The appearance of Wu's History of Poetry in the poetry circles of Ming and Qing Dynasties has profound cultural significance. It is the product of the interaction between the cultural traditions (including poetry traditions) accumulated in China for thousands of years and the social background of Ming and Qing Dynasties. It not only embodies the cultural heritage and tradition of poetry history, but also reflects the general social psychology in the late Ming and early Qing dynasties, and reflects the changes of academic thought and literary trend of thought at that time.

Paper Keywords: Wu Shige historical and cultural background

Wu, a poet in Ming and Qing Dynasties, has nearly 1200 poems, among which current affairs works have always been praised, and the focus of most people's attention is "the history of poetry". You Dong, a contemporary writer of Wu, once commented: "Mei Cun met Ding Ge, making the gods cry, and what he did ... can prepare a generation of poetry history" (Genzhai Miscellanies). Cheng Muheng, who was the first to comment on Wu poetry, also thought that Wu's Collection of Words and Stories could be regarded as a "poetic history" and called it a "descendant of Shaoling". Lu Yunshi even compared it with Sima Qian (Wu Shiji Lan, Volume 6), and the evaluation was quite expensive, which showed the characteristics of Wu poetry's "poetic history".

It is no accident that Wu's History of Poetry appeared in the poetry circle between Ming and Qing Dynasties. It is closely related to the cultural traditions (including poetic traditions) accumulated in China for thousands of years and the social and historical environment in which the poet lived. It is the inevitable outcome of the interaction between China's cultural tradition and the social background during the Ming and Qing Dynasties.

First, the cultural background and history of poetry

From the long history of China's poetry development, we can find a basic fact, that is, China's poetry has been inheriting the creative spirit of realism since its birth: paying attention to reality, facing social life, paying attention to the fate of social life, and paying attention to expressing social group consciousness. Poets always express their social wishes and ideals around the theme of the relationship between life and nature, life and society. No matter from the poems of grass-roots period, such as the prayers with primitive ballads in Ge's Happiness, Oracle Bone Inscriptions and Zhouyi, or from the poems of Confucius, it is easy to pretend to be "for the monarch and the people: doing things for things" and "on the rise and fall of current politics" in Ming and Qing Dynasties. It is true that there have been some romantic writers and a few romantic works in China's poetry history, but we should also see that there is a strong realistic spirit behind his romanticism. For example, as a great romantic poet, Li Bai has not fundamentally divorced from realism, and his creative spirit and positive attitude towards life are exactly the same as those of the great realistic poet Du Fu. Liu Xizai of the Qing Dynasty saw this and commented:

Comrade Taibai and Shaoling are in the world, but many people in Taibai's poems are born with words, and they have words.

Tai Baiyun's "poverty and worry" is Shao Ling's ambition of "worrying about Li Yuan in poor years"; "The world is vast, so why not cherish the feelings of things", that is, Shaoling's ambition of "catering to the elderly and reducing the amount of fish in the stream". (Outline of Art and Poetry)

In a word, China's poems are always closely related to social reality. The reflection of social life, the expression of realistic feelings and the sustenance of realistic ideals in his poems undoubtedly show the specific historical features of each era. From the external era to the internal people's psychological state and spirit of the times, these historical contents are all displayed in his poems, thus making his poems present the overall characteristics and atmosphere of a specific era. Therefore, fundamentally speaking, the poet's creative consciousness is a kind of historical consciousness similar to that of historians, which consciously or unconsciously keeps the inseparable relationship between poetry and history. This phenomenon just shows that poetry and history are interlinked.

In the era of Wu's life, the idea that poetry and history are interlinked has been generally accepted and formed a poetic trend of thought. For example, Huang Zongxi put forward the theory of "proving history with poetry" and "filling history with poetry" in the Preface to Cheng Zi Mu Qian's Songs, and Du Jun also pointed out that poetry can "correct mistakes in history" and taste the Book of Songs. All these were based on the writers' understanding and opinions on the relationship between poetry and history at that time.

The cultural background of poetry and history provides a prerequisite for the creation of "poetry and history", which makes it possible to combine poetry and history with literature and history. Before Wu, Ye Wei, Sima Qian, Du Fu and others turned this possibility into reality and set an example for Wu's "history of poetry". From the origin, Wu's History of Poetry inherits the traditions of Sima Qian and Du Fu.

