In China, theorists have always believed that style is related to the writer's personality, spirit and living conditions. "Book of Changes, Cohesion and Summer" says: "Those who break faith will be ashamed of their words, and those who doubt will be ashamed of their words. Lucky people talk less, impetuous people talk more. The good man speaks sin, and the loser is wronged. " Although it is not a literary style, it has influenced future generations to discuss style from the perspective of psychology-language-style. Han Dynasty is the beginning of China's ancient style theory. Sima Qian evaluated the style of Li Sao from the perspective of "poetry expressing ambition", and pointed out: "His words are slight, his ambition is clean, his lines are mean, his words are small but his meaning is big, and his examples are far-reaching. Its ambition is pure, so it is called fragrant; His behavior is cheap and he can't die. In the mud, cicadas slough away from filth and floating dust, and they don't get the dirt of the world. It's mud, not me. Pushing this ambition is also the glory of the sun and the moon. " It is believed that the words in Li Sao are implicit and profound, which is closely related to the great ambition of the author Qu Yuan. Since then, Yang Xiong put forward the theory of "painting your heart". In the article "Ask God" in Fa Yan, he said: "Words are also, and the heart is also; Book, heart painting also; Sound painting, gentlemen and villains see. Sound painter, the reason why gentlemen and villains are emotional. " It is believed that "sound painting" is the expression of human emotions, from which we can see people's grades. In Wei, Jin, Southern and Northern Dynasties, with the consciousness and prosperity of literature, the study of literary style also entered a mature stage. At this time, concepts such as "body", "physique" and "style" appeared. The original meaning of "style" is the human body By extension, it refers to the style of the article, and it can also refer to the style and genre. Cao Pi started with a paper on "Qi" and put forward that "Qi is the main theme of writing, and the clarity of Qi has a body and cannot be caused by force." "Qi" is also a popular concept at that time, which refers to people's tolerance, temperament, mind and talent. In short, it has something to do with people's spiritual personality. At first, people used "Qi" to taste algae characters. Cao Pi linked "Qi" with "Style" and evaluated the works of writers at that time with style and style. It is pointed out that "RoyceWong is good at ci and fu, and Xu Gan is full of gas", "Angelababy is harmonious but not strong, and Liu Zhenqiang is strong but not dense. Kong Rong has a great figure, and there are people who surpass others. However, he can't hold up a theory, and he is eloquent and even ridiculous. " Both "Qi" and "Body" have the meaning of life here. Lu Ji's "Wen Fu" said: "There are many different bodies, but things are boundless and difficult to achieve", referring to the style of the article. Sima Qian's "ambition", Yang Xiong's "emotion" and Cao Pi's "qi" are all put forward as the internal basis of style, involving all aspects of writer's talent and creative personality. However, they emphasized the decisive role of personality ambition, aesthetic taste and personality temperament in literary style from one side. Liu Xie, on the other hand, integrated and enriched the three, and fully expounded the decisive role of the writer's creative personality in the formation of literary style in the form of monographs. In the "Style" of Wen Xin Diao Long, he clearly put forward: "Qi is based on real ambition, ambition is based on definite words, and Qi is in English and Chinese without moving feelings", "Every teacher is different in nature" and "different in talent and style". In other words, the writer's spiritual temperament is full of his thoughts, feelings and aesthetic taste, which determines the language style. The elegant demeanor and talents revealed in the article are all manifestations of the writer's creative personality. Every writer creates according to his own creative personality, and his works have different styles, just like their faces. Different talents make the style