In the last years of the Eastern Han Dynasty, through the "Internal Turmoil of Dong Zhuo" and the "Yellow Turban Rebellion," the unified pattern fell apart, the masses stood in harmony, wars broke out, and social and economic life was seriously damaged; between the Wei and Jin Dynasties and the Southern and Northern Dynasties, there were divisions between large and small regimes, confrontations between the north and the south, conflicts between national cultures, differences in natural geography, confrontations in academic thought, differences in religious beliefs, and the convergence of various historical factors, which made the Confucian system of famous religions and rituals that the ruling class had operated for hundreds of years lose its prestige day by day. The idea becomes a prevarication in the midst of people's precarious suffering.
However, the "unfortunate poet of the country", as far as the development of literature and art is concerned, has been exchanged for an excellent period of independent self-consciousness, in-depth and meticulousness, and expansion of experience in the years of mountains and rivers. The relative relaxation of political binding force has opened up the inhibitions for the vitality of thought and provided greater possibilities for the awakening of human nature and the relief of the soul. In such an era, people's thinking and creativity have been activated, and literature and art have also achieved outstanding achievements inspired by the spirit of "not false good history, not relying on the momentum of galloping, and the reputation of autobiography after".
During the Jian'an (196-220) period, the value appeal of individual survival became fashionable. Cao Cao raised the banner of "meritocracy" and innovated the official selection system controlled by the Eastern Han Dynasty, and the historical shortcomings of inspection and conquest were cleaned up by Cao Cao. Individual talents have been brought into full play in the political and military field, and in literary and artistic creation, they have also shown the characteristics of "Yangyang Qingqi" and entered the world of individual life experience.
"Jian'an wind bone" or "Jian'an wind force" is a generalization of the literary style of this period. With Cao Cao's father and son as the center, a group of like-minded literati bachelors are reunited, who reveal social chaos, exalt political ideals, sentimental life drift to zero, relieve the encounter of resentment, and present an emotional tone of generous and tragic songs. Zhong Rong's "Preface to Poetry" says: "Demote Jian'an, Cao Gong's father and son, Du Hao Swen; The Pingyuan Brothers, Yu Weiwen, Liu Zhen Wang Yue, for their wings." The second is the climbing dragon to the phoenix, which is self-contained in the car, the cover will be hundreds, the courtesy is grand, and the big is prepared at the time. Chen Si is the master of Jian'an, supplemented by Gonggan Zhongxuan, and the saint of Cao Liu's articles. "The revered meaning of Jian'an literature is clearly expressed. Jian'an literature consisted of Cao Cao, Cao Pi, Cao Zhi, and a group of subordinates, including the seven sons of Jian'an (Wang Cang, Kong Rong, Chen Lin, Ruan Yu, Xu Gan, Ying Yue, and Liu Zhen). The main members also include Wu Qian, Yang Xiu, Wang Chang, Sima Fu, Zheng Chong, Xun Wei, Handan Chun, Xing Yuan, Ding Jingli, Bian Lan, Fan Qin, Cai Yan, etc. The literary grandeur of Junchen Zhaohe can indeed be called "the grandeur of courtesy and the great preparation of the times.".
From the perspective of literary history, Jian'an literature includes the years before Jian'an to the Wei Ming Emperor period. This group of literary scholars mainly gathered in Cao Cao's regime of Yecheng to form a literary group with nearly 100 people, collectively known as the Yixia people group. Compared with the previous literary groups, its nature has changed. During the Reign of emperor Jing of the Han Dynasty, Liu Wu, the Prince of Liang, once "recruited the four parties to haojie, and traveled from Shandong to the scholars" ("Hanshu Liang Xiaowang Biography"), including Zou Yang, Mei Cheng, and a number of famous scholars who were "all famous for their literary debates", leaving behind the literary legend of "guests of Liang Garden". Emperor Wu of the Han Dynasty also adopted some methods to attract literary debaters around the princes in order to better strengthen the centralized autocratic system, and Ban Gu called these people "ministers of verbal attendants", because these people such as "Sima Xiangru, King Wuqiu Shou, Dongfang Shuo, Mei Gao, Wang Bao, and Liu Xiangzhi, who meditated day and night, and offered the sun and the moon" ("The Order of the Two Capitals"). Although such a literary gathering is quite literary and colorful, after all, it is only the "minister of speech servants" of the Golden Horse Gate, and their identity is that they are wanderers or debaters; although their literary interests and emotions are similar, they are mainly the dedication of literary speech to obtain the favor and reward of the monarch, the external utilitarian purpose is relatively strong, and their literary activities lack an independent aesthetic state of mind for art.
