Reading Liu Yong's "Remembering the Imperial Capital with Thin Pillows and Cool Days"

# Poetry Appreciation # Introduction This poem "Remembering the Imperial Capital" is one of Liu Yong's series of poems about parting lovesickness. This word expresses the inner feelings of both men and women with pure oral sketches, and its artistic expression is novel and unique. It is a distinctive one among Liu Yong's similar works. Let's learn Liu Yong's "Remembering the Imperial Capital with Thin Pillows and Cool Days". Welcome to read!

Recalling Emperor Jing, the thin pillow cools the sky.

Song Liu Yong

The thin pillow is cold, and it feels like parting at first. It's colder to get up and sleep. After all, I can't sleep, and the night is as long as years.

I also intend to stay, but I will return to Levi; I have plans to fight for resistance again. Ten thousand kinds of thoughts, many solutions, only loneliness and fatigue. This is my life, and I have shed a thousand tears for you.

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From Liu Yongzhi's mouth, "It is the heart of my life, and I owe you a thousand tears" is bound to be another farewell song that I have to sing, and another story with no ending.

"I also want to stay, but I want to levy." He also thought that it would be better to abandon everything and go back. However, "I have been fighting and making plans." Now that I have reluctantly left, how can I go back? If you can't, you can't go back. Can only be "boring" and live so boring. "It's my life", I will never forget you, and you will always be in my heart; And you must be very concerned about my life. My life has been so heavy. "I owe you a thousand tears." I'm leaving. Even if I see your tears, I still have to leave and go to a distant place. I know I may never see you again. My deep affection for you can only be conveyed through my concern for you. In the end, I failed to live up to your thousands of tears, and I became an ungrateful person after all.

"After many years, it should be a beautiful moment in name only. With such a variety of customs, who can you talk to?" Liu Yong only said that after leaving, all the beautiful moments in the world exist in name only. "There will be no good nights from now on, let him go to the west wing of the bright moon." Do you know that woman will indulge in tears all her life, and maybe she will die?

This word is purely spoken, fluent and natural, and "fate" and "thousand lines" are extremely important words; "Iron" and "negative" are extremely sad words, one is the concern of generations, and the other is the guilt of having to live up to it. These two sentences euphemistically express the sincere love between people, and their thoughts and art are relatively mature.

Extended reading: introduction to Liu Yong

Liu Yong (formerly known as Sanbian, about 984- about 1053), also known as Liu Qi, was born in Chong 'an, Fujian, a poet in the Northern Song Dynasty, and a representative of graceful and restrained school.

Born in an official family, I studied poetry when I was young. In the first year of Dazhong Xiangfu (1008), he went to Beijing to take part in the imperial examination. After repeated attempts, he devoted himself to the creation of lyrics. In the first year of Jing You (1034), in his later years, Liu Yong was promoted to be a judge of Zhou Mu Yong ying, Yuhang county magistrate, Xiaofeng Saline-Alkali and Sizhou. Liu Yong was the first poet who made a comprehensive reform of Song Ci, and he also wrote the most tunes in Song Dynasty. He transplanted the fu method into Ci, and at the same time made full use of slang and common sayings, which had a far-reaching impact on the development of Song Ci.

Liu Yong was born in a bureaucratic family, and his grandfather Liu Chong lived in Hedong (now Shanxi). He used to be the magistrate of Shaxian County, and he was quite prestigious in the county. Father Liu Yi, an official of Southern Tang Dynasty, supervised the empire; After the downfall of the Southern Tang Dynasty, Liu Yi served in the Northern Song Dynasty as the magistrate of Leize County. Soon, he was changed to Fei County Magistrate and Zhou Pu Magistrate. Liu Yongsheng was born in his father's house (Feixian, 984).

In the first year of Chunhua (990), Liu Yi went to Tokyo to write a letter, giving a verdict to Quanzhou, and Liu Yong went to work with his father. In the fifth year of Chunhua (994), Liu Yi was transferred to Yangzhou as a doctor with Zanshan, and Liu Yong followed him to write "Persuasion". After three years of Daoism (997), Liu moved to Dr. Guo Zi many times and ordered his younger brother to go back to his hometown Chong 'an with his portrait to comfort his mother. Liuyong and his uncle came home.

In the first year of Xianping (998), Liu Yong lived in his hometown, visited Zhongfeng Temple, a famous scenic spot, and wrote the poem Tizhongfeng Temple. Liu Yong read Mei Feng Pen and liked it very much. He wrote it on the wall and thought it over. In the fourth year of Xianping (100 1), Liu Yong tried to write "A Journey to Wushan" as a poem, praising the hometown scenery of Wuyishan, which means "floating in the sky".

