Some people think that "verve" means "style" or "texture" and "everything should be top-down", which is the explanation of Weng Fanggang's "Pan verve theory". Some people think that Mr Guo Shaoyu insists on this point. He pointed out: "Rhyme" and "Rhyme" "Actually, the so-called rhyme is just a word for fishing abroad. Mr. Min Ze thinks that verve "sometimes refers to the inner likeness, verve, verve and other things corresponding to modeling and form in creation" and "sometimes refers to the fresh and poetic atmosphere and realm characterized by scenery writing in content." Cai Zhongxiang believes that verve is an "ancient and pure artistic conception". Mr. Wu Diaogong wrote in his book "On Charm". Mr. Ye Jiaying also said: In general discussion, the main connotation of verve refers to the simplicity and lightness of poetic flavor. ""There are two wonderful things in Qingyuan, which are verve. "
When talking about Yu Yang's poetics, Mr. Qian Zhongshu also commented that "verve is the highest realm of poetry" and so on. All the above "excellent tours" have their own charms. In addition, the theories of "taste is different from taste" and "rhyme is the main point" all have their reasonable and even profound aspects, and they all talk about the connotation of "rhyme" to varying degrees. However, judging from Yu Yang's poetry theory and the actual tendency of poetry creation, this seems inappropriate. Some people think that Wang Yuyang's theory of verve has two meanings: first, it refers to the artistic style of poetry, that is, the combination of two styles of "leisurely journey" and "leisurely joy", with the emphasis on the ancient and leisure (referred to as "talking about the sky"); Second, it refers to the pursuit of "a high degree of unity with poetry, focusing on the internal quality of poetry" in a certain poem, while rhyme focuses on the external style of poetry.
During the Ming and Qing Dynasties, the research on the grammar of classical literature became more and more in-depth, but at the same time, Wang Shizhen and Wang Yuyang's "verve theory" was unique, surpassing the specific text form of traditional grammar research, and their understanding of the artistic value of classical works rose to a more profound level.
However, how to understand the position of Wang Yuyang's verve theory in the development of the concept of form in classical literature is still an unsolved problem. Wang Yuyang himself explained his verve theory, saying that he liked the word "romantic without words" in Si Kongtu's Twenty-four Poems. Sometimes, Yan Yu's "antelope hangs on the horn, there is no trace to be found" is quoted to illustrate the meaning of charm. From his concept of verve and these explanations, it is easy to draw the view that verve refers to some emotional connotation in his works that can only be understood but not expressed, rather than formal characteristics. In order to clarify the metaphysical theory of verve theory, Weng Fanggang interpreted verve as "spirit", "reason" and even style and texture. Finally, it boils down to "gentleman", which seems to think that verve belongs to connotation. When talking about verve, Mr. Qian Zhongshu, a modern scholar, said that verve is "not one of the products of poetry, but the products are just right and perfect", which means forgetting me. Explaining verve with user, spirit, qi and spirit all understand verve from the perspective of works' connotation. This understanding is of course good, because the "qi" of "verve" is definitely related to the inner spiritual meaning. But as a result of this explanation, it seems that the word "rhyme" of "verve" has not been implemented yet. Mr. Wu Diaogong, a contemporary scholar, made a more detailed analysis of the word "verve" in the theory of verve:
God and rhyme are perfect. But careful analysis shows that there is a process from "spirit" to "rhyme". Even if this change is abrupt and vague, it obviously contains a "perfusion" process emphasized by Goethe. There is both the poet's subjective "spirit" and the need for perfusion, which needs to be preserved in moderation or publicized in a spurt, forming a carrier full of "life".
Generally speaking, verve theorists pay more attention to "rhyme" and inner rhythmic flow than all kinds of ancient poetics.
Mr. Wu Diaogong not only pointed out the "spirit" and "rhyme" contained in the verve theory, that is, the internal spirit and external rhythm, but also emphasized that the focus of the verve theory was on "rhyme", that is, "the flow of the heart and the internal rhythm".
If Yan Yu is regarded as one of the pioneers of the theory of verve, it should be said that his "interest" such as "different material", "different interest" and "antelope hanging on the horn, without trace" only expresses a vague and dreamy meaning, and does not really penetrate the problem of verve into the real point of text analysis, so the concept of artistic form has not yet been formed. Wang Yuyang is different. His verve theory has become something that can be recognized or even imitated, that is to say, it has been formalized. Weng Fanggang criticized people for mistaking verve for Wang Yuyang's invention: "Poetry regards verve as the secret of experience. This meaning does not start from offshore fishing, but from the perspective of ancient poets. The ancients didn't say it before fishing in the ocean. " Why do people regard what has existed since ancient times as Wang Yuyang's invention? Besides the proper name of Wang Yuyang's theory of verve, what's more important is that Wang Yuyang's theory of verve is advertised as "romantic without words", but there are ways to find it.