Some people say that "the ancients called Shen and Song Dynasties the ancestors of rhythmic poetry in the Tang Dynasty" based on the Yuan Dynasty's statement that Chen, Du, Shen and Song Dynasty were the "ancestors of Tang rhythmic poetry". It seems that the ancients knew it this way. Is that really the case? Haha, let’s speak based on the facts.
"New Book of Tang·Literary Biography": From Wei Jian'an to Jiangzuo, the rhythm of poetry changed many times. By the time of Shen Yue and Yu Xin, the phonology and rhyme were euphemistically linked, and the poetry was precise. When he asked about it and Shen Quan period, he added extravagance and beauty. He avoided the sound of the poem and made some accurate sentences. It was like a beautiful piece of writing. Scholars followed it and named it "Shen Song Dynasty".
This is a passage widely cited by those who discuss modernism. It clearly places the origin of modern style in "Jiangzuo", that is, the Six Dynasties period. The representative writers who created rhythm are Shen Yue and Yu Xin (not just these two people, this is the meaning of citing them as representatives). The specific content is phonology. , is right. By the time Shen Quan of the Tang Dynasty and the Song Dynasty wen, the meter was already complete, while Shen and Song Dynasties only "added extravagant elegance" and "the sentences are accurate, like a splendid written text".
Some modern people do not understand the meaning of "Yuejuquanpian" and interpret it as a prescribed form. This is typical literal meaning. Since the abandonment of classical Chinese and the promotion of vernacular, it has become increasingly difficult to understand classical Chinese. So some people use "wangyang" in "wangyangxingtan" as the verb-object structure and transform it into "wangx xingtan", some understand "not as good as expected" as "unsatisfactory", and some regard "groundless rumors" as unfounded rumors. There are also people who use "one family's words" as a word of self-effacement. Scholars with the title of today's cultural masters use "zhishi" as "being an official", thinking that "zhi" means attainment. From this point of view, is it not appropriate for people at that time to understand "the stipulation of the number of sentences and the approval of the chapter" as the stipulation of the number of sentences and the approval of the chapter? Haha, smile.
It doesn’t matter if you don’t understand the “Yue Ju Quan Pian”, let’s start with the people of the Song Dynasty. Liu Kezhuang's "Houcun Poetry Talk" said: "In the early Tang Dynasty, Wang, Yang, Shen, and Song Dynasty were good at naming, but they did not deviate from the style of Qi and Liang Dynasties, and they were the first to advocate elegance and dilution. They swept away the frailties of the Six Dynasties and tended to Huang Chu, "Jian'an"
Jin Yuan Haowen's "On Poetry and Quatrains" says: "The Shen Song Dynasty swept the calligraphy and ink field, and the Qi Liang Dynasty was not defeated. The merits are as good as those of the Wu Dynasty, and they co-authored the Golden Cast. Ang."
Let's take Yuan Renfang, the editor of "Yingkui Lvsui" who proposed "the ancestor of modern style". This anthology of rhymed poems contains about 3,000 rhymed poems by Tang and Song dynasties, including 1,227 Tang poems by 122 authors. The most selected songs are Du Fu's with 221, Bai Juyi second with 127, and Jia Dao third with 67. From Fang Hui's sporadic comments on Tang rhythm poetry, we can see the outline of the development of rhythm poetry in the Tang Dynasty that he constructed. The rhythmic poems of the early Tang Dynasty and the Song Dynasty were rich and light (that is, the so-called "added extravagant beauty" in "New Book of Tang"), but were still rigid and sometimes had the characteristics of Qi Liang style; The unique poetic style and writing style constitute the style of early Tang Dynasty rhymed poetry. Fang Hui repeatedly commented on these four schools of poetry, and respected these four schools of poetry as the ancestors of Du Fu's rhymed poetry. Fang Hui believed that Chen and Du's contribution to rhythmic poetry was higher than that of Shen and Song. Fang Hui also believed that the "Four Heroes of the Early Tang Dynasty" poems by Wang Yang and Lu Luo before the Shen Song Dynasty were the characteristics of the rhythm style of the Early Tang Dynasty. After Wang Bo's poem, he commented: "Every word in the four crosses is not perfect, how can it reduce the problems of the Song Dynasty?" After King Luo Bin's poem, he commented: "Every word is in the rhythm, but the work is indescribable." It can be seen that Fang Hui looked back Wang and Luo were higher than Shen and Song.
Obviously, Fang Hui's so-called "ancestor of poetry" does not refer to his "foundation of meter", but to his style. Rhythm is the most basic element of poetic style, and its formation must be far earlier than the maturity of poetic style. This can be understood by carefully reading the comment made by the Song Dynasty poets: "The poets of ancient and modern times should regard the four families of Lao Du, Gugu, Houshan and Jianzhai as one ancestor and three sects."
After Fang Hui, "Tang Yin" compiled by Yang Shihong of the Yuan Dynasty was a far-reaching anthology of Tang poetry. Yang Shihong advocated knowing people to discuss poetry, examining the changes in music and rhythm, and comprehensively evaluating Tang poetry based on style. "Tang Yin" classifies Tang poetry according to the styles of the initial sound, the correct sound, and the remaining sound, and takes the four outstanding figures of the early Tang Dynasty as representatives of the first sound type. The poems of the early Tang Dynasty in the positive sound are one category, the poems of the middle Tang Dynasty are one category, and the poems of the late Tang Dynasty are one category.
