The difference between the Song Dynasty lyricists Liu Yong and Zhou Bangyan's slow lyric art

I. The difference in subject matter: Liu's words are rich in content, and Zhou's words are thin in content

Although Liu Yong and Zhou Bangyan lived similar lives in their early years, they had a long time to live with singing and dancing girls in a life of green and red. But not willing to constraints and unrestrained, repeatedly failed to pass the test, late in the year before the scholar Liu Yong almost wandering, drifting all his life. Zhou Bangyan, on the other hand, had several experiences in officialdom. This life is reflected in their words, love is the same side of the different ones, it can also be said that Liu words have expanded, Zhou words in the content of the subject matter is relatively narrow.

Liu's words reflecting women's lives, men's and women's love affairs, and parting sorrows accounted for most of the Lezhang Collection, in which the lives of prostitutes were written in a particularly detailed and bold manner. Chen Rui believes that "Tuntian words in the novel, such as the Golden Lotus" (Bizhai Lyrics). For example, the song "Song of the Cave Immortal" is an excellent description of the sweet and playful life of a man in love with a woman in the "depths of the cave". In "Yu Lin Ling", "looking at each other's eyes with tears in one's hands, but there are no words in one's throat" is a great description of the meaning of parting.

A large proportion of Liu's lyrics depict the city's prosperity. For example, the famous "Pouring Cups of Music" is about the pomp and circumstance of the Lantern Festival in the capital city; "Mulan Slow" is about the Qingming Festival in the capital city. The "picking up hairpins by the roadside" and "beads and emeralds across the street" written in the lyrics can be corroborated with the pomp and circumstance recorded in "Tokyo Dreaming Records"; and there is also the famous "Looking at the Sea Tide", which meticulously depicts the prosperity and splendor of Hangzhou. If the capital is like this, what about the cities outside the capital? One Inch of Gold" describes the scenery of Chengdu, in which the phrase "the elegant and the common people travel to enjoy" shows the happy scene of the scholarly literati and the public competing to enjoy the scenery; "Rui Partridge" writes about the scenery of Suzhou, in which the phrase "ten thousand wells and thousands of villages are rich and affluent" shows that this "paradise on earth" is a "paradise on earth", and that is a "paradise on earth". The "Paradise on Earth" was very rich at that time.

Although Liu Yong lived in such a "peaceful world", his personal experience was not without its difficulties. Therefore, he once traveled to western Sichuan, Jiangsu and Zhejiang, and wrote a lot of lyrics that express the thoughts of "travel and service" of his life and encounters. The first is the "Bewitching God", the "Double Sound" and so on.

Compared with Liu's words, Zhou's words have great limitations in terms of subject matter and content. Because of the narrowness of Zhou Bangyan's life, the subject matter of the words failed to go beyond the traditional content: first, the words of eroticism accounted for almost all of the content of the words of the Qingzhen. Representative works such as "King of Lanling", "West River", "Jinling Huaigu" and so on. The second is a small number of words that express the feelings of the eunuchs and the thoughts of the travelers who are sad about the past and the present. For example, "Su Mou Zhi - prairie incense" expresses the beauty of his hometown and his own deep longing for the mood.

In short, Zhou Bangyan's words are not as rich as Liu Yong's, whether in terms of ideological content or in terms of subject matter, and his words tend to be a "renovation of the old songs", and their contents are often relatively empty and pale. As Wang Guowei said, the word of the week "to create more talent, creative talent less".

Second, the difference in style: Liu words have the characteristics of elegance and vulgarity **** appreciation, but the words of Zhou to pure elegance to win

The expansion of the content of the word, which is Liu Yong's contribution to the word, while the combination of elegance and vulgarity of the style of the word reflects the inheritance of the word and innovation.

