Zhao Shugong | wen can be "exhausted"?

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In ancient China, the mystery of literary talent and the legend of genius converged into the Xi Shang who was respected by literary talents, and those who were rich in literary talents were named "talents", and those whose creative power declined, literary thinking was dull, and masterpieces were difficult to find also had to trace back to their roots, since the Six Dynasties, critics have summarized this change in creative situation as "talent exhaustion", "Jiang Lang Cai exhausted" is the most famous allusion at that time. Around this legend, the past generations have triggered many topics such as whether the talents of the river are exhausted, whether the talents of the people can be exhausted, what factors hinder the full play of talents, and what is the way to maintain the vitality of talents. After many writers become famous, the phenomenon of unsustainable creation also gives people such a feeling: the talent of writers is similar to the substance stored in the utensils, with the endless expression, the years of long-term acquisition, each creation will form a certain wear and tear, so day by day, one day will tend to empty the abdomen, which is "exhausted". So can it be "exhausted" in the end? This article intends to start from what talent is, refer to the discourse on literary talent and the experience of literary practice in previous dynasties, and unveil the mystery of this thousand-year public case. (For a detailed discussion, see humble book "Theory of Ancient Chinese Literary Talent Thought", People's Publishing House, 2016 edition)

"Only exhausted" said traceable

It is a concept that has matured in the pre-Qin period. At the time of the Han and Wei Dynasties, with the change of talent selection criteria and the popularity of talent philosophy, this concept became the "key word" of the culture of that era, and completed the transformation of its aesthetic categorization. It is also on this basis that the legend of "exhaustion" was born.

The earliest legend of "the end of talent" in the history of literature appeared in the Six Dynasties, involving the famous literati Bao Zhao, Ren Fang and Jiang Yan respectively.

Bao Zhaocai said everything. The "Book of Song and the Biography of Bao Zhao" records: "The best is an article, and it claims that it is beyond its reach." According to his purpose, he was tired of saying a lot of words for Wenduo, and at that time, xian said that the light was exhausted, but it was not true. Because the emperor at that time thought that his literary talent was invincible, Bao Zhao was well-behaved, but he was afraid of accidentally revealing his talents and exposing the incompetence of junshang, so the poetry composition was deliberately stacked and contemptuous. When people don't know, it is said that it is exhausted.

Ren Fangcai said everything. Nanshi RenFang Biography Yun: "(Fang) is known by literary talent, and Shi Renyun 'Ren Pen Shen Shi', Fang Wen is very sick. In the evening, I turned to poetry well, and I wanted to pour out, and I used too many things, and I did not let my words flow. Zi Erdu corporal MuZhi turned to chiseling, so there was a talent to talk about it. "Ren Fang was erudite, and Wang Monks and Children were once compared to Dong Zhongshu and Yang Xiong. The so-called "Ren Pen Shen Poem" of the people at the time means that Ren Fangzhi is better than the scattered articles, of which the official documents that do not pay much attention to talent account for a large proportion; Shen Yuezhi is longer than poetry, which not only emphasizes emotional delicacy but also needs the beauty of words and rhymes. Ren Fang was not convinced, and in his later years he deliberately abandoned his strengths and wanted to compete with Shen Yue in poetry creation. However, his talent is limited, and his poems are used too much, and they are the same as the book money. Nevertheless, encouraged by the deliberate praise of some homologists, Ren Fang not only did not restrain himself, but became more and more arrogant in this kind of creation, and the theory of exhaustion came from this.

Jiang Yan said everything. This allusion is first seen in Zhong Rong's "Poems", in which Yun: "At the time, Xie Shuo was not abandoned, and the river flooded before it was exhausted." The Nanshi Jiang Yan Biography describes it in more detail:

Drowning less to the article to show, late festival to think of a slight retreat. Yun returned to Xuancheng too punctual, starting from the Zen Ling Temple, and the night dream a person called himself Zhang Jingyang, saying: "Before, i sent a brocade with a horse, and now I can see it." "Flooded in his arms to get a few feet with it. The man exclaimed, "Then it will be cut and cut off." Gu Saw Qiu Chi and said, "The remaining few feet are useless, and they are left behind." "Self-drowning articles are not enough. After tasting yu Ye Ting again, Mengyi's husband called himself Guo Pu, saying: "I have a pen in Qing for many years, and I can see it back." "In the arms of the drowning detective, he received a five-colored pen to teach it. There are no beautiful sentences for the poems. When people say that it is enough.

