The ancient prose movement in Tang and Song Dynasties refers to the style reform movement characterized by advocating ancient prose and opposing parallel prose in the mid-Tang and Northern Song Dynasties. Because it involves the ideological content of literature at the same time, it has the nature of ideological movement and social movement The concept of "ancient prose" was first put forward by Han Yu. He regarded the parallel prose that emphasized rhythm, rhetoric and parallelism since the Six Dynasties as popular prose, and thought that his prose inherited the tradition of articles in the pre-Qin and Han Dynasties, so it was called "ancient prose". Han Yu advocated ancient prose in order to restore the Confucian orthodoxy in ancient times and turn the reform of writing style and the revival of Confucianism into a complementary movement. When advocating ancient prose, we further emphasize the necessity of civilized Taoism. Besides Han Yu and Liu Zongyuan in Tang Dynasty, Ouyang Xiu, Wang Anshi, Ceng Gong, Su Xun, Su Shi, Su Zhe and others in Song Dynasty are also representatives.

The causes of the ancient prose movement in Tang Dynasty

The ancient prose movement in Tang and Song Dynasties is an innovative movement in style, style and literary language that advocates ancient prose and opposes parallel prose. Its content is mainly to revive Confucianism, and its form is to oppose parallel prose and advocate ancient prose. The so-called "ancient prose" is for parallel prose. Prose in the pre-Qin and Han dynasties is characterized by simplicity and freedom, concise lines and no format constraints, which is conducive to reflecting real life and expressing ideas. The so-called "parallel prose" refers to the style that pays attention to parallelism, rhetoric, melody and allusions since the Six Dynasties. Since the Southern and Northern Dynasties, parallel prose has prevailed in the literary world, starting from the Han Dynasty and prevailing in the Southern and Northern Dynasties. Although parallel prose has excellent works, a large number of articles are rigid in form and empty in content. A mere formality, such as duality, temperament, allusions and rhetoric, is flashy and not suitable for use. Parallel prose, as a style, has become an obstacle to the development of literature. In the Western Wei Dynasty, Su Chuo once imitated Shangshu as a great height and advocated the reform of ancient prose in Shang and Zhou Dynasties, but it didn't work. Emperor Wendi of the Sui Dynasty issued a letter forbidding "expressing feelings by writing", and Li Huan wrote to ask Ge Wenhua to do so, but none of them reversed the trend. In the early Tang literary world, parallel prose still dominated. Emperor Taizong was still flashy about writing. Liu Zhiji, a historian, once put forward the viewpoints of "words must be close to the truth" and "no color carving" in Shi Tong. Wang Bo proposed to reform the shortcomings of writing, but his works still use parallel prose; Chen Ziang also unveiled the flag of retro. During the Tianbao period of Emperor Xuanzong of the Tang Dynasty, Xiao, Li Hua, Jie Yuan, Du Fu, Liang Su and Liu Mian successively put forward the idea of "learning from the scriptures" and became pioneers of the ancient prose movement with prose.

The first ancient prose movement (Tang Dynasty)

Han Yu and others raised the banner of "restoring ancient ways", advocated learning ancient prose and ancient roads, and publicized their political opinions and Confucianism. This thought has been strongly supported by Liu Zongyuan and others and widely reacted by the society, gradually forming a wave of mass struggle, overwhelming parallel prose and forming a far-reaching "movement". This movement has its development process. When parallel prose was popular, some people asked for reform. In the early Tang Dynasty, Chen Ziang advocated retro, and was a pioneer of stylistic innovation. Later, Xiao, Li Hua and others followed suit and put forward the idea of adopting the method of three generations and two Han dynasties, which made ideological preparations for the ancient prose movement in Han and Liu Dynasties. After the Anshi Rebellion in the middle Tang Dynasty, although the national strength of the Tang Dynasty was weak, after Zhenyuan, the society was temporarily stable and the economy developed, and there was hope of "revival". In this way, the time is ripe for Han Yu and others to advocate the ancient prose movement. They put forward the slogans of "Dao" and "Dao", which are the basic theories of the ancient prose movement. They attach importance to the writer's moral cultivation, write true feelings, and emphasize the original spirit of "saying things" (Han Yu answered Li Yishu) and "saying what you say will come out" (Han Yu's Epitaph of Nanyang Fan Shaoshu). On the one hand, they practiced, on the other hand, they trained many young writers, which made the momentum of the ancient prose movement stronger and stronger.