Liu Yong's words describing his life with courtesans are generally more vulgar. He did not shy away from writing about his love life, and even wrote about it with pleasure. He depicted women in a specific and secularized way, full of sex. For example, in "Listening to the Horses", "Tingfengbo", "Jintangchun", and "Slowly Rolling Up the Sleeves", he describes the following: "The red and green covers. The things that happened at that time are all worthy of tears. How can I live according to the front, like this snuggling incense and leaning warmly, holding the sun high still sleep." "Urge the young man, go to sleep first, duck coverlet figure warm. In a few moments, let go of the remnants of the needle and thread. Take off your clothes and enjoy yourself infinitely." ("Chrysanthemum New") in order to show the above content, Liu Yong favorite use of female voice and color physical appearance and the environment of the fragrant and gentle description of the vocabulary, that is, the so-called "language vulgar". Such as writing about women is always "tender face and shy," "wind and willow waist," "deep dimple," "sandalwood mouth shy," "lifting the pink face," and "lifting the pink face," "the willow waist," "the willow waist," "deep dimple" and "the sandalwood mouth shy. The setting is "the cave", "the cave", "the cave", "the cave", "the cave", "the cave", "the cave", "the cave" and so on. The environment is "deep in the cave", "phoenix coverlet and mandarin duck pillow", "deep screen and fragrant quilt". In his words, there are similar descriptions of women's sound and color "sets of words", reflecting the language style of the vulgar beauty of the word Liu.

Of course, Liu Yong's words are not vulgar to the end, but also have a great deal of elegance. This kind of elegant words are mainly reflected in his "detained travel" words and describe the urban landscape of the words. Liu Yong wrote these words, especially when he wrote the words of detained travelers, showing the typical mentality and emotion of the literati, especially the disillusioned literati. It has the mood of the literati's sadness in the fall. For example, "An Gongzi", this word from the detention and transportation induced by the feelings of the rise and fall of the world society alternative, which is typical of the literati elegance and ambition. And Liu Yong in writing these elegant words above is good at matching the elegant language of the literati. For example, "the frosty winds, the river is cold, the residual light when the building" ("eight voices Ganzhou"). Su Shi once commented that "his verses are not inferior to those of the Tang Dynasty". Another example is "A few fishermen fly short boats, carrying all the lights back to the villages" (Man Jiang Hong); "A look at the Guanhe River, a thousand miles of melancholy and clear autumn" (Qu Yu Guan). There are many other similar examples, such as "Two Voices" (双声子), "Music at Midnight" (夜半乐), "Looking at the Sea Tide" (望海潮), and "Looking at a Distant Journey" (望远行).

Throughout the Liu lyrics, there is indeed a characteristic of elegance and vulgarity **** appreciation. In contrast, Zhou's words are won by pure elegance.

The pure elegance of Zhou's words is reflected in the following two aspects. On the one hand, the content of the elegant. The content of his words is elegant, not that he did not make love words, but that he wrote these words to "write the love of love and psychological love with the pen of euphemism." (Bai Yu Zhai words). （This is different from Liu Yong's writing about sexual love. Therefore, Chen Rui said, "Tuntian's words in novels are like Jin Ping Mei, and Qingzhen's words are like Dream of Red Mansions." Most of Zhou's erotic words are written in a more elegant manner, and even those words that are intimate with prostitutes are also as elegant as possible. For example, "Unforgettable", although there are "low maid cicada shadow movement, whispering mouth fat fragrance", "the night is getting deeper, the cage lamp on the moon, the son of the fine end of the phase," the physical description, but can be stopped, and turned to psychological description, compared to the Liu words, it is more elegant. As Yang Haiming said in History of Lyrics in Tang and Song Dynasty, Zhou's lyrics are "not like Liu Yong, who sometimes only knows how to roll around on the "pillow"." On the other hand, the elegant style of Zhou's words is manifested in the language. This is mainly reflected in the melting of previous poems, poetic meaning, good at refining words and phrases, and good at the use of diction. Zhou Bangyan can cast his own words, but he is more adept at melting his predecessors' verses into his words, which are as natural as they are from himself. Zhou's words are often used in several lines in one word, not only literally using the previous poem into a new language, but also creating a new mood by embellishing the previous poem, thus developing it into a complete language skill. The most typical example is "Xihe-Jinling Huaigu", which is made up of three poems from Liu Yuxi's "Five Questions on Jinling", "Stone City", "Wuyi Lane", and "Moxie Music". The language has been reorganized to create a new mood. The masterpiece Ruilongyin (Zhangtai Lu) also melted the verses of Du Fu, Li He, Du Mu, Li Shangyin, etc., with almost every word having its origin and every sentence having its source, but without revealing any traces. Zhou's words melted the poems of his predecessors into his words, which was appropriate and natural, showing both erudition and craftsmanship, and thus was highly esteemed by later generations. Shen Yifu "Lefu Guide" that Zhou words under the word transport meaning, "often from the Tang and Song sages in verse, without the use of history in the hard literal, so this is the crown".

