The middle way follows my strengths, and since ancient times, it has blocked both sides;
I advise you not to force the snake's foot, you can't taste the fragrant mash.
Among them, the word "snake foot" is quoted from the Warring States Policy: "There is a temple in the State of Chu, which gives wine to the other party, and the other party will say,' It is not enough for several people to drink, but one person can drink more. Please draw the land as a snake, and the first one will drink it. A snake came first. He took out the wine and drank it, holding it in his left hand and drawing a snake in his right hand, saying,' I can do it'. Before the matter was done, one person snaked, grabbed it and said,' There are not enough snakes, but Zi 'an is enough' and drank its wine. Shi Li used this as a citation and used it as the basis of his argument. (As a metaphor, don't make other complications)
Second, it is convenient to compare the situation and convey the meaning-if it is inconvenient to say it directly in the poem, the author's heart can be expressed tactfully with allusions, that is, the so-called "factual". For example, in the previous chapter of Destiny, Su Dongpo's poem "Poems of Qiu Chi I" euphemistically expressed the author's intention with the allusion of Lin Xiangru's "returning to Zhao in perfect condition", without causing too much embarrassment to the recipient. Another example is "Records of the Tang Dynasty" (Volume XVI), which quotes "Wang Ning and Li Xian saw that the wife selling cakes was smart and moving, and they were very happy to marry him. The next year, King Ning asked, "Do you remember the baker?" His wife nodded. Zhao's baker walked into the mansion, and his wife was in tears when she faced her dead husband. When more than a dozen scribes were present, they were all moved, and Wang Ning ordered to write poems to commemorate them. Wang Wei's poem said:
Don't spoil the present and forget the old grace;
With tears in my eyes, I can't see Wang Chuyan.
Borrowing allusions from the Spring and Autumn Period to show women's firmness, Wang Ning was deeply moved and reunited with her late husband. (Press: Canon is published in Zuo Zhuan. In the fourteenth year of Zhuang Gong, Zi Chu stopped breathing and came home with breath, making him king, but he said nothing. When Zi Chu asked him, he said to him, "I am a woman, but I am a second husband. Even if Fu can die, it is ridiculous. "
Third, reduce the complexity of words-the composition of poetry should strive for economy, especially the modern poetry has a certain word limit, and the use of allusions can reduce the complexity of words. For example:
Visiting ancient Li Shangyin
Without the tranquility of golden soup, the frost in the grass reveals the ancient and modern feelings;
What are the advantages of empty paste? It is impossible to raise the yellow flag.
Changle tile flies with the water, and Jingyang clock falls in the morning;
Looking back, I saw a mountain guest, but I didn't believe Yao had escaped.
The word "Changle" in the poem refers to the Changle Palace in the Han Dynasty. "Ping Di Ji" in Han Dynasty: "The wind blows Chang 'an, and the tiles of the East Gate Building fly away"; The classic of Jingyang Bell comes from Southern History: "Emperor Wu of Qi was lucky to walk in the back car, and his palace was secret, so he didn't smell the drums. The clock is placed upstairs in Jingyang. It should be five drums and three drums. Imperial secretary heard the sound of getting up early to decorate. The word "Jishanke" refers to Yao's promise, and Zhuangzi said, "Yao makes the world obey". Xu You said, "Now that the world has been ruled, and I am still a son, what will my name be?" "He also met Xu You and asked,' What will my son do?' Say,' I will capture Yao'. According to historical records, "Mount Ji in Deng Yu is covered with the tomb of Xu You". In this way, by using limited words, the ideas to be expressed are presented to readers, so the complexity of words can be reduced.
Fourth, enrich the content, beautify the text-the use of allusions can make the text beautiful, harmonious tone, neat antithesis, rigorous structure, increase the beauty of appearance and enrich the connotation. For example:
Tan Zhou Li Shangyin
Tanzhou official residence is empty, looking up at the sky for no reason in this ancient time;
The tears are shallow and deep, and the songs of Chu overlap with resentment;
The Taogong battleship was raining in the empty beach, and the dust in Jiafucheng broke the temple wind;
If you can't see the people in your hometown, who will accompany you when you are drunk?
