However, things in China are limited to each other, but when they are written in literature and art, they must also leave their limitations. Therefore, although the realist is homesick and imaginary, his materials must be sought, but his structure must follow the natural law, so he is homesick and realistic.
In these two words, there have been misunderstandings in the past. For example, Wu Hongyi once recognized that the creation of the realm was written in his article Wang Jing ‘an’s realm theory, and my realm was deeply connected with my realm.
Writing about things and observing things is close to our environment, building our environment and observing things is closer to our environment.
Xiao Yaotian, in his essay on Chinese, once mixed up the subjective and objective aspects of writing about the environment.
Objective description and subjective description are placed in parallel standards. The two description techniques are the development of these two techniques in different ways.
Say again
Belonging to writing environment should mean objectively describing external phenomena, and mental phenomena should mean subjectively describing external phenomena and mental phenomena.
In this way, different critical terms, such as I, I, subjectively and objectively create and write contexts, have not all become the same meaning. In fact, this confusion is all about misunderstanding. This requires us to briefly talk about each critical term of Mr. Jing’ an and think about it. For example, I, subjectively and objectively, have different meanings. We have said that I, subjectively and objectively, are in terms of whether I am opposed or not, and subjectively and objectively, in terms of taking a narrative attitude when writing. Here, the term "creating the environment and writing the environment" refers to the use of materials when writing. For example, the tearful eyes ask flowers without words and fly over the swing, but the lonely pavilion is closed, the spring is cold, the cuckoo is cold, the sunset is gathering chrysanthemums, and the east fence is leisurely, and the Bai Niao is leisurely. In people’s words, the first two belong to my environment, and the second one belongs to my environment. That is to say, according to the object, the two examples before and after are really different, but as far as the writing materials are concerned, they fly over the swing, the Things can also be said to be the same kind of writing environment, so it can be seen that the two sentences of creating environment and writing environment are different from each other. Although they are close to writing environment, several sentences in front of the word Qin Shaoyou are lost in fog, and the scenery they write seems to be more figurative than realistic, which is closer to creating environment rather than writing environment. In an article, we can create and write environment at the same time, but in the word Qin Shaoyou, although the materials they write are different at the same time, we can find that the word is universal in terms of their narrative attitude.Have a first-hand understanding
In addition, Mr. Jing’ an once created and wrote the environment in order to be realistic. We should also explain this point a little. First of all, we need to say that Mr. Jing’ an wants to be realistic. It is only under the pretext of these two words in western theory that he has made his own statement. He said that he wants to be happy, egoistic and idealistic in western ethics, which is not the same as that in western American and Chinese formalism, and impressionism is not the same, that is, as far as western literary theory is concerned, Mr. Jing’ an wants to be realistic and wants to be realistic in western literature. It is not too big to send some righteous circles, but all kinds of theories are different. The difference is that the realistic school is based on real things in reality, but the idea is to think of one school. This difference is very simple and clear. However, in general, it is very difficult for us to distinguish between Mr. Jing’ an and his words. We will analyze the reasons why it is difficult to distinguish them.
In the fifth article of Ci-poetry, Mr. Jing ‘an once said to the two difficulties, which we have quoted before. In the second half of this ci-poetry, the fictional realm must be sought after. This kind of Tao is not difficult to solve, because when a man conceived it, he talked about new and strange things such as his desire to describe it, but his imagination had to be borrowed from all kinds of experience and knowledge in real life. This can almost be said to be true at all times and at home and abroad, that is, in front of us, we lost the tower, the moon, the maze, crossing the peach garden, looking for a few The setting sun in the cuckoo’s nest and the sunset in the cuckoo’s nest are compared, and we can see that the last two sentences start with the word "can be distinguished", which directly means that it is embarrassed by the realistic situation. The setting sun in the cuckoo’s nest should be written about the environment, but compared with the previous sentences, it is only a few images that are confused and lost to express the sadness in its heart. It is not necessary to be the realistic situation. It is really a creation, although its imagination is still seeking for the real thing by virtue of the foggy moon, ferry tower and ferry tower, and ferry tower and ferry can be lost in the vast fog. In Meng Meng’s moonlight, the composition of his imagination is, of course, still following the law. However, this example is Li Yishan, the poet who is best at fictional imagination. As far as he is concerned, he wrote that the dead silk is exhausted, the tears in the sea and the moon are warm, and the jade is born. Its material can be said to be either seeking for it or its conception can be said to be not following the law. This situation lies in those contemporary western novels that express the absurd situation of human beings, such as Kafka FranzKafka Beckett SauelBeke is a good example.Absurd capabilities 3 However, even through this absurdity, we can still see that the imagination constitutes the transformation and reorganization of events, and the development of events is still based on some natural laws. Of course, such examples can all be based on Mr. Jing’ an’s saying that although the fictional world must be based on its materials, its structure must also follow the natural laws, so it is best for a homesick realist to prove it.
