General introduction
Section 1 Literary Standards, Historical Thinking and Cultural Perspective
Literary history and literary history: literary thinking and cultural perspective: historical materials of literary works.
Historians and writers in ancient China have long noticed the development and changes of literature and made many expositions. These expositions are scattered in history books, bibliographies, poetry reviews, anthologies or anthologies. It is also involved in some preface, inscription and other articles.
As far as the information we can see now is concerned, historians' accounts are relatively early. Sima Qian's Biography of Qu Yuan Jia Sheng is not only a biography of Qu Yuan and Jia Yi, but also involves poets such as Song Yu, Le Tang and Jing Ke before Jia Yi, which is a preliminary description of the development of literature. Since then, Ban Gu (Eastern Han Dynasty) has briefly traced the development process of historians' writings before Sima Qian's Historical Records in Hanshu. Shen Yue in the Qi and Liang Dynasties reviewed the development of poetry from the Southern Dynasties to the Song Dynasty in Song Xie Shu Lingyun Biography, which can be said to be a more detailed exposition of the history of poetry. (Southern Song Dynasty) Ye Fan wrote the Book of the Later Han Dynasty and initiated the Biography of Wen Yuan, which combined the biographies of 22 people with their literary achievements and arranged them in chronological order, providing clues for the development of literature. Since then, most official biographies about Wen Yuan or Wen Yi have followed the style of the Book of the Later Han Dynasty. In terms of bibliography, Ban Gu wrote Han Shu Literature and Art Annals on the basis of Liu Xin's seven views, among which A Brief Comment on Poetry and Fu has a preliminary description of the development of poetry and fu. Since then, some bibliographic works, such as Sui Shu Jing Ji Zhi, Old Tang Shu Jing Ji Zhi and New Tang Shuyi Wen Zhi, have mostly inherited the tradition of Han Shu's Literature and Art Zhi, and studied the origin while recording bibliography. (Qing) The fantasy cloud summarizes the general contents of Sikuquanshu, which can be regarded as a master of this kind of books. In terms of poetry criticism, the following 20 articles in Liu Xie's Wen Xin Diao Long discuss the formation process of various styles, and the time series also has wonderful discussions on the development of literature. (Liang) Zhong Rong's "Preface to Poetry" has made a quite detailed discussion on the development of literature. Since then, there have also been discussions on the development of poetry in some poetry talks, ci talks, and books such as Chronology of Poetry and Chronology of Ci.
In addition, Zheng Xuan's Preface to Poetry of the Eastern Han Dynasty traces the origin of poetry, lists the relationship between political changes and poetry in Zhou Wenwang, Zhou Wuwang, Zhou Chengwang, wangyi, wangyi, Li Wang and Wang You, and describes the development of poetry in detail from a political perspective. In the Western Jin Dynasty, Zhi Yu's On the Separation of Articles discussed the development of literature from a new perspective of stylistic evolution. (Tang) Bai Juyi's Jiu Zhao Yuan Qu summarized the development of poetry since "Poetry" and "Sao". Li Qingzhao's On Ci (Song Dynasty) traces the development of Ci. (Yuan) The new Biography of Talented Scholars in Tang Dynasty is a biography of 398 poets in Tang Dynasty, with occasional annotations, from which we can see the evolution of the development of Tang poetry. (Ming) The inscription of the Collection of Famous Writers in the Han, Wei and Six Dynasties compiled by Zhang Pu outlines the development of literature in the Han, Wei and Six Dynasties. (Qing) Qian's Biography of Poems in Past Dynasties commented on more than 600 poets in Ming Dynasty/kloc-0. The Complete Poems of the Tang Dynasty compiled by the Qing Dynasty briefly introduced the poets in the Tang Dynasty one by one, from which we can see the clues of the development of the poems in the Tang Dynasty.
