How about Jiang Chunlin’s words?

Jiang Chunlin (1818-1868) is a famous poet in the modern world of poetry. His poverty-stricken life experience makes people sigh, but his elegant and sad style of poetry is deeply touching. His person and words attracted attention during his lifetime. In the more than 120 years since Jiang Chunlin's death, the research results on "Shuiyunlou Ci" have been relatively prominent in the study of modern Ci. From the perspective of academic history, this research process has been systematically sorted out, summarized and analyzed in The gains and losses in the past research on Jiang Chunlin will help promote the research on Jiang Chunlin in the new century, thereby promoting and deepening the understanding of modern Ci studies.

1. Research on Jiang Chunlin in modern times (1868-1907)

The modern times mentioned here mainly refer to the 40 years after the death of Jiang Chunlin and before the publication of Wang Guowei's "Human Words". During these 40 years, Jiang Chunlin's research is still in its infancy. The so-called "research" mainly refers to the prefaces written by his friends for their collections of poems, such as the prefaces written by Zong Yuanhan, Li Zhaozeng, He Yong, Xu Bo, etc. for "Shuiyunlou Ci" and its sequels. Because the author of these prefaces is a friend of Jiang Chunlin, he has a personal understanding of Jiang Chunlin's life experience, experience, and the joys and sorrows of creation. Zongxu says:

The name of Lutan is Chunlin, and he is from Jiangyin. He was young and talented, and he did not stick to rules. He often failed to aspire to be an official, so he bowed to the salt official, tasted the power of Dongtai Chang, showed sympathy for the stove, and taught the group members to resist insults. He was virtuous. After he was dismissed from office, he continued to provide food for several years. The meaning of depression and excitement in his life was entrusted to his poems. With deep thoughts and clear words, he first engraved it as "Shuiyunlou Ci" in Dongtai. At the same time, the author holds back his hands. (Sequel to "Shuiyunlou Ci")[1]

Xu Xu said:

Chiang was born in Lutan, Cheng Ming did not meet him, he was an official in Huaidong, and lived with the shamans, and he lived in Gu. Zaobei. The wild clothes, lotus fur, and fur are the Qiang's ability to cultivate themselves, and the neon jade flags point to the abyss for a period of time. After a night of lovesickness, Hachigong moved away. The sea sings of loneliness and anger, and the rabbit speaks of quiet cultivation. There is the same song on the river, but the sound is mixed and self-reported. What's more, when the curtain rain fades, I think about my family mountain behind it. It has traveled far and wide, and I am disappointed that the ring is late. What kind of injury is there to the dove matchmaker? Just watch his nose moaning bitterly and blow his lips to judge the rhythm. He has three good qualities. He has practiced skills with ten people. He is called relying on his voice. I can honestly say the author's type! ("Shuiyunlou Preface") [1]

They pay more attention to Jiang Chunlin and sympathize with his rough experience and unfortunate encounters. Their evaluation of his poems is often discussed in connection with his life experience. They think that "Shuiyun Tower" "Ci" embodies his "depression and excitement in his life", so it presents an aesthetic style of "deep thoughts and clear words", "loneliness and anger of sea singing, and secluded cultivation of ghosts".

In addition to the above-mentioned research methods of knowing people and commenting on the world, some researchers have tried to analyze the creative characteristics of Jiang Chunlin's "Shuiyunlou Ci" from the perspective of literature itself. For example, Li Zhaozeng started from the analysis of Jiang Chunlin's poetry creation and tried to find certain similarities between his poems and his lyrics. He said: "You are a majestic and dirty poem. If there are twenty poems in "Dong Tao Miscellaneous Poems", not The work of reducing the mausoleum of Qinzhou is to change the work into long and short sentences. "("Preface to the Continuation of Shuiyunlou Ci") [1] He believed that Jiang Chunlin's poetry was close to that of Du Lao, which became the basis for his work on poetry and made him an outstanding poet. This view has great influence on Later, Tan Xian regarded Jiang Chunlin as the "Yisheng family" and Mr. Du had an indirect influence. What is even more noteworthy is that Du Wenlan not only discussed Jiang Chunlin's lyrics based on his temperament, and concluded that "Shuiyunlou Ci" has the creative characteristics of "developing a clear mind and imitating the two Song Dynasties"; The creative thought of "entering into the poem" points out that "Shuiyunlou Ci" also has the shortcomings of "slightly engaging in color" and "intermittent involvement in the mood". (Volume 4 of "Qiyuan Ci Hua") [1] Du Wenlan had direct life contacts with Jiang Chunlin, and he knew Jiang Chunlin's gains and losses more clearly than others. The above views are based on his in-depth understanding of Jiang Chunlin.

