Human Words

Author: Wang Guowei (Author), (Translator)
Translator: / Country:
Publisher:
Publish Date: 2002-04-01
Features: The Thirty-One
Zhaoming Prince said: "Tao Yuanming's poetry is 'fluctuating and clear, standing alone among all others. Rhythmic and bright, unmatched by anyone.'" Wang Wugong said: "Xue Shou's prose is 'rhythmic and intriguing, profound in meaning. Ethereal and desolate, truly indescribable.'" There is a lack of these two kinds of atmosphere in Ci poetry. The former is only found in Su Shi, and the latter only in Jiang Kui, with only a glimpse of them. [Translation] Xiao Tong believed: "Tao Yuanming's poetry is 'unrestrained and broad, surpassing all others. Resonant and bright, unmatched by anyone.'" Wang Ji believed: "Xue Shou's prose is 'rhythmic and intriguing, profound in meaning. Clear and mournful, indescribable.'" Unfortunately, Ci poetry lacks these two kinds of atmosphere. The former is only found in Su Shi, and the latter only in Jiang Kui, with only a glimpse of them. [Commentary] Xiao Tong (501–532), styled Deshi, was the eldest son of Emperor Wu of the Southern Dynasties. He was appointed as crown prince in Tianlan Year and posthumously titled Zhaoming, hence known as Zhaoming Prince. Tao Yuanming (365 or 372–427), also known as Qian, styled Yuanliang, was a poet of the Eastern Jin Dynasty. Xue Shou (592–624), styled Bobao, was a literary figure of the late Sui and early Tang dynasties. Xiao Tong's remarks are found in his preface to the "Collected Works of Tao Yuanming." Wang Ji's remarks are found in his letter "Reply to Feng Zihua, a Scholar-Official." Su Shi (1037–1101), styled Yuhan, was known as Dongpo Jushi. He was a prominent Ci poet of the Northern Song Dynasty. Jiang Kui (c. 1155–c. 1221), styled Yaozhang, was known as Bai Shi Daoren. He was a Ci poet of the Southern Song Dynasty. The "two kinds of atmosphere" mentioned here are similar to two styles. One is the unrestrained and broad, bright and clear style of Tao Yuanming's poetry, and the other is the rhythmic and intriguing, profound in meaning style of Xue Shou's prose. Wang Guowei believed that among Ci poets, only Su Shi and Jiang Kui had a glimpse of these styles. Su Shi was an outstanding Ci poet of the Northern Song Dynasty. His Ci completely broke through the creative norms of "Ci as a genre for sensual poetry," expressing emotions and intentions, expanding the boundaries of Ci, and elevating its status. For his significant contribution to revolutionizing the Ci form, Ci critics highly praised him. Wang Zhuo said: "Dongpo Jushi was not deeply immersed in musical theory, but occasionally composing songs, pointed out a new path, opening the eyes of the world. The writers then knew how to rise to the occasion." (Bi Jing Man Zhi) Hu Yin said: "When the Su family of Meishan emerged, they the elegance and fragrance of silk and silk, breaking free from the twists and turns of elegance, making people feel as if they were standing high, looking far, raising their heads to sing, with a free and vast spirit, transcending the dust of the world. Thus, the Huajian became servants, and Liu Shi became courtesans." (Preface to Jiu Bian Ci) The style of Song Ci is diverse and colorful, but broadly speaking, there are two major creative schools: graceful and bold. "When Dongpo was in the Hall, there was a minister who was good at singing. He asked, 'How does my Ci compare to Liu Shi's?' He replied, 'Liu Shi's Ci is only good for seventeen or eighteen-year-old girls, holding red teeth clappers, singing 'Willow Banks at Dawn, Wind and Moon Fading'; your minister's Ci requires a strong man from Guanxi, holding an iron clapper, singing 'The Great River Flows East.'" Dongpo was utterly stunned." (Yu Wenbao, "Record of the Sword in the Wind") This perfectly depicts the difference between the two styles. However, Su Shi's bold Ci is not crude but rather unrestrained and broad, with a refined and elegant meaning. As Zhou Ji said: "People praise Dongpo's boldness, but I praise his elegance. Elegance is Dongpo's best quality, while boldness is a flaw." (Miscellaneous Notes on Ci by Jie Cun Zhai) Wang Guowei summarized the characteristics of Su Shi's Ci as "fluctuating and clear" and "rhythmic and