Key words: realm theory, human words, three realms, nature, ideal, epiphany, gradual realization, entry and exit, separation and inseparable.
The thorn on earth is a masterpiece of classical aesthetics and literary theory, which has the function of connecting the past with the future. Since it came out, it has been favored by people and attracted the attention of scholars. After the research, we will deeply feel the ingenuity and exquisiteness, and then we will know that this master Wang Guowei's profound literary foundation and profound knowledge are most related to the great cause of ancient and modern times. The problem of universities is nothing more than "realm theory".
Since ancient times, literature has paid attention to realm, which refers to the writing situation of literary works, as well as the creation situation, a certain style and even some artistic attainments. The word "realm" was first popular among Buddhist believers. In the dictionary of Buddhism, Ding of the dynasty interpreted it as "the territory within his sphere of influence" or "I know the boundary of karma". In Buddhism, people's eyes, ears, nose, tongue and body are called six, that is, people's six sensory organs, which correspond to six realms of color, sound, smell, taste, touch and dharma respectively. The root of meaning refers to people's inner consciousness, and the legal environment refers to a state that this consciousness has reached. The reason why it is called the realm, Ding said: "Those who swim with their hearts and climb high are called the realm." [1] Therefore, the realm can be either the state of external concrete scenery or the state of inner spiritual world that people realize. I feel the same way when I study Wang Guowei's "Human Thorns". This also makes people more deeply understand the close combination of external concrete scenes and internal spiritual world emphasized by Mr. Wang Guowei in his classical literary poems. This shows the breadth and depth of Wang Guowei's classical literature theory. Therefore, there are three different feelings of the realm: "Yesterday, the west wind withered the green trees, went to the West Building alone, and looked at the horizon." This is the first realm. "The belt is getting wider and wider, and I don't regret it. I am thin for Iraq. " This is the second realm. "Looking for him in the crowd, I suddenly turned around, but the man was in the dim light." For the third world. [3] These three realms are often understood and quoted in ancient and modern emotional writing, but Wang Guowei doesn't think so. Scholars have different feelings in the three realms that are regarded as the only way of life.
Three realms and three understandings of life interest in Wang Guowei's The Thorn on Earth. On 1908, Wang Guowei published The Thorn on Earth, which only appeared as a literary criticism. He used the traditional form of poetry, but the content he talked about reached the height of aesthetic theory, and it was a work of "learning from foreign ideas and inherent materials". He quoted the theory of "realm" in "Tales on Earth"? #653 10; Often? Vent? Glutinous? What's wrong with it? ┐ rely on it? Weft? Do you think the target is thin? Why not copy it quickly? Do you want to get the target? What is the record of international leaders? Yu? Hey? Why don't you get a K? Are you worried about the table? What's your name? Cerium alliance? Do you pay? The beach or something? Hey? The locust fan has four hammers? Chen Yun? Zheng? Cunning invertebrate gangrene! Thin press the room to jump Chen Canglv? Ruthenium thin S core is dazzling? Miscellaneous? Hey? Bevo? Hands? Is it far? What a pity! [3] This is a general statement, which has a high evaluation of the Ci of the Five Dynasties and the Northern Song Dynasty, and its standard is the realm. "Scenery is not unique, and emotions are all a state of mind. Because you can describe the scenery and have true feelings, it is called a realm, otherwise it is called no realm. " Context refers not only to scenery, but also to inner feelings. Scenery and emotion constitute two basic elements of literature, which are interrelated and are also the unity of opposites between objective and subjective. So the so-called realm refers to the realm of a certain style, not limited to literature. There are also various realms or situations in life. Under the guidance of this aesthetic theory, Wang Guowei put forward four relations.