There is no doubt that the above works should be used for reference when we write the history of literature today. However, none of these can be regarded as a systematic and complete exposition of the development process of literature, so they are not specialized works on literary history, let alone an independent discipline of literary history. China scholars' literary works appeared at the beginning of the 20th century under the influence of foreign countries. It is generally believed that the lecture on the History of China Literature written by Lin Chuanjia in the Capital University Hall is the original work. Xie Wuliang's History of China Literature, Hu Shi's History of Vernacular Literature, Zheng Zhenduo's Illustrated History of China Literature, Sister Liu's History of China Literature, China Academy of Literature Research Institute's History of China Literature and You Guoen's History of Chinese Literature represent the achievements of literary works in the 20th century, 30th, 50th and 1960s respectively. Wang Guowei's History of Drama in Song and Yuan Dynasties and Lu Xun's History of Novels in China are the earliest and most influential works in the history of separatist literature.
It can be said that the history of literature became an independent subject after entering the 20th century, especially after the 1920s and 1930s. However, the understanding of this subject is different, so the writing of literary history is also very different. As long as serious academic research has its own characteristics due to different understandings and writing methods, it can enrich and improve the subject of literary history from different aspects. Even now or in the future, there cannot be only one kind of understanding, one kind of mode and one kind of writing, but only a hundred schools of thought contend and a hundred flowers blossom.
So, how do we understand the history of literature? We believe that the history of literature is one of the achievements of human culture.
This is the most unpretentious and straightforward answer, which means that literary history is literary history, and literary history works should describe the evolution of literature itself in a broad cultural background. It includes the following meanings:
To study literature as literature, literary works should be based on literature and attach importance to the artistic and infectious characteristics and aesthetic value of literature. Of course, the value of literature depends largely on its function of reflecting reality, which is no problem, but how is this function realized? It is realized by using language as a tool and arousing the aesthetic feeling of the receiver. The breadth and depth of reality reflected by some literary works may not exceed the records in history books. If Du Fu's poems, known as "the history of poetry", are compared with Tang Shu and Zi Tong Zhi Jian, and with similar records in Bai Juyi's Selling Charcoal Weng and A Record of Shunzong, it is not difficult to understand. But the latter can't replace the former, because the former is literature, which has aesthetic value and can infect readers more. Of course, we can also use poetry to prove history and use ancient literary works as materials to study ancient society, so as to get valuable results, but this is not the study of literary history, and literary works must pay attention to the characteristics of literature itself.
Focusing on literary creation, this paper expounds the development of literature. There are several levels in the study of literary history. The outermost layer is the social, political and economic background of literary creation. Background research is very important, and it is an essential key to deeply explain literary creation. However, the study of social, political and economic background obviously cannot be the core content of literary history works, and literary history cannot be written as a diagram of social development history. The second level is the subject of literary creation, that is, the writer, including the writer's life, thoughts and mentality. We should pay full attention to the study of writers, but the study of writers is not the core content of literary history works, and the history of literature cannot be written as the integration of writers' comments and biographies. Biography of Wen Yuan and Biography of Literature and Art in the official history are not literary history in the modern sense. The third level is literary works, which is the core content of literary history. Because literary creation is ultimately embodied in literary works, there is no literature without works, and there is no literary history. In other words, the core content of literary works is to explain the evolution of literary works, and the first two levels are all around this core.
Literary creation is closely related to literary theory, literary criticism and literary appreciation. Literary theory guides literary creation, and literary criticism and appreciation are readers' reactions after literary creation is completed. The history of literary development is a history in which literary creation, literary theory, literary criticism and literary appreciation are promoted together. This does not mean that many literary theories, literary criticisms and literary appreciation should be added to literary history works. Today, the history of literary theory criticism has become an independent discipline, and it is even more unnecessary to write a history of literature. We just emphasize that writing the history of literature should pay attention to the development and evolution of literary thoughts, explain literary creation with literary thoughts, pay attention to the acceptance of literature, and guide readers to appreciate literary works correctly.
There are also literary media closely related to literary creation. There were far fewer literary media in ancient times than today, only oral legends, word copying, printing and publishing, rap performances and so on, but all of them were enough to attract our attention. Literary works rely on the media to play the role of readers. Different media have different requirements for literary creation, and creation has to adapt to or even accommodate these requirements. To some extent, the situation of literary creation depends on the media. From oral communication to writing and copying, to printing and publishing, the creative changes caused by the change of media deserve attention. The conciseness of literary works in the pre-Qin and Han dynasties has nothing to do with the complexity of words. The influence of the singing style of Tang and Song Ci on the creation is obvious. After the invention of printing, a large number of documents have been widely circulated for a long time, which has had an important impact on the formation of literati writers and the characteristics of learning as poetry in the Song Dynasty. The influence of the art of speaking in Song and Yuan Dynasties on novel creation, as well as the influence of the performance mode of traditional operas in Song and Yuan Dynasties on script creation can not be ignored. The influence of media on creation and the changes it brings should be recorded in the history of literature.
