It’s too long and I can’t find it, so I’ll pick the main paragraph:
There are three meanings in the poem: one is Xing, the other is Bi, and the third is Fu. When the text has been exhausted but there is more than enough meaning, it is invigorating; when things are used to describe ambitions, it is comparison; when writing about things directly, when writing about things in fables, it is called poetry. The three meanings of Hong Si are: use it with discretion, dry it with the power of wind, moisten it with elixir color, make the taste infinite, and make those who smell it move their heart. This is the ultimate poem. If it is used exclusively for comparison, the problem lies in the deep meaning. If the meaning is deep, the words will be awkward. If only Fu style is used, the problem is that the mind is floating. If the mind is floating, the writing will be loose, playful and flowing, and the writing will never stop, and it will be unorganized and cumbersome.
Five-character poetry plays an important role in poetry and is the most flavorful among various poetry styles, so it is suitable for the taste of the world. Isn't this because five-character poetry is the most detailed and appropriate in describing events, depicting images, expressing emotions, and describing scenery? Originally, there were three methods of poetry creation: one was xing, the other was comparison, and the third was fu. The words are limited but the meaning is infinite. This is Xing. Borrowing objects to express one's ambition is a comparison. It is a fu to write directly about the events and convey the aspirations through the description. Give full play to the role of these "three meanings", use them appropriately, use wind as the main body, and embellish them with rhetoric; make those who ponder it feel endless aftertaste, and be deeply moved when they hear its sarcasm. This is the highest level of poetry. Achievements. If the poem is composed exclusively of Bixing, the problem is that the meaning is profound; if the meaning is profound, the diction will not flow smoothly. If only Fu style is used, the problem is that the meaning is shallow; if the meaning is shallow, the diction will be loose, frivolous and slippery, and the diction will have no purpose and will inevitably become a messy and unorganized burden.
Main point: an important poetic theory in "Preface to Poems". It contains the following important poetic viewpoints:
First, the theory of "chanting temperament". Zhong Rong has a profound understanding of the relationship between poetry and human emotions, and proposes: Qi is an animal, and things are touching, so it shakes the temperament and forms various dances and chants.
Secondly, Zhong Rong’s theory of object sense includes the meaning of real life. The reason for the poet's shaky temperament should be that nature and social life both touched and inspired the poet. He said:
If it is the spring breeze and spring birds, the autumn moon and autumn cicadas, the summer clouds and hot rain, and the winter moon and cold weather, then all the poets feel the four seasons. Jiahui sends poems to relatives, and those who are separated from others send poems to express resentment. As for the Chu ministers leaving the country, the Han concubines resigned from the palace. Or the bones are scattered in the wild, and the soul is flying around. Or guard the outside with a negative attitude, and be aggressive on the border with murderous intent. Separating guests' clothes, the widow sheds tears. Perhaps a scholar went out to court without wearing a piece of clothing, but once he left, he forgot about his rebellion. A woman is favored by a moth, and then she hopes to conquer the country. All kinds of things touch the soul. How can one express his meaning if he is not a poet? How can he express his emotions if he is not a long song? Therefore, it is said: "Poems can be grouped together, and they can be complained." It makes it easy to be poor and lowly, and to live in seclusion and boring, don't care about it. Poetry.
Third, the theory of "seeing directly with one's eyes" and "natural British intention". Zhong Rong advocated taking nature as the highest aesthetic principle in poetry creation, and put forward the theory of "seeing directly with the eyes" and the theory of "natural edict".
Fourth, "Poetry has three meanings". "Poetry has three meanings" is Zhong Rong's overall requirement for literary creation. Zhong Rong said, "There are three meanings in poetry: one is Xing, the other is Bi, and the third is Fu." Zhong Rong's "Three Meanings" come from the "Six Meanings" in "Preface to the Poetry", but Zhong Rong's "Three Meanings" The theory of "righteousness" has its new theoretical contribution. He changed the traditional order of Fu to Xing to Xing to Fu, highlighting the status of "Xing" and expanding the connotation of Xing to Fu.
Fifth, "taste" theory. Zhong Rong put forward the theory that "poetry has three meanings" and believed that the key to making poetry have "taste" lies in the comprehensive use of the writing methods of "Fu, Bi and Xing". How to comprehensively apply the "three meanings"? Among the "Three Meanings", he put "Xing" first and made comprehensive use of the "Three Meanings", which highlighted the artistic thinking characteristics of poetry.
Zhong Rong's "Shipin" is the distant ancestor of ancient poetry, so it is also called the ancestor of poetry in a hundred generations. The direct-seeking way of thinking, the imagery-based comment method and the categories of literary theory with poetic spirit have had a profound impact on the development and maturity of the poetic characteristics of ancient Chinese literary theory.
(The above author is unknown)
Reference: ftsy.lszyzz.com/yjlw/YJLW/BAA/200601/427.html