At the same time, the period from Kangxi to Jiaqing was the golden age of poetry development, and four famous poetic theories appeared, namely, Wang Shizhen's verve theory, Shen Deqian's mode theory, Yuan Mei's soul theory and Weng Fanggang's texture theory. All have their own systems and schools of poetry.
Of course, in terms of aesthetic value, the theory of verve is high, but the model muscle theory has its own significance.
The latter three poetic theories all appeared in the poetic circles of Yong, Gan and Jia, arguing with each other and promoting people's in-depth thinking on poetics.
First, Wang Shizhen's verve theory.
The theory of verve is the essence of Wang Shizhen (1634-1711), a poetic theorist in Shunzhi and Kangxi periods of Qing Dynasty.
Weng Fanggang said: "Poets take verve as the secret of experience. This meaning does not start from fishing in the ocean, but from the beauty of ancient poets. The ancients didn't say anything, and offshore fishing began to understand. " (under the theory of verve)
In fact, the ancients clearly put forward that the word "verve" was first seen in painting theory and then extended to poetry theory.
Sheikh of the Southern Qi Dynasty commented on Gu Junzhi in "Two Kinds of Ancient Paintings": "The charm is not as strong as that of the previous sages; Subtle and meticulous, the philosophy of the past. " Firstly, the word "verve" with aesthetic significance is chosen, which is the forerunner of later literature and art.
In the Six Methods of Painting, Volume I of Zhang Yanyuan's Famous Paintings of Past Dynasties in the Tang Dynasty, it is said that "as for ghosts and gods, vivid and vivid, there must be charm", which also requires depicting the vivid mental outlook of "ghosts and gods".
It is not difficult to find the clues of this painting theory in Wang Shizhen's verve theory.
However, the southern painting school stresses "verve" and "verve", that is, "the most profound artistic effect can be obtained with the most economical pen and ink, and the artistic conception can be increased by reducing the levy" (Qian Zhongshu's China Poetry and Chinese Painting), which is similar to Wang Shizhen's verve theory.
But Wang Shizhen is, after all, a poet and a poet, and the theory of verve is directly derived from the traditional theory of verve in China.
First of all, discuss the gift of poetry with "rhyme" and push the model essay of the Northern Song Dynasty. Fan Wen said: "It means rhyme", "There is a deep and endless taste in the simplicity and leisure." ("Hidden Creek Poetry Eye" is lost, quoted from Qian Zhongshu's "Pipe Cone Compilation")
"Charm" is also mentioned in Hu Yinglin's poems in Ming Dynasty and Lu Shiyong's "A General Theory of Poetry Mirrors".
Yu Yang made it clear that he liked Zhong Rong's Poems, Yan Yu's Poems and Paintings and Xu Zhenqing's Tan Yi Road best. ("Yu Yang's Poetry")
The preface to Samadhi is more detailed: "Yan Canglang talks about a poem saying:' In the prosperous Tang Dynasty, all people were interested, and the antelope hung on the corner, which was untraceable, thorough and exquisite, and could not be moored, such as the voice in the air, the color in the phase, the moon in the water, and the image in the mirror. "There is a saying in the poem that' the taste transcends the sour and salty' ... The words of the two schools have ulterior motives."
It can be seen that Wang Shizhen's theory of verve mainly draws lessons from the regular contents such as "only interest", "no trace to be found", "no pool" and "beyond tasting the sour and salty" in the previous poetry creation art as the core of his poetic theory.
Wang Shizhen's words "Zhu Ming" and "verve" began when he worked in Yangzhou (before he was 29 years old). He once chose May 7th Poetry of Tang Dynasty as a verve collection for his son (lost). Until his later years, he also selected the Samadha Collection of Tang Xian, wrote A Talk on Red Preparedness, and quoted Kong's verve poems.
With the aim of "rectifying the imitation style of Ming Dynasty" and "looking at the sound when it is loud", Wang cited the theory of verve to correct the habit of "clearing profits for emptiness and letting new souls sleep" (Preface to Yu Zhaosheng's Poems) in Song poetry.
