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Wen Xin Diao Long ** 10, 50 articles. Originally divided into two parts, each part has 25 articles. This book includes four important aspects. The five articles in the first chapter "Distinguishing Sao from the Original Road" are the program of the book, and the core of the book is "The Original Road Conquering the Saint Jing Zong", which requires that everything should be based on the Tao, integrating the achievements of saints and classics. Twenty poems from the Ming Dynasty to the Secretary, centering on the Preface to the Paper, study and evaluate the origins of various styles, writers and works one by one. Among the "essays" with rhymes, poems, Yuefu and Buddhism of Ming people are more important; In the "preface" with poems but no poems, historical biography, philosopher and exposition are of greater significance. The second half of 20 articles (excluding time series), from thinking to searching, focuses on "analyzing feelings and digging" and focuses on all links in the creative process, which is the theory of creation. Time Series, Tales Collection, Companion, and Masterpiece are mainly literary history and critical appreciation. The following two parts are the main essence of this book. There are ***49 articles in the above four aspects, plus * * * 50 articles describing the author's motivation, attitude and principles in writing this book.
dominant thought
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Although Wen Xin Diao Long takes Confucianism as its core and is influenced by Taoism and Buddhism, it is Confucianism that constitutes its literary thought program and core. It does not deny the authenticity of the existence of the material world, but believes that there is an innate "Tao" or "God" outside the objective real world. This "Tao" or "God" is the intangible and final basis that determines all changes in the objective world. Liu Xie believes that "the original Tao is based on the use of rules and regulations, and the study of spiritual principles" ("the original Tao") is the fundamental principle for saints to write classics. "Shinto" language "Hey? 6? 4 views? 6? 4 Xun: "The saints use Shinto, and the world is smooth. Of course, the supernatural and personified "God" and its acting emperor in reality are regarded as the supreme authority. According to this point of view, Wen Xin Diao Long not only further developed Xunzi's thoughts of "the original way", "the classics" and "seeking the saints" since Yang Xiong, but also penetrated into all important aspects of Wen Xin Diao Long, which became the fundamental basis for his argument, and stained his theory with a layer of Confucian classics and brought many limitations. For example, he thinks that all kinds of articles are classic "branches". At that time, there were practical articles on various topics, but the emerging novels were ignored.
However, when discussing the specific literary creation activities, Wen Xin Diao Long abandoned the abstract preaching of scholars and showed a simple materialistic literary view. Moreover, he put forward incisive and original opinions on a series of problems such as literary creation and criticism, the characteristics and laws of literature, and was full of originality. Therefore, it occupies a very important position in the history of China's literary theory criticism.
View of literary history
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The literary history view of Wen Xin Diao Long holds that the development and change of literature will eventually be influenced by the times and social and political life. The so-called "fortune changes, quality changes, ... ballads and art change with the times" and "the change of literature affects the world, and prosperity depends on time series" (Time Series), which has raised the previous theory in this field to a new height. At the same time, Liu Xie also attached great importance to the development law of literature itself. In "Total Change", he put forward "Total Change" according to Yang Xiong's views on "cause" and "revolution", that is, the relationship between inheritance and innovation in literary creation. He asked writers to be bold and innovative: "Continue to write career", "Be sure to keep pace with the times and make achievements, and not be afraid of opportunities". Only by continuous innovation, that is, the "change" mentioned in Wen Xin Diao Long, will literary creation get continuous development: "change will last for a long time" (Change), "different generations took over the martial arts and had to take part in the phase change because of its credit" (Search). But it also emphasizes that any "change" or innovation can not be separated from "communication", that is, inheritance. The so-called "communication" refers to the convention of literature: "name and reason are common, and the body must be based on things." Only when literary creation is familiar with all kinds of old facts can there be "multi-principles" ("General Compilation"), "Dong Xiao's mood change and Qu Zhao's style, and then it can be full of new ideas and carve strange words. Zhao's style is deliberately new but not chaotic, and his words are strange but not clumsy (Feng Gu). The creation of "new ideas" and "strange words" cannot be separated from "communication", that is, inheritance. Otherwise, "even if you get a clever plan, you will lose more risks." Therefore, only by combining "communication" with "change" and "career" with "innovation" can literary creation be "an inexhaustible source" ("communication") and achieve rapid and healthy development.
Creative theory
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This paper makes a detailed and in-depth discussion on the relationship between subjectivity and objectivity in literary creation. During the pre-Qin and Han dynasties, this issue was briefly involved in literary theory, such as the representative argument that "emotion moves in the middle and form in words" in the preface to poetry. During the Wei and Jin Dynasties, Cao Pi began to get in touch with the writer's temperament, and Lu Ji made an incisive exposition on artistic imagination. And Liu Xie made a more clear and comprehensive discussion on the relationship between subjectivity and objectivity in creation. First of all, it affirms the beauty of "colorful clouds carving" and "plants blooming in China", which is an objective existence. The so-called "husband wears exterior decoration and covers natural ears" (original way). At the same time, it also emphasizes the importance of the creative subject, that is, the writer's innate temperament, temperament, talent (such as "style" and "talent") and acquired knowledge cultivation, so as to reflect the realistic beauty in literary creation.
