"Ge Diao":A Study On The Evolution Of A Type Of Poetry Theory In The Late Ming To Early Qing Dynasties

The theory of "Ge Diao" poetry is an important poetics theory prevailing in the poetry circle of Ming Dynasty.The connotation and extension of this theory and its theoretical form changed greatly in the late Ming Dynasty and early Qing Dynasty,and people’s attitude towards this theory is also mixed.This paper mainly elaborates on this historical phenomenon of poetics,trying to reveal the evolution and acceptance of this theory in the late Ming Dynasty and early Qing Dynasty.Starting from Hu Yinglin,based on the view of Hu Yinglin as the Ming Dynasty "Ge Diao" poetry of the summation,it has the essence of predecessors,but also shows the signs of evolution.Hu Yinglin investigated the extensive use of "Ge Diao" poetry in the past,and made eclectic integration of various uses of poetics,which can be called the summation of "Ge Diao" poetry in Ming Dynasty.Hu Yinglin,with his poetic concepts of "Dharma" and "enlightenment",and his poetic path of "physique tone" to "Xing like the spirit of wind",formed a re-revision of the extreme trend of "Ge Diao" poetry after the police school,and enriched the connotation of "Ge Diao" poetry in the Ming Dynasty.Based on Li Mengyang et al.’s famous argument of "Yi",Hu Yinglin makes a detailed explanation based on the identification of poetic style,and further puts the famous argument of "proposed to become its change" into the discourse framework of the theory of "Ge Diao" poetry.He clarifies the rationality of simulation to achieve innovation with academic principles,and avoids as far as possible the theoretical risk of the Qizi School being imitative of ancient poetry.Hu Yinglin uses the terms of poetry criticism with "case" and "rhyme" as the evaluation scale to build the corresponding relationship between poetic style and poetic beauty type,which is different from the impression judgment of praise and criticism.The theory of "Ge Diao" poetry shows a trend of variation in the poetics of Hu Yinglin and Lu Shiyong: the position,significance and application of Confucian classics in poetics are gradually re-recognized in the field of poetics.The typical poetic discourse of Ming Dynasty was generally ignored and rejected in Ming and Qing Dynasties.On the one hand,it can be seen as the aftermath of the Qi Zi movement of the public security and Jingling people since the late Ming Dynasty.On the other hand,the collapse of the Ming Dynasty caused great psychological shock to the intellectuals,so that they generally attached great importance to the expression of temperament and emotion in the past literature and art theories.On the one hand,the universal attention is reflected in the achievements of poetry creation in this period,and on the other hand,it is reflected in the emergence of "the character of the poem master" in this period.Such theoretical production and creative practice formed a joint force,which had a strong impact on the tendency of old "Ge Diao" poetry to ignore the poet’s self.The theory of "Ge Diao" poetry sinks in at this time,but it does not disappear.The understanding of respecting the model of poetry has not been eradicated from the hearts of the people,but deepening towards the internal subject.The revival of poetic style is no longer based on artistic conception,but requires artistic conception to belong to a deep and broad feeling of anger at times and times.In the late Ming Dynasty and the early Qing Dynasty,the "Ge Diao" poetry theory not only concealed the form in the discourse,but also flourished in the field of the study of poetic rhythm.Many of the research on the voice rhythm are based on the text,based on the specific discrimination of syllables,but the purpose of this research is to answer the unsolved topic of the "Ge Diao" poetry of the Ming Dynasty.To discuss the musicality of poetry in the early Qing Dynasty,if Yuefu could not cooperate with music,should future generations do it? How to do it? In short,how should people look at this kind of works of Yuefu? For example,discussing the difference between the natural tone and artificial tone of the ancient poems,how to avoid the "artificial" influence of the ancient poems in writing the ancient poems,and how to absorb the "natural" advantages of the ancient poems.On the one hand,these can be regarded as inheriting the research purview of the Ming people,on the other hand,it is a deeper reflection on the theory and practice of the Ming people,so as to obtain a more careful and subtle understanding than the Ming people.Enlighten the thoughts of subsequent poetry creation.Therefore,this paper attributes the beginning of the study of poetic rhythm in the early Qing Dynasty and the internal cause of this phenomenon of literary history to the role of the theory of "Ge Diao" poetry,as well as a representation of the variation and deepening of the theory of "Ge Diao" poetry in the historical process from the Ming Dynasty to the Qing Dynasty,because the two are essentially answering common questions.There is the most complete summary of "Ge Diao" poetry to Shen Deqian,which is also the summary after the all-inclusive integration,so it has its own development and innovation compared to the old poetry.This paper takes the relevant poetic theories of Chen Zilong,Ye Xie and Wang Shizhen to explain,and gives a brief overview of the possible development and change of "Ge Diao" poetry from the Qing Dynasty to Shen Deqian,to show Shen Deqian’s style theory.Both in connotation and extension,it has been different from the old "Ge Diao" poetry of the Ming Dynasty,but has a distinct imprint of the Qing Dynasty poetics,such as integrating the theories of the people,analyzing the lines and strong academic.