Wu Wenying

Wu Wenying

Wu Wenying (about 1200-1260), a native of Siming (now Ningbo, Zhejiang Province), was named "junte" and "Mengchuang". Ci writers in the Southern Song Dynasty.

Wu Wenying lived in Suzhou, Hangzhou and Vietnam for the longest time, and took Suzhou as the center. Wherever you go, there is a chant. In his later years, Wu Wenying once lived in Yuezhou. He successively pacified Wu Qian and his descendants Zhao and Rui, and later died.

As a famous poet in the Southern Song Dynasty, Wu Wenying had a high position in the creation and development of the school of Ci, with 340 CI handed down, which had a great influence on the later CI.

(general drawing reference) < / I >

Life of the characters

(the life of the character is based on Xia Chengtao's inference in the annals of Wu Mengchuang) < / I >

Suzhou staff

In 1224, Wu Wenying revisited Deqing and wrote the poem "congratulating the bridegroom · Fu xiaochuihong for Zhao Lingjun of Deqing".

In 1232, Wu Wenying was a staff member of Cangtai in Suzhou. In the same year, he wrote the poem "slow voice, farewell to sun wuhuai on the day before the ninth anniversary of Guo Xidao's chitingrun.". Other words, such as "Magnolia flower slow · purple Bay hoarse frozen grass", "eight sound Ganzhou · accompany Yumu Zhugong you Lingyan", "Zhu yingtaijin · farewell to Chen Shaoyi by Cangtai xixingbu" and so on, were also written during the period of Suzhou staff.

In the first month of the second year of Duanping (1236), Wu Wenying wrote the Ci of tanfangxin wenfengding.

Temporary residence in Hangzhou

In the autumn of 1238, Wu Wenying lived in Hangzhou temporarily. He wrote the Ci poem "Magnolia flowers slow, several near and far away". In the same year, Shi Shu was sent to eastern Zhejiang.

In the first month of the third year of Jiaxi (1139), Wu Wenying accompanied Wu Qian to enjoy the plum blossom in Canglang Pavilion and wrote the poem "congratulating the bridegroom, Mr. peilvzhai, watching the plum blossom in Canglang".

In the autumn of the first year of Chunyou (1241), Wu Wenying and his friend Feng qufei ascended the Yuling mausoleum. In the same year, Wu Wenying wrote the poem "qitianle · living with Feng deep in the Yuling mausoleum"; in the same year, he wrote the poem "candlelight and waving red · preserving Feng deep in the wing for the first time".

In the spring of the second year of Chunyou (1242), Wu Wenying wrote "six clowns: gradually new geese reflecting willows" in Suzhou.

In the spring of the third year of Chunyou (1243), Wu Wenying wrote the poem "shuilongyin · guimao New Year's Eve" in Suzhou. In the same year, Wu Wenying first met Shen Yifu and taught him the morphology. At the end of autumn and the beginning of winter, I left Suzhou for Hangzhou; in December, I visited the broken bridge with my brother Weng Fenglong.

Living in Yuezhou

In the late spring of the fourth year of Chunyou (1244), Su Ji, who had left, returned to Suzhou. Wu Wenying came back to Suzhou and lived outside panmenwai for the Dragon Boat Festival. She wrote the poem "Manjianghong · jiachensui · panmenwai lived in Chongwu". In the same year, she wrote the poem "fengqiwu · jiachenqixi" and "Weibing · jiachenzhongqiu". At the winter solstice, she left Suzhou and lived in Yuezhou.

In 1245, Wu Wenying wrote poems in Suzhou, such as Shengshengman · Shouwei Fangquan and yongyule · Yisi mid autumn rain.

In 1246, Wu Wenying wrote Ci poems in Hangzhou, such as saiyuanchun, bingwuniandan, ruihexian, bingwuchongjiu, xijiangyue, bingwudongzhi, shuidiaotao, Fuwei Fangquan, wanghulou and jiangduchun, farewell to Kuocang by Li Taibo.

In the seventh year of Chunyou (1247), Wu Wenying wrote "fengchiyin qingmeijin chuyousi Langguan" and "saiwengyin jiemeijin chulang quque".

For the door

In August 1249, Wu Qian served as a pacifier in eastern Zhejiang. In December, Wu Qian was also a member of the Privy Council and a political adviser. Wu Wenying served as Wu Qian's aide here.

In 1250, Wu Wenying was in Yuezhou, where she wrote a poem entitled "Jiangdu spring: the lantern screen of Penglai Pavilion".

In 1251, Wu Wenying left Yuezhou and returned to Hangzhou. In February, fengle building was rebuilt by the West Lake outside Yongjin gate. Wu Wenying wrote a long tune of yingti Xu, canhan zhengpi Bingjiu on the wall of fengle building, which was praised all over the city.

In the summer of the first year of Kaiqing (1259), Wu Wenying wrote the poem "Qinyuanchun, seeing Weng binmin off to visit Ezhu" in Wuzhong.

In the first year of JINGDING (1260), Wu Wenying became a guest of King Zhao and Rui in Yuezhou, and wrote "banqingdu, farewell to Wang Zhongheng, return to Beijing" and "safflower tour, fuyaopu, wanxiangjunchuntang"; in early August, he congratulated Zhao and Rui, and wrote "candle shadow and red", "shuilongyin"; in autumn, he wrote "banqingdu" and "qitianle" for his wife. Wu Wenying may have died that year.

