1. A follower of the poet
For a period of time after the Qing dynasty entered the customs, the most contemporary poems in the poetry world were the works of adherents. According to rough statistics, there are more than 400 adherents of poets and nearly 3000 poems. Famous ones include Gu, Huang Zongxi, Wang Fuzhi, Wu Jiaji, Qu Dajun, Du Jun, Qian Chengzhi and Gui Zhuang. These poets can face the reality directly, embrace the idea of saving the country and the people, pay attention to the future and destiny of the country and the nation, call for help, awaken people's hearts, save the nation and survive, contain a strong sense of justice and patriotic feelings against oppression and aggression, and inspire the resistance struggle of the Han people at that time. It is a common theme that the poems written by the adherents with blood and tears express the sorrow of home and country and sympathize with the suffering of people's livelihood. Their poems corrected the retro tendency of the seven poets in the early and late Ming Dynasty and the shallowness of the public security and Jingling poets, restored the coquettish tradition and fighting spirit of poetry, and opened the way for the development of poetry in the Qing Dynasty. Among them, Gu and Qu Dajun are the most representative.
Gu has been committed to the anti-Qing struggle for many years, aiming at restoring the old country. On the "main temperament" of poetry, he opposes imitation and advocates that "writing should be beneficial to the world". He has more than 400 poems, most of which are five-character poems. The theme of his poems is to imitate the ancient times, cherish the past, visit the scenery and express national feelings and patriotic thoughts. Anti-Qing and regaining sight and sticking to integrity are the outstanding colors of his poems. Poetry is not a fake sculpture, its style is solid, solemn and solemn, often close to Du Fu, and it is highly respected in the Qing Dynasty.
2. "Jiang Zuo San Jie"
Qian, Wu and Gong Dingzi were famous poets who entered the Qing Dynasty and became officials in the Ming Dynasty, and they were called "three outstanding poets in Jiang Zuo". Among the three, Gong Dingzi has few characteristics and little influence, so I won't make a monograph here. Qian and Wu are both leading figures in the field of poetry, while Qian Zong's Song Ci and his Tang tune are both influential poets in the Qing Dynasty. After that, many schools of Qing poetry did not respect Tang and Song, and they did not affect each other.
As a leader who has presided over the poetry circle for nearly 50 years, Qian opposes imitating the form of poetry and one-sided pursuit of meter. He advocates that poetry should be "basic" and "tangible", and emphasizes the importance of times, knowledge and opportunities. He advocated learning from many teachers, learning from the Tang and Song Dynasties, bringing forth the old and bringing forth the new, helping the former and the latter seven sons imitate the prosperous Tang Dynasty, public security and Jingling, establishing the poetic style of the Qing Dynasty and playing the role of "guiding the way". He admired Su Shi and Yuan Haowen, and his follower Feng Ban said, "Every shepherd is called Song to correct Wang Li's loss." Under his influence, it became a common practice to attach importance to the poems of Song and Yuan Dynasties.
Qian's own poems mainly combine the flowery rhetoric and rigorous meter of Tang poetry with the rationalism of Song poetry. The poems in "The Collection of Beginners" contain indignation at the castration of party struggles, sadness at internal and external troubles, and expression of frustration of the frustrated. When he retired to the mountains, he wrote poems for Liu, poems for him and a group of poems for visiting Huangshan Mountain, which lasted for a long time. Landscape poems describing the magnificent scenery of Huangshan Mountain are rare masterpieces. After experiencing the pain of national subjugation and the great changes in life experience, Qian's poems are full of feelings of national subjugation and humiliation, melancholy and sadness, in addition to mourning, anti-Qing and restoration. His poetic language skills are superb, he is good at using allusions, and he is also full of rhetoric, which is very attractive to many poets who emphasize elegance and taste in Qing Dynasty. Under his influence, Yushan Poetry School came into being in his hometown Changshu.
The difference between Wu and Qian is that he has no strong secular consciousness and no longer participates in political activities after entering the Qing Dynasty. But in order to save the family, he had to bow to be an official and serve as a drink offering in imperial academy. But I feel the heavy burden of the traditional "honor festival", feel sorry for my life, feel very painful, often feel sorry for myself, feel depressed and sad. Before his death, he ordered a monk to collect it, and asked that only the tomb of the poet Wu Mei be engraved on the tombstone, which showed his personal sorrow and lifelong regret of being an official.
3. Poets between Wang Shizhen and Kangxi and Yongzheng.
From the early years of Kangxi to the middle period, the anti-Qing armed struggle did not stop, but the general trend was fixed, and the policy of netting Han literati in Qing Dynasty gradually produced results. Although the adherents who insisted on the anti-Qing stance were still not satisfied with this great historical change, great changes have taken place in their social psychology. It was Wang Shizhen who adapted to this change and became a new generation of poetic leaders.
