Differences of Writing Styles between Northern Song Dynasty and Southern Song Dynasty

1. The difference between the Northern Song Dynasty and the Southern Song Dynasty (960-1279): The regime established by Zhao Kuangyin was divided into the Northern Song Dynasty and the Southern Song Dynasty, so it was also called the Song Dynasty. Because the monarch's surname is Zhao, it is different from that of the Northern and Southern Dynasties, so it is also called Zhao. Because the five virtues began at the end and the Song Dynasty was a fire virtue, it was also called "Fire Song" and "Yan Song".

Zhao Kuangyin, the general of the Zhou Dynasty, launched a mutiny, usurped the Zhou Dynasty and established the Song Dynasty. At the end of the Song Dynasty and the end of the Tang Dynasty, China unified the whole country after entering the situation of five dynasties and ten countries split. Zhao Kuangyin and Zhao Guangyi only launched several rounds of Northern Expedition in the Song Dynasty, and the territory was roughly formed in the early and middle Song Dynasty. Since then, the Song Dynasty has always adopted a passive defense strategy of emphasizing the interior and neglecting the exterior, and rarely went to war with the North. At the beginning of the founding of the People's Republic of China, in order to avoid repeating the tragedy of the late Tang Dynasty in which the vassal regions were divided and eunuchs frequently intervened, Zhao Kuangyin returned the general's power to the central government, adopted the national policy of worshipping and restraining the military, and implemented the general command system. This national policy has far-reaching influence: on the one hand, there were few courtiers who were tyrannical and chaotic in the Song Dynasty, with developed economy and technology and extremely prosperous culture; On the other hand, it also led to the weakness of military equipment since the early establishment of the Northern Song Dynasty, which was frequently defeated by foreign invasion in the north, and repeatedly defeated Xixia and Qidan. The disaster of Jingkang in Song Dynasty occurred in1126-1127. Huidi and Qin Emperor were captured by the Jin people, and the Song family was forced to move south to Lin 'an (now Hangzhou, Zhejiang Province), bounded by Huaishui and the invading three passes of the Jin State. Historically known as the Southern Song Dynasty, before the capital Bianliang period. 1276, the capital Lin 'an fell, and the Southern Song Dynasty died in the meta-empire established by Kublai Khan of Mongolia.

2. What's the difference between Song Ci and Southern Song Ci?

Summing up the opinions of various factions, the words "Southern Song Dynasty" and "Northern Song Dynasty" can represent two different styles: one emphasizes the feeling of nature and the other emphasizes ingenious thinking; Northern Song Dynasty is muddy, Southern Song Dynasty is beautiful, and each has its own strengths. The so-called "dense and beautiful, high sentiment is far less than" can summarize the advantages and disadvantages of elegant words in the Southern Song Dynasty.

Finally, the paper summarizes the whole paper and thinks that the design of this paper takes into account the form and content, individual genre and style of the times. This not only clarifies the theoretical level of various related arguments, but also reflects the style characteristics and significance of Wujiang Elegant School in the Southern Song Dynasty. First, the different characteristics of the Northern and Southern Song Ci. By the time the History of Ci in the Northern Song Dynasty was written, the creation of Ci in the Southern Song Dynasty was faintly visible.

Here, we should review and summarize the different characteristics of Ci in the North and South Song Dynasty, so as to make a transition to the reading of the history of Ci in the South Song Dynasty. First of all, the difference between North and South Song Ci comes from the evolution of music.

Ci is essentially a kind of music literature, and many changes of Ci are closely related to the evolution of music. In ancient society, there was a lack of scientific methods for recording music scores, and music teaching was also very casual. Many beautiful tunes are passed down by geisha and musicians.

In this way, the constant emergence of new tunes will inevitably drown out a large number of old tunes, and many popular music that once flourished will eventually disappear in the long river of history. Although many words in the Southern Song Dynasty can still be sung in chorus, it has become an irreversible trend that "the old music is scattered and cannot be sung by sound".

