How to evaluate the poems in Song Dynasty!

The evaluation of Song poetry has always been controversial. Generally speaking, the feeling is wave-like ups and downs-Song poetry was still highly respected in the Yuan Dynasty, but it was abandoned in the Ming Dynasty. At the beginning of the Qing Dynasty, it gradually became popular again under the advocacy of Huang Zongxi and others, and at the end of the Qing Dynasty, Tongguang Gang held it to the peak, and then it was left out in the cold. Especially in modern times, people generally don't appreciate Song poetry. For example, Emperor Gao of China despised Song poetry very much! Under this background, as the most distinctive representative of Song poetry, the fate of Jiangxi poetry school in later generations is even more bumpy. Especially in the field of poetry criticism, the good things that Jiangxi School got were almost negligible-from Yan Yu's Canglang Poetry Talk, it was criticized all the way, and then to Wang Fuzhi's criticism, and went to extremes. Jiangxi School became the representative of formalism and landlord class poetry reactionaries in literary works before the Cultural Revolution.

Generally speaking, China's metrical poems reached their peak in the Tang Dynasty, reaching an unparalleled level. Song poetry is actually a continuation of Tang poetry. There were some outstanding poets in Song Dynasty, whose works can be compared with those in Tang Dynasty, such as Su Dongpo, Wang Anshi, Lu You, Fan Zhongyan and Fan Chengda. In the Song Dynasty, works with harmonious scenes and beautiful artistic conception abound. I can list a few songs at will.

Xu Fu's Spring Tour on the Lake: "When will the swallows fly back? Peach branches on both sides of the river are soaked in water, and red peach blossoms are in bloom. Spring rain breaks the bridge and the boat leaves the willow shade. " Such fresh and wonderful seven wonders are good works even if they are put into Tang poetry. This poem reminds me of Xixi Chuzhou written by Wei in the Tang Dynasty. In it, "the boat leaves the willow shade" and Wei's "crossing the wild river without a boat" can be said to complement each other, both describing the spring scenery in the south of the Yangtze River. Wei's scenery is uninhabited, and there are also people driving boats in Xu Fu's poems, but they are all about the tranquility of the countryside, which is equally fascinating.

Once upon a time, "Three Roads in the Road" said: "The plum blossom day is gradually dawning, and the mountain stream is full. The shade does not reduce the road, but adds four or five orioles. " The poet walked on the mountain road to see the scenery and was intoxicated by the sounds of nature along the way. His works are natural and interesting.

Ye Shaoweng's "It's not worth going to the park": "You have to pity your dog's teeth and print your hair, but you can't leave Chai Fei for a long time. The spring garden can't be closed, and an apricot is out of the wall. " This is a very popular song in Song Dynasty. It uses "an almond" to render "all loves", which can be described as "the god who scatters the big scene with a small scene".

Yang Wanli's Xiaochi: "Spring eyes are silent and cherish the trickle, and the shade of the trees shines on the water and loves sunny and soft. Xiao He just showed his sharp corner, and the dragonfly had already stood on his head. " This is also a well-known work, "Xiao He only shows sharp corners", and the talent translated by later generations as a newcomer is emerging.

In the Song Dynasty, there were many works describing the daily life of rural farmers, with simple words but rich colors, strong charm, freshness and naturalness, which still made people feel cordial to read. For example, Fan Chengda's "Four Seasons Pastoral Miscellaneous Glory" said: "Go out during the day, get paid at night, and the children in the village take care of their own affairs. Children and grandchildren did not solve the problem of farming and weaving, but also learned to grow melons by mulberry shade "; Weng Juan's "April in the Country": "The mountains and plains are all green, and the rules are raining like smoke. In April, there were few idle people in the countryside, only inserting fields to raise silkworms "; Yu Siliang's Xiao Chun in Hengxitang: "A young plant is green in hand, and the smoke is lonely and the rain is invisible. The east wind dyed 3,000 hectares, and the egrets had nowhere to stop. "

These Song Ci poems have the charm of Tang poetry, sincere feelings and fresh images. They are not "reasoning into poetry", and no one will say that they are "tasteless". Among the vast works of Song poetry, it is just a drop in the ocean.

In the Qing Dynasty, Ji Yun once commented that the Song people "ignored the ignorance of the Tang people, so they took reason as the basis and poetry as the purpose, and their poetic style changed greatly". Neo-Confucianism flourished in Song Dynasty, and Song people were dissatisfied with the lyrical description of Tang poetry, so writing philosophical poems became a fashion. Song people's poems are "rational", but they are not necessarily "tasteless". There were many classical poems in the Song Dynasty. The most famous songs have been circulating in China for hundreds of years. For example, Su Dongpo's "Title Xilin Wall": "Looking horizontally, the ridge side becomes a peak, and the distance is different. I don't know the true face of Lushan Mountain, but toward which corner of the mountain. " For example, Zhu's "Random Thoughts on Reading": "Open half an acre of square pond, the sky is high and the clouds are light. Ask where the canal is so clear because there is a source of living water. " These famous philosophical poems, with ingenious conception, profound implication and endless aftertaste, have always been a symbol of China people's wisdom.

The peak of Song Dynasty literature is Ci, which is an unprecedented creation and can be compared with Tang poetry. In fact, words are also poems. In my opinion, Song Poetry and Song Ci are an inseparable whole. /s/blog _ 5890 18f 10 10004 O2 . html