Category: Culture/Art gt; gt; Historical Topics
Problem description:
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Analysis:
There is no doubt that "Jian'an style" has been a generally accepted proposition in literary history. It roughly refers to "the distinctive, hearty, vigorous and powerful writing style of Jian'an literature (especially five-character poems)." (1) Although some scholars have pointed out that there is a big difference between the Jian'an style of character described by modern people and the ancients, (2) Liu Xie's "Wen Xin Diao Long" is devoted to "style bone", which seems to have more reason to enjoy the right to interpret the character of character. Strangely, "Wen Xin Diao Long" not only does not allow Jian'an literature to be named "character", on the contrary, in some of Liu Xie's critical words, Jian'an literature style seems to be regarded as the opposite of "character":
"Poetry of the Ming Dynasty" says: "At the beginning of Jian'an, the five-character Tengjing, Emperor Wen Chen Si, rode the bridle to ride the knot, Wang Xuying Liu, looked at the road and fought for the trend; and pitied the wind and moon, Aichi Garden, Describing favors and honors, recounting sumptuous banquets, being generous with one's temper, and being upright with talent;...and the beginning of enlightenment, poetry mixed with the spirit of immortality, He Yan's disciples are too superficial."(3)
: Huang Kan: "Wen Xin Diao Long Notes" says: "If it describes a banquet, a feeling of separation, a friendship, and a relationship, although the titles of the articles are mixed, they all use the poems of Su and Li as the source, and the literary talent is colorful, and The quality of the ballads in Luli cannot be divorced. It refers to the scenery without carvings, but only seeks sincerity when describing the feelings. It also uses elegant words to arouse its beautiful sound. Therefore, it is also beautiful in front of the cage and serves as a model for those who come after. "(4) I think "Wen Xin" uses the word "Chun Qiu" to praise and criticize, and the words are extremely precise. "Teng Yu", "Zheng Chu", "Lian", "玎", "Shu", "Xu", "Ren Qi", "Zhi Cai" are by no means compliments, and it has been said that ancient poems are "five-character poems". "The crown" cannot be compared to Yun Jian'an's "and the beauty in front of the cage, setting an example for future generations." Liu Xie said about poetry: "Poetry is about holding people's temperament." The Jian'an scholars' "letting one's spirit" and "using one's talents" obviously do not conform to the ancient meaning of poetry, so this paragraph should be slightly ridiculing Jian'an.
The "Yuefu" chapter says: "As for the three ancestors of the Wei family, they are bright and talented, their rhetoric is sophisticated, and their music is dull and flat. ... His ambitions are not out of [lewdness], and his words are not separated from sorrow." "Although the three tunes have the correct tone, it is also a Zheng tune from Shaoxia."
Case: Lu Kanru and Mou Shijin's annotation version translates the sentence "Qi Shuang" as follows: "Their temperament is noble and their talents are wonderful. The ancient Yuefu poems write about current affairs, and the syllables are beautiful and peaceful (5) "Obviously not in line with Yanhe's original intention. "The tone of slaughter", Fan Zhuyun said: "Book of Music of the Song Dynasty" 3: "Xianghe" is an old song of the Han Dynasty, and the silk and bamboo are more harmonious. The song of the executive is the original part. Emperor Wei Ming divided it into two.' Yan He's ridicule of "slaughtering tone" may refer to this. "Here is obviously a criticism of their tampering with the ancient music system. It also notes that "the third ancestor of Yan He Yun was a composer of Zheng music, so he ridiculed his inelegant lyrics." (6) Zhou Zhenfu's annotation of "Yin Mi Jie Ping" means: "The music is unreliable and the rhythm is mediocre." (7) ) Fan and Zhou’s annotations are very accurate.
"Tongbian" chapter says: "Wei's [policy] policy system, admire the Han style, Jin's rhetoric, look forward to Wei Cai. ... Shang and Zhou are beautiful and elegant, Chu and Han are extravagant and gorgeous, Wei and Jin It is shallow and elegant, and was revised in the early Song Dynasty. "
It is undeniable that "Wen Xin Diao Long" also has many praises for Sancao and Qizi, but most of them focus on talent and individual evaluation. There is an overall recognition of Jian'an literature. Or it can be said in the "Chronology" chapter that "Looking at the writing of the time, it is elegant and generous, good things are accumulated in the world, and the customs are declining. The ambition is deep and the writing is long, so it is concise and full of energy." One paragraph is "Jian'an Style" "Footnote. I think this is just a repetition of the evaluation in "Poems of the Ming Dynasty", which is not in line with Liu Xie's "character".
