Chapter 4 Poetry and Prose in the Mid-Qing Dynasty
Entering the Qianlong era, the historical shocks of the Ming and Qing dynasties have completely passed. Because the rulers of the Qing Dynasty respected China's inherent
cultural traditions, Han intellectuals were able to settle down in the study of classics, history and rhetoric in addition to official career and economics.
Even this The profound elegance of this kind of knowledge is still beyond that of the Yuan and Ming dynasties, so the consciousness of national antagonism is further weakened. The Qing Dynasty
As an orthodox part of Chinese history, it has been recognized as an unquestionable fact.
The more fundamental contradictions caused by social development are once again simply and sharply stimulating people's thinking.
Although it did not form as obvious a social trend as in the late Ming Dynasty, the disgust with the enslavement of personality under feudal autocracy and the anguish that
individual creative talents cannot be realized are indeed It has a lasting and profound expression in the literature of the mid-Qing Dynasty.
This can be seen in both novels and poetry. By the time of Jiaqing and Daoguang, with the deepening of various social conflicts and the Qing Dynasty
power gradually losing its strong control over society due to its own corruption, a more reactionary figure like Gong Zizhen finally appeared
Creation that resists meaning.
Section 1: Poetry in the Mid-Qing Dynasty
During the Kangxi period, Wang Shizhen dominated the poetry world by advocating the "Verve Theory". In the Qianlong period, this poetic theory was criticized by Shen Deqian, p>
Opposition from famous figures such as Yuan Mei and Weng Fanggang. But the directions they lead are different. What had the greatest impact on Qianlong's poetry circle was the "theory of human nature" advocated by Yuan Mei.
Shen Deqian (1673-1769), whose courtesy name was Queshi and whose nickname was Guiyu, was from Changzhou, Jiangsu (now Suzhou). He lived at an early age,
but he was a Jinshi at the age of sixty-seven, and was promoted to cabinet bachelor and minister of rites. He was trusted by Emperor Qianlong, so his main influence on the poetry world
was in Qianlong era. He is the author of "The Complete Collection of Poems by Shen Guiyu", and has compiled and selected "Origins of Ancient Poems", "Collections of Poems of the Tang Dynasty", "Collections of Poems of the Ming Dynasty" and "Collections of Poems of the Guo Dynasty" ( That is, "Collection of Poems of the Qing Dynasty") and other books.
Shen Deqian's poetic theory is generally called "style theory". The so-called "style" originally refers to the rhythm and tone of poetry,
it also refers to the majestic, majestic and varied beauty expressed thereby. His theory was based on the Qizi of the Ming Dynasty, so Shen praised the Qizi in Ming poetry and rejected Gong'an and Jingling. When it came to the style of poetry, he favored the Tang Dynasty and deposed the Song Dynasty.
But the meaning of Shen's poetic theory is actually different from the theory of the Seven Sons of the Ming Dynasty. Because his discussion of poetry has one of the most important and fundamental premise
which is to require a "poetic education" that is conducive to the ruling order and is in line with "gentleness and honesty". Section
of his "Shuo Shi Yu Yu" says: "Poetry is the Tao, which can rationalize emotions, be kind to ethics and things, feel ghosts and gods, establish education for a country, and deal with princes. Use this method
The most important thing is to determine the value of poetry based on its benefit to feudal politics. He also said that "the words have substance" and "original temperament", but he pointed out that it must be "concerned with daily use of human relations and the success and failure of ancient and modern times, in order to survive", if "moving
To write gentle country language" is "the most harmful trick to people's hearts, and it will not exist at all" (see "Guochao Poetry Collection? Fanli"). Therefore,
According to the standards of "poetic education", Tang poetry is no longer good. While Zong Tanghe pays attention to style, we must also "look back to elegance, the beginning of poetry" ("Shuo Shi Yuyu"). Therefore, Shen's argument is very similar to the attitude of the ancient writers of the Tongcheng School who, although they highly value the works of the eight schools of Tang and Song Dynasties,
at the same time believe that their ideas are not pure enough and must be traced back to the Confucian classics. In terms of the style of poetry, Shen Deqian confused the principle of "gentleness and sincerity" with the artistic expression of "implication", advocating moderation and peace, being euphemistic and implicit, and opposing being explicit.
