On the Aesthetic Orientation of Qin Guan's Poems

Li Qiao: On the artistic spirit of Qin Guan's ci and its significance in the history of literature, Japanese Nagano Yiyu did compare the famous poets who presented unique styles in Tang and Song poetry, and said, "Du Shaoling's poems are very clever, and they are covered with bitter songs. You see, the poem "Rice on the Mountain" is too white to read. Too white genius, the so-called unintentional gain. Chen Houshan has a poem, so he hurried back to his quilt, lay thinking and groaned like a patient. ..... There is an ancient saying:' Look for a word behind closed doors, you have no self, but you have to spend a lot of money on your guests'. Don't build Shaolin, swim less violet. " The poems quoted by Huang Tingjian rank first among the "Four Bachelor of Sumen" and are one of the Ten Poems of Jingjiang Pavilion. It is believed that Qin Guan's poems are only dedicated to nature, and there is no deliberate conception and painstaking management, which is quite similar to Li Bai's "clear water produces hibiscus, which is naturally carved" ("Tian En Liu Yelang recalled the past after the chaos and gave Jiang a good life"). In fact, it's not that Qin Guan doesn't pay attention to the delicacy of words and sentences, but that he doesn't show too many artificial traces and doesn't show people in a beautiful state. His "Poems are like Ci" and "Poems are like Xiaoyan" (Wang Zhifang's poems are quoted from Hu Zai's Qian Ji Conghua (Volume 42)). If Li Qingzhao's "On Ci" is used instead, it will be "Qin attaches great importance to emotion and despises reality". Looking at Huaihai Ci, most of them are works of pure feelings. "Flowers are in bud, so their strength is rare" and "approachable, so those who exert themselves don't come" (Zhou Ji's "Miscellaneous Poems of Jiecunzhai") is a true portrayal of my life experience; These poems have gone beyond the tradition of entertaining people with colorful themes, emphasizing beauty, fragrance and softness, expressing the meaning of self-entertainment and agreeing with the poetic road of "expressing ambition", and all have returned to different degrees. Therefore, Feng Xu's "On Haoan Ci" said: "It is arrogance to swim less with dust talents and win early; And when I went to the south, I lost my soul treasure. Therefore, the words he wrote are rich in life experience, elegant and affectionate, and kill time with wine. And resentment is not chaotic, and love is almost a legacy of "elegance." After the Lord, there is only one person. Yesterday, Zhang also talked about the same fu, saying: "Other people's fu is also endowed with talent;" Evergreen, you are also endowed with a heart. "If you give less, it is also a cloud: what others say is just words; If you swim less, you will swear. Get it from inside, don't pass it on. Although the child is glamorous, if there is the latter, what is the evil? " Another cloud says, "Huaihai and the hills are really sad in ancient times. Its shallow language is full of flavor, and shallow language is all in it. It's really rare to have two poets in Song Poetry. " Perhaps, in this particular sense, it can be said that the mainstream artistic spirit of Qin Guan's ci is consistent with that of Li Bai's poetry, and it is unnecessary to pay too much attention to their significant differences in specific artistic characteristics.

It goes without saying that the artistic spirit of Qin Guan's ci is multi-level and diversified. Now it is the mainstream part, but it does not mean that it can be used to monopolize the whole; On the other hand, this artistic spirit has experienced his whole creative life from formation to maturity, with a process of constant change and development, and is always in a dynamic flow form. If the above characters are placed in the broad field of vision of the history of Ci and even literature, their meaning and value orientation may be understood more clearly and comprehensively.

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As a new musical and literary style, the words marked by Huajianji established a truly mature and classic artistic style in the late Tang Dynasty and the Five Dynasties, and then established a graceful and graceful style and a value system of entertaining people with songs, with boudoir and Chun Qing as the main descriptions and expressions; This directly influenced and guided the long evolution of this style, which lasted from Song, Yuan and Ming dynasties to the 300 years of Qing Dynasty. But it reached the peak of a generation of literature in the Song Dynasty. In a word, through the works of famous artists such as Da Xiao Yan, Ou, Liu and so on, this trend has spread to all levels of society. No matter the official palace que, the brothel dance pavilion or the streets and lanes, there are red-toothed iron plates everywhere, singing is boiling and the voice of grace is swaying. In these literary and cultural trends of thought in the Northern Song Dynasty, Qin Guan's ci naturally occupied a dominant position. At that time, my colleague said, "Only Chyi Chin, Huang Jiu-Er and Tang Dynasty are the best writers." (Chen Shidao's Poems on the Back Hill) This certainly includes his contribution to the development of Huajian School tradition.