The first is the relationship between "nature" and "ideal". There are differences between realism and the ideal of writing, but it is difficult to distinguish them, because the environment created by great poets must conform to nature and be adjacent to the ideal. Poetry is different from realism and idealism. Realism is a true description of objective things, while idealism focuses on fiction and subjective imagination, which is based on the reality of life. Therefore, the environment created by great poets must conform to nature and be adjacent to ideals. Adapting to nature is the poet's observation and reflection on the aesthetic object, which truly describes the feelings of the scenery, just like the "Fu" in the poem. Being close to the ideal means that poets always use their ideals to choose life, cut life, make analogies, and express their thoughts and feelings, just like "comparison" and "xing" in poetry, touching things passionately and asking about things lyrically. In Wang Guowei's view, only those who have true feelings can have the realm of works. In the Qing Dynasty, many poets wrote lyrics, some showed off their words, some groaned and some took part in accidental amusement. What is lacking is your own unique feelings and true feelings. Wang Guowei criticized some people for writing hypocritical words to flatter them. Wang Guowei means that it is difficult to distinguish between the creation and writing of great poets. The highest realm is to reflect the essence of scenery and life (feelings), and the integration of scenery and things is the highest realm. The reason why a poet is a poet is that he can transform the situation that ordinary people are accustomed to into the realm of poetry in his heart, or write a certain situation of poetry, thus writing a meaningful situation. In terms of creation, he put forward the theories of "creating environment" and "writing environment". And divided the difference and mutual influence between realism and romanticism. From the aesthetic point of view, he can be divided into two categories: "the realm with me" and "the realm without me". It's like a lonely museum closing in spring, and the cuckoo's voice falls in the sun. " This is my place. "Picking chrysanthemums under the hedge, leisurely see Nanshan. From the cold wave, Bai Niao is leisurely. " There is no room for me. With my mirror, everything looks at me and everything looks at me. No ego, look at things by things. I don't know what is for me and what is for something. Yan Yu put forward the theory of "interest" in Song Dynasty, and Wang Shizhen put forward the theory of "verve" in Qing Dynasty. Wang Guowei's theory of realm is indeed a creation. At the same time, Mr. Wang Guowei also summed up the difference between "creation environment" and "writing environment": "There are both creation environment and writing environment. This ideal and realism are different, but it is difficult to distinguish them. Because the great poet created the environment, he must conform to nature, and the environment he wrote must be adjacent to the ideal. " When we talk about the realm, we must talk about the relationship between love and scenery. He also believes that: "scenery is not the only thing, and feelings are also one of the realms in people's hearts." Therefore, I can paint the scenery. True feelings are called realms. Otherwise, it is called boundless. "He also said:" In the past, there was a difference between scenery and emotional language in poetry, but I didn't know that all scenery was emotional language. "He quoted Ma Zhiyuan's poem" Tianjingsha "in the Yuan Dynasty:" The withered vine and the old tree are faint, and the bridge is flowing. The ancient road is sparse, the sun sets, and heartbroken people are in the end of the world. " It was rated as "pure nature" and "a few words won the wonderful scenery of the Tang Dynasty. "The first three sentences of this Sanqu (18) synthesize nine things, outline the bleak dusk scene in autumn, and set off a traveler far from home. Ma Zhiyuan's writing style is extremely clear, which really reaches the state that "his scenery has caught people's eyes and ears well, and his words blurted out without any posturing" and "his feelings are refreshing". In addition, Wang Guowei also spoke highly of Huayang Fu in Su Shi's Hidden Dragon. The first sentence of this word is "a flower is still like a flower, and no one has fallen from teaching in the past." The last few words are "three points for spring scenery, two points for dust and one point for water." . It doesn't seem to be flowers, but a little tears. Wang Guowei commented: "Poems about objects are the best works in Dongpo's Hidden Dragon. Su Shi, a poet, described Huayang as a flower instead of a flower. He paid close attention to it, used wind and rain to flow through it, and put Huayang as a container into his subjective imagination, revealing his concept of life and having a more elegant style. Here, "I" is integrated into the landscape, and it is between intentional and unintentional with the landscape. So reading this word is very touching and effective. Wang Guowei requires that the viewing can reflect the inner essence of a certain scenery, that is, "natural principles" can achieve the truth of "true scenery" and "artistic conception"; When expressing life feelings, it can reflect the truth of human nature, achieve true feelings and create a unique artistic picture. The poet's ideals and feelings of "worrying about life" and "worrying about the world" naturally permeate his works. Nature and ideal, landscape and creation, realism and idealism, in short, must reach this realm, that is, beauty.
The second is the relationship between "in" and "out". A poet must be both inside and outside the universe. If it is involved, you can write it. Outside it, we can see it. Into it, so there is life. Beyond it, it is high. Poets must have the intention to despise foreign things, so they can direct the romantic life with slaves. We must have a sense of attaching importance to foreign things, so that we can have the happiness of flowers, birds, fish and insects. In order to observe, experience, understand and comprehend the universe and life, poets must "be in it", and the third is the relationship between "gradual enlightenment" and "epiphany". To become a great cause in ancient and modern times, university questioners must go through three realms: "Last night, the west wind withered the green trees, and I went up to the tall building alone and looked at the horizon." So is this first place. "The belt is getting wider and wider, and I don't regret it. I am thin for Iraq. " This is the second world. "Looking for him in the crowd, I suddenly turned around, but the man was in the dim light." So is this third place. These words are too big for the poet to understand. However, European banquets are not allowed to explain words