After the Revolution of 1911, Luo Zhenyu and Wang Guowei fled to live in Japan. Luo said to the king of Qi: Now the world is getting worse, scholars can do whatever they want, and there is no reason to return books. After listening to Luo's suggestion, Wang gave up his previous research and specialized in classics and history. He wrote a large number of academic papers by using the classics, ancient artifacts, Oracle bone inscriptions and quicksand slips collected in Luo Zhenyu Dayun Library. 19 16 He returned to Shanghai, where he was hired as the editor of academic series by Harbin, and later became a professor at Baosheng Ruizhi University. He is still engaged in the textual research of Oracle Bone Inscriptions and ancient history, which is closely related to Shen. 1923 was called away from the south study room to be Mr. Pu Yi, the emperor of the Qing Dynasty. 1924, Feng Yuxiang expelled Puyi from the Forbidden City. Wang Guowei thought it was a "great humiliation" and tried to commit suicide, but his family kept a close watch. From 65438 to 0925, he taught in Tsinghua University Research Institute, engaged in the study of ancient northwest geography and ancient Mongolian history. 1927 In April and May, the Northern Expeditionary Army arrived in Henan, and the northern warlords were about to collapse, and the revolutionary situation was unprecedentedly high. On June 2, Wang Guowei wrote a suicide note, saying, "In 50 years, we only owe one death. After this world change, shameless. " He committed suicide in Kunming Lake in the Summer Palace, ending his old life.
Looking at Wang Guowei's academic activities, he first studied philosophy, then turned to literature, and then turned to history, among which history made the greatest contribution.
philosophy
Wang Guowei learned philosophy by reading Kant's Critique of Pure Reason, which is very profound and difficult to understand. He then read Schopenhauer's book The World as Will and Representation, which was deeply influenced by Schopenhauer. Wang Guowei has written many papers, such as Praising the Image of Hande, Schopenhauer's Philosophy and Education Theory, Schopenhauer and Nietzsche, Schopenhauer's Inheritance Theory and so on. , comprehensively introduces the philosophical thoughts of Kant, Schopenhauer and Nietzsche. Deeply influenced by Schopenhauer's thought, Wang Guowei applied it to philosophy, aesthetics, education, religion, law, politics and other fields. In his view, philosophy and art are to seek spiritual eternal truth, and philosophy of life is to explore and reveal the truth that life is pain and its way out. Aesthetics is the effect of arousing people's emotions, washing people's spirit, revealing the true meaning of life, making people detached from things, forgetting interests, gaining spiritual comfort and seeking temporary relief. His Classicism in Aesthetics and Literary Short Stories are masterpieces that give full play to Schopenhauer's aesthetic thoughts. He also wrote A Dream of Red Mansions Review, analyzing the tragic significance of Cao Xueqin's novel A Dream of Red Mansions. He analyzed the basic spirit of A Dream of Red Mansions with Schopenhauer's aesthetic thought, and showed the great pain brought by the desire for life, thus embarking on the road of liberation. The concepts of "observing the essence of cosmic life through a hole" and "realizing the truth of cosmic life" have written a complete tragedy with typical aesthetic value. Wang Guowei's research on A Dream of Red Mansions is quite insightful, revealing the inner meaning of the novel for the first time, overthrowing the prejudice of feudal scholars that A Dream of Red Mansions is a work of "teaching obscenity", criticizing the tedious research methods of the Indexing School, recommending A Dream of Red Mansions as a masterpiece of ancient China literature, and affirming its tragic significance and aesthetic value. Wang Guowei was bored with the study of philosophy. He once said in the preface: "I am tired of philosophy; Philosophically speaking, most lovely people are not credible, and credible people are not cute. I know the truth, but I like its fallacy. Great metaphysics, strict ethics and pure aesthetics are what we like. However, those who seek its credibility prefer epistemological positivism, ethical happiness and aesthetic empiricism. Knowing that it is credible but not cute, but feeling cute and unbelievable, this is the biggest trouble in these two or three years. " ①
At that time, there were two main trends of western philosophy introduced into China: one was British positivism, such as Locke, Hume and Spencer, which was a set of positivism and empiricism advocated by Yan Fu. The other is German philosophy, such as Kant, Schopenhauer and Nietzsche, which is a system of transcendentalism and idealism. On the one hand, Wang Guowei favored the philosophies of Kant, Schopenhauer and Nietzsche, but he also criticized them as lovely and unreliable. He once said Schopenhauer: "Understanding his uncle's theory is partly due to his subjective temperament and lack of objective knowledge." On the other hand, influenced by positivism, he studied logic, mathematics, chemistry and physics, and cultivated his scientific research methods. However, he is not satisfied with science and positivism, and thinks that he still needs to explore the road and truth of life. This is what he thinks is "credible but not cute". As a result, he hovers between loveliness and credibility, and his thoughts are often in contradiction.
