Divided into categories: literature in the early Northern Song Dynasty, literature in the late Northern Song Dynasty, literature in the early Southern Song Dynasty and literature in the early Song Dynasty in the late Southern Song Dynasty. The Preface to Luo Shouke's Poems written by Fang Hui in Yuan Dynasty said that "there were five old habits in Song Dynasty, and poems were in white style, Kun style and late Tang style". Bai Juyi was imitated by Wang Yucheng, and Wang Yucheng also advocated Du Fu's poems. Yang Yi and Liu Yun's Kunxi Enjoyment Collection advocated "Kunqu Style", imitated Li Shangyin's style, and satirized the court with the poem "Xuanqu", which was forbidden by imperial edict. There were nine monks (see Hui Chong), Lin Bu, Ye Wei and others who influenced the late Tang Dynasty. They wrote about their seclusion in a relaxed style, which was influenced by poets Jia Dao and Yao He in the late Tang Dynasty. Song poetry in this period is still an imitation of Tang poetry, and has not formed its own unique style. When he came to Mei, his poems had profound pragmatism and simple style. Although they are modern in style, they retain the ancient meaning. Su Shunqin called them "Italian neologism workers". Su Shunqin's poems, with heroic brushwork, are exquisite and unique. They are good at ancient prose, and their contents are mostly combined with the reality at that time. Ouyang Xiu studied Han Yu's poems and was influenced by Li Bai's poems. However, Korean poetry is vigorous, while European poetry is comfortable and has different styles. At this time, it began to show the characteristics of Song poetry.

Prose in the early Northern Song Dynasty still followed the style of the Five Dynasties. Liu Kai advocated "getting rid of the old and innovating", and put forward the views of attaching importance to morality, managing the world, advocating dispersion and respecting Korea, but his words were hard to avoid. After Liu Kai, Wang Yucheng advocated ancient prose. He advocated "preaching and teaching to dispel doubts", inherited Han Yu's side of "following the path", and emphasized that literature is more expensive than "Yi Dao with sentences, and its meaning is easy to understand" (Zhang Fushu's answer), and his language is approachable. Since then, Mu Xiu, Athena Chu, Shijie and others have advocated ancient Chinese prose. Mu Xiu visited Han Liuji, advocated ancient prose, and later became Athena Chu. Athena Chu knows the past and the present, and the method is simple, and then Ouyang Xiu. Athena Chu called Fan Zhongyan's The Story of Yueyang Tower a "legendary style" (the story of Houshan Poetry), and was dissatisfied with its rhetoric and duality in describing the scenery. Ouyang Xiu has no objection to couples, and he has met a wide range of people. Ouyang Xiu was the leader of the ancient prose movement in Song Dynasty, and he had his own views on "Tao" and "Wen". His prose "Xu Weibei, twists and turns, but smooth and uninterrupted lines" (Su Xun's "Ouyang Connotation Book") is relaxed and fluent, with charm and beauty, creating a generation of style. After winning the prize, he joined forces with Ceng Gong, Wang Anshi, Su Xun, Su Shi, Su Zhe and others around him, which made the prose in the Song Dynasty develop unprecedentedly.

Yan Shu, Ouyang Xiu and Liu Yong are the representative writers of Ci in the early Northern Song Dynasty. Yan's and Ou's poems are mainly poetry, mostly leisure and leisure. The style of Ci is inherited from five generations, especially influenced by Feng Yansi in the Southern Tang Dynasty, but the tone has changed. Yan ci tends to be elegant and gentle; European words are sparse, deep and beautiful. Liu Yong was the first poet who wrote a lot of slow words in the Northern Song Dynasty. His ci is good at describing, not avoiding vulgarity, and describes the prosperity and feelings of joys and sorrows of the city in simple terms. "Especially good at traveling" describes the life and wishes of prostitutes with sympathy, which develops the style of ci and expands the realm of ci. But from time to time, the writing rate is relaxed, and the traces are close to obscene. Song Qi, Fan Zhongyan, Yan et al. There are not many ci works in Song Dynasty and Fan Jun. The former has some well-known poems, while the latter has made an important breakthrough in content. The scenery of the fortress wall, the feelings of guarding the border, desolate and tragic, generous and tragic, really overlooking the flow, shining alone. Yan Shu's youngest son, Yan, is also called "Er Yan" with his father. Most of them are low-level memories of the past, sentimental and melancholy, euphemistic and deep. Zhang Xian was one of the poets in this period. His ci is as famous as Liu Yong's, but less brilliant, longer than refined sentences, shorter than refined meaning, elegant style and low artistic conception.

