Ancient proverb
Ballads and proverbs in pre-Qin and ancient times. Besides The Book of Songs, Songs of the South and Poems of Escape, there are some ballads and proverbs in pre-Qin poetry, which also reflect the development process of ancient poetry.
Long before the appearance of writing, folk songs have been circulated orally by people. Because it could not be recorded at that time, today we can only find some materials in the memory of future generations from ancient documents. For example, "Playing Music" is a simple and primitive ballad: "Broken bamboo, continued bamboo, flying soil, kill one by one." (Biography of Gou Jian's Rebellion in the Spring and Autumn Period of Wu Yue) It consists of four short sentences with two words as a beat, which records the hunting life segments of making slingshots, popping up earth pills and chasing birds and animals. According to legend, it is a wax word in the ancient Yi era: "The soil is against its house, the water belongs to its valley, and the insects do nothing." (Book of Rites, Jiaote) This is a speech of wax sacrifice, with a commanding tone. In fact, it is to ask the God of Eight Waxes to eliminate natural disasters and make people's lives stable. The lyrics of the songs are neat and the writing skills are quite skilled. They can't be the legendary Yi era, and later generations may have polished it when they wrote it down. "Shangshu Tang Shi" records that the legend is a ballad in the last years of the Xia Dynasty: "Every day we lose, we die together!" It shows people's hatred for tyrants and has strong resistance. Mencius Liang Wang Hui has the same record, saying that it is a folk song cursing Xia Jie, which should be more credible.
Legend is a ballad in ancient times, and there are other ballads scattered in the literature, such as Beating the Earth Song, Qingyunsong, Ren Xia Song and Maixiuge. Although the books contained in it were published late, the rhymes were all passed down orally. They have been circulated for a long time before being recorded, and may be modified when recording, and they are inevitably influenced by the style at that time, but they cannot be judged as forgeries. For example, the song of digging the earth: "What's the use of land for me?" According to records, this is a song sung by an 80-year-old man in the Yaodi era. Judging from the history of social development, during the primitive commune period, the productivity was quite low, and it was impossible to have an independent economic life of "digging wells" and "ploughing fields". At that time, people didn't have the concept of "what's good for me?" These traces of opposition may be due to the rewriting of later generations, but from the basic content, they should have been produced earlier. Another example is "Qing Yun Ge": "Clear clouds are rotten, embarrassing, sun and moon are bright, Fudan is embarrassing!" (See Book of History, Volume I) This short poem is rich in content, well-chosen and skillful. Yu Shun's oral creation can hardly achieve such high attainments. Obviously, it has been polished by later generations, but its content expresses simple feelings of praising the sun and the moon and worshiping nature, and retains the shadow of ancient thoughts and customs.
The ballads recorded in later ancient books, such as Song of Picking Wei in Biography of Boyi, originated from the era of the Book of Songs, which was dominated by four-character poems. Even if it is possible, it may not be completely preserved. The Songs of the South in The Analects of Confucius and the Songs of the Ruzi in On Mencius and Li Lou reveal the clues of the transition to the style of the Songs of the South.
Closer to the southern song is Ren Yue's song in the Warring States Period: "What day is it today? What is the midstream of the ship? What day is it today, and you want to help the prince in the same boat? I'm ashamed. I don't deserve my humble opinion. Confused mood can not only satisfy the prince. There are trees in the mountains, and there are branches in the trees. The heart says that (Yue) Jun Xi Jun does not know. " According to Shuo Yuan, this song was translated from minority languages. The boat was taken by Prince E of Xi, and Vietnamese singers sang with E in their arms, with euphemistic tone and deep feelings. "There are trees on the mountain and branches on the trees" is a code word, and "branches" is the leaf sound of "knowledge", which is a bit like the folk songs of the Southern Dynasties. Shen Deqian's evaluation of this poem is: "It is the same as" I miss my son and dare not speak "(Nine Songs, Mrs. Xiang). (The Source of Ancient Poetry)
In ancient times, folk songs and proverbs were often combined. In fact, folk songs and proverbs have similar meanings, but they are different. Folk songs refer to singing without musical instruments; Proverbs refer to proverbs that use simple and popular fixed sentences to explain a certain truth.
