My opinion on the theory of "realm"
In the history of China's modern literary criticism, Mr. Wang Guowei's "Thorns on Earth" is undoubtedly a work connecting the past with the future. In this book, he took China's traditional poetics theory as a knife, the western novel philosophy theory as a blade, and the poems of ten poets in five algebras as as anatomical objects, and created the "realm" theory, which became the core of Wang Guowei's ci theory. The theory of "realm" not only puts forward a conceptual category or style characteristics of literature and art, but also deeply discusses the origin of literature and reveals the surface and deep connotation of art. Its important thought not only occupies an epoch-making historical position at that time, but also is widely used in today's literary criticism.
This paper will take the whole edition of "The Thorn on Earth" (1) as the research object, try to sort out the theory of "realm" comprehensively, and make a preliminary discussion on the history, the author's personality background and limitations of the theory of "realm".
First, the origin of the word "realm" and the concept of "realm" of Wang.
To study the theory of "realm", we must first study the exact definition of the concept of "realm". What is the "realm"? The whole story of "Ci Hua on Earth" revolves around "realm" and is written as an article around "realm". However, Wang Guowei did not give a complete definition of the word "realm" intentionally or unintentionally.
Words are based on the realm. If there is a realm, it is self-contained and has its own famous sentences. Ci in the Five Dynasties and the Northern Song Dynasty is unique here.
However, Canglang's so-called interest and Ruanting's so-called charm are just words. If I don't choose the word "realm", I will explore its origin.
The word "realm" was not originally created by Wang Guowei. According to Mr. Qian Zhonglian's textual research, "Before or at the same time, there were many schools to say poems or words with the word" realm ",such as Si Kongtu, Wang Shizhen, Wang Shizhen, Ye Ying, Liang Qichao and Kuang Zhouyi. Although they are not as comprehensive as Wang, they are not exactly the same, but they are always the first of Wang's' realm'. " (2) The word "realm" first appeared in China's ancient books, which may be the sentence "Being in Xinjiang is reasonable" in Shiya Jianghan. Han and Zheng Xuan wrote: "Be in the right place and cultivate its teachers." Refers to the scope of the area. The original meaning of the motto "Jing" (also known as "Jing") in Shuowen says: "Jing, Yue is Jing." For the ultimate meaning. Another cloud said, "It's actually a bondage." By the Tang Dynasty, poetry had been discussed in terms of "realm" or "realm". For example, in the now-lost Poem by Wang Changling, "Poetry has three realms", namely, the realm of objects, the realm of scenes and the realm of artistic conception. By the Ming and Qing Dynasties, "realm" and "artistic conception" had been widely used. However, it is not difficult to see that their meanings of "realm" are different from each other by carefully examining the usage of predecessors. Only in Wang Guowei's Ci-Hua on Earth can "realm" have a brand-new and concrete connotation. (3) In Wang Guowei and his literary criticism, Mr. Ye Jiaying thinks that the appearance of the word "realm" is related to the terms in Buddhist classics. Sanskrit is Visaye, quoting the six senses, six senses and six realms in the Buddhist sutra Ode to Shu. It can be seen that only through the six senses of eyes, ears, nose, tongue, body and heart can we call it a realm. In my thinking, the word "realm" came to Wang Guowei, and its connotation still has something in common with the characteristics of emphasizing feelings in Buddhist scriptures.
Therefore, what can describe the scenery and true feelings is called the realm. Otherwise, it is called boundless.
I turned this sentence upside down and said: the so-called "realm" is the experience of true scenery and true feelings. This exposition is my definition of realm theory.
Secondly, from the relationship between several pairs of dialectics in The Thorn on Earth, the theory of "realm" is further described and understood.
Laozi said: "Tao can be Tao, extraordinary Tao, famous name, extraordinary name." In fact, it is difficult to accurately define the complex and rich concept of "realm" to summarize all its connotations. Many researchers of Wang Guowei try to give a slightly complete definition or draw a basic range, but they are often too rigid or tend to generalize (including my definition). Instead of defining rigid machinery, it is better to describe it vividly and one by one, which is more accurate. By studying and combining the achievements of predecessors, I summed up six groups of dialectical relations from the realm theory.
1, the existence of the realm, that is, the question of "truth" and "falsehood".
The realm is not only the scenery, but also the joys and sorrows, which is also one of the realms in the heart. Therefore, those who can describe the scenery and feel the true feelings are called the realm. Otherwise, it is called boundless.
