Under the cruel political oppression and reactionary cultural policies of the Qing rulers, the progressive style of study and poetry creation represented by patriotic and democratic thinkers such as Gu, Huang Zongxi and Wang Fuzhi in the early Qing Dynasty will inevitably change in the opposite direction. From Yan Ruoqu in the reign of Kangxi to a large number of sinologists in the reign of Qianlong and Jiaqing, their philology, Confucian classics and history consciously or unconsciously gave up Gu's positive spirit of "applying the world" and got into that pile of old papers, forming a style of study of "textual research". They call for "seeking truth from facts" and think they have the spirit of "seeking truth from facts". I don't know that they just turned Confucian classics and history into another kind of empty and useless thing from old paper to old paper. At the same time, Zhu Cheng's Neo-Confucianism, through the examination system of stereotyped writing and the admiration and promotion of the rulers, became the exclusive ruling thought of Wang Xue after the attack. It is also natural that the poetic style and writing style leave the realistic road in the early Qing Dynasty and develop in the direction of ancient style and formalism. Hang Shijun once said in the early years of Qianlong: "Since I came to Kyoto, I have made friends with virtuous and noble elders, and I have been able to see the people's feelings all over the world. Most of them draw sentences in chapters, and those who follow the trend are all wrong. Those who are willing to take measures to deal with the affairs of the world, those who are at ease, can't cover everything "("The Collection of Taoist Classics ",Volume 15," Preface to Sending Jiang Minshan to Know Jinzhou "). This is a true reflection of the poetic style and writing style that is divorced from reality, vulgar and honest, playing with words and moving towards ancient style and formalism.
From the late Kangxi period to the middle Qianlong period, Shen Deqian's "Modality Theory" had a great influence on the poetry circle. De Qian (1673— 1769) was born in Changzhou, south of the Yangtze River. He is a typical Tagus poet, and he has not achieved much. In his early years, he was famous for his poetics and selection of scholars. In "On Poetry", he thought that "poetry is the Tao, reasonable, good, sensitive to ghosts and gods, building the country by teaching and governing princes", which requires that poetry must serve the political purpose of feudal rule. Therefore, he advocates that poets should "stand up", "be gentle and sincere" and "complain without anger" in their attitude; In terms of methods, we should emphasize contrast, "implication" and not "exposure": this requires poets not to expose contradictions and struggles and strive to maintain feudal rule. Therefore, he chose poetry to "examine its theme (poetic way), comment on its genre (meter), satirize its syllables (tone)" and "restore the sum of righteousness". This school of poetry is the product of Kang and Gan's "prosperous times". It found a theory that was more conducive to feudal rule than the "verve school" for the poetic style that was divorced from reality at that time. Many of Shen Deqian's poems, such as Tang Poetry and Ancient Poetry Source, etc. , reflecting his poetic view of the old saying. However, they refer to the past gains and losses and analyze the origin, which also plays a certain role in the dissemination and reference of classical poetry.
At the same time, the famous poet Li E (1692- 1752) was born in Qiantang, Zhejiang. He studied the Song Dynasty, and his poems were based on those of the Song Dynasty in France. He and Shen Deqian once said that "in Zhejiang Archives, the poetry school disagreed" (Volume 10 of Suiyuan Poetry Talk). He reads widely, especially the miscellaneous novels since the Song and Yuan Dynasties, so he likes to use eccentric classics and fragmentary stories in his poems, so that they can be locked into pieces. He grew up in Dongcheng, Hangzhou. Some modern poems describe the scenery of the West Lake, which makes him feel lonely. However, due to his lonely and haggard life and the lack of realistic content, his unique efforts are enough to show his formalism tendency.
