Yuan Hao asked about the aesthetic ideal analysis of "Thirty Poems".

Qing Dynasty scholar Zhang Xuecheng once said when discussing the confrontation between the Southern Song Dynasty and Jin after the Northern Song Dynasty: "When the study of schedule was prevalent in the south, the study of Su was flourishing in the north. (Weng Fanggang's "Shizhou Poems", Volume 5, Article 9) Cheng Xue refers to science, which was introduced to the Southern Song Dynasty by Yang Shi and Yin Dun, and Zhu Xi later carried it forward, forming the Cheng Zhu School that later had a huge influence. Su Xue refers to poetry and literature, which was inherited and disseminated by famous literary scholars of the Jin Dynasty such as Cai Songnian and Zhao Bingwen, forming a literary tradition. It is under the influence of such cultural traditions as the Jin Dynasty that Yuan Haowen, who has a Xianbei and unrestrained bloodline, and is influenced by the strong folk customs of the north. Wenzong Han Ou, Zhengda is enlightened and has no strange and obscure words. (Xu Shilong's "Preface to the Rebirth of the Relic Mountain") "The upper is thin and elegant, and the middle is Li Du, and it is pure and positive. At the same time, Yuan Haowen formed his own poetic theory. At the age of twenty-eight, he wrote "Thirty Poems". Influenced by the simplicity, mystery and perceptuality of oriental aesthetic consciousness, these poetic theories embody the national characteristics of ancient Chinese literary theories: first, they focus on the direct effect of literary works on readers. Moreover, under the influence of character evaluation, they are not out of rational analysis and criticism but out of intuitive imagination, and they do not resort to abstract generalizations but appeal to concrete images. In terms of the form of poetry on poetry, Yuan Haowen imitates Du Fu. Du Fu once wrote "The Play is Six Quatrains", which is indiscriminate. Yuan Haowen's "Thirty Poems on Poems" is five times larger than Du's, its scope from the Han and Wei dynasties, down to the Tang and Song dynasties, the famous poets have dabbled in many of them, and the thirty quatrains are organically arranged, claiming to be a machine, the metaphor is appropriate, the image is vivid, and the language is elegant. As far as the aesthetic ideals embodied in his poetic theory are concerned, the program of his poetic beauty lies in "truth" and "nature". This aesthetic ideal originates from the Zhuang Buddha thought of Yuan Haowen.

Taoists revere the Tao and believe that the Tao is born from nature and is omnipresent and omnipresent. All things in heaven and earth are prosperous and withering, and all living beings are living and resting, all of which are transferred by the Tao. The Tao only allows all things to be born and perish according to their natural nature, which is "non-action". If a person interferes with an objective object for the sake of a certain attachment, he will inevitably destroy the natural personality of the object, and at the same time, he will also suffer himself and destroy the natural personality of the subject. Zhuangzi's theory of all things advocates the freedom of unity and the pursuit of natural beauty or "truth", believing that where the Tao is located, is where the beauty is, and that the person who has attained the Tao is the freest person, which is beauty. "The true one, so it is not easy to be subject to heaven and earth. Therefore, the sage is noble and true, and is not bound by the vulgar. Therefore, "truth" is the natural outpouring of the sincere natural nature of the enlightened person, and the true appearance of the natural state of freedom in the case of "non-action" without any damage. Yuan Haowen was inspired by this.

In addition, Zhuangzi also pointed out through the mouth of Ku Ding: "Those who are favored by ministers are also Taoists." It's all about technology. Yuan Haowen was born according to this, "Poetics is also there, after Zimei Kuizhou, after Bai Lotian Xiangshan, and after Dongpo Hainan, they are not bothered to cut the rope and self-combine, not close to the Tao", that when creating poetry, it is necessary to exclude subjective arbitrariness, and require the natural expression of true emotion, and at the same time conform to the special form of expression of poetry, and express freely without the constraints of the rules and regulations.

Yuan Haowen constructed his aesthetic ideals of "truth" and "nature" in his poetic theory. The word "truth" appears repeatedly in the thirty poems, which is the starting point of his discussion of poetry, which not only pursues the truth of the content of the poems, but also pursues the nature of the expressive technique, that is, the art form.

"A word is natural and new, and luxury is true to the truth. "The writer himself is required to express his natural and honest thoughts and feelings. "The song of generosity will never be preached, and the song of the dome is natural. "Emphasizing the natural and undisguised expression of emotion. Representation of authenticity and authenticity is the first meaning of "authenticity".

"There are sentences in the eyes and words, and it is always true to grope in secret. Yuan Haowen believes that what is obtained from the outside world in the "eye" should first be the truth of the objective scene. The second is the true feelings inspired by this true scene. The truth of the subject is born from the truth of the object, and the two truths are naturally blended, so that "the picture is coming out of the Qinchuan scene" and "the sentence is from God". As Cha Shenxing commented: "If you see the truth, you can get it." "Truth" also contains the meaning of the natural authenticity of the subject and the inherent naturalness of the object, and the natural integration of the unexpected encounter.

