Text/Dong Benpeng

According to: This paper quotes the views and arguments of predecessors, expounds the misunderstandings in contemporary poetry circles, and then redefines the relationship between cleaning, interest and obstacles, and explains the original purpose of poetry. Increase the artistry of poetry.

When Jiangxi poets dominated the Song Dynasty, Yan Yu put forward in Cang Lang Shi Hua: "Fu's poems have different talents, which have nothing to do with books, and poems have different interests and have nothing to do with reason. However, if you don't study much and are poor in science, you can't be extremely diligent As the saying goes, people who don't care about the road and say nothing will go up. " But before that, reason and interest existed. It's just that no one directly mentioned it. However, Yan Canglang's interest in reasoning was aimed at the works of Jiangxi Poetry School in Song Dynasty, especially at that time. For hundreds of years, the views of reason and interest have been debated and even attacked and suppressed. Qian Zhongshu said in "Preface to Selected Poems of Song Dynasty": "Love to reason and comment; The truth is often shallow, the discussion is often outdated, and it takes a lot of pen and ink to play applications. " But up to now, many people still use "slogans, epigrams, epigrams and vulgarity" to describe it as poetry, lacking personal feelings and opinions, singing and enjoying themselves; There is also a profound and incomprehensible style, such as Kong Yiji's "Hui" style, which is as profound, superficial, tasteless and uninteresting as reading; There is also a kind of narrative with scenery, but it is a song that is forced to reason and lacks grace. We call it "senior veteran cadre style". These are arguments and obstacles.

So what is "rational language"? What is "Li Qu"?

Zhou Rong in Qing Dynasty said in Poems of Spring Wine Hall: "Please look at the celebrities in the prosperous Tang Dynasty. Is there a word that doesn't come from scholars? Is there a word that is deeper than reason? Strictly speaking, it is a bad thing, so it is jingle. " People who hold this view are mostly showing off their knowledge. Because Huang Tingjian, the originator of Jiangxi School, is such an advocate, he wrote in "A Book with Xu Shichuan": "Poetry is just about to do this. Those who have not yet arrived have not explored the classics deeply, and they are unfamiliar with reading Li, Du Fu and Han." On poetry, he said: "The profound meaning of words comes from learning." It is not surprising that Zong Zu advocated this, and of course, later generations also wrote mystery poems. These one-sided emphasis on reason and knowledge, reasoning with reason, interpreting "reason" with knowledge and expressing it with poetry are also a feature of Song poetry, which is also a feature that distinguishes Song poetry from Tang poetry, but at the same time it loses the "interesting" feature of Tang poetry. Su Shi's poem "Three Flowers" "Two hands want to build a bottle of bird, and four are afraid of snakes in the well." Wang Wen's note: "Buddhist scriptures, people are like bottles, and gods are like birds." You can't cover it with your hands, just don't let the gods fly out. "The Buddhist book says that if a person narrowly escaped death and entered a well, he would be injured by four snakes and could not go down. Four snakes are metaphors of the four seasons. This means that it is impossible to keep God's knowledge in the body, and it is harmless at any time. These two sentences are not implied by the scenery, but Buddha's words, which are neither reason nor Zen, but reason. Tang Gu Kuang's "There is a leak in the concept of returning to the heart, and there is no evidence outside the words"; Li Jiayou "Zen is humiliating, Sanskrit asks Doro. "This is all about reason and Zen, not reason and Zen. Another example: Wang Wei's "Eye of Mountains and Rivers is in the Dharma Body on Earth", the Eye of Heaven refers to the place that Buddhists can see but laity can't, and the God of Dharma refers to the concentrated expression of Buddhism, that is, mountains and rivers are in the eyes of Buddhists and the world is in the Dharma Body, that is, everything in the world is shrouded in Buddhism, which is Zen. Meng Haoran's theory of "knowing without self, being tired of being tangible" explains Taoism's "without self" and "being tangible" with Confucianism's "reason" and Buddhism's "emptiness", which is the language of reasoning and reasoning.

