(Date of accession: 6 March 2007)

On the Similarities and Differences between Han and Liu's Ancient Literary Views

Dong chengsheng

Han Yu and Liu Zongyuan were two "masters" of the ancient prose movement in the Tang Dynasty. They followed Chen Ziang, Shi Ying, Li Hua, Jie Yuan, Duguji, Liang Su, Liu Mian and other pioneers of the ancient prose movement, and created a new era of prose. They not only boldly and systematically put forward their own ancient prose theory, but also actively engaged in the practice of ancient prose creation. From Zhenyuan to Yuanhe years, Han and Liu were in tandem, one in Chang 'an, one in Yongzhou and one in South Korea, echoing each other from afar, and successfully led this magnificent ancient prose movement. Their ancient prose theory is a valuable asset in the history of China's literary criticism. By comparing their views on ancient prose, it is undoubtedly necessary for us to study the development of ancient prose and inherit the cultural heritage of the motherland.

( 1)

The slogan "Ming Dow is the base of literary movement between Liu Han and Liu Han". This concept was first put forward by Han Yu in the eighth year of Zhenyuan (when Han was twenty-five years old). He said: "a gentleman lives in his place and misses his palace;" If you don't pass the exam, you must think clearly and make it clear. I will also win Ming Dow. ". In this case, the word "Ming Dow" is actually a civilized way.

Han Yu's rhetorical composition is aimed at the ancient road of Ming Dynasty, which was mentioned many times in his later literary theory. "the more you aim at the ancient road, the better the words." ("Answering Chen Shengshu") "The older it is, does it mean that its sentence reading is different from today's? You can't see the ancients, but you have to learn from the ancient road. Those who preach their words are based on Tao. " ("After Ouyang Sheng's funeral") "If the husband is like this, who doesn't want to tell the truth? One day, moral return, what about the outside world?" (Answer to Li Yishu) "People who are interested in the past are not only good at words, but also good at words." (Answer to Li Xiucai's book) These expositions explain his early thought of "writing with Ming Dow" from different angles, and clarify the viewpoint of the integration of literature and Taoism.

A few years later, after the disillusionment of the political reform, Liu Zongyuan put forward the view that "writing should be based on Ming Dow", which was more clear and accurate: "The words of saints should be based on Ming Dow" ("Reporting Cui An Scholars as Documents") "I was young and energetic at first, writing articles and working on words, while Long was literate and meticulous, praising his voice and thinking that I could do it." (Answer to Wei Zhongli's book "On Teacher's Tao") Liu Zongyuan's formulation of the relationship between literature and Tao is consistent with Han Yu's formulation: First, for the purpose of creation, they all emphasize that writing articles is to clarify and publicize certain political thoughts and theoretical propositions; Secondly, in terms of content and form, it is emphasized that the article should have practical content and the form should serve the content; Third, in the relationship between ideology and artistry, everyone advocates that artistry is subordinate to ideology. It is under the guidance of the theoretical basis as a style that Han and Liu strive to purify Confucianism and Taoism on the one hand, and attack decadent formalism on the other.

When "literature is based on Ming Dow", what kind of "Tao" should be "clear"? There are similarities and differences in the content of Tao. Let's talk about the similarities between * * * *: First of all, their "Tao" originated from Confucianism and Taoism, and they all flaunt Confucianism. In order to ensure the purity of Confucian Taoism and establish its orthodox position, Han Yu's interpretation of Taoism in The Original Tao is "Yao is Shun, Shun is Yu, Yu is Tang, Tang is Wen, Wu Gong, Wen and Wu Gong are Confucius, and Confucius is Wei", because Mencius died and Tao became. Since the Han dynasty, Confucian classics have been submerged in the ocean of philology, and the teachings of Buddhism and Taoism have taken advantage of it. Therefore, the ancient prose should undertake the mission of reviving the ancient road, which injected fresh blood into the ancient prose movement since the early Tang Dynasty, that is, the ancient prose movement should not only advocate the change of style, but also undertake the task of innovating content.

