Where there is a generation of literature, Chu Zhisao, Han Zhifu, the Six Dynasties of The Six Dynasties, Tang Poetry, Song Words, Yuan Zhiqu, all so-called literature of a generation, and future generations can not succeed to yan also.
Guo Guowei, a master of traditional Chinese studies, said in the "Preface to the History of Song and Yuan Opera" that he used Song words to represent the highest achievements of Song Dynasty literature, which is an innovative academic assertion.
Song Ci is an excellent representative of Song Dynasty literature, bold and graceful like two blooming flowers, brilliant and dazzling. Song Ci is also a bright pearl in traditional Chinese culture, and many excellent lyricists emerged in the Song Dynasty.
Northern Song Dynasty poets such as Liu Yong (刘永), Yan's father and son (Yan Shu, Yan Jidao), Song Qi ("Red Apricot Shangshu", Ouyang Xiu, Su Shi and his students (Huang Tingjian, Qin Guan, Zhang Qian, and Chao Shuzhi, collectively known as the "Four Scholars of Sumen"), Li Zhiyi, etc.; Southern Song Dynasty poets such as Li Qingzhao, Ye Mengde, Zhang Yuangan, Zhang Xiaoxiang, Xin Shuyi, Wu Wenying, Jiang Kui, Jiang Jie, etc.
Countless lyricists and their wonderful lyrics have pushed the creation of Song Ci to the peak, and generations of outstanding lyricists have stood out, laying a solid foundation for Song Ci to enter the literary hall.
Among them, the bold words reached their peak under Su Shi's pen, and Su Shi's subsequent Xin abandoned the disease adhering to the creative style of the bold words, and pushed the bold words to another climax.
Liu Chenweng, a poet of the late Song Dynasty and early Yuan Dynasty, discussed the characteristics of Su Shi and Xin Shuyi's words in the "Word Order of Xin Jiaxuan", and said the following three points:
"Words to the eastern slope, pouring and falling, like poetry, like text, like the wonders of heaven and earth." Su Shi is a representative of the highest achievements in Song Dynasty literature, especially Su Dongpo's style of opening up the bold school of words, and Liu Chenweng for the first time constructed Su Shi's contributions to lexicology (the creation of bold words and the expansion of themes) into a theoretical system.
"Its text is as strong as the quality of water, and its waves are naturally written", "Like the flow of clouds and water, there is no amorphous quality at the beginning, but it is often done in what should be done, and often stopped at what can be done." Liberal and natural, full of posture. This is Liu Chenweng's high evaluation of Su Shi's style and literary characteristics, and he believes that Su Shi's poetry has a wide range of themes, fresh and bold, and has a unique style.
"Since xin Jiaxuan, those who use a word like this will cover their mouths." And JiaXuan, horizontal and vertical, is like a Zen stick to drink, the head is all the head; and like a sad drum, ordinary life is not ordinary and wine, but the guests and hosts are relaxed, and there is no time to talk. That's enough. ”
The meaning of this passage is that in front of Xin Renjie, such a lyric and sentence will inevitably not be recognized by everyone. When it came to Xin Renjie, his lyrical style was horizontal and vertical, free and indulgent, as if Zen Buddhism was the head stick, no matter how it was right. It is as if the sound of sorrow and sorrow is sounding in unison, and the things of a lifetime of uneven depression are spent in drinking, only to feel that they are full of joy, and the guests and hosts are happy and happy, and talk endlessly. Lyrics have reached the peak of this realm.
Liu Chenweng spoke highly of the characteristics of Su Xinzi from three aspects, which is a very accurate comment. It can also be seen from this that Liu Chenweng has lexical theory and profound knowledge, why does Liu Chenweng have such profound knowledge? This is closely related to the era in which Liu Chenweng lived and the environment in which he studied.
First, Liu Chenweng's learning environment and his people
Why did Liu Chenweng make such an evaluation of Su Xinzi? One of the reasons is that he was a relay of the Susin school of words, and he was also a good lexical critic and literary scholar.
