1. The Development of Poetry in Northern Song Dynasty
At the end of the Song Dynasty, Fang Hui said, "Song shovel the old habits of the Five Dynasties, and the poems are in white style, Kun style and late Tang style." (preface to Luo shouke's poems in volume 32 of Tongjiang sequel) it is a bit exaggerated to say that "the old habits of the five dynasties" have been eradicated in the early song dynasty, but it is quite accurate to classify the poetic style of the early song dynasty as three-body.
"Bai Ti" refers to a group of poets who imitate Bai Juyi's poems, and the representative writers are Xu Xuan, Liu Yun, Wang Yucheng and others. In the early Song Dynasty, civil servants were given preferential treatment and poetry and fu were advocated. So the pavilions became popular at that time and made up many poems to sing. Their poems mainly imitate the modern poems sung by Bai Juyi, Yuan Zhen and others, and describe the leisurely life of wandering scenes with simple and elegant style. Among them, Wang Yucheng's poems inherited and carried forward the realistic tradition of Du Fu's and Bai Juyi's poems, and wrote many poems that reflected social reality and were full of feelings of worrying about the country and the people. Poetry is simple and fluent, simple and elegant, and some are long poems, describing their own experiences and arms, and speaking freely, which opened the first sound of spreading culture and discussing in Song poetry. In the Qing Dynasty, Wu Zhizhen called his poems "Song Jue" in the notes of the Song Dynasty, which shows its position in the development of the Song Dynasty.
"Kunti", named after Kunxi's singing, was the most influential school in the early Song Dynasty. In the Song Dynasty, the atmosphere of cabinet ministers singing in harmony reached its peak in Zhenguan. A group of cabinet poets, represented by Yang Yi, Qian Yi, wrote a large number of gorgeous poems belonging to Seiko, and sang and entertained each other, which made this trend prevail. The theme of the work is narrow and the content is thin. Some of them chant stories about emperors, some chant palace life, and more are poems like pear blossoms and catkins. Kunxi poets admire Li Shangyin most, and at the same time attach importance to Tang Dynasty. Their poems are gorgeous, steady in antithesis and harmonious in rhyme. Under the background of the poetic style in the late Tang Dynasty, the appearance of Kunxi style is undoubtedly refreshing, which initially embodies the grandeur of the unified empire in the Northern Song Dynasty. So it's called Kunqu Opera. Therefore, Tang Xian's poems have been abandoned. "(Ouyang Xiu's Poems on June 1st) However, the Kunxi style had a certain influence on the poetic style from the late Tang Dynasty to the early founding of the Northern Song Dynasty. Fiona Fang Hui believes that "Quincy's changes are enough to cure the romantic and narrow diseases at that time." (Essentials of the Law of Winning and Winning), this is a very insightful and fair theory.
The fatal deficiency of Kunxi style lies in two aspects: first, the scope of poetry theme is narrow and lacks the flavor of the times; Second, the art of poetry is based on imitation and lacks the spirit of self-reliance. In addition, Quincy's style actually has a strong aristocratic flavor, which is also inconsistent with the social characteristics of the Song Dynasty. Quincy's style has obvious entertainment tendency, which also conflicts with the increasingly strengthened orthodox literary view. These are also the fundamental reasons why it was criticized and eventually declined.
"Late Tang Style" poets refer to a group of poets who imitated the poetic styles of Jia Dao and Yao He in the early Song Dynasty. Among them, the most important writers are Lin Bu, Ye Wei, Kou Zhun, Pan Lang and the so-called "Nine Monks". Except Kou Zhun, most of these poets are Chu Shi and monks living in seclusion in the mountains. They pay attention to the writing of bitter songs, depict fresh and small natural scenery in a narrow pattern, express frustrated or melancholy, or leisurely and broad-minded scholar-officials' interests, and depict quiet mountain scenery and lonely and indifferent seclusion. Only the poems of Lin Bu, Kou Zhun and others, on the one hand, imitate Jia Dao's choice of words, on the other hand, tend to be plain and smooth, and the life content expressed in the poems is slightly richer than that of the "Nine Monks". Poets of "Late Tang Style" have a certain influence on the emergence of the surprising tendency that later poems like to innovate in language. But generally speaking, the poetic image of "Late Tang Style" is monotonous, the form is dull, the emotion expressed is not beyond leisure, idleness, melancholy and melancholy, and the color is relatively simple.
