Wang Shizhen

Wang Shizhen

Wang Shizhen (September 17, 1634 - June 26, 1711), formerly known as Wang Shizhen, was named Ruan Ting, also known as Yuyang Shanren, with the word Zizhen and Yishang. Shandong Xincheng (now Huantai County, Shandong Province) people. In the early Qing Dynasty, he was a poet, a writer and a poetry theorist.

Wang Shizhen was a Jinshi in the 15th year of Shunzhi (1658) of the Qing Dynasty. In the 43rd year of Kangxi (1704), he was an official of the Ministry of criminal justice. Shi Wenjian.

Wang Shizhen, while practicing the theory of "verve", achieved remarkable achievements in poetry and prose, broke through the orthodox literary world and the prejudice of literati, and attached great importance to and highly valued novels, operas, folk songs and other popular literature and styles. His main achievements are in poetry creation and theory, but his achievements in novels, opera, folk songs, calligraphy and painting, book collection, historical theory and so on can not be ignored.

Life of the characters

Wang Shizhen, formerly known as Wang Shizhen. Ten years after his death, Yongzheng inherited the throne of Kangxi, and the word "Zhen" violated the imperial taboo and was renamed Shizheng. During the reign of Qianlong, the word "Zheng" did not match the original name, so it was used to change Shizhen for hundreds of years.

Main impact

Calligraphy collection

Wang Shizhen loved calligraphy when he was a child, and he could write cursive at the age of nine. Li Ji's "record before the crane expedition" says: "the essence of Ruan Ting's regular script is true to Chu Gong's" Ode to withered trees ". In the book of tongrenshu written by maobijiang, it is said that "the work of small regular script is full of flying geese in the clouds". At the same time, sun Zhiwei wrote a poem praising: "natural and unrestrained has already sighed the calligraphy is good, elegant who is the enemy of poetry diligent."

Song Luo, the governor of the Kangxi Dynasty and a calligrapher and painter, called it "Xipo Lei manuscript:" calligraphy is as elegant as Jin people. You don't want to do more with it. People ask for books with silk, and they often ask their children to replace them. However, when two or three people answer a letter, they must make their own handwriting, which is hidden in the book.

The calligrapher Chen Yixi of the Kangxi Dynasty [rubbings and postscripts of Chu He'nan's withered tree Fu] said: "today, only Xincheng's general constitutional studies are of great importance. Mr. Hainei is a scholar and refuses to take a stage name. Those who ask for books must ask their disciples to write on their behalf and never write lightly. If the disciples want to get Mr. Zhang's book, they often ask for words and write notes. If Mr. Zhang drops his notes at will, they will think it as a treasure. If they write on paper, they will make a book

Liang Zhangju [the postscript of painting and calligraphy in tui'an] said: "my husband didn't use the title of the book, but he didn't want to read it. He was gentle and casual, and had the flavor of Jin and Tang Dynasties. Although he is a great master of books, he can't help but come out. So it's not in the line of ink

Wang Shizhen is famous for his poetry and Poetics in the history of literature, whose title is covered by the name of poetry.

Ma zonghuo (1897-1976), a famous philologist and calligrapher, called Wang Shizhen's calligraphy "the book of poets" in his "Pen Talks on the building of Mount Pei".

Like the style of poetry, the style of calligraphy has undergone several changes. It is frank and unrestrained in the early stage, elegant and elegant in the middle age.

Wang Shizhen's family had a rich collection of books, and his father had a posthumous book, which was lost more than half due to the war. After entering the official career, he borrowed books from others to make copies. The income from the purchase of books has lasted for more than 30 years. In the 40th year of Kangxi (1701), he asked for leave to return home, but he carried several books. His disciple Yu Zhiding painted the picture of carrying books. The book house "chibei library" is named after Bai Juyi's chibei library. With "exposure Pavilion" and said prosperous.

There is a bibliography in chibei library, which contains nearly 500 editions of song, yuan, and Ming Dynasties. There are inscriptions under each book. Zhu YIZUN wrote the book of chibei library.

Good at appreciation. There are dozens of seals in the collection, such as "seal of Wang Ruan Ting's collection", "imperial historian", "Gong Zhan's Bachelor", "the grandson of Zhongqin Gong", "Jingyan Jianguan", "nostalgic farmhouse", "seal of Langya Wang's collection", "Guozi Jijiu", "Baohan Tang seal".

Wang Shao, a modern bibliophile, has compiled 600 pieces of Yu Yang Shu Ji.

On verve Poetry

Wang Shizhen, a poet in the early Qing Dynasty, is another great master who advocated the theory of verve after Sikong Tu and Yan Yu. It's a pity that Wang Yuyang only used the word "pick out the charm" in his life, and did not make a positive and systematic elaboration on it. Later commentators hold their own opinions and interpret them one after another.

Some people think that "verve" is "style" or "texture", which is "everything should be done from top to bottom". This is the explanation of Weng Fanggang's "Pan verve theory". Some people think that Mr. Guo Shaoyu strongly advocates this theory. He points out that "verve" and "Rhyme" are actually the so-called verve of Yuyang. In a word, it is only "Rhyme"

Mr. Minze thinks that verve "sometimes refers to the inner verve, verve, spirit and other things corresponding to the similarity in form and form in creation", "sometimes it refers to the atmosphere and realm characterized by scenery in content, fresh in style and full of poetic flavor in creation."

