Medieval literary theory categories

Author: Zhan Furui
Publisher:
Publish Date: 2005-07-01
Features: This book is structured into four chapters following the order of Wen De, Wen Shu, Wen Ti, and Wen Bian. Each chapter selects its respective "most important and far-reaching" concepts and categories, "providing textual criticism and analytical discussions." Additionally, it includes an introductory essay titled "Introduction" and an appendix titled "The Historical Evolution of the Essence of Xuan Sheng Theory." The entire work focuses on tracing the origins of the core categories of medieval Chinese literary theory from a historical perspective, thereby uncovering their subtleties, tracing their development, elucidating their meanings, and establishing their significance. Medieval literature is a "fengshui treasure land" in the history of Chinese literature, and past research on it has been extensive, yielding significant discoveries. However, most of these studies have concentrated on authors, works, and literary theory itself, giving the impression that scholars are studying the mountain from within the mountain. Consequently, their research results should also be considered "work-centered" studies. There is a tendency toward more detailed and specific analyses rather than broader, more comprehensive ones. Medieval Literary Theory Categories stands on the foundation of fully drawing upon and absorbing previous research, employing a confident and skilled approach to conduct its study starting from the construction of categories, targeting the key points of medieval literature and unlocking its main veins. This reflective research method, which first highlights the essence before painting the whole picture, can be termed the "category construction (deconstruction) centered" method. The author primarily deconstructs the main theoretical categories of medieval literature from three perspectives: Chinese philosophy, the development of literature itself, and the social and historical context. This analysis ensures that the categories do not become overly esoteric, leading to misunderstandings or divergent interpretations, but rather maintain their original clear definitions and meanings in their evolution. The main ideological roots of medieval literature, in my opinion, lie in Taoism. As for Confucianism, Xuan Xue, and Buddhism, they are merely influences. Confucianism, though the orthodox ideology, had "collapsed" due to chaos at the time. Even so, the "other side" of Confucian thought—Taoism, or the Taoism that opposes Confucianism—still emerged as the "other side" of Confucianism, taking over its philosophical mission and, in practice, dominating the aesthetic and literary concept world of the Wei and Jin periods. I have always believed that Confucianism and Taoism are like the two elements of Yin and Yang in the Book of Changes—mutually complementary, interdependent, and fundamentally one, though they appear alternately hidden and revealed in the long course of Chinese history, presenting two sides to the world. As for Xuan Xue, it can be seen as a special manifestation of Confucianism's conceptual, behavioral, and linguistic approaches in a particular historical period. Of course, its more direct significance can also be attributed to Taoism. As for Buddhism, although it spread widely in medieval times, it was simultaneously adapted to the realities of the Chinese world and transformed into a "Bodhi tree." Therefore, the theoretical categories of medieval literature are primarily rooted in Taoist thought. Xuan Xue and Buddhism played more of a role in fostering the thinking, ideas, and logic of medieval literary theory. Xuan Xue discusses the mystical, emphasizing "pure conversation" and the "Xuan realm"—the non-materialistic expansion of the spiritual and emotional worlds. Buddhism focuses on the illusory world beyond the material, with its elaborate textual logic. The pursuit and expression of the void and emptiness in the spiritual realm by Xuan Xue and Buddhism undoubtedly nurtured the connotations of medieval literary theory categories and expanded their scope. Examining the theoretical categories of medieval literary theory allows readers to clearly see the main development thread of medieval literature: the decline of Feng Gu and the pursuit of aesthetic pleasure. The Jian An Feng Gu was robust, facing social realities and life head-on. However, it also showed signs of Yin Rou, such as Cao Pi's "Ode to the Swallow." The grandeur of Han Fu's elaborate and ostentatious style still retained a sense of grandeur, but it had alreadyed the "pearl embryo" of floral and moonlit aesthetics. The literature of the Zheng Shi period had already become weak and decadent. By the time the Jin court retreated south and established a temporary capital, literature had become a mere