In short, Shen Deqian's poetic theory is based on the poetic teachings of Han Confucianism and uses the "style" of Tang poetry as an attempt to create a style that can conform to the Qing Dynasty
Strict ideological rule can embellish the poetic style of the "prosperous times" of Kang and Qian Dynasties. However, the "style" of Tang poetry
is inseparable from its passion. This assertion has its inherent insurmountable contradiction. Therefore, Shen's
own poems are mostly mediocre; sometimes he writes about the sufferings of the people's livelihood, but this is just the gesture of feudal literati who "cared about the country and the people"
. It's just that he gave technical analyzes of some classical works in various anthologies, and also said a lot of expert words.
Li E, who was active in the poetry world at the same time as Shen Deqian, continued the direction of the Song poetry school outlined by Zha Shenxing. Li E
(1692-1752) was born in Qiantang (now Hangzhou), Zhejiang, courtesy name Taihong and nickname Fanxie. He lost his father when he was young, his family was poor, he was aloof and easy to study. He passed the national examination at the age of twenty-nine. After that, he failed in several examinations, so he changed his mind from official career to career.
In summary, there are "Collections of Fanxie Shanfang" and "Chronicles of Song Poems", which expanded the influence of the Song Poetry School. The problem with Li E's poems
is that they tend to use out-of-the-way classics and stories, and their intentions are too profound. However, some modern short stories can still show his lonely character.
There is one A kind of deep and cold meaning that is out of vulgarity. Shen Deqian criticized Li E:
"The practice along the Song Dynasty defeated the style of the Tang Dynasty" (quoted by Yuan Mei (Answer to Shen Dazongbo on Poetry and Books)), which was based on his "gentleness and honesty"
Based on the standard. In fact, Li E of Zong Song Dynasty is at least more temperamental than Shen who is known as Zong Tang. The following is his "Cold Spring
Ting":
Zhonghe. The lonely pavilion is closed, and the sound of the spring is coming out. I can hear the distant Sanskrit quietly, and I can realize the clear light independently.
The poem is quiet and has a slight flavor of Wang Wei's poems, but the fifth sentence uses "broken" to modify "monk", and the last two sentences describe the moonlight casting the shadow of the pine branches on himself. , which makes the clothes resemble a monk's cassock (its checkered pattern is like farmland, so it is called "field clothes"), which metaphor
indicates the inner understanding of Zen principles, but it seems too profound and lacks the agility of Tang poetry. Like Zhu Yizun, Li E's more interesting creations are in his lyrics. They all used words to make up for the shortcomings of their poems.
Weng Fanggang, who served as a cabinet bachelor during the Qianlong period. (1733-1818), famous for advocating the "texture theory". He was a scholar who also talked about poetry with a scholar's attitude, believing that "learning must be based on textual research, and poetry must be based on research." The texture shall prevail"
("Preface to the Collection of Zhiyan").
The so-called texture refers to both the meaning in the poem and the organization of the poem. He believes that knowledge is the foundation of poetry. , "It is advisable to study and compile the classics
historical research, and then his poems will become more and more refined" ("Preface to the Poems of Three Sons of Eastern Guangdong"). At the same time, he believes that the delicate logic of Song poetry is not found in Tang poetry
And, so he advocated patriarchal Song poetry. In terms of advocating the "purity" of poetry, he was actually consistent with Shen Deqian. His poems were practical but less interesting. In terms of poetic opinions, the poet who not only expressed dissatisfaction with Wang Shizhen but also opposed Shen Deqian and Weng Fanggang was Yuan Mei (1716-1797), also known as Jianzhai. , also known as Suiyuan Master, was born in Qiantang (now Hangzhou), Zhejiang Province.
In the fourth year of Emperor Qianlong's reign (1739), he entered the Hanlin Academy as a Jinshi. Because he was not proficient in Manchu, he became a local official and worked in the Jiangnan area. After six years, he became the magistrate of the county.
