Prose in Tang and Song Dynasties Essay Example

relationship with the Wang Shuwen (753-806) group. To understand his writing better, it is important to consider his state of mind. Liu sometimes connects his thoughts with the environment around him in a unique way. In his work "Record of Flat-Iron Pond" ("Gutuman ji"), he shares his love for the area he resides in, which has caused him to "love to live in the barbarian land and forget my homeland" (LZYJ, 764). Liu Zongyuan combines physical and moral aspects when writing about the social landscape.

In writing about the personal landscape, the writer deliberately reduces the link between subject and object. This demonstrates the writer's preoccupation with naming and giving meaning to words. Joshua Chen highlights the use of "barbarian land" and "homeland" to show that despite enjoying nature, worldly pains and worries linger in the writer's mind (Chen 182). The writer's deep connection with nature does not alleviate these concerns, as also seen in their thoughts on quietness influenced by Buddhism.

Zongyuan encountered issues that he didn't comprehend due to his social and political awareness. However, a similar dedication (albeit on a smaller scale) resolved the problem for him. His personal landscape essays demonstrate the inner struggle he faced and how he reached a conclusion. In "Preface to Poems on Foolish Creek," Zongyuan portrays himself as a "fool" for going against reason and acting unnaturally despite living under a government that has gained the Way. He wants to mock himself for this behavior.

During his conversation with the creek spirit, he mentions once again "the time of an enlightened ruler," prompting the reader to question if he truly means his words. If any government could

argue for adherence to the Way during the mid-Tang period, it would be Emperor Xianzong's reign (805-820), the time when Liu Zongyuan was exiled. Liu Zongyuan himself couldn't ignore the major accomplishments of the Yuanhe restoration (Chen, 1992). In his essay, Liu Zongyuan seeks to express the idea of self by showcasing eight landmarks in the Foolish Creek area, labeling each one as "foolish" despite their being considered "marvels of the land." These landmarks include Foolish Mound, Foolish Fountain, Foolish Ditch, Foolish Pond, Foolish Hall, Foolish Pavilion, and Foolish Isle.

Liu Zongyuan acknowledges the futility of the creek and uses this realization to reflect on his own foolishness. He distinguishes himself as a "real" fool, separate from the obvious fools mentioned in the Analects. His great foolishness gives him a unique understanding of the creek and contributes to his self-described foolishness. While he may not possess the ability to serve the government, his essays allow him to gain recognition among future generations. Critics of Liu Zongyuan note that his landscape essays often highlight gifted individuals who go unrewarded, including himself.

In his work "Record of the Hillock West of Flat-Iron Pond" or "Gumutan xi xiaoqiu ji", Liu Zongyuan expresses regret over the low value of a scenic landmark he acquired for a good price and enhanced through landscaping. He laments that if the hillock were relocated to the suburbs of the capital, such as Feng, Hao, Hu, or Du, aristocratic sightseers would compete to purchase it, even with its excellent scenery. Despite its potential value, the hillock has been abandoned in his prefecture and disregarded by farmers and fishermen. It has remained unsold for years,

with no offers higher than four hundred cash. (LZYJ, 766).

In an odd manner, Ouyang Xiu describes Huang Creek as being highly overappreciated due to its exaggerated and inaccurate portrayal. Meanwhile, he recognizes the underappreciated Hillock West of Flat-Iron Pond. Known as one of the eight great prose stylists of the Tang and Song dynasties, Ouyang Xiu's impact on literary history is not only due to his extensive output but also his influence on landscape prose. He revolutionized the Northern Song era's writing style, setting it apart from earlier periods.

The birth of guwen in the 11th century marked a major turning point in Chinese prose, which had previously been dominated by pianwen. Ouyang Xiu (1007-72) simplified writings on historical, philosophical, and general interest topics, which had previously been filled with spiritual or ghostly stories. He also improved the language of Tang prose (Spring 304). During the Song dynasty (960-1279), even ordinary aspects of life and nature were written about in essays, thanks to the influence of high-class society. This development was highly commendable. Ouyang Xiu's most notable writings focused on pavilions constructed in scenic locations, illustrating the bringing of civilization to undeveloped areas.

The author takes time to discuss the local surroundings, people, and history, including himself. The most well-known work, "Zuiwen ting ji" (1046; "The Old Drunkard's Pavilion"), portrays a positive village life under the author's successful rule in the area for many years. However, Ouyang's plans for retirement had to be documented as zizhuan (autobiography), and his reflections on autumn were classified as a fu (description), ultimately hindering his writing. Ouyang's writing style incorporates his own personal sentiments as a significant element.

Ouyang

is known for speaking openly about his feelings towards the subject of his writing in prefaces, studio recordings, and even grave inscriptions. He writes his essays in a poetic style that was previously unheard of. One of his most famous pieces is "Zuiweng ting ji" (1046; “The Old Drunkard’s Pavilion”) where he discusses himself with great insight. Although there has been no detailed study on his writing and grammar, it is clear that his style is influenced by poetry. He avoids archaic language and aims for simplicity in his writing, which is similar to the Five Dynasties and Song period anecdotal writing (biji) that may have influenced him.

According to the 1990 "Ouyang Xiu sanwen xuan," the best essays are distinguished by a common feature. Ouyang Xiu excels in selecting a particular object or landscape site, such as a rock, a studio, a zither, or a painting, and conveying his relationship with it in a manner that reveals multiple meanings beyond what one can perceive. This approach differs from the technique seen in Tang writing, in which the writer compares one subject to another. As Liu notes, there is a similarity between the richness of meaning in Ouyang's landscape writings and that found in personal lyric poetry. Ouyang Xiu was one of many individuals during the Northern Song dynasty who were renowned for their diverse achievements in fields such as philosophy, classical and historical studies, poetry, and essay writing.

Ouyang is skilled in various forms of writing, particularly excelling in the poetry forms of shi and ci. However, where he truly stands out and leaves a strong impression is in his prose essay writing. During his time,

no other writer could match the high level of his prose writing nor his exceptional style.