First of all, it expounds the relationship between literature and reality.
zhong Rong emphasized in preface to poetry that poetry is the expression of human feelings, and the excitement of human feelings is caused by the feelings of real life. He said: "The animal of qi is touching, so it shakes its temperament and dances." Zhong Rong's understanding of "things" includes not only such natural things as "spring breeze, spring birds, autumn moon in Qiu Chan, summer rain in Xia Yun, and cold in winter moon", but also many touching and complicated social life contents. For example, "Chu Chen went to the border, Han Yu resigned from the palace, or the bones were horizontal and wild, and the soul was flying; Or negative Ge Waishu, murderous male edge; Plug the guest's clothes list, and the tears will be exhausted; Or a scholar has come out of the DPRK and never returns; Women have young moths into the pet, and then look forward to dumping the country "and so on. He said: "All kinds of repercussions, feeling the soul, how can non-Chen poetry show its meaning?" Why not Long song? " The objective real life content inspired the poet's passionate feelings, so he became a poem. Zhong Rong showed a correct understanding of the relationship between literature and reality here with a distinct view of simple materialism, which was not easy at that time. In ancient China, it was put forward long ago that literary creation is the result of "people's feelings about things". In the Book of Rites, it is said: "Every sound begins with people's hearts. When the human heart moves, things make it natural. Feeling things and then moving, it is shaped by sound. " Although this is about music, its principle is also related to literature. Lu Ji's "Wen Fu" said: "Follow the four seasons to sigh, look at everything and think about it. Sad leaves fall in the golden autumn, and joy is soft in Fangchun. " It is the application of the idea of "feeling things in people's hearts" in Yue Ji in literary creation. However, Lu Ji mainly talks about natural things, and does not involve the social life content of things. When Liu Xie discussed the relationship between literature and the times in Wen Xin Diao Long, he emphatically pointed out the characteristics of literature reflecting the real life content of society, and pointed out that "literary changes are influenced by the world, while prosperity and abolition are related to the time sequence". What Zhong Rong said is the further development on this basis.
what is more valuable about Zhong Rong's relationship between literature and reality is that he not only points out that literature reflects the essence of real life, but also thinks that only works that show progressive thoughts and feelings in the process of describing real life are the most valuable, meaningful and beautiful works. Zhong Rong highlighted the word "resentment" in his poetry criticism. For example, he praised the "ancient poetry" for its "sadness" and said that Li Ling's poem "is full of sadness, and there are people who complain". He believes that Cao Zhi, the most accomplished poet in the creation of five-character poems, is characterized by his "elegance and resentment, and his style is literary". Wang Can's poem "It originated from the Li Ling, and it is a word of sorrow", which is also full of resentment. Zuo Si's "wind power" is a very important performance, which is that "the literary canon is very meticulous in complaining". Liu Kun's "fighting for integrity" is also inseparable from his "words of kindness and sorrow" and "words of much resentment" If we combine the creation of these poets to examine the specific content of "resentment" advocated by Zhong Rong, we can see that it either reflects the dissatisfaction with the hierarchical system of the aristocratic family, such as Zuo Si's "Ode to History", which wrote that "the world stands tall and handsome and sinks down." The terrain makes it natural, and the origin is not once. " Or the feeling of economic decline, sympathy for the people's suffering, as Wang Can wrote in "Seven Sorrow Poems", "When you go out, there is nothing to see, bones cover the plain", "When you realize that you are going to the spring, you will feel sad when you sing". Or because of the corruption of the ruling class and the darkness of politics, the progressive political ambitions of people with lofty ideals cannot be realized, and their chests are full of depression and resentment. For example, Liu Yao's "Reward to Lu Zhan" says that "the achievement is not built yet, and the setting sun suddenly flows to the west", "Why do you want to make steel, and turn it into a soft finger", and "Faithfulness is the crime, and Hanwu is not clear" in "Fufeng Song". I want to write this song, which is sad and long. "This is a deep feeling and injustice. This kind of "resentment" emphasized by Zhong Rong not only breaks through the shackles of Confucianism, but also is fundamentally different from the palace pornography advocated by Xiao Gang and Xiao Yi. It is a progressive tradition in the history of the development of ancient Chinese literary thought to advocate that literature should show the "resentment" of the lower class to the upper ruling class. As early as the late Spring and Autumn Period, Confucius fully affirmed the dissatisfaction of the lower-level officials and people in the Book of Songs with dark politics and decadent rule. In the Han Dynasty, Sima Qian developed Confucius' thought that poetry can be resentful, especially pointed out that the great patriotic poet Qu Yuan's masterpiece Lisao was "self-blaming", and on this basis, he put forward the far-reaching theory of "writing books with anger". Zhong Rong's Poems exactly inherited and carried forward this progressive literary thought tradition.
