Literary Criticism of Wen Xin Diao Long

This paper makes a detailed and in-depth discussion on the relationship between subjectivity and objectivity in literary creation. During the pre-Qin and Han dynasties, this issue was briefly involved in literary theory, such as the representative saying in the preface to poetry that "emotion moves in China and form is in words" During the Wei and Jin Dynasties, Cao Pi began to get in touch with the writer's temperament, and Lu Ji made an incisive exposition on artistic imagination. And Liu Xie made a more clear and comprehensive discussion on the relationship between subjectivity and objectivity in creation. First of all, it affirms the beauty of "colorful clouds carving" and "plants blooming in China", which is an objective existence. The so-called "husband wears exterior decoration and covers natural ears" (original way). At the same time, it also emphasizes the importance of the creative subject, that is, the writer's innate temperament, temperament, talent (such as "style" and "talent") and acquired knowledge cultivation, so as to reflect the realistic beauty in literary creation.

It is particularly noteworthy that Wen Xin Diao Long also discusses that in creation, subjective "emotion" and objective "scenery" are mutually influenced and transformed, that is, "emotion prospers with things", "view of things follows emotion" (interpretation of Fu), "emotion moves with things, words follow emotion" (seeking) and "climbing mountains with emotion". The discussion on the relationship between things and me and the relationship between scenes in Wen Xin Diao Long had an important influence on the discussion on this issue in the Tang Dynasty and later.

Wen Xin Diao Long emphasizes the role of emotion in the whole process of literary creation. It is required that literary creation should "gather together feelings" and advocate "writing for feelings"; Oppose "creating feelings for writing" ("Love"). It is believed that the conception of creation is "feeling" (thinking), the structure is "storing things to respond to feelings" (general art), and tailoring needs "putting feelings in place" (Rong Jian), and even the genre and style of works play an important role. This understanding is quite profound and conforms to the characteristics and laws of literature.

Wen Xin Diao Long also has an in-depth discussion and discussion on style and character. In the chapter "Style", Liu Xie inherited and developed Cao Pi's views on style. He believes that the reason for the writer's style is the innate talent and temperament difference-"being attracted by emotion"; There is also a difference between learning and training the day after tomorrow-"Tao dyeing is concise." And all kinds of different articles are divided into four groups of eight styles, each group has its own pros and cons-"elegance and strangeness, Austria and specificity, complexity and combination;" Strong and light "; However, they are interrelated-"Eight bodies are different, but they will combine numbers. If they are in a ring, they will converge. "The author's unbalanced evolution in these eight forms will form his own unique style. Liu Xie's style research had a direct impact on later poems and Twenty-four Poems.

On the basis of style theory, Liu Xie especially praised "the character of wind". The word "style" was originally a special term to evaluate the spiritual outlook of characters in the Southern Dynasties. The word "style" in literary theory criticism is derived from here. "Wind" requires literary works to have strong ideological and artistic appeal, that is, "wind" in Preface to Poetry; "Bone" is to be vigorous and fresh. The theory of "style of character" is not only aimed at the floating style of writing in the Southern Dynasties, but also summarized from the traditional literary theory. The theory of "style of character" had a great influence on the development of poetry in Tang Dynasty.

The artistic imagination theory of Wen Xin Diao Long is also incisive. This paper inherits Wen Fu's viewpoint on this issue and makes further discussion and development. Shen Si Pian borrows the idiom "The shape is above the river and the sea, and the heart is below Wei Que" to discuss the characteristics of artistic imagination beyond the limitation of time and space: "Therefore, it is silent and thoughtful for a thousand years; Quietly, see Wan Li. " However, he went one step further than Lu Ji's point of view. He believes that artistic imagination is not created out of nothing, and uses the image metaphor of "extensive knowledge is the food for the poor" to explain that the basis of artistic imagination can only be materials or raw materials in objective life. This view is in line with reality. At the same time, it also puts forward the important viewpoint of "God and things move". "God" means "thinking", which is a common vocabulary in the Six Dynasties, indicating that thinking is not rapid; Is it easy for the language to come out? Cohesion: "God is unique, so he is unhappy, but he can't do it. "Things exist objectively." "Wandering between gods and things" means that a writer can't leave concrete and emotional images in the whole process of artistic imagination, and the two are always organically combined, which is the characteristic of image thinking. "Wen Xin Diao Long" also emphasizes that only when the writer's spirit and psychology are in a state of "emptiness and quietness" can he better gallop his artistic imagination without external interference. The theory of "emptiness and quietness" originated from Taoism, which was further developed by Xunzi and creatively applied by Liu Xie to the theory of literary and artistic creation.

When discussing artistic imagination, Wen Xin Diao Long also put forward the viewpoints of "accumulating knowledge to preserve treasures, making decisions to enrich talents, and learning to read books to make poor photos", and emphasized that artistic imagination should have a wide accumulation of daily life knowledge, thus laying a solid foundation for its artistic imagination theory. After Wen Xin Diao Long, the discussion on artistic imagination and thinking in images had an important influence on later generations. For example, Wang Changling said that "God is in things" (Tang Yin Gui Qian, Volume II), Su Shi said that "God is connected with all things" (After the Picture of Lishu Bo Shi Villa), and Huang Zongxi said that "ancient human feelings are inseparable" (Preface to Huang Fuxian's Poems) and other viewpoints are immersed in it. The chapter "Wen Xin Diao Shen Long Si" well expounds the relationship between rhetoric and ambition and language.

As far as literary creation is concerned, the problems discussed in Wen Xin Diao Long are: literary exaggeration, structure, tailoring, pragmatism, rhetoric, implication and temperament. In the discussion of these issues, there are also many incisive views. For example, in the aspect of exaggeration, Wen Xin Diao Long not only proposed for the first time that literary creation can not be separated from necessary exaggeration to make the author's performance more prominent, but also advocated exaggeration and restraint and opposed exaggeration and inaccuracy.

Explaining the genre and source of various articles is also an important content of Wen Xin Diao Long. Since Cao Pi and Lu Ji put forward their views on the similarities and differences of article systems, Zhi Yu's On the Differentiation of Articles in Jin Dynasty and Li Chong's On Hanlin have further discussed this issue, but these works have all died. Liu Xie's Wen Xin Diao Long, from the fifth chapter of Bian Sao to the twenty-fifth chapter of Secretary, became the only important work to study the article system and origin in the Southern Dynasties in China, and also an important historical document to study this issue. Among them, there are many meticulous, pertinent and incisive opinions. For example, in Poetry in Ming Dynasty, the development process of poetry from Jian 'an era to the early years of Liu Song was discussed, and this was the case.