What is your interest? Qian Zhongshu said in Tan Yi Lu:

"Ying Lv Kui Sui" Volume 47, Lu Lun's "On the Hall of Ji Yun": "An empty door is not easy to open, and there is no journey at the beginning." Ji Yun criticized: "The disadvantage lies in only talking about Zen. Poetry should be Zen, not Zen. " An empty door means that Buddhism is not easy to open, that is, it is not easy to become a monk. When "the first place" refers to the first place of meditation, it means that Buddhist meditation has no boundaries. This is Buddhist language, Zen language, just like rational language, not rational taste. Another example is Zhang said in the Tang Dynasty: "The bright moon in Chengjiang should be empty." From the bright moon in Chengjiang, I feel that the water is empty and bright, and writing the realm is a kind of interest. "Color is empty" is a description of the scenery, and explanatory sentences can be used in the sense of interest. Li Bai: "If you don't touch flowers, your heart will be idle." From the immortality of flowers to the immortality of color (referring to the five realms of color, sound, fragrance, taste and touch), the leisure of the heart is caused by the leisure of water, that is, love is caused by scenery, which is rational interest. Chang Jian's "Birds are singing and mountains are shining here, and people's hearts are quiet." From the mountain light to the birds and flowers, from the pool shadow to the empty heart, it is also through the scenery to arouse feelings. Zhu Wan's "Water will be empty and color, and I have no intention of clouds." From the color of water and air, it is concluded that the cloud and I are unintentional feelings, and we also express our feelings through scenery, which is a sense of interest.

Wang Wei "I will walk until the water stops me, and then sit and watch the rising clouds", "The wind blows my belt from the pine tree, and my pipa is a bright mountain and moon"; Wei said, "The sound of the classics is deep in the bamboo, and the high house covers the door alone." "The water is calm from the clouds, and the stone is silent. How can the two phases be excited, and the thunder turns into an empty mountain? " Liu Zongyuan "went to Dongling in the cold month, and the bamboo roots were sparse." The stone spring is far louder than the sound, and the mountain birds are noisy. ""mountain flowers fall into secluded households, and someone forgets the plane. "These are all the truths realized from the scenery, that is, the sense of interest. In poetry, reason and interest can be expressed through narration or explanation. For example, as Zhang Tang said, "There is a bright moon in Chengjiang, and the color should be empty. "From the intersection of Chengjiang and the bright moon, I feel that the water and the moon are empty and clear, which is a kind of realm. The latter sentence explains the relationship with the previous sentence. Another example is Li Bai's "flowers will not touch, and my heart will be idle." "From the immortality of flowers to the immortality of color (color, sound, fragrance, taste, touch the five realms), the leisure of the heart is caused by the leisure of water, that is, the feelings caused by the scenery. Chang Jian's "Birds are singing and mountains are alive here, and people's hearts touch the pool and peace" also uses scenery to express personal feelings. They are all rational interests, so rational interests belong to the category of image thinking.

If traced back to the source, "Li" originally refers to that jade, and then gradually expanded to "arts and sciences", "jurisprudence" and "the principle of everything" (meaning). But many people regard "reason" as a Taoist explanation. Interesting, interesting, interesting, interesting. Poetry is reasonable and interesting, which means that poets should tell the truth and make comments in their poems, and at the same time make their works full of poetic and artistic appeal.