After the Revolution of 1911, he went to Japan to study history instead of literature. In historical research, the scientific research methods of western positivism have played an important role.
Historical science
Wang Guowei is a famous historian. He belongs to the Institute of Archaeology. Chen Yinque once described his academic achievements like this: "His academic contents and methods can be summarized with three eyes. One day, take the underground objects and the remains on the ground to explain each other; The same is true of all the works that belong to archaeology and ancient history, such as An Examination of the Scholars and Kings Seen by Yin Oracle Bone Inscriptions, The Ghost Fang, Kun Yi and Ji Kao, etc. Second, take ancient books of foreign nationalities and make corrections with old books of our country; The same is true of all works that belong to Liao, Jin, Yuan history and frontier geography, such as Mongolian Examination and Yi 'er Sword Examination. Third, learn from foreign ideas and inherent materials, all works that belong to literary criticism and novels and operas, such as A Dream of Red Mansions Review, Textual Research on Song and Yuan Dramas, Textual Research on Tang and Song Daqu, etc. " (1) Chen Yinque gave a clear explanation of the research fields and methods of Wang Guowei's historical research.
First, Wang Guowei's research on Oracle Bone Inscriptions. Oracle bone inscriptions were discovered in the late Qing Dynasty and were first discovered by Wang. Later, Liu E published "Hidden Tortoise in Iron Clouds". Subsequently, Sun Zhirang and Luo Zhenyu studied Oracle Bone Inscriptions. Wang Guowei is the first person in Oracle Bone Inscriptions who evolved from philology to historiography. He is the author of A Textual Research on Oracle Inscriptions in Yin Ruins, A Continuation of Oracle Inscriptions in Yin Ruins, On the System of Yin and Zhou Dynasties, A Textual Research on Oracle Inscriptions in Yin Ruins, A New Proof of Ancient History, etc. He compared Oracle Bone Inscriptions, an underground material, with China Ancient History Book, a paper material, corrected the mistakes recorded in the book with Oracle Bone Inscriptions, and made an in-depth study. He himself called this method of textual research "double certificate method", that is, comparing underground materials with paper materials to verify the true image of ancient history. This textual research method not only inherits the textual research tradition of Ganjia school, but also draws lessons from the scientific textual research method of western positivism, organically combines the two, opens up new fields and creates new methods, and has made great achievements in the study of ancient history. Guo Moruo once praised: "Wang Guowei ... left us the products of his knowledge, just like the castle in Cui Wei, which has been shining strangely on the barriers of the old school for thousands of years." (1) In the late Qing Dynasty, Kang Youwei proposed that "all six meridians are false". Later, historians developed into skeptics, who were skeptical about ancient history. Zhang Taiyan, a scholar of classical Chinese classics, is proficient in language and phonology. But he didn't trust Oracle Bone Inscriptions and thought that Oracle Bone Inscriptions was not real. Therefore, he holds a negative attitude towards this method of studying Oracle Bone Inscriptions first and then history. Wang Guowei is different from the ancient skepticism school. He believes that ancient legends still have the value of historical research, and his attitude is more cautious. He is different from the Gan school, which is a Confucian scholar. They studied linguistics and philology for the sake of Confucian classics, while Wang Guowei studied linguistics and philology based on the examination of history. However, Zhang Taiyan believes in book knowledge too much, and even the scarab inscription denies its value, which is only a conservative thought in academic research.
