New interpretation and analysis of "The Literary Mind and the Carving of the Dragon: The Gu of Character"
The "Gu of Character" is a very mature poetic category in Chinese literary theory. Liu Xie's "The Literary Mind and the Carving of the Dragon" The chapter "Character" was the first to explain the character "Character" from the perspective of literary criticism.
Historically, the interpretations of "Wen Xin Diao Long Fei Gu" have been diverse and inconsistent. Some researchers have classified and commented on different interpretations to form interpretations.
Based on Yuan Dian, this article first interprets "Fenggu" semantically, trying to get close to the original meaning of Fenggu; secondly, it combines specific literary works and Chinese cultural traditions to explore the profound connotation of Fenggu; and finally discusses The artistic category formed by the inclusive semantics of Feng Gu.
1. Various interpretations of "Gu of Wind"
"Gu of Wind" is a very important chapter in "Wen Xin Diao Long". However, due to the richness and ambiguity of its meaning, Researchers have many different explanations.
Where there are meaningful intersections between different interpretations, there are also certain differences in understanding.
They either elaborate on the respective meanings of wind and bone, or discuss wind and bone as a whole, forming a huge interpretation field.
The first type of explanation divides Feng Gu into different meanings, interpreting Feng as meaning and content, and Gu as diction and diction.
Mr. Huang Kan said in "Notes of the Literary Mind and the Carving of Dragons": The wind is the meaning of literature, and the bones are the words.
He believes that wind belongs to the category of literary meaning, and bone belongs to the category of diction. He attaches great importance to understanding wind and bone from the literary structure of the work.
Mr. Zhou Zhenfu holds a similar view. He believes that wind is the power to move people, is in line with ambitions, and is related to the content; bone is a requirement for the composition of words, and only when the words are used extremely concisely can they have bones.
Others believe that wind is the emotion and bones are the meaning.
Mr. Liao Zhongan, Liu Guoying and others hold the theory of emotions, ambitions and affairs. They believe that wind is emotions and bones are affairs. The former is the writer's heartfelt, concentrated and abundant emotions and emotions that are in line with Confucian ethics. The expression of will in the article.
The latter is the logical content of all materials and views that express the theme and idea of ??the article.
Mr. Liu Yongji related the style and bone affairs to each other, believing that wind is the emotion and thought of the text, and bone is the meaning of the metaphor. The former originates from the author's heart and conveys the meaning to form a chapter; the latter builds the chapter and expresses thoughts. .
Mr. Luo Zongqiang also pointed out that the wind is the power of emotion, and the bones are the power of action and meaning. The power of emotion relies on its intensity and richness, and its flow and momentum to move people.
The power of its meaning lies in its rigorously structured diction and its logical power to move people.
Taken together, the style and bones promote the beauty of inner strength.
Mr. Zong Baihua explains the style from an aesthetic point of view and emphasizes its artistry; fundamentally, he believes that the style is related to diction and style is related to emotion.
Zong Baihua pointed out that bones are related to words, and it is a matter of diction (argument).
To conclude with integrity, one sentence must be clear and correct, not distortion or sophistry.
This kind of correct expression produces text bones.
The wind can move people, and the wind comes from emotions.
Chinese classical aesthetic theory attaches great importance to both the expression of thoughts as bones and the expression of emotions as wind.
An article with style and integrity is a good article.
He compared wind and bones to the pronunciation of words in the art of singing.
The articulation of words is like bones, the knots of words are straight and straight, and the tone of words is like wind, which means the spirit is refreshing and touching emotions.
The second category grasps the style as a whole and believes that the style is an aesthetic style.
Mr. Luo Genze explained from the perspective of words and diction: style is the style within the words.
Mr. Wang Yunxi said: Wind refers to the clear and hearty expression of thoughts and feelings in the article, bone refers to the simple and vigorous language of the work, and the combination of wind and bone refers to the clear and vigorous artistic style of the work.
Mr. Zhan Rong said: The character is the style of strength, which is the style that is bright, vivid, vigorous and powerful.
He believes that when Liu Xie talks about style, he does not focus solely on the form of writing, but must be strict with the style and have straight conclusions. This must also focus on the content, so as to achieve a strong style. .