Liu Zongyuan and Han Yu advocated content innovation in the ancient prose movement. Liu said in "Writing for Cui An": "Although I am poor, I am eager to learn and can learn from the past." He also advocated learning Confucian classics and praising Confucius and Confucianism. In response to Wei Zhongli's book "Teacher's Way", he said: Poetry, calligraphy, Yi, Li, Spring and Autumn, "The reason why I took the Tao is also the original." He took the Five Classics as the source of learning, claiming that "seeking the way of Confucius is not different from different books" ("Reporting the name of Yuan Jun and Chen Xiucai to avoid teachers"), "I want to read it." (Lin Jianshu with Li Han) can't say that it doesn't make any sense.

Of course, we should also see that Liu Han not only insisted on Confucianism in the pre-Qin period, but also showed the courage to read Confucian content and innovate in the ancient prose movement. The guiding ideology of Han Yu's literary thought is mainly Confucianism, but there are some deviations. He made a choice in Confucianism since the pre-Qin period. Previous people commented on Han Yu, thinking that he was addicted to the ancient road and stuck to the Confucian way (see Guo Shaoyu's History of China Literary Criticism), and even thought that his way was backward feudal dross (see Minze's History of China Literary Theory Criticism), which was unfair. In fact, Su Shi saw it clearly: "Han Yu is a saint, and he knows his name well, but he can't enjoy it." ..... As for the theory, it cannot be refined and fragmented. "(On Dongpo Zhao Yingji and Han Yu) The so-called" fragmented sand "is not a complete Confucian system. Su Shi evaluated Han Yu from an orthodox perspective. When he evaluates Han Yu from the writer's point of view, of course, he will emphasize his "Lost in Daoji" (Su Shi: Chaozhou Hanwengong Temple Monument).

As for Han Yu's "deviation" from Confucianism, here are a few examples to prove it: (1) He is not so devout to Confucian classics, especially to the Confucian classics of Han Dynasty, which has always been regarded as Confucian orthodoxy. Han pointed out in "The Man's Couple" that it is not worth showing off to cut stocks and serve relatives. Even from the perspective of philology, Classic boldly pointed out its shortcomings. (2) He sometimes affirmed other outstanding thinkers besides Confucianism, such as Guan Zhong, Mozi, Shang Yang and Wang Chong. (See Reading Mozi, Thirteen Questions of Scholars, etc. ) (3) His famous theory of "injustice makes a sound" runs counter to the Confucian ideas of "golden mean" and "enjoying life". (4) Many of his works have exposed and criticized the corrupt and despicable features and decadent social customs of the ruling class at that time. For example, the preface to send Li Yuan to Pangu reveals the world trend of fame and fortune through Li Yuan's mouth. "Teacher's Commentary" focuses on the social atmosphere of "being humble means being ashamed, while being high means being near means being light", and emphasizes that "being cheap if you are not expensive, being short if you are not long, being a teacher if you have a way", which shows Han Yu's equality thought. The Biography of Wang Chengfu, the Polluter, is a negative annotation of "The Analects of Confucius borrowed from Yang". (5) He once wrote the article "Debate on Taboo", arguing that Li He did not avoid his father's name or take the examination of Jinshi, which broke through the traditional view of Confucianism. ..... You can also cite some, but not all of them. Han Yu regards himself as a cleaner of Confucianism and Taoism. He not only grasped the essence of Confucianism and Taoism, but also absorbed the strengths of famous artists, injected new era content into Confucianism and Taoism, and served the realistic politics of the moderate society. This is commendable. Perhaps it is because Han Yu is not a loyal Confucian guardian that there are Han Confucianism Dong Zhongshu, Song Ruzhu and so on in history, but there is no such person as "Tang Confucianism" Han. Han Yu failed to become a Taoist after all, but his unique theory of ancient prose established his position as an ancient prose writer.

