The Lyric Literature Of The Pre-Qin And Han Dynasties In The View Of Poetic Qualities

The lyric literature of the pre-Qin and Han Dynasties is analyzed from the view of poetic qualities in this thesis. Based on the Chinese lyric tradition and the lyric mechanism under the Principle of Art, Aiming at the Pre-Qin and Han Dynasties of the lyric practice, the proposition of the poetic qualities is put forward. The quality is especially discerned in this thesis. The quality is not simply chosen from the characteristic and the essence, but we find that there is a layer between the essence and the characteristic. This layer is named quality in our context. The quality doesn't always appear, but participate in the construction of art. As far as the Chinese lyric literature is concerned, the Reason that the Chinese lyric tradition come into being is because of the participation the poetic qualities.Our investigation object includes Songs, rumors, proverbs, poems (the Book of Songs and the poems of the Han Dynasty), Songs of Chu and the lyric odes. The poetic qualities are divided into the emotion particularity and the artistic characteristic in this Dissertation. The emotion particularity is what the lyric subjects express. And the artistic characteristic is a complex idea, different from common artistic technique of literature. As far as the artistic form of a writer, an age, even a nation is concerned, the artistic characteristic has element significance. Many aspects in Literary Works are made up of the artistic characteristic. But the artistic characteristic is different from the essence of art, it is only a kind of elements, so it means that it would not show itself at all time. In conclusion, the connotation of poetic qualities includes two levels, namely the emotion particularity and the artistic characteristic in this Dissertation.In general, based on the lyric literature of the Pre-Qin and Han Dynasties, this Dissertation, firstly, analyzes the deduction of the emotion particularity in practice of this lyric literature, secondly, induces and sums up the artistic characteristic, thirdly, probes into how did emotion elements influenced lyric art in different ages and finally, by raveling the artistic characteristic in "element" significance, makes a comment on the national poetic particularity which is presented in the evolution of lyric literature and has been always raised up.As a whole, except for abstract, this Dissertation consists of three chapters of the first part, three chapters of the second part and public opinions.The first part studies the evolution of the emotion particularity. As for the lyric characteristic, it's generally cognized that the formation of aesthetic consciousness is resulted from the interaction between history and culture. As the materialization of aesthetic consciousness, the lyric works, on the one hand, have a materialization of the life consciousness of people and the individual emotion, on the other hand, possess of a materialization of the historical culture trait. Based on this lyric characteristic, the emotion particularity is hereby proposed in a trial way as a new poetic category. On the basis of discussion above, this Dissertation is outlined as follows:Regarding the lyric of history, we think that the independent Pattern of Artistic Emotions started in the Book of Songs with a view of investigation of the motion particularity. When the Zhou Dynasty replaced the Yin Dynasty, the elite of the Zhou Dynasty took cognizance of heaven helping those who have virtue, thus Zhou-Gong made ritual and music by changing traditional ritual and music and made progress in cultural development. In a way, the Zhou Dynasty society was the moral group in essence. So our opinion is that the ethic emotion was expressed by people in the Zhou Dynasty as patriarchal social member in the Book of Songs above all. The emotional characteristic mostly appeared in the big Odes and Hymns, at the same time, Zhou nan and shao nan also had this emotional characteristic, but there was a change in the Changed Airs and the Changed Odes.The lyric subject began to wake up, got involved in external circumstances directly and expressed joy, anger, grief and happiness of themselves directly in the Changed Airs and the Changed Odes. People in the Zhou Dynasty began to shake off singing the whole patriarchal emotion as patriarchal social members. They walked out of the location of the patriarchal clan system step by step. The Changed Airs and the Changed Odes declared to the public that the lyric subject began to express their emotion as one lyric person. They were angry, sorrowful and crazy, but still they wandered in the patriarchal clan system in the Changed Airs and the Changed Odes.As ceremony increasingly damaged, the social order of feudality began to collapse and new scholar school began to rise, with the old social value system damaged. As a result, scholars aiming at Taoism became a basic belief among this rising group. As a member of this group, Qu Yuan also insisted on his belief and wanted to change society with it, but for various reasons he failed. However, a frustrated poet is always a good one. Qu Yuan combined his political ambition with his poems and began his ultimate life thinking process about how life comes and where individuals' values should be. Because how to face inner dysphasia was a new problem coming after individual consciousness woke up, Qu Yuan's suicide declared the failure of this thinking process, with only Song Yu sympathizing himself.Qu Yuan was dead, but the problem was not gone. And, the scholars of Han Dynasties resumed Song Yu's question and discussed further about how life came through the interaction of poetry and fu. They shed sympathetic