Early Qing Chanting Poetry Study

In the studying poems of Qing dynasty, a large number of fields are yet to be explored and the studying dinggedicht of early Qing dynasty is one of them. This paper targets the dinggedicht creation of almost 60 years from Shunzhi, an emperor in early Qing dynasty to Kangxi, an emperor in 1701 and discovers the connotations of humanity, art, ideology and culture embodied in the poems.The paper is divided into two major parts and composed of introduction and 9 chapters. The introduction of the part I mainly discusses the purpose and meaning of studying this topic and the situation of study.In chapter one, it traces the roots and traditions of the denggedicht and is extended by the following aspects including origins of the denggedicht, the transformations of means of artistic expression and the influences of ideology and culture. The first section explores the roots of the denggedicht, one of the forms of ancient Chinese poems and the early traces of denggedicht can be found in the poems, such as Nanfeng, Qingyun and etc. Tan Ge is the first denggedicht in original ballad. The traditional figures of speech, Fu, Bi and Xing, in the Book of Songs and the main idea of "image obtained from observing the object" and "image established to show inner meaning" in the Book of Changes all have the decisive influence on the denggedicht. The inborn intimacy between the human beings and the nature embodied in the denggedicht is decided by the character of farming nations. The second section discusses the origin and connotation of Fu, Bi and Xing and its guiding rule and the development in the means of artistic expressions of denggedicht. The third section states the outlook on nature respectively from the perspective of Confucianism, Buddhism and Taoism and analyzes the different aesthetic connotation and humanism entrusted by their opinions about the nature on the denggedicht.The chapter two is the general introduction of the denggedicht in early Qing dynasty. This chapter divides the denggdedicht into three writing groups to study, including remnants of former dynasty, turncoat officials and ad vocation of peaceful and stable period. The first section states the remnant spirits of denggedicht of early Qing dynasty and then analyzes the ideology connotation of remnant denggedicht of early Qing dynasty and compares the ideology of remnant denggedicht between the early Qing dynasty and pre-Qing dynasty, especially Song dynasty to discover the spirit of time. The second section talks about the mentality of turncoat officials of denggedicht of early Qing dynasty. After the investigation of ideology of denggedicht of turncoat officials in pre-Qing dynasty, the author chooses Qian Qianyi, Wu Weiye and Gong Dingzi, the typical representatives of turncoat officials in early Qing dynasty to analyze the mentality of turncoat officials and discuss the lack of humanistic care in the current literary studies of turncoat officials. The third section goes into the discussion of the denggedicht in peaceful and stable periods and also divides the poems into two parts including the ups and downs of eunuch and retouching the peaceful periods. It extends its analysis through the denggedicht from Song Wan, Shi Runzhang, Wang Shizhen and Zhu Yizun. The forth section is the general summary of the tendency and development of ideology of denggedicht of early Qing dynasty.The third chapter is the artistic study of denggedicht of early Qing dynasty. The first section is the descriptions of the denggedicht themes of early Qing dynasty and discusses the three aspects including the general situation of themes, the characters of the ages and enrichment and deepening of the connotations of themes of traditional denggedicht; the second section divides the artistic achievements of denggedicht of early Qing dynasty into three aspects:artistic pursuit of mainly using Bi and Xing, the perfect combination between human feelings and objects and the original applications of allusions; the third section discusses the aesthetic features of denggedicht of early Qing dynasty and points out that the aesthetic consciousness experiences three phases including "image established to show inner meaning", "identity of object and self" and "appreciation of the object by purified mind".The chapter four is the research of the denggedicht of early Qing dynasty. Firstly, the poetics of early Qing dynasty influenced by unstable society is the return of Confucian realism poetic spirit; second, the Qing dynasty, as the last phase of Chinese ancient poems inherits profound and rich literal accumulations and definitely emphasizes and carries out the traditional artistic spirit of poems. The poetics from Wang Fuzhi is the integration between the realistic spirit and artistic beauty of poems. For literature, he thinks that it should correct the wrong ideology and support the orthodox; for denggedicht, he advocates the Bi and Xing and he also requires the artistic pursuit of "the nature of outside objects can be