There are few proverbs before the Yin and Shang Dynasties. There are many proverbs in ancient books, such as Zuo Zhuan, such as: "If you have an innocent heart, how can you be homeless" (Ming History); "The fox fur is velvet, one country is fair and fair, who is suitable for me" (Five Years of Xi Gong); "Auxiliary cars are dependent on each other, and their lips are dead and their teeth are cold" ("Xi Gongwu"); "The house is not divination, but the neighbor is divination" (Three Years in Zhao Gong). The upper limit of these proverbs is difficult to determine, and the content and form they reflect are quite mature. The first two situations are also proverbs, and the latter two situations are close to proverbs, and neither of them can be created by the ancients.
Many ancient proverbs are recorded in The Analects of Confucius, Mencius, Xunzi, Mandarin, Warring States Policy and Book of Rites. , which was produced and written later, is generally a neat epigram and a summary of people's labor and life experience.
Yi Shi
Poetry is often quoted in ancient books in pre-Qin period, and some poems exceed 305 in The Book of Songs, which was called "Yi Poetry" by predecessors.
The Book of Songs handed down from ancient times is not complete. For example, Xiaoya's six works, such as Nan Chang, Bai Hua, Shu Hua, You Geng, Chong Qiu and You Yi, are all found in Yili Township Drinking Ceremony and Yili Liyan. Mao Zhuan thinks that "words die", while Zhu Zhuan thinks that all six poems are "silent". Most scholars agree with Mao Chuan that he has passed away. And Ode to Shang Dynasty. According to Lu Yu of Mandarin, there were originally 12 articles. Up to now, only five articles have been included in The Book of Songs, and it is uncertain when the other seven articles will be lost. In addition, there are some missing sentences in The Book of Songs, such as the third chapter of Xiaoya Mianshui, in which there are 8 sentences in the first two chapters and only 6 sentences in the third chapter. Zhu is suspicious of the first two sentences; There are only four sentences in "Zhou Song and Wei Qing", which Zhu suspects is missing; Truffle Palace ***9 chapters, in the first five chapters, the first, second, third and fifth chapters are all 17 sentences, and only the fourth chapter is 16 sentences, which Zhu thinks is 1 sentence. Yao Jiheng's General Theory of the Book of Songs opposes Zhu Zhi's theory, so that there are no missing sentences in this poem, but the reasons are insufficient.
Poems quoted in pre-Qin ancient books, such as Xunzi Wang Ba, are like frost and snow, as bright as the sun and the moon. Do it and live, or do it or die. "Chen Dao" quoted "the country's life is too big to tell, which hinders its dedication"; There are some poetic sentences in Borrowing Mother, Zheng Ming and Fa Xing, but not in The Book of Songs. Another example is "Twenty-two Years of Zuo Zhuan and Zhuang Gong", "Skip the bike ride and recruit me with a bow. Don't you want to go? Fear of my friend, "and Zuo Zhuan's nine years of success, five years of" xianggong ",eight years of" xianggong ",thirty years of" xianggong ",four years of Zhao Gong, twelve years of Zhao Gong and twenty-six years of Zhao Gong are the same. However, it is still difficult to determine whether these poems were collected from the Book of Songs and then dispersed. There are also some other ancient books such as Mandarin and Analects of Confucius. The total number of these "escape poems" is not much.
The Book of Songs in Hao's Testament in Qing Dynasty has 1 volume, and the collection is relatively complete.
Sao style
Sao style is a poetic genre, named after Qu Yuan's work Li Sao. Because later generations often use Sao style to summarize Chu Ci, Sao style can also be called Chu Ci. Sima Xiangru's Changmen Fu, Da Ren Fu, Ban Gu's You Tong Fu and Zhang Heng's Si Xuan Fu are similar in genre to Li Sao, so the latter is also called Sao Style Fu. In this way, "Sao style" contains some fu similar in form to "Li Sao"
Sao style is a lyric verse created by Qu Yuan on the basis of Chu folk songs, represented by Li Sao, which is generally long in length, fleXible and irregular in sentence structure, with six or seven words and the word "xi" as an auxiliary word. In addition, it has been summarized in the past that the tone of "Sao" takes function words as the waist of the sentence, the difference between the words on the waist and the words at the end of the sentence is harmonious, and the homology is awkward; "Nine Songs" takes the word "Xi" as the waist of the sentence, and so does the sentence tone. Sao style can be called poetry or fu. After the Han Dynasty, the second half of Cai Yan's Poems of Sorrow and Indignation, Han Yu's Fu Zhi, Liu Zongyuan's Fu of Punishing Blame and Sheng Min's Fu can all be classified as Sao style.
The main writers of Sao style: Qu Yuan, Song Yu and Cai Yan.