Yang Shihong did not follow Fang Hui's view that Chen Du and Shen Song were the ancestors of Tang rhythm poetry. He believed that the "Four Masters" were the ancestors who transformed the poetry style of the Six Dynasties and created the Tang sound. This view is inherited from Du Fu's affirmation of the "Four Elites" in "Six Quatrains of Play", and is more visionary than the office concept of the "Early Tang Dynasty" that Yan Yu believed was "still based on the style of Chen and Sui Dynasty". It is worth noting that the initial sound does not distinguish between modern and ancient styles, and Yang Shihong believes that they have "the same sound".
The five rhymes selected in "Tang Yin" are headed by Chen Zi'ang, and the seven rhymes are headed by Su Tingshuo. Only Wujue is headed by Song Zhiwen. It can be seen that the rhythmic poetry of Shen and Song Dynasties has little status in Yang Shihong's eyes. In his opinion, there is no distinction between the poetry of Shen and Song Dynasties and the ancient rhythms.
The important anthology of Tang poetry after "Tang Yin" is "Tang Poetry Collection" written by Gao Yu in the early Ming Dynasty. His "Summary of Five-Character Rhythm Poems" says: Although the rise of rhythmic style began in the Tang Dynasty, it was also due to the gradual development of haiku from Liang and Chen. Emperor Liang Yuan's five-character and eight-sentence poems are close to the rhythmic style. Yu Jianwu's "New Year's Eve" has a precise rhythmic style. In the early Tang Dynasty, the four gentlemen of the Tang Dynasty, Wang, Yang, Lu, and Luo, admired each other with haiku and expressed their beauty and respect for each other, but they could not get rid of the old and Sui Dynasty habits. After Shenlong, Chen Du Shen, Su Ting and Li Qiao of the Song Dynasty, two Zhang Shuo Jiu Ling and others followed, and this style began to flourish, which was also the time when the emperor was good at it.
It can be seen that Gao Ping does not think that Shen and Song are the ancestors of rhythm poetry. Of course, the Shen and Song Dynasties among those who "succeeded" could not be the founders of meter.
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Wang Shizhen, a famous poet and poet in the Ming Dynasty, made a comprehensive evaluation of the poetry of the Tang Dynasty in his theoretical work "Yiyuan Zhiyan". Regarding early Tang poetry as a whole, he focused more on the study of rhythm. In response to Fang Hui's statement that Shen and Song Dynasty were the ancestors of Tang rhythm poetry, Wang Shizhen specifically corrected it: "At the end of the Six Dynasties, the style of singing was very declining; however, its figures were quite vivid and the sound was slightly harmonious. After a change, it became more powerful, and it became the Tang Dynasty. At the beginning, with the addition of Zhengli, people knew that the Lu family of Shen and Song Dynasties was authentic, but they did not know that Quanyu was from Sanxie, and Huiyao was from Chen and Sui Dynasties." (Volume 4) "Quanyu" and "槧Key" are precisely the Lu poems. The whole process of rhythm formation.
The origin of rhythmic poetry is described in "Fanli" of "Collection of Tang Poems" compiled by Shen Deqian of the Qing Dynasty: "The five-character rhythm Yinkeng He Xun Yu Xin Xu Ling has developed its style, and people in the early Tang Dynasty Studying the sound, steady and smooth the body, and making great preparations. In the age of Shenlong, Chen Du and the Song Dynasty were like gold and jade. Since the creation of treasures, Li Taibai has been so beautiful and Wang Mo has been so proud of Meng Haoran. , parted ways and pushed for victory, Du Shaoling single-mindedly focused on Mount Tai, Yu Congheng, and turned upside down among the adjutants, so he should be transcendent and outstanding." He clearly attributes the credit for the creation of the style to the poets of the Six Dynasties.
Liu Xi, a famous scholar in the Qing Dynasty, wrote the book "Art Summary", and his "Poetry Summary" volume reviewed poets of all dynasties, starting from the "Book of Songs" to the two Song Dynasties, including all important poets of the past dynasties. Xie Lingyun, Shen Yue, Yan Yanzhi, Zuo Chong, Bao Zhao, Xie Zao, Jiang Yan, Yu Xin, Yang Su, the Four Great Masters of the Early Tang Dynasty, Zhang Jiuling, etc. all commented one by one, but not a single word was mentioned about Shen Quanqi's question in the Song Dynasty. Regarding the ancestor of Tang poetry, Liu Shi said: "Yu Zishan's "Yan Ge Xing" is the beginning of Qi Gu in the early Tang Dynasty, and "Wye Cry" is the beginning of Tang Dynasty Qilu. The other styles are based on Tang Wujue, Wulu and Wupai, which are especially incomparable. "
To sum up, the so-called "ancient people called Shen Song Dynasty the ancestor of rhythm poetry" is completely subjective. As for the rhythm of the verses, it was created by the Shen Song Dynasty, and it is even more unreasonable.