Comparison of the Emotions in Ancient Poetry of Yi and Han Dynasties

Introduction poem:

If there are no white clouds, the sky will not be beautiful.

If there are flowers but no leaves, the flowers will lose color.

Human beings are divided into men and women, and heaven and earth distinguish yin and yang.

Among young men and women, they know how to date each other.

They know how to love each other. Real people appear.

There is no good boy who is a good match for you.

Although the girl is beautiful, it is all in vain.

The boy and the girl matched the songs in one day.

A pair of people who are in love with each other, they are in love together;

Two pairs of people who are in love with each other, they are in love with each other;

Three pairs of people who are in love with each other, they are in love with each other. ;

The four pairs are engaged for life and become partners for life.

Write sound to sound, and only when they come in pairs can there be wind.

Only when they come together can there be flavor. The wind rises in the odd,

In sentences within the odd, All rhyme words are connected,

Occasionally, the rhyme words come out, and the upper and lower parts are closely linked.

Poetry is rooted in the people, and songs are spread among the people.

Folk poetry has deep roots, and emotion is the foundation of poetry.

?1. Comparison of the philosophical roots of love between Yi and Han poetics

?Although the Yi and Han nationalities have traces of philosophical homology, in the future due to the long-term relative independence of the Yi nationality society The local development of the country is different from the social system of Han society, the historical process is different, the production and lifestyle are different, and even the customs and language are different, which will inevitably lead to the different development and evolution process of its philosophy and literature. The difference in poetry theory is the difference between " The beauty requirement of "harmony and unity" focuses on different aspects:

First, Yi poetry attaches great importance to reproducing the harmonious beauty of nature, the harmonious unity of man and nature, and the representation of women and men as representatives of yin and yang. It is a harmonious and beautiful love; while Han poetry attaches great importance to expressing the harmony and unity between people and society, as well as the harmony and unity of various factors within art.

(Poetry Yuanqing-Zhiqingqing is about the world with emotions, emotions give rise to all things and all things have emotions

The poem talks about ambition-utility-reason and etiquette, and the world is justified)

The poetry theory of Yi people emphasizes that poetry should express the harmonious beauty of nature arising from the differences of opposites, and express the harmonious unity between the ancient Yi people and nature. "One is opposite to the other, one begets the other, the same is connected to the same, and one is connected to the other. In between, it is like yin and yang. If there is yin but no yang, yin will not develop and it will be difficult to exist in the world. If there is no yang, There is only yin in the world, so in this world, the yang types in the world will be the same and will not develop. Luohou Buzhe also said: "What is beautiful about the sky? The white clouds in the sky are beautiful. If there are no white clouds, the sky cannot be beautiful. The sea is so beautiful. If there are no fish, the sea cannot be beautiful." Amaini said: "When you write about flowers, There are flowers but no leaves, so even if the flowers you write are beautiful, the flowers will lose color without the support of green leaves. The rule is this, and the writer can figure it out for himself." (Amaini's "On Yi Poetry"). "So when writing about colors, one must match them. The color and the sound of the color are like yin and yang. If the yin and yang are well matched, the writing will be excellent." (Lehou Buzhe's "Essays on Poetry"). This is just as the ancient Greek philosopher Heraclitus said: "Painting mixes various colors such as white, black, yellow, and red on the picture to create an image similar to the original object; music mixes various sounds of different pitches and lengths, Forming a harmonious melody. Different high and low tones create the most beautiful harmony." (Fragment of Heraclitus's work, quoted from "Selected Readings of Western Philosophy", Volume 1, page 232). Since everything must be in harmony with yin and yang, the sages of the Yi people believe that men and women, as two aspects of yin and yang, follow the same laws as all things in nature. It is natural to love each other, otherwise it is against nature. Therefore, poetry commentators of the Yi ethnic group fully affirmed love and poems praising love: "Human beings are divided into men and women, and heaven and earth are divided into yin and yang. Among young men and women, they understand each other and love each other, and real human beings, human beings, appear." "If there is no handsome girl or a good boy who is a good match for you, then girl, although you are beautiful, no matter how handsome you are, it will be in vain." (Le Hou Buzhe's "Talk about Poetry"). Amaini's poem writes: "The boy is handsome, the boy is beautiful, the boy and the girl are singing together in one day. One pair is in love, and they are in love together; two pairs are in love, and they are in love together; three pairs are in love, and they are in love together; Love and affection unite, and love unites; four pairs are engaged for life, and become companions for life."