Third, different ways of lyricism: Liu words speak directly to their feelings and express their thoughts; while Zhou words are heavy on the object to send feelings and light on the words

Liu words are straightforward and clear, not whitewashed, not carved, as the saying goes, "There is no table of virtues, but just the truth." It is different from the words of the objects and the feelings, but it is without any room and without any pretense to vent its feelings, so that it has a kind of feeling power of the wind and the fountain. For example: "Even if I have a thousand kinds of flavors, who else can say them" ("Rain Lin Bell"); "I have no regrets when my belt grows wider and wider, and I pine away for Yi" ("Feng Qiu Wu"); "Dreams are hard to come by. And dreams, too, are separated by time" ("Pouring Cups of Joy") and other concluding lines, all of which are "unobtrusive, unadorned, letting the original appearance of the feelings burst into the words and phrases of the running burst of the expression method." Liu lyrics are also good at attachment to feelings, choosing a series of imagery, such as through the scenery is good at lyricism will be a variety of related scenes organized together, but when it comes to lyricism, always from time to time to vent a few sentences. "Know when, but embrace the Qin Yun state? May the low apartment intimate pillow, gently detailed with, Jiangxiang night and night, counting the cold more thinking about memory." ("Wave of sand") of the straightforward language, the flavor suddenly thin down.

Zhou's words in the expression of Liu's words have a certain inheritance. The words also have some sentences that directly describe the feelings. Such as "sparing this life, to the flowers and wine, for Yi tears fall." ("Solve the Lianhuan"); "the sky will teach people, the moment to see what is wrong" ("Fengliu Zi"), etc., is "the most true feelings from the spirit of the lungs out of the heart." This is Zhou Bangyan's inheritance of Liu's words. The difference between Zhou's words and Liu's words lies in the fact that he inherited Liu's words but was not confined to them. He tends to use the technique of simile, focusing on the object to send feelings rather than the direct narrative, the poet's inner feelings completely penetrate into the external objects, the scene blending, creating a remote and far-reaching, intriguing mood. Let's take "Wave Amoy Sand" as an example, there is not much new in the main idea of this song. The first paragraph writes about the scene of the lover's parting, the second paragraph writes about the separation of the "feelings of love", and the third paragraph writes about the feelings of sadness after the parting. The author of the second paragraph "Cuizun not exhausted, with the broken clouds to stay to take, the western building of the moon," this far-reaching mood for the end, in the third paragraph with a series of stormy description of their own sadness, this lyricism almost no word straight out of the catharsis, but through the "light disappears", "coverlet", "incense break", "pot missing", "pear snow" and other descriptions to complete. This kind of description gives a person a kind of "in the soft charm in a sense of vigor". Never point to the end, shallow, but layer by layer digging, layer by layer deepening.

Through the above analysis, it can be seen that the expression of the two words of Liu Zhou is not the same: Liu focuses on the truth, the words straight to the point, do not want to be implicit, even if it is a scene, but also "see the scene in the eyes of the people in the heart of the road" of the style of white description. He intended to the heart of the emotion to the outward eruption, for direct expression, so that people produce a strong vibration and **** song. Zhou word is more of a consolation, body of objects, feelings, scene blending, subtle euphemisms. We read the words of Zhou, there is always a kind of "about the grievances", "can not speak directly" feeling.

