The former advocates Yao, Shun, Yu, Tang, Wen and Wu, while the latter calls him a quiet gentleman who learns from the ancient times. ) or entrusted to the ancient emperors.
The former is close to the ancient school, and the latter is also the ancient school. The former is the best, and the latter is the civilian.
The former is a member of WTO, and the latter is a recluse (not a real recluse, who knows that the end of his teachings can't be carried out in the world, and so can the recluse. ) that's right.
The former is hot and the latter is cold. The former is from the state, while the latter is from the individual.
The former is greater than Confucius and Mozi, while the latter is greater than Laozi. (Lao Tzu and Chu people, after Confucius, were the two people who greeted Confucius with Lao Dan.
On Wang's Textual Research on Lao Zi in Shu Studies. Therefore, the former was sent to the north and the latter to the south.
The theories of these two factions are often antagonistic, but they cannot be reconciled. At the beginning, we can know the relationship between Confucius and antagonism, permanent residence, antagonism and harmony.
All schools after the Warring States period are directly derived from these two schools, or a mixture of these two schools. Therefore, although it is called China's inherent thought, it is nothing more than both, also.
The literature of our country is nothing more than publishing two kinds of ideas. The Southern School only has prose literature, such as Laozi, Zhuangzi and the Tomb of the Martyrs.
Poetry literature is unique to the Northern School. Three Hundred Poems generally represents the thinkers of the Northern School.
Although some of them, such as baking pans and constant doors, are slightly close to the southern ideas. The northern scholars say that "if you use it, you will do it, if you give it up, you will hide it", and "if you have a way, you will see it, and if you have no way, you will hide it". What's the difference? Therefore, the thought of * * * is acceptable, but it is not the characteristic of southern thought.
However, the literature of poetry, then it comes from the middle of the northern school, then why? A poet, a person who describes life. (With the definition of the great German poet Hilaire. )
This is too narrow. Today, it is even broader to say "describe nature and describe life", but what? However, human interest comes from life first, and then from nature. Therefore, the pure landscape model lingers in the scenery, and almost no one knew it before Jian' an. The topic of poetry is mainly to describe one's feelings.
His writing about scenery must be based on his deep feelings, and he starts from a special environment and looks at it with a special eye. Therefore, the people described in ancient poems, especially the subjective aspects of life; We can't fully pay attention to the objective aspects of life and the nature that exists purely in the objective world.
Therefore, for ancient poetry, the definition of "Qian" is not so narrow as it is broad. Poetry is the Tao, which not only describes life, but also lives in family, country and society.
The ideals of the northern faction were placed in the society at that time, and the ideals of the southern faction were planted outside the society at that time. Speak clearly in simple words; The ideal of the northern faction is transforming into the old society; The ideal of the Southern School is to create a new society, but the society of that era is forbidden to change and create.
People in the south are good at thinking, short-term implementation, knowing that practice is impossible, but seeking comfort in ideals, so there are people who are world-weary and secluded and have no teeth. If people in the north often change jobs with perseverance and strong spirit and ideals in order to compete with the society at that time; Social hatred is no different from that of southern scholars, or something.
Therefore, his view of society is the same, thinking of coach for a while, thinking of relatives for a while, and so on, which leads to a humorous outlook on life. Xiaoya's masterpieces are all the products of this competition.
Moreover, people in the north, not for death, but for husband and wife, take poetry as the topic and poetry as the motive, in the world. The literature of this poem, therefore, was specially produced in schools in the north, not in schools in the south.
However, in southern literature, there is also the essence of poetry. The imagination of southerners is great and rich, far better than that of northerners.
They are good at analogy, but they are also good at humor: therefore, if the word is big, there will be fish in the north, and if the word is small, there will be a country with snail horns; Long words are ghosts, short words are bacteria; Release Xiangcheng wilderness, and all seven saints are fascinated; The four sons walk alone: this kind of imagination is unique in northern literature, so a part of Zhuang and Martyr's Family, that is, prose poetry, is indispensable. As we all know, children's imagination is rich.
The same is true in the early stage of national culture development, and the magnificent myths of ancient India and ancient Greece are the products of this imagination. According to China's theory, the culture in the south developed later than that in the north, and it is also a natural trend that the people in the south are rich now.
