On the Modern Communication and Alienation of Jiang Weak Water's Classical Poetry (1)

In the preface, classical poetry should not and obviously is not the mainstream of this era. However, most art forms are carrier tools of expression, and the carrier may be old, new, advanced or backward. However, Sri Lankans are used to it. When they begin to express themselves, they tend to use familiar tools. And this inheritance makes classical poetry still have a place in the present. After all, there is a gap between classical literature and modern literature. While writing with classical poetry, we will inevitably fall into the division or confluence of "classical" and "modern". From the Republic of China to the people, many people are determined to break through the barriers of ancient and modern times, but no one can succeed. Now, Jiang Weak Water has written a book "Modernity in Classical Poetry", and the preface says, "I want to test the chemical composition of China's classical poetry with the papers of western poetics". Although it is unique, I am particularly afraid of mentioning something wrong. In today's old-style poetry world, "experimental style" runs rampant. The author quotes its theory and briefly talks about it. The classicality of old-style poetry. The old lady Ye Jiaying has been involved in the theoretical study of western symbolization of China's classical poems. Although the modernity of Mr. Jiang's classical poetry is not like this, the theory of "examination paper" is to find a direction that can break through the barriers between classical and modern, or classical and western learning. To talk about classicality and modernity, it is natural to understand what classicality of old-style poetry is first. Thinking and system "300 pieces" should be the source of China's classical literature, and the core meaning of "300 pieces" is actually "the poet's six meanings". "Preface to Mao Poetry" says: "Therefore, poetry has six meanings: one is wind, the other is fu, the third is comparison, the fourth is pride, the fifth is elegance, and the sixth is fu." Fu Bixing "is the whole expression in classical poetry, while" to suit both refined and popular tastes "is the three musical tones of" 300 pieces ". However, this "six meanings" has been extended to the means of teaching by name, so it is said after the preface: it is based on the affairs of a country and the foundation of one person, which is called the wind; It is an elegance to talk about everything and form a wind in all directions. Ya, yes, Wang said that it is also a waste. Politics is small and big, so there are few elegance. Praise, the description of beauty and virtue, is also told to the gods through its success. It means four beginnings, and poetry is the most important. This Confucian literati thought has been condensed into a "poem expressing ambition". Zhao Wenzi and Shu Xiang said that "poetry expresses ambition" ("Zuo Zhuan Xiang Gong Twenty-seven Years"); Zhuangzi also said that "poetry is based on Zhi Tao" ("Zhuangzi World"); Yao also has a record that "poetry expresses ambition, sound is sung forever, sound lasts forever, and law is harmonious" ("Shangshu Yaodian"). All the poems of later generations are based on six meanings, with style, elegance and praise as the highest standards. Li Bai, as a retro giant in the Tang Dynasty, took this as his own responsibility. He once said, "Since Liang Chen, Yan Bo is extremely thin, and Shen Xiuwen still uses temperament to restore the ancients. Who cares if it is not me? " (Meng Zhuo's "Skill Poetry, Senior One") is just so general. He wrote a poem "If I don't do it for a long time, I will be sad" (one of the 59 ancient poems). This symbol is based on the famous religion, namely the Confucian system. Today, we should all know that the systematic classification of Confucianism is four subsets of classics and history, but where is the gap between China culture and western culture? This article has been briefly mentioned, so I won't say it here. We just need to understand that the thinking mode of classical poetry comes from the "metaphysical" system of Confucianism. Skills and techniques of expression Jiang Weak Water is twisted from the pure literary nature of parallel prose in the Southern Dynasties, and takes it as the starting point of modernity. It can be summarized as "falling and swinging", "incorrect and new", "intermittent" and "intertextuality", which should be unique and have a certain narrow sense. First of all, China's classical literature regards narration as the process of literary development, and at the same time uses the expression of "Fu is better than Xing". In the title of "Modernity of Classical Poetry", there is a quote from Liu Xie's "Wen Xin Diao Long", which says: a painter only feels his appearance, but a shooter loses his appearance. If he is clever, he will be careless. Therefore, it's advisable to be loyal to the monarch, abandon the cleverness and bias, and learn to be beautiful: this chapter also uses this passage to prove the fragmentation of parallel prose in the Six Dynasties, and thus extends it to the decadent modernity (decadent chaos) brought about by the literature in the Six Dynasties, and Shen Yue's "Beauty Fu" says: narrow and evil talented women, beautiful women in copper streets, graceful as the moon, graceful as the spring. There are more incense than musk deer. The ground and feathers are separated, and flowers and flowers are mixed. It doesn't go in, but it doesn't go forward. Step on the eaves to catch my breath and return along the corridor. The pool turns over the lotus to catch the shadow, and the wind blows the bamboo and clothes. Wandering at dusk, the night is even. Out of darkness into light, shy and charming. Dragging brocade and singing Yao and moving Cui. Come and take off your makeup. Don't get tired. Expose yourself with powder, clean your temples and clear the canal. Flowers fall in the collar, and the breeze moves. However, the situation of "paying attention to details and neglecting the whole" seems to be only a witness of the imperfection of art. In fact, in Jiang Kui's poem On the Taoist of Baishi, it is more clear that "a poem has its own bearing, elegance and blood rhyme". Meteorological desire is vigorous, and its loss is vulgar; Decent wants its grandeur, and its loss is crazy; Blood lust runs through it, and its loss is also revealed; Elegant rhyme, its loss is also light. "Famous people have their own diseases, with big alcohol and small defects, but poor ears. "Then let's take a look at" Beauty Fu ". Shen Yue's expression is a typical narrative way. He saw The Beauty of Copper Street because he traveled a lot of history, and he was described because he saw beauty. The causal relationship is very obvious. Accordingly, it seems not enough to demonstrate "decadent