Rational and interesting poems are different from abstract preaching, but combine reason and interest, and combine reason and interest into one furnace. Poetry has the function of argumentation and reasoning. Since the Book of Songs, there have been many such works in the field of poetry, and the metaphysical poetry in the Eastern Jin Dynasty is a prominent stage. "Jiang Zuo's system, clinging to the wind of metaphysics, sneering at the ambition of favoritism, and worshiping the talk of forgetting the machine; Sun Yuan has gone down, although each has his own carving, and his words are very interesting, so he is not competing with the hero. Therefore, Jing Chun's "Xian Pian" is tall and handsome ("Wen Xin Diao Long? Ming poetry "). However, except for a few good works, metaphysical poems mostly talk about truth in abstract language and lack poetry. In addition to attaching importance to the amorous feelings and images in Tang poetry, Song poetry also highlighted the tendency of poetry discussion, and the combination of discussion and Neo-Confucianism in Song Dynasty produced a considerable number of rational poems. This kind of works mainly focus on the meaning of heart-to-heart, often ignoring the artistry of poetry, and are derided as "rhyme of quotations and handouts" (Postscript of Wu Shuzhai's Poems, written by Liu Kezhuang). This is what Yan Yu said in his poems: "Poetry has different interests and has nothing to do with reason".

However, people basically tend to think that poetry can be reasoned, but it also needs interesting reasoning. Because reason and reason are different. Rational language belongs to abstract thinking, and rational interest conforms to the image thinking of poetry. Therefore, in the Qing Dynasty, Pan Deyu's "Yang Zhai Yi Shi Hua" said: "Rational words don't have to be included in poetry, and poetic context can't be rational." The key point is to replace boring reasoning with rational interest. The theory of reason and interest mainly comes from the summary of the experience of Song poetry. Liu Kezhuang praised the poet as "deeper than Neo-Confucianism", and his poems were "all related to ethical principles", and at the same time "high in style and far in rhyme" and "beautiful and vigorous in style" (ibid.). This is actually an affirmation of the rationality and interest of poetry. Shen Deqian said:

"The discussion must be conducted with emotion." "Du Fu's poems" Jiangshan is waiting for you, flowers and willows are selfless ","Fish in deep water are blessed, birds in the forest know where to return "and" Water doesn't live up to expectations, clouds are dying "are all very interesting. Shao Zi (Shao Kangjie) said,' When the sun first moves, everything is lifeless.' Make a poem out of reason. Wang Youcheng's poems don't need Zen language, but have Zen principles. "("Shi Shuo ·Xi· Yu ")

These examples he cited show that it is an effective way to describe specific scenery, phenology and image, and it is integrated into objects without any trace of discussion. The opposite of reason and interest is the obstacle of reason. Hu Yinglin's poem: "The Zen family should guard against two obstacles. After the play, the poets call it poetry, and the sick government sits here. ..... Cheng and Shao like to reason, reason and tie the truth, but also ignore obstacles. " (Part II) Obstruction refers to writing poems that are purely narrative, lacking vivid charm, rational and boring. Contemporary works of this kind are called "veteran cadres". The theory of reason and interest not only affirms that poetry can be reasonable, but also corrects the disadvantage that reason has no poetic flavor, so that the philosophy and interest of poetry blend and complement each other.