Second, the study of northwest geography and ancient Mongolian history. Wang Guowei made extensive research on the geography of northwest China and the history of Mongolian ancient nomads. He compared, sorted out and studied bamboo slips of Han and Jin dynasties, Dunhuang documents, inscriptions and writings of foreigners, and wrote papers with great contributions. For example, his preface to quicksand falling is an exposition of the position and prosperity of Loulan, a famous ancient city in the western regions, by using wooden slips in Wei and Jin Dynasties. His Ghost Prescription, Kunyi and Kekao make use of the documents of the pre-Qin and Han dynasties, as well as a large number of inscriptions on Zhongding Yi wares. After comparative analysis, he reached incisive opinions and conclusions. He has written many articles, such as Monument and Postscript of Qu Bin, Monument and Postscript of General Gao Changning Shuo, Monument and Postscript of Nine Surnames of Khan in Uighur, Monument and Postscript of Wang Shixun in Gaochang in Shuyu Daoyuan, Epitaph and Postscript of Princess Li Xinjia in Tang Xian, and studied the history of ancient Mongolian Turkic and Uighur nomadic tribes from the epitaph and epitaph. His Mongolian Examination (originally named Mongolian Examination in Liao and Jin Dynasties) is an important treatise on the history of Mongolian tribes before Genghis Khan's founding in 2006. The main reason for the textual research of "The Main Causes of the Secret History of the Yuan Dynasty" written by him is the rectification of the army, which clarifies the situation and deeds of the rectification of the army in the late Jin Dynasty. He also wrote "Tatar Test" and "Black Car Room Test". His research method is to read the historical records of Song, Liao, Jin and Yuan Dynasties in China, refer to the monographs of Qian Daxin, He, Hong Jun, Tu Youyou, Shen and Ke Shaowen, and also quote the Secret History of Mongolian Yuan Dynasty, The Collection of Rust History, the works of The Travels of Marco Polo and Japanese scholars.
Third, the study of the history of Song and Yuan operas. Wang Guowei worked as a compiler in the Library of the Ministry of Education from 65438 to 0907, engaged in the study of China's classical operas, and successively wrote seven monographs, including Qulu, Textual Research on the Origin of Opera, Notes on Ghost Records, Good Sentences, Textual Research on Daqu in Tang and Song Dynasties, Notes on Qulu Quotations and Textual Research on Ancient Opera Footprints. After traveling to Japan, he completed the examination of Song and Yuan operas on 19 12. These works are creative research achievements and open up a brand-new road for the study of traditional Chinese opera. Because people have always regarded novels and operas as folk popular literature, "mediocre people are willing to get their hands on them, and strong men are thin and not doing it." Few people have studied it. Wang Guowei adopted the rigorous method of western academic research science, first making analysis and textual research, and then making comprehensive discussion. The first seven mentioned above are analysis and textual research, and the latter belongs to comprehensive masterpieces. When he wrote, he used the advanced western drama theory and aesthetic theory, "Look at what it will be, look at what it will be." (2) In terms of historical investigation, he concluded: "Since the Han and Wei Dynasties, China's dramas have combined hundreds of operas, and in the Tang Dynasty, they were divided into musicals and burlesque; In the Song Dynasty, burlesque flourished, and songs and dances were gradually used to decorate the story. Therefore, the musical is not based on singing and dancing, but on stories, and the system was decided after the Yuan Zaju came out. The Southern Opera came out with many changes, so there was pure opera in China. His summary is based on an assertion that "a dramatist means to perform a story by singing and dancing" (4), and "a story must be performed by combining words, actions and singing, and then the meaning of the drama begins to be complete" (5). Based on this principle, this paper investigates the formation, evolution and development of China's classical operas, and draws clear tracks and clues. In terms of artistic aesthetics, he said: "The best part of Yuan Zaju lies not in its ideological structure, but in its articles. The beauty of his articles can also be summarized in one sentence: only artistic conception. Why is it artistic? Say: it is refreshing to write about feelings, and the scenery is in people's eyes and ears, as it is said. The beauty of ancient poetry is no less than this. "(1) He used this aesthetic standard to make a concrete analysis and display of the artistic characteristics and aesthetic value of traditional Chinese opera language. People agree that the textual research of Song and Yuan operas is the "pioneering work" in the study of modern classical operas.
