In the history of Chinese poetry and culture, the anthologies have important significance. The qing dynasty poetry commentator Shen Deqian's compilation of "Tang Poetry Collection" and "Qing Poetry Collection" and other poetry anthologies have played a role in establishing authoritative poets and determining classic poems. Through this series of selected poems, Shen also summarized and improved the traditional mainstream Chinese poetics and promoted the "style theory". The fact that the "Tang Poetry Collection" can play such an important role is extremely closely related to Shen Deqian's positioning of poetry anthologies.
First, Shen Deqian's positioning of the selected text
Shen Deqian (1673-1769), also known as Qishi, was a native of Changzhou, Jiangnan (present-day Suzhou, Jiangsu). In the fifty-fourth year of the Kangxi Dynasty (1715), the 43-year-old Shen Deqian began to systematically and systematically compile selected poems from the Tang Dynasty:
In the fifty-fourth year of the Kangxi Dynasty (1715), the "Collection of Tang Poems" was first approved.
In the fifty-sixth year of the Kangxi Dynasty (1717), the Tang Poetry Collection was engraved. The first batch of "Ancient Poetry Sources".
In the third year of Yongzheng (1725), the "Ancient Poetry Source" was engraved. From the selection of "Ming Poems".
In the twelfth year of Yongzheng (1734), the "Ming Poetry Collection" was completed.
In the second year of Qianlong (1737), the Eight Family Texts of the Tang and Song Dynasties were approved.
In the seventeenth year of Qianlong (1752), the Eight Family Texts of the Tang and Song Dynasties were engraved.
In the eighteenth year of Qianlong (1753), the Du Shi Even Commentary was completed.
In the nineteenth year of Qianlong (1754), the "Collection of Qing Poems" was selected.
In the twenty-fourth year of Qianlong (1759), the "Collection of Qing Poems" was engraved.
In the thirty-third year of Qianlong (1768), he compiled and selected the Selected Poems of the Three Houses of Song and Jin.
Qianlong Thirty-four Years (1769), Died. Soon, Shen Deqian's protégé put the "Selected Poems of the Three Houses of Song and Jin" into the process.
Shen Deqian has a clear positioning for these anthologies, that is, "teaching and future generations", providing the best model for "beginners" and "poets". In the Preface to the Origins of Ancient Poetry, Shen Deqian analyzes the source and rise of poetry, pointing out that the purpose of compiling this book is to "teach poets the Way" for those who study poetry. Shen Deqian", who "read the whole rank of Tang poetry, and annoyed the scorpion", compiled the "Collection of Tang Poems", which is also "a help for the learners of poetry". In addition, Shen Deqian's compilation of the "Eight Texts of the Tang and Song Dynasties" is "because of the disciples of the door please", "when going out to read the book, a little bit of certainty, the reader regards it as an entry track, Zhi Fa Xuanye." "Hook and click to read, slightly eyebrows, beginners are familiar with reading and thinking, there is a heart." Later, Shen Deqian also "took Du Shi and selected it, and commented on it", which became "Du Shi Even Commentary". In this book, Shen Deqian "examines the shallowness and depth of his own gains, and is also the way for the learner to start the way" for poets.
"Beginners" and "poets" are middle- and lower-class readers who want to be at the core of socio-political structures and cultural power. This group has its specific social identity and needs: from the point of view of the state of thought, they are in the stage of receiving knowledge and they are also in the stage of acquiring values; from the perspective of development trends, although they are temporarily in the middle and lower classes of society, some of them will eventually enter the socio-political power system and occupy an advantage in political and cultural resources. This requires "beginners" to be basically aligned with mainstream values. In the face of the ancient Chinese poetic tradition, what "beginners" need to master is the mainstream poetic concept. When Shen Delu's poetry selection, he must handle the controversy in the poetry world with a prudent and accessible attitude, and actively promote the mainstream ideological concepts and the literary views of the elite. In order to ensure that these post-schools smoothly enter the social, cultural, and political systems, when Shen De potentially compiled the series of special collections, the principle of selection was "the selection system is different, lest we lose the purpose of gentleness and generosity."