Zhang Yan, a poet at the end of the Southern Song Dynasty, said in Preface to National Incense: "Shen Meijiao is a prostitute. I suddenly saw it in Kyoto and worked hard on wine.

You can also sing two songs of Zhou Muslims, Unforgettable and Taicheng Road, because I told you to remember them. Word into, with ROPA book. "

It can be seen that few people can sing some songs of Zhou Bangyan. "Poetry always borrows the appropriate rhythm from songs and directly inherits its lyrical character.

After adapting to this rhythm, poetry and songs entered a state of being at arm's length, and finally became disciples' poems with no songs to recite. "The poets of the Northern Song Dynasty sang lyrics as a banquet at the request of songs between banquets.

Poets' ci poems in the Northern Song Dynasty are leisure entertainment, amateur entertainment, taking part in accidental amusement, a true portrayal of private life and an undisguised expression of temperament. Poetry in the Southern Song Dynasty, more and more out of the fetters of music, embarked on the road of independent development, and gradually became an elegant literature of literati's desk.

On the other hand, the great changes in the social environment in the Southern Song Dynasty forced the creation of lyrics to go out of the ivory tower and look at a broader social reality. Ci poetry in the Southern Song Dynasty is often the result of mutual singing or friendship between literati and poets, and sometimes it is the horn of the war of resistance and a tool to serve reality.

The ci creation of poets in the Southern Song Dynasty is an elegant artistic activity, an elaborate organizational arrangement and a solemn emotional expression. Therefore, "Miscellaneous Words of Jiecunzhai" said: "There are meaningless words in the Northern Song Dynasty to respond to songs, and there are meaningless words in the Southern Song Dynasty to respond to clubs."

Secondly, in connection with the evolution of this music background and the change of creative environment, the works of poets in the Northern Song Dynasty often express their inner feelings on the scenery in front of them, which is natural and vivid. Poets in the Southern Song Dynasty painstakingly conceived, skillfully arranged, wonderful and rich, unique in door diameter and remarkable in syntactic rules, which inspired people to forge ahead.

Zhou Ji said, "It is the movement of the Northern Song Dynasty, so the scene is infinitely high and very interesting. Scholars in the Southern Song Dynasty wrote and competed for each other's merits, so there were many changes and rich materials.

However, there were doors and gates in the Southern Song Dynasty, so it was deep and shallow. There was no door in the Northern Song Dynasty, which seemed easy but actually difficult. "

He also said: "The poems of the Northern Song Dynasty mostly describe the feelings of the scenery, so the beads are round and beautiful. When I arrived at Jiaxuan and Baishi, I changed the scenery, making it deep and shallow, and bending straight. "

Everyone has their own spring and autumn. The northern song ci is characterized by melody, which is easy to arouse readers' universal singing; The ingenious arrangement of Ci in the Southern Song Dynasty is worthy of readers' repeated chewing.

This fundamental change in the way of writing Ci began in Zhou Bangyan at the end of the Northern Song Dynasty, and was widely reflected in the creation of Ci writers. The third volume of Baiyuzhai Ci Tan discusses the development and rise and fall of Ci from this angle: "The Northern Song Dynasty is not far from Wen and Wei, and it is time to see the ancient meaning.

In the Southern Song Dynasty, it was extremely abnormal. If you are extremely abnormal, you can finish what you have done.

Those who become words after the order have to deliberately seek novelty, or even go from bad to worse, and there is reason to cover it up. This is also a poem dedicated to Ling Du, but later it was helpless.

And heaven and earth are exhausted, and the ancient meaning has faded. "This kind of" ancient meaning "is probably the rate and the" natural feeling ".

Thirdly, the Ci in the Northern Song Dynasty was written with emotion, rich and mellow, expressing personal pleasure with little accidental meaning; Ci in the Southern Song Dynasty is ingenious and ingenious, conveying the twists and turns of the poet's mind, so it uses the technique of bi xing expression. Zhou Ji said: "Ci is in the Northern Song Dynasty, and the next one is in the Southern Song Dynasty, so it can't be empty. I don't know how to put it."

