A Study Of The True Poetry Of The Ming Dynasty

The concept of true poetry runs through the theme of the development of literary criticism in the Ming Dynasty.Poets' exploration of the connotation of true poetry highlights evolution track of the alternation and innovation of poetics idea in the Ming Dynasty.The emergence and development of a concept of literature and art is not only closely related to the creation at that time,but also deeply influenced by the change of the whole social and cultural trend of thought.The idea of true poetry in the Ming Dynasty has changed since the former seven scholars.To the middle and late Ming Dynasty,the thought of valuing feelings and truth become the climax of the development of the Poetics of the Ming Dynasty.According to the time order and the Poetics of seeking "truth" as the main line,the paper will specifically and systemically research the truth poetry by the poetry theorists,such as : the former seven scholars in the Ming Dynasty,Tang and Song school,the latter seven masters,the school of disposition.In the chapter one,the paper analyzes the true poetry of the former seven scholars.They advocate the reunification of the poetics and emphasize the study of ancient times,which not only follow the ancient style,method,but also understand the ancients' feelings.This chapter is divided into two sections to explain the respect of true feeling,the theory of style of the former seven scholars.The poetic discourse,taking emotion as truth by Li Mengyang and others,derives from their advocating the folk true poetry during retro.Their understanding of the emotion and truth,to some extent,exposed the problems between the emotion and reality.This is the emphasis on the content of poetry creation,which has positive significance for the creation of the redundant and weak fanbotaige style at that time.However,they seek truth from retro and hold their poetic ideas of the ancients,which constrains their style and method.Chapter two describes the true poetry of the Tang and song schools.Tang and Song schools opposite to the idea that merely imitate the diction of ancients.They advocate imitating the Tang and Song Dynasties,pursue enlightenment and payattention to their inner experience.They hold the idea that someone could freely write and express one's emotion is the best literati.In the study,they are aware of the relationship between rule and meaning,emphasis on the harmony style,which fused by rule and meaning.Although the literary creation from "heart" is divorced from the reality,it has positive significance for the mediocrity the orthodonticists of Taoist.Chapter three makes a clear view of the true poetry of the latter seven masters.They follow the former seven scholars and further developed the theory of Li Mengyang and others.Wang Shizhen and others' concept of "authentic self" is the affirmation and advocacy of personal qualities and temperament.They integrate talents,feelings and intentions into the "rule",recognizing the subjective status of individual subjective consciousness,and putting forward the role of style in regulating subjective emotion.the latter seven masters further harmonize the relationship between the content and the form of the poetic.Chapter four discusses the true poetry of the school of disposition.Different from the former and latter sevens members,Tang Song school,Li Zhi,Xu Wei and Yuan Hongdao advocating "xing ling" is true.Their "xing ling" is against the former and latter sevens members theory and traditional Confucian placid and rise individual subjective consciousness.In literary creation,mainly embodies in their affirmation of the poet's true feelings,and their pursuit of natural style.The emergence of the concept of true poetry completely broke away from the constraint of literary retro and the hypocrity of the taoistic.The hypocrisy and commonplace of Taoist is the product of the development of social and cultural trend at that time,which is of great significance in the history of literary criticism in the Ming Dynasty.