Later generations of the famous "Jiang Lang Cai Exhausted" allusion is derived from this. The above "exhaustion of talents" is all based on the literati, and the conclusion is drawn by virtue of the artistic style and standard presented by their respective works, mainly pointing to the decline of writers' creativity compared with before. Of course, the performance of the so-called "talent exhaustion" of the above three people is slightly different: Bao Zhaocai is not an objective portrayal, but an obscure strategy of the scribes. Ren Fangcai's exhaustion is slightly complicated. The tasting basis of "RenBi ShenShi" was the "discernment of literary writing" at that time, in which the "text" was withdrawn from universal and functional writing (then known as "pen"), giving an artistic aesthetic identity, which was an important landmark theoretical achievement in the process of Chinese "literature" consciousness. Distinguishing Ren Fang and Shen Yue from the different dimensions of "poetry" (i.e., text) and "pen" has laid out the consensus of the critical circles on Ren Fang's poetry is not excellent, under such conditions, his poetry writing that restricts and fills up and drops the book bag is the objective embodiment of his natural talent, since it has not been seen in the first place, so the so-called "talent exhaustion" here points more to the fact that his poetry is not excellent. The legend that only the river flood is exhausted is closer to the original meaning of the word "exhausted" in general, and it has also become the most widely circulated and most influential of the three canons, which has aroused the attention and discussion of successive generations, scholars have different opinions and opinions, and the main idea is finally focused on whether the talent of the river flood is exhausted or not.

The discussion on the flooding of the river initially focused on whether the flooding of the river was exhausted, and then perfunctorily opened up, and gradually focused on the topic of whether the general sense of the flood could be exhausted, and finally rose from the case of the river flood to a topic of literary aesthetics. There are two main questions in this thesis: Will literary talents be depleted by frequent envoys? Does literary talent wither with age?

The controversy over the "exhaustion of talent"

The two main questions about whether talent can be fulfilled have historically had different answers.

Will literary talent be depleted by frequent envoys? As Li Yisi said, "The literati use their talents as they do, just as they use things, and they pour out what they have accumulated." Qian Qianyi expressed it as follows: "Those who live endlessly, the spirit is also hearted, and if they are used too much, they will be consumed." The so-called "use" here refers specifically to "overuse", that is, to pick up the pen all day long and chatter endlessly; and "only exhausted" also specifically points to the following three ends: scratching the real qi, rigid beauty, and disturbing deep thinking.

Hang Shijun questioned this. He first praised the wonderful things between heaven and earth: "Qiankun has a clear breath, the landscape has a clear sound, the fusion becomes a spirit, the embryo becomes a character, the heartfelt disposition, the root qi bone, the scattered heart and spleen, the creation of the real bell is beautiful, and fortunately, it is also said." "Those who create the bell in this way can "carve the liver and kidneys, take a leap in the swimming, speak recklessly, and use it upside down and repeatedly", how can he ever do his best? As for some "good" people who "die of poverty and old age, or blame or laugh and laugh and still do not regret themselves", although their "baht is accumulated, and every inch is accumulated" situation does show the potential of exhaustion, in fact, this situation has nothing to do with whether or not they are exhausted, because they originally belong to the "talentless" who "are talented and only talented". The real talent is inexhaustible, so Hang Shijun's conclusion is: "Poetry is also the place to use talent, not the tool of exhaustion." (Preface to the Poems of Ho Pao)

In contrast, the topic of "whether literary talent withers away with age" has received more extensive and intensive attention, and has formed two opposing views: the endless aging of literary talents and the exhaustion of literary talents with age.

