王士祯

王士祯出身官宦家庭，祖父王象晋，为明朝布政使。崇祯七年八月二十六日（1634年9月17日）,王士祯出生于豫省官舍，祖父呼之小名“豫孙”。娶山东邹平张延登之孙女为妻。
顺治七年（1650年），应童子试，连得县、府、道第一，与大哥王士禄、二哥王士禧、三哥王士祜皆有诗名。顺治八年乡试第六，顺治十二年参加会试第五十六。
顺治十五年（1658年）戊戌科补殿试，三甲三十六名进士。
文名渐著。23岁游历济南，邀请济南文坛名士集会于大明湖水面亭上，即景赋秋柳诗四首，此诗传开，大江南北一时和作者甚多，时称“秋柳诗社”。
顺治十六年（1659年），任扬州推官，“昼了公事，夜接词人”。
康熙四年（1665年），升任户部郎中，至京城为官。有大量名篇传世，其写景诗文，尤为人称道，所作“绿杨城郭是扬州”一句，被当时许多名画家作为画题入画。康熙皇帝称其“诗文兼优”，“博学善诗文”。
康熙十七年（1678年），受康熙帝召见，“赋诗称旨，改翰林院侍讲，迁侍读，入仕南书房”。康熙皇帝还下诏要王士祯进呈诗稿，王士祯遂选录300篇诗作进奉，定名《御览集》。后升礼部主事、国子监祭酒、左都御史。
当时，王士祯名扬天下，官位也不断迁升，成为清初文坛公认的盟主，一时间，诗坛新人到京城求名师，往往首先拜见王士祯。
康熙四十三年（1704年），官至刑部尚书。不久，因受王五案失察牵连，被以“瞻循”罪革职回乡。康熙四十九年（1710年），康熙帝眷念旧臣，特诏官复原职。
康熙五十年五月十一日（1711年6月26日）卒，享年78岁。
王家曾四代官至尚书，桓台境内至今还存有歌颂王家功德的砖牌坊，上刻明代董其昌题写的“四世宫保”四个大字。
王士禛去世后犹被易名数次。 至雍正朝，其“禛”字因避雍正讳，改名王士正。至乾隆，又赐名士祯，谥文简。后世文学史中，“王士禛”或“王士祯”两名并用。
《四库全书总目提要》云：“当我朝开国之初，人皆厌明代王（世贞）、李（攀龙）之肤廓，钟（惺）、谭（元春）之纤仄，于是谈诗者竞尚宋元。既而宋诗质直，流为有韵之语录；元诗缛艳，流为对句之小词。于是士祯等以清新俊逸之才，范水模山，批风抹月，倡天下以‘不著一字，尽得风流’之说，天下遂翕然应之。”
袁枚称王士禛的诗作“不过一良家女，五官端正，吐属清雅，又能加宫中之膏沐，薰海外之名香，取人碎金，成其风格。”,“然稍放纵，不加检点，便蓬头垢面，风姿全无。”
钱钟书指王士禛的诗善于掩饰天赋之不足。其《谈艺录》中评王渔洋：“一鳞半爪，不是真龙”，又说“渔洋天赋不厚，才力颇薄，乃遁而言神韵妙悟，以自掩饰。”[9]
王士祯以诗文为一代宗师，其诗多抒写个人情怀，清新蕴藉、刻画工整，早年作品清丽华赡，中年后转为清淡苍劲。散文、填词也很出色。擅长各体，尤工七律。与朱彝尊齐名，时称“朱王”。他提出的神韵诗论，渊源于唐司空图“自然”、“含蓄”和宋严羽“妙语”、“兴趣”之说，以“不著一字，尽得风流”为作诗要诀。所传诗文中，有不少题咏济南风物，记叙济南掌故之作。
王士祯一生著述达500余种，作诗4000余首，主要有《渔洋山人精华录》、《蚕尾集》、杂俎类笔记《池北偶谈》、《香祖笔记》、《居易录》、《渔洋文略》、《渔洋诗集》、《带经堂集》、《感旧集》、《五代诗话》、《精华录训篆》、《蚕尾集》等数十种。
王士祯曾赠诗蒲松龄：“姑妄言之妄听之，豆棚瓜架雨如丝．料应厌作人间语，爱听秋坟鬼唱诗。”为《聊斋志异》大书“王阮亭鉴定”，各家书坊争相求索书稿，刊刻《聊斋志异》。

王士祯自幼酷爱书法，九岁即能草书。李集《鹤征前录》云：“阮亭楷书之精，逼真褚公《枯树赋》”。冒辟疆《同人书》中称其“小楷之工，足与云间雁行”。同时人孙枝蔚有诗赞曰：“潇洒已叹书法好，清雅谁敌赋诗勤。”
康熙朝巡抚，书画家宋荦《西坡类稿》则称之：“书法高秀似晋人。雅不欲以此自多。人以绢素求书，辄令子弟代。惟二三同好间答书，必亲作其手迹，皆藏弆之”。[10]
康熙朝书法家陈奕禧【褚河南枯树赋拓本跋】云：“今人惟新城总宪学之极得其神。先生海内文儒，不肯以一艺名。有求书者必命门弟子代笔，从不轻作。门弟子欲得先生书，辄假问字奏记先生随意落札便藏弆以为至宝；或稿纸传写，即涂抹点勘者，皆装潢成册。”