Wang Shizhen's poetry theory is based on verve, which requires poetry to have the characteristics of profound meaning and endless meaning. For this purpose, he especially praised those poems that are quiet, distant, unparalleled and poetic. In the Tang Dynasty, the poems of Wang Wei, Meng Haoran and Wei were favored by him, but he was not interested in the poems of Du Fu, Bai Juyi and Luo Yin. Wang Shizhen's verve theory had a great influence on the poetry circles in Qing Dynasty, and became a major school of poetry in Qing Dynasty. He also won the title of "The First Poet in Qing Dynasty" (Tan Xian's Diary of Tang Fu), and was the leader of the poetry circle for 50 years. But some people object to his verve theory. Zhao Zhixin, his nephew, criticized him as "nobody in the poem", while Yuan Mei accused his poems as "so-called fake poems", mainly because Wang Shizhen's poems did not pay attention to ideological content, rarely reflected the real social life, made the art of poetry very mysterious, and simply regarded it as a tool for personal depression and entertainment.
Poetry in the Middle Qing Dynasty
During the Qianlong period, Wang Shizhen's verve theory was opposed by Shen Deqian, Yuan Mei, Weng Fanggang and other famous artists, but the opposition was in different directions. The greatest influence on Qianlong's poetry is the theory of "spiritual nature" advocated by Yuan Mei.
Shen Deqian is another great poet after Wang Shizhen. With regard to the origin of Ye Xie's poetry, based on Confucian poetry teaching, he advocated the mode theory, respected the Tang Dynasty and suppressed the Song Dynasty, and thought that "poetry emphasizes melody and poetic method", which makes poetry "get rid of prostitution and return to elegance" and plays the role of "harmony with melody, good human relations and good politics", advocating "gentleness and gentleness is the ultimate rule" and demanding that poetry creation "return to the central level". In order to "raise the standard" and "tune", he took the Tang people as a model, took ancient poems as the source, and praised the first seven sons. To this end, he specially selected the source of ancient poetry, anthology of Tang poems and anthology of poems in Ming Dynasty, which set an example for learning and had great influence. In a word, our poetics is based on the theory of poetry teaching of Han Confucianism and the style of Tang poetry, trying to create a poetic style that can not only conform to the strict ideological rule of the Qing Dynasty, but also embellish the prosperous times of Kanggan. Because Shen Deqian's poetics put forward the idea of serving feudal rule from the front and won the appreciation of rulers including Emperor Qianlong, his poetics was all the rage. However, the "style" of Tang poetry is inseparable from its passion, and Shen Deqian's modal theory has its insurmountable contradictions.
Poetry in late Qing dynasty
After entering Daoguang, the poetic style changed again. Both the verve school and de stijl, which mainly belong to the Tang Dynasty, have declined, but the Song School has received more and more responses and become the mainstream of poetry. Different from this conservative school, from the Song Poetry Movement in Daoxian period to Tongguang after Tongzhi, it is the enlightenment poets represented by Gong Zizhen and Wei Yuan before and after the Opium War, and the new poets represented by Liang Qichao and Huang Zunxian before and after the Reform Movement of 1898. At the same time, the retro school is also changing. In the same light-year, there appeared the School of Poetry of the Han, Wei and Six Dynasties represented by Wang Kaiyun and the School of Late Tang Poetry represented by Zengxiang Fan and Yi Shunding. Homooptics itself is divided into Jiangxi School represented by Chen, Fujian School represented by Chen and Zhejiang School represented by Shen. Poetry in the late Qing Dynasty presents an unprecedented complex state.
1. Poems by Gong Zizhen, Wei Yuan and others.
Gong Zizhen is an outstanding poet who initiated the modern new poetic style. Through the appearance of the prosperous time of Ganjia, he saw the serious crisis lurking in the whole society quite profoundly. His poems are closely centered on the real politics, either critical or lyrical. They are rich in social and historical contents, which are rare in the Qing Dynasty and have a new poetic look. The greatest characteristics of his poems are unique conception, rich imagination, gorgeous language and various forms. Gong Zizhen claimed to be "two ghosts, Zhuang Sao, deeply entrenched in the liver and intestines." He was deeply influenced by Zhuangzi and Qu Yuan, and was also influenced by the poetic style in the middle and late Tang Dynasty. He often expresses his free and unrestrained feelings with vivid and peculiar artistic images, magnificent momentum and gorgeous language. Gong Zizhen's poems are mostly political poems, paying attention to social politics and expressing emotions. The basic tendency is to pay more attention to opinions than statements. However, his poems are rich in generalizations, profound meanings, symbolic metaphors and images. The shortcomings of Gong Zizhen's poems are that there are too many allusions, too deep meanings, and he loves to use strange words, which is inevitably obscure.