Mr. Cai Zhongxiang thinks: the charm is "the ancient light and distant artistic conception". Mr. Wu tiaogong wrote in his book on verve. Mr. Ye Jiaying also said: in the general introduction, it is said that the main connotation of verve refers to the elegance and indifference of the poetic flavor, and that "the two wonders of total Qingyuan are verve." When talking about Yu Yang's poetics, Qian Zhongshu also commented on the theory that "verve is the highest realm in poetry".

All the above "youyou" are happy and have their own charm. In addition, there are some reasonable and even profound aspects of the theory of "Wei Wai Wei" and "separation of verve and giving priority to verve". However, from the point of view of Yu Yang's Poetics and the practical tendency of his poetry creation, it seems that his feeling is not appropriate.

Some people think that Wang Yuyang's "verve theory" has two meanings

One is that in the artistic style of poetry, "you you you Bu Li" and "calm and happy" are developed simultaneously, but they focus on the style of ancient light leisure and far away (referred to as "the theory of simultaneous development"),

The second is to pursue "a high degree of unity with poetry, focusing on the internal quality of poetry", while rhyme focuses on the external style of Poetry (referred to as "unity theory").

In the Ming and Qing Dynasties, the study of classical literature grammar became more and more thorough. At the same time, Wang Shizhen and Wang Yuyang's "verve theory" was different. It went beyond the specific text form of traditional grammar research, and the understanding of the artistic value of classical works rose to a more profound level.

However, how to understand the status of Wang Yuyang's theory of verve in the development of classical literary form concept is still a problem to be solved.

When explaining his theory of verve, Wang Yuyang said that he liked the eight words "not a word, be romantic" in Sikong Tu's twenty four poems, and sometimes cited Yan Yu's eight words "antelope hanging horn, no trace to seek" to explain the meaning of verve.

From his concept of verve and these explanations, it is easy to come to such a view: verve refers to a kind of emotional connotation that can only be expressed but can not be expressed, rather than the characteristics of form.

In order to clarify the theory of metaphysics and emptiness of verve theory, Weng Fanggang interpreted verve as "spirit" in "verve theory", and "reason" in "familiar and refined literature selection", and even style, texture, etc. in his article "verve theory", which focuses on the analysis of verve theory, he thought that verve belongs to connotation.

When talking about verve, the modern scholar Qian Zhongshu said that verve "is not one of the poetic products, but is just the right one, perfect and perfect", that is, the meaning of being absorbed in the spirit. To explain the verve with "monarch", "spirit" or spirit means to understand the verve from the perspective of connotation. This is certainly a good understanding, because the "spirit" of "verve" is definitely related to the inner spiritual meaning. But as a result of this explanation, it seems that the word "Yun" of "Shenyun" has not been implemented.

Mr. Wu tiaogong, a contemporary scholar, made a more detailed analysis of the word "verve" in the theory of verve

God and rhyme are integrated. But when we analyze it carefully, there is a process from "spirit" to "Rhyme". Even though the change is very sudden and vague, it clearly contains a kind of "perfusion" process emphasized by Goethe. There is not only the poet's subjective "spirit" pouring, but also the need of pouring, which needs to be stored or publicized in the form of Hanru, forming a carrier full of "vitality".

Generally speaking, verve theorists pay more attention to "Rhyme" and the flow of soul with inner rhythm than other ancient poetics. Mr. Wu tiaogong not only pointed out the "spirit" and "Rhyme" contained in the theory of verve, that is, the internal spirit and the external rhythm, but also emphasized that the focus of the theory of verve is on the "Rhyme", that is, "the flow of soul with the sense of internal rhythm".

If Yan Yu is regarded as one of the pioneers of the theory of verve, it should be said that his "interest" of "other material", "other interest" and "antelope hanging horn, no trace to seek" only indicates a kind of vague meaning, and has not really put the problem of verve into the reality of text analysis, so it has not formed the concept of art form. Wang Yuyang is different. His theory of verve has become something that can be recognized or even imitated, that is to say, it has been formalized.

Weng Fanggang criticized people for mistaking verve for Wang Yuyang's invention: "poetry takes verve as the secret of experience. This meaning is not from Yuyang, but from the important place of the ancient poets. The ancients did not speak, but from Yuyang."

Why do people regard the ancient things as the invention of Wang Yuyang? In addition to Wang Yuyang's special name of verve theory, what's more important is that although Wang Yuyang's verve theory claims to be "romantic without a word", there is a way to find it.

Historical evaluation

Wang Shizhen was born in the late Ming Dynasty and grew up in the early Qing Dynasty. He lived as an official for more than 40 years. He was a member of the Taige cabinet and served as a minister of the Ministry of punishment. Although he was not without official achievements, he was famous for his poetic theory and works. His poems are fresh, elegant and elegant, and he is respected as the leader of the poetry world. Most of the less advanced scholars come to his door, and he is a private scholar

Chinese PinYin : Wang Shi Zhen