Wang Shizhen's theory of verve is essentially a complete requirement or proposition for the content and form of poetry, the creation and appreciation of poetry.
Specifically, the art of poetry is required to express the subjective inner temperament with concise brushwork and implicit artistic conception, and to adopt a simple and clear style (poetry about objects should also describe the spirit of things), so that readers can experience the profound meaning and aesthetic feeling of "endless words and endless meanings".
The creation of such poems should be based on the poet's temperament, natural and beautiful, and have a certain knowledge base. This is a relatively complete interrelated theoretical system.
A prominent point of Wang Shizhen's verve theory is to emphasize the refinement of poetry writing and the implication of artistic conception, so as to avoid the hollowing out of poetry content and the image sticking to the skin.
He praised the poetry of the prime minister of the Tang Dynasty as "implicit" (the continuation of the silkworm tail) and was right about this.
Wang Shizhen especially agrees with the famous assertion in Si Kongtu's Poems and the Implication: "If you don't write a word, you will get romantic." Inherit it, develop it, add new content, and clearly point out: "This temperament is also." (Biography of Teachers and Friends)
This not only puts the seemingly mysterious eight words into practice, but also reveals the essence of verve theory, that is, the refinement and implication of poetry lies in embodying the poet's temperament.
Wang Shizhen also said: "Tang poetry is based on emotion, so it has many meanings." ("Poetry with a Classroom")
Secondly, Yu Yang's verve theory requires that when describing objective things, it should show its charm as much as possible, that is, vividness. This view is mainly reflected in the evaluation of object-chanting poems.
Seeing this news, Zhang said, an advocate of the theory of verve: "The word of verve is especially used to praise the ignorance of the materialist." ("Poetry with a Classroom")
Wang Shizhen said: "The works of chanting poems must be as excellent as the Zen master said."
He answered people's questions about "the difference between style and rhyme" and said: "Style is character, and rhyme is charm." (Continued Records of You's Poems) all emphasize the expression of writing things.
Yu Yang was particularly impressed by Lu Guimeng's poem chanting Bailian religion: "No one can see it without pity, when the moon is white and the breeze falls." Praise: "Words tell the story of God and cannot be changed." ("Poetry with a Classroom")
Delicate and subtle features are not unique to verve poetry. Wang Shizhen's verve theory refers to the expression of artistic style, pure and implicit artistic conception and temperament.
He said: "Since ancient times, poets have been bold and fresh. Although their charm is good, they lack health." ("Poetry with a Classroom")
It can be seen that its "charm" or "style" is opposite to its "heroic" and "bold" styles.
He even declared in Preface to Jin Jing Caotang Collection: "In the past, it was generally said that there were 24 representative poems", and its "dilution", "nature" and "novelty" were the best of the three. It can be seen that his artistic style of poetry is based on "dilution" and "novelty". "Nature" does not belong to the theory of style, which will be discussed later.
In My Conversation in Chibei, Wang Yuyang praised the "voiceless tone" of the "archaism" of Ming poetry, and borrowed a poem by Kong in Fenyang: "Poetry is vivid, but it must be clear. ..... Charm is the key to prove the charm of Qingyuan style.
Wang Shizhen's verve theory also attaches great importance to the poet's emotional opportunity and state of mind when he is creating, and holds that verve poems can only be produced on the premise of "prospering and reaching the spirit" (occasionally talking about Red North).
It involves creative inspiration and subjectivity of poetic images. The essence of "arousing the spirit" is the outbreak of the poet's emotional interest, an effective opportunity for creation and an extremely active stage of thinking in images.
Celebration or inspiration is triggered in a specific environment or atmosphere. Wang Shizhen pointed out that "wealth leads to temperament" and deeply perceived the causal relationship between temperament and wealth.
He inherited Zhong Rong's "Looking at the past and the present is better than looking at the past and the present, and most of them are not making up for the holiday, but looking for it directly" (preface to poetry), and praised: "Five words climb the dragon's head in the morning, and the Qiang people think for no reason." ("Parody of Poems Left over from Mountains in Yuan Dynasty") all advocate immediate understanding and straightforward expression of temperament.