Fourth, the structure is different: the Liu word is flat, the Zhou word structure of the form of diverse, versatile

Liu word in the structure, to the narrative, but his narrative is often flat, giving people a sense of overview. This kind of structure is popular according to people's most customary and acceptable thinking direction. Such as the first half of the scene, the second half of the lyric; the front side of the cause, the back side of the effect. From the perspective of time, according to the natural order of time, i.e., past, present, future; from the perspective of space, according to the clear natural spatial location to switch, such as from inside to outside, from high to low, from far to near, from east to west, or vice versa. For example, in the first section, it starts from the natural and psychological environment of the parting; then it writes about the parting; and finally it expresses emotion. The second section concentrates on lyricism. The second section focuses on lyricism. The lyricism unfolds according to the natural chronology of past, present and future. The structure of the whole lyric is very clear. Similarly, there are many other similar works, such as "Two Voices" and "Eight Voices of Ganzhou".

And Zhou's lyrics do not stop at the plain narrative of Liu's lyrics, but their structure has various forms and techniques. As Xia Jingguan said, "Jieqing is more of a plain narrative, Qingzhen has changed its method, and in one piece, it goes back and forth, singing three sighs, so the slow words began to flourish in Jieqing, and became a great success in Qingzhen." （Zhou Bangyan emphasized the artificial power of thought, and he did not take the plain narrative as the main form like Liu's lyrics. He often adopts the techniques of loop and loop, inversion of cause and effect, and interlacing of time and space, etc., intentionally making the structure complex and varied, and his words give people a sense of swaying and colorful. For example, in his masterpiece "The King of Lanling - Willow", this word is permeated with the tiredness of wandering. The first piece is about the wandering of oneself. The second piece is about the present farewell scene, with memories of the past and a vision of the sorrows after the farewell. The third piece is about the past, and the third piece is about the past. Thus, the whole song is intertwined in time and space. A moment in front of me, a moment in the past, a moment of friends, a moment of themselves, the present and the past back and forth, love, scenery, things are intertwined, layers and twists and turns, can be said to be a word of extreme ingenuity.

Fifth, the language is different: Liu words free and common; Zhou words rigorous work

Liu words in the free style, rhythmic harmony, language and meaning of carve out, never cover up the false borrowing place. His words are mostly colloquial and popularized, some of them are even as commonplace, to the point that "wherever there is well water to drink, one can sing Liu's words". Such as "Memories of the Imperial Capital", all written in local colloquialisms, free style.

Zhou words due to the narrow subject matter, so he competed in the artistic skills. So from the words of Zhou gradually reduced the natural charm, and toward the direction of artificial sculpture development. His words are strict in sound and rhythm. He also liked to use pronouns, such as "cool toad" instead of the moon, "cool blow" instead of the wind, "pouring country" instead of flowers, etc.; and he liked to melt the poetry of his predecessors into his words. In this regard, the most typical example of success is "Jade Tower Spring", which almost every sentence of the previous verse, and can properly express their feelings, turning the cliché into a miracle. It is a great example of how to make the best use of words and phrases.

To summarize, Liu Yong and Zhou Bangyan both like to use slow words, good at narrative, good at writing erotic love, and good at rhythm. But on the subject matter, Liu words rich, and Zhou words thin; style, Liu words vulgar and elegant **** appreciation, and Zhou words heavy elegance; structure, Liu words heavy plain narrative, and Zhou words more back and forth; lyricism, Liu words heavy direct expression, and Zhou words more objects sentimental; language, Liu words free and commonplace, and Zhou words are rigorous and beautiful. The two words have their own characteristics, and form their own unique style. In the history of the development of Song lyrics, they can be called the two magnificent wonders of Song lyrics. They had a great influence on the later generation of words.