Which poem was written in the Song Dynasty?

Song poetry has made new progress on the basis of inheriting the tradition of Tang poetry. Pioneering and innovating in ideological content and artistic expression, many excellent works of poets appeared, forming many schools, which had a far-reaching impact on the development of poetry after Yuan and Ming Dynasties, and even caused a dispute between respecting Tang Dynasty and worshiping Song Dynasty in Qing Dynasty. It can be seen that in the history of ancient poetry, Song poetry is another remarkable peak after Tang poetry.

Achievements of Song Poetry ① Song poetry has made new explorations and creations in ideological content and artistic expression. Compared with Tang poetry, Song poetry has expanded in reflecting the sufferings of people's livelihood, exposing social darkness and expressing political struggles within the ruling class. Especially in the historical background where ethnic contradictions are extremely sharp and intense, the patriotic spirit expressed in poetry is more intense and profound than that expressed in Tang poetry, which has become the keynote of poetry in the Southern Song Dynasty. In terms of artistic purport and style, it mainly develops in ideological content, exposure and exquisiteness. Yan Yu's comments on Cang Lang Shi Hua: "Poetry has words and reason is interesting." "People in this dynasty were interested in reason, but people in the Tang Dynasty were interested in reason." Yang Shen's "Poems of Sheng 'an" said in Volume 8: "The poems of the Tang Dynasty are mainly based on feelings, nearly 300; Song people's poetry management, go to "Three Hundred Articles" far. " Qian Zhongshu, a modern man, said in Tan Yi Lu: "Tang poetry is good at rhyme, while Song poetry is good at reasoning." Although there are different attitudes towards praise and criticism, it is consistent to point out that "reason" and "thinking reason" are the characteristics of Song poetry. Those who emphasize rhyme are more subtle, and those who emphasize reason are more exposed. Shen Deqian's Collection of Exceptional Poems in the Qing Dynasty said: "Tang poetry is rich, Song poetry is exposed, rhyme is rich, and dew is true." Wu Qiao's "Poems Around the Furnace" also pointed out that Tang poetry is more important than Xing, so "its words are gentle and implicit"; Song poetry emphasizes fu, "its words are straight." Weng Fanggang said in Volume 4 of Zhou Shi Shi Hua: "The beauty of Tang poetry is in vain, and the beauty of Song poetry is in reality." Song poetry also pursues exquisiteness. Volume 4 of Zhou Shi Shi Hua also said: "Poetry will become more detailed in the Song Dynasty. Tang people really can't enter the cave. " Quite insightful. On the one hand, the so-called "refined" and "incisive" refers to the description of objective things in Song poetry, which tends to be innovative and meticulous, and the description is incisive and subtle, which is different from the muddy and dignified Tang poetry in Han, Wei and Six Dynasties. For example, Li Dongyang's Poem of Huailutang comments on Su Shi's poem "Infinite Love", which is an example. On the other hand, it refers to the deeper and more thorough use of allusions, antithesis, syntax, phonology and tone in Song poetry. For example, Liu Kezhuang commented on Huang Tingjian in the Preface of Jiangxi Poetry School: "We will learn the length of hundreds of sentences, study the changes of the system in past dynasties, seek the similarities and differences of ancient books, and get married as the ancient law. Although he didn't say a word, he was the ancestor of this dynasty poet. " In other words, it points out the extreme changes in sentence patterns and genres of Huang's poems. In connection with the above points, the poetry of Song Dynasty also showed a tendency of discussion, prose and learning as poetry, which had a good or bad influence on the development of poetry art and produced many outstanding and outstanding poets in Song Dynasty. Poets in Song Dynasty, such as Mei, Ouyang Xiu, Wang Anshi, Su Shi, Huang Tingjian, Chen, Lu You, Fan Chengda and Yang Wanli, all have important positions in the history of China's poetry. Compared with some important poets in Tang Dynasty, they have their own characteristics. They won the praise of later generations for their excellent poems. Among them, Su Shi and Lu You are especially compared with Li Bai, Du Fu and Bai Juyi. Their poems are exemplary in some ways. A large number of poems were produced in the Song Dynasty. It is estimated that the number of Song poems that have been handed down to this day is several times that of the whole Tang poetry, and the number of known poets is estimated at around 8,000. There are not only a large number of Song poems, but also a large number of good poems. Those outstanding poets have left many good works, even some poets who are not particularly famous often have good works. The study of poems and songs in Song Dynasty has a long history. Generally speaking, poets attach great importance to learning from the Tang Dynasty, some emphasize imitation, and some strive for innovation in learning. The former is like nine monks in the early Song Dynasty and four-spirit poets in the late Southern Song Dynasty. The latter is more common, showing the coexistence of competition and innovation. Therefore, there were many schools of poetry in the Song Dynasty, which often developed and evolved, thus enriching the style of poetry and constantly producing a large number of good poems.

