Wang Guowei (1877-1927), courtesy name Boyu, also known as Jing'an and Guantang, was born in Haining, Zhejiang. His father, Wang Naiyu, is a businessman. His mother died when he was 4 years old, and his father often went out to do business. He was strict in educating his children and developed Wang Guowei's withdrawn character. He went to Hangzhou twice to take the provincial examination, but failed, so he tended to learn new things. After the Sino-Japanese War, he went to Shanghai and worked as a secretary and proofreader for the "Current Affairs News". At the same time, he used his spare time to join the East Literature Society run by Luo Zhenyu and studied Japanese, physics and chemistry courses from Fujita Toyohachi and others. Luo Zhenyu of Shangyu saw the epic poem written on Wang Guowei's fan and admired his talent and learning. He helped him financially and left him as a general servant at Dongwenshe. The king vowed to serve Luo Zhenyu and rely on Luo for life. In 1901, Wang Zeng went to Japan to study, but returned to China due to illness the following year. In 1903, he was appointed as a teacher at Nantong Normal School, and in 1904, he was appointed as a teacher at Jiangsu Normal School, teaching psychology, ethics and sociology. In 1906, Luo Zhenyu was transferred to Beijing to serve as an official in the academic department. Wang followed him to Beijing. The following year, he worked in the General Affairs Department of the academic department and served as a compiler in the academic library. He is very interested in the philosophy of Schopenhauer, Kant, and Nietzsche. He has published a number of philosophical papers in "Education World" to introduce German philosophy, and is also engaged in research on poetry and opera. In 1908, "Human Words" came out, and in 1912, "A Study of Song and Yuan Operas" came out.
After the Revolution of 1911, Luo Zhenyu and Wang Guowei fled to live in Japan. Luo said to the king: The world is changing very fiercely now, and scholars can do whatever they want, so there is no way to abandon the scriptures and believe in the past. After listening to Luo's advice, the king abandoned his previous studies and specialized in classics and history. He used the scriptures, history, ancient artifacts, oracle bone inscriptions, quicksand slips, etc. stored in Luo Zhenyu's Dayun Library to write a number of academic papers after research. In 1916, he returned to Shanghai and was hired by Hartung to edit the magazine "Academic Series" and later served as a professor at Bao Shengming University. He is still engaged in oracle bone inscriptions and ancient history research, and has a close relationship with Shen Zengzhi and others in academic discussions. In 1923, he was called to serve as Nan Shufang's assistant and became the tutor of Puyi, the deposed Qing Dynasty emperor. In 1924, Feng Yuxiang expelled Puyi from the Forbidden City. Wang Guowei thought it was a "big insult" and wanted to commit suicide. However, his family members closely monitored his attempt but he failed. In 1925, he went to teach at the Graduate School of Tsinghua University and engaged in research on ancient northwest geography and Mongolian history. In April and May of 1927, the Northern Expeditionary Army arrived in Henan. The Beiyang warlords were about to collapse and the revolutionary situation was at an all-time high. Wang Guowei wrote a suicide note on June 2, saying: "In fifty years, I only owe one death. After this world change, There is no need for any further humiliation." He threw himself into Kunming Lake in the Summer Palace and ended his life as an old man.
Looking at Wang Guowei's academic activities, he first studied philosophy, then turned to the study of literature, and then turned to the study of history, with the study of history making the greatest contribution.