modernity" with "imperfect skills". Modernity in classicism, that is, the primary feature of modernity, is summarized as a new word in Jiangshu. But actually talking about modernity is a very complicated thing. In the late Republic of China, under the influence of "western learning spreading to the east", the classical literature system has been crumbling. The theme of China Music History published by Ueno Tanabe is "Reviewing the past and learning new things". However, it is too vague to use "new" to summarize modern and classical. What are we talking about? New thinking, new techniques, new calligraphy practice, and even new themes. So, does it literally mean new modernity? Li Qingzhao wrote a poem "Like a Dream": Last night, it rained suddenly and the wind suddenly, and I slept soundly without drinking. Ask the shutter man, Haitang is still there. You know what? You know what? It should be green, fat, red and thin. The sentence "whether you know it or not, it should be green, fat and thin" in the word "dream sequence" commented by Hu Zai, a poet in Song Dynasty is very new, but is this a new modernity? Obviously not, it's just that "language workers are very strange" and dig out a kind of synaesthesia. And even if the theme is new, Su Shi takes poetry as his word, and Fan Zhongyan's "Pride of Fisherman" praises the scenery beyond the Great Wall. Is it a theme that Huajian poets, Er Yan in the Northern Song Dynasty, Ouyang Xiu and others have never talked about before? However, this "new theme" is still not in modernity-because whether it is frontier scenery or unrestrained emotions, these are all things that are interlinked with ancient times and are not unique to modern times. Different thinking However, modernity is indeed new, but this "new" is embodied in subversion, that is, new outside the classical literature system. Then, this new first point, even if the aesthetic change is actually a change of thinking, we say that the core of China's classicism is narration, but there are obviously many heresies in the history of poetry, such as some works by Li He, Li Shangyin and Wu Wenying, which are not driven by narration, but by imaginative interpretation. This way is very modern, called ". Wu Si, Shu and Zhang Tong are in high autumn, and the empty mountains are not flowing. Jiang Yue wept for Motome's sadness, while Ping Li was playing China. Kunshan jade broken Fengming, hibiscus crying, Xianglan laughing. The cold light melts in front of the twelve gates, and the twenty-three silk moves the purple emperor. Nu Wa makes up the sky by refining stones, and the stones break the ground to stir up the autumn rain. Dream into the holy mountain to teach the gods, and the old fish dance with the waves. "Li Ping Quotations" Li He Let's look at this poem. It's not a narrative. Its popularization is based on the author's five senses, and it also spreads to other images. However, this parallel image is obviously not recognized by the mainstream, and most comments only regard it as "the language of ghosts and gods." For example, the poem "Express of Tang Poetry" says: "This poem praises it, and suddenly talks about Nu Wa and Shen Yi, which surprises the moon and makes it dazzled and unpredictable. It is really a ghost in the text." Another example is "The First Poetry Collection of Longxingtang", which says: There is a strange sky on the Dragon Ridge, which is really a "rock-breaking". However, people can't learn and there is no need to learn those extremely chaotic things. The ancient style of a mountain has been aging this tune, but it can't be like this, it still has to be like this. This is the non-mainstream aesthetic perspective brought by different thinking. At that time, people were amazed at the mysterious words and expressions, but did not realize this "non-narrative" expression. They only saw colorful clothes, but didn't see the overlap between classical and modern. It is absolutely difficult to cut into the classical and modern from the perspective of thinking, not only in literature, but also in philosophy. Mr. Mou Zongsan devoted his whole life to the integration of Chinese and western philosophy, but he only found some similarities between them, rather than the same end point of the two roads. Eliot explained the images in poetry as follows: only a part of an author's imagination comes from his reading. The image comes from his whole love life from childhood to adulthood. In what I have seen, heard and felt in my life, some images (but not others) are repeated ... Such a memory will have symbolic value, but we don't know what it symbolizes, because it represents the deep affection that our eyes can't penetrate. "We can't see the boundary between classical and modern in the image that can bear the same emotion, but once this image is occupied, it is not only classical poetry, but also modern poetry. I want to know why my Jinse has fifty strings, and each string has a youthful interval. Zhuangzi daydreaming, a saint, was bewitched by butterflies, and cuckoo crowed in the imperial spring. Mermaids shed pearl-like tears on the moon-green sea, and the blue fields breathed their jade to the sun. A moment that should last forever has come and gone before I know it. Jin Shangyin's untitled poems are actually the universal "aesthetic feeling" brought by images, but the symbolic meanings of various images are unknown. If this layer of "aesthetic feeling" is removed, only this "symbolic" stream of consciousness remains, which the ancients can't understand in nine cases out of ten and will criticize at random. From this perspective, our acceptance of classical poetry today is actually indebted-feelings can communicate with each other, and "images" can also communicate with each other, so we accept it quickly. For example, in Zhou Bangyan's Su Mu, "the water is clear and round, and the wind is moving" is a picture that can be seen in ancient and modern times, so it is easy for us to understand; Another example is Wei Zhuang's Lotus Cup, "Now we are strangers and meet each other for no reason". This feeling of "long-distance love" has existed in ancient and modern times. On the other hand, today, there are gaps in our descriptions of ancient people's costumes, makeup and even some images we have never seen before, such as Wen's New Embroidery, Double Golden Partridge (Bodhisattva Man) and even Du Mu's Nutmeg in Early February. Generally speaking, the separation and integration of modernity and classicism is a very big proposition. In this paper, the author only points out some of them to make a general statement, and the rest are things such as the differences between ancient and modern aesthetics or "experiments" in creation, which are too big to discuss. Therefore, the author will collect more articles and make a more detailed and in-depth discussion.