Judging from the positioning of educating "beginners", Shen Deqian reiterated the mainstream poetic principle of "gentleness and thickness" when compiling the selected poems of the series, which is actually a rational approach. This "gentle and generous" principle of poetry selection helps "poet learners" to fundamentally grasp the main aesthetic features of traditional Chinese poetry, and the thinking logic contained in this poetic thought also helps "beginners" to form a rational attitude towards life, prompting them to do their best to be both self-disciplined and not paranoid in terms of poetry, governance, politics, or even people. Therefore, Shen Deqian's advocacy of "gentleness and generosity" and "poetic teaching" that combines beauty and kindness are the goals pursued by the mainstream literary circles in any more rational era.
Second, Shen Deqian's transformation of the "gentle and generous" standard
More importantly, Shen Deqian clearly realized that he had compiled his poetry anthologies for "poets" who were interested in poetry creation. To this end, Shen Deqian has made a positive transformation of "gentleness and thickness", giving this ethical principle and poetic principle a new connotation.
Tong Qingbing pointed out that in the history of Chinese poetics, Liu Xun's words of "judging the strange without losing its righteousness, playing with the fancy without falling into reality" stem from the saying in the Analects that "pleasure is not obscene, mourning is not hurt", and Liu Xun's poem "realizes the transformation of ethical principles into poetic principles". Further deriving Tong Qingbing's views and using them for Shen Deqian, we can see that shen Deqian's series of selected poems transformed "gentleness and thickness" from ethical principles and poetic principles into poetry selection principles.
Shen Deqian stressed that poetry has an indoctrinating effect, which is related to the ethical connotation of "gentleness and thickness". When compiling a series of poetry anthologies such as "Ancient Poetry Sources" and "Tang Poetry Collection", Shen Deqian said: "Poetry is the Tao, but Confucius taught children and taught Boyu to count words. And its words are gentle and generous, and there is no ancient or modern one. "Attributed to gentleness and thickness", the teaching boy and the teaching of Boyu count words, that is, the two passages in the Analects: "Boy, why do you learn poetry?" Poetry can be happy, can be observed, can be grouped, can be complained. The father of the things, the king of the distant things; he knows more about the names of birds, beasts, plants and trees. "Zi Shu Bo Yu Yue: Ru for "Zhou Nan" and "Zhao Nan" Man is not for "Zhou Nan" and "Zhao Nan", and its judas wall is standing with it. From this point of view, Shen Deqian attaches great importance to "poetry teaching": "Poetry is the Tao, you can be rational, good, feel ghosts and gods, set up a religious state, and deal with the princes." The ultimate purpose of "poets" to learn poetry and write poetry is to understand the principle of self-cultivation and family, improve personal personality; affect human morality and morality and customs, communicate the relationship between monarchs and subjects, affect the rise and fall of politics, and finally achieve a harmonious and perfect state of the whole society.
But the indoctrinating role of poetry is multifaceted: poetry can guide the world to care for society, to be consistent with official political ideology, and it can also pay attention to the cultivation of emotions and the purification of the soul. The former is closely related to politics, people's livelihood, ethics and morality, etc., while the latter may be non-political. Shen De made a distinction between "political religion" and "poetry teaching" when selecting poems. In the "Collection of Qing Poems", Shen Deqian used the word "political religion" when commenting on Shi Yanzhang's "See song LiSheng's posthumous poems": "The 'Xichuan' sentence means that the Shu people cherish their political religion; the 'East Sea' sentence means that the mountain left lost a Yazong also." Shen Deliang's use of the word "political religion" here is not to evaluate Shi Yanzhang's poems, but to explain the content of the poem, which means that Song Wan was a clean and honest official in Shudi and loved. "Poetry" has little to do with politics, and those who do not have any political identity are the ones who really advocate "poetry". In the "Collection of Qing Poems", the word "poetry teaching" appears twice: "Selected Poems of the Ten Sons of Xiling, Hu Chen and Mao Zhihuang are the mainstays, and the poetry is taught by Lingyi, and the deliberation is secondary, in the hope of pursuing Yuan Yaye." "The one I learned was a court training, I moved to Wu, and I advocated poetry and teaching." These two are evaluating Chai Shaobing and Fang Huan, and Chai and Fang are both cloth. Judging from the fact that "poetry" and "political religion" correspond to different types of people, Shen Deqian did not confuse the two.
