Taige Style: From the Yongle period of the Ming Dynasty, a so-called "Taige Style" poem appeared. Its sponsors are called "Three Yang", namely Yang Shiqi, Yang Rong and Yang Pu, all of whom are "Taige ministers", so they call their poems "Taige style". Its appearance is a retrogression in poetry creation, because it only pursues the so-called "elegance" and is full of praise and flattery to the emperor. It is not innovative and lifeless, and its influence is not as good as the "Kunxi style" in the Song Dynasty.
The "Taige Style" formed from Yongle to Chenghua embodies the spiritual outlook and aesthetic taste of the upper-level bureaucrats for a long time after Hongwu, and has widely influenced the literary world as a model. Its main figures are "Sanyang": Yang Shiqi, Yang Rong and Yang Pu, all of whom worked as officials to university students. At the same time, the creations of most senior bureaucrats can be classified into this school. Its form is mainly poetry, which can also include prose.
Chaling School: During the period from Chenghua to Hongzhi, the creation of Taige poetry tended to decline, and it was Chaling School that had an important influence on the literary world in this period. Chaling School is dominated by Li Dongyang, and its members include Xie Duo, Zhang Tai, Shao Bao, Lu Duo, Shi Yao and others. It emphasizes the pursuit of independent aesthetic spirit of poetry, and corrects the "Taige style" and its superficial poetic style to some extent.
2. Medium-term
The first seven schools: the literary schools in the Ming Hongzhi and Zheng De years (1488- 152 1). Members are, He Jingming, Bian Gong, Kang Hai, Wang, and He Jingming. These seven scholars are all scholars, full of moral integrity. They are dissatisfied with the corruption in the political affairs of the DPRK, and their morale is low. They strongly oppose the "relaxation and overlapping" habit of popular Taggart poems and eight-part essays. His literary proposition was summarized by later generations as vigorously advocating "literature must be in the Qin and Han Dynasties, and poetry must flourish in the Tang Dynasty", aiming at pointing out a new way for poetry creation and saving the flagging poetic style. They all have a strong historical mission of changing the style of writing, but they have embarked on an old road of taking retro as innovation.
The last seven sons: the school of literature in Jiajing and Qin Long in Ming Dynasty (1522- 1566). Members include, Wang Shizhen, Zong Chen, Liang Youyu, Xu Zhonghang and Wu. Represented by Li Panlong and Wang Shizhen. The latter seven sons inherited the literary thoughts of the former seven sons, and also emphasized that "literature must be in the Qin and Han Dynasties, and poetry must flourish in the Tang Dynasty". Taking the Han, Wei and Tang Dynasties as a model, it is more absolute than the first seven scholars to say that "literature begins in Xijing, poetry falls from Tianbao, and there is no sufficient view" and "there are no words after Han Dynasty and no words before Han Dynasty". They imitate retro, admire style, talk about statutes, flaunt each other, set up a wide range of doors, and have a greater momentum, thus pushing the retro tendency of Ming literature to a climax.
Tang and Song Dynasties: The representatives are Wang, Mao Kun and Gui Youguang in Jiajing period. On the other hand, the Tang and Song School not only respected the traditional position of the three generations and the Han Dynasty, but also recognized the inheritance and development of the Tang and Song Dynasties. The school of Tang and Song Dynasties changed the study of Qin and Han Dynasties into the study of Europe (Yang Xiu) and Ceng Gong (Gong), which is a kind of progress. During the Tang and Song Dynasties, it also attached importance to expressing the author's thoughts and feelings with prose. They criticized the retro school for copying and imitating blindly, and advocated that articles should be written directly and have their own true colors.
3. Late stage
Public security school: In the field of poetry and prose in the late Ming Dynasty, the "public security school" is the most powerful. The representatives of this school are Yuan Zongdao (1560- 1600), Yuan Hongdao (1568- 16 10) and Yuan Zhongdao (1570-/kloc-0). They are. The public security school opposed the archaizing trend of thought of the former seven sons and the latter seven sons, and advocated "expressing the spirit alone and not sticking to one pattern", which was unprecedented.