He resigned and lived in Suiyuan at the foot of Xiaocang Mountain in Jiangning (now Nanjing), where he spent the rest of his life enjoying poetry, wine and travel.
What is noteworthy about Yuan Mei is not only his poetic opinions. He actually reiterated the anti-traditional thoughts of the late Ming Dynasty in many aspects.
It represents the evolution of late Ming thought after the Qing Dynasty. A resurgence after an early recession. Like Li Zhi, he affirmed the rationality of desires and believed that the rule of saints is to satisfy the desires of people with "good goods and lust" (see "Qing Shuo").
He even affirmed the extravagant life of the rich and opposed the blind advocating for frugality, pointing out: "The ancient sages sought to enrich the poor; today's sages seek to enrich the poor. I don't know. The rich people are the mother of the poor." ("Book of Discussing Punishments with Wu Ling")
The so-called rich people are the "mother of the poor", which means that the poor are benefited from the consumption of the rich. Opportunities to make a living. Of course, this is speaking from the perspective of some wealthy businessmen at the time (Yuan had many contacts with such people), but as an economic thought, it makes sense. . In particular, the idea of ??protecting the people and enriching the people was more in line with the needs of social development at that time than the traditional idea of ??advocating frugality and the egalitarianism of impoverishment that "worried not about scarcity but inequality"
.
From the standpoint of respecting human desires, Yuan Mei, like Li Zhi, fiercely criticized the pretentious and hypocritical false Taoism. He thought
"It is better to get thousands of fake people in Luo, Guan and Fujian than to get one or two genuine Bai Fu and Fan Chuan" ("A Book on Poetry in the Garden"), and pointedly
Points out:
“The one who has corrected himself will come out, but he will not stay inside for no reason, and then he can be the wife of a widower and the son of a lonely man without being moved; 1
Bake and bait You can spend the whole day, and then you can increase the anointing of the people and reduce the salary of the officials without wanting to return; if you refuse to be familiar with the people, the servants will have nothing to avoid, and then you can retain your position as the leader without any hesitation. "("Qing Shuo") This means that people who pride themselves on abstinence not only have their own agenda, but are often cruel and inhumane. Yuan Mei undoubtedly has personal experience with this type of figure in the officialdom.
Yuan Mei also firmly opposed the attitude of blindly worshiping Confucian classics. In "The Second Book of Replying to Dingyu", he
pointed out that the Six Classics, with the exception of "The Book of Changes" and "The Analects of Confucius", are "too doubtful" and that the words of the Six Classics may not be "all true" or "all pure." ",
Even borrowing the words of Lao Zhuang and criticizing "the Six Classics are all dregs" ("Occasionally Written"). He also expressed dissatisfaction with the popular textual research on Sinology at that time, believing that "Song studies had shortcomings, and Sinology had even more drawbacks" ("Reply to Hui Dingyu"). The scholar Zhang Xuecheng criticized him for "daring to advance and retreat from the Six Classics, which is beyond the power of the Holy Spirit" ("After the Poems Engraved in the Bookstore"), which actually illustrates the freedom and liberation of his thoughts.
Yuan Mei's thoughts were not purely personal, but actually reflected the requirements and ideological changes of urban industrial and commercial people at that time.
Even Ji Yun, who was a minister and scholar leader, ridiculed the pretentious "fake Taoism" in his "Notes on Yuewei Thatched Cottage" and advocated the importance of "reason" Following human feelings, it can be seen that this change in thinking is universal.
Yuan Mei's poetic ideas are generally called "Xing Ling Theory", where "Xing" means temperament and emotion, and "Ling" means cleverness and spiritual interest.
Spiritual interest. Specifically: First, from the perspective of the nature of poetry, "poets are born from emotions" ("Answers on Poetry in the Garden"), "there is no poetry other than temperament" ( "Send the money to Uncle Sha Fang on Yuyu and tell him to return home"). In other words, human temperament
is the origin of poetry, so "you must first ask about temperament before writing" ("Reply to Zeng Nancun on Poetry"); and "Emotion comes first, Mo
Like men and women" ("A Book on Poetry in the Garden"), so he did not include erotic poems when Shen Deqian selected poems and Cheng Jinfang wanted to delete the "love poems" in the collection. "I was greatly disgusted (see "A Letter to Uncle Shen Dazong" and "A Book on Poetry in the Garden"). Secondly, temperament is always a specific individual's temperament, so poetry must focus on one's own personality and not copy others. The Song Dynasty has nothing to do with it" ("Reply to Lan Nuo on Poems and Books"). In his opinion, the dispute between Zong Tang and Zong Song is completely meaningless.