Philosophy
When Wang Guowei studied philosophy, he first read Kant's book: "Critique of Pure Reason". The book was very profound and difficult to understand. He then read Schopenhauer's book: "The World as Will and Representation" and was deeply influenced by Schopenhauer. Wang Guowei wrote "In Praise of the Image of Khan", "Schopenhauer's Philosophy and Educational Theory", "Schopenhauer and Nietzsche", "Book of Schopenhauer's Inherited Theory", "Interpretation" and other papers, which comprehensively introduced The philosophical thoughts of Kant, Schopenhauer and Nietzsche. Wang Guowei was deeply influenced by Schopenhauer's thoughts, and Schopenhauer's thoughts were used in all aspects of philosophy, aesthetics, education, religion, law, and politics. He believes that philosophy and art are about exploring eternal spiritual truths, and that philosophy of life is about exploring the truth that life is suffering and the way to relief from it. Aesthetics can inspire people's emotions, cleanse their spirits, reveal the true meaning of life, make people transcend things, forget about interests, gain spiritual comfort, and seek temporary relief. He wrote articles such as "The Place of Classical Elegance in Aesthetics" and "Short Essays on Literature", which are famous works that display Schopenhauer's aesthetic thoughts. He wrote another article "Commentary on a Dream of Red Mansions" to analyze the tragic significance of the novel "A Dream of Red Mansions" written by Cao Xueqin. He used Schopenhauer's aesthetic thoughts to analyze the basic spirit of the book "Dream of Red Mansions", which is to show the tremendous pain caused by the desire for life and thus embark on the road to liberation. "Understand the essence of the universe and life" and "understand the truth of the universe and life". This insight creates a complete tragedy and has typical aesthetic value. Wang Guowei's research on "Dream of Red Mansions" was unique and discerning. For the first time, he revealed the inner meaning of the novel, overturned the prejudice of feudal literati regarding "Dream of Red Mansions" as a "pornographic" work, and also criticized the "index school" for being cumbersome. Using historical research methods, "A Dream of Red Mansions" is recommended as a great work of ancient Chinese literature and affirms its tragic significance and aesthetic value. Wang Guowei became tired of studying philosophy. He once said in his "Preface": "I have been tired of philosophy for a long time; most of the philosophical sayings are lovable but not credible, and those that are credible are not lovable. I know the truth, but I also love its fallacy. The great metaphysics, Strict ethics and pure aesthetics are what we are passionate about. However, if we want to find credibility, we would rather understand them through positivism in epistemology, hedonic theory in ethics, and empiricism in aesthetics. To be credible but not cute, to think it is cute but not to be believed, has been the biggest frustration in the past two or three years.”①
There were two major trends in Western philosophy introduced to China at that time: one was British positivism. , such as Locke, Hume, Spencer, etc., which is a set of positivist and empiricist ideas promoted by Yan Fu. The other is German philosophy, such as the thoughts of Kant, Schopenhauer, and Nietzsche, which are transcendental and idealist ideological systems.
On the one hand, Wang Guowei preferred the philosophies of Kant, Schopenhauer, and Nietzsche. However, he also criticized these philosophies as cute and unreliable. He once said of Schopenhauer: "Understanding Uncle's theory is partly due to his subjective temperament." , and has no objective knowledge.” ② On the other hand, he was also influenced by positivist thinking and studied logic, mathematics, chemistry, and physics. These knowledge cultivated his scientific research methods, but he They are also dissatisfied with science and empirical evidence, and believe that it is necessary to explore the path and truth of life. This is what he considers "believable but not cute". As a result, he wanders between cuteness and credibility, and his thoughts are often in conflict.
After the Revolution of 1911, when he went to Japan, he gave up writing and focused on the study of history. In the study of history, Western positivist scientific research methods have played an important role.
History
Wang Guowei is a famous historian who belongs to the archaeological school. Chen Yinke once described his academic achievements: "The content and research methods of his scholarship can be summarized in three words. One is to take the physical objects in the underground and the relics on the ground to explain each other; everything that belongs to archeology and antiquity Historical works, such as "An Examination of the Ancients and Kings Seen in the Yin Inscriptions" and "An Examination of the Gui Fang, Kun Yi, and Yu" are also based on the second one, which is to supplement each other with the old books of our country; all belonging to the Liao, Liao, and Han Dynasties. Works on the history of the Jin and Yuan Dynasties and frontier geography, such as "Meng Gu Kao" and "Yi Er Jian Kao of the Secret History of the Yuan Dynasty", etc. The third one is to use foreign concepts and inherent materials for mutual reference, and all belong to literary criticism and Works on novels and operas, such as "Comments on a Dream of Red Mansions", "A Study of Operas of the Song and Yuan Dynasties", "A Study of Dramas of the Tang and Song Dynasties", etc. "① Chen Yinke has a clear and clear explanation of the scholarly fields and methods of Wang Guowei's historical research.