梁章钜【退庵书画跋】云：“先生本不以书名，亦有若无意于书，而柔闲萧散有晋唐风味。虽名书巨手，亦不能不让其出一头地。此其故不在行墨间也。”
王士禛以诗与诗论著称于文学史，其书名为诗名所掩。
著名文字学家与书法家马宗霍(1897—1976)在《霋岳楼笔谈》中称王士祯书法为“诗人之书”。
其书风与诗风一样，经历了数次变化，早期率真狂放，中年后潇洒俊逸，清雅悠长。
王士祯家富藏书，其先父有遗书，因兵火散佚过半。入仕途后，借他人藏书而录做副本。所得收入，悉以购书，长达30余年，从无间断。康熙四十年（1701）请假告归，惟载书数车以行，弟子禹之鼎为之画有《载书图》。作书楼“池北书库”，取白居易池北书库之名命名，藏庋之富，甲于山左。与“曝书亭”并称盛一时。
有《池北书库藏书目》，收录宋元明本近500种，每书之下撰有题记。朱彝尊为之作《池北书库记》。
精于鉴赏。藏书印有“王阮亭藏书印”、“御史大夫”、“宫詹学士”、“忠勤公之世孙”、“经筵讲官”、“怀古田舍”、“琅琊王氏藏书之印”、“国子祭酒”、“宝翰堂章”等图章数十枚。
现代藏书家王绍曾辑有《渔洋读书记》600篇。

清初诗人王士祯，是继司空图、严羽之后倡导神韵理论的又一大家， 是“神韵说”的集大成者。遗憾的是，王渔洋平生只“拈出神韵”二字，并未对此作正面系统阐述。后世注家各执己见，纷纷诠释。
有认为“神韵”即 “格调”亦即 “肌理”，它是“彻上彻下无所不该”的，这是翁方纲“泛神韵论”的解释。有认为 即，郭绍虞先生力主此说，他指出 ：“神韵”“韵” “实则渔洋所谓神韵，单言之也只一‘韵’字而已。”敏泽先生以为神韵 “有时是指创作上和形似，形式等等相对应的内在的神似、气韵、风神等一类的东西”，“有时它又是指创作中那种在内容上以写景为特点，在风格上比较清新，富有诗情画意的气氛和境界。”蔡钟翔先生认为 ：神韵是“古淡清远的意境”。吴调公先生在其著作《神韵论》“。叶嘉莹先生也说 ：总论中则说 ：神韵的主要内涵是指诗味的清逸淡远”“总清远二妙，则为神韵。”
钱钟书先生在谈到渔洋诗论时亦评述道“神韵乃诗中最高境 界”说等等。以上诸“优游痛快，各有神韵。此外还有味外味”、“神韵分离，以韵为主”说自有其合理乃至深刻的方面，它们都不同程度地谈到“神韵”的某种内涵。然而就渔洋诗论和诗歌创作的实际倾向来看，似感不甚妥切。有人认为，王渔洋标举的“神韵说”“有两层含义 ：一是指诗歌艺术风格上，“优游不迫”与“沉着痛快”两种风格并举而又侧重于古淡闲远一格 （简称“并举说”），二是指在某一首诗歌中追求“与诗的高度统一，重在诗的内在品质”，韵则偏重诗的外在风貌（简称“统一说”）。
明清时期对古典文学文法的研究日趋深入缜密，而与此同时王士祯王渔洋的“神韵说”却又别开生面，超越了传统意义上的文法研究所执着的具体的文本形式，对古典作品艺术价值的理解上升到了一个更加玄奥的层面。
然而，究竟应当怎样理解王渔洋的神韵说在古典文学形式观念的发展中所处的地位，却还是一个尚待解决的问题。王渔洋自己在说明他的神韵说理论时说，他最喜欢司空图《二十四诗品》中“不著一字，尽得风流”八个字；有时又标举出严羽的“羚羊挂角，无迹可求”八个字来说明神韵的含义。从他的神韵说观念和这些解释中很容易得出这样的观点：神韵是指作品中只可意会不可言传的某种情思内涵而不是形式方面的特点。翁方纲为了澄清神韵说的玄虚之论，在专析神韵说的《神韵论》文中把神韵解释为“下笔如有神”的“神”，“熟精文选理”的“理”，乃至格调、肌理等，而最终归之为“君形者”，似认为神韵属于内蕴方面的东西。现代学者钱钟书先生在谈及神韵时说，神韵“非诗品中之一品，而为各品之恰到好处，至善尽美”，也就是入神之意。用“君形者”、“神”或神气、入神来解释神韵，都意味着是从作品内蕴的角度来理解神韵的。这样理解当然不错，因为“神韵”之“神”肯定与内在的精神意蕴相关。但这样解释的结果，“神韵”的“韵”字似乎还没有落到实处。当代学者吴调公先生则对神韵说中的“神韵”一词作了更细致的分析：
