Bringing traditional literary theories to life is not only the meaning of telling Chinese stories well, but also an important embodiment of cultural self-confidence. Therefore, how to make traditional literary theories "come alive" has increasingly become an important topic of concern in the academic circles. In fact, modern Chinese scholars have thought about this aspect and have left many successful cases. For example, Zhu Ziqing's interpretation of "Poetry and Words" is an example. To this day, his assertion that "Poetry and Words are the 'Program for Pioneering'" has been repeatedly cited to illustrate the authoritative position of "Poetry and Words" as the first place in the history of Chinese literary theory. Therefore, it is necessary to return to Zhu Ziqing's interpretation of "Poetry and Words", so as to observe the path of Zhu Ziqing's "revitalization" of traditional literary theory, and provide a mirror for contemporary "revitalization" of traditional literary theory.
Systematic observation and establishment of the status of "the program for the opening of the mountain".
Zhu Ziqing believes that "poetry and words" is the "pioneering program" of Chinese literary theory in the past dynasties. This is a systematic view based on the overall picture of Chinese literary theory. This is not only related to Zhu Ziqing's acceptance of Western systematic concepts and methods by borrowing from the West, but also related to his understanding and grasp of the Chinese literary theory system.
On the one hand, Zhu Ziqing pointed out that it is necessary to refer to the modern concepts and methods of "literary criticism" in the West to screen and judge the Chinese tradition of poetry criticism. He said: "'Literary criticism' was originally a foreign idea, and although our poetry criticism is comparable to literary criticism, it has its own development,...... In writing the history of Chinese literary criticism, it is difficult to compare these two things properly, and teach us to rely on the mirror of literary criticism to see the face of poetry and literary criticism. "His study of classical Chinese literature is based on Western studies. For example, he pays attention to the determination and refinement of the central idea, which is quite similar to the research idea of modern Western disciplines that regards conceptual terms as necessary conditions. Moreover, the word "idea" not only contains the meaning of words such as "concept", "concept", "term" and "meaning", but also has the meaning of overseeing the overall situation. This shows that he tried to open up the intention of Chinese literary theory and history by selecting the central idea. This originates from a scientific and theoretical concept of thinking, and is gradually formed in the context of the eastward spread of Western learning. However, in his view, borrowing from Western studies is by no means only following Western studies, but developing in the dual vision of referring to Western studies and paying attention to the true face of Chinese literary theory. Therefore, he believes that Guo Shaoyu used the dualistic concept of pure literature and miscellaneous literature in the West to understand the difference between "wen" and "pen" in ancient China, and that the literary concept of the Wei, Jin, Southern and Northern Dynasties "became correct because it departed from traditional thinking", and these views may not be in line with the actual situation. He stressed, "It seems unfair to judge the ancients by our own standards." The environment of each era determines the correct standard of each era, and it is good for us to return to our original appearance."
On the other hand, Zhu Ziqing tried to elucidate the systematic architecture of Chinese literary theory. Zhu Ziqing pointed out that Chinese literary theory began with poetry, so poetic theory is the initial form of Chinese literary theory. As far as poetry is concerned, there are four ideas that affect its development, namely, "poetic speech", "poetic teaching", "comparison" and "positive change". Among them, "Poetry and Words" is "the program for opening the mountain". In view of the source position of poetic theory in Chinese literary theory, "poetic words" is also the founding program of Chinese literary theory, which lays the tone and direction for the development of Chinese literary theory in the future. "Poetry and Speech" focuses on the relationship between poetry, politics and education, and the idea of "poetry education" was formed in the Han Dynasty. He believes that "Poetry and Words" and "Poetry Education" are the two programs of Chinese poetry theory, focusing on telling people how to understand poetry and how to use poetry. "Bixing" and "positive change" are details and belong to the category of methodology. Among them, "Bixing" is how to understand poetry, and "positive change" is how to use poetry. And "Bixing" has a process of changing from a method to a program. Therefore, he also pointed out that "poetic words", "poetic teaching" and "comparison" are the three "golden rules" of Chinese poetry theory. In this way, Zhu Ziqing reveals the internal system of Chinese literary theory through the analysis of the relationship between the four ideas and their "outline and vision".