It is particularly noteworthy that Wen Xin Diao Long also discusses that in creation, subjective "emotion" and objective "scenery" are mutually influenced and transformed, namely "emotion prospers with things", "view of things follows emotion" (interpretation of fu), "emotion moves with things, words follow emotion" (seeking) and "climbing the mountain" and "Wen Xin Diao Long"
Wen Xin Diao Long emphasizes the role of emotion in the whole process of literary creation. It is required that literary creation should "gather qi and chant emotion", advocate "writing for emotion" and oppose "creating emotion for emotion" (emotion). It is considered that the creative conception is "cherishing love" (thinking deeply), the structure is "arranging everything step by step, waiting for the meeting of love" (general art), and cutting requires "setting emotions in place" (Rong Jian). Even the genre and style of the work play an important role, without strong sincere feelings. This understanding is quite profound and conforms to the characteristics and laws of literature.
Wen Xin Diao Long also has an in-depth discussion and discussion on style and character. In Stylistics, Liu Xie inherited and developed Cao Pi's stylistics. He believes that the reasons for the formation of a writer's style are different in talent and temperament: "What is emotional attraction"; Moreover, there are also differences in the study and training the day after tomorrow: "What is made of pottery and dye?". And all kinds of different articles are divided into four groups of eight styles, each group has positive and negative sides: "elegance and strangeness, elegance and distinctiveness, complexity and combination;" Strong, light and lovely "; But they are interrelated. "Although the eight bodies are different, they must be combined to get their rings, and then converge and complement each other." The author's unbalanced evolution in these eight forms will form his own unique style. Liu Xie's style research had a direct impact on later poems and Twenty-four Poems.
On the basis of style theory, Liu Xie especially praised "the character of wind". The word "style" was originally a special term to evaluate the spiritual outlook of characters in the Southern Dynasties. The word "character" in literary theory criticism is derived from here. "Wind" means that literary works should have strong ideological and artistic appeal, that is, "the wind is moving" in Preface to Poetry. "Bone" is to be vigorous and fresh. The theory of "style of character" is not only aimed at the floating style of writing in the Southern Dynasties, but also summarized from the traditional literary theory. The theory of "style of character" had a great influence on the development of poetry in Tang Dynasty.
The artistic imagination theory of Wen Xin Diao Long is also incisive. This paper inherits the viewpoint of Wen Fu on this issue and makes further discussion and development. Shen Si Pian borrows the idiom "The shape is above the river and the sea, and the heart is below Wei Que" to discuss the characteristics of artistic imagination beyond the limitation of time and space: "Therefore, it is silent and thoughtful for a thousand years; Silently moved, see through Wan Li. " But he went one step further than Lu Ji's point of view, thinking that artistic imagination is not out of thin air. It uses the image metaphor of "extensive knowledge is the food for the poor" to illustrate that the basis of artistic imagination can only be materials or raw materials in objective life. This view is in line with reality. At the same time, it also puts forward the important viewpoint of "God and things move". "God" or "thinking" is a common word in the Six Dynasties, which indicates that thinking is not rapid. 6? 4 "Cohesion": "God is unique, so it is impossible to delay. "Things exist objectively." "Wandering between gods and things" means that a writer can't leave concrete and emotional images in the whole process of artistic imagination, and the two are always organically combined, which is the characteristic of image thinking. "Wen Xin Diao Long" also emphasizes that only when the writer's spirit and psychology are in a state of "emptiness and quietness" can he better gallop his artistic imagination without external interference. The theory of "emptiness and quietness" originated from Taoism, which was further developed by Xunzi and creatively applied by Liu Xie to the theory of literary and artistic creation.
When discussing artistic imagination, Wen Xin Diao Long also put forward some opinions, such as "accumulating knowledge to preserve treasures, making rational decisions to be rich in talents and feelings, and taking pictures with poverty in reading and learning", and emphasized that artistic imagination should have extensive knowledge of daily life, thus laying a solid foundation for its artistic imagination theory. After Wen Fu, Wen Xin Diao Long discussed artistic imagination and thinking in images, which had an important influence on later generations. For example, Wang Changling said that "God is in things" (Volume II of Tang Yin Gui Qian), Su Shi said that "God is in the connection of all things" (after the picture of Li Shu's Bo Shi villa), and Huang Zongxi said that "ancient human feelings are inseparable" (Preface to Poems by Huang Fuxian) and other viewpoints are immersed in it. In Wen Xin Diao Long? 6? The article Thinking also expounds the relationship between rhetoric, ambition and language.
With regard to literary creation, the issues discussed in Wen Xin Diao Long are: literary exaggeration, structure, tailoring, pragmatism, rhetoric, implication and temperament. In the discussion of these issues, there are also many incisive views. For example, in the aspect of exaggeration, Wen Xin Diao Long not only proposed for the first time that literary creation can not be separated from necessary exaggeration to make the author's performance more prominent, but also advocated exaggeration and restraint and opposed exaggeration and inaccuracy.