Secondly, Zhong Rong advocates the true beauty of nature and opposes the formalistic aesthetic view of deliberate carving.
During the Wei, Jin, Southern and Northern Dynasties, there was an erroneous tendency to unilaterally pursue formal beauty in literary creation, which was particularly serious in the Qi and Liang Dynasties. In Zhong Rong's time, this tendency is very prominent in two aspects: piling up allusions and parallelism. Allusions can of course be used in poetry creation. Properly used, it can make the meaning of poetry more profound, the language more concise, the lyric more thorough, the image more vivid, and play a positive role in endless words and meanings. However, a large number of allusions make poetry cringe and obscure, which will violate the characteristics of art and make poetry lose its natural beauty, but have the opposite effect. Xiao Zixian once pointed out in "Literary Biography of Southern Qi Dynasty" that the poetry creation at that time, due to the abuse of allusions, resulted in "borrowing all the old sayings, applying the present situation, rugged traction, straight saying, only seeing examples, and losing its brilliance". In view of this shortcoming, from the perspective of maintaining literary characteristics, Zhong Rong emphasized that general non-artistic applied articles can use more allusions; Poetry, as an art, is mainly lyrical, focusing on "natural English purport", and cannot be based on more allusions. The art of poetry should focus on image-building, instead of showing off knowledge. He said that some famous phrases such as Xu Gan's "Thinking of a gentleman is like running water", Cao Zhi's "hentai on a high platform", Zhang Hua's "Going to Longshou in the morning" and Xie Lingyun's "The bright moon shines on the snow" are just descriptions of "seeing" and "seeing", and no allusions are used. "Words are not expensive and strange, but strive for new things", which violates the characteristics of poetry art. He believes that poetry creation should be based on the method of "direct search" to express the feelings of the chest and express the beauty of nature, and should not become a vulture who has lost his book bag!
Starting from the principle of advocating the true beauty of nature, Zhong Rong tried his best to oppose the creative tendency of the temperament school that was fussy at that time. Zhong Rong does not want the musical beauty of poetry at all, but he thinks that "the literary system should be satirized and not hindered, but it is enough to make it clear and clear, and to adjust the tone." As long as it is natural and fluent in phonology, it is a good work, and there is no need to pursue those fine rules. According to Shen Yue's proposal, it is necessary to achieve "Gong Yu phase transition, low and high, and joint each other. If there is floating sound in front, it must be cut after. Within a brief period, the phonology is different; Among the two sentences, the weight is different, and it is wonderful to reach this purpose, and it can be said "("Song Shu Xie Lingyun Biography "). Then, it will inevitably lead to the evil result of "too much taboo and hurting its beauty." Of course, Zhong Rong's evaluation of temperament school is too one-sided and his contribution to it is definitely not enough. Because there are rules to follow in the rhyme and meter of poetry creation, in fact, the metrical school has played a very important role in the formation of Chinese classical poetry meter. However, Zhong Rong is completely correct in criticizing the abuses of the theory of temperament school, which has played a positive role in promoting the healthy development of ancient Chinese literary thought.
