first stage
During the reign of Hongwu and Wenjian in the early Ming Dynasty. Although some poets in the early Ming Dynasty have shown a tendency to learn from the Tang people, they can basically "speak with substance" and achieve "making famous articles and flowing freely". Among them, some poets experienced great social unrest at the end of Yuan Dynasty, among which Liu Ji and Gao Qi were the most famous. Liu Ji is good at unrestrained, while Gao Qi wins with hearty. Gao Qi's view of poetry is also comprehensive. He believes that "the essence of poetry is style, meaning and interest. To distinguish its body, to express its feelings, to achieve its fun "(Preface to Duan Ji), to achieve the organic unity of genre, content and art ... He advocated that creation should be" in harmony with other teachers "and strive to be" harmonious and self-contained "(ibid.). Therefore, although his poems are "teachers without learning", they can still form their own families. This kind of poetry has played a very good role in reversing the delicate and lazy poetic style at the end of Yuan Dynasty. However, in the face of the political situation in the early Ming Dynasty, many poets began to avoid the social reality, and more expressed their personal feelings of "remonstrating, not expressing their feelings directly, but remonstrating your doubts" (Yang Ji's Sense), and expressed their feelings of retiring "The sword of the world is near danger" and "My ambition is in the mountains" (Zhang Yu's Writing). At that time, besides Liu Ji and Gao Qi, Yuan Kai, Yang Ji, Zhang Yu and Xu Ben in Wu, Zhang Yining and Lin Hong in Fujian, Sun Xu in Lingnan and Liu Song in Xijiang all had certain creative characteristics. At that time, poets Lin Hong and Gao Yun called for the prosperous Tang Dynasty. The century-old retro movement of the first seven sons really laid the groundwork for me here.
The second period
From Yongle to Tianshun. At this time, Taige poems represented by Yang Shiqi, Yang Rong and Yang Pu appeared. Sanyang is an important official of Taige, respected and highly trusted. Therefore, their poems are full of works that should be made and praised. It looks elegant on the surface, but the actual content is very poor. Poetry in the early Ming Dynasty was just a little afraid to face up to reality, while poetry at this time was whitewashing and embellishing reality. Poetry in the early Ming Dynasty can also express frank feelings of complaining about others, but at this time most of them are satisfied and at a loss. Art is also mediocre and dull, so it is lifeless. This kind of poetry almost monopolized the whole poetry circle at that time. Only a few poets, such as Yu Qian, Deng Guo and others, show their creative personality and are not trapped by the style of Taige. They care about the fate of the country, and they can still see the obvious contradictions in society through the scene of peace and sympathize with the tragic fate of the people.
tertiary
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.
The fourth stage
For jiajing, Qin Long years. In the early years of Jiajing, the imitation tendency exposed in the retro movement of the first seven sons became more and more serious. They were "young and beautiful, but a little tired" (Gao Xu). At that time, when talking about poetry, poets Xue Hui and Yang Shen thought: "Recently, the author plans to attack and tear down Shaoling, swallowing the beauty of the child." As a result, some poets who are gradually dissatisfied with the poetic style of the first seven poets are still able to stand on their own feet, such as Yang Shen, who adopted the late Tang Dynasty in the Six Dynasties and created beautiful ci, Gao Shusi, who is upright and elegant, and Wang Meng's style. Although they did not follow the creative path of the first seven poets imitating the prosperous Tang Dynasty, nor did they learn the nutrition of poetry from life, they still learned from the ancients, but with different objects. In addition, they have made no achievements in poetry theory, so their influence is not great. When the last seven poets rose again, the poetry revivalism of Han, Wei and Tang dynasties once again ruled the poetry world. The last seven sons include Wang Shizhen, Zong Chen, Wu, Liang Youyu and Xu Zhonghang. Among them, Xie Zhen was the first to put forward the poetry program. He advocated going in and out of the prosperous Tang 14 family, learning from each other's strong points, forming his own family and taking a broader road. However, with the establishment of Li Panlong's leading position, he pushed the theory of retro to the extreme, and even advocated "respecting ancient ci rather than abolishing everything" (see Wang Yuan and Cherry Jin). Therefore, his poetry creation is more inclined to imitate. For example, his "Seven Laws" mainly studies Du Fu. When he first read a few songs, he still felt like "Gao Hua Qi Jie". However, most of his poems are from Du Fu's poems, which are similar and repetitive, so that Hu Yinglin also thinks that he can't bear to read more (Volume II of Poem Continuation). It has caused the bad influence that "people only see gold, purple gas, green hills and Wan Li, but they are on the scale" (ibid.). Wang Shizhen is the most prestigious and influential poet among the later seven poets. His early work "Art Garden" advocates the theory of retro, but it demands the unity of "Hua" and "Shi" in poetry and advocates "learning from the past". He is different from Li Panlong in how to imitate the ancients. With the growth of his experience, he also gained insight into the disadvantages brought by the retro theory, revised his early poetic concept, and his poetic style gradually became natural. Because Wang Shizhen's family was persecuted by Yan Song and his son, he realized the internal contradiction of feudal bureaucracy, and exposed and criticized it in some poems. Some poems have a strong sense of reality. Although the retrospective movement of the latter seven scholars is more severe, with such names as "the latter five scholars", "Guangwuzi", "Continued five scholars" and "the latter five scholars", the extremes meet, and its exposed weaknesses are more and more, and the conditions for completely eliminating the influence of retrospective theory are becoming more and more mature.