Song poetry

The Development of Song Poetry Yan Yu once talked about the schools of Song poetry in Cang Hua. Until the early Qing Dynasty, most people who studied Song poetry focused on the evolution of schools. In addition to the evolution of schools, the attention to historical development and changes began with the preface to the chronology of Song poetry. He talked about the "four changes" in the Song Dynasty: the first change was after Injong Li Qing; The second change was when Huang Tingjian and Jiangxi Poetry School rose. The third change was after the emergence of the Four Spirits School. The fourth change was in the late Song Dynasty. Based on the Tang poetry, The Essence of Song Poetry edited by Chen Yan in the late Qing Dynasty and the early Republic of China can be divided into four stages: early Song Dynasty, prosperous Song Dynasty, middle Song Dynasty and late Song Dynasty. At the beginning of the first volume, it says: Yuanfeng and Yuan You were the early Song Dynasty, Yuanfeng and Yuan You were the prosperous Song Dynasty, Du Nan was the middle Song Dynasty, and after Siling, it was the late Song Dynasty. He made some improvements on the basis of the "four changes" to make it more reasonable.

According to Chen Yan's staging method, Song poetry can be divided into four periods. The first period was the early Northern Song Dynasty, from the founding of the Northern Song Dynasty to the last years of the British Emperor (960 ~ 1067). The second period is the late Northern Song Dynasty, from Zongshen to the end of the Northern Song Dynasty (1068 ~ 1 127). The third period is the early Southern Song Dynasty, that is, from the early Southern Song Dynasty to the end of Ningzong Casey (1 127 ~ 1207). The fourth period is the late Southern Song Dynasty, from the early days of Ningzong Jiading to the late Southern Song Dynasty (1208 ~ 1279).

In the early Northern Song Dynasty, during the period of Song Taizu, Emperor Taizong and Zhenzong, poets basically passively accepted the influence of Tang poetry, and had not had time to actively create and develop. They mainly learn from Bai Juyi, Jia Dao, Li Shangyin and others. Ye Xie's "Original Poems" said: "The poems in the early Song Dynasty attacked the old Tang people, such as Xu Xuan and Wang Yucheng, and were pure Tang sounds." Wang Yucheng is the representative of Bai Juyi. Wang Yucheng claimed that "Ben and Lotte are backward, and daring to be beautiful is the forerunner". Weng Fanggang's Zhou Shi Shi Hua in Qing Dynasty said that he "learned Du in five words and learned Bai in seven words". In fact, he mainly studies Bai Juyi. Wang Yucheng was an accomplished poet in the early Song Dynasty. People who praised him said that he was on an equal footing with Europe and the Soviet Union. However, after all, there are not many remarkable features in his poems. At that time, there were Xu Xuan, Liu Yun and others who studied Bai Juyi.

Take Jia Dao as an example, there are mainly nine monks, Ye Wei, Kou Zhun and others. Besides Jia Dao, they also imitated other poets in the late Tang Dynasty. They are related to each other and become a school, which is famous all over the world.

Li Shangyin's main imitator is Kunxi style. Kunxi style is named after the poetry collection Kunxi Appreciation. This collection of poems has 17 authors, mainly Yang Yi and Qian. Ge Lifang's "Rhyme in Yang Qiu" said: "The Kunxi style is effective for the trip to Li Yishan, and it is rich in algae without being barren." They followed Li Shang's duality of concealment and goodness, allusion and preference rhetoric. His poems were scratched and piled up.

Su Shunqin, Mei and Ouyang Xiu's poetry creation mainly concentrated in Renzong and Yingzong periods. They all devoted themselves to changing the poetic style at that time, aiming at the popular Quincy style at that time. Shijie, who was contemporary with them, was the most vehement opponent of "Kunxi style" and once criticized it as "strange theory". Europe, Mei and Su have influenced the contemporary world with their rich creative achievements. To a great extent, Song poetry developed along the road they pioneered.

