The theoretical framework of the Jiangxi Poetic School was most suited to the tastes of privileged feudal literati. They lived monotonous lives and had ample time to delve into books; thus, they were inclined to dedicate themselves to literary pursuits. However, those with higher insights were unwilling to be bound by its strict rules and regulations. They demanded the freedom to depict real life. In order to break free from the constraint of “infusing knowledge into poetry,” they often adopt the doctrine advocated by Su Shi, “Speak spontaneously with common sayings, disregard the old rules.” To overcome the poetic style of the Jiangxi Poetic School, characterized by bizarre words and intricate phrases, they often turned to praising poetry of the Late Tang Dynasty because such works appear more casual in their composition. As a result, there had been a continuous debate during the Southern Song, Jin, and Yuan Dynasties about doctrines of Su Shi and Huang Tingjian and the poetry of the Late Tang and the Song Dynasties (represented by the Jiangxi Poetic School). The so-called Four Great Masters of the Southern Song Dynasty—You Mao, Yang Wanli, Fan Chengda, and Lu You—all initially embraced the theories of the Jiangxi Poetic School but later distanced themselves from this camp. Yang Wanli’s creative path was representative in this regard. In the Preface to Chengzhai Jingxi Anthology, he once described his experience in learning poetry. In his early years, he studied the poetry of the Jiangxi School, but found that “the more I studied, the less I created.” Later, due to his busy official duties in an external appointment, although he had poetic thoughts, he had no time to put pen to paper. Suddenly, as if awakened, he broke free from the influence of his predecessors and adopted an improvisational approach to his writing. Finally, he developed his own style. Therefore, he said, “I feel ashamed to adhere to the school or to follow the ancestors. Each writer has his own unique style. Huang Tingjian and Chen Shidao can rest their feet under the fence, while Tao Qian and Xie Lingyun emerge ahead” (Postscript to Xu Gongzhong’s Recent Poems, the third). He no longer wanted to follow others slavishly. Yang Wanli’s style was reminiscent of the Late Tang poetry, and he repeatedly expressed his admiration for it, saying, “At first, I received guidance from Wang Anshi, but eventually I must exchange ideas to the Late Tang period” (Reply to Xu Zicai’s Discussion on Quatrains). He also criticized with dissatisfaction, saying, “Who appreciates the unique flavor of the Late Tang poetry? Nowadays, poets underestimate the Late Tang” (Reading The Collected Works of Lizhe).

Criticism of the Jiangxi Poetic School from Poets in the Southern Song Dynasty

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发表日期：

2026年

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Zhou Xunchu

摘要

The theoretical framework of the Jiangxi Poetic School was most suited to the tastes of privileged feudal literati. They lived monotonous lives and had ample time to delve into books; thus, they were inclined to dedicate themselves to literary pursuits. However, those with higher insights were unwilling to be bound by its strict rules and regulations. They demanded the freedom to depict real life. In order to break free from the constraint of “infusing knowledge into poetry,” they often adopt the doctrine advocated by Su Shi, “Speak spontaneously with common sayings, disregard the old rules.” To overcome the poetic style of the Jiangxi Poetic School, characterized by bizarre words and intricate phrases, they often turned to praising poetry of the Late Tang Dynasty because such works appear more casual in their composition. As a result, there had been a continuous debate during the Southern Song, Jin, and Yuan Dynasties about doctrines of Su Shi and Huang Tingjian and the poetry of the Late Tang and the Song Dynasties (represented by the Jiangxi Poetic School). The so-called Four Great Masters of the Southern Song Dynasty—You Mao, Yang Wanli, Fan Chengda, and Lu You—all initially embraced the theories of the Jiangxi Poetic School but later distanced themselves from this camp. Yang Wanli’s creative path was representative in this regard. In the Preface to Chengzhai Jingxi Anthology, he once described his experience in learning poetry. In his early years, he studied the poetry of the Jiangxi School, but found that “the more I studied, the less I created.” Later, due to his busy official duties in an external appointment, although he had poetic thoughts, he had no time to put pen to paper. Suddenly, as if awakened, he broke free from the influence of his predecessors and adopted an improvisational approach to his writing. Finally, he developed his own style. Therefore, he said, “I feel ashamed to adhere to the school or to follow the ancestors. Each writer has his own unique style. Huang Tingjian and Chen Shidao can rest their feet under the fence, while Tao Qian and Xie Lingyun emerge ahead” (Postscript to Xu Gongzhong’s Recent Poems, the third). He no longer wanted to follow others slavishly. Yang Wanli’s style was reminiscent of the Late Tang poetry, and he repeatedly expressed his admiration for it, saying, “At first, I received guidance from Wang Anshi, but eventually I must exchange ideas to the Late Tang period” (Reply to Xu Zicai’s Discussion on Quatrains). He also criticized with dissatisfaction, saying, “Who appreciates the unique flavor of the Late Tang poetry? Nowadays, poets underestimate the Late Tang” (Reading The Collected Works of Lizhe).