First, Wang Guowei’s research on oracle bone inscriptions. Oracle bone inscriptions were first discovered in the late Qing Dynasty. Wang Yirong was the first to discover it. Later, Liu E published "Tie Yun Hidden Turtle". Subsequently, Sun Zhirang and Luo Zhenyu conducted research on oracle bone inscriptions. The first person to evolve oracle bone science from philology to history is Wang Guowei. He wrote "An Examination of the Ancestors and Kings Seen in the Yin Inscriptions", "A Continuing Examination of the Ancestors and Ancestor Kings Found in the Yin Inscriptions", "On the System of the Yin and Zhou Dynasties", "An Examination of the Place Names Seen in the Yinxu Inscriptions", "Essays on Yin Rites" " and "New Evidence of Ancient History", etc., he compared the oracle bone inscriptions on the ground with the ancient Chinese historical books on paper, corrected the errors recorded in the books with inscriptions, and further discussed the political system of the Yin and Zhou Dynasties, and obtained He came to a brand-new conclusion, and his research method was extremely rigorous, so his conclusion can be called a rigorous review. He himself called this research method the "double evidence method", that is, comparing the materials in the underground with the materials on paper to verify the truth of ancient history. This textual research method not only inherits the textual research tradition of the Qianjia School, but also uses the scientific textual research method of Western positivism, so that the two are organically combined, opening up new fields and creating new methods in the study of ancient history. Great achievements have been made. Guo Moruo once praised: "Wu Guowei... what he left to us is the product of his knowledge. It is like a pavilion of Cui Wei, shining a strange light on the fortress of the old learning for thousands of years." ① In the late Qing Dynasty, Kang Youwei proposed that "the Six Classics are all false". Later, the historians developed into the antiquity school and were skeptical of ancient history. Zhang Taiyan is an ancient classical scholar and is proficient in the phonology of language and characters. However, he does not believe in oracle bone inscriptions and believes that oracle bone inscriptions are not real. Therefore, he has a negative attitude towards this method of studying oracle bone inscriptions and then studying history. Wang Guowei is different from the ancient skeptics. He believes that ancient legends still have the value of historical research, and his attitude is more cautious. He was also different from the Qianjia School. The Qianjia School was a group of Confucian scholars who studied language and philology for the purpose of understanding the Classics. However, Wang Guowei's basic starting point for studying language and philology was to examine history. Zhang Taiyan, on the other hand, believed too much in book knowledge. He even denied the value of the inscriptions on bronze vessels and the inscriptions on tortoise shells. This was nothing more than a conservative thought in scholarship.
Second, the study of northwest geography and Mongolian history. Wang Guowei conducted extensive research on the geography of the northwest and the history of ancient nomadic peoples in the Mongolian region. He used Han and Jin wooden slips, Dunhuang documents, inscriptions, and foreign writings to compare, collate, and textualize, and wrote a paper with significant contributions. . For example, he wrote "A Brief Preface to the Fall of Quicksand", which is a paper that uses wooden slips from the Wei and Jin Dynasties to examine the location of Loulan, a famous ancient city in the Western Regions, and its rise and fall. The "Gui Fang, Kun Yi, and Yu Kao" written by him made use of documents from the pre-Qin and Han Dynasties, as well as many materials from the inscriptions of the bells, tripods, and Yi vessels. After comparison and analysis, he came to incisive insights and conclusions. He wrote articles such as "The Stele and Postscript of the Temple Built by General Qu Bin of Ningshuo in Gaochang", "The Stele and Postscript of the Nine Surnamed Uighur Khans", "Behind the Stele of King Shixun of Gaochang in Shuyu Daoyuan", "The Postscript of the Epitaph of Princess Xianli Xinga of Tang Dynasty", etc., from the inscriptions and epitaphs The inscriptions examine the history of the ancient nomadic tribes Turks and Uighurs in Mongolia. The "Mongolian Examination" (originally known as "The Mongolian Examination of the Liao and Jin Dynasties") written by him is an important treatise on the history of the Mongolian tribes before the founding of the country by Genghis Khan in 1206. He wrote "A Study of the Secret History of the Yuan Dynasty: The Main Cause Yierjian" and concluded that the main cause Yierjian was Jiujun, and clarified the situation and deeds of Jiujun in the late Jin Dynasty. He also wrote "Tatar Examination", "Black Car Chamber Affairs Examination" and other articles. His research method is to diligently read Chinese historical books of Song, Liao, Jin, Yuan, etc., and also refer to the monographs of scholars such as Qian Daxin, Xu Song, Zhang Mu, He Qiutao, Hong Jun, Li Wentian, Tu Ji, Ding Qian, Shen Zengzhi, Ke Shaobin, etc. It also quoted "The Secret History of the Yuan Dynasty" in Mongolian, Rashid's "Historical Collection", "Marco Polo's Travels", and compared, collated and verified the works of Japanese scholar Nakatsuki, and then came up with a superb thesis.