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Qin and Han dynasties
Han Liang Yuefu
Yuefu was originally an official position in charge of music in Han Dynasty. Because of the special collection and arrangement of folk songs, later generations used Yuefu instead of folk songs. In the Six Dynasties, "Yuefu" and "ancient poetry" were put together more clearly to distinguish two kinds of poems, namely, songs that entered music and poems that satirized and chanted. After the Song and Yuan Dynasties, "Yuefu" was regarded as an elegant name for ci and qu.
Folk songs in the Eastern Han Dynasty were extremely active, which was closely related to Guangwudi's employment policy and superstitious divination. Guangwudi's "promoting officials, ministers, and ministers are forbidden to sit down, asking people's opinions, and watching rumors" prompted "those who slaughtered the city to compete for their officials." "Between Jianwu and Yongping, the official affairs were profound and extensive, and it was urgent to change Shou Chang with slanderers" (Preface to the Official Biography of the Later Han Dynasty). "Rumor" means "listening to people talk about good and evil" (a biography of Liu Tao in the later Han Dynasty). Emperor He once said, "Let people go to counties and counties to watch folk songs in incognito" (Li Hechuan in the Later Han Dynasty), and Emperor Ling also said that "I told officials to use slanderers as a secretariat, and two thousand stones harmed the people" (Liu Taochuan in the Later Han Dynasty). As a result, when the state official took office, he also "walked between the clothes" and "looked at the counties and cities and asked rumors" ("The Continued Biography of the Sheep in the Later Han Dynasty"). This employment policy and measures obviously encourage local officials and scholars to use folk songs to create public opinion and become a political means of party struggle. At the same time, Confucian scholars and alchemists who are engaged in divination often fabricate and use folk songs to tell the truth. Therefore, most of the ballads contained in relevant historical books are political and customary, and a considerable part of them are written by literati, and their collection has nothing to do with music officials.
The most valuable works of the two Han Yuefu poems today are more than 50 folk songs, some proverbs and poems written by a few named or anonymous scholars. Most of them are difficult to determine the writing period. Predecessors can refer to whether musical techniques conform to the will of ancient poetry, or infer ironic intentions by widely quoting historical events, but it is not enough to determine the writing period. Generally speaking, Eighteen Songs of the Han Dynasty was written in the early Western Han Dynasty or earlier because "only Chinese songs are the sound of military music" (Yuefu Justice by Zhu Gan), but the lyrics have not been sorted out for a long time, and the sounds and characters are mixed, which is not easy to understand. Harmony is an ancient China song. "Silk and bamboo are more harmonious, and those who hold the festival sing" (Song Le Shu Zhi). The Yuefu poem "The Book of Jin Yue Ji" has been published for twenty-six years: "There are all kinds of ancient poems of music movement, and it is widely rumored in the streets of Han Dynasty that" Lotus can be picked in the south of the Yangtze River ","Eighty-nine sons of martial artists "and" White-headed songs "were gradually accepted by Sixian, that is, the songs of Xianghe. Some of them are works of the Western Han Dynasty, but there are also works of the Eastern Han Dynasty, such as The Wild Goose Gate, which sings about what Luoyang did in Wang Huan in the Eastern Han Dynasty, not ancient poems. Zaqu is an unrecorded song in Yuefu, and its lyrics are also many works in the Eastern Han Dynasty. As for ballads and proverbs and their production by literati, there are some records or textual research, mostly works of the Eastern Han Dynasty. So there are two Han Yuefu today, and there are generally more works in the Eastern Han Dynasty than in the Western Han Dynasty.
Yuefu officials, like Huangmen, are close to advocating Excellence, which is despised in the traditional concept of clear personality and elegant and popular poetry and music. Emperor Han and Yuan loved music and appreciated Ding's understanding of music. Minister Stein criticized: "If the performers are among the silk, bamboo and drums, then Chen Hui and Li Wei (both advocated by the Yellow Gate) are taller than Kuang Heng, and they can also be patriotic." ("Han Shi Stan Biography") The emperor can't help but worry, and the literati must be more restrained. Yuefu songs are popular songs, and the lyrics of Wuqi miscellaneous words are popular styles (Zhi Yu's Essays on Parting). Therefore, the famous writer of the Western Han Dynasty "is a disciple of Wang, Yang, Mei and Ma, whose words are radical and silent" (Preface to Zhong Rong's Poems). Few Yuefu songs were written by scholars in the Eastern Han Dynasty. Before and after Shun Di and Emperor Huan, a number of five-character poems created by anonymous literati emerged among the people, namely, five-character "ancient poems" represented by Nineteen Ancient Poems, some of which were Yuefu songs, which were still sung in Wei and Jin Dynasties. In addition, Huangmen musicians in the Han Dynasty also wrote songs, such as Beauty in the North, Lin Yulang by Xin Yannian in the Eastern Han Dynasty and Dong Jiaorao by Song Zihou. Generally speaking, the achievements of Yuefu songs in the two Han Dynasties are mainly represented by folk creation.