Liu Chenweng lived at the end of the Song Dynasty and the beginning of the Yuan Dynasty, and there is a brief biography of him in the New Yuan Shi Wenyuan Shang:
Liu Chenweng, Zihui Meng, Ji'an Lulingren, Song Tai student. Ting tried to say, "The King of Ji has no queen, but he can be pitied." Faithful to the good, but can hurt. The wind festival is not competitive, unfortunately. "Says, "Excuse me, and so on." Song died, not Shi. He is the author of the "Suxi Anthology", Zi Shangyou, and also able to write. Wu Cheng commented on the text of his father and son, saying that Chen Weng's strange changes and Shang You's vast performances can become a family's words.
Liu Chenweng, a native of Luling (present-day Ji'an, Jiangxi), was born in the fifth year of the Southern Song Dynasty (1232 CE). This is clearly recorded, and Liu Chenweng wrote in the lyric "Hundred Character Order": "The fifth year of the servant Shaoding. ”
Liu Chenweng was born in Ji'an, Jiangxi, Jiangxi's academic culture in the Northern Song Dynasty was very prosperous, talent gathering, the famous "Jiangxi poetry school" in the history of literature was conceived and developed in Jiangxi, Jiangxi's cultural and educational atmosphere is quite strong. The Southern Song Dynasty era in which Liu Chenweng lived was the era when Jiangxi's cultural and educational undertakings flourished.
In the Southern Song Dynasty, the academic and cultural atmosphere in Jiangxi was even stronger, especially in the second year of Chunxi (1175), when Zhu Xi and the Lu brothers met at the Mountain Goose Lake Academy in Xinzhou (yán), Shangrao City, Jiangxi Province, and the two sides debated academic issues, making the Goose Lake Academy famous.
The Southern Song Dynasty scholar Huang Zhen wrote in the Huang's Ribao (黄氏日抄), "Fuzhou was formerly named a county, and to this dynasty, the special figure Yuanxue (sǒu). Virtue is like Yan Yuanxian, articles such as Wang Jinggong, Zeng Nanfeng, Confucianism such as Lu Xiangshan brothers a grand. The rest are polite and almost inconspicuous (yǔ) refers to. ”
Several of the celebrities mentioned in the Huang's Ribao are from Fuzhou, Jiangxi, Yan Shu, Ziyuanxian, and Linchuan, Fuzhou, Jiangxi; Wang Anshi, a native of Xingan County, Jiangxi; Zeng Gong, a native of Feng County, Southwest Jiangxi; and the brothers Lu Xiangxian and Lu Jiuyuan are from Jinxi County, Jiangxi.
Ye Shi, a famous literary scholar of the Southern Song Dynasty, said in the "Collected Works of Shuixin": "When the river was first crossed, Shangrao was known as the gathering of the sages and the house of righteousness, such as Han Xuxia and Jin Huijiao. ”
Because Jiangxi had the Poyang Lake Plain, the economy was very developed at that time. Since the Song Dynasty's southern crossing, a large number of celebrities in the academic and cultural fields have gathered in Jiangxi.
In the sixth year of Chunxi, Zhu Xi took advantage of the opportunity of his knowledge of the Southern Kang Army to rebuild the White Deer Cave Academy in Lushan, preaching and teaching, and collecting disciples, which also made Jiangxi's education and cultural undertakings flourish for a while. In addition, there are also university students like Yang Wanli who are also from Jiangxi.
Under the influence of Zhu Xi, his student Jiang Wanli founded the Bailuzhou Academy in Luling (present-day Ji'an City) in Jiangxi in 1241, and the Zonglian Academy in Ganzhou (Pingxiang City).
Because of such a good learning environment, Liu Chenweng has been familiar with it since he was a child, and has received excellent educational opportunities and acquired profound knowledge. Moreover, he also studied under the scholar Jiang Wanli and studied at the Bailuzhou Academy founded by Jiang Wanli, and received jiang Wanli's guidance and teachings.
Liu Chenweng's experience of studying in the academy had a great impact on his life, and his later life experiences had a lot to do with the academy.