colorful. In this regard, he cited many examples of writers to illustrate: Jia Yi is both talented and beautiful, so his words are clear and clear, and his style of writing is fresh; Sima Xiangru's behavior is wild, so his arts and sciences are exaggerated and his words are exaggerated; Yang Xiong's temperament is calm, so the meaning of Ci and Fu is obscure and profound; Liu Xiang's temperament is simple, so his writing interest is clear and his examples are extensive. The course is extensive and profound, so the style of the article is intensive and meticulous; Zhang Heng is knowledgeable, so his words are thoughtful and meticulous. RoyceWong is impatient and brave, so he is sharp-edged and heroic; Serina Liu is impatient, so his words are dignified and his feelings are amazing; Ruan Ji's behavior is open-minded, so his words have excellent syllables and excellent tones; Ji Kang is a hero, so his interest is superb and his literary talent is magnificent. Pan Yue is frivolous and agile, so he has a sharp edge and a smooth rhyme. Lu Ji is solemn, so his feelings are rich and his words are implicit. From this, he came to the conclusion that the external language and the internal temperament must be consistent-"because of the internal and external, it is also external." At first, the word "style" was also used to describe characters. It was found in Bao Puzi by Ge Hong and Shi Shuo Xin Yu by Liu Yiqing, and gradually changed from a critic to a critic. For example, Yan Zitui of the Northern Qi Dynasty said in the article "Yan Zi's Family Instructions and Articles": "The writings of the ancients are rich in materials and elegant in style, far reaching today." The "style" of the article mentioned here is also related to the author's living conditions. In short, during the Wei, Jin, Southern and Northern Dynasties, China's literary critics had firmly established their own theory of the causes of style, and regarded the style of literary works as the externalization and expression of the writer's inner feelings and living conditions, which deeply influenced the style research of later generations and changed little. In the west, many people hold similar views. Heinrich wolfflin, a famous Swiss aesthete, wrote a passage in Art Style: "Ludwig Licht (1803- 1884, German painter, sculptor and illustrator) mentioned in his memoirs that he was in Tivoli once and three times when he was young. The narrator's conclusion is that there is no objective vision at all, and people's understanding of shape and color always changes with temperament. " The difference in artistic expression, that is, style, ultimately comes down to the difference in subjective conditions such as temperament and personality, which is consistent in both China and the West. In the west, this view also originated from ancient Greece, because it was an encyclopedic era, and most of the theories of later generations can find their source from this era, even the same originator. For example, although Aristotle emphasized the study of style from the perspective of external form and rhetoric, he also pointed out in Rhetoric that "external language symbols" "also show your personal character". Because "people of different classes and temperament will have their own different expressions. When I say' class', I include age differences, such as children, adults or the elderly; Including gender differences, such as male or female; Including ethnic differences, such as Sparta or sand. When I say "temperament", I mean the temperament that determines a person's character, because not every temperament can determine a person's character. In this way, if an orator uses a language suitable for a certain temperament, he will reproduce this corresponding character. " Obviously, Aristotle's "temperament" is a very broad concept. People of the same "class" may have similar temperament, and only "a special temperament" can "determine a person's character". And "external language symbols" can only adapt to it, so as to express their own personality and present a style. In the west, and then in China, there is a famous saying that "style is man", which actually comes down in one continuous line with Aristotle's view. This famous saying comes from Buffon (1707- 