Main impact

characteristic

In the creation of Ci, Wu Wenying mainly follows Zhou Bangyan's example, paying attention to metrical, sound and emotion, rhetoric and allusion. Shen Yifu once summed up his lexicon as four points: first, harmony; second, elegance; third, refinement of words, implicitness; fourth, gentleness, against wildness. This artistic style determines that "Mengchuang Ci" is difficult to reflect major themes, and the rich and colorful CI scene is also the common feature of the graceful CI school in the Southern Song Dynasty. But in the way of expression, "Mengchuang Ci" has the characteristics of breaking the traditional hierarchical structure, free transformation, strong jumping, and the mixture of reality and imagination.

First of all, in the way of artistic thinking, we should completely change the normal thinking habits, turn the real scene in the eyes of ordinary people into illusion, and turn the nothingness in the hearts of ordinary people into reality. Through the peculiar artistic imagination and association, we can create a dreamlike artistic realm. For example, the nostalgic CI written when you visited Lingyan mountain in Suzhou:

It's the year of the year, the sky and the stars. Magic Cang cliff cloud tree, name baby golden house, residual hegemony palace city. The arrow path is sour, the wind blows at the eye, and the greasy water is fishy. When the double Mandarin sound, corridor leaves autumn sound. In the palace, the king of Wu was intoxicated, and the guests of Qianwu Lake were tired. Ask cangbo speechless, huafanai mountain green. Water culvert empty, appendix dry high, send random crow, oblique sunset fish ting. Even call wine, go to Qintai, autumn and cloud flat. (eight voices of Ganzhou: accompany Yumu Zhugong to Lingyan)

At the beginning of the article, the author breaks the stereotype of thinking about how to write the real scene in the poem of climbing the mountain and reminiscing the past, and illusions Lingyan mountain and guanwa palace with unexpected imagination, comparing Lingyan mountain to the falling stars in the sky. This is turning reality into emptiness. The ruins of Xi Shi are ruins, but the author vividly shows the residual smell of grease and the sound of Xi Shi walking in the corridor with extraordinary Association, which turns emptiness into reality, illusion and reality, and emptiness. Similar to this kind of performance of transcending time and space and realizing the illusion in the heart, it can be seen everywhere in Mengchuang CI. For example, the famous work Feng Ren song in memory of Wu Ji:

Listen to the wind and the rain. Worry about grass and flowers. In front of the building, there is a green road, a little willow and an inch of soft essence. In the cold of spring, the wine mingles with the warbler in the morning dream. The West Garden sweeps the forest pavilion every day. Still enjoy the new sunshine. The wasp frequently flutters the swing rope, has at that time, the slender hand fragrant coagulation. Melancholy double mandarin not to, Youjie night moss.

The realm of Ci is like a dream. The two sentences of "wasp" are both true and illusory. The wasp flutters on the swing, which is the real scene in front of her eyes; the fragrance left on the swing by Wu Ji's slender hands was originally an illusion caused by her obsessive memory, and the first word "you" describes the illusion as reality. Another song, a half faced female skull, turns the half faced skeleton into a graceful girl

When Chai and Yan sleep together. The partition broke into Apricot Branches. Youth half face makeup picturesque, drizzle three more flowers fly. Light love, farewell, old acquaintance. The heartbroken tombs are shining. When the wind blows, you will not light your clothes.

Wu Wenying is good at this kind of extraordinary imagination and illusory means.

Secondly, in terms of the structure, after the halal Ci, it further breaks the usual order of time and space changes, condenses and unifies the emotions and scenes of different time and space in the same picture, or interweaves the real emotions and illusory situations, making the artistic conception confusing. Wu Wenying's Ci was written by Zhou Bangyan. The structure of Muslim CI is also jumping, but there are still clues to be found. The structure of Mengchuang CI is often abrupt, the jumping changes of time and space scenes are not constrained by rationality and logical order, and lack of necessary transition and reference, and the context of emotion flickers without trace. This strengthens the fuzziness and polysemy of CI context, but also increases the difficulty of readers' understanding. His 240 word self tune, also the longest tune in the history of Ci, yingti Xu, typically reflects the characteristics of this structure. The whole word is divided into four paragraphs, mainly about the missing of the dead lover. Acacia also contains the feeling of travel. The time and space are changeable and interspersed repeatedly. The first paragraph is about living alone and hurting the feelings of spring. The leading space is embroidered households. With the flow of thoughts, the space image jumps from Xicheng to Lake, and then to Wu palace. The second section recalls the love affair ten years ago, and "spring is wide and dream is narrow" contains the current feelings. The third paragraph is always about the affairs after farewell. After the film, I went back to the real water town to send a trip, and then I jumped to the farewell to visit the past and the scene of separation at that time. There are three jumps in time and space. The fourth paragraph is about Acacia, interspersed with the look and expectation after parting, the joy when we get together and the tears when we leave, the time changes several times, the space also jumps from the front to Liaohai and returns to Jiangnan. Time and space mutation, feelings flicker. He does not follow the Convention to write one thing and then write another, but interlace. The structure of words is composed of fragments which lack logical and rational connection, and the internal connection point is the jumping thoughts. It is similar to the modern stream of consciousness technique, which is not easy to understand by the ancients.

style of language

Wu Wenying's Ci is new and strange. The first is the collocation of language and the combination of words and sentences, which often breaks the normal word order and logical conventions. Just like its structure, it can be combined freely by subjective psychological feelings. Such as "flying red if to the bottom of the West Lake, stir the green waves, always worry about the fish" (high balcony fengle Lou Fen Yun Ru Zi) and "falling catkins silent spring falling tears" (Huanxi Sha),

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