In terms of specific content, Liu Zongyuan's "Tao" has more broken through the shackles of Confucian traditional concepts. He advocates understanding the way of saints and not blindly following. In "Answering Yan as a Scholar", he said: "You can learn, but you can't do it. When you learn, you are Zhong Ni; If you want to work in Zhong Ni before you arrive, if Song Xianggong is arrogant and defeated, you will die of a stroke. " Learning from Confucius varies from person to person. Otherwise, it can only be a hegemony and the country will die. In Talking about Non-Mandarin Books with Lu Daozhou, he sharply criticized the scholars who entered the WTO: "His words are based on Confucianism, but he is circuitous and doesn't know what to do; If not, it is difficult to calm down, and it is difficult to calm down. What's more, it's weird and ridiculous, pushing the sky and stretching the ground, thinking it's wonderful, and you can't get rid of it. The old saying is not known to the world, and scholars are at least. " It can be seen that Liu Zongyuan was dissatisfied with the Confucian tradition of past dynasties. Therefore, we should think about innovation, "Ming Dow", and let Confucianism and Taoism play a role in social reality. "The sage's way, not thinking differently, not thinking high, benefiting people, turning things into superfluous, that's all." (Liu Zongyuan: On Seasons)

On the whole, the theoretical basis of "Civilization by Taoism" is consistent with that of Liu Han's ancient prose movement. Besides the disadvantages of current politics, the way to promote saints lies in their common ideals. The slogan of "civilization is based on Tao" was first put forward by Han Yu, and Liu Zongyuan gave full play to this slogan and explained it in concrete content. The main differences are as follows: (1) Han Yu rejected Buddhism, but was superstitious about the fate of ghosts and gods; Liu Zongyuan opposed the destiny, but respected the Buddha. Han Yu raised the banner of the ancient prose movement and made some innovations in the content of the article, in order to oppose those works that promote morality and color. In this sense, Han Pai-fo is undoubtedly correct. Liu Zongyuan's good Buddha is in contradiction with his materialistic thought against the concept of destiny, which shows that his materialism is incomplete. (2) Han Yu's Tao focuses on moral education, while Liu Zongyuan's Tao focuses on solving practical problems. Because of paying attention to moral education, Han Yu wrote special philosophical articles such as The Original Way, Original Nature and Original Extinction. Liu Zongyuan has repeatedly stated that his "Tao" is "the way to assist the times". (Answer to Wu Wuling in non-official books) "Assisting time" means assisting current politics, and "transiting things" means benefiting personnel. He only advocates that Tao should contact with practical things. Because of this, when he was demoted, he carefully managed Liuzhou with the ambition of "being poor and white" and "helping the world", and his achievements were outstanding. His American administration was passed down as a masterpiece by local people. In Preface to Yang's Comments, he also put forward the viewpoint of "the use of literature, the praise of rhetoric and the promotion of irony", which affirmed the evaluation and criticism of literature on reality. (3) Han Yu and Liu Zongyuan have different understandings of Tao. In Han Yu's article, he repeatedly proposed to be "indifferent and snobbish" ("Answer to Li Yishu"), but his desire to be an official is urgent. Most of the articles focus on the ways to make people become sages, explore the moral cultivation of natives, and eliminate bad habits and customs that are not conducive to the road among literati. Liu Zongyuan demonstrated from the aspects of laws and regulations, seasonal criminal politics, the relationship between man and nature, and the analysis of pre-Qin classics. Although Liu Zongyuan also claimed that he originally adopted the Five Classics: "This book is quality, this book is constant, this book is ritual, this book is broken, and this book is moving." But his exposition of the "essence" and emptiness of Tao is actually a paper. Mr. Guo Shaoyu also thinks: "Because it is important to discuss Tao, it is appropriate to talk together;" Around the topic, it is appropriate to make a separate statement: Mr. Guo further pointed out that the quality, regularity, appropriateness, discontinuity and movement pursued by Liu Zongyuan in the Five Classics are not all problems of Tao, but also problems of literature. However, this does not explain Liu Zongyuan's "attitude of abolishing Confucianism." (See Guo Shaoyu, Editor-in-Chief: Selected Literary Theories of the Past Dynasties in China) In connection with the previous discussion, Liu Fen should avoid "helping the public to monopolize" the "essence" of the Five Classics, and take what he needs according to the time and place, which is a change in the traditional concept of Confucianism and Taoism and makes the content of Confucianism and Taoism conform to the development trend of the times.