The tendency and characteristic of this school is to attach importance to ideology and strive to get rid of the style of Tang poetry. Mei's "Answering Pei Xu" has such words: "I am a poet, and I was provoked into a small article by things. Although the word is shallow and bitter, it was not until the second' Ya' that it was donated. The phrase "Taking the second son and the third son of Tang Dynasty as examples, the regional image wears away the years" represents the demand of this party for poetry creation.

I love to make comments in poems because I attach importance to ideological content. In particular, some long poems involving political and social issues are often discussed repeatedly vertically and horizontally. Yuan Hongdao's Preface to the Collection of Xue Taoting in the Ming Dynasty said: "The disadvantage is that writing is poetry." "Poetry is based on text", that is, prose, for discussion.

Because they attached great importance to ideological content and consciously corrected the poetic style of close and specialization advocated by poets from the late Tang Dynasty to Kunxi, they wrote more ancient poems, which accounted for more than half of their poetry collections.

Poetry in the late Northern Song Dynasty became a prosperous period of poetry in the Song Dynasty. At this time, a large number of poets emerged and formed different schools. Wang Anshi, Su Shi and Huang Tingjian dominate the poetic style. Their poems are called Gong Jing Style, Dongpo Style and Valley Style. Huang Tingjian had a great influence at that time and was the pioneer of Jiangxi Poetry School. Among the three people, Wang Nian took the place of Europe, which attached great importance to it. Su came from Ouyang Xiu School and Huang Tingjian came from Su Shi School, which shows that poetry in the late Northern Song Dynasty is the inheritance and development of Ouyang Xiu School.

Wang Anshi, Su Shi, Huang Tingjian and others all have the same tendency and characteristics: they all pay more attention to ideological content, and their classical poems have the habit of taking prose as poetry or discussion as poetry to varying degrees, which is influenced by Ouyang Xiu.

In Wang Anshi's early poems, Ye Mengde's Shi Lin Shi Hua said that he was "less confident, so his poetic language was no longer so subtle", which was actually influenced by the prevailing atmosphere at that time. In his later years, he was strict with the rhythm of poetry. Chen Shidao said that his poems in his later years hurt his works (Wang Zhifang's poems), which was different from his early years. Wang Anshi likes Du Fu's poems and speaks highly of Du Fu. He once said: "Du Fu is introverted, restrained and vigorous, so he can give nothing ..... He just hides his predecessors and has no successors" (quoted from Xunnan Poetry). He "learned the syntax of Lao Du" ("Tiaoxi fishing and hiding from Conghua"), which created the atmosphere of learning Du in Song Dynasty.

Su Shi is outstanding in accepting Ouyang Xiu's influence. In terms of "taking poetry as the text" and "taking poetry as the theory", he and Ouyang Xiu are at least equal, if not superior. What Su Shi can't achieve for other poets in the Song Dynasty is that his talent is unrestrained and follows things. Su Shi's poems have various styles. Liu Kezhuang's Post-Shi Cun Dialect said: "Poe's poems are a bit like Changli, full of sweat, cautious, beautiful and simple. When the cave is opened and closed, it will have a thousand changes. It is based on its verve, but it is not true. " Liu Kezhuang's so-called "no color" means that he is not bound by a certain system. Su Shi is free in his own poetry creation, and also allows the later poets who study to develop freely. Therefore, although many poets under Su Shi, such as Qin Guan, Huang Tingjian, Chao, etc. , are handsome for a while, they have their own characteristics, not limited by "Dongpo style".

Song poetry

From Ouyang Xiu and Mei to Wang Anshi and Su Shi, they come down in one continuous line, completing a poetic style change since the late Tang Dynasty and Kunxi, which enabled the Song Dynasty to expand its territory outside the Tang Dynasty and show its own characteristics. Later, Huang Tingjian painstakingly managed in the new territory, making its characteristics more distinct and remarkable.

