Pay attention to the literary value of the poetry and singing of the shogunate in the late Qing Dynasty |

In the late Qing Dynasty, poetics flourished, with many genres and many famous artists. Wang Peijiang said in "Modern Poetry Schools and Regions": "In the two hundred and fifty years of the Qing Dynasty, no modern poet has achieved such an outstanding achievement, and the silence of the poetry world can be known. At that time, singing and activities with the shogunate as the core were prevalent, and almost all outstanding poets were snared, so it was impossible not to attract special attention. After the Opium War, the intensification of internal and external troubles brought new stimuli to the poet. The so-called "Princes and Princes ding world chaos, Ya" abolished "Poetry" will die." Therefore, the meaning of the fate is very different from That of Shen and Wang" (Shi Weiyan's "Reading the Poetry collection of the Stone Relic Room, Presenting the Eighty-Eight Rhymes of the Old Man of the Stone Relic"), these princes who reversed the Qianjia thick and flashy poetic style such as Zeng Guofan, He Shaoji, and Mo Youzhi were mostly participants in the shogunate singing harmony. The reason why they were able to lead the new wave of poetry in the late Qing Dynasty, "irregular to Wang Wenjian's standard of Shen Yun, Shen Wen's presidency of gentle dunhou" (Chen Yan's "Modern Poetry Notes") also benefited to some extent from singing and expanding their influence through cross-talk, thus showing the close relationship between shogunate singing and literary evolution.

1

Promote the formation and development of poetry genres

Chen Yan once proposed: "For more than two hundred years in the Qing Dynasty, those who presided over poetry in high positions were Wang Wenjian in Kangxi, Shen Wenxuan in Qianlong, and Qi Wenduan and Zeng Wenzheng in Daoguang Xianfeng. ("Modern Poetry Notes and Narratives") reveals the important influence of high-ranking officials and eunuchs on the atmosphere of poetry. At the same time, the travel of scholars was also an important cultural phenomenon at that time: "Many talented but poor people who have repeatedly stepped into the house and have difficulty entering the career path have also thrown themselves into the hands of officials at all levels in order to seek a way to make a living and an environment for studying and studying. Scholars' visits to the curtain became a common social phenomenon at that time, and some important shogunates that absorbed more famous scholars appeared, which had a profound impact on the development of academic culture in the Qing Dynasty. (Shang Xiaoming, "Scholars' Travels and Qing Dynasty Scholarship")

In addition to influencing the academic development of the Qing Dynasty, this kind of curtain culture also promoted the emergence of a large number of shogunate poets. Some of the poet-like masters were more than happy to hold poetry and wine singing and activities, and Wu Rulun's "Yao Gong Tan Yi Tu" recorded: "When Du Zeng Wen Zhenggong was in Jiangnan... Often invite guests, raft Qinhuai, wander between Xuanwu and Mo Shuo, climb the bell fu, stones, linger in the scenery, drink and poetry, to entertain each other. Under Zeng Guofan's "Guests are particularly prosperous" (Xue Fucheng's "Shu Zeng Wenzheng Shogunate Guests"), such as Zhang Yuzhao and Mo Youzhi, who were all famous for a while, together with Zeng Guofan, promoted the formation and development of the late Qing and Song poetry schools. Another example is Zhang Zhidong, as a famous courtier who has been "a heavy person sent by the dynasty for forty years", the group effect naturally cannot be ignored, and its characteristics of "full of the smell of books, especially heavy poetry" (Wang Renkan) have a special attraction for literati. When he oversaw the prosperity of the shogunate during the reign of E'e, he was not under Zeng Guofan, and Hu Xianxiao believed that his subordinates were "all handsome at the moment, the prosperity of the Sumen of Fang, and not much to let go", "that is, not to rely on merit, the prosperity of cultural relics in the late Qing Dynasty thirty years, and the secret of the influence of public tangible sounds" ("Reading Zhang Wenxiang's Guangyatang Poems"). Qian Zhonglian's "Modern Poetry Notes" also said: "When (Zhang Zhidong) governor Hu Guang, Shen Zengzhi and Liang Dingfen ... Chen Yan's people were all under the curtain of Luo Zhi or among the inscriptions. The flow of poetry under the door, no limit to one family... It can be described as a grand prize. ”

In fact, the formation and evolution of the poetry pattern of the Qing Dynasty depended to a large extent on the advocacy and guidance of the high-ranking people with poetic temperament, and the singing and singing in the shogunate was an important way of practice, so it had important literary value. When inspecting the Qianjia shogunate, Hou Dong said: "The flourishing of poetry and poetics in the Qing Dynasty and the change of its customs are very related to the shogunate, and the occurrence, development and even prosperity of Qing Dynasty literature are also inseparable from the role of the shogunate. ("Qianjia Shogunate and Poetry Studies") and focus on the very prosperous late Qing poetry, this point is more obvious, not only the shogunate singing and activities are frequent, singing and poetry collections are also engraved, with the shogunate as the center and even stimulating the budding, development and evolution of poetry genres. In addition, if we do not focus on the pre-1912 period, then the late Qing shogunate singing and harmony did not end with the Xinhai Ding Revolution, and its deformation, circulation and demise after entering the Republic of China showed intriguing similarities with the fate of classical poetry, which is also worthy of attention.