After the Opium War broke out, the invasion of western countries caused great indignation and shock to the Chinese nation. Poets who were contemporary with or later than Gong Zizhen, such as Wei Yuan, Lin Zexu, Zhang Weiping and Zhang Jiliang, all showed strong anti-imperialist feelings and formed a surging wave of patriotic poetry. Although these writers are generally shrouded in the style of their predecessors and lack distinctive originality in art, they reflect the poetic style of a period and have rich content of the times. Among them, the thoughts of Wei Yuan and Lin Zexu presented new factors, and together with Gong Zizhen, they became the core force of the progressive literary trend of thought in this period.
Before the Opium War, most of these poets' poems lacked practical significance and their achievements were not high. Lin Zexu's poems are almost all official entertainment works, while Zhang Weiping's poems are mostly expressions of official life. Most of them are landscape poems after retirement. Besides Thirteen Poems of Du Zhongyin and Ten Poems of Jiangnan, Wei Yuan's early poems borrowed from Bai Juyi's masterpiece Qin Zhongyin, which had more realistic contents. Most of his remaining poems are about sightseeing. The outbreak of the Opium War brought about great changes in their thoughts, feelings and poetic style. Reflecting the Opium War with poems, praising the brilliant achievements of the people and the anti-British generals in resisting the invading army, and exposing the satire of the Qing Dynasty and the capitulators for their fear of death and collaboration with the enemy and mistake the country were the central themes of a large number of poems they created during the Opium War. Such poems include Wei Yuan's Ten Chapters of the Atlas, Empress of the Atlas, Autumn Prosperity, Autumn Prosperity Empress, Preface of Qinhuai Lamps and Ships, Zhang Weiping's Sanyuanli and Song of Three Generals, as well as poems written by Lin Zexu on his way to the garrison after the defeat of the Opium War.
Poets in this period include Zhang Jiliang, Yao Xie, Zhu Qi and Beiqing Bridge. They all wrote some important poems reflecting the Opium War and full of anti-imperialist and patriotic spirit. An Yin, written by Beiqing Bridge, is a chronicle satire composed of 127 lines, which describes what he saw and heard when he was with the army during the Opium War and has strong reality. This system will also have an impact on later poetry circles. However, these poets still follow the aftermath of the Gan family poetry school in art and lack new achievements.
2. Song Poetry School and Tongguang Style
In the poetry circles of the late Qing Dynasty, the Song Poetry Movement was a literary movement with great influence. The main characters are Qi Junzao, Cheng Enze, He, He, Zeng Guofan who came out of Cheng Enze. The main school of this school of poetry is "taking Kaiyuan, Tianbao, Yuanhe and Yuan You as their careers" (Chen Yan's Shi Shi Yi Shi Hua), that is, Du Fu, Han Yu, Su Shi and Huang Tingjian are the schools. The rise of this movement was related to the prosperity of Sinology in Ganjia period. The poetic style of Song Dynasty, which focuses on literature, learning and discussion, is especially suitable for the tastes of this group of textual research scholars. The main authors of this movement are sinologists or scholars who attack the Song Dynasty, and their basic creative tendency is to "combine the words of scholars with the words of poets" (Chen Yan's Notes on Modern Poetry). Song poetry school does not advocate imitating the ancients step by step, but also pays great attention to absorbing the spirit of learning from the Tang people to find a new way, pursuing the originality of poetry and expressing the true nature and true temperament of poetry. In a word, their poetics not only attaches importance to the cultivation of orthodox morality, but also emphasizes the expression of self-independence, thus achieving a "good" poetic style and showing a self-reliant attitude towards life based on orthodox ethics.
From the Song Movement to Guangxu, it evolved into "the same light body". The main authors are Chen, Shen, Zheng and others. The name "Tongguang" refers to "poets who have not adhered to the prosperous Tang Dynasty since Tongguang" (Preface to Chen Yan Shen Yi 'an's Poems). In fact, they mainly studied the Song people, and their activities were mainly after the middle period of Guangxu, and their influence continued until around the May 4th Movement. Tongguang is divided into Chen's Jiangxi School, Chen's Fujian School and Shen's Zhejiang School. During the Westernization Movement and the Reform and Reform Period, most of these poets tended to support Westernization and Reform, and created many works against foreign aggression and grief over state affairs, with a progressive tendency. Chen made great achievements in the Song Poetry Movement and among Tongguang poets.
During this period, the poetry schools of the Han, Wei and Six Dynasties, represented by Wang Kaiyun, and the poetry schools of the late Tang Dynasty, represented by Zengxiang Fan and Yi Shunding, were also very active. Li Ciming, a famous scholar, is not unique, but he has high poetic attainments.