The Southern Song Dynasty was the highest, and it was based on its ability, but it had nothing to place on it. The Southern Song Dynasty was not the same as the Northern Song Dynasty, nor was it as high as the Northern Song Dynasty. "

② In this respect, the Southern Song Ci was highly praised by the poets in the Qing Dynasty. Poets in the Southern Song Dynasty, who can best embody the meaning of metaphor and hope, like to praise things in association.

Because the ancients praised things, "borrowing things to carry temperament, all the feelings of life experience, and the worries of the country, are hidden in it, and they are deeply attached to each other and do not touch anything." (shenqing Xianglong's "On Ci", Volume 3, "Fentoli Ci" said: "Ci originates from poetry, that is, it is a small chant, and it is also more expensive than wind and people.

People in the Tang, Five Dynasties and Northern Song Dynasties paid little attention to things, but they all had their hopes. Baishi and Shi Hu Yongmei alluded to the North-South peace talks.

As well as the adherents of Bishan, Caochuang, Yuqian and Renjin. In the addendum to Yuefu, Long Xianxiang, An Baili, Chong, Crab and Cicada all expressed infinite feelings of home and country, not just gifts. Zhihu this, then "Qi Tianle chant", "fish chant", can't continue mink.

It is an author who can become famous without sustenance. "Important social and political themes are expressed in the lyrics in the form of metaphor and sustenance. The realm of Southern Song Ci is naturally different from that of Northern Song Ci.

It is based on this that the Qing people in the Southern Song Dynasty changed their views on Ci. Second, on the advantages and disadvantages of the Northern and Southern Song Ci.

3. On the differences between the Southern Song Ci and the Northern Song Ci First of all, the differences between the Northern and Southern Song Ci come from the evolution of music. Ci is essentially a kind of music literature, and many changes of Ci are closely related to the evolution of music. In ancient society, there was a lack of scientific methods for recording music scores, and music teaching was also very casual. Many beautiful tunes are passed down by geisha and musicians. In this way, the constant emergence of new tunes will inevitably drown out a large number of old tunes, and many popular music that once flourished will eventually disappear in the long river of history. Although many words in the Southern Song Dynasty can still be sung in chorus, it has become an irreversible trend that "the old music is scattered and cannot be sung by sound". Zhang Yan, a poet at the end of the Southern Song Dynasty, said in Preface to National Incense: "Shen Meijiao is a prostitute. I suddenly saw it in Kyoto and worked hard on wine. You can also sing two songs of Zhou Muslims, Unforgettable and Taicheng Road, because I told you to remember them. The word is finished, which was written by Ropa. " It can be seen that few people can sing some songs of Zhou Bangyan. "Poetry always borrows the appropriate rhythm from songs and directly inherits its lyrical character. After adapting to this rhythm, poetry and songs entered a state of being at arm's length, and finally became apprentice poems without songs. " Poets in the Northern Song Dynasty often wrote lyrics at the request of songs between banquets and sang at banquets. Poets' ci poems in the Northern Song Dynasty are leisure entertainment, amateur entertainment, taking part in accidental amusement, a true portrayal of private life and an undisguised expression of temperament. Poetry in the Southern Song Dynasty, more and more out of the fetters of music, embarked on the road of independent development, and gradually became an elegant literature of literati's desk. On the other hand, the great changes in the social environment in the Southern Song Dynasty forced the creation of lyrics to go out of the ivory tower and look at a broader social reality. Ci poetry in the Southern Song Dynasty is often the result of mutual singing or friendship between literati and poets, and sometimes it is the horn of the war of resistance and a tool to serve reality. The ci creation of poets in the Southern Song Dynasty is an elegant artistic activity, an elaborate organizational arrangement and a solemn emotional expression. Therefore, "Miscellaneous Words of Jiecunzhai" said: "There are meaningless words in the Northern Song Dynasty to respond to songs, and there are meaningless words in the Southern Song Dynasty to respond to clubs."