To sum up, the greatest contribution of Wang Guowei's historical research is to prove the materials and classics together. From the late Qing Dynasty to the early Republic of China, a large number of physical materials were discovered, such as: First, Oracle Bone Inscriptions in the Yin and Qi Dynasties; 2. Bamboo slips (also called quicksand slips) in Dunhuang fortress and surrounding areas of the Western Regions; The third is the scroll written by the Tang people in the Six Dynasties in Dunhuang Thousand Buddha Cave; 4. Books and archives of the Cabinet Ministry of Finance; Five, China ancient foreign cultural relics (such as Xixia, Mongolia, etc.). ). Wang Guowei studied these newly discovered underground materials in China and the West, devoted his life to research and textual research, and achieved great research results. He is open-minded and eager to learn, and his academic attitude is meticulous and rigorous. He met many scholars at home and abroad, such as French sinologist Dr. pelliot Shasha, famous Japanese scholars, Kenjiro Naito and Naoko Naoko, as well as famous China scholars Luo Zhenyu, Shen and Ke Shaowen. And exchange research results with them, discuss and learn from each other, which is very inspiring and encouraging. Wang Guowei's academic achievements have won him a high reputation in international and domestic academic circles.
literature
On 1908, Wang Guowei published "thorns on earth", which is a literary criticism work. He used the traditional form of poetry, and the content he talked about reached the height of modern aesthetic theory. It is a work of "learning from foreign ideas and inherent materials". He quoted the theory of "realm" in "Ci on Earth". China ancient literary critics also used these words, such as Yan Yu's "interest" in Song Dynasty, Wang Shizhen's "charm" in Qing Dynasty and Yuan Mei's "spirit", but all of them were in style and skill, while Wang Guowei mentioned the height of aesthetic essentialism. He said: "However, the so-called interest of Canglang and the so-called rhyme of Ruanting are still not their faces. If I choose the word' realm', I will explore its source." (1) "The word takes the realm as the top. If you have a realm, you have your own Gog and your own famous sentences. The words of the Five Dynasties and the Northern Song Dynasty are so unique. " (2) This is a general statement, which has a high evaluation of the Ci of the Five Dynasties and the Northern Song Dynasty, and its standard is the realm. "Scenery is not unique, and emotions are also one of the realms in people's hearts. Therefore, what can describe the scenery and have true feelings is called the realm. Otherwise, it is called no realm. " Context refers not only to the scenery, but also to the inner feelings. Scenery and emotion constitute two basic elements of literature, which are interrelated and are the unity of opposites between objective and subjective.
Under the guidance of this aesthetic theory, Wang Guowei put forward four relations.
