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I. General situation of society and literature in Song Dynasty
The establishment of the Zhao and Song Dynasties ended the chaotic division since the end of the Tang Dynasty and basically realized the reunification of China. The Song Dynasty adopted the policy of emphasizing literature and restraining martial arts, advocating Confucianism and respecting Taoism, and the economy was restored and developed to a certain extent, especially the urban economy was highly prosperous. At the same time, the Song Dynasty was in the decline period of feudal society, ethnic contradictions and class contradictions were intertwined, and partisan struggles within the ruling class continued. For more than 300 years, the Song Dynasty was greatly threatened by a few regimes such as Liao, Xixia, Jin and Yuan, and was in a humiliating position of being poor and weak for a long time. Under this historical background, Zhao and Song created a brilliant and highly mature Song-style culture. In the Song Dynasty, Confucianism, Buddhism and Taoism merged, and on the basis of merging Buddhism and Taoism, a unique Neo-Confucianism based on Confucianism was established, which had a far-reaching impact on later generations. Inspired by the times and on the basis of inheriting the literary achievements of the previous generation, the literature of the Song Dynasty has a new quality and appearance. The literature of Song Dynasty is in a transitional period in the history of China literature development. On the one hand, traditional poetry, prose and folk discourse are highly mature and stereotyped; On the other hand, emerging narrative literature, such as storytelling novels and dramas, began to enter the literary palace, laying a solid foundation for the shift of literary focus in Yuan, Ming and Qing Dynasties.
The main literary styles in Song Dynasty are ci, poetry, prose, novel and drama, among which ci has the highest creative achievement, followed by poetry and prose, followed by storytelling novels, and drama is still in its infancy with poor achievements.
Song Ci can be said to be a symbol of "a generation of literature". As far as the whole history of Ci is concerned, the creation of Song Ci has undoubtedly reached its peak, with many famous artists, excellent works, various schools and different styles. Song Ci has experienced a development process in the evolution of theme, technique and style. In the early Northern Song Dynasty, the main poets were Yan Shu and his son, Ouyang Xiu, Fan Zhongyan and Liu Yong. Yan Shu and Ouyang Xiu opened the prologue of Yi Song pronouns. Their ci is a continuation of the feminine ci style in the Five Dynasties, especially in the Southern Tang Dynasty, and at the same time, it has been partially expanded, and most of them describe men and women in a small order, which is elegant, spacious, beautiful and exquisite. Yan Shu's and Ouyang Xiu's ci styles are strictly combined, and a sad and sentimental mood is revealed in the twists and turns, which is profound, profound, sincere and touching. Fan Zhongyan, on the other hand, broke through the graceful and restrained pattern of Yan and Europe and became a school of his own. His frontier poems are desolate and open, bold and tragic, which created the style of Dongpo's ci. Liu Yong was the first person with the greatest achievement and contribution in this period. Liu Yong invented his own music, replacing the previous poems with long and slow words, and expanding the capacity of words; Replaced the exquisite and elegant aristocratic style in the past with fresh and vulgar street customs, and opened up the field of ci; Pay attention to description and like to use line drawing, which enriches the artistic expression of ci. These creative contributions made Liu Yong a milestone in the history of Ci. In the mid-Northern Song Dynasty, Su Shi was the most important poet. Song ci from Liu Yong to Su Shi. Su Shi took poetry as his ci, which "washed away the elegance and fragrance, got rid of the precautions", broke the limitation of the theme content of ci and expanded the artistic conception of ci; He broke through the barrier that Ci is a colorful subject, and was unique outside the graceful ci writers. It improves the taste of ci, and makes ci break through the bondage of melody to a certain extent and become an independent new poetic style. Su Shi comprehensively reformed the traditional ci style and led the development of ci history to "all the way up". The patriotic ci school and Xin ci school in the Southern Song Dynasty were his successors. In the late Northern Song Dynasty, the main poets were Qin Guan, Huang Tingjian, He Zhu and Zhou Bangyan. Qin Guan's ci has always been