It expresses feelings with melancholy, and it must start with the wind; Shen Yin's words were written before the bones. So think of words as bones, such as the skeleton of the body; Love contains wind, and it is still shaped by gas.
When the words are straight, the bones become awkward; If you have a calm spirit, your style will be clear. If there are a lot of algae and the strength of the wind does not fly, the vibration will lose its freshness and the negative sound will be weak.
Therefore, we should consider and cut articles, keep our spirit full of business, be vigorous and realistic, and shine with new ideas. Used in literature, it is also a metaphor for the wings of birds.
Therefore, those who practice to the bone must analyze the text accurately; Those who are deep in the wind will show their feelings. It is also the strength of character to be firm but hard to move when talking, but not stagnant when the heart is condensed.
If the word is poor and fat, complicated and out of control, there is no sign of bones. If you don't think around, if you are exhausted, you won't have a windless experience.
Once upon a time, with Wei, they thought about classics and wrote only with strong bone marrow. Like a fairy, the spirit is lingyun, and it is also the power of its wind. If you can learn something from what you want, you can decide the text. You can do it or violate it.
Therefore, Wei Wen said: "Literature is mainly based on qi, and the turbidity of qi has a body and cannot be forced." So when it comes to Kong Rong, the cloud is "sublime"; When it comes to Xu Gan, the cloud is "full of gas"; Speaking of Liu Zhen, the cloud is "free from qi".
Shang Yeyun: "Kong's Zhuo Zhuo, the letter contains different gases; The essence of pen and ink is almost invincible. " The purpose of paying equal attention to qi is also.
Husband is ready for color, but muscular and strong; Falcon is weak, Han Fei is fierce, strong and angry. The talent of the article is similar to this.
If the strength of character is lacking, they will gather in Hanlin; If you lack the strength of character, you will be embarrassed; Only the algae are bright and high, and the solid writing is also a phoenix. If the classic model, auspicious words and poems, Dong Xiao Qing Dynasty and Quzhao style are endowed, they can be rich in new ideas and carve strange words.
Zhao style, deliberately new but not chaotic, Xiao changes, so the words are strange but not ambiguous. The bones are not round, the wind words are not practiced, the old rules are slightly crossed, and the new work is hasty. Although they are clever, they also have many dangers and failures. Can't making strange words become classics? "Zhou Shu" says: "Words are still important, but the fu is different."
Cover up the abuse of literature. But there are many kinds of literature and art, each of which suits one's own interests. Wise men have it, and scholars have it.
Therefore, practice luxury and forget it. If we can be formal and make civilization healthy, then the style of writing will be distinct, and the style of writing will be distinct.
If we can study all the concerns, how far is it! Zan: Love and Qi are in harmony, words and deeds. Civilization is based on health, and Zhang Jue was hired.
Wei and wind are stricter than this bone. Brilliant and upright, Fu Bing.
Guan Longyan's The Book of Songs always has six meanings, and "wind" ranks first, which is the root of the artistic appeal of the work and the external expression of the author's emotional temperament. Therefore, when expressing feelings, the author should first pay attention to the style of the work; Nothing is more important than paying attention to the intensity of the work.
Therefore, the strength of bones shapes words, just as bones support the human body; Emotions are as contagious as the body. Every word is tall and straight, and the bones are shaped; The expression is bright and clear, and the style of writing is prominent.
If a work is rich in rhetoric but lacks character, then the literary talent will not be bright and the tone will not be loud. Therefore, if you want to be vivid, you must be full of energy and vigorous.
Style is used in articles, just like a big bird flying high. Therefore, you should pay attention to the bones and make sentences with words. If we pay attention to the appearance of words, it is inevitable to express our feelings.
The practice of writing is solid but not frivolous, and the use of phonology is dignified and not stagnant, which is the control of the style of the article. If the content is thin and rhetoric is piled up, it will be complicated and messy, which is a boneless performance; The thoughts and feelings are not full and smooth, and the expression is far-fetched and lacks vitality. This proves that there is no wind.
Once upon a time, Xu Pan wrote a book "Gong Weijiu Wen Xi", the conception and layout all imitated the classics like "Shangshu", which made the gifted scholars at that time unable to stop. This is because Pan Wen is strong and powerful. Sima Xiangru's "Adult Fu" is known as Lingyun spirit because of its vigorous writing style, and it is a master of Ci and Fu. Being able to make this clear can make the article more perfect. This law cannot be violated, and creation should not pursue the complexity of literary talent.
