Reflections on "Jian 'an Style" —— A Survey of the Acceptance History of Jian 'an Literature
Tubo
Based on the investigation of the acceptance history of Jian 'an literature, this paper points out that from Wei and Jin Dynasties to the middle Tang Dynasty, Jian 'an literature is just the opposite of what we praise today. Chen Ziang and Yan Yu formally put forward "Han Wei Style" or "Jian An Style" on the premise of changing the ancient meaning of "Style". So, what is the theoretical basis of the "Jian 'an style" we are talking about today? To what extent can we summarize the true features of Jian 'an literature? The restoration work done in this paper may make these problems more clear. ?
Key words: Chen Ziang, character, Jian 'an, character, Wen Xin Diao Long?
Author Tu Bo, male, born in 1973, Ph.D. student in Chinese Department of Nanjing University.
one
Undoubtedly, "Jian 'an Style" has always been a recognized proposition in the history of literature, generally referring to "Jian 'an literature (especially five-character poems) has a distinctive, lively and vigorous style." (1) Although some scholars point out that modern people are very different from the ancients, (2) Liu Xie's Wen Xin Diao Long is devoted to "body", which seems to have more reason to enjoy the interpretation of body. Strangely, Wen Xin Diao Long does not allow Jian 'an literature to be named as "stylistic character". On the contrary, in some of Liu Xie's critical discourses, Jian 'an literary style seems to be regarded as the opposite of "style character":
"Ming Poetry" says: "At the beginning of Jian 'an, there were five words: Emperor Wen and Wang Xu fought with Liu and Wang Lu; And pity the wind and moon, pay homage to the pool garden, describe elegance and elegance, tell a hearty banquet, generous, upright and brilliant; ..... and the beginning of Ming Dow, his poems are mixed with the fairy's heart, and the followers of reconciliation are superficial. " (3)
Case: Huang Kan: "Notes on Wen Xin Diao Long" says: "If you describe a happy feast, you are friends, friends and lovers, although the topics are jumbled, Su Li's poems are of the same origin and colorful, but you can't do without the quality of ballads. If the scenery is not carved, then only sincerely tell the feelings in the chest. (4) I think the word Wenxin was effective in the Spring and Autumn Period, and its words were extremely accurate. " Teng Yong, contention, pity, application, Shu, Xu and Ren Qi are by no means flattering words. Moreover, the ancient poetry in the past is the "crown of five words", and Yun Jian An can't "trap beauty in the past and set an example for future generations". On poetry, Liu Xie said: "The poet is persistent and persistent." Obviously, the "release" and "creation" of Jian 'an scholars do not conform to the ancient meaning of the poem, so this paragraph should be slightly ridiculed for Jian 'an.
"Yuefu" says: "As for the three ancestors of the Wei family, they are gorgeous, arrogant and flat. ..... if you can't express your ambition, you can't leave your sorrow; " Although the three notes are correct, they are really summer Zheng music. "
Case: Lu Kanru and Mou translated the sentence of "Double Enlightenment": "His temperament is high, his talents are wonderful, and he writes current affairs in ancient Yuefu, and his syllables are wonderful and peaceful (V)." Obviously inconsistent with the original intention. Fan Yue said in Killing Tune: "Song San's Book of Songs:' Harmony', an old song of the Han Dynasty, is more harmonious with silk and bamboo. This is the song of the holiday messenger. Wei Mingdi was split in two. Yanhe ridiculed' slaughter words', or that is to say. "Obviously someone criticized them for changing the ancient music system. It is also noted that "Yan Heyun's three ancestors were Qu Zheng, which covered his indecent words." (6) Zhou's note "Sound is even" says: "The melody is floating, and the rhythm is mediocre." All landowners Fan and Zhou's comments are very accurate.
