Compare the significance and influence of Liu Yong's and Su Shi's ci in the history of ci?

Liu Yong's significance and influence in the history of Ci: Liu Yong is an outstanding writer in the history of Ci. His contribution to the development of Ci poetry is: to develop graceful ci poetry to a new peak, and his ci poetry has great originality and artistic attainments. He expanded the theme of his ci, reflected the prosperity of the city, described the insulted and injured women, and expressed some feelings of intellectuals and artists in the lower classes of feudal society. This is a breakthrough in the theme of traditional ci poetry. At the same time, he was also the first poet to create a large number of slow words. In order to meet the needs of expanding the theme of his ci, he used the experience of his predecessors and folk music for reference, or added words according to the new tune, or wrote a lot of slow words himself. Slow ci accounts for 78% of all his ci works and has become a mature literary form that keeps pace with Xiao Ling. This enables words to contain more content and express more complicated feelings. In the past, there were only two words, upper and lower, which overlapped together, but Liu Yong created three overlapping words, such as Kistler, midnight song and twelve o'clock. Strange Stone has 2 12 characters. This tortuous new tune has opened up a broad field for lyricism, scenery description, narration and reasoning of ci.

Liu Yong enriched the forms of expression of ci. Liu Yong is good at narration, and Zhou Ji said in "Miscellaneous Poems of Jiecunzhai": "Its narrative is euphemistic, and its meaning is far-reaching, and its beauty lies in its bones." For example, the previous episode of "Midnight": "The frozen clouds are bleak, the boat is a leaf, the millet is far from the river, the river is flourishing, and the river is deep. The raging waves are fading away, the firewood wind is blowing at the beginning, and business travel is calling. The sail was held high. Nanpu is a pan-painting work. The author tells what he saw and heard during his trip and expresses a sense of loneliness.

In addition to absorbing the skills of previous language use, Liu Yong can boldly learn slang and common sayings from the people, create a novel, simple and handsome literary language, and get rid of the rich pedantry. For example, "Recalling the Imperial Capital": "The thin pillow is cold and the weather is cold, and it feels like parting at first sight. It's colder to get up and sleep. After all, I can't sleep, one night is like a year. It is also a planned collection and we must fight for it. Think hard and explore new ideas in many ways, only wandering lonely. This is the heart of my life, and I will give you a thousand tears. " They are all written in spoken language, and it is clearly about family matters, which does not affect the true feelings. On the contrary, it is more conducive to expressing the ups and downs of the characters' inner emotions.

Liu Yong is also good at combining scenery writing with lyricism to create a beautiful realm of scene blending, which makes this traditional artistic means exert great appeal in the creation of slow ci. "Rain Bell" and "Eight Sounds of Ganzhou" all interweave bleak autumn scenery with lingering feelings of parting, which sometimes seem to be affectionate, and sometimes seem to be affectionate, attracting people into the poem and lingering back and forth. The sentence "My clothes are getting wider and wider, but I don't regret it. I am haggard for Iraq" is vivid, which is the second realm used by Wang Guowei to express the achievements of ancient and modern celebrities.

Liu Yong's contribution to the development of Ci: 65,438+0. Liu Yong created a large number of slow words, developed the long tone system of words, enriched the expressive force of words, and prepared for Su Shi's liberation of ci style. 2. He introduced Ci into metropolis from small courtyard, which expanded his trip to Shui Yi and opened up the field and realm of Ci. 3. The extensive use of Fu method, layer-by-layer description, and emphasis on rendering have enriched the expressive force of words.

Fourthly, Liu Yong's position in the history of Ci.

Liu Ci has a far-reaching influence in the history of literature. Not only graceful poets Qin Guan, Zhou Bangyan, Li Qingzhao, Jiang Kui, Wu Wenying and Nalan Xingde were deeply influenced by him, but also unrestrained poets Su Dongpo and Xin Qiji learned some of his artistic techniques. Dongpo appreciated Liu Yong's Eight Tones of Ganzhou very much. He said: "People say that the lyrics of Qing people are vulgar, but they are as beautiful as those of Tang people, such as' first frost is tight, the river is cold, and the residual photos are buildings', but that's all." As for later generations' proofreading books, scripts, operas and zaju, they also directly inherited the unpretentious characteristics of Liu Ci, and even created with Liu Yong's deeds as the theme.