Mr. Guo Shaoyu proposed: Style refers to style, and bones refer to bones. One virtual and one solid are combined into words; style and bones are the unity of ideology and artistry.
They combine wind and bone in one place, interpret wind and bone from an overall perspective of the work, and tend to interpret it as an overall style characteristic.
Each of the above viewpoints has its own rationality, but it is difficult to form a universal consensus among each viewpoint.
Based on the above multiple explanations, we seem to be stuck in a quagmire of interpretation, struggling but unable to escape.
The "Feng Gu" chapter is classified into the category of creation theory in the entire system of "Wen Xin Diao Long". It is an article mainly focused on theoretical discussion; and the explanations of various scholars are mostly based on strict The semantic perspective attempts to give it a precise meaning, which leads to a situation where there are different opinions and different opinions.
People seem to have become accustomed to rigorous textual research on ancient works and literary theories, and then give a definite meaning; however, many works, especially theoretical works, can no longer be restricted due to their rich meanings. Within the fixed meaning of words, they must have an imaginable space for interpretation.
Therefore, on the one hand, we need to return to the chapter "The Literary Mind and the Dragon's Character" to understand the character from the origin. On the other hand, we need a broad vision and abandon the rigid definition of word meanings, so as to Expand the depth and breadth of understanding.
2. Restoration of the semantics of wind and bone
The opening chapter of "Wind Bone" states: "Of the six meanings of "Poetry", wind is the first, which is the origin of allelopathy and the talisman of ambition. Deed.
This shows that the concept of Feng mentioned by Liu Xie first originated from the Six Meanings of Poetry in "Preface to Mao's Poems".
The preface to the poem says: Wind, wind, teaching.
The wind can move it, and teaching can transform it.
Therefore, poetry has six meanings.
The first is called Feng, the second is called Fu, the third is called Bi, the fourth is called Xing, the fifth is called Ya, and the sixth is called Song.
Mr. Qian Zhongshu also elaborated on this: In terms of its role, wind means wind admonishment and wind teaching.
In terms of its origin, wind refers to local winds, folk songs, and today’s so-called local folk songs.
To talk about its system, wind chanting and wind chanting are related to mouthpieces and lip kisses. Today’s so-called oral singing literature is also called wind, which is included in the origin style of "Poetry".
Wind is not a simple meaning, it itself constitutes a rich semantic field.
So, in "Wen Xin Diao Long Feng Gu", what is the specific meaning of wind? It is believed that wind has two meanings:
First, wind is related to emotion.
Therefore, to describe one’s emotions in a moody way must begin with the wind; to meditate on one’s words must not begin with the bones.
Therefore, the bones of words are like the tree skeleton of the body; the emotion contains the wind, just like the shape contains the air.
Therefore, those who are trained in bones will be able to analyze words accurately; those who are as deep as the wind will be able to describe emotions clearly.
These two places clearly attribute wind to the dimension of emotion.
Huang Kan of the Qing Dynasty's "Notes on the Literary Mind and the Carving of a Dragon" talks about the relationship between style and emotion, and the relationship between words and words. The style of "Exploration" is a manifestation of the author's emotions and will.
Style is the author’s thoughts, feelings, temperament, etc. expressed in the article.
They all explain wind from the perspective of emotion.
Liu Xie believes that Youfeng’s works should show deep emotions, be full of emotions, and have a clear style.
Wind and emotion are intertextual: expressing emotions starts with wind; and by deepening the meaning of wind, the expression of emotion becomes clearer. Wind has the function of moving people with emotion and moving people's emotions.
It can be seen that wind has the meaning of emotion, but it is not limited to love.
Secondly, wind is related to Qi.
If the spirit is strong and refreshing, the style of writing will be clear.
If you don’t think about everything and feel exhausted, there will be no experience of the wind.
Here, Qi and wind are described correspondingly.
Then, Liu Xie focused on Qi, so Wei Wen said that Qi is the main focus of the article. The clear and turbid Qi has its own body and cannot be caused by strong force.