"General Compilation" says: "The [policy] system, the Gu Feng, the golden words, the hope. ..... Shang and Zhou Dynasties were beautiful and elegant, Chu and Han Dynasties were extravagant and gorgeous, Wei and Jin Dynasties were shallow and brilliant, and the early Song Dynasty was new. "
Undeniably, Wen Xin Diao Long praised San Cao and Qi Zi in many places, but most of them focused on the brilliance and individual evaluation, and little recognition was given to Jian 'an literature as a whole. Or it is said in the article "Time Series" that "when you look at it, it is elegant, good things are scattered in the world, and the wind is weak and resentful, so the outline is rich and angry." One paragraph is a footnote of "Jian 'an Style". I think this is just a repetition of the evaluation in the poem Ming Shi, which is completely different from Liu Xie's "character".
two
Liu Xie's so-called "strength of character" has different opinions. There are roughly five opinions in academic circles:?
The first view is that "wind means meaning, and bone means words." Represented by Mr. Huang Kan. (8)
The second view is that style is the concept of summarizing artistic style. Stylistics is a stylistic monograph, which specifically discusses the stylistic features of "clean style and firm bones". (9)
The third view holds that character is an aesthetic standard, and its specific content is "vivid" and "natural". ( 10)?
The fourth view holds that style is an aesthetic standard and requirement for works. It includes two aspects: "wind" is the aesthetic requirement for the emotion of the article, and "bone" is the aesthetic requirement for the rhetoric of the article. ( 1 1)
The fifth view is that style is a further analysis of the meaning of the text. On the one hand, it is emotional factor (manifested as wind), on the other hand, it is rational factor (manifested as bone). ( 12)?
I think the fifth view represented by Mr. Zong Baihua is more appropriate. He said: "I think bones are related to words. But this word has conceptual content, this word is clear, and the realistic image he represents or the thinking about the image is also clear. " "Straight talk" means that a sentence should be clear and correct, not distorted or sophistry. This correct expression produces a skeleton. However, it is not enough to have bones. We must move from logic to artistry in order to impress people. Therefore, in addition to bones, there must be wind that can move people. Wind comes from China's classical theory of emotional aesthetics. Pay attention not only to thoughts-manifested as bones, but also to emotions-manifested as wind. ”( 13)
In order to avoid equating style with emotion and thought, Mr. Zhang Haiming went on to explain what he meant: "The so-called style is a special expression of literary spirit, which is roughly equivalent to the author's emotional tendency in modern terms." "Bone, of course, refers to the ideological tendency in the works." (14) The discrimination becomes more and more accurate. However, I think it will be more satisfactory to start with Liu Xie's intention to do this article.
The word "style character" was originally a popular word for people who tasted algae at that time. For example, "Notes on Helian Bobo in the Book of Jin" said: "He is known by tools and has a strong character." "The Book of the Song Dynasty, Emperor Wudi Ji" says: "He is seven feet six inches long and has a strange posture." The original meaning roughly refers to the inner Shen Feng of human beings. Liu Xie's use in poetry criticism, expressing old ideas with popular new words, is a typical practice of "returning to the ancients and changing things". He first deepened the meaning of "wind":
"Poetry has six meanings, and wind is the first meaning. Thinking is the source of consciousness and the image of ambition. "
Poetry can influence people's hearts, starting with feelings. The so-called "poetry can flourish" is also true. People who can feel love are called wind, so it can be said that wind is the basis of love. What about bones? Shuowen said: "Bone is the core of meat." The core of the wind is called bone. Bones are the foundation of reason. In fact, Liu Xie believes that "wind" and "bone" are rooted in people's understanding of "Tao": intuitive understanding is called wind; Rational understanding is called bone. Both of them are two aspects of subjective cultivation, which are called emotions and thoughts in words, and also called "wind power" (the power of feeling) and "bone damage" (the power of logic) in articles.
