Wang Jisi's discussion on the cognition and acceptance process of Jiang Kui

Wang Jisi's discussion on the cognition and acceptance process of Jiang Kui

Text/Jiang Qingshui (Jiangxi)

Wang Jisi (1906-1996), scientific name Wang Qi, character Jisi. Pen names Xiaomi, Zhicao, Menggan, Zai Chen, Qi ren, room name Yulunxuan, ancestral home of Wenzhou City, Zhejiang Province, Longwan District Yongzhong Street Yongchangbao. Zhejiang Yongjia people, since childhood love opera. As a famous historian of opera and literary historian, Wang Jisi has written a lot of works on opera and has made remarkable academic achievements. He has been teaching for 70 years, and the peach and plum are all over the world. In teaching and research, we pay special attention to the cultivation of rising stars, diligent in learning, writings and so on. Many of his works have been translated into Japanese and Indonesian, and he has a major influence on the academic community at home and abroad, and is one of the most influential opera experts in contemporary China. His publications include "Notes on the School of the West Chamber", "Notes on Peach Blossom Fans", "Collection of Top Ten Classical Tragedies in China", "Collection of Top Ten Classical Comedies in China", "Selected Miscellaneous Dramas of Yuan", "Selected Songs of Yuansan", "Selected Chinese Operas", "Selected Songs of Quanyuan", "New Treatises on Wang Lunxuan's Opera", "Selected Works of Wang Jisi", and so on.

In his early years, Wang Jisi participated in the 1955 class of literature specialization of the Department of Chinese of Peking University

In 1961, at the appointment of the Ministry of Education of the People's Republic of China, he participated in the "History of Chinese Literature" co-edited with Professor You Guoen of Peking University. In his twilight years, he wrote a long article about "Talking about Baishi "Dark Incense" and "Shuying" - and talking about how to evaluate the style of words of the gentle school (hereinafter referred to as "Talking about White Stone"), about his cognition and acceptance of Jiang Kui, he can only seek clues from these two literary histories and this one, and let us understand how Wang Jisi recognizes and accepts Jiang Kui from the beginning of reading.

I. The key words of Peking University's "History of Chinese Literature" on Jiang Kui's evaluation

Peking University's "History of Chinese Literature" is the first reference book on "literary history" after the founding of New China, in the "Literature of the Song Dynasty", focusing on the Song Dynasty poets Ouyang Xiu, Mei Yaochen, Su Shunqin, Wang Anshi, Wang Ling, Huang Tingjian, Chen Youyi, Su Shi, Liu Yong, Zhou Bangyan, Li Qingzhao, Lu You, Xin Shuyi, and others, after putting Yang Wanli, Fan Chengda, and Jiang Kui into the chapter "Other Writers of the Southern Song Dynasty", in the second section with "The Gelug poet Jiang Kui and His Influence on the Poetry of the Late Southern Song Dynasty" Introduction to Jiang Fu.

In this section, jiang kui is introduced, first of all, it is clear that "the Southern Song Dynasty poets inherit the dispatch of the Northern Song Dynasty, and are divided into two factions in style", and then it is clear that "Jiang Kui is a standard Gelug poet", but there is no word that jiang fu is a gentle school, but from this section, there is a sentence when introducing Zhou Bangyan or introducing the style of euphemisms, "The most important feature of the southern Song Dynasty's euphemistic lyricists in terms of artistic expression is that they require that the filler words must be harmonized", which can clearly classify Jiang Fu into the euphemism school. Then the key words that lead to the introduction are "obscure semantics, obscure realms", "emphasis on sustenance, subtlety, so that the words are becoming more and more difficult to understand, so that the words finally go to the end of the road of solidification and rigidity" "Although he did not work as an official, he returned to the high-ranking officials and nobles at that time, and relied on their help to live"

"He lived a parasitic life of attachment to people all his life" "The words of the chants are inevitably suspected of being blunt, piled up, and patched up" "The formalist atmosphere of the figurines actually began with Jiang Kui" "Jiang Kui's poems are similar to his word style, have no life content, lack social significance, but some of the sentences are still relatively clean and divine" "Jiang Kui was attached to the bureaucrats and doctors of the time as cloth clothes, and opened up the atmosphere of the "Jianghu Faction" poets in the late Southern Song Dynasty who used poetry to persuade the public secretary in order to gain a famous position. ”

When it comes to Jiang Fu's "self-composing" and "word scores", there is "Jiang Fu's position in the history of China's music is very important" There are examples of "Yangzhou Slow" words to illustrate "his words, which also reflect his patriotic feelings and spiritual bitterness"; when it comes to Jiang Kui's love words, there are "not only sincere and kind feelings, but also the language is relatively clear and flowing, and the realm is relatively sparse and clear"; when it comes to Jiang Kui's writing "Poetry", "natural and wonderful", there is "inevitably a little mysterious and mysterious, with a strong idealistic color" This abstract truth It is difficult to comprehend", and also stressed that "his discussion had a certain influence on the later Yan Yu's "Canglang Poetry". However, in this section, when discussing Yan Yu's "Canglang Poetry", it is said that Yan Yu advocates "miao enlightenment" and "not involving in the road of reason, not falling into words" as high, and there are "only results that are divorced from reality, divorced from life, and even divorced from reason, like Zen monasticism to pursue such an empty and mysterious "mysterious enlightenment", "this theory is even more different than Jiang Kui, it has further influenced the Qing Dynasty's Shen Yun theory, bringing very bad consequences" "Completely plunged into the mud pit of idealism."

After the introduction of Jiang Kui in this section, some poets who are "in the same line as Jiang Kui and have the same tone" are also cited, such as Wang Yisun, Zhou Mi, Zhang Yan, as well as Wu Wenying, Shi Dazu, Zhu Yizun, and so on. It was followed by a definite phrase" that read, "The extent of its abuses is conceivable."

2. Key words in the Ministry of Education's "History of Chinese Literature" on Jiang Kui's evaluation

This Ministry of Education's "History of Chinese Literature" is the second history of Chinese literature in the early days of New China, following Peking University's "History of Chinese Literature", basically continuing the tone evaluation of Peking University's "History of Chinese Literature", and including Jiang Kui in the first section of the eighth chapter of "Literature of the Late Southern Song Dynasty", "Jiang Kui and Other Lyricists", although the length is much less than peking university's "History of Chinese Literature", there have been some changes in the cognition of Jiang Kui, such as saying that his "vision is relatively broad, life is more difficult", recognizing the artistic image of "Yangzhou Slow" words "The Sorrow of Leaving", saying that "The Sorrow of Leaving" ManJiang Hong" words "to the ancient irony of the present", "appropriate correction of the always gentle and gentle style of the lyricist, to give the reader a fresh and upright feeling" "the influence on the later lyricists also greatly exceeded the Eryan Qin Zhou Zhujia", at the same time praised Jiang Kui in the poem's absolute sentences, there is "deeper and more charming, at that time among the jianghu poets was not correct, but the whole gray "tone" did not have any prominent changes, and even on individual "word meanings", some more unrealistic tones and gray colors were added. It is said that he relied on Fan Chengda and Zhang Pingfu to "live", "the color of the rich and powerful cleaners is getting stronger and stronger", and then he has come to a conclusion that "in this kind of living environment, his words cannot have fresh and full content", and that Jiang Fu's words are "more of a lament for the drifting of his life and the frustration of the love field" "Jiang Ci's artistic achievements are first manifested in composing a quiet artistic conception to pin his lonely mood" "This has a great attraction for many famous literati in later generations who are frustrated and wandering in the rivers and lakes."