The first is the relationship between "nature" and "ideal". There is also creation and writing. This ideal is divided from two schools of realism. But it is difficult to distinguish the two, because the environment created by great poets must conform to nature, but the environment written must also be adjacent to the ideal. Poetry has realism and idealism. Realism truly describes objective things, while idealism focuses on fiction and subjective imagination, based on the reality of life. Therefore, the environment created by great poets must conform to nature and be adjacent to ideals. Following nature is the poet's observation and reflection of the aesthetic object, and the true description of the scenery is written directly, just like the "Fu" in the poem. Being close to the ideal means that poets always use their ideals to choose life, cut life, make analogies, and express their thoughts and feelings, just like "comparison" and "xing" in poetry, touching things passionately and asking about things lyrically. Wang Guowei means that it is difficult to distinguish between the creation and writing of great poets. The highest state is that it can reflect the essence and feelings of objects, and the scenery and feelings are integrated with each other. This is the highest state. He quoted Ma Zhiyuan's poem "Jing Tian Sand" in Yuan Dynasty: "A withered vine and an old tree are humming. Small bridges and flowing water. The ancient road and the west wind are thin. When the sun sets, heartbroken people are at the end of the world. " The evaluation is "pure natural", and it is also rated as "a few words, and it is a wonderful scene of the Tang Dynasty." ② The first three sentences (18) of this Sanqu synthesize nine kinds of things, outline the bleak dusk scene in autumn, and set off a traveler who is far away from home. Ma Zhiyuan's writing style is extremely clear, which really reaches the state that "his scenery is refreshing, his words blurt out, and there is no state of grooming" and "his love is refreshing". In addition, Wang Guowei also spoke highly of Huayang Fu in Su Shi's Hidden Dragon. The first sentence of this word is "if a flower is not a flower, no one will regret it", and the last few sentences are "three points in spring, two points in dust and one point in water". It seems that it is not a flower, but a little bit is a tear. " Wang Guowei commented: "Poems about objects are the best works of Shuilongyin by Dongpo." (4) Su Shi, a poet, described Huayang as a flower instead of a flower, focused on it, used "wind" and "rain" to flow through it, and put Huayang as a container into his subjective imagination, revealing his concept of life and his style was more elegant. Here, "I" is integrated into the landscape, and it is between intentional and unintentional with the landscape. So reading this word is very touching and effective. Wang Guowei requires that the viewing can reflect the inner essence of a certain scenery, that is, "the spirit", so as to achieve the truth of "the real scenery" and "the meaning"; When expressing life feelings, it can reflect the truth of human nature, achieve true feelings and create a unique artistic picture. The poet's ideals and feelings of "worrying about life" and "worrying about the world" naturally permeate his works. Nature and ideal, writing environment and creative environment, realism and idealism, in short, to achieve this realm, this is beauty.
The second is the relationship between "in" and "out". A poet must be both inside and outside the universe. If it is involved, you can write it. Outside it, we can see it. You will get angry inside and get high outside. A poet will despise foreign things, so he can be a slave. We must have a sense of attaching importance to foreign things, so that we can have the happiness of flowers, birds, fish and insects. (2) To observe, experience, understand and comprehend the universe and life, a poet must "blend in" and blend in with life. Everyone can observe, but the eyes of ordinary people are different from those of poets. Sometimes ordinary people's eyes can't see, can't see through, or can't say it when they see it, and they don't have the ability to refine it. Poets have different eyes. He can observe, can observe, can break through his narrow vision, stand higher than others, "go beyond the image and enter the circle", can refuse obstacles such as selfish desires and utilitarianism, and can observe and understand the essence of the object. This is the inner beauty of the poet's genius. With this lofty personality and quality, we can see him. At the same time, the artistic realm to be materialized, that is, the second nature, second life and second self formed by the aesthetic subject (writer), needs to be expressed through artistic forms and techniques. This performance lies in the aesthetic subject's ability to control artistic forms and techniques, which determines whether the author can achieve high goals when he is out of line. Because the image in the author's mind is the dialectical unity of observing things and feelings, reaching the highest level, sometimes fleeting, and needs to be expressed in immortal words. Therefore, the author should not only transcend the image, despise foreign things, but also attach importance to foreign things and enjoy flowers and birds. Wang Guowei commented: "The poet of the Southern Song Dynasty, Baishi has a ruthless style, and Jiannan has a spirit but lacks rhyme. Compared with the Northern Song Dynasty, it is the only young ear. " The case, emotion, qi and rhyme mentioned here are style, temperament, phonology and meteorology, which can set off the "realm". Therefore, the realm includes keen observation ability and deep feelings, which can reflect a vivid image. Wang Guowei quoted Zhou Bangyan's poem "Su Mu Zhe" to praise the lotus, in which "the leaves are dry and rainy, the water garden is clear, and the wind and the lotus are in one stroke". Comment: "This can really get the spirit of lotus." (1) In addition, he quoted Feng Yanji's poem "Nanxiangzi" about grass, including "When the rain is wet, the grass grows bitter every year". He commented: "The word' drizzle wet ribbon' can capture the soul of spring grass." These two paintings, through language, color and lines, fully show the inner strength of lotus and grass, which can not only capture the spirit of lotus, but also capture the soul of spring grass and reflect the poet's mood. This is a typical example.
