Differences between Du Fu's and Chen's Poetry

Brilliant Tang poetry has left inexhaustible creative experience for Song people, which is also a heavy burden. It is really difficult for Song people to reach or surpass Tang people in poetry creation. It is appropriate for later generations to lament that "it was really difficult to develop after the birth of the Song Dynasty in the Tang Dynasty". However, the Song people did not stop there. In the first 60 years of the Song Dynasty, many poets accumulated rich artistic experience on the basis of extensive study of the poetic style of the previous generation. The poetic retro movement represented by Ouyang Xiu and Mei laid the basic face of the Song Dynasty. Then, in the prosperous Song Dynasty, represented by Wang Anshi, Su Shi and Su Men's disciples, it can be said that it completely changed the glitz of the previous generation and gradually matured the "Song tune" comparable to "Tang Yin". Regarding the similarities and differences between Tang Yin and Song tune, Mr. Qian Zhongshu thinks that "Tang poetry is good at charm, while Song poetry is good at reasoning." (3) Mr. Miao Yue thinks that "Tang poetry wins by rhyme, so it is elegant and elegant, and your meaning is ethereal; Song poetry wins with meaning, so it is refined, expensive and deep. " (4) The essence of attaching importance to meaning and the external forms of "taking argument as poetry" and "taking righteousness as poetry" in Song poetry are hidden in the poetry creation of Ouyang Xiu, Wang Anshi and Su Shi, or in the various literary talents of Ouyang Xiu and others; Or diluted by his talent and flowing creation, such as Su Shi; Wang Anshi's poems can represent the characteristics of the Song Dynasty, but they are also covered by his Confucian classics and political rights and wrongs. Only Huang Tingjian, who holds a negative attitude towards political struggle and opposes taking poetry as "arguing in court, criticizing criticism and scolding neighbors" (5), can concentrate his life on poetry creation, and on the basis of extensively drawing lessons from the success or failure experience of previous generations and contemporary poetry, reject other people's views, be comprehensive and eclectic, and create works that best represent the essential spirit of Song poetry, just as Lv Benzhong said, "suppress" Huang Tingjian's success. Besides studying the works of Tao Yuanming, Li Bai, Du Fu, Bai Juyi and Han Yu, he also spoke highly of the works of Cao Zhi, Serina Liu, Bao Zhao, Xie Lingyun, Yin Keng, He Xun, Wang Wei, Meng Haoran, Liu Changqing, Wei and Liu Yuxi. Because he devoted himself to creating great characters on the basis of widely absorbing the artistic laws of the previous generation, Du Fu, who combined the artistic achievements of the previous generation's poems, had strict creative laws and was easy to imitate, naturally became Huang Tingjian's main learning model. "Houshan Poetry Talk" said: "People in the Tang Dynasty did not learn Du Fu's poems, but only Tang, Huang Yafu and Jing Xie were beginners. Son of Huang, son-in-law of Xie. It is in the second father, and the beauty of the son is in trial. " Thus, the source of Huang's poems can be traced back to Du Fu in the Tang Dynasty. Hong Ju's father's poem: "Gu Ci: Tang poetry makes the best use of everything, and his poem" Crossing the Changling Mausoleum "says:' I heard that the master raised three feet and saw a fool and a thief. Throughout the ages, rotten scholars rode thin horses, and Baling looked up to the sun. "There is also a cloud in the Golden Crane Pavilion in Tigou:' Smoke crosses the horizon and looks at the flowing water, and you are sheltered from the rain and the moon'." Today also serves as evidence. However, how did Huang Tingjian and his disciples learn from Du Fu? According to Chen Shidao and Qin Jian's book, "yu zhang learned a lot, but he learned Du Shaoling and Du Shaoling and didn't do it." Attending Ren Yuan's "Poetry Talk", Xu Yinque is also known as "two hundred years, the prosperity of the article has been traced back to three generations, and those who are famous for their poems are Huang Tingjian, followed by those who are not scholars, but in the back hill. Both of their poems are based on Lao Du's failure. Here, "not for Lao Du" tells the true meaning of Huang Chen and Du Xue. This sentence can be said to be learning from Du Fu, or not learning from Du Fu. Zhang's Coral Hook Poems (Volume II) and "Talking about Du Fu" just illustrate this problem. He said: "Scholars have their own styles, have lofty ideas, practice calligraphy consistently, and naturally have combinations. Why do they obey the rules? "165438+ Chen Shidao learned poetry from Du Fu and was praised by Huang Tingjian. Then, Huang Zhixue's Du Gai is exactly the same as Chen Shidao's. Huang Tingjian's poem "Persuade Industry to Be High" says: "Beauty lies in harmony with light, and things must be hooked into god. Listen to him, I am not a descendant of cattle. " 12 Therefore, the people's evaluation also thinks that "we don't practice the old deeds of our predecessors, but we only surprise people and are good at affairs"; 13 "Wonderful Poems in the Valley" 14 "Lu Zhi's Poetic Style is Unique"; 15 "As for poetry, it is advocated by Gu and is a family, unlike the ancients"; Ou Gong's works and poems in the valley all say that they don't follow the Tathagata. "16. Vance et al. It can be proved that in the eyes of contemporary people, Huang Tingjian is not an incompetent person who imitates and plagiarizes his predecessors, but has a master style that transcends his predecessors and is unique.

