"seven sons". In Dian Lun Papers, he said: "Today's
literati are Kong Rong Wen Ju of Lu, Chen Lin Kong Zhang of Guangling, Zhong Xuan of Shanyang Wang Can,
Xu Weichang of Beihai, Chen Liu Ruan, Yuan Yu, Ru Nan Ying De Lian, and Liu Zhen Gong of Dongping. Seven sons. There is nothing left in learning, nothing left in words, and saltiness is from
riding a horse □ thousands of miles, and walking side by side. " These seven people generally represent
outstanding writers except Cao Shi and his son during the Jian 'an period, so the
theory of "seven sons" has been widely recognized by later generations.
The life of "Qizi" can be basically divided into two periods. During the social war at the end of the Han Dynasty in the first
period, although their social status and life experience were different, they could not escape the fate of being in turmoil. In the latter
period, they were all attached to Cao Cao, Kong Rong served as a senior official in Shaofu and Wang Can served as a servant in
, and the rest were also close ministers of Cao Shi and his son. However,
Kong Rong later clashed with Cao Cao and was killed. Because the seven people joined Cao Cao in different times, there is no unified boundary between their early and late periods.
Kong Rong was in the first year of Jian 'an (196), Xu□ and Ruan□ were at the beginning of Jian 'an, Chen Lin was under construction for five years, Wang Can was in Jian 'an for thirteen years, and Liu Zhen and Ying□ were in Jian 'an for thirteen years.
Corresponding to their life path, the creation of "Qizi" can also be divided into two stages
. The early works mostly reflect the reality of social unrest, and
express the feelings of worrying about the country and the people. The main works include Wang Can's Seven Sorrow Poems and Ode to the Building
, Chen Lin's Drinking Horse in the Great Wall Cave, Ruan□' Driving Out of the North Gate,
Liu Zhen's Gift to My Brother, etc., all of which have practical significance and certain ideological depth;
However, some works are too deep and sentimental, such as Ruan□' s Seven Sorrow Poems, Liu
' s Missing the Title' and' Heaven and Earth will never meet'. Most of his later works reflect his
supporters' support for the Cao Shi regime and his ambition to establish his own career, and the contents are mostly
banquets, giving answers, etc. However, some praises to Cao Shi and his son have a tone of hanger-on accompanying the minister, showing a vulgar attitude. However, no matter before or after, the creation of "Seven < P > Zi" is dominated by positive and healthy content.
the creation of "seven sons" has its own personality and unique style. Kong Rong
is good at recitation prose, and his works are full of vigor and beauty. Wang Can's poems, poems and essays, with the symbol < P >, are both good and lyrical. Liu Zhen is good at poetry, and his style is bleak. At that time, Chen Lin and Ruan □ were famous as secretaries of chapters and tables, and < P > also made some achievements in poetry. The difference in their styles is that Chen Lin is more forceful and Ruan □ is more natural and fluent than < P >. Xu □ is good at poetry and fu, and his writing
is exquisite and his body is soothing. Ying □ can also write poems and poems, and his works are harmonious and rich in literary talent. The creative style of "Seven Zi" also has some similarities, which < P > is the era style of Jian 'an literature. The specific content
of this style of the times and the reasons for its formation are what Liu Xie said in
Wen Xin Diao Long Time Series: "When you look at the time, you are elegant and generous, and the good things are scattered from the world, and the wind is declining and the vulgar is resentful.
You are deep-minded and long-written, so the outline is rich."
the "seven sons" have a very important position in the history of China literature. He
and "Three Caos" together form the main force of Jian 'an writers. They have all contributed to the development of
poetry, fu and prose.
in terms of poetry, the "seven sons" mainly write five-character poems. Five-character poetry is a new poetic style that flourished only in the late Eastern Han Dynasty. The appearance of "ancient poetry" in the world of Huan and Ling
indicates that five-character poetry has matured initially. And the excellent
five-character work of "Seven Zi" is full of emotion and changes, which makes the five-character poem more exquisite in art
. For example, Xu □' s Thoughts on the Room is more detailed and profound than the same theme's Grass on the Green River or Bamboo Alone in Ran Ran. However, Chen Lin's
Drinking in the Great Wall Cave and Ruan□' Driving out of the Northern Guo Gate' were all written before the
chaos in the late Han Dynasty, and their writing time was not necessarily later than that of "ancient poems", so their importance in the development history of
five-character poems is even more worthy of attention.
