Reading poetry:
If there were no white clouds, the sky would not be beautiful.
If there are flowers without leaves, they will wither.
Humans are divided into men and women, and heaven and earth judge yin and yang.
Among young men and women, they know how to date each other.
Knowing mutual love, real people appeared,
No good man is good enough for you,
Although the girl is beautiful, she is also empty.
Boys and girls, sing this song correctly one day.
A pair of feelings, feelings together;
Two pairs of affectionate, affectionate together;
Three pairs of affection, affection together;
Four couples are engaged for life and become lifelong partners.
Voice to voice, to wind,
Even if it comes, it smells, and occasionally it will be windy.
In even sentences, there is rhyme,
Even the inner rhyme words came out, locked up and down.
Poetry is rooted in the people, and songs spread among the people.
Folk poetry is deeply rooted, and emotion is a poetry book.
? First of all, Yi's poetics of China is due to the philosophical roots of love.
Although there are traces of philosophical homology between the Yi people and the Han people, the development and evolution of their philosophy and literature are bound to be different due to the long-term relatively independent development of Yi society, different social systems, different historical processes, different production and life styles, and even different fashion habits and languages. The difference between poetic theories is that the requirements for "harmony and unity" focus on different aspects:
First, Yi's poems attach importance to reappearing the harmonious beauty of nature, the harmonious unity between man and nature, and the harmonious love between men and women represented by Yin and Yang. Chinese poetry, on the other hand, pays attention to the harmony and unity between man and society, as well as the harmony and unity of various factors within art.
? Poetry is based on emotion-the theory of emotion is that there is love in the world and love gives birth to everything.
Poetry expresses ambition-utility-propriety, which makes sense in the world)
Yi people's poetry theory emphasizes that poetry should show the harmonious beauty of nature in opposition and difference, and show the harmonious unity of ancient Yi people and nature. "As for the same, one gave birth to another, just like the other, just like the other. In the meantime, such as yin and yang. Without yin and yang, there would be no development of yin and it would be difficult to exist in the world. If there is no yang, there is only yin in the world, then the world and the yang in the world will be the same, and there will be no development "(miss Hou Buzhe's" Talking about Poetry and Writing "). Hou Buzhe also said: "What is the beauty of heaven? The sky is white and beautiful. If there were no white clouds, the sky would not be beautiful. The sea is really beautiful. If there were no fish, the sea would not be beautiful. " Amani said: "When you write about flowers, there are flowers without leaves, so even if you write about beautiful flowers without green leaves, the flowers will wither." The law is like this, the writer tries to figure it out "(Amani's On Yi Poetry Law), so when writing colors, two colors must be matched. Colors and colors sound like yin and yang. Yin and Yang cooperate well, and writing is also excellent "(on Hou Buzhe's poems). This is just as the ancient Greek philosopher Heraclitus said: "Painting mixes various colors such as white, black, yellow and red in the picture, resulting in an image similar to the original; Music mixes sounds of different heights and lengths to create harmonious tunes. Different tones create the most beautiful harmony "(Heraclitus' works, quoted from Selected Readings of Western Philosophy, Volume I, page 232). Since everything should be in harmony with Yin and Yang, the Yi sages believed that men and women, as two aspects of Yin and Yang, follow the same law with all natural things and love each other, which is the nature, otherwise it is against nature. Therefore, Yi poetics fully affirmed love and poems praising love. "Men and women, heaven and earth sentenced to Yin and Yang. Among young men and women, they learned to date and love each other, and real human beings appeared. " "Handsome girl, if there is no good man to match you, then girl, although you are beautiful, no matter how handsome and beautiful you are, it is empty." Miss Hou Buzhe talks about poetry and writing. Amani wrote in his poem: "The young man is handsome, the young man is beautiful, and the young man and the girl sang correctly one day. A pair of feelings, feelings together; Two pairs of affectionate, affectionate together; Three pairs of affection, affection together; Four pairs of lifelong, lifelong partners. " Yi poets repeatedly praise the love between men and women, and there are quite a few contents related to love poems in Yi poetry theory, which has become the most distinctive part of Yi poetry and poetry theory.