Huang Gaiting-jian's admiration for Du Fu in his early years mainly focused on his profound artistic achievements in syntax. The so-called "Lao Du has been living in exile, but he is not in the dynasty for a day." Therefore, he is good at current affairs, with profound syntax, super-ancient author and loyal man, and he feels it. "17 Yun Yun is suitable for evidence. For example, the second rhyme of "See you on the Liu Jingwen River", written in the second year of Yuanyou, is called "Think about a good sentence and ask Qian Lang"18; Send Du Jiahao, written in Yuanyou for three years, entitled "Du Lang has made new contributions to sentence search"19; In the same year, he wrote a poem "Asherman and Xu Peony", entitled "If you want to find a good sentence, you will be afraid of old age in spring" 20. In his later years, mainly after being relegated to Ganzhou, Huang Tingjian linked learning with Taoism, that is, writing poems to strengthen personal cultivation. His books "Old Poems" and "Postscript of Hong Gui's Father" say: "You must devote yourself to self-denial, but you can use your talents to follow your heart, so that you can have leisure in the machinery and read thousands of books more diligently. "2 1 Therefore, Chao's" Shu Huang Lu Zhi Ti Gao Yang Qing Hou Ting "said:" Lu Zhi is good at treating the heart and nourishing qi, so he can do everything he can for others, so he uses it for reading and writing, thinking high and lofty, just like him. " Focusing on the relationship between personality perfection and creation, Huang Tingjian also highly praised Tao Yuanming. He admired Tao's character of "not bending for five fights" and observed Tao's poem "If you are in sharbat, if you are thirsty for tea, if you are hungry for soup cakes" 23. Stone, he believes that the highly perfect poetry art is based on his independent personality and the creative spirit of arbitrariness, just as the book "Huaigu Lu" said: "The character is high, the chest is scattered, and the letter is written, and the mind is wonderful. I didn't think about poetry, and I didn't ask people to call it good, so its good people are all from nature, so it is out of reach. " Therefore, Huang Tingjian pointed out that the fundamental reason why it is far superior to Xie Lingyun and Yu Xin is that it is different from Xie and Yu Xin's "deliberately promoting vulgarity and destroying their merits", but "sending them directly to their ears" .24.

Because of advocating personality cultivation, in Huang Tingjian's view, the purpose of reading lies in virtue cultivation and in cultivating literary spirit, not in the syntax of ancient poetry. So the key to reading is to get the meaning of the ancients. "Reply to the Crown" said: "But when righteousness is the main principle, the article will naturally stand out. When I saw the poems after Kuizhou, Han ebbed and wrote articles later, but I didn't bother to cut the rope. " Only by understanding its meaning can we learn the testimonies used by the ancients in writing. "Postscript Liu Zihou's so-called poems": "I was born, king, and wrote poems with the attitude of the ancients. Despite his unusual style, he failed to listen to Yu Pei's voice calmly, leaving the ruler to the rules. Those who are interested in reading have not broken 10,000 volumes, and the ancient articles have not been described, and they have not been exhausted, but they know that they are playing? " However, if you want to get the meaning of the ancients, you must do the opposite and be complacent. The purpose of reading ancient books is to be complacent. What's the use of reading thousands of books if you're not complacent? Since you are satisfied, what you have in your heart naturally conforms to the statutes of the scriptures. "Valley Collection" Volume II "Book with the King" says: "Read its book (referring to the Six Classics), recite its text, taste its words, and contain its essence, then make a decisive decision on the river, and note it on the sea. Can the territory be ruled?" Zhou Yanqi studied under Confucius and Mencius, but he was gentle and sincere. "The past does not forget, the teacher of the future, from the sky, no obstacles in the chest, it is the meaning of the so-called reason and resignation, so don't bother to cut the rope. In this way, all deliberate mistakes such as rope cutting, carving, clever thinking, affectation and axe chisel can be rejected, so as to achieve the realm of "simple but clever, flat and deep mountains and water" Only by reaching this level can Tao Shi and Du Fu Shi truly become the source of self-restraint for future generations, not just the objects of syntactic research. The fourth part of Huang Tingjian's "Four Poems of Heqing Seeing Emblem and Rhyme with Six Characters in Jingnan" says that "it's really a small skill to find a sentence, and a bosom friend must be unique" 28 means that a poem must forget its style. Jiangxi School emphasizes "writing without intention", that is, this poem was written in the first year of Chongning, which is just enough to represent Valley's poetics in his later years.

