"Ci takes the realm as the top"
Wang Guowei's "realm" not only emphasizes the relationship between "emotion" and "scenery" in the traditional sense, but also the poet's own feelings and mind can not be neglected.
The core idea of "Ci Hua on Earth" is "realm theory". If the published draft of Journal of Chinese quintessence published in Shanghai from October 198 to February 199 is taken as the standard, there are 64 words. The first nine marks Wang Guowei's comments on his own poems, while the last 55 marks a more specific appreciation of poems based on this standard.
From the beginning, Wang Guowei showed his research: "The realm of words is the highest, and if there is a realm, it is self-contained and has its own famous sentences." What is so special about this sentence? In fact, long before Wang Guowei wrote Ci-Hua on Earth, there were already many schools of Ci-Hua, such as those in western Zhejiang and Changzhou, but they failed to reach the essence of poetry. Wang Guowei said here that the banner is very clear. He is quite proud of this, thinking that Cang Lang's so-called "interest" and Ruan Ting's so-called "verve" are just superficial, and they are not as good as the word "realm". Only these two words can go deep into the root of the word. With the realm, temperament, rhythm and charm will follow.
Wang Guowei especially praised the Ci poems of the Five Dynasties and the Northern Song Dynasty, believing that the key to their superiority over other ci poems of other times lies in their realm.
So what is the realm? After the exploration of later scholars, Wang Guowei's "realm" not only emphasizes the relationship between "emotion" and "scenery" in the traditional sense, but also the poet's own feelings and mind can not be neglected. In this way, those poems that only learn from the ancient people's poetic scenes without the ancient people's eyes and experience can only be pseudo-literature. This is also explained by the words 67: "The scenery is not the only thing, and the joys and sorrows are also one of the realms in people's minds. Therefore, those who can * * * scenery and true feelings are called realms. Otherwise, it is called no realm. " He cited, for example, the word "noisy" in "the branches of red apricots are noisy in the spring" and the word "lane" in "clouds break the moon to make flowers and make shadows", which fully showed the realm.
In order to further refine the theory of "realm", Wang Guowei supplemented it from the perspective of poet's creation, that is, "creating realm" and "writing realm". "Creating the realm" is the realm created by the poet according to his ideal emotion, while "writing the realm" is the realm of the poet's description of real life, which is also the difference between "idealist" writers and "realistic" writers. However, it is difficult to distinguish between them. Great poets combine them, and the realm they create must conform to real life, and the reality they describe is often based on their own ideals.
In this way, the relationship between "I" and "things" will form two kinds, one is "the realm with me" and the other is "the realm without me". The realm of "having me" is to observe things from the perspective of "me", which often causes emotional impact on "me" when observing, and things also have the emotional color of "me", such as "tearful eyes asking for flowers without words, flying over the swing with red", "The lonely house is closed in spring, and the cuckoo is setting in the sunset".
Without me, starting from the nature of static things, we can reach the state where things are inseparable from me, such as "picking chrysanthemums under the east fence, leisurely seeing Nanshan" and "cold waves rise and Bai Niao leisurely falls".
In Wang Guowei's view, of these two realms, the former is beautiful because it is achieved in moving and then static; The latter is achieved in silence, so it is magnificent. Beautiful people are often written by the ancients, but magnificent is not often. No matter whether the realm they express is big or small, whether it is "the banner of falling sunshine, the wind rustling in A?vagho?a" or "hanging a small silver hook on the curtain", they all reflect the poet's aesthetic realm and a state of mind detached from things.
how can we create a realm? Wang Guowei put forward the "three realms" that he is quite proud of. "'last night, the west wind withered the green trees, and I was alone in the tall building, looking at the end of the world.' This is the first place. "I will not regret if my belt widens gradually, and I will be haggard for Iraq." This is also the second situation. The crowd looked for him for thousands of Baidu, and suddenly looking back, the man was in a dim light', which is also the third place. " At the beginning of his creation, the poet conceived in his mind in order to create a beautiful scene. The bitterness in loneliness seems to be climbing high and overlooking, and the distance directly determines the breadth and narrowness of the artistic conception of his poems. "People are haggard for Iraq" is what they look like when they create. They often break several stems and whiskers in order to "sing a word". The third scene is the moment when the clouds are parted and the sun shines. It can be seen that it is not easy to write a poem with a realm, and it takes a lot of effort to starve its body and skin, so as to get a positive solution.
On "ge" and "bu ge"
From the point of view of words and meanings, bu ge means that writers can express their thoughts and feelings through vivid language, and there is no barrier between words and meanings
Every poem is different in reading. In 36 ci poems, Wang Guowei put forward the judgment of "ge" and "bu ge". Zhou Bangyan's "Jade Case" words: "The leaves on the Chu Yang are dry and rainy, and the water surface is light and round, and the wind and the lotus are lifted." Can convey the spirit of the lotus, not separated; However, the Southern Song Dynasty poet Jiang Kui's Nian Nujiao and Cherish the Red Dress have regrets like watching flowers through the fog. Wang Guowei often derogates from the words of the Southern Song Dynasty, thinking that "the Northern Song Dynasty was romantic, and crossing the river was absolutely impossible", which can be described as sharp-tongued, but the difference lies in the fact that the words of the Southern Song Dynasty were "all separated by a word".