Indeed, there is a fundamental difference between "poetry" and "politics and religion." "Poetry teaching" is based on people's aesthetic feelings, emphasizing the artistic characteristics of poetry, and its ideal realm is to combine beauty and goodness. "Politics and religion" emphasize the good, "beauty" is only a means to achieve "goodness", in order to achieve "goodness", you can give up "beauty" and change it to other means. "Politics and religion" can even force people to acquire certain concepts through power in order to achieve set goals; while the indoctrinating effect of literature on people can only be carried out on the basis of aesthetics, and people can actively accept and identify with them through subtle ways. When Shen De potentially compiled a series of poetry anthologies such as "Ancient Poetry Sources", "Tang Poetry Collection", and "Qing Poetry Collection", he deliberately weakened the connotations of political indoctrination, moral ethics and other connotations contained in "Gentle Dunhou", and transformed "Gentle Dunhou" from ethical principles to poetry selection principles, so as to highlight that he advocated "poetry teaching" rather than "political religion".
Shen Deqian's attitude toward poetry is: although literary works cannot be anti-regime, they can be non-political. Shen Deqian opposes the conflating of literature and politics, and opposes the frequent interpretation of literature from a political point of view: "Zhu Ziyun: Chu words are not all resentments, and are often said by posterity to be complaining about them. This is the most painful thing. For example, among the Tang Dynasty, Shaoling Guduo's words of loyalty and love, and the words of the righteous mountain style and thorns, will be involved at every turn, that is, small endowments, nostalgia for the mirror, and will also be a certain poem referring to something, a certain poem stabbing someone, a water moon mirror flower, more into a sticky belt bone, and what is the take?" Du Fu expressed the idea of loyalty and love for relatives in his poems, and Li Shangyin would also use poems to satirize politics, but when reading the poems of Du Fu and Li Shangyin, he could not implement all his works on specific political issues and political events. Shen Deqian also objected to the hoarse chanting of holiness in poetry. In the "Collection of Tang Poems", Shen Deqian commented on Li Yong's "Fenghe Chuchun Xing Taiping Princess Nanzhuang Yingzhi" of the Tang Dynasty, saying: "The early Tang Dynasty should make many beautiful words, and when the Wuhou and Zhongzong dynasties were in the middle of the world, they were also dirty. All hands are the same, and at the beginning there is no praise and do not forget the meaning of the rules, so it cannot be recorded more. Take a few chapters of the Iron Lord, in preparation. Shen Deqian was extremely dissatisfied with the praise of the saint, believing that the praise of the saint should not "forget the rules", and even should be based on the "rules", and should show the style and bones of the literati. Shen Deqian commented on the Qing Dynasty poet monk Xiaoyin said: "The abbot of Huashan, the lord of the Temple, the Emperor of the Sacred Ancestors, has seven absolutes of "Wanting to Travel to Mount Hua", and the Temple of Tranquility and the Hundred Songs are presented, and the number of them is about the most expensive. Only one chapter of halal is recorded here, and the temperament is also heavy. Xiaoyin's poems are "more expensive" and ignore "truth", so Shen Deqian only chose Xiaoyin a poem with a "halal" character. "Truth" is the most basic requirement of poetry, if the work lacks a sense of truth, even if it always speaks high about the country and politics, from the perspective of "poetry", it is not qualified.