For example, on Qinyuanchun, the scenery of spring is depicted with fine brushstrokes such as "Yan Xi", "Busy Bee" and "The wind gossips over the wall". After the film, I started with "romantic susceptibility", and wrote in the next place, describing the feeling of lovesickness, such as "Only I stand still, my heart belongs to me" and "Liu Xiahui travels everywhere, then turns back to a brothel and becomes a foreign land. The memory of the event is endless, and it is difficult to write it lightly. In addition, I secretly took care of the words "after a light rain, there are peaches and apricots, and red tears splashed over the waves", which was particularly lingering in a week. Another example is "Magnolia", "Old Home full of hibiscus in autumn", "Like a dream" and "Crying willow outside the door", all of which are written about the scenery first, and then romantically blended to reflect the feelings. But the former is due to the old hibiscus flowers and frost flowers on the grass from autumn to sun, and the beauty will eventually be entrusted to the "west wind"; The latter expresses her leisure worries about the withering of late spring flowers, which is more tactfully implicit. Especially [Huanxisha]:

With a chill, alone in the small building, the morning is cool and dreary, as if it were late autumn. Looking back at the screen, the light smoke, the flowing water, the mood is faint. Outside the window, the flowers are dancing freely, just like in a dream, the rain is falling and drifting aimlessly, like melancholy. Look again, the curtain of jewelry hangs on the silver hook at will.

This article was written by Ouyang Xiu, which shows that the artistic styles of this school are similar, because although they are in different positions in the production coordinates of traditional colored songs among flowers, there is no essential difference in the mainstream aesthetic orientation or aesthetic ideal. First of all, the purpose here is to describe a kind of spring trouble. Only from the idle action of "going to the small building" and "hanging the curtain", the body shows its lingering confusion, which is as hazy as smoke in my mind, while the images of "flying flowers" and "drizzling rain" concretize abstract emotional feelings. Although I can't get rid of it, I can't get rid of it, but it's not that I'm too hurt and too heavy to melt away. Coupled with the light, cold and cloudy background, I can integrate everything into the environment. Moreover, the language is as plain as words. Without the traction of the old canon, it is all washed away and turned elegant and gentle. Therefore, the arguer thinks that it is possible to "seize seats in the Southern Tang Dynasty" (Zhuo Gu Jin Ci Cong) or "turn bitter, warm and Wei School" (Chen Tingzhuo's Ci Ze Da, Volume II). Indeed, in this kind of words, Qin Guan not only inherited and publicized the essence of flowers, but also promoted the style of writing on the entertainment consumption level that was traditionally used for drinking and having fun to the realm of pure poetry with self as the main body, and fully satisfied the aesthetic taste and emotional needs of the literati class with high cultural taste.

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However, the relatively simple "Yan Ci" mentioned in the last section does not account for a large proportion in all Qin Guan's works, nor can it represent his highest artistic level. However, in those poems that are mostly praised by people, they use "Yan Ci" as a general carrier, but there are some true feelings in the theme of acacia and sadness. Or express my deep sigh about my life experience and fate through the external form of flower shape. They are often good at injecting all kinds of new emotional factors into the old and rigid traditional model, expressing and transmitting new connotations with themselves as the main body, thus increasing flexibility and greater tension.

Of course, if we look at it from the perspective of the overall evolution of the history of Ci and even the history of literature, it is not Qin Guan's personal originality. As early as Wei Zhuang of Huajian School, Li Yu of Southern Tang Dynasty, and Dayan, Xiao Yan, Zhang Xian, Ouyang Xiu, Liu Yong and others since Song Dynasty, there are many wonderful successful precedents. They even gradually merged into another expression mode close to typology, and another new tradition that gradually became independent, aiming to overwhelm the gorgeous ci style mode that was simply written for "responding to songs" and replace it with the mainstream development trend of ci style. In other words, Ci, a new musical literary style, has always coexisted from the initial stage to the mature stage, and has experienced the separation process of blending and drifting away.