The poetic features of this southern literature are superior to those of northern writers. From this perspective, northerners' feelings and poems can't be imagined, so what they do is limited to small articles.
The imagination of southerners is also poetic, which is not supported by deep feelings, so its imagination is also loose and beautiful, so it is not pure poetry. Great poetry must be combined with the feelings of northerners and the imagination of southerners, that is, it must pass through the post stations in the north and south, and then it can be done.
Qu Zinan was a scholar studying in the north, and the thought of Nanshe was incompatible with the feudal aristocratic system at that time. Therefore, although the nobles in the south often serve the thoughts in the north, they can collect Qu Zi's prose.
The so-called holy kings are Ruo, Yao, Shun, Tang, Shao Kang, Wu Ding, Wen and Wu, while the sages are Ruo, Zhishuo, Peng and Xian (called Peng Zu and Hsien Wu sages of Shang Dynasty), and Wu Cheng, who "returned to Hsien Wu late", are naturally two people. The so-called Shen Zheng in Liezi. ) Bigan, Boyi, Ningqi, Baili, Jietui and Zixu, while the tyrants are Ruo, Yi, Yue, Jiexiu and Zhou, all of which are often praised by northern scholars, while the Huangdi and Guangcheng referred to by southern scholars are different.
Although "A Journey" seems to express the thoughts of the South, it is not his intention to express his anger. For example, Confucius traveled across the ocean in a foreign country. The purpose of the pawn chapter in Li Sao is the same as that in Yuan You.
Suddenly, he died and said, "I am eager to ascend the throne of the emperor, and suddenly I am in my hometown." The servant felt sorry for Ma Huaixi, but he couldn't do it. "
Although "Nine Chapters of Huaisha" is his masterpiece, it is still Zhong Hua, Tang and depressed. It can be seen that Qu Zi holds the concept of the northern territory from beginning to end, and although he wants to go to the south, he will never be disappointed. Qu Zizhi boasts: "Lian Zhen".
I refer to Qu Zi's character, which is enough. What southern literati are best at is honesty and solidity, and its chastity is it.
2. Unacceptable ancient meanings in classical Chinese (1); Incompetence. On Mandarin and Zhou Yu: "Many people regard beauty as a woman, but He De deserves it, and the king is still unbearable and a clown!" Nansan, everything is done by Han Feizi: "Your command is unique, except your evil, lest it be unbearable." Jin Gehong's "Family Instructions for Bao Puzi": "If you are greedy, you don't worry about taking advantage of weakness, and if you are greedy, you are at a loss."
(2) I can't stand it. Mencius under Li Lou: "Yanzi lived in a mean lane in troubled times. If he ate and drank once, people could not bear his worries, but Yanzi did not change his pleasure." In the Jin Dynasty, Gambao's Book of Searching for the Gods, Volume 20: "It is said that his distant ancestors did not know the geometric world, were imprisoned, innocent, and could not bear to copy and plunder, so they took it falsely." There is a jubilant "Shuhua Essay Monk Dashan": "My appreciation of Wu Shuo is complicated and I can't bear it." Bing Xin's "Send a Little Reader" VIII: "I really can't stand it. I sleep at home at dusk and often feel uneasy when I listen to this in the autumn wind. "
(3) the last straw. South Tang Li Jing's "Huanxisha": "It is still ugly and ugly with Rong Guang!" In the volume of "Qin Six Kingdoms Pinghua": "Killing six palaces is like a symbol, and the fork is ugly." Qing Pingqing's "Evil Poem II Wang": "The second cloud of the title machine sound light and shadow map ... makes people unbearable."
(4). No; I can't. Yi Zhou Shu Xiao Kai: "If you are ambitious, why don't you have wings?"? Bitter oranges are heavy, harmful and harmful. " You Zhu once explained: "Ke, axe handle; Lead and take. Looking for an axe while hiding, even if it is small, it is not enough. " Hongjing in the Southern Dynasties "Zhao asked what happened in the mountain, and wrote a poem to answer": "What happened in the mountain, there are many white clouds on the mountain, so you can only enjoy it yourself, and you can't bear to give it to you."
(5) Used after adjectives to express deep degree. "Northern History under Qi": "The emperor is weak, and those who look at it are angry." Preface to Song Shi Ye's Selected Works of Luo Yuanzhou: "Pity his old age and be tired."