Liu Xie did not stop at the boring conceptual analysis, but directly cut into the specific writing style: "To express feelings with regret, we must start with the wind;" "Shen Yin's poems should be written before the bones." The author's emotion is connected with the origin of feeling, and his natural feelings are touching; If you have a clear mind and clear things, you can have a clear mind and choose words accurately. "Shensi" says: "Mountaineering is affectionate, and watching the sea is affectionate". "Accumulate knowledge and store treasure, use wealth, learn poverty and mourn" are all bones of practice. ? In order to better illustrate this problem, Liu Xie cited two examples to illustrate: "In the past, Xu Pan studied the Western Wei Dynasty, thinking of imitating classics and learning from a group of talents, which was his bone marrow; "It's like being endowed with a fairy and bearing the name of Lingyun, which is a symbol of poetry and the power of the wind." Some people think that Xu Pan's Nine Wen Xi Gong Wei is not suitable as an example of "going deep into the bone marrow seriously". In fact, Liu Xie chose this article because of its clear thinking, clear views, sufficient arguments, accurate language and strong persuasion, which led ministers to stop writing. This is an example that reason is better than emotion. Sima Xiangru's Ode to an Adult is used as an example of wind power generation, because it shows the emotional yearning for the immortal life of adults marching in heaven and earth. Therefore, this article not only did not dispel the idea that Emperor Wu of the Han Dynasty was a good immortal, but made him "have the ambition to succeed in official career". This is an example that emotion trumps reason. Liu Xie cited these two examples to highlight the differences in personality, rather than saying that these two works are models of "personality".
The meaning of "style of character" is aimed at the tendency of Qi Liang's style of writing "lacking style of character": "If style of character is lacking, you will gather the Hanlin; If you don't have the strength of character, you will escape with words. " "The quality of literature is wild, and the quality of literature is history." (The Analects of Confucius Yongye) Liu Xie obviously regards "style" as the requirement of "quality" and "adoption" as the requirement of "writing". Compared with the two, quality is the foundation and writing is the purpose. Liu Xie's articles on "integrity" and "emotion" are comparative, but he emphasizes that integrity is to correct the current disadvantages.
Liu Xie has a very high sense of "clearing the wind and keeping the bones upright". In "Jing Zong", we can notice that "feelings are deep but not mixed", "wind is clear but not mixed", "things are loyal but not born" and "righteousness is straight but not back". Only by "casting classic models and learning the art of collecting history" can writers "understand the changes of feelings and explore the style of music, enrich new ideas and carve words." The strong meaning of "style" mainly refers to the strong logical power generated by "faithfulness" and "straightness" under the support of "classic" meaning, and then "straightness".
The original intention of Liu Xie's Feng Gu is to further demand "quality" under the background of "Jing Zong", which is the basis of establishing "emotional talent" before discussing "emotional talent". The content of Feng Gu's poetry teaching is obvious.
So, can Jian 'an literature be consistent with Liu Xie's so-called "character"? I think the answer isno. At this point, we can examine it from the following three aspects:? First of all, the personality ills of Jian 'an literati do not conform to the "Jing Zong" background of Liu Xie's personality theory.
The change of scholar's style in the Eastern Han Dynasty began in Cao Wei. "Cao Shi Group no longer pursues any strange high name, but attaches importance to it."
Kind of secular enjoyment of life; They no longer follow the rules, but are free and easy, and behave indiscreetly; They no longer attach importance to those tedious and useless Confucian classics, but compete to write and express their own literary works. (15) In Liu Xie's view, this rebellion and indulgence have brought many personality ills. The article of "An Exquisite Instrument" says: "Wen Ju is proud of his longevity and punishes him quickly, Zheng Ping is crazy about killing him, Zhong Xuan is light and brittle, Kong Zhang is careless in bullying the market, Rockett is greedy and begging for goods, and Lu Cui is shameless in eating. "Later, Yan Zhitui should also agree with this, with wider criticism and sharper words. (See the third section of this article for details) Liu and Yan's criticism can be regarded as a representative evaluation of the character of Jian 'an literati by orthodox Confucianism. I can't imagine that Liu Xie would give a Jian 'an philosopher who is not sophisticated enough in character, and add the title of "Jing Zong" with strong color.
Secondly, in Liu Xie's view, Jian 'an literature is more important than quality, which is the origin of Qi Liang's beautiful writing style. Mr. Liu summarized the four characteristics of Jian 'an literature as "simplicity, elegance, elegance and luxury". (16) "excellent words" and "nectar" are both in terms of literary talent. Liu Xie's evaluation of "Three Cao's" and "Seven Zi's" focuses on their ci-poetry talents: "Chen Si's literary talent is also handsome among gifted scholars." ("Finger Defect") "Wei Wen is brilliant." ("Collection and Recording") "Zi Kennosuke is like a chant, his pen is like a structure, Ruan writes books according to the case, and Mi Fei plays for food." The evaluation of "Shensi" is not high, but only focuses on the aspect of "writing" (language talent), while the characters emphasize the internal "quality". The tendency of writing to harm quality is exactly what Liu Xie wants to oppose.
