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Revisiting the sacred value of “New Words in the World” – A new explanation of Xie An’s “Elegant People Deep”
Author: Liu Qiang
Source: The author authorized the Confucian network to publish, published by “Huadong Teachers’ Model Major” (Philosophy and Social Science Edition) 202 5 years No. 1
Abstract: The “Elegant People Deeply” in “New Words in the World: Literature” was reported by Xie An, because he avoided the dual forces of study and literature, “speaking aspirations” and “inspiring emotions”, which triggered a broad and durable poetic dispute. Those who have come here, such as Song Qi, Liu Chenweng, Wang Shizhen, etc., have inspired Xuan but doubted him. In fact, “elegant people” do not refer to “elegant people”, but specifically “poetrybaohuan Internet VIP person”, specifically, it is the “author of elegance” that is relatively to “shangren”. To correctly understand “the elegant people are profound”, we must not only pay attention to the fact that “Pen” has two bodies, “Shang” and “Ya” and “Ya” have a very positive outlook, but also observe the internal differences between Xie An and Xuan’s personality, atmosphere and life state in terms of the meaning of “sacrificing poetry, expressing one’s aspirations”. Wang Fuzhi believed that the “wonderfulness of unity” in Mao’s poem quoted by Erxi invisibly concealed the difference between the differences between “the charm of the wind and the deep charm of the elegant people” and “the charm of the elegant people”, so there is still a shortage. Shen Zengzhi, a great scholar in the late Qing Dynasty, settled in the elegant tradition of Confucian poetry. He used humanistic poetry to restore the real ethics of the “elegant body, low body” and used “elegant man” as “a righteous man who is good and not lazy”, which deeply reminded the Confucian scholars behind the celebrities of the style and the lyrics of the ministers, who can be called Xie An’s soulmates of the generations. In short, the correct interpretation of “elegant people” is not only a matter of poetry, but also a matter of human learning. It is not only about poetry and poetry, but also about human teachings and character. Xie An is the most well-recorded Wei Han celebrity in “New Words of the World”. He has made great achievements in the “elegant civilization” structure of China. His “elegant and profound” poetic concept has a rich space, which also verifies the poetic value of “New Words of the World” from one side.
Keywords: “Newspeech in the World”; Poetry Value; Xie An; Deep Elegant; Shen Zengzhi
About twenty years ago, I wrote a short article titled “Newspeech in the World” and Modern Chinese Poetry”, which was a section of the doctoral essay “Citations of the World” and later published in “Modern Literature Theory Research” 》牌有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有有In other words, “The Legend of the World” is not a text that can be “closed”, but aIt communicates with the “authority of time” of history, present and future. If there was no “Talk of the World”, our understanding of the history of Wei and Han at the end of Han would be unimaginable. As far as literature is concerned, many of the notes of “The Tales of the World” directly reflect the literary practices of Wei Dynasty, and in the process of broadcasting and receiving, they have had a profound impact on later literary concepts and poem concepts, the criticism of poems, and the form of poem creation, etc. [①]
It seems that although the article roughly draws the relationship between “New Words of the World” (hereinafter referred to as “Talk of the World”) and modern Chinese poetry, it still appears to be detailed and rigid due to learning and knowledge. In particular, although the words and the “deep and elegant” of Xie An later became a poetic concept and the impact of “excerpts and criticism” on later poetry, it was only pure and not profound. After many years, when I think about the poetic problem of “Speak of the World”, especially when Xie Anqin’s influence on the humanities of the Six Dynasties and even the entire “elegant civilization” of China, I deeply feel that Huan Wen’s saying “An stone crushed gold” [②] is actually unsatisfactory. Although Xie An established a politician, he deeply praised art, whether it was a politician or a philosophical master, and he was aware of his high-level knowledge and gold. He also was in charge of the Qing Dynasty and the late Qing Dynasty, and spoke like a mountain. His great influence on his civilization and the great influence of the Shilin were at one moment. The word “elegant and profound” that comes out from the mouth of “elegant people” will never be considered only by the silence of “information and assistance”. Its profound meaning is actually related to a series of “big questions” related to Chinese classical poetry, such as classical poetry, the relationship between classical poetry, and literature. Although the previous research and discussions were not detailed, there were still no overthrows. Now, I will make a brief analysis to teach the Fang family members.
1. The poetic debate induced by Xie An
“The elegant man is profound and profound”, and wrote the 52nd chapter of “The World Literature”, and his text said: “Which sentence is the best in “Mao Poem”?” E (Xue Xuan) said: “In the past, I went there, and the willows were swaying; now I think about it, and the rain and snow are drizzling.” The Duke said: “There is a matter of concentration, and I will tell you.” This sentence is rather profound and profound.
This story seems simple, but it is actually very involved and deeply involved. It can be said that Xie An, who is “specially cunning” (“Shi Shi·Literature” 94), accidentally triggered a major motto dispute.
First of all, this matter can be used as a major data in the history of “People”. Xie An did not ask about the “three poems” as mentioned by Ru, Qi and Korea. After asking “Mao Poetry”, it is enough to prove that when Dongchen was in the East, the three poems that were established as officials in the Han Dynasty had gradually declined. After the comments from Zheng Xuan, “Mao Poetry” later came to the top and became the most popular version of “Pen Poetry” at that time. “The “Pen Shu” quoted in “The Legend of the World” is the “Mao Shu” and the “Pen Shu” that are inherited by the north and south.”[③] The opening of “Talents and Literature” is Zheng Xuan’s three stories, which are definitely not the same.
Secondly, Xie An asked what sentence is the best in “Mao Poem” and it is also a reaction to Wei Han’s new style of vocabulary focusing on “excerpts”. There are also examples in “The Tales of the World”. For example, Article 101 of “Literature”: Wang Xiaobo was in Beijing and walked to his younger brother Wang saw him. He asked what sentence in ancient poems is the best. I saw the thoughts but didn’t answer. Xiao Bo said: “‘If you encounter no old things, how can you not grow old quickly?’ This sentence is good.” For example, the 90th chapter of “The Brothers and Brothers in the Courtyard of the Princess and the People” by Liu Xiaoding, quoted Tan Daolu’s “Continuing the Autumn of the Continuing Day”: “On the ninth day of the Xuanyue of the third year of Ningkang, the emperor spoke “Filial Piety”, The servant Xie was the one who served in the seat. The Minister of Personnel, the Minister of Personnel, and the Minister of Personnel, the Minister of Huangmen, the Minister of Personnel, and the Minister of Personnel, the Minister of Personnel, and the Minister of the Central Book of Books, the King of the Danyang Yin and the King of Danyang were mixed with the sentences. “It can be seen that the “selected sentences” had become the “regulated action” of the classics at that time, and they were responsible for it. As for the people who often use the famous quotes of “Pen Shu” as the reward for Qing Dynasty’s discussion and ridicule, there are more examples, but they are not criticized.
Third and most important point, the differences between Xie Xuan and Xie An on “what is the best sentence in “Mao Poem”” has aroused the confusion and disputes of the predecessors, and has become a matter worthy of attention in the history of “Pen Poem” and even the entire classical history. For example, Liu Chenweng, who was in the Song and Yuan dynasties, said: “Everyone has a close personality, but it is not for the public to understand. This is a delay, who can understand?” [④] Wu Mianxue, a Ming Dynasty man, also said: “Each person talks about the close personali TC:
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