On the Development of Song Poetry School in Qing Dynasty

The rise of Song School around the Opium War. Cheng Enze is a pioneer of this school of poetry, and his main representative writers are Qi Zao, He, He, Zeng Guofan and so on. Their tendency to learn poetry has changed from worshipping Tang Dynasty to worshiping Song Dynasty. However, the so-called "Zong Song" is not limited to the Song people, but also includes the Tang people. It is generally between Du Fu and Han Yu in the Tang Dynasty and Su Shi and Huang Tingjian in the Song Dynasty that started the poetic style of the Song people. The rise of this school of poetry is closely related to the prevalence of sinology textual research style since Ganjia. The main writers all have the origin of Chinese studies or a mixture of Chinese studies and Song studies, and their basic creative tendency is "the unity of scholars and poems". Song School did not advocate imitating the ancients mechanically, but also pursued the originality of poetry by learning the artistic creation spirit of "breaking the room" in Tang Dynasty. Zhengzhen, who has made outstanding achievements, has a unique style of writing. However, due to their lack of new ideas, they are either dignitaries or poor scholars, and their lives are narrow. Although sharp class contradictions and ethnic contradictions have also caused some repercussions in their poems, on the whole, the realistic content of their poems is relatively poor.

From Song Dynasty to Guangxu, it evolved into "the same light body". Main drafters: Chen, Shen, Zheng and Fan Dangshi. They "don't stick to the prosperous Tang Dynasty", and their tendency to learn poetry is the inheritance and development of the Song School. Tongguang poets were in the prosperous period of Westernization Movement and Reformism Movement. They are generally inclined to do westernization, so they can sympathize with some reformist reform activities that do not involve changing the political system. Among them, Chen helped to carry out the New Deal in Hunan on the eve of the Reform Movement of 1898, and wrote some works of compassion for the times, which made great achievements. Tongguang poets, on the other hand, pay more attention to artistic interest, either rough and abstruse, or deep and secluded, and like to chew a dry, fine and hard, astringent and tortuous taste. A large number of poems lack the content and charm of the times. After the Revolution of 1911, most Tongguang poets regarded themselves as old people, and their poems were full of old people's feelings, which was in sharp opposition to the revolutionary Nanshe poems.

In addition to Song Poetry School and Tongguang School, there is also the Poetry School of Han, Wei and Six Dynasties represented by Wang Jinyun. They deliberately imitated the ancients, making the syntax, tone and style look like the Han, Wei and Six Dynasties and become fake antiques. There is also the Late Tang School represented by Zengxiang Fan and Yi Shunding. Poetry research mainly tends to Wen, Li Shangyin and Han in the late Tang Dynasty, and Zhuang songs of Yuan Zhen and Bai Juyi in the middle Tang Dynasty. The style of poetry is brilliant, paying attention to the skills of antithesis, the precision of official duties and the freshness of words. These poetic schools continued after the Revolution of 1911. Although they were criticized by democratic revolutionary poets, they were not effectively swept away until the rise of the May 4th New Culture Movement.