There are two works of Yuefu songs, ballads and proverbs in Han Dynasty, namely Yuefu Poems by Guo Maoqian in Song Dynasty, Ancient Yuefu by Zuo Keming in Yuan Dynasty, Ancient Yuefu Collection by Feng Weine in Ming Dynasty and Ancient Yueyuan by Mei Dingzuo. Jin's Poems of Pre-Qin, Han, Wei, Jin, Southern and Northern Dynasties is a collection of predecessors' achievements.
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Jin Wei
Jian 'an Qizi
During the Jian 'an period (A.D. 196 ~ 220), seven writers were collectively called. It was Cao Pi who first put forward the "seven sons". He said in Dian Lun Papers: "Today's literati include Confucius of Lu, Chen Zhang of Guangling, Wang Shen of Wang, Xu Gan of Beihai, De Lian of Ru 'nan and Serina Liu of Dongping. Seven sons. There is nothing left to learn, nothing left to say, and salt is arrogant and arrogant. "These seven people generally represent outstanding writers except Cao Shi and his son during the Jian 'an period, so the theory of' seven sons' has been widely recognized by later generations.
The life of "seven sons" can basically be divided into two periods. In the early stage of the great social war at the end of the Han Dynasty, although their social status and life experiences were different, they could not escape the fate of sharing weal and woe. In the later period, they were all attached to Cao Cao, Kong Rong was a big official in Shaofu, RoyceWong was a servant, and the rest were close ministers of Cao Shi and his son. But Kong Rong later clashed with Cao Cao and was killed. Because these seven people joined Cao Cao at different times, there is no unified boundary between their early and late periods. Kong Rong was in the first year of Jian 'an (196), Xu Gan and Ruan Yu were in the early stage of Jian 'an, Chen Lin was in Jian 'an for five years, RoyceWong was in Jian 'an for thirteen years, and Liu Zhen and Angelababy were in Jian 'an for thirteen years. Corresponding to their life trajectory, the creation of "Seven Sons" can also be divided into two stages. The early works mostly reflect the reality of social unrest and express the feelings of worrying about the country and the people. His main works include RoyceWong's Seven Wounded Poems, Ode to the Building, Chen Lin's Drinking Horses in the Great Wall Cave, Ruan Yu's Driving Out of the North Gate, and Serina Liu's Gift to My Brother, all of which have practical significance and certain ideological depth. However, some works are too deep and sentimental, such as Ruan Yu's Seven Injuries Poems, Serina Liu's Lost Title, Heaven and Earth Never Meet, etc. His later works mostly reflect his support for Cao Shi's regime and his ambition to establish his own political achievements, and the content is mostly banquets and answers. However, some praises to Cao Shi and his son are accompanied by followers, showing vulgar attitudes. However, whether before or after, the creation of "seven sons" is mainly based on positive and healthy content.
The creation of Seven Sons has its own personality and unique style. Kong Rong is good at reciting prose, and his works are full of vigor. RoyceWong's poems, words and essays are famous for their kindness, and his works are lyrical. Serina Liu is good at poetry, and his style is desolate. Chen Lin and Ruan Yu, famous for their secretaries of chapters and sentences, also made some achievements in their poetry creation at that time. The difference in their styles is that Chen Lin is more energetic, while Ruan Yu is more natural and fluent. Xu Gan has both poetry and prose, exquisite writing style and soothing body. Angelababy is also good at poetry and prose, and his works are harmonious and literary. There are also similarities in the creative styles of "seven sons", which is the era style of Jian 'an literature. The specific content of this style of the times and the reasons for its formation are what Liu Xie said in Wen Xin Diao Long: Time Series: "When you look at the time, you are elegant and generous, good things are scattered in the world, the wind is declining and vulgar, and your ambition is deep and long, so the outline is rich and angry."
"Seven Scholars" have a very important position in the history of China literature. Together with the "Three Caos", they formed the main force of Jian 'an writers. They all contributed to the development of poetry, prose and prose.