Yi poets repeatedly sing about the love between men and women. A considerable amount of Yi poetry theory is related to love poetry, which has become the most characteristic part of Yi poetry and poetry theory.

The Han people’s idea of ??“harmony as beauty” is reflected in the theory of poetry and prose. “The core lies not only in the harmonious unity of man and nature, but more importantly in the harmonious unity of individuals and society” (Li Zehou Liu Gangji's "History of Chinese Aesthetics" Volume 1, page 295). ?Han poetry rarely simply describes and praises natural scenery. It often starts with a certain natural scenery and then turns to the feeling of life. The society of the Han nationality has undergone complex changes. It is said that "Chu ministers left the country, and Han concubines left the palace. Some bones were left in the wilderness, or souls were flying in the wild. All kinds of things moved the soul" (Zhong Rong's "Preface to Poems"), so it became "Chen Shi "To "display its meaning", and "Long Song" to "excite its emotion". When there is a conflict between the individual's perceptual and psychological desires and the rational and moral norms of society, Han poetics requires the former to obey the latter, to handle the relationship between the individual and society, to handle the relationship between emotion and reason, and to "sorrow". "without hurt" and "resentment without anger" form the characteristics of the Han nationality's "gentle and honest" poetic education. At the same time, the spirit of "harmony as beauty" is also reflected in Han poetry theory by emphasizing the harmonious unity of opposing factors within art. Artists are required to use the opposite and complementary aspects of each pair of opposing factors to achieve the greatest artistic effect, and "prevent the one-sided development of either side of the opposing parties" ("History of Chinese Aesthetics", Volume 1, page 298). ?For example, "The Literary Mind and the Carving of Dragons", which is very obviously deeply influenced by the thoughts of "The Book of Changes", puts forward the requirement of harmony and unity on the opposing issues of literature and quality, wonder and integrity, splendor and reality, etc., and believes that doing The ideal art is to "appreciate the strange without losing the truth, play with the flashy without losing the truth", and oppose one-sided emphasis on one of them while denying the other. This constitutes an important feature of Han aesthetics. It can be said that the poetry theories of the Yi and Han people have enriched the development of Chinese poetry art theory from different aspects.

Secondly, under the influence of the "yin and yang" cosmology, the "dual" form has emerged in the poetry of both the Yi and Han people. The poetry theory of the Yi people is still in the stage of "using sound as a function". The main antithesis is "sound pair"; in the theory of Han poetry, in addition to the requirements of rhyme, special attention is also paid to "taking meaning as its purpose", that is, paying attention to the antithesis of words. In the history of poetry development, "using sound as a function" is an older theoretical form than "using meaning as a function".