As far as the literature in the early Northern Song Dynasty is concerned, the poetry innovation movement under the leadership of Ouyang Xiu was successful, and the poetry in the Song Dynasty began to show a different style from that in the Tang Dynasty. In the early Northern Song Dynasty, Liu Yong's long tune was the most prominent, which indicated that Bitang's five pronouns had a new development in the Song Dynasty.

It was Ceng Gong who inherited Ouyang Xiu's theory of ancient prose creation. He said that "animal morality can be written", and "animal morality" means "public". But if his words don't work, it won't spread all over the world, so the victory lies in his article (a letter to Mr. Ouyang Sheren), also known as "A reporter's unique skill, spread it with his deep meaning" (preface to the records of the southern Qi Dynasty), which expounds Ben Ouyang Xiu's views on Tao and Wen. His prose is just, plain and meticulous, which is second only to Ouyang Xiu in artistry. Wang Anshi's prose is profound in content and sharp in rhetoric, which is different from Ouyang Xiu's style. He asked for "self-satisfaction" and "senior" in the Master Book, so his article was profound and thorough, full of twists and turns. Wang Anshi's poetry creation is good at description and discussion, and his landscape poems, which retired to Zhongshan after the strike, are exquisite and beautiful, and are praised by people. His rhetorical feature is to express his feelings through old sayings. Because he has a wide range of knowledge, "reading the books of philosophers, such as difficult classics, simple questions, materia medica and other novels" (answering Ceng Zi's solid books) led to the atmosphere of "learning as poetry". He didn't write many words, but like Gui Zhixiang's "Landing for Farewell Eyes", he wrote poems about nostalgia in Jinling, which had little influence. Wang Anshi has made outstanding achievements in poetry creation.

Literature in the late Northern Song Dynasty

In the late Northern Song Dynasty, it was Su Shi who succeeded Ouyang Xiu in leading the ancient prose innovation movement and won a complete victory. It was Su Shi who made further progress in poetry creation. In the creation of ci, it was Su Shi who broke the boundaries of poetry, took poetry as ci and opened up the realm of ci. Su Shi was the most outstanding great writer in the Northern Song Dynasty.

After Ouyang Xiu, Su Shi played a greater and more comprehensive role in completing the poetry innovation movement in the Northern Song Dynasty. Ouyang Xiu's preaching is to care about Pepsi and be complacent. Su Shi's Tao, such as learning to dive, "live with water, and get the Tao in the fifteenth" (Yu Ri), can only "seek the beauty of things, such as catching shadows with the wind, understanding things, and covering thousands of people without meeting them", but what about the situation? It is a speech "("Thank you teacher "). In fact, Su Shi's so-called "Tao" is conceptually different from that of Confucianism, Taoism and Zhu Cheng in the Song Dynasty. It pays more attention to life experience and gets creativity from life. He will use "metaphor" to express this unspeakable experience with rich, fresh and appropriate metaphors. His works, such as "A Thousand Springs, Out of Chaos" and "Taking Things as Shape", not only have profound and broad life experiences, but also have the image expression technique of "taking things as shape", which shows the most outstanding literary achievements in the Northern Song Dynasty. His prose, full of arguments, is magnificent and changeable, and Wang Yang is wanton. His Fu, like the previous Red Cliff Fu, is a combination of narration, description and philosophy, which is in harmony with each other and has endless charm. His sketches are poetic and imaginative. His poem "Innovative statutes and ingenious verve" ("After Painting by Wu Daozi") is full of unrestrained feelings and twists and turns. "Taking literature as poetry began in Changli; With the benefit of Dongpo, you can talk nonsense, and it must be a grand view of a generation "(Zhao Yi's" Ou Bei Shi Hua ",Volume 5). His ci broke the boundaries of poetry, taking poetry as ci, with diverse styles, fresh and elegant, bold and unrestrained, which opened up a new realm for ci. He completed the poetry innovation movement in the Northern Song Dynasty.

The four bachelor's degree students in Sumen are Huang Tingjian, Qin Guan, and Chao. Besides four bachelor's degrees, Chen Shidao is also famous. Huang Tingjian is the pioneer of Jiangxi Poetry School, and Chen Shidao is the founder of Jiangxi Poetry School after Huang Tingjian. Huang Tingjian advocated that "those who can write about the past can really cultivate everything. Although the old saying has entered the book, it is like a panacea, turning the stone into gold "(Answer to Father Hong Ju). This is a set of theories based on Wang Anshi and Su Shi's practice of taking learning as poetry. He quoted Chen Yan to show his knowledge by "looking for strange books and reading strange stories"; This kind of "Chen Yan" is used to "edify everything", so his poems have content to express his feelings and passions. Commentators have different opinions on Huang Tingjian, but his thoughts and poems have great influence in the Song Dynasty. Chen Shidao was a beginner of Huang Tingjian, and later changed to Du Fu. His five-character ancient poems expressing personal experiences are extremely simple and sincere. Zhang Lei's poems reflect people's lives more. Qin Guan's ci has made great achievements, saying, "Give people a generous life experience, elegant and affectionate, spend it on wine and go deep" (Selected Poems of Feng Xu's Sixty-first Song Dynasty). "As far as its words are concerned, it is the first hibiscus, the first willow and the first peach and plum, and the capacity is acceptable." (Kuang Zhouyi's "Hui Feng Hua Shi", Volume 2). Different from Su Shi's ci, he was an outstanding poet of graceful and restrained school at that time. At that time, there was a famous poet He Zhu, whose words were beautiful and pure.