(2)

Under the guidance of the theory of "writing with Ming Dow", both Han Yu and Liu Zongyuan attach great importance to the form of articles. Because "Tao" is the content and "Wen" is the form, only by combining the beauty of ideological content with the beauty of artistic form can we achieve our goal. Han Yu thinks: "Although the word is ambiguous and beautiful, who views it?" Writing articles should be "commensurate with words and deeds, good and beautiful". (ditto) Liu Zongyuan also said: "The way to assist current affairs should not be embodied in the present, but should be left in future generations." Words without words are mud, but writers are indispensable? "(Answer to Wu Wuling's book On Non-Mandarin) He emphasized that articles should be literary." If you have no literary talent, you will always listen and praise your studies. A statement will rot, and a gentleman will not help. "("Yang Pingping's Anthology Preface ") It can be seen that for the sake of" Ming Dow ",Liu Han advocated writing the article well, so as to pay full attention to the special laws of literature itself and learn from the rich achievements of predecessors.

The specific object of learning from the ancients is not limited to the highest Confucian classic "Six Classics", but the theory of "Classics, Biography, Historical Records, and the Poverty of a Hundred Schools of Thought" (Han Yu: The Book of Li Shuzi of the Ministry of War) is oriented to all ancient cultural heritage. In this regard, Liu Han and his wife have many of the same ideas. They all advocate learning the ancient prose of the pre-Qin and Han Dynasties. What books should I study in the pre-Qin and Han Dynasties? Han Yu has a specific explanation in the book Understanding of Learning: "It is full of immersion, full of English and Chinese. As an article, its books are all books. On the rules, Yao Sian is boundless, Zhou Pan is wriggling. The Spring and Autumn Annals is rigorous, the left is grandiose and elegant, and the poetry is just and elegant. Taishi's book Zhuang Sao Capture is similar to Ziyun, but the same work is different. " In response to Cui Lizhi's book, Han Yu talked about outstanding ancient literati, and also listed Qu Yuan, Monk, Sima Qian, Sima Xiangru and Yang Xiong. Their views are similar to those of Jin Xuejie. Liu Zongyuan's opinion is close to Han Yu's. In his book "Report to Yuan Jun, Chen Xiucai Avoid Teachers", he said: "Those who are outside should read the Six Classics first. The Analects of Confucius and Mencius are both classics. The Ci of Zuo Shi, Guo Yu, Zhuang Zhou and Qu Yuan is abbreviated; Gu Liangzi and Tai Shigong are clean and can go in and out, and the rest of the books will be discussed another day. " Wei Zhongli's book "On Teacher's Way" has the same exposition: based on Shu, Shi, Li, Chunqiu and Yijing, with Gu, Meng, Xun, Zhuang, Lao, Guo Yu and Yi as references. It is worth pointing out that both Qu Yuan's Han Fu and Liu Han have a positive attitude, which is very different from the ancient prose writers in the early Tang Dynasty and greatly expands the content of learning from the ancients.

While learning from the ancients and others, Han and Liu particularly emphasized that the articles of the Western Han Dynasty were too old, too wild and not practical. After the Eastern Han Dynasty, parallel prose began to be paired, and the following Wei and Jin Dynasties were the times when parallel prose prevailed and the style of writing dried up. It's not wild. It's just an article from the Western Han Dynasty. In the articles of the Western Han Dynasty, they all praised Sima Qian, Sima Xiangru, Yang Xiong and others. Han Yu called them the most literate and the "best vocalists" (Preface to Send Meng Dongye), and Liu Zongyuan especially praised the articles of the Western Han Dynasty. His younger brother, Liu Zongzhi, once compiled a book "Noyanov Beauty in Kawaguchi", and Liu Zongyuan was very happy. He prefaced by saying, "Prose is modern, especially magnificent, and it seems that both the West and China are ignorant. ..... the cover of the Quartet article? However. " ("Preface to Liu Zongyuan's Annals and Shinomiya in Chuanzhong")