Secondly, in connection with the evolution of this music background and the change of creative environment, the works of poets in the Northern Song Dynasty often express their inner feelings on the scenery in front of them, which is natural and vivid. Poets in the Southern Song Dynasty painstakingly conceived, skillfully arranged, wonderful and rich, unique in door diameter and remarkable in syntactic rules, which inspired people to forge ahead. Zhou Ji said, "It is the movement of the Northern Song Dynasty, so the scene is infinitely high and very interesting. Scholars in the Southern Song Dynasty wrote and competed for each other's merits, so there were many changes and rich materials. However, there were doors and gates in the Southern Song Dynasty, so it was deep and shallow. There is no door in the Northern Song Dynasty, so it seems easy but difficult. " He also said: "The poems of the Northern Song Dynasty mostly describe the feelings of the scenery, so the beads are round and beautiful. When I arrived at Jiaxuan and Baishi, I changed the scenery, making it deep and shallow, and bending straight. " Everyone has their own spring and autumn. The northern song ci is characterized by melody, which is easy to arouse readers' universal singing; The ingenious arrangement of Ci in the Southern Song Dynasty is worthy of readers' repeated chewing. This fundamental change in the way of writing Ci began in Zhou Bangyan at the end of the Northern Song Dynasty, and was widely reflected in the creation of Ci writers. The third volume of Baiyuzhai Ci Tan discusses the development and rise and fall of Ci from this angle: "The Northern Song Dynasty is not far from Wen and Wei, and it is time to see the ancient meaning. In the Southern Song Dynasty, it was extremely abnormal. If you are extremely abnormal, you can finish what you have done. Those who become words after the order have to deliberately seek novelty, or even go from bad to worse, and there is reason to cover it up. This is also a poem dedicated to Ling Du, but later it was helpless. And the world is exhausted, and the ancient meaning is fading. " This kind of "ancient meaning" is probably an expression of feelings and a "natural feeling".

Thirdly, the Ci in the Northern Song Dynasty was written with emotion, rich and mellow, expressing personal pleasure with little accidental meaning; Ci in the Southern Song Dynasty is ingenious and ingenious, conveying the twists and turns of the poet's mind, so it uses the technique of bi xing expression. Zhou Ji said: "Ci is in the Northern Song Dynasty, and the next one is in the Southern Song Dynasty, so it can't be empty. I don't know how to put it." The Southern Song Dynasty was the highest, and it was based on its ability, but it had nothing to place on it. During the Southern Song Dynasty, there was no illness in the Northern Song Dynasty, nor was it as high as the Northern Song Dynasty. (2) In this respect, the Southern Song Ci was highly praised by poets in the Qing Dynasty. Poets in the Southern Song Dynasty, who can best embody the meaning of metaphor and hope, like to praise things in association. Because the ancients praised things, "borrowing things to carry temperament, all the feelings of life experience, and the worries of the country, are hidden in it, and they are deeply attached to each other and do not touch anything." (On shenqing's Xianglong Ci) In the third volume of Tuoli Ci, it is said: "Ci originates from poetry, that is, it is more important than wind and people. People in the Tang, Five Dynasties and Northern Song Dynasties paid little attention to things, but they all had their hopes. Baishi and Shi Hu Yongmei alluded to the North-South peace talks. As well as the adherents of Bishan, Caochuang, Yu Qian, Ren Jin, etc. In Yuefu Addendum, Long Xianxiang, Chong, Crab, Chan, etc. all expressed infinite feelings of home and country, not just gifts. Zhihu this, then "Qi Tianle chant", "fish chant", can't continue mink. It is something that recites scriptures. Without sustenance, there is no author who can become famous. "Important social and political themes are expressed in the lyrics in the form of metaphor and sustenance. The realm of Southern Song Ci is naturally different from that of Northern Song Ci. It is based on this that the Qing people in the Southern Song Dynasty changed their views on Ci.