Although the Jian'an Literature Group still has some traces of "ministers of speech attendants", they are all literary peers, discussing each other's art, and leading each other as confidants. Moreover, the members of this group did not completely agree on political opinions, and the seven sons of Jian'an did not necessarily agree with Cao Cao's regime from beginning to end, and most of them were not interested in eunuchs. Xu Gan and Ruan Yu had both refused Cao Cao's conquest and reuse, Wang Cang and Chen Lin had fierce political conflicts, and the sparse Kong Rong often humiliated Cao Cao, and they were no longer simple subordinates raised by the monarch. Therefore, the nature of the Jian'an Literary Group changed, and began to write truly literati, they came out of the sentimental theme of "Nineteen Ancient Poems", added the political ambition of building meritorious achievements, and expressed the super-great feelings of "outline and a lot of breath", and the two aesthetic styles of "generosity" and "sadness" were properly unified by them.
Cao Cao was undoubtedly the founder of the political center under Yixia and the leader of Jian'an's literary activities, but the core figure of this literary group should be Cao Pi, and Cao Pi did treat the members of the group with literary feelings. After Ruan Yu's death, Cao Pi "felt sad every time he felt that he was orphaned", so he composed "Widow Fu", "to describe his wife's sorrow, and ordered Wang Yue and so on to do it together". In the form of literature to soothe the orphans of literary colleagues, Cao Pi associated with these members with literary feelings, and literary feelings outside politics were equal.
It is no wonder that this move was followed by Pan Yue of the Western Jin Dynasty, "Xi Ruanyu was killed, Wei Wen mourned it, and ordered to know the endowment of the old widow, and Yu sui proposed to describe his widow's heart." "The New Language of the World" records that Cao Pi led "every guest to make a donkey song" to send a funeral tip for Wang Yue, which revealed a very deep emotional foundation, without the resonance of the literary soul, it is impossible to make this strange move.
Another example is the "Book of Youwu" that it says that "the intervener reads the texts of the sons and weeps at them"; "Xi Boya is in the bell period, Zhongni is covered in the zilu, the pain is known to the difficulty of the sound, and the wounded door is not caught." "It shows the incomparable pain and sorrow for the seven sons of Jian'an after they have dispersed, and treating them with such true feelings is very different from the literary group in the past." Cao Pi's deep affection is by no means accidental, but actually accompanies the whole process of literary life, and his "Again and Wu Quality" once again poured out: "In the past years, the epidemic, the relatives and the deceased were many disasters, Xu, Chen, Ying, Liu, all died for a while, and the pain can be said to be evil!" In the past, when you traveled, you were connected to the public opinion, and when you stopped, you took over, so why did you have to lose sight of each other? Every time you drink the pop, silk and bamboo play together, the wine is hot, and the poetry is written on the back, when this time, suddenly do not know the music. It is said that a hundred years have been divided, the long and common protection, He Tu in a few years, zero and slightly exhausted, sad. "Sincere and natural, affectionate, without the slightest gesture of the monarch's grace, without the slightest pretense of a pretentious confession, expressing the voice of a member of the literary community that once coexisted."
Cao Pi and the group members of the same work "Widow Fu", indicating another new change in the development of literature, that is, the social singing and concretization between the literati, is that the literati and the literati respond to each other around a topic, which is different from the previous imaginary nature or the author's self-role transformation, thus showing the group nature of the members' writing. For example, Cao Zhi has the famous "LuoshenFu", whose topic is derived from Song Yu's "Divine Female Endowment", Ying Yue also has "Divine Female Endowment", And Wang Yue, Chen Lin, Yang Xiu, etc. also have "Divine Female Endowment", and everyone has endowed the topic of Divine Daughter, which belongs to the same topic, indicating that the consciousness of literary creation has been strengthened than before. In the same way, works such as "Chequ Bowl Fu", "Agate Fu", "Parrot Fu", "Willow Fu", "Wounded Death Fu", "Rosemary Fu", "Warbler Fu", "Sorrowful Lin Fu", "Xi Ji Fu", "Qiu Si Fu", "Great Summer Fu", "Playing Chess Fu" and other endowment works, especially a large number of small gifts, have many people with the same topic in Jian'an literature. Co-authoring on the same topic is a bit like a word game activity between literati groups, but it is this kind of word game that symbolizes that the era of pure literary writing has arrived, which is one of the signs of "literary consciousness".