Speaking of this, we can't help but talk about two controversial issues: "turning the stone into gold" and "robbing the fetus into bone". Many contemporary scholars have talked about the innovative factors contained in this theory. For example, Mr. Zhang Gaoping of national cheng kung university City, Taiwan Province believes that "'small iron can be refined into gold. It has the same name as "trade-in". "Although there are different views and opinions, this is a manifestation of the turnover and variation of Song poetry. If you make good use of it, you can achieve the artistic effect of turning decay into magic. There is almost no doubt that "trade in the old for the new", "turn the stone into gold" and "trade in the old". Inheriting ancient learning is the means and steps; Development and change are the purpose and the ultimate. "30 confidence. In fact, Huang Tingjian himself does not agree with the idea of replacing ancient characters as a means of turning the stone into gold. According to "Flowers on the Mountain of Knife", every couple once recited Qiannan quatrains in the valley, thinking that Bai Juyi was used to turn stone into gold. Fan Liaoyun said, "Liao is in Yizhou and asks about the valley. Gu Yun said,' A strong court makes you familiar. For a long time, I forgot why it was poetry. When I was trying to rain in Hengshan Mountain, I happened to have nothing to do, so I wrote a letter and played a book. "I told him with a small iron, and the valley smiled and said,' Nothing is right? So light the iron! ""It is enough to reflect that at least in Huang Tingjian's place, it is by no means a change of ancient words. Today's "Diantie turns into gold" comes from Shi Daoyuan's "Jingde Dengchuan Record": "A magical pill, Diantie turns into gold. In short, everything is sanctified. " If we say "a panacea, turning stone into gold", it is "a wise saying, making everything sacred". The focus of the four short sentences is "All things are sanctified", and from the side of meditation practitioners, they often beg for enlightenment from Taoist Zen masters; From the Zen master's point of view, it is also right to enlighten drinking, often to inspire others to seek a panacea. Because of self-purity, enlightenment does not need external seeking, but only self-realization. As Zhang said: "transcendental holiness is only in the heart, not outside." There are eyes in the sentence, and the scholars accept it. " 3 1 Therefore, it is inappropriate to call stealing words from ancient sentences "turning the stone into gold", which is ridiculed by Huang Tingjian.

Therefore, Huang Tingjian's poems are not Du Like Fu, but have their own characteristics and systems. For example, Zhuzi Genre said: "Su Huang is just a modern poem. Su and Huang Fei arranged "Cang Hua" by Yan Yu, which listed Wang Yucheng's learning from Bai Juyi, Yang Yi, Li Shangyin and Ouyang Xiu's learning from Han Yu, and said: "It was not until Dongpo Valley that I began to write poems, especially in the valley of employing people. Since then, the French throne has prevailed and is known as the Jiangxi Poetry School in China. " Wang Ruoxu at the end of Jin Dynasty