In terms of poetry, "Qizi" mainly writes five-character poems. Five-character poetry is a new style of poetry that emerged in the late Eastern Han Dynasty. The appearance of "ancient poetry" in Huan and the spiritual world marks the initial maturity of five-character poetry. However, the excellent five-character poems of "Qizi" are full of emotions and changes, which make the five-character poems more exquisite in art. For example, Xu Gan's "Thinking about the House" is more delicate and profound than "Grass by the Green River" or "Lonely Bamboo in Ran Ran". Chen Lin's Drinking Horses in the Great Wall Cave and Ruan Yu's Driving Out the North Gate were both written before the end of the Han Dynasty, and their writing time was not necessarily later than that of Ancient Poems, so their importance in the development history of five-character poems deserves more attention.
In terms of Ci and Fu, the "Seven Scholars" wrote a lot of Fu Xiao, who made contributions to the further prosperity of Fu Xiao on the basis of the achievements of Zhang Heng and Cai Yong. There are three points worthy of attention in the small fu of Seven Sons: first, the scope of materials is expanded, and the civilian and daily themes further dilute the aristocratic nature of the previous big fu; Second, the function of reflecting social reality has been strengthened, and the number of works directly describing political events has increased; Third, the lyrical color is getting stronger and stronger. Cao Pi spoke highly of Qi Zi Fu in Dian Lun Zawen, and Liu Xie also expressed the same view in Wen Xin Diao Long Shi Fu. In particular, he thinks that RoyceWong and Xu Gan are the "fu capitals" of Cao Wei, saying that they can be juxtaposed with Song Yu, Sima Xiangru, Zuo Si and Pan Yue.
In terms of prose, Kong Rong's Zhang Biao, Chen Lin and The Secretary, Xu Gan and RoyceWong's prose were all unique at that time. Their * * * same advantage is that Cao Pi said that "literature is based on qi" (a classic paper), which embodies the author's unique temperament. The famous essays of "Qizi" include Kong Rong's Letter of Recommendation, Talking with Cao Gong about Xiaozhang Sheng, Chen Lin's Moving to Yuzhou, Writing Books for Cao Hong and Wang Wei, Ruan Yu's Writing Books for Cao Gong and Sun Quan, Wang Shen's Comment on Politics, and the Official History of Jingzhou Literature. Seven-Zi prose tends to be parallel prose in form, especially in Kong Rong and Chen Lin. Some of their works are arranged in antithesis and often use allusions, which has become an indispensable part in the process of parallel prose in the late Han Dynasty and the Western Jin Dynasty.
All the original collections of "Seven Scholars" works have been lost, and only Xu Gan's monograph on political ethics "On China" is left. In the Ming Dynasty, Zhang Qian compiled Confucius Shaofu Collection, Wang Shizhong Collection, Chen Jishi Collection, Ruan Collection, Liu Gonggan Collection and Yingdelian Xiulian Collection, which were included in 103 books of the Han, Wei and Six Dynasties. In Qing Dynasty, Yang compiled Seven Chapters of Jian 'an.
Primitive body
This is the title of Cao Fang, the third emperor of the Three Kingdoms from 240 to 249. However, the customary "Zheng Shi Style" refers to the literary style of the whole late Cao Wei period (240 ~ 265), including Zheng Shi.
From the stage of literary history, it is an important literary turning point to build an An and Tai Kang from the beginning. However, Zheng Shi's literature is not complete, but can be roughly divided into two schools. One school, represented by Yanhe and Wang Bi, is called "Wang He" in history. The authors of this school all live in Laozi and Zhuangzi, study Ming and Li, and like metaphysics. Most of them come from famous families and hold high positions. Most of their poems focus on expressing Taoist interest, entertaining Laozi and Zhuangzi, and roaming the mystery. Therefore, Liu Xie said, "Ming Dow is the beginning, and there is a fairy heart in the poems. Making peace with the people is superficial. " (Wen Xin Diao Long Shi Ming) The other school is represented by Ji Kang and Ruan Ji, including some of the "Seven Sages of Bamboo Forest". They also live in Shangzhuang, and they like to be explicit, but they also pay more attention to realistic contradictions. Their poems mainly express the feelings of real life, with profound content and superb artistic skills, and their achievements greatly exceed those of the previous generation. Ruan Ji's "Poems on Huai" is the best representative. Liu Xie said, "Only Ji Zhi is upright, and it is profound and profound, so it can be marked." (ditto) only points out the basic characteristics of their creation. However, most of the writers of this school are under the political pressure of Sima Group, and their situation is subtle and dangerous, so the sharpness and authenticity of their works are also limited to varying degrees. Generally speaking, Ji and Ruan inherited the legacy of Jian 'an literature and showed the characteristics of the times. Wang and He were out of touch with the literary tradition of Jian 'an, which opened the precedent of metaphysics in Jin Dynasty. The combination of these two factions constitutes the basic appearance of "Zhengshi".