4. The difference between the Northern Song Dynasty and the Southern Song Dynasty: The porcelain tiles and broken devices of the Northern Song Dynasty official kilns in Liu Zhuang, Wangzhuang and Kaifeng, the suburbs of Kaifeng, and the official porcelain in other parts of China, in terms of overall style, shape, glazing and decoration technology, etc., among the numerous Song Dynasty porcelain kilns, the Northern Song Dynasty official kiln (namely Bianjing official kiln) is the most handed down and recognized by the society. (1) It is estimated that there are more than 400 official kiln wares in the Northern Song Dynasty. Except for some factors such as glaze leakage or kiln change, the glaze of some utensils is pure and plain, and almost all of them have monochrome barbed wire or double-color gold wire mesh, and the ratio of the two is almost the same. Iron wire is usually black, brown and purple, and gold wire is yellow and red. There are many theories about the causes of these artificial color patterns, such as filling the cracks on the tire surface with grass ash or purple mud or ink. The author thinks that in the process of glaze application for many times (three or four times) after firing, cracks with different expansion coefficients appear on the surface of the glaze after the first glaze application, and one or two colorants are filled in the gaps with different shapes, and then glazed and fired. Therefore, after the second glazing and firing, this kind of colored line pattern is formed, and it will not change after the second glazing and firing. Wire patterns and gold wire patterns take on various forms. There are fine nets and large nets, sparse nets and dense nets; In the gold wire mesh, the general wire mesh pattern is sparse and the gold wire mesh pattern is dense; Some gold threads are plum blossom-shaped. Some people think that the "Ge Kiln" opened small grains, while the Song Imperial Kiln opened large grains. This is due to the lack of understanding of the official kiln in the Northern Song Dynasty. In fact, these two lines were found in official kilns in the Northern Song Dynasty. (2) The phenomenon of purple mouth and iron foot existed in most official kilns in the Northern Song Dynasty. Mainly manifested as ochre or dark brown bottom and a few gray-black bottom, brown or purple or brown is exposed along the mouth, with different shades. The purple mouth is not entirely caused by the thin glaze along the mouth edge, but partly by artificially coating colored tire protective liquid on the mouth edge. About a quarter of the official kilns in the Northern Song Dynasty were pure black tires. These black tires are all black feet and purple edges, which can be described as genuine purple iron feet. They are obviously different from Longquan imitation official porcelain in Yuan Dynasty, Xiunei Temple official porcelain and Tiger Cave imitation official kiln porcelain in Southern Song Dynasty. The latter is made of purple mud from Phoenix Mountain in Hangzhou. Many official kilns in the Northern Song Dynasty, which have the basic characteristics of "Ge Kiln", also have the bottom money to show their identity, such as "Fei" (Liu and Song Chongfei), "He Forbidden Garden" (all royal gardens that indulge in pleasure), "Shanghai Food Bureau" (the imperial catering institution in the Northern Song Dynasty) and "Renovation of the imperial temples in the Northern Song Dynasty". It is estimated that from the Jin Dynasty and the post-Jin Dynasty, a few official kilns with the above main characteristics began to flow into the society, and some of them fell into the hands of upper-class literati in the Ming Dynasty. The "100 pieces of garbage" mentioned by Ming Langying and the "fine lines" and "roe" mentioned by Wen Zhenheng and Gao Lian should all be the fine net patterns of official porcelain in the Northern Song Dynasty. When the latter two mentioned the red silk lines and iron lines in the official porcelain of the Northern Song Dynasty, they called them "eel blood lines" and "black lines". What they call "plum blossom" pattern should also be the round petal-shaped pattern of gold wire in the official porcelain of the Northern Song Dynasty. Because there is no written record of the official kilns in the Northern Song Dynasty, the total amount of firing of the official kilns in the Northern Song Dynasty is limited (probably less than that of Hejun porcelain), and the scope of use of official porcelain is strictly controlled by the Hui Zong court (this situation did not change until the Jinbing occupied Kaifeng House and the Jingkang disaster occurred), so the concept of official porcelain in the Northern Song Dynasty is generally lacking. Once they have the opportunity, they are confused and wrong.

