Yao Nai article body said

Author: Chen Zhiyang (Professor, School of Literature, South China Normal University)

Yao Nai's exquisite essay body theory takes the homogeneous national philosophical thinking and cultural psychological structure of "heaven, earth and man" as the background, and accommodates the ethical feelings of Confucianism, the natural worship of Taoism, the transcendent life of the Interpreter, and the aesthetic pursuit of the Cizhang family, which has rich cultural connotations and is one of his important contributions to the theory of the physical style of ancient literature.

Yao Nai's exposition of the theory of stylistic aesthetics or stylistics of the articles is mainly found in his two articles, "Fulu Fei Fei Shu" and "Hai Yu Poetry Banknote Sequence", the former thesis, the latter on poetry, the same general idea. Yao Nai's feminine and masculine dichotomy is simple and easy to understand, and is the result of speculative thinking in abstract thinking. The style of rigidity and flexibility can be traced back to the Wei and Jin dynasties, cao Pi's "Treatise on Classics" put forward that the articles have "qing qi" and "turbid qi"; Shen Yue's "Song Shu Xie Lingyun Biography" has the words "rigid and soft overlapping, happy and sad to divide feelings"; Liu Xun's "Wenxin Carved Dragon And Rong Cut" has the saying that "rigidity and softness are based on the foundation, and flexibility is tended to the times". By the Time of the Song and Ming Dynasties, yan Yu's "Canglang Poetry and Poetry Discernment" of the Southern Song Dynasty divided the poetic style into two categories: "calm and happy" and "excellent travel without hurrying"; the MingRen Tulong's "Treatise on Literature" divided the style of the article into two categories: the outline of the clear and the clear, the wind and the sun, the wind and the thunder, and the sand and stones. Fang Bao, the predecessor of Tongcheng in the Qing Dynasty, had the theory that "the author of the ancients, whose personality and style are not similar to the nature of others"; Liu Daxun had the view that "the most noble of the algae, Yue Xiong, Yue Yi". The above discussions are all important cultural resources for Yao Nai's style studies.

On the basis of his predecessors, Yao Nai made a further exposition of the theory of femininity and masculinity from the philosophical height of "the unity of heaven and man". His "Preface to the Poetry of the Sea Fool" Yun: "I taste the origin of the article, which is the origin of heaven and earth." The way of heaven and earth, yin and yang are just soft and soft. Gou has the essence of yin and yang, rigidity and softness, and can be the beauty of the article. Based on the cosmology of the unity of heaven and man, Yao Nai emphasized that literary creation is a spiritual creation that is natural and in line with the gods. Heaven and earth are born of yin and yang, and man is the spirit of all things, so his personality temperament is different from that of feminine and masculine, and will be reflected in his creation, and the masculine and feminine style of literature will come into being. Zhou Yi regards "yin and yang" as the two basic factors that promote the interaction of life in the universe, and softness and rigidity are the two properties of yin and yang, respectively. Yao Nai explores the origin of literature based on this cosmology as a philosophical basis, thus elevating its feminine and masculine dichotomy from its previous perceptual description to a philosophical contemplation.

The value of Yao Nai's style theory lies in the high generalization of a variety of style phenomena and their induction into two basic styles that are opposite to each other, so that the chaotic style phenomena become systematic under the domination of the two basic commonalities and become an object that is easy to be recognized and grasped. Yao Nai said: "And the husband's yin and yang are strong and soft, and at the second end of its essence, the creator is a mixture, and how much qi is infused, it is hundreds of millions of grades, so that it is inexhaustible, and all things are born." It is not that he is unaware of the infinite divisibility of style, but that there is no need to make another specific distinction.