神与韵，原来是浑然一体。但细细分析起来，却有一个由“神”生“韵”的过程。哪怕这变化很倏忽、很隐约，但却分明包含着歌德所强调的一种“灌注”过程。既有诗人主观“精神”的倾注，也有因灌注的需要从而有待于涵茹式地渟蓄或喷薄式地张扬，形成一种洋溢着“生气”的载体。
总的说来，神韵论者比古代各种诗论家都更为注意“韵”，注意带着内在节奏感的心灵的流动。
吴调公先生不仅指出了神韵说所包含的“神”和“韵”，即内在的精神与外在的节奏两个方面，而且强调了神韵说的重心是在“韵”的方面，即“带着内在节奏感的心灵的流动”。
如果把严羽看作神韵说的先驱之一，那么应当说他所说的“别材”、“别趣”和“羚羊挂角，无迹可求”的“兴趣”还只是指示了一种模糊惝恍的意蕴，还没有将神韵的问题真正锲入到文本分析的实处，因而还没有构成关于艺术形式问题的观念。王渔洋则不同，他的神韵说已成为可认知甚至可效法的东西，也就是说已经形式化了。翁方纲批评人们把神韵误当作王渔洋的发明：“诗以神韵为心得之秘，此义非自渔洋始言之也，是乃自古诗家之要眇处，古人不言而渔洋始明著之也。” 为什么人们会把古已有之的东西当成是王渔洋的发明呢？除了因为王渔洋特标举出神韵说的名目以立门户外，更重要的是王渔洋谈论的神韵虽标榜“不著一字尽得风流”，实际上却有路径可寻。

《秦淮杂诗》
年来肠断秣陵舟，梦绕秦淮水上楼。
十日雨丝风片里，浓春烟景似残秋。
结绮临春尽已墟，琼枝璧月怨何如。
惟余一片青溪水，犹傍南朝江令居。
桃叶桃根最有情，琅琊风调旧知名。
即看渡口花空发，更有何人打桨迎？
三月秦淮新涨迟，千株杨柳尽垂丝。
可怜一样西川种，不似灵和殿里时。
集评：惠（惠栋，下同）注引《国雅》评云：讽此，便已想见张绪。
潮落秦淮春复秋，莫愁好作石城游。
年来愁与春潮满，不信湖名尚莫愁。
集评：
惠补注引《国雅》评云：眼前话，一时说不到，可称神品。此即六朝乐府也。
伊（伊应鼎，下同）评：首句，言自秦淮以来，不知春秋几度，人代变迁。如潮起落，风景自不殊也；次句，是追想莫愁昔日尝游于此，而今不可见矣，对此茫茫，百端交集，故第三句云“年来愁与春潮满”也；末句，遂借莫愁湖三字，弄笔作姿，极流连低回之致，与前《山蚕词》“曾说蚕丛”二语相仿。此等句法，可开后人无限聪明，然不善学之，恐亦易落恶道也。
青溪水木最清华，王谢乌衣六代夸。
不奈更寻江总宅，寒烟已失段侯家。
当年赐第有辉光，开国中山异姓王。
莫问万春园旧事，朱门草没大功坊。
新歌细字写冰纨，小部君王带笑看。
千载秦淮呜咽水，不应仍恨孔都官（注）。
（注）福王时，阮司马以吴绫作朱丝阑，书《燕子笺》诸剧进宫中。
集评：
伊评：此讥明末南京时事。明末阮大铖，与陈后主时之孔都官事正相仿，皆因便嬖荒淫亡国。但孔都官代远年湮，恨当少息，而阮司马近事可哀，故云不应仍恨古人也。
旧院风流数顿杨，梨园往事泪沾裳。
樽前白发谈天宝，零落人间脱十娘。
傅寿清歌沙嫩箫，红牙紫玉夜相邀。
而今明月空如水，不见青溪长板桥（注）。
（注）《白门集》注：傅寿，字灵修，旧院妓，能弦索，喜登场演剧。沙，名宛在，字嫩儿。桃叶女郎，见《蝶香集》。
新月高高夜漏分，枣花帘子水沉薰。
石桥巷口诸年少，解唱当年《白练裙》（注）。
（注）《白门集》注：《白练裙》，万历中休宁吴非熊，新城郑应尼嘲马湘兰作也。
玉窗清晓拂多罗，处处凭栏更踏歌。
尽日凝妆明镜里，水晶帘影映横波。
集评：
惠补注引《国雅》评云：艳极，亦静极。
北里新词那易闻，欲乘秋水问湘君。
传来好句《红鹦鹉》，今日青溪有范云（注）。
（注）云，字双玉，有《红鹦鹉》诗最佳。
十里清淮水蔚蓝，板桥斜日柳毵毵。
栖鸦流水空萧瑟，不见题诗纪阿男（注）。
（注）阿男《秋柳》句云：“栖鸦流水点秋光。”诗人伯紫之妹也。
集评：
伊评：此因纪阿男“栖鸦流水”之诗，睹景而怀其人也。一诗之妙处，只在“萧瑟”二字，通首俱是“萧瑟”二字之神。以此二字，传阿男之诗之神，即以此二字并传阿男之神也。
总评：
惠注：钝翁《白门诗集序》：“贻上再至白门，馆于布衣丁继之氏。丁故家秦淮，距邀笛步不数弓。贻上心喜，遂往来赋诗其间。丁年七十有八，为人少习声伎，与歙县潘景升，福清林茂之游最稔，数出入南曲中，及见马湘兰，沙宛在之属，故能为贻上缕述曲中遗事，娓娓不倦。贻上心益喜，辄掇拾其语入《秦淮杂诗》中，诗益流丽悱恻，可咏可诵。噫，亦异矣哉！”
