All activities carried out by people living in a certain natural environment and social form are always affected and restricted by certain natural and social factors, and human language activities are no exception. From the perspective of the rhetorical process in language art creation, creators always have to obey certain rhetorical purposes, focus on certain ideological themes, target certain objects of expression, use certain language symbols, follow certain language rules and speech laws, and connect certain natural and social factors. Mr. Chen Wangdao, a rhetorician, had a penetrating discussion on this as early as the early 1930s. He clearly put forward the theory of "six whys": "The first 'why' is the purpose of writing, such as to persuade others, or to make others understand one's own opinions or to debate with others. The second 'what', It is about writing about things: whether it is daily trivial matters or academic discussions, etc. The third "who" refers to identifying who is speaking to whom, that is, the relationship between the speaker and the reader, such as the reader. Literary youth or ordinary people. The fourth 'where' means to know where the writer was at that time, whether in a city or a country. The fifth 'when' means to know clearly where the writer was. At that time, it was a small year but a big era. The sixth "how" refers to how to write and say: how to cut, how to arrange, etc." (Chen Wangdao's "Rhetoric") These "six". "What" is essentially a series of factors that restrict the creator's language and artistic activities in the rhetorical process. Mr. Lu Xun's essay creation is an artistic record of social thought and social life. Its main purpose is to care for the people and attack the enemy, which reflects the sufferings and struggles, aspirations and ideals of the people. However, the social environment in which Mr. Lu Xun created his works was shrouded in the white terror atmosphere of the reactionary forces. Therefore, his "violent attacks on the reactionary forces, their lackeys and social ugliness can only be used in prose, such as 'miscellaneous feelings', and the words must be tortuous." (Lu Xun's "Book of Two Places"). He does not often give conclusive answers in his essays. He often uses comparisons, hints, puns, metaphors, metaphors and other relatively obscure or euphemistic expressions. For example: This is why the literati are smarter than illiterate slaves, the party-state is smarter than Jia's family, and the present is brighter than the Qianlong era: Sanming Principle. (Lu Xun's "The Boundaries of Free Speech") Mr. Lu Xun cleverly used homophonic puns here to bitterly satirize the fake Three People's Principles of the reactionary literati who shouted "Three People's Principles". If it is not subordinate to the purpose of criticizing reactionary literati. Without contact with the social environment shrouded in white terror at that time, and without being familiar with the homophonic pun expressions in the Han nationality language, the above example might have a different look. Similarly, the appreciation process of rhetorical art always needs to obey certain appreciation purposes, clarify the rhetorical intention of the creator, be familiar with certain language symbols, understand certain language rules and speech patterns, and connect certain natural and social factors. This principle From the process of rhetorical appreciation of Lu Xun's essays, it can be fully explained that if people living in contemporary society want to correctly appreciate the fine works of language and art left to us by Mr. Lu Xun, they must not ignore the society and the times of the author's time. We must have a basic understanding of the creative purpose and rhetorical intention, as well as the rhetorical means on which the author's rhetorical art works are based. The above example still illustrates that if contemporary appreciators do not know the historical connotation of the "Party State" and do not understand the literature of the "Jia Mansion" If you are not familiar with the actual meaning of "Qianlong Era" and do not understand the homophonic pun connection between "Three Ming Principles" and "Three People's Principles", then the above example becomes a set of sentences without specific meaning. Mr. Guo Moku also once Giving an example to illustrate this principle, he said: "The content of works is inherently different in depth, and readers' sensibilities are also richly different. For people who are rich in sensibility, subjective feelings can be objective weights; but for those who are stingy with sensibility, For people, the subjective and objective aspects cannot be completely concealed. The quantification of sensibility depends on the individual. Within a certain limit, the possibility of personal development depends on the upbringing. The same "Li Sao" was not something we felt when we were children. So far, we can praise Qu Yuan as the first talented author in the history of Chinese literature." (Guo Moku's "Evaluation of Art") The "sensitivity" mentioned here refers to the reader's ability to appreciate literary and artistic works. . The reason why "children" were unable to appreciate "Li Sao" is because they lacked necessary social and historical knowledge, language knowledge and cultural and artistic accomplishments. This is true for "Li Sao", and it is also true for any language art and appreciation at home and abroad in ancient and modern times. Rhetoric Appreciation must never be separated from the theme of rhetoric, the language on which rhetorical products are formed, and the natural and social factors related to certain rhetorical phenomena. To sum up, the completion of the rhetorical process and the generation of rhetorical effects are always positively or negatively affected by many subjective and objective factors. We collectively refer to the subjective and objective factors that affect the choice of speech form and the generation of rhetorical effects in a certain rhetorical or appreciation process. for context. 2. Context is a complex system. There are great differences in the interpretation and use of the term "context" in the academic community, and there are also very inconsistent identification and classification of contextual factors. Some scholars understand context in a narrow sense and believe that context mainly refers to context, which is “the inter-language, word or phrase that precedes or follows a certain language item in a discourse or sentence” (Hartman. Stoker's Dictionary of Language and Philology). More scholars understand context from a broad perspective and believe that context includes three aspects: "1. The discourse center of expression, that is to say, the information that the writer wants to express - the meaning of the sentence and the thoughts and feelings.

