(1) initially established the concept of literary history. He believes that the development and change of literature will eventually be influenced by the times and social and political life. In Chronology, he said, "Literature changes with the times, and its ups and downs depend on the times." In Chronology, Chronology and Stories, combined with the changes of political fashion and the characteristics of the times, he discussed the reasons for the ups and downs of literature from ancient times to the Jin Dynasty and evaluated the writers' works. For example, he said that the style of Jian 'an literature is "rough and vigorous", which is formed by "the world is separated from each other, the wind is declining and the customs are resentful"; The proliferation of metaphysical poems in the Eastern Jin Dynasty was determined by the social fashion of "emphasizing metaphysics" at that time. I noticed the decisive influence of social politics on the development of literature. Not only that, he also noticed the inheritance relationship of literary evolution. From this perspective, we opposed the bad tendency of "striving for the present and ignoring the past" at that time. These are very valuable.
(2) The relationship between the content and expression of literary creation is analyzed and discussed, and both literariness and quality are advocated. In the article "Style", he advocated that "Style and style are rigid"; In Emotion, he emphasized the combination of love and literature. But between the two, he emphasized the importance of "style" and "mood". He advocated "writing for love", opposed "creating love for love" and resolutely opposed the tendency of one-sided pursuit of form.
③ Summarize the experience from all aspects of creation and put forward the failure lessons that should be avoided. He pointed out that it is important for writers to "wander between gods and things" in their creation, emphasizing the mutual influence and transformation between emotion and scenery. He also pointed out that different styles are the result of the writer's innate talent and temperament being different from the acquired knowledge and habits. In view of the prevailing atmosphere of "valuing literature over literature" and "re-writing", he put forward the necessity of inheriting literary tradition and discussed the relationship between "new" and "old" in literary creation. In addition, he also put forward many incisive opinions on the use of rhythm, duality, allusions, metaphor, exaggeration and other techniques in his creation.
④ The methodology of literary criticism was initially established. In bosom friend, he criticized the bad habits of "valuing the past over the present", "worshiping oneself and restraining others", "believing in the false and confusing the truth" and "holding one's own opinions", and asked the critics to be "selfless and not partial to love". At the same time, he also put forward the criticism method of "six views": first, look at the style of position to see if its content is consistent with the style; Second, look at the words to see if their words accurately express the truth; Through the three views of change, see if it has inheritance and change; Look at the four wonders to see if their layout is rigorous and appropriate; Look at the meaning of things and see if their allusions are appropriate; Look at the palace merchants and see if the phonological temperament is perfect. This was the most comprehensive and fair evaluation standard at that time.
Wen Xin Diao Long is of great significance and far-reaching influence in the development history of China's ancient literary criticism and literary theory. This is a very valuable legacy, which has been paid more and more attention by theoretical workers in many countries around the world. In China, there are many research, annotation and translation works about Wen Xin Diao Long. Existing editions include Ying Yuan Zhi Yuan, Si Ji Copy, Ming Jiajing Edition, Wen Xin Diao Long Note, Yang Wen Xin Diao Long Note, Zhou Wen Xin Diao Long Note and Wang Qili Wen Xin Diao Long Note.
1 Rhetorical aspects of the article
Traditional rhetoric can be divided into negative rhetoric and positive rhetoric: negative rhetoric includes phonetic rhetoric, emphasizing fluency, clear distinction between yin and yang, syllable correspondence, overlapping words and rhyming; Lexical rhetoric-in synonyms, choose the meaning and collocation suitable for context, and choose the color harmony suitable for emotion and style; Grammatical rhetoric-in synonymous expression, make appropriate choices about the length and dispersion of sentence patterns, initiative and passivity, affirmation and negation, routine variation, questions and sighs. , which are most suitable for the context; Rhetoric of the text-conception of the article, layout of materials, emotion, style, revision and evaluation, etc. Positive rhetoric-especially a fixed and recognized figure of speech formed through long-term rhetorical practice.
In Wen Xin Diao Long, Liu Xie made an accurate and profound exposition on these two aspects, especially on negative rhetoric, which not only talked about writing skills, but also went deep into the level of the relationship between psychological activities, thinking rules and language production, which still had important guiding significance at that time until today.
Chinese characters take the building square structure as an independent individual unit, and each individual unit is a syllable with different tone values, which provides favorable conditions for Chinese phonetic rhetoric.
In phonetic rhetoric, Liu Xie did not follow the famous scholar Shen Yue's "Eight Diseases Theory", but put forward the problems of "soaring and sinking" and "double rhyme".