In addition, the literary exchange activities of the Jian'an literati group, such as group exchanges, corner art papers, Gongyan gifts, and farewell remembrances, "constitute a huge phenomenon of intertextuality, refer to each other, and confirm each other." Therefore, the interpretation of such works can not be isolated, but should pay attention to the group and intertextuality of the topic, if simply attached to the personal life and experience, but hidden the historical contribution of Jian'an literature. "Poetry can be prosperous, can be observed, can be grouped, and can be complained" (Analects of Yang Goods), which is the Confucian rule on the function of literature, but Jian'an's previous literary creations were not prominent in terms of "can be groups", or even ignored. The phenomenon of Jian'an writers writing together on the same topic has greatly played the function of "poetry can be grouped". "Poetry can be group" pointed out the importance of the literati's elegant collection and propositional composition, and the "Gongyan style" of Jian'an poetry was widely recognized in the Wei and Jin Dynasties, and was also imitated by the literati after the Tang and Song Dynasties, which is one of the proofs of the new changes in Jian'an literature. The contribution of Jian'an literature will be found if it is understood from the perspective of the consciousness of the literati community.
During the world-shattering Jian'an period, writers exalted the value of individual life and respected talents. "Xi Zhongxuan walked alone in Hannan, Kong Zhangying yang in Heshuo, Wei Chang was good at qingtu, Gonggan Zhenzao was in Haiyu, Delian originated in This Wei, and looked up at Shangjing under his feet. At this time, everyone claims to hold the pearl of the spirit snake, and the family claims to hold the jade of the Jingshan Mountain. (Cao Zhi's "Book with Yang Dezu") Cao Zhi very vividly depicts the self-respecting subjective consciousness of Jian'an writers, revealing that the existence of individuals has shifted from being attached to imperial power in the past to being alienated and self-confirmed.
Cao Pi's "literature is mainly based on qi" also marks the emphasis of the Jian'an literati class on the autonomy of life. They also seek utilitarian fame, but their fame is not gained by attachment to political power, but by the particularity of self-expression. As for Cao Cao's final "setting up a skynet to hide it, and Don Eight Hong to cover it up", such a heroic act was also due to the identity of a writer rather than a political tyrant. "Self-sacrifice emperor broadcast migration, literature peng. At the end of Jian'an, Ou Yufangji, Wei Wu with the honor of Xiang Wang, Ya Ai Shizhang; Emperor Wen with the weight of the vice-king, Miaoshan words endowment; Chen Si with the prince of the hao, the next pen LinLang; and the body of heroic, so Juncai went to steam. (Liu Xun's "Wenxin Carved Dragon Ming Poem") Liu Xun's argument points out a fact: writing has become an important way to confirm the value of life.
Therefore, whether it is the people in the field of political power or the general group of scholars, they all regard writing as a kind of business to operate, which is called "building articles and going through the great cause of the country." In their view, the function and value of literature are already equivalent to the rule of the country and the world, and it is also an immortal event. "The years are sometimes exhausted, the glory and happiness stop at the body, the two will be the constant period, not as infinite as the article", Cao Pi's immortal dream is also the dream of the literati class, and its connotation is consistent.
At the turn of the old and new eras, Cao Cao was not only a hero of the chaotic world, but his literary works expressed more political aspirations, such as "The old Ji Futuo, who aspires to be in a thousand miles; the martyr is in his twilight years, and his heart is strong" ("Although the turtle is long"); "The mountain is not tired of height, the sea is not tired of deep, Zhou Gong spits and feeds, and the world returns to the heart" ("Short Song Line"),"Li Dengshan is facing the valley of the stream, riding on the clouds" ("Singing out of the air"),"Than the wing Xiang Yun Han, Luo Zhi'an is bound?). Verses such as "Rushing quietly and naturally, glory and what is enough" all reveal the ambitions and lofty sentiments of a generation of heroes.