The ancient prose movement in Tang Dynasty was a movement against parallel prose. While opposing parallel prose, Liu Han paid attention to using it for me. When studying the ancient prose movement in the Tang Dynasty, we must see that Han Yu and Liu Zongyuan opposed the style of parallel prose, not its literary expression. Parallel prose, as a style, pays attention to form, fetters thoughts and hinders the expression of article content; Parallelism, as a classic rhetorical method, has the beauty of form and phonology of language. Sometimes the combination of parallel prose and prose poetry can make the article vivid and colorful. Therefore, while opposing the formalistic tendency of parallel prose, they also pay attention to absorbing beneficial elements from it. Han Yu described reading as "greedy and not donating too much". "Since the Five Classics, there have been hundreds of books, which have been unheard of without seeking, and have gained without reading." The "Book of One Hundred Generations" here naturally includes the literature of the Wei, Jin and Six Dynasties. An important feature of his prose sentence pattern is the combination of parallel prose and prose, which is neat and scattered Therefore, Liu Xizai called him "the decline of eight generations of literature, the power of eight generations." Liu Zongyuan has a profound knowledge of parallel prose, which has a great influence on the profundity of his later articles. Parallel prose techniques vary from text to text, and he can choose freely. Even when he was demoted to Yongzhou, he wrote an excellent parallel prose-Fu Nan Army Yangyang Temple Monument. Qiao Qiwen is an essay against parallel prose, but it also uses many expressions of parallel prose, such as "four parallel poems and six kind words", which vividly summarizes the characteristics of parallel prose.

Learning from the ancients is not imitation and conformity, but identifying the authenticity of ancient books and distinguishing between black and white. In this regard, Han Yu theoretically established the creative principle of "keeping promises". Liu Zongyuan paid attention to eliminating the dross in classicism in practice. He wrote sixty-seven articles in non-Mandarin, sharply criticized some mistakes hidden under the gorgeous rhetoric of Mandarin, and said, "We should cover the trap with literary brocade." This attitude of critically absorbing the legacy of the previous generation is still beneficial to us today.

The purpose of inheritance is innovation. In terms of stylistic innovation, Liu Han also has many similar opinions, mainly including four points: (1) both emphasize the importance of originality in stylistic style. Han Yu believes that common things in life are not easy to attract people's attention. "However, what they cherish must be extraordinary. What's the difference between a husband and a gentleman? " (Answer Liu Xin) Use this metaphor to emphasize that writing articles should have its own style. Liu Zongyuan criticized those plagiarists from the opposite side: "A literate person is also a prequel to fishing and hunting, stealing literary history, judging its meaning, painting its brilliance, putting it between his teeth, and something went wrong, and the deaf were dumbfounded for a moment." Although it was finally abandoned, it was very harmful. "("Talking to a friend about a composition book ") Two people talk about one positive and one negative, and all roads lead to the same goal. (2) everyone advocates that the article should be written smoothly and to the point. Han Yu believes that the article "must be published by himself", "don't copy the words of predecessors" and requires the article to "know each other". (All quoted from Nanyang Fan Shaoshu's epitaph) Liu Zongyuan also claimed to be "talking about the ancient and poor words" (Tribune) and asked to write an article "citing pen and ink, full of pleasure and ending with meaning". "(Du Fu Wenshu) The difference is that Han Yu's opinions are more systematic and concise, while Liu Zongyuan only sees some essays. (3) They all put forward the standard of new ancient prose, and formed their own style in their own creative practice. In response to Li Yi's book, Han Yu put forward the standard of establishing new ancient prose: "If there is, there will be years, and then there will be wealth." Liu Zongyuan also put forward his own standard in "Talking with Friends as Articles": "If you get it, you can explore its depth. Although you have failed once, it will be an eclipse of the sun and the moon. Will Da Gui's defects hurt its glory and treasure? " Han Yu's standards are "vastness" and "profundity", while Liu Zongyuan's standards are "high spirits" and "deep roots". It is precisely because of the different specific standards that their prose styles are quite different. It is precisely because of "Hao" and "Pei Ran" that Han Yu's prose appears unrestrained. "Like the Yangtze River, thousands of miles help each other, surging and surging, and the flow is not stagnant." (Huangfushi: yeyu) It is precisely because of "Gao Lang" and "Shen Bian" that Liu Zongyuan's prose is profound and elegant, such as mountains and rivers, flowing water and clear springs, remembering the past and being beautiful and dense. (4) Stylistically, both Han and Liu advocate the diversification of the form of a clear conscience. Han's epitaphs, prefaces and postscripts, letters and biographies conform to the laws of literary development, breaking the restrictions of parallel prose on various article genres and breaking the traditional rigid expression, thus realizing the great liberation and innovation of style and opening up a new world for the development of ancient prose. On the premise of advocating the diversification of literary forms, Liu Zongyuan is especially good at essays, landscape travel notes, fables and ci fu. His essays in various styles are full of emotion and unique in style, all because of good materials. He really made prose a literary genre, and his contribution to the history of prose development was really great.