ornamental addition to the "rear courtyard across the river." While the Jian An Feng Gu declined, it was also the time when aesthetic literature reached its peak refinement. Medieval literature was aesthetic literature, literary literature, conscious literature, conceptual literature, emotional literature, spiritual literature, critical literature, formal literature, pure literature, and thorough literature. It can also be said that medieval literature transformed from a literature based on realistic principles to one based on the principle of pleasure. The pursuit of aesthetic pleasure reaches its peak in aestheticism. Aestheticism serves the purpose of aesthetic pleasure. Therefore, aesthetic literature can be tentatively called literature of aesthetic pleasure. In medieval times, especially during the Wei and Jin periods, scholars sought refuge from chaos and sought spiritual comfort and joy, turning the aesthetic of literature and nature into a "pure land" for their souls to rest. Therefore, the theoretical categories of medieval literature, fundamentally speaking, are also aesthetic or aesthetic categories—more precisely, pure aesthetic categories. These literary-aesthetic (or aesthetic-literary) categories are evident in both mystical and Buddhist thought, often transferring emotions to natural landscapes. They are literary-aesthetic theories that emphasize "context." Using the words of Czech linguist Jan Mukarovsky, "The function of poetic language lies in maximizing the prominence of discourse—it is not used for communication but to place the act of expression, that is, the act of speech itself, in the most prominent position." (Quoted from Structuralism and Semiotics by Terence Hawkes, p. 75, translated by Qu Ti Peng, Shanghai Translation Publishing House, 1987 edition). "In other words, language has a sixth function, that is, the poetic or aesthetic function, which is reflected not only in the form of discourse but also in the 'meaning' and 'content' of individual words." (Ibid., quoting Terence Hawkes). The attitude of medieval literati toward the real world in the creation of medieval literature and its theory generally evolved from criticism to negation, and then from negation to 'forgetting.' As the saying goes, "They did not even know of the Han Dynasty, let alone the Wei and Jin periods." In fact, this three-step process is an aesthetic process filled with aesthetic "pleasure." Whether it is Cao Pi's Discourse on Literature and Letter to Wu Zhi, or the "Wang Lady's spirit was scattered and bright, hence her forest-like demeanor; Guo Jia's wife had a clear and jade-like heart, naturally a beauty of the inner chambers," all reflect aesthetic appreciation. The Orchid Pavilion Gathering was an aesthetic salon, recorded by Wang Xizhi in beautiful prose. Tao Yuanming returned to his "Going Home for Good," seeking refuge in a beautiful peach garden. He wrote a biography of the "Master of the Five Willow Trees," valuing the aesthetic sentiment of "writing articles for self-entertainment." As for his own line, "Picking chrysanthemums under the eastern fence, leisurely seeing the southern mountain," it reflects the transfer of emotions to the beauty of nature. Ruan Ji's nudity in front of others, and the imitation of donkey calls by Dai Liang, Wang Can, and Wang Ji, were likely attempts to reconnect with nature and rediscover the beauty of life's instinct. Of course, to achieve beauty, one must pay a price, even with blood or life, and destruction can even make beauty more significant. The death of Ji Kang is a clear example of this proposition, yet it does not diminish the beauty of his Yangling Scroll. Nevertheless, the theoretical categories of medieval literature, in terms of their aesthetic essence and value standards, remain "rooted in the classics," not escaping the fundamental regulations of the "Six Classics." Chinese characters themselves are aesthetic symbols, with their core in meaning. Therefore, the theoretical categories of medieval literature represented by Chinese characters should also be a meaningful aesthetic category. These literary-theoretical categories of the medieval era undoubtedly contain more emotional experiences and ecological concepts of literary aesthetics, serving as spiritual flags raised from the accumulation and sublimation of aesthetic pleasure. Aesthetic pleasure ultimately developed into a focus on the beauty of literature's emotions, symbols, forms, and expressions. As the saying goes, "Everyone admires the wonderful writing together." Medieval Literary Theory Categories combines history, criticism, discussion, and narration, "cherishing the virtue of the ancestors" and "awakening the budding talents," thoroughly unraveling the conceptual world of medieval literature to readers, making it a work worth reading and rereading.