Liu Yong was one of the famous litterateurs in the Song Dynasty. He was the best at writing poems. His poems were both elegant and popular, with strong liquidity, and made great contributions to the development of the poems in the Song Dynasty. Liu Yong was the first person to reform Song Ci. It was he who comprehensively innovated the language, expression techniques, word limit and subject limit of Ci.
Is Liu Yong a graceful poet
yes.
Liu Yong is a representative of the graceful school and a famous poet in the Northern Song Dynasty. Liu Yong is a poet who created and used the most tunes in the poetry circle of the Song Dynasty. He made great efforts to create slow words, transplanted the fu method of perfunctory description into the words, and made full use of slang words and slang sayings. His unique artistic personality, such as suitable images, incisive narration, plain and plain line drawing, had a profound impact on the development of Song poetry.
Liu Yong's skillful use of words
1. Be good at absorbing the method of Han Da Fu to spread literary works
Liu Yong not only used the words of Ban Gu's "Ode to the West Capital", Zhang Heng's "Ode to the West Capital" and other great poems in describing the splendor of the imperial palace, the prosperity of the city and the devotion to the emperors and officials, such as "Zhongtian Huaque", "Dumen 12", "Yujie Tongting", "Jinzhang Chenglu" and so on.
Moreover, it absorbed the extravagant and vigorous grammar of Da Fu, and did its utmost to spread and exaggerate, and wrote about the graceful and rich atmosphere and prosperous and rich state of things. The so-called "narrative and derivative, sufficient", "smooth atmosphere, describe the music".
2. Be good at absorbing Song Yu's ci fu and the Six Dynasties' sketch prose fu to blend lyric feelings and scenes
A close reading of Liu Ci can clearly see the lyrical influence of Song Yu's Jiu Bian, Gao Tang Fu, Feng Fu, Deng Tuzi Lust Fu, Cao Yuan's Luo Shen Fu, Pan Yue's Qiu Xing Fu, Lu Ji's Tan Shi Fu, Jiang Yan's Bie Fu, Xie Huilian's Xue Fu, and Wang Xizhi's Lan Ting Ji Xu. Therefore, Liu Ci is not only good at copying scenery, but also can blend feelings and scenery to create a deep artistic conception of euphemism.
Get its spirit in the structure. For example, many of Liu's ci poems express the structure mode of the sadness of the confinement travel in the late autumn, which obviously comes from Song Yu's Jiu Bian and Pan Yue's Qiu Xing Fu; However, the structural pattern of "feeling from the east to the sad" should be based on Wang Xizhi's Preface to the Orchid Pavilion Collection.
3. Be good at absorbing the characteristics of parallel couplets and allusions of ci fu in language
Liu's ci poems mostly use four or six parallel couplets and row scriptures, which are shaped in pairs, neat, elegant and beautiful, and very expressive. For example, "The heavy lake overlaps the hills and clear the landscape. There are three autumn osmanthus seeds and ten mile lotus flowers. The Qiang tube clears up, Lingge spreads all night, and fishing for old people and lotus babies" (Watching the Tide), "The river maple is getting old, the Ting hui is half withered, and the red and green are everywhere" (Bu Operator).
Liu also quoted a large number of poems from the Han, Wei and Six Dynasties, Shi Shuo Xin Yu, as well as classics, history and poetry. Zheng Wenzhuo said that "it is not deeper than the article, it runs through hundreds of schools, and it is impossible to identify their affiliations". Before the introduction of Huang Shang, he also said: "Elegant and elegant, everything." The use of allusions, Liu Ci may be the originator.
4. Be good at absorbing the expression technique of "direct writing" of "fu"
It has been pointed out by predecessors that "Liu Ci is always good at flat narration", "its description is euphemistic, close to the point and far from the point, and the interest of the elegant and quiet scenery lies in the bone", "Qi Qing mostly talks about flat narration", and so on. This just shows that the narration of Liu Ci has two elements, namely, "straightforward" and "narrative", which are contained in "Fu" as a means of expression.
To be specific, the first is that more narrative elements are integrated into the form of the previous scene and the next romance, which is rare in Liu Yong's previous works.
Liu Ci paid attention to the combination of scenery creation and narrative lyricism, especially in the performance of nostalgia and nostalgia for the past, he mostly combined the immediate scenery, past events and current feelings, so that the scenery, narrative and lyricism are integrated, and the present, past and present (future) are intertwined, which is naturally euphemistic and tortuous.
Liu Yongyong's layout narrative is more "flat narration", "direct narration" and "just straightforward narration", less relying on comparison and less sustenance. In particular, some boudoir lyrics tend to give up the description of scenery and express the inner feelings of the characters in a female tone. They are clear and homely, and have the characteristics of being straightforward, exhaustive, incisive, and leaving no residual information. Jintang Spring, Strike on the Indus, etc. are said to be such works.
What does Liu Yong worry about in his graceful words
Liu Yong's sorrow, although on the surface, is the sorrow of parting with his lover, in fact, from a deeper perspective, his sorrow is a kind of sorrow that drifts away from the system, and a kind of sorrow that drifts from afar.
Liu Yong's graceful words "Raining Bells" are as follows:
The cicada is chilly, the night of Changting, and the shower has just stopped. Drink in Dumen's tent without thread, and Lan Zhou hastens the development of nostalgia. Holding hands and looking at each other's tears, she was silent and choked. Read to go, thousands of miles of smoke, the twilight is heavy and clear.
Affectionate since ancient times, hurt parting, but also that can be ignored Qingqiu Festival. Where did you wake up tonight? The willow bank, the morning breeze and the waning moon. This past year, should be a good time and good scenery. Even if there are thousands of customs, who can we talk to?
The words and sentences of the whole poem are traceless, the scenery is straightforward and natural, the scene is lifelike, the transition is elegant and leisurely, the feelings and scenes are mixed, and the implication is profound. The true feelings of lovers when they say goodbye are sentimental, sad and moving, which can be called an ancient masterpiece to express farewell.
Liu Yong transformed the sadness of his lover's departure into a great realm between heaven and earth. What he saw was the passage of time, the loneliness of a wanderer at the end of the world, and the collision between temporary happiness and eternal sadness. The whole article reveals his departure from his lover, giving people a kind of melancholy that they will never meet again.