bright," emphasizing the unrestrained and broad aspect. However, he believed that Su Shi's Ci only "gained a glimpse of these qualities," which seemed to undervalue them. Jiang Kui was an important Ci poet of the Southern Song Dynasty. He was proficient in musical theory and paid attention to Ci techniques. His Ci had harmonious tones and exquisite phrasing, deeply influenced by Zhou Bangyan's Ci, but his clear, secluded, and sharp style was distinctly different from Zhou's. Zhang Yan highly praised Jiang Kui's Ci. He said: "Ci should be clear and empty, not materialistic. Clarity and emptiness make it ancient, elegant, and sharp, while materialism makes it dense and obscure. Jiang Bai Shi's Ci is like wild clouds flying alone, leaving no trace of their departure. Not only is it clear and empty, but also elegant and refined, reading it makes one's spirit soar." (Source of Ci) Jiang Kui's Ci mostly expressed personal secluded and melancholic emotions and thoughts in a low and sorrowful tone, with the atmosphere of the autumn wind and dying cicadas, and the cold rain and chirping crickets. His strengths and characteristics lie here, but his weaknesses also lie here. Wang Guowei summarized the stylistic features of Jiang Kui's Ci as "rhythmic and intriguing" and "ethereal and desolate," which are similar to "clear, secluded, and sharp," meaning he affirmed Jiang Kui's "superior style and charm" (see Item 39). The "profound in meaning" mentioned here does not apply to Jiang Kui's Ci. Wang Guowei once criticized Jiang Kui's Ci for lacking "the taste beyond words and the resonance beyond the strings" (see Item 42). Wang Guowei used the words of predecessors to summarize the style of Jiang Kui's Ci, but it was difficult to capture it accurately. He generally evaluated Jiang Kui's Ci poorly, considering him only an average Ci poet (please see relevant commentaries).
The Thirty-Two The elegance or vulgarity of Ci lies in the spirit, not in the appearance. Although Ou Yangxiu and Qin Guan also wrote sensual lines, they ultimately retained their character. Compared to Zhou Bangyan's Ci, there is a difference between a virtuous woman and a courtesan. [Translation] The elegance or vulgarity of Ci lies in the spirit, not in the appearance. Although Ou Yangxiu and Qin Guan also wrote sensual lines, they ultimately retained their character. Compared to Zhou Bangyan's Ci, there is a difference between a virtuous woman and a courtesan. [Commentary] Zhou Bangyan (1057–1121), styled Mei Cheng, styled Qing Zhen Jushi, was a Ci poet of the Northern Song Dynasty. This item discusses the character of Zhou Bangyan's Ci compared to Ou Yangxiu's and Qin Guan's. Please see the next commentary.
The Thirty-Three Zhou Bangyan's profound depth is inferior to that of Ou Yangxiu and Qin Guan. He excels in expressing emotions and describing things, reaching the pinnacle of skill, so he is still considered an outstanding Ci poet. But he regrets that he has more talent for creating tunes than for creating meaning. [Translation] Zhou Bangyan's profound depth is inferior to that of Ou Yangxiu and Qin Guan. He excels in expressing emotions and describing things, reaching the pinnacle of skill, so he is still considered an outstanding Ci poet. But he regrets that he has more talent for creating tunes than for creating meaning. [Commentary] These two items discuss Zhou Bangyan's Ci, comparing it to Ou Yangxiu's and Qin Guan's character. Wang Guowei believed that Zhou Bangyan's Ci was vulgar, but he praised it for "expressing emotions and describing things, reaching the pinnacle of skill." This reflects a negative attitude toward the ideological content of Zhou's Ci but full affirmation of its artistic achievements. Most Ci critics have different opinions on Zhou Bangyan's Ci. Many highly praised it. Chen Zhenjun said: "Qing Zhen's Ci often uses the poetry of Tang people to frame the rules, naturally and perfectly. Long tunes are especially good at narrating, rich, gorgeous, and exquisite, the best among Ci poets." (Preface to the Collected Works of Zhi Zhai) Chen Yu said: "Qing Zhen called himself Qing Zhen. For two hundred years, he has been the best at Ci. Officials, scholars, commoners, and courtesans all know that Qing Zhen's Ci is