Longyan (June, 2004 15) of Harbin Radio and TV University had 8 144 visits.
There are five articles on poetry in the Collection of Sound of Sikongbiao, namely, On Poetry with Li Sheng, On Poetry with Wang Jia, On Poetry with Ji Pu, Collection of Later Liu Zhou and Poem Fu, which are about the experience of poetry creation and appreciation. We collectively call it On Miscellaneous Poems.
First of all, a similar expression can be found in Si Kongtu's Poems. Such as "storage", "suppression", "Wen Ya", "clear", "elegant", "deep", "gloomy" and "clear" are all feminine, although they are far from comprehensive. Si Kongtu briefly commented on about 30 poets with different styles from the early Tang Dynasty to his time. It can be seen that Si Kongtu has an overall grasp of the previous generation of poetry and knows the characteristics of early, prosperous, middle and late schools like the back of his hand. Moreover, Si Kongtu attaches great importance to and emphasizes the "beauty" of poetry. The concept of "beauty" was put forward in the article "On Poetry with Li Sheng": "The first step of poetry today is difficult for the times; If you work in America again, you will know the meaning beyond taste. " Previously, he had listed more than 20 poems of his own, and then said to himself, "Everything is not limited to generalities." There is also such a passage in "The Collection of Later Liu Liu": "Hey! Later scholars were shallow, and the words were just sentences. They couldn't do it themselves, so they looked at each other. It hurts! Because of the end of the title of Liu Ji, the critics who gave it later didn't say anything to cover its whole work. " To sum up, it can be seen that Si Kongtu not only pursues the whole country in poetry creation, but also applies this concept to poetry evaluation. He advocates a comprehensive measurement of the poet's poetry from a broad perspective. When he evaluates the aesthetic style of his poems, he often takes "the whole America" into account. For example, while saying that Wang Wei and Wei's poems are "elegant and exquisite, they are in it", he added: "What's the harm?" That is to say, in Si Kongtu's view, the two styles of "Lian" and "Zhu Ju" are not antagonistic, but can be unified in the same poem or poet. However, only poets who work for the whole country can reach this level. Furthermore, Si Kongtu holds a negative attitude towards those poets who have a single poetic style and a narrow poetic realm, while he also holds a negative attitude towards those critics whose own poems are shallow and cannot look at other people's works with incisive eyes.
Let's look at Twenty-four Poems, which is a work that brings together various aesthetic qualities and creative feelings. Just as Wang Shouchang praised his "mastery of reason and eloquence" in the poem Little Tsinghua Campus, he also pointed out that such works should be produced on the premise of "mastery of ancient writers". This condition is obviously possessed by Si Kongtu. From his poems, we can see that he can not only calmly grasp the style characteristics of predecessors' poems, but also accurately grasp the development context of Tang poetry.
As a theoretical work of poetry, Twenty-four Poems is rich and inclusive. From "vigorous" to "flowing", theoretically speaking, whether there is a system of twenty-four poems is also a problem that has been debated in academic circles for many years. Some people think that the arrangement order of Twenty-four Poems embodies "realm" and "reason", but there are different explanations; Others think that it has no theoretical system, but only states 24 articles about the artistic conception and style of poetry. However, it is undeniable that the quality of poetry is indeed all-encompassing, which explains various styles, artistic conception and creative experience, as commented in the "Summary of Sikuquanshu": "Therefore, the book also deeply understands the theory of poetry, and all twenty-four products: vigor and dilution ... are characterized by twelve rhymes. All listed institutions are prepared, not the main ones. It is worth noting that the praise of "there are all kinds of poems, but there are different styles" is also Si Kongtu's consistent proposition in poetry creation: he once commented that his poems are "not limited to generalizations" and criticized Jia Dao's poems: "Generally, you can achieve talents only if you are persistent in astringency, but you are also unprepared for your body ...".
If we further compare Shi Pin with Si Kongtu's poetics, we will find that although one is a four-character poem and the other is a prose, it is highly consistent in form, which is analyzed one by one as follows:
1. "Thinking and environment together"
Si Kongtu put forward an important theory in his book Talking about Poetry with Wang Jia, which is mainly aimed at landscape writing, and requires that the thoughts and feelings of the work should be integrated with the life scene, and the poet should love nature and see his temperament in the natural landscape; In this process, the poet himself was artistically transformed into a poem of harmony between man and nature. The ingenuity of poetry itself lies in reaching an agreement with this poetic life perception, with emotion in the scene and "I" in the scene. Throughout these 24 poems, each capital is a four-character landscape poem, which is the product of the combination of natural taste and human emotion, and all of them embody this creative idea.
