Research On Xinyang Shichao And Xinyang School Of Poetry

"Xinyang Poetry Notes" is a collection of local poems selected by Xinhai poetry poetry written by Liu Haihan,a local celebrity of Xinyang in the late Qing Dynasty and the early Republic of China."Xinyang Poetry School" is a regional poetry genre that was active in Xinyang during the mid-Ming Dynasty to the end of the Qing Dynasty and had an important influence on the poetry of Zhongzhou and even the whole world."Xinyang Poetry School" was made up of "Xinyang Poetry Notes",and "Xinyang Poetry Banknotes" was revealed by the "Xinyang Poetry School".The paper discusses the process of the emergence,development,inheritance and change of the "Xinyang Poetry School" in the order of time.The main contents are as follows:The first chapter discusses the life and main works of the author of "Xinyang Poetry Notes",clarifies the compilation,publication and writing style of "Xinyang Poetry Notes",and believes that regionalism and poetry are the greatest features.The literature value of "Xinyang Poetry" is considered to be a comprehensive collection,preservation of Xinyang local poetry literature,Xinyang poet's biographical literature,social historical literature and local bibliographic literature.In the relationship between "Xinyang Poetry" and "Xinyang Poetry School",it is believed that "Xinyang Poetry" first proposed "Xinyang Poetry School" and its genealogy,and explored its geographical and kinship.The second chapter discusses the embryonic form of "Xinyang Poetry School" during the period of Hongzhi and Zhengde-"Zhong Mo School".He Jingming's literary thought was divided into three phases for diachronic research.At the same time,he discussed the communication,the background of the rise,the overall characteristics and the writer's personality among the main members of the "Zhongmo School"."Zhong Mo School" is the origin and imitation of the development of "Xinyang Poetry School".The third chapter discusses the "Xinyang Poetry School" and its representative Wang Zuyu in Jialong,Wanli and the late Ming Dynasty.In the development of the "Xinyang Poetry School" in the Ming Dynasty,He Jingming,who had raised the literary retro banner,had strong boosts from Meng Yang and others.Later,Wang Zuyu's temple army shouted,and successively showed that it was in the Ming Dynasty.The status and influence of the Central Plains.Wang Zuyu advocated poetry as "the instrument of the Tao",advocating Yazheng's poetic view,embodying the style of realism,with a strong Zen and Xinyang flavor.In the Ming and Qing Dynasties,the "Xinyang Poetry School" was changed due to the change of the country,and the war was migrating.There were few books and achievements,but the achievements were still endless.The fourth chapter discusses the "Xinyang Poetry School" and its representative Liu Wei in the Shunzhi and Kangxi periods.During the Shunzhi and Kangxi periods,the "Xinyang Poetry School" gradually accepted the rule of the aliens and actively participated in the official career.A group of officials who were quiet and ice-fighting and diligent and loving the people appeared in the style of personality and poetry creation.Liu Wei is very respectful to He Jingming,his poetic style is heroic,his artistic conception is broad,and his taste is high.The fifth chapter discusses the "Xinyang Poetry School" and its representative Liu Yingxi in the Yongzheng and Qianlong periods.During this period of creation and prosperity,many poets of the "Xinyang Poetry School" put forward their own theories,such as Wang Guan's theory of empathy and guidance,Qiu theory and interest theory,etc.Liu Wei took "cutting for work",character There are great ambitions in the Shangyu,arrogant and arrogant,each of which is more like Liu Wei and Ruan Ji,and the poetry style is on the chest and bones.Liu Yingxi put forward the viewpoint of "granting Yuefu will be Han" and combining Liu Xie's "wind bone theory" and Confucius' s "painting after the matter" to put forward "qi-bone theory",and in the Qing Dynasty "sexualism" in some angles Its consistency,but the difference is also obvious.During this period,the "Xinyang Poetry School" reflected the tendency from advocating the prosperous Tang to advocating the mid-late Tang Dynasty.The sixth chapter discusses the "Xinyang Poetry School" and its representatives Guo Jiangeng,Zhang Peijin and Chen Zhiwu in Jiaqing,Daoguang and Qing Dynasty.There were many poets in this period,and the "poetry consciousness" was obvious.Guo Jiangeng puts forward that poetry creation "self-satisfaction" says that he has self-reported his own affairs;Zhang Peifei's "sexualism" and "to the theory" are full of stagnation;Chen Zhiwu is anti-"spiritual" and pursues "qi Bone spirit mining,Zhuang and rhyme.In the late Qing Dynasty,the "Xinyang Poetry School" was in line with the times and showed complex thoughts such as anti-news,anti-aggression,anti-marriage,freedom,repeated sympathy,white lotus,sympathy for revolution and turmoil.In the process of formation,development and transformation,"Xinyang Poetry School" inherits the poetry propositions and artistic styles of He Jingming's people on the one hand,and at the same time expresses their respect and emulation of the predecessors' personality style;on the other hand,they also develop The mainstream poetry thoughts of the era have inextricable relationships,either endorsing,or opposing,or integrating,showing different mentality and creative characteristics.