Of course, the high passion in the chaotic world is always accompanied by a deep sadness, and the poems of "originating from events" inevitably emit a painful sense of history from the desolate feelings when writing like records. Even a political tyrant like Cao Cao, in the face of the tragic scene of the destruction of life, would suddenly feel sad and hurt the world, "the people are left behind, and the thoughts are broken" ("Artemisia Lixing"), "Weeping at the sad husband, begging for peace to see" ("Good Deeds"), such verses are not only lamenting that the dignity of the life of the people of Li Shu has been trampled on, but also a sense of the fragility and rootlessness of life itself.
The female poet Cai Yan's five-character "Poem of Sorrow and Indignation" is even more "True Poetry History", and its long narrative of white depiction expresses a sense of grief and indignation in the form of blood and tears. "Seven Lamentations", written by Wang Cang and Cao Zhi, belong to the same topic, "Enlighten the people of the spring, and feel sad and sad"; "There are sorrowful women on it, and there is residual mourning". Lu Xiang, the fifth minister of the Anthology of Literature, said to note the "Seven Sorrows": "It is painful and mourning, righteousness and mourning, feeling and mourning, hearing and mourning, seeing and mourning, mouth sighing and mourning, nose sour and mourning, saying one thing and seven emotions." The "Seven Sorrows" is the lament of the seven emotions, which has both the inner sorrow of the poet and the lament of the scenes of the characters in the poem. The genre of "Seven Lamentations" reflects the social content of war, plague, death, parting, frustration and so on, and is an intuitive portrayal of folk life, wang cang and Cao Zhi wrote the same topic, becoming a new theme of Lefu, becoming a traditional poetic style, and also opening the tradition of Wei and Jin literature and art "sad beauty" in practice.
Jian'an literature has a transitional nature, and there is continuity in literary style, which not only inherits "Han Yin" but also opens "Wei Xiang", which is collectively referred to as "Jian'an Body". Generally speaking, Cao Cao's works reflect more of the style of the Han Dynasty literati's generous and tragic songs, and cao pi, Cao Zhi, Wang Yue and other works reflect more of the new changes of the times. Shen Deqian of the Qing Dynasty said: "Meng Deshi is like a Han pronunciation. Zi Huan below, pure Wei Xiang. Zi Huan poetry has literary morale, and a change is the father's tragic habit. I want him to be gentle and gentle, and to be able to empathize. Chen Zuoming said: "Carefully pondering the style, Meng De is all Chinese tone, and Pi Zhi is more Wei Xiang." Zhang Yugu also said: "The old hidden poems are extremely majestic and profound, and the Han yin of the Kaiwei Yuran Temple." Emperor Wen spared Wen's morale, and the "Short Song" tried a hundred times. It can be seen that in the history of literary criticism, the new changes in literature are often where the characteristics and contributions lie, and the significance of the Cao Pi brothers to open "Wei Xiang" lies in paying attention to "Just Juan Wan, can move people's feelings", that is, to highlight the relaxation of "literary morale".
"Literary morale" is to express the feelings of the literati and is the evidence of literary self-awakening consciousness; "literary morale" emphasizes the characteristics of literature for literature and art for art, and specifically refers to the emotional characteristics of literati and the use of literary language. Xie Hao commented: "Poetry is based on Han and Wei, and Wei does not catch Han ye." Jian'an's work, the rate is more flat and stable, this sound law is gradual. Then it flowed in the Six Dynasties, changing in a kaleidoscopic way, reaching the peak of the Tang Dynasty. (Si Ming Poetry, vol. 1) also said: "If Chen Siwang 'swims in the green water, and the birds fly thinly', 'the beginning of the severe frost knot, and now the white dew' is also." This work is flat and proper, the tone is sonorous, and the recitation is inevitable. ("Four Ming Poetry", vol. 3) Although the commentary here is slightly derogatory to the "cavity out of the cavity", it points out the aesthetic trend of Jian'an literature represented by the Cao Pi brothers: both emotion and sound style are becoming more and more important in creation, and it is more and more important to explore the aesthetic characteristics of literature.