Third, in terms of specific creation, he emphasized the need for "talent" and "ingenuity." "Writing poetry is like writing history
Talent, learning, and knowledge should be combined, but talent comes first." "Poets without talent cannot use books or move their souls"
("Preface to Jiang Xinyu's Garden Poems"), pursuing the "sudden truth and sometimes strangeness, sometimes Zhuang and sometimes haiku, sometimes calm and indulgent" ("Zhao Yunsong Oubei") caused by the revelation of genius Collection Preface") and other varied styles that transcend stereotypes. Fourth, on the premise of temperament and spirituality, we also attach importance to learning from the ancients and carefully tempering, advocating that "if you don't learn from the ancients, there will be no method" ("Continued"
Poetry? Written by me"), and said that "it is difficult to write down the origin of my hobby, but I will feel at ease after changing a poem a thousand times" ("Qianxing").
Yuan Mei's poetic theory is directly opposed to the ideas of Shen Deqian and Weng Fanggang, and is both exclusive and related to Wang Shizhen's "Shen Yun theory"
He did not object to the term "Shen Yun". "Reply to Li Shaohe" said: "The word "Servant Mind Shen Yun" is particularly important
... Shen Yun is the innate innocent temperament. "It cannot be forced." Indeed, "Charm" is originally a term that emphasizes temperament. However, in Yuan Mei's view, the "Charm" Wang Shizhen pursues is vague and lacks vitality. , so he was accused of "not controlling his temperament" ("Suiyuan Shihua"). Yuan Mei mainly inherited the theories of the Gong'an School in the late Ming Dynasty that "expressed one's own spirit without being rigid"
and also absorbed the opinions of Yang Wanli in the Southern Song Dynasty to construct his own systematic theory. In pursuing the "craftsmanship" of poetry, he is more particular than the policemen.
In the poetry world of that day, this theory was of great significance in restoring the lyrical function and individual expression of poetry.
Yuan Mei's poetry creation has its own distinctive features, but it is difficult to call it everyone. This is related to his attitude towards life. Although his mind
is sharp, he can also rise and fall with the world and enjoy himself in a romantic career. Like what is written in "Self-mockery": "If you are an official, you are not an official.
Looking for fun, having no children, and buying sex for your reputation. When you laugh at yourself, you are very talented, and you are sent by Tianqiang to be a poet." It makes people feel that he The pain has been
self-dissolved. Therefore, although his poems are of various styles, they are not characterized by being heavy, powerful or passionate, but by being novel and clever.
For example, "Miscellaneous Poems on a Spring Day":
It rains continuously for days during the Qingming Festival, and you can see the magpies nesting in the traces of spring. The bright moon still invites me to meet you at night.
The first two sentences describe the beginning of spring in the rain, and the last two sentences imagine the beauty of the moonlight melting in the apricot blossoms, and connect the two before and after with the affectionate and affectionate moonlight
Appreciating each other. Extremely beautiful and lively. This kind of poetry may seem light, but it is by no means hastily written. In addition, such as "Half a day
The cool moonlight, a flute to drink wine" ("Borrowing the garden at night to meet the master sitting under the moon and playing the flute"); "Shili Yanlong Village Shop is small, one branch
The wine flag is deflected by the wind" ("Spring Bridge"); "Most of the houses are close to water, and the lives of their children are always mulberry bags" ("Rain Passes Over Huzhou")
Wait, these are all famous sentences like this .