It can be seen from this that Shen Deqian, starting from the compilation of poetry readings for later learning, attaches importance to the educational and indoctrination functions of poetry, and advocates "gentleness and thickness", which only shows that he does not oppose official values and does not oppose the importance of morality and politics. But acknowledging the importance of morality and politics is not the same as centering on this code of values in all settings. Shen Deqian positioned his selection as a "poet learner", starting from this goal, advocating "gentleness and thickness" and emphasizing "poetry teaching", the core of which is to emphasize the role of poetry's internal artistic power in cultivating people, rather than the admonition and warning effect of the political content of poetry on people.
Third, the practice of Shen Deqian's "gentle and generous" poetry selection principle
Shen Deqian transformed "gentleness and generosity" from ethical principles into poetry selection principles in practice, and the specific performance is: Shen Deqian clearly stated that he insists on "saving people with poetry", and selects and evaluates poems with the "character" of poetry, rather than the "personality" of writers as the standard.
At the same time as Shen Deqian, there are many advocates of "gentleness and thickness", and there are also many people who adhere to the ethical and moral connotation of "gentleness and thickness". Shen Deqian's classmate Xue Xue said: "Writings put character first, articles second, and An can use 'not using people's nonsense' as an excuse?" Some poetic commentators have further taken the moral conduct and political performance of writers in social life as the criteria for evaluating poetry. Pan Deyu believes that poetry only has the distinction between right and wrong, and there is no distinction between beauty and ugliness, and it is possible not to talk about artistry: "Poetry is not it, my words are cloudy, there is right and wrong, there is no work and clumsiness." In the poetic treatise "Yang Yi Zhai Poetry", Pan De commented on Yan Yanzhi, Xie Lingyun and others:
Yan Xieshi also said that Xie Shi was better than Yan. However, Xie is also a traitor. Yan Shengping did not like to see important people, and seemed to have insight. However, Xun Chisong sneered at his lack of desire in the outer city, and he ran inwardly, and prayed for Qianlu to advance, not knowing the extreme. Literati have no way, what a foot to do!...... If we don't talk about "Spring and Autumn" on poetry, it is poetry and "Spring and Autumn", and the sinner of poetry is a sinner! Huh?
Therefore, those who want to choose poetry to read poetry, such as Cao Cao, Ruan Yuan, Lu Ji, Pan Yue, Xie Lingyun, Shen Yue, Fan Yun, Chen Ziang, and Shen Jian period, do not choose not to read, in order to end the trend of beginner learning, and establish the outline of poetry teaching.
Pan Deyu believes that those who do not have high moral qualities or have political stains, such as Cao Cao, Lu Ji, Yan Yanzhi, Xie Lingyun, Chen Ziang, etc., have no merit in their poems. Evaluating poetry without taking into account the poet's political attitude and moral conduct is the "sinner" of the poem. From this point of view, he hoped that people would not choose or read the works of Cao Cao and others.
Unlike Pan Deyu and others, Shen De's potential poetry selection insists on "saving people with poetry". Writers may have different choices under different circumstances, political positions, moral and ethical standards, etc. will also change with the changes of the times, and the selector cannot judge the works according to the standards of the writer's character and behavior, and should not arbitrarily exclude controversial political figures from the selection on the grounds that the poet's political position is wandering and the social situation is not good, on the grounds that the political integrity is despicable and the moral conduct is detrimental. In the "Ancient Poetry Source" and "Tang Poetry Collection", Shen Deqian gave a high evaluation to Yan Yanzhi, Xie Lingyun and others, Shen Deqian selected 27 poems by Yan Yanzhi, 25 poems by Xie Lingyun, 21 poems by Ruan Yuan, 12 poems by Lu Ji, and 8 poems by Cao Cao. These people are ranked at the top of the list in the Ancient Poetry Sources (see Table 1).