2
There are different opinions on Liu Xie's so-called "character". There are roughly five opinions in the academic circle:?
The first view is that "the wind is the meaning of the text, and the bones are the diction." Mr. Huang Kan is the representative. (8)
The second view is that character is a concept that summarizes artistic style. The "Feng Gu" chapter is a monograph on style, which specifically discusses the style characteristics of "clear wind and strong bones". (9)
The third view is that style is an aesthetic standard, and its specific content is "expressive", "natural" and so on.
(10)?
The fourth view is that style is an aesthetic standard and aesthetic requirement for works. It includes two aspects: "wind" is the aesthetic requirement for the emotional aspect of the article, and "bone" is the aesthetic requirement for the verbal aspect of the article. (11)
The fifth view is that the wind bone is a further analysis of the literary meaning. It has emotional factors (shown as wind) on the one hand, and rational factors (shown as bones) on the other hand. (12)?
I think the fifth view represented by Mr. Zong Baihua is more appropriate. He said: "I think bones and words are related. But words have conceptual content. When the words are clear, the realistic image or thinking about the image they express will also be clear. 'Conclusion is straightforward' is just one sentence You must understand that correctness is not distortion or sophistry. This kind of correct expression creates literary bones. But bones are not enough. You must move from logic to artistry in order to move people. Therefore, in addition to bones, you must also have style. , Wind can move people, and wind is a classical Chinese aesthetic theory that comes from emotion. It pays attention to both thoughts - expressed as bones, and emotions - expressed as wind. Equivalent to emotion and thought, Mr. Zhang Haiming continued to explain his meaning: "The so-called style is a special expression of literary style. In modern terms, it is roughly equivalent to the author's emotional tendency." "Gu" should refer to the character in the work. Ideological tendency. "(14) The analysis becomes increasingly sophisticated. But I think it would be more satisfying if we start from Liu Xie’s intention in writing this article.
The word "character" was originally a popular saying among Pinzao figures at that time. For example, "Book of Jin·He Lian Bobo Zai Lun" says: "His weapon knowledge is high and his character and character are extraordinary." "Song Book·Wudi Ji" says: "He is seven feet six inches long and has unique character and character." The original meaning roughly refers to a person. The inner wind spirit. Liu Xie used it in poetry criticism and used popular new words to express old meanings, which is a typical approach of "using retrospection as a general change". He first deepened the meaning of "wind":
"Of the six meanings of poetry, wind is the first, which is the origin of metamorphosis and the talisman of ambition."
Poetry can influence people's hearts first and foremost by arousing emotions. This is true as the saying goes, "Poetry can inspire people." What can arouse emotion is called wind, so it can also be said that wind is the foundation of emotion. So what is the explanation for bones? "Shuowen" says: "Bone is the core of flesh." The core of wind is called bone. Bones are the basis of reason. If you expand a little further, Liu Xie actually believes that "wind" and "bone" are both rooted in the two understandings of "Tao" in the human heart: the intuitive (allelopathic) understanding is called wind; the rational understanding is called bone. The two are originally two aspects of subjective cultivation. When implemented as written content, they are called emotions and thoughts. In terms of the effects they produce in the article, they are also called "wind force" (the power of feeling) and "bone bone" ( the power of logic).
Liu Xie did not stop at boring conceptual analysis, but went directly to the specific way of writing: "To express feelings with a wandering heart must start with the wind; to meditate on words, don't start with the bones." "The author's emotions are connected to the origin of metaphysics, and his thoughts are naturally moving and touching; his thoughts are connected to the great road, and his body and objects are fully understood, so his intentions will be clear and his words will be precise." "Shensi" chapter says: "When you climb a mountain, you will be full of emotions in the mountain, and when you look at the sea, your meaning will overflow in the sea." It is nothing but deep emotion; "Accumulate learning to store treasures, use rational reasoning to enrich talents, study and read to learn from it, and tame it to express words." , it’s all bone training. ? In order to better illustrate this problem, Liu Xie gave two examples to illustrate: "In the past, Pan Xu Xiwei, imitating the classics, and gathering talented people to master the pen, this is the essence of his bones; Xiangru wrote about immortals, his reputation was soaring, and he was famous for his words. Zong, it is because of its power. "Some people think that Pan Xu's "Ce Wei Gong Jiu Xiwen" is not suitable as an example of "bone marrow". In fact, Liu Xie chose this article because of its clear intention, clear organization, sufficient argumentation, and language. Simple and concise, it has a strong persuasive power, causing officials to write about it. This is an example of reason being stronger than emotion. Sima Xiangru's "Adult Fu" was used as an example of Feng Liqiu because it showed an emotional yearning for the immortal life of an adult. Therefore, this article did not dispel the idea of ??Emperor Wu of the Han Dynasty being fond of immortals. , but made him "floatingly ambitious". This is an example of love trumping reason. Liu Xie used these two examples to highlight the difference in character, rather than saying that these two works are models of "character".