The second ancient prose movement (Northern Song Dynasty)

In the late Tang Dynasty, the ancient prose movement tended to decline, and there was a bad style of writing that focused on engraving chapters and sentences. During the Northern Song Dynasty, some literati, represented by Ouyang Xiu, praised Han and Liu and set off a new ancient prose movement. Oppose the bad writing style since the late Tang Dynasty; On the one hand, he advocated inheriting Han Yu's Taoist and literary traditions, emphasizing the unity of literature and Taoism, and Taoism precedes literature. He wrote a lot of simple and natural prose, cleared away the obscure style of writing, and made the prose embark on the road of being approachable and reflecting real life. People call Han Yu and Liu Zongyuan in the Tang Dynasty and Ouyang Xiu, Ceng Gong, Wang Anshi, Su Xun, Su Shi and Su Zhe * * * in the Song Dynasty as "eight masters in Tang and Song Dynasties", and the two ancient prose movements in Tang and Song Dynasties as "ancient prose movements in Tang and Song Dynasties".

The editor is the representative of the ancient prose movement in Tang and Song Dynasties.

Tang dynasty representative

Han Yu and Liu Zongyuan are the representatives of the ancient prose movement in the Tang Dynasty, and they are also the only two people in the Tang Dynasty among the "eight masters of the Tang and Song Dynasties". They advocate ancient prose in order to carry forward the ancient road and revive Confucianism. Han Yu said, "Learn from the ancient road, Han Yu.

Want to talk at the same time; Those who preach their words are also those who are interested in the ancient road "("After Mourning Ouyang Sheng "). Therefore, their ancient prose theories put it in the first place, but hankyung emphasized Confucian benevolence and orthodoxy, while Liu advocated "taking time and things as the Tao". In addition, the theoretical system of ancient Chinese prose of the two schools also includes: ① advocating "nourishing qi", that is, improving the author's moral cultivation, and emphasizing that "those who are rich in roots are practical, those who are full of cream are gorgeous, and those who are righteous are as they say" (Han Yu's Answer to Li Yishu). The author's moral cultivation determines the expression form of the article, so "bold words, short words and high voices" (2) As for the standard of learning, he advocates "the books of three generations and two Han dynasties, but dare not read them" (ibid.), and it is not only classics and history, but also the artistic achievements of Qu Yuan, Sima Xiangru and Yang Xiong. , so as to absorb their essence and enrich their writings (Han Yu's Interpretation of Learning, Liu Zongyuan's Answer to Wei Zhongli's Book and Teacher's Way). (3) To create new ideas and new words, we should not avoid "strangeness" (Han Yu's "Sending Poor Articles"), oppose imitation and follow the trend, demand "acting only on his words" (Han Yu's "Answering Li Yishu"), and think that "only ancient words come from themselves and are not thieves" (Han Yu's "Epitaph of Nanyang Fan Shaoshu"). Therefore, the works of ancient sages should be "learned from their meaning, not from their words" (Han Yu answered Liu). (4) While attaching importance to artistic forms, we especially oppose works with literary talent and absurd content, and think that "it is still a matter covered up by literary brocade. ".Don't know is upset. "(Liu Zongyuan's answer to Wu Wuling's book" Non-Mandarin "). ⑤ Require serious writing attitude, no carelessness, no laziness, no fatuity and no arrogance (Liu Zongyuan answers Wei Zhongli's book "Teacher's Way"). ⑥ Oppose to emphasize the past blindly, and think that "the ancients were also human ears, and their husbands were far away" (Liu Zongyuan's Book with Yang Jingzhao). He expressed indignation at the situation of "respecting the past and abusing the present" (Liu Zongyuan's On Friends as Documents), pointing out that there are many good contemporary writers, Liu Zongyuan.