When Huang Tingjian wrote poems, he paid great attention to ideological content and studied formal skills. Poetry is in his hands, which can be said to be a specialized knowledge. He tried to learn from Du Fu. For example, in Poems of the Old Cold Hall, he said, "Poems with beautiful children were invented after arriving in the valley." He learned the law of disharmony from Du Fu. The number of his fallacies far exceeds that of Du Fu. He tried his best to develop strange and hard sentences widely used since Han Yu and Mei, which left a deep impression on readers. He also made great efforts in using allusions and rhymes, and his skill surpassed that of Su Shi. He is also curious and likes to use strange words and so on. These are all easy to learn to walk, so many people are willing to learn from Huang Tingjian and form Jiangxi Poetry School. Chen Shidao was originally one of the six sons of Su Men. After seeing Huang Tingjian, "learning to burn manuscripts" (answer to Qin) thought that "there was no poetic method at first", and only after seeing Huang Tingjian did he learn "poetic method". In addition, such as Pan Dalin, Xie Yi, Zhu Hong and Rao Jie. All follow the example of Huang Tingjian. The Sect Map of Jiangxi Poetry Society, written by Lv Benzhong, has become the most influential and far-reaching poetry school in the Song Dynasty since Huang Tingjian, with 25 people including Chen Shidao.

Jiangxi poetry school in the early Southern Song Dynasty paid attention to statutes and liked to use hard language, which easily led to the disease of rudeness. After the prevalence of Jiangxi poetry school, these disadvantages were fully exposed, causing people's dissatisfaction. Chen's "Geng" poem says: "Poetry in the valley is fresh and strange ... However, those who study poetry in modern times ... will make their sounds awkward and their words difficult, saying that Jiangxi is unique. What is this? " Jiangxi poets, Chen and Zeng Yi in the early Southern Song Dynasty noticed this and put forward some remedial measures. These people started their creative activities in the late Northern Song Dynasty. In the Southern Song Dynasty, Chen lived 12 years old and lived 18 years old. However, their creative tendency is different from that of some people in the early Jiangxi poetry school. Lu Benzhong prefaced Selected Poems in Summer, proposing that "learning poetry should be a living method" and saying that "Xie Xuanhui has a saying that a good poem is as beautiful as a projectile. This is the real way to live. " Fang Hui's "Year of the Year" praised him greatly, saying that "Juren is the most mobile and not stagnant in Jiangxi poetry school, so his poems are more lively". Chen Yu and Huang Tingjian are also known as the "three schools" of Jiangxi Poetry School, but their artistic styles are different from those of Huang and Chen. At the same time, Zhang Gui made an epitaph for him, calling his poems "beautiful and elegant, rich and elegant" unique. Once upon a time, Zhao Gengfu called it "the clear night on the third day of the month, as light as the first spring of boiling soup", which was also different from the words of Jiangxi Poetry School. At this time, the reform of Jiangxi poetry school is imperative.

Fang Hui's "History of Mr. You's Poetry" begins with a postscript: "Since the rise of the Song Dynasty, poetry must speak of traveling, Yang, Fan and Lu." They are known as the "Four Masters of Southern Song Dynasty", representing the second most prosperous period of poetry in Song Dynasty.

Among the "Four Masters" (You Mao, Yang Wanli, Fan Chengda and Lu You), You Mao's poems have been lost, and there are only two volumes of the collection of Liang Xi's Legacy by You Dong in Qing Dynasty. Lu You, Fan Chengda and Yang Wanli are all rich in works, especially Lu and Yang, with an amazing number. Both Lu and Yang were influenced by Jiangxi Poetry School, but their most outstanding achievement at that time was to finally get rid of Jiangxi Poetry School and start their own businesses independently. Because of their relationship with Jiangxi Poetry School, it is inevitable to leave some traces of Jiangxi Poetry School in their poems. For example, the General Catalogue of Sikuquanshu said that Yang Wanli "had some vulgar words in the decadent Tang Dynasty", which meant that Lu You was "archaic and rough". However, their poetic style, in terms of its main aspects, is just the opposite of Jiangxi poetry school. For example, Yang Wanli's poems are called Qingyuan (Zeng Sui) and Flying (Fang Hui's preface to the South Lake). Lu You's poems include Reciting (preface to Chengzhai Collection (Volume 81)), Cooked (Zhu Yizun's Book Sword South Collection) and Plain in His Old Age (Poems of Oubei by Zhao Yi). From these places, we can see Lu and Yang's efforts to create a unique poetic style.