The idea of endless old age and micile of literary talents has a certain relationship with the concept of "generous and boundless, and the great instrument is late" in Lao Tzu, and the theory that the people of Mencius will be given great responsibilities in heaven and will suffer their hearts and minds, and lack their bodies. Du Fu's theory that "Yu Xin articles are old and more successful" has paid attention to the relationship between the creative process and talent. The Song people were quite appreciative of Du Fu's theory, so at that time, the papers were endlessly old and the literati were especially late. This phenomenon of later and poetic writing becoming more and more high, later generations also called it "the year is higher, the merit is deeper". The literati who hold such a theory mostly regard literary and artistic creation as a lifelong cultivation behavior, and take the progress of the steps as their inevitable experience, so "what is done at the middle age, or the style is not completed, the waves are not old, and it is hated day by day" has become the norm for the literati. The so-called "daily hatred" refers to the phenomenon of more regret and less work in the past generations. Someone asked Wang Shipeng of the Song Dynasty about the merits of his past and present articles, and Wang Shipengyun said: "I don't know what the new text is, but every time I read the old text, I will sweat." The subtext is: Only with the years, so we can see that the present is not yesterday. Regretting his few works was concentrated in the fact that after some famous literati became famous, they burned their few works in large quantities. Mr. Wu Xionghe's article "Macroscopic Intermediary" once paid attention to this phenomenon: Huang Tingjian had more than a thousand poems in the past, and nearly two-thirds of them were burned at the middle age; Chen Shidao's self-compiled poems were all works after the age of thirty-one; when Lu You published the "Jiannan Poetry Draft", only more than a hundred poems were deleted before the age of forty-six. Yang Wanli's "Self-Introduction to the Collection of Rivers and Lakes" frankly admitted: "Yu Shaozuo has more than a thousand articles, and by the afternoon of Shaoxing, all of them have been burned, probably in Jiangxi. ”

Another opinion is that only with the decline of the years, that is, the literary talent gradually declines with the decline of spiritual and flesh. Ouyang Xiu's "Title Qingzhou Shanzhai" tells his own creative experience as follows:

I tasted the joy of reciting Chang Jianshiyun: "The bamboo path leads to a quiet place, and the zen room is deep in flowers and trees." "If you want to make a connection according to his words, you will not be able to get it for a long time, but the one who knows the intention is difficult to work." When I came to Qingzhou in the evening, I had to feast on the mountain, because I didn't want to see it in my lifetime, and I couldn't say that the one who spoke was for himself. So Yi Yi wanted to look at it as if he had received a word. If the husband's predecessors started his end, and the scene was in his sight, he must not claim to be his own, is it not possible that the talent is limited and not strong? Will I be old, the decay of Wensi? It is a lifelong hate.

Ouyang Xiu regretted that it was difficult for him to copy Chang Jian's works, and there were two reasons for analyzing them: only because of their partial limitations could not be forced; and only when he was old could he think of decline. Although there are two kinds of intentions, this kind of self-indulgent speculation is very different from the arrogance of its past self-tao "Lushan Gao" and other works that can match Li Du and even Li Du are difficult to look forward to. Zhu Xi also held this theory, he once said to himself that "people's old qi declines and declines"; also known as late essays, such as bald pen writing, are not sharp and impressive; and Yun: "People's articles are only fixed before the age of thirty, but there are fine and unfinished ears." Thirty years old was a watershed in Zhu Xi's view, when the flesh and qi had been determined, and the literary talent was basically mature, and there was no great entry after that. Everyone is still like this, and the people who do it are even more extraordinary.

So, can literary talent be exhausted in the end? This starts from the original meaning of talent and its characteristics.

The unity of the performance of talent, the unity of heaven and man and the "exhaustion of talent" are questioned

From the examination of literal exhortations, the original meaning of cai is derived from the state of existence of grass and trees. The interpretation of this word has about two representative statements:

First, it indicates the initial state of grass and tree growth. Cai's seal characters are made of two horizontal and one vertical, and Xu Shen's "Explanation of Words" explains the clouds: "The beginning of the grass and trees is also." ”“|” The "one" that runs above is "will grow branches and leaves"; the "one" below represents "earth". The character is both pictographic and meaningful, and is the form of a plant that has just come out of the ground. The Southern Tang Dynasty Xu Kai's "Biography of the Shuowen Lineage" follows this statement, but interprets the above horizontal as "the first birth of qizhi". Duan Yujie's Commentary on the Interpretation of The Text agrees with Xu Shen's interpretation and further extracts its "beginning" and initial extensions.

