The "Nine Monks" were from the early Song Dynasty. Of course, most of the poems they study and read are late Tang poems, and the poems they write are "late Tang style", which is a natural trend. As a matter of fact, in the early Song Dynasty, both Bai Yuan Style and Late Tang Style, and later Yang Yi and Liu Yun's "Kunxi Style" came along the road of the Middle and Late Tang Dynasty. The "Song Poetry" has its own characteristics, but it has not yet taken shape. Therefore, Fang Hui said many times in Ying Sui that "the poets between Jingdezhen and Xiangfu had the style of the late Tang Dynasty" and "those who had Tang flavor in Song poetry were all in the previous three dynasties" (Cao Shi Ping, Volume 10). In the 1970s and 1980s, when the Song Dynasty was founded, this was the general style of poetry.
If we analyze the composition of the authors of these three styles of poetry, it is not difficult to find that the authors of "white style" are generally middle-and upper-class bureaucratic literati, represented by @ ⑦. They actively participated in the discussion of state affairs, endowed broader social content with simple poetic style, quite inherited the spirit of reflecting real life in the new Yuefu in the middle Tang Dynasty, and even unconsciously connected with Du Fu's poetic heart. Therefore, Yu Wang @ ⑦ said: "This is behind Lotte, and dare to be beautiful." ("Two Poems on the Spring House before" ... Write a poem to congratulate yourself "and" Small Livestock Collection "(Volume 9) However, the disadvantages of" white-style "poems are also obvious, and the cliché s are obvious, which makes readers disgusted. "Poems on June 1st" quotes Mei's words to criticize this kind of poem: "Although the meaning and truth of the poem are ordinary, the superficial and ridiculous language is also sick. If there is a couplet for a fisherman, he says,' I can't see the market ahead, but I can hear the wind and water in my ears.' The speaker suffers from liver and kidney wind. Another poet said:' I can't find it all day, sometimes I come by myself. It is said that a good poem is ugly, but the speaker said that someone else lost the cat poem, and everyone thought it was laughing. The "Late Tang Style" is roughly the same as that of middle and lower literati, even hermits, Chu Shi and Prince Shizi, and there are quite a few such poets. Kou Zhun's early works in Badong and the works of famous recluse poets Lin Bu and Ye Wei in the early Song Dynasty are "Late Tang Style". Therefore, the appearance and attention of the "Nine Monks" is not accidental. It has a broad social foundation and represents a large group of poets. They used singing skills to oppose the mediocrity and vulgarity of the last stream of "Bai Yuan Style", which undoubtedly had certain innovative significance at that time. The writers of Kunxi style are mostly Taige literati, with profound knowledge and official position of Tsinghua, so they pay attention to the "wealth" of the article and despise Du Fu as the "master of the village". With their beautiful poetic style, they not only tried to continue to correct the vulgarity of "white style", but also tried to fight against the "late Tang style" of mountain vegetables. In a word, the three poetic styles or schools appeared one after another in the Song Dynasty, which respectively represented the aesthetic tastes of different classes and had their objective social reasons and reasons for their existence and development.
When I arrived in Renzong, I had, Mei, Ouyang Xiu and so on. It has promoted the movement of poetry innovation, and the face of poetry has undergone major changes. "White Style", "Late Tang Style" and "Kun Style" withdrew from the poetry circle one after another, and "Song Poetry" representing the face of the Song Dynasty was born. However, the development of poetry in Song Dynasty has gone through a long and tortuous road. The so-called withdrawal from poetry has not actually disappeared. In addition to powerful and influential poetry schools (such as "Jiangxi Poetry School"), many people entered the late Tang Dynasty.
By the end of the Southern Song Dynasty, with the slogan of "learning from the Tang Dynasty" put forward, the poetry circle had undergone major changes again, and "Late Tang Style" actually became the mainstream. Zhao Shixiu, one of the "Four Spirits of Yongjia", selected the poems of Jia Dao and Yao He as "Two Wonderful Collections" and 76 poems of Qian Qi as "All Wonderful Collections". Chen Qi is the core figure of "Jianghu Poetry School", and Selected Poems of Song Monks published specially for Jianghu poets are included in Nine Monks Poems. Li @ ⑨, a Jianghu poet, edited ten volumes of Tang Priest Collection, the sequence of which is "Poetry teaches the ignorant and thinks it is the mainstay". They are so keen on poetry in the late Tang Dynasty and monk poetry in the late Tang Dynasty and early Song Dynasty, which has a purpose. Although they don't verbally refer to the poems of the late Tang Dynasty or the Nine Monks, and they don't and won't openly play the banner of the Nine Monks, they actually follow the poems of the late Tang Dynasty and the Nine Monks as a model. In other words, the "Tang style" they learned is actually the late Tang style, which is a school that pursues Qing people in the late Tang poetry style, or the so-called "late Tang aftertaste" in the early Song Dynasty. As Fang Hui pointed out in Preface to Luo Shouke's Poems (Tongjiang Continued Volume 32), "Jiading came down and was a little tired of Jiangxi, and' Yongjia Siling' reverted to the old-fashioned Tang poetry of' Nine Monks'."
