Nietzsche once compared the crowing of hens laying eggs with the singing of poets, saying that they were all caused by "pain" (der Schmerz Mach HHner and Dichter Gakern) [Note: Chapter 4 of "Yi Shi Prachalatustra" edited by K.Schlechta was accepted by Niji (1955). This familiar image metaphor is also in line with a popular view in China's literary tradition: pain can produce poetry more than happiness, and good poetry is mainly the expression and venting of unhappiness, troubles or "poverty". In ancient China, this opinion was frequently discussed not only in poetry theory, but also in writing practice. Therefore, we are used to hearing familiar stories and forgetting each other. We didn't put it forward as an important concept in China's literary criticism. I will only give some of the most common examples to illustrate.
"The Analects of Confucius Yang Huo" said: "Poetry can be complicated, can be observed, can be grouped, can be observed, and can be complained." "Resentment" is only one of the four functions, and it is the last one. The Preface to Poetry pays equal attention to the voice of ruling the world, the resentment in troubled times and the thought of national subjugation, and does not emphasize or favor that voice. History of Arts and Literature of Han Dynasty says "poetry expresses ambition", but it is also impartial: "Therefore, there is a sense of sadness and joy, and there is a sound of singing." Sima Qian was probably the first person who didn't take care of both sides. The Letter of Appointment and Preface to Historical Records recount great works since ancient times, pointing out that some of them were written after imprisonment, some were written after being demoted, some were written after being left behind, and some were written after being physically disabled: in short, they are all products of poverty, disease and punishment suffered by unfortunate people. He started with Zhouyi and ended with 300 poems, and concluded: "Probably what sages do when they are angry." He added: "This person is all depressed." That is, to put aside "happiness" and only emphasize "resentment" or "sadness" in poetry; The authors of poems are all "somewhat depressed" sad people or frustrated people, and poems are also "angry" sighs or cries. Chen Zilong once quoted the phrase "All saints and sages are angry" and clarified: "Although I read poetry, I praise it-the holy king who thinks about the past when he was in decline" (The Complete Works of Chen Zhongyu, Volume 21, On Poetry), praising the past is expressing dissatisfaction with the present. Therefore, some superficial praises in "Three Hundred Articles" are just poems of resentment in his bones.
Liu Xie once touched on Sima Qian's opinion and used a clever metaphor. On Yan Feng in Wen Xin Diao Long Cai lue: "Jing Tong Ya is a good word, but what about Kan?" ? Prosperous times; " Xianzhi and Preface are also mussels. "In other words, his two articles are the result of" stagnation "and" anger ". Liu Xie passed it airily, but his tone was not as strong as Sima Qian's. He only talked about one person and did not expand. "Illness" is a general term for pain or trouble, which is not limited to the physical injury of "blindness in Zuo Qiu" mentioned by Sima Qian, but also refers to "depression". ? Such mental pain, "Nine Comments on Chu Ci" said: "Kan? ? The poor are dereliction of duty and have an uneven ambition. "... Westerners talk about literary creation, and so on, which is very coincidental. Franz Balcer said that poetry is like Die Pelle (das erzeugnis des kranken stillen mussels) produced by sick and silent shellfish. Flaubert believed that the beads were formed by the illness of oysters (la perle est une maladie de I'hutre), The author's style of writing (Ie style) is actually a deeper expression of pain (I have experienced d' une douleur plus profonde)[ Note: These two examples are quoted from the third edition of Tragic Literature by Walter Muschg (1957). Heine asked: Is poetry to people what beads are to poor oysters, and what makes them suffer is disease materials (Wiedie Perle, der Krankheitstoff, Woran das Arme Auster Tieriedet) [Note: On the Romanticism (Die Romantische Schule) has two volumes and four sections, Heine's collection of poems and letters (East Berlin,196/Kloc). A.E. houseman said that poetry is a secret, whether it is a natural secretion, like the resin of pine trees (like turtles in fir trees) or a pathological secretion. Beads like oysters (like pearls in oysters) [Note: The Name and Nature of Poetry, edited by J Carter, Collected Works of houseman (196 1), 194. Houseman went on to say that all his poems were written when he was in poor health. What he calls "nature" is "healthy, not morbid"]. It seems that this metaphor is very popular. It is precisely because it is very apt that "poetry can complain" and "doing things in a rage". However, the sentence in Wen Xin Diao Long seems to have never won the appreciation it deserves.
