Preface: The history of the development of poetry in the Qing Dynasty can be traced back to the Ming Dynasty. The ancient words of Li Mengyang and He Jingminggong in the program, and the poems and sentences are all imitated by the ancients. The claim of poetic retro begins here. During the Longqing period of the Ming Dynasty, Wang Shizhen and others advocated that the text should be imitated in the ancient scriptures and the Hundred Sons and Hundred Families, and written solemnly and solemnly. Wang Shizhen also proposed that poetry should be marked with sheng tang. The Tang Dynasty was divided into the Early Tang Dynasty, the Sheng Tang, the Middle Tang Dynasty, and the Late Tang Dynasty, and Li Taibai, Du Zimei and others were poets of the Sheng Tang Dynasty. He Jingming preferred to take the earlier poetry of the Early Tang Dynasty.
In short, most of these people's poems are pseudo-antique. At the same time that the retro trend of thought flourished in the literary world, the voices opposing the antique appeared. For example, Zhong Yi, Tan Yuanchun, and Yuan Hongdao violently criticized the retro trend. They argue that poetry is a true expression of human nature, and that creation should be freewheeling and spontaneous. Although this kind of poetry was also popular for a while, it was extreme in China after all, and eventually failed to spread widely. At the end of the Ming Dynasty, although Chen Zilong and others also advocated poetry retro like Li Mengyang and He Jingming before them, they were no longer blindly bound by it. The dazzling poetic controversy of the Ming Dynasty was finally restored to justice by Chen Zilong.
Qian Qianyi portrait
<h1 class="pgc-h-arrow-right" > the style of the famous poets of the early Qing Dynasty</h1>
In the poetry circles of the early Qing Dynasty, everyone had money and humility, Wu Weiye and others. Although they have established another portal, they are deeply influenced by the Ming Dynasty literary scholar Chen Zilong. Qian Wu and his wife can be described as the founding fathers of Qing Dynasty poetry. Although Gu Yanwu's poetry in the early Qing Dynasty was deeply rooted and of a very high level, it was not without influence on future generations, but it was not widely circulated.
In short, the poets of the Qing Dynasty were Qian Qianyi and Wu Weiye. Later, Qian Qianyi's name was gradually forgotten, or more precisely, erased. Qian Qianyi was originally a Ming courtier, and after his demotion, he was again a high-ranking official. Although he was a high-ranking official, he denigrated the Qing Dynasty, repeatedly writing poems to suggest that he was not willing to submit to the Yidi clan of the Qing Dynasty, but that he was already extinct, and Shi Qingshi was helpless. Qian Qianyi's move provoked the qianlong emperor to be furious and to ban all his poetry collections.
Wang Yuyang's poems
Over time, qian Qianyi's name has been forgotten by the world. Many years later, the famous Wang Yuyang inherited the legacy of Qian Qianyi and Wu Weiye and became the founder of the Poetry Style of the Qing Dynasty. In addition, Gong Dingzi, together with Qian Qianyi and Wu Weiye, was called the third grand master of Jiang Zuo. Wu Zhaoqian below is a poetic genius. He was exiled to Manchuria for his sins, so many of his poems were related to Manchuria. The emotional southern poet came to the cold and desolate northern land, and this experience gave Wu Zhaoqian's poems a special flavor. In short, the founders of the poetry style of the Qing Dynasty were Qian Qianyi and Wu Weiye.
<h1 class="pgc-h-arrow-right" > the style of famous poets during the Kangxi Yongzheng period of the Qing Dynasty</h1>
Wang Yuyang, who came down again, can also be called the "ancestor of Qing poetry". Wang Yuyang's poetic style is known as the "Shen Yun School" or "Style School" by the world. Most of his poems use ancient scripts, never randomly, and are read with endless rhyme and are highly respected. Someone once commented that Wang Yuyang's poetry was "like a Huayan pavilion, which appears at the snap of a finger." This phrase comes from the Huayan Jing, which originally meant that the palaces and pavilions of the paradise world in the Huayan Jing would appear in the air, and here it describes the charm of Wang's poems.
Statue of Wang Yuyang
In short, Wang Yuyang's poems mark the charm and are unique. But Wang Shi also has a major drawback, that is, the use of canons. Although the use of the dictionary can show the poet's knowledge, but if it is used too much, it is impossible to control it freely, and the talent is weak. Shi Yanzhang once criticized, "Wang Yuyang's poetry is like casting magic, with a snap of a finger, there are pavilions in the air; while his own poetry is like building a house, from laying foundations and pillars to building roofs, brick by brick, all from the flat ground."
In short, people praise and deprecate Wang Yuyang's poetry. Although Wang Yuyang was not as rigid as Li Mengyang and He Jingming, he also highly respected Tang poetry. Around the same time or a little later, there was a man in the poetry world named Cha Shenxing. Zha Shenxing did not like the difficult poetic style of the Tang Dynasty, but took the poems of Bai Lotte and Su Dongpo, thus laying the tone of his natural and smooth poetry. Zhu Yizun was also a poet of this period. Zhu Yizun's early works were obscure and serious, and later he entered poetry with learning and became casual and free. The above three Wang Yuyang, Zhu Yizun and Zha Shenxing were all poets during the Kangxi Yongzheng period.