After that, Tan Xian, a famous poet of the Changzhou School, also spoke highly of Jiang Chunlin. He selected the poems in "Zhongci" compiled in the fourth year of Guangxu (1878). Jiang Chunlin wrote 23 poems, second only to Nalan Xingde (25 poems).

Originally, Jiang Chunlin's creations were somewhat close to the Jiang Kui and Zhang Yan schools of the Southern Song Dynasty, which was contrary to the position of the Changzhou school that Tan Xian belonged to. So why did Tan Xian value Jiang Chunlin's poetry so highly? This was because in his opinion, Jiang Chunlin's poetry was truly authentic. Reflecting the "Xianfeng Military Affairs", Jiang Chunlin was also called "Du Lao of the Yisheng Family" by him:

"Shuiyunlou Ci" consolidates the voice of the Qing Dynasty and the Shang Revolutionary War, but the exile is very serious. , the family was quite large, and during the two hundred years of their lives together with Cheng Rongruo and Xiang Lian, they were divided into three groups. In Xianfeng's military affairs, God supported this talent. He is Du Lao of the Yisheng family. In the late Tang and Song Dynasties, the meaning of singing three sighs in one song has faded away! (Volume 5 of this collection of "Ci Zhong Ci") [2]

As we all know, Du Fu is called " "Poetry Saint", from the fact that Tan Xian regards Jiang Chunlin as "Du Lao, a master of Yisheng", it is self-evident that he positively affirms and speaks highly of Jiang Chunlin. Tan Xian's evaluation of Jiang Chunlin also influenced Chen Tingzhuo. Chen Tingzhuo highly praised Tan Xian in his poetry. In the "Ci Principles" compiled and selected in the 16th year of Guangxu (1890), Chen Tingzhuo also selected 16 of Jiang Chunlin's poems ("Ci Principles"). 8 poems from "Daya Collection", 3 poems from "Fang Ge Ji", and 5 poems from "Bie Diao Ji"). It is believed that Jiang Chunlin's status in the recent poetry world is second only to Tan Xian and Zhuang Chu, and his lyrics are particularly close to the famous lyrics of the Southern Song Dynasty in terms of style. Zhang Yan, this is because Zhang Yan "is so good at composing sentences that he is always amazed" (Volume 2 of "Bai Yuzhai Ci Hua") [3], while Jiang Chunlin "is so wonderful at composing sentences that he is always happy" ("Bai Yuzhai Ci Hua", Volume 2)[3] "Ci Hua" Volume 5) [3], but he did not elevate Jiang Chunlin to the level of "Du Lao of the Yisheng family". Instead, he believed that although Jiang Chunlin was good at Ci, he "had not yet risen to the rank of coquettish" (Volume 5 of "Baiyu Zhai Ci Hua" ). [3] This evaluation of Jiang Chunlin's excessive elevation compared to Tan Xian should be said to be relatively realistic.