Similar to Huang Tingjian's learning from Du Fu, Chen Shidao, Pan Dalin, Xu Fu, Chao Tuzhi, Gao E and others also claimed to learn from Du Fu, but they mainly learned from Huang Fu. Although he studied under Huang, he is not exactly the same as Huang, but he pursues self-reliance, which is different from Huang Tingjian's poetic style. For example, Chen said: "Although Houshan read his poems, he gave up his studies and learned to study, but his achievements are dull, interesting and natural, which is lacking." 36 Yan Yu's "Cang Shi Style" said: "Hou Du's language is similar, but several articles, he may be similar but incomplete, and others are all his own ears." Chen Mo said: "There are very few people who are concentrated in hills like Jiangxi. As for five words and eight sentences, it is not particularly unlike the valley, but the valley is beyond the reach. " Wang Zhuo's Biography of Chen Shidao also said: "As a poet of Huang Tingjian, he is plain and elegant, and he is a cloud of his own." Another example is Xu Fu, who has always advocated that "you should have your own ideas when writing poetry, and you should not blindly attack your predecessors". He added: "Modern poetics stopped in the Soviet Union and Huang Dynasty, and there were old Du poets on it, which began to be seen in the Six Dynasties. If you study poetry and don't know that there is a poem called Selected Works, it is that the cart has no car. . "It can be seen that he not only advocates extensive study of the excellent works of his predecessors, but also wants to get rid of the shackles of his predecessors and seek self-reliance. According to Zhou Zizhi's "After Poems by Xu Shichuan", "The Postscript of wu si Road in Jinling:' I tasted recent poems to show Xu Gong, and Xu Gong was a servant. Do you want to imitate Du Shaoling's sentence? Thinking of Tao, I said, how could Shaoling be levied? But I must take the road of law. Public statement: Yu Yongsheng is sitting in a beautiful seat. After thinking about the reasons, the public said, "Today's diners are as beautiful as steamed bread clips, and they chew wood after eating for a few days." "4 1 Xu Fu told Wu Keyu that Du Fu's poems are good, but they are boring to learn. The so-called Jiangxi people's study of Du Fu can be seen here. Similarly, Lv Benzhong, who got the syntax of Huang Tingjian and Chen Shidao, recorded in his Teacher's Friends Magazine that Xie Wuyi's "poems in the clouds outside the language are like those of Lao Du Gu, Du Fu's poems are Du Fu's poems, Huang Fu's poems are Huang Fu's poems, and Ju Ren's poems are also Ju Ren's poems." Xie Wuyi is one of the important members of Jiangxi School, and the above viewpoint was obviously praised by Lv Benzhong.

Lv Benzhong's "Children's Poetry Instruction" said: "If you want to learn modern poetry, you should first take an examination of various schools in Jiangxi." The "genre" cloud obviously refers to more than Jiangxi poetry school. Huang Tingjian is the sect in the Map of Lushi Sect, and the following twenty-five sects are the sects. Therefore, Heshan Valley is the Sect of Jiangxi, and those who are not in the Valley are called Jiangxi Poetry School. "(44) Twenty-five people," Although the system is different or different, all must be shared. " (45) As Yang Wanli said: "Jiangxi sectarian poets, poetry Jiangxi also, people are not all Jiangxi also. People are not all from Jiangxi, who is from Jiangxi? It's also a draw. who is it? Taste is not shape. Dongpo Jiang Yunyan's columns are like lychees, and Du Yun's poems are like Taishi Gongshu. It was not that everyone who heard it at that time was silent, but that Yang actually agreed. To this day, it is not the sin of the silent person to remain silent. In terms of taste, it is almost the same, so it should be silent and vague. Gao Zimian is not like Erxie, Erxie is not like Sanhong, Sanhong is not like Xu Shichuan, and Ishikawa is not like Chenhoushan, but the situation is like a valley! It's just tasteless. Sour and salty are different, mountains and seas are different, and the wonderful adjustment is beyond my ability. (46) Only because of its wonderful tune, it is superior to technology, so it is also Jiangxi; Because of its sour and salty taste and different mountains and seas, Jiangxi Poetry School is salty. It has its own face and style, and it is also Jiangxi, which is the characteristic of Jiangxi poetry school. Wang Ruoxu's so-called "articles are prized by others", is it really handed down from generation to generation? "? (47) The obvious route does not delve into Jiangxi's theory, but only talks about the matter.

It can be seen that Huang Tingjian and Jiangxi School take learning from foreigners as a means and aim at innovation. It is unfair to describe Huang and Jiangxi School as "plagiarists" who follow the old ways and ask for advice from the ancients, especially Du Fu.

It is precisely because Huang Tingjian advocated innovation on the basis of learning the experience of predecessors' poetry creation and pointed out a concrete way for later scholars that a group of followers appeared around and behind him, forming the Jiangxi Poetry School. Jiangxi Poetry School got its name from Lv Benzhong's Map of Jiangxi Poetry School. The author thinks that, as an important figure of Jiangxi Poetry School, Lv Benzhong not only made great contributions to the establishment of Jiangxi Poetry School, but also persisted in and developed Huang Tingjian's not rich poetic thoughts, further enriching the theoretical basis of Jiangxi Poetry School's creation.

