Abstract: Cao Pi's "Essential Theory of Classics" is the first work of literary theory in the Wei and Jin Dynasties, and also the originator of textual monographs in the history of Chinese literary theory criticism. Cao Pi's "Literary Qi Theory" is the core proposition of literary creation and talent theory criticism. Since Cao Pi first unveiled the theory of "literary spirit", the Chinese literary circle has focused on "literary spirit" whether it is poetry criticism or essays on the general rules of creation and appreciation. Therefore, the complicated theoretical categories of ancient literary theory are essentially inherited and expanded by the theory of "literary spirit", thus forming a unique value style and aesthetic charm of literary criticism.
Keywords: Cao Pi; "Thesis on Classics"; Wenqi theory: cultural style; aesthetic characteristics
Cao Pi's "Thesis on Classics" is the beginning of literary theory in the Wei and Jin Dynasties He is also the originator of literary monographs in the history of Chinese literary theory criticism. Cao Pi's "Literary Qi Theory" is the core proposition of literary creation and talent theory criticism. Since Cao Pi first unveiled the theory of "literary spirit", the Chinese literary circle has focused on "literary spirit" whether it is poetry criticism or essays on the general rules of creation and appreciation. The concepts derived from "literary spirit", such as smell, charm, temperament, weather, momentum, spirit, etc., almost cover the entire ancient literary and artistic theoretical system. It can be said that the complicated theoretical categories of ancient literary theory were essentially inherited and expanded by the theory of "literary spirit", thus forming the value style and aesthetic charm of literary criticism with unique ingenuity.
1. The cultural origins of Cao Pi’s “Wen Qi theory”
In the pre-Qin period of China, various schools of thought used “Qi” to explain the laws of generation of all things in the universe. "Laozi" says: "Tao generates one, generates two, two generates three, and three generates all things. All things bear yin and embrace yang, and the qi creates harmony." That is to say, "One" refers to the chaotic state before heaven and earth are differentiated. This chaotic state generates the two qi of Yin and Yang. The two qi react and combine to generate the rushing qi to become the three qi. The three qi generate all things, so all things bear the yin and embrace the yang. This is the life model of Laozi's cosmogenesis theory of one element, two qi, and three things. Zhuangzi said: "It is mixed between the awns and the wats. It changes and has Qi, Qi changes and takes form, and shape changes and gives life." ?Guan Ziyun: ?The essence of all things is transformed into life. The grains are born below, and the stars are above. When it flows between heaven and earth, it is called ghosts and gods. When it is hidden in the chest, it is called a saint. That is why it is called "Qi". "Xunzi" said: "The heaven and earth unite and all things come into being, and the yin and yang connect and change." In the Four Ages, yin and yang are transformed, wind and rain are abundant, and all things are harmonious and healthy. It is said that Qi is the origin of all things in the universe. "Zhuangzi Zhibeiyou" said: "The life of a person is the gathering of Qi." When we gather, we live; when we disperse, we die. "Guan Zi Xin Shu Xia" states: "Qi means that the body is full." Wang Chong commented: "Human beings are endowed with vitality in the sky, and each receives the orders of the longevity sky to establish long and short shapes." They are all endowed with vitality, either as humans or as animals. People may be noble or humble, poor or rich, rich or rich in money, poor or begging for food, as noble as a lord, or as humble as a slave. It is not natural talent that has left or right, but people's acceptance of nature. ? This all frankly shows that a person's life and death, good fortune and misfortune, wealth and poverty are all defined by the gathering and dispersion of Qi. At the same time, Wang Chong not only used "qi" to explain human life, spirit and social phenomena, but also vaguely used "qi" to clarify the differences in people's talents and emphasize the innate nature of people's talents. At the same time, it can also be seen that Wang Chong's "vital energy" theory has a mechanical and fatalistic aesthetic color.
