Liao and Jindu, which confronted the Song Dynasty successively, were regimes established by northern minorities. In the process of development, they accepted the influence of relatively advanced Chinese culture and gradually embarked on the track of feudalism. The social and cultural forms in Liao and Jin Dynasties showed the characteristics of the integration of the original culture of Khitan and Jurchen nationality with Chinese culture, and the unique bold and vigorous national character of nomadic people had a far-reaching influence on Liao and Jin poetry. Liao poetry works are not many, mainly the creation of Qidan poets. There are many writers in Jin Shizhe, whose works are prosperous and their poetic theories are quite mature, forming a poetic style. More importantly, Yuan Haowen, an outstanding poet, appeared in the Jin Dynasty, and his achievements were enough to keep pace with the first-class poets in the Song Dynasty.
The origin and influence of Yongjia Siling poetic style: the formation of Jianghu poetic school; Jianghu poetry works; Liu Kezhuang and Dai Fugu.
Around Song Guangzong Shao Xi (1190 ~1194), that is, when Lu You, Yang Wanli and others entered the later stage of creation, the "Four Spirits of Yongjia" began to appear in the poetry circle.
"Four Spirits of Yongjia" refers to four poets in Yongjia area: Zhao Xu, Ji Xu, Zhao Shixiu and Weng Juan. These four people are all under Ye Shi's door, and everyone has a word "Ling" in his word, so Ye Shi called them "Four Spirits" and compiled "Selected Poems of Four Spirits" to praise them. The "four spirits" are poor people whose fate has fallen, or they are clothed in cloth or have a humble position. Their lives are relatively narrow, and the content of their poems is relatively thin. Only a few poems are about people's livelihood or current affairs, and most of the works are about chanting scenery and answering questions for singing. As the title of their poems shows, their creation is limited to the study. At the end of the Song Dynasty, Fang criticized the "Four Spirits" and said: "The materials used are nothing more than flowers, bamboo, cranes, monks, harps, medicine, tea and wine, which are inseparable from each other, but the weather is small." ("Lv Kui Mu" Volume 10) This statement really hit the key of the "Four Spirits". The poems of "Four Spirits" are all thin volumes, with only one or two hundred poems per person. They are a group of poets with little pattern.
The poem of "Four Spirits" was written by Jia Dao and Yao He, and was edited by Jia and Yao, and co-edited as "Ermiao Collection". He also praised Zhao Xu for saying, "Your poems are like Jia Dao, and your pen is skillful." Zhao Ruhui, a contemporary, thinks that the poem "Four Spirits" is "free from vulgarity and refined, and people can't tell Yao and Jia apart." Like Jia and Yao, the "Four Spirits" works take the five laws as the main poetic style. The five laws account for more than half of the existing "Four Spirits" poems, among which Zhao Xu's In the Mountains and Zhao Shixiu's Guifeng Temple are better works:
There is no camp in the world, but the shape of things has changed. Wild vegetables and monk clean rice, Shan Ye Ge light clothes. Sweep the leaves and burn the tea tripod, and record the name of the medicine bottle. Knock on the door and the old guests will be greeted by the children.
Stone road into violet, swim by mistake. Peak Gao Yueming, rock crack wild smoke wear. Fireflies stick brown, and monks sit by the well. A night in vain is like a goose sleeping.
The content is to describe the quiet scenery and secluded life, which is exquisite and elegant in art and close to the poetic style of Jia Dao and Yao He. However, due to the over-emphasis on diction and sentence-making, although most of the five laws of Four Spirits have more accurate sentences, the overall artistic conception is not complete enough. On the contrary, there are artistic works in their seven wonders, such as Weng Juan's April in the Country: "The mountains and rivers are full of green, and the rain is like smoke in the sound of rhythm. In April, there were few idle people in the countryside, so they only planted fields to raise silkworms. " Zhao Shixiu's Traveler: "In Huangmei season, it rains at home, and frogs are everywhere in the grass pond. If you don't come at midnight, knock off the chess pieces and die. " Life is strong, but also get rid of the habit of carving small skills, beautiful and can recite.