2. Subjective factors and objective factors of expression. Subjective factors refer to the writer’s position, viewpoint, character, temperament, talent, knowledge, interests, hobbies, artistic accomplishments, language habits, etc.; objective factors refer to the time, space, object, context, context, conditions, etc. of expression. Cause and effect, premises, etc. 3. Different fields and purposes of expression, and a series of organic unity of speech characteristics formed by the repeated use of different delivery media, language materials, and expression methods over a long period of time - style" ("New Rhetoric" by Zheng Yishou and Lin Chengzhang) ). When discussing the context issues of rhetoric and appreciation, we use the broad concept of context. Both the narrow concept of context and the broad concept of context include a variety of contextual factors from their respective perspectives. Many contextual factors constitute a context system. In this system, contextual factors form branch systems of the context system and its subordinate systems at all levels according to certain combinations and clustering relationships. According to the location of the contextual factors, We first divide the context system into two subsystems: extra-verbal context and intra-verbal context. All contextual factors that exist outside of utterances belong to the extra-verbal context subsystem; all contextual factors that exist within utterances belong to the extra-verbal context subsystem. , belonging to the intra-verbal context subsystem. Within these two subsystems, several levels of subordinate systems can be distinguished. The extra-verbal contextual factors are divided into two categories: objective contextual factors and subjective contextual factors. Such as time, space, scenery, etc.) and social factors (such as state of affairs, object, culture, status, relationship, etc.); subjective contextual factors include modal factors (such as purpose, theme, mood, etc.) and morphological factors (such as expressions, actions, etc.) ). Contextual factors within speech are divided into two categories: linguistic contextual factors and verbal contextual factors. Linguistic contextual factors include phonetic, semantic and grammatical factors; verbal contextual factors include style and expression. and logical relationships. The above-mentioned subsystems and subordinate systems of contextual factors do not exist in isolation. In a certain rhetoric and appreciation process, they are related to each other and act on a certain evanescent appreciation process at the same time. 3. Context is. A specific context is relative to a specific rhetoric and appreciation process. Without the specific rhetoric and appreciation process, there is no "context" to speak of when conducting theoretical analysis. , we can describe the above context system and its subsystems and subordinate systems at all levels in isolation, but as long as we deal with the issue of why "context" becomes "context", we cannot escape from the specific rhetoric and Appreciation process. For example, the natural factors and social factors in the above-mentioned extra-verbal context system exist objectively, and they can exist independently without relying on rhetoric and appreciation processes. The appreciation process may not be affected by the natural scenery, but the natural scenery still exists; your rhetoric may not take into account the characteristics of certain appreciators, but these appreciators and their appreciation activities will not die out because of this. The many "contextual factors" described are actually a prediction of the objective reality and subjective conditions that may become contextual factors. Only when they become factors that restrict rhetoric or appreciation activities in a certain rhetoric or appreciation process. We endow these objective realities and subjective conditions with the connotation of "contextual factors", for example, "touching the scene to evoke emotions" to create rhetorical products, "drawing examples from objects" to form metaphors, and "depending on people's choice of words" to present different expressions. Speech style, "speaking according to the situation" forms different style colors... These "scenery", "object", "person", "thing", etc. are convenient for a certain rhetoric or appreciation process. With the connotation of "contextual factors". From the factors of the context system listed above, it seems that context is all-encompassing and all-inclusive, but this is not the case. When conducting theoretical elaboration, we must try our best to enumerate contextual factors in order to comprehensively describe and analyze the entire contextual system. However, if it involves an actual rhetoric and appreciation process, then the contextual factors that directly affect this process are specific, limited, and describable. As some scholars have said: "Context determines the art of using language." , determines what kind of language materials and organizational methods should be selected...At the same time, we must also see that this binding force of context is manifested as a tendentious requirement when choosing language means. At present, we There is no way to make precise, one-to-one predictions between contextual language requirements and specific linguistic devices." (Zhang Shaotao's "On Contextual Factors Affecting Style Changes" in the fourth volume of "Rhetoric and Research") Because of this, when we analyze a certain rhetorical fragment to analyze which contextual factors it is subject to, it is impossible to combine the theory All the contextual factors predicted above are associated with this rhetorical fragment. Context systems are divided into static and dynamic systems.

The theoretical division of the general context system, branch systems and subordinate systems at all levels is obtained through static analysis. When the predicted contextual factors become actual contextual factors that restrict a certain rhetoric and appreciation process, the contextual factors The static system has a dynamic trend of mutual harmony, penetration and exclusion. The factors that were originally static in each theoretical context system are temporarily combined and clustered to form a binding force on the same rhetoric and appreciation process. Create a dynamic new context system, let’s analyze the following rhetorical fragment: Dear friends: When we stand in this square and stand together with tens of millions of Nepali people, the precious memories of the past era are It appeared in front of me again. Although our two countries are separated by the most dangerous Himalayas on the border, our people have maintained friendly exchanges since ancient times. They exchanged each other's cultural creations and Achievements in agriculture and crafts. As I end my speech, I wish that the friendship between China and Nepal will last as long as the Himalayas connecting our two countries. In this rhetorical fragment, the main contextual factors have the following correspondence with the speech features: Expression object: citizens of a friendly neighbor──simple, popular language. Purpose of expression: to express and praise the friendship between China and Nepal - a warm and sincere style. Occasion of expression: Mass gathering in Kathmandu Square─Use of speech style. Related scenery: Himalayas──correct use of metaphor. Context: The Himalayas are mentioned twice - echoing "object", "purpose", "occasion", "scenery" and "context", which are contextual factors that belong to different branches in theoretical elaboration, surrounding the same constraint object. , combination and clustering into a dynamic and practical context system.