As the moon sets down the mountain path, the people in the thatched cottage have not returned.
Building insects weep in the cool dew, and fence dogs bark in the lingering light.
The frost is still and the moon is brighter, and the smoke is growing fainter.
As soon as autumn comes, I know how many days there will be. Zhong Xing (1574-1624) was a writer of the Ming Dynasty. His courtesy name was Bojing, his first name was Jingbo, his nickname was Tuigu and Zhigong Jushi, and he was a native of Jingling, Huguang (now Tianmen City, Hubei). Born into a scholarly family, his father Zhong Yiguan was educated in Wujin (now Jiangsu Province). In the thirty-eighth year of Wanli (1610), he was awarded the title of Jinshi, and was awarded the title of "Jinshi". He was in charge of poetry attainment and canonization matters. The next year, he went to Chengdu as an envoy to serve as an envoy; and later to Shandong. In the forty-third year of Wanli (1615), he went to Guizhou again to preside over the provincial examination. Later, he moved to the Ministry of Works and was transferred from Beijing to the south of the Yangtze River, where he served as the director of the Sacrifice and Temple Department of the Nanjing Ministry of Etiquette, and then moved to the doctor of the Ceremony Department of the Nanjing Ministry of Etiquette. When he was in Nanjing, Zhong Xing was simple and self-possessed. He rented a first-floor house by the Qinhuai River and read history at his desk until late at night. Every time he gained something, he wrote down it. He wrote a book "Shi Huai", commenting on ancient history, "Many inventions, some What the ancient sages could not catch." He was a cold-blooded person and did not like to meet secular guests, so he was able to thank people and study history books. He likes to travel to famous mountains and rivers, and once climbed Mount Tai together with Lin Gudu. In the early years of the Apocalypse, Zhong Xing was promoted to the official position in Fujian Province. He still advocated a quiet poetic style in central Fujian and incorporated Zen edicts, which was unpredictable and profound, and he was known as the "Poetry Demon". Jiangnan Zhang Ze, Hua Shu, Fujianese Cai Fuyi and others wholeheartedly agreed with Zhong Xing and regarded Zhong Xing as "the deep and lonely sect". Soon after, Zhong Xing lost his father and returned home to observe the system. He died of illness at home in the fifth year of Tianqi (1625) at the age of fifty-two. He was buried in Lujiafan, south of Tianmen County (today's Lichang Commune, Men County). The tombstone still exists. During the Ming and Qing Dynasties, there was a "Zhong Tan He Temple" in the county, with the four words "Tian Xia Wen" inscribed on the square. The site is located east of the current seat of the Men County People's Government. Later generations compiled his poems into "Yinxiuxuan Collection".
He and Tongli Tan Yuanchun selected Tang poems and wrote "Return of Tang Poems"; they also selected poems before the Sui Dynasty and wrote "Return of Ancient Poems". They became famous for a while and formed the "Jingling School", known in the world as "The Return of Ancient Poems". "Zhong Tan". Opposing the style of imitating the ancient style of writing: He refuted the idea of ??imitating the ancient style that prevailed in the literary world after the middle of the Ming Dynasty, pointing out that "poetry writers are always concerned about seeking the high. Those who are high must be different from the way. Those who use the way cannot be the same. "(Zhong Xing's "Preface to Poems"). He believes that the "Seven Sons" imitate the words and sentences of the ancients, but they "take the ancients' extreme skin, extreme narrowness, extreme familiarity and ease of speaking and hand, and think that the ancients are there" (ibid.). Therefore, he strives to change this style of writing and puts forward the reform proposition that "the potential is limited but must change" ("Preface to the Poetry of Wenshang Pavilion").