Yuan Mei also has some poems related to social issues. For example, "The Song of Catching Locusts" and "Sigh on the Cao Cao" all express the traditional sense of responsibility of scholar-bureaucrats
And some of his satirical works especially reveal his sharp personality:
The sunny weather is too mild and the rain is too cool. The cost of spring events in Jiangnan will be discussed. If the poplar flowers do not rely on the east wind, how can they fill the sky and be wild alone? ("Oops")
This poem, "Paper Kite", "Hating Flies" and other poems all describe the ugliness of a type of characters in a disgusting tone: they have nothing to do with anything.
An independent personality who tends to follow the trend, but is complacent and even arrogant. This feeling has a special expression in the literature of the Qianjia period, which is worth noting.
Yuan Mei's theory of spirituality caused great repercussions in the poetry world at that time. There were many opponents and many who agreed with it.
During the Qianlong period, Jiang Shiquan, Zhao Yi and Zheng Xie, who together with Yuan Mei were known as the "Three Great Masters on Jiangyou", all had contacts with Yuan Mei and were more or less influenced by him.
① "Biography of Qing History? Biography of Zheng Xie" states that Zheng "did not meet Yuan Mei", which is wrong.
Yuan You's poem describes the relationship between the two in their later years.
Zhao Yi (1727-1814), courtesy name Yunsong and Oubei, was born in Yanghu (now Changzhou), Jiangsu. In the middle period of Qianlong's reign, he became a Jinshi and an official
He went to Guixi to prepare troops. He resigned from office in his later years and concentrated on writing, especially in history. "Notes of the Twenty-Two Histories" and "Yi Yu Cong Kao" are the most important works in the world;
In literature, there are "Ou" "Bei Shi Chao" and "Oubei Shi Hua". The similarity between Zhao Yi's poetry theory and Yuan Mei's is that innovation is the highest standard and he will never fall behind others, let alone imitate. There are quatrains from "On Poetry":
Li Du's poems have been passed down by thousands of mouths, but they are no longer new. Talented people have emerged from generation to generation, and each has led the way for hundreds of years.
Not to mention his outstanding opinions, even if you look at the author's spiritual temperament from this poem, he is also proud and unique.
Zhao Yi's poems do not focus on one style, but cover everything. His distinct personality and bold talents are his strengths. For example, "Wild Walking":
The cold weather prompts me to change my kapok fur, and I travel close to the original work in the suburbs, leaning on my stick. Most of all, the autumn wind is nosy, red maple leaves and white hair.
Although it also has a sad feeling about autumn, it does not want to be written as a lament, and shows a healthy spirit in the bright colors.
Another part of his poems are argumentative, with witty and sharp thoughts. For example, the third chapter of "Poems of Living in the Back Garden" refers to the suspiciousness of historical records from his own flattery to the tomb
; the sixth chapter of "Studying at Leisurely Living" refers to the different metaphors seen by theatergoers depending on their location. The principles of reading
all have insights that can inspire people to think. "Twenty-One Readings of History", which is about chanting history and feeling the moment, more concentratedly expresses this characteristic.
For example, the story of "Guo Ju burying his son" in the eighth chapter of "Twenty-Four Filial Piety" is the same as Yuan Mei's early work "Guo Ju Lun".
It criticizes the anti-human things in feudal morality, starting with "Depreciation" The two sentences "The world respects the name, and the work is more aggressive" points out
Things that appear to be good but are actually evil are always caused by the pursuit of fame, and the writing is serious. Another example is the seventh poem:
Kang Cheng lived in Beihai, and Huangjin worshiped his door. Duke Yuan lived in Mount Lu, and went to Lu Xun for questions and answers. Because of his high quality, he can make the thieves tame.
It was also seen that the wind was blowing and the French net was leaking. There is no doubt about his appearance, but he can convince people by virtue. If he encounters a cunning official, he will be treated as a thief as early as possible. Guan Ru
Confucianism and Buddhism, and test the power of officials.
Zheng Xuan and Huiyuan were respected by "thieves" one after another. It is a beautiful story by historians. What most people think of is that they can convince people with their virtues
For example, Gu Yanwu's "Buqi Mountain" "To ask, if the world is full of yellow turbans, is it possible for Zheng Kangcheng to be accommodated?" He also took this meaning and used Zheng Xuan as a metaphor.