Second, it represents the natural texture of the tree after it has been cut down. Li Yangbing of the Tang Dynasty first said this, and Dai Dong's "Six Books" at the end of the Song Dynasty quoted him as saying: "In the ground is wood, and the fall is talented, just like its branches are cut down." Where wood yin and yang, rigid and soft, long and short, size, curved and straight, its talents are different and each has its own appropriate talent, and its non-use is called untalented. The talents of mortals and things are called talents. Dai Dong also took this opinion. The interpretation of Li Yangbing et al. is another interpretation of the object shape "cai" character, focusing in particular on the morphological analysis between the words "wood" and "cai": the living are wood, after falling, cutting off the branches and roots of the big wood is cai, and after cutting, it finally shows the natural texture nature of the trunk of the tree, and the texture properties are different, and its use is different, but anyone who can use it can be talented. This is both a matter of nature and a combination of degrees.

The above understanding of the character pictograms is different, appearing in different eras. Xu Shenzhi's earliest statement should be able to represent the basic understanding of the original meaning of talent before the Eastern Han Dynasty. Although the Tang Dynasty theory has risen later, it is also from the perspective of the state of existence of grass and trees, and the interpretation of the relationship between "talent" and "wood" has certain supplementary significance for Xu Shen's interpretation.

In summary, the so-called talent, the original meaning is a concept of time, because it represents the beginning, the square will, so not only yin and yang, rigidity, length, size, curvy, turbidity and other textures are contained in it, the future trend or development trend is also implied, "talent" also has the meaning of "can", so Duan Yujue's "Commentary on the Interpretation of Texts" extends its meaning as follows: "At the beginning of the grass and trees, the branches and leaves are all in the beginning, and the beginning of life is full of goodness, so the ability of people is known, and the meaning of words is also contained." "It is the nature of the texture, the potential that manifests itself in the nature of the texture." Talent and sex are inseparable from the beginning, so talent or sex is collectively called "talent". In the view of ancient scholars, the original meaning of "life", "sex" and "talent" is the same, they are all "nature", Feng Youlan also believes: "It is the bottom of nature, so it can also be said to be sex." This connotation positioning of Cai ("New World Training") was fully mature in the Warring States period.

The examination of ancient philosophy, aesthetics, and philology shows the following two important characteristics: sex and energy unity, and unity of heaven and man.

First of all, the sex of the talent, the unity of the nature. The nature and ability of talent are the texture nature and potential of talent, and the unity of the two has been clearly reflected in the interpretation of talents such as Xu Shen and Duan Yujue. The physical texture of the subject has the function of guiding, supporting or presetting the future development trend of the subject, so that the potential or potential advantages are contained in such a quality. Specifically:

First of all, there is a distinction, which is "sexual point" or "only point". The theoretical attention can be traced back to the Spring and Autumn Period, when Confucius divided people into three classes: born to know, learned and learned, relying on the subject endowment. Out of the need for human understanding, the two Han Dynasties gradually increased their relevant discourses, or divided them by the cultivation of short words, such as the "Huainanzi Xiuwu Xun" Yun: "Human nature has its own cultivation shortcomings,...... This natural person cannot gain or lose. "Or it is divided by grade, such as Dong Zhongshu inheriting Confucius's thought, thinking that sex has three qualities: the nature of the saint, the nature of the Chinese people, and the nature of fighting; the order of the ninth class in The Book of Han and the Table of Ancient and Modern Characters of Bangu is based on the talents of others, and Xun Yue's "Shen Jian" is divided into upper and lower in the three products, until Cao Wei Jiupin discusses the French style of people, and so on. For example, the "On Balance and Case Book" says that "only then can there be high and low" and "only shallow and deep"; "Nature" also says that "human nature has good and evil, and Jews have high and low".

At the time of the Six Dynasties, the theory of talent division has entered literary and art criticism. Fan Ye's "Book of Prison and Nephews" once said to himself that "the division of the gift is still unfinished", and his so-called "endowment" refers to his proficiency in writing and poetry creation. "Wenxin Carved Dragon" is even more repeated. Talent has its own points, which means that its basic quality has thus obtained corresponding regulations, which are different from each other and present their own faces.

