the so-called qi Liang's poems refer to the poems of qi (479-52) and Liang (52-557) in the southern dynasties. Predecessors called the poems with dual temperament and beautiful appearance as Qi-Liang style, and it also contained derogatory meaning to refer to the floating poetic style. Although the status of Qi Liang's poems in the history of literature is not high, it has a direct impact on the formation of the style of Tang poetry. Therefore, it is necessary to distinguish its merits and demerits, so as to understand the development track of China's classical poetry more objectively.
a
The reason why Qi Liang's poems are dismissed as frivolous is that they are empty in content, poor in thought and weak in spirit. However, the criticism of Qi Liang's poems by the poetics of past dynasties is usually mixed with the prejudice of traditional ideas. According to the political standard of Confucian poetry teaching, poetry can change customs, educate the United States and be ethical, and should become a tool of politics and religion, reflecting the chaos of the times. The eulogy of Wang Dao can prove that politics is clear and the world is peaceful; The sad sound of sorrow and resentment indicates the chaos of the world and the decline of the country. Therefore, only the voice of praise for beauty, which symbolizes Wang Hua's political success, can be called elegant voice; Poems that are not conducive to education, such as restraint in drinking and feasting, romantic scenery and love between men and women, have become the voice of Zheng Weizhi. The basic content of Qi Liang's poems is nothing more than the dew on the moon, the victory of the mountains and rivers, homesickness and sorrow, and always in my heart's amorous feelings. Therefore, predecessors accused Qi Liang's poetry of being frivolous, mainly from its theme content, such as "sorrowful thoughts", "advocating long and annoying lewdness" (Wang Sengqian's Yue Biao) and "mocking the snow and gardening" (Bai Juyi's Nine Books with Yuan Dynasty).
The lack of ideological content in Qi Liang's poems is indeed related to the lack of major themes reflecting social reality. However, from the perspective of poetry development, the changes in the content of Qi Liang's poems have positive significance in expanding the scope of the subject matter, and at the same time contain reasonable factors for in-depth understanding of literary characteristics. Since the Jin Dynasty, there have been many excellent writers and works, but the trend of poetry ossification is also very serious. In the Western Jin Dynasty, Confucianism was worshipped and learning was promoted, and elegant intonation was strongly advocated. Literati generally regarded ode as the most beautiful poetic style, and ode poems at ceremonies and public banquets filled the poetry world with the same greetings and boring sermons. Metaphysical poetry in the Eastern Jin Dynasty has been popular for a hundred years, and replacing the elegant ode style with Buddhist metaphysics has turned poetry into a tool to publicize metaphysics. This kind of poetic style, which is similar to morality, still has a considerable influence when it comes to Qi and Liang Dynasties. For example, Pei Ziye's On the Carving of Insects criticized the trend of "profanity and breaking the canon" since Liu and Song Dynasties, and demanded that literature be included in the framework of Confucianism. At that time, the style of the capital was imitated by Pei Ziye, which made the style of writing "Confucianism dull and unusual" (see Xiao Gang's Book with the King of Eastern Hunan). Shen Yue, Xiao Gang, Xiao Yi and other scholars in the Qi and Liang Dynasties, in order to change the style of Song poetry in Jin Dynasty, pointed out that the basic characteristics of poetry are "chanting emotion" and "lingering over grief", and should not imitate the works such as The Book of Rites, The Book of Changes and Zhou Shu. In his creation, he deliberately deviated from the "elegant way" of praising virtue, ordering sages, and justifying reason by virtue, and looked for poetic materials with "excellent temperament and new charm" from daily life, which broadened the themes of travel, landscapes, banquets and boudoir feelings that had appeared in poems before Jin and Song Dynasties. The emergence of a large number of landscape farewell poems, object-chanting poems and erotic poems has pushed reasoning, rules of advice and poems about morality to a secondary position. In fact, they started with changing the content and demanded to introduce the spirit that was hidden by the preaching of praise to the saints. Therefore, it not only reversed the tendency of confusing literature and scholarship in the songs of Jin and Song Dynasties, but also opened up a broad way for later poems to draw materials from daily life. This is the merit of Qi Liang's poems, not the fault.