Portrait of the Qing Dynasty poet Zhao Zhixin
Since then, famous poets have emerged. Although Wang Yuyang was elected as a generation of poets, he was gradually opposed. Wang Yuyang had a relative named Zhao Zhixin. Zhao Zhixin once asked Wang Yuyang for advice on ancient poetry, but Wang Yuyang did not teach him. Zhao Zhixin then relied on his own groping to compose poems, demeaning and attacking Wang Yuyang at every turn. At this time, the poetry circle already had Chai Shaobing, Mao Xianshu and others, known as the "Ten Sons of Xiling". Xiling Shizi organized poetry clubs in Hangzhou Chuangdeng Lou Society. Famous poets in the Guangdong area include Qu Dajun, Liang Peilan and others. These are some of the great masters of poetry during the Kangxi Yongzheng period.
Portrait of the Qing Dynasty poet Shen Deqian
<h1 class="pgc-h-arrow-right" > the style of famous poets during the Qianlong Jiaqing period of the Qing Dynasty</h1>
The poetry of the Qianlong Jiaqing period inherits the basic style laid down during the Kangxi Yongzheng period. Succeeding Wang Yuyang's faction was the famous Shen Deqian. Shen Deqian was a long-lived man who was deeply favored by the Qianlong Emperor. The Wang Yuyang poetry school was highly respected by Shen Deqian, and its sect was later passed on by Wang Chang, which was the right vein for Wang Yuyang. It was only at that time that the overall fashion of the poetry world had gradually shifted from Wang Yuyang to other genres.
For example, the famous Yuan Ming vigorously opposed Wang Yuyang's poetry. Wang Yuyang's poems follow the ancient law, pay attention to shen yun, and are decent; Yuan Ming's poems are more free and free to do whatever they want. What Yuan Mei represents is the "Sexual Spirit Sect" that is in direct opposition to the Style School. The Sexual Spiritualists advocate that only by expressing their chests can they be described as poetry, and oppose the mud and the ancients, and stick to the stereotypes.
Qing Dynasty poet Zhao Yi
The three great poets of the Qianlong Jiaqing period are Yuan Ming listed here, as well as Jiang Shiquan and Zhao Yi. Jiang Shiquan was serious and rigorous; Yuan Mei and Zhao Yi were more extreme, and Zhao Yi was the most extreme. Zhao Yi believes that as long as poetry is spontaneous, it is harmless to be a harmonious work. Among the generations, Zhao Yi most admired Zha Shenxing, and also took more methods from Zha Shenxing. Although Zhao Yi did not openly oppose Wang Yuyangzhi's theory, he respected the orthodoxy of Zha Shen's behavior in the poetry world.
In short, Yuan Mei clearly opposed Wang Yuyang; Zhao Yi took the law to investigate and act cautiously, secretly opposing Wang Yuyang. In the middle of the Qing Dynasty, the poetry world was already quite disgusted with Wang Yuyang's poetry, and these ideas became a temporary trend.
The poets who appeared before and after this were listed in the "Outline", and some of them did not belong to Yuan Ming's faction. During the period from Qianlong to Jiaqing, with the passage of time, poetry was no longer as vigorous and powerful as QianJiasan, but became elegant and elegant. Zhang Wentao, Yang Fangcan and the poets who followed them in the "Gangmu" are all known for their elegant and elegant poetic style. Interestingly, in the eyes of Chinese, all poems must have some feelings in their hearts; poetry is expensive in confiding in the heart and true feelings; and the simple pursuit of elegance and skill is not the right way of poetry. Therefore, after Daoguang Xianfeng, the style of poetry changed again.
Qing Dynasty poet Gong Zizhen
<h1 class="pgc-h-arrow-right" > the style of famous poets after Daoguang Xianfeng in the Qing Dynasty</h1>
After the Daoguang Xianfeng, the world was turbulent. The poet was greatly stimulated. They found that the days when they could sing the sound of peace at ease were gone. Among the poets since Daoguang Xianfeng, Gong Zizhen is arrogant and uninhibited, and his poetry has never been eclectic. At the same time, Wei Yuan, Ouyang Shaoluo, Mao Guiming and other Hunan poets appeared. These Hunan poets pursued a jerky and skinny poetic style. Zeng Guofan also belonged to this faction.
The poetic style of these people is quite individual, and is generally known as the "Jiangxi Poetry School". They proposed that poetry should first be written in the Song Dynasty from Su Dongpo and Huang Valley, and then to Li Yishan and Du Fu in the Tang Dynasty. Even people who do not have talent can learn to write poetry according to this. As long as you are willing to study and study hard, you can learn the poetry of Su Huang, especially the poetry of the Yellow Valley. After that, you can further learn the poems of Li Yishan. Li Yishan's poems are euphemistic and subtle, not straight and not explicit. On the next level is Du Fu.
