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. ?
What are the twenty-four poetic styles summarized by Si Kongtu?
Coarse and thin fiber deposition
High power, elegance, strength and health?
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. "Su Shi's silence is subtle" ("Dilution"), "Virtual? NB025？ The essence of God is sealed (lofty) and the essence of body is pure, and the truth of the moon (washing and practicing) all emphasize that poets must transcend secular desires, prejudice, interference and bondage, so that their hearts are in an ethereal and quiet state, thus enhancing their spiritual realm. ?
"Weird people took the truth and dealt with the lotus. Pan-other disasters are empty. " ("Gao Gu")?
"You empty mountain after the rain, to pick apples. Thin words and feelings, long rhyme. " (natural)?
"Master hui, make color. The wind leaves are boundless. " (elegant)?
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. ?
Aesthetic implication
Although scholars of past dynasties have interpreted the contents of Twenty-four Poems from the perspective of overall poetic style, individual appreciation, and specific artistic creation structure, language and techniques, they have reached a very in-depth level, but they have not fundamentally pointed out the core essence of the book. The position of this book in the history of China literature mainly lies in its distinction between different types of poetic artistic conception, and more importantly, its exposition of the aesthetic essence of poetic artistic conception. With the thinking mode of "comparing things with images and witnessing the existence of Tao", Si Kongtu unified three psychological activities: the philosopher's understanding of life, the poet's understanding of poetry and the critic's understanding of the provincial capital of poetry, transcending the experience world and entering reality, and reaching the realm of harmony between man and nature. ?
Si Kongtu's poetic theory mainly emphasizes "thinking and environment", "image outside the image", "scenery outside the scene", "meaning outside the rhyme" and "meaning outside the taste". ?
The so-called "combination of thought and environment" is the unity of subject and object, rationality and sensibility, and the fusion of inspiration and image in the poet's aesthetic process. The so-called "image outside the image" and "scenery outside the scene" are artistic conceptions that transcend concrete and tangible descriptions and are suggestive and imaginative. The so-called "meaning outside the rhyme" and "meaning outside the taste" are the elegance and charm directly presented by poetry, which is another meaning and more meaning than taste. He is the direct embodiment of this aesthetic ideal. Each capital of Twenty-four Poems is exquisite and profound, full of images, speculation and philosophy. It is a holographic image with or without mutual existence, contrast between reality and reality, harmony between subject and object and poetic harmony. The possibilities it opens up are extremely rich, including "image outside the image", "meaning outside the rhyme" and "meaning outside the taste". ?
Mr. Sun Shaokang once made a wonderful explanation in the article "On Poems of Si Kongtu", and selected a few articles to taste.
Transcendental conception:?
The spirits of ghosts and gods are just bandits' machines. Such as white clouds, breeze, return. If you travel far away, you will have to face it. A little Taoist spirit will go against custom after all. The mountains are high and the trees are high, and the moss is bright. The more I think about it, the thinner it sounds. ?
Judging from the cosmology and outlook on life of Laozi and Zhuangzi, Taoism and vulgarity are opposites. Taoism refers to their ideal surreal philosophical realm, while vulgarity is the real life society. Thought is detached from reality and worldly dirt, so that it can return to pure space with the breeze and white clouds. Between mountains and trees, between moss and bright light, people outside the concept live in the same place and recite clear poems, which is wonderful. ?
"Bold and unconstrained": keep bandits forbidden and swallow wild. It is easy to get mad when you return to gas from the Tao. The sky is stormy and the seamounts are gray. The real strength is full, and everything is around. Call three Chen before, and then lead the phoenix. Xiao ce is six ao, and Zhuo zu fusang.
This boldness is not the boldness of human heroes, but the true expression of "heaven and earth coexist with me, and everything is one with me", and the universe is dead or alive "deformed man" and "real person". This bold spirit comes from the way of nature, and it is the expression of "full of vitality". This bold person is like a fairy in the ancient shooting mountain. "He doesn't eat grains, sucks the wind and drinks dew, rides the clouds and descends dragons, and travels around the world." ?
With such exquisite and concise words, Twenty-four Poems constructs a magnificent poetic universe and shows a widely praised artistic time and space. It is a theory about poetry, especially poetry, and it is a philosophical and artistic work with high attention all week. ?
[Edit this paragraph] The influence of the work
Twenty-four Poems has a far-reaching influence in the history of China literature, and it has been included in various books in past dynasties. At the same time, two schools in the history of modern literature in China, which flaunt "spirit" and "verve", are both looking for their own theoretical basis. Modern scholars study the history of China's literary criticism and China's aesthetics, and regard Twenty-four Poems as a model of artistic conception interpretation. ?
Not only that, Twenty-four Poems also spread abroad, which had a worldwide influence. In the west, the history of China literature (new york, 190 1) was the first to translate and discuss this book. Since then, Cranmer Bing has made a more detailed exposition in Jed Sapa: Selected Poems of China (London, 1909), saying that it "leads us to a special realm. ..... the infinite freedom to put my heart into the spiritual world. " Since then, the translation and research of Twenty-four Poems in the West have attracted more and more academic attention. In 1946, Alekseev, a Soviet sinologist, published his master's thesis "A Long Poem about China Poets: Translation and Research of Sikongtu's Poems", which made Twenty-four Poems a hot topic in the study of Soviet sinology. Japanese scholars have also done excellent work in the study of Twenty-four Poems, such as Examples of Twenty-four Poems and Detailed Interpretation of Poems. ?
In a sense, Twenty-four Poems is not an ordinary poetic work, but a beautiful channel linking classical aesthetics and modern literature and art, and it is the energy source to activate poetry and thinking in the era of scientific and technological civilization.