Third, research on the history of drama in Song and Yuan Dynasties. In 1907, Wang Guowei was engaged in the study of Chinese classical opera when he was the editor of the academic library, and successively wrote "Qu Lu", "A Study of the Sources of Opera", "Lu Gui Book Collation and Notes", "You Quotations", and "A Study of Tang and Song Daqu" There are 7 kinds of monographs, "Recording Qu Yu Tan" and "An Examination of Ancient Drama Roles". After traveling east to Japan, he completed the "Examination of Operas of the Song and Yuan Dynasties" in 1912. These works are creative research results and have opened up a new path for opera research. This is because people have always considered novels and operas to be folk literature that "the mediocre people are happy to get involved in, but the strong men do not do it"①. Very few people are doing research. Wang Guowei adopted the rigorous scientific method of Western academic research, first conducting analysis and textual research, and then making a comprehensive discussion. The first seven types mentioned above are analytical verifications, while the latter type is a comprehensive masterpiece. In his writings, he also used advanced Western drama theory and aesthetic theory, "Watch their understanding and get a glimpse of their secrets." ② In terms of historical investigation, he concluded: "Chinese drama, since the Han and Wei dynasties, has been inextricably linked to the past centuries. In the Tang Dynasty, operas were divided into two types: song and dance dramas and burlesque operas. In the Song Dynasty, burlesque operas were particularly popular, and they gradually used songs and dances to decorate stories. Therefore, Xiangzhi's song and dance operas did not focus on songs and dances, but on stories. By the Yuan Dynasty, With the emergence of Zaju, the system was established; with the emergence of Southern opera, there were more changes, and then our country began to have pure opera."③ His summary of this paragraph is based on a conclusion, that is, "operators use songs and dances to act out stories"④, and "speech, movement, and singing must be combined to act out a story, and then the meaning of the drama will be complete"⑤. Use this principle to examine the formation, evolution, and development process of Chinese classical opera and draw clear paths and clues. In terms of artistic aesthetics, he said: "The best thing about Yuan opera is not its ideological structure, but its articles. The beauty of its articles can be summed up in one sentence: it's just artistic conception. What is meant by artistic conception? ? Said: The description of emotions is refreshing, the description of scenery is in the ears and eyes, and the beauty of ancient poetry is nothing less than this. "① He applies this aesthetic standard to the artistic characteristics and aesthetics of the opera's language. The value has been specifically analyzed and developed. People unanimously agree that "An Examination 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 integrate materials and scriptures. From the late Qing Dynasty to the early years of the Republic of China, a large number of material materials were discovered, such as: 1. Yinqi oracle bone inscriptions; 2. Slips on the Dunhuang Fortress and in various places in the Western Regions (also known as slips falling from the quicksand); 3. Tang people from the Six Dynasties in the Thousand Buddha Cave in Dunhuang Scrolls written; 4. Books and archives in the cabinet treasury; 5. Ancient foreign texts in China (such as Xixia, Mongolian, etc.). Wang Guowei studied these newly discovered underground materials, both Chinese and Western, and spent his whole life researching and verifying them, and achieved great research results. He was open-minded and eager to learn, and had a meticulous and strict attitude towards his studies. He got to know many scholars at home and abroad, such as the French sinologists Pelliot and Dr. Chavan, the famous Japanese scholars Fujita Toyohachi, Naito Torajiro, Kano Naoki, Tomita Kenzo, as well as famous Chinese scholars. Luo Zhenyu, Shen Zengzhi, Ke Shaobin, etc. exchanged research results with them, discussed and exchanged knowledge with them, and were inspired and encouraged by them. Wang Guowei's academic achievements have given him a high reputation in international and domestic academic circles.
Literature
Wang Guowei published "Human Words" in 1908, which is a work of literary criticism. He made use of traditional poetic forms, and the content he discussed reached the height of modern aesthetic theory. It is a work that "takes foreign concepts and inherent materials to mutually support each other." He highlighted the "realm theory" in "Ren Jian Ci Hua". Ancient Chinese literary and art critics also used these words, such as "interest" by Yan Yu in the Song Dynasty, "charm" by Wang Shizhen in the Qing Dynasty, and "spirit" by Yuan Mei, but they were all in terms of style and technique, and Wang Guowei's Mention the essentialist height of aesthetics. He said: "However, Canglang's so-called interest and Ruan Ting's so-called charm are not just their appearance. It would be better for me to use the word 'realm' to explore their roots." It has its own high style and its own famous sentences. This is why the poetry of the Five Dynasties and the Northern Song Dynasty is unique." ② This is a general summary. The poetry of the Five Dynasties and the Northern Song Dynasty is highly evaluated, and its standards are high. "The realm is not just scenery. It is also a state in people's hearts. Therefore, those who can depict real scenery and true emotions are said to have a realm. Otherwise, they are said to have no realm." ③ The realm not only refers to scenery, but also to the feelings of the heart. Scenery and emotion constitute the two basic elements of literature, and the two are interrelated. This is the relationship between objective and subjective opposition and unity.
