Because of its richness and complexity, the analysis of Nineteen Ancient Poems has always been a matter of opinion. Many articles agree with Ma Maoyuan's view that Nineteen Ancient Poems, with the theme of "Songs of Wandering Wandering Wanderers" and "Words of Thinking of Women", reflect the bumpy life experiences of middle and lower-class literati in the turbulent years at the end of Han Dynasty from different angles, and express their secular feelings, such as the sadness of leaving Acacia, the sorrow of short life, the sadness of meeting a bosom friend, and the feeling of grieving for the world, which is universal and typical in ancient China. Zhang Ruqian and Zhang Qicheng first combined Liu Xie's comments on Nineteen Ancient Poems "The Parting of Ancient Poems is full of affection", and thought that Jiang Yan's Parting of Ancient Poems accurately summarized the main ideas of Nineteen Ancient Poems, and after careful analysis of each poem, they reached the following conclusions: 1, 2, 6, 8, 9, 66. Third, 1 1, 12 hurt themselves when they sighed; 13 and 15 are carpe diem. The theme of Nineteen Ancient Poems is mourning and parting, and only two of them advocate carpe diem. [ 19]
Many papers focus on the description of the background of the times, the grasp of the fate of the characters, the speculation of psychological activities, and the evaluation of the artistic characteristics reflected by the two themes of "feeling sad at the time and lovesickness leaving", with less originality and more emphasis on Chen Xiang. Papers that can represent the research level of this period are no longer satisfied with the superficial description of natural phenomena, social phenomena and poetic style, but shift the research focus to the analysis of the inner world and the interpretation of spiritual connotation of the authors of Nineteen Ancient Poems from the height of life philosophy. They successively put forward serious propositions such as philosophy of life, value of life, life form, return of human nature and spiritual image, which fully reflected the characteristics of research in the new period: return to human nature and attach importance to human life value.
Philosophy of life. Wang Lisuo analyzed the philosophical connotation of Nineteen Ancient Poems. As the forerunner of the era of literary consciousness, it contains rich and profound philosophical spirit and profound insights into life. Its deep psychological consciousness, that is, the deep sense of anxiety, crisis and urgency for short life, is the core of this philosophical spirit. [20] Liu Qi analyzes Nineteen Ancient Poems from the perspective of literary history, and thinks that it "truly shows the living conditions and spiritual process of the lower-class literati in the late Han Dynasty, expresses the historical and social reasons for the formation of their life values, and shows the spiritual emptiness after the Confucian life values were shattered by reality and the Taoist negative outlook on life rose, broadening the life theme of literature in the history of China literature". [2 1] Xie Defeng's exploration of the spiritual connotation of Nineteen Ancient Poems is unique. He thinks that the authors of Nineteen Ancient Poems express the proposition of life and death so strongly and intensively, and their life choices in the face of outlook on life, outlook on life and individual life are reflected in their keen sense of time, order and fear. The sense of drift and nothingness caused by the insignificance and helplessness of human beings in the eternal time and space framework; The sober and painful understanding and meditation on individual life death has become the main theme of the poem, making individual life consciousness a universal consciousness of an era and a theme song of a century. [22]
Yang Degui believes that Nineteen Ancient Poems is a profound song of life, which is the forerunner of a generation in both content and form. The reason why it can produce a power of "making the gods cry" is because it takes "people" as the theme and embodies the exploration of the life value of "people". The poet attaches importance to the value of life, actively embodies the value of life, and permeates a deep anxiety about life consciousness in cherishing the existence of life. The real awakening of China literati's life consciousness was in the late Han Dynasty and Wei and Jin Dynasties. Ancient literati suddenly realized the shortness of individual life and the ups and downs of life. Nineteen Ancient Poems is a typical expression of this sense of life. They seek the value of life from the perspective of self, which has profound life connotation. [23] In short, issues such as "life value", "life consciousness", "return of humanity" and "humanistic spirit" have become hot topics for a while. Jiang, Zhang Zhenlong and others all participated in the discussion, and put forward profound and original opinions on one aspect.