Later, the famous poet was Zhou Bangyan. He is proficient in melody and has composed many new songs. It is natural that his words "mostly use Tang poetry" are attached to the law; Long tune is especially good at narrative, full of aesthetic feeling and exquisite workmanship "(Chen's" Jie Zhi Zhai Ti ",Volume 21), which was highly valued by people at that time and later generations. Li Qingzhao's "On Ci" is "knowing that different schools belong to the same family, with" harmonious songs ",also known as" Yan (extraordinary) has no narrative, congratulation (casting) is less important, Qin (Guan) attaches importance to emotion but less reality, such as poor women who are not gorgeous and eventually lack wealth ". What she admired was a genre, probably referring to Zhou Bangyan's ci, which was beautiful in melody, meticulously crafted, more classic, based on facts, and represented the views at that time. Li Qingzhao's ci is an authentic graceful ci, which pays attention to lyricism, expresses deep affection in a tortuous way, has a rough language and a myriad of gestures. After crossing the south, her works experienced the suffering of national destruction and family death, showing extremely sad feelings. During this period, her poems were full of patriotic passion and heroic style.

Literature in the early Southern Song Dynasty

After the demise of the Northern Song Dynasty, it inspired the patriotic spirit of poets in the Southern Song Dynasty to resist aggression and defend the motherland. Although they were more or less influenced by Jiangxi Poetry School, the drastic changes of the times forced poets to give up the writing style of Jiangxi Poetry School and write poems expressing patriotism instead. The outstanding achievements of this period are the works of Lu You and Xin Qiji. Chen, an earlier poet than Lu and Xin, said, "Build an inflammation room, avoid the two lakes and five mountains, and take Wan Li Road. Poetry is beneficial and strong, and it does not forget the love. Sweep complexity with simplicity and strictness, and replace ingenuity with boldness. First of all, his character should be above other schools (Song Dynasty Notes, Jane Zhai Poetry Notes). His life experience is similar to Du Fu's, and his poems turned to Du Fu's study, and he learned that Du Fu's poems are rich in syllables and heavy in style. You, Yang, Fan and Lu, the four great poets of ZTE, are also called. Most of your poems are lost. Yang Wanli's poems claim to be "retiring from the garden, climbing the ancient city, picking chrysanthemums, climbing flowers and bamboos, and offering poetry when everything is exhausted" (Preface to the Collection of Chengxi in Chengzhai). He grasped a little sentiment from his life and wrote poems, which broke away from the norm that Jiangxi Poetry School took learning as poetry and made lively and natural poems. But his patriotism is not strong enough. Fan Chengda wrote 72 four-character poems in Jin Dynasty, expressing the pain of national subjugation in the Northern Song Dynasty and reflecting the feelings of adherents looking forward to recovery. His 60 poems "Four Seasons Pastoral Music" profoundly reflect the sufferings of farmers, which are better than previous pastoral poems. The most outstanding poet in this period was Lu You. Lu You's poems have two aspects: on the one hand, he understands the meaningful taste of life and is obsessed with the twists and turns of the scenery; On the other hand, it expresses a strong patriotic spirit, revenges the country, regains lost territory and saves the people in the occupied areas, with intense grief and indignation. He showed this spirit in his poems and words, especially in his poems. Lu You's prose is also very successful. Many of his papers and narratives are filled with patriotic feelings. His "Into Shu" is vivid in scenery, discussion and lyricism.

Xin Qiji was the most outstanding patriotic poet in the early Southern Song Dynasty. His words are full of the lofty sentiments of revenge and national humiliation, and he writes the grief and indignation that his ambition is hard to be rewarded and his national fortune is declining. After Su Shi took poetry as his ci, he also took prose as his ci. His ci has a bold side and a beautiful and delicate side. The new poets in this period are Chen Liang, Liu Guo and others. Chen Liang's words are bold and unconstrained. Liu Guo's poems are heroic and full of heroic words. Chen Liang is also a famous politician. He persisted in the war of resistance and opposed surrender. He wants to "tear down the wisdom and courage of his life, open his eternal heart, and claim that one day" (History of Song Dynasty). There are also Ye Shi's essays, talking about current events and expressing their opinions. "The article is vigorous and talented, and it is outstanding in Du Nan" (The Catalogue of Sikuquanshu Shui Xin Collection).

