1, Wang Shizhen's "verve" said:
Wang Shizhen (1634 ~1711), whose real name is Ruan Ting, is also a good fisherman in Yangshan. A famous poet in the early Qing Dynasty, he was a leader in poetry for 50 years. He wrote My Talk in Chibei, Notes on Xiangzu, Miscellaneous Notes on Gufu Fishing Pavilion, and Harmony.
The core of Wang Shizhen's poetic theory is the theory of "verve". In his early years, he compiled "Charm Collection" to teach students, and in his later years, he compiled "Samadha Collection of Tang Xian" to explore the aesthetic characteristics of the poems of Wang, Meng, Wei and Liu in the Tang Dynasty, and thought that the word "Charm" was a good way to discuss poetry. Later applied to the theory of figure painting, it refers to the charm of characters. Hu Yinglin, Lu Shiyong and Wang Fuzhi in Ming Dynasty all commented on poetry with verve. In fact, Wang Shizhen summed up Wang from Zhong Rong, Si Kongtu and Yan Yu's poetic thoughts of "taste", "rhyme" and "wonderful enlightenment" and Dong Qichang's painting theory of Nanzong.
The center of Wang Shizhen's theory of "verve" is the aesthetic expression of poetry. He thinks that the poet's feelings for the subject cannot be directly and comprehensively stated, and there is no need to describe the scenery comprehensively and meticulously. For example, only one scale and one claw are used to draw dragons, and only a little pen and ink is used to draw landscapes. However, through the scale of this painting and a claw, we can show the overall style and boundless landscape of the dragon. Wang Shizhen believes that images should completely serve the expression of emotions, which can transcend a certain time and space and may not necessarily conform to the reality of nature. For example, Wang Wei painted Banana in the Snow, which Wang Shizhen called Wake Up, which is a masterpiece. He said:
Fu's poetry has its roots, its prosperity, and you can't have both. The image in the mirror, the moon in the water, the color in the phase, the antelope hanging on the corner, there is no trace to be found, this prosperity is also. The elegance of this book, from its source, traces back to Chu Sao and Yuefu poems, reaches its flow, and is poor and miscellaneous.
That is to say, from temperament to prosperity to charm. "Qing" and "Yuan" are the aesthetic characteristics of the realm of verve poetry. The so-called "Qing" is a kind of aesthetic feeling beyond the secular. "Far" has profound meaning and is also a spirit of transcendence. This kind of feelings and spirit is best placed in the mountains and rivers. Therefore, the essence of "verve" is to turn reality into emptiness, to combine reality with reality, and to "be implicit and meaningful" (silkworm tail).
2, Shen Deqian's "style" said:
Shen Deqian (1673- 1769), with accurate words and a foolish name, is the author of Selected Ancient Poems, Collected Poems of Tang Dynasty, Collected Poems of Ming Dynasty and Collected Poems of Qing Dynasty. The monograph on poetry is about poetry.
1) Poetry should conform to the teaching norms of "gentleness and gentleness" and "peace between China and Britain" in order to be beneficial to education. He said: "Poetry must be original in essence. It is related to the daily life of human relations and the success or failure of ancient and modern times, so that it can survive." (Selected Poems of Qing Dynasty? He talked about "style" and asked poetry to emphasize "genre" and "syllable" (see textbook explanation)
2) He inherited the viewpoint of the Seven-School, and appreciated the "implication" and "beyond rhyme and gossip" of Tang poetry, but did not appreciate the "enlightenment" and "to the point" of Song poetry. He believes that we should respect not only the works that Si Kongtu and Yan Yu appreciate, but also the magnificent works of Du Fu and Han Yu. He thinks poetry should be like Tang poetry.
3, Yuan Mei's "paranormal" said:
Yuan Mei (1716-1798), a gifted scholar, is an old man who left the garden in the evening. His poetry works mainly include poems related to gardens.
Yuan Mei disagreed with Shen Deqian's view that poetry is tender and tender, and that it must be related to people's daily use, and advocated "the theory of soul". He believes: "All those who preach poetry are spiritual and natural, regardless of piling up." "Tianya has a guest name to copy books and make poems by mistake. When Zhong Rong's poems are copied, he should know the spiritual essence. " It's just for my own comfort. "He asked poetry to express the true colors of" real people ":"It is said that articles are timeless and cannot be faxed. "He thinks that as long as the real nature is written, it is a valuable work. And "Love comes first, just like men and women. "Poetry expresses the love between men and women is inevitable and natural. From this standpoint, he made a fierce defense for erotic poems in the history of poetry.