Jiang Chunlin’s writing of “history” with the “pen” of words made him unique in the late Qing dynasty. His “Shuiyunlou Ci” was also praised by most commentators, so much so that some people regard him as “ "Zhongxing Ci" or an important figure in revitalizing Xianfeng Ci. For example, Zhou Zengjin said: "After reading the Ci poems of Jiang (Chunlin) and Du (Wenlan), I realized that Baishi and Meixi were not far away from each other. When the two elders of Tianting came to Xiantong, it was also a resurgence in the Ci world." ( "Wulu Ci Hua") [4] Jin Wuxiang further said: "Since the Yong and Qian dynasties, our state has been known as the most prosperous in the study of sound. Mr. Zhang of Yanghu gave good advice, and Mr. Zhou of Yixing promoted economic development. It should be both a positive change and a satirical edict. The leader of the Yingjue family is the remaining descendant of the two major sects. His purpose is different, and his family is dazzling. Lutan rises and falls to revive, but his school does not remain the same as Wan Neighbor's. After seeing each other for more than a hundred years, the Shuiyun family became three-way rivals with Mingke and Zhi'an." ("The Biography of Jiang Chunlin")[5]

2. Jiang Chunlin in modern times (1906-1949). Research

From October to December 1908, Wang Guowei's "Human Words" was published in "Journal of Chinese Culture", marking the beginning of the transformation of the study of poetry from tradition to modernity. In this far-reaching "Human Words", Wang Guowei questioned Tan Xian's "Three Tripod Theory" and pointed out: "In "Shuiyunlou Ci", Xiaoling has quite a realm, but the long tunes only retain their style." "Yi Yun Ci" has more than enough refinement, but not enough transcendence, and is not comparable to Rong Ruo." However, his view failed to have as wide an impact in the academic circles as his realm theory. In the 1920s, the academic circles still evaluated Jiang Chunlin. Follow Tan Xian's views more. In 1925, Zhu Zumou wrote "Looking to the South of the Yangtze River: After Miscellaneous Topics and Collection of Poems by Famous Writers of Our Dynasty", he commented on Jiang Lutan and said: "I hate the end of the road, but I cut the ground and sing songs in mourning. I shed a few tears for the spring and worry about the country, and I praise my family and support Du Lingcai. I am a hard-working thief. Come." During this period, the academic community also had a very high evaluation of Jiang Chunlin's "Shuiyunlou Ci". For example, in 1925, Zhou Nianyong wrote a postscript for the reprinted version of "Shuiyunlou Ci" and called Jiang Chunlin: "Shen Bo is extremely beautiful." Talent is a body of lingering sorrow. Yan Chai and cicadas spread their hatred in the sky; Jinse Yao Qin has a sound outside the strings. Throughout his life, he has been worried about the troubled times and encountered difficult situations, and his voice comes out. The old words should be changed, and the style and style are reflected in the sentiments of the poet. "Zhuo Ran is a master of his generation." [1] In 1926, Liu Yupan wrote "History of Ci", also known as "Jiang Chunlin." He was a native of Zhejiang Province and wrote two volumes of "Shui Yun Lou Ci", all of which were poems written by famous writers of the Tang and Song Dynasties. "Excellent as a great master of his generation", one said that he was the master of late Qing poetry. From this, we can see that the academic circles at that time highly affirmed Jiang Chunlin's important position in the late Qing poetry world.

In the 1930s, most Ci researchers expressed their opinions on Jiang Chunlin's Ci, unanimously recommending him as a talented poet who was not caged by the Chang and Zhejiang schools.