When the "Four Spirits" appeared, the influence of Jiangxi Poetry School had gradually declined. At that time, Lu You, Yang Wanli and others surpassed Jiangxi's poetic style with their new style poems. Subjectively, the "Four Spirits" also want to break the barriers of Jiangxi School. They took Jia Dao and Yao He, poets in the late Tang Dynasty who were severely banned by Huang and Chen, as models, and used as few allusions and idioms as possible in their creation, all of which contained the opposite intention to Jiangxi Poetry School. Ye Shi believes that the poetic style of "Four Spirits" is a return to Tang poetry. In fact, the "Four Spirits" and "Nine Monks" in the early Song Dynasty echoed each other from a distance in terms of poetics, poetic style selection and even artistic style. Because the "Four Spirits" gained a reputation far beyond their actual achievements at that time. Poets like Lu You and Yang Wanli who are dissatisfied with Jiangxi's poetic style and can't find their own way out yearn for the "Four Spirits", resulting in the situation that "in the old days, four people were dharma bodies, but now they can connect with the world" (Liu Kezhuang's Poem Volume on the Master Book of Titles), which had a great influence on later Jianghu poets.
At the end of the Southern Song Dynasty, some tourists who failed to become officials wandered around the rivers and lakes, making a living by offering poems and selling goods, and became river lake tourists. At that time, there was a bookseller named Chen Qi who liked to make friends with literati, including petty officials, hermits and many Jianghu people. From the Qingyuan period in Song Lizong (1 125), Chen Qi carved poems for the above-mentioned poets, which were collectively called Jianghu Collection. These poets, who are mainly Jianghu hackers, are called Jianghu Poets. Due to the different identities of the poets included in Jianghu Collection, there is no recognized poetic patriarch. Jianghu Poetry School is a very loose group of writers, but they only have roughly similar creative tendencies.
In the year before Chen began to carve Jianghu Collection, that is, in the seventeenth year of Jiading (1224), the history of power phase was good at abolishing it, and the deposed economic king was forced to death the following year. In order to check the public opinion, Shi found out some poems such as "the right to enjoy flowers in the east wind is absurd, but it is forbidden to be aloof", "The phoenix tree in the autumn rain is close to the palace, and the willow is close to the public bridge", falsely accusing the poet of persecution, and the Jianghu anthology was banned by the chopping board, and the literati were forbidden to write poems. On the one hand, the occurrence of "Jianghu Poetry Disaster" has affected the creation of Jianghu poets, making them afraid of disasters and less chanting timely events; On the other hand, it also made Jianghu poets famous for a period of time, but improved their reputation in the poetry world.
There are many members of the Jianghu Poetry School. Most of them don't care much about state affairs and politics, but they don't want to live in poverty and loneliness. They are keen on making friends, forming clubs and flaunting each other. Many people even use poetry as a tool to pay homage to the powerful and seek money. Although their predecessor Jiang Kui made friends with senior officials, he was still able to keep his honesty. At this time, Jianghu poets no longer stick to that kind of integrity and interest, but pursue social recognition and the practical benefits brought by it. They wrote many poems to pay tribute to society, most of which were empty and boring. In addition, memorial and social works are often made on the spot, and sometimes they even show their skills, thirst for knowledge and boast in many ways. As a result, the words and meanings are conventional, which is quite rough in art.
Of course, the situation of Jianghu Poetry School is very complicated and cannot be generalized. Jianghu poets live in the lower classes of society, with a wide range of contact life and rich sources of poetry themes. From time to time, the tragic situation of farmers and urban poor appears in the works of Jianghu poets. For example, in the Clay Boy written by Xu Yong, the clay boy who wears a red gauze kitchen with a delicate vase bottom is compared with the poor boy who was born thin and abandoned in the bridge lane, thus giving a sigh that "people are not as good as mud", which is quite touching.
The theme that Jianghu poets are best at is scenery description and lyricism. In this respect, they are influenced by the "four spirits", that is, they are good at sketching. But the realm is more open, slightly better than the "four spirits". For example, Chen's "Dragon Crossing" and Ye Shaoweng's "The Garden":
Wild geese fly in the sky, and Songjiang bass is fat. Liu Feng deceives the guest hat and truffles wet the frock. The tower shadow disappeared with the tide, and the bell on the other side rang slightly. I can't bear to look back. When can I return to the East?
Perhaps my master was worried that my wooden shoes trampled his precious moss and tapped Chai Men lightly, but no one opened it for a long time. But this spring spring, after all, can't be caged. Look, there is a pink apricot sticking out of the wall.