Liang Dynasty Poems cover

Liang Dynasty Poems

Rating 3.2
Word count
15K words
Chapters
108

Tags

Summary

Liang poetry is ornate and diverse; the flourishing of palace-style poetry, new developments in frontier and landscape poetry, ethically prioritized criticism, and formal beauty all constitute its specific historical position. Typically, Qi and Liang poetry are discussed together; through selecting and evaluating Qi-Liang poetry, Shen Deqian forged wind-and-bone, prosody, and poetic instruction into a unified system: affirming prosodic innovation while criticizing ornate style; praising the "clear and graceful" qualities of Xie Tiao and He Xun while condemning the "lewd and gorgeous" of Xiao Gang and Xu Ling, constructing a poetic path of "returning to antiquity and illuminating the Way." Because of Shen Deqian's selections, Qi and Liang poetry were preserved in the long river of history, with less lost. Transmitted to today, they have become precious historical materials.

Editor's review

This book enters Liang poetry through Shen Deqian's selection and commentary perspective, presenting not merely an ornate style but a theoretical thread that forges wind-and-bone, prosody, and poetic instruction into a unified system. Shen Deqian's grasp of the flourishing of palace-style poetry, new developments in frontier and landscape poetry, ethically prioritized criticism, and formal beauty constitutes the specific historical position of Liang poetry; he affirms prosodic innovation while criticizing ornate style, praises the clear grace of Xie Tiao and He Xun while condemning the lewd gorgeousness of Xiao Gang and Xu Ling, thereby constructing a poetic path of "returning to antiquity and illuminating the Way." For readers, the value of this book lies both in the selection of specific poems and in observing how Qi-Liang poetry was reorganized and evaluated by later poetics. Because of Shen Deqian's selections, more Qi and Liang poetry was preserved in the long river of history, and what survives today has become precious historical material. When reading, it is worth reading the commentary alongside the poems, seeing both how Shen Deqian sets standards and the diverse face of Liang poetry itself.

Who it's for

A good fit for

  • Readers interested in classical Chinese poetic criticism and the anthology tradition
  • Literature lovers hoping to understand Qi-Liang poetic style and prosodic evolution
  • Researchers needing Qi-Liang poetry historical materials and selection commentary
  • Readers willing to enter Shen Deqian's poetic system through an anthology

Not a good fit for

  • Readers who only want the original Liang poems and do not care about commentary or poetic stance
  • Beginners expecting light, entertaining classical poetry reading
  • Readers impatient with traditional critical concepts such as poetic instruction and wind-and-bone

Reading tips

  1. First read the commentary to clarify Shen Deqian's criteria for praise and condemnation, then return to specific poems.
  2. Read the clear and graceful works of Xie Tiao and He Xun alongside the Xiao Gang and Xu Ling line to appreciate the selection's choices.
  3. Mark prosodic terms as you encounter them and look them up in a batch to avoid interrupting the reading rhythm.
  4. After finishing, sort out how the three threads of wind-and-bone, prosody, and poetic instruction are juxtaposed in the same anthology.

Contents

  1. 版权信息
  2. 武帝
  3. 逸民
  4. 西洲曲
  5. 拟青青河畔草
  6. 河中之水歌
  7. 东飞伯劳歌
  8. 天安寺疏圃堂
  9. 藉田
  10. 简文帝
  11. 折杨柳
  12. 临高台
  13. 纳凉
  14. 元帝
  15. 咏阳云楼檐柳
  16. 折杨柳
  17. 沈约
  18. 临高台
  19. 夜夜曲
  20. 新安江至清浅深见底贻京邑游好
  21. 直学省愁卧
  22. 宿东园
  23. 别范安成
  24. 伤谢朓
  25. 石塘濑听猿
  26. 游沈道士馆
  27. 早发定山
  28. 冬节后至丞相第诣世子车中作
  29. 奉和竞陵王经刘瓛墓
  30. 江淹
  31. 从冠军建平王登庐山香炉峰
  32. 望荆山
  33. 古离别
  34. 班婕妤咏扇
  35. 刘太尉琨伤乱
  36. 陶征君潜田居
  37. 休上人怨别
  38. 效阮公诗
  39. 范云
  40. 有所思
  41. 赠张徐州谡
  42. 送沈记室夜别
  43. 之零陵郡次新亭
  44. 别诗
  45. 任昉
  46. 赠郭桐庐出溪口见候余既未至郭仍进村维舟久之郭生乃至
  47. 赠徐征君
  48. 别萧咨议
  49. 出郡传舍哭范仆射
  50. 邱迟
  51. 侍宴乐游苑送张徐州应诏
  52. 旦发渔浦潭
  53. 柳恽
  54. 江南曲
  55. 赠吴均
  56. 捣衣诗
  57. 庾肩吾
  58. 奉和春夜应令
  59. 乱后行经吴御亭
  60. 咏长信宫中草
  61. 经陈思王墓
  62. 吴均
  63. 答柳恽
  64. 酬别江主簿屯骑
  65. 主人池前鹤
  66. 酬周参军
  67. 春咏
  68. 山中杂诗
  69. 何逊
  70. 日夕望江山赠鱼司马
  71. 道中赠桓司马季珪
  72. 入西塞示南府同僚
  73. 赠诸游旧
  74. 送韦司马别
  75. 别沈助教
  76. 与苏九德别
  77. 宿南洲浦
  78. 和萧咨议岑离闺怨
  79. 临行与故游夜别
  80. 与胡兴安夜别
  81. 慈姥矶
  82. 相送
  83. 王籍
  84. 入若耶溪
  85. 刘峻
  86. 自江州还入石头诗
  87. 刘孝绰
  88. 古意
  89. 陶弘景
  90. 诏问山中何所有赋诗以答
  91. 寒夜怨
  92. 曹景宗
  93. 光华殿侍宴赋竞病韵
  94. 徐悱
  95. 古意酬到长史溉登琅琊城
  96. 虞羲
  97. 咏霍将军北伐
  98. 卫敬瑜妻王氏
  99. 孤燕诗
  100. 乐府歌辞
  101. 企喻歌
  102. 幽州马客吟歌辞
  103. 琅琊王歌辞
  104. 巨鹿公主歌辞
  105. 陇头歌辞
  106. 折杨柳歌辞
  107. 木兰诗
  108. 捉搦歌

