First of all, the influence on the creation of ancient poetry.
Most ancient poets wrote their works to express their grievances. They had a rough life and unfortunate fate, or suffered from war because of the collapse of the country, or were unhappy because of their unsatisfactory official career. Faced with such a difficult life, they have all kinds of grievances, so they use poetry to express their grievances. Nineteen ancient poems are mostly complaining poems, and Li Bai, who is bold and unrestrained, also has many complaining poems such as "Difficult to Go". Du Fu's poems are mostly resentful except that the two banks of the Yellow River were recovered by the imperial army, forming a depressed and frustrated style. In the middle and late Tang Dynasty, the society declined due to the Anshi Rebellion, with sharp social contradictions and numerous poems. For example, Bai Juyi's Pipa Journey, Du Mu's Bo Qinhuai and Li Shangyin's Untitled are all masterpieces to express grievances, and the replacement of grievances in the Song, Yuan, Ming and Qing Dynasties is even more impossible to count.
Secondly, the influence on other literary genres.
The creative motivation of Resentment also extends to other literary genres. Song ci has strong emotions, whether it is Liu Yong's lyric love ci, or Su Shi's and Xin Qiji's poems about objects, poems about history and farewell. They all express their grievances, just like Li Yu's "Flowers in the Woods wither in spring, and he is anxious, but he has no choice but to come to the cold rain and come to the wind late; Cochineal tears, when drunk, when heavy, natural people grow up to hate water. "Complaining about how time flies. In the Ming Dynasty, Chen Hongshou put forward the theory of "hatred spectrum" when commenting on the opera "Jiao Hong Collection". He summed up the tragedy and said: "The mountain of tears is a sea of blood, where the drops return to the source; Previous poets were good at complaining, and this book is really a spectrum of grievances in ancient and modern times. " (Jiao Hong Collection, No.50, Comments on the Fairy World), the theory of "Bitterness Spectrum" brilliantly summarizes the national characteristics of China's classical tragedy in theory, and it is an extension of the creation theory of "Poetry can be complained" in traditional Chinese opera creation. It can be seen that "poetry can be blamed" has expanded from a simple poetic category to other literary genres such as lyrics, drama and novels.
Finally, the influence on literary creation theory.
Qu Yuan wrote Songs of the South, which means "expressing feelings with anger". At the beginning of the first chapter of Nine Chapters, he said, "I regret reciting too much, so that I feel anxious and express my feelings with anger." In Li Sao, he expressed his resentment many times: "Blaming the mighty practice, but not caring about people's hearts." Because you are not understood and accepted by the world you live in, you should be "resentful and lyrical". Sima Qian said in the preface to Historical Records Taishi Gong that "there are 300 poems, which are almost what sages did when they were angry." Putting forward the theory of "filled with indignation", Historical Records is also different from the general official history and has obvious lyrical color. Anger is a stronger resentment, a sublimation of resentment. He believes that these sages and celebrities can write those great works through the motivation of "expressing anger", which is similar to expressing resentment, and expressing anger is a powerful driving force for literati writing. In Zhong Rong's poems in the Southern Dynasties, there are a large number of poems about resentment, such as "emotion is elegant resentment", "writing is resentment" and "complaining deeply depends on writing". It is considered that expressing grievances is an irresistible emotion. Yuan's concluding poems emphasize inheriting the tradition of elegance and integrity in The Book of Songs, and give full play to the satirical role of poetry. In the preface to Twelve Poems of Yuefu, he also explained that these twelve poems were written for "the sound of full joy and resentment" and thought that "the sound of full joy and resentment can be felt from top to bottom." Du Mu's basic literary view is that "all essays are based on meaning, supplemented by qi, and defended by words and sentences." ("Answer Zhuang Chong Shu"), advocating "feeling resentment and stabbing, discussing the chaos of monarch and minister, sometimes to arouse people's ambition." The work of.
Han Yu's theory that "injustice is the voice" has promoted the development of the theory of poetry litigation. In the preface to seeing off Meng Dongye, he said: When everything is uneven, there must be sound? The same is true of human words. Some people can't control themselves before speaking, songs are thoughtful, and crying is pregnant. Who said it, whose purpose is to be fair? What Han Yu means here is that people, like everything in the world, will "sing" when they lose their balance due to external injuries. Because of injustice, people have to act in words. "injustice" means dissatisfaction and resentment. In the Ming and Qing Dynasties, the theory of "resentment" was introduced into the field of novels. Jin Shengtan put forward the theory of "writing in anger", and Pu Songling claimed that the creative theme of Strange Tales from a Lonely Studio was "lonely and angry book". From Qu Yuan's resentful lyricism → Sima Qian's resentful writing → Zhong Rong's criticism of complaining poems → Yuan Jie's voice of joy and resentment → Han Yu's complaint → Jin Shengtan's complaint book → Pu Songling's Loneliness and Anger, it can be said that the creative theory of "poetry can be complained" has deeply influenced outstanding writers and critics in past dynasties.
The above discussion is for reference only and I hope it will help you.