The ups and downs of Qi and Liang's poetic style do not lie in rejecting the Six Classics, chanting the sentiment, or taking the scenery of the mountains and rivers as the poetic material. It lies in the mediocrity and superficiality of its affection itself. The strength of Han and Wei dynasties has been lost in Jin and Song Dynasties, but it is even weaker in Qi and Liang Dynasties, mainly because of the lack of life ideals and positive generosity in Jian 'an poems. The poets in Qi and Liang Dynasties took the imperial clan and the upper authority as the core, and Xiao Yan, Xiao Gang and Xiao Yi, who presided over the literary atmosphere, were all emperors, while Shen Yue, Fan Yun and Jiang Yan were also prominent figures in the two dynasties. If ordinary literati are gentry, their political and economic privileges can be guaranteed by the gate system; If it is a cold family, because emperors love literature, those with literary talents can often receive special courtesy. Like Shen Yue and Jiang Yan, they were born in poverty, or lived in solitude and poverty, and later they all became Hou Bo. They don't have such keen feelings about reality as Zuo Si and Bao Zhao, and even if they complain a little about their poor families, they are still weak. At the same time, from the Eastern Jin Dynasty to the Southern Dynasties, there were frequent usurpations, and the gentry class also changed with the transfer of political power. The Han people can get high officials and high salaries through political speculation, and Shen Yue and Fan Yun became officials in the Liang Dynasty by persuading Xiao Yan to usurp Qi. Literati are used to usurping chaos and become insensitive. No matter the Han gentry, they no longer think seriously about the meaning of life and their responsibilities to society like Jian 'an literati. Xie Tiao, the poet with the highest achievement in the Qi Dynasty, repeatedly lamented only the ideological contradiction of being grateful to the emperor, content with being honored as an official, and being far away from the hustle and bustle and avoiding disasters. Most of He Xun's thoughts about traveling were tired of being an official. The poet's thoughts and feelings are so mediocre and weak that it is naturally impossible to produce the generous singing in Han and Wei poems. The ups and downs of Qi Liang's poems should be understood mainly from this aspect.
Second
The themes of Qi Liang's poems are mostly mountains and rivers, chanting things and eroticism, while the poems expressing aspirations and expressing feelings are greatly reduced. Brought a series of changes in artistic expression. Among them, the most outstanding achievement is embodied in the landscape poems with the theme of "traveling, serving and parting". Landscape poetry was born out of metaphysical poetry in the Jin and Song Dynasties, and it did not get rid of Hyunri's influence at first. Landscape is only an objective object of appreciation during the visit. Xie Lingyun never forgets reasoning and metaphor when writing scenery, so emotion and scenery are divided into two parts and cannot be blended. Firstly, Xie Tiao's landscape poems expanded the scope from boarding to traveling and daily living, and paid attention to the tailoring of scenery and blended into the image of the lyric hero. For example, "the sunset is clear, and the pillow is under the east window." Cold Huai is gradually like a bunch, and autumn chrysanthemum is doing business "("Sunset Disappointment "), writing about Xiao San's interest in sitting idly in the county village, can naturally reveal the thoughts of traveling and the feeling of saving things in the daily scenery. In "Xuancheng Out of Xinlinpu to Banqiao", "The river road is always southwest and flows to the northeast. The words "Homecoming to the boat in the sky, distinguishing the river trees in the clouds", sending homesickness to the river flowing eastward, faint returning to the boat like light ink, leaving the river trees, are all seen in the eyes of lonely people looking back at the sky, and they feel that "a person who is full of affection is ready to come out" (Wang Fuzhi's "Selection of Ancient Poems"), which has since turned the rigid description of landscape poems in Jin and Song Dynasties into a living scene. He Xun further combined the landscape with the gift and farewell, and paid more attention to capturing the characteristics of the scenery at a specific moment to set off the sadness and leave the feelings. For example, in "Farewell to Hu Xing 'an Night", there are two sentences: "Dew the grass in the cold pond, the moon reflects the clear Huai River". It seems that even the traveler's thoughts are soaked with the moisture of dew and the coolness of moonlight. The realm created by the literati in Qi and Liang Dynasties made the landscape completely free from Hyunri's constraints and become a combination with emotional spirit. It is no longer the embodiment of the natural way, but the witness of travelers leaving their sorrows and hating each other, and the sustenance of wanderers homesick for their homeland. This solved the big problem that the scenery of landscape poems in Jin and Song Dynasties could not be blended. Until then, landscape poetry was fully mature in art.