In Yao Nai's view, the most ideal aesthetic realm of poetry should be the combination of rigidity and softness: "Yin and yang are rigid and soft in parallel and cannot be abandoned, there is one end and the extinction of one, the rigid as for the strong and the fierce, the soft as for the decadent and castrated, will not be the same as the text." Although in theory Yao Nai demanded both yin and yang, in his specific application he often upset this balance: "But the words of the saints, the unity of the two qi and the bias." However, the "Yi", "Poems", "Books", and "Analects" are also contained in the "Yi", "Poetry", "Book", "Analects", "Yi", " Descending from the sons, he is a man of nobility and a bias. He also compared heaven and earth, believing that "the way of heaven and earth is united as the body, and the time is strange to think that it is the user", so "the ancient gentleman called the article the supreme, although it has both uses, it can not be superior to the middle." Between masculine beauty and feminine beauty, Yao Nai prefers "masculine beauty", he believes that "the majestic and strong and straight of the text must be more expensive than the gentle and the gentle and the gentle", and the male talent in the world is particularly rare.

Taking Cheng Zhu Lixue as the sect is a characteristic of the Tongcheng school, Yao Nai followed Song Xue all his life, and his "Preface to the Collected Works of Cheng Mianzhuang" Yun: "Cheng and Zhu Sheng stand in parallel with themselves, and they are worthy of the Holy Gate, and those expounded by their arguments are deceived by the will of the saints and in line with the public will of the world. So that the queen can believe in it, obey it, and be disease-free. He even said "Cheng, Zhu Yuwu's father, And Shi Ye", cursing those who slander their father and teacher for "being evil to heaven" and "destroying all of them" ("The Book of Restoration"). Yao Nai adhered to the positive and enterprising spirit of Confucianism to promote the beauty of masculinity, and the heroic works of his contemporaries Zhu Xiaochun (Ziying), Wang Wenzhi (Yu Qing) and Xie Qikun (Yunshan) were highly appreciated by him. When he was young, Yao Nai was full of ambition and great enthusiasm for serving the country, he said: "The servant used to be weak and crowned, and he began to steal the name of the country song." Full of gifts from the south, the spirit is quite arrogant. ("Fucheng Zuo") He promised himself with the arrogance of "occasionally marrying a noble man to the world, and attacking the autumn of Waka Yan City" ("A poem written by Zai Yuanren and Shen Gaiweng of Zhuziying County") was a poem titled", and he was eager to serve the country and display his ambition to govern the country and the world. Yao Nai's admiration for masculine beauty is a kind of memories of the positive and enterprising spirit of the adolescent era. His friend Zhu Ziying's indulgence to the old man never faded, especially the object of his admiration; when Yao Nai's own arrogance and indulgence were no longer there, this admiration became more and more sincere. In addition, Yao Nai compiled the "Ancient Literature and Dictionary", and his admiration for masculinity is also reflected in the book's comments on the works of many writers.