The Yin and Yang concept in primitive philosophy gradually evolved into the rhetorical methods of duality and antithesis in Han poetry. Among the surviving texts from the Pre-Qin Dynasty, parallel parallel sentences have already appeared. For example: "Same sounds correspond to each other, the same qi seeks each other, water flows moistly, fire makes dry, clouds follow the dragon, and the wind follows the tiger" ("Book of Changes·Qian Gua·Wenyan"); "As the sun goes by, the moon comes, and as the moon goes by, the sun comes. , the sun and the moon push each other, and brightness arises; when cold passes, summer comes, and when summer passes, cold comes; cold and heat push each other, and the season is completed." (? "Book of Changes·Xici Xia"). Liu Xie believes that nature exists correspondingly, and the words that reflect nature are naturally paired. The so-called "creation gives shape, the branches must be double, the gods and principles are used, and things are not isolated. The husband's heart is born." Literary writing is composed of hundreds of considerations, superior and inferior are in harmony with each other, and they naturally form a pair" ("Wen Xin Diao Long·Li Ci"). This analysis is in line with the actual situation of literary creation. That is to say, the duality phenomenon in literature was initially "in harmony with nature" and was a natural reflection of the unity of opposites of objective things in language. Later, once this duality phenomenon was recognized by people, they found that it was a kind of harmony. The regular natural form embodies the "beauty of symmetry" and conforms to people's aesthetic taste. Using this form can make the rhythm distinct, the melodies harmonious, and the language more expressive. Therefore, people create beauty according to this "law of beauty", which results in the "event" phenomenon that exists in Yi and Han poetry.

In Chinese literature, people have noticed that "it is easy to adapt to odd words, but it is difficult to adapt to odd words" (Liu Xie's "Wen Xin Diao Long·Li Ci"), and the parallel style has been particularly emphasized since the Han Dynasty. In the Wei and Jin Dynasties, literati "collected hundreds of characters and competed for the price of one sentence", "Laihong" compared to "Quiyan", "Haoyue" compared to "Changfeng", "most literati only focused on words" "Shiwu" Wang Guowei ("Human Words"), the poet refined his words hundreds of times and refined his sentences thousands of times, and the concept of relativity was completely formalized into a language method. Literary language is further removed from spoken language. As a result, Matteo Ricci, who came to China as a missionary in the late Ming Dynasty, discovered that “a writer who writes in a genre close to spoken language will be considered to have put himself and his books at the level of ordinary people ("Matteo Ricci's Notes on China").

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“The poetics of the Yi people has not made much discussion on the techniques of using language words” (Research on Literary Theory of Ancient Yi People, p. 209). In the form of Yi poetry, there are also “occasional "" concept (see the note on page 75 of "On Poetry of the Yi Nationality"), this kind of "even" is mostly two sentences that appear relative to each other due to the rhyme, deduction, connection and other relationships in the sounds, forming a unit of "couples" "Sounds are written against each other", "Only when they are opposites can there be wind, and when they are connected can there be flavor. The wind arises from the coincidence, and the flavor arises from the coincidence" (Bumei Aniu's "On the Style of Yi Poetry"). There are similarities,? Even if there are even words, there are similarities?", "Sentences are closely connected, and even sentences are closely connected." "In even sentences, there are rhyme words connected, and even rhyme words come out, and the upper and lower parts are closely connected." (Leuhou Bu Zhe's "Talking about Poetry and Prose"). These seem to mainly refer to the "occasional rhyme" in sound. Another example is that Boumea Niu talked about a poem he wrote in the form of a duet between men and women in a singing venue. The grandfather and grandmother who built the song venue offered wine and asked them to be the final decision-maker and blessing for their lifelong love. Buumei Aniu believed that this poem "sentences are tightly linked, and occasionally are connected deeply" and "the above is the result of the above." "The rhyme of "Xia" has the sound of "Xia". From the translation, it seems that the "even" here does not appear as an antithesis of words, but is actually a rhyme and even sentence, which is different from the Chinese parallel couplet antithesis. It can be seen from this that the Yi people Poetry indeed "puts rhythm in a very prominent position" (Research on Ancient Literary Theory of the Yi Nationality, page 209). Yi poetry and its theory pay more attention to "using sound as a function", while Han poetry pays more attention to "using sound as a function." "Meaning is used". Mr. Zhu Ziqing said: "The tradition of poetry using sound is much older than the tradition of poetry using meaning" ("Shi Yan Zhi Bian"). Yi poetry is mainly oral literature, so In order to "make it easy for people to memorize and pass it on, and to pass it on for a long time" (Anonymous "On Poetry of the Yi Nationality"), of course we must pay attention to the rhyme and "read it with flavor". The Han people "have gradually separated from music since the maturity of five or seven character poems." "The nature has developed independently," and it has become an "outstanding poem" that "praises without singing" (see Cheng Yizhong's "Evolution of Chinese Poetry Style"). Han poetry mainly relies on written records and spread, and appreciators can repeatedly "play" and "wonderful" "Enlightenment", which is different from Yi poetry.