(3)

Attaching importance to writers' ideological and moral cultivation is an important tradition of Confucian literary thought since Confucius. Confucianism has always put ideological and moral cultivation in the first place. In the Spring and Autumn Period, "establishing virtue, making contributions and making statements" were called "three immortals". (See Zuo Zhuan's Twenty-four Years of "xianggong") Among the "Three Immortals", "Lide" ranks first, which shows that it is the most fundamental. Han Yu and Liu Zongyuan inherited and developed this tradition of Confucianism. They all attach great importance to the writer's mental state and ideological and moral cultivation, and think that the writer's ideological and moral character is the fundamental thing, and the article is the external expression of the writer's ideological and moral character. To write a good article, we must first have a solid moral cultivation. Han Yu said in "Answer to Wei Chisheng": "What a husband does is bound to be among them, so a gentleman should be cautious. If it is really beautiful and evil, it will not be hidden. The ending is deep and gorgeous, with a big shape and a grand voice. When it comes to the calendar, it is mellow and harmonious. " This passage tells us that the essential beauty, ugliness, likes and dislikes cannot be concealed and must be expressed through external forms. Only when the roots are deep can the leaves flourish and the heart be mellow can the spirit be harmonious. Therefore, writing an article "don't expect it to be fast, don't expect it to be snobbish, take its roots and be solid, add its cream and hope it is gorgeous." The roots of hair are practical and the paste is bright; Benevolent people keep their words. "The emergence of excellent works requires the improvement of the writer's ideological and moral cultivation, which is actually a further development of Confucius' virtue must be said (The Analects of Confucius). Liu Zongyuan also believes that a writer's moral cultivation determines the quality of his works. He said: "Wen is behavior-oriented, honesty first." "This sentence has at least two meanings: one is to point out that the article comes from practice; Second, the article is true. If you want to write a good article, you must first ask the author to be a sincere person. The Book of Changes said: "A gentleman learns from virtue. Loyalty is the reason why I entered Germany. The rhetoric is sincere, so it is also a career. "Zhouyi Guabian Classical Chinese" is about the relationship between human cultivation, morality and rhetoric. Liu Zongyuan used it to illustrate the relationship between the writer's ideology and morality and his works, which is a great development of "sincere rhetoric". Liu Han's emphasis on the writer's ideological and moral cultivation is consistent with his principle of "writing with Ming Dow". To improve writers' ideological and moral cultivation, the most important of which is of course Confucian moral cultivation, which is of great significance in the movement of ancient prose innovation: it can save "drowning Taoism" in content and overthrow parallel prose in form. This is the fundamental reason why he emphasized the writer's ideological and moral cultivation.