惠补注引《国雅》评云：唐人《水调》，《竹枝》等歌，悉从汉魏六朝乐府陶冶而出，故高者风神独绝，而古意内含，直可一唱三叹。米元章书不使一实笔，庶几得之。《秦淮杂诗》偶而游戏，已参上乘，一切叫噪之病尽除，有心者读之，如闻雍门之瑟矣。

（六首选一）
江干多是钓人居，柳陌菱塘一带疏；
好是日斜风定后，半江红树卖鲈鱼。
《初春济南作》
山郡逢春复乍晴，陂塘分出几泉清？
郭边万户皆临水，雪后千峰半入城。
《秋柳》
（四首选—）
秋来何处最销魂？残照西风白下门。
他日差池春燕影，只今憔悴晚烟痕。
愁生陌上黄聪曲，梦远江南乌夜村。
莫听临风三弄笛，玉关哀怨总难论。
《高邮雨泊》
寒雨秦邮夜泊船，南湖新涨水连天。
风流不见秦淮海，寂寞人间五百年。
《江上》
吴头楚尾路如何？烟雨秋深暗自波。
晚趁寒潮渡江去，满林黄叶雁声多。
《浣溪沙·红桥》
其一
北郭清溪一带流，红桥风物眼中秋，绿杨城郭是扬州。
西望雷塘何处是？香魂零落使人愁，淡烟芳草旧迷楼。
其二
白鸟朱荷引画桡，垂杨影里见红桥，欲寻往事已魂消。
遥指平山山外路，断鸿无数水迢迢，新愁分付广陵潮。
《息斋夜宿即事怀故园》
夜来微雨歇，河汉在西堂。萤火出深碧，池荷闻暗香。
开窗邻竹树，高枕忆沧浪。此夕南枝鸟，无因到故乡。
《蝶恋花·和漱玉词》
凉夜沉沉花漏冻，欹枕无眠，渐觉荒鸡动。此际闲愁郎不共，月移窗罅春寒重。
忆共锦衾无半缝，郎似桐花，妾似桐花凤。往事迢迢徒入梦，银筝断续连珠弄。
《题秋江独钓图》
一蓑一笠一扁舟，一丈丝纶一寸钩；一曲高歌一樽酒，一人独钓一江秋。
《寄于淅川道子》
西望商于地，风前木叶红。荒城三户在，官舍万山中。
归路日犹远，故人今不同。淅江通汉水，心折武关东。
扬州逸事
顺治十七年（1660年），时年二十六岁，王渔洋赴任扬州府推官。其祖父王象晋曾于明崇祯元年（1628年）曾任扬州兵备副使。
扬州任职五年，王渔洋写下很多诗词和游记。康熙元年（1662年），与张养重、邱象随、陈允衡、陈维崧等修禊红桥，王渔洋作《浣溪沙》，编有《红桥唱和集》。
康熙三年（1664年）春，又与诸名士修禊红桥，赋《冶春绝句》。其中“红桥飞跨水当中，一字栏杆九曲红。日午画船桥下过，衣香人影太匆匆”一首，唱和者甚众，一时形成“江楼齐唱冶春词”的盛况。
据《扬州画舫录》记载：“贻上司理扬州，日与诸名士游宴，于是过广陵者多问红桥矣。”。
秋柳诗社
王士祯少年时居济南，以济南人自称，一生写有许多咏济南山水风光的诗作。清顺治十四年（1657年）秋，王士祯与文友数人游览济南大明湖上。天气渐凉，湖岸垂柳，已是翠褪黄显。王士祯遂赋《秋柳》诗四首：
“秋来何处最销魂？残照西风白下门。他日差池春燕影，只今憔悴晚烟痕。愁生陌上黄聪曲，梦远江南乌夜村。莫听临风三弄笛，玉关哀怨总难论。”
“娟娟凉露欲为霜，万缕千条拂玉塘。浦里青荷中妇镜，江干黄竹女儿箱。空怜板渚隋堤水，不见琅琊大道王。若过洛阳风景地，含情重问水丰坊。”
“东风作絮糁春衣，太息萧条景物非。扶荔宫中花事尽，灵和殿里昔人希，相逢南雁皆愁侣，好语西乌莫夜飞。往日风流问枚书，梁园回首素心违。”
“桃根桃叶正相连，眺尽平芜欲化烟。秋色向人犹旖旎，春闺曾与致缠绵。新愁帝子悲今日，旧事公孙忆往年。记否青门珠络鼓，松柏相映夕阳边。”
这四首《秋柳》诗，句句写柳，却通篇不见一个“柳”字，表现出诗人深厚的艺术提炼功底。
王士祯时年二十四岁。此诗传开，大江南北一时应和者甚众，连顾炎武也由京抵济，作《赋得秋柳》唱和。由于各地众名家对《秋柳》诗的唱和，产生了享誉当时文坛的文社——“秋柳诗社”。
如今，秋柳园早已湮没，但其遗址风光依旧，水光粼粼，荷红芙绿，岸柳披拂，明湖风光尽收眼底。秋柳园在济南的人文史上有着显著位置。

《渔洋山人自撰年谱》节选
山人名士祯，姓王氏，字子真，青州诸城人。始祖讳贵，济南新城著藉焉，称琅琊公。后避居新城之曹村，为某大姓佣作。一日大风晦暝，有一女子从空而堕，良久既霁，公于尘坌中得之。云即诸城县初氏女也。晨起取火，不觉至此。时公方鳏居，女子年十八九。主人以为天作之合，遂令谐伉俪焉。