During this period, Jiang Kui, a poet with a unique style, wrote a conversation between him and You Mao in Poems of Taoist Baishi: "I met Mr. You near Liangxi and asked who to name Yu Shi. I have been reading many works of different times, but I was ill and refuted them. I learned from Mr. Huang. I have lived for several years and dare not spit out a word; When you begin to realize that learning is a disease, you will get what you have learned if you don't care, although Huangshi has also been shelved. Because of the postscript:' Modern people like to live in Jiangxi, are they all as gentle as models? Happy as Yang Tingxiu? Gao Gu, like Xiao Dongfu, and Ru Ya, like Lu Wu, all come from the axis, and there are quite a few people. Why do you think of Jiangxi?' From Jiang Kui's and You Mao's comments on poetry creation at that time, we can know that all the successful poets in this period are trying to break through the limitations of Jiangxi Poetry School.

In the late Southern Song Dynasty, a new transformation took place in the Song Dynasty, starting with the "Yongjia Four Spirits" (see Four Spirits). Although Youmao, Yang Wanli, Fan Chengda, Lu You and others corrected the shortcomings of Jiangxi Poetry School, and their poems inherited the poetry schools of Ouyang Xiu, Mei, Su Shi and Huang Tingjian, the "Four Spirits" moved to the late Tang Dynasty, which seemed to return to the era of the early Song Dynasty.

The reason for the rise of "Four Spirits" is the disadvantage of Jiangxi School. Four poets, Ji Xu, Zhao Xu, Weng Juan and Zhao Shixiu, are all from Yongjia, and they all come from the gate of Ye Shi of Yongjia School. In the epitaph written for Ji Xu, Ye Shi said: "The early Tang poetry was abandoned for a long time. You discussed with your friends Zhao Xu, Weng Juan and Zhao Shixiu:' In the past, people used floating voices to cut words, but they were clever and clumsy, covering up coquettish to the essence; Modern is full of articles, sweating like rain without restraint, how can you be a famous artist! "The four words are extremely hard, and the Tang poetry is revived." The so-called "complex Tang poetry" here is actually the late Tang poetry. Specifically, it is the poems by Jia Dao and Yao He, and mainly by Yao He. The "Four Spirits" advocate "cutting words and floating sounds, and calculating sentences skillfully", and their lifelong efforts are in this respect. They like to be close, specialize in five laws and have a small degree. Liu Kezhuang's Preface to Wild Valley Collection said, "Confucius said,' A piece of auspicious prose has only forty words, one more word. "I'm not that good," "so their energy can't exceed forty words. They don't pay attention to ideology, use less allusions, don't discuss, use less old sayings and stress accuracy, which is quite different from the tradition of Song poetry from Ouyang Xiu and Mei to Jiangxi Poetry School. This produced a sense of freshness among some people at that time, which was more interesting for those who were bored by Jiangxi Poetry School.

The Jianghu School was named after the Jianghu Collection engraved by Lin 'an bookseller Chen Qi. Chen Qi can write poems and make friends with a group of Jianghu poets, that is, those who are stranded or have lower official positions. Li Zongbaoqing's first edition of "Jianghu Collection" included some poems by Liu Kezhuang, Zeng Zeng and others. Some of these poems offended the then prime minister Shi. Jianghu collection was banned, beheaded and stoned, and the ban was lifted. Chen Qi continued to publish and engrave books, such as before collecting Jianghu, after collecting Jianghu, and after collecting Jianghu sequels. The poems collected by Chen Qi are mainly the poems of some Jianghu poets, as well as the works of some previous poets.

Jianghu School has formed its own characteristics in the process of development. It is not as good as the "four spirits" school to master five words. They write both ancient poems and modern poems. Compared with other literati in the heyday of the Song Dynasty, the poetic style is inferior, but it truly reflects the thoughts, lives and feelings of some relatively low-ranking literati in the late Song Dynasty, and their writing style is also laissez-faire and unrestrained. Dai Fugu is an accomplished Jianghu poet.

