Archaism stands as a prevailing literary ideology in the Ming Dynasty, famously proposed by the Former Seven Masters and later championed by the Latter Seven Masters. This movement established a formidable critical discourse, shaping much of the era's literary ecology. Conventionally, this archaist paradigm is positioned in stark opposition to the principles of the Gong-an School, which argued forcefully for the freedom of direct, authentic self-emotional expression in writing. This critical narrative has long posited a seemingly irreconcilable binary opposition between formal imitation and genuine lyricism. This article, however, challenges the rigidity of this established dualism. By examining several rarely scrutinized poetic theories from the Early, Middle, and Late Ming, this study uncovers nuanced perspectives beneath the mainstream paradigm that serve to deconstruct this binary. Through focused analyses of Zhou Xu’s Shi Xue Ti Hang, Xu Zhenqing’s Tan Yi Lu, and the theoretical writings of T’ang Shunzhi, this paper seeks to prove that poetic archaism in the Ming context was not fundamentally opposed to the core tenets of the lyric tradition. Instead, it demonstrates that archaism often operated within a profound intertextuality with lyricism, frequently functioning as a specific methodological or pedagogical pathway intended to recover and reinvigorate authentic poetic expression.
| Published in | International Journal of Literature and Arts (Volume 13, Issue 6) |
| DOI | 10.11648/j.ijla.20251306.12 |
| Page(s) | 130-138 |
| Creative Commons |
This is an Open Access article, distributed under the terms of the Creative Commons Attribution 4.0 International License (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted use, distribution and reproduction in any medium or format, provided the original work is properly cited. |
| Copyright |
Copyright © The Author(s), 2025. Published by Science Publishing Group |
Archaism, Lyric Tradition, Shi Xue Ti Hang, Tan Yi Lu, T’ang Shunzhi
| [1] | Zhou Xu, “Shi Xue Ti Hang”诗学梯航, in Mingren shihua yaoji huibian 明人诗话要籍汇编, eds. Chen Guanghong, Hou Rongchuan, Shanghai: Fudan University Press (复旦大学出版社), 2020, p. 1467. |
| [2] | The most interesting demonstration in this section is Zhou’s analysis on Beating the Drum (《击鼓》), which is defined by him as a “political pasquinade”(怨上之诗也). The poem illustrates soldiers’ resentment to unceasing war. Zhou summarizes that individual sorrow makes politics narratives and official virtue a nihility as the unstoppable sadness makes it impossible to sing leisurely (至于言天下之事，美盛德之形容，固不言而可知。其与忧愁思虑之作，孰能优游不迫也？). Zhou Xu, “Shi Xue Ti Hang”, p. 1484. |
| [3] | Zhou Xu, “Shi Xue Ti Hang”, p. 1493. As for the translation of “吟咏性情”, here the article uses the version of Stephen Owen (“sing what is in the heart”). See Stephen Owen, Readings in Chinese Literary Thought, Cambridge: Harvard University Press, 1992, p. 406. |
| [4] | Xu Zhenqing, “Tan Yi Lu” 谈艺录, in Mingren shihua yaoji huibian, p. 2333. |
| [5] | The translation of “诗缘情而绮靡” is a big topic in international Sinology. Arbiters have interpreted this famous dictum into many versions, like “Poetry [shih] traces emotions and should be exquisite as fine pattered silk” (James J. Y. Liu), “The poem (shih) follows the affection (ch’ing) and is sensuously intricate” (Stephen Owen), “Lyric poetry springs from feelings and is exquisitely ornate” (David R. Knechtges), “Poetry (shi) ought to follow the poet’s feelings and be ornate” (Sui-kit Wong), “Shih(lyric poetry)traces emotions daintily” (Achilles Chih-t'ung Fang), “Lyrical poems are the outcome of emotion and should be subtle elaborations” (E. R. Hughes), “The lyric (shih) articulates speechless emotion, creating a fabric” (Sam Hamill) and “Poetry(shi)is a bright web of sensuous emotion” (Tony Barnstone & Ping Zhou). This article selects the version by Shih-Hsiang Chen (Essay on Literature). Chinese Literature Theories and International Sinology (Volume: UK & NA), ed. Huang Zhuoyue, Beijing: Beijing Normal University Publishing House (北京师范大学出版社), 2018, p. 615. |