In terms of ci and fu, the "Qizi" wrote a lot of Xiaofu, and they made contributions to the further development of Xiaofu on the basis of the achievements made by Zhang
Heng and Cai Yong. There are three points worthy of attention in "Qizi's Xiaofu": ① The range of
materials is more expanded, and the common and daily theme further dilutes the aristocratic nature of
in the past; ② The function of reflecting social reality has been strengthened, and < P > the number of works directly describing political events has increased; ③ The lyrical color is getting thicker and thicker < P >. Cao Pi gave
a high evaluation in Dian Lun Wen, and Liu Xie also expressed the same opinion in Wen Xin Diao Long Quan Fu, and especially thought that Wang Can and Xu□ were the "fu heads" of Cao Weiyi's generation.
in terms of prose, Kong Rong's Zhang Biao, Chen Lin's and Ruan's secretaries, Xu's and Wang Can's essays were all unique at that time. Their * * * is the same as
, which is what Cao Pi said: "Literature is based on qi" (Dian Lun Wen), and
focuses on the author's unique temperament. The famous essays of "seven sons" include Kong Rong's recommendation to Mi Heng, On Xiaozhang Sheng with Cao Gong, Chen Lin's moving to Yuzhou,
Writing for Cao Hong and Prince Wei, Ruan □ Writing for Cao Gong and Sun Quan, Wang
On Business, etc. The "Seven-Zi" prose
tends to be parallel in form, especially in Kong Rong and Chen Lin.
Some of their works are antithetical to put in order and often use allusions, which has become a link that can't be ignored in the process of prose parallelism from the end of Han Dynasty to the
Western Jin Dynasty.
all the original collections of "Seven Scholars" works have been lost, but now Xu□' s political ethics is the only monograph on "On China". In the Ming dynasty, Zhang Pu compiled Confucius Shaofu Collection, Wang Shi
Zhong Collection, Chen Jishi Collection, Ruan Yuanyu Collection, Liu Gong □ Collection,
Ying Delian Xiulian Collection, which was included in Hundred and Three Collections of Han, Wei and Six Dynasties. Yang fengchen in the
generation of Qing dynasty compiled "Jian an qi zi Ji".
the "seven sages of bamboo forest" in the literary history refers to seven poets in the zhengshi period of Cao Wei, namely Ruan Ji, Ji Kang, Shan Tao, Ruan Xian, Xiang Xiu, Wang Rong and Liu Ling, who are the representative writers of zhengshi literature. "Wei's Spring and Autumn Annals" contains: "Ji Kang lived in Shanyang County, Henan Province ... and Chen Liu Ruan was born in Shan Tao, Hanoi, and Xiang Xiu, Henan Province. His brother and son were salty and lang? Wang Rong, Pei Ren Liu Lingxiang is friendly and swims in the bamboo forest. The number is seven sages. " From the perspective of China's classical literature, Ruan Ji and Ji Kang are the "Seven Sages of Bamboo Forest" with the highest achievements. Ruan Ji's masterpiece is "Yong Huai", which is composed of 82 five-character poems. Most of these poems are silent and worried, which, in a sense, reflects a specific social phenomenon in Wei and Jin Dynasties that literati despised each other and were excluded by officialdom. Ji Kang, who is good at literature and good at music, is an official and a doctor in the middle. His literary representative is the essay "Breaking Up with Shan Ju Yuan"; In music, he is famous for playing Guangling San, and once wrote Qin Fu, which gave a detailed and vivid description of the playing method and expressive force of Qin. The two men's poems and articles have their own characteristics and strong points. Ruan Ji expresses the theme of his poems in a subtle and tortuous way, while Ji Kang's essays are straightforward and pungent in language and humorous in style, showing his bohemian and vicious character. Others, such as Shan Tao, Wang Rong and Ruan Xian, have no works handed down from generation to generation. Besides Ode to Wine Virtue, Liu Ling has only one five-character poem, Zhuang Mang Guest House Poetry, and Xiang Xiu has only one poem, Thinking of the Old.