二世祖讳伍，有善行，称善人公。琅琊公五子，善人最少，姓醇谨，事父母诸兄皆得其欢心，尤好施予，岁时勤力治家，人产计口给食，余悉以赈乡里贫乏者。门前植槐一株，枝叶枝疏，时作糜哺饿者于其下。诸饿者以次受糜，纺其笠于槐，累累如也。乡人呼之曰“王菩萨”，而称其家曰“大槐王氏善人”。
三世祖讳麟明，经官颍川王府教授，称颍川公。颍川为善人次子，生而警颖强记，于书无所不睹。十四补博士弟子员，每试辄冠其群。数困棘闱，随例应里选，官永平郡司训，劝学兴行，为多士式。最后迁教授颍川王府。既至，疾作，期年而卒。志传称公内廉行修。人伦醇备。事大父琅琅公至孝，遇诸兄弟门以内，蒸蒸如也。
高祖讳重光，字廷宣。颍川公卒，哀毁如礼，服阙除户部。当事以其能，晋秩佥事，守云中。强直奉法，军民赖之。寻晋参议，守上谷。条上谷机宜十二事，悉中窾要。以忤当事意，调贵阳。丁巳，肃皇新三殿，求大木，取办贵竹。公至，彝人争以所知异木走报公。公深入其阻。冲风瘴疠，勤事以死。事闻，特加恩恤，赐祭葬。壬戍秋，三殿告成，以公前绩诏赠太仆寺少卿。公性孝友，为颍川公次子，方龀而母沈安人亡。三事继母常、岳、卢，如所生。两弟早夭，抚其遗孤，不殊己子。居乡，恂恂退让，君子也。遇事慷慨，不避艰险。及卒，无一语及家事。世庙谕祭文，有“忠勤报国”之褒，故称忠勤公焉。
（选自《渔洋山人自撰年谱》）
王家祠堂
忠勤祠又名王家祠堂，坐落在桓台县新城镇新立村冈二姓街北，为明代王重光而建。该祠初建于1588年（明万历十六年）建成，当时规模宏大，但现存面积只有原来的三分之一。祠院南北长88米，东西宽43米，占地3784平方米。院内有正堂5楹，中间3间出厦。长22米，高14米，进深9.65米，全为砖木结构，瓴瓦蛇脊，木椽单檐。堂内有合抱圆木柱8根，顶部栋梁上饰有彩绘，内壁墙上镶嵌石碣85块，保存完好。碑文集历代书法名家锺繇、王羲之、王献之、欧阳询、柳公权、虞世南的字刻成，真、草、隶、篆诸体俱备。堂内还有王重光及其属下王、张二指挥的碑刻彩绘像。后堂3间，称为“司马祠”，原是明末兵部尚书王象乾的祠堂，现拓为王士祯纪念馆。

Wang Shizhen (September 17, 1634 - June 26, 1711), formerly known as Wang Shizhen, the word Zi Zhen, word Yi Shang, No. Nguyen Pavilion, and No. Yuyangshan people, the world said Wang Yu Yang, Shi Wen. Shandong Metro (now Huantai County), often claiming to Jinan. Qing Shunzhi fifteen years (1658) Jinshi, Kangxi forty-three years (1704) official to the Board of Punishments Shang, quite political sound. The early Qing Dynasty outstanding poet, writer, following the Qian Qianyi after the main league poetry, and Zhu Yizun called "South Zhu Wang." The creation of "Shen Yun" in poetic theory has far-reaching influence on later generations. Early poetic clarity and clarity, middle-aged to vigorous. Good at the body, especially the seven workers. Good for the notes, there are "pool north even talk about", "the ancient husband in the pavilion recorded", "Hong ancestral notes" and so on.