The idea of "harmony is beauty" of the Han nationality is embodied in the theory of poetry and prose. "Its core lies not only in the harmonious unity of man and nature, but also in the harmonious unity of individual and society" (Li Zehou and Liu Gangji's History of Chinese Aesthetics, Volume I, page 295). ? The poems of the Han nationality simply describe and praise natural scenery less, and often start with some natural scenery, and then turn into feelings about life. Han society has undergone complex changes. The so-called "go to the country, the Han concubine leaves the palace." Or the bones are swaying, or the soul is chasing the ceiling, and all kinds of echoes shake the soul (Zhong Rong's Preface to Poetry), so it is "Chen Shi" to "show its meaning" and "Long song" to "show its feelings". However, when the individual's perceptual psychological desire conflicts with the social rational moral norms, Korean poetics requires the former to obey the latter, handle well the relationship between the individual and society, handle well the relationship between emotion and reason, and achieve "mourning without injury" and "complaining without anger", which forms the characteristics of Korean poetry teaching. At the same time, Han's poetics emphasizes the harmony and unity of various opposing factors in art, and also embodies the spirit of "harmony is the beauty". Artists are required to use the opposition of each pair of opposing factors to achieve the greatest artistic effect, "to prevent one-sided development of either of the opposing sides" (The History of Chinese Aesthetics, Volume I, page 298). ? For example, Wen Xin Diao Long is obviously deeply influenced by the thought of Zhouyi, which puts forward the requirements of harmony and unity on the contradiction between literary quality, strangeness and righteousness, and China and reality. It holds that "considering strangeness without distortion, playing with pomp without falling into reality" is an ideal art, and opposes one-sided emphasis on one side and denying the other. This constitutes an important feature of Korean studies. It can be said that the poetic theories of Yi and Han nationalities have enriched the development of China's poetic art theory from different aspects.
Secondly, under the influence of "Yin-Yang" cosmology, the poems of both Yi and Han nationalities have produced the form of "duality", and the poetry theory of Yi nationality is still in the stage of "using sound", and its duality is mainly "sound couple"; In the theory of Chinese poetry, in addition to the phonological requirements, special attention is paid to "intention", that is, to the antithesis of words. In the history of poetry development, "using sound" is an older theoretical form than "using meaning".
The concept of Yin and Yang in primitive philosophy has gradually evolved into a rhetorical method of antithesis and antithesis in Chinese poetry. Parallel sentences have appeared in the characters preserved in the pre-Qin period. Such as: "Correspond to the same voice, seek common ground, the water is wet and the fire is dry, the cloud follows the dragon, and the wind follows the tiger" (I ching gan gua classical Chinese); "Time will come, time will come, the sun and the moon will push each other, and Ming will be born; Cold goes to summer, summer goes to cold, cold and heat push each other, and the season becomes embarrassing. " Zhouyi, under the copula "). Liu Xie believes that nature exists correspondingly, and as a reflection of nature, words are naturally paired. The so-called "natural formation, support must be double, spiritual use, things are not alone." "Husband's heart is full of words, regardless of everything. He must compete with others and naturally pair up (Wen Xin Diao Long Li Ci). This analysis accords with the actual situation of literary creation. In other words, the dual phenomenon in literature is "wonderful and natural" at first, and it is a natural reflection of language's unity of opposites to objective things. Later, once this dual phenomenon was recognized by people, it was found that it was a natural form that conformed to the law, embodied the "symmetrical beauty" and conformed to people's aesthetic taste. Using this form can make the rhythm clear, harmonious and the language more expressive. Therefore, people create beauty according to this "law of beauty", resulting in the "even" phenomenon in Iraqi and Chinese poems.
In China literature, people have noticed that "even words are easy to use, but odd words are difficult to use" (Liu Xie's Literary Heart Carves Dragons and Li Ci), and since the Han Dynasty, they have paid special attention to parallel prose. During the Wei and Jin Dynasties, the literati "took a hundred words as a couple, contending for the strangeness of one sentence", "coming to Hong" and "Hao Yue" were against "Changfeng", and "most literati only served by words", Wang Guowei ("Words on Earth"), a poet wrote a hundred words, and the relative view was completely formalized as a linguistic means. Literary language is farther away from spoken language. As a result, Matteo Ricci, who came to China as a missionary in the late Ming Dynasty, found that "a writer who writes in a genre close to spoken language will be considered to put himself and his books on the level of ordinary people (Matteo Ricci's China Notes)."