In the first half of this poem, it is said that although Chinese and things are mutually limited, they will also leave their limitations when written in literature and art. Therefore, although realists are homesick, they understand it quite well. First of all, we should discuss the meaning of Mr. Jing’ an’s saying that they leave their limitations. Ke Qing explained this in his article on the realm of Wang Guowei’s poems.
When we describe the process of reaching perception and presenting an independent living world, we are abandoning irrelevant experience and organizing coherence into a paper-finished world, that is to say, in another sense, it is also a creation rather than a simple imitation of reality.
From this passage, Koch’s understanding seems to be quite close to the general meaning of choosing and cutting. However, Mr. Jing ‘an doesn’t generally say that writing in literature and art must be chosen and cut, but he is determined to leave it behind. The only way is that he doesn’t mean choosing and cutting external objects. From the Chinese and American points of view, we will find that Mr. Jing ‘an’s intention in this passage is to look at external things in creative activities, and external things are presented in the process, but they are not involved. The meaning of the phrase "leaving its limits" should explain a thing like when it is described in literature and art, because it is intuitively felt that it has been separated from all kinds of limitations in the real world, so it is not simply realistic to end it. This view really stems from the fact that Mr. Jing’ an, an uncle of Huamei, once translated and described the world of uncle’s will and ideas in Nietzsche’s article, on art.
This special object is also a part of the body in the subject, but in the art, the form loses its imitation, so it is less than 34
This passage shows that from the point of view of uncle Huamei, when an object is expressed in literature and art, it has been detached from the real interests and all kinds of limitations. Mr. Jing’ an also said this concept of beauty when he discussed the overview of life art in his commentary on a dream of red mansions
However, if we can forget things and look at things, then we can forget mountains, rivers, beautiful birds, flying flowers and falling flowers, but not the land of paradise in China. Is it just that human speech is sad, ridiculous and beautiful? It’s not easy for us to look at it without being a genius.
From these words, it can be seen that when people talk about ci and poetry, they say that they must leave their limitations, which means that uncle is gorgeous and strong, but they are separated from it. According to this theory, even when the object is written in literature and art, even if it is written in the context of reality, it will reach a kind of dreamland because it is beyond the time limit of actual interests. In the fifth article of ci and poetry, Mr. Jing ‘an said that once it is written in literature and art, it will also leave its limitations. Although the realist also wants to be homesick, it is his theory of beauty. According to it, it is not a
In addition, from the previous analysis of Mr. Jing ‘an’s realm, we can see the meaning of his realm, especially focusing on the trait that things he writes should be truly felt. In other words, when things are written in Chinese, of course, they have all been more or less infiltrated with emotional personality. Therefore, for some great poets who are full of ideas, even if they are realistic, they often don’t touch the color of thinking. From the two poems written by Tao Yuan about picking chrysanthemums, hedges and seeing Nanshan leisurely, although they are all real objects and picking chrysanthemums and seeing the mountains are also practical, they are transparent. After this thoughtful great poet Tao Yuan wrote these two sentences, it was found that they belonged to the writing environment, but because Tao Yuan was close to thinking and feeling, these two sentences were also filled with the fact that he really wanted to tell if he had forgotten to say something, which means that Mr. Jing’ an, especially the great poet, must be close to thinking when writing.
From the analysis of several paragraphs, it can be seen that it is difficult for the two factions to be realistic, because the great poet’s creation of the environment must be in line with the reality and writing the environment must be adjacent to the thought. Therefore, this paragraph should be divided into several levels. First of all, we should understand that the creation of the environment is based on different materials, but the two differences must not be confused with me or subjective and objective differences. Moreover, he created the environment and wrote the environment but wanted to be realistic. This is just a starting point of differences, and we must never divide all kinds of western thought. It is difficult to distinguish between factionalism and realism for three reasons, but it is still difficult to distinguish the phenomenon clearly because of the creation and writing of the environment. The fifth one is that the realistic environment will also leave its limitations, and the fictional environment will also seek the natural and follow the natural law. It is difficult to distinguish that when we have a clear understanding of the above-mentioned levels, we will certainly have a thorough understanding of the realistic thinking of others’ creation and writing of the environment, and there will be no misunderstanding.
We have analyzed and explained all kinds of boundaries in Ci-poetry, such as "I create boundaries and write boundaries", and finally we will discuss the size of boundaries, which is the first cloud of Ci-poetry.
The size of the realm is not divided into advantages and disadvantages. The drizzle, the fish breeze, the swallow slanting, the flag of sunshine, and the small silver hook hanging idle in A?vagho?a’s windy and rustling curtains are not lost in the fog.
In this word, we should discuss it in two layers. The first is whether the size of the realm in this word refers to the problem. The second is whether the size of the realm is different from the advantages and disadvantages. Let’s talk about the first point. The difference between the size of the realm refers to the difference between me and the realm. Liu Ping once unified the big realm and the small realm when he talked about the realm of people’s words. 36 Wu Hongyi once said the same thing in his analysis of Wang Jing’ an’s realm.
