A Narrative Of The Origin Of Ming Poetry In The Late Ming And Early Qing Dynasties

From 1621 to 1735,the narratives of Ming poetry’s history generally have three theoretical premises.They are the theory of shiyun(世运),the theory of xingqing(性情)and the theory of bianti(辨体).The methods of the narratives are mostly selecting the important figures,searching for important factors and listing the evaluation criteria.The critics often summarize Ming poetry’s history by mingshisanbian(明诗三变),which is from Shi Da Xu(诗大序).In the process of narration,literature has great power.For example,Cao Xuequan’s Ming Xing Shi Xuan(明兴诗选)can’t reflect his opinions absolutely because of the literature’s lack.Qian Qianyi’s Lie Chao Shi Ji(列朝诗集)is almost the only source of Wang Fuzhi’s Ming Shi Ping Xuan(明诗评选),so it is difficult for Wang to realize his dream.The preservation of literature helps Zhang Tingyu completing Ming Shi(明史).Ming poetry’s history can be divided into two parts,three parts,four parts and six parts.The attention and status of Ming poetry in different stages are often inconsistent.The“regionality”of Ming poetry is often“hidden when combined”and“obvious when separated”.The main models in the narration of Ming poetry’s history are Shi Jing(诗经)and the Tang poetry,which are often regarded as the standard for evaluating Ming poetry.Many critics consider that the represents of Ming poetry are mainly Sijie(四杰),Qizi(七子),Gong’an(公安)and Jingling(竟陵),the represents of late Ming poetry are mainly Gong’an(公安),Jingling(竟陵),Yunjian(云间),Yushan(虞山).This narrative which around Qizi(七子)encounters a number of objections.