The establishment of the meaning of "bone of character" is in response to the tendency of Qi and Liang's literary styles to "lack the character of character": "If the character of character is lacking, birds of prey will gather in the Imperial Academy; if the character of character is lacking, pheasants will wander around the literary circle." "The quality of literature will lead to wildness, and the quality of literature will lead to history." ("The Analects of Confucius Yong Ye") Liu Xie obviously takes "character" as the requirement of "quality" and "cai" as the requirement of "text". Compared with others, quality is the foundation and writing is the end. Liu Xie wrote the "Character" chapter and the "Qingcai" chapter in parallel, but he emphasized the character character to correct the shortcomings of the times.
Liu Xie had a very high opinion of "the wind is clear but the bones are strong". In the "Zong Jing" chapter, "the love is deep but not treacherous", "the wind is clear but not complicated", "the things are true but not unreal", "Be honest and never turn back" may be a footnote to this. Only by "casting the model of classics and advocating the art of collecting history" can a writer "understand the changes in emotions, express the literary style, and then be able to develop new ideas and carve out his words." The strong meaning of "character" mainly refers to articles. With the support of the "classic" righteousness, it is a powerful logical force generated by "honesty", "righteousness" and "straight conclusion".
The original intention of Liu Xie's "Feng Gu" chapter was to further demand the "quality" aspect in the context of "Zong Jing", and to establish the foundation of "emotion" before discussing "emotion". The poetic content contained in "Fenggu" is obvious.
So, can Jian'an literature be consistent with Liu Xie's so-called "character"? I think the answer is no. Regarding this point, we can examine it from the following three aspects: First, the personality defects of Jian'an literati are inconsistent with the "Zongjing" background of Liu Xie's theory of character.
The change in the scholarly style of the Eastern Han Dynasty began in Cao Wei. "Everyone in the Cao family no longer pursues a high reputation for strange events, but instead values ??
the worldly hedonistic life. They no longer behave in a disciplined manner, but behave freely and freely; they no longer pay attention to the trivial and useless Confucianism, but compete to write literary works that express their thoughts. "(15) In Liu Xie's view. , this kind of rebellion and indulgence brings many personality ills. "Cheng Qi" says: "Wen Ju was arrogant and quick to kill, Zheng Ping was arrogant and naive to death, Zhong Xuan was crisp and impatient, Kong Zhang was rough and careless, Ding Yi was greedy and begged for goods, Lu Cui was slurping food. And ***." Later, Yan Zhitui echoed this, with a wider range of criticism and sharper words. (See Section 3 of this article for details) Liu and Yan’s criticisms can be seen as the orthodox Confucian representative evaluation of the character of Jian’an literati. It is unimaginable that Liu Xie would add the laurels of character and integrity with a strong "Zongjing" color to the Jian'an scholars who had insufficient moral character.
Secondly, in Liu Xie's view, Jian'an literature is better than quality, and it is the source of Qi Liang's beautiful writing style. Mr. Liu Shipei summarized the four characteristics of Jian'an literature as "clearness, simplicity, elegance and elegance". (16) "Cheng Ci" and "Hua Mi" both refer to literary talent. When Liu Xie discussed the Three Cao and Seventh Son, he focused first on his talent in diction: "Chen Sizhi's writing is the most outstanding among all talents." ("Zhixia") "Wei's writing is brilliant and elegant." ("Talent") "Zijian" The writing is like reciting orally, Zhongxuan's writing is like writing, Ruan is writing according to the case, and Mi Heng is eating and writing. "("Shensi") The evaluation is not low, but they all focus on "wen" (language). Talent), while character emphasizes the inner "quality" aspect. The tendency of using literature to harm quality is exactly what Liu Xie wants to oppose.
