Song Dynasty Chant Poetry Research

The Confucian classic poetry of Song dynasty refer to the poetry works created during the two Song dynasties,with the "13 classics" and related exegetical works as the main subject of chanting,expressing the classics,the meaning of the classics,the experience of reading the classics,the life of reading classics,and the activities of preaching classics.The Confucian classic poetry of the Song dynasty is the product of the integration of Song Confucianism,Neo-Confucianism and poetry creation,and they are also an indispensable subject in Song poetry.This article is composed of six chapters.The first chapter is "The Origin and Development of Song Dynasty's Confucian classic Poetry",which sorts out the literary origin and development process of Song dynasty's Confucian classic poetry longitudinally.The Confucian classic poetry of pre-Song is bounded by the Tang dynasty,and its evolution can be divided into two stages: the beginning and the preliminary development.The Song dynasty's Confucian classic poetry can be divided into four periods: the budding period from Taizu to Zhenzong;the development period from Renzong to Huizong;the maturity period from Qinzong to Ningzong;and the deepening period from Lizong to the end of Song dynasty.The prosperity and development of Song dynasty's Confucian classic poetry is inseparable from the influence of Song Confucian classics,Jingyan system,Enlightenment and academy education,Buddhist verses,and history chanting.The second chapter is "The Main Content Types and Creation Paradigms of Confucian classic poetry of Song dynasty",which focuses on the main content types and creation paradigms of the Song dynasty's Confucian classic poetry,and reveals the relationship between the them.The Song dynasty's Confucian classic poetry took Confucian classics as the main content,and the Confucian classics chanted were the "Zhouyi" and "The Four Books" the most.Confucian studies activities are another main content of the Song dynasty's Confucian classic poetry,which mainly include two major categories: preaching classics in Jingyan and then giving banquet;preaching classics in official and private academies.There are mainly four creative paradigms in the Song dynasty's Confucian classic poetry: "Interpretation of the Classics","Reading of the Classics","Poesy Responsory" and "Discussing".Regarding the relationship between the content type of the Confucian classic poetry in the Song Dynasty and the creation paradigm,the poetry of chanting "Yi" are mainly based on the "interpretation of the classics" and the "reading of the classics",and have the other two paradigms;The poetry of chanting "The Four Books" accounted for the vast majority;the works of chanting the rest of the scriptures took a larger proportion of the "reading of the classics".The Song dynasty's Confucian classic poetry that express the activities of Confucian classics are mostly "Poesy Responsory" and "discussing".The third chapter is "Song Dynasty's Confucian classic Poetry and Song Dynasty Classics",which discusses the relationship between the Song dynasty's Confucian classic Poetry and the creation of the Song dynasty classics in general.The number of Song dynasty's Confucian classic poetry chanting various scriptures is roughly proportional to the prosperity of the various categories of Scripture in the Song dynasty;the development of the Song dynasty's Confucian classic poetry is also roughly similar to the evolution of the Song dynasty's Confucianism.There are three relationships between the Song dynasty's Confucian classic poetry and the "13classics" and exegetical works on which they are inscribed: intertextuality,construction,and tension,which are embodied in five aspects: intertextualization,refining and construction,questioning and challenging,taking advantage of the subject to express other thigs,and commenting on inscriptions and postscripts.The Song dynasty's Confucian classic poetry also embodied the Song Confucianism thoughts of "respecting the classics and respecting Confucianism,beneficial to enlightenment","non-suspicious of the classics,brave to criticize","based on Confucianism,learning from Buddhism and Taoism" and "emphasizing rationality and mind".At the same time,the Song dynasty's Confucian classic poetry recorded a lot of historical materials about the Song dynasty classics,which can not only prove the history,but also make up for the fault;the Song dynasty's construction of the classics history has a clear "Han-Song contrast" and "Yang Song Yi Han" characteristics.The fourth chapter is "The Style,Aesthetics and Style of Confucian classic poetry in the Song Dynasty",from the perspective of style,aesthetics and stylistics,the Song dynasty's Confucian classic poetry is reviewed and analyzed under the influence of Song Dynasty Confucianism,Neo-Confucianism and poetry atmosphere.Under the influence of the classics and poetry,the Confucian classic poetry of the Song dynasty formed the style of poems,argumentation into poems,and essays as poems.Under the influence of Neo-Confucianism,the Confucian classic poetry of Song Dynasty have three connotations: the beauty of rationality and rational interest,the beauty of plainness and nature,and the beauty of saints' atmosphere and ideal state.Affected by the dual influence of Confucianism and Neo-Confucianism,the existing Song dynasty's Confucian classic poetry is mainly composed of "interpretation-style" Confucian classic poetry,with distinctive stylistic features,with the characteristics of "Jueju as a facet,blending with all styles",which is in line with Confucian quotations and lectures Even rhymes has similarities in style.The fifth chapter is "Creation Groups and Model Works of Confucian classic poetry in Song Dynasty".The creation groups of Confucian classic poetry in Song Dynasty are mainly politicians,scholars and Literati.The creation of these three groups has its own characteristics,and the most representative ones are undoubtedly created by Zhang Jiucheng,Zhu Xi,Chen Pu,Lu You and Fanghui.Zhang Jiucheng's "Jueju of the Analects" has a distinct spirit of doubting the classics,and has received the influence of Zong Gao's Songgu in terms of thinking mode,poetry form and language style.Among them,there is tension between the image of these poems and "The Analects",and the specific methods of characterization are unique.Zhu Xi's creation of Confucian classic poetry is closely related to the study and reading of the classics.His "Xunmeng Jueju" has the characteristics of "borrowing classics to clarify the Neo Confucianism,inheriting Lianluo's learning","learning from others,compatible with the Mentalism and Buddhism" and "inside the Yixue,corroborating the four books with the Yili of Zhouyi",and reflects the value and aesthetic orientation of "Zheng Yi" and "Ci Da".Chen Pu's Confucian classic poetry is based on Zhu Zi's ideology.The Neo-Confucianism in the poems is mainly divided into four parts: Li Qi,Xinxing,Zhizhi and Gongfu.In terms of interpretation,it has "inherit Zhuzi,clarify the Neo-Confucianism" and "integrate all kinds of Confucianism,clarify the meaning of the classics".These poems are also closely related to the works in his "Yong Shi Shi Duan".Lu You's Confucian classic poetry was a direct product of his later reading of the classics,which partially reflected the types,preferences,experiences,and contexts of his later years of reading the classics.It has the characteristics of lyrical by chanting,combining chanting the classics with teaching children,reflecting his respect for the Six Classics.His notion of Jingxue,emphasizing Yixue and emphasizing Bocan,and his Confucian classic poetry also presents a kind of "old state" in style.Fang Hui's chanting poems on the "Yi" embodies his thoughts on the study of Yi—take the "Xi Ti Wen Yong" as the framework,and the main image is Xiangshu without abandoning Yili.These poems have the characteristics of melting others opinions,Interpreting Zhouyi with Li and the complementary features of poems and annotations.At the same time,Fang Hui's thoughts on the study of Yi had a considerable influence on his poetry theory and creation.The sixth chapter is "The Historical Resonance and Cultural Significance of the Confucian classic poetry of the Song Dynasty",Focus on the later influence,significance and value of the Song dynasty's Confucian classic poetry.The spread and influence of the Song Dynasty's Confucian classic poetry in later generations are mainly reflected in the four aspects of annotation,comment,follow-up and imitation,and also have repercussions in ideological and cultural aspects.Song Dynasty's Confucian classic poetry have certain ideological significance,literary and cultural significance and documentary value.In particular,the Song people's thoughts of questioning the classics embodied in it can improve the academia's understanding of the trend of thought;some of the books in Confucian classics poetry,"Jing Yi Kao" and other bibliography are not included,which can make up for their faults.