Zhong Rong's aesthetic standard of advocating the beauty of nature and opposing carving and piling up is also clearly reflected in his comments on many poets. He praised Xie Lingyun's poem, "The famous chapter is full of sentences, everywhere rises, Li Dian has a new sound, and an endless stream of meetings, which is like the bush pulled by a pine tree and the white jade reflected in the dust and sand, which is not enough to belittle its nobleness." He also said that Xie Tiao's poems are often full of surprises. Enough to make uncle source out of step, bright and distant discoloration. " However, he also pointed out that there are still some shortcomings in Erxie's poetry creation, such as complexity and fineness, which are not completely in line with nature, beauty and wealth. Zhong Rong criticized Lu Ji's creation as "the wonder of injury", and criticized Yan Yanzhi's creation as "fond of using ancient things, shy and restrained, although good and elegant, economical and elegant". These can also clearly see his aesthetic view.
Third, Zhong Rong advocates paying equal attention to style and rhetoric, emphasizing "taste" and immortal artistic charm.
Style is an important aesthetic category in ancient China. Zhong Rong's "wind power" in "Poetry" also means strength of character. He believes that poetry creation should be "dry with wind, moistened with Dan Cai", that is, he advocates giving priority to style, supplemented by rhetoric, and paying equal attention to style and rhetoric. When Zhong Rong talked about the development of five-character poems before Qi and Liang Dynasties, he took Jian 'an literature as the highest model, and Jian 'an literature creation was characterized by vigorous wind. Zhong Rong especially praised Cao Zhi's poetry creation, and regarded him as the most outstanding representative of five-character poems before Qi and Liang Dynasties. He said, "Chen Sizhi is also in the article, for example, there are Zhou Kong in human relations, dragons and phoenixes in scales and feathers, Qin Sheng in music, and female workers." And his comment on Cao Zhi's poem "The character is extremely high, and the words are taken from Hua Mao" is based on two aspects: wind power and Dan Cai. He commented on Liu Zhen's poem, "The fighting spirit is curious, and the movement is more exciting." True bone frost, high winds and customs. But if you are angry with your words, you will hate less. " That is to say, although Liu Zhen's poems are awe-inspiring, they are slightly inadequate in terms of diction. At present, there are quite different views on the meaning of character. Its meaning in different artistic fields and different literary critics is not exactly the same. Zhong Rong's "Jian 'an Wind Power" has the following characteristics: first, there must be generous and tragic resentment, which is very clear and strong. The second is to express one's mind directly, naturally and truly, without affectation and artificial carving. The third is that the image is distinct and prominent, with concise and clear style characteristics. Generally speaking, "wind power" refers to the beauty of the spiritual essence of the poetic image, while "Dan Cai" refers to the beauty of the material expression of the poetic image. Only by combining them closely can literary works be vivid and vivid. The combination of "wind power" and "Dan Cai" is another important aesthetic standard for Zhong Rong to evaluate the poets of past dynasties.
criticized the tendency of "the taste of the big soup is the same as that of Zhu Xian" in his creation. There are about a dozen places where Liu Xie talked about "taste" in Wen Xin Diao Long. Liu Xie's understanding of "ignorance" focuses on the image characteristics of literature. For example, in the article "Hidden Show", it is said that only works with the characteristics of "hidden show" can have endless "aftertaste". Then,
what is the value of Zhong Rong's Poems? Besides the above aspects, it is also worth our attention that he sums up the historical origin of poetry development into two clues: The Book of Songs and Songs of the South. This is in line with the actual situation of the development of ancient Chinese poetry. The Book of Songs and Songs of the South are the earliest representative works of two different schools of realism and romanticism in ancient China. Of course, when Zhong Rong classified the poets before Qi and Liang Dynasties according to these two clues, his division was unscientific, and the discussion on the inheritance relationship of some poets' creation also had the shortcomings of simplification. However, he can put forward the two basic clues of poetry development, which is of great reference significance for us to study the history of poetry development. At the same time, Zhong Rong's summary of the creative characteristics of more than 1 poets also provides valuable insights for us to study the creation of these poets. In this sense, Shi Pin is not only a monograph on poetry theory criticism, but also a monograph on the literary history of five-character poetry writers' works.