Everyone's work, its love will be refreshing, and its scenery will be refreshing. His words blurted out without any makeup. What you see is true, and what you know is deep. Poetry is natural. There is nothing wrong with balancing ancient and modern authors with this.
The existence of realm lies in truth, and the quality of poetry also lies in truth. What is a real scene? What is true emotion? In my understanding, if you write a scene, learn from nature and accompany the poet's spiritual growth, you can give readers an epiphany and wander freely, which is the real scene. If you write out your feelings, take out your thoughts and put them in foreign things to make yourself feel "close to your heart", that is true feelings. The real scenery is the perfect combination of people's thoughts and external landscape forms, and the unity of vivid and intuitive poetry and profound feelings. "True emotion" is a kind of personalized "human emotion", and it is the poet's ultimate concern and understanding of the universe, the essence of life and human destiny. What kind of people can describe scenery and true feelings? Only pure poets in the true sense! Only poets who have experienced the realm of "the west wind withered the green trees last night, went to the west building alone and looked at the horizon"! This kind of person has seen the bleak eyes, but his heart is still warm, so his words can flow out with deep affection, take advantage of the crisp autumn, see the distance, turn around, take care of yourself, for ideals and for mankind. They are either Ming Che or heroic, uninhibited and thoughtful. Embroider banners and I'll go! (4) Whether it is traditional or reactionary, braving the wind and waves or maverick, it will always be sincere. I can see through, so I can write and take responsibility, so I can let go. Except such people, how can mediocre people write true temperament and true scenery? I'm afraid it's extremely clever, "or look at the emerald green, not holding whales in the blue sea" (5).
Wang Guowei's thought on stylistic evolution is also based on "truth".
After the middle Tang Dynasty, poetry almost became a tool for lambs and geese. Therefore, the poems of the Five Dynasties and the Northern Song Dynasty were few and far between, and Ci was an extremely prosperous era. That is, poetry is good at being both an uncle and a traveler, and words are far better than poetry. Write to the poet, not to the truth of the poet. After the Southern Song Dynasty, Ci was also a tool for goslings, and Ci was also replaced. This is also one of the keys to the rise and fall of literature.
Aside from Wang Guowei's personal views on poetry in the Song and Southern Song Dynasties, Wang Guowei believes that the rise and fall of poetry is due to the problem of "truth". Paying attention to "truth" will flourish, and losing "truth" will be replaced, which is of great significance. The loss of poetry as a lamb goose is the sorrow of literature and the symbol of losing vitality. Looking back on today's poetry and literary world, why do novels and essays describing social reality and essays expressing life feelings still attract people's attention and have endless vitality? Modern poetry, however, is limited by personal narrow experience, and desperately pursues extravagance and differences in form, losing people's interest more and more, even to the point of shameless? Relatively speaking, because many utilitarian colors of old poems have faded, some writers have done nothing, so that they can really see their hearts and show their true feelings, but there are signs of revival. Only when there is "truth" can there be a realm, and there is no realm without "truth". Wang Guowei's theory of stylistic evolution is of positive significance in this respect.
2. The problem of clumsy work.
"The branches of red apricots are noisy in spring", and the word "noisy" is written, and the realm is exhausted. "Clouds break the moon to make a shadow", and the word "de" is written, and the realm is exhausted.
Rhetorically speaking, the two sentences are wonderful because the poet endows the scenery with a dynamic and natural humanity, and the poet's ability to refine words and cast sentences is high, so it is good. If ordinary people are taught to write this scene, the word "noisy" is replaced by "full" and the word "lane" is replaced by "companion". Although the meaning has not changed, the realm has been completely lost. So as long as you look at the nuances of the work, you can see the author's skill. As the expression of the same emotion and scenery, the word "work" with deep skill and the word "clumsy" with shallow skill determine the level of the work.
As a poet, it is rare to have vision and temperament, but if the "realm" only talks about enlightenment, there are many people who have enlightenment in ancient and modern times. At that time, the old man in Suiyuan talked about spiritual writing, "I write by hand." When poetics came out, there were many poets in the world, but the poetry of a generation did not prosper. "Fang Han Qi, before he resigned, was almost finished, and he started with a half-folded heart." (6) Where is the writing easy? Therefore, there are three diseases in words: obscenity, vulgarity and vagrancy.