1788) and1753rd century French naturalist and writer. He pointed out in a speech on style in 1753: "Only well-written works can be handed down to the world: the knowledge contained in the works is amazing. If the works containing these knowledge, facts and discoveries only talk about trivial things, if they are not written with style, genius and elegance, they will be lost in obscurity, because knowledge, facts and discoveries can easily be separated from the works and transferred to others, and even better than the original works after being written more skillfully. These things are external things, but the style is people themselves. " In other words, "style is what we get when we strip the writer of everything that doesn't belong to him, everything that he and others have." This is the best comment on the last paragraph. Although it is debatable, its original intention is to emphasize the importance, uniqueness and irreplaceability of style, which is far from the ethical meaning that "a literary product is a person" or "a literary style is like a person". Westerners' understanding is often closer to the original intention. For example, Hegel and Marx have correctly quoted this famous saying. Hegel said: "There is a famous French saying:' Style is man himself'. The style here generally means that an individual artist fully sees some characteristics of his personality in terms of expression and style twists and turns. " Marx said in the article "Comment on Prussia's Recent Censorship Order for Books and Newspapers": "Truth is universal. It does not belong to me alone, but to everyone. Truth possesses me, not me. I only have the form of my spiritual individual. Style is man himself. Whether Hegel's "his personality" or Marx's "my spiritual individual" is concerned with people's unique spiritual personality. In their view, it is this unique spiritual personality that is the ultimate source of style differences. Many writers and critics also tend to understand literary style subjectively, at least as an important part of style theory. Goethe thought: "A writer's style is an accurate symbol of his inner life. Therefore, if a person wants to write a distinctive style, he must first understand it in his heart; To write a magnificent style, he must first have a magnificent personality. Belinsky also said: "Style-this is the talent itself, the thought itself." . Style is the relief and sensibility of thought; Show the style of the whole person; Style, like personality and character, is always original. "In understanding this view, we need to know that there are different views on it. This is mainly aimed at Buffon. As the Swiss theorist Wolfgang kessel pointed out, "Style is man" is a kind of "naive belief". His reasons are: "prevailing style rules, public hobbies, representative models, generations, times, etc." All have an influence on the writers who create their works, just as the selected category itself has an influence on them. They caught the writer, brought him here and used violence against him. "This sentence alone involves all aspects of style formation, including public interest, the works of typical writers, the influence of the times and traditions, and the restriction of literary types. These influences make it impossible for the style to be purely personal. For example, Buffon's "surplus and core" stripped away everything, but it must be both personal and homosexual, so there are times style, national style, regional style, genre style and so-called stylistic style. Of course, kessel also admitted that "even those transpersonal forces dominated by * * * always need people to clarify. The writer is alive and let these forces play a role, so his personality is not just hidden behind a lot of things left after deduction. We can also believe that profound knowledge, the most meticulous consideration, and very meticulous feelings can also re-eliminate those things that entered his works because of the prevailing style rules, public hobbies, and bondage patterns at that time, but were' not suitable' for individuals. " (1) This statement is realistic, that is, public things and personal things need to fit each other and become a unified thing to be presented in the style of the work.