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2. Poetry theory of Yi and Han poets and poetry theory of politicians and literati

Ancient Yi people Poetry commentators such as Jushezhe and Amaini, as well as later generations such as Budubuju, Butaecho, Juloubutuo, Bumeianu, and Buahong, are all poets and writers in this regard. The opinions are relatively consistent. When these poets discuss poetry, they sometimes quote the excellent poems of the ancient Yi people as examples to illustrate their views. They also often use their own poems as examples of poetry. "Ju Shezhe and I have written many poems in various styles and themes, all of which are complete. When an expert comes to appreciate it, the style is clear; if a layman comes to appreciate it, it will be difficult to grasp the key points" ("On Yi Poetry and Rhythm").

Unlike the situation of the Yi people, the Han people in the Central Plains actually did not have pure poetry in the pre-Qin and Han dynasties. Poetry theory. Literary theorists such as Confucius, Mencius, Han Feizi, etc. are actually politicians, thinkers, and philosophers (Xu Da's "On the Function of Yi Poetry", quoted from "Research on the Poetry Theory of the Yi Nationality" page 213) . Many poetry commentators of later generations were bureaucrats and literati of the ruling class, such as Han Yu, Liu Zongyuan, Bai Juyi, Wang Anshi, Su Shi, etc. Although some great poets were famous for their poems, their life experiences were not as good as theirs. Lu, most of them initially had great political ambitions and were committed to saving the world but could not, so they engaged in poetry creation. This was the case for the writing of "Wen Xin Diao Long" because Liu Xie could not. "If you are strong, you can follow the times to make achievements", but if you are poor, you can only be good at writing. ("Literary Heart Diaolong·Xu Zhi") This formed the way that Yi and Han poets discussed poetry and politicians and literati discussed poetry. Different characteristics.

First, Han politicians often regard poetry as a vassal and tool of politics, emphasizing that poetry serves politics and feudal rule. "The husband and wife are taught filial piety, good human relations, and beautiful education" ("Preface to the Poetry"), "Serve the father when you are near, and serve the king when you are far away" (Confucius's "The Analects"). However, most Han literati are keen on official career and poetry creation. Compared with their political ambitions and pursuit of fame and wealth, they are like "little tricks". On the one hand, they cannot resist the temptation of poetry and devote their whole life to the creation of poetry, but at the same time, they also have a sense of "having no choice but to do it." "The mood rarely gives poetry its due status from a theoretical point of view, but regards it as a "little way" and "final skill".

This is probably a contradiction in the creation and theory of Han poetry, and it is also a tragedy for Han poets.

The poetry theory of Yi poets fully affirms the status of poetry and the aesthetic educational role of poetry. Ju Shezhe said: "Poetry, poetry, poetry has a great effect. Poetry is powerful. It can make people happy and happy." "Some of them can make people sad and melancholy." "Poetry is like the bright moon, poetry is like sunshine. People should be smart, and wisdom is in poetry. People should be brave, and bravery is in poetry." "Its effect is great, its power is strong, it is a music of praise for human beings." In the poetry theory of the Yi people, we cannot see poetic commentators viewing poetry from the perspective of fame, fortune or political tools. This allows the ancient poetry of the Yi people to develop healthily and optimistically in a less constrained and freer environment.

Secondly, the poetry theory of the Yi people has a distinct democratic point of view, while the poetry theory of the Han people is tainted with aristocratic colors.

