"Reading the Book of Songs can arouse people's feelings, examine the gains and losses of social politics and people's hearts, unite people's hearts and express their grievances." The meaning of the poem is exhausted. Distinguishing the gains and losses of elegance and vulgarity in Han, Wei, Tang and Song poetry is based on these words. Anyone who reads 300 poems in The Book of Songs must have this experience! "Neng" (as Confucius said) is consistent with "Yi" (according to, referring to the poems in the Book of Songs) and "Ke" (according to, referring to "interest, outlook, group and resentment"). Where people's feelings and aspirations can be aroused (in the Book of Songs), it is necessary to examine the gains and losses of social politics and people's hearts, and this kind of "prosperity" will have a far-reaching impact; Where we can examine the gains and losses of social politics and people's hearts, it will inevitably lead to people's feelings and demands, and this "view" will give us a clear insight. Express grievances on behalf of people who can unite, and such grievances will not be forgotten; Unite by expressing grievances and grievances, and become more and more sincere. In addition to the four emotions of "Xing, Guan, Qun and resentment", there will be four new emotions of "Xing, Guan, Qun and resentment" (not isolated, but interrelated); Wandering in the four emotions of "Xing, Guan, Qun and Yuan", emotions will not stagnate (they can be transformed into each other at first sight). Poets use their own thoughts and feelings (writing poems), while readers use their own feelings (experience) to get their own feelings (from poems). Therefore, Guan Ju (not just praising beautiful women or satirizing) can be said to be "xing" (according to Wang Fuzhi, this is an example of "xing and considerable"); (Therefore, the three schools of Qi, Lu and Han) used Guan Ju's satirical poems for reference. (The Book of Songs? Daya？ Restraint ")" My life is at stake, far from lip language ",which can be said to be" view "; Xie An's appreciation of these words (which are somewhat elegant and profound) aroused his lofty heart (according to "view" can stimulate people's will, which is an example of "view xing"). People's thoughts and feelings are infinite and have no limit. Poetry can be in harmony with readers' emotions by expressing their own emotions, which is the value of poetry. Therefore, Yan Yannian is not as good as Xie Lingyun (because his poems are not as harmonious as Xie Lingyun), and the Song poetry and Tang poetry have changed accordingly. Xie Fangde and Yuji, when they say poetry, stick to the rules, draw the land as a prison, get to the bottom of it, and claim to be considerate. How do they know all this? (Volume 1 "Interpretation of Poetry")
Hint: In this section, Wang Chuanshan thinks that "Xing, Guan, Qun and Yuan" are not isolated, but interrelated and transformed with each other, which is one of the characteristics and main points of his poems. Don't stick to and separate poems when reading them. Although the author is meaningless, the reader can be meaningful. It is undoubtedly a correct and understandable view to emphasize readers' subjectivity and initiative in reading.
"Xing" is intentional or unintentional (no deliberate operation is needed), and "Bi" cannot be carved and portrayed. The biggest relationship with emotion is the scenery, and nature and emotion are mutually induced. Although one is in the heart, the other is a foreign object, but the scene is touching, emotional, emotional, resulting in a sentimental scene, sad and happy, vivid and harmonious scenery. Natural feelings, natural scenery, can be sad, can also be coke, if you use it endlessly, it will change and flow without stagnation; People who are poor and suffocated will never know the truth. Du Fu's poem "I have Wu in the east and Chu in the south, and I can see the endless drifting of heaven and earth" (the poem "Climbing Yueyang Tower") seems to be magnificent at first glance, but in fact it is just the same as "I have no relatives and friends, but I am old, weak, sick and alone" (there will be sadness). Therefore, we should know that the poem "Hebi Han Yun" in The Book of Songs can not only praise Zhou Wenwang, a cultivated talent, but also shape his glorious image. You can also worry about the severity of the drought and aggravate the feeling of heat and drought. From this, you can understand that words can't be used exclusively, but can be used appropriately in various occasions. By the end of the Tang Dynasty, people still didn't understand this truth. Meng Jiao and Wen Tingyun separated their feelings from the scene because of the saying that "the jade box has a bottom cover". But can natural love and natural scenery be divided by lottery? (same as above)
Tip: This is to show that emotion and scenery should be integrated with each other, and they can change and flow with each other. When writing a poem, you can't plan the words in advance, which is called "Jade (Box) Bottom Cover Theory". After the Six Dynasties, some people edited the classification of books. Compared with the old classic stories, it was called "the combination of jade (box) and bottom cover", which made the poet sound like a violin and draw the ground firmly. Wang Fuzhi hated this, so he criticized it many times in his works on poetry.
