It means "Ming poetry" and "Qing poetry"
The scope of "poetry" you mentioned is relatively broad, including poems, lyrics, songs and other rhymes. "Poetry is a kind of main emotion." It is a literary genre that is highly concise and reflects social life in a lyrical way. It uses rich imagination, rhythmic and rhythmic language, and lines to express thoughts and emotions. Poetry is rhythmic, rhythmic and rich. Poetry is an emotional language art form and the oldest and most basic literary form in the world. Poetry originated from ancient social life and is a rhythmic and emotional form resulting from labor production, sexual love, primitive religion, etc. The language form of color. "Shang Shu·Yu Shu": "Poetry expresses aspirations, songs express words, the sound is eternal, and the rhythm is harmonious. "Book of Rites and Music": "Poetry expresses one's ambition; song sings one's voice; dance moves one's face; the three are based on the heart, and then musical instruments follow them." "In the early days, poetry, song, music, and dance were integrated into one. Poetry was lyrics, and they were always sung in conjunction with music and dance in actual performances. Later, poetry, song, music, and dance developed independently and became independent entities. Poetry and song Collectively called poetry."
The poetry of the Song Dynasty is also called "Song Poetry", and similarly there are "Yuan Poems". The reason why we often call "Song Ci" and "Yuan Qu" is because the lyrics and music are respectively. The most prominent and most accomplished literary form of the two dynasties. As for the Ming and Qing Dynasties, poetry has declined compared to previous generations, but novels have developed greatly, so it is generally referred to as "Tang poetry, Song lyrics, Yuan opera, Ming and Qing novels"
There are also the styles of Ming and Qing poetry.
Ming Dynasty
1. Early period
Taige style: Starting from the Yongle period of the Ming Dynasty, a so-called "Taige style" poem appeared. Its advocates are known as the "Three Yangs", namely Yang Shiqi, Yang Rong, and Yang Pu, who are all "important ministers of Taige", so they call their poems "Taige style". Its emergence is a regression in poetry creation, because it only pursues the so-called "grace and elegance" and is all about singing praises and flattering the emperor. It has no innovation and lifelessness, and is worse than the "Xikun style" of the Song Dynasty. .
The "Taige style" formed from about Yongle to Chenghua years embodies the spiritual outlook and aesthetic taste of the upper-class bureaucrats for a long period after the Hongwu Dynasty, and has widely influenced the literary world as a model. Its main characters are the "Three Yangs": Yang Shiqi, Yang Rong, and Yang Pu. They all became bachelors successively, and most of the creations of senior bureaucrats in the same period can be attributed to this genre. Its form is mainly poetry, but prose can also be included.
Chaling School: From Chenghua to Hongzhi years, Taige style poetry creation tended to decline and subside. During this period, the Chaling School of Poetry had an important influence on the literary world. The Chaling sect is dominated by Li Dongyang, and its members include Xie Duo, Zhang Tai, Shao Bao, Lu Duo, Shi Yao and others. More emphasis is placed on the pursuit of independent aesthetic spirit in poetry and prose, which to a certain extent corrects the "Taige style" and its shallow and weak poetic style.
2. Middle period
The First Seven Sons: the literary genre during the Hongzhi and Zhengde years of the Ming Dynasty (1488-1521). The members include Li Mengyang, He Jingming, Xu Zhenqing, Bian Gong, Kang Hai, Wang Jiusi and Wang Tingxiang, represented by Li Mengyang and He Jingming. The seven sons were all Jinshi, and they were dissatisfied with the corrupt government and mediocre morale. They strongly opposed the popular Taige-style poems and the "slow, verbose, monotonous" eight-legged style of writing at that time. His literary ideas were summarized by later generations as vigorously advocating that "literature must be based on the Qin and Han Dynasties, and poetry must be based on the prosperous Tang Dynasty", aiming to point out a new path for poetry creation and save the flagging poetry style. They all have a strong historical mission of transforming the writing style, but they have embarked on an old path of retrospection as innovation.
Later Seven Sons: a literary school in the Jiajing and Longqing years of the Ming Dynasty (1522-1566). Members include Li Panlong, Wang Shizhen, Xie Zhen, Zong Chen, Liang Youyu, Xu Zhongxing and Wu Guolun. Represented by Li Panlong and Wang Shizhen. The latter seven sons inherited the literary ideas of the first seven sons, and also emphasized that "literature must be from the Qin and Han Dynasties, and poetry must be from the prosperous Tang Dynasty", taking the Han, Wei and prosperous Tang Dynasties as models, "it is unreasonable to say that literature comes from Xijing and poetry comes from Tianbao". There is not a word that has not been written since Han Dynasty, and there is not a word that has not been written before Han Dynasty." It is more absolute than the previous seven. They were retro and imitated the past, focused on style, talked about laws, flaunted each other, established their own branches, and became more powerful, thereby pushing the retro tendency of Ming Dynasty literature to a climax.
Tang and Song School: Representative figures include Wang Shenzhong, Tang Shunzhi, Mao Kun and Gui Youguang during the Jiajing period. The Tang and Song schools not only respected the traditional status of the writings of the Three Dynasties and Two Han Dynasties, but also recognized the inheritance and development of the writings of the Tang and Song Dynasties. The schools of the Tang and Song Dynasties changed from studying the Qin and Han Dynasties to studying Ou (Yang Xiu) and Zeng (Gong), and Yi Ji Qu Nao Ya changed the text to Zi Shun, which was an improvement. The Tang and Song schools also valued expressing the author's thoughts and feelings in prose. They criticized the retro school for blindly plagiarizing and imitating, and advocated that articles should be written directly from the heart and have their own true colors.
3. Late Period
Gong'an School: In the fields of poetry and prose in the late Ming Dynasty, the "Gong'an School" was the most powerful. The representatives of this sect are the three brothers Yuan Zongdao (1560-1600), Yuan Hongdao (1568-1610), and Yuan Zhongdao (1570-1623). They are from the Hubei Public Security Bureau, so they are called the Public Security sect. The Gong'an faction opposed the imitating ancient style of the first seven scholars and the later seven scholars, advocating "expressing one's own spirit without sticking to stereotypes" and developing what the predecessors had not done.
Jingling School: a literary school in the late Ming Dynasty. Led by Zhong Xing and Tan Yuanchun from Jingling, they got their name. He advocated a "profound and solitary" style to save it, advocated that literary creation should express "spirit", and opposed the trend of imitating the past.
The so-called "spirit" refers to learning the "spirit" in ancient poetry. This "spirit of the ancients" is nothing more than "lonely emotions" and "lonely travel and quiet sending". The "profound and solitary" style advocated refers to the style of writing that seeks novelty and novelty, is extraordinary, and deliberately pursues the profound meaning of words. This forms the creative characteristics of the Jingling School: deliberately carving words and sentences, seeking novelty and novelty, and the language is awkward and difficult, resulting in difficult and astringent writing. Obscure style.