The work of verve comes from "Xing Shen Hui Dao", and its creative process is natural. "Yu Yang's Poetry Talk" says: "Rhyme and sentences are verve and natural, and cannot be combined."
Yu Yang praised the charm of Wang Meng's poetry school, which was a starting point, so he also praised nature as the "best" in Twenty-four Poems.
"Nature" means "prosperous society", that is, "not built by force", and "nature" is also a manifestation of mastering skills. If you turn the wheel flat and master the cow, there is no trace of an axe, it will be easy to lift weights.
However, Wang Shizhen's verve theory also has serious limitations:
First, although he emphasized "arousing spirit" in his creation, he did not attach importance to the source of the poet's creation.
Secondly, in theory, he unilaterally praised the artistic style of "dilution" and "strangeness" (there are many bold artists in his works), which is often associated with his "great joy" and "Zen" (living in Louis), and praised him for putting Zen into poetry and realizing the wonderful.
Thirdly, Wang Shizhen is biased against Du Fu's works reflecting social contradictions. From a political point of view, the theory of verve advocated by him has the function of guiding people to be divorced from reality.
Because the content of his verve theory is ethereal, Weng Fanggang's theory of texture remedies it, and the style of verve theory is diluted. Shen Deqian's theory of mode advocates correcting it.
There are also Ma Wei's Essays on Autumn Window, Poems of Visiting the Church, Poems of Cold Hall, Poems of Lulu and Poems of Shixiang, which inherit and carry forward their poetic charm.
It can be said that from the early Qing Dynasty to the late Qing Dynasty, the theory of verve has never been broken and never died out.
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Second, Shen Deqian's tone theory
"Modality Theory" is a summary of Shen Deqian (1673- 1769), a poetic theorist in Yungan period of Qing Dynasty.
As terms of ancient poetry, "ge" and "tune" were found in the Tang Dynasty. For example, the Japanese filmed King Kong's "The Chamber of Secrets of Literature Jing": "Every poem means style, sound means law, meaning high, sound means clarity, rhyme means perfection, and then there is a tone."
Its "style" refers to poetry, "rhyme" refers to temperament, and "tone" refers to style, which has both the content and form of poetry.
Jiao Ran's poetic style has the language of "sui generis" and "macro-tone", and there are two approaches to style: "tone" and "tone".
Song Yu Yan's Poems about Canglang? "Poetry Discrimination" lists five methods of poetry: system, gree, meteorology, interest and syllable. Among them, "Gree" refers to style, "system" is close to "case" and "syllable" is close to "tone".
The characteristic of poetry in Ming Dynasty is "style". For example, in Li Dongyang's On Lutang Poetry, it is said that "the eyes are dominant and the ears are dominant", and then it is said that "try to learn the unseen poems, that is, you can know the wind of the times", so "case" refers to the format of the poem, and "tone" refers to the tone of the poem, which is audible and belongs to the formal factors of the poem.
The head of the first seven sons refuted any essay and said, "The ancients are elegant, and the wise are harmonious." "Gegu" and "tiaoyi" are regarded as the second of the "seven difficulties" in poetry, that is, two basic elements.
Its meaning is consistent with that of Li Dongyang. The first seven poets, "Poetry Will Prosper in the Tang Dynasty", praised their style as "youthful and magnificent" because of their emphasis on style and continuity (Cang Lang Shi Hua). Therefore, Wang Shizhen said, "Wang and Li are experts in their own style, and they are absolutely silent" ("I talk about red equipment").
Shen Deqian's tone theory directly absorbed the thought of emphasizing "style" such as Li Dongyang and Li Mengyang in the Ming Dynasty, and also tended to be formal and retro.
Shen Deqian did not directly adopt the concept of "style" when commenting on poetry, but his idea of attaching importance to poetry "style" was scattered in Chinese.