Lv Benzhong's admiration for Huang Tingjian is obvious. "Poems by Mr. Donglai", Volume 3, "Clock has seen ten rhymes", notes that "the method of writing poems in the valley must be examined in detail from the songs of Geng Song and Wuzi, so poetry must be broken in Tang Yu." This shows that Reuben regards Huang Tingjian's poetics as his own standard. In his "Jiangxi Paitu" and its preface, he clearly pointed out that the founder of Jiangxi Paitu was Huang Tingjian rather than anyone else. According to Hu Zai's Tiaoxi Fishing in Conghua, his Preface to Sectarianism says:

Since Du Li came out in the Tang Dynasty, it has flourished for a lifetime, and the later words are beyond the reach of poets. For Korea, Liu, Meng Jiao, and all the people, they are passionate and passionate, and finally they can't be compared with the former author. After Yuanhe, in the national dynasties, the works or disseminators of songs and poems were mostly old-fashioned and uninteresting. However, yu zhang began to make a big impact, shaking vigorously, and it was the same again and again. Later scholars worked together, although the system was different or different, but they wanted to become a member of the people. Write down his name in order to stay. "(49)

Whether Lv Benzhong's views in this preface are correct or not, his admiration for Huang Tingjian is obvious. The problem is that some scholars think that "Jiangxi Paitu" was written by Lu Benzhong in his early years and cannot represent Lv Benzhong's literary thought. The author thinks that no matter when the school map was created, it is still controversial (50), even if it is really like the boathouse poem: "I don't know how to spread it to the world and regret it." (5 1) Then the reason why Lu Benzhong "regrets his work very much" is probably only because the arrangement of characters has caused dissatisfaction among Xu Fu, Xia Ni, Han Ju and others. Lv Benzhong admired Huang Tingjian from beginning to end. At least treat Huang Tingjian and Su Shi equally. There are many examples of this sentence by Su Huang in Meng Tong's Poems. Here is the second example:

Reading "Zhuangzi" broadens people's thinking and makes them dare to do it. It is not easy to read Zuo Zhuan and make people understand the law. These two books should not be ignored. Modern people read the poems of Dongpo and Lu Zhi in a similar way. (52)

Since ancient times, only Dongpo language articles are wonderful, widely prepared and surprising; The most wonderful thing about the extremely elegant change is Xing's body, including many works, which are original and innovative, with only one person. Both should always be regarded as laws. (53)

To sum up, Lv Benzhong inherited and developed Huang Tingjian's poetics in at least the following two aspects:

First, advocate innovation and oppose imitation. Meng Tong's Instructions on Poetry said: "Old Du Shiyun:' Poetry is fresh', and the most important thing is to make poetry hard. You can't copy the old words, you can only copy them. Lu Zhiyun said that "poetry with others will eventually lead to future generations", and he also said that "articles should not follow people", which is also seen from Lu Zhi. Recently, people have learned a lot from Lao Du, and they are left and right, so they can't have a little innovation and don't take advantage of it. In the end, they have become houses. Lu Zhi is the only one who speaks this language. He has never been like his predecessor. This is good study. If Chen didn't try his best, it wouldn't change much. " (54) "I have never died with my predecessors", which is the key to this poetic theory. In Lu Ben's view, Huang Tingjian also studied Du Fu, but his study of Du Fu was the first "unlike his predecessors"; The second is "the pawn is combined with it." The so-called "unlike predecessors" also includes ambition; "The combination of death and marriage" refers to Huang Tingjian's drawing lessons from his predecessors' poems to create works with unique appearance and in line with the essential law of poetry creation. This is "studious". Lv Benzhong strongly opposes those practices that are old-fashioned, copy old works, lack of change and nothing new. The Biography of Ruben in the History of Song Dynasty said that he "learned the syntax of Huang Tingjian and Chen Shidao", but he only criticized Chen Shidao's shortcoming of "trying his best to copy and rarely changing" very rudely. In "The First Post on Poetry with Zeng Jifu", he criticized himself for saying, "He is a good friend of Zhang Gu, but he still thinks that this book is rarely original." (55) Advocating complacency and self-improvement is the consistent proposition of Huang Tingjian, Lu Benzhong and others. At this point, Lv Benzhong is at least as valuable as Huang Tingjian.