Sima Qian's "Historical Records", which is a masterpiece of historians and has no rhyme in Li Sao, undoubtedly achieved an organic combination of literature and history and a high degree of unity. His creative spirit is not only reflected in the historical materialism that pays attention to records, but also in his writing attitude of "expressing his will and anger", which is undoubtedly of great significance to publicize the subjectivity of his creation and highlight his subjective feelings. It can be said that the creative spirit of "expressing ambition and anger" makes Historical Records complete the combination of history and literature on the basis of criticizing reality and become a "poem without rhyme".

Wu directly inherited Sima Qian's viewpoint of "expressing emotion with anger" and created a "history of poetry". It is true that the theory of "expressing ambition" was put forward by Qu Yuan in Xi Yong, not by Sima Qian, but Wu's view of "expressing ambition" obviously originated directly from Sima Qian. In the preface of Guangzhengpu of Northern Ci, he said: "Those who have not met in the world are troubled by it and have nothing to express, because they use ancient songs to write my grievances in pottery ..." Here, Wu obviously followed the statement in Sima Qian's "Reporting to Ren" and made full use of it. His creation of "expressing anger and expressing emotion" undoubtedly made his feelings generate, and his poems entrusted his "boredom and generosity" after the fall of his old country, which made his works show strong lyricism.

After Sima Qian, it was Du Fu who combined literature and history again. His works, such as Biography of Taishigong Gong Ji, are "masterpieces of ancient and modern times" and are praised as "the history of poetry" by later generations. Du Fu's History of Poetry appeared in the history of China literature, not only because it fully embodied the realistic tradition of Feng, Ya and Han Yuefu, but also because it became a model of the organic combination of poetry and history for the first time, and it was the confluence of the realistic spirit of "feeling sad and happy, starting from things" and the realistic spirit of Historical Records. His works, whether narrative, eulogy, narration or nostalgia, try to integrate people's own worries and troubles, clearly express the wishes and ideals of the society, and include the era style of the prosperous Tang Dynasty in which he lived.

Wu is another writer devoted to the creation of the history of poetry after Du Fu, and his creation is the second milestone in the history of poetry. Wu inherited the tradition of "poetic history" initiated by Du Fu. In addition to the social instability in Ming and Qing Dynasties, which is similar to Du Fu's "An Shi Rebellion" era, there is also an important cultural reason, that is, Wu intends to inherit the retro tradition of "Seven Scholars in Ming Dynasty", and his literary thoughts and creations are directly inherited by the Seven Scholars. On the other hand, the "Seven Scholars of Ming Dynasty" advocated the study of ancient Chinese prose in Han and Wei Dynasties and flourished modern poetry in Tang Dynasty, and all of them consciously regarded Du Fu's poetry as one of their main learning goals in their creation. Their attitude towards Du Fu's poems can be divided into two aspects. First, from the perspective of "poetry", they are greatly dissatisfied with a large number of narrative methods in Du Fu's poems (preface to the bright moon by He Jingming). Second, consciously learn the realistic tradition and artistic techniques of Du Fu's poems, that is, "take it as a name", reflect the reality with a pen, praise kindness and loyalty, and denounce traitors' slanders.

Wu Ze showed his attitude towards Du Fu's poems with his own creative practice. His research on Du Fu's poems, like the Seven Scholars, is also reflected in the realistic creative spirit and the creative techniques of the new Yuefu, such as Ben Lee, Lin Tuner, a trip to Luzhou and a trip to catch a boat. Zhao Yi said that "it can be compared with Shaoling military vehicle shop and stone car shop", and commented on Wu's "Jinshan II", saying that it is "completely antique Yuefu, which is very similar to its spirit" (see Volume III, Episode III of Complete Works). Different from Du Fu's "Seven Scholars", Wu directly and consciously applied the spirit of realism to the creation of "History of Poetry" and devoted himself to the writing of "History of Poetry". It can be said that the theory and practice of "Seven Scholars" is a foreshadowing for Wu to learn from Du Fu, and it is the intermediary and transition between Du Fu and Wu.

Second, the opportunity of Wu Shi's history creation-the vicissitudes of life during the Ming and Qing Dynasties.

When the predecessors talked about Wu's creation of History of Poetry, they all realized the direct relationship between the times and his creation of History of Poetry. For example, You Dong said that he was "shocked by the rise and fall of Ding Ge and what he did ... can be used as a history of poetry", while Four Treasures of the Study Summary said that he was "worried about chaos, the rise and fall, the desolation of Chu, and the strength of character." When we examine his creation, we can't help but focus on this relationship to further explore: why can the environment of the times have an impact on his creation, and what impact has it had?