`` two. The overall prosperity of poetry in the mid-Northern Song Dynasty
The literary revolution in the mid-Northern Song Dynasty came into being under the general decline of literature in the Song Dynasty. On the one hand, it conforms to the requirements of the times to strengthen ideological control, on the other hand, it is also seeking a new foothold and artistic style of literature. Ouyang Xiu plays a central role here. Ouyang Xiu's poems played a fundamental role in the formation of the style of Song poetry.
Ouyang Xiu not only changed the style of writing, but also innovated the style of poetry. Ouyang Xiu wrote poems, trying to correct the bad poetic style of Quincy style, and put forward the poetic theory of "poetry is poor and backward", demanding that poetry reflect real social life. Many of his own poems are related to specific social problems and have feelings, and many of them express personal life experiences or feelings. Most of these poems contain deep feelings about life, so they are essentially different from similar poems in Quincy style.
Ouyang Xiu's poems are greatly influenced by Han Yu, mainly in prose and argument. The prose culture of European poetry is first manifested in writing poems in China's ancient style, paying attention to twists and turns, truth and falsehood; Secondly, the sentence structure of prose; Ouyang Xiu's ancient poems are almost scattered, with mixed long and short sentences and few compound sentence, and the sentence structure is the same as that of prose. Thirdly, modal particles commonly used in prose are directly used in poems or prepositions, and structural particles are used in sentences. The prose culture of European poetry, with its novel features, has played a role in breaking the conventional system of poetry, but from the artistic point of view, those ancient long poems with great prose culture can't really find much poetic interest. The prose culture of European poetry is inherited from Han Yu. However, Korean poetry is good for ancient Olympics, while European poetry tends to be popular. Some short stories with modern style often express their feelings in simple and natural language, but after careful conception, their styles are cordial and smooth.
Mei is a scholar who specializes in poetry and has written more than 2,800 poems. Although the economy is depressed, May Yao Chen is very concerned about current politics. Whenever there is a major political event in North Korea, he always likes to reflect it in his poems. These poems either attack evil forces in the form of fables or simply write them directly. With his poems, he actively reflected the sufferings of people's livelihood, sharply exposed the miserable experiences and emotional rage of the poor he witnessed when he was an official in a local place, and inherited the traditions of Du Fu and Bai Juyi. What is more noteworthy in Mei's poems is the description of trivial matters in daily life, which embodies the pioneering spirit of poets in the Song Dynasty. He often draws materials from trivial matters of daily life and writes them down with great interest. Corresponding to the trivialization of subject matter, Shi Mei's artistic style takes the pursuit of "plainness" as the ultimate goal, and pursues the perfect artistic realm, which transcends the exquisite and graceful style. The theme tendency and style tendency of Mei's poems are of great significance beyond the atmosphere of Song poetry. Later generations commented: "getting rid of extravagant habits is beyond the extreme disadvantages of Kunqu opera;" It is with this in mind that the way to preserve the past and the light is outstanding (see four appendices and Mr. Wan Ling's collected works for two afterwords of Xiao). From Ouyang Xiu to Wang Anshi and Su Shi, they all admired Mei's poems, which is also a fair evaluation of this generation of poetry pioneers by Song people.
Together with Ouyang Xiu and Mei, Su Shunqin is an important poet with innovative poetic style. Su Shunqin's personality is heroic, and his poetic style is bold. In his early years, he was generous, ambitious and thought highly of himself, but he was always excluded or even framed, so he felt that he could not do his due duty for the society, and he was also very depressed. These two emotions are intertwined and mutually reinforcing. He likes to use poetry to reflect current politics, express strong political feelings and show contempt for dark and decadent forces. The book "History of Song Dynasty" said that he was "angry songs and poems, and his style was bold and unrestrained, which was often amazing." Su Shunqin also wrote a large number of landscape poems, which also showed the poet's broad mind and heroic character. He likes to write about magnificent scenery and praise the great power of nature. In terms of poetic language art, Su Shunqin tried to break the mature and outdated poetic mode with new images and new syntax. In his poems, you can often see plain sentences, unfamiliar words and strange images. The most obvious weakness of his poems is that sometimes he only pays attention to the catharsis of feelings, ignoring the scrutiny of emotional expression and the internal tension of language, making them rough and even endless. The smooth and straightforward features of Song poetry have been seen in Su Shi's poems.