Thirdly, Jian'an literature is fundamentally lyrical and sentimental literature, which lacks "bone strength" and does not take virility as its main feature. The characteristic of Jian'an literature is the "emotional" five-character poems, and the emotions expressed are very personal and indulgent emotions, with little need for rational restraint. But Liu Xie said, "The old feelings are the classics of literature; the words are the latitude of theory. After the classics are straight, the weft will be completed, and the theory will be determined, and then the words will be smooth." ("Qingcai") Emphasis on emotion is unreasonable, which is obviously inconsistent with the meaning of character. Most of the emotional contents of Jian'an poets are "sorrows of sorrow" (17), and their style is sentimental and hesitant, just like the "Jingfeng" and "Jinghong" in their works. There are rarely expressions of soaring ambitions. They occasionally The generous tragic song is also confused and desperate at its core, and it is by no means a vigorous style. Mr. Zhang Shibowei said: "Jian'an was a major change in the history of Chinese literature. Poetry creation by literati began to become the protagonist. The poets at this time can be said to be 'sentimental poets', and the poems that appeared were also 'sentimental poems'.
...So in theory, before the Wei and Jin Dynasties, the emphasis was on 'expressing aspirations', and the emotions towards the outside world were included in the direct verbal aspirations; while after the Wei and Jin Dynasties, the emphasis was on 'sensing things', and it was from 'sensing things' that people could express themselves. Furthermore, "ambition,..." (18) is true. But I suspect that some Jian'an poets even have no "ambition" at all - if "ambition" is regarded as an "embrace" supported by solid beliefs, they Most of them spent their lives on the road of exploring "ambition". After destroying the old norms, the Jian'an literati had no idea of ??what the future would be like. Therefore, even if they sing tragic songs with the atmosphere of the Han Dynasty, they are somewhat generous and look almost virile, but in the eyes of the ancients, especially orthodox Confucian scholars like Liu Xie. , the poem does not talk about "ambition", how can we talk about strength and character?
Three
Not only Liu Xie did not praise Jian'an character, but also the entire Wei, Jin, Southern and Northern Dynasties until the mid-Tang Dynasty, the Jian'an philosophers Their character and literary quality have been constantly criticized, and many of the criticisms are based on the belief that their conduct or writing lacks "character"
Cao Pi's "Dian Lun·Wen" says: "Yingri Yihe." But not strong, Liu Zhen is strong but not dense. Kong Rong's body and spirit were superb and superior to those of others, but he could not hold on to his arguments, and his reasoning was too many to express, so much so that he was mixed with ridicule. "Books with Wu Zhi" says: "Looking at the literati of ancient and modern times, it is rare to be able to stand on one's own feet based on reputation and integrity. However, Wei Chang only cherishes literature and holds quality, is indifferent and has few desires... Kong Zhang's chapter is very strong in appearance, but slightly complicated. Gonggan has an air of elegance, but it is not catchy. His five-character poems are as good as those of his generation. Secretary Yuan Yu is graceful and very happy. Zhongxuan was good at poetry on his own, but unfortunately he was too weak to write essays..." Cao Pi's criticisms were mixed, but they ranged from "harmony but not strong", "reasons are beyond words", "weiqiu", "weakness" etc. Judging from the use of words, the scholars reviewed are not worthy of character.
Shen Yue's "Song Book·Zang Tao Biography" says: "Since the Wei family was born, the master loves carvings and insects. Abandoning chapters and sentences, people focus on different techniques. "Xie Lingyun's Biography" also says: "As for Jian'an, Cao's family was born; the second ancestor, King Chen, had a salty accumulation of algae. Fu Nai weaves the text with love and qualifies with the text. ...Only to reward the good and strange feelings, and deliberately to control the situation. "Shen Yue believed that Jian'an literature was better than quality, leading literature to the path of "carving insects". He had the same view as Liu Xie.
Yan Zhitui: "However, literati in ancient and modern times often fell into frivolousness... Cai Bo Zhe was punished for his crimes, Wu Zhi was disobedient to his hometown, Cao Zhi was disobedient and broke the law, Du Du was tireless in begging for lies, the road was too narrow, Chen Lin's real name was rough, Fan Qin's character was unqualified, Liu Zhen was weak and weak, Wang Can was dissatisfied with his impatience, Kong Rong and Ni Heng died because of their pride, and Yang Xiu and Ding Fan were killed. "("Yan Family Instructions·Article") This is the harshest evaluation of the Jian'an scholars, but it did not seem too extreme at the time.