in this way. This is a famous saying in the world of ci. Wang Guowei used the broken sentences of Yan Shu, Liu Yong and Xin Qiji to describe the hard course of writing ci. At the same time, he also extended the reason for his success to university education. These three realms are the cultivation and exercise of poets in the process of artistic creation. The aesthetic subject (author) grasps people and things, forms materialized conscious objects, second nature, second life and second self, and then expresses them as conscious objects (works) in the form of art, during which there is a process from gradual enlightenment to epiphany. The first realm is "last night, the west wind withered the green trees, and I went to the tall building alone to look at the horizon." "The west wind withers the green trees" is a restless mood. If a poet wants to view things, he must first get rid of all kinds of distractions in reality, all self-attachment, including bitterness, fame, profit, gains and losses, and all personal selfish distractions, so that he can achieve a micro-view of things. This is a pursuit situation, and we should be far-sighted, eager to see through and set lofty pursuit goals. This is a painful moment for a person to find his ideal and life in loneliness. "A person is in a tall building, watching the end of the world." At this time, I will settle down and feel the inner beauty of things. The second realm is "the belt is getting wider and wider, and you will never regret it, and you will be haggard for Iraq." This is an aesthetic grasp of the aesthetic object, and the aesthetic subject (author) has an alternative, stubborn and lifelong regret-free spirit, exploring the beauty of things. This kind of beauty must transcend individual, external and accidental things, draw a universal, internal and inevitable concept, and shape the image of beauty with aesthetic grasp. The poet's mood in this realm is calm, pure and natural, seeking a natural pleasure. On the one hand, this search is hard and makes people haggard and emaciated. On the other hand, this kind of search sublimates the author's feelings and achieves a perfect artistic conception, although "gradually widening the band" is also worthwhile, and he will die without regret. This is the realm of creation. We must be thoughtful and diligent. Although we have experienced thousands of failures, we will not be discouraged. This is a process in which a person finds a goal worth striving for and goes all out at all costs. The third realm: "the crowd looked for him for thousands of Baidu, and suddenly looked back, but the man was in the dim light." This is the realm of success, success meets unexpectedly, gains from others, and becomes a happy person with creative achievements. This is also a person's psychology of finding and trying to find what he wants by his own efforts. At this time, it doesn't matter whether the secular goals are achieved. What matters is the liberation of the soul and the ownership of the soul. Is this an epiphany? #653 10; ? Call the cone dangerous? Hey? What's the matter with you? What are you doing? What's the matter with you? What's wrong with food, kites and umbrellas? ⑽ ⑽ ⑽ ⑽ ⑽ ⑽ ⑽ ⑽ ⑽ ⑽ ⑽ ⑽ ⑽ ⑽ ⑽ ⑽ ⑽ ⑽ ⑽ ⑽? This is a brittle cavity! Dad, huh? о bail? Please forgive me, it is difficult to raise funds. Worship vegetables for wishes? Do you think overseas Chinese have a good time? What's your opinion? What's the problem? Hey? Leftovers? Tear down the last tree? Hey? Hey? What happened to Chen's fate? What's the matter with you? Hey? What's the matter with you? Zhi Chenxi? Shunyang about defending vinegar and neon? Mechanical plum mixing company? Internal examination? Arrogant scepter? I scratched my crotch. 4 is it particularly loose? What did Di Huan say? What's with the tapered tail? What happened? Traces? Cong ying? Slow down on Qian Reef? What happened?
Fourth, the issue of "separation" and "never leaving". On the issue of "separation" and "non-separation", Wang Guowei said: "Xie Tao's poems are inseparable, only slightly during the New Year. Dongpo's poems are not separated, and the valley is slightly separated. " He thinks that Tao Yuanming and Xie Lingyun's ci are inseparable. He pointed out that the beauty of Xie Lingyun's "Spring grass grows in the pond" is the same as that of Xue Daoheng, a poet of Sui Dynasty. The same is true, that is, the theory of one person. He also quoted Ouyang Xiu's praise of Chuncao in the first half of Youth Tour: "Twelve railings rely on spring alone, and the sunshine will be far away. Wan Li, Wan Li, February and March, people are sad. " Language is right in front of us, so we don't separate. In Wang Guowei's view, it is "inseparable" that can truthfully write out the natural beauty and give people a fresh and natural feeling. This kind of natural thing or thing is not mixed with the poet's subjective color, but can show his face with real images, so that the object can produce images in his mind after seeing it. What does not have a sense of yarn is "no separation". For Ouyang Xiu's "Thanks, the river is covered by Pu". It is considered to be separated. He also said that Jiang Kui's "Ode to the Cuilou": "Here, there should be fairies, holding Suyun Yellow Crane and playing with you. Looking at the jade ladder for a long time, sighing for thousands of miles. " There is no separation. To "wine clears sorrow, flowers eliminate heroic spirit", we parted. Wang Guowei's "separation" generally means that the creative subject (author) expresses and conveys what he sees through his own spiritual feelings, so that there is a space between the aesthetic object (reader) and the creative subject's works that can generate associations, thus making the works have certain connotations, so there is a feeling of seeing things through the veil. All this just reflects the implicit beauty and straightforward beauty that China people pay attention to.
In the eyes of a very graceful critic like Wang Guowei, writing, like life, should have a certain "artistic conception" and a high style, which requires the poet to make more efforts in artistic conception to achieve a "subtle" effect, otherwise it will not be called a first-class author.
Anyway, in my opinion, Wang Guowei, a writer who links the past with the future, is really admirable, especially his incisive and appropriate comments on ancient literary theory. From different angles, it is not only comprehensive, but also concrete and systematic examples, which deeply impresses its seriousness and rigor in literature. At the same time, he also opened up a road of literary writing. And opened the door to China's aesthetics, and was known as "Kant of China". It can be seen that Wang Guowei's "theory of artistic conception" really pointed out the direction for the later literary development. At the same time, it also points out the ideal life path for the frustrated.