/kloc-the middle of the 0/7th century was a period of intense conflict between the settled agricultural culture in the Central Plains and the nomadic culture in the north. For the people in the areas ruled by the Ming Dynasty, the change of Shen Jiazhi brought not only the fierce shock of the war, but also the deep national oppression and the unacceptable cultural concepts of Han scholars. At that time, the national oppression was enormous, and the national consciousness and struggle were fierce. Among the Han scholars, some rebelled against the Qing Dynasty, some lived in the forest and were ashamed to eat Zhou Su, some bowed to the Qing Dynasty, and some became officials in the new dynasty. However, for most people, the thoughts of the old king of the old country are still lingering in their minds. Loyalty and filial piety are like thorns on their backs, and courtesy and shame are like bones and throats, and national consciousness is hard to eliminate. Even among the two officials in the Qing Dynasty, many people wrote the article "True History" (Miao Xueji Postscript) in official handwriting.

For example, Gong Dingzi, an official in the Qing Dynasty, is still "looking back at the initial heart of later generations", and his poem "Returning to the nest at the beginning" says: "I lost my soul and returned to my hometown in autumn, and I dare not hang my nest." Many poems deeply express the yearning for the motherland and the regret of being an official in the Qing Dynasty, and show the mentality of the two ministers, that is, "I want to think about my intestines, I am ashamed of my heart, and I am in the middle" (Postscript to Learning Notes). The strong national consciousness in the Ming and Qing Dynasties even influenced several generations, not to mention that Hong Kong and Kong vigorously promoted national consciousness in their plays. Even Wang Shizhen, who was deeply influenced by the unique experience of the Qing court, and Qu Fu, who was born during the reign of Kangxi, sometimes showed their yearning for the motherland in their poems.

As an official of the Ming Dynasty, Emperor Chongzhen's great kindness and martial arts also had a strong national consciousness. For example, in the twelfth year of Chongzhen, Wu, who was in the editing post in imperial academy, saw the current affairs of the Qing army invading on a large scale and the Ming army losing ground, and told Emperor Chongzhen the strategy of retreating the enemy and protecting the Qing Dynasty (see Tan Qian's Guo Que, Volume 97). In poetry, there are many examples of expressing national consciousness. For example, the poem "Remember Yang Jibu" roughly written in the eleventh year of Chongzhen:

National affairs are difficult to rely on a few public officials, and the city looks east. Talking about home safety, the two brothers closed the river in the snow. Jathyapple took a knife, shook his pen in clear autumn and sent him to join the army. The scholar's bait is not without calculation, and whoever jumps before the army is established.

This poem is a lost article, which is included in Selected Poems of wuyue edited by Wei Geng and others. What is missing in the poem is probably the word "Lu", because of the age. Expressed the poet's admiration and reverence for Lv Xiang, a famous poet in Qing Dynasty, and Yang, who joined the army. The whole poem is full of strong national consciousness, which is probably the reason why the poem dare not accept it. Another example is "Xinpulu" written in the tenth year of Shunzhi. The poem says: "It's sad for Jia Shenlong to go! Several degrees of spring breeze grow green moss. Ten years of turmoil, the spirit valley changed into the sky, and the Dojo was opened for seven days. The righteous man who cut the liver sank into the sea and tasted the courage of the grandson of the king to rob the ashes. Whoever helps the old monk cry at night should only mourn with the ape and the crane. " This poem is also lost. Written on March 19, the anniversary of Emperor Chongzhen's death. At that time, adherents of the Ming Dynasty privately offered sacrifices to their ancestors in the Bell Tower in Taicang, Jiangsu Province, and Wu wrote this poem as a song to welcome the gods (see Ye Chronicle "Ten Years of Shunzhi"). In September, Wu Jingyun went to Hebei to be an official. This poem can fully explain his mentality during the official period. "I have a thousand kinds of worries when I am alone, and I often shed two tears when I sigh." Due to the factors of the times and environment, it is difficult for people to escape the harsh reality, and their thoughts and feelings are particularly strong. Many people have to write songs and poems to express their anger and injustice. Qian said: "Since the war, there have been many poems on the sea, many horns, few palace sounds, many yin rhythms, few yang rhythms, many angry voices and few slow voices" (Shi Yushan's Preface to Poetry), which accurately revealed the overall characteristics of poetry in this historical period. In the theory of poetry and prose in the Ming and Qing Dynasties, there is another prominent tendency, that is, emphasizing "truth", which mostly requires the poet to be sincere in feelings, content and style, which undoubtedly emphasizes the realistic creative spirit of poetry and prose. Such as Wu, Qian, Gu, Huang Zongxi and others all hold similar views. This trend of seeking "truth" is precisely the reversal of the era environment in the poetry world.