In a word, literary creation is the main body of literary history, literary theory, literary criticism and literary appreciation are one wing of literary history, and literary media is the other. The so-called literary standard emphasizes the subject of literary creation and its two wings.
In a sense, the history of literature belongs to the category of historiography, and writing the history of literature should have a historical way of thinking. Since literary works are "history", we should break through the past mode of arranging writers' works in chronological order, pay attention to the context of "history" and clearly describe the process of inheritance and evolution. Since literary works are "history", they must rely on description, and the usual evaluative language should be changed into descriptive language. Evaluation language focuses on qualitative analysis, while descriptive language focuses on explaining situations, phenomena, tendencies, styles, genres and characteristics, explaining the gains and losses of creation and their reasons, and explaining the causes and consequences of literary development and change. Description and evaluation are not only two different language habits, but also two different ways of thinking. Description does not exclude evaluation, but naturally includes evaluation. Since literary works are "history", we should seek the law of "history" and not be satisfied with the list of facts. But the law exists in the connection of literary facts, which is a natural conclusion, not a label attached from the outside.
We not only do not exclude but also attach great importance to the cross-study of literary history and other related disciplines, and examine literature from a broad perspective of culturology. The evolution of literature is closely related to the evolution of the whole culture. Ancient writers are often historians, philosophers, calligraphers and painters, and their works are often permeated with profound cultural connotations. Therefore, with the help of the achievements of philosophy, archaeology, sociology, religion, art, psychology and other neighboring disciplines and their methods, it will bring a new look to the study of literary history and make breakthrough progress in interdisciplinary. For example, pre-Qin poetry can not be separated from primitive witchcraft, song and dance; The literature of Han Dynasty has a great relationship with the exclusive position of Confucianism. The study of literature in Wei, Jin, Southern and Northern Dynasties cannot but pay attention to metaphysics and Buddhism. The study of Tang poetry can not but pay attention to the music and painting of Tang dynasty; The study of Song poetry cannot but pay attention to Neo-Confucianism and Zen Buddhism. The stage, figurines, carved bricks and murals preserved in Shanxi are important materials for studying the literature of Jin and Yuan Dynasties. The new social environment and cultural atmosphere brought about by the social and economic changes in the middle of Ming Dynasty can not be ignored in the study of literary development at that time. All these show how important a broad cultural vision is for the study of literary history! With the perspective of culturology, the study of literary history can be deepened.
The existence of literary history is objective, and the description of literary history should be close to the truth of literary history. But to what extent can literary history works be done? This is really a big problem. Because the materials of literary history had the subjective color of the recorder in the recording process at that time and were lost in the circulation process, it is impossible for people who write literary history to see them completely now; In addition, writers choose different materials from different angles, and their viewpoints, methods and expressions are personalized, so it is almost impossible to describe the history of literature purely and objectively, and there will always be some subjectivity. If this subjectivity refers to the author's personality and rigorous innovation, such subjectivity is exactly what we need. If this subjectivity refers to similar viewpoints and methods of an era and some characteristics of the era due to different information, there is nothing wrong with it. The history of literature written by our contemporary people is not only written by contemporary people, but also written for contemporary people. It must be contemporary. This kind of contemporariness is manifested as: contemporary value judgment, contemporary aesthetic taste and concern for contemporary literary creation. If we study the history of ancient literature, we can learn from the past and pay attention to contemporary literary creation, so the written history of literature is more meaningful for contemporary literary creation. Contemporary works on the history of literature are more easily noticed by later generations because they reflect the thoughts of contemporary people. But in any case, subjectivity must not be regarded as a synonym for arbitrariness and bossiness.