"If all are endless, then the articles will flourish, unprecedented in ancient times" (Liu Zongyuan's Book with Yang Jingzhao). Obviously, the ancient prose movement advocated by Han and Liu is to carry out literary innovation and promote literary progress under the banner of retro. Han and Liu advocated ancient prose and experienced some struggles at that time. Han Yu once said, "A servant has been a writer for a long time. Every time he thinks he is good in his mind, he thinks he is evil. A small name means a small person; Say what you want to say, people will be very strange. " However, in the face of people's criticism and ridicule, Han Yu did not waver. He "abandons vulgarity without hearing, laughs without insulting, and learns after calling" (Liu Zongyuan's Answer to Wei Zhongli's Teacher's Book), and constantly expands the team of the ancient prose movement. Han Yu's students include Li Ao, Huangfushi and Li Han. They converted to teaching and promoted the development of the ancient prose movement. Han and Liu pay attention to absorbing fresh words from spoken language, refining new written language close to spoken language, writing many excellent works, expanding the expressive function of written language and creating a new prose tradition in the history of China literature. At the end of the Tang Dynasty, some satirical essays written by Pi Rixiu, Lu Guimeng and Luo Yin also used ancient prose, which can be said to be the inheritance of the ancient prose movement.

Song dynasty representative

Ouyang Xiu is a representative figure of the ancient prose movement in Tang Dynasty. After the middle Tang Dynasty, the ancient prose movement gradually declined from the late Tang Dynasty to the Song Dynasty, and parallel prose revived. Aestheticism and formalism have become the mainstream of literary world. So a new round of dispute between ancient prose and parallel prose began. By the middle of the Song Dynasty, due to Ouyang Xiu's creation and guidance, a magnificent poetry innovation movement was set off. Ouyang Xiu advocated that "literature should be based on Ming Dow", which laid the foundation and established the direction for the innovation of poetry and prose from both theory and creation. He also pays attention to training and selecting experts in ancient Chinese. Ceng Gong, Wang Anshi and Su Shi are all his proteges. Their prose creation inherits and develops Liu Han's tradition, which is unique and colorful.

the eight great prose masters of the Tang and Song dynasties

Eight masters in the Tang and Song Dynasties were collectively called Han Yu and Liu Zongyuan in the Tang Dynasty, and Su Shi, Su Xun, Su Zhe (Su Shi, Su Xun and Su Zhe were collectively called Su San), Ouyang Xiu, Wang Anshi and Ceng Gong in the Song Dynasty. Eight masters in Tang and Song Dynasties played a vital role in promoting the movement of ancient Chinese prose. Han Yu and Liu Zongyuan were the leaders of the ancient prose movement in Tang Dynasty, Ouyang Xiu was the leader of the ancient prose movement in Song Dynasty, and Su San and others were the core figures of the ancient prose movement in Song Dynasty. Eight masters have made brilliant achievements in their creation, leaving many masterpieces for future generations.

Contributions of Eight Masters in Tang and Song Dynasties to Prose Creation

1. In the relationship between the content and form of the article, it emphasizes "thinking about writing" and "taking Tao as writing" and opposes "writing for writing's sake". 2. Created a prose language that can convey the meaning only by saying what you should say, which is both Ming Dow and full of literary images. 3. In the way of expression, the eight great masters often combine narrative discussion with description and lyricism.

The main works of the representative figures of the editing ancient prose movement are in this paragraph.

Han Yu

Argumentative paper: the original road, teacher's notes, miscellaneous notes, Li Yishu's answer. Narrative Prose: Postscript of Zhang Zhongcheng's Biography, Epitaph of Liu Zihou, Sacrifice to Twelve Lang. Han Changli's works

liu zongyuan

Landscape Prose: Eight Notes of Yongzhou, Travel Notes of Xide Xishan Banquet, Biography of Xiaoshitang: Biography of Children's Area, Biography of Camel Planting. Political essays and allegorical sketches. Complete works of Liu Hedong

Ouyang Xiu

Political Papers: Narrative Prose of Pengdang Lun: The Story of Zuiwengting Essays: Poems on June 1st; Wang Anshi's Essays: Answering Sima's Suggestions, Telling Me, Reading Biographies, Biographies of Book Assassins, Shang, etc.