Poems about objects also occupy a considerable proportion in the poems of Qi and Liang Dynasties, which is related to the prevailing atmosphere of valuing the number of official affairs at that time. The upper-class scholars regard the number of stories about Confucian classics and history as the standard for judging the level of knowledge. For example, Wang Jian of the Qi Dynasty often produced several cases of clothes in towel boxes, and ordered the bachelor to tell the relevant stories. Whoever knew more would take the things away. When Xiao Yan became emperor, he competed with Shen Yue for the story of chestnuts, and he was also very concerned about the outcome. The object-chanting poem of "referring to the shape" is produced in this game of referring to the number of objects. Shen Yue was an early poet who wrote poems about objects. Many of his poems about famous things only regard poetry as a tool for competitions. Some poems chanting things in response to imperial edicts try to make allusions implied in the description of the state of things, and their contents are shallow and boring. After the mid-Liang period, object-chanting poems developed rapidly under the advocacy of Xiao Gang, and most of them tried their best to catch up with the new in describing things, which was nothing to say. However, because of the combination of chanting things and describing scenery, a lot of trivial interests in daily leisure life are put into poetry, thus creating an era environment that makes daily life generally poetic. Before the Jin and Song Dynasties, ancient poems focused on expressing aspirations and expressing feelings, and their contents were more solemn and serious. The interest in daily life in Tao Yuanming's pastoral poems still revolves around the theme of expressing the ambition to be poor. On the other hand, the poets in Qi and Liang Dynasties mostly express leisure, warmth and even eroticism in daily life. They focus on capturing the subtle dynamics of the moon and dew, chanting things such as fallen flowers, butterflies and swifts, mosquitoes and fireflies, thin bamboo shoots and light moss, and writing interesting things such as walking in the spring, enjoying the cool in summer, listening to cicadas in autumn and looking for plums in the snow, almost all of which are poetic materials. The beauty of various sounds and sounds in nature triggers their delicate aesthetic and sensitive imagination, and if they write more, they will also have some ingenious works with deep descriptions. For example, Xiao Gang's "Birds with dense leaves fly in the way, the wind is light and the flowers fall late" ("Folding Willow"), from the details where birds fly and the flowers fall because of the light wind with dense leaves, write the feeling of spring being late, the wind and the scenery charming. The meticulous artistry of artistic expression is unprecedented in ancient poetry before Jin and Song Dynasties. However, Qi Liang's poems describing scenery and chanting objects are complicated because of their narrow life and endless articles. It is worth noting that there are many sentences in this kind of poems that are ingenious in conception and context, which provide the basis for re-creation in the Tang Dynasty. From Xiao Yi's "Lotus's face is messy, and the lotus leaves smell fragrant" ("Lotus Picking Song") to Wang Changling's "Lotus-leaf skirt is cut in one color, and hibiscus blooms on both sides of the face" ("Lotus Picking Song" II); From Liu Xiaochuo's "Returning to the Scenery into the Pond Forest, Yu Guang Ying Quan Shi" ("Waiting for the Banquet and Gathering the Immortals") to Wang Wei's "where sunlight, entering a grove, shines back to me from the green moss" ("Luchai"); From Wang's monk Confucianism's "Tears flow eastward, and my heart hangs on the west oblique moon" ("I don't care about sorrow and chat to show that I am far away") to Li Bai's "Strong wind blows my heart and hangs Xianyang trees in the west" ("Jinxiang sends Wei Ba to Xijing"), "I care about my heart and the bright moon, and the wind goes to Yelang West" ("I heard that Wang Changling moved to Longbiaoyao with this message"), from He Xun's "
erotic poetry has appeared in the works of Bao Zhao and Tang Huixiu in Liu and Song Dynasties, and it was first popularized by Shen Yue in Qi and Liang Dynasties, and then by Xiao Gang. At first, erotic poems were more common in Yuefu. Because most of the Yuefu folk songs in the Southern Dynasties were love songs, the literati copied the contents of Wu Sheng's western songs together with the artistic forms. However, the main reason why scholars in Qi and Liang Dynasties are interested in amorous feelings lies in the extravagance of social customs. For example, all the scholars and doctors in the Liang Dynasty kept prostitutes regardless of rank, and the cost of feasting on women's music for officials could reach billions. A considerable part of erotic poems is written for mocking prostitutes. Xiao Gang's advocacy of eroticism is also related to his views on literature. Although he flaunts the importance of standing, he thinks that articles can be debauched and should not be treated as the same as classics. Erotic love is obviously the most suitable theme to express "lingering grief" and make "emotional spirit sway". The decadent palace life determines that the nobles can only look for fresh feelings in trivial matters such as my wife sleeping during the day, making bedding, beauty watching paintings and morning makeup, and what shakes their hearts is nothing but "waist in the shadow" and "good face in the mirror". Therefore, when Xiao Gang was in the East Palace, he made "clear words and skillfully crafted" and "carved vines and algae", and he could only "stop between the seats and think of the best women" ("Sui Shu Jing Ji Zhi"). The proliferation of erotic poems is an important feature of Qi Liang's poetry style. Although some colourful songs were combined with frontier fortress themes, which became the prototype of the long lines of songs in Sui and Tang Dynasties, and there were some excellent works in Tang poetry that borrowed colourful styles but had no other sustenance, but in Qi and Liang Dynasties, it was mainly to meet the needs of emperors and nobles for sensuality, and few of them were desirable.