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5. What's the difference between the Southern Song Dynasty and the Northern Song Dynasty? Northern Song Dynasty: From Song Taizu Zhao Kuangyin's accession to the throne in 960 to 1 127, it lasted 168, and * * * spread to the Nine Emperors; Southern Song Dynasty: From the southern crossing of Song Gaozong in 1 127 to the capture of Yashan by the Yuan Army in January 1279, it lasted 153 years, and also affected the Nine Emperors.

Details:

The Song Dynasty (960- 1279) is an era in the history of China, connecting the Five Dynasties and Ten Kingdoms and the Yuan Dynasty. According to the changes of the capital and territory, it can be further divided into the Northern Song Dynasty and the Southern Song Dynasty, which are collectively called the Song Dynasty. When the Song Dynasty was founded, in order to avoid the phenomenon of warlord regime and eunuch chaos since the end of the Tang Dynasty, the policy of valuing literature over martial arts was adopted. On the one hand, although the military was poor and weak, it was defeated by its northern neighbors. Hui and Qin were captured by the Jin people before 1 127, forcing the Song Dynasty to move south. 1279, Song Dynasty died in the sea battle of Yashan, Mongolia.

The Northern Song Dynasty (960- 1 127) is a dynasty in the history of China, and it is also called Song with the Southern Song Dynasty. The Northern Song Dynasty controlled the area south of the Yellow River Basin from the Zhou Dynasty of Zhao Kuangyin Dynasty. It was the first unified dynasty after the economic center of China moved southward. The regime of the Northern Song Dynasty confronted Liao, Jin and Xixia successively. 1 126, nomads attacked Kaifeng and perished the following year. * * * calendar nine emperors, 167.

The Southern Song Dynasty (1127-1279) was a dynasty in the history of China. When Lin 'an (now Hangzhou) was rebuilt, it was called the Southern Song Dynasty. East of Huaihe River (now Huaihe River), west of Daguanguan, bordering the rulers. The Southern Song Dynasty coexisted with Xixia and Jin Dynasties, and the Southern Song Dynasty settled in the south of Huaihe River.

The politics of the Northern Song Dynasty was biased towards the Sui and Tang Dynasties, while the politics of the Southern Song Dynasty was more similar to that of the Ming Dynasty. After all, the Northern Song Dynasty basically followed the "law of ancestors", while the influence of the "law of ancestors" in the Southern Song Dynasty was obviously weakened, and the conflict between relative rights and imperial power also increased.

Compared with the Northern Song Dynasty, the commodity economy in the Southern Song Dynasty was obviously more mature and developed, the contribution of commercial income to national income was obviously greater, and foreign trade also developed greatly.

Culturally, if the Northern Song Dynasty is a comprehensive revival of Confucianism, then the Southern Song Dynasty is a leap forward of Confucianism on a new basis.

6. What are the similarities between Northern Song Dynasty and Southern Song Dynasty? A large-scale peasant uprising.

Wang Xiaobo and Li Shun Uprising

In the last years of Song Taizong, there was a drought in Sichuan and Shaanxi, and the Song Dynasty imposed exorbitant taxes and levies, which made farmers overwhelmed and forced them to buy tea at low prices, resulting in a large number of tea farmers losing their jobs. In February of the fourth year of Chunhua (AD 993), Wang Xiaobo, a tea merchant in Qingcheng (now southeast of guanxian, Sichuan), rallied and revolted, and more than 10,000 people responded widely.