Secondly, the different texture properties of talent manifest as different potentials, which is "performance" or "talent". The concept of "talent" gradually emerged in the Eastern Han Dynasty, and Wang Chong's "On Balance" has been used maturely, such as the "Book Commentary" Yun: "Talents have ability." "Cheng Cai" Yun: "On the good and strategic materials, the use of tired energy", "the Confucianism of deep envy of talents", "the people of material ability, drive with the world". Liu Shao's "Character History" is dedicated to a discussion of the ability of talents and political affairs:

Each talent is suitable, not only the size is also said. Different kinds of ladies can be different. There is the ability to appoint oneself, the ability to legislate to make people obey, the ability to discern information, the ability to be a virtuous teacher, the ability to act to make people reproach, the ability to picket, the power to marvel, and the ability to be mighty. The ability of the husband is different from the material; the material can be different, and the administration is also different.

Talents are different, and the political affairs that can be engaged in are different from type to size, although "partial talents" are listed, but because they have their own capabilities, they can still be described as "blind beauty".

Only then does it have its quality, and sex has its potential, but it is worth noting that the ancient Chinese discourse on quality and potential is not isolated, but always refers to the unity of sex and energy. Earlier commentators such as Zhang Heng's "Ying Jian" Yun: "Everyone has his own ability, and he is appointed because of his art." "Each person has his own ability" means that people have their own different partiality or unique qualities, which determines the basic principle of being able to choose a career. The Southern Dynasty Liang Ji Yu Yuanwei Treatise directly states the relationship between the two: "Fu cai is related to sex. In the discussion of talent in later generations, some people are often limited to the one-dimensional ability, especially today's general understanding, and Dai Dong's "Six Books" at the end of the Song Dynasty has long made reflections on this: from the perspective of endowment, the talent of heaven is not uniform, there is a difference between wisdom and stupidity, between the wise and the unskilled, this is the "sex point"; the final achievement of such a sex point is the performance talent, but the achievement of the performance talent is inevitably supported and restricted by the sex point, and the two are inseparable. Sima Guang and others distinguish between talent and virtue, take talent as ability, and discuss nature with virtue; the second journey is based on nature and talent out of qi, and there is a suspicion that talent and nature are different. If we understand it in this way, it becomes synonymous with wisdom, skill, and courage, ignoring the basic common sense that talent is inherently natural. Dai Dong's above questioning is a correction of the phenomenon of detaching from the material body and only relying on ability.

Look at the heavens and the unity of people. As mentioned earlier, the "energy" in the nature of talent and the unity of energy is "potential", the possibility of future achievements and achievements, and it cannot be equated with actual ability. Such a qualitative possession is only the material basis and prerequisite for sex to be transformed into energy, whether it can be activated, whether it can be flexible and endlessly requires the continuous investment of acquired manpower, only when this quality is integrated with acquired manpower, the potential can be transformed into practical talent. The talent included in aesthetic research is the product of this unity of heaven and man. Among them, acquired personnel or manpower are often included in the scope of "learning" in ancient philosophical aesthetics, and are compatible with all aspects of reading, practice and thinking.

The origin of this theory of the unity of heaven and man also returns to the Confucian idea of human nature. Although the early Confucian theory of sexual goodness and evil has a certain contradiction, from the perspective of the means of perfection of the subject, the two invariably focus on acquired personnel affairs.

Mencius's thought can be summed up as "compounding." As a representative of the theory of sexual goodness, he pointed out after ruling out the sin of man's unwholesomeness and non-talent: "To be able to do good is to be good." This is the process of learning to achieve perfection, the process of exhaustion is the process of learning and learning, self-denial, seeing the wise and thinking together, thinking twice, etc. The process of dedication to learning, the exhaustion of mechanics is the only channel for the completeness of the subject, the final realm is in itself, and the process of becoming complete is the self-release and perfection of self-nature.

Xunzi's thought can be summarized as "temperament". As a representative of the theory of sexual evil, he thought that human nature was attached to the primitive desire impulses, not pure and flawless, so man had to realize the self-de-charm through "pseudo"-literary ornamentation and culture, and the mechanics of exhaustion thus became the only channel for the perfection of the attainment, and the final realm transcended itself, and the process of sexual becoming its "pseudo" was here also the compensation and cultivation of the self.