The significance of Qin Guan in it is that he came from behind and made it more colorful with some of his masterpieces. And the artistic expression has been expanded and deepened to a new height, thus bearing considerable paradigm value and calmly stepping into the classic hall. This is what the ci scholars say: "Qin Shaoyou has the charm of flowers and respecting modesty, but it can be fresh" (Jiang Shunyi's Integration of Ci Studies), so it is "Ci writers set the tone" (Hu Weiyuan's Talks on Ci in Cold Years). As for Chen Tingzhuo's comment: "Qin Shaoyou is a natural hand, close to success, first guide her husband; The distant ancestors Wen and Wei have changed their words, taking their gods instead of attacking their appearance. However, if you change it without losing its correctness, the debater will not get sick and change it, but will feel that someone else needs to change it. Later generations called Qin Wei Liu, and Liu regarded Qin Wei as a slave. How can they be compared! " It is true that Liu Yong was excessively suppressed and Qin Guan was promoted. It should be noted that the high victory of Liu Yong's ci is also beyond that of Qin Guan's ci; However, the beauty of Qin Guan's ci is enough to treat Liu Yong's ci with a clear conscience. Therefore, to be fair, the two are really equal, both of them are the best in the field of ci, and they can both open up the atmosphere. As for Chen Tingzhuo's bias, it may be due to his personal aesthetic taste, which is inevitable and unnecessary. Moreover, his previous analysis of the historical significance of the positive change of Qin Guan's ci is generally credible from the dynamic point of view of the track evolution. From the perspective of modern research, this is indeed the artistic spirit of Qin Guan's ci and its symbolic role in the development and evolution of ci history.

Let's do some concrete analysis and discussion on Qin Guan's words. Such as [water], "the small building is far and wide across the sky", and the original title is "Giving prostitutes the East Language". His contemporaries recorded his skill in Zhou Zhai Shi Hua: "Xiaoyou is a small building with a garden every other day", because the name of a prostitute in Beijing is Dong Yu, and he wants to hide the word "Louwan" in the word. However, less travel is also a source of personal use. Zhang Ji's poem says,' My tall building rises from the garden.' In addition, Hu Zai's "Tiaoxi Fishing Hidden from Congqian Fu" Volume 50 quoted Zeng Yao's "Gaozhai Poetry" and said: "I traveled less in Cai Zhou, and I am very close to the prostitute building." Yuan Feng was a scholar in the eighth year (1085), and later transferred to Professor Cai Zhou. He worked in the following year (the first year of Yuan You 1086) at the age of 38. This was originally a typical "sweet talk" for a geisha to drink and sing happily, so she only wrote about spring outing and scenery in Shangcheng. Although the brushwork was meticulous, it was not as good as love. However, when Xia Kun turned to his own acacia, the fierce words of generate "fame and fortune, heaven knows the earth, and heaven is thin" were really sincere feelings from the heart, and were by no means a superficial response to the singer who sang by the beat to perfunctory the last article. At the end of the filming, "I was full of affection, but there was, at that time, the bright moon was in the sky, and I was still facing people", which was also a scene to express my feelings, and it was endless. In addition, Wang Shizhen's Poetry Review of Yizhou Mountain People once praised it from the perspective of artistic comparison: "People are thinner than plum blossoms", "Heaven knows, the sky is also thinner", "Mo Tao is not charming, people are thinner than yellow flowers", and the three words "thin" are wonderful.