First of all, his "style" is based on the prosperous Tang Dynasty, as his disciple Wang Chang said: "Suzhou Shen Deqian holds the style theory alone, worships the prosperous Tang Dynasty and rejects the Song Dynasty ... and advocates the prosperity of Han, Wei and Wu." (Biography of Lake and Sea Poetry)
Therefore, "Talking about Poetry and Spitting Words" said: "Although we can't surpass the style of the Three Tang Dynasties today, we will eventually become soft and gradually dye, look back on elegance and respect poetry."
It can be seen that Shen Shi set a high standard of "Three Tang Dynasties", which is beyond the reach of later generations. There is another cloud: "If a poem does not forget the past, it is called a wild body." This "ancient" refers to the style of Tang poetry in the Han and Wei dynasties, which is in the same strain as the retro style of the seven sons in the Ming Dynasty.
Secondly, its "case" refers to the unique formal factors such as case method, composition and syntax of different genres of poetry.
"Talking about Poetry" says: "Five words are long and difficult to describe. If there are ups and downs, it will be long and not scattered; Short stories are difficult to converge, and convergence can contain infinite meaning, so they are short and not hasty. Only when the length is neat and the knot is complete can it be considered qualified. "
The "qualified" "case" refers to formal skills such as "description", "ups and downs", "convergence" and "orderly and complete knot".
Another cloud said, "The Dragon Law Firm is strict in the Gas Bureau, and it is just for merit, with clear paragraphs. However, it is necessary to have an opening and closing, not to show the turning point of the solar terms, so that words can be forgotten, so that it can be done. "
"Belonging" and "money" also belong to "case". I thought, "A poem has a composition, ... a knot, an order, and a concern; You can't add one, you can't add one. This is a genre. "
This is a relatively complete explanation of the connotation of "ge". Its "tone" refers to the tone rhythm.
Shen Deqian especially favored "tune" and even said: "Poetry uses sound, and its subtlety lies in fluctuation." This "sound" is tone, which refers to the "wonderful" change of tone and rhythm.
He actually thought that "the beauty of Yuefu lies in the numerous sounds to promote festivals" and that Yuefu in the Han Dynasty was "all sad and happy, all born of things" (Hanshu? Where's Yi? The content of "A Brief Comment on Poetry" is neglected, and its beauty lies in the formal beauty of "syllables", which is obviously prejudice.
Thirdly, Shen Deqian's "mode theory" is the "unvoiced voice" of Wang Shizhen's verve theory, and he advocates a loud voice like Li Mengyang.
For example, Emperor Xuanzong's Jian Ge Heng Yun Jun and Wang Youcheng's Jin Feng Corner Gong Ming are very energetic, with superb composition, syntax and spelling. This rhythm is right. "
Also called: "Mu Xu Xuanyun:' Floating on the sky without shore', Du Shaoling Cloud:' Whale Blue Ocean', and Han Changli Cloud:' Giant Blade Skyscraper'." Unfortunately, there is no such thing as poetry. "
It is this bold and grand style that he wants to stipulate poetry creation.
He recommended Li Mengyang, the seventh son of Xu Ming, and paid attention to his style "vigorous and solemn and stirring". This style obviously meets the needs of the so-called "prosperous times".
Shen Shi's tune theory was quite influential at that time, but it was severely criticized by the spiritual leader Yuan Mei.
Weng Fanggang equates "style" with tone in Wen Ti, and regards it as "section of sound" and "chapter of sound".
He is opposed to being confined to one style, and thinks that that style is "not the power of one family, not the specialty of one generation", so he criticizes the style of "only non-gradual change", which is more accessible than Shen Shi's.
It should be pointed out that "modal theory" is not the whole of Shen Deqian's poetics, but only a part of it. His poetry theory is full of essence, and even denies some viewpoints in the model theory, which is not included in the word "model theory"
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Third, Yuan Mei's theory of spiritual nature.
The theory of soul is one of the theories with aesthetic value in China's ancient poetics. It mainly refers to the poetic theory of the Gong 'an School and Jingling School in Ming Dynasty, especially the spiritual school headed by Yuan Mei in Qing Dynasty.
