A History of Classical Chinese Poetic Theory (Revised Edition)

Author: Xiao Huarong
Publisher:
Publish Date: 2005-12-01
Features: Some insights from the "thousand plans of fools" in the book, briefly listed: For instance, the thought history of Chinese poetics can be distinguished by the "Poetry and Odes" debate in the Song Dynasty; the later underlying essence is the "conflict between emotion and ritual," externalized as the debate between Tang and Song (poetry); the mid-Tang period is the hub of evolution, Du Fu being the hub of the hub, and the Song people's interpretation of his poetry took over from the Han people's interpretation of the Book of Songs; the principles and theories of the Han people's interpretation of the Book of Songs are called the "spirit of the Book of Songs 'as a classic'" (the classical spirit of the Book of Songs 300), to distinguish it from the commonly referred to "spirit of the Book of Songs," the debate between "Poetry" and "Odes" is actually the conflict between the educational spirit of the Book of Songs 'as a classic' and the aesthetic principle of Chu Odes; correspondingly, "" (bǐxìng) has the "classical" theory of "" and the literary theory of "," and Zhu Ziqing's meaning of "" (xìng) is confused, starting from the "sensibility" (gǎnxìng) of "sensibility" (gǎnxìng) by Western Asia's Zhì Yú, who interpreted the "" (tuōyù) of "" as "," and it is still confused to this day; regarding the debate between Tang and Song, this book innovates the categories of "typical Tang poetry" and "Song-style poetry," the former mostly refers to the high Tang poetry, and the latter, in addition to the mainstream Song poetry, also includes some poems of the "pre-Tang Song people's gate" before and various Song poetry schools after; the dispute originated from the late Song's Yan Yu, so his Canglang Poetic Talks has the greatest influence in the history of poetic discourses, almost comparable to the Mao Shi Xu, becoming the theoretical cornerstone of the poetic mainstream in the Ming Dynasty, while Wang Shuzhen's "divine charm" (shényùn) is the echo and culmination of the evolution of the mainstream poetics. For example, the four-character titles of each chapter used to summarize the mainstream poetics of each era are all from the original texts of poetic discussions in that era, especially the title "" for Ning Yuan, the subtitle "" for Ming, and the title "" for Qing, which required careful consideration at the time. Etc.