Liu Qingyun's main experience

Liu Qingyun (1841-1915), female, also known as Shu Zeng, Xiao Guanyin, with ancient characters, is from Shuyang, Jiangsu. Liu Qingyun, a 6-year-old teacher, is fond of literature, good at poetry and proficient in calligraphy and painting. He has written many works in his life, including 24 kinds, such as The Story of the Fairy Pavilion in Little Penglai, Qu Draft of the Fairy Pavilion in Little Penglai, Poems on Fairy Pavilion in Little Penglai, Poems on Petal Fragrant Pavilion, etc. The content involves streets, farmers' wells, anecdotes of officialdom, folk customs, twists and turns of the story, exquisite writing and strong local color. She was an accomplished woman writer in the late Qing Dynasty. In his later years, he returned to Shuyang with her husband Qian Meipo. In the 24th year of Guangxu (1898), there was a big flood in Shuyang, and Liu Qingyun's home was flooded. Legend has it that 14 species were lost, and only 10 species remained.

Chinese name: Liu Qingyun.

Nationality: China.

Place of birth: Suqian, Jiangsu

Date of birth: 184 1 year

Date of death: 19 15.

Occupation: writer

Masterpieces: Ten Biographies of Little Penglai Fairy Hall and Poems on Little Penglai Fairy Hall.

The life of the character

Liu Qingyun was born in the 22nd year of Daoguang (1842). When she was born, her mother dreamed that Guanyin was holding plum blossoms, so she was nicknamed Guanyin. Liu Qingyun was born in a salt merchant family in Banpu, Haizhou, Jiangsu. Her father Liu Yuntang is a Cuban businessman. At the peak of the family business, he owned 200 salt ponds and 200 hectares of land. Rich family conditions have given her a better education than ordinary family girls. Of course, this is also related to her father's openness, "teaching with a little intelligence and love", and her own talent and intelligence soon made her famous. It is said that she can speak at the age of one, recognize numbers at the age of two, read words at the age of three, recite Tang poems at the age of four and distinguish four tones, which shows a high talent very early. At the age of six, she was sent to her home school to study with the boys. By the age of twelve, she was already a talented woman with good poetry and painting and a small reputation in the local area.

In the ninth year of Xianfeng (1859), Liu Qingyun, who was in her prime, married Qian Dekui, a gifted scholar in Shuyang. Chandakui, whose real name is Mei Po and whose real name is Xiang Yan, is versatile and a famous local genius. He is the author of Tan Yi, China Studies Series and Comparison of Song Ci. Talents match talented women, and this marriage has become a local beauty talk. After marriage, they got to know each other and lived happily. They often compose poems together, learn from each other's skills and write poems for each other's works. For example, the frontispiece of Twelve Legends of Little Penglai, which was printed later, was marked as "Revised by Xiang Yan, an ancient boy of Qianmeipo", and Liu Qingyun also wrote many poems for her husband's paintings and calligraphy works. Liu Qingyun later summed up his life and was very satisfied. "When I returned to my husband Mei Po, I felt sorry for each other with pen and ink. I have no regrets in my life." In this long and leisurely life, Liu Qingyun has created many works, including poems, Sanqu and operas. She also gave her study an elegant name: Little Penglai Fairy Hall. In the meantime, it is worth mentioning that during the six years of Tongzhi (1867), she went south to Hangzhou with her husband, attended classes at Ziyang College, and forged a friendship between teachers and students with the famous scholar Yu Yue. Later, she went to Shuyang College with her husband to attend classes, learning from Wang Xu, a local celebrity. These opportunities were very rare for married women at that time, which not only broadened Liu Qingyun's horizons, but also had a positive impact on her literary creation.

Literary achievements

Liu Qingyun's life is quite similar to that of Li Qingzhao, a talented woman in the Song Dynasty. Both of them had a good life in their early years, and both had husbands who could understand themselves and make peace with their poems. In his later years, he fell into misfortune and finished his life journey in extreme loneliness. However, they have made outstanding achievements in literature. Liu Qingyun was versatile and wrote many works in his life. Among them, there are 65,438+0 volumes of Poems on Little Penglai Fairy Hall, 65,438+0 volumes of Xiangxie Ci, Xiaopenglai Fairy Hall Qu Draft and Ten Biographies of Xiaopenglai Fairy Hall, etc., and many literary achievements have been made.