Sung River Uprising (1111121)

In the first year of Xuanhe (1 1 19), thirty-six people, including Song Jiang, gathered in Liangshanpo (now Dongping South, Shandong Province) and raised flags to rebel. Subsequently, he went around raiders, active in Hebei and Shandong, and successively raided more than ten state armies. In the third year of Xuanhe (1 12 1), in February, when Song Jiang and others attacked Haizhou (now Lianyungang, Jiangsu), they were defeated by Zhang Shuye, the magistrate of Haizhou, and Song Jiang and others surrendered.

Fang La Uprising

In the second year of Xuanhe, Fang La, a native of Qingxi, Zhou Mu (now Chun 'an, Zhejiang), used Manichaeism to help the Far East gather ten thousand people for an uprising. Fang La called Gong Sheng, Jianyuan Yongle, and established an official position. Then he conquered hundreds of thousands of counties such as Mu, Yun, Hangzhou, Chu, Qu and Wu. At the beginning of the third year of Xuanhe, Song Ting appointed Tong Guan as the ambassador of the four provinces of Jiangsu, Huai, Jing and Zhejiang, and led a 150,000-strong army south to suppress it. The counties controlled by Fang La fell one after another. In April, Fang La led the troops to retreat to the Far East and fought a decisive battle with loyalists. Seventy thousand people were killed, Fang La was captured and escorted to Bianjing for execution. The rest continued to fight in eastern Zhejiang for nearly a year, and then they were eliminated.

Yao uprising

A peasant uprising in Dongting Lake area in the early Southern Song Dynasty. Zhong Xiang, a native of Wuling, Dingzhou (now Changde, Hunan), used religious organizations to secretly form associations in his hometown at the end of the Northern Song Dynasty. Before the uprising, he had been engaged in missionary and organizational activities for more than 20 years. At the beginning of the Southern Song Dynasty, the Jin army invaded the south continuously, and the war caused great damage to some areas in the south of the Yangtze River. In the Southern Song Dynasty, * * * extorted money again, and the Song Dynasty loyalist defeated by 8 Jin Army took the opportunity to rob again, and the people were miserable. In the fourth year of Jianyan (1 130), Zhong Xiang led an uprising, calling himself the King of Chu, the founding name of the country, and changed to Yuan. Zhong Xiang was captured and sacrificed, and his troops continued to fight under the leadership of Yang Yao.

7. I need an article urgently, so I can refer to it.

The style of Ci in the Northern Song Dynasty continued the elegant and exquisite style of the five pronouns, and most of them told their personal thoughts about spring, leisure and affection in a feminine tone.

It was not until the talented poet Su Shi became a poet that this situation was changed. However, although Su Shi brought a breeze to the rich ci world with his own creation, there was still a beautiful harmony around him. At this time, the ci world was completely shrouded in a beautiful color.

After the disaster of Jingkang, the Northern Song Dynasty perished and the people were in dire straits.

The tragic reality of the destruction of the country and the death of the people made it impossible for the poet to sing the original cheerful lyrics. Since the establishment of the Song Dynasty, the style of Ci, which lasted for more than 60 years, has undergone fundamental changes.

At this time, the ci world echoed with the melody of sorrow, loyalty and resentment. This catastrophe first plunged people into deep sorrow, and the prosperity of the past has become Conan's dream. While people miss the prosperity of the past, they also deepen the sadness of reality, and expressing the pain of national subjugation and the feeling of life experience has become a major theme in the ci circles at this time.

At this time, the most vital thing in the ci world is the resentment of another kind of ci against the invasion of Jin people and the lofty aspirations of reorganizing Gan Kun to clean up the old mountains and rivers, which makes this kind of ci full of heroism.

In the early period of Du Nan, these two styles of ci, which were also based on the hatred of home and country, washed away the beautiful and fragrant state at the end of the Northern Song Dynasty, thus laying the foundation of ci in the Southern Song Dynasty. These two styles of ci were inherited and developed by bold poets headed by Xin Qiji and graceful poets headed by Jiang Kui, respectively, and became the main theme of ci in the Southern Song Dynasty.