Comparing the Ci poems of the Southern Song Dynasty and the Northern Song Dynasty is the focus of Wang Guowei's discussion in Ci Poems on Earth, and it is also a wonderful debate about who is far-reaching and shallow.
He called Feng Yansi's ci "the ethos of the Northern Song Dynasty", but when he arrived in Li Houzhu, his vision began to widen and he felt deeply. Comment on Qin Guan's "the most sad ci", and Zhou Bangyan's ci wins with "precision and broadness".
However, except Xin Qiji, most poets in the Southern Song Dynasty pointed to flaws, looked disgusted and even gave severe criticism. He rebuked Jiang Kui for having style but no emotion, and Lu You had momentum but no charm. This was a blow to the head, aiming at the abuses of ci at that time, aiming at saving the loss of ci theory. At that time, in the Qing Dynasty, some poets followed the ethos of poets in the Southern Song Dynasty, focusing on careful examination of temperament, cutting new words and other formal skills, which were all flashy and obscure, and became the "literature of embroidery" ridiculed by Wang Guowei.
so what's the difference between "separated" and "not separated"? He concluded that Tao Yuanming and Xie Lingyun's poems are not separated, while Yan Yanzhi's poems are slightly separated; Su Shi's poems are not separated, and Huang Tingjian's poems are slightly separated. In terms of words and meaning, it means that writers can express their thoughts and feelings through vivid language, and there is no obstacle between words and meaning. Wang Guowei believes that there is only one word that can be written without separation-"truth". Only the truth can be beautiful, and if it is not true, it can't produce beauty and can't be moving.
The mind and magnanimity of Su Dong-po and Xin Qi-ji
It can be seen that Wang Guowei's aesthetics is more appreciative of those who are honest and frank, ambitious and enterprising
Under the guidance of such aesthetic standards, Wang Guowei especially praised Su Dong-po and Xin Qiji's ci, saying that they are both magnanimous and bold. Su Dongpo is a poet that many readers like. For example, * * * once used Su Shi's words, "river of no return, a romantic figure through the ages", and wrote the heroic words of "Count the romantic figures and look at the present", which is inspiring. The reason why Su Dongpo can make broad-minded words lies in his experience. His life is a bumpy and tragic life, and he is always degraded, but he is always enthusiastic about the rise and fall of the country. What is rare is that he can still find relief in the frustrated reality even if he is demoted and living in a situation similar to "an old man fishing in the cold river-snow". For example, his "Dingfengbo": "Don't listen to the sound of beating leaves through the forest, why not sing and walk slowly. Bamboo poles and straw sandals are more nimble than riding, what is the terrible thing? A raincoat of coir raincoat, let the wind and rain, still live my life. The spring breeze cool, will my wine to wake up, the cold beginning of the cold, the sun of the mountain peak of the sun but in time to meet. Looking back at the bleak place, there is no rain or shine. "
Xin Qiji's ci is also broad-minded and generous. Xin Qiji is different from Su Shi who understands the ups and downs of life. Instead, he embraces life with passionate feelings and lofty ideals, showing heroic pride and indignation.
For example, in his He Xinlang, "The general suffered many battles, but his name was cracked. To the river beam, back to Wan Li, so long. Xiao Xiao is rustling and the west wind is cold, and everyone is dressed like snow. Is a strong man, elegy is not thorough. The bird that sings knows how much it hates, but it is not expected that it will shed tears and cry blood. Who * * * me, drunken moon? "
It can be seen that Wang Guowei's aesthetic is to appreciate those who are honest and frank, ambitious and enterprising.
Wang Guowei also appreciates Nalan Rong Ruo's ci, saying that his ci is to look at things with the eyes of nature and express feelings with the tongue of nature, and he has been alone since the Northern Song Dynasty. Wang Guowei has always advocated that the realm of literature is to * * * love, and to observe things with a natural eye. The words of nature are the eyes of the innocent who are not polluted by the world. For example, Nalan Rong Ruo's "Sauvignon Blanc" says: "The mountain is a journey, the water is a journey, and I am heading for Yuguan, and the lights are on at night. As soon as the wind changes, the snow changes, and the dream of breaking the hometown fails, so there is no such sound in the garden. " Every sentence is in front of us, and the faint feelings are beyond words, which is full of infinite feelings. Wang Guowei came to the conclusion that "everyone's work, its romance will also be refreshing, and its scenery will also be refreshing." His words blurted out, and there was no state of correcting makeup. What he sees is true, and what he knows is deep. Poetry is all the same. "
Wang Guowei's Ci-Hua on Earth is self-contained, with novel viewpoints and incisive arguments, which integrates Chinese and Western aesthetic cultures. It can be said that it is an epoch-making work in the history of China's poetry and Ci-Hua development. Fu Lei, a famous translator, once recommended the book Ci Hua on Earth to Fu Cong in his letter. He said: "Young people know too little about" Words on Earth "; If there weren't hundreds of poems and dozens of words in my stomach, it would be useless to read this book ... But personally, I think China's Poems on Earth is the best literary criticism ever. Develop the spirit, this book is equal to a golden key. "