"The real book is not in the eyes of today's people, and the children teach ghosts to draw talismans. The "true book" is the positive letter, and the poem is the theory of "thinking without evil" advocated by Confucius. Here, he has two meanings: one is the "righteousness" in content, the poetry of Confucianism. The second is the "positive" expression technique and the sinister poetic style of abandoning the "ghost painting symbol".

"True" also has the meaning of purity. "It is difficult to be quaint and beautiful, and the pure and unrighteous mountains are true. Here he criticized Huang Tingjian for "losing the truth of the mountain of righteousness and failing to obtain its purity." (Guo Shaoyu, Selected Essays of Chinese Dynasties, p. 225)

Yuan Haowen not only put forward the aesthetic ideals of "truth" and "nature", but at the same time, he was more clever than the literary theorists of the previous generation, and he pointed out the "smooth way" to achieve this goal.

The first is "As long as the voice of the heart is pierced, it is difficult to turn the cuckoo over." "Stick to the natural sincerity. The pursuit of sincerity in the "voice of the heart" requires the creative subject to improve his or her self-cultivation on the one hand, and to get in touch with life practice on the other hand. The poet is devoted to noble sentiments, and will be like Tao Yuanming, "Ask the gentleman, how can he be? "Keeping its nature, it will be" Emperor Xi of the South Window, not harming Yuanming is a Jin person. If you want to avoid "secretly groping for the truth", you should go into life and contact with the society, and give up the practice of "spreading words behind closed doors", which will only be "pitiful and have no supplementary spirit", and you should "go to Chang'an" and be in the real mountains and rivers, so that you can "draw a picture of the Qinchuan scene". In addition, the writer's "heart" is not only the voice of his own heart, but also not the voice of his own heart, and his voice should reflect a certain aspect of the times, which not only shows the poet's personality but also has the color of the times, reflecting the multi-layered mood of the times.

Secondly, "Jin into the furnace is not tired of frequent, and Jingzhen is really subject to fine dust." Yuan Haowen once said in the "Preface to Tao Ran's Collection of Poems": "Since the text, poetry has been difficult, since the Wei and Jin dynasties, it has been difficult to retro, and since the Tang Dynasty, it is especially difficult to comply with the rules and standards." ...... The scope of poetry is wide, and poetry reviews, poems, poems, and poems are also unreadable. Probably to get rid of the near, bath in snow and dust, drive the momentum, break the enemy, the prison lock monster change, the Xuan Xuan Xuan, envelop the present and the ancient, and move the work of creation....." Here, he advocated that the main sentiment of the snow should be bathed first, because "style is people", and ridiculed the "Anren worship Luchen" who is obedient from "Wen" and "people". At the same time, he emphasized "smelting". This also stems from his thought of Zhuangzi, which Zhuangzi wrote in Zhuangzi?. The Great Grandmaster says that in order to attain enlightenment and be free, one must go through "loss and loss" and "punishment and punishment". Zhuangzi called it "furnace hammer". Inspired by this, Yuan Haowen proposed the principle of "rhetoric and sincerity", tempering and carving, to achieve a realm that is both ancient and natural, and conforms to the rules and standards without traces.

In the end, Yuan Haowen advocated abandoning the "barrier", not respecting one way, not respecting one family, not only pursuing one style, not sticking to a certain system. When he discussed poetry, he showed the demeanor and style of a masterpiece, advocating the generosity and tragedy of Jian'an and not abandoning the indifferent nature of Ruan Ji Tao Qian; criticizing "Wen Li Xinsheng" and "lack of wind and clouds" and at the same time seeing the side of "righteous mountains and truths"; he not only affirmed Su Shi's strange and treacherous vertical and horizontal waves, but also pointed out the negative impact of Su Shi's "new forms". Yuan Haowen opposes the view of the portal, and in the face of the peak set by the predecessors, he opposes the "embarrassment is still dead", so that "the pitch is pitiful with others", on the contrary, the predecessors should be regarded as surpassable opponents. Don't dare to cross the thunder pond by half a step, stick to the law of one family, and only be a "person in the Jiangxi Society", poetry will go to a dead end that will not be extinguished.

Yuan Haowen, with his "Thirty Poems on Poetry", not only established the aesthetic ideal of "truth" and "nature", but also pointed out the "smooth road" to achieve this goal, inherited and created on the basis of his predecessors, formed his own theoretical system, established his important position in the history of Chinese literary criticism, and at the same time, made people still benefit from it for hundreds of generations. (Luo Haiyan)

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