To write the history of China literature, we should draw lessons from foreign literary theories, but we must base ourselves on the reality of China literature, and we should not mechanically copy foreign fashionable theories as a formula to explain China literature. Researchers who are interested in the history of China literature should integrate Chinese and foreign, traditional and modern literary theories, proceed from the reality of China literature, analyze specific problems, and expound the history of China literature with a realistic attitude, instead of setting a framework first and then filling it with materials suitable for this framework.
The compilation of literary history is the basic work of writing literary history. The so-called compilation of literary history includes bibliography, edition, collation, textual research of writers' lives, identification of works and retrieval of historical materials. , is a kind of textual research for the purpose of identifying and sorting out materials. This is an indispensable basic work in writing the history of literature. Without this foundation, the reliability of the materials on which the history of literature is based is much worse, but strictly speaking, the compilation of the history of literature is not completely equal to the history of literature. Focusing on the division of disciplines, in order to promote the development of disciplines, a branch discipline should be established outside the history of literature, that is, the study of historical materials of literary history; But as far as scholars are concerned, both historical discussion and textual research of historical materials should be taken into account, and it is difficult to do a good job in the study of literary history without knowing historical materials at all.
The evolution of China literature in the second quarter
The internal and external factors of literary evolution: the unbalanced development of China literature: the infiltration and blending of popular and elegant styles; Transformation and innovation of literature and Taoism.
There are both external and internal factors that promote the evolution of China literature. The so-called external factors refer to the influence of social economy, political culture, ethnic contradictions and geographical environment. For example, the great social, economic and political changes in the Spring and Autumn Period and the Warring States Period brought about a hundred schools of thought in culture, and correspondingly, literature flourished. The political background of the unification of the Han Dynasty and the policy of Emperor Wu of the Han Dynasty to "oust a hundred schools of thought and respect Confucianism alone" directly influenced the appearance of Han Fu and the characteristics of Han prose. The yellow turban insurrectionary uprising and warlord scuffle at the end of Han Dynasty influenced the thinking of Jian 'an generation and created a new situation of Jian 'an literature. The confrontation between the north and the south led to different styles of writing, and the unification of Sui and Tang Dynasties and extensive foreign cultural exchanges in the Tang Dynasty promoted the prosperity of Tang Dynasty literature. The rise of Neo-Confucianism in the Song Dynasty, the increase of opportunities for scholars to become officials and the development of printing have had an important impact on the literature of the Song Dynasty. The status of literati in Yuan Dynasty was low, and they went to the market, which directly promoted the development of Yuan Zaju. After the middle of Ming Dynasty, the commercial economy prospered and the citizens grew up, which reflected and adapted to this new social situation, and the literature changed epoch-making. In the early years of Qing Dynasty, ethnic contradictions were prominent, which were also reflected in literary creation. 1840 after the opium war, China became a semi-feudal and semi-colonial society, and great changes have taken place in literature. These are all easy to understand.
The internal factors of the evolution of China literature is a very complicated problem.
First of all, we should consider the imbalance of literary development. Because China has a long history and a vast territory, the imbalance in the development of China literature is particularly prominent. This is manifested in the following aspects:
First, the imbalance of style development. All styles have a process from germination to formation and then to maturity. The so-called unbalanced development of styles includes two aspects: on the one hand, the formation and maturity of various styles have different times, including first and then. Poetry and prose are the earliest two styles. As early as the Shang and Zhou Dynasties, there were poems recorded in writing. In China's various styles, poetry and prose are the basis. It was not until the Wei, Jin, Southern and Northern Dynasties that novels began to take shape, and it was not until the middle Tang Dynasty that mature novels appeared. During the Song and Jin Dynasties, Song Zaju and Jin Benyuan appeared, which marked the formation of China opera. The above is the general outline of the style. If subdivided, parallel prose was formed after Wei and Jin Dynasties, ci was formed in the middle Tang Dynasty, vernacular short stories were formed in the Song Dynasty, vernacular novels were formed in the Song and Yuan Dynasties, and Sanqu was formed in the Yuan Dynasty. The time difference between the formation of various literary styles in China is several hundred years or even one or two thousand years, which shows how prominent this imbalance is. On the other hand, the length of the process from initiation to formation to maturity is also different. For example, novels, from ancient myths to Tang legends, have gone through an extremely long time; The formation process of volt is much shorter.