However, Yao Nai believes that the masculine style is not easy to do, and the natural plain and feminine style is easier to reach. He said: "The body of the Fugu people's articles is not of the same kind, and the vibration of its magnificent and beautiful cannot be said to be unintentional, but if it is driven by the momentum of talent, it is not necessary to do it without force." Later generations reluctantly learned, and felt that there was accumulation on paper, like warts. Therefore, the realm of the article, Mo Jia is bland, the wording is deliberate, and there is a natural generation. This Xifu is therefore the canonical transmission of the Wen family. ("With Wang Tiefu") Yao Nai's own poems are also biased towards the feminine road, Zeng Guofan once criticized his text "cherishing the arrogance of Shao Xiong, driving away the momentum", and the "Draft History of the Qing Dynasty" said that Yao Nai was "high and simple and deep, especially close to Ouyang Xiu and Zeng Gong". Yao Nai is a clean and delicate person, which is closely related to his life experience. Years of official life have worn away his angular personality, and the arrogance of his youth has gradually faded, he once said: "Since ten years of general nationality, Yixing has been straight and mediocre. Less than two years after entering the Sikuguan, Yao Nai, who was in his prime, begged for illness and resigned, according to the "Annals of Mr. Yao Xi Baoxuan": "So the cultivators competed for novelty, and the Confucians who were tired of the Song and Yuan dynasties thought that they were empty, and spared no effort in beating and laughing." Sir, he debated back and forth, and although the princes had no difficulty, they could not help it. Yao Naizhi had a different path of learning, resolutely resigned, and since then he has chosen the path of teaching apprentices. Yao Nai was weak and sick since childhood, and in his prime, he was hit by the successive deaths of his wife, father, and stepmother, and resigned, and the old Zhuang and Buddhist thoughts were born. Song Xue itself is a fusion of the blood of the Tao and the Buddha, and Yao Nai's acceptance of the Tao and Buddha's thought naturally does not need more twists and turns. Yao Nai wrote "LaoZi Zhangyi" and "Zhuangzi Zhangyi", and had more understanding of Lao Zhuang's learning. He said in the "Preface to zhuangzi's chapters and righteousness": "The book of Zhuangzi is stated in the number of books, and those who know the meaning of etiquette are the so-called origins of Dalile, and those who are equipped with gods, mellow heaven and earth, and creation as human beings are also ambitious and contain the will of heaven and earth", "If the origin of the Tao is' there are those who are 'not separated from the sect, called heavenly beings'." Zhou Gai lives by himself as a heavenly man, so he is called 'shang and the creator swim'". Wang Wenzhi also taught buddhism, "Food Old Hall Collection" Yun: "Sir good floating tu Dao, recently gained daily progress." Taste the same accommodation in the embassy, nai and cross the river to stay in the old hall of his family food. His language is poor day and night, teaching to clear the heart with the desire to return to nature. Yao Naiyu, who originally rejected Buddhism, gradually believed in Buddhism: "After the decline of the Nai, he firmly believed in the Shi clan and the Buddha's flattering way." In his view, Buddhism and Confucianism seem to contradict each other but are the same: "The way of the Confucian is his own, and there is no need to argue." Ruofu Buddha's learning is sincerely different from Kong's, but I say that he is detached and unique in the appearance of all things, and suddenly looks into all things, or it is not wrong to be his own... The Confucians rejected it with the idea of a skeleton, and I thought it was not necessary. ("Wang Yuqing's Seventy Birthday Sequence") There is no difference between localized Buddhism and Taoism, and Taoism and Buddhist thought have become one of Yao Nai's codes of conduct: Yao Nai showed the Buddhist book Buddhism to Chen Yongguang, buried his relatives and looked at dozens of scholars, and after retiring to know the mountains and rivers, he regarded Qishan as the supreme text of heaven and earth and traveled widely around the world. The breeding of Taoism and Buddhist thought prompted Yao Nai's personality to become introverted, and a feminine wind was formed in his creation.

The Draft History of the Qing Dynasty commented on Yao Nai's characteristics as a human being: "The Qing Dynasty is promiscuous, extremely kind, and happy and happy without nobility; and what is righteous is indeed not easy to keep." "Generally speaking, Yao Nai integrated Confucian and Buddhist thoughts to form a tough and gentle style of doing things. In the practice of poetry creation, Yao Nai unconsciously favored femininity. Although Yao Nai shows himself with his idyllic leisure, he is by no means a "Buddhist" old man, Confucianism is the foundation of his establishment, and being active and enterprising is the inner spiritual belief of his life. Yao Nai tirelessly created the Tongcheng Sect after zhishi, which better explained this inherent tenacity and fortitude. What's more, "Shang Yang goes down to Yin, Stretching And Soft" is a long and profound cultural unspoken rule from ancient times, and his concept of being masculine and feminine is obviously influenced by the ancient idea of "heaven respecting the earth and inferiority". "I Ching, The Genealogy of the Lineage": "It is easy to have tai chi, and it is to give birth to two instruments." "The yin and yang fish that meet end to end on the two instrument diagrams indicate the truth of yin and yang, but in the Bagua diagram, the pure yang gua is on the top, the pure yin gua is on the bottom, the male is yang and the female is yin, and the meaning of respecting men and despicing women is very obvious. Yao Nai's Qianjia prosperous world, the Style of Gang jian wen was not urgent; the Tao Xian descended, the crisis was everywhere, and the wind of the world prevailed, although it could not be reached and the heart longed for it, Yao Nai's tendency had a greater impact on his disciples, which injected a majestic and vigorous wind into the ancient text of the late Qing Dynasty.

Guangming Daily (2020.03.23. 13th edition)