| [6] | “When the natural qualities of men get the better of the results of education, they are rude man. When the results of education get the better of their natural qualities, they become literati.” (质胜文则野，文胜质则史), translated by Thomson (辜鸿铭), in Gu Hongming Wenji 辜鸿铭文集，Haikou: Hainan Publishing House (海南出版社), 2000, p. 385. |
| [7] | Xu Zhenqing, Chronological Annotation of Complete Works by Xu Zhenqing徐祯卿全集编年校注, ed. Fan Zhixin, Beijing: People’s Literature Publishing House (人民文学出版社), 2009, p. 696-97. |
| [8] | Wang Shizhen, “Yiyuan Zhiyan”艺苑卮言, in Lidai Shihua Xubian 历代诗话续编, ed. Ding Fubao, Beijing: Zhonghua Book Company (中华书局), 1983, p. 949. |
| [9] | Wu Guoping has made a deep study into the archaism and emotional expression in Tan Yi Lu. Wu, “Duet of Archaism and Emotion——A Discussion on Xu Zhenqing Tan Yi Lu”复古与抒情双重协奏——论徐祯卿《谈艺录》, Literature & Art Studies文艺研究 (Feb 2012). |
| [10] | Richard John Lynn, “Alternate Routes to Self-Realization in Ming Theories of Poetry,” p.335. |
| [11] | In fact, “本色” is also mentioned in Canglang Shihua 沧浪诗话 as “须是本色，须是当行”. Stephen Owen translates that as “It must be the original color; it must show expertise”. “Original color” is the literal translation of 本色, while this article translates it as “Inherent Quality” in a sense-for-sense way. Stephen Owen, Readings in Chinese Literary Thought, p. 413. |
| [12] | Chih-ping Chou, Yuan Hung-tao and the Kung-an School, Cambridge: Cambridge University Press, 1988, p. 15. |
| [13] | More relevant researches can be seen from Ching-I Tu, “Neo-Confucianism and Literature Criticism in Ming China: The Case of T’ang Shun-Chih (1507-1560),” Tamkang Review: A Journal of Cultural and Literary Studies (1984). |
| [14] | Richard John Lynn, “Alternate Routes to Self-Realization in Ming Theories of Poetry,” p.336. |
| [15] | The dictum of “在心为志，发言为诗” has been widely translated into various versions, including: “Thought (cherished) in the mind becomes earnest; exhibited in words, it becomes poetry” (James Legge), “Existing in the mind it is intention; expressed in words it is poetry” (Chow Tse-tsung), “Lying in the heart (or mind), it is ‘intent’; when uttered in words, it is ‘poetry’” (James J.Y. Liu), “In other words the activities of mind, once verbalized, becomes poetry” (Sui-kit Wong), “While in the heart (xin), it is the aim; manifested in words, it is an Ode” (Steven Van Zoeren) and “In the heart it is intent; sent forth as speech it is poetry” (Haun Saussy). This article selects the version of Stephen Owen: “In the mind (hsin) it is ‘being intent’ (chih); coming out in language (yen), it is a poem”. Stephen Owen, Readings in Chinese Literary Thought, p. 40. |
| [16] | Gao Yougong, Cannon of Beauty: Anthology of Chinese Literature Research美典, Beijing: SDX Joint Publishing Company (生活读书新知三联书店), 2008, p. 83. The original language is Chinese, translated by the article author. |
| [17] | Wang Fuzhi, Annotation of Jiangzhai Shihua姜斋诗话笺注, ed. Dai Hongsen, Beijing: People’s Literature Publishing House (人民文学出版社), 1981, p. 24. |
APA Style
Zhiyi, L. (2025). Poetic Archaism and Lyric Tradition in Ming Theories of Poetry: Readings on Zhou Xu, Xu Zhenqing and T’ang Shunzhi. International Journal of Literature and Arts, 13(6), 130-138. https://doi.org/10.11648/j.ijla.20251306.12
ACS Style
Zhiyi, L. Poetic Archaism and Lyric Tradition in Ming Theories of Poetry: Readings on Zhou Xu, Xu Zhenqing and T’ang Shunzhi. Int. J. Lit. Arts 2025, 13(6), 130-138. doi: 10.11648/j.ijla.20251306.12
Share This Article
Twitter
Linked In
Facebook
Copy
Download@article{10.11648/j.ijla.20251306.12,
author = {Liu Zhiyi},