regarded as the authenticity of graceful and restrained school, writing more about the suffering of men and women's love and the suffering of down-and-out literati, winning equal attention to emotion and rhyme, and the ci is sad and unique. Zhou Bangyan is regarded as the "master" of Ci in the Northern Song Dynasty. He paid attention to metrical style, mellow and elegant style, meticulous composition and elegant and delicate language, and was the forerunner of later metrical ci school. In the early Southern Song Dynasty, the main poets were Zhang, Zhang, Zhang, Li Qingzhao. Most of these writers went to the south from the north. When China's land was sinking and the country was in danger, they inherited Su Shi's bold and unconstrained style of ci, and began to break through the graceful circulation of flowers and plants in the past, injecting distinctive times and strong militancy into their ci. Their style of ci is bold and sad, which initiated the climax of patriotic ci in the middle period. Li Qingzhao, a poetess with the highest achievement and outstanding self-reliance in this period, advocated the word "other family", which further established the independent position of ci style. Its dictionary is elegant, simple and elegant, with profound language skills, natural and fresh, exquisite and elegant, and it is known as "Yi 'an Style", and is praised as "graceful and authentic" together with Qin Guan and others. In the mid-Southern Song Dynasty, the main poets were Xin Qiji, Chen Liang, Liu Guo and Jiang Kui. Xin Qiji is outstanding, playing the strongest sound of patriotic words; He took Wen as his ci, which liberated the style of ci and improved the artistic expression of ci. Xin ci has a wide range of themes and rich contents, with the main tone of expressing the ambition to serve the country and the sadness of frustration; The style of ci is eclectic, changeable, gloomy and clear, sad and charming, all of which are bold and vigorous. Xin Qiji, with his original "Jiaxuan style", is "unique" in the field of Ci in the Song Dynasty. It belongs to the same style as Liu Guo, and its style is similar to that of Xin Ci. Jiang Kui is proficient in temperament, can compose his own music, has strict metrical rules, clear and steep ci style, empty and cold ci boundary and light and thin language, and is regarded as a model of appealing to both refined and popular tastes, which is different from Xin poets. He inherited Zhou Bangyan's exquisite works and inspired Zhang's elegance. In the late Southern Song Dynasty, two schools of Ci appeared. One school is the legacy of Jiaxuan, and the main poets are Liu Kezhuang, Liu Chenweng and Wen Tianxiang. They inherited the style of Su and Xin's ci, which is sometimes sad, sad and bold. The other school is the Baishi school, and the important poets are, Wang, Zhang Yan and so on. They take Jiang Kui as the standard, attach importance to metrical skills, write sad words, and have an ethereal and low style. Generally speaking, these two poets inherited too much and lacked innovation. As the terminator of the history of Ci in Song Dynasty, they wrote an important last page.
The creation of Song poetry was carried out under the great influence of Tang poetry, and the glory of Tang poetry activated the creative consciousness of Song people to some extent. The development of Song poetry is a process of constantly breaking through and surpassing Tang poetry, gradually forming its own unique style, and thus creating a Song tune that can compete with Tang sounds. The early Northern Song Dynasty was mainly a continuation of the poetic style in the middle and late Tang Dynasty, which can be roughly classified as three-body. At first, Bai Juyi's poetic style was imitated by Bai Juyi. The main poets are Liu Yun, Xu Xuan and Wang Yucheng. Among them, Wang Yucheng has the highest achievement. He consciously studied the realistic spirit of Bai Juyi's satirical poems, paid attention to the sufferings of people's livelihood, and his style was simple, simple and smooth. In some ways, it shows the new direction of the development of Song poetry. Later, the style of the late Tang Dynasty after Jia Dao and Yao He became popular. The main poets are Lin Bu, Pan Lang and Kou Zhun. One of the most famous poets is Lin Bu, who is good at modern poetry. Most of his poems describe the quiet, austere life of a hermit, relaxed and leisurely. The most powerful school of poetry in this period was Quincy School, which highly praised Li Shangyin. The representative poets are Yang Yi, Qian. Quincy Style uses exquisite allusions and elegant words, but it lacks profound ideological content and distinctive spirit of the times. In the middle of the Northern Song Dynasty, with the development