First, what is the realm
Surprisingly, unlike western metaphysics, China's poetics hardly uses abstract concepts with clear boundaries, and security is a way to talk about the poetic nature of poetry, so China people are considered by western philosophers like Hegel as "still immersed in a natural spirit" or simply as "China has no philosophy"; China people who have been left behind in the historical process of the modern world are actually ashamed and feel culturally inferior. However, after western metaphysics was deconstructed by thinkers such as Heidegger and Derrida, western thought and China thought have more similarities: China thought is not without the so-called philosophical value of westerners, but has more unexplored places and even greater advantages to some extent, so it is considered to be "ahead" than western thought. Strange!
And what is the "realm"? How does the realm connect or link China's thought with Heidegger's thought of existence?
The inner meaning of the word "realm" is a real geographical boundary. Liezi Zhou Muwang said: "There is a country in the south corner of the west pole, and I don't know where the realm is connected, so it is called the ancient barbarian country." When Buddhism is mentioned, it develops into a "realm" of the field: "Those who crawl in the heart are called the realm. If the color travels by the eyes, it is called the color boundary; Even the law is wandered by consciousness, which is the so-called realm of law. ..... That makes sense, and it is also a place where Miao Zhi travels, so it is called the realm. " The "realm" is a "climber of the mind", and the mind can indeed "climb", but where is its boundary? There is no boundary that we can see and touch. China Thought has been developed into such a borderless field from the very beginning.
"Realm" is the most typical regional world that runs through China's thought. The difference between China Thought and Western philosophy is that it has always been open to regional rather than substantive formalization. This is the most wonderful and even mysterious place in China's thought, which is completely different from the way western theories find the foundation. Almost all China people's poems are written in vivid poetic language, which seems unsystematic and irrelevant. Everyone in China knows that this regional world can't be defined by concept, so to present this world through images is to "make the best use of saints' statues". Therefore, there is a very special word "image" in China's thought, and poetry achieves an artistic conception (realm) by establishing image group. However, the "image" in China's poems has never been a formal image of an independent entity, but has long been an "image-image" associated with human meaning.
Wang Guowei said in Poems: "The so-called" interest "of Canglang is far from Ruanting's so-called" verve ",but only a representation. If I choose the word" realm "to explore its origin." Before Guo Wang said, people talked about "realm" a long time ago, but since he began to take "realm" as the basis of his poetics, that is, he grasped "realm", a word that best embodies the "territorial" characteristics of China Thought. Both "interest" and "verve" are words with regional characteristics in China's thought, but the word "realm" shows the field of China's thought more directly and clearly. In this respect, Wang Guowei's "The Thorn on Earth" is indeed a powerful summary of China's traditional poetics, and can also stimulate the vigorous rise of China's thought.
"Realm" is a climber of the mind, so "Realm" and "Mind" are unified and displayed as such an open field. Different from the dichotomy of subject and object in western philosophy. China thought talks about "image", but it is not an independent and self-existent "thing" in essence, but an "image", which is always an image projected or influenced by human will. In the "realm" of art as a whole, there has never been an "image" that is self-sufficient without the poet. The advantage of China Thought is that it has been running in an open environment and there is no sign of division. It always keeps itself open as a whole. The ancient poets only need to be in this open situation, but they don't need and won't reveal their own "territorial" way, which is called daily use without knowing. What we have revealed today may be an obvious gap in our thinking, but it may also damage the original way of speaking.
In the west, Heidegger thinks that "being" has been forgotten by western metaphysics. In his Silence of anaximander, he said: "But what exists is the existence of being (or) ... From the early days, presence and presence seem to be different things. Unconsciously, existence itself has become a participant ... the essence of being present and the difference between being present and attending have been forgotten. Forgotten existence is the forgotten state of the difference between existence and existence. " Heidegger's existential world is interlinked with China people's ideological world (such as realm). However, "existence" has been forgotten in the development history of western metaphysics. "Existence" is experienced as "existence", "existence" becomes "presence", and there is a dichotomy between subject and object. The dichotomy of subject and object in the west promotes the development of natural science, but it does not conform to the reality of the artistic world with intuitive images as the observation object. It can be said that it was not until Heidegger that the west put forward a "regional" or "existential" world completely. So it is integrated with the world that runs through the "realm" of China's ideological history.
Heidegger continued to think about the "openness" that promised some possible appearance and display-clarity, which was vividly called "clearing in the forest", that is, "the open realm of freedom". He asked: "Thought may one day be fearless in such a question: Is the clear and free open field really that kind of thing?" In this kind of thing, pure space and time, as well as all the people present and absent in time and space, have a place to gather everything and cover everything. "
Perhaps, China thought will also think about making the realm appear as the "openness" of the realm, so as to enter that "free and open realm"
Second, there is me without me, creating an environment and writing environment.
