Researches Of The Criticism Of Ming Dynasty On The Poetry Of Han, Wei And Six Dynasties

The article investigated the historical courses of the criticism of Ming Dynasty on thepoetry of Han, Wei and Six Dynasties, expounded upon their main innovation of theoryand meanings, and the characteristic and achievement of the arrangement of poeticdocuments emphatically. The article also strived for presenting their developing maintendency clearly and illustrated its scholarly values and meanings. Combining with thebig background of philosophic thoughts and literary trends of Ming Dynasty and bytaking the way of Combining historical evolution and the announcement of main problem,the whole article carried out concrete and true investigation and summary on thecharacteristic of context, esthetic orientation and poetic conceptions of the criticism of thepoetry of Han, Wei and Six Dynasties in different periods of Ming Dynasty. The articlethought that by investigating into the poetic historical standpoint and esthetic orientationand critical utterance and the logical relations between them we could find that thecriticism of Ming Dynasty on the poetry of Han, Wei and Six Dynasties presented threeobvious key points, which was also the manifestation of poetic criticism penetrating intoseveral perspectives and many levels.The first manifestation was the emotional esthetic turn from the Neo-Confucianism inthe early years of Ming Dynasty to Pre-QiZi. In the early years of Ming Dynasty, thecriticism of the poetry of Han, Wei and Six Dynasties applied the theory of literarychanging with the era and the visual angle of Neo-Confucianism mainly and praised thebeauty of insipidness and the poems of Tao Yuanming. Different from them, Pre-QiZichased lofty style and emphasized the learning toward the poetic tradition of Han, Wei ofexpressing strong emotions. They made new explanation on the esthetic minds of Han,Wei poetry and established the conceptions creation and criticism which took the poetryof Han, Wei as models.The second manifestation was the confliction between Pre-QiZi and the School of SixDynasties around learning the poetry of Han, Wei and Six Dynasties, which was stirredmainly by their differences in esthetic tastes. The School of Pre-Qizi admired loftinessand vigorousness while the School of Six Dynasties admired gorgeousness and exquisition. The disputes of them not only promulgated the profundity the poetry of Han,Wei and Six Dynasties, but also reflected the differences of literary regions of receptor tosome extent.The third manifestation is the coexistence of three different critical utterances, that was:the criticism of distinguish forms,the subject criticism and the Shenyun criticism wasthe most active part in the School of QiZi's criticism about the poetry of Han, Wei and SixDynasties. The critical system of poetic form inherited Shih-p'in and combined traditionalStylistics, Crenologie and the judgment theory together and took the poetry of Han, Weias the standard pushed the criticisms of artistic form of the poetry of Han, Wei and SixDynasties to the farthest point. The School of Jingling's criticism the poetry of Han, Weiand Six Dynasties under the influence of Xingling trend devoted itself to theunderstanding of poets' inner world and showed the specific personality of overturningthe poetic tradition of Wen hsuan and admiring strangeness. The theory of Shenyundevoted itself to the comprehension of the charming the poetry of Six Dynasties. From thedifferent perspectives, they all promulgated the esthetic characteristics the poetry of Han,Wei and Six Dynasties deeply and developed many trends about the poetic criticisms of it.Furthermore, the confliction and the change including the mixing each time made thepoetic researches on the poetry of Han, Wei and Six Dynasties in Ming Dynasty achieveperfection on some meanings. It echoed with different kinds arranging researches onpoetic documents of Han, Wei and Six Dynasties and pushed forward the development ofpoetic criticisms of the poetry of Han, Wei and Six Dynasties all-round.