Mutual Proof of Poetry and History in Literature

Literary works are an independent and closed system. Once the work is finished, it has nothing to do with the author. What we study is the aesthetics of the text itself, such as where the eyes of the article are, the aesthetic feeling of the connection between the upper and lower sentences, the logic of the internal organizational structure, and the fluency and intensity of emotional expression between words. What needs to be emphasized here is that the ideological content expressed in the text of the work does not belong to the category of literary aesthetics. It is an understanding beyond the text and an external interpretation of the text (what is the internal interpretation and external interpretation of the text next time). We should not take the external study of literature directly as the basis of text interpretation.

Although literary works are an independent system, their creative process is inevitably influenced by some external factors such as the author himself, readers and the background of the times. If we want to explore these external factors, we must rely on historical materials, so naturally there will be a method of mutual proof of poetry and history. Its essence is to combine history with literature, study the social state, folk customs and the author's position and experience at that time in more detail, and provide a starting point for better understanding the text.

In fact, the mutual proof of poetry and history includes "proving history with poetry", "proving poetry with history" and "mutual proof of poetry and history". Its original intention is to compare poetry texts with history, so as to find out the true meaning of poetry texts and prove history from one side.

The Book of Songs is the earliest collection of literary works and poems in China. It is based on folk materials, and people's production, lifestyle and ideas reflected in the poems are strongly branded with the times. Confucianism also believes that poetry has the function of "beauty thorn", "beauty" is praise and "thorn" is irony, that is to say, the poems written by the government should show the majesty and majesty of the country, but the poems collected by the government from the people should reflect the real situation of the people.

Mr. Chen Yinque, a modern historian and writer, believes that it is necessary to explore the historical elements in poetry and verify them with historical records, so as to truly grasp the social outlook at that time and deeply understand the thoughts and feelings of the ancients and the social times at that time. This is a research mechanism of "integration of literature and history", and the most famous example of "mutual proof of poetry and history" is Chen Yinke's Reading.

Biography of Yingying is also called Huizhen Ji, and Chen Yinque thinks that the word reveals the specific discourse period of the text formation. Hui Zhen was first introduced from the Six Dynasties and became popular in the Tang Dynasty. "Truth" and "fairy" have the same meaning, and modern immortals have many praises. The word "fairy" was originally used to refer to a woman with attractive appearance. In ancient times, the rules were very strict. Generally speaking, women do not want to show their faces and be described by other men. And through the introduction of Yingying Biography, we can know that Yingying has a certain family strength. Therefore, the word "fairy" has a certain derogatory color in a patriarchal society. "Being true" means "being immortal" and "being immortal". It is not difficult to see that there are some jokes about women. Chen Yinque hinted that the word was even used to describe prostitutes.

Chen Yinque overthrew the argument that Yingying is a noble woman. From this point of view, some contradictions in the article are not difficult to understand. In the early stage of pursuing Yingying, the author was infatuated with Yingying's beauty, modesty and implication, but later humiliated Yingying's "matching ugliness first", despised her for not being able to control herself and moved her heart. It is also said that Yingying is "not a demon, but a demon. It must be possessed by someone else". If she meets wealth in the future, she will "spoil her, not for the clouds, not for the rain, but for the dumplings". This conflict of discourse contradictions may be attributed not only to the author's own romantic works, but also to the common prejudice against romantic women at the bottom of society.

It is mentioned that Yingying's surname is Cui and her family is well-off. The author obviously wants to remind people of Cui Shi, a noble family with wealth comparable to that of the royal family. It is impossible for the daughter of such a high-ranking official's family to do such absurd behavior in a society with strict family background in the Tang Dynasty. It can be seen that Yingying described by the author is simply the daughter of a noble family, and her true identity is probably just a romantic woman at the bottom of society. However, we modern people always interpret Yingying Biography as an epic story in which the daughter of a noble family rebelled against family values and acted bravely for true love, and was finally abandoned by love rat.