Since the late Tang Dynasty, Confucianism, Buddhism and Taoism have become increasingly integrated, and poets and monks have become increasingly vulgar. The aesthetic taste of their poetry creation seems to be a scholar-bureaucrat wearing a robe. In the late Southern Song Dynasty, the government was politically corrupt, the country declined and the official career was sinister. Many literati feel that there is no way out, so they seek the appreciation of dignitaries in the rivers and lakes with excellent famous sentences, forming the so-called "Jianghu Poetry School". In creation, the "Jianghu School" poets were dissatisfied with the "Jiangxi style", so sù@⑩ went upstream and sang with the "Nine Monks" in the early Song Dynasty. Therefore, it can be said that the lifestyle and artistic taste of "Jianghu poets" including "Four Spirits" are like wandering monks without robes. This is the deep reason why they and the "Nine Monks" two or three hundred years ago and even the late Tang monks "but I feel the harmonious heartbeat of the sacred unicorn". Xu Yinfang believes that "these poetic diseases all originated from a small family in the late Tang Dynasty, which was passed down by nine monks and four spirits". Feng Ban commented: "From the date of wishing to thinking, the so-called' Nine Monks' are also better than the' Four Spirits'. The abuse of "Quincy" makes people tired of reading beautiful words. And' Jiangxi' is too bad to write. Four Spirits' is a bitter Tang poem, which washed away the evil spirit and ugly faces of Huang and Chen. "Therefore, the poets in the late Song Dynasty learned from the late Tang Dynasty and the' Nine Monks', which had the objective effect of getting rid of the disadvantages of the' Jiangxi Poetry School'. Its positive significance is undeniable, and it cannot be simply dismissed as retro or retrogression.
The emergence of "Four Spirits" and "Jianghu Poetry School" has its complicated social reasons and its position in the history of poetry. However, it is not a very clever and convenient prescription to try to correct the loss of "Jiangxi" with "Late Tang Style" or "Nine Monks' Poems", so their actual achievements are not only far less than those of the representative writers of "Jiangxi Poetry School", but also less than those of "Nine Monks" and can only be compared with "Nine Monks" at most. Citing Feng Ban's comments on Zhou's Poem-worshipping Workshop, he went on to write: "The shelf of (Poem of Four Spirits) is too narrow and the knowledge is too shallow, which is not as vigorous as that of Huang (Tingting) and Chen (Poetry Road). "
In Song San's hundred years, the road of poetry creation seems to have circled a big circle, and finally it seems to have returned to its original position. Although repetition under the new historical conditions has certain innovative significance, it also shows that the poet cannot find a better way out. Then came the subjugation of Zhao and Song, the prosperity of literature and the prosperity of the country. In the Ming Dynasty, poets argued under the slogan "Poetry must flourish in the Tang Dynasty", and their achievements were even beyond the reach of famous poets in the late Tang Dynasty. The heyday of China's classical poetics has actually become a thing of the past.
"Nine Monks' Poems" or "Late Tang Style" is not only the lingering sound of the prosperous Tang Dynasty, but also the shining light of the prosperous Tang Dynasty.
Notes about words not stored in fonts:
@ (1) The original word Ge Xiagui is right and virtuous.
@ (2) The original word "Fire Power Plus Army Tradition"
@ (3) The original word Huoquan joined the army.
@ ④ Add clothes under the original words.
@ (5) the original word is the right sign.
@ ⑥ The original word is added to the right.
@ ⑦ The original word "Qi" is added to the right, and the claw head is added to the bottom.
@ The original word bamboo is added for ten days.
@ ⑨ The exact words ⑨, ⑩, ⑩, ⑩, ⑩, ⑩, ⑩.
@ ⑩ words ⑩ ⑩ ⑩ ⑩ ⑩