Ouyang Xiu and Mei He's poetry creation is not mature enough in art, but they have made great contributions to the innovation of poetry style in the early Song Dynasty and opened the way for the continued development of Song poetry. Later great poets, such as Wang Anshi and Su Shi, all went their way.
Wang Anshi is a politician. He had a high degree of political enthusiasm since his youth, pretending to be Prime Minister Taiping, and then devoted himself to political struggle with a tenacious attitude. His ideal is by no means to be a scholar. When he was 30 years old, he met Ouyang Xiu. Ouyang Xiu politely compared him to top writers like Li Bai and Han Yu in his poems, but he said in his poems: "If I can catch a glimpse of Mencius one day, I will never dare to look at Han Palace in my life." In his opinion, Han Yu is still too popular. His literary view is guided by the worship of Taoism and Classics. Like his composition, he tends to attach importance to practical functions. But he also used poetry as a tool to express his feelings, and poetry focused on expressing personal feelings and reflecting richer life content.
There are more than 1,500 poems by Wang Anshi, and his poetry creation is divided into two periods, namely, seclusion in Jiangning. His early poems lived in Du Fu, learning from Du Fu's realistic spirit of caring about political current affairs and sympathizing with people's sufferings. Among them, the best is to chant poems. He inherited the tradition of Zuo Si and Du Fu reciting historical records, expressed novel views on historical figures and events, and expressed his political or life ideas. After Wang Anshi retired from politics, his rich career experience and complicated mood of failure in political reform have greatly changed his poetic style. In his later years, Wang Anshi indulged in Buddhism. Scholars in Song Dynasty like to talk about Buddhism, which started from Wang Anshi's generation. The political enthusiasm and indomitable spirit of struggle in early poetry gradually faded, the artistic conception gradually became dull, and the poetic style tended to be subtle and deep. A large number of landscape poems replaced the position of political poems. In art, Du Fu embarked on the road of "the older the better the poems". Poetry pays attention to the perfection of antithesis, allusion and melody, absorbs the advantages of Wang Wei's poetry and pursues the artistic beauty of poetry. With this unique lyrical way and artistic style, the "Wang Ti" marked by Yan Yu's Cang Hua was formed. The most representative works in Wang's later poems are quatrains that describe scenery and express feelings, and it is these quatrains that make Wang Anshi enjoy a high reputation in the poetry circle at that time. Wang Anshi learned from Du Fu and his poetry creation, which combined discussion, knowledge and poetic methods, achieved the integration of "use" and "service", and was skillful in rigor, novelty and leisure, which reflected the Song people's comprehensive requirements for poetry from value choice to aesthetic ideal. During the development of the Song Dynasty, Wang Anshi not only promoted the prosperity of Du Xue, but also had a great influence on the formation and development of the unique style of the Song Dynasty with his profound thoughts, novel opinions, new explorations in artistic skills and wording in later poems, and even the habit of using allusions in long prose.
In the Song Dynasty, there was a strong sense of literati alliance, and there were literary champions who led the atmosphere in almost every period. There is also an inheritance relationship between the top scholars in different periods, similar to that passed down from generation to generation by Zen ancestors. As early as when Ouyang Xiu presided over the literary world, he made it clear that he would hand over the important task of leading the literary world in the future to the young Su Shi, and predicted that Su Shi's achievements would surpass himself. Su Shi is also duty-bound, full of self-confidence and conceit. If Ouyang Xiu is the central figure of the literary revolution in the Northern Song Dynasty, then Su Shi represents the highest achievement of this literary revolution, and Wen Song, Song Poetry and Song Ci all reached their peak in Su Shi's hands.
