-In Cao Zihuan.

I. Life of Cao Pi

Cao Pi, a Chinese character, was born in four years (AD 187) and died in seven years (AD 226). There is no doubt that this is a troubled time, and Cao Pi was "born in the peaceful season and grew up between Rong Lu". The preface of the canon says, "I was five years old when I was young. Affected by the quartet, I learned to shoot after school, and I knew how to shoot at the age of six. I also teach riding. At the age of eight, I knew how to ride a horse and shoot. It's too difficult to spend time, so I often follow every signal. "He and his father fought many times in the south and north between Jinge and Ma Tie, and witnessed the terrible situation brought by the war to the people." Armor gives birth to lice, and ten thousand people die. The bones were bare in the field, and there was no one among them, and there was no crowing. There are hundreds of people who left the legacy, and their thoughts are broken. "Cao, these have provided a realistic life foundation for his later poetry creation, and have been truly reflected in his poems.

As we all know, Cao Cao is a person who attaches great importance to talents. As the son of Cao Cao, no talent can be appreciated, let alone a prince. He said in the preface to the canon: "although in the army, we can't let it go." All provinces are calm, as the saying goes:' Those who are less eager to learn are experts, while those who are long are forgetful. It is difficult for Yuan Boye and I to be diligent scholars when we grow up. "I recite few poems," Cao Pi also said in Cao Zhi's On Wade: "I am good at traveling by various planes and exploring secluded caves; I was forced to visit Konglin at the same time. The field of resistance to thinking is solid, and the territory of Tao is tolerant. " It is precisely because of Cao Pi's eagerness to learn and learn that he left an immortal page in the history of China literature.

Second, Cao Pi's literary theory

Before Cao Pi proclaimed himself emperor, he presided over the literary world with "the vice-monarch's weight" and said to Wu Zhishu, "When you used to walk, connect with people, and when you stopped, sit down. Why do you lose sight of each other? " Every time it is popular, the silk and bamboo are played side by side, and the wine warms the poem. At this time, I suddenly didn't know that I was happy. "It can be seen that Xelloss and the teachers of the law had a close relationship and were very speculative. From Cao Pi's Essays on Canon, we can see that he attaches importance to literature. His literary theory occupies a very important position in the history of China literature, and has a far-reaching impact on the literary theory criticism of later generations and even the development direction of the whole literature. " "Dian Lun Thesis" concentrated on expressing his views:

First of all, Cao Pi studied the differences between literature and other works and the requirements of style in his Essays on Canon, and put forward the theory of style for the first time, in which he said: "The prose is the same but different from the end. Gai Yi Yan Ya, Shu Lun Yi Li, Ming Yi Shangshi and Poetry Lifu: These four subjects are different, so those who can do it are biased; Only by passing can you prepare yourself. " In other words, fundamentally speaking, the article is universal, but it has its own requirements and characteristics because of different genres. Before Cao Pi, in the pre-Qin era, literature, history and philosophy were interwoven, focusing on "origin" rather than "end"; During the Han Dynasty, although Confucian works were excluded from literature, they did not systematically put forward the genre and category of literature. It was Cao Pi who put forward the innovative viewpoint of stylistics combining "origin" with "end". Of course, Cao Pi's exposition of style is not very specific, but his views have had a far-reaching impact on the later research and development of stylistics. For example, the preface, praise and inscription in Huan Fan World Essentials, which is collected in the Collection of Books in Tang Dynasty, can be said to be a detailed explanation and development of Cao Pi's views. Among them, Huan Fan's criticism of the fallacy of inscriptions in Han Dynasty is an explanation of Cao Pi's emphasis on simplicity, and another example is Liu Xie's Wen Xin Diao Long, from Sao Bian to Secretary. Confucianism, metaphysics, history and literature, which were separated in Yuanjia, Song Wendi in the later sixteen years, were completely different from those of Cao Pi. It can be seen that Cao Pi's stylistic theory not only draws a clear line between literary and artistic works and other ideological and historical works, but also promotes the stylistic research of later generations. In addition, it should be noted that Cao Pi's "realism" is not limited to inscriptions. In response to Bian Lan's religion, he said, "The reason why the giver is attached to words and things;" Praise, the description of goodness is also true, so the author is worthy of his words, and the receiver must be true. " It can be seen that he thinks that other styles of works should also be "realistic". Actually, xelloss was originally a man based on reality, and in "Folding Willow", he clearly put forward that "Wang Qiao's empty words are empty, and the red pine hangs empty words. A master knows the truth, but a fool is good at spreading it. "Such thoughts are valuable to feudal rulers.

Secondly, Cao Pi put forward the "Wen Qi" theory in Dian Lun Wen: "Wen is dominated by qi, which is clear and turbid, and cannot be caused by force. For example, all kinds of music, although uniform curvature, but the rhythm is the same; As for the uneven bleeding, it was carefully planned. Although it is a father and brother, it cannot be left to children. " Here, Cao Pi put forward the viewpoint of discussing writers and their works with "Qi". Dian Lun Wen talks about the seven sons of Jian 'an with "Qi": "Wang Shenshan's ci and fu, Xu Gan should have Qi, but be a well-behaved horse. For example, the balcony gets the moon first, Huai Song and Zheng Zhisi are in Xuan Ape, Leakage, Tuan Fan and Ode to Orange, although Zhang is as good as Cai. However, in his article, he failed to call it. Lin, the secretary of Zhang Table, is very handsome now. Be reconciled but not strong. Liu Zhen is strong but not dense. Kong Rong's spirit is brilliant, and he surpasses others. However, he can't hold a theory, he is full of arguments. As for (manufacturing "company"), that's ridicule. And [sometimes] good, young, class [of] also ". So what does Cao Pi mean by "qi"? Liu Xie said in "Wen Xin Diao Long Feng Gu": "Fu Zhai prepares color, but takes a hundred steps, and the muscles are heavy; Falcon is weak, Han Fei is fierce, strong and angry. The talent of the article is similar to this. If you lack character, you will gather Hanlin; If you lack the strength of character, you will run away. It's just that the flowers are brilliant and lofty, and the solid writing is also a phoenix. Here, Liu Xie's "strength of character" is actually a concrete explanation of Cao Pi's "qi", and Ji Jun commented that "qi is strength of character, with no background". The article "Feng Gu" said: "Those who practice to the bone will be good at analyzing words; People who are deeper than the wind will show their feelings and say, "If you are arrogant and complicated, you will have no bones." There is no lack of thought, and Somo is not lacking in spirit, so there is no wind thought. In other words, without thoughts and feelings, there is no spirit, and there is no spirit. It can be seen that Cao Pi's "Qi" is the unity of the content and form of his works, and it is also the style of his works.

A hopeless situation

During the Warring States period, the son of Liu Bei, the owner of Shu, was nicknamed Dou. After Liu Bei's death, he succeeded to the throne and was called the Queen of Shu. Liu Chan is mediocre and incompetent. Although Zhuge Liang and others assisted, they could not revitalize Shu, and finally Shu was destroyed by Wei. Later, people used "A Dou" and "Liu Adou who can't help" to describe people who are weak, have no ambition and don't want to cheer up.