Second, advocate living method, and have no intention to pursue it. The preface to the collection of Xia Jun's father elaborated on this issue in detail:

When learning poetry, you should know how to live. The so-called living method, the rules are prepared, but they can be unconventional; Change is unpredictable and does not violate the rules. Even the Tao is covered with a fixed law, and there is no fixed law. People who know the truth can live by words. Xie Xuanhui said that "a good poem is as beautiful as a projectile", which is a real living method. In modern times, only yu zhang Huang Gong was the first to change the disadvantages of previous works, and then scholars knew the trend, which was almost unpredictable. But the surface theory is the law of being interested in writers since the Han and Wei Dynasties, not the law of not being interested in writers. My friend Xia Jun is a father, wise and knowledgeable. His poems are covered with so-called rules, but out of the rules, he is unpredictable; The consequences mostly come from elders. People talk about poets because they have no intention to write, but no intention to write. (56)

Huang Tingjian advocates changing from intentional writing to unintentional writing, emphasizing both regularity and change, which is the basic spirit of his poetic theory. "Poems of Mr. Donglai", Volume III, "My brother Zhao commented on poetry with a book, so he answered it": "When I was a teenager, I was tired like a candle. Now I am dust-free, and I am gradually enjoying poetry. Familiar with a glass of water, seen thousands of miles away. At first it was like a projectile, and suddenly it was like an autumn rabbit. " Volume 6, 30 "Farewell to My Teenager": "I only made friends in the past, and I love each other now." Vivid brushwork and round chest. "Volume 7, there is no heavy snow to send to Ningling and Yangzhai:" The article has a living method, which can be combined with the past. Meditation, wisdom and success can still cure my illness. "Others further show that the essence of living theory lies in self-restraint. So he put forward the theory of "enlightenment". " "Meng Tong's Poem Instructions" said: "The composition must be enlightened and must come from diligence. It is not a fluke, as Lao Su is to words and Lu Zhi is to poetry. " (57) The First Post on Poems with Zeng Jifu also said: "If you need to understand this matter, it will be more natural." (58) It means sincere words, low moral character, vulgar writing and ugly language; And good poems can never be obtained through word practice. Therefore, from a positive perspective, we must strengthen self-discipline; On the negative side, we should eliminate our obsession with words. Huang Tingjian's "painting a horizontal bamboo with heavy rhyme" says: "Ting Jian has been lazy for many years and forgot his body" (59). Only by getting rid of the shackles of writing style and strengthening personal cultivation can we do what we say, and what we record with a pen is "unlike our predecessors", and we can reach the realm of "simplicity and cleverness, plain and deep" and "no axe and chisel marks" in Huang Tingjian's Reply to Wang Guan.

Therefore, when the theory of "Living Law" developed to Yang Wanli, it evolved into that it was mainly to feel the beauty of nature with a lively mind and express it in an eclectic language. As Yang said, "When it comes to the last moment, you can't hide your poetry. The former is not moved, and the latter is forced. It is certainly not difficult to write poetry. " (60) His enlightenment emphasized epiphany in meditation experience. Although this way of living and understanding is very different from that of Huang Tingjian and Lv Benzhong, its basic core lies in Huang Tingjian's poetics in his later years and Lv Benzhong's poetics. Nowadays, the prevailing literary history often pays attention to Lu You and Yang Wanli's getting rid of Jiangxi and forming their own system, but rarely talks about the positive influence of Jiangxi's poetic methods and poetics on them, which is obviously unfair.

It is no exaggeration to say that in the Lubenzhong era, the theory of Jiangxi School was at least successful. Under the prevailing environment of "living method" and "projectile theory" at that time, a large number of poets including Lv Benzhong, Yico Zeng, Yang Wanli, Fan Chengda and Lu You were trained. The reason why Jiangxi poetics was endlessly sued by later generations is that some post-Jiangxi scholars failed to correctly understand the poetics of their ancestor Huang Tingjian, which led to some variations in Jiangxi poetics. This variation is most prominent in Fang Hui. If Fang Hui is compared with Lv Benzhong, it is obvious that Lv Benzhong's "Jiangxi Sect Map" is Huang Tingjian's; In Fang Hui, Du Fu was the real founder. Huang Tingjian became one of the three big families on an equal footing with Chen Ping. Fang Hui forced Chen to enter the school, and Chen was recognized as a master of learning Du, so people accused him in turn: First, Chen entered the school to strengthen the momentum for Jiangxi; Second, Huang Tingjian and Jiangxi Poetry School did not absorb the essence of Du Fu. As we all know, although Huang Tingjian and Jiangxi studied Du Fu, they failed to do so and advocated originality. The originator of Jiangxi Poetry School is Huang Tingjian rather than Du Fu, so it is at least biased to accuse Jiangxi Poetry School of learning Du Fu.