Su Shi went through the process of entering the DPRK-serving abroad-relegation twice in his life, during which there were prosperity and adversity, honor and disgrace and misfortune, poverty and gain and loss. Su Shi is knowledgeable and is like a duck to water in the ideological atmosphere of the integration of the three religions in the Northern Song Dynasty. He can readily accept the thoughts of Confucianism, Taoism and Buddhism, and thinks that they are intrinsically interlinked. Of course, Su Shi can't escape the dominant position of Confucianism in political thought, but the thoughts of Taoism and Buddhism have a great influence on him, especially after repeated blows in his official career, the birth and detachment of Taoism and Buddhism became more and more serious, which almost became the spiritual pillar of his life cultivation and career. Su Shi did not become insensitive to suffering, nor did he succumb to persecution imposed on him. Instead, it treats endless troubles with a brand-new attitude towards life, organically combines the inherent perseverance of Confucianism, the transcendental attitude of Laozi and Zhuangzi in contempt of limited time and space and material environment, and the idea of Zen in treating all changes with a normal heart, adapting to the current situation and coping with adversity, so as to effectively despise ugliness and eliminate pain. This life paradigm, which is persistent in life and detached from things, contains a firm, calm, optimistic and broad-minded spirit, which makes Su Shi's character extremely casual, free and easy, and open-minded, so he can still maintain his keen interest in life and exuberant creative vitality in adversity.
This bumpy life experience and the rich experience of "walking in Wan Li for half a day" made Su Shi make great achievements in poetry, and his intervention in social reality and thinking about life were very prominent. When Su Shi reflected the reality, he directly used poetry as a tool to combat political opposition and "mocked the lack of government affairs in the imperial court" (Su Shi was quoted in Wutai Poetry Case). In the aspect of participating in politics by poetry, Su Shi went further than Du Fu and Bai Juyi, which eventually led to the Wutai poetry case. Therefore, predecessors commented on this: "Dongpo's article is wonderful in the world, and its shortcomings are easy to scold, so be careful not to attack it." (Huang Tingjian's "Answering Hong Ju's Father's Letter") "Looking at Su Dongpo's poems is just a mockery of the court, and there is nothing gentle and sincere." (Shi Yang's "Quotations from Kameyama") These comments can precisely illustrate the pertinence and struggle of Su Shi's intervention in politics with poetry. Su Shi's life was full of ups and downs, and he ran around, and his life experience was extremely rich. He is good at summing up experience from life experience and seeing laws from objective things. Su Shi's works praising nature are rich in content, with profound self-feeling and elegant aesthetic taste, which is also the development of similar poems of predecessors. Some of Su Shi's poems about scenery and the resulting philosophical poems convey the meaning of scenery, confuse reason with reason, and mean beyond words. The organic unity of emotion, scenery and reason has endless implications. This is quite rare in Tang poetry, but it is common in Su Shi's poems, and it successfully solves two major problems in philosophical poems: one is to integrate abstract philosophy into concrete images, and the other is to integrate boring philosophy into moving emotions. This is also Su Shi's artistic success, which opened up a new era of philosophical poetry. Su Shi's poems on poetry, painting and storytelling are also very successful, which shows his profound artistic attainments and his ability to grasp and recreate various artistic realms. At the same time, he embodies Su Shi's own artistic ideas, aesthetic taste and life experience, which is also a great contribution to the development of poetry themes.