Therefore, when talking about Kong Rong, the cloud body Qi is sublime; when talking about Xu Qian, the cloud has a Qi Qi; when talking about Liu Zhen, the cloud has a relaxed Qi.
Gonggan is also like this, Kong's Zhuozhuo, his letter has a different flavor, and the nature of his pen and ink is almost invincible.
The purpose of attaching importance to Qi is also important.
Emperor Wen of Wei Cao Pi was the first to discuss Qi from the perspective of literary creation, and Liu Xie quoted it at length here, strengthening the connection between wind and Qi.
"The Bone of Style" is classified as the next chapter on creation in the entire book "The Literary Mind and the Carving of Dragons". It is the third chapter on creation after "Spiritual Thoughts" and "Physical Nature".
Liu Xie’s discussion has many coherent ideas. Regarding the relationship between wind and qi, we can get circumstantial evidence in the chapter "Ti Xing".
"Ti Xing" discusses the personality of the writer and the style of his works, and mentions the importance of talent, temperament, learning, and practice in literary creation. Reveal his talent; he is humorous, strong and soft, but he would rather change his temperament; his work and meaning are shallow and profound, and he has never heard of his learning; his posture is elegant and solemn, and his habits are rarely contrary to it.
Here, wind and Qi are also combined. The strong and soft wind of the article comes from the difference between clear and turbid Qi.
Wind refers to literary spirit, which is a state of vitality and overwhelming momentum. It is a display of the author's vitality and spiritual outlook.
Huang Shulin, Ji Yun and others in the Qing Dynasty also held this view. They believed that character and strength were closely related to Qi, or Qi.
Huang Shulin pointed out in his annotation of "Feng Gu": Qi is the foundation of Feng Gu.
Ji Xiaolan said: Qi is the character, and it has no origin.
"Gu of Wind" is named after wind, and the article talks a lot about Qi, because wind and Qi are two propositions with intertwined meanings, and essays based on Qi are the tradition of ancient Chinese literary criticism.
"Guang Ya Shi Yan" says: Wind, Qi.
"Zhuangzi's Theory of Equality of Things" says: A large piece of air is called wind.
"The Preface to the Poetry" says: The wind moves it.
"Lu Shi Chun Qiu Shen Shi" notes: Wind is luck.
Wind was used by the ancients to illustrate the characteristics of Qi’s continuous movement and transformation.
Fan Wenlan explained in "Wen Xin Diao Long Zhu": Gai Qi means that it has not moved, and wind means that it has moved.
When the wind is deficient and the qi is strong, the qi has not moved but the wind has moved.
In ancient Chinese culture, qi is the origin of all things. Laozi said: All things carry yin and embrace yang, and the qi is the source of harmony.
Qi constitutes the matrix of all things in the universe, and at the same time determines human physique and character.
Wang Chong's "Lun Heng Shun Xing Pian" said: There is a thick pool of endowment, so the nature has good and evil, so the thick pool of wine is the same as the rice; the good and evil of a person are the same as the original energy. There is a little or a lot of Qi, so the nature is wise and foolish.
People have different temperaments, which reflect differences in good and evil, good and bad, temperament and style, and they are also reflected in article writing.
The Wei and Jin Dynasties were an era that paid attention to characters and objects, and often discussed the writer's emotional endowment and the style and characteristics of the article.
"Wen Xin Diao Long Ti Xing" is a typical example of applying the characters' tastes to the criticism of articles.
The subsequent "Fenggu" chapter enters the article level, naming the wind and using Qi to explain the wind.
Wind and Qi have the same root. It can be said that Qi is the original level, while wind is the application level.
Liu Xie discussed wind and bones separately, but what is the meaning of bones? It is believed that bones are related to diction, it is the ability to control language and writing, and it is related to the author's talent.
The meaning of "bone" in the text is relatively unified. If the conclusion is straight, then the bones of the text will be complete. Those who practice on the bones will be able to analyze the words accurately. If they are devoid of meaning, fat, complicated and unorganized, there will be no bones. Zhengye, it can be seen in these places that there is a certain relationship between bones and words.
Huang Kan's "Notes on the Literary Mind and the Carving of Dragons" said: The wind is the meaning of literature, and the bones are the words. This is not very accurate.