In Shen Si, Liu Xie put forward the idea of "finding rhyme and setting ink", and said in the melody: "Every sound is heavy and heavy, and the sound is heavy and double-folded. Double tones are separated by words, and every sentence is repeated, which must be seen; If it sinks, it will ring and break, and if it flies, it will not return. " It means that the tone of a word can be divided into yin and yang, and the rhyme of a word can be divided into two tones. (At that time, it was said to be average, so it was said to be flying heavy. Previously, the musical term "Gong Shang Jiao Zheng Yu" was borrowed to refer to the tone level. The Chamber of Secrets of Jing is about three techniques of tuning: pointing out that Gong Shang is a flat tone, signing is a rising tone, feather is a falling tone, angle is a rising tone, and rising tone is a falling tone. Here, the flying finger is clear and flat; Shen refers to yang turbidity, and yin and yang words are clear and turbid. They should be flat and peaceful alternation. If you use flat tone and flat tone together, you will feel lifeless and want to break. If you use flat tones together, you will feel that your breath will rise and your breath will not fall. (For example, Cao Zhi's "Beauty": Luo Yi fluttering, fluttering with the wind, and his "Mourning Poetry": Looking at Lu and thinking about people, thinking about the calendar when entering the room) must be used together with disyllabic words. If you insert another word between two words, or use this word in two adjacent sentences, it will cause the problem of "eating"-full of words. This is indeed a wonderful idea, and many tongue twisters are deliberately using this interlude, resulting in "must-see" and "eating". Once this kind of problem occurs, it is necessary to "look left and right, and look for the front at the end." "Then the sound turns to kiss, Lingling is like jade, and there are endless words." Liu Xie thinks that rhyme is easy to choose-different sounds are subordinate to harmony-even tones are homophonic, and simultaneous sounds correspond to rhyme-and the corresponding homophones echo from a long distance and are called rhyme. It shows that Liu Xie not only attaches great importance to and accurately grasps the phonetic features of Chinese characters, but also makes valuable contributions to phonetic rhetoric in theory. How to use rhyme, "Zhang Sentence" has a note: "If you change from tone to rhyme, you will save words ... but if the two rhymes are changeable, the rhyme feet will be slightly impetuous, and if you don't move a hundred sentences, you will be excited to kiss. Although he touches what he thinks, he is sincere, and if he is harmonious, he will not blame. " The idea of compromise accords with the aesthetics of phonology.
2. Lexical rhetoric
In terms of lexical rhetoric, Liu Xie advocates careful choice of words.
Finger defects The four defects in the use of words all hinder the beauty of writing. -Chen Sizhi's article is also a handsome talent. "Emperor Wu" said:' Always respect the spirit'; "Ode to Ming Di" said: "The Eucharist floats lightly", which is similar to a butterfly and always has doubts about insects. How can we be respectful? It is indeed a mistake to apply the words referring to tiny insects to the elders.
Pan Yue is talented and good at mourning, but he is sad for his brother-in-law. Then Yun gets angry and hurts his youngest son. Then Yun is suspicious. Etiquette is highly respected, but it is obscene. Although the lines are full of sadness, Yi Si will still replace them. -A feeling can only be used to mourn the death of mother, and a feeling of doubt can only be used to mourn the death of father. —— Pan Yue used it to mourn his peers and younger generation, which belongs to the wrong meaning, the wrong object and the improper distribution of emotional colors.
The other two defects, such as Zuo Si's ideological error against filial piety, and Cui Yuan's mistake of comparing Yu Shun with the unknown Gong Li, belong to the mistakes of thinking and analogy, but after all, it is not inappropriate to express them through words and sentences and classify them as lexical rhetoric.
Lexical rhetoric also involves the use of words. Liu Xie put forward the word "four essentials" in "Lian Zi": ... is a text with affixes, so you must choose: avoid strangeness, unite the two provinces, give triple and emphasize four tones. Weird, making strange words, such as small; Even change, the same root, such as eventful; Repetition refers to the repeated use of the same word in a sentence; Number of fat strokes in simple and complex numbers and zigzag. -If you think about it carefully, it all makes sense: reading a text and encountering strange words, walking barefoot on the rugged road, it takes a lot of effort and is in a bad mood; If Hakkas stay lonely in the cold window and lose their way, they will avoid returning the lotus flowers and return to leisure, which will also be unremarkable; The disadvantage is repetition, and the sound and shape of words are monotonous; If the number of fat strokes in the font is not adjusted, it will be thinner or thinner. No wonder Liu Xie sighed: Therefore, people who are good at writing are rich in 10,000 articles and poor in one word, and each word is quite a lot, so they avoid the heavy and light.