Another similar painting is [Man Fang Ting]' s Brush Mountain Wei Yun, which was painted in the winter of the second year of Yuanfeng (1079). Qin Guan was thirty-one years old. In the spring and summer of that year, he went to Huiji Province to discuss with his father and uncle, and visited Jianhu, Lanting, Chenyu Temple and Penglai Pavilion. He and Zhou Shoucheng got along well and sang together. When you leave at the end of the year, give it to a singer who is "a little happy" at the banquet (for the skills, please refer to the Story of Tiaoxi Fishing and Hiding from Conghua, Volume 31, Yi Yuan orpiment). Therefore, Ci is closely related to such scenes as "Dry Grass", "Leaving the Bottle", "Misty Sunset" and "Western Western jackdaw", and also refers to the review of her love affair with Penglai. Xia Kun imitated the breakup and sighed: "When can we meet again?" ? I can't forget the tears on my sleeves, the air, and as soon as possible. I will express my true psychological activities at this moment. In a word, the whole poem is integrated with the scenery, and what Xiaosa sees reflects the sadness that embodies his feelings everywhere. And "it is another way to include the feeling of life experience in eroticism" (Selected Poems of Song Sijia in Zhouji) actually reflects the consistent artistic spirit of Qin Guan's ci. "Huang Ru in the Art Garden" also said that this word "was highly praised by Dongpo, so it was named" Sammo Wei Yun "as its first sentence". At that time, people chanted "Spring on the branches of red apricots disturbs Shangshu (Song Qi)", "Revealing China's reflection, Liu wasteland", "Xiao Feng's waning moon, Liu Sanbian (Liu Yong)" and "He Meizi". Yichuan smoke, full of wind, plum yellow rain. ") and" Wei Yun Qin Xueshi "reputation, but also a much-told story.

In Qin Guan's ci, these mentioned above can be said to be born out of the old, or to describe personal subjective feelings with the help of colorful ci patterns, or to be more subtle types; The following theorists express their life feelings more or less directly on the basis of the new and the old, just relying on the external appearance of Yan Ci. Such as "Queqiaoxian" and "Qixi":

The thin clouds in the sky are changing, the meteors in the sky convey the sadness of acacia, and the endless galaxy I quietly crossed tonight. On the seventh day of autumn dew and autumn, it is time to meet, mostly those who are together in the world, but the appearance of husband and wife. Tender as water, like a dream, can you stand on the bridge and go home? If two people have a long-term relationship, sooner or later!

This is a beautiful fairy tale about the Weaver Cowherd, in order to express my understanding and expectation of love life. As early as the poem Xiaoya Dadong, the two stars, Niu and Nv, were personified. Later, it was supplemented by Nineteen Ancient Poems Altair and Wu Jun's Continued Harmony, and gradually solidified. Although there are many people who have always written poems, on the whole, they are all based on the parting hatred of "the star of the weaver girl, rivers everywhere" and "the husband and wife have to meet on July 7" (Selected Works, Volume 30, Xie Huilian's "The Cowherd on July 7" and Shan Li's "Notes on Nine Poems by Cao Zhi"); Only Qin Guan is ingenious, but regretfully insists on gathering less and staying more, arguing that the advantages of love are not in the morning and evening, expressing the persistence and eternal pursuit of love, and the sincere and special depth that does not change with time and space. Therefore, the connotation of this idealism has long gone far beyond the limited capacity and secular value orientation of ordinary colorful words, and "turning rancid into magic" (the second comment on Shen Jifei's Poems in Caotang) is believed! As for Huang Liaoweng's Selected Poems of Starting a prairie fire, he said: "If you don't do much, the party will be humiliated, and it is difficult to think about the meeting between the monarch and the minister, because Xie Erxing is freehand; Mu Jun's thoughts are lingering and far-reaching. " In the original words, it is hard to find the trace, so it seems too confusing. This may be because he blindly sticks to the tradition of poetry education entrusted by Yu Meiren, which is far-fetched and rigid.

Another example is [Eight Six Sons]:

Rely on the dangerous pavilion, hate like grass, and live after all. After bidding farewell to Liu Waiqing, I was stunned when the water became red. Let me get stuck in it? Under the moon that year, we were drunk like scenes of dreams, and the gentle breeze blew you and me. But the direction and pleasure gradually followed the running water, the string broke and the fragrance disappeared. Like flying flowers late, the rain is clear. Just as the pin fell, the oriole sang several times.

