Wei and Jin Dynasties are an era of beautiful writing, and parallel prose is the most prominent symbol of this era. Wei Jin people's pursuit of beauty under the guidance of their aesthetic view expressed the typical emotional and aesthetic characteristics of their time in the form of parallel prose. The appearance of parallel prose is a special requirement for the individualized expression of literature, which also makes literature truly a "human study". From the stylistic point of view, parallel prose is very similar to imported prose poetry. Its richness, complexity and elegance are very conducive to expressing profound and stirring emotions, adapting to implicitly expressing the complex and unspeakable sadness of individual life, and often expressing the theme of "disharmony in life", forming a strong, rich, long and lingering emotion, which makes people feel sad and generate when reading.
Parallel prose is the representative style of literature in Wei, Jin, Southern and Northern Dynasties, the mainstream force of literary creation at that time, and the most magnificent spectacle of literature in Wei, Jin, Southern and Northern Dynasties. Parallel Prose in Wei, Jin and Northern Dynasties (hereinafter referred to as "Parallel Prose in Wei, Jin and Southern Dynasties") is the most prominent period in the history of China literature, and it has become a very important and meaningful phenomenon in the history of China literature. Why do scholars in Wei, Jin, Southern and Northern Dynasties generally like it? What is the significance of parallel prose in Wei and Jin Dynasties? This is a phenomenon in the history of literature that has not been really taken seriously by people and must be treated correctly.
Because people are secretive about the word "parallel" and even tend to talk about the color change of "parallel", they associate "parallel fu" with formalism, and pay more attention to five-character poems or pay the most attention to the literature of Wei, Jin, Southern and Northern Dynasties when studying the literature of this period. We believe that parallel prose in this period even surpassed literature itself. When discussing the metrical form of poetry and fu, Mr. Zhu Guangqian once said: "There are drawbacks in metrical poetry, and we have no doubt about it, but we don't have to give up eating because of choking. Poetry of any genre will have disadvantages if it falls into the hands of ordinary poets. At best, it is like a sonnet in European poetry. We can despise Petrarch, Shakespeare, Milton and Keats. Can we despise the poems written by Du Fu and Wang Wei? " We appreciate this statement very much, and then we have to ask: Can we despise Cao Zhi, RoyceWong, Bao Zhao and Yu Xin's fu in the form of parallel prose?
1. The climax of parallel prose in Wei and Jin Dynasties and the self-awakening of literati.
Since Jian 'an, parallel prose has replaced great prose, almost all scholars have written parallel prose, and almost everything can be included in parallel prose. According to the statistics compiled in Wen of Three Kingdoms and Six Dynasties and Fu Hui of Past Dynasties, there were 1095 essays (including the remaining essays) and 284 writers in Wei, Jin, Southern and Northern Dynasties.
According to the content or theme, parallel prose in Wei and Jin Dynasties can be roughly divided into three categories:
Ode to things and write records: Cao Zhi's "Ode to White Crane" uses birds as metaphors to describe people, and through the description of "suffering from deep disasters", it shows the author's resentment against persecution; His Ode to the Cicada and Ode to the Duckbill are about anxiety and ridicule in a specific environment. Angelababy's "Ji Min Fu" expresses his resentment that it is difficult to get the return of "good horses are out of touch"; In Mi Heng's Ode to the Parrot, writing about the misfortune of the parrot is a metaphor for his own misfortune. In RoyceWong's Ode to Sophora japonica, he expressed the wish that "birds want to live and throw their wings, while people want to cover themselves". There are Ji Kang's Ode to Qin, Zhang Hua's Ode to Wren, Bao Zhao's Ode to Dancing Crane, Xue Fu, Xie Zhuang's Ode to Moon, Yu Xin's Ode to Dead Trees and so on. Poetry of Ode to Things is particularly developed, and there is almost nothing that can't be included, even moths and dead trees.