Kangxi painting and calligraphy Song Luo said Wang Shizhen "calligraphy Gao Xiu like Jin". Called his calligraphy close to the "book of the poet." Erudite ancient, but also identification of paintings, Ding Yi of the genus, fine stone carving.

Wang Shizhen was born official family, grandfather Wang Xiang Jin, as the Ming dynasty governor. Chongzhen seven years on August 26 (September 17, 1634), Wang Shizhen was born in Henan province official residence, grandfather called the nickname "Yu Sun". Married Shandong Zouping Zhang Yan Deng's granddaughter as his wife.
Junji seven years (1650), should boy test, even the county, House, Road first, and Big Brother Wang Shilu, brother Wang Shixi, third brother Wang Shihu have poems. Junji eight years of the sixth, Junji twelve years to participate in the fifty-sixth.
Junji fifteen years (1658), supplemented by palace examination, three thirty-six Jinshi.
Text gradually getting. 23-year-old traveled Jinan, Jinan invited literary celebrities in the Daming Lake water pavilion, the King Fu Liu Qiushi four poems, this poem spread, a river north and south and a lot of time, called "Qiu Liu Poetry Society."
Shunzhi sixteen years (1659), Yangzhou push officials, "the day of business, the night of the word people."
Kangxi four years (1665), promoted to the Ministry of Lang, to the capital as official. There are a large number of famous handed down, its landscape writing poetry, particularly praiseworthy, made by "Yang Yangcheng Guo Yangzhou," one by many artists were painting as a painting. Emperor Kangxi called it "excellent poetry", "learned good poetry."