Under the guidance of this aesthetic theory, Wang Guowei proposed four relationships.
The first is the relationship between "nature" and "ideal". There is the creation of a scene, and there is a description of the scene. This is the origin of the two schools of idealism and realism. However, it is difficult to distinguish between the two, because the environment created by a great poet must be in line with nature, but the environment he writes must also be adjacent to the ideal. ④ There are two types of poetry: realism and idealism. Realism describes objective things realistically, while idealism focuses on fiction and subjective imagination, while fiction and subjective imagination are based on the reality of life. Therefore, the environment created by a great poet must be in line with nature and adjacent to ideals. In line with nature, it is the poet's feeling of observing and reflecting the aesthetic object, and truly depicts the scenery, just like the "fu" in the poem, directly describing the matter. As for being close to ideals, poets always use their own ideals to choose and tailor life, draw analogies and connect analogies, and use things to express aspirations, just like the words "bi" and "xing" in poetry, touching things to arouse emotion, and searching for things. To express the poet's thoughts and feelings.
What Wang Guowei means is that the great poets create and write scenes that are difficult to distinguish. The highest realm is to reflect the essence of objects, scenery and life (emotions). Moreover, the scenes and scenes merge with each other to achieve a harmonious whole. This is the highest realm. He quoted Ma Zhiyuan's poem "Heaven Pure Sand" written by Ma Zhiyuan of the Yuan Dynasty: "Withered vines, old trees and dim crows. Small bridges and flowing water, people's houses. The west wind winds and the thin horses on the ancient road. The sun sets in the west, and the heartbroken people are at the end of the world." He evaluated it as "purely the sound of nature"① , and was also rated as "a few words, which capture the beauty of Tang Dynasty quatrains." ② The first 3 sentences and 18 characters of this Sanqu combine 9 kinds of things, outline the bleak evening scene of autumn, and set off a traveler far away from home. Come. Ma Zhiyuan's writing skills are extremely superb, and he has truly reached the realm of "his description of scenes must be eye-catching, his words blurt out without any pretense", and "his emotions must be refreshing"③. In addition, Wang Guowei spoke highly of Su Shi's "Water Dragon Song" with Yanghua. The first sentence of this poem is "It looks like a flower, but it seems not a flower, and no one cherishes it." The last few sentences are "Spring beauty is three parts, two parts dust, and one part running water. If you look closely, it is not a poplar flower, but the dots are tears of separation. Wang Guowei commented: "Dongpo's "Water Dragon Song" has been the most successful since then." 4. The poet Su Shi described the poplar flowers as if they were flowers but not flowers. "Rain" flows in one breath, using the poplar flowers as a container to put subjective imagination in, revealing the concept of life, and the style is more elegant. Here "I" is integrated into the scenery, and I am involved with the scenery intentionally or unintentionally. Therefore, when reading and chanting this word, I have the feeling and effect of sighing and sighing, and endless food for thought. Wang Guowei requires that observing scenery can reflect the inner nature of a certain scene, that is, "divine principle", to achieve the truth of "true scenery" and "idea"; when reflecting the feelings of life, it can reflect the truth of human inner nature, to achieve true feelings. , creating a unique artistic picture, and the poet's ideals and feelings of "worry about life" and "worry about the world" naturally penetrate into the work. Nature and ideals, description and creation, realism and idealism, taken together, should all reach this state, which is beauty.