Literature in the late Southern Song Dynasty

Literature in the late Southern Song Dynasty experienced a relatively stable period after the Song and Jin Dynasties made peace, patriotic songs gradually declined, and metrical poets rose. This school is most famous for Jiang Kui. "When the white stone emerges from Jiaxuan, it turns from vigorous to vigorous, and from abrupt to slow" (Preface to Selected Poems of Zhou Ji and Song Sijia), with high style and gentle tone. His [Yangzhou Slow] wrote that "I went to Huma to see the river, abandoned the trees by the pool, and still hated talking about soldiers", which reflected some sighs about the war, but lacked patriotic passion. Shi Dazu [Man Jianghong] "On September 21, Beijing will miss the past": "Does Lao Tzu have no practical skills, and the poet has no plan to make peace?" Expressed some concern and anger. He is famous for chanting things and is good at describing them. Jiang Kui wrote a preface for his "Meixi Ci", which is called "Integrating scenery into one family, the meaning of each sentence must be shared by both sides" (quoted from Selected Poems of Hua 'an). Wu Wenying's ci is too elaborate and obscure in rhetoric coordination. "Cautious Ci" emphasizes beauty, and was once called "Er Chuang" with Wu (Zhou Caochuang and Wu Mengchuang). The style of Ci is similar, but Zhou is not as obscure as Wu. He chose the Southern Song Dynasty Ci as "wonderful and good Ci", which represented an elegant and decent view. Zhang Yan's ci expresses the desolation and sadness after the national subjugation in the Southern Song Dynasty. He studied temperament and worked hard on singing. He advocates "emptying". Jiang Kui and Zhang Yan's ci had a great influence on later generations. In the Qing Dynasty, Zhejiang poets represented by Zhu Yizun and Li E admired them. Chen Tingzhuo's "White Jade Zhai Thorn" also praised them greatly, saying: "Jiang Ci is beautiful and elegant, and it is always there." He also said, "Zhang Yutian's words, like peeling pear flowers with sorrow, are refreshing." In addition, poets such as Shi Dazu, Wu Wenying and Zhou Mi in the Southern Song Dynasty were also highly respected by poets in the Qing Dynasty. Equivalent to the metrical school, there are poems of Siling School and Jianghu School. "Yongjia Four Spirits", learning from the poems of Jia Dao and Yao He in the late Tang Dynasty, is sad and gloomy, with a narrow realm and too partial lyricism. Jianghu School is a poetic school influenced by the Four Spirits School, the most famous of which is Liu Kezhuang. He embedded idioms and allusions in his poems in the late Tang Dynasty, but he still couldn't get rid of the pattern of the late Tang Dynasty.

At the end of the Southern Song Dynasty, the patriotic spirit in literature was once again carried forward, with anti-aggression loyalty and indignation, lofty national integrity, and loneliness of preferring death to surrender to Shan Ye. For example, the poems in Wen Tianxiang's Guide to the South and Guide to the Home, Liu Chenweng's words to express the pain of national subjugation, Wang Yuanliang's poems to express loyalty and integrity, Twenty Yuezhou Songs to record the pain of national subjugation, Xie Ao's blood and tears prose "Xi Tai Ai" and so on constitute a powerful ending of Song Dynasty literature.

Song Dynasty literature and vernacular short stories are the basic books for speaking artists. The script is adapted from the growth of the citizen class. It reflects the life of small and medium-sized businessmen, craftsmen and lower-class women in cities. Taking these people as the owners of books, they have created various characters, with personalized dialogues, vivid stories and the use of colloquial vernacular. It has adapted to the needs of the arriving audience. Before telling a story formally, there are poems or other short stories, which describe people or scenes in verse and end with poems. In the Song Dynasty, the scripts praised women's pursuit of love, including "Grinding Jade Guanyin" and "Making Fan Lou Affectionate Zhou Shengxian". Write a case-solving story, including "Wrong Chop of Cui Ning", which exposes a feudal official's disregard for human life; Grand Theft Auto's story was written by Sigong of Song Dynasty. He made a scene to suppress the soul and praised Sigong of Song Dynasty's chivalrous behavior of robbing the rich and helping the poor, punishing evil and promoting good.

This kind of story became the beginning of vernacular short stories, which had a far-reaching influence on later vernacular short stories. Pinghua tells stories of past dynasties, including Pinghua of the History of the New Five Dynasties and the Legacy of Xuanhe in the Great Song Dynasty, which has a certain influence on later novel creation.