Su Shi

Literary prose: Shi Zhongshan Collection, He Fangting Collection, Chibi Fu and Hou Chibi Fu, and historical or political comments: The Book of the Gods, Fan Zenglun, Later Han Dynasty, Han Feizi Lun, Jiaju Lun, Chao Cuo Lun, Teaching and Defending Strategies.

The development of ancient prose movement in Song Dynasty

The background of the ancient prose movement in Song Dynasty

Although the ancient prose movement in the middle Tang Dynasty won in the literary world at that time, parallel prose did not disappear and continued to be popular after the late Tang Dynasty. From the Five Dynasties to the early Song Dynasty, the flashy and gorgeous style of writing flooded again. Niu Xiji, a former Shu Dynasty, once said in his essay: At that time, the essay "forgot the way of education and prevailed with glamour". In the early years of the Northern Song Dynasty, Wang Yucheng and Liu Kai began to advocate ancient prose, and both advocated the unity of literature and Taoism. But they fought on their own and did not form a strong movement. During the Song Zhenzong Dynasty and the early years of Song Renzong, the formalistic trend of thought of "Kunxi School", represented by Yang Yi and Liu Yun, in pursuit of beautiful melody swept the literary world at that time. It was not until the publication of "The People of Shijie" that it dealt a powerful blow to the decadent style of writing that lasted for a hundred years. When Shi Jie wrote Strange Theory, he lashed out at "Yang Yizhi's abject poverty, coquettish manners, flowers and plants, extravagance and extravagance, and flashy compilation", and in the Book of Fan Siyuan, he called on "Comrade Eelsen to try his best to crowd him out, so as not to harm the way" and determined that "learning to be an excellent official must be based on righteousness" and would rather die than write obscene articles. However, Shi Jie's creation did not achieve much. The revival of ancient prose in the Song Dynasty did not form a movement until Ouyang Xiu advocated it.

The rise of the ancient prose movement in Song Dynasty

Ouyang Xiu, relying on his political position, strongly advocated ancient prose and led a writing team. Su Xun and his contemporaries, students Su Shi, Su Zhe, Wang Anshi, Ceng Gong, Huang Tingjian, Huang Tingjian, Huang Guanguan, Qin Guan, Chao and others under Su Shi, were all masters of ancient prose, each playing his own banner and expanding his influence, which made the ancient prose movement in the Song Dynasty reach a magnificent level. The main features of the ancient prose movement in Song Dynasty are: First, advocating Ming Dow. Ouyang Xiu said: "It is not difficult to get the word." (Answer to Wu Chong's Scholars) Su Shi said, "What I do must conform to the Tao" (quoted from Zhuzi's Collection of Customs). This point inherited the tradition of the ancient prose movement in the Tang Dynasty. The second is not to learn from the pre-Qin and Han Dynasties, but to take the method of Han Yu directly. Wang Yucheng said that "the master of modern ancient prose only has the Korean history department" (answer to Zhang Fushu). They learn from the similarities of South Korea, that is, their "literary obedience" and approachable style, rather than their tendency to pursue strangeness and eccentricity. Therefore, the ancient prose in the Song Dynasty further laid the foundation for the new written language created by Han and Liu, which is more conducive to expressing ideas and accepted by people, and carried forward the spirit of the new prose tradition created by them. A scholar of the Ming Dynasty called "Mr. Ba" from Europe, Zeng, Wang, Han and Wei Liu, and Mao Kun compiled "Eight Banknotes of Tang and Song Dynasties", which was an ancient prose in Tang and Song Dynasties and achieved a competitive position. Song Lian, Wang, Gui Youguang and others in the Ming Dynasty, Tongcheng School and Yanghu School in the Qing Dynasty all made some achievements, and they were all inspired or influenced by the ancient prose movement in Tang and Song Dynasties. The movement of ancient prose in Tang and Song Dynasties is an important milestone in the development history of China's prose. The literary innovation movement in the Northern Song Dynasty, following the ancient prose movement in the Tang Dynasty, mainly opposed the extravagant style of writing represented by "Kunxi Style". However, this literary movement, which innovates poetry and prose at the same time, has a closer relationship with political struggle, a longer duration, a wider spread, more participants and a far-reaching influence.