According to Wang Jing ‘an’s view, the realm is big and small, but we can find that it is deeply connected with each other when we read it carefully.
Say again
The realm is smaller and closer to the writing realm and closer to our realm. Most of the realms are closer to the creation realm and closer to our realm.
I’m different from myself in creating the environment and writing the environment. We have made a white analysis and pointed out that two must not be confused, because I and I are opposite to each other in terms of things, and creating the environment and writing the environment is based on materials or fiction, or in terms of the size of the realm here, for example, it should be really different in terms of taking a large picture and narrow vision. Wu’s realm is much smaller and much closer to writing the environment, and most of them are close to creating the environment. This statement is really debatable because generally speaking, the realm is small and not necessarily so. The writing realm is not necessarily the creation realm, that is, when we discussed the creation realm in front, we cited some poems as examples. In Li Yishan’s poem, it is said that the writing realm is not small, but it definitely belongs to the creation realm rather than the writing realm, and it is good to ask about the cold waves and start from Tao Yuan. Seeing that Nanshan’s writing realm is actually bigger than Yishan’s poetry, but it is the writing realm rather than the creation realm. This shows that the creation realm is bound to be smaller than Wu’s. We are still in front of the example to see that although the realm of the two sentences of spring silkworm wax torch in Yishan’s poems is small, it is that I am anti-yuan, inquisitive and cold, and Tao Yuanyou sees that the realm of Nanshan is larger than that of Yishan’s two poems, but it is that I can see the size of the realm. I really and inevitably have the first level of understanding of this word.
Secondly, from the perspective of the size of the realm, Wang’s intention to cover the size of the realm is inevitable. It has always been said that there is very little debate, but Xu Fuguan’s poetry is effective in the process of his poetry creation, and his poems are not separated from others.
The size of the environment is closely related to the size of the spiritual realm, and the size of the spiritual realm is closely related to the cultivation of life. Can this be good or bad?
It can be said that part of the accuracy of this passage is a very natural phenomenon because of the lack of self-cultivation. The fortieth comment on Shi Meixi’s ci, Mr. Jing’ an once quoted predecessors to comment on Shi Meixi’s ci and said that it was related to its case
Zhou Jie said that stealing words in Meixi’s ci is enough to define its style, and Liu Rongzhai said that Zhou’s purpose is swinging and historical meaning is greedy, which is a relief.
Wang’s explanation is because he thinks that Zhou and Liu’s case-related comments are quite pleasing and agreeable to smile. Moreover, we can prove that Shi Meixi’s words are indeed slender and ingenious, which shows that it is true to quote Xu’s words. However, in terms of body, it is inevitable that poets will write small-scale poems because of their high self-cultivation ability. When they write big-scale poems, they will write big-scale poems, and when they write big-scale poems, they will also write small-scale poems. If you decide whether it is small or not, you should try Tao Yuan’s secluded vestibule. If you wait for the breeze, you can see Xiao Ai’s several sentences. When you come to Shen Quanqi’s royal family, you will be good and immortal. At the beginning of your career, the mountains on the side of Yunhan are all singing. Fengling Pool is not allowed to drink Longchuan. Compared with other sentences, the writing realm of Tao poetry is small but profound. Although Shen Shi’s writing realm is big, the difference between Tao poetry and Shen poetry is unrealistic. It can be seen that the size of the realm of poetry is indeed inevitable. As far as the benchmark realm of Mr. It is a common phenomenon in poetry for Mr. Jing ‘an to deeply feel the vivid and concrete expression ability, and this kind of measurement standard is not suitable for the big realm, but also for the small realm. Its evaluation standard is that it is an accidental case when the size of his writing realm is influenced by the level of self-cultivation, which is not enough to overthrow the correctness of the statement that the size of the realm is not equal to the size of the realm.
Wang Guowei was elected to criticize the people of Guangdong in 198.
1 Liu Ping’s boundary theory its title comes from the 17th issue of the World Semimonthly, page 18 of Hailiangyoutu Printing Company in 1943.
On Xiao Yao’s Chinese Language Page 5 Penang Youlian Printing Factory in 1956
3 Book 14 Examination of Song and Yuan Opera Page 613
The preface to the draft of four people’s words B This preface was written by Shan Yin Fan Zhihou, but actually written by Mr. Jing ‘an.
5 the same
6 Li Chang Wang Guowei’s quarterly journal of literary criticism, the first issue, page 43, Peking Lida Bureau, 1934.
7 Chen Yong talks about the realm of literary heritage No.188.
8 Xiao Yaotian’s Brief Discussion on Chinese Page 4 Penang Youlian Printing Factory in 1956
9 Same as page 5.
1 See page 458, Volume 15 of the Buddhist Dictionary. In 1995, the Medical Bureau of the People’s Republic of China used five kinds of wisdom to skillfully treat doctors.
11 with volume 14, page 849