Li Bai: "Since coming from Jian'an, the beauty has not been precious. "(Part 1 of "Ancient Style")?
Liu Mian's "Books on Things with Xu Gaishi": "Since the Song Dynasty, the writers were born out of mourning and beauty, dedicated to restoring their birth, and died in Bixing. It’s lost its ancient meaning. Although the appearance of Yangma is similar, the strength of Cao and Liu, and the beauty of Pan, Lu and Cao, and their many literary skills and few, are just one skill, and a gentleman will not do it. "(Volume 527 of "Quan Tangwen")
Case: "Integrity" here is not "character". Please see the explanation later.?
Han Yu's "Preface to Meng Dongye" "During the Han Dynasty, Sima Qian, Xiangru, and Yang Xiong were the most proficient in singing. During the Wei and Jin Dynasties, the number of people singing was not as good as in ancient times, but it was not extinct. As for those who are good, their voices are clear and floating, their verses are urgent, their words are obscene and sad, their ambitions are relaxed and wanton, and their words are messy and disorganized, which makes their virtues ugly. Don't worry about evil! Why not call someone who is good at singing? "(Volume 19 of "Collections of Mr. Changli of Zhuwen Gong School")
Li Han's "Preface to the Collection of Works of Mr. Changli of the Tang Dynasty by Han Yu": "Before the Qin and Han Dynasties, its spirit was pure and clear, almost comparable to that of Sima Qian, Xiangru, Disciples of Dong Sheng, Yang Xiong, and Liu Xiang are especially so-called outstanding ones. By the time of the Cao and Wei Dynasties in the Later Han Dynasty, the situation had declined, and since the Sima clan, the scale had been completely exhausted. "(Volume 744 of "Quan Tangwen")
Although some criticisms are harsh, they are not entirely true.
But we have to admit that Jian'an literature was not widely recognized during a long historical period (from Jian'an to the mid-Tang Dynasty), and was often criticized by mainstream critics as a typical example of frivolous prose and extravagant poetry. This is what we The opposite of what is considered today to be the meaning of character. ?
Some scholars may cite Zhong Rong's "Shipin" to prove that the saying of "Jian'an style" has existed since ancient times. Yes, "Shipin" gave a high evaluation to Jian'an literature: ?
"When they came to Jian'an, Cao Gong and his son were very polite." ?
"My old friend Chen Si He is a hero of Jian'an. "?
"Yongjia was a noble man, Huang Lao, and he only talked in vain... the power of Jian'an was exhausted. National style. Extremely high-spirited and eloquent. "?
However, the attitude of "Shipin" towards Jian'an literature can still be analyzed in detail. I think there are three points that should be noted:
First, Zhong Rong's evaluation of Jian'an literature cannot be overestimated, and Zhong Rong does not think that Jian'an literature has a "robust" or "magnificent" style. Judging from the rankings in "Shipin", there are three poets of the Wei generation who are in the upper grades: Cao Zhi, Liu Zhen, and Wang Can; three who are in the middle grades: Cao Pi, He Yan, and Ying Chu; and seven who are in the lower grades: Cao Cao and Cao Rui. Also, Cao Biao, Xu Qian, King Ruan, Ying Riyi, and Miao Xi. Among the "Seven Sons", Kong Rong and Chen Lin were not ranked. It seems that in Zhong Rong's view, the status of the Jian'an scholars is not special. What is particularly noteworthy is that Cao Cao, who is often regarded as a representative of vigorous style, is ranked in the lower grade in the "Shipin", while Wang Can, who has "sentimental words" and "elegant but weak quality", is ranked in the top grade.