Quanzhen Qizi
Quanzhen Qizi are seven disciples of Wang Zhongyang, the founder of Quanzhen Sect, an important branch of Taoism in China. They have their own strengths, and they have inherited Wang Zhongyang's stunts. In Mr. Jin Yong's novels The Legend of the Condor Heroes and The Condor Heroes, Quanzhen Qizi was described as a person with strong martial arts, but in reality, not everyone knows martial arts.
The seven sons of Quanzhen are the following seven people:
Ma Yu-Danyangzi
Qiu Chuji-Changchun Zi
Wang Chuyi-Yuyangzi
Liu Chuxuan-Changshengzi
Tan Chuduan-Changzhenzi
Hao Datong-Guangningzi
Sun Buer-Jingjing Sanren. During Hongzhi and Zhengde years, Li Mengyang and He Jingming
advocated retro in view of the flamboyant and feeble style of writing at that time. They despised all essays from the Western Han Dynasty and all poems from the Middle Tang Dynasty, and their master
Zhang was accepted by many literati at that time, thus forming an influential literary
retro movement. In addition to Li and He, the backbone of this movement is Xu Zhen
Qing, Kang Hai, Wang Jiusi, Bian Gong and Wang Tingxiang, with a total of seven people. In order to distinguish them from the seven people
such as Li Panlong and Wang Shizhen who appeared in Jiajing and Qin Long years later, they were called "the first seven sons" in the world. The similarities of their literary views are that they emphasize
the study of articles in Qin and Han dynasties, the praise of ancient poems in Han and Wei dynasties, and the patriarchal clan system in Tang dynasty.
The literary opinions of the first seven scholars have their progressive significance and positive effects. The eight-part essay examination system formulated and implemented in the early Ming Dynasty made many scholars only know the four books, the Five Classics and the model essays, but not other works. And most of the literary circles at that time were "Taige Style" and "Li Qi Poems". The former is a disease-free groan that whitewashes reality and embellishes too much
. "Chen and Chen are due to each other, so they are slow and redundant, and they are the same"
(General Catalogue of Sikuquanshu); The latter is really "beating the soil and beating the oil, like a somersault < P >" (Zhu Zun's Poems on Quiet Ambition), which is pedantic and vulgar, and the poetic taste is dull.
faced with this situation, Li Mengyang and others initiated retro, which made the world know that there were ancient books, and made people pay attention to learning the poems of the prosperous Tang Dynasty in Han and Wei dynasties, which had certain achievements in eliminating the bad influence of the eight-part essay and clearing up the languid poetic style.
The first seven scholars advocated that poetry should flourish in the Tang Dynasty, which has its literary origin. As early as the end of the Song Dynasty, Yan
Yu had advocated that learning poetry should "take Han, Wei, Jin and Tang Dynasties as teachers, and not be people below Kaiyuan and
Tianbao" (Cang Lang Shi Hua Shi Bian). A poet in the prosperous Tang Dynasty, especially Du Fu, has fully matured his poems in various styles, and has always been the study object of some people of insight in Song, Jin and Yuan Dynasties, with considerable results. In the early Ming dynasty, Lin Hong and Gao □
formally called for the prosperous Tang Dynasty. Lin Hong's Ming Sheng Ji specializes in the prosperous Tang Dynasty, and Gao
□' s Tang Poetry Collection lists the prosperous Tang poetry as the orthodoxy of Tang poetry. The literary opinions of the former
seven sons are the inevitable development of this tradition, and they are slightly theorized and systematized under the new historical conditions.
Under the guidance of the general idea that literature should be in the Qin and Han Dynasties and poetry should flourish in the Tang Dynasty, the first seven scholars still have some differences on some specific literary opinions. The dispute between Li and He < P > is its manifestation. Although they all think that the method of poetry and prose comes from the prosperous Tang Dynasty, the imitation method is slightly different. Li Mengyang's imitation of ancient times advocates the imitation of
sentences, emphasizes the formation of "opening and closing, backwards and backwards", and wants to "carve
the meaning of ancient times" and "stick to the size alone"; He Jingming, on the other hand, advocated that the imitation of the ancient should be "with the expression of
" and "without imitation", and it should be "to reach the shore and build a raft so as to have
similarity", without revealing any traces of simulation in the end. It can be seen that the first seven scholars advocated
retro, which was not completely ignorant of the past. Some of them were also thinking and exploring
, but they did not reach the height of seeking innovation by retro. Although the dispute between Li and He < P > was inevitably mixed with emotional elements, it also promoted Li Mengyang's self-opposition from then on < P >. In his later years, in his Preface to Poems, he admitted that his poems were "indifferent to ci", and < P > he regretted over-emphasizing "deliberately ancient norms". In addition, Xu Zhenqing's comments on poetry in
A Record of Talking about Arts
are different from Li Mengyang's views.