Even when selecting "contemporary" poetry anthologies, Shen Deqian also insisted on excluding the influence of political ideology, moral and ethical concepts, etc., and selected poems based on "poetry" as the standard. In the poetry circle of the Qing Dynasty, Qian Qianyi's poems were majestic, steady and vigorous, out of the Tang Dynasty and into the Song Dynasty, becoming a family of their own. But Qian Qianyi is a person who has lost his ways. Qian Qianyi, as the Shangshu of the Southern Ming Dynasty, was demoted in May of the second year of Shunzhi (1645). In the sixth year of Shunzhi (1649), Qian Qianyi began to secretly engage in anti-Qing and restoration activities. Because of this kind of behavior of the first rat at both ends and losing ground, Qian Qianyi has been criticized by people. Shen Deqian's homologous Qiao Yi commented on Qian Qianyi: "Yushan poetry is worthy of the former sages, and can not speak, and is similar to others. However, when Shen De potentially compiled the "Collection of Qing Poems", he proceeded from his poetic achievements and regarded Qian Qianyi as the first person in the Qing poetry circle and placed it at the beginning of the "Collection of Qing Poetry Collection". Shen Deqian also commented on Qian Qianyi with compassion: "Before he was the leader of the party, he fled Zen Yue, and those who read his poems should be sad together." The purpose of Shen Deqian's poetry selection is not to simply and forcefully indoctrinate later learning, but to provide an optimal poetry model for "poet learners" to chant and recite, so as to improve their aesthetic appreciation and creative level. Therefore, when Shen De potentially drafted the "Collection of Qing Poems", he did not regard himself as an official who must maintain political sensitivity, but regarded himself as a poetry selector, from an artistic and aesthetic point of view, to evaluate, discuss, and select poems for later studies. Shen Deqian, starting from the influence of poets in the poetry world and the artistry of poetry, placed Qian Qianyi at the beginning of the volume, which was reprimanded by Qianlong. Qianlong issued an edict saying, "The poetry of the state dynasty should not be crowned with money and modesty," and "ordered the Inner Court Hanlin to stay for the fine school, and to carry out the reaming board in order to practice in the world." However, Shen Deqian's personal engraving did not disappear because of Qianlong's rebuke and the appearance of the Imperial Dingben, but became the most common selection today. This fully proves the significance and value of the "Collection of Qing Poems", and proves the rationality of Shen Deqian's adherence to the principles of "gentleness and thickness" and "saving people with poetry".
Fourth, the value of Shen De's subliminal selection
Shen Deqian positioned the anthologies as "beginners" and "poets", which made his series of poetry anthologies have an important impact on the writing of literary history in later generations. The "Collection of Qing Poems" is proof of this. In this anthology, Shen Deqian, in line with the principle of "gentle and generous" poetry selection, selected 996 poets and 3952 poems in the past hundred years from the early Qing Dynasty (1644) to the twenty-fifth year of Qianlong (1760) with the identity of "contemporary" people, a grand historical vision, and a keen artistic vision, with the purpose of establishing "contemporary" poetry classics and establishing the authority of "contemporary" poetry. Shen Deqian depicted the basic pattern of poetry in the early Qing Dynasty by determining the number of selected writers and poems. In the "Collection of Qing Poems", the top five poets in the number of poems are Wang Shishu, Qian Qianyi, Shi Yanzhang, Wu Weiye, and Song Wan (see Table 2), Shen Deqian gave a very high evaluation to Wang Shichen and others, such as wang Shichen, "Yuyang is young, that is, he is more important than Muzhai Shangshu, and his reputation is getting richer and richer, and Yunei is respected as a poet, and he has no strange words throughout his life"; commenting on Shi Yanzhang and Song Huan, "Nan Shi Northern Song, so it should resist, and now on two schools of thought, Song Yijian is victorious, and he is gentle and generous." And each of them is good at it." Shen De subliminally regarded Wang Shishu, Qian Qianyi, Shi Yanzhang and others as qing dynasty masters, and selected classic works that could represent their achievements.