Whether it is poetry or long articles, we should focus on conception and conception. Thought is (poetic) commander-in-chief, and soldiers without commander-in-chief are called rabble. Li Bai and Du Fu are called "everyone" because their poems have no ideological significance, and there are one or two points in ten. (Description) Smoke, clouds, springs, rocks, flowers, birds, moss, trees, gorgeous couches and splendid curtains mean good poetry. Qi Liang's poems (only) use gorgeous poems, while Song people (only) combine poems with previous ready-made words. People in the Song Dynasty discussed poetry, demanding the source of every word, trying to help their hearts extract their own demands from it, no matter where their feelings came from. This is called a small family, and they can always beg (write poems) in the circle. (Volume II "Introduction to Evening Hall and Yongri")
Hint: This shows that poetry should be based on meaning. The so-called "meaning" is the ideological content given to poetry by the author when writing poetry. It is believed that most of Li's and Du's poems can be "meaning-oriented", and he criticized Qi Liang's and Song's poems for emphasizing the beauty of rhetoric or words, lacking the author's true feelings and failing to "mean-oriented".
(Jia Dao's poem "Li Ningju's Quiet Room") "The monk knocks on the moon door" (whether the word "push" or "knock" is used in the end) is just someone's wishful thinking, just like telling a dream for others. Even if the description is particularly similar, does it have anything to do with the dream that the person actually had? Knowing such a person, because the author pondered the words "push" and "knock", he made a guess for him (decided which word to use for him). If you catch a glimpse of the scene in front of you and feel something in your heart, then either "pushing" or "knocking" (the actual situation) will be one of them. (The author is here) Because the scene is touching, there will be emotional scenes, so (the poem written) will be natural and vivid, smart and wonderful. Why bother others to ponder and discuss? (Wang Wei's poem "Make it a Fortress") "Long River sets the yen" (in the author's mind) did not have a certain scene at first; (His poem "Zhong Nanshan") "I call a woodcutter crossing the river" is not planned in advance (in the author's mind) (just a shocking sight): this is what Zen calls "the present quantity" (realm)! (same as above)
Hint: Some literati and poets in Ming Dynasty had the bad habit of correcting poems for others. This article criticized this trend through the stories of Jia Dao and Han Yu's "pushing" and "knocking". The author emphasizes that poetry should "understand the scene immediately", and when writing poetry, make words and sentences according to the actual situation, and guess for others. If you are wrong, you can only dream of others. At the end of this passage, Wang Fuzhi put forward a new theory of "present quantity" in poetry creation, using Zen as a metaphor for poetry. When writing a poem, you should understand it immediately, smell it proudly, and appreciate its artistic expression without thinking.
Emotion and scenery are nominally two different things, but in fact they are inseparable. For poets who can write superb poems, the feelings and scenes in the poems are harmonious and infinite. People who are skilled in writing poems have scenes in their feelings and love in the scenes. There are sentient beings in the scene, such as "a bright moon hanging over the capital" (Angkor Wat at Midnight by Li Bai), and naturally (in the moonlit scene in Chang 'an), there is a feeling that a woman lives alone and misses her husband. (Du Fu's "West Hanging Place") "The shadow is still in a thousand palaces", naturally there is the joy of (the poet has been displaced for a long time) finally reaching the place where the son of heaven is located. There are scenes in love, which are particularly difficult to show in twists and turns, such as (Du Fu's "Morning of Jia Zhishe in Daming Palace"), "Poetry becomes a pearl", which is a happy scene in which the poet appreciates his pen and ink. Generally speaking, readers with appreciation wisdom can appreciate this kind of poetry; If you are not such a reader, you will read it casually and consider it a normal conversation. (same as above)
Tip: this passage discusses the relationship between emotion and scenery: in Wang Fuzhi's view, the most beautiful thing is that the scenery is "wonderful and boundless", which is seamlessly integrated and inseparable; The second is "feelings in the scene", which contains feelings in the description of the scene; The third is "scenery in love", which allows readers to see the emotional images in the poem during the lyric process. In short, writing a scene is defined as a living feeling, and the writing feeling must reside in the scene. This is what he meant by "the scenery is two names, but they are inseparable".