However, in Zhao Yi's poem, he said that when the law is strict, such things can never escape the charge of "trafficking", thus making a sharp satire on reality. This kind of work is naturally insufficient in terms of poetic artistry, but it is quite powerful in thinking.
It also expresses the author's personality.
Jiang Shiquan’s views on poetry are also similar to Yuan Mei’s. However, he was cautious and had quite old-fashioned ideas. Although his poetry writing skills were relatively high, he lacked Zhao Yi's radiant spirit. He is good at seven words. There is a poem "Reading Books" that vividly describes the beauty of calligraphy
and is more distinctive:
Looking at books with old eyes is like reading paintings, the mountains and rivers are so clear. The waves and crepe of writing come out one by one, and the smoke and clouds of paper are written word for word. She is graceful and graceful
Looking from side to side, her heart is soaring and flying. After a hundred times, it became more and more solemn, and when I raised my hand, I felt that it was not calm.
Zheng Xie (1693-1765), courtesy name Kerou and Banqiao, was born in Xinghua, Jiangsu. He was a Jinshi at the beginning of Qianlong's reign. He was the magistrate of Fan County and Weixian County in Shandong Province and had a political voice. Later, he disobeyed the officials because of the disaster victims' request for relief, and was dismissed from office. He returned to Yangzhou to make a living by selling calligraphy and painting. He was a famous calligrapher and painter. There is "The Complete Works of Zheng Banqiao".
Zheng Xie was born in poverty and became an official. He made it his life ambition to be an official. He adhered to the Confucian political ideals, but he also admired free and unrestrained people like Xu Wei and Yuan Mei.
Scholars are cynical. Generally speaking, he is an upright person with a bit of crazy habits, but his thoughts and character are not sharp or strong. Just like his paintings and calligraphy, they have a somewhat "weird" flavor but are not indulgent.
In fact, they are relatively elegant and shallow in content.
Some of his poems focus on reflecting the suffering of people's livelihood, such as "Orphan's Journey", "Escape", "Evil Girl", "Lynching
Evil", "Tough Official", etc. They are all concrete, real and sympathetic, which is rare among ordinary poets. Especially the chapter "Evil Girl", which describes the cruel torture of a young daughter-in-law by her mother-in-law, typically reflects an inhumane phenomenon in the rural areas of old China.
Just because the author set out to persuade the world, he focused on narration and failed to penetrate deeply into the characters' hearts. As a poem, it still has shortcomings.
In addition, there are many landscape travel records and paintings. The author does not pay much attention to this type of poetry, and once criticized himself and said: "The ancients used articles
to manage the world, but what we do is just romance, moon, flowers and wine." ("Preface to the Later Poems") So here we are. Not far away, the language is generally natural and shallow.
I don’t like imitation, which is an advantage, but it lacks special feelings and unique creations. The verses are particularly light and unfocused, while the quatrains are more lively and somewhat express his character. Such as the following song:
Throw away the black gauze and not become an official, the bag is fluttering and the sleeves are cold. A thin bamboo was used as a fishing rod on the river in the autumn wind. ("Report
Return home, paint bamboos to bid farewell to the gentlemen and people of Weixian County")
Among the later poets, Huang Jingren also had a relationship with Yuan Mei, and Zhang Wentao's poems He was praised by Yuan Mei. Their creations are full of individuality and talent, expressing strong dissatisfaction with the feudal culture that suppresses human nature. In the art of poetry,
Huang Jingren's achievements are even more outstanding. Those who praised him said that "in the 60 years of Qianlong's reign, he was ranked first among those who commented on poetry" (Bao Shichen's "Qi Min
Four Techniques").
Huang Jingren (1749-1783) was born in Wujin, Jiangsu Province. He lost his father when he was four years old. Because his family was poor, he traveled around to make a living in his early years. He once served as the bookmark officer of Wuying Palace, and later accepted donations to become the county magistrate. When he was candidacy, he was forced by his debtors.