In the part of grammar and rhetoric, Liu Xie put forward the idea of arranging chapters and sentences according to content and rhyme. According to the content, it is necessary to "control the reason and send it to the international conference", that is, according to the expressed truth, sometimes branches and vines help each other to attract more information, and sometimes they don't ramble and stick to the theme; According to the rhyme, "if the husband's chapters and sentences are impermanent, and the words are counted, the four words are dense but not rising, and the six words are rich but not slow, or change to three or five, and cover the right section of the machine." Liu Xie advocates that in the choice of sentence patterns, long and short, or the combination of long and short, whole and scattered, should fully meet the needs of rhyme, with short syllables, short sentences and slow rhyme. You can use Schumann's long sentences to rhyme with ups and downs, so that the length can be combined, integrated and dispersed, and the effect of stirring people's hearts can be achieved.
3. Discourse rhetoric.
The most wonderful part of Liu Xie's rhetoric aesthetics lies in the text rhetoric.
Pay attention to self-restraint and establish style. Style, article style, the nature of style, people's temperament and style are about the relationship between article style and author's personality. There are eight styles in the article: elegance, elegance, elegance, conciseness, elegance, complexity, splendor, novelty and lightness. According to different standards, it is divided into four groups: ideology-elegance and strangeness, feeling and meaning-elegance is different, theme expression-complexity and elegance, body image and charm-strength and lightness. Any writer hopes to form his own unique style as soon as possible. Liu Xie pointed out that the style of the article is closely related to the author's self-restraint-"the husband's mood is shaped, the hairstyle is seen, the cover is hidden and obvious, and the inside is the outside." However, only brave, both rigid and flexible, shallow knowledge, elegant knowledge. Moreover, the temperament is distinct, the pottery is concise, and the clouds in the pen area and Wenyuan are the keynote. Therefore, if you are eloquent and handsome, your talent can't be turned over. You are witty and soft, and you would rather change your temper. Your meaning is very shallow, and you have never heard of studying well. You are elegant and upright, and rarely go against your habits. Each teacher is sincere, and his differences are as good as his face. "From the point of view, writing like a person should be good. The author's inner feelings are externalized into language articles, and the author's talent, temperament, temperament and habits will inevitably overflow into the style of the article. Therefore, if we want to cast our own unique style of writing, we must pay attention to self-cultivation, cultivate talents and improve personality quality. No wonder Liu Xie advocated the spirit of "Tao Jun's literary thought is quiet, relaxing the five internal organs and bathing in snow" in Thinking. Accumulate learning and treasure, use reason to be rich, learn to be poor, and practice writing expression. " Only in this way can it help to form the style of the article.
The article has style and personality, which makes it sensational and refreshing. What is character? "Poetry has six meanings, and the wind is the first, which is the source of feeling and the symbol of ambition. Therefore, grief and indignation must start from the wind and ponder over the words, and must never precede the bones. Therefore, words are regarded as bones, such as the skeleton of the body, and their feelings are full of wind, but they are still shaped like gas. When the words are straight, the bones become awkward; When the spirit is cool, the style of writing will be clear. " In short, wind is the emotion and talent that pervades the works, and it is the fundamental force of influence. Bone is a language that is to the point, concise, appropriate, fluent and harmonious. The style points to the rhetorical aesthetics of touching talents and vivid language. In order to make the article have wind and trees, it is necessary to "practice in the bones, analyze words accurately and express feelings deeply." Liu Xie further pointed out the different effects of powerful people on the article: "words are difficult to move, but they are not stagnant." So is the strength of this character. If the word is poor and fat, complicated and out of control, there is no sign of bones. Without thinking around, without enough gas, without wind, there is no experience. It is like a fairy, and the name of Lingyun is a Sect and its wind. " In this way, Bai Juyi's theory of "root affection, Miao character, Watson and true meaning" and Liu Xie's theory of character are all true words!
Touching talents and vivid language are important, but we must create for love, not for love. Tell the truth, don't pretend "The husband led Dai to decorate, but he hoped that money was born in Shu Zi; Literary talent is so decorated that it is argued with emotion. " Liu Xie's theory is a wake-up call for moaning, insincere, artificial and empty.