Three
During the Qi-Liang period, there appeared the Yongming style which emphasized the duality of sound and rhythm, which was a major turning point in the development of Chinese poetry forms. The formation of temperament is inspired by the emphasis on cadence in Buddhist scripture conversion. Xiao Ziliang, King of Jingling of Qi Dynasty, attracted a famous monk to talk about Buddhism and create a new sound in the seventh year of Yongming, which was a great event at that time. Literati "based on and imitated the three tones of Buddhist scriptures on the same day, which were respectively designated as three tones of leveling up, and the four tones were combined into four tones, so it was called the four tones theory". Shen Yue also studied the coordination of poetic rhythm according to the four-tone and two-tone overlapping rhyme, and pointed out that eight kinds of sound diseases should be avoided. Wang Rong, Xie Tiao, Fan Yun and others, under his advocacy, combined this melody with the forms of antithesis and antithesis that have been developing since the Jin and Song Dynasties, and created a new style of poetry-Yongming style, also known as new style poetry. Poetry since the Han and Wei Dynasties has also emphasized the beauty of rhyme, mainly because of the natural tone of "clear and turbid flow and smooth tone", and has not consciously formulated the melody according to the four tones of Chinese characters. Although the rhyme of Yongming style is not complete, it only talks about the coordination of rhyme within two sentences, and the rhyme is single or double, and the format is not fixed. Each poem varies from four, eight or ten sentences, but the metrical poetry in China is just beginning.
The characteristics of Yongming style are not only the standardization of temperament, but also the changes in conception, artistic conception and style. The ancient poems before the Jin and Song Dynasties were mainly lyrical ways of expressing one's feelings and expressing one's feelings. The style was dignified and simple, and the integrity of the text often depended on one meaning. However, from the time it came into being, new-style poetry has shown the characteristics of paying attention to specific situations and expressing endless meaning beyond the image. By comparing Xie Tiao's new style poem "Thinking with Master Wang" with the poem "The Moon is He Jiao Jiao" in 19 ancient poems, it is not difficult to see the differences between them. Both of them are writing about the feelings of thinking about women looking forward to wandering. The heroine in the ancient poem went in and out of the house, lost the owner, and repeatedly sighed: "The moon is so bright, according to my bed." Sadness can't sleep, and I wander around with my clothes on. Although the guest is happy, it is better to turn back early. When you leave home alone, who should you sue for your worries? Lead him back into the room, with tears on his clothes. " If you miss me straight, you will say what you want, and there will be nothing left to shed. However, there are only four lines in Xie Shi's poem: "I haven't returned to the ritual period, so I hope to ring the machine." Wandering in the east, there are few people traveling in the month. " It just makes people realize her anxiety, disappointment and resentment from her constant movements of getting off the plane and wandering under the moon. Therefore, it is an important change that the new-style poem brings to the art of poetry to refine the image to the extent that it can contain a large capacity with concise language as much as possible, and omit the repeated and incisive feelings and comments in ancient poems.
after the middle period of Liang dynasty, most new-style poems expressed superficial and trivial meanings with beautiful language, graceful feelings and ingenious ideas, and paid more attention to refining words and cutting sentences. A large number of poems with five words and eight sentences and five words and four sentences are similar to metrical poems. A few poems have been in harmony with later metrical poems in terms of rhythm.
In addition to Yongming style, poets in Qi and Liang Dynasties also reformed the old Yuefu poems and created new ones. And developed a seven-character poem that was regarded as "small but vulgar" in Jin and Song Dynasties. May 7th quatrains and lines of songs were also initially formed in this period.
The poets in Qi and Liang Dynasties realized the relative independence of artistic form through advocating temperament and pursuing various poetic styles, which opened up a large number of poems in China outside the ancient style and was of great significance in the history of poetry. However, due to the emptiness of Qi Liang's poems, blindly paying attention to the duality of temperament and rhythm is a mere pursuit of formal beauty. Especially at the time of Liang and Chen, the new style and the ancient style have been coupled, and a large number of couples have caused the common problem of complicated and lengthy ancient poems. In the period of Chen Sui, it even reached the point where there were no sentences and no articles, and it was inevitable that it would be referred to as floating by future generations.
April
There is another important change in the art of Qi Liang's poems, which is: consciously criticizing the arduous poetic style of Jin and Song Dynasties, learning from Yuefu ancient poems and Yuefu folk songs in the Southern and Northern Dynasties, and from the contemporary,