Second, the jinshi and the first, are at odds with the powerful
Liu Chenweng was admitted to the jinshi in the third year (1262) of Emperor Jingding of Song, and then in the examination (court examination) personally commissioned by Emperor Lizong of Song at the imperial court, he said that "the king of Ji has no queen, but he can be pitiful." Faithful to the good, but can hurt. The wind festival is not competitive, but it is regrettable" words.
These words caused the dissatisfaction of the then prime minister Jia Xiangdao, so he was rated as a C class, and Liu Chenweng realized that he could not display his talents in the imperial court, so he asked him to be the head of the Lianxi Academy in Jiujiang, Jiangxi, on the grounds that his mother was old.
Lianxi Academy was the birthplace of Song Dynasty science, and in the Northern Song Dynasty was the place where Zhou Dunyi taught. During his stay at Lianxi Academy, Liu Chenweng recruited students, taught academics, and disseminated knowledge, which made a tangible contribution to the local cultural and educational undertakings.
In the fifth year of Jingding (1264), Liu Chenweng was invited by Jiang Wanli to enter the shogunate of the Fujian Transit Division. Soon after, he followed Jiang Wanli into the Fujian pacifying shogunate. In the first year of the reign of Emperor Xianchun of the Song Dynasty (1265), Liu Chenweng was a professor at Lin'an Province.
In the fourth year of Xianchun, Liu Chenweng entered the Jiangdong Transit Division. In the fifth year of Xianchun (1269), Liu Chenweng was serving as the cabinet of Zhongshu Province, and his mother died, so he returned home to Dingyou.
Liu Chenweng was worried about the country and the people, and his political views were mostly at odds with Jia Xiangdao, and he was very dissatisfied with Jia Xiangdao's dictatorship and misleading the country, just as the so-called Tao was different and did not conspire, during the reign of Jia Xiangdao, he refused to leave the army and has been lecturing in his hometown.
In May of the first year of the reign of Emperor Gong of Song (1275), Chen Yizhong, the chancellor, recommended Liu Chenweng to live in the History Museum, but Liu Chenweng resigned and did not go. From this point of view, Liu Chenweng is a person with a straight personality.
In October 1275, Liu Chenweng was awarded the post of Doctor of Taixue by the imperial court, when the Yuan army had already entered Lin'an, and the passage from Jiangxi to Lin'an was cut off and the journey could not be completed. When Wen Tianxiang rebelled against the Yuan, Liu Chenweng participated in his Jiangxi shogunate for a short time.
After the fall of the Song Dynasty, Liu Chenweng returned to his hometown and lived in seclusion, settled on the banks of Xuxi, and called himself "Mr. Xuxi". He was a man with strong patriotic feelings and never set foot in his career again. He has been immersed in books in his hometown, teaching academics, delving into learning, so as to end his life.
It was also during this time that Liu Chenweng created a large number of literary works, and his son Liu Jiangsun compiled his works into the Complete Works of Mr. Xuxi.
Liu Chenweng's extant works total 812, of which 358 are words, which is only about one-tenth of the original version of The Complete Works of Mr. Xuxi. It can also be seen from this that Liu Chenweng was a prolific literary scholar, and it is more accurate to call him a lyricist.
Third, Liu Chenweng's word style characteristics
Liu Chenweng devoted his life to literary creation and literary criticism, but his literary achievements were mainly manifested in the aspect of words. He was born on the occasion of the Song and Yuan Dynasties, and witnessed the fact that the Southern Song Dynasty was eventually replaced by the Yuan Dynasty.
As a remnant of the Southern Song Dynasty, the patriotic ideas in his lyrics and works are most strongly reflected, and he is the inheritor and relay of the patriotic tradition of the Xin abandoned disease faction.
Liu Chenweng's words belong to the extravagant style, which is deeply influenced by Su Dongpo and Xin Abandoned Disease, and has a continuous connection with Su Xin's words. The lyrics often show a tragic feeling that the hero has lost his way.
His lyrics and works also melt Su Xin, promote its strengths, both to carry forward and innovate the Su Xin school of words, forming his own unique style, his word style has a great influence on the creation of words in the Yuan and Ming dynasties.