Taikangti
This is a poetic style or style in the Western Jin Dynasty. Taikang (AD 280-289) was the title of Sima Yan, the emperor of the Western Jin Dynasty. The name "Tai Kang Ti" was first seen in Song Dynasty's Canglang Poetry. Yan said that this is based on Liang Zhongrong's poem, "In Taikang, there are three (Zhang Zai, Zhang Xie,), two land (Lu Ji,), two pan (Pan Yue, Pan Ni), one left (Zuo Si), the revival of Bohr, following the former prince of Wu, and ZTE articles." Zhong Rong's theory is an overview of the poetic style in the early and middle period of the Western Jin Dynasty. Yan Yu clearly refers to the poetic style represented by Zuo Si and Pan Yue in Taikang period, that is, what he called "discrimination is a language".
Before and after Taikang, the literary world in the Western Jin Dynasty was relatively prosperous, and many writers had many masterpieces handed down from generation to generation. Taikang's poems are generally represented by Lu Ji and Pan Yue. Their poems pay more attention to the pursuit of artistic forms, pay attention to gorgeous rhetoric and neat antithesis, and are "rich in ideas, rich in prose and beautiful in combination" (Song Lingyun Biography). Although the technique of poetry is more exquisite, it sometimes pursues form too much, and often loses itself in carving and becomes sluggish in brushwork. In a word, the general style of poets in this period is "to adopt its beginning, be softer than Jian 'an, or to analyze its writing as a wonderful thing, or to drift away" (Shi Ming, Carving Dragons with Literary Mind). But every writer still has his own uniqueness: "Pan Wen is shallow and clean, Lu Wen is deep and boring" (Shi Shuo Xin Yu Literature). Others, such as Zhang Xie, are famous for their novel words and "clever structure like words", and Zuo Si is unique in Taikang's poetic style. His poems are rich in content, simple in language and powerful in momentum. They are "beautiful as Meng De, simple but elegant like a child" (Selected Poems of Cai Jitang, Volume 11), without losing the legacy of Han and Wei Dynasties.
metaphysical poetry'
A poem with the main content of explaining Laozi and Zhuangzi and Buddhist philosophy. It began in the late Western Jin Dynasty and prevailed in the Eastern Jin Dynasty. Since the Wei and Jin Dynasties, the society has been in turmoil, and the scholar-officials have tried to hide their intentions in order to avoid the whole body. In the late Western Jin Dynasty, this trend of thought gradually influenced poetry creation. Especially in the Eastern Jin Dynasty, due to the prevalence of Buddhism, metaphysics and Buddhism gradually combined, and many poets expressed their understanding of Hyunri in the form of poems. The article "Wen Xin Diao Long Time Series" said: "Since China and North Korea were noble and mysterious, Jiangzuo was called Sheng. Because talking about residual gas has become a style, it is based on extreme sadness and helplessness to the world. Poetry must be the purpose of (Laozi) and the meaning of (Zhuangzi) Qiyuan. " Shi Shuo Xin Yu Literature Review quoted Tan Daoluan and Xu Jinyangqiu, and also pointed out that "crossing the river (referring to the Eastern Jin Dynasty) is particularly prosperous in Buddhism". Although the emergence of this school of poetry reflects the influence of metaphysics in Wei and Jin Dynasties on literature, its essence is different from that of early metaphysicists such as Wang Bi, Yan He, Ruan Ji and Ji Kang. By the late Western Jin Dynasty, metaphysics had become the ideological theory of the elite, and this theory was combined with Buddhist thought through the hand of Zhi Dun in the Eastern Jin Dynasty, which reflected the spiritual state of literati escaping from reality at that time. Sun Chuo and Xu Xun are representatives of metaphysical poets. Because most metaphysical poems are "exaggerated and tasteless" ("Preface to Poetry"), they lack artistic image and sincere feelings, and their literary value is not high, so most of their works are lost. Qi's Collection of Poems of Pre-Qin and Han Dynasties, Wei, Jin, Southern and Northern Dynasties consists of Sun Chuo's 12 poems and 3 poems. In addition, Preface to Lanting by Xie An and Wang Xizhi is also a typical metaphysical poem. However, because metaphysics in Wei and Jin dynasties advocated "forgetting the image with pride", natural scenery often appeared in the form of "words and images" in the works of metaphysical poets to appreciate the mystery. For example, Sun Chuo's poem Autumn is more literary. Xu Xun also has a beautiful sentence "Song Qing coagulates the marrow, autumn chrysanthemum loses its fragrance". There are also vivid descriptions of scenery in Lanting's poems. The tranquil artistic conception created by Xie Lingyun's metaphysical landscape poems and some of Tao Yuanming's poems seems to be somewhat influenced by metaphysical words.