Jin Langfu wrote the Preface of Ci, which is divided into three types: obscene words, light words and vagrant words, and the disadvantages of words abound. Ci in the Five Dynasties and the Northern Song Dynasty is lost and lewd. Xin and Liu's words are also contemptuous. Jiang's words, its loss also swims.
Lewd words, indulgent and lewd words; Vulgar words, rough and simple words; Drifting words, floating words. These three kinds of word diseases are all due to lack of pen power and can't be restrained. Wang Guowei still forgives the first two, but thinks the third is the most unforgivable.
"In the past, I was an advocate of the family, but now I am a slut. If you don't go home, it is difficult for a person to keep an empty bed. " "Why not be ambitious and take the road first?" Doing nothing, keeping poor and humble, bumpy and bitter ",can be described as particularly obscene. However, those who ignore it as obscene and contemptuous words regard it as true. So did the great poets of the Five Dynasties and the Northern Song Dynasty. Non-obscene words are kind and touching when read. Not contemptible, but full of energy. It can be seen that the disease of foul language is not the disease of foul language, but the disease of wandering words. "Forget it, the room is far away." Confucius said, "If you didn't think about it, why did you have it?" I hate swimming.
The "real" works, because they are not creative, can't avoid the ridicule of "obscenity" and "meanness", not to mention a lot of "gossip" that has nothing to do with "truth". Correcting the "three diseases" of ci requires creative tempering, which makes the creation change from "clumsy" to "hard". This tempering process, in Wang Guowei's words, is "I won't regret it if my belt widens, and I am exhausted for Iraq."
It is to ponder the article thoroughly, regard the composition as a lifelong career, ferment it repeatedly, soak it repeatedly, eliminate it repeatedly, and finally become pure. People all think that Qu Yuan and Han Yu's articles are good, but they don't know that one is because of the accumulation of half-life essays, and the other is because of decades of forgetfulness. The so-called story of "two sentences won in three years and one tear shed" won not poems, but words. The cold island in the suburbs is thin, why is it cold? Why thin? "Because I never write poetry", my clothes are getting wider and wider.
A poet must be both inside and outside the universe. If it is involved, you can write it. Outside it, we can see it. Into it, so there is life. Beyond it, it is high.
Beyond it, so it can be real, enter it, so it can be cut. I think only the perfect combination of "truth" and "cut" is the perfect composition of the realm. The above two sections discuss the attitude and accomplishment of the creator, that is, the standard of the realm. It's been a decade in the Jianghu, and only those who have worked hard through the ages are qualified to drink that mellow wine under the spring breeze of peaches and plums. (7)
3. The realm of "with me" and "without me" is beautiful and grand.
On standards, let's talk about types first. Wang Guowei believes that there is a "realm without me" and a "realm with me".
There is my territory, but there is no my territory. "Tears ask the flowers to be speechless, and the red flies over the swing." "It's like a lonely pavilion in spring and a cuckoo falling in the sunset." There is my place. There is no place for me to "pick chrysanthemums under the east fence and see Nanshan leisurely" and "cold wave starts and Bai Niao falls leisurely". If you have my own environment, you can see things with me, so 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 ci, and many people wrote my realm. However, you can't write my realm before you start, which is why heroes can build their own ears.
About this passage, predecessors have Mr. Zhu Guangqian's exposition.
What he called "seeing things from me, so everything is my color" is the so-called "empathy" in modern aesthetics. "Empathy" happened because when I focused on things, the instant time changed from forgetting things to the original, so I shifted my interest to things. In other words, "empathy" is "the life of the dead" or "the sadness of the heartless", which only happens when I focus on things and forget each other. This shows that the "land with me" mentioned by Mr. Wang is really a land without me. Examples of his "land without me" are "picking chrysanthemums under the east fence, leisurely seeing Nanshan" and "cold wave starts, Bai Niao falls leisurely", all of which are wonderful scenes recalled by the poet calmly and have not been empathetic, so they are actually "land with me" (8).