Let's first look at how Huang Tingjian's suzerain status became Du Fu in House Emblem. "Ying Sui" volume Chao Duan You "He Luo Ji" says: "Lao Wang Du in the valley abandoned the old and learned, so he was named Huang and Chen. He is not a family himself, and the old Du family is also the ancestor. " The word "not married" obliterated Huang Tingjian's suzerain position in Jiangxi School. And this concept cover also has its origin. Hu Zai began to push Huang Tingjian upward, thinking that "people who studied poetry recently lived in Jiangxi, but they didn't know that Jiangxi also studied Shaoling. Now young people who studied Shaoling poetry no longer read it. Did they lose the meaning of Jiangxi?" (6 1) Zhao Fanshi's "Du Shaoling, the early ancestor of the poet, Fu Weng continued the Lantern Festival in Jiangxi" (62) started and went back to three places. Zhifu Society formally put forward the theory of one ancestor and three sects. Although some scholars sometimes complain that Chen Ruzong was forced by the other side, Du Fu is almost recognized as the ancestor of Jiangxi. In the Qing Dynasty, Zhang Tailai wrote "Atlas of Various Schools in Jiangxi", arguing that "all schools in Jiangxi are the true ancestors of Yuanming". I wonder what Fang Hui thinks?

Of course, Fang Du is not only because he put forward the theory of three schools of thought. In fact, Fang Hui's admiration for Du Fu runs through the whole essence of Yingkui Law, which is mainly manifested in three aspects: First, Fang Hui regards Du Fu as the most outstanding poet throughout the ages. As he thought, "Poetry for Lao Du, eternal rule!" Judging from our values today, Du Fu is still one of the most outstanding poets in the history of China. Although the focus of Fang Hui is not exactly the same as today, it seems beyond reproach to regard Du Fu's poems as "eternal norms". Second, Fang Hui's admiration for Huang Tingjian, Chen Shidao and others is entirely based on whether to learn from Du Fu. As he thought:

Houshan's poems are all based on Du Fu's, with eight sentences and forty words, with the strength of hosts. There are nine poems in the Jianghu. Choose these. Every article has sentences, and every sentence has words. (64)

It is realistic to learn from Lao Du in Houshan. Thin, feeling deep and quiet. (65)

Poetry coincides with Lao Du. ..... Fine-tasting poetry means learning from mountains and rivers, but actually learning from Lao Du and keeping pace with it. (66)

Lao Du's poems are the highest in Tang poetry. Huang and Chen's poems are outstanding in the Song Dynasty. Huang and Lao Du also. (67)

Countless examples are not prepared. It is worth noting that Fang Hui's evaluation of Chen Shidao is often higher than Huang Tingjian's. As he thought, "since Lao Du, there has been a back hill, and poetry always wins the valley" (68). The reason why Chen's poems are good at yellow poems is inseparable from Fang Hui's emphasis on the use of function words in regular poems. In his view, "poetry does not have to be true, but empty words must be true." "Poets don't specialize in true sentences and sayings, but take empty sentences as sentences. In the sentence, empty words are work, and the world is extremely difficult. " (69) Therefore, Mr. Qian Zhongshu's Records of Talking about Art pointed out: "Jiangxi sent many people to empty word in the valley of Zhonghoushan, and the previous volume" Tiaoxi Fishing in Conghua "quoted Shi Yan as recording the valley as" there is no empty word Fang Yajian in the poem ". So the virtual valley is also hidden behind the mountain and comes out of the valley. "Tongjiang Collection" Volume I "Sending Hu Zhiyun to the North", written in the Song Dynasty, is called Wanling, Houshan and Zhang Quan, but the valley is different. " (70) Therefore, in Fang Hui's mind, Huang Tingjian is not a founder. It was only because he was somewhat similar to Du Fu that he was reluctantly promoted to the first place in the Song Dynasty. Huang Tingjian's position is equal to or even worse than that of Chen.