The word "the spirit of nature" was first seen in Liu Xie's ancient literary works in the Southern Dynasties: "Look up and see it, spit it out, look down on the chapter, and locate the height, so the two devices came into being." Only ginseng, Zhong Zhiling, is called Sancai. "
The "spirit" here refers to one's intelligence or nature. Although this understanding of human nature is not a direct poetic theory, it has a great influence on the connotation of the later theory of soul.
Later, Zhong Rong, a famous poet in the Southern Dynasties, directly used "nature" to discuss the essence of poetry in Poems. His evaluation of Ruan Ji's Yong Huai can be said to be thoughtful and thoughtful. Words are in the eyes and ears, and feelings are sent to the table of eight shortages. "
Zhong Rong's "spirit" here mainly refers to the "feeling" of "making the table of eight famines", that is, "singing about love"
Yuan Mei's "Imitation of Yuan Yi Mountain Poetry" said:
There is a guest number at the end of the world, and it is a mistake to copy books and make poems.
Copy to Zhong Rong's "Poetry" day, when you know the soul.
This poem reveals the theme of "nature" in Zhong Rong's poems. Yuan Mei's theory of soul was deeply inspired by it.
The word "soul" is widely used in Tang Dynasty literary theory. On the one hand, they still follow the meaning of "temperament" commonly used in the literary theory of the Southern and Northern Dynasties, on the other hand, they extend the meaning of "natural qi" in Liu Xie's works, which refers to people's subtle understanding and intelligence, thus being related to the poet's special talents and talents.
Such as Gao Shi's answer to Hou Shaofu:
The host country has masterpieces, but there are no such people in the Southern Dynasties.
Spirit of Vientiane, extraordinary personality.
This meaning of "spiritual nature" had an important influence on the poetic theory of "pen spiritual nature" in Yuan Mei's later theory of spiritual nature.
Yang Wanli, a spiritualist in the Song Dynasty, said: "People who have never been talented love to talk about style, but they don't understand humor. Why? " Empty style, easy to describe; It is not a genius who is funny and devoted to writing the soul. "
This theory is very close to the connotation of Yuan Mei's later theory of soul, so Yuan Mei quoted it in Poems with Fate and declared: "I love his words deeply."
The essence of Yang Wanli's "natural spirit";
First, praise "talent";
The second is that the essence of poetry lies in "writing the soul", that is, expressing the poet's temperament, character and temperament. This "soul" is not only equal to temperament;
Third, it opposes "talking about style" and advocates that poets have artistic personality;
Fourthly, poetry should be "funny", that is, lively, acceptable and aesthetic.
Later, Yuan Mei's comments on the poet's "life interest" coincided with this point.
The theory of soul developed greatly in the Ming Dynasty. At that time, the rulers advocated Neo-Confucianism in the ideological field and stifled human nature; The former and the latter seven scholars successively advocated that "literature must be in the Qin and Han Dynasties, and poetry must flourish in the Tang Dynasty" (Biography of Wen Yuan in the Ming Dynasty), which set off the wind of restoring ancient ways.
As a result, a group of people of insight, such as Li Zhi, who were full of rebellious spirit and pursued individual liberation, declared war on hypocritical and retro formalism with the theory of spiritual nature as a weapon under the background that the social economy of the Ming Dynasty had sprouted a new capitalist production relationship.
Li Zhi put forward the famous theory of childlike innocence, with special emphasis on "childlike innocence is sincere" and "nothing in the world is not from childlike innocence" (Childlike innocence).
The "childlike innocence" here is true spirit and has an innocent personality; This is the new connotation of the "theory of soul" in the late Ming Dynasty.
Special mention should be made here to the police faction headed by Yuan Hongdao, Yuan Zongdao and Yuan Zhongdao. They are a powerful force against the retro-ism of the seven sons before and after the Ming Dynasty.
The theory of spiritual spirit advocated by them is more comprehensive and specific, which is most directly related to Yuan Mei's theory of spiritual spirit.