Thirdly, Jian 'an literature is fundamentally lyrical and sentimental, lacking "strength" and not taking vigor as its main feature. Jian 'an literature is characterized by five-character poems of "emotional thoughts", and the feelings expressed are very personal and unrestrained, which hardly need rational constraints. But Liu Xie said: "Lovers are classics of literature; Resignation is a rational latitude. " After the warp is corrected, the weft is completed, and after the conclusion, the speech is fluent. "("Emotion ") This obviously does not conform to the meaning of personality. The emotional content of Jian 'an poets is mostly "worrying about life" (17), and their style is sentimental and hesitant. Just like their "Surprise Wind" and "Surprise Hong", they seldom express their lofty aspirations. They occasionally lament generously, but they are also confused and desperate in their bones, which is by no means a vigorous wind. Mr. Zhang Shibowei said: "Jian 'an is a great change in the history of China literature. The literati's poetry creation began to become the protagonist. The poet at this time can be said to be a' sentimental poet', and the poems that appear are also' sentimental poems'. ..... So in theory, before the Wei and Jin Dynasties, we paid attention to' expressing our will', and the touch on the outside world was included in direct expression; The Wei and Jin Dynasties that followed paid attention to' feeling things', from' feeling things' to expressing one's will, ... "(18) is the truth. But I suspect that some Jian 'an poets don't even have "ambition"-if "ambition" is regarded as a kind of "embrace" supported by solid beliefs, most of them have been exploring "ambition" all their lives. After destroying the old norms, Jian 'an literati did not know what to do in the future. They dare to sing, laugh and scold, and do whatever it takes (so-called "getting rid of"), but they don't have the courage and ability to establish a new "ambition" that is enough to settle down. Therefore, even though the elegy they sang has the breath of the Han Dynasty, which is somewhat generous and seems to be close to vigor, in the eyes of the ancients, especially the orthodox Confucianism like Liu Xie, poetry did not say "ambition", so what about vigor and heroism?
three
Not only did Liu Xie disapprove of Jian 'an's character, but throughout the Wei, Jin, Southern and Northern Dynasties and the Middle Tang Dynasty, the character and literary works of Jian 'an philosophers were constantly criticized, and many of the criticisms were their lack of "character" in character or writing.
Cao Pi's Dian Lun Wen says, "Harmony is not strong, but Liu Zhen is strong but not dense." Kong Rong is good in form and spirit, but he can't stick to his own theory, and he is unreasonable and treats it as a joke. "The Book of Martial Arts" says: "People in ancient and modern times, who don't care about details, rarely stand on their own feet with honor. However, Wei Chang, who is indifferent to quality, is indifferent ... Kong Zhangzhang is extremely healthy and slightly complicated. There is a sense of escape in business, but it is not embarrassing. The good people in his five-character poems are wonderful and unique. Yuan Yu's secretary is charming, which makes him very happy. Cao Pi's criticism is mixed, but judging from the use of critical words such as "harmony is not strong", "unreasonable", "slovenly" and "weak", the literati he commented on are not strong enough.
The Song Dynasty poet Zang Daochuan said, "The Wei family obeyed orders, and the Lord loved carving insects. The family abandoned chapters and sentences, and people valued different skills." "Xie Lingyun Biography" says: "As for Jian 'an, Cao Shi is the foundation of life; The second ancestor Wang Chen was full of Dunaliella salina. Fu is to weft the text with emotion and to quality the text. ..... just to reward that strange feeling, and deliberately create an illusion. "Shen Yue believes that Jian 'an literature is better than quality, and leads literature to' carving small skills'. It is similar to Liu Xie's opinion.
