The evolution and development of poetry in Ming Dynasty can be roughly divided into six periods. From Chenghua to Zheng De. At that time, Taige poetry was dissatisfied with the majority of poets. Chaling Poetry School headed by Li Dongyang attacked the former, while the "First Seven Scholars" represented by Li Mengyang and He Jingming did the opposite. On poetry, Li Dongyang admired Li Bai and Du Fu, and wanted to replace the slow and redundant Taige poems with profound and vigorous styles. He is good at Yuefu, and some poems are vigorous and powerful. However, he pays more attention to tone syllables in his poems, and thinks that "a scholar can't do it without getting the Tang tune first", which is the key to solving the mystery of poetry, and it is actually a waste of time. Therefore, the content of his poetry creation is also poor in "insufficient research" (Volume 1 of Continued Poems of Hu Yinglin), and the tone is not far from that of Thai-style poetry. Li Dongyang is also an important official of Taige. He is surrounded by a group of students who have studied his poems, such as Shao Bao, Luo Gui, Luo Duo and He. Because of the weakness of Chaling Poetry School in theory and creation, it has not really eliminated the influence of Tiger Poetry. It was not until the rise of the first seven sons that this task was completed. Taige Style and Chaling Poetry School were mainly influenced by their leading officials, while the first seven scholars mainly attracted people's attention with their own theoretical opinions and creative practices, so their influence was broader and deeper. As Hu Yinglin said, "There are dozens of famous artists at a time" (ditto), among which the most famous ones are He Jingming, Bian Gong, Kang Hai, Wang, etc. They attach great importance to folk songs and think that "true poetry lies among the people" (Preface to Li Mengyang's Poems). Praise the Tang poetry of Han and Wei Dynasties. In their view, to create inspiring and fascinating works, it is necessary to restore the ancients. The goals they set have a certain appeal, but the creative techniques they refer to are very problematic. Li Mengyang even thought that restoring ancient ways was copying ancient posts, and even He Jingming was greatly disgusted. He Jingming believes that it is necessary to "reach it with spirit" and "cannot imitate it with traces" in order to "reach the shore and build it with a raft before it looks like something" (Talking about Poetry with Kong Li).
Most of the first seven sons are people who dare to fight against big bureaucrats and eunuchs politically, so they can face the reality and write satirical works such as "Observing the Walk in Yuanming" and "Words and deeds in Sui Dynasty". On the occasion of the restoration movement of the first seven poets, a number of painters and poets who wrote poems freely appeared in the south of the Yangtze River, such as Shen Zhou, Wen Zhiming, Tang Yin and Zhu Yunming. Although it is hard to avoid seeing it, there are some interesting and talented poems. (3) Poetry in Ming Dynasty is not as broad and deep as poetry in Tang and Song Dynasties in reflecting real life. Of course, there are eight-part essays here, and there are reasons such as "Ming's fame and wealth lies in today's prose, the whole paragraph is full of boldness and poetry" (Wu Qiao's Answer to Ten Thousand Poems), but more importantly, the poet's guiding ideology is biased. The imitation of the former seven poets, the superficiality of the poems of the Gong 'an school and the narrow environment of the poems of the Jingling school are all bitter fruits of the poet's inability to deeply understand the importance of life.