The second is the relationship between "in" and "out". When it comes to the universe and life, the poet must be both inside and outside of it. Enter it, so you can write it. It is outside of it, so it can be observed. When it goes inside, it has vitality; when it comes out, it has height. ① The poet must have the intention of despising external objects, so he can live as a slave to the wind and the moon. There must also be a sense of attaching importance to external things, so he can have joy and sorrow with flowers and birds. ② To observe, experience, understand, and understand the universe and life, the poet must "enter it" and go into life. Everyone can observe, but the eyes of ordinary people are different from the eyes of poets. Sometimes the eyes of ordinary people cannot see, cannot see through, or cannot express what they see, or have no ability to refine. The poet's eyes are different. He can observe quietly, observe, break through his own narrow vision, stand outside and stand higher, "beyond the outside of the image and get within the circle". He can reject selfish desires, utilitarianism, etc. Being able to perceive and understand the nature of objects despite obstacles is the "inner beauty" of the poet's genius. Only with this noble personality and quality can he be able to see and understand. At the same time, the artistic realm to be materialized, that is, the second nature, second life and second self formed in the aesthetic subject (writer) needs to be expressed in artistic forms and techniques. This expression lies in the aesthetic subject's control of art forms and art. The ability of technique, this ability is high or low, which determines whether the author can achieve greatness when "out of the ordinary". Because the image in the author's mind is the dialectical unity of observing objects and emotions, reaching the highest state, sometimes fleeting, it is a momentary thing that needs to be expressed in immortal words. Therefore, the author should not only transcend the outside world, despise external objects, and be able to live as a slave to the wind and moon, but also pay attention to external objects, integrate the scene into one, and be able to experience joy and sorrow with flowers and birds. Wang Guowei commented: "Baishi, a poet in the Southern Song Dynasty, has style but ruthlessness, while Jiannan has energy but lacks rhyme. Among the poets in the Northern Song Dynasty, the only one who criticizes is You An'er." ③ The style, emotion, energy, and rhyme discussed here It is the style, temperament, phonology and atmosphere, the four of which can set off the "realm". Therefore, realm includes keen observation skills, deep emotions, and the ability to reflect vivid and vivid images. Wang Guowei cited the poem about lotuses in Zhou Bangyan's "Su Muzhe", in which "the sun rises above the leaves and the rain dries up, the water surface clears the garden, and the wind lifts the lotuses one by one." The commentator said: "This is someone who can really understand the spiritual principles of lotus." ① In addition, he cited the poem about grass in Feng Yanji's "Nanxiangzi", which includes "The drizzle wets the flowing light, and the fragrant grass grows with hatred every year." He commented: "The five words 'drizzle wet and flowing light' can capture the soul of spring grass." ② These two pictures fully express the inner essential power of lotus and green grass through language, color and lines, and can capture the essence of lotus. The divine principle captures the soul of the spring grass. At the same time, it also reflects the poet's state of mind. This is a typical example of being good at entering and exiting well.
The third is the relationship between "gradual enlightenment" and "sudden enlightenment". Those who have achieved great things and great knowledge in ancient and modern times must pass through three realms: "Last night, the west wind withered the green trees. I climbed up to the tall building alone and looked at the end of the world." This is the first realm. "The belt is getting wider and wider, but I don't regret it anymore. I feel haggard because of the loss of my clothes." This is the second state. "The crowd looked for him thousands of times, but suddenly looking back, he was in a dimly lit place." This is the third realm. None of these words can be said by a great poet. However, if you suddenly interpret the words in this way, you may not be allowed by the princes of Yan and Ou. "③ This is a famous quote from "Human Words". Wang Guowei used fragments from three poems by Yan Shu, Liu Yong, and Xin Qiji to describe the arduous process of writing lyrics. At the same time, he also extended it to the cause of Chengdu University and university culture. This The three realms are a matter of cultivation and training as a poet in the process of artistic creation.
The aesthetic grasp of people and objects by the aesthetic subject (the author) forms the conscious object to be materialized, the second nature, the second life and the second self, and then expresses this in the form of art as a conscious object (work), during which There is a process from gradual enlightenment to epiphany. The first state is "Last night, the west wind withered the green trees. I went up to the tall building alone and looked at the end of the world." "The west wind withered the green trees" is an irritable mood. To observe things, the poet must first get rid of all the disturbances of reality and get rid of everything. Self-grasping includes pain and pleasure, reputation and reputation, gains and losses, gains and losses. Only by getting rid of all personal selfish thoughts and having nothing in mind can you observe the subtleties of things. "Go up to a tall building alone and see the end of the world." At this time, you will enter concentration and be able to appreciate the inherent beauty of things. The second realm is "The clothes are getting wider and wider, but you will never regret it, and you will feel haggard because of the beauty." This is the aesthetic grasp of the aesthetic object. The aesthetic subject (the author) has a