Poem Around the Furnace is a theoretical criticism work that made him famous. Since its publication, it has attracted the attention of many scholars and poetics with its innovative theory. Yan Ruojing, a famous scholar in the early Qing Dynasty, commented that the poem was "like a pear flower cut", while Zhao Zhixin, a poetry critic, longed for the poem "Around the Furnace" for a long time, but asked for the manuscript three times. The General Catalogue of Sikuquanshu agrees with the subtlety of the viewpoint of "there are people in poetry" put forward by Shihua, and affirms its criticism and condemnation of the imitation habits of seven poets around the Ming Dynasty. In the book History of China's Poetry Criticism, Chen believes that Wuqiao is a poetry critic worthy of attention in Yushan School, and "has original opinions in politics, religion and aesthetics".
There are two important factors in the process of poetry creation: the poet and his environment. Early poets have noticed and paid attention to the study of the relationship between them, and Wu Qiao is no exception. Two core concepts "mind" and "realm" are extracted from the poems around the furnace, and the relationship between subject and object in poetry creation is analyzed, so as to find out the source and formation of meaning in poetry.
Wu Qiao believes that "environment" directly acts on "mind", which is the premise of poetry creation. "Context" refers to the personnel situation experienced by poets, and is the object of poetry creation, while "heart" is the subject of poetry creation. Wu Qiao mentioned in Volume I of Poems about the Surrounding Furnace that "the heart is not lonely, but the environment will give birth to life" and "the human environment is poor, and the sadness of the heart gives birth to sorrow", which shows the role of the object "environment" on the subject "heart": the human environment is poor and accessible, and the poets living in it will have different feelings of sadness and joy accordingly. The poet wants to express his thoughts and feelings as soon as possible, and "it's what he does to feel sad and happy", thus sprouting the impulse to write poetry. Therefore, Wu Qiao pointed out that in the poet's creation, "meaning" comes from the influence of "environment" on "heart". If the poet ignores his own situation, he will not feel it and the meaning of poetry will be lost.
Wu Qiao put forward that "rice is a metaphor, rice is a metaphor for cooking, and wine is a metaphor for brewing" in "Answering Wild Poems". Meaning is like rice, writing is like rice and poetry is like rice wine. Rice must be processed to make rice, and rice must be fermented to make wine. Although rice is more fragrant than rice and wine is more mellow than rice, you must have rice before you can make rice and make wine. These words use subtle metaphors to tell the process of composition and poetry writing, and tell the truth that poetry is more exquisite than literature. It can be cited to explain that in poetry creation, writing should be the main thing, or that thoughts and feelings must be processed before they can become exquisite poems.
"Yi", like "rice", is the basis of poetry, but the expression of "Yi" in poetry and text is quite different. The meaning of words is directly related to the words of words. "Words must be subordinate to the meaning", just like Mi and Osaka, the meaning can be clearly seen from the words. However, the relationship between poetry and poetry can be indirect. "Words don't have to be attached to meaning", just like rice and wine, the meaning in poetry can't be seen through at a glance; "Rice" has been deformed by the refining and transformation process of "brewing", which is quite hidden, but the taste is deeper. This determines the nature of "poetic temperament" and "personnel vacancy".
Wu Qiao's viewpoint of "Poetry and Wine, Literature and Rice" in "Poems Around the Furnace" was praised by later poets. The starting point of his argument is the comparison of aesthetic differences between poetry and prose. It can be said that while analyzing the differences between poetry and prose, he found that poetry is different from prose and has become an aesthetic feature of poetry. He thinks that the first characteristic of poetry is "poetry is useless".
The "emptiness" in "poetry is useless" means that poetry has non-secular utility, and the poet must give up the consideration of practical utility when creating poetry, so as to "integrate things with me" and enter the clear realm of creation. In Critique of Judgment, Kant believes that everything in real life is both beneficial and harmful to people. For example, the smell of poppy will make people dizzy and unconscious if inhaled too much. Eating too much poppy fruit will be addictive and harmful to the body. Scientific deep processing and refining of poppy and fruit, and strict control of dosage will become a life-saving medicine and bring benefits to people. However, once poppy enters aesthetic activities, people will appreciate the gorgeous colors and beautiful shapes of flowers, and its beneficial or harmful side will no longer be concerned, and utilitarian orientation will become insignificant in front of people's aesthetic intentions.