Among them, the word "Xiang Tears" is quoted from Strange Tales from a Lonely Studio: "I traveled south and died in Cangwu. Shun Fei Huang Nvying cried sadly, and the bamboo was stained with tears, and the bamboo color was full of spots. " The word "Chu Song" refers to the story of Qu Yuan's reprimanding Yin in Li Sao and Jiu Ge. TaoGong this sentence, using the outstanding feats of Tao Kan, alluding to his abandon today. Jia Fu's sentences, borrowed from the dusty cobwebs and stormy scenes in Jia Yi Temple, contain the feeling that talents are buried, which is in harmony with the land of Tanzhou, the scenery in the canon and the poet's scene at that time, making them integrated, which is conducive to refining the police strategy and making people feel endless.
It was foreign missionaries who first introduced western epics to China. /kloc-In the late 9th century, with the expansion of foreign powers' aggressive rights and interests after the Second Opium War, foreign missionaries gained the privilege of preaching freely in the mainland. They have introduced ancient Greek epics in their own newspapers and periodicals, such as Liuhe Congtan, Universal Newspaper and Lu Wenjian. In the Chinese translation of this period, people often use the term "poetic history" to refer to two heroic poems of Homer in ancient Greece. It should be said that the missionaries gave a relatively accurate introduction to the main aspects of Homer's epic, such as its generation time, author, content and its position in the history of literature. In China, the Chinese equivalents of the word epic are poems about historical events, history of poems, epics, story poems and so on. When the early modern enlighteners in China accepted the concept of western epics, they mainly took the west as an example and gave it a strong historical concept and ideological color. Since the late Qing Dynasty and the early Republic of China, the concept that the Chinese nation is a "nation state" has spread among some intellectuals, and romantic nationalism has been rising day by day. Some bourgeois reformists and revolutionary writers hope to reconstruct the national history through myths, try to revive the ancient "poetic history" spirit of China by comparing with the epic tradition outside China, and seek a "grand narrative" that can enhance and strengthen the national spirit and modern national identity. Of course, from an academic point of view, these China intellectuals in the early 20th century inevitably have many historical limitations in their understanding of epics. They lack a deep understanding of the religious sanctity and oral narrative characteristics of foreign epic traditions, and their understanding of epic genres is mainly based on the discourse of China's traditional Chinese studies, which has a strong nationalist ideology.
When early intellectuals talked about epics, they often "learned from the West" and attached themselves to China's ancient classics, without getting rid of the stereotype of literati literature. As early as 1903, Liang Qichao discovered that "a poem written by a poet in Taixi has tens of thousands of words", while "China's poems, such as Peacock Flying Southeast, Northern Expedition and Nanshan, are the oldest, rarely exceeding two or three thousand words". Liang Qichao praised Huang Zunxian's poem Sleeping Buddha on the Island of Ceylon as a western epic, which depicts profound historical connotation with limited words, which is both poetic and historical, and can be called "the history of poetry". Wang Guowei also lamented that China did not have such a great writer as Homer as "enough to represent the whole national spirit". Wang Guowei said that China's "narrative literature (poetry, poetry history, drama, etc. ) is still in its infancy. " The exposition of epic by Hu Shi and Chen Yinke fully reveals some basic characteristics of epic as a genre. Hu Shi pointed out in the History of Vernacular Literature: "Epic rose very late in China, which is a rare phenomenon in the history of world literature. The generation of pure story poetry does not lie in the literati class, but in the folks who love to listen to stories and tell stories. " When talking about China's tanci, Chen Yinque compared it with Indian and Greek epics. He pointed out that "the world is often shocked by the names of Tianzhu Greece and western epics, but I don't know that China also has this body." The religious philosophy in foreign epics is profound.
Da, although far better than our country's tanci, has no difference in style. Chen Yinque has his own judgment on the definition of Tanci genre, which also reflects that his understanding of epic is in place. In addition to epic grand narrative, it also points out the solemnity and sacredness of this genre. Ren Naiqiang in the last century 40
He studied Gesar in the1980s, claiming that it was a "history of poetry", "historical novel", "like a treasure of the Han Dynasty" and "an ideal novel to promote Buddhism". He basically realized the historical content, religious identity consciousness and poetic narrative characteristics of epic. However, although he put many labels on Gesar, each label can only reflect a certain feature of the epic.