When discussing Jiang Kui's followers, this section has no greater addition to peking university's "History of Chinese Literature", but in the third section of this chapter, "The Literary Criticism of Zhu Xi and Yan Yu", it is obvious that yan Yu's "Canglang Poetry" is added to the "History of Chinese Literature" of Peking University, but it has not yet stepped out of the circle of "detached from reality, divorced from life, and even divorced from reason" given by Peking University's "History of Chinese Literature", and still says that "his judgment is not realistic, but also speaks extremely mysteriously, making people feel mysterious" and "confused and elusive"

。

Third, the key words of "Long Talk about White Stone" on Jiang Kui's evaluation

Wang Jisi wrote the article "Talking about White Stone" in 1992, when he entered his twilight years and was already an 88-year-old man. The opening sentence of the article is "I fell in love with Jiang Baishi's "Dark Fragrance" and "Shuying" words when I was a child studying at home school", and then explained the cognitive process of these two words, from "hazy as if I couldn't grasp the purpose of the topic, let alone evaluate it", "until 1943, when I worked with Mr. Xia Chengtao at the Longquan Branch of Zhejiang University,...... I learned two things: First, Bai Shi and Hefei Pipa Prostitute have a deep affection,...... Second, Bai Shi has a sense of detachment from the fall of the Northern Song Dynasty,...... It generally makes sense, but it's not trivial. Recently, I read the "History of The Literature of the Two Song Dynasties" edited by Cheng Qianfan and Wu Xinlei, and made a detailed explanation of "Dark Fragrance" and "Shuying", and in the "History of The Literature of the Two Song Dynasties", it is believed that "the word "Shuying" discloses the author's concern and feelings about the decline and crisis of the country." Wang Jisi read it as "generally agreeing... The views of Cheng and Wu". He also strongly supported the cognition of the "Literary History of the Two Song Dynasties", emphasizing a sentence that "explains the hatred of the homeland in the words of "Shuying", which is a relatively powerful argument." At this time, Wang Jisi agreed that the words of Jiang Kui's "Shuying" had a sense of "hatred of the homeland", and subsequently, the old man admitted that he participated in the "History of Literature of Peking University" compiled by the famous "collective", saying that "recalling that when I was compiling the Song and Yuan parts of the "History of Chinese Literature" at Peking University, due to my dislike of the small imperial court of the Southern Song Dynasty, I said that the Jiang words that came out of this living environment "could not have fresh and substantial content", and did not even mention the words "Dark Fragrance" and "Shuying". Today, if we talk about the lexicology of the two Song Dynasties, we should add something."

After Reading the words "Dark Incense" and "Shuying" in detail in the article, Wang Jisi said: "Due to its outstanding achievements in ideological art, Baishi Ci has a far-reaching influence in the history of words, and there are many versions of poetry collections, and the number of inheritors is large, almost surpassing Jiaxuan and becoming more halal." In modern times, it has gradually become degraded. When I was compiling the "History of Chinese Literature" at Peking University, I regarded him as a jianghu wanderer and a rich pilgrim, and the evaluation was also low. ”

In the article, Wang Jisi briefly expounded the political situation of Jiang Kui's life and his life and the Song and Jin dynasties of the Southern Song Dynasty, and the "dispute between peace and war", and stressed that "the euphemistic poets were too low, and their artistic achievements could not be deeply analyzed, but it was not an attitude towards the Southern Song Dynasty poets fairly." Subsequently, the article rationally discussed the pros and cons of the "dispute between peace and war", believing that "we cannot oppose peace and negotiate all the time without analysis, advocate war, and even one-sidedly exalt Xin and abandon the disease and belittle Jiang Baishi in the words." In saying that "the euphemistic words originate from the Book of Poetry", "they show the feminine beauty of women, which is comparable to the bold words that show the masculine beauty of men, and are in the history of literature." "In order to boost morale and resist the war to save the country, the arguments should be based on the bold faction as authentic, and the euphemism faction has been demeaned." Finally, he sighed that "in the compilation of literary history at Peking University, the War of Resistance has long been over, but under the influence of the "left" trend of thought in the field of classical literature at that time, when compiling the chapters of the two Song Dynasty poets, he still exalted the extravagant faction and belittled the euphemism faction, and even some of the eulogistic famous passages that he loved to read since he was a child did not give examples. ”

Wang Jisi

In the long article, it is mentioned that "with the changes in the situation at home and abroad and the wide circulation of this literary history, some university classical literature teachers are sensitive to this point and ask questions in person or in letters, which arouses my deep thinking." At the end of the article, an intriguing passage is left. He said: "It is more pleasant to see that the "History of Literature of the Two Song Dynasties" uses xin abandoned diseases and Jiang Kui to analyze the famous articles of the Zhou and Jiang erjia families in detail, and the evaluation is more fair and fair. ”

Fourth, the influence of the above two literary histories

Literary history is the presentation of human cultural achievements, the history of literature, and the study of literature

Studying the science of development history, he takes historical literature as the research object, pays attention to the process of studying the development of historical literature, summarizes the laws of historical literature development, including expounding various literary contents, literary forms, literary trends, the history of the emergence, development and evolution of literary genres, seeking the laws of their succession and transmutation, revealing the development of literature and various epochal factors, social factors (politics, economy, military, philosophy, religion, morality, art, etc.) The relationship between the development of the literature of the nation and the mutual exchange and influence of the literature of various nationalities, the comments on the historical status and role of the works of important writers in various eras in the development of literature, etc., reflect the creation theory, creative thought, creative proposition, creation orientation, creative mainstream, creative art and other facts of literature in the historical stage, or comment and criticize, and give a road map of the evolution process of literary history, literary fashion, literary theory, literary thinking and other evolution processes and historical reality. It has the value of literary spiritual history and literary thought history. A literary history is the result of the author's cognition, perception, interpretation, interpretation, judgment, and research views on historical literature. He must first have the value of "book", followed by the necessary reference books for the "basic course" of the history and literature major, or must choose to read reference books, which is a ladder that can help readers get "progress", a weather vane to guide the "cognition" of historical literature, an answer to the "standard" of learning historical literature, has the authority of the "textbook", and its influence is huge and cannot be measured, especially its "viewpoint" has a certain textbook-style "coffin theory" mode, which is easy for readers to "erect a monument" in their own thinking.