As a field world, "realm" runs through the history of China's thought. Although it is different (or not completely expressed) in the previous statement, it is actually an integral field world with no substantial changes. Before the western dichotomy of subject and object was introduced to China, China people didn't really have the concept of subject and object, so the expression of China people's thoughts had an unusually pure and clear sense of wholeness.
Wang Guowei was deeply nourished by China's traditional thought and coincided with the introduction of western philosophy into China, so there are often traces of grafting and tearing of two cultures in his expression:
The realm is not only the scenery, but also the joys and sorrows. Therefore, if you can describe the true feelings of the scene, you can say that there is a realm, otherwise you can say that there is no realm.
"Jing" is a territorial world, in which scenery and feelings are integrated. Scenery is always a scene that infects people's feelings, and feelings are always attached to the scenery. However, when western philosophy was introduced into China with a strong attitude, Wang Guowei was influenced by the dichotomy of subject and object in the west, and thought that scenery and human feelings were both a realm. Wang Guowei realized that scenery and feelings are related to the realm, but he didn't realize that scenery and feelings are in the same field and realm, so they belong to the same. Or Wang Guowei has realized this, but in terms of expression, influenced by western philosophical thinking, he separated them as juxtaposition.
His "realm with me" and "realm without me" are nourished and inspired by traditional poetics and influenced by Schopenhauer's philosophy. Looking back at the development of western philosophy itself, Schopenhauer's voluntarism philosophy was later criticized and sublated by Nietzsche's will to power, and many problems were clarified by Heidegger:
Have my territory, no my territory;
If you have my own environment, you can see things with me, so everything is my color.
No ego, look at things by things. So I don't know what is for me and what is for things.
Wang Guowei's distinction between "with me" and "without me" still bears a strong trace of dichotomy between subject and object. In fact, as a realm, it is open to a territorial field, with or without me. "No self" is only aimed at the unique impersonal sentence pattern in Chinese poetry. Wang Guowei's "seeing things by things" is influenced by Schopenhauer's so-called "self-denial and courtesy" view of things. At this time, the poet's will (desire) has been in "complete silence", all his passions have faded, and it seems that the "subject" has completely disappeared. The poet's "I want" has become "I know", that is, "the pure subject of cognition"-a pure and flawless "mirror" for observing the concept of the object. The poet himself became a "no-self".
Can the poet's passion completely fade away? Obviously impossible. First of all, the logical thinking mode of subject-object dichotomy is still very strong. As a purely external observation, it is impossible for the art world to change from "I want to know me". The poet's passion did not fade, but he was immersed in the extreme intoxication of the scenery (Nietzsche). The poet's opposition to "with me-without me" contains an idealized extreme requirement, which is the premise of the emergence of western "ideas" Poets can achieve the highest state of self-absence by getting rid of desire (self). As a localized world, China people's thoughts have always been in a "between" zone, and there is no extreme expression that holds both ends-there is no abstract concept that is divorced from desire. People's feelings are only transformed and adjusted in this "between" geographical zone, but they have not disappeared. There is no such extreme expression of "idealization" in China Thought, but there are many expressions of "middle" and "moderation". Wang Guowei's "Land without Me", such as "Picking chrysanthemums under the east fence, leisurely seeing Nanshan" and "Cold wave starts, Bai Niao falls leisurely", is actually in a very calm and harmonious artistic realm. People get rid of vulgar desires and enter the realm of extreme intoxication in art, and people and scenery are in a very harmonious scenery. This impersonal sentence does not mean that people's will has completely disappeared. On the contrary, people's feelings or will have been adjusted to the most appropriate state. As a landscape, it always condenses people's feelings; Only as a scene that can stimulate people's emotions is it a scene in the artistic realm.
Wang Guowei also has the distinction of "creating the environment" and "writing the environment" in his poetic remarks;
There are two schools of thought: idealism and realism. But it is difficult to distinguish, because the environment created by great poets must conform to nature, and the environment written must be adjacent to the ideal.
As an art field, the realm itself is not as divisible as a concrete object. There is no clear distinction between "creating environment" and "writing environment". Therefore, although Wang Guowei intends to separate, he also stressed that "it is quite difficult to separate the two." As a naming and territorial concept, "realm" itself is an unnamed "force for it". There is no theoretical proof of how to open the "realm" of this region in China's thought, but it is realized by "establishing images" in poetry. If there is a difference between "creative context" and "writing context", it is only that different poetic materials or expressions have opened up different fields. For example, Writing Landscape emphasizes realism, conforms to nature and tends to layout style; "Creation" emphasizes imagination and reconstruction and tends to rely on comparison. However, no matter whether it is direct fu or contrast method, the materials used are not independent objects, but infected with the poet's feelings and established an aesthetic field or artistic realm.