Huang Kan implemented the character of character into a definite and clear meaning of meaning and words, which is related to the academic atmosphere of emphasizing textual research and seeking evidence in the Qing Dynasty.
In fact, bone is related to diction, but it is not the same as diction. It is the ability to construct powerful language and the reflection of a writer's talent in articles.
In "Wen Xin Diao Long", there are many places where the correspondence between bones and words is discussed. For example, the bones are dense and dense, and the words are coherent and rounded ("Feng Chan"). "Discussion"), etc., which can be used as circumstantial evidence of the correlation between bones and literary words.
Bones are a higher requirement for diction. Literacy does not necessarily mean bones. Bones demonstrate an inner strength in diction.
In addition to discussing wind and bones separately, "Wind Bones" also describes wind and bones in one place.
If the abundant algae overcomes the support and the strength does not fly, then the vitality will be lost and the voice will be weak.
The word "beat" is strong and difficult to move, and the sound is condensed but not stagnant. This is the power of the character.
Taken together, style and bone express the author's awareness of entering a creative state and use strong and powerful words, so that the article has a kind of beautiful power and momentum.
Liu Xie said that if the character is lacking, the birds of prey will flock to the Imperial Academy; if the character is lacking, the pheasants will wander around the literary circle; only the algae will shine and soar high, which will make the writing like a phoenix.
On the one hand, this is to use the character to control the literary talent, that is, to use the writer's spirit and talent to mobilize the literary talent; on the other hand, the character also needs the literary talent to be displayed; the two complement each other, thus creating a heroic article.
These few places combine the character and character into one place; and the last paragraph of the article describes the character as a whole in a potential sense and discusses how to establish the character.
If you can cast the model of classics, learn the skills of collecting history, understand the changes of emotions, and express your literary styles, you can then be able to develop new ideas and carve out strange words.
Emphasizing the importance of classics and history.
Corresponding to the six meanings of "Poetry" at the beginning of the article, Feng ranks first among them, which is the origin of metamorphosis and the talisman of ambition.
The concept of wind mentioned by Liu Xie first originated from the wind of Liuyi, and he found the origin of the wind of wind and bones.
"Preface to the Poetry" notes: Feng refers to the legacy of the sages' governance.
The wind has the meaning of education and respects the way of the sages.
The five chapters of the first volume of "Wen Xin Diao Long", "Yuan Dao", "Zheng Sheng", "Zong Jing", "Zheng Wei" and "Bian Sao", establish the tone of the whole book, that is, advocating The ancients carry the Tao, respect the past, and rely on the sages.
The articles in the Qi and Liang Dynasties of the Southern and Northern Dynasties were extravagant, embellished, and lingering. They were obsessed with formal playfulness and paranoia, and alienated themselves from the inheritance of the sages' calligraphy.
Liu Xie criticized this trend many times in "Wen Xin Diao Long". In the "Ding Shi" chapter, he said: Since modern times, people have resigned, and they have become cunning. , I am tired of the old style, so I dig into the new style and find out its false meaning. It seems difficult but in fact there is no other way. Anyway, that's it.
"Preface" says: The saint has been gone for a long time, the literary style has been disbanded, people are fond of strange words, their words are noble and treacherous, they are decorated with feathers and painted, and they are embroidered and embroidered. They are far from the original, and they will be corrupted. .
Liu Xie severely criticized the Qianqi style of writing in the Song, Qi and Liang dynasties, and advocated the original Taoism, the conquest of saints and the sect of scriptures.
The author's emphasis on and inheritance of classics are expressed in both the beginning and the end of "The Bone of Style", which echoes each other.
He proposed that articles with character should be created in accordance with the norms of the classics and absorb the methods of various schools of thought and historical biographies; if it is in vain to create strange words or blindly pursue new works, it is dangerous. There are many failures, and mistakes are made.
In other words, in addition to the respective meanings of wind and bone, Fenggu also means respecting the classics of sages, that is, it does not abandon the classics or transcend the old norms, nor does it follow the trend of glitz and extravagance. ; But we must respect the classics, understand the structure of the article, be familiar with the evolution of diction, and establish a formal formula.