On-the-spot lyricism: The sympathy of scholars in Wei and Jin Dynasties is often expressed by chanting natural objects, which is related to the impermanence of life brought about by the decline of mountains and rivers. Both Cao Pi and Cao Zhi have written many such ci-fu, such as Feeling for Things, Sorrow in the Woods and Going to the City. Cao Zhiyou's Poems on Sorrow in the Forest, Festival Travel and Sightseeing, etc.
Thinking about the past and cherishing people: These works are all lamentations and mourning for the old friends, such as Mourning Yao and Leaving Love by Cao Pi, and Cao Zhi has more in this respect, such as Leaving Thinking, Meditation, Interpretation, Reminiscence, Loneliness and Zhi Min.
No matter what kind of theme, parallel prose basically meets the needs of expressing melancholy, depression or bitterness, and is the aesthetic pursuit of taking sadness as beauty. These works always echo with a sad voice. It can be said that compassion for others is the constant theme, main melody and main color in the Wei and Jin Dynasties.
Parallel prose, as a wonderful flower in Wei and Jin Dynasties, certainly has its reasonable historical significance. We can find the reason in "people's self-awakening". According to general research, it is natural that times make it necessary to pay attention to the direct causes of social unrest, namely, hunger, poverty, plague, migration, alienation, relegation and exile. Society has experienced drastic changes and turbulence. Therefore, the most profound reason for the large number of parallel prose writing is that the life consciousness of scholars lies in the movement of their individual lives in their special environment and the state of mind of the times of self-awakening. The turmoil in Wei and Jin Dynasties destroyed the normal and stable life. Whether it is a prominent official or a naked untouchable, there is a feeling of precariousness. In the face of natural and man-made disasters, they can end their lives at any time. In addition to the fear of death caused by the plague of war with ordinary people, there is also the embarrassment caused by the struggle between political parties. Take the seven sons of Jian 'an as an example. None of them died. Kong Rong died by the sword of Cao Cao, RoyceWong died in The Journey to the West, Xu Gan, Chen Lin, Angelababy and Liu Zhen died of the plague at the same time, while Ruan Yu only lived for more than forty years. How did celebrities in Wei and Jin dynasties live? They were all guillotined in the turmoil. Liu Kun, Bao Zhao and others died in the mutiny. Lu Ji is forty years old, lamenting that more than half of his relatives and friends of the same age have died. He lamented sadly in "Poems on Huai": "How vast the world is, but life can't last long". For literati, there are two kinds of puzzles: one is impermanence of life, the other is poverty, in a sense.
When analyzing the causes of tragedy and tragic emotion, Persian Biloff pointed out: "It is not only caused by the conflict with external threats, but also caused by the contradiction between the individual's personal requirements and his perceived super-personal life value. The sadness and loneliness of scholars caused by this "contradiction" is far better than the pain of other "emotions". It also caused more complexity and fierceness than other emotions. This "poverty" caused compassion and loneliness, which became a common emotion in Wei and Jin Dynasties and also reflected the self-awakening of Wei and Jin people. After being destroyed and suppressed by the harsh reality, especially after being uncertain about their own destiny, the strong personality consciousness and emotional desire of scholars are more creative, thus forming the unique sentimentality, eccentric personality and abnormal behavior of scholars in this era. Furthermore, it formed the aesthetic mentality of Wei Jin people that sadness is the beauty, and formed the tragic beauty of parallel prose.
Therefore, the writing of parallel prose and the literary creation of parallel prose with the theme of compassion are entirely based on the feelings of the times above self-awakening, which is a deep sigh to the soul of the high-pressure political corporal at that time and a thrilling life vibrato. In addition, the brand-new literary concept of "immortal articles" vividly embodies the pursuit of eternal value of life by Jian 'an literati and inspires people to devote themselves to it with great enthusiasm. It also urges people to regard literature as a means or way to express their inner feelings and spiritual world. They use literature to express their feelings, thus making lyricism the soul of Jian 'an literature and an important symbol of literature getting rid of the shackles of Confucian classics. (4) This is also an aspect of people's self-awakening mood.
Second, the aesthetic requirements of the era of pursuing beauty and the perfection of American literature.
