The Study Object of Seven Character Rhythmic Poetry in the Mid Ming Dynasty and the Evolution of Retro Poetry Theory
From the perspective of the reception of Tang Dynasty seven-character regulated verse,the development of Mid-Ming Dynasty revivalist poetics can be divided into three stages.During the Hongzhi and Zhengde periods,the conception of poetic forms(bian-ti)was not yet rigorous,and Li Mengyang and his followers,influenced by Du Fu's poetic transformations,occasionally veered toward Song-style tonalities.In the early Jiajing period,the emergence of the"Early Tang School"(wei-chu-tang-zhe)and the"Qing-dan School"shared a common goal of upholding the aesthetic ideals of Tang-revivalist poetics while opposing the transformations derived from Du Fu's innovations.From the late Jiajing to the Longqing period,the revivalist ethos of upholding orthodoxy and rejecting transformations further developed.The"Seven Later Masters"(hou-qi-zi)inherited some of the early Jiajing poets'ideas,emphasizing the fourteen masters of the Early and High Tang Periods in their seven-character regulated verse compositions and pursuing the grandeur and majesty of the orthodox Tang poetic style.The refinement and integration of conception of poetic forms and revivalist poetics can be regarded as the main trajectory of Mid-Ming poetic development.
Du Fu's poetryLi MengyangSeven Early MastersEarly Jiajing periodSeven later Masters
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