Su Shi, a scholar, mastered the artistic skills of poetry skillfully, treated artistic norms with the spirit of bringing forth the new and winning by surprise, and enjoyed himself at will. Su Shi pays attention to learning and talent in his poems. His talent is first manifested in his lively and romantic imagination; Secondly, it is manifested in his meticulous observation and delicate expression; Once again, it is manifested in the ups and downs and unpredictability of the conceptual layout. Su Shi attaches importance to both learning and talent, which is mainly manifested in his good use of allusions. This is another important feature of Su Shi's poems. "Mr. Dongpo's talent is unique, and he has been outstanding for a lifetime. He has considered classics all his life, running through history, down to novels, miscellaneous notes, Buddhist scriptures, Taoist books, ancient poems and dialects. Therefore, the nature of heaven and earth, the rise and fall of ancient and modern times, the rise and fall of customs, the genus of mountains and rivers, the genus of vegetation, the genus of animals and the genus of scale insects, although all unique, have accumulated into a single article, just like the Wang Yang of the Yangtze River, which has changed a lot. Then, if the wave is between one and one, it can be one person or two people. (Wang's Preface to Mr. Dongpo's Poems of Hundred Schools of Classification)
On the basis of inheriting predecessors, especially Han Yu, Ouyang Xiu, Mei and others, Su Shi is more conscious and mature by taking poetry as a comment. Su Shi's comments have the following characteristics: first, they are not empty, but add charm with the help of images, thus overcoming the shortcomings of shallow and tasteless poems in Mei and Europe to a great extent; Or closely combined with narrative, talk and discuss, so that these discussions have profound knowledge, rich experience and keen insight as their solid and profound foundation; Secondly, the exposition itself is novel and enlightening, which fully shows the author's keen thinking and outstanding knowledge. Although philosophical poetry can't be said to originate from Su Shi, it is a fact that it was formed in his hands. Su Shi is good at banter and metaphor in his poems. Although metaphor is commonly used by poets, Su Shi's poems are the best, and he can be called the king of metaphor in classical poetry. Vivid and novel, endless, wonderful metaphor. Wei Qingzhi said, "Zi Zhan writes poetry and is good at metaphor." (Poet's Jade Scrap 17) "Combination comparison, local array expansion, which was invented by Mr. Chu Bai 'an".
Three. Poetry in the Late Northern Song Dynasty: Huang Tingjian and Jiangxi Poetry School
When Su Shi became a new literary leader after Ouyang Xiu, the development of literature in Song Dynasty reached a climax, and the achievements of Song poetry entered a peak stage. In the late Northern Song Dynasty, Sumen disciples rose one after another. Huang Tingjian, Qin Guan, and Chao are also called "Four Bachelor's degree in Su Men". In addition, Su Shi's younger brother, Su Zhe, Kong Wuzhong, Kong, Tang Geng, and others, who are also called "two Su and three Kong" with Su Shi's brothers, are also directly or indirectly influenced by Su Shi. In the late Northern Song Dynasty, these Sumen became the greatest force in the field of literature. However, due to Su Shi's way of writing poems, it is difficult for others to follow suit. In addition, since the late period of Yuan You, fierce party struggles have often led to literary inquisition, and Su Shi's style of daring to anger and scold has made people stay away from him. Therefore, Huang Tingjian pays attention to statutes in his poems and life in his study, which has become an example for young poets to learn. By the end of the Northern Song Dynasty and the beginning of the Southern Song Dynasty, the poets after Huang Tingjian gradually formed a school of poetry with the same voice-Jiangxi Poetry School. This is the most important phenomenon in the Song Dynasty.
Among the writers around Su Shi, Huang Tingjian's poetic achievements are the most outstanding, and he is finally as famous as Su Shi, and both of them are called "Su Huang". Huang Tingjian enjoys a high reputation in the history of literature. First of all, he is an all-round writer who combines poetry, ci and prose, and has his own unique literary view. Second, because he was praised by later generations as the first of "Jiangxi Poetry School" and "one ancestor and three schools". It was even promoted to be the representative of the highest achievement in the Song Dynasty.
On poetry, Huang Tingjian emphasized innovation, requiring poets to be ambitious, innovative, unique and overwhelming. He has repeatedly claimed that "conformity is the most taboo in writing" ("For Xie Chang") and "it is realistic to form a family" ("On Yue Yi"), and he is determined to "open a family door" in poetry creation. This is a valuable artistic pursuit. Huang Tingjian has profound knowledge, profound skill and rigorous creative attitude. In his poetry creation, he tries to avoid the cliché of his predecessors, "Ning Law is not harmonious, so as not to make sentences weak;" Would rather use words than work, not vulgar language. "Hard words, adventure rhymes, unusual classic use. His poetry style is thin, hard and steep, with distinct artistic personality. His poems are profound, thoughtful, intriguing and memorable. First, Huang Tingjian's poems, no matter how long or short, often contain multi-level meanings, twists and turns, and are never straightforward; Second, Huang's poems are often good at using rhetorical devices to win by surprise. He likes to use allusions and prefers to quote some obscure books; If people are familiar with it, he tries to use it unexpectedly. The most successful works in Huang's poems are those that use ordinary words to form novel images, such as Send some letters to Huang;
I live in Junnanhai, Beihai, and I can't send geese to deliver books. Peach and plum spring breeze, a glass of wine, ten years of night rain.