Distinguish the chapter and examine the mirror, and understand the multiple historical states
"Distinguishing the chapter and examining the mirror" is what Zhang Xuecheng said in the Qing Dynasty, "distinguishing the academic chapter, and examining the mirror is the source". Discernment is from a cross-section, that is, to discern the differences between various doctrines. The examination of the mirror is from a longitudinal section, and it is the study of the history of the development of various theories. Zhu Ziqing's interpretation of "Poetry and Words" is unfolding in the way of distinguishing chapters and examining the mirror.
Through the identification of chapters, he proposed that "poetry and words" include four forms: dedication of poems, assignment of poems, teaching of poems, and composition of poems. These four forms are also the four meanings of "poetic words", and the difference lies in the difference between words and aspirations. For example, the words and aspirations in the poems are from the bottom up, and most of them are poems dedicated to the emperor by the ministers and ministers, which is manifested as "not surprising irony and praise", and there are more ironies than praises. The words in the poems are mostly "the will of the princes, the will of a country", which is expressed as "more praise than irony", and often uses poems out of context, which is different from the dedication of the poem Chen Zhi. The words and aspirations in teaching poems are from the top down, emphasizing "words", taking education as the main purpose, and beginning to pay attention to being poets, so they are different from those who pay attention to listening to songs when they give poems and write poems. Most of the words and aspirations in poetry are one's own poor knowledge or the perception of the righteousness of life, and it is truly aware of the poet himself, which is his uniqueness. After such an analysis, Zhu Ziqing clarified that "poetry and words" is an idea with rich connotations.
With the help of the examination mirror, he clarified the internal history of the development of "poetry and words". He first pointed out that the term "poetry and words" was first seen in the "Shangshu Yaodian", and through the semantic research of "poetry" and "zhi", he concluded that "poetry" is the same as "zhi", and pointed out that "poetry" or "zhi" contains three meanings of "recording, remembering, and embracing" as Wen Yiduo said. But he emphasized that when it came to "poetry and words", the poem had already pointed to the embrace. And this kind of "embrace" is related to etiquette, politics, and education. This also laid the tone for "Poetry and Speech" to be related to politics and religion. Dedication to poetry Chen Zhi and poetry is about the same. Teaching poetry and ambition is to educate and educate as the main purpose. Even when it comes to composing poems, they are "always stuck on the source of poverty". In this way, he revealed the basic characteristics of "poetry, speech, and aspirations" and "all about politics and religion".
As can be seen above, Zhu Ziqing's method of distinguishing chapters and examining the mirror obviously adopts the traditional Chinese exegetical method, but also integrates Western semantic criticism and contextual analysis methods. For example, the analysis of the four meanings of "poetic words" is related to the fact that semantic criticism focuses on close reading and polysemy analysis. Another example is to pay great attention to the source of the dedication of poems, the assignment of poems, the teaching of poems, and the study of poems. For example, from the "Book of Songs" to search for the evidence of the dedication of poetry Chen Zhi, from the "Zuo Chuan" to find the example of the poetry of the Zhi, from the "Preface to the Poems" to find the exposition of the teaching of poetry Mingzhi, from the "Sao Ren" Fu, the Han Dynasty Ci Ren Fu, the Eastern Han Dynasty five-word poems, etc. Not only that, but with this as the center, we will advance into the depths of history. For example, on teaching poetry and Mingzhi, starting from the "Great Preface to Poems", and then going back to Confucius and Mencius's method of interpreting poetry and poetry. Another example is the poetry of poetry, from the pre-Qin poetry to the Ming and Qing dynasties. These are quite similar to the research paths of Western contextual analysis. It can be said that Zhu Ziqing's interpretation of "Poetry and Words" is based on the Chinese tradition of distinguishing chapters and examining mirrors, and uses Chinese methods such as exegesis and evidence as the basic acceptance vision, and is the result of mutual enlightenment between the semantic criticism and contextual analysis methods from the West and the East. Therefore, although Zhu Ziqing once emphasized that the history of criticism by Guo Shaoyu and others "is a longitudinal narrative, and the scope is also large, and both general theories and monographs must be mentioned", he "wants to look at it horizontally and see how many categories there are in Chinese literary criticism." However, judging from the interpretation of his "poetic words", he is not only a "cross-sectional view", but also a "longitudinal narrative", thus clarifying the original face of traditional literary theory.