The attitude of the above two literary histories to Jiang Kui is, first of all, to give people a "gray" spiritual feeling, to criticize the family, to be treated as "degraded", to build a "grass platform" criticism, put into another volume, increase the thickness of the book, and serve as a foil for the sunshine. Secondly, he has some achievements in literature and art, that is, a writer who is "detached from reality, divorced from life, and even divorced from reason", whose works "cannot have fresh and full content", but "more is to lament the drift of his life and the frustration of the love field". Take a closer look, what image did these two literary histories set up for Jiang Kui, and what monument was erected in the minds of readers?

The Southern Song Dynasty is a southern orthodox dynasty established by the Han nationality in Chinese history, after the fall of the Northern Song Dynasty, Zhao Zhuoding was called emperor in Nanjing Ying tianfu, continuing the original name of the Great Song Dynasty "Song", the history is called the Southern Song Dynasty, and the Northern Song Dynasty are part of the Song Dynasty, a total of seven generations and nine emperors, enjoying one hundred and fifty-two years.

Jiang Fu was born in 1155, died in 1221, and left the Northern Song Dynasty in 1155 to cross the south

The year 1127 of the Ting Dynasty is 32 years apart, and 1221 is still 58 years before the fall of the Southern Song Dynasty in 1279. Entering from the aspect of "historical years", Jiang Kui was a person in the middle of the Southern Song Dynasty, and Fan Chengda, Lu You, Chen Liang, Xin Shuyi, etc. were literary scholars who were active in the middle of the Southern Song Dynasty at the same time, and had a lot of communication with them. Xin Zhiyi and Jiang Kui were two of them, one was a person who carried the crown of the Haofang sect, and the other was a person who raised the flag of the Gentle Sect, and they were two mighty mountains on the side of the Southern Song Dynasty. For example, the above two literary histories either put Jiang Kui in a "nother volume" for criticism or shelved it in the "late Southern Song Dynasty" discourse, while the lyricists who classified Fan Chengda, Lu You, and Chen Liang as "enthusiastic as fire" believed that Jiang Kui was the author of the theme of "falling into the Tuo feelings, the love between men and women, the separation of sorrows and hardships, and natural landscapes." Under this "definition" is derived a "patriotic lyricist" and a literati who "does not ask about politics". Under the outline of such a general trend of thought of "raising the xin and degrading the ginger" and "praising the extravagant faction and the low-damage and gentle faction", the content of "devaluing" the jiang fu was gradually enlarged. Hats with untrue "gray" images, such as "not a first-class writer", "rich cleaner", "dry gurudwara", "wind and moon lyricist", etc., are all worn on Jiang Fu.

The monographs and papers on the "history of literature" in the later period of New China, as well as the literary spiritual image of Jiang Kui, basically did not jump out of the "circle" painted by the above two literary histories, such as basically including Jiang Kui in the "late Southern Song Dynasty" and having "artistic pursuits" and writing about "sleepy and boring" and "men and women's feelings".

Jiang Kui put on the hat of these "gray" images and established this literary image, the consequence of which was to pull Jiang Kui down from the "hegemony of the literary world" for six hundred years from the end of the Song Dynasty to the end of the Qing Dynasty, and the learners, researchers, and followers became increasingly sparse, almost to the point where no one cared, making it difficult for future generations to fully understand the true face of Jiang Kui's culture, and also making it miss a brilliant and dazzling page in the history of Chinese literature.

Fifth, Jiang Fu and his people are inscribed in the sky

Jiang Kui was a native of Poyang, Raozhou, Southern Song Dynasty. He was a genius, a generalist, an all-rounder, and another person after Su Shi in the Chinese Literary Garden, a great literary artist, a musician, and a generation of the Qingya school of words. Jiang Kui was the first person to complete the journey of poetic elegance pursued by the literati in the Chinese literary circles since the Tang Dynasty; the key person in The transformation of Chinese literary criticism from "moral criticism to aesthetic criticism"; the person who perfected the "legislation" for Chinese calligraphy and poetry; the "pioneer" of Chinese opera; the successful transformer of Chinese music from "character spectrum" and "subtraction spectrum" to "work scale spectrum"; and he also made great contributions to Chinese lexicology, phonology, connoisseurship, and appraisal.

In the history of Chinese literature, especially in the history of lexicography, Jiang Kui is undoubtedly a pivotal figure, enjoying lofty honors in the literary circles for six hundred years from the end of the Song Dynasty to the end of the Qing Dynasty, and Xue Liruo made a pertinent and clear conclusion in the "General Theory of Song Words": Chinese lexicology from the end of the Southern Song Dynasty to the end of the Qing Dynasty can be said to be completely "the period of Jiang Fu". Jiang Fu is known as "the saint of words", and those who admire Jiang Kui believe that his existence is like "the poet has Du Shaoling" and "the text has Han Changli", and is enshrined as "Gui Zhen".

Jiang Kui culture is rich in connotation, involving multiple fields and disciplines of ideology or social activities. Such as: history, geography, humanities, military, poetry, music theory, book theory, lexicon, prosody, morality, personality, science, aesthetics, Confucianism, etc., his writings include poetry, words, poetry theory, calligraphy, calligraphy theory, gold stone, documentary novels, music, music theory, etc., there are as many as 19 kinds of writings, pieces of fine works, all kinds of wonderful. Jiang Kui can achieve poetry, words, books, music, literature and all subjects of his literary and artistic theory to achieve perfection and brilliance. From the middle and late Southern Song Dynasty to the early Qing Dynasty, the Chinese literary scene for more than 600 years was dominated by Jiang Kui. During this period, the praise and comments of Jiang Kui were very pertinent and in place, such as "the sorrow of leaving", "the harmony of syllables", "the tailoring of clouds and the seam, the jade knocking gold", "the ancients before, the no ones who came after", "the sad spring and the sad autumn", "the high character of the Qing Dynasty", "the pain of worrying the country", "the generation of word sects", "the word saints", and "the word immortals".