In addition to ideological and moral cultivation, the writer's mental state in the process of creation is also very important. According to Mencius' theory of nourishing qi, Han Yu put forward the theory of nourishing qi, that is, "walking depends on the way of benevolence and righteousness, and swimming depends on the source of poetry and books" (answer to Li Yishu). He pointed out in "Answer to Li Yishu": "Qi, water also; Words, floating things also. If the water is big, things will float, so will the size. As angry as he says. If you are full of enthusiasm, it is suitable for people with short speeches and high voices. " He believes that the quality of the article is directly related to the author's subjective emotional temperament. "Qi" here refers to the writer's mental state, and "Qi Sheng" refers to the "noble spirit", "righteous way" and "supreme" (Mencius and ugly grandson) that Mencius said filled between heaven and earth and the writer's heart, that is, the vigorous and full mental state dominated by lofty ideals. When moral cultivation reaches this level, "short words" and "high notes" are the size of Xian Yi, doing nothing.

Like Han Yu, Liu Zongyuan also asked the writer to have a full mental state in his creative process. He explained this truth with his own writing experience: "Every time I write an article, I never dare to treat it lightly, afraid of arrogance and fear of staying;" Come and taste the feeling of soothing the mind, afraid of being sloppy; Come and have a taste, if you dare to faint, you may not be mixed; Come on, try it proudly, but be afraid of it and be arrogant. " (Answer to Teacher Wei Zhongli's book) He opposes writing with "light heart" and "lazy heart", and opposes letting "faint spirit" and "compassion" enter the article, but advocates "restraining his abstinence and promoting his clarity". If you want to go public, you have to be honest. When you are excited, you want to be clear, and when you are solid, you want to be heavy. "(ditto) What is emphasized here is the profound and dignified, beautiful and open-minded, tortuous and changeable, free and easy spiritual realm. Liu Zongyuan's thought is similar to his "mind study" in the book with Yang Jingzhao. He believes that "everything is literary, the heart is the main thing", the spirit is smooth, and God and the environment are in harmony, so that a good article can be written.

However, Liu Zongyuan's theory of consciousness cannot be compared with Han Yu's theory of nourishing qi. This is because Liu Zongyuan's theory of "consciousness" is limited by his writing attitude, while Han Yu raised the writer's mental state to the height of ideological and moral cultivation, which laid a solid foundation for the creation of ancient prose and made valuable contributions to the development of China's classical literary theory, which cannot be said to be better than Liu.

(4)

The relationship between literature and social stability and life was also explored and discussed by the ancients. Shangshu Yaodian is the earliest understanding of the essential characteristics of literary works by ancient writers in China. "Poetry can flourish, can point of view, can group, can complain. Your father is far away, and you know the names of birds, animals and plants better. " (The Analects of Confucius Yang Huo) This is a comprehensive summary of the social function of literature and art by Confucius. It is on the basis of inheriting this tradition that Han Yu and Liu Zongyuan adhere to the principle of "taking literature as Ming Dow" and try to explore the relationship between literature and social life in the theory of ancient prose.

Han Yu believes that literary works are the product of social contradictions. He put forward the famous theory that "if things are unfair, they will sound" in the preface to seeing off Meng Dongye. The silence of the vegetation, the sound of the wind; The silence of water, the sound of the wind; It jumps or excites, it tends or stalks, it boils or moxibustion. The stone is silent, or there is no sound when it strikes. The same is true of human words. People who don't have their own opinions will have thoughts when they talk in the future, and will be pregnant when they cry. What comes out of his mouth is blessed! "Han Yu believes that what works for the sound of things is the objective existence of the outside world. If there is no wind "scraping" and "swinging", water and vegetation can't make sound; Without the impact of external things, stones will not make a sound. Similarly, if a writer leaves the social life of the objective outside world, his creation cannot be carried out. The writer is moved by the objective external things, and is emotional, so he must resort to literature, thus creating. Therefore, literature is always a social product of a certain era. In fact, Han Yu's understanding is ideologically related to Confucius' "If you don't get angry, you won't get angry, and if you don't expel, you won't get angry" (The Analects of Confucius). The difference is that Confucius talked about learning, and only "anger is expelled" is the opportunity to learn. Han Yu used it to illustrate the relationship between literature and social life, which is precisely his innovation of Confucianism and Taoism from the literary point of view under the banner of "Ming Dow".