My opinion is different from that of Mr. Zhu. Generally speaking, the theories of "with me" and "without me" are inspired by Schopenhauer and Kant's philosophical thoughts. Wang Guowei borrowed the "no self" and "having me" widely discussed in China's Buddhist and Taoist classics, which is bound to give them new connotations. Without me, it is really "thing me". Everything is for me, things are different, so forget me and lose me. "Picking chrysanthemums under the east hedge, leisurely seeing Nanshan", although leisurely seeing is the poet's first sight, has a subject, but at the moment of seeing it, chrysanthemum, hedge, Nanshan and the poet have been integrated. In the distant and quiet scenery, the poet gained a state of forgetting, combining with everything, so although there is me in the realm, there is really no me in the heart, so Wang Guowei judged this sentence as the realm without me. As for my existence, "because I see things, everything is my color" is by no means "empathy", because the result of my existence is by no means the identity of things and me, but everything is enslaved by me! My existence is the embodiment of the author's personal strength, strong enough to change everything. "It's like a cold spring closing a lonely pavilion and a sunset setting cuckoo." What's the complaint about Lonely Pavilion? What's the feeling of cold spring? What does the cuckoo know? What do you think of the sunset? All the scenery has been changed by the author, smeared with his own color and branded with the soul. I have what suits me, and I change what doesn't suit me. Why not me? Where is it not me? Being with me is beyond the reach of a very energetic author. Stiffness, softness, beauty and greatness without self are the ideal realm of creation. Wang Guowei thinks it's not fair to have me without me.
Without self, people can only get it in silence. When you have my territory, you get it when you are quiet, so it is beautiful and powerful.
Wang Guowei thought about the two concepts of "beauty" and "grandeur" before the publication of "thorns on earth" He tried to discuss these two concepts in Schopenhauer's philosophy and his educational theory 1904:
There is a difference between beauty and grandeur. Today, there is one thing that makes people forget the relationship between interests, and what they never tire of playing is called good feelings; If things go against our will and our will is broken, only knowledge can meditate on its thoughts. This is called magnificent feelings.
Beauty and magnificence are important concepts introduced by Wang Guowei from western aesthetics. Obviously, "grandeur" means "sublime". Wang Guowei translated it as "grand and magnificent", and it is not difficult to see that China's classical poetics has added many meanings.
Gorgeous and elegant are actually the duality of rigidity and softness in China's classical poems. In the realm of no self, I have no conflict of interest with foreign things. In a quiet state, the poet combines with everything and lives with everything. This is the realm of beauty. In the realm of having me, my willpower breaks with foreign things, so my mood fluctuates, so I fight it, overcome it and conquer it. The process is turbulent, and there is my realm to be conquered. At this time, everything has been tamed by the author, so it must be calm again. I came, I saw, I conquered, and this is the magnificent realm.
4. "Creating environment" and "writing environment".
Regarding the types and methods of completion, Wang Guowei believes that there is a creative environment and a writing environment.
There is a difference between the ideal of creation and writing, and the other is realism. However, it is quite difficult to distinguish the two. Because the environment created by great poets must conform to nature, the environment written must also be adjacent to the ideal.
"Creation" and "writing" also belong to the classification of "realm", but the difference between them lies mainly in the different methods of artistic creation. "Creating environment" comes from the romantic creative method, which makes the "ideal" school successful, and "writing environment" is rooted in the realistic creative method, which makes the "realistic" school successful. This division of Wang Guowei undoubtedly came from the popular aesthetic views in the west at that time, but it is worth noting that Wang Guowei took another big step forward on the basis of the division of the two factions. He not only noticed the difference between the two factions, but also deeply analyzed the connection and infiltration between the two factions. It is difficult to separate, because "nature" and "ideal" are closely related, and only great poets can really pay attention to and understand the relationship between them. Then he further developed this idea:
Things in nature are interrelated and restricted. But when it is written in literature and art, it will inevitably leave its relationship limitations, so although a realist is also an ideal home. Although how to create a fictional realm, its materials must be sought from nature, and its structure is also based on the laws of nature, so although an idealist is also a realist.
Although the two schools of idealism and realism have different creative starting points, their creative materials all come from nature. What is nature? It refers not only to nature, but also to the human society on which literature depends. The process of "writing in literature and art will leave their relationship limitations" is the process of "typification", which is inseparable from ideals. Idealist writers are used to "creating environment". In fact, they separate natural things from each other and then recombine them. "Their materials must come from nature", otherwise it is rootless water, castles in the air and inseparable from reality. So Wang Guowei:
Poets must have the intention to despise foreign things, so they can direct the romantic life with slaves. We must have a sense of attaching importance to foreign things, so that we can have the happiness of flowers, birds, fish and insects.