Therefore, Wei Wendi Cao Pi said: "The style of the article is mainly based on the author's temperament, and the clarity of temperament has its own body, which can not be obtained by force." Therefore, when evaluating Xu Gan, he said "there is always a soothing temperament" and when evaluating Serina Liu, he said "there is always an elegant and natural temperament".
Serina Liu also said: "Kong Rong is extraordinary, and indeed has a unique temperament. Words can hardly express his talent.
"It's all about paying attention to temperament and style. Pheasants are colorful, but they can't fly a hundred paces, because their muscles are too full and their strength is not enough; Falcon has no color, but it can fly high because it is strong and powerful.
The talent of the article is similar. If literary talent lacks character, it is like a literary gathering; If you have grace but lack character, you are like a pheasant squatting in Wen Yuan.
Only with brilliant literary talent can you fly high, and that is the phoenix in the article. As for writing according to the norms of Confucian classics, we should choose the writing method of history books, deeply understand the evolution of composition, and thoroughly understand the basic system and norms of various articles, so as to have novel ideas and decorate wonderful words.
Knowing the basic system and standard requirements of the article, we can conceive new ideas that are not chaotic, and deeply understand the evolution of the composition situation, so we can write wonderful words that are not floating or impetuous. If you don't have style and refined rhetoric, but want to abandon the old norms and pursue novel creative methods, even if you have good intentions, it will lead to many failures.
Can this wrong tendency be turned into the right path just by using strange words? "History of Fake Finished Products O" says: "Wording is more expensive than appropriateness, and we should not just pursue strangeness." This is to prevent the article from being superficial and untrue.
However, there are many ways to write the article, and the author chooses according to his own preferences. Those who know how to write cannot teach others, and those who learn to write cannot learn from those who know how to write. Therefore, I am flashy, follow luxury, go with the flow, and I don't know how to return to the right path.
If we can establish a correct posture and make the article bright and full of vigor, then we can be healthy and the whole work will shine. If you can study these requirements carefully, you will not be far from mastering the way of writing.
In short, the relationship between emotion and spirit, the combination of language and institutional style. Only when the style of writing is clear and vigorous can American literature gallop.
Make the wind strong and the bones strong. Only in this way, talents will be vigorous and articles will be dazzling.
2. Interpretation of Zhong Rong's Preface to Poetry: Zhong Rong's Poems of the Southern Dynasties and Liu Xie's Literary Mind and Carving Dragons represent the highest achievements of Qi Liang's literary criticism.
Zong Baihua once said in Aesthetic Walking: "China's masterpieces of art and literary criticism, Sheikh's paintings, Yuan Ang's and Wa Shouwu's paintings, Zhong Rong's poems and Liu Xie's Wen Xin Diao Long are all produced in the air of these lively people." It can be seen that the period when poetry came into being was the period when China's literary theory criticism was unprecedentedly active.
Zhong Rong once talked about the origin of his poems in the Preface to Poetry, saying: "It is not worthwhile to judge nine people and break seven people in the past. If poetry is a skill, you can understand it better. "
It can be seen that "taste" can be traced back to the evaluation of characters at the earliest, because natural metaphors are often used in the evaluation of people, so in the Wei and Jin Dynasties, the taste of algae words began to shift from the evaluation of characters to the appreciation of natural beauty and artistic beauty. At the same time, because of the literary and artistic creation in the Qi and Liang Dynasties, there were also situations of "quasi-attachment", "not showing advantages and disadvantages" and "no quality".
Zhong Rong's direct purpose in writing Poems is to "distinguish turbidity and benefit diseases" and show the advantages and disadvantages, ranking first. Zhong Rong's "pin" can be understood as a verb or a noun: as a verb, it means tasting and tasting.
It is a personal feeling, which is related to the specific experience of the individual; It is also a further feeling of feeling, that is, to taste and aftertaste specific experiences; Is the beginning of aesthetic feeling; There is also the meaning of distinction or distinction, in which the essence is taken, so there are top grades and bottom grades, and there are three grades and nine grades. The result of discrimination is a "product" in the noun sense.
Zhong Rong generally divides the poets of five-character poems into three categories, one category is one category, and each category is subdivided according to different styles, so the structure of his theoretical text is On Poems of Three Categories. This is the "classic" of the stylistic structure of Shi Pin.
The styles of these three kinds of poems can be summarized as "national style", "Chuci" and "Xiaoya". The poems of "National Style" are gentle and full of literary changes. Zhong Rong divided them into two schools: the simple school (the school of classical poetry) and the gorgeous school (the school of Cao Zhi). The category of "Chuci" pays attention to the expression of individual experience and individual emotion, represented by Li Ling.