In the past, the general view was that it was far-fetched to interpret the word "Ming" as exposing and criticizing feudal society. As a matter of fact, the "injustice" in "Unjust Voices" contains a wide range of social contents. Han Yu once explained: "Anger and embarrassment, sadness and happiness, resentment and desire, drunkenness and boredom, unfairness, will all be expressed in cursive script." All kinds of contradictions in social life arouse the excitement of inner feelings, that is, injustice: grief is injustice, joy is joy is injustice. If there is injustice, you can sing or cry. In a word, let your surging (that is, restless) emotions condense in the pen and express them in words. Of course, the darkness of feudal social rule and the decline of the world in the middle Tang Dynasty naturally made writers pour out most angry words. Therefore, Han Yu said in "A Pure Talk on Singing and Poetry Preface": "The voice of husband and peace is weak, and the voice of sorrow is wonderful; Happy words are hard to write, poor words are easy to be good. It's an article, always in the wilderness. He disdained the "voice of peace" and "words of happiness" of "princes and nobles". This view of Han Yu is the development of Sima Qian's theory of "writing books with anger" and Liu Xie's theory of "using images with gods". In Wen Xin Diao Shen Long Si, there is an inheritance relationship between "judging people by their appearances" and "responding to things with their hearts". It can be seen that the theory of "injustice makes a sound" is the result of the rise and fall of idealism and materialism in the writer's world outlook.

Han Yu's theory that "injustice is the sound" is an important point in his theory of ancient prose. Liu Zongyuan once said something similar, so he agrees with this point. Liu Zongyuan said: "an upright man is open and poised was in the world, humming enthusiastically to learn from the world, while the hermit rested. Therefore, I feel angry and try to think about my ambition, so as to serve the present world, form it in words and extend it in singing. This is also for those texts that have their own things but don't get their way. " In this passage, we can see that Liu Zongyuan also advocates that creation should be full of strong feelings of "feeling angry and resentful", which has something in common with Han Yu's theory of "complaining when there is injustice" and its source must be the theory of "resentment" in The Analects of Confucius. The difference is that Han Yu calmly and objectively analyzed and summarized the literary phenomena of various times, affirmed the "pleasant" progressive literature, and revealed the relationship between literary works and social life to some extent. Liu Zongyuan linked literature with social reality more directly. Liu Zongyuan's "resentment" comes more from his understanding of social reality: "Anyone who makes up his words in Sri Lanka is too safe to see others." He himself was demoted twice and was trapped in a foreign country. "Being poor and rich, he is always lonely and dangerous."? "I am worried that there will be no return to the southeast and northwest" ("Send my cousin Lu to the official order"), so "I can know that the people are hungry and win the cold, but it is difficult to win the violence." Miscellaneous? Thin h by song? Mode？ Even the emperor's case? Forgive you? Leech? Play? Mo Le? School? Poke shun kang mu Li wo huo? What about Hangzhou? Hey? What about the bath case? Hey hey? Read your eyes and fan your teeth? From the cave to a boat? Holding the cangue, Ye Nanfeng limped away. What is the score of pregnancy? School? Sugiyama Suburban brain [2] [2] [3] [3] [3] [3]? c！ Promise? Hey? Skull sleigh? ゼゼ ゼ ゼ? Let nettles and punishment ┑ catch hazel fields?

The above is an analysis of the main aspects of Liu Han's view on ancient Chinese prose. In a word, Liu Han's views on ancient prose are similar. Han Yu first advocated the ancient prose movement and systematically put forward a whole set of ancient prose theories, among which Answering Li Yishu and Sending Meng Dongye Preface were his declarations. Liu Zongyuan, a great parallel prose writer, responded positively to Han Yu's theory of ancient prose after being hit by the failure of political innovation. He changed his mind and strongly advocated ancient prose. His later famous "Answering Zhong Wei's Teacher's Letter" and other "eight articles" are the development of Han Yu's ancient prose theory. Liu Han not only laid the foundation of prose creation in theory, but also set a brilliant example in creative practice. Han Yu left more than 300 ancient prose, and Liu Zongyuan left more than 400 ancient prose, which created the ancient prose tradition represented by the Eight Masters in Tang and Song Dynasties in the history of China literature and had a far-reaching influence.