These tendencies are caused by the consciousness of literary concepts and the consciousness of creation. Zhong Rong highly appreciated Cao Zhi's poems as "extremely high in bone, rich in words, affectionate and elegant, physically literate, overflowing with ancient and modern, outstanding", and placing Cao Cao's poems of Shao Xu Hanyin in the next product is precisely to implement this standard to arrange. In the process of the evolution of the literary style of the Six Dynasties of the Han and Wei Dynasties from quality to literature and from Park to Li, Jian'an literature actually opened up the atmosphere, and as for the post-Sui and Tang dynasties, people accused it of flooding, such as Li Bai's argument that "since Jian'an came, Qili is not precious enough", which just pointed out this fact of literary development from the opposite side. From the perspective of self-discipline, the literary concept and creative practice of the Cao Pi brothers are a good confirmation of literary ontology.
The above is in terms of the overall style of Jian'an literature, specific to each writer, each is different, but also shows its own timidity. According to the commentary of the "Treatise on Classics", Wang Yue is good at cifu, Xu Gan can write, Chen Lin and Ruan Yu are good at chapter secretaries, and Ying Yue and Liu Zhen are better at poetry. However, "Kong Zhangzhang's table is very strong, and the micro is prosperous." There is an escape in the business, but it is not heard; the good man of his five words and poetry is a wonderful person. Secretary YuanYu danced and gave foot music also. Zhongxuan was good at words alone, but his weakness was insufficient; as for what was good, the ancients could not go farther. In the era when the literati competed for victory, Jian'an writers relied on their skills to jointly create a literary grand scene with a large literary system.
Cao Cao was an outstanding poet of the four words at the end of the Han Dynasty, with a dashing and elegant style, and his "Short Song Line", "Step Out of the Xia Men Line", "Duguan Mountain" and so on are all classic works. Although the two poems of Cao Pi's "Yan Ge Xing" are not necessarily the earliest seven-word poems, they have fixed the system of seven-word poetry. Kong Rong and Cao Zhi's six-character poems retain a special genre in the history of poetry. Kong Rong also took advantage of the characteristics of the composition of the Chinese characters to create "clutch poems", such as "Poems on the Names of The Counties of The Cooperative County": "The Fisherman's Father is Bent, and the Water Is Hidden." Stop with the knife and travel to Shi Zhang. Lü Gongji fished, next to the mouth. The Nine Realms have holiness, and there is no earth and no king. Good is integrity, the woman returns to Kuang. Overseas interception, falcon death eagle Yang. The six wings will fight, and the feathers will not be displayed. The sting of the dragon can also be forgotten. Xuan Xuan is hidden, and the beautiful jade is taoguang. Nameless, unpunished, hidden. According to the line of safety, who is the long road. "By decomposing and dismantling and reorganizing new words, introducing their places of origin, surnames, and names in the form of poems, the actual riddle is a line of words of "Lu Guo Kong Rong Wenju", using the game method of words to show cleverness, so as to express new meanings and express emotions. Although similar to word games, it is the training and test of literary skills, and the exploration of the laws of literary form is a very beneficial attempt.
During the Six Dynasties period, clutch poetry prevailed, such as Pan Yue, Song Xiaowu Emperor, Xie Huilian, Xie Lingyun, Liang Yuandi, Xiao Tour, etc. Have works, some works also reflect the emotion in the word breaking game, and thus create more word game-like poetry, Gong Pengcheng summarized it as follows: Dou Tao's wife Hui style, Bao Zhao's ten number body, Jianjie body, Xie Zhuang Daoli name body, Liang Jianwen Emperor Gua body, Liang Yuan Emperor song body, name body, bird name body, beast name body, turtle zhao body, thorium cave name body, general name body, palace name body, house name body, grass name body , ship name body, car name body, tree name body, Shen Jiong six house body, octonic body, hexaca body, twelve genus phase body. So many poetic styles are created in the word game, and their ideological content and artistic value may be mostly lackluster, but literature is independent of scripture, released from political appendages, and jumped out of the ethical framework.
In terms of rhetoric, the brothers Cao Pi and Cao Zhi led the Jian'an writer group to develop lyrical small gifts, making it the mainstream lexicograph category. Among them, Wang Yue's "Climbing the Tower" and Cao Zhi's "LuoshenFu" are representative works; the former created the aesthetic fashion of Chinese literati climbing the stairs, and the latter created a literary virtual model and enriched the imagination of Chinese literati. In addition to the above list, such as "Rosemary Endowment", "Wine Endowment", "Huai Fu", "Jiuhua Fan Endowment", etc., "the emergence of so many small gifts of the same title not only shows that the self-consciousness of literature was a common phenomenon at that time, but also shows that the literary creation of Jian'an writers has been a collective conscious activity, indicating that the brothers Cao Pi and Cao Zhi have played the role of leaders in the literary circles at that time. Although the leader of the group is known, the group of heroes has no intention of suppressing and reluctantly, "Zhen is in the Cao Zhi seat, the cook enters the melon, the plant life is endowed, and the establishment is promoted." (Liu Zhen's "Gua Fu Order"), a scene of a literary game left to future generations.