Jiang Fu lived in the song dynasty when the country was divided into north and south, and at that time, not long after the "shame of Jingkang" of "sending crows to send the day" and "leaving the palace to hang the moon", the country had already reached the situation of "ancient city yin" and "ice glue on the pond surface, and old snow on the wall" as Jiang Fu said in his words, and the people lived a life of "exposing wet copper paving, moss invading stone wells" and "mourning like complaints". Jiang Fu entered the literary world, and with the two cultural images of "the sorrow of leaving" and "speaking of the west wind news", he profoundly revealed the social reality, euphemistically told the feelings of the lady who could be ignited at any time, hoped that the plum blossom spirit would reorganize the rivers and mountains, vigorously displayed the idea of "resisting the jin and restoring the country", and warned the authorities not to "lose the will to restore the country" and "lose the hearts of the people." The emergence of his literary and artistic creativity changed the slogan-style literary and artistic phenomenon of "returning my rivers and mountains" of the Song Dynasty's aesthetic fatigue, and brought a fresh atmosphere, which was recommended and praised by the literary giants at that time, saying that he could "blow away the snow on the lake and several peaks". Jiang Kui's poetry qinggang elegance style, as well as the achievements of other literary works such as music, were pushed to the peak of the Chinese literary scene, reaching the period of six hundred years from the end of the Song Dynasty to the end of the Qing Dynasty. Jiang Fu was born in the middle and late Southern Song Dynasty, and I don't know whether history chose him or he chose history. Jiang Kui lost his father as a teenager, traveled to Jiangnan, traveled in all directions, was plagued by poverty, was difficult to give with talent, and cloth clothes for life. The history of the Southern Song Dynasty is very coincidental, which coincides with the life of Jiang Fu. The Government of the Southern Song Dynasty sent its way to Jiangnan, where the dilemma of "peace and resistance" was dilemma, official and political strife, accumulated heavy burdens and difficulties, political obstruction, and the people were poor. Jiang Kui's personal and Southern Song Dynasty society, the two mainstream cultural and emotional flows are very similar, "return my rivers and mountains" and "Northern Expedition to resist gold" sounds, throughout the entire historical period of the Southern Song Dynasty. As a lyricist poet, Jiang Kui's perspective is larger and more extensively devoted to the society and reality of the Southern Song Dynasty on which he depended. He constantly stimulated and infinitely expanded the thoughts of the countryside, the hatred of the travel, and the pain of love in his pen, so that his poems and poems all touched the society and reality of the Southern Song Dynasty. He used his "temperament" and "heart voice" to embed a group of "character codes" into one poem after another, using little by little "hot blood and ink" to settle his noble soul, and at the same time sprinkled his "ladylike feelings", based on this, it is obvious that in his poems, it is inevitable that between the lines of the words or can be read, the "context direction" or "national dynamics" of the society of the Southern Song Dynasty.

Literary and artistic works are a true reflection of real life, and Jiang Kui's works are no exception. Jiang Fu is a dashing, flowing lyricist, poet, and artist. He was in the "ancient city yin", "pond surface ice glue, the wall waist snow old, the cloud meaning is still heavy and heavy", such a Southern Song Dynasty society is difficult to return to the environment, the people live in "dew wet copper shop, moss invaded the stone well", "mourning like complaints", "the west window and blowing dark rain", the water is deep and hot, man-made disasters and natural disasters, with the crowd drunk alone, "Xiang Xiang Yun Chu Shui", "say the west wind news", "cloth how to use the prince" artist's mind, with an artistic pen made of Dan heart, a thousand sores, ugly Southern Song Dynasty social status quo. Recorded in the artist's artistic way of thinking, recorded in a unique art form.

Jiang Fu uses words, poems, calligraphy, music rhymes, etc. to jointly build the great shore of his artistic life together with the wisdom of his art and a piece of Danxin. In the way of artistic thinking, Jiang Kui let the invisible tentacles of art integrate the literary and artistic spirit of different aspects, reflect each other, absorb the strengths of versatility, and achieve consistency through the artisticization of his soul, showing his huge artistic energy, and using his lifelong artistic practice to create a complete, systematic, and unique poetic feeling, elegant lyricist, Han Mo rhyme, exquisite music, and perfect "Jiang's" literary and artistic thoughts.

Jiang Kui is written in the "cool tone" cultural imagery of his own metaphor. There are a large number of historical events, scenic spots, flowers and herbs, mountains and water rhymes, seasonal seasons, moon winds and snowstorms, trees and pavilions, rock streams, and even birds and birds in his poems, all of which have a light and cold tone in his pen. Such as "cold mountain", "cold moon", "cold incense", "cold leaves", "cold water", "dark water", "night rain", "cool wind", "moss sealed very stone", "empty platform", "chief of the moss" and so on. Some objects that are not "living bodies" have been "alive" in his pen, and they have vitality according to their hearts, achieving the empathy and resonance between people and "things". For example, in the four poems in which Jiang Kui and Xin Abandoned Disease interact, the "pine tree" in the second part of the "Dongxian Song" is endowed with the nature of a "Great Song Country", "Originally it was deeply rooted and leafy, and the Yellow Dragon (referring to the Golden Kingdom) flew down and became a plaything in people's courtyards." Another example is "Zi Jintai", "Xie Sheng Double Ass", etc., Jiang Fu gives "tree", "Platform" and "Shan" a powerful life "vitality", which can replace the lyricist to tell the endless and long-distance "worry" emotion.

The history of the Southern Song Dynasty is an embarrassing history of the Central Plains, and Jiang Kui was born in a period of deep national difficulties and the nation was in danger; in his poems, when he was talking about many euphemisms, he was sad about state affairs and worried about the country and the people, and the words "Yangzhou Slow" were used as representatives to sigh "the sorrow of detachment"; the words "Qi Tianle" were used as representatives to describe the unstable situation at that time and the people were in the depths of the water; and the four words of singing with Xin Ren as representatives, eagerly advocated the heart of the fist and fist of resisting jin. Represented by the words "Dark Incense" and "Shuying", the words "Plum Blossom" are in deep difficulty and need to be reorganized with the quality of "plum blossoms"; represented by the words "Cui Lou Yin" and "Man Jiang Hong", they directly stab the Southern Song Dynasty authorities Wen Tian Wu Xie and lose the consciousness of recovering the lost land; represented by the words "Nian Nu Jiao" and "Xi Hongyi", they tell the sorrow of the country's broken mountains and rivers. Represented by the words of "Water Tune Song Head", it is euphemistically said that the society of the Southern Song Dynasty did not have the idea of "thinking of the people" and lacked the will to "restore the country".

Jiang Fu used euphemisms to say the "state affairs" that the literati wanted to express but did not dare to talk about, and was deeply praised by Yang Wanli, Fan Chengda, Xin Shuyi, Xiao Dezao, Zhu Xi and other famous masters, and formed a friendship with many famous princes and giants. "The wonderful thinking of tailoring clouds and sewing fog, the strange sound of knocking gold and jade" was the praise of Jiang Kui's poetry by Yang Wanli, a giant in the literary circle at that time, which was also a business card that Jiang Kui enjoyed alone in literature and art.

Without deviating from the patriotic direction of the mainstream culture of "returning my rivers and mountains", with the keen vision of the poet and the wisdom and intelligence of the thinker, Jiang Kui has created the cultural phenomenon of "sorrow of departure" and "West Wind News", and in terms of artistic style, he has shaken off the shackles of the "example" of the "Jiangxi Poetry School", and has become elegant against the vulgar, and has moved towards the "fresh and elegant" realm that everyone in the literary world yearns for but cannot do.

Jiang Kui expressed the social phenomena of that time in an artistic language, deeply revealed the essence of society, reflected the people's livelihood and suffering, and exposed the tragic situation of society, so as to achieve the goal of awakening the people and warning the government.