Remelting and cutting, bright and hidden. The length, detailed content, obvious meaning and accuracy of the police are also necessary for the article. "Melting and Cutting" pointed out: "Normative noumenon is melting, and cutting floating characters is cutting. If you cut it, you will not be born, and if you melt it, the program will be clear. " In short, melting is refining meaning, refining heart, refining words and tempering language. Because "all thoughts are at the beginning, the words are bitter and mixed, and the heart is not measured, which is bound to be heavy." Therefore, Liu Xie put forward the theory of "three precisions"-"It is based on rough brushwork, and the three precisions are the first: from the beginning to the end, it is determined by the body; If the middle is right, we should consider things to go to class; If you end up on credit, make a summary. Then, Shu Hua gave a message of sacrifice (offer: yes, replace: no). That is, adjust the text as needed), except rope ink, beautiful materials are elegant, so they can be rounded and orderly from beginning to end. If the technology is not fixed and the mind is resigned to fate, heresy will come and there will be more redundancy. Therefore, the three quasi-holds, if discussed separately. Every sentence can be cut, which shows that it is sparse, and the words cannot be reduced, so we know it. " The theory of "three criteria" puts forward a trilogy and three criteria for writing a good article: first, determine the genre of the article according to reason; Secondly, analyze the materials and choose typical themes; Again, be concise and get to the point. Then process and polish, deal with details and finalize the full text.
Meaning is hidden, police are ordinary, and meaning is hidden. "Hidden Show" says: "The husband's heart is far away, and the literary feelings are getting deeper. It originated in Austria, and its roots are lush and brilliant. It is based on English, showing and hiding. Hermit, the weight outside the text (ch ng) is also; Xiuya, a unique person in the article. The hidden meaning is the work, while the display is ingenious and outstanding. Thinking is the work of the old chapter and a good opportunity for talents. " What I said today is the implication, showing the warning in the article. The article is simple and straightforward, and the lingering fragrance is hard to penetrate the proverbs. The lingering sound in the article is still like "the stone is as bright as jade, and the water is moist with pearls"; A beautiful language is like the moon shining in the sun at night and the trees touching the spring and Cui Lin.
The article shows sentences, either from the heart or from quotations. According to Shi Lei, no matter whether it is "quoting from the past without using old words", "taking one tenth of old words" or "understanding poems and biographies", as long as it is "based on things and helping the past to prove the present", it is beyond reproach. However, Finger Defect holds that "robbing others' good words and thinking of yourself", then "Baoyu's big bow will eventually fly. When you write it all, you will uncover it, and when you collect it, you will explore it. However, people who are far away from the world are too light, and people at the same time are particularly good. " From this perspective, Liu Xie is not against quoting, but against plagiarism. Citation is a document that is explicitly borrowed to help you, and plagiarism is explicitly copied as your own chapter. Copying a whole book is no different from unpacking and robbing. Stealing a cheat sheet is just like ripping your waist. Copying with the thieves of the previous generation is a little lighter, and stealing with the same generation is a crime.
Comment and analysis
Through the relevant contents of Appreciation Theory, we can also see Liu Xie's view of discourse rhetoric. In bosom friend, he pointed out that the appreciation of works should start from two aspects and six contents, and put forward the theory of "six views"-that is, reading a text, first marking six views: one view of style (that is, genre emotion), two views of words (that is, modifiers), three views of change (that is, changing the past into the present to adapt to the times) and four views of strangeness (that is, whether the language situation is elegant, smooth or not) The husband who wrote the essay resigned emotionally, and the viewer put on the essay and entered the mood, looking for the source along the waves, although it would be obvious. In the above six views, position, change and meaning belong to the content of the work, while words, strangeness and palace merchants belong to the form of the work. Judging from the above theory, only when the content and form are considered comprehensively and these six aspects are properly ironed can the article be "like a crowd in the spring, the bait stops passing by."
Liu Xie also attaches great importance to the use of positive rhetoric, that is, figures of speech. Li Ci focuses on duality and is divided into two compatible groups of four kinds-content, positive words and positive things as a group; In a sense, right and wrong are a group. What they say is different, and the two groups are tolerant of each other. In the specific application, Liu Xie pointed out that "good words are difficult." We should not only do things closely, but also connect its chapters. Use odd and even numbers, and use miscellaneous accessories that are your ears. "
Liu Xie lives in an era that attaches great importance to couples, and I am very impressed with him. A magnificent novel, Wen Xin Diao Long, is full of lovers, which proves his love. Therefore, the method advocated can be described as brilliant, running through Samadhi-the beauty of complexity and simplicity, revealing when scattered, and miscellaneous when long, which is a brilliant work.
"Exaggeration" focuses on exaggeration. Liu Xie didn't study formal exaggeration like today, such as enlargement, contraction and stringing. Instead, it grasps the key to whether exaggeration is reasonable, divides exaggeration into two categories, and points out their different effects: "However, if the decoration is poor, the sound will rise, and if it is exaggerated, the name will be good." -if exaggerated and reasonable, it will cause strong * * * sound, otherwise it is contrary to the facts and unreasonable.