From the above, it can be seen that learning is the only means of complete virtue and beauty cultivation. Sex has an essential need for learning, and only when sex is complete and beautiful can it be maximized, and the so-called "knowing and learning and then being able to learn" in Xunzi Confucian Effect is this truth. The unity of talent and man is thus laid, and it can also be said that under the premise of each sex, manpower is the ultimate strategy for this fixed score to be radiant and rounded. Later, the literati of the Six Dynasties of the Han and Wei Dynasties then made a more informative and sufficient explanation of the principle that only to be learned and become able to become able.

The performance unity of comprehensive talents and the unified characteristics of heaven and man can be further described: as a descriptive category of subjective endowments, it is not a function, function or function that is established alone, individually operated and functioned, but a reference to the inclusive existence of human nature, which is based on the organic integration of the subject endowment, and realizes the benign movement of the mental structure system through the continuous participation of human beings. Therefore, we can define it as "the unity of the complete mental structure system of the endowment of the subject and the human force." The so-called "endowment mental structure system" here is rich in content: the source of functions such as memory, feeling, recognition, thinking, feeling, association, induction, etc., is all in it, as the foundation of talent, this quality has its own points, immutable; each has its own advantages, it is difficult to understand at the same time. Such a qualitative division then gradually forms different choices within the reach of the art in the process of learning and tempering the day after tomorrow. For literary talents (talents of literature and art), it is not beyond the mental structure system of ordinary talents, but the prominent and decisive factors in them have a huge difference in capacity or concentration compared with ordinary people, and this prominent and decisive factor is its uniqueness in the mind such as feelings, feelings, and associations, and its amorous and affectionate, keen and subtle personality constitutes the root of Yan Yu's so-called "poetry has different talents" and "other talents".

In fact, the so-called "exhaustion of talent" is a very general and vague expression, which at first glance seems to be true, but it is difficult to confirm it when it is examined in detail. Judging from the systematic characteristics of talent, for a writer and poet, the "sex" as the source of his potential exertion and use is stable, and it can also be said that the composition of the mental structure system of his specific subject, the combined characteristics of qi and blood genes, are stable, and will neither mutate due to frequent luck nor shrink with age. But the performance of this "sex"—that is, the ability to present is not a continuous and stable state, just like the growth of a flower, not a good seed can determine whether the flower can bloom, its growth requires an ecology: moisture, air, fertilizer, soil and the removal of surrounding weeds, etc., all have an important impact on its growth. Among them, there is the question of whether the relevant functions in the endowment are flexible and circular, and there is also the question of whether the acquired manpower is sufficient for the innate stimulation. This phenomenon, we can call it "sex is not easy, can not be easy to continue."

"Talent exhaustion" says the essence: even if you do not cultivate talent, you are tired, and if you do not learn in the years, you are dull

As mentioned above, the so-called "exhaustion of talent" is that the benign operation mechanism of the mental structure system is destroyed, and what destroys the benign operation of the mental structure system is precisely related to the two manifestations that trigger the theory of "exhaustion": indulging in talent without raising, and not learning for many years. Careful examination of these two phenomena helps us to deeply understand the essence of the so-called "exhaustion of talent".

Let's look at the unbridled creation before we create. As far as specific literary creation is concerned, we are accustomed to hearing the so-called jokes of xingxing and smooth writing and spitting out lotus flowers from the legends of various talents, but we do not know much about the three ambiguities. In fact, the so-called tireless and endless writing is often accompanied by bitterness. For example, the Eastern Han Huan Tan's "New Treatise" records Yang Xiong's self-description: "When he became emperor, Zhao Zhaoyi Fang Daxing. Every time he goes to the fountain, he gives an edict and commits a wrath for it. Thinking hard, endowed, sleepy and sleepy. Dream of his five organs out of the ground, with the hand to collect it. And sleep, the disease wheezing palpitations, less breath, sick one year old. "Yang Xiong is not an untalented person, but whenever the emperor comes (not himself), he will be entrusted with the edict, and his difficulties can be imagined!" Huan Tan triggered the thinking: "From this point of view, think hard, hurt the spirit." Wang Chong's diligence has been repeatedly praised by posterity, and the "Book of Later Han And The Biography of Wang Chong" contains him as the author of "On Balance", "thinking behind closed doors, celebrating the ritual of hanging, putting on the walls of the household, and placing knives and pens in each room", so the hard reward is to achieve the 85-year-old and 200,000-word imperial masterpiece, but it also exchanges the dismal "seventy years, the decline of ambition", even if Cao Zhi, who has the reputation of "embroidery tiger" and "talent and eight buckets", also has the theory of "disgusting stomach" without quitting creation (Xiao Xuan's "Jin Louzi Liyan").