Jiang Kui culture is an excellent branch of traditional Chinese culture, it is of great help to comfort people's spiritual realm, change people's temperament, cultivate people's moral disposition, purify people's emotional world, enhance people's spiritual level, broaden people's vision dimension, and learn Jiang Kui culture to enrich and inherit Traditional Chinese culture. Jiang Fu is the Art of Jiang Fu, reading Jiang Fu is not an easy task, just like appreciating a work of art, different perspectives, different effects, the literary world appears to have different evaluations of Jiang Fu is also reasonable, but in his own case there are many almost opposite comments, there are many unclear reasons, misunderstanding or misreading should be one of the deep factors. It is also due to misunderstanding or misreading that leads to the misleading problem of Jiang Kui's "interest" positioning, such as misreading the "Qinglou Dream Good" sentence in the "Yangzhou Slow" and the "Flower-Seeking Companion" in the "Four Criminals of Linglong" and insisting that Jiang Kui is "a wind and moon lyricist"; for example, for a large number of high-ranking officials and rich people such as Fan Chengda, Jing Bo, Lou Key, Zhang Pingfu, and Zhang Gongfu in Jiang Kui's intercourse, Jiang Fu is designated as a "rich and cleanser"; then, Jiang Fu avoids disasters and surrenders to his sister's life; Xiao Dezao's early friendship with Jiang Fu, the son of the same year, is friendly. In the later period, the life of his niece and son-in-law Jiang Fu was a family affection; Jiang Fu wrote Zhang Pingfu's grandfather's "Testament of King Zhang Xun", Zhang Pingfu repaid his kindness, and taking care of Jiang Fu's life was also a common world sentiment, and he was named "living according to people" or "sending people under the fence". What is even more serious is the misreading of the four surviving poems of Jiang Kui and the words of Xin Ren's singing remuneration, and many scholars have not been able to enter from an artistic perspective, especially under the ideas of "Yang Xin suppressing Jiang" and "raising Xin and degrading Jiang", placing Jiang Fu's words on the platform of Xin Ren's word style and displaying them, as well as the lofty mountains and mountains where the critics of the word are influenced by the "official-oriented" ideology and pay attention to the status of "generals", regardless of Jiang Kui's word style and the poetry artistry of the Lawyers Association, and do not regard the vast world of "civilian" culture. Treating Jiang Kui in this way is certainly unfair, and it is impossible to correctly understand the two styles of Chinese poetry, which not only brings defects to the inheritance of traditional Chinese culture, but more importantly, it makes people stop and study the literary artistry of the wanyue school in depth.

Scientifically evaluating and summing up the creative experience of outstanding Chinese writers and artists is very beneficial for us to understand and explore the laws of Chinese art, to inherit the cultural heritage of the Chinese nation, and to guide the practice of literary and artistic creation today. It is of great practical significance to publicly sort out, fairly evaluate, and justly summarize the creative process, creative standards, and creative experience of Jiang Kui's culture and art.

Jiang Kui's humanistic spirit has been admired by posterity, followed by many followers, and has continued for centuries.

Its name is in 1987

The year has been engraved by the International Astronomical Organization on the crater of Mercury.

Sixth, Jiang Fu became the source of the "gray" image

Jiang Kui culture received some impact after the appearance of the late Qing Dynasty or the modern Kingdom Wei's "Human Words", which affected many later lyricists and word critics, so there was "Jiang Kui is not a first-class word for everyone." Some lyricists and critics can't let go of their love for Jiang Kui, but they can't escape the circle that Wang Guowei painted, such as the above two literary histories, which are swirling around in the circle of Wang Guowei's paintings, and even more "played". Wang Guowei takes "interval" as the word orientation, which is wrong in theory, and it is also said that Wang Guowei is influenced by Western aesthetic concepts, requiring a clear image, realistic and picturesque, and forgetting the aesthetic essence of "expensive and implicit language" in traditional Chinese culture, so Wang Guowei's evaluation of Jiang Kui has caused more controversy.

Wang Guowei's evaluation of Jiang Kui has prizes and depreciations, such as "High Heights", "Thinning", "Cicada Dust", depreciation in "Final Layer", "Seeing Flowers in the Fog", "No Words", and "Qualified and Ruthless", of course, it is also pointed out that there are also indistinguishable words in Jiang Fu's words.

Wang Guowei was the first pioneer in China to use Western philosophy, aesthetics, literary views and methods to analyze and comment on classical Chinese literature. His "Words and Sayings on Earth" put forward the proposition that "words take the realm as the highest", which had a great impact on future generations. He also gave the soul of the word "true" to the word, requiring "true feelings" and "faithfulness" to true events, treating grass and trees with sincerity, and achieving the goals of "seeing the truth" and "knowing the deep" in order to become everyone. These theories undoubtedly gave wings to aesthetic concepts and brought a good way to appreciate classical Chinese literature. It is sought after, and some people have questioned that Wang Guowei's aesthetic concept deviates from the traditional Chinese aesthetic concept and does not apply to classical Chinese literature, so Wang Guowei's aesthetic view has always been controversial.

Wang Guowei's aesthetic thought, including the theory of genius, the theory of ancient elegance, the theory of realm, the theory of beauty, etc., is mainly his enthusiasm for the aesthetic ideas of Western scholars such as Kant, Su Benhua and Nietzsche, which has had a great impact on the establishment of the Chinese aesthetic system, but failed to perfectly integrate Western aesthetics with the aesthetics of traditional Chinese literature, especially the exposition of the theoretical part is very insufficient, there are many defects. As an aesthetic monograph in the transition period of literary theory, "Words and Sayings in The World" is obviously flawed and insufficient, and it is not surprising.

Wang Guowei's use of "separation" and "non-separation" and the measure of "truth" are very inappropriate. And his evaluation of Jiang Chuanzi has contradictory points. These two points are very much affecting the reputation of Wang Guowei's own aesthetic concept system, but also causing harm and misleading to jiang kui culture. "Words and Sayings on Earth" has become an obstacle that cannot be fully understood and perfected the maintenance system of the kingdom and an obstacle to inheriting and carrying forward the culture of Jiang Kui. As Mr. Guo Moruo said, Wang Guowei gave us one: "Semi-finished product." "It is necessary to continue processing and improvement. For example, Wang Guowei's literary criticism only talks about artistry, and does not involve ideology and time period, which is a major problem that is difficult to improve.

Wang Guowei said that Jiang Kui's word "Gegao" is mentioned in three places in the content of the "Words and Sayings of the Human World". The eleventh article said, "Although Shiraishi's Dark Incense and Shuying are of high style, none of them say anything. Article Seventy-Seven says, "Shiraishi writes about scenes, such as the Twenty-Four Bridges are still there, the waves are wavering, and the cold moon is silent", "Several peaks are clear and bitter, and the merchants are slightly dusk and rain", "High willow evening cicadas, say the west wind news". Although the style is superb, it is like looking at the flowers in the fog, and it is finally separated by a layer. In addition, it is also said that the words of Jiang Fu are like "cicadas shed dust", "there is no inner beauty but there is cultivation ability, then white stone ears", etc., all of which praise the words of Jiang Fu "GeGao" are fresh and beautiful. Therefore, Wang Guowei gave Jiang Kui a definite word of "high". But where does this "high" come from?