At the end of the Qing Dynasty, the famous lexicographer Zhou Yi commented on Liu Chenweng's style of words in the "Words and Sayings of The Hui Wind": "The style of Xuxi words is like Jiaxuan (辛弃病, 字稼轩), and the love words are like the remains of the mountain (Yuanhaoqing, Ziyuzhi, No. Sometimes the meaning of the pen is all, pure Ren Tianni, and the mood is slightly similar to Po Gong (Su Shi). "
Fourth, the patriotic ideas contained in Liu Chenweng's lyrics
Liu Chenweng lived in the Song and Yuan Dynasties, and his lyrics often conveyed the mourning of the fall of the country by describing the seasonal generations and the changes of scenery.
Many of his words describe New Year's Eve, Dragon Boat Festival, and Chongyang many times, and repeatedly chant the feelings of hurting spring, cherishing spring, and sending spring, and these words deeply express the lyricist's attachment to the homeland of the homeland.
In February 1276, Lin'an fell, which was the year of the lunar calendar. After Liu Chenweng heard about this, he was sad and immediately wrote a long tune "Lanling King Bing Zi Sends Spring":
Send spring away. There is no way out of spring to go to the world. Outside the swing, the grass is in the sky, who sends the wind and sand to the dark South Pu. I'm very impressed. Rambling memories of Haimen Feifu. The crows passed, the city turned to the wilderness, and when they did not see the lights, they tried the lights.
Spring goes. Who is most bitter. But the arrow goose sank, and Liang Yan had no master. The cuckoo sounded in Nagato Twilight. Thinking of the jade tree withering soil, the tear plate is like dew. Xianyang send-off guests have been reviewed repeatedly. Oblique sun failed to measure.
Spring goes. Still not. Zheng Jiang Ling hated farewell, yu believed in sorrow. Both of them went north. Su Causeway is full of wind and rain. Sigh the gods travel to the homeland, and the flowers remember the previous degree. Life is wandering, Gu Zizi, talking together at night.
This long poem consists of three long words: Shang'an begins with the three words "send spring to go", and the four words "no road in the world" are written sadly and sadly, which is a true reflection of the fact that the poet's heart cannot accept the demise of the Southern Song Dynasty.
"Dou Zhuan City Wasteland" describes the decay of the city after the fall of Lin'an; "When you don't see the lamp" is a very allegorical sentence, because Lin'an City fell in February, and when the spring came, you can still see the Lantern Lantern Scene, and by the spring of March, the Southern Song Dynasty has died, so the lyricists will write "When they don't see it, try the lamp", and Shanglan writes the decay scene after the fall of Lin'an and the feelings of the lyricist.
A "bitter" character always writes about the various conditions after the fall of the Southern Song Dynasty: "Arrows and geese sinking to the side", writing that the Southern Song Dynasty monarchs who were taken captive to the north, like geese shot by arrows, fell to the far north with a cry of mourning, and will never return safely; "Liang Yan has no master", with "Liang Yan" as a metaphor for the southern Song Dynasty subjects, Liang Yan is still there, and the master is no longer there.
This is the lyricist who wrote in a symbolic way the extreme feeling of loss after the fall of the country; "The Sound of Cuckoos in Nagato Twilight", writing about the miserable and sad scene of the Lin'an Palace Garden, the capital of the Southern Song Dynasty. Zhonglan vividly expressed the pain of the subjugation of the country suffered by the monarchs and common people of the Southern Song Dynasty.
The question of "whether spring is still coming" implies that the southern Song Dynasty has gone and there is no hope of recovery. Liu Chenweng borrowed the story of his predecessors Jiang Zong and Yu Xin: Jiang Zong served as Shang Shu Ling when Chen Hou was the lord, so he was called "Jiang Ling", and after Chen's death, he went to northern Sui.
Yu Xin was an official of the Liang state of the Southern Dynasty, who sent an envoy to Western Wei, after Liang's death, he was detained by Western Wei in Chang'an, and in the Northern Zhou Dynasty, Yu Xin was still detained and could not return, Yu Xin missed his homeland and wrote the famous "Sorrowful Endowment".