Despise foreign things, the ideal poet also; Pay attention to foreign things, realistic poets also. The ideal image of a poet in Wang Guowei's mind is a highly unified and perfect combination of ideal and reality.
5. The state of "big" and "small", "high" and "low".
After discussing the method, let's talk about the specification. Wang Guowei believes that there are "big" and "small", "high" and "low"
There are big and small realms, and there is no good or bad. "Fish comes out in the drizzle, and the swallow leans in the breeze", why not "set up the banner of sunshine" and "A?vagho?a is rustling"? "Small silver hook closes the curtain", so it is not "fog loses the moon".
Nietzsche said: "All literature, I love those written in blood." The words of the late Lord are really so-called people written in blood. Emperor Song Daojun's "Yanshan Pavilion" is also slightly similar. The Daojun emperor is only a relative of his own life, so the Lord seems to have the meaning that Sakyamuni and Christ are responsible for the sins of mankind, with different sizes.
Both of them talk about "big" and "small", but I think there are still differences. The first one says that the realm is "big" and "small", which means that there is no evaluation function regardless of advantages and disadvantages. The second Ci-Hua has obvious evaluation function, and thinks that the "big" realm of the latter is better than that of the Taoist monarch. Isn't this a contradiction? Actually, it is not. A closer look reveals that the second word is actually the "high" and "low" of the realm.
What is the "big" of the realm? I think it lies in the breadth, quantity and strength of images. "Great use is made of the outside world, and the substance is full", and the poetic scene is spread on a vast scene. "Everything is there, and the space is all out." The poet has many intentions of possession and control, so it has a stirring effect. This is related to the "sublime" category in aesthetics. What is a small realm? It lies in the subtle space of image, simple quantity and soft power. "Everywhere, don't be your neighbor's partner", the poet started from the ordinary things around him, "All roads lead to Rome, and spring blossoms" (9), turning decay into magic, natural and silent, so it has the effect of calming people's hearts. This is related to the category of "beauty" in aesthetics. I think the distinction between "big" and "small" is divided from the plane of image. Whether to write "big" or "small" depends on the poet's writing intention, so it is impossible to distinguish good from bad. The significance of "high" and "low" of the realm lies more in the depth of experience.
When the word arrived, the vision began to widen and the emotion deepened, so it became a musician's word and a scholar-bureaucrat's word.
The "high" and "low" of the realm depend on the depth of the work. Song Huizong's "self-pity" is self-pity, but he indulged in his own joys and sorrows and did not rise to the height of * * *, so it is also touching. Li Houzhu painstakingly wrote "How much sorrow can you have, just like a river flowing eastward" (10) and "People naturally grow up and hate the water growing eastward" (1 1), which touched a kind of common sorrow of mankind, and "it seems that Sakyamuni and Christ bear the burden of human sin". The level of the realm actually stems from the depth of the poet's spiritual experience, and naturally there are good and bad points. The distinction between "big", "small", "high" and "low" of the realm lies in plane and three-dimensional. Although they are related, they are actually two very different categories.
6, separated and not separated, literary image.
Let's talk about specifications first, then advantages and disadvantages. In the last section, the "high" and "low" of the realm relate to the quality of the work. Finally, I will focus on Wang Guowei's most controversial and controversial "divide" and "divide" issues. Wang Guowei believes that poetry can be divided into "separation" and "non-separation".
Words should not be replaced by words. The beauty of "sweet-scented osmanthus flowing tiles" in Jieyu Flower has a wonderful realm, so it is a pity to use "sweet-scented osmanthus" instead of "yue". Under the dream window, more words are used. The reason is not enough and the language is not good. If you cover your heart, you will be at a loss. If you say it beautifully, you won't have to. This small tour of "small building with garden" and "embroidered hub and carved saddle" was also ridiculed by Dongpo.
Asked about the difference between "parting" and "not parting", he said: Tao's and Xie's poems are not parting, but parting slightly during the New Year. Dongpo's poems are not separated, and the valley is slightly separated. The beauty of the words "spring grass grows in the pond" and "empty beams fall in the mud" lies in their non-separation. So are words. That is to say, the word "one person" is used. For example, Ouyang Gong's "Youth Tour" sings the cloud on the spring grass: "Twelve withered spring alone, the sky is far away. Wan Li, Wan Li, February and March, people are sad. " Language is just around the corner, but it is not separated; To the cloud "Xiejiachi, Jiangyan Pupan", it is separated.