tears for Qu Yuan though they didn't agree to his extreme choice. But due to the belief of scholar insisting on Taoism caused by the wakening of the scholar class, which didn't disappeared among them, they began to moan for and laugh at and amuse themselves, hoping to get rid of their mental pressure under feudal system.With the foundation of Qin and Han, Chinese society turned from feudal to feudal autocratic, and the identity of scholars changed again—they gradually melt into a system of scholar-government official. This system was different from both inheriting scholars and those ones in Spring and Autumn Period. On one hand they stuck to their Taoism belief, relieving society with their money; on the other hand, they acclimatized themselves to different conditions. Thus, leisure enjoying became the beginning of Han's emotional narration, leisure was officially acknowledged after Emperor Wu of Han developed folk-song-styled-verse, and the function of poetry changed, in the hand of rising scholars, from ambition and goal expression to leisure enjoying. This way, the Han Dynasty's scholars, who inherited Qu Yuan and Song Yu's question, put individual life on land and found their final place to stay, in the interaction of poetry and fu in late Han, which made individual life no longer a mere superorganic insistence of Taoism.Han's emotional narration could date back to the rising noble class with Liu Bang as representative. In their daily poem producing, Voice of Emperor Zhen actually took the place of formal music. The reasonability of the new culture leisure was officially acknowledged with the Emperor Wu's foundation of folk-song-styled-verse as its symbol. Through analysis, it could be found that the invasion of leisure had comprehensive and fundamental impact on the practice of feeling expression in Han, and even the temples, the most serious places, were no exception. The direct result of this invasion was the worldliness shown in Han's practice of feeling expression. As this worldliness became more and more obvious, Han's people found that they should think not only meaning and value, but also their current life. So, attention to individuals and now became the major issue of the scholars in late East Han, and they finally triggered a human consciousness in self-value confirmation. Later, literary self-consciousness stepped onto another journey due to the finding of individual emotion at the very end of an old search trip.Following the probing into the evolution of emotion characteristic made in the first part, the second part, from the view of artistic characteristic and in a comparison between China and the west, concretely induces and summarizes the poetic characteristic in a general manner represented in lyric literature of the pre-Qin and Han Dynasties during its evolution. Based on the acknowledge to artistic characteristic, it's believed that the He-He, Xing-Xiang and Qing-Jing have a significance of lyric quality for the lyric practice in the pre-Qin and Han Dynasties. The reason why the three points are raised is that, in our opinions, the essence of lyric literature is a subject expression under the interaction between the outside world and man as subject, the Qing and the Jing (similarly means circumstance and emotion), and a man is subject to a certain historical and cultural Qing-Jing, therefore, in respect of interaction between culture and poetics, the bearing of He-He is proposed; in respect of the "outside world", the bearing of Xing-Xiang is summarized; in respect of "man as subject", the bearing of Qing-Jing is concluded. It's concretely depicted as follows: The first chapter studies on the bearing of He-He. From culture, poetics obtains its unique characteristic, verve and methodology, and culture is like blood and muscle of poetics. Therefore, the first artistic characteristic is deducted from culture as earth, i.e., the bearing of He-He. The He-He is also named He. In our cultural horizon, to regard the He (harmoniousness) as the beautiful is not only an overall objective and ideal, but also a means for realizing such object and ideal, and furthermore is much different with "two in one whole" about rational cognition and perceptual knowledge in the west. So, in our cultural horizon, the He-He is a living manner and life bearing in the model of farming culture of China under the experience of "correspondence between the nature and man". This lyric characteristic of the He-He, in our opinions, is first of all an appearance of aesthetic mode. In respect of the "Tian" (similarly means the nature), the He-He presents a propinquity towards the nature and lyric being of current life made for it. From the view of society, an individual subject to the general net, from his relation with the society, might not only see the restriction from all objective rules, but also find its consistency with his purpose, therefore, an individual's subjective will might be in spiritual unity with the objective rules. That's to say, the He-He is first of all a cultural mode, and at the times of the Book of Songs this cultural quality was kept in the field of poetics, and formed a lyric characteristic; after combined with the poetics of the Songs of Chu, it was further enhanced in the opposing to and mutual complementing with those who wrote such songs. In the phase of the Han Dynasty, though the He-He's lyric characteristic of went along towards error due to the theoretical force of the Han nationality, in the interaction of text and critique, it has been all along presented in the lyric practice in the Han Dynasty as before. The He-He is, after all, opposing highly to emotion's expression based on artistic principle, so it embodied a critical pursuance much more which was