It is said that Wang Guowei's "Human Words" was formed in 1908, finalized in 1910, three years before and after, there have been increases and decreases, the evaluation of Jiang Kui involves as many as fourteen articles, it should be said that Wang Guowei is familiar with Jiang Kui's words, it is very unlikely that there should be a self-contradictory situation, I don't know if Wang Guowei has a bad feeling for Jiang Kui, this is the posterity of Wang Guowei's high evaluation of Jiang Kui's sentences to publish? Make it self-explanatory. Wang Guowei wrote in the thirty-first article of the "Words and Sayings of the World": The language takes the realm as the highest, and if there is a realm, it becomes a high-level character and has its own famous sentences. In Article 35 it is also said: Those who have true feelings are said to have a realm, otherwise they are said to have no realm. Here Wang Guowei is saying: Words written with true feelings have a realm, and with a realm, it is natural to be "high", and "high" will have a famous sentence. Wang Guowei clearly informed people that Jiang Kui's words were "high style" and were incomparable. And Jiang Kui's words also produced Wang Guowei's favorite famous sentences. The thirteenth article of the "Words and Sayings of the World" clearly writes: The words of Bai Shi yu are only two words, that is, "Huainan Haoyue is cold and a thousand mountains, and the return of the dark is unattended." ”

Wang Guowei said that only by saying true feelings can there be a realm, and only when there is a realm can there be a high qualification. On the one hand, it is said that Jiang Fu is high and ruthless, which makes people incomprehensible and can only be said to be contradictory.

Therefore, Wang Guowei's aesthetic concept needs to be perfected, so that the contradictory theory cannot be called a complete aesthetic system, and it is even more difficult to criticize the beauty in literature.

In literary works, "separation" and "non-separation" are two different methods of expression in classical Chinese literature or traditional Chinese literature. It is the difference between the Euphemistic school and the bold school of Chinese words, and it is also the two styles of Chinese and Western language expression. The interval is implicit and euphemistic, and the interval is straightforward and frank. As for the goal to be achieved in literary works, whether it is separated or not, it can be achieved, but it is only the difference between whether it can be seen and seen with hindsight.

Some writers write the words of the work very clearly through exaggerated brushwork with strong imaginative color and the rendering of the imposing image, and the image is very prominent and tall, which makes people impressed at first glance and easily causes strong emotional resonance. And there are also writers through deep thinking, endowed with affection, with subtle, euphemistic brushwork, through the heart arrangement, with bland sentences, outline the image of life, write novels big, hide the theme into ordinary life, let readers occasionally read that life is like this, but cover up the thinking, full of taste, plain to see wonderful, that kind of charm, fragrance, with the passage of time and more overflowing, amazing.

Engels once gave a more splendid comment to literature and art, saying that the author's "tendency should be naturally revealed from the scene and the plot, without special guidance, and the more hidden the author's opinion, the better it is for the work of art." If this is the case, "separation" and "non-separation" would contradict the view that "the more hidden" and "the better".

Jiang Kui's words "Dark Incense" and "Shu Ying" have always been regarded as masterpieces and famous pieces, praised as double walls and singing, but in Wang Guowei's eyes, they have become words that "have no words to say", is it really as Wang Shi said? That was Wang Guowei's unintentional reading of Jiang Kui's words.

Jiang Fu used these two words in the name of Yong Meihua, spitting out a block in his heart, indignantly expressing his shame to Jing Kang, hoping that the Great Song could use the spirit of plum blossoms to reorganize the rivers and mountains. Jiang Kui's "Shuying" is used freely, blended as one, smooth as flowing water, and the image of plum blossoms is fascinating. The opening shoot said that plum blossoms are like jade, and then used the two classics of kingfisher and bamboo cultivation to say that plum blossoms are like gods, but they are also small and weak. With Zhaojun out of the plug secretly reminiscing about the north and south of the river, the moon night returned. It shows that the plum blossom is weak, but after all, it is the hometown, Zhaojun has a lot of unaccustomedness and helplessness in the land of Husha, and it is still better for the concubine to go home like a small plum blossom. The next part of the opening shoot with plum blossom makeup can decorate the world into the topic, leading to the arrangement of the golden house. Then the lyricist turned his head from the fantasy, saying that the plum blossom fell to the ground with the wind and was irreversible, but do not complain that the lyricist sang the flute in the sad song and was shocked, although he did not give up, but he was afraid to go to the history textbook to find it

Jiang Kui's word should be said to be ideological and artistic. If the morphology of the plum blossom is written by the lyricist, there is no "separation", the sentence is talking about plum blossoms, and the six classics are not separated from the plum blossom thing, how can it be said that "there is no word to say".

If the lyricist's nostalgia when he is sad, there are subtle and euphemistic words, it is "separated by a layer", but it is also a true expression, the basic life description, the conception is clever, in one go, there is no trace, there is no trace. He insisted on forcing Jiang Fu to say, "The Southern Song Emperor Lao Er is useless, so it is better to let him lao Tzu come back to be the emperor, but I am afraid that it will be better." "If Jiang Fu said this, I'm afraid it wouldn't be the Southern Song Dynasty poet Jiang Fu."

Wang Guowei's comments on Jiang Kui said that "there is no word to say", "see flowers in the fog", "finally a layer apart" is always a "partition" word. Moreover, the separation and non-separation are taken as the measure of "truth", "separation" is not true, and non-separation is true. What is the separation or not, Wang Guowei also set up a question, but did not answer positively, only gave some hints, saying that the front part of Jiang Kui's "Cui Lou Yin" is not separated, the end part is separated, the "Twenty-four Bridges are still there, the waves are waving, the cold moon is silent" in the words of "Yangzhou Slow", the words "Gao Liu Evening Cicada Says West Wind News" in the words "Xi Hongyi", the words "Counting peaks are bitter, the light is slightly dusk and raining" in the words "Dian dai lips", and the words "Nian Nu Jiao", as well as the words "Dark Incense" and "Shu Ying" are all "separated" layers, and the characteristics of Jiang Fu's words are " Secretly for the camp three caves. ”

According to these prompts of the Wang family and Wang's requirements for the "realm" of the word, the interval and non-separation spoken by Wang Guowei lie between the implicit, euphemistic and straightforward and frank expression style of the writer. This also proves that Wang Guowei was influenced by Western learning, accepted the Western straightforward language style, and rejected the implicit cultural characteristics of China, so that it is okay to discuss personal preferences, but it cannot be used as a yardstick for measuring the "truth" of the word. It is also because of this Kingdom Wei that he has elected the Northern Song Dynasty and the Southern Song Dynasty Haofang style, and it is also because of this that Wang Guowei rejected Li Qingzhao, which is also reasonable, so it is not surprising that Wang Guowei's personal aesthetic views are not high.