In this particular historical period, there has been a remarkable phenomenon in academic circles, that is, a large number of historical works have appeared, such as Records of Evidence of Crimes by Cha Jizhuo, Guo Que by Tan Qian, Ming History by Zhu Guozhen, Records of Ming Yi to be Visited by Huang Zongxi and Records of Surviving by Xia. The reason for this phenomenon is undoubtedly the enhancement of people's historical consciousness. The enhancement of historical consciousness should first be attributed to: the demise of the Ming Dynasty, the extremely sharp ethnic contradictions, and the constant war, which made many people feel that the historical truth was lost in ignorance. So they set out from summing up the lessons of the demise of the Ming Dynasty, borrowed historical books to record the rise and fall of a generation, and expressed their historical views to show that they would never forget the old king of their country. For example, Tan Qian, a historian of the Ming Dynasty, in order to complete the history of Chongzhen, especially "focused on the allusions of the Ming Dynasty" after the demise of the Ming Dynasty. He said:

What is the basis of history? Write it in your ears, write it in the table, but you can't see it inside. Yang Wenzhen is inaccurate in withdrawing the bureau; With the prosperity of Tailing Mountain, Jiao Biyang became ugly. God Xi carries the author, who is against castration. As for the worry about the seventeen years of Siling, it is nothing more than the escape of Taishi Gong, the bonfire of the emperor, the destruction of the country's history, and the heartbroken world! (Biography of the Draft of Qing Dynasty)

So he "eliminated the true and false records of the fifteenth dynasty, and visited the treasure in the seventeenth year of Chongzhen to make up for the deficiency of his article, and became the title of the book" Guoque "(the biography of the Qing Dynasty).

Another example is Wu's Biography of Sui Kou, Huang Zongxi's Record of Survival, and so on, all of which can reflect this mentality.

Secondly, the enhancement of historical consciousness is also attributed to the change of generations in Ming and Qing Dynasties, which is not in the general sense. Gu painstakingly called it "the death of the world", and there was a fierce conflict between Manchu and Han cultures, which greatly challenged the survival of Han costume culture. However, the majority of Han scholars have not lost their national consciousness because of the deep national oppression, so curbing national resistance and preserving the cultural tradition of Han costumes have become the central theme of many historical writings of adherents. Huang Zongxi, for example, began to fight against the Qing Dynasty after the death of the Ming Dynasty. After Wang Gui's failure, he "knew that there was nothing in the world, so he wrote Ming Yi to be interviewed to see his ambition" (Huang Zongxi was compiled before Volume II of Chronicle of Qing Poetry). Not only that, his works such as Chronicle of longwu, Crash in Ganzhou and Chronicle of Luji are all deeply entrusted works, which are all based on history (ibid.). Another example is the Record of Criminal Evidence written by Cha Jizuo, a adherent of the Ming Dynasty, which strongly defended Zhang Ben and the Han nationality in the Ming Dynasty. He listed Shi Kefa, Lu Xiangyi, Yang, Qu Shiyi and other national heroes in Biography of Anti-Japanese Ministers, and said in A General Introduction to Ji Di: "Mingxing was the great ancestor of the Han Dynasty. The meaning of ancient jade is particularly prominent. "Cha adopts the traditional way of revising history in Chunqiu, which shows his position and respect for the Han nationality." "Zhuangzi Tianxia" said "Spring and Autumn Divide Names", and "Mencius" also said: "The world is declining, and heresy is atrocious. There is a minister who kills the king and a son who kills his father. Confucius was afraid and wrote Spring and Autumn Annals. Spring and Autumn Annals is also about the son of heaven. Therefore, Confucius said:' Those who know me are only in the Spring and Autumn Period, and those who blame me are only in the Spring and Autumn Period! "The name of Cha's Record of Evidence comes from Confucius' words, which shows that Cha's works have deep sustenance.

Due to the strong tendency to revise history and the enhancement of historical consciousness, many changes in the characteristics of poetry creation have been affected, and many writers have shown a tendency to approach history in creation and theory to varying degrees. First of all, in theory, for example, Huang Zongxi proposed "to prove history with poetry" and "to supplement history with poetry". Qian and Wu and others believe that poetry and history are interlinked, which is not only a feature of poetry, but also a literary proposition; Secondly, in their creation, many writers try to reflect the reality, save events with historical value through poetry and record their true feelings. For example, Tang wrote four pieces of "Zheshan Nostalgia", which expressed the sorrow of national subjugation and the nostalgia for the old king of the old country, and was praised as "the history of poetry" by Wu (Tang was included in the first volume of Chronicle of Qing Poetry). Another example is the famous poet Wu Jiaji. Many of his works in Lou Xuan Poetry can also be called "the history of poetry".

