With the formalism disadvantages of parallel prose being more and more recognized by people, people constantly come out to oppose it. As early as in West Wei Wendi, Minister Su Chuo wrote an imperial edict for the emperor's temple, imitating the imperial edict system of Shangshu, and replacing the parallel style with the ancient Olympic style in Shang and Zhou Dynasties, but it failed. When Emperor Wendi was in the reign of Emperor Wendi, he wrote that "both public and private people can read, so it should be recorded", "Abandon the Chinese flag" and "hand over the punishment of Sima You, the secretariat of the state". At that time, Li Jue wrote to Emperor Wendi of Sui Dynasty, and since the alignment and beam, he has "sought the emptiness by reserving differences, the strangeness of a rhyme and the cleverness of a word"; The floating style of the article, which does not show the shape of the moon, is full of cases and only shows the shape of the clouds, and has been severely criticized. However, they did not fundamentally oppose the form of parallel prose, so they did not stop the momentum of parallel prose development. In the Tang Dynasty, parallel prose was still popular. In the early Tang Dynasty, Liang's parallel prose was called "shallow and complicated in meaning", "hidden in words, light and dangerous in words", which was "the voice of national subjugation" (An Introduction to Sui Shu Literature).
Wang Bo and Yang Jiong, among the "Four Masters", also put forward the requirements of reforming the style of writing. Yang Jiong once pointed out in the preface that the literary world at that time was "striving for slim structure and carving", "spineless, strong and ignorant", and called Wang Bo "thinking about its disadvantages and using light to make a career". In the era of Wu Zetian, Chen Ziang further put forward the idea of "retro" innovation, and his famous Preface to the East Zuoshi directly influenced the ancient prose movement in theory. His essays on events are "simple and simple", and Xiao in the prosperous Tang Dynasty even claimed that "anyone who mentions something must learn ancient Chinese". In creative practice, Chen Ziang was also the first person to learn the Western Han language in the Tang Dynasty. Therefore, Han Yu spoke highly of him and said: "The country is rich and the people are strong, and the children begin to dance high." ("Recommended Scholars") With the growing voice against extravagant style of writing, a literary reform movement is imperative.
However, it is difficult to return. Although the impetuous style of writing was repeatedly impacted, although more and more people wrote in prose at that time, a large number of pioneers of the ancient prose movement appeared, such as Xiao, Li Hua, Jie Yuan, Du Fu, Liang Su and Liu Mian. Until the middle Tang Dynasty, parallel prose still maintained considerable power and stubbornly occupied the territory. Liu Zongyuan once described the situation that parallel prose was appreciated by people at that time, saying: "Brilliant prose is trivial. Draw yellow dialogue and run away. Parallel to four wives and six wives, the heart is embroidered. Palace sink feather vibration, sheng spring tentacles. The viewer dances and talks about thunder. " (Qiao Qi Wen) From opposing the flashy and frivolous style of writing to explicitly abandoning parallel prose. Although he was weak, lacked successful creative practice and could not be vulgar, he made necessary preparations for the Korean ancient prose movement and the Liu ancient prose movement. It was not until Han Yu and Liu Zongyuan came out to advocate the ancient prose movement that they gave it a fatal blow.
Han Yu and Liu Zongyuan opposed parallel prose and advocated ancient prose, which experienced a hard struggle at that time. In his essay with Su Feng, Han Yu described it as unacceptable to write ancient prose: "A servant has been a writer for a long time, and whenever he thinks he is good in his mind, he will think he is evil. A small name means a small person; Say what you want to say, people will be very strange. " Liu Zongyuan also described the experience of Han Yu's tit-for-tat struggle with "vulgarity" in "Answering Wei Zhongli's Teacher's Taoist Book": "Han Yu ignored vulgarity, laughed and scolded, and learned after being scolded; ..... fruit group strange scold, refers to the eye traction, add to the speech. The more famous he became, he lived in Chang 'an, could not cook, and was banished to the East. If there is, count. "But after such fierce confrontation, the situation has finally changed. Disciple Han Yu summed up the process and result of this struggle very briefly in the Preface to the Collected Works of Mr. Changli: "People laugh when they are first surprised, but they are right in the middle. Although Mr. Li is strong, he will die eventually." After the tenacious struggle and unremitting efforts of Han, Liu and their disciples, the ranks and momentum of the ancient prose movement continued to expand, and the struggle against formalism finally won.