2. About "Qi"
In Twenty-four Poems, there are two things that can best reflect the majestic temperament: "vigorous" and "vigorous". One of their similarities is that they all talk about the worship of "Qi", and "Wild horses, dust and everything blow with Qi". The first "vigorous" actually implies a huge natural qi, and only it can "occupy everything and cross space", and this "qi" will present a "vigorous" style in the works. On the one hand, Si Kongtu appreciates the poetic style of "Lian Lian", on the other hand, he also appreciates the poetic style of "Jin Jian": "I'm tired of reading hundreds of songs and poems by Han Guan, which drive the momentum, lift the thunder and lift the electricity between heaven and earth, and things will change greatly, so I want to be inspired. The nine words "drive the momentum, if it thunders, it will be electrified" are wonderful comments on the vigorous style of Han Yu's poems. However, when commenting on Yuan and Bai's poems, they are called "vigorous agitation, which is a great estimate of the city". No matter whether this passage is appropriate or not, it shows that Sikong Tu attaches importance to "Qi".
3. About "light"
The second chapter of Twenty-four Poems is called "Chong Tan". There are many references to "light" in the back, which shows that this is another important concept that runs through his theory. The related concepts are "element", "purity", "shallowness" and "emptiness". Ask poets to be indifferent, quiet and complacent, and write poems. The writing is simple and natural, full of leisure beyond the dust. Looking back on the poetry world, Tao Qian's pastoral poems and Wang Meng's landscape poems are examples. Si Kongtu's attention will be mentioned later, and his obvious tendency can be seen only from his comments on the poets in the Tang Dynasty: after listing the poets such as Shen Song, Wang Changling, Wang Wei, Wei, Dali Ten Talents, Liu Yuxi, Jia Dao, Meng Jiao, etc., he wants to pay special tribute to the poets such as Wang Wei and Wei. His preference for "beautiful and delicate" poetic style complements his condemnation of Bai Yuan. Because Bai Yuan's poems, especially "setting topics according to events" are called "New Yuefu" (Bai Juyi's language), they strive to play the role of irony, which is quite different from the indifferent realm. From another point of view, although there are "various styles", none of them can compare with Bai Yuan's poetic style, which is also intriguing.
4. About "Hint"
One of the cores of Si Kongtu's "three images" theory is "implication". When he explained "the image beyond the image", he borrowed a passage from Dai Shulun: "A poet's scenery, such as the warmth of Lantian, is full of fine jade and smoke, which can only be expected but not placed, and it is imminent." It is pointed out that both writing and appreciating poetry should keep an aesthetic distance, and feel the hazy and ethereal wonderland, and then put forward that "near but not floating, far and inexhaustible, and then you can express the meaning beyond words", which are all implicit interpretations. This is the same as "nothing is romantic" and "no difficulty, no worries" in implication, which tells us that implication is easy!
5. "Reality" and "Subject Works"
The "reality" in Twenty-four Poems expresses the realm of writing directly what you see and feel. What is the real situation? The author has a clear answer: "I speak very straight, but I don't think deeply", but how to be "sincere and sincere" is "I don't want to ask for it." This reminds us of the masterpiece of Ji mentioned in Si Kongtu's Ji Pu. After emphasizing that the poet's scenery should be subtle and ethereal, and pursuing "the image outside the image, the scenery outside the scene", Si Kongtu did not forget to point out an exception: "Only the works of the subject can be seen, and you can't abandon your body", which is the same as the "virtual and real" works mentioned in Twenty-four Poems, and pays attention to intuition, visibility and sensibility.
6. Respect for poetic art
There is a saying in the product Hunhun called "Everything is in the sky", which is very similar to the scene momentum mentioned in Si Kongtu's Poem, and both express the infinite charm of poetry. Moreover, the author of "Shi Pin" deliberately raised poetry to a "magical" realm to ponder, and told some mysterious and mysterious creative experiences: for example, "All roads lead to spring" ("Nature"); "Without saying a word, it is romantic" ("Implicit"); "Who should judge the wonderful creation of nature" (spirit); "there is an original, such as unknowable"; "If the image wants to live, it will naturally become strange" ("Detailed"); "God's curiosity is too weak to be collected" ("Qing Qi"); "Where does love come from, the strangeness does not seek itself" (reality), "How does the husband know, why does the prosthesis not know" (flow), all show the magic that poetry has experienced in the process of creation. On the surface, it seems to be "only the wonders, not the pains", but behind the "gods", "wonders" and "wonders", it is the pains of self-observation. This is also a bosom friend with Si Kongtu: in Si Kongtu's view, the beauty of poetry is also difficult to explain. When talking about "the image outside the image, the scenery outside the scene", he was deeply touched: "It's easy to talk?" (The Book of Jipu); And clearly pointed out that "writing is difficult, especially poetry", and said that "the work of writing quatrains is extremely basic, and in addition, it is ever-changing. I don't know why God is self-sufficient. How easy is it? " (On Poetry with Li Sheng); "It's not surprising to know that poetry is not poetry ... God doesn't know it, but it's hard to know it" ("Poetry"). Its similarity is that in the apotheosis of poetry, it embodies the reverence for the art of poetry and the pursuit of a higher realm of poetry.
We just compare the above points by picking some fruits from two big trees, watching their shapes and tasting their flavors. Although we can't form a branch for these two trees, at least they belong to the same family, so these fruits are also meaningful.