Word arrangement

In the 15th year of Guangxu (1889), Liu Qingyun began to sort out what he had done in these years and prepared to collect and print it. She prefaced her collection, and asked Mr. Wang Xu to preface it. By the 22nd year of Guangxu (1896), all her 24 legends had been written. The following year, she and her husband went south to Hangzhou and sent their poems and ten kinds of opera works to Yu Yue for consultation. Yu Yue appreciates her works very much, happily prefaces them and helps to recommend them for publication. Unfortunately, however, this autumn, heavy rain hit Shuyang, and Liu Qingyun's home was destroyed by the flood. All the manuscripts he didn't bring out were buried in the mud, including 14 kinds of opera works that had been written.

Publication of works

In the 26th year of Guangxu (1900), Ten Biographies of Little Penglai Fairy Hall written by Yu Yue was published by Shanghai Seaweed Lithography Publishing House. Five years later, her poetry and music collections were also included in the collection compiled by Chen Diexian. But at this time, Liu Qingyun and his wife's life was in trouble. The flood not only washed away her manuscript, but also washed away her property. Because of the insecurity of life, she can no longer write poems and draw pictures as safely as before. Yu Yue was very sad when she learned that Liu Qingyun's manuscript was lost. She had hoped that she would "rewrite fourteen submerged manuscripts to make them perfect", but Liu Qingyun had no condition or mood to rewrite them at this time. In the year of Xuantongyuan (1909), her husband died of illness, which was another heavy blow to Liu Qingyun. In his later years, he was miserable, embarrassed and lonely, all thanks to the support of relatives and friends. "There are seven things to open the door, but there is still nothing. This situation depends on how good it will be in the future. " This is a vivid portrayal of his sad mood. In the fourth year of the Republic of China (19 15), Liu Qingyun, a 74-year-old talented woman, finally finished her life in poverty.

Poetic style

Her poems are fresh, elegant, elegant and full of chivalry. Her teacher, Wang Xu, called them "not false teachers, but praised Qin Liu for resisting Su Xin" and spoke highly of them. Zhou Danyuan, another local celebrity, also spoke highly of Liu Qingyun, saying that "his poems are wonderful but not famous, but his words are close to Su Xin, which is not heartbroken", and "his pen and ink are also chic and not pink, and modern boudoir is rare". However, what future generations are most concerned about is her opera creation. Judging from the ten published works, they have a wide range of themes, or they write about children's love, such as Dense, Yuanyang Dream; Or write family twists and turns, such as "Circle in the Mirror" and "Hero Match"; Or write literati retreat, such as "Millennium Tears" and "Tianfeng"; Or write chivalrous feelings, such as Dan Qing's Vice and Xiao, or write worldly wisdom, such as Zheng and Yan Liang's Voucher. , and the structure layout and words are also very distinctive. Yu Yue called it "telling old stories, but bringing forth new ones from time to time, and the rhythm of closing your eyes is very clever." . As far as his ci is concerned, he does not take painting as his work, but takes nature as his beauty, which is quite different from Yuan people. Looking at Li Daiweng's "Ten Kinds of Songs", the talent is a little inferior, but elegance and cleanliness seem to have passed. "This not only points out the characteristics of Liu Qingyun's plays, but also gives them a fair evaluation.

Social assessment

It is precisely because of Liu Qingyun's outstanding achievements in literature, especially drama, that later generations have repeatedly commented on articles, such as Tan Zhengbi's History of Women's Literature in China and Zhou Miaozhong's History of Drama in Qing Dynasty. Liu Qingyun has also been included in large dictionaries such as Textual Research on Women's Works in Past Dynasties, Encyclopedia of China, Volume of Drama Art, and Volume of China Drama and Jiangsu. In recent years, thanks to the efforts of researchers, many valuable materials have been found in Liu Qingyun's hometown. For example, in 1987, Huaiyin Cultural Bureau discovered the Qian family tree in Shuyang County, which was published in his hometown during the Republic of China, and solved outstanding problems such as life, birth and death year, name and so on. 1990, Li Zhihong discovered two long-lost operas of Liu Qingyun, Looking at the Sea and Looking at the Wrong Flowers, which were copied by people, making people see Liu Qingyun's twelve operas, which undoubtedly promoted the study of Liu Qingyun. I believe that with the deepening of research, more people will pay attention to this talented woman in the late Qing Dynasty.