It is believed that style is the natural expression of the writer's creative personality in his works. It is undoubtedly necessary to investigate from the perspective of the subject and understand from the internal basis of the formation of style. Since then, theorists have put forward many incisive opinions, and analyzed their works from the aspects of the writer's temperament endowment, personality and interest, and described their style characteristics, which is also of great help to readers' appreciation and grasp. In fact, this is a generalized psychological analysis, which is not as good as the previous ontological analysis, that is, speech analysis. However, if you only see the internal expression and ignore the external expression, you can't fully understand the style. In addition, daily personality is not the same as creative personality, and can not be directly transformed into literary style, which we will analyze later. Here, we need to analyze the theory of "painting comes from the heart" or the broader theory of "writing is like a person", "writing is a character", "poetry is a character" and "style is a character". These idioms have vague meanings, so they are suitable for general situations. But if it is true, it is not very accurate. For example, Pan Yue, a poet in the Jin Dynasty, once wrote "Recluse Fu", which seems to have the ambition of seclusion. However, according to the Book of Jin, this person is "frivolous and impetuous, and tends to benefit the world." Jia Mi, Shi Chong and others, wait on them and worship them. Since the official is not up to standard, it is "idle fu". Yuan Haowen of the Jin Dynasty once took Pan Yue as an example and questioned the saying that "painting the heart with the heart": "The heart painting is always distorted, and the article would rather see people again. The high-spirited "Leisure Fu" strives for the trust of Anren and goes to worship the road dust. " Du Mu agrees with this problem in Southern Shi Hao Dialect, and thinks that "the theory of knowing people is so solid", and further points out: "Reading with a cover word can tell people's evil and right. But the world is biased towards people, and their words may not be biased towards people, so words and books are not enough to judge people. "This not only refutes the theory that painting comes from the heart, but also challenges the theories of" writing is like a person ","writing is like a person "and" style is personality ". People often say "moral articles" and associate "morality" with "articles", but they may be the same or completely different. Therefore, if we only pay attention to ethics, it is difficult to ensure that the losses are thousands of miles away. Ye Xie of A Qing dynasty made this mistake. He said: "Poetry is the voice of the soul. You can't go against your will, nor can you go against your will. A prestigious person must never be indifferent to the voice of Chunshi; A frivolous son must not be a loud voice. ..... So every poem meets people, and people see it with the poem. " Ji Yun put it more simply: "High character and high poetic style; The mind is often, and the poem is correct. "Close friend Qian Zhongshu made an in-depth analysis and correction of this statement. He listed the facts that the words and deeds of literati in the past dynasties were inconsistent or inconsistent, and explained that "since ancient times, it has been difficult to judge people by their words." "Similarly,' painting the heart with the heart' was originally a successful statement, but it was a little less prescient." He brilliantly pointed out: "What you said can be faked: traitors care about the country and the people, and affectionate men write in the snow and ice, which is also true. His writing style often reveals his true nature; The style that people are anxious about cannot be completely clear, and the brushwork of heroes cannot be completely cautious. The text is like a person, not here. " "Ruan Yuanhai wants to be a beautiful landscape, and his poems are elegant and delicate. I hope it is a deep concern, not a real idle person, but for the poet. " The meaning of money is very clear. What is written is easy to fake, but how to write is not easy to fake. Therefore, "writing is like a person" mainly lies in form, such as the "style" of speaking and the "pen" of writing. Therefore, when we use this to evaluate a work, we should "not judge its words according to what it says"; "Is it possible to judge by the style of the text without discussing right or wrong?" This statement is very accurate. In fact, the ancients also opposed equating words with literary works. For example, Liang Jian Wendi pointed out: "The way to stand up is different from the article; Be cautious before standing, and debauchery after standing. " Interpreting as a text is different from interpreting as a person. Wu Chuhou's "Blue Box Miscellanies" in the Song Dynasty said: "The article is pure and ancient, and it does not harm it; The article is gorgeous, but it is not harmful. However, you are a gentleman when you see the world or see an article about benevolence, righteousness and morality; And Huayuelu is an evil people, not necessarily. " Clearly opposed to judging people by their words. Ye Jiao Ran's "The First Collection of Poems in Longxingtang" even more bluntly pointed out that "poetry is different from character". As an aesthetic ideology, literature does show the tendency of collectivity and collectivity, which goes without saying. Groups and groups mentioned here include classes but are not limited to classes. Such as workers, farmers, businessmen, officials, intellectuals and so on. Are different groups and groups in society. Writers of different groups and groups represent different interests because of their different positions, so they will inevitably infiltrate the consciousness of different groups and groups into the aesthetic description of literature, thus showing the consciousness and ideological and emotional tendencies of different groups and groups. For example, in business society, bosses and employees have different status, and they also have their own interests. If a writer describes his own life and relationship, then the writer's consciousness will naturally have a question of who to favor. If it is shown in literary description, there will naturally be a tendency of groups or groups.