From Cao Pi's Poem Desiring Beauty (a classic essay) to Lu Ji's Poem Being Beautiful because of Emotion (a literary prose), to Liu Xie's "Literary grace is so decorated, beauty is beautiful with emotion" (literary mind carves a dragon Cai Qing) and Zhong Rong's "Wen Wen Yi Li, meaning sadness".
Mr. Lu Xun spoke highly of Cao Pi's artistic thought of "all poems and fu are beautiful": "The gorgeous and beautiful articles are the credit advocated by Cao Pi." Cao Pi, who first put forward the idea of beauty, first grasped the need and trend of pursuing beauty in the times. Lu Xun said: "He said that poetry and prose don't need to contain lessons, and opposed those opinions that encouraged poetry and prose at that time. From the perspective of modern literature, Cao Pi's era can be said to be an era of literary consciousness, or an era of art for art's sake. "(5) Paying attention to the formal beauty of literature and putting it in an important position conforms to the requirements of the times, and also marks that literature has entered the conscious era, and literature has already met the requirements and forms of formal beauty.
Perhaps it is because of the long-term bondage of Confucian classics, or because literature is too barren to meet the needs of lyricism. After the "era of literary consciousness" in Wei and Jin Dynasties, there was an extreme demand for overcorrection in literature. Wei and Jin Dynasties became an era of "beautiful writing", and the times needed beautiful writing, so all the beautiful words were beautiful and cultural, not only in literature, but also in almost all official documents. People's pursuit of beauty has penetrated into all aspects. They appreciate not only nature, but also people themselves, and pursue various romantic lives. Beauty has become their profound demand and a life style that replaces or surpasses their spirit. People's need and pursuit of beauty are the most prominent in parallel. In other words, Wei Jin people expressed their typical emotional and aesthetic characteristics in the form of Ci and Fu. This pursuit of formal beauty of literature has become an important symbol for literature to get rid of the shackles of Confucian classics, and it has become the survival need for Wei Jin people to express their inner feelings and spiritual world. People judge people and works with a beautiful ruler. In this respect, Zhong Rong's aesthetic attitude is the most distinctive and typical. For example, Zhong Rong doesn't appreciate the impassioned emotion in Jian 'an literature, but he doesn't appreciate Ji Kang's thoughtfulness that is almost angry, and he is also dissatisfied with the performance of Bao Zhao, an outstanding poet in the Song Dynasty, which often gives people a sense of fierceness and boldness. This is because Zhong Rong can't appreciate sharp expressions, while Tao Qian's poems are another kind of "plain" and "true ancient". What does Zhong Rong appreciate? In our view, clarifying this issue actually clarifies the essence of aesthetic taste in this era. Li Ling, Su Wu, Cao Zhi, Liu Kun, Ruan Ji, Lu Ji and others are especially admired by Zhong Rong, because their works all have profound and elegant demands of complaining, which have far-reaching implications. The core of Zhong Rong's literary view is "complaining without anger", and his understanding of the essence of poetry is more prominent. Prose is built on resentment. Based on this, Zhong Rong divided poets and poems into three categories: upper, middle and lower. Obviously, he put the standard of "form" in the first place, and attached great importance to expression and the beauty of expression. Although this is only Zhong Rong's personal aesthetic taste, it represents the mainstream aesthetic trend in Wei and Jin Dynasties and represents the aesthetic view in Wei and Jin Dynasties. The evaluation standard of literature is beauty. If it doesn't appear in an elegant form, it will be ignored by that era. Tao Qian is the best example. Liu Xie's poems are beautiful and orthodox, and his evaluation of Tao Qian is not high. In Wen Xin Diao Long, there is no mention of Tao Qian. However, if the parallel prose is measured by that era, it pays attention to the spirit and means of expressing beauty. However, the article is exquisite and perfect. Ouyang Xiu spoke highly of his Gui Ci, saying that "there is no article in Jin, and Tao Yuanming's Gui Ci is just one" (five quotations from Gong Huan's Notes on Tao Yuanming's Collection). This poem is clever and uneven, and the couple are skillful.