Literary theorists of the Yi ethnic group from Ju Shezhe to later generations such as Budu Buju, Bumei Aniu, Luohou Buzhe and others were all Buma under the monarchy of the Yi slave society. A special kind of civil official in the monarch's regime, a "senior intellectual" in ancient Yi society. Although they are the assistants of the emperor, they also have the heart of a kind poet. This is probably related to the special social and historical background of the early Yi people, and also to the special status of the Bomo people. The Bomo people have the emperor above them, who must assist the emperor in managing national affairs, and the people below them, who shoulder the important task of spreading culture. This makes them knowledgeable and have a comprehensive and profound understanding of social life. They sympathized with the sufferings of the working people and showed a distinct democratic spirit in their poetry. They clearly pointed out: "(Poetry) is rooted in the people, it is spread among the people, folk poetry has deep roots, and poetry belongs to the people. It is written by the people, and it is created by the people" (Lou Hou Buzhe's "Talking about Poetry"). The sages believed that poetry should reflect "the pain of the people and the joy of the people", "you can praise the emperor, you can criticize the emperor", "some hate the emperor" (Shi Zha Kumu's "Nine Styles of Yi Poetry") . There is also a saying in Han poetic theory that "grievances and thorns dominate politics", but the degree of resentment and thorns is limited. "Resentment" cannot be anger, and the poet cannot directly state the fault of the king and his relatives. "Being in love" should also be "restrained by etiquette". The ultimate goal is to maintain the monarch's dominance. In addition, the ancient way of disseminating poetry of the Yi people was oral transmission or copying, which made the ancient poetry and poetry theory of the Yi people not separated from oral language. The sages asked every poet who wrote: "The poems written are valuable in that they can make people, "Easy to learn and easy to pass on and recite" ("Talking about Poetry and Prose" by Luhou Buzhe). The ancient poetry theory of the Han people was not only influenced and dominated by the thoughts of the ruling class in terms of content, but also in terms of form, it was elegant and classical, which was more aristocratic than oral language.

Third, Yi poetry theory quotes many poems about love. Ju Shezhe pointed out that poetry is the "doorway for human beings to get to know each other" and the "music for conveying love" between men and women. They encouraged poets to boldly describe love, and write about young men and women expressing their love and union freely through antiphonal songs in the singing field. Butaecho said that it is normal for men and women to love each other, and it goes against human nature not to do so: "When people are young, they need to find a sweetheart to love and talk to. If you don't love each other now, you won't be able to love each other when you get older; The love is gone, you have spent your youth in vain, and you have wasted your time." (Butaecho's "On the Writing of Poetry"). "Girls, when you are eighteen, don't be shy. No matter how shy you are, it will be difficult to find a partner. If you don't have a partner, you will be even more shy." (Amaini's "On Yi Poetry and Rhythm"). When Yi poets taught people how to write poems, they said: "The sky and the earth are opposite, the sun and the moon are opposite, the mountains and rivers are opposite, the men and women are opposite, and human knowledge is opposite." In comparison, ancient Han poetry is closely related to benevolence, righteousness, morality, fame and wealth. Tightly bound, love poems are few in number. In the ancient "The Book of Songs", "The so-called wind mostly comes from songs written in lanes, and the so-called men and women singing songs to each other are also famous for their love" (Zhu Xi's "Preface to the Collected Poems"), but there are many articles that express labor. The content of people's healthy and passionate love has been given "various misinterpretations" by later generations of Confucian poetic commentators (Liu Dajie's "History of the Development of Chinese Literature", Volume 1, page 55). Love poems are sometimes criticized as "obscene words", or are far-fetchedly pointed out as: "the words are entrusted to men and women, and their meaning is actually related to monarchs, ministers and friends" (Shen Deqian's "Tang Poems"), and are covered with hypocritical etiquette. veil. There has even been such a strange thing: "The Book of Songs" has been "reduced to the status of the Preface to Poems" (Liu Dajie's "History of the Development of Chinese Literature", Volume 1, page 55), and the creative achievements have been reversed and become the appendages of the theory that explains these achievements. . It can be seen that the Han Confucian theory of poetry went to such a tyrannical level in order to maintain feudal ethics.

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