The significance and influence of Su Shi in the history of Ci: After Liu Yong, Su Shi carried out a comprehensive reform on the style of Ci, which fundamentally changed the development direction of the history of Ci. (1) The transformation of Su Shi's ci is based on his overall view of ci and his creative idea of "being unique". Su Shi first broke the concept that poetry is superior to ci in theory. He believes that poetry belongs to the same origin, and the word "is the seedling of poetry". He praised Liu Yong's words in "Klang Ganzhou", saying that "first frost is cold, the river is cold, and the residual photos are buildings" and "poetry does not reduce the height of the Tang people". He compared the poetic style that was difficult to be elegant at that time with the Tang poetry that expressed his ambition, fully affirmed the elegance of Liu Ci, and also expressed dissatisfaction with his famous work Broken Array (a country of nearly forty years). Su Shi advocates that ci should show solemn and serious content like poetry. Ci and poetry should have the same functional status and function, which can be said to be the core of Su Shi's view of Ci. In order to make the aesthetic taste of ci really keep pace with poetry, Su Shi put forward the creative proposition that ci should be "unique", including: pursuing magnificent style and broad artistic conception, the quality of ci should be consistent with people's quality, and writing ci should express his true temperament and unique life feelings like writing poetry. Su Shi is very dissatisfied with the flamboyant and charming style of Liu Ci, and expects to inject vitality into Ci with masculine and vigorous poetic style, so that Ci is no longer charming and delicate. He contended with "Liu Wei" with his own words, advocated spectacular and bold words, and resolutely abandoned Liu Yong's charming style of words. Su Shi supported his theory of "being a family" with his own practice. (2) Expanding the expressive function of Ci and opening up the realm of Ci is the main direction of Su Shi's ci style reform. He expanded the traditional words expressing femininity into words expressing masculinity and lofty sentiments, and changed the traditional words expressing only love into words expressing temperament, so that the words fully expressed the author's temperament embrace and personality like poems. Su Shi paid attention to the style of ci with the subjective spirit, which greatly expanded the realm of ci. Yan Shu's wealth and elegance, Ouyang Xiu's peace, Yan's sadness and Liu Yong's frustration, but as far as his subject spirit is concerned, it is far from the whole and all, and at most it is just the tip of the iceberg. Only Su Shi can truly express his subjective spirit in his ci style and offer it to readers without reservation. In Su Shi's poems, we can feel his great ambition: there are thousands of words in writing and thousands of volumes in his chest; What's so hard for you, Yao Shun? (The Green Light of the Lonely Pavilion in the Spring of the Garden) I tasted his extreme anxiety: I have hated this body for a long time, when can I forget to camp? ("Linjiang Xian") was shocked by his unremitting pursuit: Who knows that there is no shortage of life? The water in front of the door can still flow westward. ("Washing the Stream Sand") lamented his own self-liberation: looking back at the bleak land, rain or shine. ("Dingfengbo") was moved by his delicate true feelings again: It's a pity that a romantic wind didn't teach me to crush Qiong Yao. (Xijiang Moon) also shed tears for his dedication to his wife: ten years of life and death is incredible and unforgettable. Jiang Chengzi's rich emotions, profound thoughts and far-reaching will are enough to reflect a vivid Su Shi's ci of coming to Su in his ci world, which not only expands the inner world, but also expands the outer world. There are more than 300 existing poems by Su Shi, involving nostalgia, lyrical discussion, reminiscing about things, pastoral scenery, natural scenery, farewell mourning and many other themes. They injected fresh blood and vitality into poetry, completely broke the colorful traditional boundaries of poetry, and achieved what poetry can say. Before Su Shi, although a few works such as Fan Zhongyan, Ouyang Xiu and Liu Yong. Some explorations were made in the content of ci, and they only added a layer of misery to travel around the mountains, until Su Shi entered the field of ci creation with his extraordinary talent, open mind and heroic personality. (3) The technique of "taking poetry as ci" is the main weapon for Su Shi to change his ci style. The so-called "taking poetry as a word" is to transplant the expression of poetry into words. The success of Su Ci lies in two aspects: preface and postscript and allusion. Su Shi's ci, like poetry, uses a lot of inscriptions and postscript, which makes the inscription and postscript and ci form an inseparable organic whole. Some prefaces of Su Ci explain the creative motivation and origin of Ci to determine the lyrical direction in Ci, while others complement each other in content. The extensive use of allusions in Ci also began with Su Shi. The use of allusions in ci is not only an alternative and centralized narrative way, but also a tortuous and profound lyric way. The author uses the allusion of Sun Quan's killing tigers as an alternative general description of "Jiang Shenzi hunting in Mizhou", which shows the heroic gesture of taking the lead and killing tigers himself. He can also abide by the rhythm rules of words, but he always goes beyond the constraints of rhythm and weakens the musicality of words, which seems to be somewhat discordant. In fact, he broke the rigidity and rigidity of the form, got rid of the bondage, and made Su Ci read harmoniously and smoothly. The form of expression serves the rich and profound thoughts to be expressed, and the form and content complement each other, showing the writer's natural and unrestrained, informal and open-minded feelings. (4) Su Shi's ci has various styles. There are bold and unconstrained words with strong feelings, charming and graceful words, and liberal and free works. First of all, his heroic poetic style, such as "the great river east goes to the waves to wash away." It not only has the traditional beauty of "bold", "super-broad" and even "big" and "masculine", but also embodies the lofty aesthetic spirit. Secondly, Su Shi lived in an era when graceful words dominated the world, and Su Shi could not be completely divorced from this artistic atmosphere. But compared with predecessors, its style is higher and more elegant; Feelings are more real and healthier; The artistic style has also changed from rich to fresh; The expression method is more lively, touching and euphemistic, which improves the style of graceful words. Although they are both graceful words, Su Ci is more elegant and far-reaching than Liu Ci. Thirdly, the integration of Confucianism, Buddhism and Taoism made Su Shi maintain an optimistic attitude in adversity, forming the broad-minded artistic style of Su Ci. The broad-minded poetic style makes Su Ci "send it with taste but indifferent", and its content is detached but not detached; In artistic conception, it is heavy and profound; On the expression, ruthless but affectionate. In fact, in addition to the graceful and unconstrained Su Ci, there are also the strange graceful and restrained water tune (when there is a bright moon), the ups and downs of the Eight Tones and Twenty States (the love wind comes from Wan Li), the lingering bitterness of the water dragons (like flowers that are not flowers), the fresh and carefree looking at the south of the Yangtze River (spring is not old) and the divination operator.