"Xiaoya" class raised personal feelings to philosophical thinking, and the sense of hardship became more prominent. This school lends a person alone. This is the "latitude" of the stylistic structure of Shi Pin.
Shi Pin is the earliest monograph on poetry in China, which is close to pure literary criticism. Different from Wen Xin Diao Long, Shi Pin focuses on five-character poems. Zhong Rong believes that five-character poems are "the most detailed and incisive" and that "people who have made many works have a taste".
The book is divided into two parts: the general introduction (preface) and the text. Generally speaking, this paper discusses the essence of poetry, the history of five-character poetry, the standards and methods of appreciating poetry, and puts forward some important theoretical concepts.
The text takes "quality" as the warp and style category as the weft, forming a relatively perfect theoretical framework. It evaluated 23 five-character poets (including unknown authors of ancient poems) from Han Dynasty to Southern Dynasties/KLOC-0, discussed their advantages and disadvantages, and decided their grades.
An important poetics in Preface to Poetry. It contains the following important poetic viewpoints: First, the theory of "intonation".
Zhong Rong has a profound understanding of the relationship between poetry and people's feelings, and puts forward that the animal Qi is touching, so it dances in various forms. According to the candle, there are all kinds of splendor, and the spirit only waits for it, and you can say it with it.
Moving heaven and earth, feeling ghosts and gods, not close to poetry. These words show that poetry originates from "Qi".
"Qi" is first of all a natural and physical qi, which acts on external things to make it change, on people to form air, and on literature to form literary, physical and spiritual spirit. The creative subject feels the changes of external things and produces emotional turmoil in his heart, thus forming poetry.
So through this sentence, we can see Zhong Rong's view on the essence of poetry, that is, poetry expresses people's feelings and is the product of people's feelings. "Moving heaven and earth, feeling ghosts and gods, not close to poetry."
Explain that poetry can turn into human feelings in turn. This sentence originally came from The Preface to Poetry, but there is also a sentence of "positive gain and loss" in The Preface to Poetry, which Zhong Rong deleted, because "positive gain and loss" has the color of political enlightenment, which shows that Zhong Rong particularly emphasizes the poet's own emotional world and personality quality.
It is precisely because Zhong Rong emphasizes the true feelings and naturalness of natural feelings that he opposes the metaphysical poems with "reasonable words" and the use of too many allusions in his poems. Secondly, Zhong Rong's sense of things contains the meaning of real life.
The reason why the poet's temperament is shaken should be the touch and feeling of nature and social life on the poet. He said: If it is spring breeze, birds in spring, autumn moon in Qiu Chan, summer rain in Xia Yun and Leng Yue in winter, all poets will feel the four seasons.
Jiahui will send poems to relatives and leave poems to blame. As for the defected country, Han concubine resigned from the palace.
Or the bone is horizontal and the soul is flying. Or negative ge wai garrison, kill the public side.
When the guest's clothes are stuffed, the widow's tears will flow out. Or a scholar who thanked her for going out to Korea.
It is good for a woman to have a young moth, and then she looks forward to dumping her country. How can all kinds of responses, the soul of feeling, and non-Chen poems show their meaning? Why not Long song? Therefore, as the saying goes, "Poetry can be resentful."
It is nothing more than poetry to let the poor live a comfortable life and make seclusion boring. This passage fully shows how strong the emotional impact of real life experience will be on the poet, and the poet's creative impulse is also produced after observing foreign things and experiencing life.
In his life experience, Zhong Rong particularly emphasized "resentment", which developed from Confucius' theory of "appreciating the scenery and blaming the masses". However, Confucius' "resentment" is related to "being a father" and "being a monarch", which contains a certain color of political education. Zhong Rong's "resentment" is completely an individual's mental pain, more precisely, it is a kind of "parting from resentment" that Zhong Rong led Qu Yuan into exile, respected the monarch and resigned from the Han Dynasty, recruited a husband to go through customs, and mourned in the boudoir. For example, this shows that this resentment of parting can only be expressed by singing loudly.
Poetry can therefore "make it easy for the poor and humble to live in peace and live in seclusion." Third, the theory of "direct reading" and "natural English purpose".
Zhong Rong advocates that nature is the highest aesthetic principle in poetry creation, and puts forward the theories of "directly seeking the theme" and "naturally pursuing the theme". As far as chanting affection 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 bright moon shines on the snow" reveals the classics and history.