2

Promote the continuous deepening of the study of poetry in the late Qing Dynasty

After several generations of scholars, many research achievements have been made on the late Qing shogunate singing and singing, but due to the relatively large number of poems in this period and the short academic accumulation time, there is still a need for in-depth discussion in many aspects.

First, starting from the shogunate singing and harmony, the relationship between Qing Dynasty literature and politics can be more thoroughly elaborated. Yan Dichang believes that "the rulers of the Qing Dynasty went all out to implement the input of poetry and culture", and the so-called "high-ranking officials and senior officials recruit talents with the advantages of power, talent, fame, financial resources and other factors combined, and 'admiration' intersecting is not just a pure literary elegant affair." Under specific historical conditions, their role is to ensure that the purpose of 'serving the right period' can be implemented in practice" (History of Qing Poetry). In fact, shogunate singing is the carrier of this "implementation of poetic culture", while "serving the period is in the right" is full of tension in the turbulent era environment of the late Qing Dynasty, and the conformity and deviation from this purpose expressed in the singing and poetry deserve further exploration.

Second, although there are a large number of achievements in the study of late Qing poets, most of them focus on discussing the poetic theory and creative style of specific poets, and there are relatively few studies from the perspective of singing and poetry, and there is insufficient understanding of singing and poetry, and most of these poems are classified as works of social communication and talent, so their literary significance and artistic value need to be re-examined in a more serious manner. In fact, almost all the important poets of the late Qing Dynasty were related to the shogunate, and it was precisely the singing and overlapping rhymes between these famous masters and giants that promoted the further development of poetry, so that classical poetry was "no longer an art to be determined, but has become an established art, a completed art" (Maya zhong, "History of Modern Chinese Poetry").

Third, the complexities of the duets and poems can be elaborated in greater depth. Poetry, wine and singing itself are also a process of poetic exchange and agitation, and the conflict and integration of different theories and styles naturally contribute to the further development and evolution of poetry. For example, zeng guofan's shogunate contributed greatly to the formation of the late Qing and Song schools, and Mo Youzhi, Zhang Yuzhao, and others enriched the poetic achievements of the school with their own theories and practices. As for Wang Minyun, Shi Tihua and other scribes abandoned by the Zeng clan, in addition to political disagreements, they are also related to the strange interests of literary ideas. For another example, Chen Sanli's poetic style from ZongShang Han Wei to the promotion of Song tunes is related to the singing and activities of participating in Zhang Zhidong's supervision. The singing and harmony led by Zhang Shi included poets of different genres, such as chen yan's "tongguang body", Yi Shunding, Fan Zengxiang's "Tang and Song dynasty harmony school" and Chen Rui's "Han wei six dynasties school", and they conducted a more in-depth discussion and analysis of "pseudo-ancient", "six dynasties style", "Qing cut", "Ao Yan" and other issues. To some extent, these topics have also become hot topics in the poetics of the late Qing Dynasty, providing opportunities for the deepening, revision and improvement of classical poetry theory, and fully embodying the characteristics of the era of late Qing poetics. Of course, by singing and cutting in, we can also outline the evolution trajectory of different poet styles through poetry exchange, and the complex mentality and subtle emotions expressed in them are also worthy of researchers' attention.

Fourth, the idea of studying singing and activities can be expanded and updated. In the past, the study of singing and harmony often took the enumeration of representative poets, the introduction of their life deeds, the narration of their social situation, poetic concepts, creative styles, and finally the influence of poetry as the basic paradigm, although it is comprehensive, it is inevitable that there is a suspicion of repetition and rigidity, and too much literary history common sense is not much inspiration for readers. For the research of singing and activities participating in by many famous artists, it is not necessary to explain such common sense in great detail, but to shift the research focus to theoretical elaboration and analysis and evaluation, so as to open up new research ideas.

It is of great significance for the study of late Qing poetry by the shogunate and as the entry point. From the perspective of research methods, this perspective can not only carry out in-depth discussion of important poets, but also observe the creative group, not only pay attention to the "difference" of the individual, but also take into account the "sameness" of the group, combine micro-analysis with macroscopic grasp, and link poetic speculation with creative practice, so as to achieve the purpose of understanding the characteristics of poetry creation in this period. From a cultural point of view, although shogunate singing is a literary phenomenon that has disappeared, as a form of traditional literati exchange, it still deserves our attention, and the relationship between the shogun and the staff, the relationship between friends and friends, and the spiritual communication and poetic exchanges contained in it are not without inspiration for us to understand the interpersonal communication of traditional scholars.

(This paper is a phased result of the major project of the National Social Science Foundation of China "Collation and Research on Ming and Qing Singing and Poetry Collections" (17ZDA258))

(Author Affilications:College of Literature, Shanghai University)

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