In the middle of modern poetry, one couplet is love and the other is scenery, which is just a way. (Du, "Looking at the early spring outing in Lucheng in Jinling") "White clouds and red clouds dawn from the sea, and wild Chun Mei rivers and willows. I saw an oriole dart in the warm wind, and the light turned green to duckweed. (Li Yi's "Harmony between Penglai and Xingqing Pavilion Road") "Yun Fei's northern que is light and cloudy, and the rain rests in Nanshan. Yuliu has been fighting for Mei Xinfa, and Linhua does not wait for the morning breeze. " They are all scene languages. Where is the language of love? As for the four sentences, they are all love words, and there are countless ones without scenery words. Can it be said that this is also a way to write poetry? Scenery and emotion blend harmoniously, and emotion is born of scenery and can never be separated, just as the poet wishes (naturally generated). Divide love and scenery into two parts, then love can't be felt by the scenery, and the scenery is not the sentimental one. Moreover, such as (Shen Quan's "Ancient Meaning") and "Smelling the cold and shaking the leaves (Liaoyang expedition will die for ten years)", take one feeling and one scene as the antithesis; (Li Zhi's "Title Bow Xuanshan Pool") "Flaky solitary clouds peep at the hue (clear pool and bright moon shine on Zen. Command the wishful ceiling to fall and sit in the spare room) "Four sentences, each sentence has feelings and scenery: Where can feelings and scenery be divided? Simple people mark the simple poetic format and say (Du Fu's "Climbing Yueyang Tower"), "There is Wu in the east and Chu in the south (you can see the endless floating of heaven and earth. But not a word came to me from my relatives or friends. I am old and sick, and I am alone. "The first two sentences are scenery, and the second sentence is emotion. This is the charter mode of regular poetry. Really ignored Du Fu's laughter in Jiuyuan. There is no cure for stupid diseases. Who can cure them? (same as above)
Tip: This example refutes the "shallow people are ugly" in dividing scenes, and points out that the so-called "one emotion and one scene" is only a method of writing poems, and it is not a universal law that everyone should follow. There are various ways to deal with feelings and scenes, but they should all be "scenes and feelings are integrated, feelings and scenes are born together, and they are not separated at first, but only to their liking."
Those who write poems and establish schools will inevitably pile up words and allusions. Without them, schools cannot be established. Because the heart belongs to everyone, we can't borrow it from each other, and we can't give shallow people a convenient introduction (about how to use it) so that they can borrow it at will. People deride Quincy-style idioms and allusions as "water otters sacrifice fish", and Su Zhe and Huang Tingjian are also idioms and allusions piled up by "otters". The "body" is piled up with gorgeous and mature allusions such as "Fat finless porpoise", while Su, Huang and others are piled up with rough and uncommon allusions such as "Giant sharks blowing sand and jumping waves": (they) will never write poetry again except the classic stories in books. Like Liu Bing's poem (Min) ("Early Spring is Wu"): "There is a dragon and a tiger in the mountain, and the east wind on the pillow recalls the phoenix." Bei Qiong (courtier, courtier) ("Send my brother-in-law Lu Xizhi") wrote a poem: "I don't want to go to my house, it will be new every twenty-four months. How can countries be arrogant and afraid of no one in the neighborhood? " Although ancient allusions and idioms are used, unlike styles and Su Huang, people can still describe their feelings skillfully. In short, it is not necessary for a simple person to be able to describe his mind in detail and arouse the emotions of "prosperity, prospect, group affection and resentment". It's just that it can't borrow (humble people), so no one has established a Sect (by describing people's hearts); Writing by describing people's minds can revitalize the decline of poetry creation in the past 400 years.