Wen Tianxiang, Wang Yuanliang, Xie Ao, Lin Jingxi, Zheng Sixiao and others are representative poets around the Song Dynasty. Some of them devoted themselves to the anti-Yuan struggle, persevering and making heroic sacrifices; Some are displaced and elegiac and generous. They got rid of the "Four Spirits" school and Jianghu school, and wrote more about natural scenery and personal feelings, the situation before and after the demise of the Southern Song Dynasty, and the struggle experiences or thoughts of "Mai Xiu" and "Mi Li", which were regarded as the narrow world of "poetry history". Some of them are close to Du Fu's melancholy and tragic, such as Wen Tianxiang; Some are close to Li He, Meng Jiao and Jia Dao, such as Xie Ao. Every poem often has its own unique style and some artistic achievements. Poetry came to the age of the Four Spirits, and there was a scene of decline. At the end of the Song Dynasty, poets came forth in large numbers, rejuvenating, especially the gloomy and tragic poems, which added the last glory to the poetry circle in the Song Dynasty.

The influence of Song poetry can be divided into Tang and Song poems, mainly because of the differences in styles of the times, and the development of later poems basically failed to surpass the styles of Tang and Song poems. Due to the differences of the times, personal preferences and artistic opinions, a long-term debate between the Tang School and the Song School has formed. It was Zhang Jie who first attacked the poetry schools in Jiangsu, Huang and Jiangxi, which led to the dispute over poetry in Tang and Song Dynasties. Zhang Jie thinks that "since the Han and Wei Dynasties, poetry has been superior to Zijian Yu, with works by Li and Du, but not as good as Su and Huang", and "Su and Huang Zhi have exhausted their studies, so they can only talk about Tang poetry" (On the Collection of Tang Poetry in Han Sui). Then Yongjia Siling and Jianghu School took the late Tang Dynasty as the Sect, trying to correct the disadvantages of Jiangxi School. Yan Yu's "Cang Shi Lang Hua" takes the prosperous Tang Dynasty as the method, saying that Jiangxi poetry is sick. These are all important manifestations of respecting Tang and restraining Song in the Southern Song Dynasty. Wang Ruoxu in Jin Dynasty denounced Huang Tingjian and Jiangxi Poetry School as "plagiarists" in "Poems of An Xun", which was mixed with the prejudice of the north and south regions. Up to the Ming Dynasty, the former and the latter seven scholars initiated the theory that "poetry must flourish in the Tang Dynasty". Li Mengyang proposed not to read books after the Tang Dynasty, and Li Panlong compiled Poems of Ancient and Modern Times, but the poems of Song and Yuan Dynasties were not recorded at all. The first seven scholars had a great influence on the literary world at that time, which caused dissatisfaction among the public security school. Yuan Hongdao denounced their retro imitation and opposed the idea of "Don't let the Tang Dynasty dye the Song Dynasty" (Book of Autumn), but until the end of the Ming Dynasty, he still held the view of promoting the Tang Dynasty and restraining the Song Dynasty. The Qing Dynasty was a period when Song poetry was valued and widely spread. One was the early Qing Dynasty, and the other was the Tongzhi and Guangxu periods. Volume 173 of the General Catalogue of Sikuquanshu says: "At the beginning of the founding of the People's Republic of China, people were tired of the skin profiles of Wang and Li in the Ming Dynasty, and the slim appearance of Zhong and Tan, and poets fought for Song and Yuan Dynasties." Chen? "Selected Poems of Fifteen Poets in Song Dynasty" also said: "In the past, we were all in Tang Dynasty, and now we are all in Song Dynasty." Wu Zhizhen's Selected Poems of Song Dynasty strongly promoted the development of Song Dynasty, and Ye Xie's Original Poems put forward the argument that Song Dynasty was edited, which all improved the status and value of Song Dynasty. At that time, there were many people who valued the Tang Dynasty over the Song Dynasty, including Zhu Yizun, Wang Fuzhi, Mao Qiling, and Feng Ban, He Shang and Wu Qiao who specialized in the late Tang Dynasty, but the people who valued the Song Dynasty were equally matched, such as Weng Fanggang and Jiang Shiquan. The prevalence of "Tongguang" in the late Qing Dynasty marked the "revival" of Song poetry. This long-term debate is of positive significance except for portal, regional prejudice and extreme pretence. The school of respecting Tang Dynasty often starts with criticizing the shortcomings and weaknesses of Song poetry, expounds the artistic characteristics of poetry, and insists on the requirements of imagery and lyricism. For example, Liu Kezhuang put forward the concepts of "poem of wind" and "poem of literati"; Yan Yu's emphasis on "interest" also touched on the characteristics of poetic imagery thinking. However, the Zongsong school affirmed the Song poetry from the perspective of the development and evolution of poetry, opposed "not making the Tang Dynasty sick in the Song Dynasty" and insisted on the diversity of poetic styles, which was also quite insightful. For example, Ye Xie's "The Original Poem" refers to the development of poetry. Since "Three Hundred Chapters" is the root, and Tang poetry is shaded by branches and leaves, Song poetry can blossom, "and wood can accomplish things." Poetry since the song dynasty, but flowers bloom and fall, flowers bloom and fall and reopen. Jiang Shiquan's Debate on Poetry said: "Both Tang and Song Dynasties were great men, and each became a generation of poets." "After the Tang Dynasty gave birth to the Song Dynasty, it was really difficult to open it." Chen Yan's Shi Shi Hua (Volumes 1 and 14) inherits the Tang poetry of the Song Dynasty, but it is also "broken" and "epitomized", forming a unique style. These viewpoints are of great significance to deeply understand and study the characteristics (including advantages and disadvantages) of Song poetry.