Li Lan clearly pointed out in "The Beginning of Chinese Aesthetic Subject Theory and Taoist Philosophy: Exploring the Sources of Cao Pi's "Wen Qi Theory"": Cao Pi's "Wen Qi Theory" is the beginning of China's aesthetic subject theory, but In the past, the theoretical origins of "Wen Qi theory" were mostly traced from the Qi theory of the pre-Qin and Han dynasties, especially Wang Chong's school, but not from Taoist philosophy, which is not comprehensive enough. He further argued that Taoist philosophy was the origin of Chinese philosophy's emphasis on subject issues, and that it had a profound impact on the formation and development of Chinese aesthetic subject theory. Therefore, the ideological purpose of Cao Pi's Qi theory also advocates the correlation of Qi with human individual factors, reflecting the color of life in another pattern in Cao Pi's spiritual world, that is, the sensitive, delicate, soft and warm spirit influenced by Taoist culture. Literary sentiment. In addition to the natural inaction of Taoist thought, its aesthetic appeal also clearly displays the imprint of philosophical speculation of Taoist culture. It can be said that Cao Pi became emperor by seizing the Han Dynasty and establishing the Wei Dynasty. Therefore, he was well aware of the power of false and demonic theories highlighted in the name of religion. Therefore, both Cao Cao and Cao Pi adopted a strategy of resolute suppression and leniency against Taoism. For this reason, Cao Pi would inevitably restrict and suppress Taoism with a sober and cold attitude when practicing the art of kingship in reality. However, when he was perceiving life, observing all things, and expressing his feelings, he consciously or unconsciously absorbed and integrated the thoughts and feelings of Taoist culture. , thus developing a dual life color with great contrast in the spiritual world. It can be said that Taoist culture's thoughts of being close to nature, paying attention to life, and pursuing gods have become the basic stance of Cao and his son's essays, poems, and poems. Cao Pi's profound reflections on later generations' "Wen Qi Theory" and "Article Immortality Theory" are A literary concept based on this idea as the aesthetic foundation.
Zong Baihua pointed out: The late Han, Wei, Jin and Six Dynasties were the most chaotic times politically and the most painful socially in China, but they were also the most spiritually free and liberating, richest in wisdom and richest It is an era of enthusiasm, and therefore it is also an era of the most artistic spirit.
?Explanation that Jian'an literati adhered to the essence of "literary spirit" and used free, detached, unrestrained, and unrestrained writing styles to cast the Holy Spirit in their hearts, and their desire for transcending life galloped into the vast and fertile soil of literature, or they placed their persistence in fame in The poetic sky of literary discourse. At the end of the Eastern Han Dynasty, relatives and eunuchs alternated in power. Later, Dong Zhuo deposed the emperor, all heroes came together, and the Eastern Han Dynasty perished. In real political life, the relationship between monarch and ministers has long been in chaos, orthodox ideas seem to be in panic but have no place to stay, and Confucianism has naturally declined irreparably. Looking at the late Eastern Han Dynasty, the ruling class focused on filial piety and integrity and rural appraisal when selecting talents and conferring official positions. The "Qing Debate" style of local officials inspecting promotions and criticizing people was particularly popular. "Book of the Later Han? Preface to the Biographies of Dang Guan" contains the following day: "Caught between Huan and Ling, the master of Huangzheng Miao, the national order was entrusted to the eunuch temple, and the scholars were ashamed to be together." Therefore, the ordinary people resist and are angry, and the officials discuss it. Then he promoted his reputation, talked to each other, judged the ministers, and governed at his own discretion. The style of uprightness was carried out here. Commentary in Cao Pi's "Dian Lun": On the occasion of Huan and Ling, the eunuch temple was dedicated to the top, and the commoners were spread across the bottom. Those who earned a salary gave away goods to pay tribute to the nobles, those who wanted fame devoted themselves to the situation, and the position became private. The name of the door is determined by the Hengxiang, which is different from the household, and the people are different. There is no constant inspection, no fixed price for things, long-term love and evil, and the promotion of cliques. From this, "the common man resists the anger", "the scholar-officials argue", "the character criticizes the ministers", and "the discretion governs" very vividly reflects the various distances between the scholars and the political power, which will inevitably lead to the contradiction between the scholars and the political power. Alienation. After Cao Cao came to power, he despised Confucianism and advocated fame and law. He no longer used Confucian benevolence, righteousness and morality as the standard in selecting talents. He advocated meritocracy and emphasized practical ability. Probably because the wealthy families in the late Han Dynasty advocated "Qing Yi", the writing style was hypocritical and exaggerated, and the content was mostly the same Confucian teachings. The debate over talents at that time, that is, the theory of studying the relationship between human talents and temperament, directly served the political needs of the world. It can be said that Cao Pi advocated a "clear and simple" style of writing in response to the ills of current customs. In a nutshell, "Qingjun" means being simple, strict and practical; "Tongtuo" means speaking what you want without being restrained. It can be seen that the center of Cao Pi's "Classic Theory" is to discuss the relationship between writer's talent and stylistic characteristics. The changes in literary thought at that time were mainly reflected in Cao's father and son, which was also the political and academic thought between the Han and Wei dynasties. The changes are directly connected with each other.