Zheng Xie (1693- 1765), a native of Xinghua, Jiangsu Province, has never been contaminated with poetic styles such as archaism and formalism. He was good at calligraphy and painting, but he was not famous for poetry at that time. However, because he was born in a poor family and lived among the people for a long time, he knew the pain of people's oppression and exploitation. He also saw Our Scholar and Holding a Book, How to win the lottery, be an official, seize money, build a big house and buy more land, which was really vulgar, thus sending out that "the first person in the world is just a farmer, but the scholar is four people". Many of his poems are sympathetic to the people's sufferings. The article "Accidental Works" compares the luxury of "gifted scholars" with the luxury of "people", especially the author's painstaking cynicism:
The article moves the world, and a hundred schools are prepared; Heaven and earth can't speak, sages have long throats. How can I be a slim, gold-carved, empty-mouthed husband with a mink brocade? Beauty is 28 stones, and stars can be tall buildings; Famous yellow mutton soup, Deng Hua crystal ball; Occasionally receive a life pen, money and money; Song Zhong was even in harmony, and he wrote poems about princes of Qin Dynasty. Wave after wave of people say, what do you want from the people? Du Shaoling, when will you stop crying? There is no floc in the cold room in autumn and no cattle in spring; Joule was happy and hungry, and the sick woman was worried all night: confide in her heart and think about mountains and seas. Dressed as a thief, he was tired of collecting and guarding prisoners. Historians owe records. They lend money to the enemy for classes. Stick to serving my king and learn from seaweed. Dear Cai, Dear Jiang, written from the clouds, I call it a beggar!
Here, the author points out the extravagant life of the ruling class "gifted scholars" and the truth that the people are oppressed by hunger and cold, which reflects the profound class contradictions and touches the essence of the feudal ruling class.
Zheng Xie spoke highly of Du Fu, thinking that Du Fu's poems "only read the title once, showing a feeling of patriotism and love for the people, mixed with sadness and joy, and the pain of the ancestral temple and mountain." . Is there anyone in his poems who doesn't feel sad about such a topic? "(Book 5 of Fan County Department Sending Sister-in-law Ink)? He opposed the poetic style of revivalism and formalism at that time, and denounced the "poor writing style" of the "little husband" who advocated "unbreakable writing" and "implied meaning and delicious taste". This is obviously an accusation against "verve school" and "de stijl".
Zheng Xie's prose is also unique. "The composition will be the same as before, and the maid will learn from her wife" ("To Pan Tonggang"). It is the fundamental and consistent spirit of his poetry creation to oppose imitating the ancients and go straight to the heart. His "Letter from Home" narrates everything, expresses his feelings and blurts out, which shows Chen's spirit of breaking away from convention and expressing himself more freely than poetry.
It was Yuan Mei (17 16- 1797) who opposed archaism and formalism more thoroughly than Zheng Xie. Mei Zi Zicai,No. Jianzhai, was born in Qiantang, Zhejiang. He was very successful when he was young. After being a scholar at the age of 24, he joined the Imperial Academy and served as a county magistrate in Lishui. At the age of thirty-three, I built a "Suiyuan" in Xiaocang Mountain, Nanjing, and lived a happy life of writing poems and traveling freely for half a century.
Yuan Mei's thought is relatively free and liberated. He was dissatisfied with the Han and Song schools that ruled the academic circles at that time, especially opposed to the textual research of Sinology. It is believed that "Song studies have disadvantages, and Chinese studies have more disadvantages; Song is partial to metaphysics, so the theory of mind and nature is close to yuan (metaphysics) deficiency; Korea tends to metaphysics, so there are many attached notes "("Collected Works of Kokura Mountain Residence ",Volume 18," Answer Hui "). He also thinks that the Six Classics are "suspicious", "not everything they say is appropriate" and "not everything they say is alcohol" (The Second Answer to Ding Yu). This is really a blow to sinologists who were immersed in old papers and fragmented at that time. He advocated writing "temperament" in poetry, and he said that "a poet does not lose his childlike innocence" (Volume III of Suiyuan Poetry). He also said, "Poetry can't be written without me" (ibid., Volume 7). In other words, poetry should have true temperament and true personality. In Yuan Mei's view, "melody" is the root of poetry, and it is all subject matter, rhyme, language style and so on. They are all "fixed but not fixed, just right." He claimed that the poems of ancient and modern people, as well as poems of various schools and styles, were "eclectic" and "full of affection", mainly depending on whether they showed their temperament. Therefore, he opposed the archaic and formalistic poetic style of imitating the Song Dynasty in the Tang Dynasty, stressed meter and wrote poems based on textual research. He doesn't like all the overlapping rhymes, harmonious rhymes, strange rhymes and ancient rhymes. Bind the soul and play with words. Obviously, Yuan Mei's poetics, like Zheng Xie's, was deeply influenced by the "public security school" in the late Ming Dynasty, but his argument was much more specific and systematic than that of the "public security school". He did not obliterate the famous poetic schools "verve school" and "de stijl" since the early Qing Dynasty, but he could analyze their advantages and disadvantages, which really had a great influence on the ancient style and formalistic poetic style at that time. However, he left the specific social life, abstracted "temperament", and finally fell into "poetry is like natural flowers, spring flowers and autumn chrysanthemums, each with its own show, and people can't be graceful; Another formalistic conclusion, with interesting melody and touching people's hearts, is a good poem: doing nothing first, doing nothing second "(ibid., volume 3).