Based on history, welcome the palindrome to carry the Tao
Of course, Zhu Ziqing's interpretation of "Poetry and Words" does not only reveal its status and elucidate its complex history, but has its practical purpose. Among them, the most prominent is to use history as a basis to welcome the palindrome to carry the Tao.
Since the May Fourth Movement, the Tao has often been criticized as a tool for expressing Confucianism. In 1932, Zhou Zuoren's "The Origin of New Chinese Literature" clearly described the history of Chinese literature in the mode of opposing words and aspirations, emphasizing that "everyone has the freedom to say what they want to say", and carrying the Tao was to use literature as a tool to express the "Tao", reflecting the tendency to proclaim the will and suppress the Tao. It is precisely on the basis of the reflection on this contradiction that Zhu Ziqing began the interpretation of "Poetry and Words". For example, he said in the preface to "Poetry and Words": "In modern times, some people use 'Yanzhi' and 'Dao' to mark the mainstream of Chinese literature, saying that the ups and downs of these two mainstreams have caused the history of Chinese literature. The original meaning of 'speech' is similar to that of 'carrying the way', and the two do not contradict each other, but now it has become the opposite of 'carrying the way'." Therefore, he revealed the basic characteristics of "poetry and words" related to politics and religion by distinguishing the chapters and examining the mirror, and provided a powerful argument for the assertion that the words and aspirations carried the Tao in the first place, and welcomed the text back with the Tao. So why did he welcome the text to carry the Tao? Generally speaking, there are at least two reasons:
First, respect historical facts and restore them to their original colors. Words and aspirations and Taoism are unique Chinese discourses that have grown up rooted in the soil of Chinese culture. Because Chinese culture focuses on a holistic way of thinking, it is very different from the dualistic way of thinking in the West. Therefore, in the history of Chinese literature, words and aspirations and Taoism are by no means dualistic opposites, but have a common aspect. However, Zhou Zuoren obviously borrowed the Western dualistic framework of art for art for art and art for life to understand and evaluate the words and aspirations and Taoism in the history of Chinese literature. This is not historically accurate. Therefore, Zhu Ziqing's emphasis on the study of Chinese literary history and literary criticism in his article "The Development of Poetry and Literary Criticism" is that "it is not a ready-made set, and it can be applied to historical facts at will", which obviously contains criticism of the Western as the only standard of academic path.
Second, induced by the external situation, it helped the literary and artistic war of resistance. During the Anti-Japanese War, how to rebuild Chinese culture in search of spiritual strength became a general trend in the intellectual world. Zhu Ziqing took advantage of the situation to replace the theory of the opposition of words and aspirations with the theory of the original oneness of words and aspirations, which is exactly in line with this overall situation. If the Tao is used as a tool to express the "Tao" through literature, then the left holds this idea. Therefore, Zhou Zuoren's words and aspirations also imply criticism and reversal of left-wing literature and art. However, in the context of the Anti-Japanese War, left-wing literature and art increasingly showed its great appeal. Therefore, Zhu Ziqing put forward the theory of the original theory of words and aspirations, which not only implied his identification with left-wing literature and art, but also provided it with a pillar of historical theory. However, it should be noted that Zhu Ziqing's welcome of the Papulindromic Carrying of the Tao is by no means a complete exclusion of the characteristics and individuality of literature and art, but rather emphasizing that there is the Tao in the words and aspirations, and the words and aspirations are in the Dao, and he strives to integrate the individualistic discourse formed during the May Fourth period with the left-wing social discourse, focusing on real life, and embodying the modern characteristics of "carrying people through literature."
To sum up, Zhu Ziqing established the status of "poetry and words" as the "program for the opening of the mountain" through systematic observation, clarified its multiple historical forms by distinguishing chapters and examining the mirror, and responded to practical problems based on history. This is a "three-step" interpretive path, that is, borrowing from Western studies, returning to the historical context, and facing the Chinese problem head-on. In Zhu Ziqing's own words, it is to "return literary criticism to literary criticism", "return an era to an era", and "return China to China". This kind of interpretation path is not only used for the restoration and revitalization of "Poetry and Words", but also for the restoration and revitalization of the entire traditional literary theory. Not only that, Zhu Ziqing's words and aspirations contain the original theory, but also provide us with a practical direction and way for our current "literature to carry the Tao and cultural people".
Source: Guangming Daily
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