Liu Xun believes that from the perspective of health and health, such an unclear reason for literature, "essence domestic sales" and "mental trauma", "sales of essence and guts" and "coercion and qi", the final result can only be "Bingmu to drive away the age, sprinkle Han to cut sex" - writing has become the culprit of killing life. As far as the actual achievements of creation are concerned, there is no restraint to respond to literary debts, the left and right sides throw away talents, and "fatigue and decline" will inevitably be reflected in "Wensi" and fall into the evil disease of "Wensi Fuyi": at first, it was "to cope with the supply of words and dust and collect ink", and the vocabulary can be seen everywhere; after a long time of "slipping hands", it is "impatient to contemplation", superficial and easy to get used to, but instead of taking Qin Si's deep understanding as a fear; in the end, it must be attributed to talent, "people's talent and spirit are also counted, and more rewards are given to divide their strength, and later encounter great problems, and they are powerless and cannot be wonderful." Wensi is a direct manifestation of the implementation of literary talent in creative practice, Wensi is easy to be impatient and deep, and it is unable to bear the burden on big topics, which is what "talent exhaustion" refers to (Mao Xianshu's "Treatise with Fang Weiren").

However, such a so-called "exhaustion of talent" is not the exhaustion and permanent loss of talent, but only the paralysis of wensi, which can reconnect with the source and revitalize vitality. Wen cai can accumulate and cultivate, then the final activation is the Wen Si sharp, and with the fountain of Wen Si gushing, it does not matter "talent exhaustion". Liu Xun also pointed out this point when pointing out the depression. The so-called "cautious entry and prudence" of the ancients, "taking the essence and using it less", the so-called "talent is precious", "Wende respect and prudence", all preached this way of cultivating literary thinking.

Of course, the cultivation of talents discussed by Liu Xun and others is close to the Taoist hygienic meaning of nourishing qi, and the cultivation methods involved in the literary and artistic undertakings are far more than this, just as Lu Youyun said: "Only the heavens are obtained, and the qi is self-nourishing." Talented, not enough to resist, obscene to the rich, moved to the poor, gained more than loss, glory is not ashamed, poetry is derived, and want to chase the ancients' escape, can you get it? (Preface to Fang Deheng's Collected Poems) Lu You's discussion of cultivation focuses more on what Mencius called the Haoran Qi, which is the product of the fusion of righteousness and Tao with the Qi of life. Without the support of this inner ambition, no matter how strong the body and the enthusiasm of the flesh and qi that are bubbling up may be difficult to transform into a high-spirited literary thought.

Look at the creative situation of the years and then not scholars. If we carefully analyze the connotations of the sayings of the old mi du and the sayings of the old people, in addition to the subjectivity of some individual criticisms, we will find the following characteristics: In the eyes of the critics, excluding the influence of accidental factors such as the depth of feelings, the prosperity and non-existence, the size of the system, and the spiritual depression, the reason why many outstanding literati are considered to have not exhausted with the years is because they do not abandon their studies; the reason why some other literati are regarded as only with the years is precisely because they do not learn, and their old age is decadent, not the change of talent itself. Rather, the acquired efforts to maintain their vitality in the ecosystem in which talent plays a role are delayed or even stagnant, resulting in the loss of the source of vitality for the literary talents who are unified in their own performance and the unity of heaven and man.

