All scenery words are love words.
China's poems have always attached importance to the blending of emotion and scenery. Wang Guowei said in "Words on Earth": "In the past, there was a distinction between scenery language and emotional language. I don't know if everything is emotional. " In poetry theory, whether it is the theory of artistic conception or verve, whether it is the theory of creation or appreciation, the logical starting point is the elaboration and deduction of this issue.
The dualism of modern epistemology, starting from Descartes, studies problems through the antagonistic relationship between man and nature, assuming that a subject exists independently of the world, which leads to the division between man and nature, subject and social object. This gap has blocked the talents of countless western philosophers. However, from the very beginning, China's philosophy basically took "the unity of man and nature" as the highest spiritual realm.
People in China believe that nature and people are integrated, and nature gives people the means to survive, so people should adapt to the changes of nature. This tradition was later promoted to the height of epistemology and ethics, and evolved into the idea that man and nature, man and society should coexist harmoniously. Then personify natural phenomena, endow the scenery with human attributes, regard everything in nature as a conscious and purposeful arrangement of "heaven", and think that the change of seasons and the rise and fall of vegetation are the manifestations of the will and feelings of heaven and man.
Emotion is the channel of the soul.
Liu Xie said in Wen Xin Diao Long The Original Road:
Look up and spit obsidian, look down at the chapter. High and low positioning, so two musical instruments were born. Only ginseng, the spirit of Zhong Zhi, is called three talents, which is the show of five elements and the heart of heaven and earth. The heart is born, the words are civilized, and the way of nature is also.
This inductive relationship is the basis of China's traditional aesthetics, which has influenced a series of literary thoughts and their creative practice. Liu Xie summarized this inductive relationship as the theory of blending mind and matter. He said this in Wen Xin Diao Long Search:
It is a place where poets think about things, connect with others and wander around Vientiane. The spirit of painting, not only with things; It is attached to the sound and lingering with the heart.
The world is infinite. People can understand things in the objective world, transform things and shape things in their own subjective world. The same external environment will have different feelings in different people's hearts, so the works they create will naturally be different.
Emotion is not only personal, but also related to common social emotions. Thomas Stearns Eliot, a famous poet and literary critic, put forward a very important argument "impersonality" in his article Tradition and Individual Talent. He said: "Poetry is not emotional indulgence, but emotional detachment; Poetry is not the expression of personality, but the separation of personality. " The poet is required to "get rid of" his own affairs, but to find "ordinary feelings" that everyone has. However, it is difficult to distinguish personal emotions from general emotions.
According to China's traditional ideas and language habits, personal feelings such as men's and women's feelings can be called "feelings", while "ambition" obviously has a tendency to care about social current affairs. Different from western literary theory, China's ancient prose theory pays attention to the expression of emotion, so when commenting on poetry papers, we look at the inner spirit, phonology and meaning, not whether we can shape a typical image. Cao Pi's Dian Lun Wen first proposed that "Wen is based on Qi". Later, Liu Xie and Zhong Rong also used this as a criterion to judge the quality of poetry.
Ye Xie, a poetry theorist in Qing Dynasty, thought that "poetry with temperament must have face". Du Fu is the most representative one:
For example, quoting a poem by Du Fu, we can see that he is worried about the country and loves the monarch, and he is upset when he sympathizes with the monarch. He is worried about everything, and he is poor but not extravagant. He is in a rugged place where soldiers and thieves are fighting, but he expresses his anger with mountains and rivers, friends and drinking. This is Du Fu's face. As soon as I read it, my face was the same as before.
Du Fu's works fully show that there is no conflict between personal feelings and general feelings. He sublimated his grief and joy into compassion, and his personal feelings became universal feelings. Emotion is the starting point of China's traditional literature. In order to express emotion, "image" is used as a bridge, and emotion dominates the image at the same time, so as to achieve the effect of blending scenes.
The difference between "the realm with me" and "the realm without me" and "emotional language" and "landscape language"
Wang Guowei divided the artistic realm into "the realm with me" and "the realm without me" in "The Thorn on Earth". He said: "With my realm, everything is my color. Without me, we look at things in terms of things, and we don't know what is mine and what is physical. The ancients wrote a lot about my realm, but you can't write my realm before you start. This is a hero who can build his own ears. " He also said: "without self, people can only get it in silence;" If you have my place, you will get it when you are quiet. Therefore, one is beautiful and the other is grand and powerful. "
Because Wang Guowei's explanation is too simple, there are many differences in later generations' understanding. Wang Guowei's aesthetic thought was deeply influenced by Kant and Schopenhauer, and many specific viewpoints directly quoted Kant and Schopenhauer's theories, such as the disinterest of art and the tragedy starting from desire. The theory of two realms is also closely related to Schopenhauer's poetic theory. If the theory of two realms is completely attributed to Schopenhauer's lyric poetry theory, it is too partial to generalize.
Although Wang Guowei is a supporter of Kant and Schopenhauer's aesthetic thoughts, he is also a scholar deeply influenced by China's traditional culture. He was influenced by China's traditional philosophy and western theories, but he was not bound by western theories.
The fundamental difference between "viewing things by oneself" and "viewing things by things" is that the former views things by oneself, with the human heart as a limited view, while the latter takes the theory of everything and the heart of Tao as an infinite view. The subject of these two ways of looking at things is people, that is, me, but the former's "I" is not completely beyond "having me", while the latter's "I" is completely beyond "self" and integrated with things for "not having me". Wang Guowei's theory of "the realm with me" and "the realm without me" is based on the theory of "things" in China's ancient philosophy, and can never be completely attributed to the influence of Schopenhauer's poetic theory.
"The realm with me" is the realm created by my view of things, and "the realm without me" is the realm created by my view of everything. The feeling of "realm with me" is not beyond one's own feelings, but more subjective, while the feeling of "realm without me" is more objective than one's own feelings, and it is integrated with universal reason. The former cannot be simply understood as emotional language and the latter as situational language.