Yi Poetics does not discuss the skills of using language and characters too much (Research on Yi Ancient Literary Theory, p. 209). ? In the form of Yi poetry, there is also the concept of "even" (see note on page 75 of On Yi Poetry). This kind of "even" is mostly a unit of "dual" because of the relationship between rhyme, buckle and connection in sound. "Write by sound", "Only hear the wind, only smell it, the wind occasionally rises, and the taste occasionally grows" (Bumai Ainu's Yi Shi Feng Lun). "Rhyme is almost the same, shall we? Even if it is almost the same? " "Sentences are closely linked, even sentences are closely linked" and "even sentences have rhyme, even rhymes, and are closely linked up and down" (I missed Hou Buzhe's Talking about Poetry and Writing). These seem to mainly refer to the "even rhyme" in the voice. Another example is the poem written by Bumaiano, in which a man and a woman sang a duet in the concert hall, toasting the grandparents who built the concert hall and asking them to make lifelong decisions and blessings for love. Bumaiano thinks this poem is "tight sentence by sentence, even occasionally", "rhyme on the top, sound on the bottom". From the perspective of translation, the word "even" here is actually an even sentence in phonology, which is different from the parallel even antithesis in Chinese. It can be seen that the poetic theory of the Yi people really "puts temperament in a very prominent position". Page 209). Yi poetry and its theory pay more attention to "using sound". Chinese poetry pays more attention to "using meaning". Mr. Zhu Ziqing said: "The tradition that poetry takes sound as its function is much older than the tradition that poetry takes meaning as its function" ("Distinguishing Poetry and Expressing Intention"). Yi poetry is mainly oral literature, so it should be "easy for people to remember, easy for everyone to pass on and spread for a long time" (on Yi poetry anonymously). Of course, we should pay attention to rhyme and "reading from taste". The Han "has developed independently of musicality since the May 7th Poetry matured" and has become a "disciple's poem" of "praising but not singing" (see Cheng Yizhong's The Evolution of China's Poetic Style). Han poetry is mainly recorded and circulated in words, and the appreciator can repeatedly "play" and "realize wonderfully", which is different from Yi poetry.
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Two. Poetic Views of Yi and Han Poets and Poets and Scholars
Shezhe and Amani, the theorists of ancient Yi poetics, and their descendants Budubuju, Butachou, Gulou Bhutto, Boumai A Niu and Bouahom are all poets and writers. On this point, theorists have a relatively consistent opinion. When discussing poetry, these poets sometimes cite the excellent poems of ancient Yi people as examples to illustrate their views, and often use their own poems as examples to discuss poetry. Amani said: "Kikushezhe and I have written many poems of various styles and themes, all of which are complete. Experts come to appreciate and appreciate, with a distinctive style; If you are a layman, it is difficult to grasp the main points (On the Poetics of Yi Language).
Unlike the Yi people, the Han people in the Central Plains did not actually have pure poetics in the pre-Qin and Han dynasties. Literary theorists such as Confucius, Mencius, Han Feizi, etc. In fact, they are all politicians, ideologues and philosophers (Xu Da's On the Function of Yi Poetry, quoted from Yi Poetry Research, page 2 13). Many poetic theorists in later generations are bureaucratic literati of the ruling class, such as Han Yu, Liu Zongyuan, Bai Juyi, Wang Anshi and Su Shi. Although some great poets are famous for their poems, most of the roads they have traveled in their lives are politically ambitious at the beginning, and they are committed to saving time and saving the world when they are unable to do so. Qu Yuan, Li Bai and Du Fu are all like this. It's the writing of Wen Xin Diao Long, and it's also because Liu Xie can't "achieve something good" and has to "achieve something poor" (Wen Xin Diao Long? Preface). This has formed the different characteristics of Yi and Han poets' comments on poetry and politicians' comments on poetry.
First, there are different views on the position and function of poetry. When discussing poetry in Han Dynasty, politicians often regard poetry as a vassal and tool of politics, emphasizing that poetry serves politics and feudal rule. The so-called "filial piety, kindness and beauty" (Preface to Poetry), "Jun is the father, but far away" (Analects of Confucius). However, most Han literati are keen on official career. Compared with their political ambitions and pursuit of fame and fortune, poetry creation is like "carving a worm". On the one hand, they can't resist the temptation of poetry and devote their whole lives to poetry creation, but at the same time, they have a feeling of "doing nothing", and rarely give poetry its due position in theory, but regard it as a "path" and "last skill", which is probably the contradiction between Chinese poetry creation and theory and the tragedy of Chinese poets.
