of cultivation, there was always a Willow Tun Tian Yong, who changed the old voice to make a new sound, and produced the "Collection of Movements", which was so big that it claimed to be in the world; although the consonant rhythm, the words were dusty.
Here it is pointed out that Liu Yong's greatest achievement in Song Ci, "changing the old sound to make a new sound", in fact, refers to Liu Yong's large-scale expansion of the original Xiaoling format word plate, which has created a pioneering for the long tone of the word plate. At the same time, it is pointed out that Liu Yong, as a musician, his works are very phonological, but due to the attributes of the flower street Willow Lane he created, "words are dusty".
Because Li Qingzhao is a "Confidant", so from the perspective of "musical rhythm", she still has a favorable attitude towards Liu Yong's lyrics, but believes that some of Liu Yong's works are not elegant.
In fact, the style is not high is not Liu Yong's fault, the word as "shiyu", since birth is to distinguish it from the height of the poem, it is popular in the city well, the writing is too elegant, how can it be done "where there is well water, you can sing willow words"?
Most of The works of Liu Yong that we are familiar with today are clean, gentle and tragic lyrics, such as "Rain Bells", but on the whole, his words are mostly written by life, circulating in prostitution liquor stores, and it is inevitable that "words will be dusted".
There are also Zhang Ziye, Song Zijing brothers, Shen Tang, Yuan Dai, and Chao Ci who have succeeded in the generations, although there are witty words from time to time, and the broken He Foot famous family!
Zhang Ziye is Zhang Xian, The Song Zijing brothers are Song Shu and Song Qi, and Chao Ci is Chao Duan Li, these words, occasionally have good works, but they do not have a famous style, and they are gently carried by the first talented woman in the ages.
To Yan Yuanxian, Ouyang Yongshu, Su Zizhan, Xueji Tianren, as a small lyric, straight as drinking water in the sea, but all of them can't read the poems. And often not consonant, Ho yeah?
Yan Yuanxian is Yan Shu. Uncle Ouyang Yong is Ouyang Xiu. Su Zizhan is Su Shi.
Here first of all affirm the knowledge of these people: "learning from heavenly people", they are all familiar with the knowledge of Heavenly Dao, and using this knowledge to write words, it is simply to pour a scoop of water into the sea, "straight as drinking water in the sea", it is simply a small use, easy to write.
"But all sentences can't be read." But their lyrics can only be regarded as untidy reading poems. "Sentence reading" is a broken sentence, and a poem that is not read well is a long and short sentence.
Why did Li Qingzhao say this about Yan Shu, Ouyang Xiu, and Su Shi?
Yan, Ouyang, and Su are actually taking the road of de-musicalization of words. Due to the gradual dispersion of some ancient music, many word plates gradually exist independently of music, and slowly rely only on the flat tone of the Chinese characters themselves to establish the rhythm of the work. This is actually similar to the development of poetry from lefu to disciple song in the early Han Dynasty.
And often not consonant, Ho yeah?
And this kind of work that no longer pays attention to the rhythm of the word, but only values the rhyme of the word plate itself, was not the mainstream at that time. What was mainstream at the time? Zhou Bangyan's "Da Sheng Fu" approved various music word plates. As a contemporary lyricist, Li Qingzhao's own views are the same, and the concepts of the entire era are the same. They generally believe that: First, the word plate must be attached to the existence of music. Second, the word plate should be gentle.
At that time, Su Shi's flamboyant faction had not yet fully formed, ye Mengde, Zhang Yuangan, Xin Abandoned Disease or later. The biggest problem Li Qingzhao faced was the de-musicalization of Yan, Ouyang, and Su's words.
In Li Qingzhao's view, "Words are one." ”
Gai Shiwen is divided into flat sides, and the lyrics are divided into five tones, five sounds, and six laws, and clearly distinguish between turbidity and weight. And for example, in recent times, the so-called "Slow Sound", "Flowers in the Rain", and "Happy Migration Warblers" not only rhyme with the sound rhyme, but also into the rhyme; "Yulou Spring" originally rhymed with the sound of flat sound, there was a sound of rhyme, and it was also rhymed. If the rhyme rhymes, if it is rhymed, it is coordinated; if it is rhymed, it cannot be sung.
