The Song Poetry And Poetry In Ming Dynasty

Respect Tang poetry and Reduce Song poetry in Ming Dynasty, which is an incontestable fact of literary history. However, researching on this fact doesn’t have to obey itself, and think that the poetry of Ming Dynasty research really can’t open a " Song" perspective. In fact, the study to the reception of Song Dynasty’s poetry has not a systematic arrangement and discussion in academic circles. This thesis wants to accomplish some reorganization and elaboration about the influence of Song poetry in Ming Dynasty, also hopes that explore the independent existence about the respect Tang poetry in Ming Dynasty.Based on two basic facts of the study of poetry in Ming Dynasty, this thesis is divided five chapters to discuss. Firstly, on the bases of Official Scholar-bureaucrat System of establishment and operation in the early days of Ming Dynasty and in mid-Ming Dynasty, Chapter one emphasizes on the three times changes of the establishment of Taige Style poetry in Hongwu Empire and Yongle Empire, and discuss the action which Taige literature forces eventually chose Tang poetry, since the extensive reading of Song poetry was gradually locked. The second chapter discusses as the Song poetry School which is only positive acceptable and in significant position in Ming Dynasty, Kangjie-Baisha-Ganquan preceded the main body of Song Poetry and became the first represents of Song Poetry in Ming Dynasty. In fact, the inheritance of Kangjie-Baisha-Ganquan is difficult to set up in the terms of poetic intrinsic aesthetic characteristics. This model of Song poetry which is to rely on external forces to maintain is created by poets in Ming Dynasty to a large extent. The key point of chapter three is analyze the poetry reading phenomenon in Wu and Jiangnan regional in terms of the special character of the Wu regional literature in Ming Dynasty literature regional pattern. Relatively speaking, the author called the personalized Song poetry reading which does not involve political and educational functions and collectivism as the "old" of Song poetry reception in the mid-Ming Dynasty.Secondly, on the base of Spiritualism arisen and the change of poetry mood in the Middle and Laie Ming Dynasty, chapter four discusses the change of poetry between Jiajing and Wanli Empire and the recovery of the reading of Song poetry, makes a description of the reception of Song poetry What give priority to the internal differentiation of classical poetics and the speech of Song poetry of Yuan Zongdao and Yuan Hongdao, supplemented by Jiajing, Wanli and other poetry reading phenomenon. The chapter five with Qian Qianyi as the core, discusses the opening of Song poetry perspective in the late Ming Dynasty influence by "Fugu" and "Xinbian", and introduces several samples of Song poetry reading phenomenon in late Ming Dynasty in terms of special historical experience during the change of generations. Appendix "surging publishing and silence critics—a survey report of poetry of Song Dynasty text reproduction of Ming Dynasty" makes an investigation about the official and private collections of poetry, existing poetry anthology edited by Ming, Song poetry text print copy in Ming Dynasty, as well as the new album of Song poetry text in Ming Dynasty, also makes an simple specification about an imbalance condition of reproduction and reviews under the horizon of publishing circles in Ming Dynasty.