The rational style of the Chapter Table, which was also in the hands of the Jian'an literati, became a literary work, and the secretaries of the Chapter Table of Chen Lin and Ruan Yu were once praised by Cao Pi as "The Present Zhi Junye", on the grounds that the literary nature of the rational writing was quite prominent. Chen Lin's "For Yuan Shao Yu Zhou" and "Qu Wen of the School Of General Wu Wu", written to insult Cao Cao and Sun Quan respectively, were included in the "Selected Writings of Zhaoming" because of its remarkable literary style and momentum, and it was precisely the model of particularly strong literature and denunciation. In terms of embryonic novels, Cao Pi composed "The Legend of Lieyi", "Strange Things in the Order of Ghosts" ("Sui Shu Jingshu"), and Handan Chun's "Laughing Forest", which is a book of laughter and interpretation. The narrative method of the two books leads to the development of the chi-weird outlier novel.
In terms of stylistic literature, Cao Pi carried out literary criticism from the perspective of the theory of talent, and actually opened up the writer's theory of literary criticism on the new style, the so-called "Xu Gan has Qi Qi when he is dry", "Kong Rong's body qi is mysterious", "There is an escape gas when he is on business", "As for the uneven induction and skillfulness, although he is in his father and brother, he cannot move his children", all of which are from the perspective of the writer's talent endowment and the quality and nature of his works.
Of course, the treatise on the body of literature is not only the theory of writers, but also the new meaning of the scriptures and the doctrine of the Zhuzi, and the Jian'an literati's writings are quite effective in the pre-Qin Zhuzi, changing the Han Confucian "I note the six classics" to the "six classics note me" method, which is difficult to argue with each other, and the active thinking is a common practice. Xu Gan "often wanted to damage the world more than enough, the lack of benefits and customs, saw the beautiful texts of the people and wrote them from time to time, and did not expound the great righteousness, disperse Taoism, ask the saints above, and save the faint people of the world, so he abandoned the poems, endowments, praises, inscriptions, and praises, and wrote twenty-two articles of the "Treatise on the Middle". Cao Pi praised the book as "a family of words, elegant in words, and passed down to posterity". ("Book of Wu Zhi") According to its content, it is mainly "expounding the principle of righteousness, originally practicing the scriptures, and attributing it to the way of the sages" ("Outline of the General Catalogue of the Four Libraries"), except for the "History of Song" listed as miscellaneous, the rest are listed as Confucians. Xu Gan was able to write as a literati, and the words that expounded the righteousness were still elegant and beautiful, which had the style of the so-called "Wen Confucian" in later generations.
Just as Cao Pi's "Treatise on Classics" was born out of the desire to "establish words and immortality", Xu Gan was also out of the desire to "have both virtue and art", and the "Zhongguo Yiji" said: "The virtuous lead the body with the Tao; the branches and leaves of the artist's virtue are also the roots of the virtuous." The two are not partial, not independent. If wood has no branches and leaves, it cannot enrich its roots, so it is called a fistula; if a person has no art, he cannot become a virtue, so it is called a wild. If you want to be a husband and a gentleman, you must do both. Xu Gan may have been responding to Cao Pi's lament that "the literati who viewed the ancient and modern times did not protect the fine deeds, and rarely could stand on their own in name", and was determined to be a polite gentleman who "embraced the quality of Huaiwen". "Respectful and honest, the love of art is also; the peace and straightness of the middle, the truth of the art; Qi Min is not poor, the art of Hua is also; when the Wei Yi Kong, the art of the ornament is also." Those who understand the truth of group art can talk with the Tao; those who know the gorgeous ornaments of group art can talk with them. Xu Gan believes that the ideological content, emotional sources, and value functions of literature and art are closely related to the Confucian tradition, and he actually does not want to be just a scribe, he wants to do both Confucian "virtue, political affairs, words, and articles", which also reflects the grand desire of the Jian'an literati to pursue immortality.