Hu Yunyi said: "He is a talented writer who is not bound by any sect or restraint, but has his own realm. ... His "Shuiyunlou Ci" expresses many emotions and has extremely profound descriptions, and is highly praised by commentators. "History of Ci" [7] However, Hu Yunyi did not discuss much and did not make a comprehensive review. Wu Mei and Liu Dajie wrote more and their discussions were very precise. Wu Mei said: "Before Jiaqing, most poets were imprisoned by Nian and Bamboo Coat... When they went to Lutan, they swept all the kudzu and vines away from the door. They only took elegance as their sect. The cover style was more elegant than Gaowen and Baoxu. There is Lutan in the poem, which can be said to be the end... Lutan's rhythm is unparalleled, and the writing style is even more outstanding. , "Shuiyun" is the top one, and I am not ashamed to say so." [8] Liu Dajie deeply agreed with Wu Mei's views, and made the following evaluation of Jiang Chunlin's poems based on his own experience and feelings: "Jiang's life was stable. , and his emotions are extremely keen. He expresses what he saw and heard in the times and the suffering of the people in exile in his words, which are desolate and painful... His attitude towards creation is extremely serious. He never wastes his works on meaningless moaning and meaningless entertainment. Almost every poem shows the shadow of society and the sadness of the people in the plants and trees, the bright moon, the willows, and the small pavilion grass. Each of the pavilions is covered with a layer of chaotic taste. He does not flaunt his Bixing sustenance, but has his own Bixing sustenance. He does not flaunt Baishi and Yutian, but his long tunes are truly comparable to those of Jiang and Zhang. In advocating the Southern Tang Dynasty, his Xiao Ling really has the charm of the two masters. We can say that Jiang Chunlin is not only a great poet in the Qing Dynasty, but also a great poet in the entire history of Chinese poetry. The view of "Summary" is also similar to that of Liu Dajie. The article states: "(Jiang) Chunlin was in his middle age during the chaos of Hong and Yang, and his life experience was in a state of flux, so he wrote many works that care about the times. He is vigorous and deep, alert and heroic, There are twists and turns, and there are thousands of shapes and forms. It has the grace of Jialing but not rough, the elegance of beautiful water but not strong, the depth of Mingke without being exclusive, the beauty of drinking water without feeling weak, and the skill of recalling clouds. The bones and flesh are well-proportioned, and the talents of various families are melted into one furnace...not only looking down on the poets of the Qing Dynasty, even if they are placed among the two Song Dynasties, they are also outstanding."

In 40. In the 1960s, Jiang Chunlin and Nalan Xingde were the two "hot spots" in the study of Qing Ci. The research papers on Jiang Chunlin published in the past ten years include "A Critical Biography of Jiang Chunlin Tan" (Tang Guizhang) and "Xian Tong Ci Poetry Jiang Lu Tan" (Ren Ding), "Shuiyunlou Ci Postscript" (Long Yusheng), "Ci Shijiang Lutan's Life and Ci Works" (Zhang Shicheng), etc. According to Feng Qiyong's "An Examination of the Chronicle of Jiang Chunlin", he once wrote the "First Draft of the Chronicle of Jiang Chunlin" in 1948, but it was not published publicly that year. Various anthologies or collections of Qing Ci poems compiled at that time focused on the selection of "Shuiyunlou Ci". For example, Xu Ke's "Comments on Anthology of Qing Ci Ci" included 14 poems, and Hu Yunyi's "Selected Poems of the Qing Dynasty" included 5 poems. First of all, Chen Naiqian's "Qing Mingjia Ci" collected in one volume of "Shuiyunlou Ci"; Wang Yu's "Qing Ci Ci Chao" selected representative famous Qing Ci writers, Jiang Chunlin was also among them, and selected "Shuiyunlou Ci". There are as many as 64 poems. An important reason why Jiang Chunlin attracted everyone's attention is that it was closely related to the fact that people were suffering from the war at that time, because the description of the war in Jiang Chunlin's "Shuiyunlou Ci" could easily arouse everyone's outcry.

The reason why Jiang Chunlin's Ci poems were called the "History of Ci" by Tan Xian was that they more truly reflected the Taiping Rebellion and the corruption and incompetence of the Qing soldiers. Long Yusheng believes that among the three "ci poets" recommended by Tan Xian, the one that best expresses the spirit of the times is Shuiyunlou Ci. [11] Zhang Shicheng further pointed out that Nalan Xingde and Xiang Tingji's poems have a common shortcoming, that is, what they describe is based on personal intuition of the dying of the moon, the joys and sorrows encountered. Starting point, but Jiang Chunlin is not. "Because he was born during the Red Sheep Rebellion, the cruelty of Longmao, the innocence of the Qing army, and the situation of the people who were homeless and struggling on the line of hunger due to years of war. Some of them he heard with his own ears, and some of them were his. What he saw with his own eyes was what he had experienced himself. Therefore, when he was singing, he also expressed his personal joys and sorrows like Rong Ruo and Liansheng. Painfully express the feeling of the rise and fall of the family and the country.