Second, the imbalance of dynasties. It is easy to understand that the overall achievements of literature in different dynasties are different. Some dynasties were relatively prosperous, while others were relatively mediocre. Moreover, each dynasty has its own relatively developed style, such as: Fu in Han Dynasty, Poetry in Tang Dynasty, Ci in Song Dynasty, Qu in Yuan Dynasty, Novels in Ming and Qing Dynasties. This is not to say that other styles of these dynasties are not worthy of attention, such as Song poetry, Qing poetry and Qing ci, which are also very important, but as representative styles, they are still those mentioned above. In fact, the development of literature within a dynasty is also unbalanced. In some dynasties with a long history, such as Han, Tang, Song and Ming, the initial literature was relatively mediocre, and it reached its climax after two or three generations of efforts. Some small imperial courts may suddenly have a certain style, such as the poems of Liang and Chen, the poems of Southern Tang and Western Shu.
Third, the geographical imbalance. The so-called regional imbalance contains two meanings: first, in different dynasties, the development of literature in various places fluctuated, showing a situation of prosperity and decline. For example, Jian 'an literature is concentrated in Yedu; Beam is concentrated in Jinling; There were more poets in Henan and Shanxi in Tang Dynasty, but fewer poets in Ming and Qing Dynasties. There were many Jiangxi poets in Song Dynasty, but few before and after. During the Ming and Qing Dynasties, the style of writing in Jiangsu and Zhejiang was the most prosperous, with the most writers. Lingnan literature is particularly noteworthy in modern times. Second, different regions have different styles, so that some styles have different local characteristics, at least for a long time after their formation. For example, Chu Ci has obvious Chu characteristics, five pronouns have distinct Jiangnan characteristics, zaju has strong northern characteristics, and Nanxi has outstanding southern characteristics. The regional development of China literature shows that there is more than one birthplace of China literature.
We should pay full attention to the unbalanced development of China literature. When explaining the evolution of literature, we should highlight the main line and describe it in three dimensions.
Secondly, in the evolution of China literature, there are some opposing and complementary factors, and their interaction deserves attention.
For example, the interaction, transformation and promotion between vulgarity and elegance. The "national style" in The Book of Songs is originally a folk song. After finishing by Confucius, it became elegant after being regarded as a classic by Confucianism in the Han Dynasty and explained. Folk songs in the Southern Dynasties originated in the middle and lower reaches of the Yangtze River. This is a vulgar and vulgar literary work, but it has aroused the interest of the court scholars of Liang and Chen, and contributed to the emergence of Liang and Chen Gong's style poems from one side. Ci was originally a popular folk tune in the Tang Dynasty, and gradually refined in the process of development. During the Song and Yuan Dynasties, when operas were sung by Vacherie in Goulan, a street corner, they were popular literature adapted to the tastes of citizens. Later, the literati took this popular literary form and improved it, resulting in exquisite and elegant works such as Peony Pavilion, Palace of Eternal Life and Peach Blossom Fan. Between vulgarity and elegance, it is mainly the influence and promotion of vulgarity on elegance and the change from vulgarity to elegance. There are also some examples from elegance to vulgarity. Some poets in the Song Dynasty deliberately took vulgarity as beauty, ostensibly turning vulgarity into elegance, but actually turned originally elegant poetry into vulgarity, seeking new interests in vulgarity.
The interaction between vulgarity and elegance makes the long river of literature keep fresh, and at the same time, it is constantly supplemented and stirred by fresh living water.