The third is the relationship between "gradual enlightenment" and "epiphany". Great undertakings and university questioners in ancient and modern times must go through three realms: "The west wind withered the green trees last night. Being alone in a tall building, looking at the horizon. " So is this first place. "The belt is getting wider and wider, and I don't regret it. I am thin for Iraq. " So is this second environment. "Looking for him in the crowd, I suddenly turned around, but the man was in the dim light." So is this third place. None of these words are big words. However, if you interpret this sentence like this, you may not be allowed by terns. "(3) this is a famous saying in" Ci Hua on Earth ". Wang Guowei used the broken sentences of Yan Shu, Liu Yong and Xin Qiji to describe the difficult course of Ci. At the same time, he also extended the reason for his success to university education. These three realms are the cultivation and exercise of poets in the process of artistic creation. The aesthetic grasp of people and things by the aesthetic subject (author) forms the materialized conscious object, second nature, second life and second self, and then manifests itself as a conscious object (work) in the form of art, during which there is a process from gradual enlightenment to epiphany. The first realm is "last night, the west wind withered the green trees, and I went to the tall building alone to look at the horizon." "The west wind withers the green trees" is a restless mood. If a poet wants to view things, he must first get rid of all kinds of distractions in reality, get rid of all self-attachment, including bitterness, fame, profit, gain and loss, get rid of all personal selfish distractions, and have nothing in his heart, so as to achieve a microscopic view of things. "A person in a tall building, looking at the end of the world. "At this time, I will calm down and be able to experience the inner beauty of things. The second realm, "I don't regret that my belt is getting wider and thinner for Iraq." "This is an aesthetic grasp of the aesthetic object, and the aesthetic subject (author) has an alternative, stubborn and lifelong regretless spirit, exploring the beauty of things. This kind of beauty must transcend individual, external and accidental things, draw a universal, internal and inevitable concept, and shape the image of beauty with aesthetic grasp. The poet's mood in this realm is calm, pure and natural, seeking a natural pleasure. On the one hand, this search is hard and makes people haggard and emaciated. On the other hand, this pursuit sublimates the author's feelings and achieves a perfect artistic conception. Although "the belt is getting wider and wider", it is still worth it, and you have no regrets when you die. The third realm: "the crowd looked for him for thousands of Baidu, and suddenly looked back, but the man was in the dim light." "We are talking about an epiphany here. After the first and second stages of efforts, the author can express things exquisitely in the clearest language, as if it were natural. At this time, the author's state of mind reached the realm of no desire, no thoughts, no happiness and no worries, and gained wisdom. " Many people are looking for him from thousands of Baidu, expressing the hardships of "Hui". "Looking back suddenly, the man was in the dim light", expressing an epiphany of wisdom. In the hard search, the poet was suddenly enlightened, inspired by generate, witty, brilliant and expressive, which is a realm that is extremely difficult to obtain. In the third realm, poets also get spiritual comfort and pleasure from their own poems. Wang Guowei liked Li Yu's ci and was praised as "beauty". He said: "When the poet arrived in Li Houzhu, he became a scholar-bureaucrat's word, and his vision began to broaden and his feelings began to deepen." 