Representative writers: Sun Chuo, Xu Xun, Xie An and Wang Xizhi.
The Seven Sages of the Bamboo Grove
The seven famous people in the Three Kingdoms at the end of Wei Dynasty were Ji Kang, Liu Chen Ruan Ji, Dan Tao in Hanoi, Xiang Xiu in Hanoi, Guo Peiliu Ling, Ruanxian in Liu Chen and Langxie Wang Rong. Because of their contacts with each other, they once got together under the bamboo forest in Yang Shan (now Xiuwu, Henan) and were called the Seven Sages of Bamboo Forest in the World. Seven people have slightly different ideological tendencies. Ji Kang, Ruan Ji, Liu Ling and Ruan Xian always submit to Zhuang Zi. The more famous they are, the more natural they are. Dan Tao and Wang Rong are good at Laozi and Zhuangzi and integrate Confucianism, while Xiang embroidery advocates the unity of Taoism and nature. There are obvious differences in political attitudes. Ji Kang, Ruan Ji and Liu Ling. They are officials of Wei, but they don't cooperate with Sima Group, which is in power and has become a substitute. After Ji Kang was killed, Xiang Xiu was forced to become an official. Ruan Xian worked as an assistant minister in the Jin Dynasty, but he was not valued by Sima Yan. At first, Dan Tao was invisible, but after the age of 40, he became an official and took refuge in Sima Shi. He served as minister, assistant, Si Tuleideng and other official positions. And became a senior official of Sima Shi's regime. Wang Rong is stingy, rich and famous. After entering Jin, he served as assistant minister, official minister and Stuart. For a long time, he served as an official in Emperor Wu of Jin Dynasty and Hui Di Dynasty, until the Eight Kings Rebellion, he still lived a leisurely life and did not lose his position.
Seven people have different achievements in literary creation. Ruan Ji's five-character poems and Ji Kang's prose both occupy an important position in the history of literature. The fu of Xiang embroidery is short and affectionate, also known as a masterpiece. Liu Ling has an essay "Ode to the Virtue of Wine", and its style is quite close to Ruan Ji's biography of Mr. Adults. His five-character poems also have a certain level, but there are not many existing works. Ruan Xian was proficient in temperament, but left no literary works. Although Dan Tao and Wang Rong are good at expressing clearly, they don't seem to be longer than writing. There are five volumes of Dan Tao recorded in The Annals of Sui Shu Classics, and the lost articles are all narratives, which are of little literature value. Wang Rong's works are rare.
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Southern and Northern Dynasties
lines
Generally refers to all kinds of poetic styles other than the formal style of classical poetry. Most of these poems change their form, syntax, rhythm and prosody in a special way, and become unique and peculiar works, generally with the nature of word games. In the Ming Dynasty, Xu Shizeng's Distinguishing Style said: "According to the poem, there are various styles: one is clumsy, the other is wasp waist style, the third is broken string style, the fourth is clause style, the fifth is stealing spring style, the sixth is rhyme style, the seventh is plate style, the eighth is reciting style, the ninth is missing sentence style, the tenth is overlapping style, the eleventh is writing style, and the twelfth is clumsy. In fact, there are more than these that can be classified as miscellaneous poems. Such as Tibetan poems, spiritual bodies, pulley bodies and so on. Most of the miscellaneous poems were written by literati in the Han, Wei and Six Dynasties. Although they showed a certain ability to think skillfully and master words, the "improper style of the final poem" (preface to Wu Ne's Discrimination of the Style of Articles in Ming Dynasty) cannot be regarded as a formal literary work.