Liu Chenweng borrowed the stories of his predecessors Jiang Zong and Yu Xin to compare himself to express the pain of the subjugation of the country. The sentiment of the lyricist at this moment is the same as that of his predecessors, so the word "Zheng" leads to the two sentences of "Jiang Ling hates farewell, Yu Faith is sad and endowed". At the same time, borrowing "Su Causeway to exhaust the wind and rain" to render the sad atmosphere, the whole word is sincere, the meaning is profound, and it ends in a poignant and mournful tone.
The lyrics use symbolic techniques throughout the text, and each que begins with the word "spring goes", alluding to the fact of the demise of the Southern Song Dynasty, and taking this as a starting point, it describes the historical style of the demise of the Southern Song Dynasty from different aspects and the feelings and pains of the lyricists.
The pain of the demise of the Southern Song Dynasty and the artistic image in the words are skillfully integrated, and the words are full of nostalgia for the homeland of the lyricist, and also express the author's love for the homeland.
Chen Tingzhuo, a lexicographer at the end of the Qing Dynasty, commented on this word in the "Words and Sayings of Bai Yu Zhai": "The title is 'SendIng Spring', the word is sad and Song, and the twists and turns are said, how many tears." Such an evaluation can be described as one-sentence, because this song contains too many emotions of the lyricist.
Fifth, every festive season, I miss my homeland
The Song and Yuan Dynasties have become unforgettable memorials for the lyricists, and his lyrics have also been deeply engraved with the imprint of the times, as a relict of the former dynasty, this longing for the homeland is particularly strong during the festive season.
On the night of the Shangyuan Festival, the writer saw that the streets in Lin'an City were sparsely populated, and he couldn't help but think of the prosperity of Lin'an City in the past. It also aroused the hatred of the poet's subjugation of the country and the nostalgia for the homeland, and he wrote "Remembering Qin'e":
Burning Lantern Festival, wind and snow on the Asakyo Road. Wind and snow, the country and mountains are as old as ever, and the people of Chaojing are absolutely desperate.
A hundred years of short rise and fall, and Junyu against the moon at that time. At that time, the moon was shining on people's candles and tears, and illuminating people's plum hair.
The preface writes the background of this poem. The old custom is that every year on the fifteenth night of the first lunar month, the lights are displayed for people to watch all night, so the Lantern Festival is also called the "Burning Lantern Festival".
Shangdian wrote that on the eve of the Shangyuan Festival, there were few pedestrians on the streets of Lin'an City, which triggered the inner feelings of the lyricists: Lin'an, the capital of the Southern Song Dynasty, the lanterns of the shangyuan festival people in the past, a bustling and lively scene, this is the poet's memory is still fresh, today's Shangyuan Festival is full of wind and snow, pedestrians are sparse, so the capital is inside and outside, and now it is not the past, a desolate and decaying scene.
The writer began to write, and made a strong contrast between the all-nighter and bustling joy of the lantern festival in Lin'an City in the past and the cold and infinite desolation of the wind and snow in reality.
"Wind and snow" is a pun on the author's words, which is not only a realistic portrayal of the natural scene, but also a true portrayal of the change of lords in the country, but also a strong collision of the two emotions of the writer, a pain of subjugation of the country and the deep nostalgia for the homeland rush out between the lines, and the words and sentences are full of sad and sad mood.
The writer touched the scene and was full of emotions, and the next person expressed his chest directly, and the short life was already a very sad thing, but he also encountered the pain of the destruction of the country and the death of the family, life and death. The country and mountains change masters, the bright moon is as it was, and the writer can only send affection to the bright moon, and can only borrow the bright moon to send nostalgia for the homeland.
Mingyue "illuminates people's candle tears, illuminates people's plum hair", these two sentences are neat and tidy, melting into the scene, and the scenes are blended, intertwining Mingyue's empathy and the lyricist's pain, and the lyrics are becoming more and more desolate.
"Remembrance of Qin'e" is written on the scene, describing the desolate scene of the wind and snow on the lantern night in Lin'an City and the sparse number of pedestrians; the next film is lyrical, expressing the sad mood of the lyricist's nostalgia for the homeland, the words are sad, and the tone is sad. "Remembrance of Qin'e" embodies the lyricist's sad mood, and also vividly expresses the lyricist's loyalty and nostalgia for the homeland.