Yan Zhitui: "However, scholars in ancient and modern times are trapped in trivial matters ... The same evil is blamed on, Wu Zhi despises the village, Cao Zhi slows down the law, and Fu is greedy for fakes. The road is very narrow. Chen Lin's real name is careless, Liu Zhen is arrogant, RoyceWong is impatient, and Kong Rong and Mi Fei are proud. " This is the coolest evaluation of Jian 'an philosophers, but it didn't seem too extreme at that time.
Li Bai: "Since Jian 'an came, beauty is not precious." ("Antique" Part I)?
Liu Mian's Essay on Giving Xu: "Since the Song Dynasty, writers have expressed their sadness, offered longevity, died in Bixing and lost their ancient meaning." Although a horse is like a horse, Cao Liu is a man of backbone. Pan Luzao is beautiful and uses a lot of words, which is beyond a gentleman's ability. "("Quan Tang Wen "Volume 527)
Case: The backbone here is not the wind. See the explanation later. ?
Han Yu's Preface to Farewell to Meng Dongye: "Sima Qian, Xiang Ru and Yang Xiong were the best singers in the Han Dynasty. During the Wei and Jin Dynasties, geisha was not as good as ancient times, but it was never lost. As far as its goodness is concerned, its voice is clear and floating, its number is urgent, its words are wretched and mournful, its ambition is arrogant, its words are chaotic and chaotic, it will be ugly and virtuous, and don't care about evil! " What happened? People who don't sing are good at singing. "(Collected Works of Mr. Changli of Zhu Wengong School, Volume 19)
Han Lixu, Collected Works of Han Yu by Assistant Minister Changli in Tang Dynasty: "Before Qin and Han Dynasties, they were almost like Sima Qian, Xiang Ru, Dong Sheng, Yang Xiong and Liu Xiang, especially the so-called outstanding people." "After the Han Dynasty, Cao Wei, the weather was weak. Since Sima's family, the scale has been exhausted." ("Quantang Wen" Volume 744)
Although some criticisms are harsh, they are not entirely correct. However, we have to admit that Jian 'an literature has not been widely recognized in a long historical period (from Jian 'an to the middle Tang Dynasty), and it is often criticized by mainstream critics as a typical floating word, which is just the opposite of the meaning of character we think today. ?
Some scholars may quote Zhong Rong's poems to prove that the saying of "Jian 'an Style" has existed since ancient times. Yes, poetry speaks highly of Jian 'an literature.
"Down to take, tso and his son are very polite. " ?
"Therefore, Chen Si is known as an outstanding figure in Jian 'an. " ?
"Yongjia was very expensive when he was old, but it was a bit empty talk ... Jian' an was exhausted. " ?
"(Cao Zhi) originated from the national wind." He has a strong personality, so he chose Hua Mao as his choice. ?
However, the attitude of Shi Pin to Jian 'an literature can still be analyzed concretely. I think there are three points that should be noted:
First, Zhong Rong's evaluation of Jian 'an literature should not be overestimated, nor does Zhong Rong think that Jian 'an literature has a "vigorous" or "magnificent" style. Judging from the top grade of poetry, there were three poets in Wei Dynasty: Cao Zhi, Serina Liu and RoyceWong; There are three people in the middle of the product: Cao Pi, Yan He and Ying Kun; Seven disadvantages: Cao Cao, Cao Ruiyou, Cao Biao, Xu Gan, Ruan Wang, Ying Riyi, Miao Feng. Kong Rong and Chen Lin are both "seven sons". In Zhong Rong's view, the status of Jian 'an philosophers is not special. Especially, Cao Cao, who is often regarded as the representative of vigorous style, ranks second in poetry, while Wang Can, who is eloquent and strong in Wen Xiu, ranks first.