The Theory of Life Forms. When analyzing the life state of the authors of Nineteen Ancient Poems, Guo came to the conclusion that "they can't increase the length of life, but they can make up for it by increasing the density of life". [24] This statement appears in many papers in different ways. Xuan Lihua wrote twice to deeply analyze the life state of the authors of Nineteen Ancient Poems: their unique lyrical way was full of the unique depressed mood of the literati from beginning to end, and what we felt from Nineteen Ancient Poems was an independent discourse contrary to the mainstream culture at that time, or as a way to make up for the regretful life length through the unique way of life of unknown literati groups, and it was externalized into various states of throwing life. Wine and beauty, feasting and traveling constitute the author's life form of exploring life and enjoying life in time. They created a unique spiritual refuge in their frustrated lives, and their impermanence and short-lived worries about life eventually turned into a state of swimming by candlelight. [25]
The theory of psychological images. Between the lines of ancient poems and in the poet's mind, Angie saw the unremitting image of a group of depressed and confused pursuers through the surface of depression and decadence, which infected their deep attachment to real life. Anji believes that Nineteen Ancient Poems added new qualities to the history of spiritual phenomena of the Chinese nation, shaped a brand-new spiritual image of self-awakening, and the poet explored new life values. Re-examine the eternal universe, short life and the meaning of life from the philosophical height of life value. [26] Similar to the psychological image theory, there is also the psychological loneliness theory. From the poet's "special context of living in a foreign land", Liufangxi grasped the true meaning of his feminine thinking poems, and analyzed that the author of Nineteen Ancient Poems was a wanderer far from the material space of his hometown. On the spiritual level, they also lost their spiritual home. Nineteen Ancient Poems is a sincere singing of the author who lost his sense of identity and home because he was not accepted spiritually. [27] Liu Zeming also holds the same view. He thinks that the emotion expressed in Nineteen Ancient Poems is a heavy sense of loneliness. This sense of loneliness in time and space and the world haunts every poet's heart and is revealed between the lines of every work. The ancients were in a state of anxiety because they were confused about their future and social destiny. They want to solve it through love, friendship, affection, homesickness, eating and drinking, dreaming, death, sober and crazy poetry, and finally sang this eternal swan song. [28]
Eat, drink and be merry. The idea of "eat, drink, and be merry in time" in Nineteen Ancient Poems has been criticized and denied, saying that it is the decadent philosophy of the declining class, the pursuit of wealth, the enjoyment of longevity, the expression of personal grievances, and the sentimental sentiment of leaving sorrow and not hating. The shadow of Ma Maoyuan's criticism still lingers for quite some time. Therefore, the academic community has always adopted a low-key attitude and treated it cautiously. Or simply use "negative decadence" to summarize, or avoid talking about it. After 80s, there are still two different views on this issue: one holds a negative attitude, thinking that the authors of ancient poems are not sure about their outlook on life and cannot blindly praise the so-called "true feelings". We should deeply analyze the thoughts and feelings expressed in these poems, and don't blur the boundaries between times and classes. With the emancipation of the mind, people gradually get rid of prejudice and realize the duality of this problem. Combined with the background of the times at that time, they dialectically analyzed and evaluated the bumpy fate and awakening of life consciousness of the middle and lower intellectuals at that time, as well as their rediscovery, thinking, grasping and pursuit of their own life meaning and personal destiny. Wang Li believes that hedonism is nothing more than wanton indulgence of illusion, and what is behind it is the anguish that the human body can't find a way out after awakening consciousness. In the process of pursuing the value of life when awakening, hedonism should also be regarded as an indispensable part. They realize that life is limited and demand to cherish life in a limited time. Therefore, they try to increase the density of life to make up for the short life and realize their life value in the density of life and their own light. [29] Guo also pointed out: The poet neither sympathizes with the short sigh of life, nor wants to be detached from things and call on the gods. They want to pursue secular enjoyment, and this enjoyment makes sense, because poets don't want to waste their lives worrying about their lives. [30] Luo and very frankly believe that the pursuit of happiness is human nature. Nineteen Ancient Poems is a propaganda of a new concept of life, and all kinds of expressions of "eat, drink and be merry" are full of strong attachment and helplessness to life. The poet aims to set out objectively and establish a life attitude of enjoying life and letting nature take its course. This is another world and another life that poets admire. [3 1]
(3) The artistic features of Nineteen Ancient Poems
The author of "Nineteen Ancient Poems" is a lower-middle-class scholar with high cultural accomplishment and deep feelings for real life. He absorbed the nutrition of Yuefu folk songs in art, accepted the realism of The Book of Songs and the fine tradition of Lisao in expression methods, and formed a unique artistic style in his works, which became a model of early lyric poetry in the history of China literature. Many papers summarized the artistic features of Nineteen Ancient Poems from the aspects of artistic form, creative attitude, lyrical way and rhetorical skills. Ni Qixin summed up the style of Nineteen Ancient Poems as follows: the artistic conception is simple, the metaphor is imaginative, and the description technique is matched with the scenery, such as plain language, which melts into a unique style of expressing one's mind directly, revealing one's true feelings and being euphemistic and moving. [32]
Lyric way. Nineteen ancient poems, with superficial affection and long affection with phrases. Pan Xiaolong discusses "attaching things tactfully and worrying about feelings" in Nineteen Ancient Poems with specific chapters, and extends and concretizes it. He believes that "external writing methods, such as long-term imitation, long-distance reflection, cross-singing, and reverse use of pens, have achieved the artistic effect of' awakening and penetrating'". [33] Liu Yuejin pointed out that "Nineteen Ancient Poems" presents a low-response aesthetic style, which tailors poetic thoughts according to the rhythm of emotional ups and downs, so that readers can understand the poet's feelings from all directions. The lyrical way is network and compound, leaving readers more imagination space. [34] In short, true feelings are the soul of lyric poetry. Many authors examine the love, friendship and life of Nineteen Ancient Poems from the perspective of expressing true feelings, and think that poets yearn for sincere love, sincere friendship and real life. In fresh and beautiful poems and sentimental artistic conception, they echo the main theme of the beauty of human true feelings and shine with the light of poets.