Thirdly, Fang Hui brought Chen into Jiangxi Poetry School, which directly reflected Fang Hui's poetic concept of replacing Huang with Du. Chen was the most outstanding poet in the early years of Southern Song Dynasty, contemporary with Lu Ben, but not classified as a poetic school. Lu Benzhong never mentioned Chen in his Teachers' Friends Magazine and Children's Poems. Liu Kezhuang thinks that Chen Jingkang's works "don't forget to care about love, sweep away complexity with simplicity, replace cleverness with boldness and put character first, so they should be above other schools" (7 1). Represented the general view of people at that time. Yan Yu called him "Jiangxi Poetic School" (72) when analyzing the poetic style of Song Dynasty, but Yan Yu did not classify him as one school, but specially marked "Chen Jianzhai Style" to show his family. Only in Fang Hui's position, Chen not only became a member of Jiangxi School, but also ranked high among the three schools, which had such a great influence on him that critics thought that "because Fang Hui knew better than anyone, Chen was a leader in the early Southern Song Dynasty, far from being comparable to Han Ju and Xu Fu. If Chen is not included in the poetry school, it will be difficult to create the exclusive image of Jiangxi poetry school "(73). This kind of comment is at least incomplete. It is true that Chen's poems are full of feelings about state affairs, sighs about life, and frustrations and frustrations about life, which are quite similar to Du Fu's works after the An Shi Rebellion. It can be said that he was one of the few writers who studied Du Fu and got its essence in Song Dynasty. However, in the early Southern Song Dynasty, the Jiangxi faction was powerful and did not need Chen Lai's support. In the mid-Southern Song Dynasty, Jiangxi Poetry School influenced and nurtured the growth of many poets, such as Yang Wanli and Lu You, and had little to do with Chen's participation. At the end of the Southern Song Dynasty, Jiangxi Poetry School gradually declined, and few people studied Chen's poems. Therefore, Lachen's joining the Party will not help to strengthen Jiangxi's momentum. The essence of Chen's admission to the school lies in the difference between Fang Hui and his understanding of Jiangxi School. Fang Hui lived alone in Du Fu (whether he really realized the value of Du Fu's poems or not), so he displayed the same study of Du Fu in Jiangxi, because the Jiangxi school in his mind was just Du Fu and several of his contemporaries. In fact, Fang Hui's attention to Chen was entirely due to the inheritance of Du Fu's poems, and he made little comment on the relationship between Chen and Huang Tingjian.

It can be seen that in Fang Hui's mind, Chen can catch up with Du Fu in both syntax and so-called "case". Even if we comment on Huang Tingjian, Fang Chen together, it can only show that they all inherited Du Fu. For example, Fang commented on Mei's "Sending Xu to Secretly Know Liang Shanjun" and said: "If you are good at learning from Lao Du, you will be a valley, a back mountain and a simple house." (76) This is obviously different from the statement in Lv Benzhong's Preface to Jiangxi Sects that "although the system is different or different, it must be spread by the public". Although Fang Hui invited Du Fu to sit in the first place and Huang, Chen and others had strong backers, it did not necessarily meet the original intention of Huang, Chen and others.

Some commentators have divided the history of the formation and development of Jiangxi Poetry School into the founding period, the following period, the evolution period and the decline period (77). Huang, Chen and others belong to the founding period. The following period was the heyday of Jiangxi School. Influenced by the times, Lv Benzhong, Zeng Zeng and other important writers have created many realistic masterpieces which are resistant to foreign aggression in content and vivid in art in content. At the end of Emperor Gaozong, the poets in the early Song Dynasty died out, and only a few times of "living alone" and "being good at the world" (78) nurtured the growth of ZTE poets such as Lu You and Yang Wanli with the milk of Jiangxi Poetry School. It can be seen that the positive role of Jiangxi poetry school should be fully evaluated even in the evolution period when Jiangxi poetry school is not in the mainstream. Most of the poets in this period were immersed in Jiangxi poetry in the early stage, and later they became independent, and they came in from Jiangxi poetry school, not from Jiangxi poetry school. In fact, it is Huang Tingjian, Chen Shidao, Lu Benzhong and others who oppose imitation and advocate complacent plagiarism. With the development of Jiangxi Poetry School, a large number of poets with different faces have been trained. At the same time, because some last-rate poets are narrow-minded and poetic, they only pay attention to the study of syntactic meter, ignoring the sublimation of the subject spirit, resulting in the situation that "the poet's will is swept away without his long-term, short-term" (79). The development of Jiangxi poetry school can be said to have completed its historical mission. Yongjia Ye Shi advocated that in the late Tang Dynasty, Liu Kezhuang and others made peace with him, and the Four Spirits sent a crusade against Jiangxi. Jiangxi's post-school students are unwilling to sit idly by and watch its decline, so there are ways to fight it. Fang Hui's most effective strategy is to advocate the theory of "one ancestor and three sects", to replace Huang Tingjian with Du Fu as the ancestor of Jiangxi Sect, to connect Jiangxi with the prosperous Tang Dynasty, to make it clear that "it is not a family", to overwhelm the late Tang Dynasty with Du Fu's lofty position, and to make the power struggle between Jiangxi Sect and Siling Sect turn into a banner struggle. This situation obliterates the subjective spirit of Huang, Chen and others, and also violates the spirit of discussing poetry that Jiangxi has always advocated, which is an unsuccessful summary of Jiangxi poetry school. Only in this way can we satisfactorily explain the differences between Lv Benzhong and Fang Hui's Jiangxi poetry school system.