Liu Yong (Chinese: 柳永; pinyin: Liǔ Yǒng) (approximately 984–1053), was a Chinese poet in Northern Song Dynasty. His original name was Liu Sanbian (Chinese: 柳三变), courtesy name was Jingzhuang (Chinese: 景庄), and he later changed his name to Liu Yong, courtesy name Qiqing (Chinese: 耆卿). He was born in Chong'an (崇安), Fujian, but his ancestral home was in present-day Yongji, Shanxi.
Liu Yong was ambitious to make achievements and contribute to serving the country from an early age. He had received an education for imperial examination, which lay a foundation for his poetry writing. However, he failed four times and his career as an officer was not well-off. He spent a lot of leisure days with sing-song girls to have fun, which truly influenced his writing style and images in his poems.
Liu Yong was the first poet who reformed Song Ci (宋词) poetry in a comprehensive way. The trend of long-form Song Ci poetry originated from him.[1] Moreover, he has made great efforts creating a poem genre called "Slow poetry" or "Slow song form" (Chinese: 慢词), and made full use of vulgar words and common sayings. The genre combined mundane images with graceful descriptions. The use of incisive narrations, plain image depictions and other artistic expressions by Liu Yong has made a profound impact on Song Ci poetry in later ages. Liu Yong was also one of the representatives of Graceful and Euphemism school, which is called "Wan Yue Pai(婉约派)"in classical Chinese literature.
Life
Early years
Since there's no credible source explicitly recording Liu Yong's date of birth, scholars speculated that Liu Yong was born approximately in 980s (between 984-987).[2] At that time, Liu Yong's father Liu Yi was an imperial court officer managing a town named "Feixian".
Since he was born into an official family, Liu Yong had received a high-quality education when he was young. In 990, Liu Yong moved to Quanzhou while his father was transferred there to be an officer.
Liu Yong showed his talent in Chinese literature from an early age. When Liu Yong was ten years old, he wrote his first article "exhorting (the importance of) learning" (劝学文). And later in 998, Liu Yong wrote his first relatively well-known poem, "writing Zhongfeng Temple" (题中峰寺). Then, he gave the first trial on Song Ci poetry in 1001. The poetry was named "Clouds on Wu Mountain, Hiking in Caves" (巫山一段云·六六真游洞). It extolled the beauty of the landscape in Wuyi Mountain, which was located near his hometown.[3]
Staying at Hangzhou and Suzhou
In the fifth year of the Reign of Emperor Xianping (1002), Liu Yong left his hometown planning to take the examination hosted by the Ministry of Rites(礼部) in the capital city Dongjing (where is called Kaifeng nowadays). However, while on the way to Dongjing, he greatly enjoyed the life of living in flourishing cities like Hangzhou and Suzhou, so he decided to provisionally stay. He immersed himself in viewing the beauty of nature there, and indulged in romantic relationships with sing-song girls.[4] In order to make a living in Hangzhou, Liu Yong wrote lyrics for brothel songs. With his great talent in music perception and literary creation, his lyrics used to be extremely popular among the public.[2][5] However, his lyrics with vulgar words and romantic themes are not accepted by other poets and scholars, and the upper class. They judged and criticized Liu Yong and his inverse actions to (Chinese) conventional etiquette(Confucian culture), which has also brought a negative impact on his later career.[4][6]
In 1003, Liu Yong wrote a Song Ci poetry named "Viewing Sea Tides" (望海潮·东南形胜) as a greeting letter to Sun He, a competent and well-known officer in Song Dynasty. The poetry's popularity swept the region rapidly after its release.[7] Since then, Liu Yong's talent in literacy had become more widely known by people. Between the years 1004 and 1007, Liu Yong wrote three poems in terms of recalling the memories he had while living in Suzhou and Hangzhou.
Failing the imperial examination
In 1008, Liu Yong went to the capital city, Bianjing (Dongjing), for the imperial examination in Spring, 1009. Though Liu Yong was confident in his talent and ability for positioning in a high rank and successfully becoming an imperial court officer. However, the result turned out that he failed his first trial. To express his depression and discontent, he wrote down one of his most famous Song Ci poetry "Crane Into the Sky" (鹤冲天·黄金榜上).[8] But still holding hope for the next trial, Liu Yong wrote the poem "Like fish in water" (如鱼水·帝里疏散) after a period of time.