"[12]

As for the content of Jiang Chunlin's poems, Tang Guizhang divided them into three categories from a lyrical perspective: recalling the past, mourning farewell, and nostalgia [13]. Zhang Shicheng expanded it into three categories: feeling about the time and feeling sad. The four categories of farewell, recalling the past, and nostalgia particularly highlight the emotional connotation of the war-torn years, such as saying farewell: "In the chaos of leaving, seeing off guests for a long journey, you don't know whether you will live or die when you leave? Even if you are wandering in another place, you don't know what will happen next. When will we meet? Where will we meet? This is a more ordinary parting, especially sad. "Compared with Tang Guizhang, he emphasized the importance of words such as "sense of time": "In Shuiyunlou's Ci, seventy-eight out of ten fall into this category, with true emotions and profound descriptions, which determines his ability in Ci. Du Lao's status in the altar. "Sometimes he uses euphemistic words to convey extremely painful artistic conceptions in a tortuous way, such as the weeping dew of autumn insects and the cry of lone wild geese, making the beauty of the vanilla in Lingjun and the setting sun smoke trees in Jiaxuan not as beautiful as before." "[12]

As for Jiang Chunlin's creative characteristics, Zhang Shi admitted that he drew from Baishi and Yutian and got their essence. "At the same time, the sense of life experience enriches the content of his lyrics. , so what he expresses in his writing is not an empty and piled-up string of beautiful words, but something with sustenance, spirit and life. "[12] Tang Guizhang further summarized some of the characteristics of Jiang Chunlin's creative techniques from a rhetorical perspective, saying that he was quite able to understand Bai Shi's spiritual principles in terms of using words and phrases to practice meaning. "After we read it, we just felt Clear but not slippery, strong but not astringent. "[13] On this basis, Tang Guizhang further analyzed the artistic conception and style of Jiang Chunlin's poems, pointing out that the realm written in "Shuiyunlou Ci" includes the realm of vast mountains and rivers, the secluded realm of sandbanks, and the desolate pools and terraces. Realm; Zhang Shicheng summarized the styles of Shuiyunlou Ci as four types: sad, graceful, sad and empty. He analyzed the causes of his style based on Jiang Chunlin's temperament, circumstances, times and artistic personality, which is quite profound. The reason for his style is that "the lack of talent and poverty made him become a melancholic person... This created his sad and resentful heart in poetry." Another example is the desolation, because Jiang Chunlin "was born in the Red Sheep Catastrophe and went into exile in Jiangbei. Climbing the mountain and facing the water, mourning the chaos and sorrow of separation, then emitting a tragic and desolate emotion." Another example is Qingkong, because Jiang Chunlin's words "were born out of Baishi and Yutian, so they can neither be stagnant nor astringent, nor lose their roughness and slipperiness, but at the same time they are "Extremely vigorous and elegant". [13]

As for Jiang Chunlin's historical status. Zhang Shicheng highlighted his originality, saying that when the style of Western Zhejiang and Changzhou enveloped the Ci world, "most poets , If it does not belong to Chang, it belongs to Zhejiang. Only he can combine the strengths of both factions without being restricted by which one." [12] Long Yusheng believes that he took the path of Baishi and Yutian, and experienced troubled times, and his sense of life experience It is inspired by many things, and the words are substantive and respectful. It combines the strengths of Zhejiang and Changchang schools, and greatly stimulates the desolation of Chu. It seems that Jiang Chunlin is regarded as the integrator of Tongguang Ci.[11] ] Tang Guizhang even believed that Jiang Chunlin should be ranked first in the discussion of Qing Ci: "His Ci is unparalleled in the Southern Tang and Song Dynasties, and he disdains being confined to the boundaries of the Zhejiang School and the Changzhou School. He only knows how to express his soul alone, exploring the legacy of "Wind" and "Sao", depicting true feelings, realistic scenes, blood and tears, gushing out. ”

From the above aspects, modern research on Jiang Chunlin has not only gone out of the way of traditional words and expressions, but also emerged in the form of modern research expressions with long papers as the main writing method. The content and research methods have made great progress compared with the modern "pre-research" stage. Of course, there are also some scholars who have a preference for "Shuiyunlou Ci" and then make some comments about Jiang Chunlin's position in the history of Qing Dynasty Ci.