Although the theme of Huaihai Ci in Jin Mao's Sixty Poems of Song Dynasty is "spring resentment", its main purpose is actually to express one's love for oneself, but it only borrows traditional themes as a carrier. Therefore, The Selected Poems of Liaoyuan only points out: "Entrust? Pregnant? The meaning between the lines is lingering, and the tone is so sad. " When Yuan Feng wrote this word in Gaoyou's home in the third year (1080), Qin Guan was thirty-two years old and had gradually bid farewell to his youth and started to enter middle age. Recalling the lovers and some beautiful things in the past years, I feel infinite nostalgia. Therefore, the phrase "how to be happy and gradually come to fruition" is an infinite sadness and a helpless sigh for the separation, loss and passing of each other. Connotation and feelings are extremely complex and rich. It is precisely because it is difficult to sort out at the moment that it can only be transformed or entrusted with a unique scene of falling red rain and orioles crying at night in late spring, which euphemistically reveals the seasonal feelings brought about by it, that is, "spring resentment." Although these reasons are all due to "a curtain of dreams in jathyapple, the spring breeze is ten miles tender", the life experience and life sentiment that are dragged and tangled are not limited to this. It can be considered that this is the traditional appearance of Qin Guan's ci to entertain people with colorful songs, and it is essentially the embodiment of the artistic spirit and creative characteristics of "giving money for no reason" mentioned by the author of Ci Ze Da Ji Ya.

Similarly, in the spring of Shao Shengyuan (1094), as an old party member, on the way from Bianjing to relegation, he wrote "The Wind Blows Green Grass", and Huang Sheng's "Selected Poems of Tang and Song Dynasties" was written under this title. At the end of Qin Guan's poem Li Ju 'an: "During Shao Shengyuan's reign, Meng En, the editor of national history, dismissed the pavilion and sentenced it to Hangzhou." See also. At that time, I was forty-six years old, and I had gone through most of my life. I am floating in the stormy sea of official business. Even if the spring blossoms and the years are like new, the opening is just a sigh of "walking in the old Cangzhou" and "confused"; All I can see clearly is the cold and confused scene of "the sun is halfway up the mountain and the smoke is on both sides". Therefore, Xia Kun turned to positive lyricism, missed his old friends in the capital, and regretted that the joy had passed away, in order to say to the extreme, "Crying forever, sometimes exhausted; I can't help it, but I can't stop hating it, which highlights the heavy resentment and sorrow of the officials who moved. As the saying goes, "The emotion is deep and the tone is clear, which is really touching" (Selected Poems of Starting a prairie fire). Generally speaking, this word is just a scene that reflects each other's feelings, and it melts into the scene because of the scene. The description of parting also reveals the sadness of self-hardship. It has really moved away from the traditional mode of singing a kind word and worrying about Qiu Si in spring, and began to return to the poetic road of lyricism.

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As mentioned above, through Huajian Ci and Southern Tang Ci, the new ci style constructed an independent self-artistic paradigm, aesthetic ideal and value orientation tradition different from ancient poetry, and reached its peak in the mid-Northern Song Dynasty. However, due to the monotonous and narrow content and theme, the production techniques and styles are gradually similar, which also exposes the disadvantages of becoming rigid and rigid, seriously affecting and restricting its future development and promotion. Su Shi is not satisfied with the existing conventions of Ci, but advocates innovation. He introduced the artistic spirit of poetry, brought aesthetic purport and cultural character to poetry, and broke through the barriers of Ke Yan road. "Wash away the glamorous state, get rid of the degree of advanced planning, and make people climb high and look far, hold their heads high and sing, and escape from dust" (Preface to Wine) In fact, before this, Wei Zhuang, Li Yu and others had already tried to get close to and return to the poetic road, and began to express their true feelings (including the feelings of men and women, of course) and life feelings directly with words originally composed of songs, instead of sticking to "Ke Yan" But on the whole, the subjects they wrote were monotonous, and the scope of life involved was narrow, which was far less than Su Shi's "Poetry as Ci" and "Nothing to say without heart" (Liu Xizai's A Brief Introduction to Artistic Ci and Qu).

