In the long development of literary theory and social literature, "poetry can be blamed" has had a far-reaching impact on later literary theory and poet's poetry creation.
In the middle and late Warring States period, when the folk songs in The Book of Songs had already retired from the poetry circle, the poetry works of Qu Yuan, Song Yu and others reflected their creative concept of "expressing feelings with qi". "I don't care, but I can't bear to die!" (Qu Yuan's Lisao) "Better to be poor than a hollow reputation" (Song Yu's Nine Arguments) and other sentences all show the poet's long-cherished wish of rebelling against social politics and preferring to protect his noble sentiments. Wang Yunxi and Gu Yisheng's A General History of Literary Criticism in Pre-Qin and Han Dynasties in China commented on Qu Yuan, saying, "He showed strong self-awareness and critical spirit supplemented by anger and lyricism, and was the forerunner of Sima Qian's theory of writing books with anger and poetry with emotion as beauty".
Then, of course, Sima Qian's "writing a book with indignation". Sima Qian inherited and developed Confucius' thought that poetry can be blamed. In Historical Records Biography of Qu Yuan, he said that Qu Yuan's "Li Sao" was covered with the coat of self-blame, which led to the theory of writing books with indignation. It can be seen that Sima Qian clearly put forward that his theory of "writing books with anger" originated from Li Sao, and naturally traced back to Confucius' thought that "poetry can complain".
Many writers or critics in later generations opposed the phenomenon that literary works were divorced from social reality by saying that "poetry can be wronged". I think xelloss is indispensable here. China's consciousness of literary criticism was gradually born on the basis of the development of literary theory in the pre-Qin and Han Dynasties, and was formally established in the Cao Wei era. Dian Lun Thesis, which embodies the literary theories of Cao Pi and Cao Zhi, puts forward the theory of literary value function, that is, the political and religious function of literature. "Gavin, the great cause of the country, an immortal event." Cao Pi undoubtedly went a step further on the basis of predecessors, and he emphasized the guiding role of literary "resentment" in assisting political countries. Cao Pi's viewpoint raised the article to the height of rejuvenating the country and governing the country for the first time. Literature and politics are more closely linked.
Another example is Liu Xie's view that Han Fu, which lacks the content of complaining and stabbing, is that although Han Yan was prosperous, people praised his prosperity and poetry stabbed his way, so Xingyi died. ("Wen Xin Diao Long Bi Xing"); Zhong Rong also stressed the need to express his grievances in poetry. Most of the grievances he said were dissatisfaction with the dark reality caused by persecution in feudal society, or that his ideals and ambitions could not be realized. The History of China Literary Criticism, edited by Mr. Zou Ran, wrote that an important reason for Zhong Rong's writing poetry was the social atmosphere at that time.
Later, the movement against the magnificent poetic style of Qi and Liang in the early Tang Dynasty was, in a sense, the inheritance and development of the thought of "poetry can be blamed". Bai Juyi, a poet in the middle Tang Dynasty, criticized poetry on the basis of political utility. Let's not talk about how many people and political purposes Bai Juyi's approach has. But he was really influenced by the more traditional elegance and vulgarity in The Book of Songs. Specifically, he proposed that poetry satirizes beauty, and that it is necessary to "review current politics" and "release human feelings" so that rulers can find people's livelihood sufferings in poetry. He even criticized the poems of great poets such as Li Bai and Du Fu. Think they haven't done enough. Look at his works such as "Selling Carbon Weng" handed down from ancient times, describing the sufferings of people's livelihood and deeply criticizing current politics. Until the end of feudal society, the great influence of this theory can still be seen in Huang Zongxi's Preface to Wang Shi and many other writers' literary opinions.
The theory that "poetry can complain" not only influenced the literary theory of later generations, but also influenced the poetry creation of later generations. Or it can be said that the two are not completely isolated. Many poets in later generations found their own theoretical ideas from their poems, or created many great poems under the guidance of their literary theories. For example, the poems of Qu Yuan, Du Fu and Bai Juyi. They all consciously or unconsciously reflected the dark social reality and decadent feudal system in their poems. In modern literature, this idea has not been lost. Look at Wen Yiduo's "Dead Water" and Guo Moruo's "Tiangou". It is not difficult to find that the thought of "poetry can be blamed" has a far-reaching impact on future generations. Even some realistic novels in the history of modern literature in China or in contemporary literature in China, such as Mr. Lu Xun, a master of modern literature, have many works criticizing the disadvantages of the times. It can be said that all these are the inheritance and development of the idea that poetry can be blamed. "Poetry can be blamed" has become an unavoidable literary creation concept, ideological trend and cultural psychology of China literati. It will continue to influence the literary creation of contemporary writers and poets.