3. Contemporary (after 1950) research on Jiang Chunlin

The time advances to the 1950s, and he was highly praised by the academic community in the 1930s and 1940s. The status of Jiang Chunlin's poetry in the academic world during this period can be said to have plummeted. The "History of Chinese Literature" compiled by the fifth-level Chinese Department of Peking University in 1959 completely negated and criticized Jiang Chunlin's poetry. Literary history used the method of class analysis to criticize Jiang Chunlin's poems from the perspective of peasant revolution, and cursed the Taiping Heavenly Kingdom, explicitly expressing his hatred and hatred for the Taiping Heavenly Kingdom: "His poems are very reactionary and should be completely rejected. "[14] This attitude of replacing literary analysis with class analysis is of course not advisable. After entering the 1980s, the views that criticized Jiang Chunlin in the 1950s and 1960s gradually faded out, and the idea of ??affirming the artistic achievements of Jiang Chunlin's poetry was promoted, and various New literary histories pay more attention to Jiang Chunlin.

In recent years, a large number of fruitful academic achievements have also been launched, including "The Chronicle of Jiang Lutan", "Shuiyunlou Ci", "Explanation of Shuiyunlou Ci" (written above by Zhou Mengzhuang), "A Textual Research on the Chronicle of Jiang Lutan", "Shuiyunlou Poems Collection and Collation" (edited by Feng Qiyong above) and other treatises. Various anthologies of Qing Ci have been published in the past ten years, such as "The Essence of Qing Ci" (10 poems) by Shen Yiliu and Fu Shousun, "Three Hundred Ci Poems of the Qing Dynasty" by Qian Zhonglian (5 poems), and "Selected Notes on Qing Ci" by Wang Tailing. (6 poems) also include many poems by Jiang Chunlin, and Yan Dichang's "Modern Ci Chao" even compiled 66 poems from "Shuiyunlou Ci". These works pushed the research on Jiang Chunlin in the 1930s and 1940s to a new level.

In modern times, people have a high evaluation of Jiang Chunlin's poetry. The most influential one is Tan Xian's theory of "Du Lao, the Yisheng Jia". For this statement, contemporary scholars basically agree and agree. Two opposing views. Those who are in favor include Xu Huagen, Liu Yonggang, etc. Xu Huagen believes that Jiang Chunlin has a serious attitude towards creation, and his works mostly describe his sense of decline in his life experience, and there are few chants of flowers, birds, wind and moon, and unnecessary entertainment. "Du Fu suffered from the Anshi Rebellion, and the poems he wrote are 'History of Poetry.' Jiang Chunlin suffered from the war, and the poems he wrote can be called 'History of Poetry.'" [15] Liu Yonggang believes that when evaluating Jiang Chunlin, one should adopt the attitude of knowing people and judging the world, and it is not appropriate to use today's Dimensions measure ancient works. "Shuiyunlou Ci" is a work produced in a specific time and space with unique emotional experience and artistic pursuit. Jiang Chunlin and his Ci must be viewed from a historical and aesthetic perspective. Whether Lutan can enjoy the thatched cottage is irrelevant, but "Shuiyunlou Ci" undoubtedly has the value of "ci history". [16] Opponents include Guo Yanli, Xie Xiaoping, and Zhou Mengzhuang. Xie Xiaoping believes that Jiang Chunlin's era, experience, life experience, and ending may be similar to Du Fu, but there are even greater differences. This is why Du Fu lived up to his times and wrote immortal poems such as "Three Officials" and "Three Farewells". "Du Fu stood on the people's side and spoke out the strongest voice of the times. Du Fu's status, influence and image as a 'sage of poetry' in the history of Chinese poetry are much higher than Jiang Lutan." [17] Zhou Mengzhuang also said: "Raising Jiang Lutan too high is beyond the scope of reality, and it is difficult for people to accept it." [18] Guo Yanli also said: "Chiang's poetry cannot be compared with Du's poetry, mainly because Du Fu stood at the top of the advanced thinking of the times and reflected the Anshi Rebellion. The era of "all kinds of troubles" in the two decades before and after depicts the disasters of the country and the nation, revealing the class antagonism of "the wine and meat in the rich families stink, and the bones on the road are frozen to death"; but in Jiang Chunlin's writings, it depicts the vigorous development at that time. The peasant revolutionary movement held a hostile attitude and falsely accused the peasant army as "thieves"... The work is full of fear of the peasant revolution, and the Tianjing at that time was described as eerie and terrifying. This is a distortion of reality. "[19] Regarding Jiang Chunlin's attitude towards the peasant uprising, Zhou Duwen held a different view from Guo Yanli and believed that it should be analyzed from a historical perspective: "As a government official. , we cannot ask for a judgment that transcends his class status. Moreover, his words mainly reflect sympathy for the suffering of the people, and do not criticize any 'atrocities'. ""He is opposed to war and longs for peace, not for a certain class. He also reflected on this catastrophe and even criticized the ruling group that harmed the country. "[20] Such an objective and peaceful attitude should be the most popular in the current study of ancient literature. Scientific historical materialist attitude.