repeatedly exampled by those theorists who were in poetic predicament. As a result, the He-He, starting from the Book of Songs and going along through the whole classic poetics, formed the lyric intelligence in rich accumulation in China. Therefore, it is finally concluded that, this lyric characteristic is an output of the interaction between culture and poetics.The second chapter studies the bearing of Xing-Xiang. The Xing-Xiang means the stirring of images. After its meanings is defined, it is considered that, this category might lead us to master the artistic characteristic in respect to the "outside world" under the interaction between the outside world and man as well as the circumstance and emotion in lyric poetics of China. Since the poetic category "Xing", which has prototype significance, is not single and absolutely definable, it is from two respects, i.e., genetics and appreciation, to study the lyric characteristic of the "Xing-Xiang". Refer to genetics, emotion itself is not of expression, so poets of China and other countries make use of the way of describing external "Xiang" (similarly means image) to express their internal emotion. However, in the thinking pattern of correspondence between the nature and man, the image application in Chinese poems shows a feature of "stirring", i.e., forming images by stirring. In Chinese poetics, the expression of poetic emotion is not from logic thinking but in an accommodating relationship of "scene←→emotion". That's to say, the background of the "Xiang", appeared in Chinese poems, comprises "emotion" and "scene", in comparison, in the west it is a lyric means popularly used. Refer to appreciation, firstly the difference between the Xing-Xiang and Yi-Xiang are investigated. In our opinions, the Xing-Xiang is senior to the Yi-Xiang in respect to aesthetic level. The "image" presented in literary works show subjective emotion with "Yi-Xiang" as media at all, however, in the thinking pattern of correspondence between the nature and man, image application in Chinese poems shows a feature of "stirring", as a result, in Chinese poems, the images after materialized into aesthetic consciousness show a feature of "stirring": in this sense, the Xing-Xiang refers to a fictitious image, and the aesthetic effect aroused from it, in tradition poetic words, is "emotion appearing richly while materials fleeing away". Due to different weight of the stirring and imaging, in the creation of emotion and circumstance from stirring, the Xing-Xiang presents two different easthetic modes: emotional Xing-Xiang and symbolizing Xing-Xiang. From our explanation and deduction on the respective aesthetic features of the two modes, it is found that, both the emotional Xing-Xiang and symbolizing Xing-Xiang started from the times of the Book of Songs. In addition, in the evolution of poetic creation in everlasting lyric practice, the two aesthetic modes were further developed. As a result, at the end of the Han Dynasty, the emotional Xing-Xiang fell in the exploitation of Jing-Xiang, and the symbolizing Xing-Xiang developed as matured as the Nineteen Ancient Poems, even matured and ideal much more.The third Chapter studies the bearing of Qing-Jing. The "circumstance bearing of emotion" is also an induction and summarization in this chapter. The first, "poetic emotion occurs along with circumstance". In our opinions, this conclusion is universal in lyric context. The lyric art is of an action of representation, but the expression of feelings is not an abstract description but "circumstance" or "emotion and circumstance" or "real illusion" which is concrete and sensate. Therefore, the so-called emotional "bourn" cannot get departed from the concrete and sensate "circumstance" or "emotion and circumstance" or "real illusion". In our opinions, this is universal in lyric context. The second, it's concluded that, to interact emotion and circumstance, "change scene into emotion" and represent emotion in circumstance is one of the principal lyric characteristics in the tradition of our national poetics. Upon deduction, it is found that the evolution this lyric characteristic started up a lyric practice of the pre-Qin and Han Dynasties. Finally, to interact emotion and circumstance and represent emotion in circumstance leads to the beauty of artistic conception in the lyric literature of China. Upon deduction, it is found that the sense of space becomes definition of the basic features in artistic conception which is a poetic characteristic of China. In referent to the standard of "Qing-Jing space", upon deduction, it is concluded that the lyric literature of the pre-Qin and Han Dynasties has shown the beauty of artistic conception, and to describe the "Jing" (circumstance) in China has started at the times of the Book of Songs which is the first works in lyric form, and the end of the Han Dynasty has seen a complete form of artistic conception after the evolution in about one thousand years. On this base, it's further to position the role of lyric literature of the pre-Qin and Han Dynasties in the lyric practice of describing the "Jing" in China.Based on the basic conclusions made in the first and second parts, the last discussion is on literary consciousness and concerned issues from the view of poetic characteristic presented in the lyric practice of the pre-Qin and Han Dynasties.Generally, this Dissertation is the first trail for research because the terms of poetic characteristic has never been defined before and the lyric literature in the pre-Qin and Han Dynasties has never been analyzed from the view of poetic characteristic. Therefore, those judgments and conclusions in this Dissertation are superficial and not complete maybe, and are to be further improved.