(6). Very bad; Shit. Liu Ming-ruoyu's "Knowing from the inside, Knowing from the inside": "Anyone who fails to endorse, writes imitations, or defaces books, or commits a foul, Mr. Linz will give the batch number and pay the responsibility of the prefect." A Dream of Red Mansions goes back to the sixth and ninth chapters: "Every day, only one person is ordered to take vegetable rice to his room to eat. Tea and rice are unbearable things. Pinger couldn't stand it anymore, so she took out money to get him food. "
(7). Not exactly. "Jing Ben Popular Novel Zhang Zhicheng Jian": "Zhang Jian saw a woman with disheveled clothes and fluffy head."
(8). embarrassed. "The negative textbook Du Shiniang's anger sinks into a treasure chest": "If my father is furious, if he knows that he will marry a prostitute and return to his hometown, he will be unbearable, but he will think about it. There is currently no comprehensive plan. "
3. Wang Zhong's ancient plum blossom poem means: a cold plum blossom is blooming, and the spring breeze is blowing slowly, remembering that it is spring in my hometown, but here I am alone.
The poet twists and turns to reveal his homesickness when he is far away from home and on his journey.
Write other plum blossom poems:
1, Zhang Qian (Tang Dynasty)-"Early Plum"
I don't know if I started spraying water recently, but I suspect it didn't sell after the winter snow.
2. Xin Qiji (Song Dynasty)-Nian Nu Jiao Mei
Gentle in the snow, Ming Xiu by the water, don't borrow spring ploughing.
3. Zhang Gui (Song Dynasty)-"Mo Mei"
Shuibian village, a valley on the hillside, was once blocked by flowers.
4. Lu Kai (Southern and Northern Dynasties)-"Poetry for Ye Fan"
There is no better gift in Jiangnan, and flowers will send spring.
5. Su Shi (Song Dynasty)-"Xijiang Moon Plum Blossom"
Jade bone's melancholy fog has its own fairy wind.
4. What is the word Mu Jiaxin? Subpinyin: zǐ, stroke: 1 1 radical: Muwubi input method: suh basic explanation:-.
Wood can be used for building and making utensils: catalpa (coffin). Zigong (the emperor's coffin).
Woodworking: Zi Ren (an ancient carpenter who made utensils). Zijiang.
Wood is carved into boards for printing: Fu Zi (delivering manuscripts for typesetting). Zixing (Xü g).
Home: Gigi Lai. mulberry
Last name. Number of strokes:11; Radical: wood; Pinyin: dān, stroke: 1 1 radical: ear five-stroke input method: bmfg basic explanation:-.
In ancient times, it was the same as "indulgence" and indulgence. Number of strokes:11; Radical: ear; .
5. Seeking to appreciate Wang Guowei's "Qu Zi's Literary Spirit" on the significance of imagination in Wang Guowei's "Qu Zi's Literary Spirit"-[reposted] on the significance of "imagination" in Wang Guowei's "Qu Zi's Literary Spirit"-Author: Zhang Yu Original source: Journal of Guangzhou University: original place name of social science edition: original issue number: 20030 1. 9 CopyNo.: 7 ClassificationNo. About the author: Zhang Yu (1972-), male, from Guilin, Guangxi, graduated from the Chinese Department of Jinan University in 2000 with a master's degree in literature and art. The picture classification number in the text is I206, the document identification number is A, and the document number is1671-394x (2003) 01-0015-05. The study of Wang Guowei's aesthetic thought has become a highlight of China's aesthetic research.
Most people agree with his Review of A Dream of Red Mansions, published in 1904. It is the first time to interpret and evaluate a famous Chinese classical literature with western critical theories and methods, which can be regarded as the beginning of China's modern criticism. On the other hand, after returning to the traditional form of China's ci-poetry, Ci-poetry on earth injected a new critical spirit into the traditional form of ci-poetry and aesthetic taste, aiming at constructing a new critical theory and thinking method that can surpass both China tradition and western literary criticism. Both articles are highly praised by critics and historians.
In my opinion, compared with the above two works, Qu Zi's Literary Spirit, which has less influence, should also have the same important position. If the Review of A Dream of Red Mansions tries to get rid of the limitations of traditional criticism with a brand-new critical vision and method and a slightly extreme misreading, then the critical path of Qu Zi's literary spirit is to seek the intersection of the two.