The core idea of the spirit theory of the public security school is "expressing one's spirit alone and not sticking to one pattern" (Yuan Hongdao's Xiao Xu Shi Xiu), which emphasizes "refusing to write unless it comes from one's own mind" (ibid.), which embodies the requirements for creative personality.
With regard to the development of literature, it is clearly stated that "the world has changed, so has literature" (Yuan Hongdao's Book Along the River). This is a criticism of the conservative thoughts of the Seven Scholars in Ming Dynasty.
At the same time, the public security school respects the poet's true feelings very much, and the so-called "sexual security is almost impossible to be strong, and it is called a real person" (Yuan Hongdao's "After admiring the inscription, you will know Zhang You"), thus issuing a new voice of rebellion against the old Confucian tradition that "love ends with courtesy".
In addition, the spiritual theory of the public security school began to notice the importance of the poet's creative inspiration. Yuan Zhongdao said: "After the shock of the whole mind, brain waves are extremely powerful." The general principle of "a brainwave" here is inspiration, which belongs to one aspect of "spiritual essence".
In addition, Zhong Xing and Tan, from Jingling, Hubei Province, later became the representatives of Jingling School's theory of spirituality.
Jingling school, like the public security school, also advocates the "spirit of nature" and opposes the ancient style of retro school. Zhong Xing said: "No poet can be a poet without spirit." (Observation with Tall Children)
However, Jingling School was dissatisfied with the vulgarity of the police school, and set up another recluse school, focusing on its "solitary feelings" (Zhong Xing's poem "Preface") and "loneliness" (Tan's poem "Preface"), that is, the arrogance and integrity, which made the poetic realm have to be secluded and narrow, so it was attacked by many people.
Yuan Mei (1716-1798) was a great poet and spiritual leader in the Ganjia period of the Qing Dynasty. He advocated the theory of spiritual spirit, aiming at opposing Shen Deqian's theory of archaize style and Weng Fanggang's unhealthy trend of taking textual research as his poetry, and promoting the development of poetry creation.
Of course, the emergence of the theory of "soul" is not unrelated to the budding factors of social and economic capitalism at that time and the anti-Neo-Confucianism trend of thought in the ideological field, and it is also developed on the basis of predecessors' aesthetic thinking materials about "soul".
After Yuan Mei's enrichment and perfection, the theory of soul formed a relatively complete poetic system and became an important part of China's progressive aesthetic trend of thought in the18th century.
The theoretical core of Yuan Mei's theory of soul is based on the subjective conditions of poetry creation, emphasizing that the creative subject must have three elements: true feelings, personality and poetic talent.
Yuan Mei was born again on these three theoretical cornerstones:
Creativity needs inspiration, and artistic expression should be original and natural;
The content of the work is mainly to express the true feelings and personality, and the artistic image contained in the feelings should be flexible, vivid and vivid;
The main artistic function of poetry works should be to arouse people's feelings and make people feel beautiful;
Wait, these artistic ideas.
In view of this, we should not only oppose the theory of "poetry teaching" that binds the soul, but also oppose the theory of imitating ancient "style" that regulates the Tang and Mo Song Dynasties, and also oppose the textual research of replacing the soul with knowledge and piling up allusions as the poetic style; But poetry creation does not exclude the participation of knowledge and labor.
Yuan Mei's "soul" refers to "temperament" or "emotion", and soul and temperament are often used interchangeably. The core factor of the connotation of the theory of soul is true feelings.
Yuan Mei thinks that true feelings are the first condition for a poet's creation, so he says "before writing, one must ask his temperament" (a reply to Zeng Nancun's poems), which is close to Hegel's saying that the starting point of lyric poetry is the poet's mind, more precisely his specific mood and situation (the third volume of Aesthetics).
Yuan Mei especially praised the true feelings and put forward the viewpoint that "a poet should not lose his childlike innocence" (Volume III of Suiyuan Poetry), which is a copy of Li Zhi's Childlike Innocence.
Yuan Mei also believes that true feelings are the main content of poetry expression, so-called "writing new poems" (spring miscellaneous poems).