Home economics has four vertical walls, so it is not difficult to cure diseases. I want to study, my head is white, and apes cry over streams.
Literal words are common, and allusions are also common, but after ingenious conception, the old ones are replaced by new ones, and the overall artistic effect is achieved. But sometimes it's too strange and unnatural. For example, in the poem "Looking at the King's Master Book", he compared men to flowers, which attracted many people's criticism. Huang Tingjian also attached importance to refining words and making sentences, and tried to write hard words. For example, in the poem "To Chen Shidao", there are some sentences, such as "autumn water is not too sticky to the sky", and in the poem "Er Yun Zhang Xun Zhai", there are some sentences, such as "Spring has gone without a peep at the garden, and the oriole is quite invited". Thirdly, Huang's poems also have the characteristics of peculiar rhythm. First, the syllables in the sentence break the routine, such as "the heart is still in the cup, and the spring scenery in the mirror is not beautiful" ("Er Yun Liu Tong Sou Ji Wang Wentong"); Second, difficult sentences are often used in metrical poems to avoid even and harmonious tones. Half of Huang Tingjian's more than 300 seven rhymes are awkward, which is also an important reason for his innovative and simple style.
On poetry, Huang Tingjian demanded that poetry creation should be "as profound as Du Fu" and "every word is everywhere", so he advocated "turning embryo into bone" and "turning iron into gold". This has two meanings: first, it refers to borrowing words and allusions from predecessors' poems, edifying them, bringing forth the new, and making them play a subtle rhetorical role in their own poems; Second, it refers to inheriting the ideas and artistic conception of predecessors, making them look brand-new and become their own ideas and artistic conception.
Huang's poetry has its own system and distinctive style, which was then called "Huang Tingjian Style" or "Valley Style". If Tang poetry is taken as the reference standard, then the "valley style" is the most innovative and can best represent the artistic characteristics of Song poetry. At the same time, the valley body also has strange, stiff and unnatural shortcomings. Therefore, when later generations criticize Song poetry, it is often the "valley style" that bears the brunt. However, Huang Tingjian's poems in his later years gradually overcame the above shortcomings and showed a tendency of returning to simplicity.
Chen Shidao and Huang Tingjian, another elder of Jiangxi Poetry School, are also called "Huang Chen". Chen Shidao was not allowed to take the imperial examination because he was not satisfied with his new research. At the age of 35, he was appointed as a professor of Chinese studies on the recommendation of Su Shi. He comes from a poor family. Apart from being a professor of national studies for several years, he has always been a civilian. He didn't start working as a secretary until he was 48. The next winter, because of the cold, he took part in the suburban festival and refused to wear the cotton-padded clothes borrowed by his wife from relatives with poor quality. He died of cold and disease. His life circle is quite narrow, and the subject matter of his poems is also relatively narrow. He mainly writes about personal life experiences and feelings, but his words are sincere and sincere, which is a true portrayal of the lives of those poor people. Therefore, later generations praised: "Its scenery is true and its feelings are true, so it can attract people's feelings and help each other, but it is involuntary." Generally speaking, Chen Shidao's poems have the following two styles: First, they emphasize bitterness, temper, novelty and vigor, which are similar to those of Huang Tingjian. Although there are some famous articles, most of them want to force Du Fu to fail and make the writing bitter; Secondly, Chen Shidao's poems also contain some plain and natural works. Although these works are not his deliberate works, they are often the essence of his poems, especially some poems written for relatives.
After the death of Huang Tingjian and Chen Shidao, the poetic atmosphere tends to solidify. Through the efforts of Wang Anshi, Su Shi, Huang Tingjian, Chen Shidao and others, the characteristics of Song poetry have basically been finalized. The strict creation of Huang Tingjian and Chen Shidao provides rules and norms for young poets, and the harsh political situation makes the poet's mentality more introverted from the outside. As a result, their poems turned from society to individuals, from the outside to the inside, from life to books, from Wei Que to rivers and lakes, from Confucianism to Buddhism and Taoism. While resisting common customs, they unconsciously closed the door of social life, recited the life of the study and scrutinized the writing skills, which became the creative tendency of Jiangxi poetry school and the tendency of the whole poetry circle at that time.