2 Qian Zhongshu's poem You Can Complain (excerpt)
Sima Qian listed a series of "resentful" works, some argued and some recorded, and finally attributed "300 Poems" to "resentment" as an example. As far as poetry is concerned, Zhong Rong gave full play to this view. There is a sentence in Preface to Poetry that we haven't noticed: "Jia Jiang sent his poems to his relatives and left his poems with grievances." As for Chen Chu's defection to the country, Han concubine resigned from her post and entered the palace, or her bones were lying around, leaving her wits about her; Or take the defensive, kill the public, plug the guest's clothes, and the widow will cry. Or a scholar who has thanked her for going out to the DPRK and forgetting her rebellion, a woman who has been favored by moths, and hopes to return to China again. How can all kinds of responses, the soul of feeling, and non-Chen poems show their meaning? Why not Long song? Therefore, it is said that' poetry can be grouped and grievances can be settled'. It is nothing more than poetry to let the poor live a comfortable life and live a secluded life! "Strange to say, this passage is almost the outline of two famous essays by Jiang Yan of Zhong Rong's contemporaries-Hate Fu and Biefu. ..... Sima Qian's "Letter to Ren" only talks about "relieving anger" and writing poems in order to avoid "drifting away" and "literary talent is not obvious to future generations", focusing on the role of the works behind the author, which can make him die unsatisfied. Zhong Rong said that "it is more important for poor and humble people to live a comfortable life than poetry", emphasizing the role of works at the time of the author's birth can make him compromise to the hard and cold life; In other words, when a person is down and out, he can get relief, comfort or compensation by "poetry can complain". With the breeding of literary genres in later generations, this explanation of creative motivation and effect has also spread from poetry to novels and plays. For example, Zhou Yun's "West Lake" in the second volume, Yue's "Lock the Jiangshan" reprinted, talking about Qu You's "Cutting the Lights" and Xu Wei's "Four Sounds Ape": "Don't cry, don't laugh, don't scream, don't jump, don't pity! So I had to take part in accidental amusement. It doesn't matter. I wrote a novel. ..... express your life breath, and write out everything you want to sing, cry and dance. I am full of grievances and bored, so I can entertain myself. " Li Yu's "My Birthday to Dai Li Weng" Volume II "Bai Bin" talks about writing his own script, which is even more incisive: "In the worries of life, I am in a down and out situation, and I have never had a moment in Shu Mei since I was a child. However, when composing music and writing lyrics, I am not only depressed to relax, but also satisfied with solving it and trying to be the happiest person in two rooms. ..... Nothing real can override the dreamland. I want to be an official, and I will be honored in an instant. ..... I want to be an outstanding person in the world, that is, to be the successor of Du Fu and Li Bai. I want to marry a peerless beauty, the original stone of harmony. " Just as Chen Zilong thought in Three Hundred Essays that "all praise is a thorn", Li Yu admitted that the "dreamland" in his script was a "reverse" reflection of the "real state" in his life-the script reflected the opposite of life. Everyone is familiar with Freud's famous theory: people whose desires are not satisfied in real life should take a step back, create literature and art, and play the role of body double (Ersatz Frden Triebwerzicht) to entertain themselves with fantasy (Phantasiebefriedgungen)[ Note: The Complete Works of Freud (London, 1950)/kloc-0. If Freud's theory appears in Zhong Rong's three sentences and in Zhou Ji's and Li Yu's two paragraphs, it may not be far-fetched, but please pay attention to their deja vu.
At some point, Zhong Rong and Freud can talk. ..... Han Yu did define the concept of "poetry can be blamed" more clearly than the previous generation, which was in his "Jing Tan Singing and Poem Preface". This article is a compliment to two big bureaucrats who wrote poems. Their poems are actually comparable to poor scholars, and "princes and nobles" can be compared with the gaunt people in Weibo. The implication is to take the poems of "withered men" as the test standard, because there is a major premise: "the voice of peace is weak, while the voice of sorrow is dull, the words of joy are hard to work, and the words of poverty are easy to be good." As early as the Six Dynasties, some people had expressed the feeling that the voice of peace was weak. Song Volume 19 Wang Wei's Book with a Brother: "If words are restrained without anger, they will be dull." Later, someone simply summed it up as a seven-word formula: "There are not many words in the formula, only ecstasy and heartbroken." (Tu Shan's Continuation, Volume 5, Dream and Shi Yushan's Poetic Awakening and Walking Theory) ... Chen Jiru once distinguished Qu Yuan and Zhuang Zhou like this: "undertaker is in the shade, so Li Sao is lonely; The musicians are in the sun, so "Southland" is flying wildly. " ("Essays on Late Fragments", Volume 9, "Guo Notes on Zhuangzi") A great Italian poet also recorded a similar experience: joy tends to expand and sadness tends to shrink (Questa Tendenza al Dilat Amentonell' Allegrezza, E Al Ristringimentonella Tristezza) [Note: Zibaldone di Pensieri, Flora by Leopaldi (edited in 1957, 5th edition, Volume I, page 100]. We often say: "be elated", "be happy", "be so happy that my bones are light", "have a knot in my heart", "have a stone in my heart" and "hold it in my stomach at one breath" and so on. They all express that happiness is characterized by divergence and lightness, and anxiety is characterized by cohesion and stagnation [note: see G.Lakoff] Sad is down]. Another page or eight pages "Happiness is broad, sadness is narrow" (Happiness is broad; Sadness is narrow. Joy is "endless", and you can't stay if you want. If you want to eliminate it, you can't get rid of it. To borrow Goethe's metaphor, happiness is a dead Kugel, and sadness is a polygonal object shape (das Vieleck). As soon as the ball rolls, the polyhedron "turns around" and stops. ...
The following are
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This is a special topic of Qian Zhongshu.