The Evolution Of Lyrical Style Of Literati CI In Tang And Five Dynasties And Northern Song Dynasty

The essence of lyric literature is to make rational arrangements for emotional experience and transform it into a dynamic form which is isomorphic with our sense,reason and emotional life.This form of production is not only to convey the author’s inner activities,but also to reconstruct the emotional experience and construct the aesthetic ideal It is in this sense that the lyric form is undoubtedly one of the propositions directly to the essence of lyric literature.As the representative of Chinese classical lyric literature,CI,with its unique artistic form and aesthetic connotation,carries the writer’s aesthetic experience and ideological interest,and has distinct nationality.Especially in the Tang and Five Dynasties and Northern Song Dynasty,with a history of more than 300 years,CI has experienced its occurrence development and reached its peak in the middle and late Northern Song Dynasty.In practice,it has almost all the lyric forms in the whole history of Ci,and has become a Lyric style that keeps pace with poetry in theory.This paper is to explore the evolution of aesthetic culture of literati CI in Tang and Five Dynasties and Northern Song Dynasty.The first chapter,scene and viewpoint--Lyric role and space form change of CI.Through the analysis of the dynamic changes of lyric roles,this paper summarizes the three stages of the development of lyric style,which are: the stand on the lookout of the outside,the female mentality of simulated endorsement,and the self-expression of self love.The literati in the late Tang Dynasty often appeared as narrators,decorated beauties with objective brushwork and touched beautiful feelings.During the Five Dynasties,the poets gradually turned to pay attention to the mental state and mental outlook of the lyric protagonist,paying attention to the narrative logic of the events and the emotional process of the characters in the CI,especially accumulating a few emotional experiences,such as parting and parting,nostalgia and distance.Under the circumstances of the times,Li Houzhu in the Southern Tang Dynasty became the first person to express his own feelings.The Northern Song Dynasty poets continued to expand the scope of his poems,and his poems developed in the direction of expressing literati’s cultural psychology,until they had the lyrical function of poetry.The lyric role,from the narrator as the first person to the spokesperson,and then to the author himself,reflects the enhancement of the poet’s subject consciousness and lyric elements,as well as the change of the poet’s mentality,interest and understanding of the function of CI.The change of lyric style implies the change of the function of CI style.The second chapter,"coquettish" or "amorous"--the function and value orientation of CI.By observing the transfer of lyric focus of CI style,this paper explores the value orientation of CI style in different periods.The "love" in Huajian highlights the love between men and women,and chants the life experience of the lack of love;the "love" in Southern Tang Dynasty highlights the "love" of family and country,and chants the sorrow of losing country and leaving home;the "love" in the early Northern Song Dynasty focuses on the daily life of the literati,and chants the idle pen of chatting with Qinghuan,which is the leisure of wealth and prosperity;the "Tao" in the late Northern Song Dynasty describes the temperament of people,which is the middle life of the literati The ambition of remote heart is the deep understanding of life,the emotion and interest produced by the intersection of cultural nourishment and life circumstances.When CI began to explore the life experience closely related to literati,the value of CI changed from "the joy of ziyugai" to expressing the heavy pressure of life,to chatting about Qinghuan and describing Shengming,and then to Tao’s temperament.Finally,it changed in practice and theory,and became a lyric style keeping pace with poetry.Time and space determine the scene of literature.The setting of time and space has a key impact on the lyric style and aesthetic characteristics,and contains a deep sense of life and cultural connotation.The third chapter,space-time and poetic quality--CI style,part of speech and space-time arrangement,mainly discusses the relationship between CI style,part of speech and space-time combination.Reminiscence is often used to express vaguely in lingci,which brings the profundity of CI.Compared with Xiaoling,Changdiao has expanded its capacity,and its explanation of time and space is more direct and clear.Gradually,there are three ways of time and space transformation: envisioning the future and the extension of time and space,recalling the past and the retrospection of time and space,two-way writing and the expansion of time and space.It means that the poets no longer follow the physical logic,but the poetic or emotional logic to create the spirit freely.In this kind of free creation,there are two typical expansion ways of individual Lyric in time and space,that is,historical recollection,travel and immortality,which become the different time and foreign reflection of the poet’s life difficulties and fate anxiety.The fourth chapter is the general keynote: the focus of chanting and tragic beauty of Ci poetry under the contradiction of history and morality.This paper mainly discusses the development stage and general tone of the literati CI in Tang,Five Dynasties and Northern Song Dynasty.According to the chanting focus of Ci in different periods,it can be divided into four periods: Huajian Ci,Southern Tang Ci,early Northern Song Ci and late Northern Song Ci.In the different development periods of Ci poetry,it is always the trial of sadness and interest.Sadness appears as the role of controlling and adjusting the sense of music.On the one hand,it can prevent Ci from revelry in the artistic illusion of wealth and happiness;on the other hand,as the deployment of music sense,it can enrich the connotation level of Ci and enhance the charm of Ci,showing the vigilance and contradictory mentality of literati to pleasure.