Wang Shizhen 王士禎

Wang Shizhen 王士禎 (1634-1711; his name was also written Shizheng 士正 in order to avoid the personal name of the Yongzheng Emperor 雍正帝, r. 1722-1735, which was Yinzhen 胤禛), courtesy name Zizhen 子真 or Yishang 貽上, style Ruanting 阮亭 or Yuyang Shanren 漁洋山人, was a writer of the early Qing period 清 (1644-1911). He hailed from Xincheng 新城 in Huantai 桓臺, Shandong, and passed the local examinations in an early age. His first office was judge (tuiguan 推官) of Yangzhou 揚州, where he carried out his duties in a fair and balanced way. In 1664, he became a secretary in the Ministry of Rites (libu zhushi 禮部主事) and then vice director of a bureau in that Ministry (libu yuanwailang 禮部員外郎), later director in a bureau of the Ministry of Revenue (hubu langzhong 戶部郎中). The was then appointed principal provincial examiner (zhengkao guan 正考官) of Sichuan, reader-in-waiting (shidu 侍讀) of the Hanlin Academy 翰林院 responsible for the compilation of the official history of the Ming dynasty 明 (1368-1644; Mingshi zuanxiu guan 明史纂修官). Afterward, he became Director of the Directorate of Education (guojijian jijiu 國子監祭酒, vice supervisor of the Household of the Heir Apparent (shao zhanshi 少詹事) and concurrently academician expositor-in-waiting (shijiang xueshi 侍講學士), then Left Vice Censor-in-Chies (zuo fu duyushi 左副都御史), Right Vice Minister of Revenue (hubu you shilang 戶部右侍郎), with direct access to the Emperor's Study (nanfangshu 南書房等職. His final office was Minister of Justice (xingbu shangshu 刑部尚書).

After his retirement in 1704, he began to produce quite a few scholarly writings. Wang was acquainted with famous writers of the time, like Pu Songling 蒲松齡 (1640-1715). His early poetry was influenced by the boudoir style (xianglianti 香奩體) of the Southern Dynasties period, and in later years, Wang imitated the natural style of Sikong Tu 司空圖 (837-908) and the "marvellous insights" (miaowu 妙悟) of Yan Yu 嚴羽 (d. c. 1245). Wang created the theory of "spiritual resonance" (shenyun 神韻), considering metaphors as the highest realm of poetry. He regarded poems that were subtle, natural, and uniquely elegant as the finest, emphasizing that the essence of poetry lies in its spirit, mood, and charm. He stressed the importance of restraint and suggestion, advocating the use of indirect and atmospheric techniques, such as setting a mood or surrounding an idea, so that the poet conveys emotion and meaning through imagery rather than direct explanation, allowing the reader to grasp the poetic sentiment intuitively.

Wang emphasized the ideal of "spiritual inspiration and intuitive expression" (xing hui shen dao 興會神到) and pursued the state of "grasping the essence beyond words" (de yi wang yan 得意忘言), avoiding direct reference and any trace of artificial embellishment. He advocated a poetic style that was fresh, subtle, refined, and suggestive in tone. However, his advocacy of the shenyun theory was later criticized by figures such as Zhao Zhixin 趙執信 (1662-1744) and Yuan Mei 袁枚 (1716-1797).

In his poetic practice, he admired the stylistic school of Tang-period 唐 (618-907) poets such as Wang Wei 王維 (699-761), Meng Haoran 孟浩然 (689-740), Wei Yingwu 韋應物 (737?-791), and Liu Zongyuan 劉宗元 (773-819). He compiled the anthology Tangxian sanmei ji 唐賢三昧集, selecting works from 42 Tang-period poets as exemplary models for poetry study.

His poetry mainly consisted of travel accounts, landscape descriptions, object meditations, reflections on antiquity, and exchanges with friends. While his works often convey a spiritual charm that is subtle, serene, and naturally elegant, their thematic content tends to be rather limited in social or political depth. A portion of his poems do engage with current events and express concern for the hardships of the people, giving them some degree of social relevance. However, the majority reflect the leisurely sentiments of a feudal bureaucrat, and some even resort to praising rulers and idealizing peace, aligning his creative tendencies with the ideological needs of early Qing-period rulers.

Among his works, some long-form poems in the ancient style (guti shi 古體詩) are noted for their heroic momentum and vigorous tone, standing out with distinctive qualities. Wang Shizhen's prose, including prefaces (xu 序), postscripts (ba 跋), biographies (zhuan 傳), inscriptions (ming 銘), letters (shuzha 書札), travel accounts (jiyou 紀游), and informal essays (suibi 隨筆), is characterized by clarity and conciseness. His lyric-metre poetry (ci 詞) is also rich in flavor, much like his verse.

Wang Shizhen led the literary scene across the country for several decades and was honored as a literary giant. Alongside Zhu Yizun 朱彝尊 (1629-1709), he was hailed as one of the two great poets of the North and South.

In his poetry, he consciously avoided the shortcomings of the late-Ming-period Gong'an School 公安派, known for being overly playful and colloquial, as well as those of the Jingling School 竟陵派, which tended toward overly obscure and constricted expression.

Wang Shizhen's collected writings are called Daijingtang ji 帶經堂集, his regular-style poems are assembled in Ruanting shichao 阮亭詩鈔 and Yuyang Shanren jinghua lu 漁洋山人精華錄, and his lyric-metre poetry in the collection Yanbo ci 衍波詞. Among Wang's prose writings, the "brush-notes"-style books (biji 筆記) Chibei outan 池北偶談, Juyilu 居易錄, Huanghua jiwen 皇華紀聞, Xiangzu biji 香祖筆記, Shuobu jinghua 說部精華, Fengan yuhua 分甘餘話, Gufuyuting zalu 古夫于亭雜錄 and Yuyang wen 漁洋文 are to be mentioned. Wang also wrote poetry critiques called Yuyang shihua 漁洋詩話 and Wudai shihua 五代詩話. A travel book of his is Long-Shu yuwen 隴蜀餘聞.