Reason, interest and obstacle are a pair of contradictory aesthetic concepts unique in ancient poetry theory. "Interest" is a special artistic realm or aesthetic feeling created by the creative subject by grasping the truth in an aesthetic way. For example, Song's Zhai Zhai Ji? The book title "The Book of Prime Minister Wei" says: "Where is the ambition, the poem is far-reaching, ... I am too lazy to carve, and I have a deep interest in reason ... So Dongpo publicly said that the roundness is not a poem, but a wonderful ear in my chest!" On the other hand, "reasoning obstacle" violates the artistic thinking law of poetry. When writing a poem, you can't arouse readers' aesthetic feeling and soul by directly boasting "famous sayings" (referring to abstract concepts and other rational forms). As a result, it gained its "reason" but left its "interest", which violated the law of artistic aesthetic creation. Qing Yuan Mei continued poetry? "Zhai Xin" also said: "Poetry is like a drum piano, and the sound sees the heart. ..... Zen machine is not Buddha, and the obstacles are not Confucianism. Kong Jia, the heart is as it says. " "Reason" was originally a category of China's ancient philosophy, with various connotations. It can even be synonymous with "Tao" and "body" of cosmology. Quoting the essence and basis of everything in nature or society, the law of change and development, and the structure and order of its specific forms can be called "reason" Therefore, reason is often compared with the concrete image of things, which means "body", "image" means "use", "reason" means micro, and "image" means obvious, so as to summarize the relationship between the essence of cosmic life and phenomena. Neo-Confucianism in the Song Dynasty put forward the proposition that "the body uses one source and the microscope has no trace". Zhu He said: "From his own image, the image is obvious, the truth is subtle, and the image is reasonable and seamless." (In Ming Dynasty, Wang Shouren said that "body uses one source" according to the nature of mind. He thinks that the body is the heart, the use is the use of the heart, the body of the heart is the reason, and the use of the heart is the thing, and the body can be obtained and used in it, so as to emphasize that the heart is the source of all things. At the end of the Ming Dynasty, Wang Fuzhi reformed Zhu Cheng's theory of using body, and put forward the idea of "Tao for use, Yin and Yang for body", which unified the use of body on the basis of Qi. What he said is that the body is an entity, and use is the function or attribute of the body. He also regards the body as the origin of the world and emphasizes "using it properly", that is, knowing the origin of the world from concrete things. When it comes to artistic creation, people's aesthetic grasp cannot ignore the obvious, and vice versa, but should be dialectical and unified. "Sense of interest" and "sense of obstacle" are the concrete feelings of the subject, and they are the laws that should be followed when the aesthetic way grasps the sense of Xuanwei from both positive and negative aspects. Under the domination of China's concept of ancient miscellaneous literature, "reason" is not only the content of literature, but also can be discussed in poetry. The key is not whether there is "reason" in poetry, but how to express it artistically. Following the aesthetic law of poetry and describing it through concrete and vivid artistic images, it is interesting to involve rationality, liveliness and omnipotence, giving readers the enjoyment of beauty and wise enlightenment, which is called "interest in rationality". On the contrary, empty reasoning, rigid dogma and boring, which is called "reasoning obstacle"

"Interest in reason" is a special aesthetic realm created by the subject grasping "reason" in an aesthetic way. Its basic feature is that it transcends words and images, leaving no words and images, so that people can silently understand the mystery of the universe and the true meaning of human nature, thus enjoying beauty in the "playing with ropes" of art. The pursuit of "rational interest" by aesthetic subjects has some characteristics beyond secular utility. "The highest level of rational interest is to surpass oneself, cross time and space, see things leisurely with things, treat things with things, and experience the leisurely beauty of Wang Yang's indifferent mistress. (Tao Yuanming's "Drinking" (2):' Under the hedge of picking chrysanthemums, you can see Nanshan leisurely. ..... There is truth in it, and I forgot to say it if I wanted to defend it. "This is a model of the art of" reason and interest "in poetry." (Huang Baozhen dialect) On the other hand, "Li Obstacle" is often directly promoted in poetry, such as the poems of Neo-Confucianism in the Song Dynasty, which mostly discuss things with poetry and make people sleepy. This led to tit-for-tat criticism of Yan Yu's Cang Shi Lang Hua, and further put forward the poetic theory of "don't care about Tao, don't drop words" to confront it. In the late Ming Dynasty, Li Mengyang's Preface to Phonology also said: "Song people are in charge of reason, which makes sense. Poetry is so unreasonable! If you specialize in reasoning, why not write a composition and turn it into a poem? " Most of the contemporary veteran cadres or senior veteran cadres have no rational interest, and more are obstacles.

In a word, "interest in reason" and "obstacle in reason" enrich the artistic dialectics of China's ancient poetry theory from many levels and angles. For contemporary poetry creators, it is their responsibility to themselves and others to deeply understand the profound meaning of "poetry-based temperament can contain rational interest, but it does not contain rational language, so it is the most difficult to reason".