Later generations' views on the poetry scene before and after the Qing Dynasty are generally consistent with the pattern described by Shen Deqian. In 1921, Zhu Xizu compiled the "Outline of the History of Chinese Literature", which basically followed Shen Deqian's point of view, with "Jiang Zuo San", that is, Qian Qianyi, Wu Weiye, and Gong Dingzi as important poets at the beginning of the Qing Dynasty, Wang Shishu as the first figure in the poetry circle of the Qing Dynasty, and Shi Yanzhang and Song Wan as important writers in the early Qing Dynasty. On the other hand, for Gong Dingzi's view, Zhu Xizu also completely followed the discussion in Shen Deliang's "Collection of Qing Poems". Shen Deqian commented on Gong Dingzi: "Sometimes there are three poems selected by Heqian and Wu, and no one has any different words. However, the feast and drink reward are more than the landing and hanging, and it seems that it should be inferior. Zhu Xizu commented on Gong Dingzi: "Although Dingxiao is on a par with Qian and Wu, there are more works of feasting and drinking than hanging on the landing, which is really inferior." "You Guoen's History of Chinese Literature is the most influential literary history textbook of the mid-to-late 20th century. You Guoen divided the poets of the middle of the Qing Dynasty into two categories: One was the patriotic poets, including Gu Yanwu, Huang Zongxi, and Wang Fuzhi, which were not covered in the "Collection of Qing Poems". In "Qing Poetry Collection: Ordinary Cases", Shen Deqian explicitly said that the "Collection of Qing Poetry Collection" does not select the works of the relict poets. The first is the poetry school and poets of the Qing Dynasty. In this section, You Guo'en discusses Qian Qianyi, Wu Weiye, Shi Yanzhang, Song Wan, and others in detail. In addition, You Guoen's "History of Chinese Literature" also discusses Wang Shishu in a special section, saying that "the poets of the early Qing Dynasty were most famous for Wang Shishu". Other literary history textbooks or monographs on literary history compiled by Liu Dajie, Guo Yingde, Guo Changbao, etc., the exposition of the poetry circle in the middle of the Qing Dynasty is basically consistent with the above textbooks, and the five writers such as Wang Shishu and Qian Qianyi are regarded as representatives of the poets of the Qing Dynasty. Generally speaking, since the construction of a systematic history of Chinese literature, various literary history works have at most added individual writers to these five masters, and it has not been seen which of the five major ones has been removed. It can be said that if a literary history avoids talking about the top five writers in the "Collection of Qing Poems", this literary history is incomplete or even incomplete.
More importantly, the literary history we write today takes Wang Shishu, Qian Qianyi, Wu Weiye, and so on as the pattern of the Poetry Of the Qing Dynasty, and it was not until Shen Deqian's "Collection of Qing Poems" that it was determined. Before the "Collection of Qing Poetry", the judgment of a large number of Qing Dynasty poetry anthologies on the poetry circle was very different from the literary history we write today. Although most of the other poetry anthologies affirmed Wang Shishu's status as the leader of the poetry circle, because Qian Qianyi and Wu Weiye had lost political discipline, their evaluation of Qian and Wu was not high. For example, Wu Wei's "Selected Poems of Famous Artists" selects 26 poems by Song Jie, which are higher than Qian Qianyi (18 poems) and Wu Weiye (25 poems); "Selected Poems of Famous Artists" selects 20 poems by Qu Dajun and 19 poems by Du Jun. Liu Ran's "Poetry of the National Dynasty" selects 36 poems by Cao Erkan and 30 poems by Wei Yijie, which is higher than Wu Weiye (27 poems) and Qian Qianyi (14 poems). It was not until Shen Deqian, in line with the principle of "saving people with poetry", that Qian Qianyi and Wu Weiye were objectively and fairly evaluated, and the basic framework of the poetry part of the Qing Dynasty in the history of later literature was established.