In the early years of the Northern Song Dynasty, the country was unified, the economy resumed development, and the society was relatively stable. Some upper-class literati were obsessed with peace, whitewashed peace and sang praises, which further developed the drifting style since the late Tang Dynasty and the Five Dynasties. However, the founding of the People's Republic of China in the Song Dynasty was congenitally deficient, and the Liao country in the north had an unfinished territory, so there was no atmosphere of restoring the Han and Tang empires. At the same time, big bureaucrats, big landlords and big businessmen merged with Japanese dramas, and various social contradictions became increasingly exposed and political struggles became increasingly acute. Some enlightened middle and lower-class literati and scholars express national humiliation, are full of national worries, demand political reform, advocate writing poems that reflect reality, praise Han Yu and Bai Juyi, and form opposing writing styles. Therefore, the poetry innovation movement in the Northern Song Dynasty adapted to the needs of political struggle from the beginning. Its development process has three stages.

Edit this paragraph: the three stages of the ancient prose movement in Song Dynasty

First stage

The first stage, from the establishment of Song Taizu to the real clan dynasty, lasted from the 1970s of 165438 to the beginning of the 20th century, which is the initial stage. The pioneers are Liu Kai, Wang Yucheng, Mu Xiu, Shijie, Yao Xuan and Sun Fu. Liu Kai raised the banner of "respecting Korea" for the first time, and put forward the ideas of attaching importance to practical use, advocating simplicity and advocating enlightenment, and opposed the extravagant style of writing at that time. Wang Yucheng also advocated restoring the classics and writing the ancient prose of "preaching and teaching to dispel doubts", emphasizing the "literary obedience" side of Han Yu's literary theory. He admired Li Bai, Du Fu and Bai Juyi's poems reflecting reality, opposed the decadent poetic style since the late Tang Dynasty, and practiced his own ideas in his creation. His poems are realistic in content, approachable in language and fresh and pleasing in style, which shows the initial achievements of the poetry innovation movement. However, the literary reform they advocated had little influence at that time, and the China style of the school headed by Yang Yi and Qian began to spread. Therefore, the subsequent Muxiu advocated learning for Tao, and strongly opposed the voice of parallel prose. Despite vulgar slander, he carved hundreds of Han Liuji, sold them in Beijing, and advocated Han's self-appointment. Later, in Strange Tales from a Lonely Studio, Shi Jie criticized Yang Yi for "embellishing romantic gardening" and "hurting saints". However, they failed to put forward novel and practical ideas in poetry theory, and paid more attention to the language form of the article. Except Wang Yucheng, most of these people's essays are suffering from bitter words, and their creative achievements are not high.