2 Li Yu's words: "Hua Lin thanked Chunhong and was anxious. Helpless, the cold came and the wind came late. Colorful tears make people intoxicated. When will it be heavy? Naturally, people hate water when they grow up. " Don't be alone, it is infinite, and it is easier to see when you are away. Running water in spring is heaven and earth. " ("Langtaosha") "When is the spring flower and the autumn moon, how much is known about the past. ..... ask how worried you are, just like a river flowing eastward. " (Yu Meiren) These words are eternal songs. The feelings expressed by Li Yu have a "childlike innocence", which transcends the limitations of personal life experience and expresses a universal human feeling. He got rid of personal will, desire and interest, and entered aesthetic meditation "freely", so that he could deeply see the inner essence of people and things, interweave his strong subjective feelings with this objective "meditation", and realized the integration of human feelings and scenery. Describe this feeling truly and concretely, and complete the shaping of the lyric poet's self-psychological image. Therefore, it can most impress the reader's mind and cause * * *. His ci can best reflect that the poet really experienced three realms of poetry and reached the highest realm of wisdom epiphany. Wang Guowei commented: "The words of my ancestors can really be called bloody books. ..... The latter means that Sakyamuni and Christ bear human sins "(1). Li Yu did have his extraordinary joys and sorrows. He combined his life with the creation of Ci, full of spirituality and wisdom.
The fourth is the relationship between "separation" and "never leaving". Asked about the difference between "separation" and "non-separation", he said: Xie Tao's poems are inseparable, only slightly separated when the year is extended; Dongpo's poems are not separated, and the valley is slightly separated. The beauty of the words "spring grass grows in the pond" and "empty beams fall in the mud" lies in their non-separation. Wang Guowei emphasized that poetry should be natural, true, true and emotional, vivid and vivid. It is a portrayal of the object and a mirror of human beings, which vividly reproduces nature and life and reflects the essence of beauty. When a work comes out, readers feel in their hearts, that is, the materialized conscious object (work) reproduces the artistic realm in their minds. This reappearance permeates the readers' own life experience, artistic experience and spirit of the times, which mainly depends on the depth, presence and size of the realm of artistic works, the degree of materialization and so on. Wang Guowei's so-called "inseparable" means that he can truly express his feelings and vividly describe the scenery, without allusions, official affairs, whitewashed words, substitute words and refusing wandering words. His evaluation of Jiang Kui's poems is not high, and his main shortcoming is "withdrawn". The reason for the separation is that there are too many allusions in Jiang Baishi's ci, which are difficult for readers to understand when reading, and the elegance of the ci is too high, the rhyme of "fairy" is too heavy, and the human touch is relatively weak, so readers can't directly feel its realm. Therefore, Wang Guowei commented: "The white stone landscape works, such as' Twenty-four Bridges are still there, and the waves shake Leng Yue silently. "Several peaks are bitter, and it is yellow rain in Shang Lue", and "Cicada is late at night, and the news from the west wind says". Although the rhyme is high, it is like seeing flowers in the fog, separated by a layer. "(1) Wang Guowei doesn't like the words, and his evaluation of Wu is very low, saying that Wu's words have the shortcoming of" Li Sao ". He also belittled his writing as "superficial" and "withered", and his talent was limited. Although the words are colorful and there are many beautiful words, they are always too "fake" and have no real feelings. Some people commented on Wu Ci, such as the Seven Pagodas, which dazzled people and shattered into pieces. Wang Guowei also commented on a sentence in Wu Wenying's ci, saying: "The dream window is messy and the sky is blue" (②), which also means this.