Yuan Mei's poetry creation can really express "temperament" as he said, that is, to write his own life feelings. Compared with those works that imitate the style or take textual research as poetry, it has a fresh and smart style. "It's cool in the moonlight for half a day, and a flute will make people feel relaxed and happy" ("Watching Master play the flute under the moonlight in the night garden"); "Rain comes to cicada, wind comes to prophet Liu" ("Get up early"); "Shili monster hunter Village Store is small, and a wind pressure wine town is biased"; "Green shadows cover the north-south road, and spring marks protect the long bridge" ("Spring Willow"): These poems have clear artistic conception and different verve, but they are not as vague and unrealistic as the "verve school". Yuan Mei's masterpiece is probably this kind of modern poetry. The fundamental disadvantage lies in the lack of real social content, and the scope of home life or travel chronicle cannot be made. The so-called "communication between Tibet and Tibet" poem in Yuan Mei's hand is just a pastime that can be freely used and a beautiful ornament of "prosperous times".
Poets on par with Yuan Mei are Zhao Yi (1727- 18 14), Yun Song (No.Oubei, Jiangsu Yang Laker) and Jiang Shiquan (1725- 1784), who are from lead mountain, Jiangxi. Their views on poetry are basically similar to those of Yuan Mei. Zhao Yi talked a lot, and also had many original wind solutions. As a historian, he pays special attention to the development and evolution of poetry, and thinks that "poetry moves with the world and is not new every day" (On Poetry); "Poetry comes from touch, and new energy is also available" (Good Sentence). Therefore, he thinks that the poems of later generations are always newer than those of the previous generation, and each has its own "real skills", and "the viewpoint that the ancients abused the present cannot be underestimated" (Book 10 of Ou Bei Shi Hua). "Du Li's poems have been passed down from mouth to mouth and are not new so far; Jiangshan has talented people, each leading the way for hundreds of years "("On Poetry "). "Poets strive for a new angle, short space and repeated atmosphere; I'm already late in junior high school, and I'm still in the Han and Tang Dynasties "(On Poetry)! These views have had a very powerful impact on the prejudice of blindly worshipping ancient poetry. It's just that the new or innovative ideas he emphasized, although related to the "World Games", are still unrealistic, mainly referring to the innovation of expression skills such as form and language, so it is impossible to leave the road of formalism. Zhao Yi's poems also have the characteristics of breaking the shackles and blurting out, but too much discussion makes the sentences feel heavy and stagnant. Jiang Shiquan wrote many poems on a wide range of subjects. Shi Jing's Yuefu poems are about the customs of the lower class and some works that pay attention to people's lives, which have certain cognitive significance. He is good at depicting scenery with seven-character ancient style, which has the characteristics of vigorous momentum and vivid image. But his creative achievements and influence are not as good as Yuan Mei's.