In order to resist the long-standing parallel prose, Han and Liu moved out of the prose tradition before the pre-Qin and Han dynasties and used parallel prose as a weapon. In response to Li Yi's book, Han Yu argued that "the books of three generations and two Han dynasties dare not be read, and the aspirations of saints dare not be preserved". In his reply to Wei Zhongli's book Teacher's Way, Liu Zongyuan advocated that the five classics should be based on the original works, and should be included in Meng, Xun, Zhuang, Lao, Liang Zhuan, Mandarin and Historical Records. It is here that prose is called "ancient prose" and this innovation is called "ancient prose movement".
The ancient prose movement is not only a style innovation, but also its goal, including "Tao" and "Wen". Han yu's theory of ancient prose. The first point is that it is said. He advocated the revival of Confucianism and Taoism in ancient Chinese, put forward Confucian orthodoxy, and claimed to be the successor of Taoism. His advocacy of Confucianism and Taoism not only strictly maintained the feudal hierarchical oppression system, but also solved practical contradictions in view of reality, such as uniting against the separatist regime of the buffer region, rejecting Buddhism and Taoism with Confucianism, and solving the problem that the expansion of the two religions increased the burden on the people. Therefore, his ancient prose theory is to solve the relationship between literature and Taoism, and the relationship between articles and politics and religion. Tao is the end, and literature is the means. The second point puts forward the viewpoint that injustice is the voice, which adds vitality to his ancient prose theory and opens up the field of ancient prose reflecting reality, which is realistic and combative. The third point puts forward the writer's accomplishment and literary spirit. It is emphasized that writers should have the foundation of ideological cultivation, and only with cultivation can they have "qi", and only with "qi" can they use language properly. This is his theory of ancient prose creation, which further solves the relationship between content and form. The fourth point puts forward a new standard of prose. His banner is to restore the ancient prose in the pre-Qin and Han dynasties, which is essentially to inherit the tradition of the pre-Qin and Han dynasties, absorb contemporary grammar and language, and create more popular and expressive medieval prose. His prose proposition laid a solid foundation for the development of China's ancient prose, that is, Tang and Song prose. Han Yu said, "The older you are, the more you can understand its sentences. Thinking about the ancients without seeing their people, learning the ancient road and wanting to pass on their words, those who pass on their words also feel the ancient road. " ("After Ouyang Sheng's funeral")
Liu Zongyuan's theory of ancient prose movement. He advocates "being a writer", which is not different from Han Yu's theory that Tao is embodied in literature, but the specific content of Tao is not the same. Liu Zongyuan belongs to the reformist school politically because of his ideological tendency of simple materialism, and his so-called "Tao" also contains more progressive contents. In the viewpoint of historical development, Liu Zongyuan believes that the development of history depends on the "potential" naturally formed in the objective development of history, not on the "holy will". That is, the root of development lies in objective reality, not in the minds of saints. In the view of social chaos, he believes that social security lies in people, not in the sky, and "order is not in the sky, but in people." The emperor's maintenance of the throne is not an act of god, but a human heart. Therefore, his "Tao" emphasizes saving the world and drowning, that is, relieving people's suffering and making society peaceful. So he said, "As far as Tao is concerned, it is as good as the thing itself." . To access roads and things, that is, to act on society and people. He also clearly put forward "taking strangers as his own responsibility". "Stranger" means "stranger" refers to people. Secondly, Liu Zongyuan emphasized the social function of literature, advocated that articles should be "beneficial to the world" and opposed useless articles that only "choose colors and praise voices for energy". Third, on the premise of content-oriented, attach importance to artistry. That "words without words are mud" just can't be popular. He also said that vulgar words were enough, but "lack of literary talent" was not enough to arouse people's hearing and hearing at that time, which impressed later scholars, and achieving "immortal words" was also something that gentlemen did not take.