This paper has achieved a good agreement between western critical concepts and thinking and China's traditional critical methods and materials. In addition, Mr. Buddha's A Study of Wang Guowei's Poetics and Mr. Wen Rumin's A History of Modern Criticism in China have chapters devoted to Qu Zi's literary spirit, which are highly praised.
However, both of them focus on the development of Wang's own theoretical system and the evolution of criticism methods, and regard "Omiya's outlook on life" as the core concept of this paper, which is of course appropriate in terms of their own criticism methods. However, as Qu Sao's work, Qu Zi's Literary Spirit, compared with Wang's previous Qu Sao theory, another concept-"imagination" will highlight its key significance.
Wang's theory of Qu's "imagination" is not only the crystallization of Chinese and Western critical thoughts, but also surpasses Qu Sao's criticism of the previous generation in actual critical effect. I. Analysis of Imagination Theory The word "imagination" was once seen in Qu Zi's "Thinking about the old and imagining the new" (note: the image of "thinking about the old and imagining the new" is also called "image", which is common in ancient Chinese characters.
See Jiang Liangfu: Revision of Qu Yuan's Annotations, Tianjin Ancient Books Publishing House, 1987, p. 58 1. ) sentence.
Some commentators believe that this shows Qu Zi's consciousness of the thinking mode of "imagination" in artistic creation. In fact, this statement is suspicious. Understanding "imagination" as a creative way of thinking requires not only the accumulation of literary creation experience in past dynasties, but also a strong theoretical consciousness.
Obviously, there is no such possibility in the era of Qu Zi. It is Wang Guowei who defines Qu Sao with the concept of "imagination" in theory.
In Qu Zi's literary spirit, Wang Guowei believes that "imagination" is one of the two major elements that constitute Qu Zi's literature. Wang believes that Qu Yuan is a scholar who "learned from the north and learned from the south". (Note: The text of Qu Zi's Literary Spirit quoted in this article is all from Wang Guowei's Suicide Letter (Volume V) and Shanghai Ancient Books Publishing House's Jing 'an Sequel, 1983 edition. )
His works are the product of the integration of North and South cultures at that time. "When great poetry comes out, it must be combined with the feelings of northerners and the imagination of southerners ..." Qu Yuan's works reflect this combination.
In his view, "imagination" is the key to Qu Zi's success as a "great literature". Wang's exposition can be summarized as follows: First, imagination is the essence of poetry.
Artistic imagination is actually an indispensable psychological activity function in literary and artistic creation, and it is one of the basic ways of thinking in creation, and its importance and characteristics are perceived by many Chinese and foreign literary critics. Lu Ji's "gathering octupole, swimming" and Liu Xie's "carving dragons and thinking" can both be regarded as wonderful descriptions of imagination.
"Imagination" is also respected by western literary critics. Hegel said, "When it comes to skill, the most outstanding artistic skill is imagination" (Note: Hegel's Aesthetics, Volume I, Commercial Press, 1979 edition, p. 357. )
Belinsky pointed out that poets "must be born with creative imagination, and only imagination can constitute the characteristics that distinguish poets from non-poets".
(Note: On Thinking in Images by Foreign Writers and Theorists, China Social Sciences Press, 1979, p. 67. These are the universal principles that attach importance to "imagination" as creation.
Wang Guowei tried to define Qu Yuan's literary spirit from the universal principles of literature. He said that southerners have rich imagination, "the characteristics of poetry in this southern literature are better than those of northern writers", and "the magnificent myths of ancient India and Greece are the products of this imagination".
The importance of imagination, "northerners' feelings and poems, imagination can't help, so what they do is limited to small articles." It is with "great and rich imagination" that Qu Zi wrote "great poetry", which is unprecedented in ancient northern literature.
It is worth mentioning that Wang also emphasized the freedom of imagination, because there is "rich imagination", while Qu Zi's literature is "the game of thought is more free". Bacon believes that "poetry is really produced by imagination that is not limited by material laws" (Note: Selected Western Literary Theories, Shanghai Translation Publishing House, 1979 edition, p. 247. )
The so-called "not restricted by material laws" is an understanding of the freedom of artistic imagination. Imagination is the most unrestricted of all kinds of human psychology. In creative activities, imagination can transcend specific people, events and logic.