Therefore, he thinks that the outstanding works since the Book of Songs are all "full of spirit, regardless of piling up" and "300 pieces of special temperament" (all see Suiyuan Shihua), and makes a new explanation of the old saying that "poetry must be temperament" (Suiyuan Shihua, Volume III).
He even thinks that the love between men and women is an ambition beyond the original ambition, so as to oppose Shen Deqian's pseudo-Taoism.
He also affirmed the aesthetic function of "poetry can flourish" and opposed the view of "poetry teaching" (volume 4 of Suiyuan Poetry Talk).
Yuan Mei's theory of spiritual nature emphasizes the poet's creative personality, which can only be called spiritual nature. Therefore, he advocates that "you can't write poetry without me" and that "those who don't have me are puppets" (Volume 7 of Suiyuan Poetry Talk).
Yuan Mei's Continued Poems specially created another product, Write Me. Highlighting "I" means emphasizing the role of the poet's unique temperament, temperament, aesthetic ability and other factors in his creation, as well as the individuality or originality of artistic expression.
Therefore, Yuan Mei, like the public security school, advocates expressing his spirit independently and not sticking to any model. He believes that "poetry should be self-motivated and not dependent on others" (answer to Wang Menglou's lecture), so as to create works with its own temperament.
Therefore, Yuan Mei criticized that "the seven scholars in the Ming Dynasty don't know the present, and they are limited to the opinions of dividing the poems" (Volume III of Suiyuan Poetry Talk), and ridiculed that "those who have more style lose their temperament" (Preface to Zhao Oubei Collection).
He also criticized those who "attacked the prosperous Tang Dynasty on the outside" and "destroyed the Song Dynasty on the skin".
Yuan Mei's theory of spiritual nature also pays special attention to "the meaning of the pen" (Volume II of Suiyuan Poetry Supplement) or "the spiritual nature", so he thinks: "The way of poetry and prose lies in talent, and a wise person can understand it at one finger." ("Suiyuan Poetry" Volume 14)
Here, it means that poets are prone to creative passion. As the saying goes, "talented people are affectionate, rich people are affectionate" ("Preface to Li Shi"); At the same time, it contains the imagination of the poet.
Although the poet's "pen power" has a certain relationship with his talent, he can't rule out the acquired study and exercise, so Yuan Mei attaches great importance to the poet's extensive reading and "human contribution".
Yuan Mei also thinks that people with "spiritual nature" have a "brainwave" to generate creative inspiration. He is dissatisfied with those people who "are obsessed with the title of poetry, not only divorced from temperament, but also lack a brainwave" (preface to Mr. Qian Guisha's Poems).
Yuan Mei has a certain understanding of the excitement of inspiration, the brevity of inspiration duration, the communication between inspiration and external objects, and the unity of contingency and inevitability of inspiration, which is beyond the reach of the police.
In addition, Yuan Mei also praised poetry for its "qi" and "interest", which made the aesthetic value of the theory of soul higher. However, he did not attach importance to poetry that reflected social life, which was also a great regret.
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Four. Weng Fanggang's Physiological Theory
During the reign of Ganjia in Qing Dynasty, Neo-Confucianism spread and Sinology textual research prevailed, which was reflected in Tongcheng School advocating the theory of "righteousness, textual research and articles" in the literary world, while Weng Fanggang (1733- 18 18) praised "texture" in the poetic world.
Weng Fanggang summed up this situation as: "Scholars are born today, and classics are all over the world. Textual research is the basis of learning, and texture is the basis of poetry. " (Preface to Quotations)
Weng Fanggang's theory of "texture" mainly has two aspects:
First, it is the opponent of Yuan Mei's "theory of spiritual nature" put forward by studying Confucian classics and learning, and it "wants to cultivate Taoism with literature" (Zhou Shi Shi Hua), which has a conservative tendency.
On the other hand, it aims to make up for the deficiency of Wang Shizhen's verve theory, and tries to correct the ambiguity of Shen Deqian's modal theory by "changing from poor to many", which is of certain significance from the perspective of poetry development.