The poetics of Yi poets fully affirmed the position of poetry and its aesthetic function. The housedweller said, "Poetry, poetry and poetry play a great role and are poetic. It can make people, everyone happy and everyone happy." Some of them can make people sad and melancholy. "Poetry is like the bright moon, and poetry is like sunshine. People want smart and clever poems, and people want brave and brave poems. " It plays a great role, its power is powerful, it belongs to human beings, and it is the music of praise. In Yi's poetic theory, we can't see that poetic theorists look at poetry from the perspective of fame and wealth or political tools, which makes Yi's ancient poetry develop healthily and optimistically in an environment with less constraints and more freedom.
Secondly, Yi poetics has a distinct democratic viewpoint, while Han poetics is stained with aristocratic color.
Yi literary critics, from advocating luxury and wisdom to Budu Buju, Bumai A Niu, Louhou Buzhe, etc., are all Bumo under the monarchical system of the Yi slavery society, special civil servants of the monarchical regime, and "senior intellectuals" in ancient Yi society. Although they are the assistants of the monarch, they also have the heart of a kind poet. This is probably related to the special social and historical background of the early Yi people and the special position of Bumo. There is a monarch at the upper level of the Bumo people. To help the monarch manage national affairs, the lower level shoulders the heavy responsibility of spreading culture. This enables them to know everything and have a comprehensive and profound understanding of social life. They sympathize with the sufferings of the working people and show a distinct democratic spirit in their poetic theory. They clearly pointed out: "(Poetry) is rooted in the people, it spreads among the people, folk poetry is deeply rooted, and poetry belongs to the people. It was made by the people, it was made by the people "(miss Hou Buzhe's Talking about Poetry and Writing). The sages thought that poetry should reflect "people's pain in folk music", "people can praise and scold their elders" and "some people hate their elders" (Nine Articles of Yi Poetry). There is also a saying of "complaining about politics" in Han poetics, but the degree of complaining about politics is limited. "Complain" rather than anger, the poet can't directly blame Chen Junqin. "confession" and "stop at ceremony" The ultimate goal is to maintain the dominance of the monarch. In addition, the ancient Yi people spread poetry by word of mouth or copying, so that the ancient Yi poetry and poetry theory did not leave the oral language. The sages asked every poet: "The poems written have the value of making people easy to learn and recite" (missing Hou Buzhe's Talking about Poetry and Writing). On the other hand, the ancient poetics of Han nationality is not only influenced and dominated by the ruling class in content, but also elegant and classical in form, which is more aristocratic than oral language.
Thirdly, a large number of love poems are quoted in the poetics of Yi. The housedweller pointed out that poetry is the "door to know each other" of human beings and the "lyric movement" of men and women. They encourage poets to boldly describe love and write that young men and women express their love through duets and freely combine. Butachou said that it is normal for men and women to love each other, and it is against humanity not to do so: "When people are young, they should find a sweetheart, love and talk. If you don't love each other this time, you can't love each other when you are old; If you want to be sentimental, you will waste your youth and live up to time "(on Butaye's poetry creation). "Girls at the age of eighteen, don't be shy. Ashamed to find a companion, it is even more shameful to have no companion "(Armani's On Yi Poetry). On the method of writing poetry, Yi Shi's tutor said: "Heaven and earth are opposite, the sun, the moon and the mountains are opposite, men and women are opposite, and people know right." Comparatively speaking, the ancient poems of Han nationality are closely bound by benevolence, virtue, name and benefit, and the number of love poems is very small. In the ancient Book of Songs, "the so-called wind-makers are mostly based on the ballads in the hutongs, and the so-called men and women sing against each other, and those who know their feelings are also famous" (Preface to Zhu Shi), but there are many articles that show the healthy and enthusiastic feelings of the working people, but Confucian poetics in later generations has given "all kinds of misinterpretations" (History of China Literature Development by Sister Liu, volume 55). Love poems have been criticized as "obscene words", or have been far-fetched to point out that "words are men and women, friends of righteousness and truth, and friends of ministers" (Shen Deqian's Tang poems) have been veiled with false ethics. There has even been such a strange thing: The Book of Songs has been "turned into a vassal of the Preface to Poetry" (Page 55, Volume I of China Literature Development History by Sister Liu), and her creative achievement has been reversed, becoming a vassal of the theory that explains this achievement. It can be seen that the poetic theory of Han Confucianism has reached such an arbitrary level in order to maintain feudal ethics.
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