Weng Fanggang (1733- 18 18), surnamed Zheng San, is from Daxing. On the poet's theory of "texture". It is believed that "poetry must learn all kinds of textures, and writing must be realistic" (Preface to the Collection of Yan Hui Pavilion in Fuchuzhai); "Textual research is the basis of learning, and texture is the basis of poetry" (Preface to Yan Zhiji). This is really to find a theoretical basis for textual research scholars at that time to write poems with old paper materials. He said: "righteousness is the principle of arts and sciences, that is, the principle of texture" (ibid.). He unified ideological meaning (meaning) with organizational structure (arts and sciences) and learning materials (texture), indicating that it is not important to hold high the charm of poetry, nor to stick to style, let alone talk about temperament; While learning, you have knowledge and methods. His "Poetry lives in Jiangxi School, goes in and out of the valley, and is sincere" is consistent with his poetic spirit. By Jiaqing, he had become the leader of the poetry circle, representing a school of poetry under the rule of textual criticism, and influenced the modern Song poetry movement.
Huang Jingren (1749- 1783) is a famous poet in later generations. Zhang Wentao (1764- 18 14? )。 Ren Jing, who was born in poverty, never succeeded in his life. His trip to watch the tide, the banquet and drunken songs between Mr. Zhu Jun and Taibailou, walking around the tiger, and Qiu Si, etc. Are well-known masterpieces. His arms are uneven, but lack strength, showing a unique style of sadness and elegance. "I can't sing my own songs, so I can find my own life"; The whole family has autumn wind, and the clothes are not cut in September. He suffered from depression and poverty in this way. Huang Jingren's poems have been celebrated for some time, because they reveal the depression of the "prosperous times" to some extent. Its fundamental shortcoming still lies in the lack of extensive realistic social content and the inability to expose social contradictions in depth. Zhang Wentao, known as Nakano, is known as Chuanshan. He is a "spiritual" poet, and his poetic style is similar to that of Yuan Mei. His masterpiece,1Eighteen Poems on the Wall of Baoji County on February 9th, 998, describes the An Baili Uprising. Although he mistakenly called him a thief by instinct, his description of what he saw and heard not only revealed his sympathy for the people and his disgust for the government, but also objectively exposed the hypocrisy and profound social contradictions of the "prosperous times", which has certain historical significance.
Li Jian, Shu Wei, Wang Tan and Peng Zhaosun. It is the poets such as Gan and Jia who want to get rid of the influence of the above major poetic schools.
Li Jian (1747-? ), the word Jianmin, No.2 firewood, Shunde, Guangdong. He is a famous poet and painter in Lingnan. It is claimed that "Jane is also a poem, deliberately sounding new" ("Answering a classmate's poem"). Painting in his poems is the greatest feature of his poems. "Seven or two peaks pour into the river, overlooking the peak and inserting into the bottom of the sky; A boat of sea pine in the sky, round 30 thousand cold dragon ":this is a poem and a painting." "He deliberately innovated, said what people can't say, and really opened up his own road, but it is still just a road lacking broad social content.
Shu Wei (1765- 18 15) was born in Daxing, Hebei. Born in the family of bureaucratic scribes, Zhong Juren was born for fifty-three years, and later "Spring is not allowed on the ninth day of the ninth lunar month". Shu Wei thought that "a man can't write a poem without roots, and he can write a poem without working" (Shu Xiang). He reads widely, travels everywhere, and has extensive contact with real social life. "Reading thousands of books failed to break it; Take Wan Li Road, and it will pass; Thirty years later, there are 2,000 poems (Preface to Poems in Bottle Water Zhai): This is the reality of Shu Wei's poems. His poems are especially famous for seven antiquities such as Zhang Gong's, Broken Wall, Old Tree Map and Broken Quilt. It is characterized by being able to break the shackles, being handy and writing freely. Here and look at his "Hangzhou Guan Chronicle":
Customs officials in Hangzhou are like beggars, only they have heard the language in the past, but now they see it. Sure enough, when my ship docked, the box could not be opened. Talk to officials, tell them to sit down and do what I want. Fortunately, it's not too trivial. Li Yan said, "Sure enough, both copper and silver are indispensable"; And say "otherwise, Ying Xiao Wo". I turned to Li Bai: ... I walked in Wan Li for a long time, and I don't remember anything about North and South. Ask me what I have. A flute, a sword, sonnets, my enemy and my friend. I smell the wine tax, not the poetry bag; Smell the ship's material again, not the passenger box; Please put Ban Chao's pen and write about Liu's fashion. ……
This poem describes the drama scene of Hangzhou customs officials unpacking boxes and searching for gold and silver, which looks like thieves. Slightly tortuous, it exposes the dark and decadent side of the real political society in Qing Dynasty, and shows the poet's realistic spirit and romantic color. The whole poem is composed of three or four sentences, five or six sentences and seven or nine sentences, which makes the natural syllables of spoken language and the rhythm of the poem combine quite naturally and reach a mature position in art. Gong Zizhen summed up Shu Wei's poems with "depressed anger", which mainly refers to the creative spirit of being free and unrestrained and breaking through barriers. Although his poetic thought is not profound enough, it shows the change of poetic style at the time of Ganjia, which has positive significance that can not be ignored.