Du Fu's "Two Ways" said, "Soft skin and well-proportioned bones." This is the origin of the word "texture" in Weng Fanggang's poetics.
Weng Fanggang put forward a programmatic view on the theory of "texture" in the preface to Yan Zhi Ji:
"'Mind is ambition. Words are like poems, which is only a matter of reason. The reason, the grasp of people, the return of objects and situations, and the moment of sound rhythm. Therefore, deep springs come out from time to time, observing all arts and sciences: Jin Yuzhen, the collection is coherent; Fluency in four branches, origin in cause, beauty in reason. Righteousness is arts and sciences, that is, the principle of texture. He said,' There are 300 poems written by Zhou, and Yali instructed them to be written.' Du Yun:' Familiarize yourself with the theory of selected works.' There is a Mr. Yu Yang who takes this sentence in Du Fu's poems as the quality and doesn't have to seek the meaning in Yu Yang's words. Sir, what a slip of the tongue! "
Poetry is "all about reason". First of all, it is emphasized that "reason" is the content that poetry should follow and embody, because "reason" is the basis of everything, such as people, things, feelings, and even sound rhythm.
Secondly, it is pointed out that "reason" has its manifestations, just as "deep springs emerge from time to time" has "arts and sciences" and "golden jade and sound" has "order".
To put it simply, the "texture" of poetry has two levels: one is "texture", that is, "righteousness", which is the root of poetry content; Secondly, the "texture principle", that is, the "principle of arts and sciences", is a manifestation of the form of poetry, or "righteousness".
These two levels complement each other, which is the connotation of "muscle theory"
Weng Fanggang quoted Du Fu's poems on Mastering Selected Works and Han's poems on Jieya to prove that the connotation of "texture" is "liberal arts" and "righteousness".
In addition, Weng Fanggang cited the "Yi" language in Du Fu's "Da Wen Li Yan" to illustrate the significance of his muscle theory:
Yi says, "A gentleman speaks with words." So is the foundation of rationality. He also said,' Speak methodically.' The classics of reason are also. There is no unreasonable person. "
Here, "having substance in words" means "righteousness"; "Orderly speech" means "arts and sciences". This is exactly the same as the "theory of justice and law" of Tongcheng School.
Fang Bao said: "righteousness is the so-called' words have substance' in Yi; Fa "is the so-called" preface "in Yi. It is also for classics, and then for adult literature. "("After the Biography of Huo Zhi ")
Weng Fanggang also discussed the meaning of "reason" in The Book of Plums in Han Dynasty, and thought: "Elegance and elegance are three meridians, nature is three latitudes, and both longitude and latitude are reasonable. The meaning of reason is ready! "
"Three Classics" is "righteousness" and "three latitudes" is "arts and sciences", and the combination of the two can complete the meaning of reason.
So, what is "righteousness"? Weng Fanggang said: "Du Zhi's words make sense. Gegen is very good at the Six Classics." (Du Fu's Poems "Mastering the Essence, Choosing the Reason" and "Rationalization") This shows that "righteousness" is the thought and knowledge contained in Confucian classics.
Therefore, he emphasized that only by "filling in the contents" can "the true qi shake outside" ("Gao Yao Lun Zhou Zhong Zhuzi").
Weng Fanggang advocates taking the Six Classics and knowledge as the basis of poetry and theory, which is certainly not enough training. The root of poetry lies in life practice, in having true temperament and poetic talent. Otherwise, even if you have a good education, you can't write a poem.
Of course, learning can't be abolished. The poet's profound knowledge also helps to improve his ideological level and artistic accomplishment. But we should not elevate the Six Classics and knowledge to an inappropriate position.
It should be pointed out that Weng Fanggang advocates that "poetry must learn all kinds of textures" (preface to Yan Huige), which is also reflected in the requirement that poetry should express its meaning with solid content and oppose the "emptiness" of content. For example, he appreciates the poem The Combination of Words and Circumstances (ditto).
The so-called "political situation" refers to "political affairs", that is, the specific content of Confucian political thought and ethics.