He wanted to go to Xi'an to follow Bi Yuan, the governor of Shaanxi Province, but died of illness on the way. He was only thirty-five years old. There is "Liangdangxuan Collection". Huang Jingren failed to take the exam many times. He was depressed and sick all his life. The reality of his life of poverty, sorrow and hardship became the main content of his poems, such as "Everything in my life is full of troubles." "The whole family is in the wind, and the clothes are not cut in September" ("Dumen Autumn Thoughts"), "The whole family is in the wind. On a windy and snowy night in Chaimen, it is better to have no children than to have no children at this time" ("Farewell Old Mother"), which fully describes the sadness of the poor man. But it is not enough to just look at Huang Zhongze in this way. In his poems, he often shows his cherishment of human dignity and the resulting aloofness. A typical example is "Tiger Circle", which writes about a tiger taming performance he saw in Beijing. It depicts the beast being driven by people and doing various things that look majestic but are actually "charming". The posture expresses the deep sorrow of human nature being distorted and losing its natural nature under the pressure of ruling power, and has the potential significance of calling for the return of heroic personality. The famous "Miscellaneous Feelings" writes:
The immortals and Buddhas have not yet come together, and they only know that they are alone in the night. The wind is full of sad songs, and the mud is stained with bad luck. Nine out of ten people are worthless and useless scholars. Don't worry about the poems and turn them into prophecies. The spring birds and autumn insects make their own noises.
Although the mood of this poem is relatively low, you can still feel his arrogance of having a high self-esteem and his stubbornness to make his voice heard in the world
A tenacious character in difficult situations. This type of poetry reflects the revival and strengthening of individual consciousness in the literature of the Qianlong period.
Huang Jingren's seven-character poems (including ancient style and rhymed style) best show his unique temperament. The style is deeply influenced by Tang poetry
but also has its own originality.
Among the ancient poets, Huang Jingren admired Li Bai the most, claiming that "I have no one else to learn from but my father-in-law" ("Taibai's Tomb").
And the long-term wandering, hardship and extensive life also made his poems (especially Qi Gu) "beautiful and strange, and those who saw them thought that the banished immortal was coming back" "(Hong Liangji's "Huang Jun's Journey"), especially those chapters that describe the magnificent flying scenery to express the unrestrained feelings, clearly reveal the flavor of Li Bai's poems, and also have the flavor of Han Yu's poems. , the composition of Li He's poems. For example, it is written about Qiantang River View
Tide: "I just saw the silver mountain shaking the earth, and the red bank has floated to the sky. The rocks are banging and the mountains are thousands of holes, and the females are chanting six knots of shaking."
("Tide Watching") When he was twenty-four years old, he participated in the grand meeting held by Anhui academician Zhu Jun (named Jianhe) at Taibai Tower in Caishiji.
He impromptuly wrote "Jianghe" "Mr. Composed a Song While Drunk at a Banquet at Taibai Tower", in the poem "It was the day when the clouds were blooming on the river, and the sky gate was lightly swept.
Twin eyebrows. The river turns from the edge of Cimuji, and the tide reaches the bottom of Ranxi Pavilion." And the meticulous copying and the relaxed and confident feeling of "Gao Hui wrote the poem at the top,
The name is not dead on the hill. Please throw the poem into the river, it will not flow to the east of the river", both made him feel Renming
can clearly feel the vitality of the poet's talent. It is said that this poem was written by a scholar, and people praised it as comparable to the poem Wang Bo wrote in Tengwang Pavilion
.
Huang Jingren’s seven-character rhyme is unique in its wide-ranging collection. His language is natural and graceful, his imagery is clear and original.
His emotions are expressed very deeply and carefully. The Tang Dynasty, especially the flavor of Li Shangyin's poems, such as "Sense of the Past" and "Qi Huai". "The people in Dulishiqiao don't know each other, and one star is like the moon for a long time" ("Guisi New Year's Eve Occasionally") describes the lonely mood, "The stars look like they are not last night
Who are they for? "The wind dew stands in the middle of the night" ("Qihuai") writes about the pain of lovesickness. They are all good at using exquisite words to write melancholy moods.
It makes people moved and will not be forgotten after reading it.