Today, if we face such an exaggeration-"the wheat straw is as thick as a vat, and the wheat awn points directly at the sky." A wheat husk and a tile, a wheat for three days. Straw is a pillar, Mandanne beam, wheat husk is a tile-roofed house, with big letters written on the roof, which is a great socialist paradise. ""Corn and rice are dense, and the sky is impenetrable. Even if the satellite falls, it will bounce back into the air. " -who can't deeply feel that what Liu Xie said is to the point!
In addition, Bi Xing talks about metaphor, Shi Wei talks about quotation, and there is a theory of non-publication. I won't go into details.
Liu Xie was able to put forward so many brilliant rhetoric theories, which was hard to surpass in his garden more than 500 years ago. It is really commendable. His rhetoric theory is not only a rational explanation, but also oral and factual evidence, which is related to the content and form of the article, as well as the author's thought, temperament, self-restraint and talent. He can explain the rhetorical aesthetic view of lyrical expression from the aspects of beauty, morality, beauty and the relationship between beauty. He admits that "when looking for things, the heart will shake" and "the feeling will flourish with things, and the meaning will be elegant; Look at things with emotion, so the words will be smart and beautiful. " Although there was no grand dialectical materialism at that time, today, it fully conforms to this view. Under the guidance of this view, he established a systematic theory of emotional analysis and mining from the understanding that content determines form. Based on the understanding of historical materialism and realistic materialism, he put forward the rhetoric views of "time-varying, qualitative change" and "literary change is subject to the changes of the world and prospers according to the time sequence", which selectively inherits and innovates with the times to serve the times. Wen Xin Diao Long is thoughtful, profound and thoughtful, and my essay is only superficial in rhetoric. If you become a jade-sucking brick, you are also fortunate to have a slight wish.
Wenxindiaolong
Wen Xin Diao Long has a total of 50 articles in 10 volume, which is divided into two parts, with 25 articles in each part, including four main parts: general introduction, stylistic theory, creative theory and criticism. The first five articles, from the original way to the discrimination of Sao, discuss the "hub of literature" and explain the author's basic views on literature, which is the program and theoretical basis of this book. Twenty poems from the Ming Dynasty to the Secretary, centering on the Preface to the Paper, each article discusses one, two or three styles, which can be called stylistic theory. The next twenty articles, from thinking to searching, focus on all aspects of the creative process around "analyzing feelings and digging", which is a creative theory. Four articles, such as Time Series, Tales Collection, Companion and Chengqi, criticized the writers' writing styles and achievements from different angles, and specifically discussed the critical methods, which can be called literary history theory and critical appreciation theory. These two parts in the second half are the essence of this book. The last preface explains his creative purpose and the deployment intention of the whole book. Although Wen Xin Diao Long is divided into four aspects in content, its theoretical views are consistent from beginning to end, and all parts take care of each other. This is a strict system. It is an unprecedented work of China's ancient literary criticism and a treasure of China's literary theory heritage. It is of great reference value to our present literary creation and criticism, and it is an indispensable basis for studying the development of China literature from ancient times to Southern Qi Dynasty. Its achievements are outstanding, unprecedented and universally recognized.
However, because Liu Xie's name was unknown, academic circles didn't know much about him at that time. After the publication of Wen Xin Diao Long, this kind of painstaking management has not been paid attention to by literary circles and recognized by celebrities. At that time, Shen Yue was very famous and played an important role in politics and culture. Liu Xie wanted to get his approval first, but there was no chance to get close to him. On one occasion, Liu Xie waited for Shen Yue by the roadside, carrying a book on his back, like a book seller. Shen Yue stopped him when he drove by. Shen Yue curiously read Wen Xin Diao Long and was immediately attracted. He thinks this book is "profound in literature and art" (Biography of Southern History Liu Xie) and greatly appreciates it. Later, I often read Wen Xin Diao Long on several cases at any time. After Shen Yue's admiration, Liu Xie became famous, and Wen Xin Diao Long finally spread among scholars. At the same time, 38-year-old Liu Xie also bid farewell to the Ding Lin Temple where he lived for more than ten years and embarked on his official career.
Liu Xie's fifty novels Wen Xin Diao Long are the first literary criticism works in ancient China. He advocates that literary works should have "style" (substantial content) and gorgeous form (literary talent), puts forward six standards of literary criticism ("six views") and their necessary accomplishment, and systematically expounds the literary criticism theory since the pre-Qin period, which has an important position in the history of literature.