Article on Identifying Literary Styles Preface to the Clarification of Literary Styles

Author: Wu Na et al
Publisher:
Publishing Date: 1998-05-01
Features: Excerpt: The section "Discourse on the Dialectics of Literary Forms" in The Art of Rhetoric states, "The text is a tapestry woven with five colors, each grounded in its own hue." (The Art of Rhetoric) "To critique beauty and moral cultivation, gentle yet unrelenting—this is called 'wind'; to gather subjects and display brilliance—this is called 'fu'; to elucidate governance and correct right and wrong—this is called 'ya'; to describe noble virtue and praise meritorious deeds—this is called 'song'; to express sorrow and resentment, embedding it in metaphor and allusion—this is called 'sao'; to feel sorrow for things and entrust it to writing—this is called 'ci'; to examine matters and compare merits—this is called 'ming'; to cite the past to critique the present, warning of gains and losses—this is called 'zhen'; to alternate between sighs and praise, speaking at length—this is called 'ge'; to sing without drums or bells—this is called 'yao'; to stride and gallop, yet compose chapters—this is called 'xing'; to arrange ranks and sequence, expounding in order—this is called 'yin'; to mix sounds and rhythms, varying high and low—this is called 'qu'; to sigh and lament, reflecting deeply—this is called 'yin'; to chant emotions and express aspirations—this is called 'shi'; above Su and Li, elegant and simple—this is called 'gu'; below Shen and Song, precise in form—this is called 'lü'; these are the various forms of poetry. The words of emperors, issuing decrees according to law—this is called 'zhi'; the language of officials, like the sun and moon casting light—this is called 'zhao'; to articulate principles and establish rites—this is called 'dian'; to lay plans and achieve noble aims—this is called 'mo'; to follow reasoning and guide—this is called 'xun'; to address specific people—this is called 'gao'; to swear before troops—this is called 'shi'; to appoint based on office—this is called 'ming'; what comes from above—this is called 'jiao'; what is implemented below—this is called 'ling'; to hold and warn—this is called 'chi'; to speak and enlighten—this is called 'xuan'; to advise and promote—this is called 'zan'; to elevate and honor—this is called 'ce'; to speak of hierarchy and analyze—this is called 'lun'; to measure appropriateness and weigh—this is called 'yi'; to distinguish doubts and clarify—this is called 'bian'; to correct right and wrong and make it clear—this is called 'shuo'; 'ji'—to record events; 'ji'—to record facts; 'shu'—to continue and narrate; 'ce'—to list and respond; 'zhuan'—to transmit and believe; 'xu'—to trace and present; 'bei'—to enumerate achievements and inscribe on stone; 'jie'—to expose conduct and erect in a tomb; 'lue'—to accumulate virtues and present to spirits; 'zhi'—to mark names and in a grave; 'xi'—to rouse hearts and proclaim rewards and punishments; 'yi'—to move from near to far and spread knowledge; 'biao'—to express the hearts of ministers before the ruler; 'zhan'—to discuss matters of the inner court; 'jian'—to speak plainly and briefly; 'qi'—to speak elaborately and in detail; 'zhuang'—to speak to the superior; 'die'—to use in official affairs; 'lubu'—unsealed dispatches sent with feathers; 'zhazi'—unsealed letters stating matters; 'wen'—blue and yellow patterns woven together, forming the essence of 'culture.' (The Hook of Coral Poetry) [This excerpt is from Zhang Biao's The Hook of Coral Poetry, originally missing the character 'gou' in both the text and the correction, which has now been added.]
When writing, one should initially be bold, but with time, restraint is necessary, making the style concise, solemn, and upright. Occasionally, one may let loose to express oneself, but avoid monotony, and then it will be perfect. (Ouyang Xiu) Sun Yuanzhong, a simple-minded man, once asked Ouyang Xiu about the method of writing. The master replied, "For my nephew, I have nothing to spare—just practice. All transformations come from familiarity." (Same) In recent years, Sun Shenlao met Wen Zhong Gong and asked him about writing. The answer was, "There is no secret, just read widely, and writing will naturally improve. The problem of the world is laziness in reading; also, writing too little, and after each piece, seeking to surpass others—few achieve this. Flaws do not need others to point them out; write more, and you will see them yourself." (Same) When meaning is fully expressed and speech ends, this is the ultimate speech; yet when speech ends but meaning continues, this is even more profound, as seen in the Book of Rites and the Zuo Zhuan. (Su Dongpo) In writing, one must first have a majestic and colorful style; as one grows older and becomes more skilled, the style becomes plain—but this is not plainness, but the culmination of color. (Same) If the diction falls short of the initial idea, this is only because of insufficient reading. "A long sleeve aids dancing, and much money aids trade"—this is not false. (Shi Taohua) In writing, one must have a gentle and sincere temperament, especially in official memorials to the ruler. (Yang Qishan) Writing must prioritize reason. From the Six Classics down to the Hundred Schools, scholars, and poets, all serve as tools to convey reason. Therefore, the way to learn writing is to first understand reason; if one writes without understanding reason, seeking excellence in writing is impossible in the world. If one does not understand reason but seeks novelty in words and grammar, chewing over them repeatedly, nothing meaningful will emerge—this is the vulgarity of writing. (Zhang Wenqian) Writing must be grounded and logical, not empty or overly clever. Roughly seven parts should be substance, and only two or three parts are ornament. For example, Ouyang Xiu's good writing is grounded and logical, like the Biography of a Eunuch by Zhang Chengye, which is naturally good. Su Dongpo's Record of Zhang Family's Garden Pavilion is also good because it is grounded. Qin Shaoyou's Record of Longjing Spring is entirely empty writing. (Ouyang Xiu)
Return key does not need translation, return as is. All other Chinese text is translated into English.