To sum up, Wang Guowei's "The Thorn on Earth" is still a concise and concise form of traditional poetry, but it has many wonderful opinions, which are based on profound and rich aesthetic theories. His theory of artistic conception raised the theories of style, charm, meteorology and interest in China's traditional poetry talk to the height of western aesthetic theory, and formed the aesthetic principles and theories of China's criticism of poetry. He discussed the relationship between the author and nature, the author and works, and the works and readers in the aesthetic category, demanding high style, writing real scenery and feelings, advocating nature, and being immersed in "uninhibited" (3). This theory corrects the shortcomings of Westernization School and Changzhou Ci School in the late Qing Dynasty, which is more comprehensive than paying attention to grace or boldness. Although his aesthetic theory system is idealistic and pessimistic about life, and his specific conclusions are not necessarily accurate, his aesthetic theory is a breakthrough in feudal Confucian literary theory with "literature as the core". Previously, Liang Qichao and Huang Zunxian devoted themselves to the "poetic revolution", focusing on political content, and rarely discussed the artistic shaping of the realm of poetic beauty. Modern aesthetics began with Wang Guowei. Moreover, Wang Guowei's aesthetic thought runs through critical novels, plays, fine arts and other fields, which is universal. Therefore, his aesthetic thoughts and literary criticism have made historic contributions and have important enlightenment significance.
Wang Guowei's poems are few, 192, 1 15. Later, he devoted himself to studying history. His words are quite skillful and conceited. Fan evaluated it as "winning by artistic conception" and "forgetting artistic conception and integrating things with me" For example: how much hate I dreamed last night, how good the horse is, and the two lines are similar. On the other hand, it seems that people are poor and thin, and many people do not hesitate to ask questions. On the stranger's bed, I listened to the hidden thunder It's hard to follow in dreams and hard to hear after sleep. An inch before the window of wax tears, there is only acacia in the world! ("Die Lian Hua") ② A hundred feet of Zhu Lou faces the avenue, and the light thunder outside the building does not faint. People are gentle, and pedestrians are less idle. In a flash, the dust of the car gave birth to a tree. Strangers go upstairs and grow old in the dust. In the evening, the west wind blows and rains, and the Ming Dynasty is sad. (Dead Hua Lian) At the end of the day, dark clouds are gathering, and the lonely geese fly against the wind. Lonely and safe in Jianghu? Look at the falling feathers on the golden pill, and try to adjust the acyl in the boudoir. Today's feast is better than usual. ("Huanxisha") 4 Fan commented on Wang Guowei's words: "Your words are sincere and back-and-forth, shocking, fast and straight, flexible, disdainful of the suffix, and there are often more famous sentences than predecessors. He means far when he speaks near, and he does what he says. Since uncle Yong, almost no one has done things like a gentleman. " 1. Wang Guowei's poems are vivid, vivid, profound in emotion, sonorous in rhyme, blending with scenes, profound in artistic conception and rich in philosophy, which can be blended into scenes, interesting to read and noble in character. Deliberately, there is really a kind of beautiful enjoyment. (1) The Selected Works of Jing 'an, p. 2 1. ② Collected Works of Jing 'an, printed in Guangxu thirty years, p. 1. (1) the preface to Mr. Wang Jing' an's suicide note, Jin Ming Guan Cong Draft II, page 2 19. (1) the preface, China ancient social research, Shanghai new literature and art publishing house 1952. (1) Preface to Selected Works of Wang Guowei's Dramas, China Drama Publishing House, 1957, p. 370. (2) "Song and Yuan Dynasties Opera Preface", Wang Guowei's "Opera Essays", page 3. (3) Textual Research on Song and Yuan Opera, Wang Guowei's Opera Essays, p. 134. (4) Textual Research on Traditional Chinese Opera, Collected Works of Wang Guowei's Traditional Chinese Opera, p. 20 1. ⑤ Examination of Song and Yuan operas,