Wang Tan (1761-1817), a studious man, was born in Xiushui, Zhejiang. He is a juren, as famous as Shu Shu, but not as successful as Shu Shu. His wild style of "good ranger, good strategist, good bow and arrow, going to Ma Rufei, generous elegy, arrogant and domineering" is quite different from Shu Shu's style of "preparing wine well, every man has a few virtues", so he is regarded as a madman, and he is down and out all his life, which is more than a comfortable position. Among Wang Tan's poems, the most famous is "Living in the Old City Tomorrow, I would like to present thirty-two strings of Niu Gao Pipa to the Tomb of the Overlord in the West Chu". This is the first record:
Lao Wanglang, the son of Jiangdong, came to embrace the pipa and cry for the king. If my article is hit by a ghost, my skills will die. Who deleted the history of biographical transformation, misread Sun Tzu's Art of War and blamed Xiang Liang? Keep a book by Lu Han, the hero's success or failure is too bleak!
Sympathizing with Xiang Yu and expressing his grievances, the "crying king" actually made him cry. It should be said that this wild poetic style has a positive effect on the impact of feudal shackles and decadent poetic circles.
Peng Zhaosun (1769- 182 1), also known as Xiang Han, is a native of Jiangsu Town. He is just a scholar, frustrated all his life. In his later years, he loved reading Buddhist books and "empathizing". He believes that poetry must "think of my heart first, and enter people's liver and chest". He also said: "Words must be rooted in feelings, and words must be fragrant." Therefore, he opposed imitation and was dissatisfied with some major poetic schools since Ganjia: "The style of speech is divided into Tang and Song Dynasties, but it is also thin and empty." In his early years, he went to Shanxi, Henan and other places with his father. After his father died, he made a living outside, got in touch with a wide range of social life, and had a certain understanding of the decadent face of the real political society. His poems reflecting reality, such as Six Poems of New Yuefu and Tian Jia, are valuable after all, although they have no special artistic achievements. Such as "Lost Rent":
Losing rent is fun, and farmers are not happy; Two hectares don't have to take Guo Tian, but go to Taicang. ..... Party A rents Party B to act as an agent to move Party A, which makes it possible for the county officials. No sir, Budo. Both public and private interests are beneficial, and it would be great to get back together! I didn't see the farmer in charge of the official warehouse, so how could the particles rise? Measure the number of people at a time. All the officials are stuck, and the pigeon-shaped woman swallows!
-one of the six quasi-new Yuefu songs
Exposing the fact that officials and gentry colluded with each other to exploit peasants cruelly reflects the sharp class contradiction and has profound practical significance. It's a pity that his excavation is not deep enough and wide enough, and his efforts to break through the traditional bondage are also weak.
In the era of Ganjia, Li Jian, Shu Wei, Wang Tan, Peng Zhaosun and other poets generally said that their achievements were not great, but their unique efforts were worthy of recognition. They represent the change of poetic style and are the pioneers of Gong Zizhen.