China's epic research started again in 1980s. Most of his works are based on the social development theory of Marxist historical materialism, combined with the historical stages of primitive society, slave society and feudal society in ethnology as a reference, and according to the concept that literature is the reflection of social life, this paper discusses the generation era of creation epic and heroic epic, and then explains the historical origin of specific epic works. According to previous professional knowledge, folk literature researchers believe that epic is developed on the basis of myths, legends, stories, ballads and proverbs. According to the basic principles of Marxist literature and art, China scholars believe that epic is a literary phenomenon in the historical category. They mainly define the nature and characteristics of the epic from the social and historical content reflected by the epic, that is, it originated from the childhood when the nation was formed and is an encyclopedia of people of all ethnic groups. They are aware of the solemnity of epic poems expressing national or religious identity. Zhong Jingwen believes that "epic" is a relatively large-scale ancient work among long poems with folk narrative style. In the language of poetry, it narrates the legend about the formation of heaven and earth, the origin of human beings, and important events such as national migration, national war, brilliant achievements of national heroes, so it grows with the history of the nation. In a sense, national epic is often the visualized history of the nation in a specific period. "
China's understanding of epic is basically based on Marx's exposition of Greek classical epic. Homer's two epics are the same age as China's The Book of Songs. The classic form of Homer's epic has the original characteristics of early people's oral culture. It is the creation of poetic wisdom and is non-renewable. People repeatedly quoted Marx as saying, "As far as some art forms are concerned, such as epics, even everyone admits that once art production appears as art production, it can no longer be created in the epoch-making and classic form in world history. Therefore, in the field of art itself, some remarkable art forms are only possible in the underdeveloped stage of art development. " [22] For a long time,
For China scholars, an epic in a strict sense is a heroic epic in a classical form. Because epics can only be produced in the childhood of human history, some long narrative poems praising heroes produced later by class society are excluded from epics. The origin, formation and development of epic in China.
A lot of research has been done, but the biggest gain is only some general conclusions-epic originated from human childhood, or heroic age. Epic can be divided into two categories, creation epic and heroic epic. Creation epic, some people call it "primitive" epic or mythical epic. In Naxi, China
Genesis, Meige, the songs of the Yi people and the ancient songs of the Miao people all belong to this type of epic. The contents of these works are basically the same, mainly describing the formation of heaven, earth, sun and moon, the emergence of human beings, the sources of livestock and various crops, and people's lives in early society. Heroic epic is an epic with the story of national heroic struggle as its main theme. It originated from what Engels called "military democracy" and "heroic age". At this time, the power of clans and tribes has grown enough to form confrontation with natural enemies and foreign enemies.
Three epics of ethnic minorities in China are all included in the category of heroic epics. The ethnic minorities in the north and south of China have a long epic tradition. However, China lacks early written texts, and epics are basically spread orally among the remote ethnic minorities in China. Therefore, the oral life style is a major feature of China's epic. Secondly, due to the unbalanced historical development of all ethnic groups, the epic of all ethnic groups presents a pluralistic and multi-level cultural history. Early epics are closely related to creation myths and primitive beliefs. Epics about clan revenge, tribal wars and ethnic migration are related to secular hero worship, showing the characteristics of heroic poetry. After entering the modern society, some ethnic groups still have new epics. Third, China.
There are various types of national epics. Northern ethnic groups such as Mongolia, Tibet, Uygur, Kazak and Ke are good at long heroic epics, while southern ethnic epics such as Dai, Yi, Miao and Zhuang are mostly small and medium-sized ancient songs. Scholars are studying its origin, various forms of communication, text types, their artistic characteristics, cultural roots, and their influence on later literature. Most of China's epics were discovered after the 1950s. The collection, recording, translation, collation and publication of epics have been going on for nearly 30 years. China's epic research started late, and a more systematic study began in the mid-1980s. It was after 1949 that China academic circles recognized epic as a folk literature style. This is mainly the result of the influence of Marxist aesthetics and literary concepts. After 1980s, the academic circles began to study epic as a genre of folklore, among which the anthropological school had the greatest influence. After entering the mid-1990s, scholars began to establish the "living form" of the epic, and thought that China's national epic belonged to the oral tradition.