lovable." (Chang Yi Hua You) Shen Yifu said: "When writing Ci, one should take Qing Zhen as the main guide. He is a true connoisseur and has no urban vulgarity. Every word and thought has a method, often inspired by the poems of the Tang and Song dynasties, without the stiff words of classics and history. This is why he is the best." (Guidelines for Ci) Zhou Ji said: "Qing Zhen is the culmination of all." (Preface to the Selection of the Four Great Ci Poets of the Song Dynasty) Chen Tingzhuo said: "Ci reached its peak with Mei Cheng. He concluded the legacy of Su Shi and Qin Guan and opened the way for Jiang Kui and Shi Shi. Since the beginning of Ci poets, he cannot be surpassed. Later Ci poets also find it hard to surpass his range." (Bi Yu Zhai Ci Hua) However, some critics, while acknowledging the artistic achievements of Zhou's Ci, had reservations about its character and even completely denied it. Zhang Yan said: "Qing Zhen's Ci should only be seen in its natural perfection. In its soft charm, there is a sense of grandeur. The way he integrates Tang poetry into his own is his strength, but his meaning and interest are not high." (Source of Ci) Liu Xizai said: "Zhou Mei Cheng's Ci is sometimes praised for being complete in beauty. I believe that the most important thing in evaluating Ci is character. Mei Cheng's Ci is indeed rich, gorgeous, and exquisite, but it cannot be called 'chaste.' That is why scholars and officials are reluctant to learn it. If they do, they will not know what to think all day." "Zhou Mei Cheng's rules are precise, and Shi Bangqing's sentences are refined, but they are not the words of a gentleman. Zhou's meaning is floating, and Shi's meaning is greedy." (General Art Theory: Ci and Qu) Wang Guowei's views are similar to this opinion and were clearly influenced by Liu Xizai. In fact, if we read Zhou's Ci carefully, we will find that the language is classical, and the emotional expression is subtle. Although its ideological content does not go beyond love between men and women, longing, separation, and longing for the distant, it cannot be said to be "unchaste" or "vulgar." So, what basis did Liu Xizai and Wang Guowei use to conclude that "Zhou's meaning is floating" and that Zhou's Ci is "vulgar," like a courtesan? We know that many anecdotes about Zhou Bangyan's romantic affairs were recorded in the notes of Song Dynasty scholars and linked to some of his Ci. In these records, Zhou Bangyan is portrayed as a unrestrained and debauched literary figure. With such biased eyes, reading Zhou's Ci would naturally lead to the conclusions mentioned above. Later, Wang Guowei carefully examined these records and realized that they were completely baseless. At this point, his evaluation of Zhou Bangyan and his Ci changed dramatically. He believed that Zhou Bangyan "had a solid foundation in his character" and praised his Ci for being "exquisite and extensive," calling him the "Dongpo of Ci" (please see the appendix "Biography of Qing Zhen Jushi" in this book's "Human World Ci Hua"). Wang Guowei's change in evaluation of Zhou's Ci provides important insights for the study of literary works. When studying literary works, it is necessary to understand the author's social environment, life experiences, and character. However, the materials used must be reliable and not based on rumors. Even if the materials are reliable, they should not be used to interpret the works or even mechanically compared. We should focus on our object of study—the text itself—to conduct aesthetic and artistic analysis and interpretation. Only in this way can we avoid artificially elevating, lowering, or distorting the works.
The Thirty-Four Ci should avoid using substitute words. In Mei Cheng's "Jie Yu Hua," the phrase "Gui Hua Liu Wa" creates an excellent atmosphere. It is a pity that "Gui Hua" is used to replace the moon. After Meng Chong, the use of substitute words becomes more common. The reason is not that the meaning is insufficient, but that the language is not skillful. When the meaning is sufficient, there is no need to substitute, and when the language is skillful, there is no need to substitute. This is why Su Shi criticized the "Xiao Lou Lian Yuan" and "Xiu Gu Diao An" of Shao You.