Judging from the theory that talent is not exhausted with the years, the perseverance of manpower can achieve the skill of the creator, can exercise the author's knowledge, can accumulate the Faduli disease that is familiar with literature and art, can cultivate the author's ambition, can contain the author's moral feelings, and finally the tirelessness of this manpower can resist the divine knowing soul. Therefore, in the eyes of those who have only advanced with the years in the eyes of later generations, such as Han Yu, Ouyang Xiu, Su Shi, Huang Tingjian, etc., none of them are not typical of learning with the years.

And for those who insist on the theory that only the years are exhausted, the so-called exhaustion of talent is not a transformation in the essence of talent, but a drop in the mechanism that stimulates the appearance of talent, to put it bluntly, "talent exhaustion" is actually the inevitable result of "learning exhaustion". Successive reflections on the phenomenon of "small hours, big is not necessarily better" have warned future generations: learning and tirelessness is the fundamental place for talent to achieve talent. Wang Anshi's "Wounding Zhongyong" can be typical: "Zhongyong's enlightenment, the heavens of acceptance." Its received heaven is also a great talent. If he is a multitude, he who receives from others will not be also. "The talent of heaven must be assisted by human learning, otherwise the quality is only qualitative, and it can never be transformed into talent, and occasionally it will be revealed, and it will be difficult to shine brightly."

Out of a profound understanding of the above principles, many literati in history have often reserved a plan for healing when it comes to some cases that they see as the end of the year, which is "learning". Whether or not they agree with the end of the year, the idea of "learning to enlighten talents" is representative at that time and in later generations, and "giving up learning and using talents, its talents are easy to be scarce" has thus become a golden and jade good word that rules talents.

Of course, the so-called "exhaustion of talent" here is still a general expression, just as the excessive drilling caused by the exhaustion of talent refers to the decline of literary thinking, and the "exhaustion" or "exhaustion" of the years also refers to the overall system of literary talent, but "talent thinking" - literary thinking from the endowment of individual literary talents. As early as the Tang Dynasty, Sun Guoting's "Book Genealogy" had the following text: "If you think about it, it is better to be young than old." The author clearly identifies the old and the militant in the "thinking"—that is, the older the thinking, the more penetrating. All those who have stagnation, congestion, and sensitivity due to changes in flesh and qi are thinking here. If it is a matter of literary thinking or talent thinking, why should it be "exhausted" by the fate? Originally, "talent" as a vague, systematic concept, due to the expression needs of different contexts, the specific literature generally does not fully cover its original meaning, but in the talent, talent between the wandering, often two ends of the table, some emphasis; coupled with the habitual meaning of the meaning of the construction, expression of the impact, sometimes even blur the scope of its body and use, to use the body, to replace the surface, such as having a good memory, learning ability from ancient times to the present are destined to be talented, But in fact, this is only one of the qualities in the mental structure system that constitutes talent, not the embodiment of the whole and all qualities of talent. Nevertheless, this habit of expressing talent has been incorporated into the Chinese word-building law, such as talent, knowledge, talent, learning, talent, talent, talent, talent, talent, talent, etc., can be regarded as the subject's quality, talent through its feelings, knowledge, learning, algae color, virtue instrument, momentum, literary si self-appearance, in turn, the ancients often regarded the rich feelings, knowledge, learning, algae color, virtue instrument, momentum, literary ability, etc. as talented. Due to the tradition of expressing the theory and the point interpretation, the dullness and concealment of literary thinking are justifiably expressed as "the end of the talent".

Artificial efforts cannot change the talents of talents, but through artificial efforts, the original talents can be released as much as possible. In view of this, The Ming Dynasty Qian Yi once pointed out:

A grain of grain, owned by everyone, cannot be condensed to a developmental position, and it will eventually be a dead grain. There is no talent in man, there is nothing that is not good, but only when he does his best can he see the essence. Don't be a stone fire and electric light, the casual writer should also be. (The Case of Ming Confucianism)

The "best of its talents" in the text does not mean that it can disappear, but that it means to exert all its talents. The so-called "no stone fire and electric light writers" is intended to warn the people of the world not to be clever and not to exhaust their personnel. In this sense, the conclusion of the Ming people's so-called "there are few talents in the world" is quite insightful.

(The author is a professor at the School of Humanities and Media, Ningbo University)