Second, "Jian 'an Wind Power" does not mean "Jian 'an Wind Power". Notes to Cao Xu's Poems (hereinafter referred to as Notes): "Jian 'an Wind: also known as Jian 'an Wind". It refers to the unique poetic spirit of the Jian' an era, that is, the poetry is rich in content, generous and sad in tone, and beautiful and rich in language. " (19) Lu Deshen's Collation and Interpretation of Zhong Rong's Poems (hereinafter referred to as Collation and Interpretation) Note: "Wind is power. "I don't think the two can be equated. There are two views on the word "wind power" in Liu Xie's Style of Character: one is to comment on Sima Xiangru's Adult Fu; Second, at the end of the article, he praised "the wind is strong and the bones are strict." "Wind" focuses on "wind", that is, emotion, and there is no basis for equating "wind" with "strength of character". Zhong Rong regards "wind power" as the opposite of "reasonable words, indifferent to its taste" The reason why metaphysical poems have no "wind power" is that these poems are "all flat and moral" and lack emotional content such as "doing it with the wind power and moistening it with Dan" to "make the tasters endless and the listeners tempted". The meaning of "wind power" here is very clear, that is, "the appeal generated by the lyric content of poetry" (2 1), which is one of the elements that constitute Zhong Rong's "interest theory", but it can't be consistent with Liu Xie's "style" meaning.
Third, "backbone" is not "wind". Cao Xu's Notes said: "The backbone, since the Han and Wei Dynasties, is the language people use to evaluate characters. ..... Later used as a term for painting theory and poetry theory, which has the same meaning as wind power and character. " [ZW (dy) Cao Xu: Poems, Shanghai Ancient Books Publishing House, 1994, p. 102. 〈 ZW 〉 Lu Deshen said in School: "The backbone: the backbone." (22) I find it difficult to equate "backbone" with "strength of character" and "extraordinary height". The word "backbone" is common in the theory of calligraphy and painting in the Middle Ages. Liang Wudi's book review: "Cai Yong's book is full of vitality and refreshing." (The Genealogy of Master's Family, Volume 87) Zhang Tang and Yan Yuan's Record of Famous Paintings in Past Dynasties: "Ancient paintings or similar shapes still have their backbone. The meaning of "judging" backbone spirit should refer to the inner spirit generated by the author's talent and knowledge in his works. Zhong Rong's statement that Cao Zhi's "backbone is extremely high" should focus on the embodiment of Cao Zhi's unique personality and outstanding genius in his poems, which is different from the meaning of "backbone" and "wind power" mentioned by Liu Xie.
Zhong Rong praised Jian 'an with "wind", "backbone" and "ci Cai" instead of "backbone", which only shows that there is no fundamental difference between Zhong Rong and Liu Xie's understanding of backbone and Jian 'an literature. ?
four
The real change began with Chen Ziang, who said in Preface to Making Bamboo with Zuo's Family in the East.
"The article has been rotten for 500 years. Han Wei's character, Jin Song Mo Chuan. ................... .............................................................................................................................................................. Whenever they are recited. Think of the ancients often afraid of stumbling and decadent, elegant and not doing it, but also worried. I saw the famous Ode to a Lonely Tung by Gong in three places yesterday. It is full of backbone, has a frustrated voice, has a brilliant practice, and has gold. " So I decorated my eyes with washing my heart and played a melancholy role, but I didn't want to see the beginning voice again, so that the writers in Jian 'an could smile at each other. (Complete Works of Chen Boyu, vol. 1)
After Chen Ziang, Jian 'an literature began to be truly associated with "style of character", and Jian 'an literature became famous and became a model for writers to imitate. ?
For example, Li Bai: "The bones of a great writer are your brushes, in the school of heaven." (Uncle Yun, Loushu, Xie Tiao, Xuanzhou)?
Case: Heng Ren's Yueshan Poetry: "Taibai Poetry says:' Since Jian 'an, beauty is not precious. "Say five words is too white, but it is not necessarily sudden. This is a moment of boasting. It's too white and cloudy:' The bones of great writers are all your brushes. In Tianyuan, I grew up beside you as a child, Xiao Xie.' This language is true. "
Fan Wen: "Jian 'an's poems are noble but not flashy, but good in quality, elegant in style, greedy and full of antithesis, which means that things are beautiful and elegant, and they are closest to ancient times." ("Qian Shi Zong Jian Case")
Yan Yu:
"Fu Xueshi should be based on knowledge, get started correctly, and aim high. He should learn from the prosperous times of the Han, Wei and Tang Dynasties and not be a figure below Kaiyuan Tianbao. " ("Discrimination of Cang Shi")
"There is no trace of words, reason, meaning and interest in Han and Wei poems."