The biggest ideological root of Wang Guowei's evaluation of Jiang Kui is only because of the needs of war, and his recommendation and application of Western aesthetics can only look at the slogan literary phenomenon that needs to be "not separated" because of the need for war, and a "breakthrough" found in "confusion".

According to the idea of "because of war", it can be traced back to the environment in which the "Words and Sayings of the World" was produced by the kingdom wei at the end of the Qing Dynasty. From the first Opium War in 1840, when the Western powers opened the door to China with sharp ships and steel cannons, China gradually changed from an independent country to a semi-colonial and semi-feudal country. During the Second Opium War in 1856, the Yuanmingyuan was looted and burned to the ground. In 1872, Japan began to invade the Chinese vassal state of Ryukyu, preparing to use Ryukyu as a springboard to attack Taiwan. In 1876, Japan opened the door of Korea, another vassal state of China, by force, and forced the Korean government to sign the Treaty of Ganghwa, obtaining a series of privileges such as consular jurisdiction. In 1894, the Sino-Japanese War, this year is the Year of the First Sino-Japanese War, so it is called the Sino-Japanese War. Because Japan had been planning for a long time, and the Qing Dynasty was in a hurry to meet the battle, the war ended with the defeat of China and the total destruction of the Beiyang Marine Division. The Qing Dynasty government of China, under the military pressure of Japanese militarism, signed the Treaty of Maguan on April 17, 1895. The defeat in the Sino-Japanese War marked the defeat of the Qing Dynasty's foreign affairs movement that lasted for more than thirty years, and the achievements of modernization were wiped out, breaking the pursuit of national rejuvenation by the Chinese people in modern times. The indemnity of land cession and the loss of sovereignty have facilitated the export of capital by the great powers and set off a frenzy of division, marking that the invasion of China by the great powers has entered a new stage, greatly deepening China's semi-colonization, and drastically reducing China's international status. The Sino-Japanese War directly led to the rise of the movement of the Chinese people to save the nation from peril, the bourgeoisie set off the reform and reform movement and the democratic revolutionary movement, and the Chinese people's spontaneous resistance to aggression, such as the Boxer Rebellion.

The Western powers began to salivate over China's fat meat. At the end of the 19th century, the Western powers set off a boom in the partition of China. With the rapid development of the Boxer Rebellion in the Zhili and Beijing-Tianjin regions, foreign powers repeatedly urged the Qing government to suppress it. On January 27, 1900, Britain, France, the United States, Germany, and Italy jointly sent a note to the Qing government, once again demanding that the Boxers be banned. On February 1, the crowds of Gaomi in Shandong besieged the Deutsche Bahn for several days, and destroyed the railway, and by the 14th, the Germans threatened to suppress it by force. On March 13, the imperialist powers held a naval demonstration in the Bohai Sea, demonstrating the need to intervene in China by force. On 6 April, British, American, German, and French envoys sent a note to the Qing government that the Boxers would be eliminated in two months, otherwise they would send land and water armies into the provinces of Zhi and Lu to suppress the peace on their behalf. On May 28, the British Empire, the United States of America, the French Third Republic, the German Empire, the Russian Empire, the Empire of Japan, the Kingdom of Italy, and the Austro-Hungarian Empire formally decided at a meeting of ministers to China to jointly send troops to suppress the Boxers, and in the name of "protecting the embassy", they were forced to send troops to Beijing, and the Qing government was forced to agree. The Boxer Rebellion became the trigger for the Eight-Power Alliance's war of aggression against China, and under the pretext of using this as an excuse, the Eight-Power Alliance divided and plundered China in the name of suppressing the Boxer Rebellion.

The total number of Un troops invading China was about 50,000 people, well-equipped, and powerful, and on August 14, 1900, the city of Beijing completely fell, and wherever the Eight-Power Alliance went, it killed people, set fires, raped and plundered! There are countless treasures stolen and looted from the Forbidden City, Zhongnanhai, and the Summer Palace! Among them, the famous Garden of Ten Thousand Gardens, the "Yuanmingyuan", was plundered after the British and French allies and eventually became a ruin. The invasion of the eight countries cost China huge reparations and lost many national sovereignties. Since then, the Qing government has completely become an instrument of imperialist rule over China.

War needs money and cultural support, money aside, cultural support is

Complex and complicated projects are generally the patriotic education of the state to the people and the cultivation of the people's self-patriotic thinking. The subliminal "cultural benchmark" education and "self-moral" cultivation are all experienced in daily life, and in the face of war, the immediate effect is the "slogan" culture, based on this, the country's "salvation" rises up the situation needs, the mainstream aesthetics of the war period are difficult to take into account "artistry", emphasizing "appeal" and "cohesion".

China's modern and contemporary history is a history of the Chinese nation's struggle to "spill blood." War is constant, resistance to the enemy before and after the succession, China to save the dead as the first priority. In order to better arouse the people to rush to the front, such as the "bold and straightforward" language slogans of "returning my rivers and mountains" and "defending the country" that have been precipitated for hundreds of years, have become the mainstream voice of Chinese culture, and it is the war that has affected the aesthetics of traditional Chinese literature and art.

Wang Guowei's "Human Words" was written between 1908 and 1909 and was originally published in the Journal of National Essence. In this way, it can be said that the proposition of "separation" and "non-separation" in "Words and Sayings in the World" is the "collective choice" of the Chinese literary circles after entanglement in the war, representing a helpless trend of thought of a generation of literati at that time, and was forced by foreign aggression and war. Judging from the fact that this concept was later accepted by many scholars in the Chinese literary circles, it can also be corroborated by this statement.

After Wang Guowei, it was followed by the "May Fourth Vernacular Literature Movement", which pushed the "vernacular" of "no separation" to the peak and sowed the "seeds" of the "non-separation" concept among the broad masses of the people. Under the guidance of the "vernacular literature movement" and the "revolutionary theory" of Hu Shi and others, the "eight strands of literature" style of ancient style literature was abolished, the "vernacular language" and "vernacular novel" were promoted and popularized, and the "new poetic style" was created, and a "new rhyme" was also established, and it was active in the literary world, expanding the ranks of literary creation and making it easy for the broad masses of the people to accept it. The positive significance and influence of the "vernacular literature movement", in addition to the political aspect, has an irreplaceable role in the innovation and development of modern Chinese literature, but because the "degree" of the promotion of "vernacular literature" has not been well grasped, in the process of meritorious service, it has also shifted the mainstream direction of Chinese literary and artistic aesthetics to the track of "no separation", and the damage to Traditional Chinese Culture has been further expanded.