The requirements of the times for literature have made literature enter a period of "pursuing beauty". This "pursuit of beauty" became the ethos of the whole era in the Wei, Jin, Southern and Northern Dynasties, which made almost all styles attach great importance to the formal beauty of diction, sentence formation, parallelism and rhyme, and parallel prose is the most prominent in this respect. It should be said that there have been many parallel essays before. Not yet. Especially in the conscious use of rhythm, it is unprecedented. Language tends to be parallel and rhythmic, which is the most important formal requirement of the times for "beauty" This is the dominant trend of Ci and Fu in Wei, Jin, Southern and Northern Dynasties, and it is also the most obvious external feature of Ci and Fu in Wei, Jin and Southern and Northern Dynasties. It is different from the lyrical small Fu in the Eastern Han Dynasty, and even more different from the big Fu in the Han Dynasty, which has always been telling all kinds of irony with a serious face.
Tao Qian's Leisure Fu is not a satirical allusion to knowledgeable person, but a simple love novel, which has always been regarded as a controversial work in the history of literature. Even Xiao Tong, who was the first to speak highly of Tao Qian, accused him of "the white jade is flawed" and shouted "what a pity". In fact, in describing Fu's life, there is also the meaning of "helping irony", which is reflected in his preface. It means that even if the prose is not as beautiful and mysterious as my predecessors, I will copy it. This shows that in the period of literature "pursuing beauty", Tao Qian also had this pursuit and ability. In fact, his parallel prose surpassed the ancients, and no comparable works could be found in almost all the ancient poems on this subject later. "Fu is a large-scale descriptive poem." (1) Tao Qian used this ". It also shows his personal artistic attainments, rich emotions and creative spirit. This poem is patchy and sentimental, interwoven with longing and disappointment, joy and fear, enthusiasm and calmness, singing and lamentation, with intense psychological contradictions and emotional ups and downs, forming great internal tension, especially the "ten wishes" and "ten sorrows" in the middle part. The psychological process is subtle and vivid, which fully shows the author's extraordinary imagination and superb control, and forms a literary trend with twists and turns, freedom and unrestrained, rich colors and lasting charm, which makes people feel sad and have a thrill of pleasure, and has been immersed in the pure artistic conception for a long time.
The appearance of parallel prose is the special requirement of literature's personalized expression, the artistic feature of literature's true humanity, and the trend of literature's pursuit of beauty. This profound demand for beauty made Wei Jin people feel pity for Dr. Han's lack of emotion, and turned the conspicuous accumulation of Da Fu into an emotional object in content, so they also changed the richness and gorgeousness of Da Fu in style to resolve grievances. Parallel prose became the representative and extreme of the formal beauty of literature in that era. Although the requirements are almost harsh, the words and words are very particular. However, due to Wei Jin people's persistent pursuit of beauty and superb artistic skills, this extremely difficult form of parallel prose has reached the standard of "feeling elegance and complaining", giving people the enjoyment of beauty, but rarely feeling melodramatic, showing off and piling up. However, it has achieved great success in experiencing secularity and magnificence, and has become a mourning carrier to awaken the individual's sense of hardship. This kind of creation, which highlights the soul and formal beauty in literature, is undoubtedly a great progress in the development of literature and an inevitable requirement and trend for the development of literature itself. Especially in the Qi and Liang Dynasties, the theoretical system of aesthetics and literature has been established, and the emergence of appreciation theory is correct. Moreover, the aesthetic elements used and appearing in parallel prose have penetrated into other kinds of art and even life. Mr. Zhu Guangqian believes that Fu is a genre in poetry. China's poetry embarked on the road of "Fa", and the most influential one was "Fu". Parallel prose begins with Fu. Mr. Zhu explained, "How can poetry and prose go hand in hand?" Fu focuses on the description of cross-section, so it is the easiest way to exclude couples. "(1) The concept of Zhu Fu strictly refers to parallel prose, which means that parallel prose not only has its own formal advantages, but also has far-reaching influence on other styles.