In the late Northern Song Dynasty, the poetic circles were generally under the shadow of Su Shi and Huang Tingjian's poetic style. However, at that time, Su Shi's influence was greater than that of Huang Tingjian. However, the situation of Su Shi's poetry is large and comprehensive, and it is difficult for successors to give full play to it. Huang Tingjian's poems are narrow, expert and easy to make progress. Especially after Nandu, Reuben won the bid for Jiangxi Poetry School, which had far-reaching influence, so Su Shi's influence was covered up by him.
Number four. The Development of Poetry in Southern Song Dynasty
The Southern Song Dynasty was an eventful autumn, and the "Jingkang Change" left a shameful memory in the hearts of people in the Song Dynasty. With the collapse of the Central Plains, the small court in the Southern Song Dynasty knelt down to make peace, not making progress, and being partial to the south of the Yangtze River. In addition, the murder of Yue Fei and other patriotic heroes aroused the patriotic enthusiasm of the broad masses of the people and literati with a sense of justice and national pride. Since then, poets have gradually abandoned the rules and regulations of Jiangxi Poetry School, such as "replacing bones with fetuses", "taking iron as gold" and "taking the ancients as words", making poetry creation face social life, reflecting troubled times life and national aspirations, and the poetry style has changed accordingly.
The development of poetry in the Southern Song Dynasty can be roughly divided into two periods: before and after the appearance of Yongjia Four Spirits. In the early stage, you Mao, Yang Wanli, Fan Chengda and Lu You were the representatives. After the late Northern Song Dynasty, the creation of Song poetry appeared the second prosperous period.
Most of the poets in the early Southern Song Dynasty were inside and outside Jiangxi Poetry School, and were more or less influenced by Su Shi and Huang Tingjian's poetic style. However, the great changes of the times prompted them to seriously reflect on "Jiangxi style", abandon the old creative principles and expression techniques of Jiangxi poetry school, and create poems with the theme of anti-Japanese war and patriotism. Generally speaking, the poetry creation in the early Southern Song Dynasty has three characteristics: first, poetry creation began to learn from nature from respecting Du Chonghuang, and gradually got rid of the influence of the last stream of Jiangxi poetry school, showing the awakening of primitive consciousness; Second, poetry faces life, and the theme of creation has expanded; Third, worrying about the world and hurting chaos, patriotism has become the theme of poetry.
In the late Southern Song Dynasty, Lu You, Fan Chengda, Yang Wanli and You Mao became outstanding representatives in the Southern Song Dynasty. Although they corrected the shortcomings of Jiangxi Poetry School with their outstanding poetic achievements, their poems are basically in the same strain as Ouyang Xiu, Mei, Su Shi and Huang Tingjian, which can be said to be the development of the Song Dynasty tradition. In the late Southern Song Dynasty, due to the change of social environment and people's dissatisfaction with this tradition, "Yongjia Four Spirits" and Jianghu poets appeared one after another, and the poetic style changed again.
The appearance of Yongjia Four Spirits, from the literary point of view, is not satisfied with the rationalist's idea of "taking Tao as poetry", but also an error correction to Jiangxi Poetry School, that is, the struggle between Yao He, Jia Dao and Jiangxi Poetry School in the late Tang Dynasty. Ji Xu, Zhao Xu, Weng Juan and Zhao Shixiu, under Ye Shi of Yongjia School, are fond of closeness, specialize in five laws, pay attention to sketching, use few classics, make no comments, and deliberately innovate, which is different from the tradition of Song poetry from Ouyang Xiu, Mei, Su Shi and Huang Tingjian to Jiangxi Poetry School. However, due to the lack of talent, the poems of Si Ling appeared to be poor in content, narrow in scope, melancholy in artistic conception, low in achievement and without theoretical achievements, and thus died one after another.