Kangxi seventeen years (1678), by Emperor Kangxi summoned, "Fushi said purpose, change the Hanlin Shiwa, moved to read, into Shonan study." Emperor Kangxi also ordered to Wang Shizhen into poetry, Wang Shizhen then selected 300 poems into Feng, named "Imperial Exhibition set." After the rise of the Ministry of Rites principal, the Imperial College Jiujiu, left are Censor.
At that time, Wang Shizhen world famous, the official position has also been moved up to become the early Qing literary recognized chief, for a time, poetry newcomers to the capital to seek teacher, often first meet Wang Shizhen.
Kangxi forty-three years (1704), the official to the Board of Punishments Shang. Soon, due to Wang five cases involved in oversight, was to "look through" the crime of dismissed home. Forty-nine years of Kangxi (1710), Emperor Kangxi fondly remembered the old minister, special Chao officer reinstatement.
Kangxi fifty years on May 11 (June 26, 1711) died at the age of 78 years.
Wang has four generations of government officials to Shang, Huantai territory still exist to praise the meritorious deeds of the brick arch, on the Ming Dynasty Dong Qichang inscribed "IV Palace" four characters.
Wang Shizhen after the death of Yi was renamed several times. To the Yongzheng, its "zhen" word avoid Yong Zheng taboo, renamed Wang Shi. To Qianlong, and give the name of Shi Zhen, Shi Wen Jian. Later literary history, "Wang Shizhen" or "Wang Shizhen" two and use.
"Si Ku Quan Shu summary of the summary," says: "When I toward the founding of the country, people are tired of the Ming Dynasty Wang (Shizhen), Li (Panlong) of the skin profile, Zhong (Xing), Tan (Yuan Chun) So the poet Jing Shang Shang Yuan. Song poetry quality straight, flow for the rhyme of the quotations; Yuan poem Yan, flow for the sentence of the small words, so Shizhen, etc. to fresh Toshihiko talent, Fan Shuimo, Month, advocating the world in order to 'not the word, best romantic,' said, then the world should be Xiran.
Yuan Mei said Wang Shizhen's poem, "but a good girl, handsome, spit is elegant, but also increase the palace of the cream Mu, Kaoru overseas name incense, people take gold, into its style." Plus check points, they are unkempt, no grace.
Qian Zhongshu refers to the poems of Wang Shizhen good at concealing the lack of talent. "Yu-yang talent is not thick, talent is quite thin, but escape in terms of enchantment, in order to conceal." [9]
Wang Shizhen to poetry as a master, his poems and more to describe personal feelings, fresh Yunxian, depict neat, early Qing Lihua works, middle-aged to light vigorous. Essays, lyrics are also very good. Good at the body, especially the work of law. And Zhu Yizun par, called "Zhu Wang." His theory of Shen Yun poetry originated from Tang Sikong 's "natural", "subtle" and Song Yanyu' s "punch line" and "interest". The poems, there are a lot of questions chanting Jinan scenery, narrative of Jinan for anecdotes.
Wang Shizhen wrote more than 500 poems in his life. He wrote more than 4,000 poems, including "Yuyang Mountain Essence Record", "Silkworm End Collection", "Miscellany", "Xiangzu Notes" "" Ouyang Wen "," Yu Yang poetry "," with the Church Collection "," sense of the old set "," Five Dynasties poem "," essence of recorded training seal "," silkworm tail set "dozens.
Wang Shizhen has poems Pu Songling: "Gu a statement of the jump to listen to, bean shed melon frame rain as silk. Material should be tired of human language, love to listen to autumn grave ghost singing." "Strange" big book "Wang Ruan Ting Identification ", each book fought to seek manuscript book, engraved" Strange ".

Early Qing Dynasty poet Wang Shizhen, following the Sikong map, Yan Yu advocated after the charm of another theory, is the "Shen Yun said," the master. Unfortunately, Wang Yuyang only "twist charm" of the word, did not make a positive system for this exposition. Later generations of their own opinions, have interpretation.
There is a "spirit" that is "style" that is "texture", it is "thoroughly on the next complete omnipotence", which is Weng Fang Gang "Pan-Shen Yun" interpretation. There is that, that is, Mr. Guo Shaoyu advocated that he pointed out: "Charm" "Rhyme" "In fact, the so-called charm of the ocean of fish, a single word is only a 'rhyme' word only" Mr. Menzel that charm " And the shape, form, etc. corresponding to the inner spirit, spirit, aeolus and other things like "," Sometimes it refers to the creation of the content that is characterized by writing scenery, the style is relatively fresh, full of poetic Atmosphere and realm. "Mr. Cai Zhongxiang that: charm is the" ancient light Qingyuan mood. " Mr. Wu Jiagong in his book << Mr. Ye Jiaying also said: General Theory, said: The main connotation of the charm is the poetic flavor of Qing Yi Yuan Yuan >> << Total Qingyuan two wonderful, compared with charm.