Third, the stylistic advantages and characteristics of parallel prose in Wei and Jin Dynasties
Why do Wei Jin people have to use parallel prose to express their feelings? Why is parallel prose the most popular only in this period? It is meaningful to think about these problems.
Liu said in "Miscellaneous Notes on Papers": "In the world of Jian 'an, seven scholars achieved success and occasionally wrote stories. It is known that even essays are easy to divide, that is, even essays use a single line, while flashy works are the first in four or six years, and the style is different from that of the Eastern Han Dynasty. " ⑦ This theory has two common meanings: one is the importance of parallel prose appearing in Jian 'an. Secondly, because of the form of these parallel prose, these words are obviously different from the lyric poems of the Eastern Han Dynasty. We believe that this "style is different from that of the Eastern Han Dynasty", but it is obviously a more beautiful form that is more suitable for expressing bitterness and emotion. In other words, the direct source of parallel prose, its main artistic nutrient is Qu. The purpose of Da Fu is not Han Da Fu, but satire and admonition, which is often grandiose and self-admiring, which not only weakens the theme, but also weakens the literariness of Fu, so that some people think that adding or deleting some chapters in Da Fu will not affect its content and theme. Therefore, Da Fu became a kind of "official learning"
Zhong Rong is in the mature period and climax of parallel prose, and in the era of literary theorization and aesthetic specialization. His poems comment on Li Ling's poems with "disharmony in life". Zhong Rong's appreciation of this disharmonious living condition and the "melancholy" vibrato produced in this living condition is actually a generalization of the interests of the times at that time and a generalization and purification of the creative style at that time. Nature is also a specific requirement for parallel prose, which is homologous or even homogeneous with poetry. In his poems, he often uses "resentment" to discuss the poems of Wei and Jin poets, and there are dozens of words "resentment". ⑥ Zhong Rong emphasized the position of "resentment" in literature, and thought that "resentment" could not be separated from various feelings caused by the author's personal experience. He directly used the author's life experience to explain the cause and effect of this melancholy theme.
What is the vibrato of "disharmony in life"? This is loneliness, confusion, worry, commotion, hesitation, fear, fright, melancholy, depression, loneliness, indignation, sadness and so on. This is a symphony in which compassion and soul are intertwined with many emotions. This is the instinctive excitement and tremor of life in the devastated desperate situation, which forms the need to express emotions boldly. "Why not Long song?" (Zhong Rong's poem) Parallel prose has more advantages than poetry in the display and perfection of this kind of life vibrato. The hardships of life and the deep feelings and thoughts of individuals caused by such hardships are not enough to stretch their feelings. The requirement of Chen's poetry and the nature of Long song are the special requirements for the positive choice of emotional expression genre and the display of temperament. The richness, complexity and elegance of words and prose are rich. Adapt to the subtle expression of complex and unspeakable sadness and melancholy in individual life, and form a touching artistic effect. From the nature of this style, parallel prose is very similar to imported prose poetry.
As far as stylistic form is concerned, prose poetry, like Fu, is both poetry and different from poetry. In terms of expression, they are both "monologues". It can be said that monologue is the most authentic expression of prose poetry. He Qifang directly called "Wild Grass" with "monologue". Qian Liqun and others also described Lu Xun's prose poems as "monologues". Even the premise of its existence is the tension and exclusion between the author and the reader: only by excluding the interference of others can we look directly into the deepest part of our soul, capture our subtle and unspeakable feelings (including intuition), emotions, psychology and consciousness (including subconscious) and carry out higher and deeper philosophical thinking. Pet-name ruby from these characteristics, poetry is completely similar in expression. Mainly lies in its essence, that is to say, the two have more similarities in expressing great sadness, great emotion and great responsibility in life. Porter Ryle, a French symbolist, believes that prose poetry is a special style that adapts to the lyrical turmoil of the soul, the fluctuation of dreams and the shock of consciousness. Investigating the birth of prose poetry, it is the product of great soul tremor. Attending doctor. From a special literary style of compassion, we can see the similarities of parallel prose in Wei and Jin Dynasties. Prose in Wei and Jin Dynasties mostly described the frustration and grief of life, which was similar to prose poetry. The existence experience of great tremor brought by the great soul struggle in Wei and Jin Dynasties is best expressed by parallel prose. This is the stylistic significance of parallel prose. Liu Xizai in "So, in order to elaborate Fu, there are many kinds of people who watch it again and again, and they will be free, free, and vomit everything. (1 1) What the ancients said was also about the characteristics and advantages of this form. We might as well prove it from RoyceWong's On Lou Fu. This poem does not express simple worries about life experience. There are many feelings in Fu. A wise monarch's worries about difficulties, talents and impermanence in life are really extremely sad. The great pain of life and the great excitement generated by its great responsibility for feelings are naturally "beyond the control of poetry", and it is not enough to make people feel comfortable without parallel prose. The author first sets off his own worries with the music scene, causing the sadness of returning home, and then sets off and strengthens it by describing the sad scenery.