Yuefu poetry
Originally a music official office, it was located in the Western Han Dynasty. In charge of the music used in the temple, making music scores, training musicians and collecting folk poems and songs. Later, the songs collected and created by Yuefu officials were collectively called "Yuefu Poetry", or simply "Yuefu". Later generations also refer to poems that can be appreciated since Wei, Jin and Tang Dynasties and works that imitate the ancient theme of Yuefu by later generations as "Yuefu". Ci, Sanqu and opera in Song, Yuan and Ming Dynasties are sometimes called "Yuefu" because of their coordination with music.
Palace poetry
A school of poetry popular in the late Liang Dynasty and Chen Dynasty. The name "Gongti" first appeared in Xiao Gang's comment in "Liang Shu Jian Wen Di Ji": "It was injured by lightness, so it was called Gongti at that time". However, this poetic style began with Liang Wudi, Wu Yun, He Xun and Liu Xiaozhuo. The main authors of palace poems are Xiao Gang, Xiao Yi and some scholars gathered around them, such as Xu Gan, Yu Jianwu and Xu Ling. Chen and his attendants can also fall into this category. The criticism of palace poems has always been that many palace poems pay attention to women's life and posture. In fact, the content of palace poems is not limited to women's lives, but there are also some lyric works that praise things. Even when writing about women's lives, only a few of them have low styles. Generally speaking, the artistic conception of palace poems is frivolous and the poetic style is soft and light. As for Xiao Gang and Xiao Yi, known as palace poets, they also wrote many beautiful and readable works. As for Yu Jianwu and Xu Ling, there are also some excellent poems.
Judging from the history of poetry development, palace poetry plays two roles. On the one hand, the poetry in the early Sui and Tang Dynasties was relatively weak, which was somewhat influenced by it; On the other hand, it tends to be more metrical than the eternal style in form. "Biography of Liang Shu Xu Biao" said that Xu Biao "belongs to the new style and does not stick to the old style". This "new change" is the formal feature of palace poetry. According to some scholars' statistics, about 40% of palace poems conform to the rhythm of poetry; The number of basic matches is particularly large. It can be seen that "Palace Poetry" plays an important role in promoting the formation of regular poetry in later generations. As for its rich allusions and beautiful rhetoric, it also has a certain positive effect on later generations. For example, the poems of Li He and Li Shangyin in the Tang Dynasty obviously absorbed some techniques of "Palace Poetry".
Representative writers: Xiao Gang, Xiao Yi, Xu Gan, Yu Jianwu and Xu Ling.
Xu yuti
Refers to the poetic styles of Xu Jian and Xu Ling, Yu Jianwu and Yu Xin in the Southern and Northern Dynasties. Xu Jian and Yu Jianwu, poets at the end of the Southern Liang Dynasty, were both poets valued by Xiao Gang, who were famous for writing erotic poems. Xu Ling and Yu Xin became officials in their early years, and their poetry style was inherited from their parents. They are more beautiful and use more classical poems. Xu Ling later became an official and continued to write erotic poems. Yu Xin was left in the Northern Zhou Dynasty because of his mission, and his poetry style changed in the later period, which was desolate and vigorous, and Xu Ling was far behind. However, its characteristics of emphasizing rhetoric and using allusions are still similar to Xu. In Tang Dynasty, Yuan Zhen wrote an epitaph for Du Fu, and once summarized the characteristics of "Yu Xu" as "flowing beauty", which is from the perspective of poetry. As far as parallel prose is concerned, it refers to Xu Ling and Yu Xin in particular. Compared with their predecessors Shen Yue and Ren Fang, they pay more attention to the use of allusions and write more beautifully. However, due to the rigid use of allusions, sometimes individual sentences are not fluent, which affects the fluency of the article.
Jiang Shiquan in the Qing Dynasty said: "After all, the Tang Dynasty was slow but not easy, beautiful but not fast. Xu Xiaomu (Xu Ling) escaped without hesitation. Yuzishan (Yuxin) combines leisure and leisure, so it is unique throughout the ages. " Although this passage has been highly praised, it points out the similarities between Xu and Yu, and points out that Yu's parallel prose is superior to Xu Ling, which is a fair theory.
Connecting poem
One of the ways to write poetry in ancient times was that two or more people wrote a poem and connected it together. The earliest couplets in Old Biography began with the poem Bai Liangtai written by Emperor Wu of the Han Dynasty. The poem consists of seven words and twenty-six sentences, consisting of twenty-six people, one meaning and one rhyme. Later generations also called it "Bailiang Style". However, according to later research, this poem is a forgery and unreliable. promote