Poetry of Saint Du Fu
However, most people stagnated around the Yellow Valley. Because it is not easy to achieve Du Fu's poetic realm, and it is true that few people can do it. In short, the Jiangxi poetry school advocates learning to compose ancient poems in this order. This is the situation after Daoguang Xianfeng. In earlier periods, under the influence of Zha Shenxing and others, the poetry circle vigorously guarded against the delicate and frivolous style of the sexual spiritual school during the Qianlong Jiaqing period, and advocated the inclusion of learning in poetry. But after the Daoguang Xianfeng, the changes in the world made people sigh and sigh. Strong, powerful, heavy and tragic poetry has gradually become the mainstream, and it has been so until recent days.
Most of the poets listed since then also belong to the Jiangxi poetry school. Among them, Zhang Zhidong and others especially respect the Poetry Style of Jiangxi. In the "Outline", it is written that "after Qianjia, most of the families were born from Su Huang into Yuxi to spy on the Ministry of Works", of which Yuxi Sheng refers to Li Yishan, and the Ministry of Works refers to Du Fu. When the Jiangxi school of poetry was prevalent, the style of poetry once changed, and it tended to enter poetry with learning.
Statue of Zhang Zhidong
Just as the article changed from the Tang and Song Dynasties to the yiwen based on learning, poetry also gradually turned to learning into poetry, tending to the style of "Anthology". "Writers in recent times have tended to choose their own bodies" is this meaning. Among them, Wang Minyun is extremely talented in emulating the selected poems, almost to the point of chaos. Compared with Wang Minyun, Tan Xian and others, the poetic style is more beautiful and feminine. These are all influential figures in the poetry world these days. Almost everyone who writes poetry in China knows and knows everyone.
<h1 class="pgc-h-arrow-right" > the "songwriter" of the Qing Dynasty</h1>
Finally, let's talk a little bit about "words". The poems we speak of can be sung before the Tang Dynasty. At the beginning of the Tang Dynasty, poems could be sung with the accompaniment of musical instruments. After the middle of the Tang Dynasty, poetry gradually faded into pleasure, and in its place came words. In Japan, there is a small song called "End Song", which can be accompanied by new words in addition to the original song, which is called "substitute song". For example, "Spring Rain" has the tune of "Spring Rain" and "Black Hair" has the tune of "Black Hair", which can be refilled.
Chinese words are very similar to Japanese songs. There are also various tunes in the words, such as "Hundred Character Order" is a kind of tune. Lyricists can fill in the words according to the tune. Since the Song Dynasty, during the period of foreign domination in China, the word has been greatly developed. For the Manchus and Mongols, it is not easy to learn Chinese literature without any foundation. The words are relatively close to the spoken language, and they are always chanted on weekdays, often entering the ears.
Xu Xu Xingology Images
This kind of interesting thing is more in line with the foreign national culture. With the help of Xu Qianxue, Naran Zhide, who compiled the Tongzhitang Sutra, was a gifted lyricist. The Qianlong Emperor was enthusiastic about all kinds of learning, and he also took great pains to develop lexicography. During the Kangxi Dynasty, many excellent lexical works had been published. When the Qianlong Emperor arrived, he specially ordered Huang Wenyang, a famous scholar of ancient songs, to review ancient songs.
As for "qu", it is actually the prototype of an opera that uses words to enter the music and is supplemented by human movements. There are many famous songs in the Qing Dynasty, such as "Peach Blossom Fan" in the early Qing Dynasty. The Qing Dynasty also had an opera genius named Li Kasa-wong. Jiang Shiquan, who is known as Qianjia Sanda because of his poem, is also an opera master, composing "Nine Kinds of Songs". Opera writers emerged one after another, which greatly developed opera in the Qing Dynasty. Although opera flourished during the Yuan and Ming dynasties, the study of opera began in the Qing Dynasty. Kong Yiting studied opera on the orders of the Qianlong Emperor.
Tie bao calligraphy
<h1 class="pgc-h-arrow-right" > summary</h1>
Because the Qing government encouraged the imperial relatives to study and govern, a large number of poets and scholars also appeared among the Manchu Qing bannermen. During the Jiaqing period, the "Collection of Hye-chao Yasong" compiled by Tie Bao included the poems of the Mongolian flag man Chang An. Chang An was gifted in writing poetry. In addition, Sheng Yu also collected the articles of the Flag People and compiled them into the Eight Flags Classic. Although there are ghostwriters in the Eight Flags Classic, there are also the creations of the flag people themselves. The Manchus were very different from the Mongols. There were few Mongols who were proficient in Chinese literature, but not entirely. For example, the descendants of the Mongols in the Western Regions also have people who can write and write poetry. However, during the Jin and Yuan dynasties, there was never a situation in which people like the Manchurian Flag people competed to learn Chinese literature and were enthusiastic about compiling poetry collections. In contrast, the manchus were particularly effective in being Sinicized.