FAQ

Is this book only for those studying poetics?
Not entirely. It centers on Liang poetry selection and commentary, accessible to general classical poetry lovers, but requires accepting that the anthology carries a clear poetic stance. If read merely as a complete collection of Liang poetry, one may miss Shen Deqian's evaluative intent expressed through selection.
Why does Shen Deqian both affirm prosody and criticize ornateness?
In the system presented in this book, prosodic innovation is regarded as an important contribution of Qi-Liang poetry, while ornate style conflicts with the requirements of poetic instruction and wind-and-bone. Shen Deqian therefore adopts a selective attitude: affirming formal prosodic advances while criticizing excessive lewd expression, thereby constructing a poetic path of returning to antiquity and illuminating the Way.
Why are Qi and Liang poetry often discussed together?
The book explains that Qi and Liang poetry are usually discussed together; Shen Deqian forged a unified system of wind-and-bone, prosody, and poetic instruction precisely through selecting and evaluating Qi-Liang poetry. The two dynasties' poetic styles are similar yet each changed, and viewing them together better shows the consistency of selection criteria and the specific position of Liang poetry within it.

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About the author

Shen Deqian Author · Chinese (Qing dynasty) · 1673–1769

Shen Deqian (1673–1769), courtesy name Queshi and art name Guiyu, was a native of Changzhou in Suzhou Prefecture, Jiangsu, and a Qing dynasty official, poet and scholar. He passed the imperial examination as a jinshi in the fourth year of the Qianlong reign and rose to the posts of Grand Secretary of the Grand Secretariat and Vice Minister of Rites, later receiving the honorary title of Minister of Rites. In poetics he advocated the "ge Diao" theory, stressing metrical tone and the gentle, sincere tradition of poetic instruction, and exerted a profound influence on Qing poetry circles. He devoted himself to compiling anthologies of poetry from successive eras: Gushi Yuan traces ancient verse from pre-Qin times to the Sui dynasty and is an important reader for pre-Tang poetry, while the anthologies of Tang, Ming and Qing poetry select fine works with a critical eye, combining the functions of anthology and criticism. Nineteen of his works are held in the collection, spanning ancient poetry and literary appreciation, which shows how widely his compilations have circulated.

大咸鱼 Author

Da Xianyu is an author active on a Chinese book platform. His public information is limited: his real name, nationality, and dates of birth and death are not recorded, while the platform holds as many as 83 of his works. Judging from his representative titles, he focuses on compiling and anthologizing classical Chinese poetry, covering poets and lyricists such as Bao Zhao, Yu Xin, Cao Cao, Cao Pi, Cao Zhi, Tao Yuanming, Xie Lingyun, Yan Yanzhi, and Nalan Rongruo—figures spanning the Southern Dynasties, the Jian'an and Wei-Jin periods, and the Qing dynasty. He has also compiled "100 Golden Aphorisms of Nietzsche," indicating some interest in classic quotations from China and abroad. His works are commonly classified under classic works, ancient poetry, and prose miscellanies, and his approach leans toward selecting texts and editing popular-reader editions. Overall, these books are aimed at general readers, presenting classical poetry through carefully chosen pieces; the broad coverage of his anthologies reflects a systematic attention to the thread of ancient poetics and makes it easier for readers to begin by poet or by period.

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