However, no matter which group or group a writer belongs to, his thoughts and feelings will not always be bound by the tendency of that group or group. Writers are also human beings, and there is bound to be a common humanity between people, a sense of life that everyone has, and a concern for human survival. If it is reflected in the aesthetic description of literature, it will inevitably show the universal feelings and desires of human beings, thus surpassing the tendency of a certain group or group. For example, works describing love between men and women, love between father and son, love between mother and child, love between brothers and sisters and love between friends often show universal human feelings. A large number of works describing landscape flowers and birds often show human's universal love for nature. These reasons are obvious and need not be said.

What needs to be pointed out here is that in the aesthetic description of a work, it often contains the consciousness of a certain group and a certain group, and at the same time it permeates the consciousness of human beings. In other words, the consciousness of a certain group or group is not always incompatible with the consciousness of human communication. Especially the consciousness of the lower class, is often associated with the universal consciousness of human beings. The kindness and good feelings of the lower class people are often the expression of the same feelings of human beings. For example, the following song "Bodhisattva Man":

I made a thousand wishes on my pillow, waiting for the green hills to rot, the weight to float on the water, and the Yellow River to dry up completely.

During the day, Beidou returned to the south. You can't rest without rest, and you will see the sun in the middle of the night.

This is a ballad of the lower class, but expressing lovers' faithful feelings for love belongs not only to the lower class, but also to the beautiful feelings of all mankind. It is in this sense that we say that the unity of group tendency and human universality is an important manifestation of literary aesthetic ideology.

Secondly, the aesthetic ideology of literature is both cognitive and emotional in function. Literature is a reflection of social life, which undoubtedly includes the understanding of society. This determines the cognitive factors of literature. Even those works that claim to be "irrational" contain an understanding of reality, but this understanding may be illusory and fallacious. Of course, some works are characterized by critical analysis of reality, such as western critical realism works, which are characterized by evaluation and understanding of various immoral drawbacks in the capitalist world; Some works, such as many romantic works, show the understanding of the prediction and expectation of realistic development. Some works look objective, calm and accurate. It seems that the author has not expressed his views on reality at all, but it is not. These works are nothing more than "cold eyes and deep feelings", or, in Lu Xun's words, "enthusiasm from hot to cold", and it is impossible not to include an understanding of reality. However, we say that literary reflection includes cognition, but it cannot be equated with philosophical epistemology or scientific cognition. Understanding of literature is always expressed in the form of emotional evaluation. The understanding of literature is completely integrated with the writer's emotional attitude. For example, we say that the works of Balzac, a French writer, have high cognitive value and profoundly reveal the development law of French society in his time. However, we must note that his revelation of this law is not a comment or a paper. He reveals it secretly by describing various characters and their fate in French society, describing various social scenes and life details, and comparing the environmental atmosphere. In other words, the author permeates his emotional evaluation of social reality into concrete artistic description, thus expressing his views and understanding of life. Here, cognition and emotion are completely combined.

So, what is this combination of cognition and emotion? Hegel called it grief, and Mr. Zhu Guangqian translated it as "love". Hegel said:

Emotion is the real center and proper field of art, and the expression of emotion is the main source of the effect of works and audiences. What was moved was Black Boy, who echoed in everyone's heart. Everyone knows the value and rationality contained in a true emotion, and it is easy to recognize it. Emotion can touch people because it is a powerful force for human existence. [2]

Hegel means that emotion is the mutual penetration of two aspects. On the one hand, personal mood, concrete and emotional, will move people. On the other hand, value and rationality can be regarded as cognition. But these two aspects are completely combined and inseparable. Therefore, for those works with particularly subtle and profound feelings, their feelings are often not simply conveyed by words. Russian critic belinsky also said when he played Hegel's "emotion" theory:

Art does not accommodate abstract philosophical thoughts, let alone rational thoughts. It only accommodates poetic thoughts, which are not syllogisms, dogmas or maxims, but living passions and passions ... Therefore, the difference between abstract thinking and poetic thinking is obvious: the former is the fruit of reason, and the latter is the fruit of passionate love. [3]

This should be the truth that belinsky grasped in his literary criticism. Indeed, the aesthetic consciousness of literature, as the combination of cognition and emotion, appears in the form of "poetic thinking". Therefore, the aesthetic consciousness of some excellent works in the history of literature is often difficult to explain. For example, what is the consciousness of A Dream of Red Mansions? It's often a question of words and deeds. As for the theme of A Dream of Red Mansions, there is still no satisfactory "interpreter" (Cao Xueqin: "Dou Yun's author is crazy, who can explain the taste?" )。 This is because the aesthetic thought of A Dream of Red Mansions is very rich, and people can gradually understand it, but it cannot be defined by abstract words. Someone asked Goethe what the theme of his Faust was, but Goethe didn't answer. He believes that people can't narrow down the complex, rich and splendid life written in Faust and explain it with a tiny ideological wire. All these show that the aesthetic consciousness of literary works is caused by emotion, and it is a blend of cognition and emotion. Cognition dissolves in the water of emotion like salt, and it is difficult to explain it in abstract words.