It is advocated that poets should express their soul: this kind of "spirit" or "spiritual heart" is to "introduce the spirit of the ancients to connect with the minds of future generations and make them stop." Where true poetry lies. True poetry is what the spirit does" ("Preface to Poetry"). That is to say, we must seek spirituality in the spirit of ancient poetry. However, he believes that the true poetry spirit of the ancients is to "observe the lonely mood and single emotion, and to walk alone and quietly in the noise", so his own works strive to pursue the lonely feelings "different and interesting", which is the so-called loneliness, loneliness He boasted: "The writing of our generation is extremely smokeless." ("Reply to Yin Kong Zhaoshu of the same year")
Advocating a deep and solitary style: "History of Ming Dynasty·Wenyuan Biography" contains: "Since Hongdao To correct the shortcomings of Wang's and Li's poems, he advocated purity, and Xingfu corrected their shortcomings, turning them into deep and lonely. "Zhong Xing believed that the Gong'an School ended up with a vulgar and superficial style of writing, and tried to remedy it with a deep and lonely style. But he went to another extreme of formalism, often only focusing on words and sentences, forgetting chapters, and pursuing the rhyme of strange words, resulting in a difficult and obscure style, so that some poems have unclear meaning and are confusing, such as "The tree is not yellow" In one leaf, there is a white village in the clouds" ("Day Moor") and so on. Zhong and Tan used this proposition as a criterion to select "Shigui". The Tang poems they selected were of a lean and distant style, and the well-respected famous poems such as Li Bai's "Ancient Style" and Du Fu's "Autumn Xing" were not included. They tried to wash away the splendor of "Seven Sons" with coldness, which shows that their The long and short of the proposition, the pros and cons. Most of Zhong Xing's poems have narrow sentiments, limited themes, and lack of deep and broad social content due to their pursuit of seclusion and solitary behavior. However, he painstakingly recited stories, carved words and sentences, and spared no effort. Some of the Five Ancient Travel poems are quite good. For example, "Jing Guanyin Rock", "Zhou Wan", etc., although there are some suspicions of carving, they still express feelings and depict the scenery, and they are sometimes famous and reasonable. In "Shangsi Climbing the Rain Flower Terrace in the Rain" and "Showing Brother Shuan on the Badang Road", the hands and eyes are clearly visible, showing clear thinking. In addition, some poems also reflect the social reality, such as the 12 poems in "Jiang Xing Hai Ti", which write about the serious tax situation of "official money has never been leaked to fishing barbarians".
Zhong Xing also has some novel and timeless works in his narratives, discussions, and essays. "Huanhua Stream", a sketch of scenery and emotion, depicts the winding and quiet scenery of Huanhua Stream, the great poet of the Tang Dynasty, Du Fu's residence in Chengdu, with vivid and delicate brushstrokes, expressing his admiration for Du Fu and expressing his own feelings. Qingxi Bitan, changing scenery as you move, embodies the feelings and personality of the Jingling School of "walking alone and quietly", as well as the deep and solitary style of seeking novelty and novelty. In addition, "A Journey to Wuyi Mountains" is also a work of this type. His narrative sketch "The Story of Summer Plum" cleverly draws out the hot and cold feelings of those who appreciate plum blossoms and sing plum blossoms from seasonal changes, and then reveals the cold and warm feelings of the world; he also mocks and criticizes the tendency of "those who seek plum blossoms in winter and spring ice and snow" to follow the trend of the people. Criticism, conception and conception are relatively novel. The short treatise on literature and art "After Selected Poems of Lu Wenke" (Part 2) advocates that poetry creation should be less and more precise, and proposes that "if you cannot be perfect, you can only save one article or several articles, one sentence or several sentences, and you can do nothing else." ”, and opposed the shoddy production of “the more, the merrier”.
And the articles are divided into three categories: "The author is selected, which is the highest level; the one who writes and chooses himself is the second level; the one who writes and waits for the candidate is the second level."
In short, Zhong Xing's poems advocate anti- Imitation of ancient times, the main spirit, has a positive side. His novelty and novel style of writing made a breakthrough in traditional prose. Like the Gong'an School, it played a certain role in promoting the large number of sketches in the late Ming Dynasty. And its narrow subject matter and feelings, as well as its harsh and cold language and writing style, undoubtedly restricted him from achieving greater achievements in creation. In the Qing Dynasty, the works of "Gong'an" and "Jingling" were listed as banned books, and they were slandered and attacked fiercely.