Literary purport of twenty-four poems

Twenty-four Poems is a literary criticism work, and it is also a critical literary work itself-a group of beautiful four-character poems, which is quite fascinating by comparing different poetic styles with various images and establishes a special genre in poetry criticism.

The twenty-four poetic styles summarized by Si Kongtu are:

Coarse and thin fiber deposition

Is it elegant and refined?

Beautiful and natural, subtle and unrestrained.

Meticulous spirit, strange wilderness?

Use sadness to describe it.

Supernatural, elegant and open-minded flow

Because the words used in Twenty-four Poems are vague and far-reaching, scholars in ancient and modern times have different understandings of its theme and different lawsuits. Critics regard it as either a creative theory, a style study or an appreciation theory. But it is difficult to exhaust the author's mind. Some people even think that "or they can't understand." In fact, if we go beyond the general literary theory and look at it from a higher aesthetic point of view, the problem will be solved.

Santayana said: the greatest poets are philosophical. Poetry, like philosophy, is the highest form of human perception of the world. Great poetry, like philosophy, is a grasp of the deepest relationship in the universe. Just as Zhuang Zhou can be a poet philosopher, Si Kongtu can also be a thoughtful poet. In Twenty-four Poems, he integrated his own aesthetic experience with the help of the theoretical category of metaphysics. First, the body path. Si Kongtu advocates Laozi and Zhuangzi, who believe that the ontology and life of the universe are Tao. Therefore, Si Kongtu thinks that the artistic conception of poetry must express the noumenon and life of this universe. He repeatedly emphasized this point in Twenty-four Poems. Such as "full body", "returning to emptiness" (bold), "returning to truth through the moon" (training), "drinking truth as strong" (strong), and "all roads lead to the future" (beautiful), "killing truth, ups and downs with it" (implicit). Tao, truth, truth and slaughter here all refer to the ontology and life of the universe. Nothing is possible without certainty. Second, be quiet. Poets should be humanistic, as Lao Zi and Zhuang Zi said, the subject must maintain a state of emptiness and quietness. It is emphasized that a poet must transcend worldly desires, prejudices, interference and bondage, and make his mind in an empty state, thus improving his spiritual realm.

"Weird people took the truth and dealt with the lotus. Other disasters are empty. " ("Gao Gu")

"You empty mountain after the rain, to pick apples. Thin words and feelings, long rhyme. " (nature)

"Master hui, make color. The wind leaves are boundless. " ("elegance")

The richness of Tao and the freedom of mind put poetics in a grand cosmic life structure, thus revealing profound aesthetic implications. "Poetry is headed by' vigorous' and ends with' flowing clouds and flowing water', which means a glimpse of the earth." The judgment of A Qing poet Sun Liankui is the key to grasp the theme and intention of Shi Pin.