The Research On The Poetics Of Jiangnan In Late Ming Dynasty

The period from Late Ming to Early Qing was the heyday of Chinese Poetics. This dissertation focuses on Jiangnan poetics, the purpose is to interpret the phenomenon of the late Ming poetics and to elaborate the poetics process, to restore the Ming and Qing poetics to a whole life progress. From north to south, the center of gravity of the Ming dynasty literary has been transferred, the scribes of Jiangnan in late Ming became the main body of the literary world. Although they were not as good as Wang Shizhen with knowledge and talent, not good as Yuan Hongdao with deliberate novelty and constant change, not good as Zhongxing and Tan Yuanchun with a purpose to deliberately pursue a different and tap the quiet mind, they inherited the traditional of seclusion and reading among Jiangnan families, were proud of talent skill, became three regional poetics groups in Jinling, Hangzhou-Jiaxing-Huzhou, and Suzhou-Songjiang-Changzhou area in an objective way. They often had interactions with the "Seven Poets School","Gong’an School","Jingling School" in daily, to build friendships rather than attaching to them, to discuss rather than blaste or shock each other, to Encourage and criticize each other, to be lofty elegant and Opinionated, eventually formed an independent poetic character, foreshadowing a road leading to Comprehensive ancient and modern views, leading to exchange the style to the charm, leading to respect Song poem from fully respect Tang poem reasonability, ultimately, made great contributions to the development in all aspects and the theory of maturity of the Qing poetry.This dissertation begins with an introduction, followed by the main body comprising of seven chapters, and closes with a conclusion. The Introduction sketches the origin of this object, defines the research objects by introducing the traditional literature and the points of innovation. The main body reads as follows:Chapter1reviews the tradition of "literature Jiangnan "and "Jiangnan literature". By backtracking "Jiangnan" space imagery history, it explains the inevitability of development that Nanking, Suzhou and Hangzhou became three Jiangnan city culture centers in late Ming. By combing the Jiangnan literary history of the development, it examines that "Jiangnan literature" has developed from the Six Dynasties, Southern Tang, Southern Song, Yuan and Ming, staged along the development of literary features of the "Lyric Poetry "and eventually formed the mainstream of "Emotion Profusion" Poetics of the pattern. Chapter2discusses Jiangnan poetic background in late Ming. The society showed its political, economic, civil service exams, books industry, as well as family education, which was the difference from Early and Middle period in Ming dynasty, constituted Jiangnan poetics generated background and contributed to the highly prosperity of the late Ming poetics. Chapter3and4, in accordance with the theory of literature "four elements", it overviews the Jiangnan family has become the body of the literary world in late Ming, and formed three main poetic character which were "pursuing a wide range of learning, Respecting artistic talent and advocating a wealth of feelings",as works Features of the late Ming Jiangnan poetics; selected social or cultural "appreciation of the atmosphere "as investigated perspectives on the late Ming, This keen on appreciation of the atmosphere was also one of the important causes that Jiangnan poetic easily formed groups.Chapter5to7are the focus of this dissertation, respectively, demonstrates "the Jinling poetics group","the Hang-Jia-Hu Poetics group","the Su-Song-Chang poetic group" and their group poetic activities, poetic features, and the main representative poetic thoughts. Chapter5studies3authors about "Jinling Ya You Ji",they were both imperial examination champions and poets, respectively explores Jiao Hong, Gu Qiyuan and Zhu Zhifan’s poetics activities and poetic thoughts. Jiao Hong advocates liberal arts, became highly personal style in the late Ming diverse poetics pattern; Gu Qiyuan advocated God and Reason, reversed the change-levy poetic to elegant way; Zhu Zhifan engaged poetics editing activities, changed the poem regarding ChuTang and ShengTang as the poetics pattern, in the Late into the theoretical distinction of the whole Tang poetics. Chapter6discusses the western Zhejiang "Hangzhou-Jiaxing-Huzhou" poetics, which had a more typical family character, Composed of associators, Connoisseurs, Zen lovers, writings and other cluster properties, formed a "quaint" and "embellishment" group poetic style,"lichtung free thoughts" was regarded as Feng Mengzhen’s poetic concept, Huang Ruheng brought up "Fresh, pure and elegant wonderful" poetic ideal, Zhou Lvjing put forward "emotion, scenery, event, state " as poetic rule, Li Rihua looked on "plain,calm, quiet and elegant" as his poetic style; Zhu Guozhen looked upon "elegant, grace" as poetic character and Dong Sizhang appreciated "fresh, beautiful" style, which he named "Wu Xia Ti" as his poetic practice, to expand the affection of Jiangnan poetics. Chapter7introduces Su-Song-Chang poetry by interpreting two traditional groups, one is "Wu School" tradition with romantic art style, the other is " Donglin (East Forest) Restoration Society" tradition with neoclassical poetic style, the two factions members are in fact the same one place, overlapping at their different survival patterns determine the integrity of the differences of poetic theory. In "Wu School", Wang Zhideng, Zhao Huanguang, Dong Qichang, Feng Shike, Chen Jiru were the representatives."Elegant and refined world" was minstrel poet Wang Zhideng’s poetic idols; Lay poet Zhao Huanguang, pursued " personality and tune" for his poetic proposition; Dong Qichang pursued the "real, fresh, and omnipotent God" poetic ideas, Feng Shike regained the "Later Seven Poets School" poetic ideas, pursued the elegance and enlightenment function of poetry; Chen Jiru opposed "Later Seven Poets School" who had defended the other poets with crude language, emphasizing "Graceful,light, Delicate and pretty"poetry, described it was "Ancient and Modern pure words". In the Donglin and Fushe School, Gu Xiancheng and Gao Panlong, Gu Dazhong and Wei Dazhang, Huang Zunsu and Li Yingsheng, Zhang Pu and Cheng Zilong were the Advocates. Among them, Gu Xiancheng and Gao Panlong stressed that learning text combined with use and learning combined with thinking; Gu Dazhang and Wei Dazhong stressed the natural chemical, and writing was united with Tao; Huang Zunsu and Li Yingsheng stressed poem’s social function by raising magnanimous kindness; Zhang Pu and Cheng Zilong stressed a revival of ancient school by saving the world and the elegant road.Chapter8is the conclusion of Jiangnan poetry in late Ming that the scribes was "coerced" in the north poetics ("Qi Wind"), Dongting Lake Basin poetics ("Chu Wind") to form its unique elegant and soft lyric("Wu Yu"). The poetic atmosphere, diversified by the late Ming poets, the Wuzhong scribes had enveloped in the atmosphere of the "Later Seven Poets School","Gong’an and JingLing School"and "Yunjian School". Was their poetics maintaining the status quo, or to seek mutations? All kinds of various contradictions haunted them,"retro or innovation" was the contradiction on their position,"style or charm" was the contradiction on their concept,"Study Tang or Song," was the contradiction on their object. These contradictions were the three principal contradictions. The Jiangnan scribes in Late Ming advocated a variety of "syncretism" to resolve these contradictions, they pursued to reconcile the ancient and modern by wealthy in knowledge, pursued to reconcile the the format and tones by art, pursued to reconcile the Tang poetic style and Song style by fantastic feeling, In the field of interact poetics,talent reserve and poetic thought, they were brewing for the early Qing the Poetics of the hall to build a platform of high standard.