Second, "Jian'an style" does not equal "Jian'an style". Cao Xu's "Collected Notes on Poems" (hereinafter referred to as "Collected Notes") notes: "Jian'an style: also known as 'Jian'an style'. It refers to the unique poetry spirit of the Jian'an era, that is, the poems are rich in content, generous and sad in tone, and the language is refreshing and vigorous. "(19) Lu Deshen's "Commentary of Zhong Rong's Poems" (hereinafter referred to as "Composition") notes: "Wind force is character." (20) I think the two cannot be equated. The word "wind force" appears in two ways in Liu Xie's "Gu of Wind" chapter: one is in the comment on Sima Xiangru's "Ode to the Great Master" that "it is the force of the wind"; the other is in the praise at the end of the chapter "The force of the wind is as strong as the force of this bone." "The force of the wind." "Focusing more on "wind", that is, in terms of emotions, there is no basis for equating "wind power" with "character bones". Zhong Rong regards "wind force" as the opposite of "the words are over-thought and indifferent". The reason why Xuanyan poems do not have "wind force" is because these poems "are all ordinary and moral theory" and lack emotional content, such as " Only by drying it with the power of wind and moistening it with the power of elixir can we "make the taste infinite and the heart moved by the smell". "Wind force" has a very clear meaning here, that is, "the appeal generated by the lyrical content of poetry" (21). It is one of the elements that constitute Zhong Rong's "Taste Theory", but it cannot be consistent with Liu Xie's meaning of "character".
Third, "character" is not "character" either. Cao Xu's "Collected Notes" says: "Integrity has been a term used to evaluate characters since the Han and Wei dynasties. ... Later it was used as a term in painting theory and poetry theory, and has the same meaning as wind power and character." 〖ZW(DY〗Cao Xu: "Annotations on Poetry" 》, Shanghai Ancient Books Publishing House, 1994, page 102. 〖ZW)〗Lv Deshen's "Explanation" says: "Integrity: the bone of character." (22) I think it is difficult to equate "integrity" with "bone of character." The two words "Qi Gao" correspond to each other. The word "integrity" is more common in medieval calligraphy and painting theory. Emperor Wu of Liang's "Book Review": "Cai Yong's calligraphy is insightful, refreshing and spiritual. "(Volume 87 of "Shuo Yun") Tang Zhang Yanyuan's "Records of Famous Paintings of the Past Dynasties": "The ancient paintings may retain their shape, but retain their integrity. The meaning of "examination" of "bone" should refer to the inner spirit of the author's talent and knowledge cast in the work. Zhong Rong said that Cao Zhi had "extraordinarily high bones", which should focus on Cao Zhi's unique personality and outstanding genius in poetry. The expression in the article is very different from Liu Xie's meaning of "character", and also different from the word "wind force".
Zhong Rong praised Jian'an with "wind force", "character" and "diction" instead of "character". This word can only show that there is no fundamental difference between Zhong Rong and Liu Xie's understanding of character and Jian'an literature.
?
Four
The real change began with Chen Ziang. He said in "Preface to the Chapter of Xiuzhu with Dongfang Zuo Shi Qiu": ?
"The article said It has been around for five hundred years. The character of the Han and Wei dynasties was not passed down in the Jin and Song dynasties... When I read the poems of the Qi and Liang Dynasties, they were all beautiful and colorful. Yesterday, I saw the famous "Yong Gutong Chapter" in Jiesan. The character was strong, the tone was dull, the light was bright, and the sound of gold and stone was used to decorate the eyes, showing the gloom and not trying to be upright. Seeing the sound of the beginning again can make Jian'an authors look at each other and smile." (Volume 1 of "Chen Boyu's Collected Works")
Only after Chen Zi'ang did Jian'an literature begin to be truly connected with "character". It was not until the literature of the Wei and Jin Dynasties that it gained great fame and became a model for writers to imitate. ?
For example, Li Bai said: "Penglai article is the foundation of Jian'an." ("Xuanzhou Xie Tiaolou Farewell School Secretary Shu Yun")?
Case: Hengren's "Yueshan Poetry Talk" says: "Taibai's poem: 'Since Jian'an, the beauty is not precious.' Taibai's five words may not be more than Jian'an, but this is a special moment of praise. ... Taibai also said: 'Penglai article Jian'an bone, the middle is small and clear. 'This is what I got from it. "
Fan Wen: "Jian'an poetry is distinguished but not ostentatious, quality is not slang, elegant in style, strong in style, and its words are direct and less dualistic, referring to things and beautiful. It is the most recent person who has the spirit of an elegant poet." ("Qianxi Poetry Eye·Shizong Jian'an")
Yan Yu:
"The main thing in studying poetry is knowledge. , the entrance must be correct, the ambition must be high, take the Han, Wei and Tang Dynasties as teachers, and do not be a person below Kaiyuan and Tianbao" ("Canglang Poetry·Poetry Analysis")
"Poems of the Han and Wei dynasties, including lyrics, theory, and poetry. There is no trace of meaning and excitement. "?