"The ancient poems of Han and Wei Dynasties are chaotic and difficult to extract."
"After Huang Chu, only Ruan Ji's homesickness poems are extremely old and have the character of Jian 'an. " ?
"Jian 'an's works are all in the weather, and you can't find branches and leaves. The poem "Lingyun" has been a antithesis from beginning to end. "So it is better to take Jian 'an." (Cang Shihua Ping)
Yuan Haowen:
"The Han ballad Wei Shi is long and varied, and no one talks about it in detail." Who is the careless person in the poem? For the time being, let's teach you to be quiet and clear. "(one of thirty poems)
"Cao Liu is sitting in the tiger's roar, and there are no two males in the four seas." Unfortunately, Liu Yueshi, who was in Bingzhou at that time, did not teach Heng Shuo to attend Jian 'an Middle School. "(on thirty poems (2))
Chen Ziang's comments are of great significance to Jian 'an literature, so what are the substantive differences between his comments and those of the previous generation? I think he changed the meaning of old critical terms (mainly "style" and "auspicious star") under the new critical framework, thus enhancing the value of Jian 'an literature and finding a new literary model for literati after the Tang Dynasty. ?
First of all, Chen Ziang changed the meaning of "character" by adjusting the frame of reference of criticism. In Liu Xie's view, the value standard of criticism is The Book of Songs, while in Zhong Rong's view, the value standard of criticism is national style, Chu Ci and Xiaoya. For them, Jian 'an still belongs to modern and even contemporary times, and their criticism can only be recognized classics such as The Book of Songs and Songs of the South. Under the norms of ancient classics, Jian 'an literature is not only difficult to become a new model, but also shows its disadvantages. Then, it is difficult to connect the criticism category with the non-exemplary Jian 'an literature. However, Chen Ziang's Preface only discusses the "complicated" Jin and Song literature. In this way, under a low-value frame of reference, the value of Han and Wei literature could be improved, and the word "style" was reduced to "altar" and became a category with similar meaning to "meteorology" (Yan Yu later mentioned "Jian 'an style" with a view to meteorology). Chen Ziang admired the literary style of Han and Wei poetry, which must have a sense of the times, a strong Chinese style and a strong ancient style. It not only adapts to the trend of anti-ups and downs with poetry in the early Tang Dynasty, but also satisfies the aesthetic taste of literati who like the distinctive and smooth style of Han and Wei Dynasties, so it can have a great influence, and the word "style of character" is gradually separated from poetry teaching. (23)?
Secondly, Chen Ziang regarded the Han and Wei Dynasties as a whole, which changed the previous criticism tradition of equating Wei and Jin Dynasties. Cao Wei was originally a generation connecting the past and the future. In Liu Xie's view, before Jian 'an opened the atmosphere, scholars settled in different places, thus ending the era of Confucian classics, which Liu Xie was dissatisfied with. In Chen Ziang's view four hundred years later, Jian 'an inherited the ancient meaning. Although the aspirations of Jian 'an scholars were different from those of the ancients, their articles lost their logical power because of the lack of support from Confucian classics. But after all, they have a strong artistic appeal, which is very different from the weakness of floating prose since Jin and Song Dynasties. Therefore, Chen Ziang's style sublates the aspect of "bone" (logical force) and emphasizes the authenticity of emotion and its expression, which is basically equivalent to Zhong Rong's "wind power".