title = {Poetic Archaism and Lyric Tradition in Ming Theories of Poetry: Readings on Zhou Xu, Xu Zhenqing and T’ang Shunzhi
},
journal = {International Journal of Literature and Arts},
volume = {13},
number = {6},
pages = {130-138},
doi = {10.11648/j.ijla.20251306.12},
url = {https://doi.org/10.11648/j.ijla.20251306.12},
eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.ijla.20251306.12},
abstract = {Archaism stands as a prevailing literary ideology in the Ming Dynasty, famously proposed by the Former Seven Masters and later championed by the Latter Seven Masters. This movement established a formidable critical discourse, shaping much of the era's literary ecology. Conventionally, this archaist paradigm is positioned in stark opposition to the principles of the Gong-an School, which argued forcefully for the freedom of direct, authentic self-emotional expression in writing. This critical narrative has long posited a seemingly irreconcilable binary opposition between formal imitation and genuine lyricism. This article, however, challenges the rigidity of this established dualism. By examining several rarely scrutinized poetic theories from the Early, Middle, and Late Ming, this study uncovers nuanced perspectives beneath the mainstream paradigm that serve to deconstruct this binary. Through focused analyses of Zhou Xu’s Shi Xue Ti Hang, Xu Zhenqing’s Tan Yi Lu, and the theoretical writings of T’ang Shunzhi, this paper seeks to prove that poetic archaism in the Ming context was not fundamentally opposed to the core tenets of the lyric tradition. Instead, it demonstrates that archaism often operated within a profound intertextuality with lyricism, frequently functioning as a specific methodological or pedagogical pathway intended to recover and reinvigorate authentic poetic expression.
},
year = {2025}
}
TY - JOUR T1 - Poetic Archaism and Lyric Tradition in Ming Theories of Poetry: Readings on Zhou Xu, Xu Zhenqing and T’ang Shunzhi AU - Liu Zhiyi Y1 - 2025/12/03 PY - 2025 N1 - https://doi.org/10.11648/j.ijla.20251306.12 DO - 10.11648/j.ijla.20251306.12 T2 - International Journal of Literature and Arts JF - International Journal of Literature and Arts JO - International Journal of Literature and Arts SP - 130 EP - 138 PB - Science Publishing Group SN - 2331-057X UR - https://doi.org/10.11648/j.ijla.20251306.12 AB - Archaism stands as a prevailing literary ideology in the Ming Dynasty, famously proposed by the Former Seven Masters and later championed by the Latter Seven Masters. This movement established a formidable critical discourse, shaping much of the era's literary ecology. Conventionally, this archaist paradigm is positioned in stark opposition to the principles of the Gong-an School, which argued forcefully for the freedom of direct, authentic self-emotional expression in writing. This critical narrative has long posited a seemingly irreconcilable binary opposition between formal imitation and genuine lyricism. This article, however, challenges the rigidity of this established dualism. By examining several rarely scrutinized poetic theories from the Early, Middle, and Late Ming, this study uncovers nuanced perspectives beneath the mainstream paradigm that serve to deconstruct this binary. Through focused analyses of Zhou Xu’s Shi Xue Ti Hang, Xu Zhenqing’s Tan Yi Lu, and the theoretical writings of T’ang Shunzhi, this paper seeks to prove that poetic archaism in the Ming context was not fundamentally opposed to the core tenets of the lyric tradition. Instead, it demonstrates that archaism often operated within a profound intertextuality with lyricism, frequently functioning as a specific methodological or pedagogical pathway intended to recover and reinvigorate authentic poetic expression. VL - 13 IS - 6 ER -
Faculty of Arts and Humanities, University of Macau, Macau, China