"The ancient poems of the Han and Wei dynasties are so chaotic that it is difficult to extract them." It is extremely ancient and has the character of Jian'an. "?
"Jian'an's works are all about the atmosphere, not picking branches and leaves. The poems are already in couplets, so they are not as good as Jian'an. "("Canglang Poetry·Poetry Review")
Yuan Haowen:
"There have been many kinds of ballads in Han Dynasty and Wei Dynasty, and no one can comment on them in detail. Chisel the hand, and temporarily teach Jing and Wei to be clear and clear. "(Thirty Poems on Poems, Part 1)
"Cao and Liu are sitting on the roaring tiger, and there is no one in the world. It's a pity that Liu Yueshi is in the same state. "Teaching Hengshuo Jian'an" (Part 2 of "Thirty Poems")
Chen Ziang's comments are of great significance to Jian'an literature, so what are the substantial differences between his comments and those of previous generations? I think he changed the meaning of old critical terms (mainly "character" and "Xingji") under a new critical framework, thereby enhancing the value of Jian'an literature and finding new ideas for literati after the Tang Dynasty. literary model. ?
First of all, Chen Ziang changed the meaning of "character" by adjusting the frame of reference of criticism. For Liu Xie, the presupposed value standard for criticism is the Book of Songs, while for Zhong Rong it is Guofeng, Chuci and Xiaoya. For them, Jian'an still belongs to modern times or even contemporary times. They are criticizing The "methods" in "The Book of Songs" and "The Songs of Chu" can only be recognized classics. Under the rules and regulations of ancient classics, Jian'an literature not only has difficulty becoming a new model, but also reveals its shortcomings. Then "character character", a critical category that obviously has an exemplary meaning, is difficult to connect with the non-exemplary Jian'an literature. However, this short preface by Chen Ziang only discusses the "colorful beauty and complexity" of Jin and Song literature. In this way, under a lower value reference system, the value of Han and Wei literature has the possibility of being improved, and " The word "character" was subsequently lowered from the "sacred altar" and became a category with a similar meaning to "weather" (Yan Yu later mentioned "Jian'an character", focusing on meteorology). What Chen Ziang advocates is the literary style of the Han and Wei dynasties that must have a sense of the times in its individuality, and its splendor and ancient style. It not only adapts to the trend of the early Tang Dynasty in using poetry to fight against vulgarity, but also satisfies the literati's preference for distinctive individuality. The aesthetic taste of the Han and Wei styles, euphemistic and euphemistic, had a huge influence, and the word "character" gradually became separated from the poetry.
(23)?
Secondly, Chen Ziang regarded Han and Wei as one, changing the previous critical tradition of treating Wei and Jin as equals. Cao Wei was originally a generation that inherited the past and ushered in the future. In Liu Xie's view, Jian'an opened a new trend, and the scholars settled down and lived in a very different place than in ancient times, thus ending the era of Confucian classics, which Liu Xie was dissatisfied with. But in Chen Ziang's view four hundred years later, Jian'an inherited the ancient meaning. Although the ambitions expressed by the Jian'an scholars were different from those of the ancients, and their articles lost the logical power generated by the support of the classics background, after all, the "sound of music" and "the sound of metal and stone" had a strong artistic appeal, which was consistent with that of the Jin and Song dynasties. There is a world of difference between the superficiality and weak quality of the writing since then. Therefore, the character of character mentioned by Chen Zi'ang has abandoned the aspect of "bone" (logical power), and instead emphasizes the authenticity of emotion and the strength of its expression, which is basically equivalent to the "force of wind" mentioned by Zhong Rong.