In 1015, Liu Yong took the imperial examination for the second time but failed again to achieve scholarly honor as Jinshi Degree (进士). In ancient Chinese Jinshi (进士) was the honor for the one who passed the final imperial examination. He became more frustrated and dejected for being crossed in both love and career. "Soldiers' Music”(征部乐·雅欢幽会) was written down at this time.[2]
In 1018, he failed again by being rejected by the emperor. Officers with an indiscreet private life were criticized in ancient China. Liu Yong's actions of writing brothel lyrics and frequently contacting with courtesans have made his reputation bad, inducing his failure in examinations several times.[2][3]
In 1024, after his fourth failure, Liu Yong left the capital in annoyance. Facing the departure with his lover, a famous Song Ci poetry which had been passed down through ages emerged. "Yu Lin Ling" (雨霖铃·寒蝉凄切) was created by Liu Yong.
Away from the Capital
After Liu Yong left Bianjing (Dongjing), he went to southern China by ship. Along his way to the south, he restarted his business in writing lyrics for songs, and the popularity of his lyrics and poetries rose as time went on.[5] During the time Liu Yong moved from place to place, he wrote several poems to express his sentiments on the fast-passing years and nostalgia for the young adult period.
In 1029, Liu Yong came back to Bianjing (Dongjing), but left again feeling grieved that things were still flourishing in the Capital, but people changed.
Until 1034, the imperial examination loosened its standard when Song Ren emperor started to govern. Liu Yong returned to the capital from Ezhou to take the imperial examination again.[3]
Career as an officer
In the first year of Jingyou's ruling (1034), Liu Yong was about 40, he eventually achieved the Jinshi (进士) degree and began his career as an officer.[5][9] In February, Liu Yong went from Bianjing(Dongjing) to Muzhou to do his first job assigned by the Song imperial court. However, the suggestion from Liu Yong's higher officer to promote him was turned down. The reason given was "no positive achievement yet",[2] meaning the reputation accumulated in earlier years was further affecting Liu Yong's career even though his talent and ability were approved.[3]
Liu Yong successively served as officers in multiple positions afterward. In 1037, he was promoted to the position of Yuhang county magistrate, doing pretty well in managing the region and was loved by people.[10] In 1039, Liu Yong was appointed as the officier at the "Hsiao-feng Salt Monopoly （Chinese：晓峰盐场）" in Zhejiang province. Touched by the tough lives of the salt workers there, he wrote the poem "Song of Boiling Sea-water", which made a huge impact on society and earned him a good fame as a "renowned officer(名宦)" by people.[11]
In 1050, Liu Yong served as "Assistant Director of Military Colonies"(屯田员外郎),[12] which was the highest official position in his career.
Works
Tune patterns
At least 127 kinds of tune patterns were used in Liu Yong's Ci, which were far more than other Ci poets at his stage.[13] And even his works in the same tune patterns were not the same in format. They might not strictly follow the prescribed tune pattern and are slightly different in word counts and line divisions. What's more, Liu Yong invented some tune patterns and adventurously tried a lot of obscure tune patterns, which demonstrated his flexibility in creation.
Themes
Romantic themes
The first most popular theme among early scholar-poets was "boudoir feelings." These themes, however, are frequently conveyed in a more ornate and dramatic way, thus separating sensuality from reality. Liu Yong's lyrics are unique in its genuineness and directness.[14] Liu Yong's works are unique in their genuineness and directness. In the works designed for sing-song girls' performances, he tended to use highly vernacular expressions that truly and straightforwardly expressed a man's frailties. His living experiences in the brothels and his romantic relationships with sing-song girls not only helped him understand the lives and feelings of the women from the lower class, but also kept him up to date on the latest romantic Song Ci poetry.
The Siku Quanshu (Chinese: 四库全书 Synopsis of the Four Imperial Libraries) thus comments, "The Ci was originally a kind of seductive music, and Liu Yong's work was charming and intimately emotional, allowing people easy access to it, so though it is quite flawed by its vulgarity, there has been no end of people who have delighted in it."[15] The following work "Feng ch'i wu 凤栖梧" is one of his representative romantic Song Ci poetry.