Another example is this poem "Yong Yu Le Bi Yue Yue Qing", which also expresses the lyricist's deep nostalgia for the homeland during the Shangyuan Festival. The poem was composed in 1278, and there is a small preface before the words, liu Chenweng had read Li Qingzhao's "Yong Yu Le" in 1275.
The lyricist felt that he was touched by Li Qingzhao's life, compared with the current situation, it was also difficult to look back on the past, so he wrote this sad "Yong Yu Le, Bi Yue Yue Qing":
The beginning of the moon is sunny, the clouds are far away, and the spring affairs are the masters. The forbidden garden is cold, the lake embankment is tired and warm, and the front is as promised. The incense dust is dark and strange, the lights are bright, and the long is lazy to go hand in hand. Who knows, the smoke is cut off and the night is forbidden, and the city seems to be sad and rainy.
Xuanhe old days, Lin'an Nandu, Fangjing is still the same. Wandering, windy sideburns, can give the most bitter words. There is no road in Jiangnan, and tonight in Yanzhou, who knows if this suffering is it? Empty opposite, red and sleepless, full of village drums.
The preface reads: "Yu Ziyi Hai Shangyuan, reciting Li Yi'an's "Yong Yu Le", wept for it. This is three years. Whenever he heard this word, he could not bear it, so he relied on his voice and entrusted it to Yi An to refer to himself. Although the words are too late, but the sorrow is excessive. ”
The first three sentences of shangyi write a scene, a picture of the dusk of the moon and the clouds and pleasant scenery. Then write about the Lin'an Palace Garden, the weather on the lake embankment, and the cold and warmth are suitable. The literal scene seems to be written, but in fact, it is the lyricist's regret for the spring and the pain of the fall of the homeland. The next three sentences write about the lively beauty of the Xiangmohua lantern, which is a counterpoint to the writing.
The last sentence of "who knows" in Shang'an is "full of sorrow and rain" in the atmosphere of "cutting off smoke and forbidding night". Here is a metaphor for the scenery, Lin'an has fallen, the country has changed hands, the lyricist cannot accept such a reality in his heart, and he cannot adapt to the new situation for a while, which is the expression of the true emotions of the lyricist.
The first three sentences of the lower verse carry on the upper part, which is the lyricist's recollection of the past. "Xuanhe Old Days" refers to the prosperity of The Northern Song Dynasty during the reign of Emperor Xuanhe of the Northern Song Dynasty. "Lin'an Nandu, Fangjing is still as it is", this sentence writes that although the Song Dynasty crossed south, the prosperity of Lin'an City was like the Liang of that year, and the lyricist lamented the prosperity of the homeland, but also contained an exclamation of the fall of the homeland.
Li Qingzhao has such a sentence in "Yong Yu Le": "Zhongzhou is a prosperous day, the boudoir is more leisurely, remember to focus on three or five." Spread the green crown, twist the golden snow willow, and the cluster belt is in contention. Now haggard, wind and frost sideburns, afraid to see the night out. ”
Here Liu Chenweng recalls the life of Li Yi'an (Li Qingzhao): it is recorded that Li Qingzhao's collection of books was "exiled" during the southern crossing, and the feelings of The Ming Dynasty in March and May (the fifteenth day of the first lunar month), Li Qingzhao's "Eternal Encounter" was written so miserably that it was sighing to read. Liu Chenweng used the way of comparing himself to Li Qing's life to write this "Eternal Encounter" that "although the words are too late, but the sorrow is too much".
"Jiangnan no road" means that a large area of land in Jiangnan has fallen. Then the lyricist asked rhetorically, "Who knows if this suffering is so?" "Writing about the pain of war and displacement, here the writer's pen turns sharply, the emotion becomes more intense, the deeper the pain, and the bitterness of the fall of the homeland and the homelessness of the writer is pushed to the climax.