Finally, Chen Ziang mentioned "Xingji" and "Character Gu" together. The meaning of "Character Gu" changes accordingly as the meaning of Xingji changes. In Liu Xie's words, "Bixing" and "Character Gu" both have sectarian meanings. Liu Xie's "Bixing" chapter says: "The person who compares is attached; the person who is inspired means to start. Those who are attached to reason refer to things by categories, and those who are passionate are based on suggestions." The ancient meaning of "Bixing" has gradually changed with the changes of the times. Decline, "Although the Yan and Han Dynasties were prosperous, poets boasted about adversity, and their poems stimulated Taoist mourning, so the rise of meaning was destroyed." However, the literati of the Han and Wei dynasties "used the comparison day by day, forgot the prosperity of the moon, got used to the small and abandoned the big, so the literary Thanks to the people of Zhou Dynasty. As for the ethics of Yang Ban, Cao Liu and others, the pictures of mountains and rivers, the shadows of clouds and objects, all of them are woven with complex meanings to show their splendor and surprise. The connotation should naturally be commensurate with Bixing. However, Chen Ziang's concept of "Xing Ji" originated from the new meaning of Bi Xing after Zhong Rong's innovation: "The text has been exhausted but there is more than enough meaning, which is Xing; describing things because of things means comparing, and writing things directly, and fables about things, which is Fu. "("Poetry Preface") regards Xing as "the effect and realm that all good poems should have, and Bihe Fu is the means to achieve this realm and effect." (24) Chen Zi'ang even cut out the complex and simplified it. The word "Xing Ji" is combined with the word "Xing Ji", and "Fu" is abandoned (the similar words in the late Qi and Liang Dynasties are all Fu style, which should be criticized). If Zhong Rong interprets "Xing" as the effect and realm that poetry must have between the lines, Chen Ziang emphasizes that this effect and realm must have profound characteristics, and "character" is the requirement for the main conditions for the formation of deep illocutionary meanings. Professor Chen Liangyun once summed up the specific connotation of "character" into four aspects based on Chen Ziang's creative practice: philosophical thinking of admiring the universe; lamentation about life that goes out of history; critical consciousness of facing reality; and sadness and indignation of unrealized ambitions. (25) These subjective qualities constitute the "spirit" (character) of the article. It turns out that Chen Zi'ang's "disadvantages of articles" only mean that articles have become mere words and have lost their inner spirit. To advocate the style of the Han and Wei dynasties is to encourage poets to inject the inner spirit of the subject (a mixture of temperament, personality, thought, talent and life experience) into their works, so that they have strong life-sensing power.
To put it bluntly, Chen Ziang’s so-called "feature bone" refers to the resemblance of Qi and Liang, emphasizing that the work should have the inner wind spirit of the subject and the resulting life-sensing power, thereby subtracting Liu Xie’s poetic teachings According to the content, Chen's "character" means roughly the same as "climate". (26) The modified connotation of "character" is actually closer to the original meaning of "character" in characters. ?
Five
I think the characteristics of Jian'an literature are the free expression of talents and the strong expression of emotions. This was due to breaking through the Confucian personality framework that had been gradually established and consolidated since the Han Dynasty. It shows a "robust" revolutionary nature, but this does not mean that its literary style has a robust quality. In fact, as many ancient critics pointed out, Jian'an literature more or less showed some decadent qualities due to deviance. Jian'an literature was gradually accepted in the future and was given the name of character, and even replaced the Book of Songs as a literary model, indicating that literary criticism was completely freed from the shackles of morality and had a completely independent status. The change in meaning of the word "character" is the product of the acceptance process of Jian'an literature from suppression to promotion, and it is also a symbol of the changes in this acceptance process. It is precisely because of the intertwining of literary acceptance and category changes that this issue becomes quite complicated.
Contemporary scholars can naturally come up with new ideas in their understanding of "Jian'an style" without being bound by the literary criticism of the ancients. However, if we deduce the meaning of Liu Xie's "character" based on Jian'an literature, or understand Jian'an literature through the meaning of "character", it will only lead to double confusion in theoretical history and literary history, and lead to unrealistic conclusions.
Another question worth thinking about is how to conduct the study of categories in ancient literary theory? The usual approach in academic circles is to conduct historical deductions on meta-categories and their derived categories, hoping to grasp the its fundamental characteristics. But a difficult problem is that the changes in the meaning of a category sometimes do not follow the evolutionary logic of the category itself. For creative critics (such as Chen Ziang), adhering to the original meaning of the categories is difficult and unnecessary. When they use original categories, borrow categories from other fields, or create new categories, they have the right to adjust the connotation of the category according to their own critical intentions. In this way, it becomes quite dangerous for us to understand the meaning of categories based on the way the categories themselves evolve. Therefore, I believe that what determines the connotation of the category is the critic himself, his ideological background, critical intention, and the real problems he faces in the history of "contemporary" literature. In this sense, the "will against will" method will always be the most important and effective research method, and what determines the level of literary theory research is still the in-depth study of literary history.