Thinking of what Cao Zhi once said to Yang Xiu, "Resigning to the path is not enough to promote great righteousness and show the future world", he did not want to "take Han Mo as a meritorious achievement, resign as a gentleman", but wanted to "benefit the people, build the cause of eternity, and leave the merits of the golden stone". But Yang Xiu asked rhetorically: "Do not forget the great beauty of the country, the heroic voice of the flow of thousands of years, the Ming Gong Jing Bell, and the title of the book Bamboo, is it not harmful to the article?" "Cao Zhi himself was the most outstanding literati of the Jian'an period, and presumably he would not have sincerely despised literature and art, and his demeaning Han Mo rhetoric only had a higher political pursuit because of his special status. To this end, he also studied the theory of fame and wrote articles such as "Wei De Theory", "Han Erzu's Theory of Superiority and Inferiority", "Theory of Borrowing Field", "Theory of Dialectical Taoism", "Theory of Ren Filial Piety", "The Theory of Calvary", etc., which have a great trend of "reviving the theory and establishing the theory". In any case, the Jian'an literati for the first time raised the question of the relationship between "literature and morality", and expressed their own opinions, jointly promoting the prosperity of the creation of the treatise.
The prosperity of the treatise on the body of literature also pushed literature into the period of the beginning of the bamboo forest that emphasized talent and mystery. Cao Wei's imperial power, cao pi, the Ming emperor Cao Rui, and the Qi king Cao Fang, became weaker and weaker, and Cao Fang, assisted by the chancellor Cao Shuang and Sima Yi, ascended the throne but did not dare to claim the title of emperor. The literati class of this period was caught in the whirlpool of party struggle and could not escape. During the reign of Cao Fangzheng the Prince of Qi (240-248), the chancellor Cao Shuang (曹爽) formed a party for personal gain, devised a plan to deprive Sima Yi of his military powers, and regarded Emperor Ming's deposed Deng Biao, He Yan, and Ding Mi as his confidants and entrusted them with heavy responsibilities. In the first year of Jiaping (249), the Gaopingling coup d'état occurred, and the Sima political clique took control of the imperial government. At the time of the Wei and Jin dynasties, "there are many people in the world, and there are few famous scholars", and the sima rulers of the clan who came from the clan advocated the rule of law by famous religions and rituals, and their political and moral paradoxes and hypocrisy shrouded the world's famous people in a dilemma. The scholarship and literature of this period were also unique in the most intense political struggles. "The former king's assistant heir Tu Jinsheng in the Middle Dynasty, this son Fu Yu Zhen in the river table, a small word, never continued. Unexpectedly, at the end of Yongjia, I heard the sound of the beginning. (The Biography of Wei Jiu of the Jin Dynasty) Literary history generally refers to the historical period of the Wei and Jin Dynasties as the "Sound of the Beginning". During this period, there were two groups, the Zhengshi Mingshi and the Bamboo Forest Mingshi, the former was mainly a metaphysical celebrity, and the latter was mainly a literary celebrity.
The literary representatives of the Beginning of the Beginning are Ruan Ju and Ji Kang. The "Wenxin Carved Dragon Ming Poem" generally commented on its characteristics: "The beginning of the Ming Dao, the poetry of the immortal heart." He Yan's disciples, the rate is more superficial. However, The Zhi Ischous and the Ruan Purpose is far away, so it can be marked. The superficiality of He Yan mentioned here refers to his social behavior of light-hearted mannerism, not to his noble and vain metaphysical thoughts. The beginning of the sound was first dominated by He Yan, with Xiahou Xuan, Huang Fumian, Wang Bi, and Fu Fu attached; later, during the jiaping, ganlu, and Jingyuan years, Ji Kang and Ruan Yuan starred, supplemented by Xiang Xiu, Shantao, Liu Ling, Wang Rong, and Ruan Xian. These two groups of celebrities have common interests and lifestyles, or Xuansi Qing talk, or tolerance and elegance, or you immortal hermitage, or poetry and wine tricks, or take medicine Fu powder, or Ren Zhi indulgence, all actively embrace reality, shuttle in and out between famous religions and nature, and are called "Wei Jin demeanor" by posterity.