selective, stubborn and lifelong spirit of no regrets, exploring the beauty of things. This kind of beauty must transcend the individual, external, and accidental things of things in the past to arrive at a universal, internal, and inevitable idea, and use aesthetic grasp to create beautiful images. The poet's mood in this realm is Calm, pure and natural, seeking a natural pleasure. On the one hand, this kind of pursuit is arduous and makes people haggard and thin. At the same time, on the other hand, this kind of pursuit sublimates the author's feelings and achieves a perfect artistic conception. Although "the belt is getting wider", it is worth it. Yes, he died without regrets. The third state: "The crowd searched for him thousands of times, but suddenly looking back, he was in a dimly lit place." This is about epiphany. After the first stage and the second stage of hard pursuit, the author can use the clearest language to express things exquisitely and clearly, as if they were made in nature. At this time, the author's mood reached a state of no desire, no thoughts, no joy, and no worries, and he gained wisdom. "Looking for him a thousand times in the crowd" expresses the hardship of seeking "wisdom", "Looking back suddenly, that person is in the dim light" expresses the epiphany of wisdom. In the course of his arduous pursuit, the poet suddenly became enlightened, inspired, and witty words flowed in. The scene appeared in a dazzling way, and the emotion was expressed in a refreshing way. This is a state that is extremely difficult to obtain. In the third realm, the poet also obtained spiritual comfort from the poems he created and achieved spiritual pleasure. Wang Guowei liked the poems of Li Yu, the empress of the Southern Tang Dynasty, the most, and praised them as "spiritual and beautiful"①. He said: "When the poems came to Li Yu, his vision began to expand, and his emotions became deeper, so he changed the poems of Ling Gong and became the poems of scholar-bureaucrats." ② Li Yu's words: "The flowers in the forest faded in spring, too hastily. Helplessly, the cold comes in the morning and the wind comes in the evening. Tears of rouge leave people drunk, when will they be heavy? It is true that life grows and hates the water." ("Crying at Night") ) "Don't be lonely when you are alone. There are endless mountains and rivers. It is easy to say goodbye and difficult to see others. When the water falls and the flowers fall, the spring passes, and the sky and the earth are gone." ("Lang Tao Sha") "When did the spring flowers and autumn moon come, how much do you know about the past. ...Ask Jundu How much sorrow there is, just like a river of spring water flowing eastward." ("Poppy Poppies") These words are eternal. The feelings expressed by Li Yu have an "innocent heart" that transcends the limitations of personal life experience and expresses a universal human emotion. He gets rid of personal will, desire and interests, and "freely" enters aesthetic contemplation , can deeply understand the inner nature of human beings and things, interweave his strong subjective feelings with this objective "quiet observation", and achieve the integration of human feelings and scenery. He can also use highly generalized expressions The language of metaphor and image depicts this feeling truly and concretely, completing the shaping of the lyric poet's self-psychological image. Therefore, it can best touch the hearts of readers and arouse excitement. His words are the most sufficient to show that the poet has indeed experienced the three realms of poetry and reached the highest realm of wisdom and enlightenment. Wang Guowei commented: "The words of the Later Master can really be said to be written in blood. ...The Second Master seems to have the meaning of Sakyamuni and Christ bearing the sins of mankind"①. Li Yu indeed has his extraordinary sorrow and joy, integrating his life with the creation of his lyrics, and his lyrics are full of spiritual wisdom.
The fourth is the relationship between "separation" and "no separation". When asked about the difference between "separation" and "not separation", he said: Tao Xie's poems are not separated, but Yannian is slightly separated; Dongpo's poems are not separated, but the valley is slightly separated. "Spring grass grows in the pond", "The mud falls on the empty beam" and other two sentences, the beauty is that they are not separated. ② Wang Guowei emphasized that poetry should be natural, real, real things, real feelings, vivid and vivid, a reflection of objective things, a mirror of human beings, vivid reproduction of nature and life, and reflection of the essence of beauty. When a work comes out and readers read it, they have feelings in their hearts, which means that the materialized conscious object (work) recreates the artistic realm in their minds. This kind of reappearance is infiltrated by the reader's own life experience, artistic experience, and the spirit of the times, and it mainly depends on the depth, presence, size, and degree of materialization of the artistic work. Wang Guowei's so-called "non-separation" means being able to express feelings truly and vividly depict scenes without using allusions, "do not use official things", "do not use whitewashed words", "avoid using substitute words", exclude "Wandering words". He did not have a high opinion of Jiang Kui's (Baishi's) poetry, and the main shortcoming was its "separation". The reasons for the separation are: first, there are too many allusions in Jiang Baishi's poems, which are difficult for readers to understand when reading; secondly, the degree of "elegance" in the poems is too high, the charm of "fairy" is too heavy, and the human touch is relatively weakened. Readers cannot directly feel its realm. Therefore, Wang Guowei commented: "The works of Baishi depicting the scenery, such as 'Twenty-four bridges are still there, the heart of the waves is swaying, and the cold moon is silent.' "Tall trees and late cicadas tell the news of the west wind". Although the rhyme is superb, it is like looking at flowers in the mist, but they are separated by a layer.