Another example is the mutual penetration and integration of various styles. Each style has its own unique system and function, which constitutes the boundary between styles. As early as in Dian Lun Essays, Cao Pi said: "The recitation should be elegant, the book should be rational, the topic should be realistic and the poem should be beautiful." Later, there were more and more new styles, the classification became more and more detailed, and the understanding of different styles of systems and functions became more and more accurate. Stylistic discrimination is a noteworthy problem, but stylistic integration is a big problem related to the development of literature. For example, the difference between poetry and fu is obvious: the poet is in love, while fu is physical; Poetry does not avoid simplicity, and fu is not tired of complexity; The beauty of poetry lies in introversion, and the beauty of fu lies in spreading; Poetry is for fun, not for show. However, after Wei and Jin Dynasties, Fu absorbed the characteristics of poetry, and lyrical little Fu prevailed and was full of poetry. Poetry in the early Tang Dynasty absorbed the characteristics of Ci and Fu, and Ci and Fu appeared, such as Lu's Ancient Meaning of Chang 'an. For another example, words and poems not only have different systems, but also have different functions and styles in their early days. "Words for the body, should be difficult to repair. You can say what poetry cannot say, and you can't say what poetry can say. The poem is vast and the words are long. "The meaning of the word is to entertain people. It is an entertainment product for girls of seventeen or eighteen who sing and dance lightly and merrily on the basis of a wonderful feast. Political education and the big topic of being born in poverty are all expressed in poetry. Words just vent the feelings on the back that can't and can't be accommodated in poetry, and the boundary between poetry and words is clear. But since Su Shi, poetry has been endowed with the function of poetry, and the boundary between poetry and words has been blurred to a considerable extent. Zhou Bangyan absorbed the brushwork of Ci and Fu, took Fu as Ci, and tried his best to make extravagance in the limited space of Ci, which made a breakthrough in the territory of Ci and Fu. However, Xin Qiji took Wen as his ci, and the distance between ci and Wen also narrowed. For another example, the boundary between poetry and prose was clear, but it was blurred after the Song Dynasty. The reason why Song people can find another way and open up a new situation after Tang poetry is that they regard literature as poetry and break this boundary to some extent. For another example, China's novels have absorbed many poems, and tang legends's famous works, such as Yingying Biography, Li Wa Biography, Song of Eternal Sorrow, etc., are full of deep poetry. Vernacular novels after Song and Yuan Dynasties are also closely related to poetry. In the Song Dynasty, people usually talk and sing, and those lyrics are poems. Therefore, some novels are simply called "Poetry Talk" and "Ci Talk". Among the various factors of China traditional opera, lyrics occupy a very important position, and lyrics are also a kind of poetry. Without lyrics, there would be no traditional opera.
One style permeates and blends with other styles, absorbs the artistic features of other styles and seeks new changes, which is an important way for the development of China literature.
Another example is the alternation and collision between retro and innovation. This is a movement of literary schools, mainly in the field of poetry. After Wei and Jin Dynasties, literature embarked on the road of consciousness, and literary creation was constantly innovating consciously or semi-consciously. In this case, Liu Xie specifically discussed the spread and change of literature in Wen Xin Diao Long Tong Change, that is, the issues of karma and change, inheritance and innovation, which have already involved the issues of retro and innovation. Since the Qi and Liang Dynasties, poetry has pursued sensuality excessively, which has produced some disadvantages. (Liang) Pei's On Carving Insects was severely criticized. Chen Ziang, a poet in the early Tang Dynasty, shouted loudly to restore the true colors of the Han and Wei Dynasties, becoming the first influential voice of restoring ancient ways in the history of China literature. In fact, Chen Ziang's Memories of Time Past is an innovation, which promotes the unity of melody and melody, and is one of the factors leading to the peak of poetry in the prosperous Tang Dynasty. In the mid-Tang Dynasty, Han Yu and Liu Zongyuan raised the banner of restoring ancient ways on the literary map, opposed the parallel prose prevailing since the Six Dynasties, and advocated the ancient prose of three generations and two Han dynasties. In fact, the retro style of Han and Liu is also an innovation, which is to establish a new literary language and style integrated with "Tao" on the basis of three generations of ancient prose. After Han and Liu Dynasties, ancient prose declined once, and parallel prose rose again. It was not until Ouyang Xiu, Su Shi and others advocated and wrote ancient prose again in the Song Dynasty that the unshakable position of ancient prose was established.
It can be seen that the interaction between retro and innovation is also a way of the evolution of China literature.