Other anthologies of poetry compiled by Shen Deqian also had a profound impact on the literary history we write today. Whether it is shen deben, the people in the history of Chinese poetry established in the "Collection of Tang Poems", the important writers before the Tang Dynasty who Shen Shizu respected in the "Ancient Poetry Sources", or the backbone of the Ming Dynasty poetry exposed in the "Ming Poetry Collection", they are all the core figures in the history of ancient Chinese poetry that we write today. It can be said that Shen Deqian took the poetic principle and poetry selection principle of "gentleness and thickness" as the foundation, searched for poetry, compiled anthologies, established classics, and completely summarized the history of The development of Chinese poetry for thousands of years. Shen's poetic treatise", Speaking Poetry and Sayings, roughly corresponds to an outline of the history of the development of Chinese poetry, while the Ancient Poetry Sources, the Tang Poetry Collection, the Selected Poems of the Three Houses of Song and Jin, the Ming Poetry Collection, and the Qing Poetry Collection are similar to our selection of literary works today. Through this series of works, Shen Deqian systematically sorted out the history of Chinese poetry and identified classic poets and works.
After years of washing and erasing, only those literary works that are flying with vigor, strong bones, and huge room for interpretation can survive in the world, which is the inevitability of history. However, literary classics also need to "discover people", and only after the recommendation of "discoverers" can a writer and a work be widely accepted by society. Yao Si said: "In the triangle relationship between writers, works and readers, the latter is not a passive factor, not a simple reaction link, it is itself a force that makes history." It is inconceivable that the historical life of a literary work cannot be imagined without the active participation of the recipient. By "readership" Yaos here refers to the broad readership of a work, and we can say that a particular readership of a work, such as "discoverers," played a greater role in the process of making history. Shen Deqian is such a sharp-eyed, artistic insight and discerning "discoverer". The ranking and positioning of ancient Chinese writers in selected poems such as "Collection of Qing Poems" have been generally recognized by later generations, which cannot but amaze Shen Deqian's discovery vision.
"Shen Deqian's "Ancient Poetry Sources" and "Tang Poetry Collection" are still the most popular anthologies, and although various modern poetry history works use Western literary theory systems to explain the history of ancient poetry, the system of poetic history values established by these poetry history works is essentially the system that Shen Deqian finally completed." Indeed, before Shen Deqian, there were many anthologies dedicated to compiling poetry anthologies, but few people won because of the selection of poetry; Shen Deqian at the same time or later, shen Deqian, who advocated the mainstream poetic concept, was not the only one, but Shen's poetic theory could be widely circulated and had a profound impact on future generations, and Shen Deqian's homophony such as Li Chonghua, Qiao Yi, Pan Deyu, etc. was not famous. Shen Deqian's poetry anthologies can be circulated and left for a long time, Shen Deqian's "style theory" became one of the four major poetry theories of the Qing Dynasty, and its historical and logical rationality lies in the fact that Shen Deqian positioned his anthologies as "poets who study poets" and adhered to the mainstream poetic concepts such as "gentle Dunhou"; he also transformed "gentle Dunhou" from ethical principles and poetry evaluation principles into poetry selection principles, further strengthening the unity of poetry's social function, aesthetics and artistry, and injecting new connotations into "gentle Dunhou". It is this innovative way in the inheritance that has achieved the classic status of poetry anthologies such as "Tang Poetry Collection" and "Qing Poetry Collection".
Learning the version of ancient books is inseparable from viewing the physical object, entering the circle, and understanding the market price! Online shooting is the most cost-free and convenient way to learn:
Long press the image to select "QR code in the identification map" to follow the auction