Extended reading: Liu Yong's artistic achievements

1, enriching the tone of the text

During the Tang and Five Dynasties, the style of ci was mainly Xiao Ling, and there were only a dozen slow words. In the early Song Dynasty, it was a poem that poets were good at and used to. Zhang Xian, Yan Shu and Ouyang Xiu, who were a little later than Liu Yong, only tried to write 17, 3 and 13 slow words respectively, and the proportion of slow words in their total words was very small. Liu Yong wrote 87 slow words, 125 songs, and was the first person to write a large number of slow words. Liu Yong's efforts to create slow ci fundamentally changed the pattern of the world dominated by poetry since the Tang and Five Dynasties, and made the two styles of slow ci and slow poetry keep pace.

Liu Yong was also the poet who wrote and used the most tunes in Song Dynasty. According to statistics, among more than 880 songs in Song Dynasty, more than 100 was written or used by Liu Yong for the first time. From Ci to Liu Yong, the system began to prepare, and the long and short tones such as sequence, introduction, proximity, slowness, monotony, disyllabic, triple and quadruple are increasingly abundant. The perfection of the formal system provides a premise for the development of Song Ci and the development of its successors in content.

2. Elegant and popular.

Ci originally came from folk, and Dunhuang Quzi Ci was mostly folk. After reaching the hands of literati, it was gradually used to express the life and feelings of literati. Liu Yong lived in the middle and early period of the Northern Song Dynasty, where the citizen class had gradually grown. He hung out in brothels and knew the life of citizens quite well. Liu Yong's ci works, which express women's life and feelings, not only change and develop the tone style of ci, but also change the aesthetic connotation and taste of ci from the creative direction, that is, change "elegance" into "vulgarity" and make ci re-enter the market from the aristocratic literature salon.

However, Liu Yong's writing about travel and travel is quite elegant. The words "staying on the journey" are mostly related to the lack of talents and the decline of the world. These words express the feelings of a scholar and belong to the category of elegance. In terms of writing techniques, Liu Yong is also compatible with the expressive techniques of poetry. The creation of artistic conception, the rendering of atmosphere, the use of allusions and the choice of words and sentences all reflect the characteristics of elegance, which makes his ci show the characteristics of appealing to both refined and popular tastes.

3. Expression skills

(1) lyric self-realization.

Five pronouns in the late Tang Dynasty, except for Wei Zhuang and Li Yu's later works, mostly express the feelings of parting from sorrow and loving men and women, and mainly adopt the lyric mode of "endorsement"; Liu Yong's ci pays attention to expressing his unique life experience and mentality, adopts the lyric mode of "endorsement" and pays attention to emotional experience. The word "He Jinbang" is a typical example of this kind of works, which expresses his resentment after his fame fell to Sun Shan, and also shows his rebellious spirit and uninhibited personality.

② Popularization of language.

Liu Yong also made bold innovations in the language expression of ci. Different from literati ci since the late Tang Dynasty and the Five Dynasties, he only practiced elegant and beautiful language from written vocabulary, and made full use of daily spoken language and slang in real life. For example, pronouns such as I, You, Yi, Zijia, Yi Jia and A Who, adverbs such as You, How and Zheng, and verbs such as Kancheng, Dulai, Dying and extermination. Using expressive spoken language to input words is not only lively, but also makes readers and listeners feel cordial and easy to understand and accept.

(3) Description and painting skills.

Due to the short space, this poem is only suitable for traditional metaphor and symbolic meaning.

Liu Yong's Ci Wu Fengqi (Huang Zhu)

Liu Yong's Ci Wu Fengqi (Huang Zhu)

The elephant sets off and conveys the feelings of the lyric hero. However, slow words can be spread and spread incisively and vividly, so Liu Yong transplanted the method of "telling the truth" into words, or directly portrayed the rich and complicated inner world of lyric heroes layer by layer; Or lay out the scenes and processes that describe the development of the situation, so as to show the emotional and psychological changes of the characters in different time and space scenes.

In line with the description, Liu Yong also uses line drawing techniques extensively, and does not use excuses to write landscapes; Romantic narrative, without contrast and rendering, directly expresses the mind. For example, Ding Feng's "Bo Zi Chun Lai" reveals the life aspirations of young women unabashedly, writes landscapes, and uses line drawing skills to describe them in great detail.

④ ingenious structure

At the same time, Liu Yong is good at skillfully using the transformation of time and space to describe, set up and express feelings, and develops the dual structure of writing between people and me into a multi-dimensional structure of missing each other and imagining each other missing themselves, which is embodied in "thinking about beauty, dressing up, missing a few times, and knowing the boat in the sky" ("Basheng Ganzhou Sprinkled Rainy River")