To the tune "Phoenix in the Phoenix Tree" [16]
(Feng ch'i wu 凤栖梧)
For long I stand at the window in the gentle breeze Staring into infinity at spring melancholy Somberly growing on the horizon. In the fading light, mist-shimmer on the grass Who can understand why I lean, wordless, on the balustrade?
伫倚危楼风细细，望极春愁，黯黯生天际。草色烟光残照里，无言谁会凭阑意。
I am determined to be reckless, plan a drunk. Here is wine, here is song. But in forced mirth is no flavor. It doesn't matter after all that my girdle grows looser She is worth being haggard for.
拟把疏狂图一醉⑺，对酒当歌，强乐还无味。衣带渐宽终不悔，为伊消得人憔悴。
Feelings about his life
Another common topic in Liu Yong's work was about his feelings in life, including his self-pity about his career and the agony of his loneliness. The following lyric "Ho ch'ung t'ien 鹤冲天" expressed his resentment after failing the emperial examination and the spurning of merit and flame.
To the tune "Crane in the Sky"[16]
(Ho ch'ung t'ien 鹤冲天)
On the golden announcement board, My name failed to head the list. Neglected in an enlightened age Where is a good man to turn? If you fail to get ahead Why not let yourself go and have some fun? No need to weigh loss and gain The songwriter of genius Is an unofficial minister of state.
黄金榜上，偶失龙头望。明代暂遗贤，如何向。未遂风云便，争不恣游狂荡。何须论得丧？才子词人，自是白衣卿相。
The misty flowers in the lanes are, as on a painted screen. Happily someone there I know Worth paying a visit, To embrace red and green; In romantic affairs Finding a lifetime's pleasure. Verdant spring is gone in a moment And I am ready to exchange An ephemeral name for a cup of wine and a soft song.
烟花巷陌，依约丹青屏障。幸有意中人，堪寻访。且恁偎红倚翠，风流事，平生畅。青春都一饷⒂。忍把浮名，换了浅斟低唱。
Reflect the ordinary people's suffering
He cared about the hardships of working people's lives and sympathized with their sufferings. For example, the following poem "Song of Boiling Seawater (Chinese：煮海歌）," is a heptasyllabic poem written during his service as an officier at the "Hsiao-feng Salt Monopoly （Chinese：晓峰盐场）." This poem criticizes repressive rulers and laments the misery of salt workers.[17]
Song of Boiling Sea-Water[18]
What do they live on, the people who boil sea water,
The women with no silk to weave, the men no plows?
How fragile the source of their livelihood!
When you finish boiling it in the cauldron, you pay it for taxes.
Spring and summer, year after year, the tide covers the shore,
When the tide recedes they scrape the sand into islands.
Dried by wind, baked by the sun, it grows more salt,
Washed with sea water, it makes a stream of brine;
As the brine thickens, they continuously sample the taste.
They go deep into endless hills to collect firewood
Regardless of panther tracks, tiger trails.
They depart with the sunrise and return at sunset;
Carried on the back or by boat, with no rest ever,
The wood they throw into the great furnace, blazing hot,
Burning by day, flaming through the night, until heaped up high
At last, is the snow they have made from the ocean's waves,
From pools of brine to flying flakes of frost.
For food to eat they had no choice but to borrow.
Now, weighed in at the official station, it brings a paltry price,
And every borrowed string of cash must be repaid with ten.
Around and around it goes and never stops
Government taxes still unpaid, the private rents now due.
They drive their wives, push their sons to work their share;
Their form is human, but their complexion is vegetable.
How bitter is life for the people who boil the water of the sea!
How can they make their parents rich, their sons not poor?
Under this dynasty not a creature loses its place;
I wish the royal kindness might spread to the shores of the sea,
Wash weapons and armor clean, put a stop to taxes in kind
So that our ruler may have a surplus and end the tax on salt.
In time of peace if the ministers will stick to salt!
We will be back to the happy days of Hsia, Shang, and Chou.