reflected by inner subjective creativity". The relationships between the scenes and the emotions discussed by him are the general summaries of lyricism and artistry of ancient poems. The "theory of verve" from Wang Shizhen is the transitional poem concept. The development of poems first is to express one's emotion implicitly and then insipidly describe the scenes and finally just put on an act but no ideas and is just the best illustration of development tendency of poems in Kangxi period. The collection of denggedicht in Pei Wenzhai made by the emperor, Kangxi gives priority to the poem teaching and is pervaded with the strong politic utility. However, the discussions of the literal features of denggedicht break the prejudice of similarity between the denggedicht and court poems in Qi and Liang, so it has considerable high value on understandings. This anthology of denggedicht is significant to understand the concept of denggedicht of the ancients and its styles are often carried forward by the later selected works. The chapter five in the part II is the monograph for the denggedichr from Wang Fuzhi. The fallen flower is the representative poem from Wang Fuzhi and is famous for its strong politic awareness. Based on this problem, the first section mainly explores it from the concept of poetics and emotional appeal and also analyzes the politic connotations embodied in the works. The second section, from the perspective of creative spirit, ideological connotation and the means of artistic expression, digs the common literary characters embraced in denggedicht from Wang Fuzhi and Li Sao from Qu Yuan to uncover the tacit cooperation and coincidence of two poets cultivated by the same culture and the incredible vitality of traditional national spirit and its spectacular glories in the new era.The chapter six is the monograph for denggedicht from Qian Qianyi. The poems about Weiqi, as the unique themes in Muzhai collections not only record the emotional history of each period in the war of anti-Qing dynasty but the special culture and philosophical connotation of Weiqi is the best reflection of its personality and disposition. Besides that, the poems depicting the red bean, the geese, deciduous leaf and willow trees written by Qian Qianyi all possess higher art value.The chapter seven targets the denggedicht from the poems with "Meicun style" of Wu Weiye to disclose the highlighted life consciousness but often neglected by critics. The poem with "Meicun style" spreads the pages of the dneggedicht and its ideological connotation and means of expression are greatly enriched and innovated. This chapter chooses the song of cricket basin with gold inlay made by Xuan Zong and Bai Yanyin and focuses the discussion on the ideology and art.The chapter eight is the monograph for denggedicht from Wang Shizhen who is one of the most important poets in early Qing dynasty and hailed as suzerain in the poetic circle. The achievements both in poetic circle and politics are all greatly related to the Qiu Liu Poems. For the interpretation of this poem, each sticks to his argument and the author also makes some simple analysis about it. The appearance of this poem is specially significant in the history of literature. The poem with tones full of pathetics and sentiments, the themes with nostalgia for the past and sorrow for today wins the approvals of the remnant poets and its implicative expression and gentle aesthetic feeling just coincides with the poetic education concept proposed by Kangxi. But more than that, the poem inherits and summarizes the themes and emotions of remnant poems of early Qing dynasty and also embraces the new spirit of the times. Great changes took place in the style of his poems since Wang Shizhi became an official and he was also called "a master with weak ability" because his poems degraded from the high-spirit and vigorousness to compliments of peaceful world and finally to making a fuss and boringness. After the comprehensive investigations of Qiu Liu Poem, this chapter analyzes the "the romantic charm" described in the work and gives some comments about the writings of his later years.The chapter nine is both the monograph for themes and for writers. Flower poems are the universal themes in the remnant denggedicht of early Qing dynasty and they include the common psychological appeals and depict the individualities of the authors. Gui Zhuang temporarily forgets the pains of the world through indulging himself into appreciating the flowers and finally realizes his wonderful life experience; "observing flowers poems" of Yu Huai with strong sentiments and nostalgic emotions imply the compliments for the prosperity of the old kingdom and attachments for the free life in the youth. The plums and chrysanthemums in the poems from Qu Dajun are more of the symbols of personalities and life experience. The flourish of observing flowers poems should be attributed to the elements of southern climate and continuation of the cultural heritage of later Ming dynasty on the remnants.