Throughout the ancient and modern times, most of them are true, and they are all straight.
3. Classical Chinese translation of "Jiang Jin" Original: Zhong Rong's "Poetry": I first drowned in Xuancheng County, so I went to Suye Pavilion. I dreamed of a beautiful husband who called himself Guo Pu. I said, "I have a pen in your office for many years, so I can read it back." I drowned my arm and gave it a five-color pen. Later, I became a poem, not an idiom, so I passed it on to Jiang.
Jiangyan in the Southern Dynasties was literate. When he was young, he became a famous writer. His poems and articles were highly praised at that time. However, when I get older, the article is not as good as before, but it has regressed a lot. His poems are unremarkable. And I have been holding the pen for a long time, but I still can't write a word, and occasionally inspiration comes; Poetry is written, but the sentences are dry and the content is too dull to be desirable. So it is said that Jiang Yan once stopped by the Zen Temple River by boat and dreamed of a man who called himself Zhang Jingyang. Ask him for a silk horse, and he will take out a few feet of silk from his arms and return it to him. So his article will not be wonderful in the future. Others say; Once Jiang Yan took a nap in Yeting; I dreamed that a man who claimed to be Guo Pu came up to him, asked him for a pen, and said to him, "Brother Wentong, I already have a pen. I should be able to give it back to me now! " Hearing this, Jiang Yan conveniently took out a five-color pen from her pocket and returned it to him. It is said that since then, Jiang Yan's literary thinking has dried up and he can no longer write any good articles.
4. Zhong Rong commented on "Nineteen Ancient Poems" and said: "With the sorrow, I am sad and far away, and my thoughts are thrilling; With Li, the meaning is soft and beautiful. It should be said that the words are gorgeous and the artistic conception is sad and profound. Every sentence is written in people's hearts and cannot be changed.
Comments on Nineteen Ancient Poems;
1. Especially good at lyricism, good at combining scenery writing with lyricism. For example, The Cowherd Star (209 pages of the textbook) describes all the scenery and feelings in it.
2. Be good at using metaphor, with implicit expression, concise words and long feelings. For example, "Huma follows the north wind and crosses the south branch of the Bird's Nest", "Clouds cover the sun, and wanderers ignore it", "The sun is far away, and the clothes are slow" (Farewell); "There is a bucket in Nanji North, and the morning glory bears the yoke" ("Moonlight Night Lamp"); "Sometimes when the toast is born, the husband and wife will have a good time" (Ran Ran Solitary Bamboo) and so on. , used very aptly and vividly.
3. Simple style, simple, concise and natural language. There are no flowery words deliberately carved in the poem, such as easy to say, simple but not shallow, popular but not vulgar, as if flowing naturally from the heart, very natural.
Nineteen Ancient Poems is the earliest mature five-character poem of literati in China. Although the number is small, it occupies an important position in the history of poetry. Liu Xie called it "the crown of five words" and Zhong Rong called it "soul-stirring, a word is worth a thousand dollars", which had a great influence on the five-word poems of later literati.
Ps reference web page link
5. Translate Poetry is Poor and Backward 1. Ouyang Xiu's Theory of "Poor and Backward Poetry"
Ouyang Xiu put forward the theory of "poetry is poor before writing" in Preface to the Poems of Mei. He believes that "there are few poor poets, but there are many poor poets", "Most of the poets handed down from ancient times came from the words of the poor" and "the poorer they are, the better their works are". "Poetry is poor and backward" means that poets can only write beautiful poems if they are tempered by difficult and dangerous environment and depressed inside. Sima Qian, Zhong Rong, Han Yu and others have similar views on poetry theory, which generally focus on the relationship between the life of the creative subject and the creative potential. Ouyang Xiu further directly linked the writer's life situation and emotional state with the characteristics of poetry creation itself: first, the poet is "free" because of poverty, and can establish a pure aesthetic relationship with the outside world, so he can explore the "strangeness" in nature and social life; Secondly, the repressed emotions help the poet "thrive in resentment" and express his subtle and universal human feelings. This is an in-depth development of predecessors' thoughts.
2. Ouyang Xiu said: "Poetry is poor and backward" means "poverty"
The word "poor" is not poor and poor, which means there is no way out, similar to the word "poor" with "the end of the road". "Poetry is poor and backward" refers to a poet in a difficult situation (such as political persecution, etc.). ) can often write good ("works") poems. This is in line with Sima Qian's theory of "angry book" and Han Yu's theory of "injustice makes noise"