White Rain Studio Word Talk

Author: [Qing] Chen Tingzhuo / Du Weimo, edition
Publisher:
Publishing Date: 2001-10-01
Features: The author of this book claims that the purpose of his compilation is "to adhere to Fengcao, correct emotions and nature, uphold warmth and thickness as the body, and employ melancholy and profoundness as the means, leading it through a thousand threads, yet centering it all in one. It is not about deliberately challenging the ancients or forming a unique voice on one's own, but rather there is something deeply felt within that compels this pursuit, maintaining a thread of continuity in this art" (from Preface to Tugua). This is a conscious effort to propose and elaborate on a systematic theory of Ci poetry in response to the trends in the Ci world. The book holds the stance of the Changzhou school, but in some specific arguments, it is not rigidly bound by the views of the founders of the Changzhou Ci school, such as Zhang Huian and Zhou Ji. Its discussion of Ci emphasizes "inspiration" and "substantive meaning," believing that "if the substantive meaning is not profound, the inspiration cannot deeply move people" (same source), and "if the allegory is not deep, the established meaning is not substantial, then it cannot speak of inspiration" (Tugua, Volume 6). It highlights and elaborates on the sincerity of emotion and the melancholic style, advocating that "if one truly adheres to sincerity and presents it with melancholy, then both boldness and subtlety are acceptable" (Volume 1). The so-called "sincerity" means that Ci "should be rooted in warmth and peace" (Volume 8), while the so-called "melancholy" means that the language "should be profound and rhythmic" (Volume 8), making it "with the intention before the words, and the spirit beyond the words" (Volume 1). Meanwhile, the three concepts of "allegory and inspiration," "sincerity," and "melancholy" are interconnected. "To express grievances over current affairs and turn them into poetry already places one at the forefront. However, it is not advisable to reveal it directly—only the body of allegory and inspiration can be used, and even within allegory and inspiration, it must remain subtle and unexposed, which is melancholy, which is sincerity" (Volume 2). At the same time, it emphasizes that "at the beginning of entering this field, one must distinguish between elegance and vulgarity" (Volume 7), striving to avoid "vulgarity" (Volume 6). The entire book, through specific critiques of, elaborates in detail on the above fundamental viewpoints. Although the book does not oppose the bold school of Ci, it also admires Su (Shi) and Xin (Qiji), it overly emphasizes the melancholic style, so it still takes Wen (Tingyun) and Wei (Zhuang) as its guides, praising Wen Tingyun's Pusizhuan (14 chapters) as "the ultimate standard of all time" (Volume 1), and calling Wei Zhuang's Ci "the supreme realm of Ci" (Volume 1). It particularly admires Wang Yijun, believing that "with Wang Yijun, Ci becomes noble" (Volume 2). Therefore, it fails to recognize the value of the more direct reflections of reality in Su and Xin's Ci. It also shows disdain for folk literature, believing that "mountain songs and woodcutter's chants" "cannot reach the halls of high culture" (Volume 6).