and deepening of the poetry innovation movement, Ouyang Xiu, Wang Anshi, Su Shi and other giants created a new situation in the Song Dynasty, and the Song tune tended to be mature and basically stereotyped. In the poems of this period, Ouyang Xiu and Mei He were the first singers. Mei's poetic style is plain and far-reaching, and she is the founder of the poetry circle in Song Dynasty. Su Shunqin's pen power is magnificent, surpassing the horizontal direction and setting a precedent in the Song Dynasty; Ouyang Xiu's painting style is simple and smooth, flowing and beautiful, and has changed the way. These three factors not only cleared up the gorgeous habits of Kunxi style, but also laid the aesthetic style of prose, scholarship, discussion and utilitarianism in Song poetry, which opened up a completely different new world for Song poetry. Wang Anshi and Su Shi followed suit. Wang Anshi's early works pay attention to the reality of people's livelihood, and are good at exposition and incisive and concise. The works in his later years pay attention to skills and laws, strict poetic rhythm and delicate images, all of which are unique. Su Shi is brilliant, changeable in style, rich in subject matter and good at all kinds of styles. Nothing can enter poetry, nothing can enter poetry, which greatly opens up a new realm of Song poetry and represents the highest level of Song poetry. In the late Northern Song Dynasty, the main poets were Su Men Si Shi and Chen Shidao. On the one hand, they flaunt the inheritance of Su Shi's poetic style, on the other hand, they deviate from Su Shi in aesthetic orientation. Huang Tingjian advocated "turning stone into gold" and "reinventing himself", emphasizing knowledge and technology. His poetic style is thin, tough, vigorous, novel and eccentric, with a unique flavor of Song people, which most prominently embodies the artistic characteristics of Song tune. Chen Shidao indulged in bitter songs, deliberately seeking novelty, and his poetic style was simple, rough and self-contained. Both of them had a great influence on the later Jiangxi poetry school. In the early Southern Song Dynasty, Jiangxi Poetry School formed and grew. The main poets are Chen,, Zeng Du and so on. They took Huang and Chen as their ancestors and their creative achievements were not high. After Nandu, the theme began to expand, the poetic style gradually changed, and the theory of poetic creation was revised. Chen's creative achievements are the most outstanding. Jiangxi Poetry School occupies an important position in the history of the development of the Song Dynasty, and all the four great poets of Zhongxing have been in and out of this school. In the mid-Southern Song Dynasty, Song poetry reached its peak again after the mid-Northern Song Dynasty. The representative poets are Yang Wanli, Fan Chengda, You Mao and Lu You, and they are called "the Four Masters of Zhongxing". Yang Wanli learned from nature, his poetic style was lively, his images were novel and humorous, and his language was popular and fluent, forming a unique and sincere style. Facing life, Fan Chengda's pastoral poems are unique in the history of China's poetry. Lu You was the most outstanding poet in this period and even in the Southern Song Dynasty. His poems are rich in materials, profound in kung fu, vigorous and solemn in poetic style and broad in artistic conception, all of which play a role at the same time. Both Lu You and Xin Qiji have become the most brilliant singers of this era. Thanks to the efforts and positive innovations of ZTE poets, Jiangxi Poetry School, once all the rage, gradually faded out of the poetry circle. In the late Southern Song Dynasty, it was the decline and end of Song poetry, mainly the appearance of Yongjia Siling and Jianghu poets, who opposed Jiangxi poets and adopted the late Tang Dynasty. In addition, a number of patriotic poets have emerged to carry forward Du Fu's realistic spirit and Lu You's patriotic tradition. Yongjia Four Spirits respected Jia Dao and Yao He as their ancestors, specializing in five laws, narrow materials, trivial carving and humble spirit. The pattern of Jianghu Poetry School is more open than that of Siling, and its themes are wider. However, except for Liu Kezhuang and Dai Fugu, most of them are mediocre, and the overall style is implicit and smooth, and they have not broken away from the old habits of the late Tang Dynasty. The vicissitudes of Ding Ge in Song and Yuan Dynasties made poets in the late Southern Song Dynasty more involved in the cruel reality. Wen Tianxiang, Wang Yuanliang and other patriotic poets sang generous and tragic war songs, or sang gloomy and desolate sad songs, which drew a satisfactory end to the history of the Song Dynasty.