Mr. Qian Zhongshu also commented on the poem "Yu Yun is the highest state of the poem" and so on. The above all the "You You sway, have their own charm. In addition to taste outside the flavor," "Divine separation, rhyme-based" that has its own reasonable and profound aspects, they are talking to varying degrees, "Charm" Connotation. However, Yu Yang 's poetics and poems of the actual tendency of view, it seems not a sense of imperfect. There are two meanings: one refers to the style of poetry, "You You not force" and "calm and happy" two styles simultaneously but focused on the ancient light leisure a grid The poem's inner quality ", while the rhyme emphasizes on the external appearance of the poem (" the theory of unity ") in the poem.
During the Ming and Qing Dynasties, the study of classical literary grammar became more and more thorough. Meanwhile, Wang Shizhen and Wang Yuyang's "Spirits of Romance" were more open-ended than the traditional textual forms of the grammatical research. The artistic value of classical works Understanding has risen to a more mysterious level.
However, it is still an unsolved problem how to understand the position of Wang Yuyang 's charm in the development of the concept of classical literature form. Wang Yuyang himself in the theory that his charm, said his favorite Sikong Tu "Twenty-four Shi Pin" in the "no word, best romantic" eight words; sometimes labeled Yan Yu's "antelope hanging Angle, no trace can be "eight words to illustrate the meaning of charm. It is easy to come to this view from the concept of his verve and these explanations: the charm is a kind of emotional connotations rather than formal features in the works which can only be unspeakable. Weng Fanggang in order to clarify the theory of the mysterious charm of the theory, in the special analysis of the charm of the "Divine" on the charm of the text interpreted as "Pen as God" and "God", "cooked fine anthology," "reason" and even style, Texture, etc., and ultimately attributed to "Jun-shaped", it seems that the intrinsic aspects of the charm is something. Modern scholar Qian Zhongshu, when talking about the charm, said that the charm of "non-poetry products in one of the goods, and for the goods just right, perfection", that is, into the meaning of God. The use of the "king", "God" or air, into the gods to explain the charm, all means from the perspective of the intrinsic meaning of the work to understand the charm. This understanding of course good, because the "charm" of the "God" certainly associated with the intrinsic spiritual meaning. But this interpretation of the results, "Charm" of the "rhyme" word seems to have not been implemented. Contemporary scholars Mr. Wu Duigong is the charm of the word "charm" a more detailed analysis of the word:
God and rhyme, the original is seamless. But a detailed analysis, there is a "God" Health "rhyme" process. Even if this change is very mortal, very vague, but clearly contains Goethe emphasized a "perfusion" process. Both the poet's subjective "spirit" of the pouring, but also because of the need for perfusion and thus to be Han Ru-style to build or spray-style publicity, forming a filled with "angry" carrier.
On the whole, the rhyme of the various poetic theorists are more attention than the ancient "rhyme", pay attention to the inner rhythm with the flow of the soul.
Mr. Wu Dugong not only pointed out the "God" and "rhyme" of Shenyun's theory, that is, the inner spirit and the outer rhythm, but also stressed that the focus of the rhyme theory is in "rhyme" With the inner rhythm of the flow of the soul.
If Yan Yu as one of the pioneers of that, it should be said that he said, "other materials", "Do not interest" and "antelope hanging angle, no trace of" interest "is only indicative of a fuzzy The implication of the concept of the art form has not yet been formed, and the problem of the charm has not really been incorporated into the actual analysis of the text. Wang Yuyang is different, his charm has become a cognitive or even law-abiding things, that is already formalized. Weng Fanggang criticized people for the mistaken use of Wang Yuyang as the invention of the poem: "The poem to the charm of the secret, this is not from the beginning of the ocean, also is the ancient poet of the office, the ancients said nothing, "Why do people think of ancient things as Wang Yuyang's invention?" In addition to Wang Yuyang special flag cited as the name of the charm to stand outside the door, more importantly, Wang Yuyang talk about the charm of the advertised though "not the word exhausted romantic", in fact, there are paths to be found.