” ① Wang Guowei did not like Wu Wenying’s poetry and had a low opinion of Wu, saying that the shortcoming of Wu’s poetry was “separation”. He also relegated Wu Wenying’s poetry to “superficial” and “withered”, and his “limited talent”. Although his poetry is colorful, , there is no shortage of beautiful rhetoric, but it is always considered "fake" and lacks true meaning. Some people comment that Wu's poems are like Qibao Pavilion, which is dazzling and broken into pieces. Wang Guowei also used a phrase from Wu Wenying's poems to evaluate it. , said: "The window reflecting the dream is messy and green" ②, the meaning is the same.
To sum up, although Wang Guowei's "Human Words" is still expressed in the form of traditional poetry, it is relatively simple and concise. It has many wonderful insights and is based on profound and rich aesthetic theories. His artistic conception theory analyzes the style, charm, atmosphere, and interest in traditional Chinese poetry to the level of Western aesthetic theory. He formed the aesthetic principles and aesthetic theories of Chinese critical poetry. He discussed the various relationships between the author and nature, the author and the work, and the work and the reader in the aesthetic category. He required high style, writing true scenery and true feelings, advocating nature, and advocating for nature. "There is calmness in the boldness" ③ This theory corrects the shortcomings of the Western Ci School and the Changzhou Ci School in the late Qing Dynasty. It is more comprehensive than focusing on elegance or boldness. Although, his aesthetic theory system is more comprehensive. It is idealistic and has a pessimistic view of life, and its specific conclusions may not always be accurate. However, his aesthetic theory is a breakthrough for the feudal Confucian literary theory that focuses on "letters to convey the Tao". Previously, Liang Qichao, Liang Qichao, etc. Huang Zunxian is committed to the "revolution in poetry", focusing on political content, and rarely discusses the artistic creation of the realm of beauty in poetry. Moreover, Wang Guowei's aesthetic thoughts also run through it. Comments on novels, dramas, art and other fields are universal. Therefore, his aesthetic thoughts and literary criticism have made historical contributions and have important ideological enlightenment significance.
Wang Guowei’s poems are not numerous. There are 192 poems and 115 lyrics. Later, he devoted himself to the study of history. "Things and I are one." ①. For example: How much hatred was felt in last night's dream, fine horses and fragrant carriages, two and two rows similar. The other side seemed to pity the thin man, and the crowd did not hesitate to scratch the curtain and ask. The light thunder on the street listened to the hidden wheels. In the dream It's hard to follow. There is a pile of wax tears in front of the window, and there is only love in the world! ("Butterfly Love Flower") ② The hundred-foot Zhulou faces the avenue, and there is light thunder outside, and I lean against the railing from time to time. The dry people are tall and graceful, and all the passers-by are covered in dust. They are all standing in the dust. The wind is blowing in the evening, and it is raining again in the morning. ) ③ At the end of the day, the clouds are dim, and the lost geese are flying against the wind. Are you safe in the rivers and lakes? Looking at the falling feathers, the banquet is better than usual in the boudoir. ("Huanxi Sand") ④ Fan Zhihou commented on the kingdom. Wei's Ci said: "The king's poems are sincere and quiet, shaking people's hearts. They are fast, calm, straight and able to sing. They disdain the end of the words, but the famous sentences come out intermittently, which almost surpasses those who came before them. To the extent that his words are close but refer to the far, his thoughts are decisive but his words are tactful, there is almost no one like the king since Yongshu. ” ① Wang Guowei’s poems describe vivid and realistic scenes, deep and sad emotions, sonorous phonology, blending of scenes, profound artistic conception, and full of philosophy. He can integrate philosophy into the scenes. When reading, he finds it intriguing and of high character. Savor it carefully , What a beautiful enjoyment. ① "Collected Works of Jing'an", page 21 ② "Collected Works of Jing'an", printed version in the 30th year of Guangxu, page 1 ① "Preface to Mr. Wang Jing'an's Posthumous Letters", "Jinmingguan Collection". "Part Two", page 219. ① "Automatic Preface", "Research on Ancient Chinese Society", Shanghai New Literature and Art Publishing House, 1952. ① "Automatic Preface to Qu Lu", "Collection of Wang Guowei's Opera Essays", China Drama Publishing House, 1957. Page 370. ② "Preface to the Examination of Operas of Song and Yuan Dynasties", "Collected Works of Operas of Wang Guowei", page 3. ③ "Examination of Operas of Song and Yuan Dynasties", "Collected Works of Operas of Wang Guowei", page 134. ", "Collected Essays on Wang Guowei's Opera", page 201.
⑤"Test of Operas of Song and Yuan Dynasties",?br>
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