The representatives of Jianghu poets are Dai Fugu and Liu Kezhuang. Four-spirit poems admire the late Tang Dynasty, and Jianghu poets also admire the late Tang Dynasty, and then admire the prosperous Tang Dynasty and literary talent. There is indeed a follow-up relationship between these two poetic schools. However, most of the Jianghu poets are frustrated literati wandering around the Jianghu. Many of them are dissatisfied with the imperial court, care about current affairs, can observe the sufferings of the people, and have a clearer attitude towards reality than the four-spirit poetry school, so there are some poems that expose social abuses and reflect the sufferings of the people. Their poetic styles are different. Some of their poems are true, sometimes they are too straight, but there are also many excellent works that are fresh, smooth and unpretentious.
On the eve of the Song Dynasty's death, the national crisis was in the forefront, and the sense of national hardship made a group of patriotic poets rise in the poetry circle at the end of the Song Dynasty. Patriots such as Wen Tianxiang, Wang Yuanliang, Xie Ao, Lin Jingxi and Zheng Sixiao went to the national crisis to express their unyielding ambition and their thoughts of "subjugating the country" and "dazzling beauty". There was a "decline" from the Song Dynasty to the rivers and lakes of Siling, but patriotic poets at the end of the Song Dynasty left a dazzling last page for the Song Dynasty with the elegy of the times. This is a rare sight in the poetry circles of past dynasties.
Poems by Chen,, and others.
In the early Southern Song Dynasty, the artistic style and content of Jiangxi Poetry School had undergone profound changes. Lv Benzhong is the most important poetry theorist in the later period of Jiangxi Poetry School. Theoretically, he gave play to the "living method" theory of Jiangxi Poetry School: "The so-called living method has rules, and rules can be made. If you don't break the rules, it will become unexpected." (See Liu Kezhuang's Complete Works of Mr. Houcun, Volume 95). He advocates getting rid of the existing law and making his own income, which shows that Jiangxi's poetry method, which originated from Huang Tingjian and prevailed in the poetry circle at that time, has undergone new changes internally.
In the early years of the Southern Song Dynasty, Chen, He and Zeng Du had the highest creative achievements. Chen's poetry creation, bounded by the fall of Bianjing in 1 126, is clearly divided into two periods. Most of the poems in the early stage are works that praise things and express personal feelings. Although they studied Du in style, they didn't learn the essence. Sometimes, they inevitably have the characteristics of Jiangxi poetry school, too hard to temper, pursue innovation, and even be praised by future generations as one of the three schools of Jiangxi poetry. Great changes have taken place in Chen's later poems. Great social changes and turbulent life experiences turned him into a poet facing reality. The content of his poems describes current events, expresses his feelings about national conditions, and shows his thoughts of patriotic main battle and resisting national rejuvenation. His style is even more convincing to Du Fu, which makes him depressed, generous and sad, and the complicated new features of Jiangxi Poetry School have also been corrected to some extent. Chen's poems are good at describing some fragments and details in fluent and refined literary language, and there is a trace of sadness in these fragments and details, which makes his poems present a style of innovation and leisure. This is his inheritance and development of Tao Yuanming and Liu Zongyuan, and it also makes him unique in Song poetry. "The gentry contended for the biography, the flag pavilion passed on, and every sentence was engraved, almost everywhere, so it was called the new wind." (Ge's Preface to Chen Qufei's Poems)
Although Lv Benzhong was not included in the territory of Jiangxi School several times, it is reasonable for later generations to include him in Jiangxi School from the perspective of his poetry creation with Du Fu and Huang Tingjian as the schools and paying attention to sentiment and sentence patterns. In my poetry creation, I have been able to combine my personal worries with national affairs, showing my deep patriotic feelings and concern for the people. Most of his poems are leisure poems, object-chanting poems and reward poems that express his life. Its technique is mainly line drawing, and its style is light and simple, delicate and steady, lively and calm. This is another innovation and development of Jiangxi school's poetic style, which played a certain transitional role in the process of the transformation of Song poetry from Jiangxi school to Zhongxing school. His poems had a great influence on the Southern Song Dynasty, especially Lu You's poems and Jianghu's poems. "In the Southern Song Dynasty, its rhyme is high, and it can pass through Xiangshan and open the mountain gate, but only Chashan?" (Weng Fanggang's "Seven-character Law" frontispiece)