It is worth noting that they all realize that "Tao" is expressed through "Wen", and "Wen" is used to express "Tao", which involves the dialectical relationship between the content and form of the article. For prose writing, it is required that the ideological content is substantial, the words are meaningful, and the language is natural and vivid to serve the expression of ideological content; We should not only reverse the long-standing flashy style of writing from the ideological content, but also reverse the tendency of parallel prose that is increasingly divorced from spoken language from the linguistic form. Han, Liu and others have written many prose works with more specific content and language closer to spoken English, and have put their theoretical ideas into practice.
Han Yu and Liu Zongyuan advocated ancient prose in Zhenyuan and Yuanhe years, gradually formed an influential team, and had a systematic and clear theory of ancient prose and successful creative practice, thus breaking the ruling situation of parallel prose and reviving the position of ancient prose in the literary world.
Han Yu's prose creation. His articles have various styles, and each school has excellent articles. It can be roughly divided into five categories: the first category is prose. Most of his essays are realistic and targeted, dare to put forward some bold opinions and are confident. Generally speaking, the pattern of the article is neat and clear, and it has the power of logical reasoning. Outstanding are the original Tao and the teacher's theory. This category also includes an essay-style essay, which is short, pithy, interesting, serious and ingenious. Such as Get Lin Jie, Miscellaneous Notes, etc. In essence, it is argumentative, and in terms of its article form, another category can be set up, namely prose. The second category is narrative. This kind of article inherits the fine tradition of documentary articles such as Historical Records, is good at selecting and describing materials, can portray characters, and often combines discussion, narration and lyricism to enhance ideological and touching power. Outstanding as the biography of Zhang Zhongcheng. The third category is lyrics writing. This kind of article is often good at describing feelings with trivial matters, and its writing is simple and touching. Prominent such as "Sacrifice to Twelve Lang Wen". The fourth category is practical writing, that is, a kind of works with foreword of letters. This kind of works are often very vivid and eclectic, indicating the author's views and attitudes. For example, Preface to Send Dong Shaonan to the North of the River, Preface to Send Li Yuan back to Pangu, and Book with People of the Times as the Theme. The fifth kind of prose with banter. This kind of articles inherited Dong Fangshuo's humorous articles such as Answering the Guest, and used interesting writing to vent their grievances and anger. For example, Jin Xuejie, seeing the poor, and the biography of Mao Deguang.
Liu Zongyuan's prose creation. The first category is argumentative essays. The main features of his essays are meticulous thinking, strong arguments and sharp writing style. Feudalism can be represented. The second category is biography. His biography is clearly divided into two types. One is to tell the story of the characters, such as Shi Xiu's extraordinary behavior of controlling violence and protecting the people in the middle of Duan Taiwei's Anecdote, and the story of children's wisdom and courage in the biography of thoroughfare. The other is to play a political role in biographies. Most of the characters are urban and rural underclass, but the focus is on the part where their personality, skills and politics are interlinked, so choose a place where the spirit of the rule of law can be fully exerted. For example, The Biography of Zi Ren gave full play to the principle of being the prime minister through the Biography of Zi Ren created by the commander-in-chief, and The Biography of Planting Camels gave full play to the principle of serving the people through the Biography of Planting Trees. The third category is allegorical sketches. There are many fables in pre-Qin philosophers' prose and historical prose, but most of them are individual parts of the article. Topic Zongyuan inherited and developed this tradition, making it an independent style. His fables and sketches are written for a certain phenomenon in society, which contains profound lessons or irony, vivid images and full of fighting edge. The most prominent ones are Three Commandments, Zhuan Shuo, Biography of Slugs, etc. The fourth category is landscape travel notes. His masterpiece is Eight Records of Yongzhou. One of its characteristics is that it can describe the wonders of Yongzhou mountains and rivers. The scenery written in the eight travel notes is unique and different. The second feature is that the poet's life experience and noble sentiment permeate the landscape description. Mao Kun's so-called "spitting out the air in his chest" has made his feelings injected into landscape travel notes particularly attractive.