According to statistics, there are seven words around * * * that explicitly or implicitly discuss the issues of "separation" and "non-separation". But in the end, he only explained the difference between "every" and "no", and did not explain his reasons in detail. What shall we do? Wang Guowei said a very important sentence in the book A Dream of Red Mansions Review, which is the key to solve this mystery.
It's just that the characteristics of art value concreteness rather than abstraction.
Combining the above words, it is not difficult to find that the discussion of "case" and "case" actually touches the image of art. Through understanding, we can roughly sum up two main points, namely, "language is at hand", and anything that can directly give people a vivid, vivid and true feeling is "Jeb" and "its feelings must be refreshing and its scenery must be eye-catching". His words blurted out and didn't correct the state of the makeup bundle at all. Correspondingly, if the feelings are vain and artificial, and the words are too artificial, such as using "substitute words" and "wandering words" with false feelings, which destroys the authenticity of the image of the work to a certain extent and makes the reader feel confused, it is "separation from love" or "micro-separation".
Some people have put forward different views on the distinction between Wang Guowei. Are they all concrete and "inseparable" to write excellent poems? "Oil, salt, rice sauce, dogs, horses, cows and sheep." Is the scenery "inseparable"? "Homeless everywhere, home everywhere; Sad every year, sad every year. " Is it inseparable from writing about love? Is this also a good poem? ( 12)
I think this is a distortion of Wang Guowei's original intention. The theory of "dividing" and "dividing" only emphasizes the irreplaceable role of intuition in the aesthetic process, revealing the instantaneity of artistic intuition and the poet's ability to capture. However, when emphasizing "inseparable", it is not necessary to oppose images and meanings. The so-called visualization is a direct and complete image synthesized by the interaction of complex factors such as syllables and semantics. If we put aside these complicated factors and emphasize the intuitive function alone, I think this may not be Mr. Wang Guowei's original intention.
Finally, I will briefly talk about the problem of "substituting words". The so-called "substituting words", "official duties" and "using allusions" can be classified into one category, as opposed to straightforward writing. As far as I know, only Zhong Rong, a literary critic, has a similar attitude towards "Daizi" in ancient and modern times.
As far as talking about family ties is concerned, why is it expensive to use things? "Thinking of you like running water" is not only the immediate goal; "High platform hates Taiwan", which is just what you can see; There is no reason to "go to the first place in the morning"; "The moon shines on the snow", which is very classic. Throughout the ancient and modern times, most of them are true, and they are all straight. ( 13)
I was inspired by this book when I first read it. Although there were factors of youthful pride at that time, I really can't deny that his thoughts have unique brilliance. Literary creation is much more expensive than showing one's arms and doing one's best to get readers' attention. Why use literature to decorate feelings, and set up a layer of puzzles outside the situation. As a receiver, it is really straightforward works that are the easiest to understand. Hu Shi also listed "allusion" as one of the eight major literary diseases in "Improvement of Literature", but he also thought that it was necessary to use allusion appropriately in the discussion. With the deepening of my understanding of the essence of literature, I gradually found that some euphemistic and layered artistic conception is not suitable for straightforward language description. A simple example is the sentence "falling red is not a heartless thing", which "replaces" the word of residual flower but adds a sad rhyme; The phrase "falling flowers are still like falling from a building" has "shifted" the "green beads", thus adding a layer of lamentable feeling. Poetry about objects is like this, and the situation of epic is more complicated. As space is limited here, we won't discuss it any more. In a word, the quality of works depends on comprehensive evaluation. Zhong Rong's statement was later ridiculed by scholars because he did not fully investigate the complexity of literary creation. Wang Guowei's thought combines the essence of Chinese and western thinking, pushing this thinking to a deeper and more scientific level, but emphasizing the image of the work is correct. It is too one-sided and simplistic to judge whether the word is used in a work or not. In the practice of literary analysis, when accepting and applying the "realm" theory, we must deal with the facts, make a detailed and comprehensive investigation, and make dialectical analysis and experience.
Thirdly, from Wang Guowei's feelings of last-time literati, we can see whether he becomes a poet or not.