"Empty relative, red and sleepless, full of village social drums", in the burst of drums, it further sets off the sadness of the lyricist, and also expresses the lyricist's helpless sigh at the fall of the homeland at this moment. These three sentences also correspond to Li Qingzhao's "Yong Yu Le" in "It is better to listen to people laughing and talking under the curtain."
Liu Chenweng's lyrics written on the Lantern Festival have a deep sustenance, truly reflecting the style of the times at the time of the Song and Yuan Dynasties and the sadness and sorrow for the demise of the Southern Song Dynasty, and also portraying the psychology of the lyricist as a relic of the former dynasty.
Sixth, the thoughts of loved ones
Liu Chenweng's "Guizhixiang Blowing Pipe People Go" was written on the occasion of the Mid-Autumn Festival, and the lyricist created this poem because he missed his relatives and recalled the reunion moments of the past Mid-Autumn Festival, and the words also showed the lyricist's faint sadness:
Blowing pipe people go. But Guiying lingered, and the desolate cup was revealed. Looking east at the whip, the cold light is like a note. Go Chinese New Year's Eve half a horizontal river dream, relying on the danger tree, jagged once endowed. The horns moved, the boat was full of fun, and the gulls were not startled.
Love knows, where will the next year be. The Yellow House, the dust wave before the degree. Twenty-four bridges, quite Secretary Du no. The two or three characters are like this now, look at the Ambassador, the Horned Scarf East Road. The world is pitched, the sorrow and joy are limited, and the reunion is as it was.
The upper part of the word describes the mid-autumn moon night, and in the writing scene, it recalls the events of last year's Mid-Autumn Festival, and the scenes blend. The film begins with the words "Blowing Pipe People Go", pointing out that relatives have not been reunited during this year's Mid-Autumn Festival. "But the shadow of the laurel wanders, and the empty cup is revealed", the shadow of the laurel tree in the courtyard sways under the bright moon, while the writer is alone with the moon.
On the night of the Mid-Autumn Festival, the full moon is gone, which is inevitably sad, and the writer can't help but recall the happy moments of the Mid-Autumn Festival last year, last year's Mid-Autumn Festival, relatives gathered together, they swung on the river, and they also gave each other poetry.
The next piece is lyrical, "Love knows, where is next year", the lyricist and the inability to reunite relatives this year think of where next year will be, and what will next year's Mid-Autumn Festival be like? The lyricist also made a comparison between people, which also plunged the author into contemplation. The lyrics write out the sorrows and joys of the world, express the thoughts of relatives, and are also a longing for the reunion of relatives.
The lyrics depict the Mid-Autumn Festival night through the dual techniques of writing scenes and lyricism, and express the sad feeling of breaking the country and breaking up the family through the way of scene blending. This is also the pain and emotion of the lyricist about the personal life after the change of dynasties.
brief summary
Liu Chenweng lived in the Song and Yuan Dynasties, and his patriotic words were mainly written after the fall of the Song Dynasty, and these words with strong patriotic feelings more exude a kind of nostalgia and mourning for the homeland.
In the artistic expression of lyrics, Liu Chenweng is good at using the technique of center forward breakthrough to express his unrestrained feelings, this kind of writing calligraphy is sincere, sincere and natural, so it has a particularly touching power. His lyrics exude an agitated and bold atmosphere in the deep sorrow and sorrow, and the long tune "Lanling King, Chengzi Sending Spring" is a representative work in Liu Chenweng's haofang.
As the relay of the Su Xin school, Liu Chenweng continued the bold wind of lyric writing to the beginning of the Yuan Dynasty. After the fall of the Song Dynasty, Liu Chenweng refused the opportunity to become a soldier, and he presented himself as a remnant of the Southern Song Dynasty, because he had a strong love for the homeland of the Southern Song Dynasty, which was faithfully reflected in his later lyrics. In 1297, at the age of 66, the writer died with a deep longing for his homeland.
His lyrics are self-contained because of their strong patriotic feelings. As wu Cheng, a scholar of the Yuan Dynasty recorded in the "History of the Yuan Dynasty", commented on Liu Chenweng: "Wu Cheng commented on the text of his father and son, saying that Chenweng's strange changes and shangyou's vast performances can become a family' words." ”