Yuan Mei advocated writing spirit with humor. He believes that only talent can do it. He said: "Poetry should be learned by yourself, but the conception with pen depends on talent." He advocated "three minutes for people and seven days for people". He objected to teaching people to write poetry, saying, "I vomited after reading the Song poetry."
4. Weng Fanggang's theory of "texture":
Weng Fanggang (1733- 18 18) was born in Xiqin, Su Zhai and Daxing (now Beijing). His poetry works include Zhou Shi Shi Hua. The so-called "texture" and "righteousness" refer to thoughts and knowledge. 1. Literary theory refers to language and structure, which requires accuracy and appropriateness. Weng Fanggang emphasized texture to correct the vagueness and vagueness of verve theory and style theory.
Q: What is the connection between the four poetics in Qing Dynasty?
Section three: Li Yu's drama theory and Jin Shengtan's novel theory (self-study)
First, Li Yu's drama theory:
Li Yu (1611-1679? ), the word Li Hong, the number Li Weng. Casual Love is a miscellaneous work of Li Yu, which consists of eight parts, in which the lyrics and exercises section discusses opera (see the textbook for details). Key points:
1, On "Setting up the Main Brain": Li Yu thinks that the creation of traditional Chinese opera should set up the main brain. The so-called brain refers to the main characters and central plot of a drama: "One person and one thing is also a legendary brain." The so-called "making a point" means who a national drama is for and why it is made, such as Pipa. However, they should focus on the central figures and events, which are interrelated and cannot contradict each other. In creation, playwrights should have a comprehensive consideration and careful layout. This is called "close needle and thread" in Li Yu's place. Li Yu also believes that a work should have clear clues, not too many branches, and highlight the main line, which he calls "reducing clues."
2. Theory of Judging Truth: In the part of Judging Truth, Li Yu focuses on the treatment of ancient and modern themes, involving the authenticity and typicality of traditional operas. He believes: "Legends are untrue, and most of them are fables." He pointed out the fictional characteristics of traditional opera works, but he advocated that the treatment of ancient and modern themes should be different: "If we follow the present" and deal with contemporary themes, not only the plot can be fictional, but also contemporary writers are in a different position from the ancients when writing ancient themes. The old story has been handed down to this day and everyone is familiar with it. If they go to fiction and violate the records of ancient books, the audience will not believe them. Although Li Yu knows the fictional characteristics of traditional Chinese opera, he still doesn't know enough about whether artistic creation can break the truth of history.
3. "Cutting Pieces to Make Up" said: Li Yu pointed out when discussing the characterization of traditional Chinese opera: "If you want to persuade people to be filial, you should make your filial son famous, but you don't have to do everything yourself. If you are a filial parent, you should take it and add it. If you live in a dirty place, all the evil in the world will be returned. "
Second, Jin Shengtan's novel image theory
Jin Shengtan (1608- 16 1), whose real name was "Shengtan", was renamed Ren Rui after the death of the Ming Dynasty. Some critics commented on "Six Talented Books", especially "Water Margin", which created a new situation of novel theoretical criticism.
1. It is pointed out that Historical Records is "text-based" and Water Margin is "text-based".
Discussion: What is the difference between "making things happen through writing" and "making things happen through writing"?
Historical Records deals with ready-made historical facts, which restricts the author. The author's artistic talent is embodied in the organization and handling of ready-made historical facts, but the Water Margin is not. The author can make free fiction according to the needs of art, which can give full play to the author's artistic creativity. From the perspective of pure art, Jin Shengtan pays more attention to this fictional literature.
2. It is pointed out that the characters in The Water Margin have distinct personalities: "The Water Margin is unique, but I just can't get tired of reading it. Just write 180 for him ... 188 personality is really 180." He specifically analyzed the personalities of jy, Lin Chong, Lu and other characters, and the analysis was vivid. On the other hand, he pointed out that everyone seems to be familiar with Old Times of Water Margin. Personality that embodies * * * is a typical personality. Jin Shengtan also analyzed the plots in many books in detail, and discussed how these individual characters were described and shaped. This argument is extremely valuable.