However, in terms of understanding of the artistic achievements of "Shuiyunlou Ci", both supporters and opponents are unified, that is, they unanimously admit that "Shuiyunlou Ci" has a high aesthetic value . For example, Xie Xiaoping said: "Although poets are not worthy of enjoying the thatched cottage, it is not an overestimation to be the first-class poet since Xian Tong." This is because he inherited the Wu Changzhou Ci School, but created a new school of his own, and did not follow the Changzhou or Zhejiang Ci Schools. retainer. [17] Zhou Duwen summarized Jiang Chunlin's artistic achievements into three points: first, using the thoughts of "gentleness and resentment" to write about the experience of "poor old age and exhaustion", which is the realm he strives to achieve in his poems; second, the bright color, It is rich in variety; thirdly, it has a melancholy and melancholy theme as its main theme, and there are also fresh and natural works, and it is also very ingenious in its composition and structure. [20] Yan Dichang’s analysis is more representative and can be said to be a further development of Xie Xiaoping’s point of view: “The achievement of Shuiyunlou Ci is to express the deep feelings of separation and chaos without losing the purity and implication. Jiang Chunlin specializes in the Jiang Kui and Zhang Yan schools in terms of his lyricism. However, because he lived in a declining and war-torn world, he has real feelings, so he avoids the "Zhejiang School"'s disease of empty gloss.

At the same time, the sorrowful and melancholy narration must have arousing power, and there is no need to make hesitant gestures or rely on objects to express it. This way it gets rid of some of the shortcomings of the "Chang School". In short, under the support of certain aesthetic pursuits and artistic skills, he creates purely according to his emotional needs. Therefore, although he is extremely careful, he is not blunt and censorship, and his appeal is naturally very strong. "[2l] Guo Yanli also talked about the achievements of Jiang Chunlin's poems from the aspects of expressive content and artistic skills. From the expressive content, it vividly described the war-torn scenes and the tense atmosphere of the war, and truly described the consequences of the war. The desolation records the traces of the trauma of war. In terms of artistic skills, one is to describe the scenery lyrically and vividly; Yan Dichang's analysis is not only profound, but also touching and grasps the spiritual principles of "Shui Yun Lou Ci". Due to its length and the particularity of literary history, Guo Yanli's analysis is somewhat brief.