The scope of Huang Jingren's poems is slightly narrower, but this is because he is like "Dongye (Mengjiao) is poor but Changji (Li He) is young" (Wu
Weiguang's "Liangdang") "Xuan Shi Chao Preface") due to the fate.
In his time, he was the most poetic and talented after all, and the deep appeal of his poems has permeated into modern times.
Zhang Wentao (1764-1814), courtesy name Zhongye and alias Chuanshan, was born in Suining, Sichuan. In the last years of Qianlong's reign, he became a Jinshi and was awarded the title of Examiner of the Hanlin Academy. He once served as the magistrate of Laizhou. There is "Chuanshan Poetry and Grass".
Zhang Wentao's emphasis on temperament in poetry is similar to that of Yuan Mei. He said, "If there is no self in the poem, it is better to delete it" (Eight Poems of the Essay),
"Write the true experience of this person" ", "Good poetry is nothing but close to human feelings" ("Twelve Quatrains on Poetry"). His poems express emotions
and also have a spirit of freedom and liberation. For example, ancient Chinese poems rarely describe the intimate emotional life between couples in a positive way,
but Zhang Wentao does. There is nothing taboo about this. One of the poems in "Gifts in Cars" writes:
Spring clothes cover each other in the cold night, and the sound of bells is far away in dreams. With a smile, the carriage is as stable as a house. We sit and watch each other behind closed doors all day long.
The mutual love and admiration between husband and wife is only the content of private life, but the poet thought it was beautiful and touching, so he wrote it calmly. He was not unaware that this was contrary to social customs and ethical dogma. "In the Car in Bamboo Pond", written at about the same time, first started with "The beautiful woman in the car looked at the beautiful village woman, and the flowers in the painting were drunk." "Mo Yun" came to boast about his wife's beauty
and his admiration for this beauty, and then said: "There should be no one like me in the biography of Neo-Confucianism, and Xiang Lian Poems are good successors." p>
The identity of the despicable Xiang Lian poet is a despicable and self-righteous Neo-Confucian scholar, who clearly shows his attitude of confrontation with social and cultural traditions
The Qianlong Dynasty was still the so-called "heyday" period of the Qing Dynasty, but sensitive literati have deeply felt the dullness and lack of vitality of this era, as well as the lack of personal creativity. Suffering oppression. Zhang Wentao wrote in the poem "Lugou": "Reading in the vast world
There is no situation in the world, and people are useless because of mediocrity. In the past, the heroes could not cry out, and they sang songs and hung up the ancient golden platform.
"
"No success" refers to the sluggishness of the social, political and cultural conditions, and "wasted talent" refers to self-pity and self-blame. And the spirit of yearning for freedom often
It is presented through flying images, such as "Looking back at the farewell pavilion, thousands of peaks are flying down to Chencang" in the poem "Out of the Inn", and "The poem after drunkenness" in "Drunken Houkou Zhan". "The soul desires to go to heaven" is a portrayal of the will to break free. It is also like "Crossing Huangzhou":
A dragonfly returns to the boat alone with a leaf, soaking in the cold spring clothes and night water Quiet. I am like a crane flying across Jiangxi, and the moon is like a dream passing through Huangzhou.
It is also an image of flying freely, although the artistic conception is lonely and cold. This kind of spiritual restlessness is reflected in Yuan Mei's poems.
It is rarely seen in poems, but in Gong Zizhen’s poems, it is more arrogant and powerful. From Yuan Mei, Zhao Yi to Huang Jingren,
Zhang Wentao and then to Gong Zizhen's emphasis on self and desire for spiritual expansion can indeed be seen as a coherent development process.
In terms of language art, most of Zhang Wentao's poems are excellent. It is clear, shallow and agile, and pursues the realm of "pure nature through hundreds of exercises" ("On Poetry
Twelve Quatrains"), which is in the same vein as Yuan Mei's poets from the late Qianlong period to the early Daoguang period. , there are also Li Jian, Hong Liangji, Peng Zhaosun, Shu Wei, Wang Tan, etc., who will not be introduced one by one
As for the most important Gong Zizhen, a section will be dedicated to his literature at the end of this chapter. Thoughts, poetry, words, and literature
are combined.