As a master of Ci and a master of traditional schools, Qin Guan is consistent with Su Shi's Ci in this respect. His few poems can directly express his thoughts, express a certain life consciousness he has realized from the difficult and bumpy life journey, and stimulate the stirring complex emotional waves, thus abandoning the orientation that "words are colorful themes", which is closely related to the artistic spirit of the former sages. However, due to the limitation of temperament and mind, he is limited to his own personal experience and understanding, and his artistic style tends to be melancholy, which is basically consistent with the mainstream style of euphemistic beauty presented by most of his words, almost traditional, and different from Su Shi's bold and broad-minded poems.

For example, when Qin Guan was forty-nine years old (born four years less 1097), he was sentenced to prison, moved to Chenzhou after drinking tax, and then moved to Chenzhou after demotion.

The fog is gone, the moon is gone, and Taoyuan is nowhere to be found. The lonely pavilion closes the moon in Joan Hinton, and the cuckoo sounds in the setting sun. Plum blossoms are sent by mail, and fish live long. This hatred has no weight. Fortunately, Chen Qiang bypassed Chen Shan. Who did he go to Xiaoxiang for?

The whole article is guided by the subjective consciousness, and I feel sad and sad all my life. If you press it carefully, Shang Kun will imitate the psychological activities touched by the sense of seeing and hearing, which has deeply influenced the subjective emotional tone in the objective situation. "The word boundary is the saddest" (Wang Guowei's "Human Story"). The world also thinks that the two sentences in Kokan Pavilion are different from the poem Zheng Fengfeng: "The wind and rain are gloomy, and chickens crow" and Qu Yuan's "Nine Chapters Involved in the River": "The mountains are steep and cover the sun, and it rains a lot; The snow is boundless, the clouds are falling, and Wang Ji's wild hope: "Trees are all autumn, mountains are all light" and other sentences "the weather is almost the same". Xia Kun, on the other hand, made love on the spot, feeling between scenes until the question of "Chen Qiang" was finished, which was not only stupid, but also sad. It can be described as unreasonable, affectionate and heartbreaking. Interpretation of Hui Hong said that Su Shi "loved his last two sentences, and wrote them from the model, saying,' I'm not good at it, although ten thousand people can't redeem it!'" "("Tiaoxi Fishing and Hidden Cluster "Volume 50 quotes" Cold Zhai Nightmare ") Wang Shizhen's" Flowers and Plants Are Picked Up "is therefore considered as" the last song of the ages ". ..... The sorrow of mountains and flowing water has made people feel abdominal pain for thousands of years! "

It is more appropriate to refer to the [Chitose] produced in Qin Guan's relegation trip:

Outside the sand by the water, battlements retreat in spring. Liu Ying's flowers, the lightness turns, are heard too fast and too thin. Oh, wandering alone, worrying that the wine is getting thinner, it is rare to get drunk. Missing day after day, body and mind have been burned to ashes. Recalling yesterday's Xichihui, Heron Qi Fei. Hand in hand, who is here today? The sky is fine, the dream is broken, the mirror has changed, and spring has gone! A quick flush valve is like the sea.

The title of Selected Poems of Sages in Tang and Song Dynasties under this palette reads: "Do it in the state with few lines", and notes that "there is a flower pavilion in this county, so Gai is named after this word." It was the second year of Shao Sheng (1095), and he was 47 years old. It is very similar in nature to the last article, because they all show the artistic style of low resentment and quiet aesthetic taste, which makes the sense of sadness at the end of the road and the sense of depression at the end of life more profound and heavy All this stems from the despair of a beautiful ideal, the loss of enthusiasm and vitality, and a primitive disappointment in the future. It is the purest poem flowing from the deepest part of people's hearts, or it is cast with the whole life-a sad and eternal "swan song", which has long been completely out of the way of entertainment. Zeng Minxing's Lonely Wake Magazine once recorded an anecdote: "If you travel less to Gu Teng, you will suddenly feel unhappy." On the way south, you passed Hengyang, and your old friend, the county magistrate Kong Yiji, stayed for a long time. One day, he read the word "Zhu Yan in the mirror has changed". "I was surprised and said," If you travel less, you will be in your prime. What is the sadness of words? "... said to his relatives,' Qin Shaoyou's appearance is unusual and he will die soon.' Not many fruits die. "Zeng Ji raccoon dog's" Zhou Zhai Shi Hua "also records that at that time, Prime Minister Ceng Bu commented on this word and said that Qin Guan" will soon die. Is there a' worry like the sea' and can you survive it? "This is the best proof of" keeping your word "and" worry hurts the body "