Qian, a poet of Qu Jie, described the poets of Ming Dynasty with history as the key link and poetry as the purpose. The purpose is not only to save poetry, but more importantly, to cherish the thoughts of the old country. He himself regards it as a "history of mind study", and Huang Zongxi, Li Ciming, and Jin Bao regard it as a profound history of sustenance as Yuan Haowen, a follower of the Jin Dynasty. For example, Huang Zongxi said in the preface to Yao Shi: "Mencius Day: Poetry died, and then wrote Spring and Autumn Annals." It's also that poetry and history are what they seem. Therefore, The Collection of Zhong You written by Yishan in Yuan Dynasty stole this train of thought, taking history as the key link and poetry as the purpose, and relying on this, Qian Muzhai copied it as a collection of poems in Ming Dynasty, and Chu Shi's exquisite introduction and single couplet would also be shocking and admirable. Mr. Chen Yinque tried to quote Jinbao's words: "Mu Zhai's main purpose in compiling poems of past dynasties is to revise history, which implies that he can see the light again, and poetry is secondary." (See Chapter 5 of Liu's Biography, "The Movement of Restoring Sight". In his creation, Qian often uses poems to preserve history, such as his large-scale group poem "After Autumn Prosperity" and Du Fu's "Autumn Prosperity". These poems were written from Zheng Chenggong's March into the Yangtze River to Wang Gui's martyrdom, and were praised by Mr. Chen Yinque as "the history of poetry in Ming and Qing Dynasties".

The prevailing atmosphere of compiling history at that time had a great influence on Wu. As an editor of imperial academy in the Ming Dynasty, he was responsible for compiling national history, familiar with historical facts and allusions of various dynasties, especially sensitive to social events, deeply aware of the lessons of the demise of the Ming Dynasty, and also heard many social changes. His friends want him to compile history. Tan Qian wrote a book in the eleventh year of Shunzhi, hoping that Wu could compile the trajectory of the characters at the turn of the generation into a book. "For example, Chen Tongfu's Inheritance of Zhongxing and Cheng Huangdun's Record of the Adherents of Song Dynasty will open up secluded places and return to bamboo slips" (see "Journey to the North Moon Hee"). Peng Yan, a close friend, also wrote poems to him in the name of studying history. All these factors undoubtedly greatly stimulated his consciousness as a historian and made him make a difference in preserving history. The purpose of his compiling history is to sum up the lessons of Ming Dynasty's death and reflect the feelings of grief, anger and rise and fall. With this goal in mind, he finally completed the twelve-volume "Biography of the Year's Mouth", which specifically described the movements of characters and the social situation at the turn of generations. Huang Kan, grandson of Huang Yisheng, a disciple and good friend of Wu, said in the preface to Sui Koulue, "Alas! What is this book for? The beggars' gang died in Ming Dynasty, lamenting China and Lu Chen ... When they were righteous and evil, they paid tribute to the security of the country. " Especially to prove his motivation to study history.

"History of Poetry" is related to history to a great extent, and its creation is bound to be dominated and influenced by the consciousness of preserving history. Therefore, during the Ming and Qing Dynasties, the trend of compiling history prevailed and the consciousness of preserving history was enhanced, which inevitably affected Wu's creation of "poetry history". However, this influence is an external factor after all. For himself, his tortuous experience and great changes in his thoughts and feelings after the change of the dynasty were the direct driving force for his creation of the History of Poetry. He was "shocked by Ding Ge", just as he said in the poem "A trip to an old prostitute in Huaishang": "This old woman's head is always white, and it is sad to read the omen of her rise and fall." The overthrow of the old country, Lu Chen's experience in Zhongzhou and his own life experience finally filled him with grief and anger. "Emotion moves in the middle, words in the form", which makes him consciously adhere to the principle of realism in his creation, consciously save history with poetry, and strive to integrate the changes of the whole era, the general mentality of the general public and the poet's own grief and indignation into his own poems, thus forming a "history of poetry" and a history of mind. Therefore, it can be explained that the changes during the Qing Dynasty were an opportunity for Wu to consciously combine poetry with history and literature with history.

;