Influence
Liuyong had a seminal influence on the development of Ci (Song Ci poetry). Due to his rich life experiences with disillusionment in his career and living among ordinary people, his ci has diverse contents and themes. So, he successfully expands the connotation context and aesthetic interest of Ci.[14] Since his lyrics contain a lot of colloquial expressions that are easy to understand, his lyrics have extensive circulation among general people, which can be proved by a well-known proverb "where there is well water [where people reside], there are Liu's songs."[19] Liu Yong was not only one of the most popular Ci poet in Song dynasty, but also a significant milestone in Ci genre. He carried forward Slow Ci (Slow Poetry), making them not only more varied in format but also richer in content.[20] His innovative use of vivid colloquialisms in Ci has made Ci more accessible to the public.
References
- ↑ "Liu Yong 柳永 | Global Medieval Sourcebook". sourcebook.stanford.edu. Retrieved 2022-05-05.
- 1 2 3 4 5 Lifang, Yang (2020). A Study of Liu Yong and His Lyrics. China Transition and Publishing House.
- 1 2 3 4 Leung, Winnie Lai-Fong. Liu Yung and his Tz'u. OCLC 15853936.
- 1 2 Chang, Kang-i Sun (1980). The evolution of Chinese tzʻu poetry : from late Tʻang to Northern Sung. Princeton, N.J.: Princeton University Press. ISBN 0-691-06425-3. OCLC 5829992.
- 1 2 3 葉夢得 (1983). 避暑錄話: [上下卷]. Taiwan shang wu yin shu guan. OCLC 27773442.
- ↑ Yuh, Liou-yi. Liu Yung, Su Shih and some other aspects of the development of early tz'u poetry. OCLC 80907795.
- ↑ 罗大经 (2017). 鹤林玉露. Qi lu shu she. pp. 卷一. ISBN 978-7-5333-3461-1. OCLC 1050885340.
- ↑ Liu, Laijon (2008-06-01). "Laijon Liu: Crane Into the Sky By Poet Liu Yong (鹤冲天-柳永)". Laijon Liu. Retrieved 2022-05-04.
- ↑ 崇安县志.
- ↑ 嘉庆余杭县志.
- ↑ 馮福京 (2009). 大德昌國州圖志 : 7卷. Beijing Ai ru sheng shu zi hua ji shu yan jiu zhong xin. OCLC 588233052.
- ↑ "The Songwriter Liu Yung", Studies in Chinese Poetry, Harvard University Asia Center, pp. 168–268, 1998-12-08, doi:10.1163/9781684170289_007, ISBN 9781684170289, retrieved 2022-05-04
- ↑ Lai fong, Leung. "Liu Yung and His TZ'U", The University of British Columbia, 1976, pp1-374.
- 1 2 Guoying, Wang (2001). "The vulgarity of Liu Yong's Ci poetry". 汉学研究. 19: 281–311.
- ↑ Rong, Yun, Yong, Ji (1965). 四库全书总目提要. Taipei: Taiwan shangwu yinshuguan.
{{cite book}}: CS1 maint: multiple names: authors list (link) - 1 2 Hightower, James R. (1982). "The Songwriter Liu Yung: Part II". Harvard Journal of Asiatic Studies. 42 (1): 5–66. doi:10.2307/2719120. ISSN 0073-0548. JSTOR 2719120.
- ↑ Lam, Lap (2003). "A Reconsideration of Liu Yong and His 'Vulgar' Lyrics". Journal of Song-Yuan Studies. 33 (33): 1–47. JSTOR 23496107 – via Jstor.
- ↑ Hightower, James R. (1981). "The Songwriter Liu Yung: Part I". Harvard Journal of Asiatic Studies. 41 (2): 323–376. doi:10.2307/2719048. ISSN 0073-0548. JSTOR 2719048.
- ↑ Taiping, Chang (2017). A Dictionary of Chinese Literature. England: Oxford University Press. ISBN 9780191836183.
- ↑ Kang-I Sun, Chang (1986). The Evolution of Chinese Tz'u Poetry: From Late T'ang to Northern Sung. Princeton: Princeton University Press. pp. 122–147. ISBN 0691064253.