stage Ⅱ

The second stage was Song Renzong Dynasty, which was the climax of this movement from165438+1920s to 1950s. The main representative writers are Fan Zhongyan, Li Gou, Shi Yannian, Mei, Song Qi, Ouyang Xiu, Su and his son, Wang Anshi and others. First of all, Fan Zhongyan advocated the reform of the style of writing in the "Platform for the Reform of Current Disadvantages" put forward in the third year of Renzong Tiansheng (1025). In the seventh year of Tiansheng (1029) and the second year of Ming Dow (1033), the imperial court issued two imperial edicts prohibiting flashiness and advocating prose. Because of the position of the imperial court, people who advocate the reform of writing style emerge in endlessly. Their frequent exchanges and mutual singing have launched an unprecedented powerful impact on the literary world, showing great momentum. Li Gou demanded that literature should learn from the world, play the role of "a tool for managing things", and oppose archaizing and "painting buildings for the beauty" (Li Shang Sheren's Book, Shang and Song Sheren's Book, Original Text). Athena Chu gave up parallel prose and devoted himself to writing elegant ancient prose. Su Shunqin spoke highly of the important role of the officials appointed in ancient times, and believed that the fundamental purpose of writing poems and articles was to "warn the public of the times" and "make up for the loss", and opposed taking the beauty of flowers as the victory and advocated "winning the victory and then shaking it up" (Sun Shangchong's admonition). Mei emphasized the tradition of The Book of Songs and Li Sao, attached importance to comparison and belittled the bad habit of ostentation and extravagance, and demanded that poetry should express human feelings, material state, new language, scenery and understanding, so as to achieve a high level of "plain". Su Mei and Su Mei's poetry styles are different, but they both focus on reflecting the real social life, which has effectively dealt a blow to Quincy's sad floating poetry style. They made great contributions to the poetry innovation movement. Later, Ouyang Xiu, who was behind Su and Mei, was the leader of this stage and even the whole poetry innovation movement. His outstanding roles in the movement include: (1) intentionally combining the innovation of poetry with the political reform led by Fan Zhongyan, so that the criticism of ancient Chinese prose, poetry and literary theory can serve the realistic political struggle, thus making the movement more conscious and in-depth. (2) Explain the theory and guide innovation. He put forward that "it is not difficult to get the word"; He also believes that Tao can enrich the text, but it cannot replace it. He advocates that the composition should be simple, legal, fluent and natural, and opposes simulation and ancient Olympics. In poetry, he attached importance to exhorting beauty and moving things, put forward the famous argument that poetry is poor and backward, and emphasized the important role of the poet's life experience in creation. He worships Du Fu and Li Bai. He created a new style of poetry criticism, "Poetry Talk", and his "Poetry Talk on June 1" published many incisive literary and poetic opinions. His poetry theory guides the writer's creative practice and innovation movement. (3) Reform the imperial examination and depose the four or six products. In the second year of Jiayou (1057), Ouyang Xiu paid tribute to the Ministry of Ritual, strictly stipulated that the examination-oriented articles must be plain and simple prose, and resolutely denounced the strange, empty and flashy style of writing. (4) Develop creative style and strive to promote backwardness. Ouyang Xiu has actively created many excellent prose works, which are rich in content, novel in form, simple and natural, fluent, narrative, reasoning and lyrical, opening up a thoroughfare for prose creation. His poems absorbed the characteristics of Han Yu's prose culture in art, but avoided the danger and rarity of Han Yu's poems. His creation played an exemplary role in the poetry innovation movement. Ouyang Xiu cherishes talents and unites a large number of new and old writers around him. He paid special attention to Wang Anshi, Su and his son, regarded them as the backbone of poetry innovation, encouraged them to create actively, and ensured that the poetry innovation movement continued to flourish. The above measures taken by Ouyang Xiu had a great effect and far-reaching influence, which made the innovation movement reach a climax and win.

The third stage

The third stage, from Song Yingzong Dynasty to Zhezong Dynasty, from about165438+1950s to165438+the end of 20th century, is the completion stage of the movement. The main representative writers are Wang Anshi, Ceng Gong, Su Shi, Su Zhe, Huang Tingjian, Qin Guan and others. Wang Anshi regards the innovation of poetry and prose as an important part of implementing the "New Law", and puts forward that the content of the article should be related to "ruling the country by virtue", "supplementing the world by things" and "taking use as the foundation" (The Book of Masters, etc.). ). He repeatedly denounced the tendency of "sounding sick in chapters and sentences, preferring literary words" ("Learning from the Scriptures") and praised Du Fu's special poems. Ceng Gong, Su Zhe, Wang Ling and others also played a key role in the in-depth development of this movement with their literary theory and creative practice. It was Su Shi who led the movement to a complete victory. Su Shi is a literary leader after Ouyang Xiu. He proposed that poetry and prose should be written for something, and that "what you said must be a mistake in this world" (the narrative of Mr. Yi Fu's poems), and called on writers to "make some contributions to the country by relying on the poet's meaning and irony" (Su Zhe's Epitaph of Mr. Dongpo). However, he attached great importance to the characteristics of literature and art, and repeatedly pointed out that literature itself, like fine gold and beautiful jade, has its own pricing (see Answer to Liu Miandu and Cao Shu, etc. ). He also put forward some famous arguments such as "taking the shape of things", "expressing things by words", "showing things clearly", "vivid and freehand brushwork" and "painting in poetry" to guide his creation at that time. His poems and ci fu both embody the highest achievements of literature in the Northern Song Dynasty. Su Shi also attaches importance to talents. Huang Tingjian, Qin Guan, Chao, known as "Four Bachelor of Sumen", were all outstanding writers in the late Northern Song Dynasty and made contributions to the prosperity of Northern Song literature. The poetic innovation movement in the Northern Song Dynasty, following the ancient prose movement in the Tang Dynasty, once again promoted the development of ancient literature, especially prose and literary theory. Since then, the classical Chinese tradition, represented by the "Eight Masters of Tang and Song Dynasties", has been regarded as authentic by essayists in Yuan, Ming and Qing Dynasties, while prose in Ming and Qing Dynasties draws more lessons from Ouyang Xiu, Ceng Gong and Su Shi. In terms of poetry, Ouyang Xiu, Wang Anshi and Su Shi also had a far-reaching influence on the Southern Song Dynasty, the Tang and Song Dynasties, the Public Security School, the Jingling School and the Song Poetry School in the Qing Dynasty. However, due to the concept of "orthodoxy" in the poetry innovation movement in the Northern Song Dynasty, literature was also required to serve the real politics, which contributed to the prosaic culture of poetry and the conceptual tendency of "taking discussion as poetry", which was imitated by the Neo-Confucianism prose in the Southern Song Dynasty. This shows the historical limitations of this innovation movement in thought.