Most of the first seven sons were people who dared to fight against powerful ministers and eunuchs politically.
Although their achievements in poetry and prose creation are different, they all have some works that face the reality and expose the darkness. For example, Li Mengyang and He Jingming's A Journey to the Xuanming Palace, Wang
Jiu Si's Ma Wei's A Journey to the Abandoned Temple, and Wang Tingxiang's A Journey to the Western Hills are all themes that
show the eunuch's autocratic power and ridicule them for their rampant lawlessness and arrogance, and
are quite to the point.
The first seven scholars advocated retro, which had a great influence. The anthologies of
Hundred Poems of the Tang Dynasty (edited by Zhu Jing), Twelve Poems of the Tang Dynasty (edited by Zhang Xunye
), Twenty-six Poems of the Tang Dynasty (edited by Huang Guanzeng) and Twelve Poems of the Guang Dynasty (edited by Jiang Xiao) collected by Ming people since Hongzhi, and most of them only collected poems before the middle Tang Dynasty, < p The first seven sons were also the forerunner of the last seven sons, which made Wen
learn the retro movement for a hundred years in the Ming Dynasty.
However, some people in the first seven schools overemphasized the deliberate imitation of the poems of the Han, Wei and Tang Dynasties in terms of style, and even regarded some problems of
in structure, rhetoric and tone as immutable French, advocating that "Fu Wen and Zi are the same". Today
people copy ancient posts, that is, they don't think too much, but they can write books. Why are you alone in writing, and
want to stand on your own feet and be evil? " (Li Mengyang's Book of Re-engagement with He's Family) Does this
determine that literature should be original, and it also denies the real life roots of creation, which developed from
to later simulation, with a mouth full of mouths. At the beginning of Jiajing, the poet Xue Hui
and Yang Shen discussed poetry, and thought that "recently, the author simulated the attack, causing the banter of tearing down and washing
Shaoling and swallowing the beauty of the child" (Qian Qianyi's Biography of Poems of the Dynasties), which was very insightful.
the last seven scholars
China's literary schools in the Ming dynasty. It is composed of seven people, including Li Panlong, Wang Shizhen, Xie Zhen, Zongchen, Liang Youyu, Wu Guolun and Xu Zhonghang during the reign of Jiajing and Qin Long. After Li Mengyang, He Jingming and other first seven sons, they continued to advocate retro, flaunting each other, and the momentum was even greater, and they were called the last seven sons in the world. The literary ideas of the latter seven sons are basically the same as those of the former seven sons, emphasizing that literature must be in the Qin and Han Dynasties and poetry must flourish in the Tang Dynasty. Li Panlong and Wang Shizhen are the representative writers of the later seven philosophers. They think that the ancient prose has been well-established, and today's composition can only imitate the ancients as long as it is "cut into words, and it belongs to words". And arbitrarily think that prose is not worth reading since the Western Han Dynasty and poetry since the prosperous Tang Dynasty. Led the retro movement to the extreme. The latter seven scholars have been active in the literary world for a long time, and their literary ideas have many differences, and they have developed and changed. After Li Panlong's death, Wang Shizhen dominated the literary world for nearly 2 years. Later, he gradually became aware of some disadvantages of retro-ism, and realized that "generations can't waste people, people can't waste articles, and articles can't waste sentences". Because the arguments of the latter seven scholars are narrow-minded and open-minded, the degree of imitation in their creations is also different, among which Li Panlong is the most serious. The last seven poets all have a certain skill in modern poetry. Li Pan Long Junjie is loud and clear, Wang Shizhen is exquisite and elegant, Wu Guolun is dense and heavy, and Xu Zhonghang is a great hero.