China's ancient prose was stereotyped in the Song Dynasty. Among the eight masters in Tang and Song Dynasties, Song occupied the sixth place. At the same time, famous artists came forth in large numbers, and groups mushroomed. They are unique, fighting for new territory and jointly building a prosperous landscape for the development of Song literature. Compared with the prose in Tang Dynasty, the prose in Song Dynasty has the following characteristics: in content, it is closely combined with reality, and there are many political and Taoist articles, among which there is a strong sense of urgency and crisis; Style tends to be simple and natural; In artistic expression, he likes to discuss and is good at discussing, and some political and historical theories are often used as an excuse. Generally speaking, the prose in Song Dynasty is mainly ancient prose, which realizes the comprehensive artistry of practical articles and achieves a high degree of unity of practical value and aesthetic value. First of all, Liu Kai and Wang Yucheng advocated the creation of ancient Chinese prose and tried their best to eliminate the flashy and difficult writing style. Wang Yucheng's prose is realistic, simple, natural and lively, and a new style of writing is gradually emerging in the Song Dynasty. It is Ouyang Xiu, his successor literary leader, who can thoroughly clean up the floating wind of Quincy School and the crisis of imperial academy. Ouyang Xiu's style of writing is simple and elegant, natural and delicate, and his language is concise and concise, which establishes the development direction of Song Style. At the same time, he unites others and returns to others, forming a strong lineup of ancient Chinese sports. In the meantime, Ceng Gong is simple and elegant, and he is not outspoken; Wang Anshi's writing style is tortuous, he talks about fine police, and his pen is strong; Su Xun is good at strategy and theory, heroic and vigorous, arrogant and domineering; Su Zhe is good at writing, has a good memory, is indifferent, deep and mellow. Su Shi is another outstanding literary leader after Ouyang Xiu, as well as Korea, Liu and Europe, representing the highest achievement. Su Wen runs through ancient and modern times, criss-crossing, freely accepting and releasing, with myriad gestures and new ideas, which has played a decisive role in promoting the maturity and finalization of the main style of ancient prose in Song Dynasty and established the authentic position of ancient prose in prose creation at one fell swoop. Most writers in the late Northern Song Dynasty continued along the road pioneered by Europe and the Soviet Union. Prose in the Southern Song Dynasty inherited the fine tradition of the poetry innovation movement in the Northern Song Dynasty. Although the works of Hu Quan, Li Gang, Chen Liang, Lu You and Xin Qiji have different styles, they all show strong realism and patriotic enthusiasm, full of enthusiasm, impassioned, painful and persistent. At the end of the Southern Song Dynasty, Wen Tianxiang, Xie Ao and others all wrote excellent essays expressing national integrity, or recounted the hardships of resisting the Yuan Dynasty, or preached loyal national heroes, or expressed the deep sadness of the pain of national subjugation, which pushed the development of prose in the Song Dynasty to the final climax and ended the course of prose in the Song Dynasty with a tragic melody.
In addition, the popular literature in the Song Dynasty was also extremely prosperous. Although there are not many scripts and operas in Song Dynasty, their appearance and formation are of epoch-making significance. Vernacular novels in Song Dynasty were produced on the basis of speaking art at that time, and their basic characteristics are secularization of content, colloquialism of language and stylization of system. It is the beginning of China's vernacular novels, which marks "a great change in the history of novels" and opens a new era of China's novels. Wang Guowei once pointed out that "the real drama began in the Song Dynasty." The performance form of drama in Song Dynasty is quite mature, and the performance elements are improving day by day. Its typical paradigm is the Song Zaju, including the Zaju in the Northern Song Dynasty and the "Southern Opera" popular in the south after Du Nan. The drama of Song Dynasty laid the foundation for the climax of Yuan Zaju.