From this paragraph, we can see how Li Qingzhao judged the lyrics of Su Shi and others from the perspective of "Zhiyin". She believes that the poem is divided into two voices, and the lyrics are divided into five tones, six laws and clear and heavy, which is far more complex and elegant than the structure of the poem. She then cites some of the big differences between rhyme and poetry, pointing out that even in the flat, if the upper and lower voices are not subdivided, it will cause the words to not be sung.
The words of Su Shi and others are written in poetry and cannot be sung. This is the focus of Li Qingzhao's criticism as a "confidant.".
In today's ancient music, this is no longer a problem. The genres we distinguish today are content-based and have nothing to do with music. In fact, the words of Yan Shu and Ouyang Xiu are the style of Feng Yanmi, the southern Tang Dynasty, and in the Song Dynasty we call them "Yan Ou School", which is completely different from Liu Yong's "Gentle School" and Su Shi's "Bold School".
At that time, Li Qingzhao only saw the dangerous trend of de-musicalization of word plates, so when she wrote "The Theory of Words", she put the "Yan Ou School" and the "Extravagant School" together to criticize.
Wang Jiefu and Zeng Zigu, the article is like the Western Han Dynasty, if you write a small lyric, then people will fall down, can not read also. It is a family that knows words, and there are few who know.
Wang Anshi and Zeng Gongben are known for their prose and are ranked among the "Eight Greats of the Tang and Song Dynasties", while Wang Anshi is at the peak of Song poetry with his "mid-mountain body". But in the eyes of politicians, "poetry, Utétis." "So occasionally, I don't pay attention to it.
Li Qingzhao also praised these two "articles like the Western Han Dynasty" here, and pointed out that they occasionally write lyrics, which makes people laugh. It can be seen that the rhythm is not in harmony, and there are many fallacies.
After reviewing these inconsistent lyricist predecessors, Li Qingzhao concluded from the perspective of "the one who knows the sound": "It is that the word is not one, and there are few people who know." "Therefore, words are completely different from poetry and literature, and there are very few who know how to consonant.
Hou Yan Shuyuan, He Fanghui, Qin Shaoyou, and Huang Lu went straight out and could only know it. And there is no explanation of the suffering. He Bitter little pawn heavy. Qin is the exclusive master, and less is real. For example, poor and beautiful women, although extremely beautiful and rich, but ultimately lack of wealth and nobility. Huang is still real and has many defects, such as good jade is flawed, and the price is halved.
These few people are considered to be zhiyin in Li Qingzhao's eyes, and they criticize it from the content of the words. Yan a few paving less, He Zhu uses less canon, Qin Shaoyou specially dials, but it is gorgeous and unreal, the things written out are like beautiful poor women who can't get on the table, and Huang Tingjian, written in real goods, can use allusions but sometimes it is not appropriate, just like white jade has flaws and cannot sell at a good price.
"The Theory of Words" ends here, just one article, before and after commenting on nineteen predecessors of the lyricist. From the perspective of "Zhiyin", only the last four, Liu Yong and Li Hou, did not have major problems, but in Li Qingzhao's eyes, there were still problems with each other.
Although we say that she has the limitations of her time, we also have to admire her sophistication and the reasoning of her comments. However, she intentionally or unintentionally missed zhou Bangyan of the same era.
Today, the three people who made the greatest contribution to the Song Dynasty are actually concentrated in the Northern Song Dynasty, Liu Yong stretched the genre of word plates, Su Shi broadened the content of the word plates, and Zhou Bangyan, the "Old Du in the Words", standardized the format of all the word plates.
Talking about words but not talking about Zhou Bangyan is something that makes no sense.
There may be two reasons for this. The first is "the world does not care", and the other is the political discord between Li Qingzhaofu's family and Zhou Bangyan, which leads to the "Treatise on Words" not discussing Zhou Bangyan's works, and actually excluding Zhou Qingzhen, the "old Du in the word" who is in charge of the "Dasheng Mansion", and the whole pattern is a little worse.
In general, Li Qingzhao put forward the theory of words "don't be one" in the article "On Words", emphasizing the distinction between words and poetry, emphasizing the importance of singing the words with the corresponding tunes of the word plates, and revealing the concern about the separation of the word plates from the existence of music, which shows that Li Qingzhao is indeed a "confidant".