Dissemination of Song Poetry The creation of Song Poetry is very rich. Poets come forth in large numbers, and great poets have written more than 10 thousand poems in their lives. It is said that Yang Wanli wrote 20,000 poems in his life, and Lu You has more than 9,000 poems today. Coupled with the developed printing industry and convenient engraving in Song Dynasty, a large number of poems appeared. There are nearly 600 poets in the history of Song Dynasty, and the records are incomplete. However, many have been lost. Even famous writers such as Yan Shu and You Mao don't inherit their own collections, only the collections of Qing people are lost. There are about 400 kinds of poems and songs of Song people in Sikuquanshu, among which there are many lost books. During Chenghua and Hongzhi in Ming Dynasty, some Song people's collections were re-engraved. Today, most of the collections of poets in the Ming Dynasty were carved in this period. The serious loss of poetry collections in Song Dynasty is related to the rejection of Song poetry in the middle of Ming Dynasty.

Poetry and prose collections in the Song Dynasty began to attract attention in the late Ming Dynasty. Pan edited 43 poems in Song and Yuan Dynasties, including 26 poems in Song Dynasty. Cao Xuequan's Selected Poems of Past Dynasties has 506 volumes, of which Song Poetry 107 volume. Qijiage also carved some Song poems. At the beginning of the Qing Dynasty, many poets liked to learn Song poetry, and collecting and sorting it once became a fashion: ① Re-engraving the poems of Song people. Some descendants or fellow villagers of the Song Dynasty poets have reprinted the Ming edition, and the poems of the Song Dynasty have been published and circulated. 2 preparation. Such as the legacy of Yan and the legacy of Liangxi. The librarian of Sikuquanshu compiled 140 kinds of poems and songs of Song people from Yongle Dadian, which is a huge collection. ③ Catalogue collection. Since the late Ming Dynasty, such as Pan's Forty-three Poems of Song and Yuan Dynasties. In the early Qing dynasty, it was carried out on a large scale. For example, the Song and Yuan Poetry Society in Chen Chao selected 497 songs. Chen? There is "Selected Poems of Fifteen Poets in Song Dynasty". Wu Zhizhen listed 100 notes of the Song Dynasty, of which 16 were not engraved. Cao Tingdong's Hundred Poems in Song Dynasty also lists 100, which is not repeated with the above two. Li E's Chronicle of Song Poetry is a book between the collection and the poetry talk. It selected and recorded the Song poems commented on Yi, and collected 38 12 volumes, which is very rich. At the end of Qing Dynasty, Lu Xinyuan compiled A Supplement to the Chronicle of Song Poetry, which was about 3,000 more than Li E's Chronicle of Song Poetry. 4 bibliophiles collect. In the early Qing Dynasty, some bibliophiles attached great importance to the collection of poems and poems of Song people, such as Ji's Bibliography of Song and Yuan Dynasties, Zhu's Bibliography of Jieyi Records of Song and Yuan Dynasties, Zhu Yizun's Bibliography of Qiancaitang Song and Yuan Dynasties, and Lu Qiqing's Bibliography of Jiaxutang (most of the books are now missing). These bibliophiles made certain contributions to the collection and arrangement of Song poetry at that time.