Spiritualism (represented by Yuan Mei)
De stijl (represented by Shen Deqian)
The school of verve (represented by Wang Shizhen)
Texture school (represented by Weng Fanggang) 1, Wang Shizhen's verve theory
Wang Shizhen absorbed Si Kongtu's Twenty-four Poems in the Tang Dynasty and Yan Yu's Poems on Canglang in the Southern Song Dynasty, emphasizing "exciting spirit", pursuing "forgetting words and being proud", and taking leisure and charm as the highest realm of poetry.
2. Shen Deqian's model theory.
"Style" is rooted in Yan Yu, who advocates that thoughts and feelings are the decisive factors of formal style. It is argued that creation is beneficial to gentle and honest "poetry teaching" and there are works of "righteousness and harmony" that complement the world, so it belongs to the "style" with laws to follow and Tangyin as the standard.
3. Yuan Mei's theory of soul.
Yuan Mei learned from Yuan Hongdao's "expressing one's soul alone, not sticking to one pattern" and Li Zhi's theory of childlike innocence in Ming Dynasty, and advocated that poetry should express one's mind directly, express one's soul, emphasize nature and originality; He opposed the restriction of Zhu Cheng Neo-Confucianism on poetry creation, expressed dissatisfaction with the tendency of imitating the ancients and the so-called gentle and sincere "poetry teaching", and criticized the "model theory" and "muscle theory" popular in poetry circles at that time.
4. Weng Fanggang's physiological theory
Texture refers to benevolence and arts. It is advocated that poetry should be based on knowledge, with solid content and elegant form, in order to correct the bias of poetic theories such as verve theory and modality theory at that time, which praised verve, stuck to style or talked about temperament, and made poetry a boring and rhythmic article.