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|Other Titles:||The Research in the Poetry of Xu-Hun’s And“Xu-Hun’s Style”|
Department of Chinese, NTNU
This article aimed to distinguish the “poetry of Xu-Hun” from the “poetry of Xu-Hun’ s style”. The “poetry of Xu-Hun’ style” had only taken the qilv（an eight-line poem with seven characters to a line） creating form, the idling theme and the master skill of antithetic rhetoric of Xu-Hun, but with no reference to his reminiscing and recording poems or the ones had a great original meaning of phonetics. A lot of critics had so constantly confused the aesthetical and accomplishing differences between them as to cause the misunderstanding that the latter was even better than the former. The poetry of Xu-Hun’s style was most popular in a period of time during which the Jiang-Hu school is prevailing in Southern Song Dynasty. It had developed in Yuan and Ming Dynasty. Those writers’ positions were lie in between the learned person and plebeian. They were easily to be touched by the atmosphere of Xu-Hun’s poems. Their pieces were mainly written to express their feelings and for enjoyment. They had laid stress on the form, and we could regard their pieces as a creative representation of the age of popular poetics in Southern Song Dynasty. From the evolvement of Xu-Hun to Xu-Hun’s style, we could notice that there were a lot of hidden and popular works written by lettered folks besides the steering composing views of Confucianism in Chinese classic poetics. Their pieces not only represented another kind of look and ambition of Chinese classic poetry, but also explained the sum of factors in “style-simulating literature”.
|Appears in Collections:||中國學術年刊|
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