There are similarities between "poetry uselessness" and Kant's aesthetic utilitarianism. Wu Qiao also emphasized "utility" in "On the Useless Poetry", and poets wrote poems to "chant feelings", which shows that poetry is utilitarian in expressing emotions, and there is no super-utilitarian poetry, and Wu Qiao, a poet without temperament, denounced it as "foreign body". The "emptiness" of poetry is the unity of non-utility and utility of poetry, which is useless. Wu Qiao concluded: "Poetry is the heart and has nothing to do with personnel, such as an empty valley and a secluded orchid. Poetry without appreciation is enough. " Writing poetry does not pursue the satisfaction of practical secular interests, but should be faithful to expressing the poet's own wishes and feelings. True poetry should come from the poet's heart, natural and naive.
The second level of "poetry is wine" means that poetry has a unique aesthetic expression, and Wu Qiao has a wonderful explanation for this: rice is metaphorical, and rice and wine come together. The metaphor is rice cooking, and poetry is wine brewing. The wording of the article must be consistent with the meaning, the rice is consistent with the shape of the rice, and the spit is full. The wording of a poem needs no attachment, but it is like a change of wine.
Wu Qiao believes that both poetry and literature are based on "meaning", but their expressions are different. The composition should clearly express the ideological content, so that readers can understand the author's intention more easily. The words in the text are in line with the author's meaning and are synchronous. Just like rice, it is cooked with rice, but the shape of rice can be seen. Poetry, on the other hand, contains different images and life forms. Poetry is not an analysis and imitation of life, but a refinement and sublimation of the poet's real life and his own emotional state. Therefore, the poet will adopt a series of special expressions, and the words in the poem no longer correspond to the poet's "meaning" one by one, but there is what Wu Qiao called "deformation", just like rice is brewed into wine, and the solid shape of rice completely becomes liquid wine.
Poetry can be as intoxicating as wine because it has inexhaustible aesthetic attributes. Scholars write articles, and the sub-arguments revolve around the general argument, emphasizing that the meaning of the text is clear and not sloppy. Wu Qiao keenly noticed that when people who read poems meditate heartily in poetic space, they will have an aesthetic experience, that is, singing, just like people who drink, is happy and sad because wine infects their emotions.
The theory of "model essay nineteen" is one of the highlights of the theoretical innovation of "talking about poetry around the stove" This paper discusses the dimensions of aesthetic characteristics of poetry from the aspects of aesthetic function, aesthetic expression, aesthetic attribute and aesthetic experience.
The first and last seven poets in the Ming Dynasty can be said to occupy half of the poetry circles in the Ming Dynasty. They all take Tang poetry as their religion, but they are caught in the quagmire of imitating the ancient times in their creation. It is no exaggeration to say that this is the place where the retro school of Ming Dynasty criticized the most. In "Poems Around the Furnace", Wu Qiao did not spare pen and ink, and counted the shortcomings of retro people.
Wu Qiao can't agree with poetry criticism without classical and historical concepts. He sneered at those unqualified appreciators: "I have no history books and no current events in my heart, so I am not responsible." Taosun Ao once commented on Zi Yunjian in "Poems Around the Furnace": "Teenagers enjoy themselves in the Three Rivers". In fact, Zijian has been restricted and attacked by Cao Pi and Cao Cao. Most of his poems reflect his feelings of the times when he was born in troubled times and grew up in the army, or express depressed feelings of grief and indignation, just like "teenagers enjoying themselves." Therefore, Wu Qiao sneered: "Taosun Ao's poems about utensils are like farmers in the village looking at the market and not knowing whether the price is high or low." "Only this word knows that he hasn't learned it."
It is also mentioned in "Poems Around the Furnace" that scholars have misunderstood Li Shangyin's poems for a long time, only talking about his "eroticism" and failing to understand its profound meaning. Wu Qiao lamented: "(Li Yishan) whose poems have been told for 700 years are still rare.". He thought he had a unique vision and saw through the "original intention" of Li Shangyin's poems. "Anyone who reads Tang poetry must read the whole meaning in isolation, and there are several articles. We must read all the articles together and then make a solution. It may be the author's original intention, and it is impossible to stand up in one sentence or two. " Wu Qiao also mentioned that poetry should be fully and cautiously appreciated. This is also a more positive view.
In troubled times, Wu Yisheng wandered between the south mountains and the north waters, and felt a lot on the way, similar to the situation and feelings described in some previous poems, so he had a strong * * * sound on these poems, and read them out to spit out the current feelings. The main reason why a good poem can arouse readers' admiration is that the poet expresses people's universal feelings. For example, people who have left their hometown for their country will feel sad because of their homesickness poems, and depressed literati will lament before the scenic spots left by their predecessors.