Another example is the clutch between literature and Tao. This mainly refers to the relationship between literature and Confucian ethics and political ideals. Since the dominance of Confucianism was established in Han Dynasty, the relationship between literature and Confucianism has been restricting the evolution of literature itself. Literature has different degrees of separation and integration, either deviating from the Tao or combining with the Tao. In addition, Taoism, Buddhism and ideas reflecting citizens' demands have also infiltrated in different degrees, giving external forces to literary research in different directions and affecting the development of literature. Literature is suitable for Confucianism, and there have been many excellent writers, such as Du Fu, Han Yu, Bai Juyi and Lu You. Literature was separated from Confucianism, and many outstanding writers appeared, such as Tao Yuanming, Li Bai, Su Shi and Cao Xueqin. After the Tang Dynasty, there were many discussions about "Ming Dow", "Penetrating Taoism" and "Carrying Taoism". The expressions of "Ming Dow", "Daoism" and "Daoism" collide and complement each other with the requirements of expressing one's own spirit and aesthetic entertainment. After the rise of citizens, the idea of resisting feudal ethics rose, and new voices were issued in the opposition between emotion and reason, which was easy to hear from operas and novels. These different factors and their interaction promoted the evolution of China literature.
In the process of separation or combination of literature and Taoism, China literature has evolved.
Section III Periods of China Literature History
Nine aspects of the development and change of literature in the three ancient and seven periods: Upper Paleozoic, Middle Paleozoic and Near Paleozoic.
If the history of China literature is compared to a long river, it can be traced back from the lower reaches, and the source is a cloudy sky, which cannot be distinguished in detail. We can't find the sign of origin, and we can't determine the age of origin. The literature of that oral era should be a long time ago, and the later written records are only memories of that beautiful dream. The most conservative view is that the outline of this long river has been clear since some poems appeared in the Book of Songs in 1 1 century BC, and then gradually merged into tributaries, becoming wider and wider. There are high tides and low tides, but they never stop. If literature has a long history, only ancient Greek literature and ancient Indian literature can be compared with China literature; If the literary tradition continues, the literature of any other country or nation will be inferior to that of China.
Rivers have upper reaches, middle reaches and lower reaches, and the history of China literature can also be divided into upper reaches, middle reaches and lower reaches, which are ancient, medieval and modern. The distinction between the Three Classics and the Ancient Classics is a major time limit in the history of China literature. Within the three ancient times, it can be subdivided into seven sections.
The specific division of the three sections and the seven sections is as follows:
Ancient times: Pre-Qin and Han Dynasties (before the 3rd century AD)
The first paragraph: Pre-Qin Dynasty
The second paragraph: Qin and Han Dynasties
Medieval period: Wei and Jin Dynasties to the middle of Ming Dynasty (3rd century to16th century).
The third paragraph: Wei and Jin Dynasties to the middle of Tang Dynasty (the last years of Tianbao)
The fourth paragraph: from the middle of Tang Dynasty to the end of Southern Song Dynasty.
The fifth paragraph: from the early Yuan Dynasty to the middle Ming Dynasty (the last year of Zheng De)
Paleogene: from the middle of Ming Dynasty to the May 4th Movement (16th century to the beginning of 20th century).
Paragraph 6: From Jiajing in Ming Dynasty to Opium War (1840)
Paragraph 7: From the Opium War to the May 4th Movement (19 19)
The theories of "three considerations" and "seven paragraphs" mainly focus on the development and changes of literature itself, reflecting the stages of its own development and changes, while taking the changes of social system and dynasties as the background of literary development and changes. The development and change of literature itself is the basis of the boundary, and other conditions are the reference of the boundary. One basis and many references may be the most suitable to describe the historical process of China literature. The stage of literary development and change can be consistent with the change of social system and dynasty, but the change of social system or dynasty is only an important reason for literary change, not the fact itself.
The so-called development and change of literature itself can be divided into the following nine aspects: first, the development and change of the creative subject; Second, the development and change of the ideological content of the work; Third, the development and change of literary genre; Fourth, the development and change of literary language; Five, the development and change of artistic expression; Sixth, the development and changes of literary schools; Seven, the development and change of literary thought; Eight, the development and change of literary media; Nine, the development and changes of the recipient. Three ancient and seven paragraphs comprehensively investigate the nine factors of literature itself and refer to social conditions, and draw a conclusion that the study of literary history pays little attention to literary media and recipients, which is not enough to make a comprehensive investigation of the development and changes of literature. Literary media and recipients have a profound influence on literary creation.