[Forum for Young Scholars] Author: Chen Guang (post doctoral fellow and assistant researcher of the Chinese Culture Research Institute of Beijing Language and Culture University). At the time of Yuan Ming, due to political chaos and loose ideological control, the intellectual vitality was greatly released, so literary thought was more active. Scholars often break through the restrictions of the Chengping period, expand the space for creation, and innovate and change the traditional poetic concepts. Among them, a traditional poetic discourse, "working in poverty", was mentioned again. It is worth pondering that at this time, the literati not only lost the opportunity of official advancement, but also became poor and avoided the chaos of mountains and forests, but opposed "working in poverty", which originated from the unique Confucian mentality and life consciousness of the literati in the Yi Dynasty. The argument that "poetry is not a necessity" can provide a glimpse of the complexity and uniqueness of literary thought in the Yuan and Ming dynasties. The connotation of "poetry is not a work after work" As a traditional poetic concept, "work after work after work after work" has its origin. Qu Yuan's "pity to recite to the extent of sympathy, indignation to express feelings" ("Nine Chapters") is exactly this meaning. Sima Qian commented that "Qu Ping's work Li Sao" covers the self hatred of life. "(" Biographies of Qu Yuan ") further transformed it into a view in the field of literary creation. Up to the Northern Song Dynasty, Ouyang Xiu summarized the expression of indignation as the theory of "working after poverty", which said: "There is a deep accumulation of anxiety and indignation, which thrives on resentment and resentment, and it is difficult to write about human feelings. The poorer you are, the better you will be. However, it is not poetry that can make you poor, and the poor can make you work after poverty." (Preface to Mei Shengyu's Poetry Collection) Since then, "working after poverty" has become a poetic discourse involving creation theory and criticism, Its basic connotation can be summarized as that the poet's ambition is not extended, but there are worries inside, which can be said to be beyond others' words, and the artistic realm is therefore super advanced. In the Yuan Dynasty, the world was sad and wars were frequent. There was no lack of profound and dangerous words in the poetry world. It is normal to have the voice of "changing wind and elegance" in the sad world, but it has attracted some scholars' opposition, and they take "working in poverty" as a fault. Liu Yongzhi is an example. Liu Yongzhi, a native of Qingjiang with the name of Zhongxiu, is a Taoist priest from Shanyin. When he was young, he traveled with his father to Beijing. Later, he toured with scholars from the same county, Peng Yong, Yang Shihong, Liang Yin and Liu Song. He preferred lecturing and poetry. Liu Yongzhi was dissatisfied with the change of voice in the Ji Dynasty, As the saying goes, "In the past, poets were said to be poor when they were few. Or, in other words, they were said to be poor when they were poor when they were poor. Neither of them is true. However, they were not tired when they were poor, but they were great when they left.... They did not aspire to the times, but were aloof and exhausted when they were infinite. Therefore, they were able to express their heroic and meaningful talents and their lofty and elegant taste. They were famous when they became a family." (Preface to Liu Zigao's Poetry Collection) This theory can be analyzed from two aspects: first, he believes that the theory that people are poor and then work on poetry has a simple disadvantage, and it is easy to lead to the poetic style of restraining poverty and lamenting, lamenting and flowing. He is obviously dissatisfied with this poetic style. Secondly, he thinks that whether the poet works or not has nothing to do with poverty, but whether the poet has a transcendental mentality of not being tired of things. But if you are not tired of being poor, you can transcend your personal fortune and make a masterpiece. His friend Liu Song also held this view, saying: "In the past, people said that poetry could be poor, but it was really believed that poetry would be poor