In short, Qin Guan's poems are saturated with pure poetic artistic spirit, and the quantity is small, but as far as the overall process of the evolution of literary history is concerned, its essence is as mentioned above, which has some connection with Su Shi's poems and can be described as mutual influence. Moreover, they also made diversified artistic explorations and showed different styles. For example, the most typical is the "near object" and "Dream":

A spring rain has added a lot of flowers to the mountain road, and the flowers are swaying in the wind, bringing a breath of spring to the mountain. I went deep into the stream, and countless orioles were singing. Flying clouds turn into dragons and snakes, and the sky turns blue. At this time, I am lying drunk under the clouds, hazy and blurred, completely unaware of the north and south.

This word was written by Shao Sheng when he was in charge of wine tax in Chuzhou in the following spring, but it was often attached to Qin Guan's famous works because he moved to Guanghua Pavilion in Tengzhou (now tengxian, Guangxi) (volume 7 of Zhao Lingzhi's Backstreet Record), so that Lang Ying thought that "this word is so fascinating?" ..... There is a poem in the valley:' Who will send a poem if you don't swim and get drunk in Gu Teng? .....' "He said that he had personally seen the ink of Qin Ci, and quoted Liu Juzhuang's poem:" Su Huangxue, a famous scenic spot, left his words today. Tengzhou dreams are not awake, and Huaishui Hu Aishan is always worried. " They are full of tragic flavor, and they can't help themselves (seven revisions and thirty volumes), but they are not enough as the basis for literary history criticism. The essence of Zhou Ji's Selected Poems of Song Sijia is: "Summing up a person's life, the conclusion becomes Tengzhou's prophecy. It's not like traveling less with ordinary handwriting to send out strange alarms. " Indeed, between the lines, there is an idealistic color. With the help of symbolism and metonymy, the article expresses his lifelong pursuit and hope, and only reveals at the end that the ideal of life will eventually turn into illusory pain and confusion. After careful tasting, I suddenly got a biting sadness. As for the brushwork of flying over the eaves and the artistic characteristics of the strange realm, it is only a superficial impression.

Therefore, in some specific environmental situations, that is, "Huaihai scholars are worried all their lives" (Lou Jian's inscription and postscript to Haikang's poems in Huangtai History Book), such as recalling the past and banishing, these third-class words make the original traditional values of drinking and entertainment and singing to the beat go backwards several times, or even irrelevant. On the other hand, the classical poetry teaching theory requires him to undertake the emotional function of poetry and become a concrete materialized form of self-subjectivity, so as to meet his realistic spiritual needs of lamenting the tragedy of fate and venting his worries about life. Here, Qin Guan directly integrates all kinds of shortcomings in individual life into his own words, and does not need to rely on the usual thinking mode to stay away from resentment, nor does he need to make excuses for decorative words in order to hide his graceful posture. For the upper end, he usually only talks about metonymy to increase the capacity and flexibility of the text, so that while retaining its mainstream natural charm and rhyme, it can also add a gentle and leisurely meaning, which is particularly impressive. Therefore, together with Zhou Bangyan, he has always been known as an "authentic lyricist" (the first volume is Word Meaning (Volume 3)). "On the whole, the words of the Northern Song Dynasty, Zhou and Qin schools, are extremely frustrated and gloomy. But traveling less is particularly deep, and the beauty lies in the scale. The similarities and differences between this week and Qin dynasty are also "("Bai Yu Zhai Hua Ci "Volume I). His artistic spirit influenced many later poets, such as Li Qingzhao, Wang Ji, Zhang Yan and so on. It is all because of his life experience and national luck, and his dedication to Ci is to a greater extent the recognition and return of the poetic road, and even gradually evolved into long and short poems, which complement each other more and more, and he is increasingly committed to "entertaining himself." Although they have their own talents, they are different in style and appearance, and even become relatively independent tribes. But on the whole, it has transformed, updated, or developed and expanded the traditional art schools since Huajian and Nantang, making them full of vitality and not going to a dead end. In the meantime, Qin Guan must be given full attention.