Jingling School: A literary school in the late Ming Dynasty. Headed by Zhong Xing and Tan, they came from Jingling, hence the name. Advocate a "deep and lonely" style to save it, advocate that literary creation should show "spirituality" and oppose imitating the past. The so-called "spirit of nature" refers to the "spirit of nature" in studying ancient poems, which is nothing more than the "deep and lonely" style advocated by "sentimental single thread" and "each going his own way and quietly sending it away". It means that the style of writing is innovative and different, and the subtle meaning is deliberately pursued, forming the creative characteristics of Jingling School: deliberately carving words, novelty and difference, and language.
Three salient features:
There are many schools of poetry creation. In addition to the influential Chinese studies, the first seven schools, the last seven schools, the public security school and the Jingling school, there are many regional schools in the dynasties. This phenomenon is obviously related to the atmosphere of the literati wedding poetry club in Ming Dynasty.
(2) In the face of the decline of orthodox poetry, poets in the Ming Dynasty put forward many theoretical ideas on poetry creation. For example, Gao Qi thinks that he should be a teacher; Li Dongyang thinks it is necessary to distinguish the tone syllables of poetic style; The former and the latter seven scholars advocated learning from the prosperous Tang Dynasty of Han, Wei and advocating retro; The police advocate "expressing one's own spirit" and so on. These viewpoints all have some truth, involving how to learn from predecessors, how to master the characteristics of poetic style, how to express the poet's subjective feelings and so on. However, most of the theoretical propositions put forward by them have the following weaknesses: First, they overemphasize some truths they have realized and lack the dialectical attitude they deserve; Second, we can't correctly summarize the experience and lessons of poetry development since the prosperous Tang, Song and Yuan Dynasties. Thirdly, the key factor to improve the level of poetry creation has not been found, that is, seeking poetry in real life. Therefore, these theoretical propositions failed to save the decline of orthodox poetry, but led poetry creation to a deeper crisis.
(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, which make the Ming Dynasty's fame and wealth in this article, the whole paragraph is full of verve and poetic feelings (Wu Qiao's Answer to Wan Ji □ Shi Wen) and other reasons, but more importantly, the guiding ideology of the poet's creation 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.
The achievements of poetry in Ming Dynasty are far less than those in Tang and Song Dynasties and Qing Dynasty. However, there are many schools in this period, and the poetry world presents a very complicated scene.
Song Lian, Liu Ji and Gao Qi, civil servants in the early Ming Dynasty, were all important poets at that time. They are brilliant and have political ambitions, and most of their poems are rich in content and have their own characteristics. During the reign of the Ming Dynasty, the literary world was dominated by the "Taige Style" represented by Sanyang (Yang Shiqi, Yang Rong and Yang Pu), who successively served as university students (prime ministers) and had great influence, which made this elegant and simple poetic style popular for about 100 years. After Tiger, the poet with great influence was Li Dongyang, who also served as an official for a college student and held a prominent position. He presided over the poetry circle and was quite influential. Because he is from Chaling, Hunan, the school of poets headed by him is called Chaling School. Li Dongyang still stuck to a rut, emphasizing Du Fu, who preferred sons to daughters, and attaching importance to poetry statutes.
In the mid-Ming Dynasty, some literati were dissatisfied with the writing style of Taige and strongly demanded to change the writing style at that time. There appeared the "Top Seven" headed by Li Mengyang and He Jingming. They "advocated that literature should be in the Qin and Han Dynasties and poetry should flourish in the Tang Dynasty", which played a positive and innovative role through retro. During the Wanli period, the "last seven poets" represented by Li Panlong and Wang Shizhen were active in the literary world, and their retro tendency became more and more obvious, and their poems lacked individuality.
During the Wanli period, the "Public Security School", represented by three brothers, Yuan Zongdao, Yuan Hongdao and Yuan Zhongdao, opposed the tendency of the former and the latter seven scholars to imitate the ancient times, and advocated that literary works should express the spiritual essence, so-called "expressing the spiritual essence alone, not sticking to one pattern". The achievements of the public security school are mainly reflected in prose creation, but poetry is also considerable. At the same time, Jingling School, headed by Zhong Xing and Tan, also carried out repeated ancient movements together with Gongan School. Their creative ideas are similar to those of the public security school, but their achievements are not as good as those of Sanyuan.
In the late Ming Dynasty, the political struggle was sharp and the national crisis deepened. At this time, some patriotic poets took the world as their responsibility, represented by Chen Zilong and Xia Wanchun. Their works show strong national integrity, sincere and touching feelings, and have high value.