About. As for the subject matter of "Shuiyunlou Ci", people pay more attention to its war poems that express the Xianfeng military affairs. Zhou Duwen believes that according to the era, Jiang Chunlin's poems can be divided into two stages: the early Jiangnan period and the late Jiangbei period. His official career failed and he returned to his hometown in the south, until he went north to Yangzhou to seek the position of Huainan salt official. "The content of the works at this stage is mainly expressed in the lamentation of the passing of time and the sorrow and hatred of the inability to develop talents. "The artistic style is also consistent with the later Ci. It was not until around the age of 31 that he went to Yangzhou to begin his 20-year journey in Jiangbei. The Ci of this period is appreciated by people for reflecting the Xianfeng military affairs in a large amount of space. , "opening up a realm that no poet has ever seen". [20] Xie Xiaoping also subdivided the themes of "Shuiyunlou Ci" into nine categories based on the analysis of the Mandala Flower Pavilion edition. : (1) In the sound of war, I feel sleepless and worried about the world. (2) In the end of the world, I feel sad about my life. (3) I leave the pavilion to say goodbye and express my gratitude. (4) I remember my hometown and have no plan to return. (5) The feeling of being carefree and lingering in the scenery; (6) The meaning when chanting things; (7) The clothes are dyed; the journey is tiring; (8) The wind and moon. , "Hung Claws in the Snow and Mud" (9) Sitting in the Dew in the Autumn Sky, "Reflecting on the Wife's Death" [17] Zhou Mengzhuang believes that Jiang Chunlin's works that reflect social life in such a rich and colorful way have a keynote, which is "reflecting war". He cannot have a correct understanding of the nature of war. He can only observe and explain war based on his own subjectivity and intuition, but the picture of social unrest he reflects is real. He longs for a peaceful social environment and a peaceful life. His vision for life and the future is simple and positive. ...Jiang Lutan used his words to reflect the war, that is, to reflect the times. Naturally, he was not complaining for nothing. Jiang Lutan incorporated the new theme of war into his poetry and opened up the realm of poetry, which is a major contribution to the development of poetry. "[18] Liu Yonggang's article "Mourning the Rebellion, Singing the Beacon Smoke - An Exploration of Jiang Chunlin's War Poems" specifically discusses Jiang Chunlin's description of the war and his performance techniques. The author believes that Jiang Chunlin's war lyrics mainly focus on the Taiping Rebellion. . It truly describes the chaotic scenes of the war and reflects the confusion of the literati. Because he looked at the war from the opposite side of the Taiping Army, he sketched the city of Nanjing under the rule of the Taiping Army as a "tree shadow" and " The gloomy world composed of "owls" and "phosphorus fire" indeed truly reproduces the turbulent scenes of the late century when wars were rife and wars were frequent, and has a strong spirit of the times. Finally, the author summarizes Jiang Chunlin's war poems in two main writing styles: one It is a Bixing style. Although he did not express his intention, he conveyed a deep sense of profoundness, deep thoughts, and extremely warm and deep resentment. The second is the use of Fu style, that is, positive description, which expresses the essence of "the combination of touches and emotions, and is full of dynamic feeling." , sense of power, vividly depicting the fierce scenes and disasters of war, as if you saw the person and heard his voice, without any shouting or rudeness. "[16] These all reveal the artistic communication skills of "Shuiyunlou Ci" relatively accurately.

In short, the research on Jiang Chunlin during this period mainly focused on the title of "Du Lao of the Yisheng Family" Carry out extensive discussions. Different academic positions and academic thoughts form confrontations in the discussion, which not only helps researchers deepen their understanding of Jiang Chunlin, but also prompts researchers to deeply reflect on their own research concepts and research methods, that is, Should we adopt a preconceived attitude towards Jiang Chunlin's poetry, or make a reasonable evaluation based on the actual ideological content and artistic characteristics of Jiang Chunlin? From this aspect, although contemporary scholars have various attitudes towards Jiang Chunlin, it also shows that contemporary academic Research is becoming more mature.

Of course, contemporary research on Jiang Chunlin still has shortcomings in many aspects, and is still mostly at the primary research stage of the writer's class stance and text analysis. The future development direction will be to conduct extensive exploration in life research, psychological analysis, cultural analysis, etc. , and then expanded from the study of Jiang Chunlin to the study of the Huaihai Ci people and the study of the transformation of the entire late Qing Ci style.