Finally, Chen Ziang put "auspicious star" and "monsoon" together, and the meaning of monsoon changes with the meaning of auspicious star. In Liu Xie's view, "Bi Xing" and "Feng Gu" both mean Jing Zong. Liu Xie's "Bixing" article said: "Bifu; Monkey, Ye Qi. " People who are persistent in reason refer to things, while people who are emotional refer to suggestions. "With the changes of the times, the ancient meaning of" Bi Xing "is dying out." Although Han Yan was prosperous, poets praised it, and poets stabbed it in the Tao, so Xingyi died. Scholars in the Han and Wei Dynasties "forget the prosperity of the month and abandon the big ones when learning small, compared with daily life, so the article thanks Zhou people." "As for the promotion, Cao Liu looked down, painted mountains and rivers, and wrote clouds and shadows, all of which were comprehensively woven together, in order to suit his splendor and make him look back, thus contributing to this achievement. "The corresponding connotation of personality is naturally commensurate with Bi Xing. Chen Ziang's concept of "good luck" originated from Zhong Rong's new meaning of "Bi Xing" after innovation: "The text is exhausted, the meaning is more than enough, and it is also full; Because things are metaphorical, they are better than others; "Write the story straight, fable things and give it a blessing." Xing is regarded as "the effect and realm that all good poems should have, and Bi Xing and Fu are the means to achieve this state and effect." (24) Chen Ziang even reduced the complexity and simplified it. He combined Bi Xing's sustenance with Ji Xing, and left "Fu" (Ci in the last years of Qi and Liang Dynasties were all Fu, which should be criticized). If Zhong Rong interprets "Xing" as a poem with meaning and realm, he emphasizes that this effect and realm must have deep characteristics, and "style" is the requirement of subjective conditions for forming deep meaning. Professor Chen once summarized the specific connotation of "style character" into four aspects based on his creative practice: philosophical thinking throughout the universe; Life laments inside and outside history; Critical consciousness in the face of reality; Grief and indignation that are hard to get in return. (25) These subjective qualities constitute the "spirit" of the article. It turns out that Chen Ziang's "article is harmful" only means that the article has become the shell of words, but it has lost its inner charm. Advocating the style of Han and Wei dynasties is to advocate the poet to inject the internal style of the subject (a mixture of temperament, personality, thought, talent and life experience) into his works, so as to make them have a strong sense of life.
In a word, Chen Ziang's so-called "style" is aimed at the similar language of Qi and Liang Dynasties, emphasizing that the works should have the inner style of the subject and its life-giving power, thus sublating the content of Liu Xie's poetry teaching. The meaning of Chen's "character" is roughly equivalent to "weather". (26) The connotation of the reformed "character of wind" is actually more primitive than the character of wind in "The Tale of Man" and "Algae". ?
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I think Jian 'an literature is characterized by the free exertion of talents and strong expression of emotions, which was manifested as a "vigorous" revolution at that time, because it broke through the Confucian personality framework gradually established and consolidated since the Han Dynasty, but this does not mean that its literary style has vigorous quality. In fact, as many ancient critics have pointed out, Jian 'an literature has a decadent quality more or less because of deviance. Jian 'an literature was gradually accepted in the future, and was named as a character, and even replaced the Book of Songs as a literary model, indicating that literary criticism was completely free from the shackles of morality and had a completely independent position. The change of the meaning of the word "style" is the product of the acceptance process of Jian 'an literature from repression to promotion, and it is also a sign of the change of this acceptance process. It is precisely because of the interweaving of literary acceptance and category change that this issue has become quite complicated. Contemporary scholars can naturally ignore the literary criticism of the ancients and innovate in their understanding of "Jian 'an Style". However, if we infer Liu Xie's "style" from Jian 'an literature, or understand Jian 'an literature through the meaning of "style", it will only lead to the double confusion of theoretical history and literary history, and thus draw unrealistic conclusions.
Another question worth thinking about is, in what way should the category research of ancient literary theory be carried out? The usual practice in academic circles is to make a historical deduction of meta-category and its derivative categories, hoping to grasp its fundamental characteristics. But a difficult problem is that the change of category meaning sometimes does not follow the evolutionary logic of category itself. For creative critics (such as Chen Ziang), it is difficult and unnecessary to stick to the original intention of category. When they use the original category, borrow categories from other fields, or create new categories, they have the right to adjust the connotation of categories according to their own critical intentions. In this way, it is quite dangerous for us to understand the meaning of category according to its own evolution. Therefore, I think it is the critic himself, his ideological background, his criticism intention and the practical problems he faces in the history of "contemporary" literature that determine the connotation of this category. In this sense, the method of "opposing the will with the will" is always the most important and effective research method, and it is still the in-depth study of literary history that determines the level of literary theory research.