3. Poetry Revolution and New Poetry
It is Huang Zunxian, Xia Cengyou, Tan Sitong, Liang Qichao and others who have really impacted the traditional poetry ideologically and artistically.
Huang Zunxian was an important figure in the Reform Movement. He cares about reality and advocates "saving the world without saving evil". He worked as a staff member of foreign embassies for nearly 20 years. He personally contacted bourgeois civilization and inspected the successful experience of Meiji Restoration in Japan, and clearly established the idea that "China will change from the West" (the 47th note in Ji Hai Za Shi). Under the agitation of new cultural thoughts, he began to explore poetry creation. In his poem "Miscellaneous Feeling" written at the age of 2 1, he criticized "vulgar Confucianism respects the ancient" and declared that "I write by hand, but I can't recite the ancient". On the eve of the Reform Movement of 1898, he put forward the name of "New Poetry School". It is required to extensively absorb materials from ancient culture and modern life, break all the imprisonments, and finally "be my poem." There are two characteristics: first, he put forward that "what the ancients didn't have, what they didn't have, what they saw and heard were all written", which showed that he attached importance to using poetry to reflect the ever-changing and expanding life content; First, it is proposed that "the couple's body should be blessed by one-way luck" and that "the ancient prose writer should expand into poetry", which shows that his poems have a tendency of prose culture.
Huang Zunxian's poems put his thoughts into practice. He inherited the tradition that Gong Zizhen, Wei Yuan and others used poems to reflect the real struggle, always cared about the fate of the country and the nation, and described a series of important events in the history of the late Qing Dynasty. From his political career to his death, almost all the important events in China's history in the past 30 years were reflected in his poems, so Liang Qichao said, "A poem that is publicly cited is also a history of poetry." Anti-imperialist patriotism and reform and self-improvement are two important themes in his poems, which have a strong patriotic spirit. It is worth noting that Huang Zunxian's poems at the turn of the old and the new describe the overseas world and the new things that appeared earlier with modern science, broaden the theme of poetry and reflect the field of life, and write something that classical poetry does not have. Qiu, his poetry friend, said: "The Wang Yang sea of poetry is the Columbus of this poetry world." (Postscript to Poems of Man and Land).
Huang Zunxian also made a new attempt in the reform of poetic style. He likes to "melt the new ideal into the old style" and combine new things, new terms, characteristics of the times, exotic scenery and social ideals, especially the major political events at that time, with the artistic conception and expression techniques of the old style poems to "create a new world". Huang Zunxian's poems are "lax in law, especially in rhyme", with relatively free form and diverse styles. He also boldly adopted the writing method of taking text as poetry and made great innovative attempts on poetry. The shortcomings of Huang Zunxian's poems mainly lie in publicity and exposure for novelty, and lack of images that can express unique life feelings. Many of his poems are for the sake of history, so there are too many narratives and arguments, while lyricism is simple exaggeration. Poetry that reflects exotic customs focuses on introducing new things, not introducing deep things from western culture into poetry. However, Huang Zunxian's position in the history of poetry is still very important. He clearly realized that the tradition of classical poetry could not fully reflect the increasingly complex social life and cultural knowledge, and asked poetry to keep pace with the times and break all taboos in theme, style and vocabulary, which was of great significance to promoting the reform of poetry. His creation strongly promoted the expansion of the content of classical poetry, showing the attitude of advanced China people towards and accepting the world at that time; Some of his poems have popular language and free form. Although his artistic achievements are not high, he has the intention of moving closer to vernacular poetry.
Xia Cengyou, Tan Sitong, Liang Qichao and others are the advocates of the "revolution in poetry". Before the Reform Movement of 1898, they began to write "new learning poems", which were characterized by "painting new words to express differences". This kind of new poetry has some common characteristics and interests with Huang Zunxian's "new school poetry", but it has only new terms, but no new life materials and poetic images. It just crammed some new terms into classical poetry and didn't achieve much. After summing up this failed practice, Liang Qichao put forward the slogan of "Poetry Revolution" on the basis of fleeing Japan and widely contacting Japanese new culture and western cultural thoughts. It is required that "the old style contains new artistic conception", and it is specifically put forward that "the first is to have new artistic conception, and the second is to have new sentences, which must be entered in the style of the ancients and then become poems." Liang Qichao thinks that Huang Zunxian's poetry is the best in this respect, and it is a banner of the "revolution in poetry". However, no matter Huang Zunxian, Tan Sitong, Xia Cengyou, or even Liang Qichao himself, their poems are far from meeting the requirements of "poetic revolution". The "poetic revolution" that Liang Qichao expected did not really appear. Even Liang Qichao's own poems returned to the classical tradition in the later period, and moved closer to the "same light body", announcing the end of the "poetry revolution".