Achievements and influence of editing this ancient prose movement

The main contribution of the ancient prose movement in the Tang Dynasty in the history of China's ancient prose development is to reverse the formalistic tendency of ruling the literary world for a long time and inherit the Excellence of early prose.

Tradition has been innovated and developed, thus creating a new situation in prose creation and setting the correct direction for the development of ancient prose. The mainstream of prose in and after the Song Dynasty continued to develop on the basis of the ancient prose movement in the Tang Dynasty. Of course, this does not mean that after an ancient prose movement, there will never be a formalism countercurrent in the literary world again. In fact, after Liu Han, there are two general trends in the development of the ancient prose movement in the Tang Dynasty: one is that Li Ao, as the representative, tends to explain, narrowing the scope of reflecting reality; Second, Huang Fushi, Sun Qiao and others "pursue the strange", which makes the article obscure and difficult to understand, which is not conducive to the development of ancient Chinese prose. The essays of Pi Rixiu, Lu Guimeng and Luo Yin appeared in the late Tang Dynasty, which were short, pithy and sharp, adding luster to the literary world in the late Tang Dynasty. From the Five Dynasties to the early Song Dynasty, Yan Feng revived, and the Kunxi School, represented by Yang Yi and others, appeared in northern Song Zhenzong. "It is necessary to divide words even, and count them as the present language to praise each other" (Preface to the Collected Works of Ouyang Xiusu). This time, the mission of turning the tide in literary and poetic circles fell to Ouyang Xiu, Wang Anshi, Su Shi and others. The wave of poetry innovation movement they set off directly inherited the tradition of the ancient prose movement in Tang Dynasty, and it can also be regarded as the continuation and development of the ancient prose movement in Tang Dynasty. Therefore, in the history of literature, it is often called the ancient prose movement in Tang and Song Dynasties. The ancient prose movement in Song Dynasty no longer advocated learning from the pre-Qin and Han Dynasties, but advocated learning directly from French Han Yu. For example, Ouyang Xiu believes that "scholars should stop here." This also shows the relationship between the prose of the Song Dynasty and the prose of the Tang Dynasty. Prose works in Song Dynasty developed in the direction of "following words", which further shortened the distance from spoken language compared with ancient prose written by Han and Liu, thus being more conducive to expressing feelings and being more easily accepted by people. In the Ming Dynasty, You Zhu compiled the prose works of Han Yu, Liu Zongyuan, Ouyang Xiu, Wang Anshi, Ceng Gong, Su Xun, Su Shi and Su Zhe into the Eight Masters Collection, and later Mao Kun compiled the Eight Masters Collection in the Song Dynasty. From then on, "Eight Masters in Tang and Song Dynasties" became a model of prose writing by literati in the late feudal society of China. The prose achievements of Tang and Song Schools in Ming Dynasty, Tongcheng School in Qing Dynasty and Yanghu School are all related to the ancient prose movement in Tang and Song Dynasties. From the far-reaching influence on later generations, we can also say that the ancient prose movement in Tang and Song Dynasties was an important milestone in the development history of ancient prose in China.

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