Aesthetic style. Exploring the aesthetic thoughts, aesthetic features and aesthetic images of Nineteen Ancient Poems has become a research hotspot. Deng published two papers on Nineteen Ancient Poems from an aesthetic perspective. He believes that Nineteen Ancient Poems accurately and profoundly summarizes the essence of life phenomenon and embodies the spirit of "beauty is life". It is different from Dr. Han's detachment from life, but is unified with life. When expressing the beauty of life, it creates artistic beauty and achieves the unity of life beauty and artistic beauty. And summed up the soul-stirring beauty, profound and simple natural beauty and overall beauty of artistic conception of Nineteen Ancient Poems, which has an unquestionable positive effect on China's poetry aesthetics. [35] Sheng Shuping summed up the rhythmic beauty of repeated changes and the formal beauty of neatness and standardization in Nineteen Ancient Poems. This "five beauties" is a comprehensive summary of the aesthetic implication of Nineteen Ancient Poems. Darren Liu made an aesthetic examination of nine typical images in his poems, such as animals, characters, time and space, and found that all the current images of the poet have become the objects of the poet's soul projection, and are deeply branded with the traces of the poet's subjective feelings. The poet's soul can be seen from the images and the emotional atmosphere presented in the poems. [36]
Linguistic features. The language style of Nineteen Ancient Poems is embodied in the highly generalized and expressive perfect language. It has the advantages of simple and natural Yuefu folk songs, which are qualitative but not wild, shallow but not exposed. Many papers repeated and highly praised vague and ambiguous emotional expressions. Zhao Minli's views are very representative. He summarized the unique artistic style of Nineteen Ancient Poems as follows: it is sincere art and a model of literati lyric poetry. There are both the innocence of Yuefu songs and the elegance of literati poems, but they are not too rough or too carved. They are simple and natural, pure and mysterious. In the process of pursuing unimpeded expression of ideas, they naturally integrate their cultural literacy into all emotions. [37]
(4) The position of Nineteen Ancient Poems in the history of literature.
When discussing this issue in the history of China literature in recent 20 years, most of them compare it with The Book of Songs, Songs of the South and folk songs of Han Yuefu, or focus on the depth of their social life, or analyze their social foundation, political thought and cultural atmosphere. Or comment on their creative situation, language characteristics, artistic style, etc. To sum up, Nineteen Ancient Poems established its position in the history of China's poetry in the following four aspects: First, it inherited the fine tradition since the Book of Songs and prepared for the emergence of Jian 'an's poetic style. The second is an important turning point in the transition from folk literature to literati creation prosperity in Han Dynasty. Thirdly, it developed five-character ancient poetry into an independent system. Fourthly, it laid a solid foundation for the further development of five-character poetry. Its appearance marks the maturity of literati's five-character poems. Its brand-new poetic form and mature artistic skills have laid a solid foundation for the development of five-character poems and exerted a far-reaching influence on the history of China's poetry development.
Ye Youming's conclusion is that Nineteen Ancient Poems is the beginning of the development of China's poetry from "expressing ambition" to "predestination" and from narration to lyricism. Nineteen Ancient Poems expresses personal feelings freely and openly, which opens up a new description field for China's classical poems. It inherits and develops the realistic creation method and the bi xing system of The Book of Songs. [38] Zhao Minli believes that Nineteen Ancient Poems has opened up a new path for the creation of literati's five-character poems in artistic form, and also created a new style of literati's five-character poems to suit both refined and popular tastes. This artistic mode of lyric poetry created conditions for the development of poetry in Wei, Jin and Six Dynasties and laid the foundation for the prosperity of Tang poetry. Zhang Yaxin specifically discussed the enlightenment, demonstration and promotion of Nineteen Ancient Poems to the prosperity of Jian 'an poetry. Stylistically, it prepared Jian 'an literature for the golden age of elegant five-character poems, and its life-oriented realistic creation directly opened the precedent of Wei and Jin literature. [39]
To sum up, the study of Nineteen Ancient Poems in the 20th century was inherited, developed and innovated. However, we can also see that there are many overlapping and repetitive studies, and there are few unique and significant breakthroughs. Although after nearly a hundred years of exploration, there are still many research topics about the author, the year of completion, the ideological content, the theme of expression and the artistic characteristics of Nineteen Ancient Poems. For example, the research on the return of human nature, the meaning of life, the sense of time and the perception of time and space in Nineteen Ancient Poems is in the ascendant. With regard to the study of Nineteen Ancient Poems in the 2nd/Kloc-0th century, Cao Xu put forward some clear and specific suggestions: First, collect materials that Sui Shusen did not collect (selected ancient poems, poems of later generations, comments on ancient poems, various monographs, etc.). ) try your best; The second is the integration of materials, combining the image level, meaning level, style level and style level of poetry; The third is to renew ideas, enrich research methods and broaden horizons. [40] We believe that researchers in the 2 1 century will forge ahead and forge ahead.
Thus, the study of Nineteen Ancient Poems presents a new atmosphere.
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