Tip: This passage advocates seeking nature directly when writing poems, and opposes rigidly applying the idioms and allusions of predecessors. Stiff piling up the idioms and allusions of predecessors will form a rigid "convenient method" for writing poems, which will give people who establish sects an opportunity. However, Wang Fuzhi is not opposed to the use of idioms and allusions that can skillfully express the poet's self-nature. Taking the poems of Liu Bing and Beiqiong as examples, he thinks that their poems all use the allusions or idioms of predecessors, but they can "write the soul, move the heart, view, group and complain", so they are still good poems, which are different from the "fat finless porpoise" style of Kunxi School and the "fat finless porpoise" style of Su Zhe and Huang Tingjian. In Wang Fuzhi's view, the use of allusions is not the boundary between praise and criticism, and everything is related to the author's feelings, which is irrelevant.
Translation of Selected Poems (Excerpts)
Poetry is narrative and dialogic, which is especially difficult compared with writing history books. Of course, the ability to write history must include facts to be vivid, but it is easier to write from facts. Poetry creation should face the immediate things,
Immediately produce lyrical desire, immediately describe the form of things in words. If we use the method of writing history (including facts), the feelings of facts to poets will not be reflected in the language and rhythm of poetry, and the road of poetry creation will not exist. This is why the poem "Going Up the Mountain to Pull Grass" is wonderful! Du Fu imitated it and wrote Shi Qu Guan. Almost every description was realistic, but in the end he felt that his description transcended history, but it was not enough for poetry. Commentators praised Du Fu with "the history of poetry", as if they hated the horse's back for not being swollen enough when they saw the camel. This is really pitiful! (Comments on Selected Ancient Poems, Volume 4, Taking Wu Hong Up the Mountain)
Tip: The difference between history and poetry is that it focuses on facts and "that is, things create feelings, that is, painting scenery", that is, things are important and feelings are important. Compared with Du Fu's Shi Qu Guan and Shi Shan, the former is considered as "more history, less poetry", that is to say, Shi Qu Guan overemphasizes the description of facts. Therefore, Wang Fuzhi disagreed with the critics who called Du Fu "the history of poetry".
Some (seemingly) contents of Xie's poems are very easy to understand, but the associations caused by them are endless; Some (seemingly) meanings are extremely difficult to find, but the path is (actually) obvious. It's just that people who don't know Xie Shi can't see why. Thanks to the poet (reader) who expresses his will, he can get the poet's voice and grasp the distinct image in the movement and ethereal existence of poetry; The person who writes about the scenery shows the inherent features of the scenery in a detailed description, which is true and credible. Moreover, love is not melodramatic, but expressed through scenery. It is immortal and affectionate forever. Xie Shi's spirit flows between emotion and scenery, and everything between heaven and earth is observed by poets, which can be infinitely great.
From infinity to infinitesimal, there was an unspeakable spiritual activity before (the poet) put pen to paper and began to conceive. Is it like Shen Yue's "Xinghui Escort Agency"? (Selected Poems Volume 5 Xie Lingyun's Poems on Shigushan) Comments
Hint: This theory of Xie Lingyun's poetry is wonderful, but it is too mysterious. As far as the facts are concerned, the language of Xie Shi's poems is becoming more and more gorgeous, and the description is too detailed. There are not many works that really integrate scenes such as "pond spring grass" in "Water Lotus".
Talking about poetry naturally backfires. Because the theme of the poem should be implicit, so as to produce the authenticity of the discussion, so people who interpret the poem can get different feelings from the poem. If (the poet) comments in the poem first, the poem will be exhausted before it is finished. The meaning of poetry itself has been exhausted, and it is bound to be unable to arouse the reader's heart. It's like beating a drum, the drum won't ring, and beating a drum with a drumstick will only make the sound of dead wood hitting each other. Poems written by people in Tang and Song Dynasties love brevity, but they can annotate enough information, but their vulgarity is also like Hu Ceng's epic poems, which can really be used as teaching materials for rural private school teachers to teach their children. This is enough to know that there will be no poetry if it is discussed into poetry. This sentence is correct.
Hint: this is the proposition that "poetry should be based on style and arguments should be based on life", that is, the description of the image of poetry should contain truth and arguments should not be put into poetry. (Han Chuantong)