The form of parallel prose determines that it is good at expressing the deep content that makes the author tremble and feel the pain of life. In other words, only these contents are the best mental state of the best parallel prose. We can cite a large number of works to illustrate. Cao Zhi's Ode to a White Crane, Ode to a Cicada and Ode to a Bird are all about his resentment against persecution. Mi Heng was only 26 years old when he was killed. His ode to the parrot represents the highest achievement of chanting things in this period and is a portrayal of his mind when he is in adversity. Xiang Embroidery's Thinking of Old Fu is not many words, but it is written with mixed feelings and profound twists and turns. Jiang Yan's "Hate Fu" and "Bie Fu" show a kind of "frightening and heartbreaking" life pain. The ancients said "the hero who reads tears in the snow"; Bao Zhao's Wu Cheng Fu hangs in the past and hurts the present. It wrote tragic scenes and sad emotions with beautiful words and natural and unrestrained style, which made Yao Nai of the dynasty praise it as "the desperate situation of the Fu family". His Ode to the Dancing Crane also drove away the desolation, and the poet "hated Wan Li for a long time". In his ode, "living in the sky is the most revered and even more sad." Yu Xin's Regret for the Past in the South of the Yangtze River is regarded as the highest achievement of parallel prose, and it is also a "dangerous and bitter word" with trembling soul. There are a lot of poems in prose, which form a magnificent, desolate and tragic charm and epic structure. The poet is full of resentment and resentment about going to the countryside to imprison the lonely. He said with emotion: "When the spring and autumn overlap, we must forget the past. It is God's will that people can grieve for sadness. "It is most appropriate to express it with ci fu. Parallel prose, with its stylistic advantages, is suitable for poets to vent their excessively depressed emotions. Commenting on Lu Xun's mentality when he wrote Weeds, the author said this: "The author entered a mysterious and detached realm in extreme disillusionment and nothingness. In the great torture of the old self, the poet gained it after experiencing deep fear, splitting pain and extreme loneliness in spiritual purgatory. "
"Wen Xin Diao Long Cai Qing" says: "In the past, poets wrote articles for love; Poets eulogize and create feelings for writing. " (12) Liu Xie expounded the relationship between emotion and writing by comparing poetry and prose. Because of puffiness and anemia caused by "excessive use of prose", he paid more attention to poetry. He also said in Preface to Wen Xin Diao Long: "Poets are curious, but their words are expensive and complicated. Important poets in Wei and Jin Dynasties skillfully used parallel prose for the need of "writing for love", and often used this form when they needed to express great grief and emotional turmoil in their lives, and were good at expressing "dangerous words" in this form, thus forming the theme of compassion and the melody of sorrow in Wei and Jin Dynasties. It is the need of the times for literature to truly become "humanistic" and "aesthetic", not a kind of "creating feelings for literature". We believe that the success of parallel prose in Wei and Jin Dynasties lies in the practice of pursuing beauty under the guidance of its verve aesthetics and parallel prose form. The failure of parallel prose literature is not a stylistic mistake, but the author's pursuit of formal splendor.
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