Although literary criticism is based on objective theory, it must be because the participants are human beings and it is a very subjective work. Especially when it comes to the problems of individual artists, because it implicates and criticizes people's preferences, experiences and knowledge, the conclusions are branded with the personal thoughts of critics. As a pioneering figure, Wang Guowei's criteria for judging whether he is a poet are very different from those of his predecessors and contemporaries. Even now, some of his views and standards can not be fully recognized by the academic community. Although some comments in Ci Hua can only be used as examples of the personality of the theory of realm, they must be an organic part of the theory of realm, so it is necessary to analyze and discuss it in a certain space.
Most theorists before Wang Guowei, such as Zhu Yizun and Li E, took the Southern Song Dynasty as their religion, but after Wang Guowei arrived, his attitude changed. He said:
On Ci, in the Five Dynasties, Feng Sheng was better than Hua. Song's uncle, Shu Yong and Zi Zhan, traveled little and didn't like beauty. Jia Xuan was the only one who loved her in the Southern Song Dynasty, but the worst nightmare was the window and Yutian.
I think this view has a lot to do with the feelings of Wang Guowei's last scholars.
Wang Guowei promised to be a loyal minister all his life. "The Wangs' ancestors were Kaifeng people. The history of the Song Dynasty includes our ancestors, as well as the distant ancestors of Bing Wang and Wang Xun, all of whom have outstanding military exploits. Among them, Wang Gui, Wang Bing and Wang Xun died in the national disaster, especially in the first year of Jingkang, who resisted the Jin army in Taiyuan and defended the city against the enemy. He is a national hero who fought against gold and achieved outstanding results. " "Wang Guowei is also very proud of this and wrote" Supplement Genealogy, Loyalty and Strong Public Biography ". (13) Wang Guowei lived in an irretrievable troubled times. An incorrigible troubled times has created a character who cannot extricate himself. As a scholar, he was treated by Fu Yi. Although he knew nothing about a declining dynasty, he was full of sympathy and pity. I admire my ancestors, but I have no ability to serve my country. Feel depressed. So, in order to get rid of it, I turned to academia. But all I get is the hesitation of "knowing that it is credible but not cute, but feeling loved but not credible" (14). Although I have a lot of knowledge, I can look forward to a few days (15), but it is full of "fifty years, I only owe one death, but the world has changed." This complex mentality, I define it as the feelings of the last literati. Based on this understanding of Wang Guowei, we should look back at "The Thorn on Earth", not only to observe his likes and dislikes of poets and ci, but also to make individual explanations, and also to observe his overall historical view of ci. Due to the limitation of space, it is only a preliminary study.
1, witness the history of the demise of the Qing Dynasty, poor innocent monarch.
The understanding and admiration for the two masters, Nan Tang and Feng Yansi, is a casual expression of his mentality. Li Yu is the king of national subjugation, but the downfall of the Southern Tang Dynasty is a historical trend and meets the requirements of historical development. Li Yu himself has no evil deeds recorded in history, so he is an innocent king. Combined with the reality of the late Qing Dynasty, in Wang Guowei's view, there was also an innocent king at that time. Fu Yi, the emperor of Xuan Tong, is a helpless person in the historical torrent. The Qing Dynasty perished due to extreme corruption, but the last emperor Xuan Tong could not be responsible for the demise of this empire, because he was still too young. 1906, Wang Guowei was recommended by Luo Zhenyu to go to Beijing as a "school walk" of the Qing court. Until 1922, he was the "southern study walk" in the Palace Museum of Puyi, and was rewarded with "eating five dishes" and "riding a horse in the Palace Museum". Wang Guowei accepted it and was proud of it. It can be seen that he still regards himself as a relic of the Qing Dynasty and pays tribute to Fu. Although Wang Guowei's real time in the imperial court was short, he witnessed Puyi's accession to the throne and forced abdication, which added a lot of helplessness and sadness to his physical and mental experience. At the end of the Qing Dynasty, it was the time when Wang Guowei wrote "Thorns on Earth". When he studied poets, he naturally compared Li Yu with Fu Yi intentionally or unintentionally. As a person who witnessed the demise of a dynasty at the same time, Wang Guowei also felt replaced, so he had a deep understanding of Li and Feng's ci. The fact that Li Yu was poisoned at last increased Wang Guowei's tragic consciousness and worried about the fate of Emperor Fu Yi. "The words of the deceased are really written in blood." Fu Yi really didn't know, but Wang Guowei saw that the last emperor himself was already in tears.