Fifth
Between Wanli and the apocalypse. At that time, the Seven Scholars had already formed a crisis of poetry creation, which was "plagiarism became a common practice, and ten thousand mouths resounded" (Yuan Hongdao's "Syria's two men, Jiang, Lu and Tong manuscript"). Therefore, before the rise of Public Security and Jingling swept away the cloud of Li Panlong and Wang Shizhen, a group of people of insight such as Xu Wei, Tang Xianzu and Li Zhi opposed the tendency of retro simulation. Xu Wei reprimanded "a poet today" in the Preface to Poems of Ye, but it was just a parrot saying that "a bird speaks for itself" and advocated that poetry should be "derived from its income, not stolen from others' taste". More importantly, Li Zhi put forward the theory of childlike innocence, which laid the foundation for the proposition of public security and Jingling. The police's "three yuan" was deeply influenced by Li Zhi, who expounded the poetic theory of "expressing one's soul alone" on the basis of childlike innocence. In their view, "what comes from the soul is true poetry", and good poetry is the result of "willful hair" and "flowing out from the chest one by one" (Yuan Hongdao's "Knowing Zhang You in Ming Ao"). They think that their poems are "whole words and phrases", which is better than those quasi-ancient poems that "abandon the present scene and criticize excessive words" (Preface to Yuan Hongdao Xuetaoge Collection). The "soul" is abstract, because if the poet's subjective feelings have nothing to do with the real life outside, he will easily fall into the quagmire of idealism. However, this poetic theory has played an enlightening role in eliminating the influence of the retrospectivism of the former seven sons. The public security school not only competes with the former and the latter seven scholars in theory, but also makes people feel refreshed with its fresh poetic style. It is no accident that the public security faction has great appeal. Of course, poetry needs to be tempered after all, and "self-confident" poetry is bound to be "close to the common". Especially after the mid-Wanli period, the public security school has occupied a dominant position in the poetry circle, and this tendency has become increasingly serious, so Jingling School came into being. In the case of "everyone is a good man", Zhong Xing and Tan not only absorbed the advantages of anti-imitation and anti-tradition of the public security school, but also advocated "expressing one's own spirit alone and not sticking to the rules", and expressed deep dissatisfaction with their rashness, hoping to make up for the shortcomings and correct the deviation with the style of "deep loneliness". Zhong Xing and Tan appreciate the artistic conception of "unrequited love", "spiritual loneliness" and "strange thoughts and interests", so they describe the hazy moonlight, faint rain, lonely fantasy and indifferent feelings, forming a lonely and strange poetic style. Of course, this kind of poetry shows the poet's purity and Geng Jie's vulgarity, but after all, it closes the doors and windows of the poet's mind, making him feel more about the outside world, which is bound to cause some poets in the late Ming Dynasty to be dissatisfied with reality.
The sixth issue
Chongzhen and Nanming kings. During this period, the main achievements of poetry were the revival of political associations and literary groups, and several poets in several clubs. The most famous are Chen Zilong and Xia Wanchun. Chen Zilong opposed the influential public security school and Jingling school at that time, and tried to compete with them. He, Song, et al. Edited Selected Poems of the Ming Dynasty, advocated retro, and pointed out that the first seven sons "had great achievements, but their ancestors were still indispensable" (Poem Manuscripts, such as Preface to the Building). However, he did not blindly follow, but criticized that the first seven sons "had more simulation achievements and less natural resources" (ibid.). What's more, he emphasized that poetry reflects the fighting role of reality and thought that "writing poetry is not enough to promote beauty." At that time, it was ridiculed that "Feng" did not need to go to fifteen countries, and "Ya" did not need to be divided into big and small, although it was not easy to work and leisure "(Preface to Six Poems). In addition, he was in an extremely fierce era of social change, which quickly reversed the imitation tendency of "taking form as work", making poetry face the painful reality, worried, resentful and sad. It can be said that "the poet has changed again" (preface to Zhou Yue Manuscript). Some of his poems express deep sympathy for the tragic scene of the displacement of the victims, and some are generous and sad about current affairs, all of which have obvious characteristics of the times. This change in Ming poetry shortened the distance of struggle with reality. Xia Wanchun's creative path also illustrates this point. After he joined the army at the age of 0/4, he overcame the weakness of imitating poetry before the Six Dynasties, which made his creation have a strong fighting atmosphere and perfectly reflected the image of young heroes. In addition, anti-Qing heroes and Qu also wrote impassioned poems during their military career. For example, "Six generations of mountains and rivers worry about locking the key, ten years of fathers see the standard" (Zhang Huangyan's "Painting the Mountain by the First Division") describes the excitement when attacking the Yangtze River, which is quite imposing.