Thirdly, the aesthetic ideology of literature, in terms of purpose and function, is both utilitarian and non-utilitarian. Literature is aesthetic, so in a sense, it is a game, entertainment and leisure, which seems to have no practical purpose. If you think about it carefully, it seems to be utilitarian and has profound social effects. In other words, it is selfless, but it is utilitarian, which is the interweaving of the two.

In literary activities, no matter creation or appreciation, no matter the author or the reader, there is generally no direct utilitarian purpose at the moment of creation and appreciation. If a writer is describing a beautiful scene, but he is whimsically trying to "occupy" this beautiful scene, then his creation will fail because of this "distraction". A man who is enjoying Othello in the theater will leave the theater angrily because of this consideration if he thinks of his wife's distress of having an affair because of the stimulation of the plot. At the moment of creation and appreciation, we must exclude the consideration of utilitarian gains and losses in order to enter the world of literature. Diderot (Diderur1713-1784), a thinker in the French Enlightenment, said:

Do you write mourning poems when your friend or lover has just died? I won't. Whoever displays his poetic talent at this time will be unlucky! Only when the intense pain has passed, the extreme sensitivity of feeling has decreased, and the disaster is far away, can the parties recall their lost happiness, measure their losses, combine memory with imagination, and relive and enlarge the sweet time of the past. Only in this way can we control ourselves and make a good article. He said he was sad and cried, but when he carefully arranged the rhymes of his poems, he didn't care about tears. If the eyes are still crying, the pen will fall from the hand, and the client will be driven by emotion and can't write. [4]

Diderot means that when a friend or lover has just died, he is full of considerations of gain and loss, and at the same time he has to deal with the actual funeral. At this time, he is the most utilitarian and can't write. Only after a certain distance from the death of a friend or lover, the consideration of utilitarian gains and losses is greatly weakened, and it is possible to arouse memories, exert imagination and create. This statement is completely in line with the actual creation. Indeed, only in aesthetic activities without utility can we find the beauty of things, find poems and paintings and enter the world of literature. Brandes (G. Brandes, 1842- 1927), a Danish literary historian, gave a very telling example:

We observe everything in three ways-practical, theoretical and aesthetic. If a person looks at a forest from a practical point of view, he asks whether this forest is beneficial to the health of this area, or how the forest owner calculates the value of firewood; Theoretically, a botanist should conduct scientific research on plant life; If a person has no other ideas than the appearance of the forest, from an aesthetic or artistic point of view, he should ask how it works as a part of the landscape. [5]

The businessman cares about money, so he has to calculate the value of wood; Botanists care about science, so he cares about plant life; Only artists are utilitarian, so they care about the beauty of the scenery. As Kant said, "it doesn't matter to appreciate the fun of judgment." "A judgment about beauty, as long as it is mixed with a little sense of interest, will have a preference, not a pure appreciation judgment." [6] Kant's theory may be one-sided, but as far as aesthetic ideology is concerned, he is right. The theory of "emptiness and quietness" in China's ancient literary theory, which pays attention to literary creation and appreciation, is actually an aesthetic non-utilitarian theory. Therefore, the reader's key style does not constitute the success or failure of the writer, but the expression of the writer's personal personality, and whether this style is recognized by the reader is the key to the success or failure of the writer. If in doubt, please add 374979564 inertia narcissism as a friend or Baidu Lucky 20110310.