In a word, the main contribution of the ancient prose movement in Tang Dynasty in the history of China's ancient prose development is to reverse the formalist trend of thought that has ruled the literary world for a long time, inherit the fine tradition of early prose, and innovate and develop, thus creating a new situation in prose creation and determining the development direction of ancient prose. The mainstream of prose in and after the Song Dynasty continued to develop on the basis of the ancient prose movement in the Tang Dynasty.
Of course, this does not mean that after an ancient prose movement, there will never be a formalism countercurrent in the literary world again. In fact, after Liu Han, there are two general trends in the development of the ancient prose movement in the Tang Dynasty: one is that Li Ao, as the representative, tends to explain, narrowing the scope of reflecting reality; Second, Huang Fushi, Sun Qiao and others "pursue the strange", which makes the article obscure and difficult to understand, which is not conducive to the development of ancient Chinese prose. The essays of Pi Rixiu, Lu Guimeng and Luo Yin appeared in the late Tang Dynasty, which were short, pithy and sharp, adding luster to the literary world in the late Tang Dynasty. From the Five Dynasties to the early Song Dynasty, Yan Feng revived, and the Kunxi School, represented by Yang Yi and others, appeared in northern Song Zhenzong. "It is necessary to divide words even, and count them as the present language to praise each other" (Preface to the Collected Works of Ouyang Xiusu).
There were many poets in the Tang Dynasty. Li Bai, Du Fu and Bai Juyi are of course world-famous great poets. Besides them, there are countless other poets, like the stars all over the sky. There are more than 2300 famous poets today. More than 48,900 of their works are preserved in the whole Tang poetry. Tang poetry has a wide range of themes. Some of them reflected the class status and class contradictions of the society at that time and exposed the darkness of feudal society; Some praise the just war and express patriotic thoughts; Some depict the beauty of the motherland's rivers and mountains; In addition, some people express their personal ambitions and experiences, some express their children's love, some tell the friendship of friends, the joys and sorrows of life and so on. In short, natural phenomena, political dynamics, working life, social customs and personal feelings can't escape the poet's keen eyes, making their writing the theme. In terms of creative methods, there are both realism and romanticism, and many great works are examples of the combination of these two creative methods, forming an excellent tradition of China's classical poetry.
There are various forms of Tang poetry. There are basically two kinds of ancient poems in Tang Dynasty: five-character poems and seven-character poems. There are also two kinds of modern poems, one is called quatrains, and the other is called metrical poems. Quatrains and metrical poems are five words and seven words respectively. Therefore, there are basically six basic forms of Tang poetry: five-character archaic poetry, seven-character archaic poetry, five-character quatrains, seven-character quatrains, five-character rhythmic poems and seven-character rhythmic poems. Classical poetry has a wide range of requirements for rhyme and meter: in a poem, the number of sentences can be more or less, the chapters can be long or short, and the rhyme can be changed. Modern poetry has strict requirements on rhyme and meter: the number of sentences in a poem is limited, that is, four-line quatrains and eight-line meter poems. The words used in each poem have certain rules, and the rhyme cannot be changed; Rhyme also requires that the middle four sentences become antithesis. The style of ancient poetry is handed down from the previous generation, so it is also called ancient style. Modern poetry has strict rules, so some people call it metrical poetry.
The forms and styles of Tang poetry are colorful and innovative. It not only inherited the tradition of Han and Wei folk songs and Yuefu, but also greatly developed the singing style. It not only inherited the five-character or seven-character ancient poems of the previous generation, but also developed into a long and huge system of narrative romance; It not only expanded the use of five-character and seven-character styles, but also created modern poems with particularly beautiful and neat styles. Modern poetry was a new style of poetry at that time, and its emergence and maturity was an important event in the history of Tang poetry development. It pushed the artistic features of China's ancient poems with harmonious syllables and refined words to an unprecedented height, and found a typical form for ancient lyric poetry, which has been especially loved by people so far. However, the metrical poems in modern poetry are easy to be bound because of their strict metrical restrictions, which is a major defect brought by their advantages.
/question/4 1362786.html