Under the dangerous situation of the country, Wang Guowei's contribution to the introduction of Western literary aesthetics cannot be denied, and the aesthetic concept of "separation and non-separation" applies to the literary aesthetics during the war, not to the traditional Chinese literary and artistic aesthetics. The "defect" of Wang Guowei's "introduction" that has not been integrated with traditional Chinese literature cannot be ignored, the credit of the "vernacular movement" in promoting the reform of Chinese literature cannot be erased, and the problem of "taking care of one and losing the other" in the "vernacular movement" should also be recognized. It is precisely because wang Guowei's "introduction" has "defects" and "vernacular literature movements" that there is a "loss of one or the other", so that the mainstream direction of Chinese literary aesthetics has shifted, with a "theoretical basis" and "acceptance platform", advocating "extravagance", and belittling "elegance" has become the wind direction, providing a "misdirection" wind vane for later literary trendsetters.

Before and after the founding of New China, to heal the wounds of war and restore production as the first task, at the same time war and movement are still happening continuously, China's political circles to "build the country's gate", "strong power" and "survival for the people" as the main political direction, the Chinese literary circles around the political arena "main political direction" and provide literary imagery and image support, the aesthetic of "separation and non-separation" can continue to accept and promote, especially at that time the literary circles advocated grandeur and domineering, the promotion of the "extravagant" faction played a "momentum" effect, the "subtle" and "euphemism" to be derogatory, And as an "object of criticism", he indiscriminately denounced it, as if this phenomenon was "born of the trend". The emergence of this phenomenon is an impact on traditional Chinese literature and art, and Chinese literature and art will also depart from the gentleness, richness, implication and inclusion that traditional Chinese literature and art have always held

The aesthetics of subtlety and euphemism are getting farther and farther away.

VII. Wang Jisi's reflection on the image of Jiang Kui

Wang Jisi participated in the compilation of two "History of Chinese Literature", in addition to peking University's "History of Chinese Literature", he also participated in the compilation of "History of Chinese Literature" of the Ministry of Education. Peking University's "History of Chinese Literature" is famously "collective", the whole book does not have the name of "Wang Jisi" or "Wang Qi", and Wang Jisi, later, when he knew that this "History of Chinese Literature" was flawed and needed to be "supplemented", dared to stand up responsibly, admitting that "I edited the Song and Yuan parts of the "History of Chinese Literature" at Peking University", and mentioned that the reason for the personal cognitive defect at that time was "due to the dislike of the small court of the Southern Song Dynasty, the Jiang words that came out of this living environment "cannot have fresh and full content". The word "Shuying" is not even mentioned. And cautiously remind everyone: "If you talk about the two Song Lexicologies today, you should add something."

Wang Jisi believes that "when he was a child studying at home, he fell in love with Jiang Baishi's "Dark Fragrance" and "Shuying" words", and when he wrote the "History of Chinese Literature", he "did not even mention it". There are three meanings here: First, Wang Jisi has loved "Jiang Baishi's "Dark Fragrance" and "Shadow" words since he was a child." It can be seen that he not only had the atmosphere of contact with the poetry culture of Jiang Kui when he was a child, but also had a "love" heart. Second, it shows that Wang Jisi had the opportunity and right to put the words of Jiang Kui's "Dark Fragrance" and "Shuying" into the "History of Chinese Literature" at that time. Third, the word "Lian" was placed before the phrase "mentioned without mentioning", which not only showed that Wang Jisi was negligent at that time, but more importantly, he was "reflecting" and regretting how he did not go with his own heart in the first place, and the phrase "should be supplemented" was the conclusion of his "reflection".

After "deep thinking" and agreeing with the views of his latecomers, Wang Jisi realized that he had felt guilty about Jiang Kui in the past, especially pointing out that "the elegant words originate from the Book of Poetry" "They show the feminine beauty of women, which are comparable to the bold words that show the masculine beauty of men, and are interesting in the history of literature." "Here it is said: The two factions of Chinese words euphemism and extravagance could have been on the same horizon, coexisting and coexisting, reflecting each other and developing together. During the Southern Song Dynasty, Jiang Kui and Xin Shuyi sang in unison and harmoniously is the best proof.

He also reviewed the past, "In order to boost morale, resist the war and save the country, the arguments should be based on the bold faction as authentic, and the euphemism has been demeaned." "Final sigh" In Peking University's compilation of literary history, the War of Resistance has long ended, but under the influence of the "left" trend of thought in the field of classical literature at that time, when compiling the chapters of the two Song Dynasty poets, he still exalted the extravagant faction and demeaned the euphemistic faction, and even some of the euphemistic famous passages that he loved to read since he was a child did not give examples. The guilt of Jiang Fu once again stressed that it should not happen.

So, what are the flaws and injustices in Wang Jisi's past about Jiang Kui's cognition? We can look for it in the above two "History of Chinese Literature" and its long articles, and we can at least see the following points:

1. It is unfair to arrange the position of Jiang Kui: it is worth correcting to criticize Jiang Kui on the grass platform, so he "saw that the "History of Literature of the Two Song Dynasties" was listed in special chapters of Xin Abandoned Disease and Jiang Kui, and the famous articles of the Zhou and Jiang Families were analyzed in detail, and the evaluation was more fair and pleasant. ”

2. Exalting the extravagant faction and belittling the euphemism faction is caused by the influence of the "Left" trend of thought: The influence of this trend of thought should be related to the abduction of China by the Western powers to put on the chariot, and is the product of international and domestic wars and movements.

3. Recognizing That Jiang Kui is not only an artist, but also has the sentiment of "wandering in the rivers and lakes and not forgetting the country": in addition to the artistic image of "the sorrow of detachment" that recognized the words "Yangzhou Slow" in the past, the words "Manjiang Hong" are "to satirize the past and the present", etc., and at the same time, they also accept the views of "the author's concern and feelings about the country's decline and crisis", so they can clear the relationship with "not asking politics" and "lacking social significance", and write about the literati who are "sleepy and bored" and "the love of men and women".

4. The evaluation of Jiang Kui's "jianghu wanderer and rich cleaner" is low: Wang Jisi clearly pointed out in the long text: "Regard him as a jianghu wanderer and a rich cleaner, and the evaluation is also low", which removes the hat of "dry poet".

In this way, if Mr. Wang Jisi could recognize and accept Jiang Kui in his early years, New China

The early "History of Chinese Literature" must have had a different Jiang Kui, and the study and inheritance of Jiang Kui culture since then must have been different to a certain extent. It is precisely because Wang Jisi has this understanding and acceptance of Jiang Kui's "bumpy" process, the Culture of Jiang Kui needs to be faced squarely and re-examined, and I hope that in the future "History of Chinese Literature", Jiang Kui is no longer synonymous with "gray", and its original sunshine image should be restored.

The new era is the era of cultural rejuvenation and cultural power, emphasizing cultural self-confidence and cultural consciousness, first of all, we should correct the attitude of literature and art for the people and the creation of society, require the creation of more and better literary and artistic works, correctly understand the aesthetics of traditional literature and art, and let literature and art return to the traditional aesthetic road, which is particularly important.