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苏东坡的文学背景和他的赋SU TUNG-PO’S LITERARY BACKGROUND AND HIS PROSE-POETRY by Qian Zhongshu (Primarily written as a foreword to “Su Tung-Po’s Prose-poems” translated into English With Notes and Commentaries by C D Le Gros Clark， this is published here by kind permission of M Le Gros C Those who are interested in textual criticism may consult M Wu Shih-ch’ang’s review in Chinese which appeared in The Crescent Monthly， V IV， N –E)Of the Sung dynasty， it may be said， as Hazlitt said of himself， that it is nothing if not The Chinese people dropped something of their usual wise passiveness during the Sung dynasty， and “pondered， searched， probed， vexed， and criticized” This intellectual activity， however， is not to be compared with that of the Pre-Chin period， the heyday of Chinese The men of the Sung dynasty were inquisitive rather than speculative， filled more with a sense of curiosity than with a sense of Hence， there is no sweep， no daring， no roominess or margin in their A prosaic and stuffy thing theirs is， on the This critical spirit revealed itself in many directions， particularly in the full flourish of literary criticism and the rise of the tao-hsüeh （道学）， that mélange adultere of metaphysics， psychology， ethics and Literary criticism in China is an unduly belated Apart from a handful of obiter dicta scattered here and there， Liu Hsieh’s Literary Mind （刘勰文心雕龙） and Lo Chi’s A Prose-poem on Literature （陆机文赋） are the critical writings that count up to the Sung There is Chung Yung’s Classification of Poets (钟嵘诗品) of But Chung Yung is a literary genealogist rather than a critic， and his method of simply dividing poets into sheep and goats and dispensing praise or dispraise where he thought due， is the reverse of critical， let alone his fanciful attempts to trace literary parentages(1) Ssu-Kung Tu’s Characterisations of Poetry (司空图诗品) is a different matter(2) Ssu-Kung Tu seeks to convey purely with imagery the impressions registered by a sensitive mind of twenty four different kinds of poetry: “pure， ornate， grotesque，” His is perhaps the earliest piece of “impressionistic” or “creative criticism” ever written if any language， so quietly ecstatic and so autonomous and self-sufficient， as it were， in its being but it fails on that very account to become sober and proper It is not until the Sung dynasty that criticism begins to be practiced in Numerous “causeries on poetry” （诗话）are written and principles of literature are canvassed by way of commentaries on individual Henceforth， causeries on poetry become established as the vehicle for Chinese One must note in passing that there do not appear professional critics with the rise of In those good old days of China， criticism is always the prerogative of artists The division of labour between critics and artists in the West is something that the old Chinese literati would scoff The criticism of Sung dynasty， like all Chinese criticismsbefore the “New Literature Movement” with the possible exception of Hsieh’s Literary Mind， is apt to fasten upon particulars and be given too much to the study of best words in best But it is symptomatic of the critical spirit， and there is an end of The Chinese common reader often regards the men of the Sung dynasty as Their high seriousness and intellectual and moral squeamishness are at once irritating and amusing to the ordinary easy-going Chinese There is something paralyzing and devitalizing in their wire-drawn casuistry which induces hostile critics to attribute the collapse of the Sung dynasty to its There is also a disingenuousness in their attempts at what may be called for want of a better name， philosophical masquerade: to dress up Taoism of Buddhism as orthodox C One need but look into Sketches in a Villa（阅微草堂笔记）and Causeries on Poetry in a Garden（随园诗话） to see what a good laugh these two coxcombs of letters， Chi Yuen （纪昀） and Yuan Mei （袁枚） have had at the expense of the Sung philosophers and critics Nevertheless ofe is compelled to admit that the Sung philosophers are unequalled in the study of mental Never has human nature been subject to a more rigorous scrutiny before or since in the history of Chinese For what strikes one most in the tao-hsüeh is the emphasis on self- This constant preying upon itself of the mind is quite in the spirit of the The Sung philosophers are morbidly introspective， always feeling their moral pulses and floundering in their own streams of To them， their mind verily “ a kingdom is” They analyse and pulverize human But for that moral bias which Nietzsche thinks to be also the bane of German philosophy， their vivisection of human soul would have contributed a good deal to what Santayna calls literary The poetry of the sung dynasty is also a case in It is a critical commonplace that the Sung poetry furnishes a striking contract to the T’ang Chinese poetry， hitherto ethereal and delicate， seems in the Sung dynasty to take on flesh and becomes a solid， full-blooded It is more weighted with the burden of Of course， it still looks light and slight enough by the side of Western But the lightness of the Sung poetry is that of an aeroplane describing graceful curves， and no longer that of a moth fluttering in the mellow In the Sung poetry one finds very little of that suggestiveness， that charm of a beautiful thing imperfectly beheld， which foreigners think characteristic of Chinese poetry in Instead， one meets with a great deal of naked thinking and outright It may be called “sentimental” in contradistinction to the T’ang poetry which is on the whole “naïve”， to adopt Schiller’s useful The Sung poets， however， make up for their loss in lisping naivete and lyric glow by a finesse in feeling and In their descriptive poetry， they have the knack of taking the thing to be described sur le vif: witness Lo Yu (陆游) and Yang Wan-li （杨万里） They have also a better perception of the nuances of emotion than the T’ang poets， as can be seen particularly in their Ts’u （词）， a species of song for which the Sung dynasty is justly famous(3) Small wonder that they are deliberate artists， considering the fact that they all have been critics in the off hours of their The most annoying thing about them is perhaps their erudition and allusiveness which makes the enjoyment of them to a large extent the luxury of the initiated even among the C （3000字）还有一篇在玩偶之家的身份抗争（6000字）和一篇马丁路德金的《我有一个梦》文体分析（10000字）如果需要就麻烦您告诉我您的邮箱，再给您发过去。
History of Contemporary Literature in China， the value of Mo Yan precipitation over time and become more clear， and his unique narrative style and works in brilliant colors， creating a piece of contemporary literature for the new In this paper， the word for the color axis， from the use of the number of preferences and application methods， and novel of color words sum up the characteristics; from the scene description to write the different angles of people of color words to bring the rhetorical effect of Mo Yan's novel; both red and green color words in the case revealed the novel of the unique meaning to explore novel of deep color
Images are cicadas in the past works of literature the most important one of the insect imagery， its meaning and significance have been many studies， but the people of the focus was concentrated in the Tang Dynasty poem Yong cicada cicada image of the Wei， Jin Literature in the Northern and Southern Dynasties cicada image is less Based on the Wei， Jin and Southern and Northern Dynasties period cicada as a key image， then with the background of the times， ideological trend and the mentality of its connotation of the Cicada on the first part of the natural Images on the second part of cicadas in the literary works in the formation of the The third part of a detailed analysis of the Wei， Jin and Southern and Northern Dynasties Shifu cicada image The most important three points: First， the poet Chan Ming embellishment common view， table of seasonal change; Second， the poet used to express Beiqiu cicada feelings and personal tragedy in which寓; Third， the cicada with multiple symbolic significance， is Yung-Chi poet important Part IV discusses the cicadas in the Tang Dynasty literary image of the Wei， Jin and Southern and Northern Dynasties Shifu cicada in the inheritance and development of ≥▽≤