Third, separation and non-separation
The propositions of "separation" and "non-separation" not only touched the difficult problem of communication in the art field, but also fundamentally touched the problems of "separation" and "separation" between people in China's thought, and then put forward the requirement of "empathy" for China's thought.
At the beginning of world civilization, that is, the so-called first "axis era" of world history, China thought was faced with the situation that "a Jedi understands heaven" in Guoyu Chuyu, so the pursuit of empathy constituted the fundamental motive force of China thought. This is different from the opposition between "one god" and "gods" in the west. Western culture realizes the salvation and overall grasp of the world through "one god" (including western theology, metaphysics and various laws), while China has no inevitable situation of national opposition and extinction, which is mainly manifested in "stagnation", "isolation" and "interval" between people, so it is actually one of many ways of "feeling" through "empathy" of China's poetic art.
In fact, "Ge" and "Bu Ge" also typically reflect the characteristics of China people's way of thinking. Between realms, it can only be embodied by "case" or "case" (path), rather than the continuity or fracture of the western logical chain. Once the logical chain of the world is broken, the integrity of the world will collapse and break. The rise of "anti-rationality" and "irrationality" in the modern west lies in the loneliness and absurdity after the logical chain in classical philosophy is broken. This goes back to the "stagnation" or "isolation" between people in China's thought-how to understand it? Contemporary western philosopher Derrida-Nancy and contemporary young scholar Xia have all raised this question.
In Wang Guowei's poetics, the so-called "separation" and "non-separation" of the realm is actually the realm created by the poet that others can enter, or whether one field can be inspired by another field, which involves the question of how people exist and understand each other. Wang Guowei gave up discussing this issue from the perspective of human differences, but only from the perspective of artistic techniques-how to better open this realm.
Asked about the difference between "Ge" and "Bu Ge", he said: Tao and Xie Zhi are not separated, but the valley is slightly separated. The beauty of the words "spring grass grows in the pond" and "empty beams fall in the mud" lies in their non-separation. The same is true of words, that is, to discuss words with one word. For example, in Ode to Spring Grass, the first half of Ouyang Gongqing's annual tour, he said: "Twelve are lonely in spring, the sky is far away, and Wan Li is thousands of miles away. In February and March, the words are all in this day, that is, they are inseparable from the clouds" Xie Jiachi, Jiang Yanpu ".
Here "Bu Ge" and "Ge" can also be regarded as "true" and "untrue", so Wang Guowei wrote at the beginning: "Ask the difference between truth and Ge". However, China thought rarely asks "truth" and "untruth", which does not include the will to seek truth in western philosophy, so "ge" and "bu ge" are expressions with more characteristics of China thought. As a realm, the connotations of "case" and "case" are similar to Heidegger's "truth", and they are not about the certainty of knowledge of existence, but "no cover", that is, "case" can be understood as "no cover". How can we achieve "no separation"? First of all, we should literally eliminate the gap between poetry and readers as much as possible. Spring grass grows in the pond and an empty beam falls in the mud are not separated because they do not fiddle with allusions and use fresh and natural words, thus creating a very natural and clear picture. As Zhong Rong said in his poem: "Looking at the past and the present is better than words, and most of them are true, and they are all straightforward." That is, how to achieve a purely intuitive aesthetic view is the premise of entering the most dynamic aesthetic field. Secondly, to achieve "non-separation", the emotional field accessible through language must be as open as possible, that is, poetry must be emotional and frank, and the scene must be integrated. Wang Guowei discusses his "Buge" from two aspects: emotion and scenery;
"Born less than a hundred years old, often pregnant with chitose. The days are short and the nights are long. Why not travel by candlelight? " "Seeking immortality by food is mostly caused by medicine. It is better to drink vegetarian food. " You won't be separated if you write this. "Picking chrysanthemums under the hedge, leisurely see Nanshan. The mountains are getting better every day, and the birds are back. " "The sky is like the sky, and the cage covers the fields. The sky is grey, the wilderness is vast, and the wind blows grass and low cattle and sheep. " This is the way to write about scenery.
Wang Guowei followed the principle of affection-affection; Scene-the nature of the scene, to discuss his "non-separation". In fact, emotion and scene have never been separated (this scene is the representation scene and image in a broad sense). The so-called "scene blending" describes the field composed of "emotion-scene" and is a domain space with infinite vitality. Can you enter or be prevented from entering such a field composed of "emotion-scene", that is, produce the artistic effects of "inseparable" and "detached".
As an artistic effect, "Boog" is the highest realm of Wang Guowei's art, and its way of thinking is different from the western linear logical way of thinking, that is, the realm, as a field, cannot be defined from the logical level. As a name, "Buge" is actually a name without a name, which is the case in the minds of most people in China. This is a fact. However, this is more humble and real than the integrity of the logical system that westerners say. Later, westerners realized the loopholes and paradoxes contained in their logical world, so they became more and more associated with China Thought.