A Criticism On Metaphor In Wenxin Diaolon

The literary theory criticism belongs to the subtle,indescribable and brilliant discursive activities with the interaction between the spiritual and external world,just like literary and artistic creation.And all these discursive activities are inevitably restricted by the finite nature of speech.One possible solution to this restriction is the thinking method of "Xiangyu" of the ancient Chinese sages with the unique characteristics of "Guanwu Quxiang" and "Lixiang Jianyi".In the history of Chinese literary criticism,"Xiangyu" criticism is original and everlasting essential paradigm.In the book of Wenxin Diaolong,LIU Xie delicately analyzed the core and all crucial aspects of Chinese ancient literature.Wenxin Diaolong is a classic book for it is complete in structure,insighted in viewpoint,well integrated and absorbed the achievements of predecessors.The great success of LIU Xie is due to his creative application of "Xiangyu" paradigm among dozens of factors.In order to analyze the contents and forms of literary works in a convincing way,LIU Xie employed "Xiangyu" as the key to the theorical and linguistic contexts with all his knowledge of the world.And Wenxin Diaolong has turned to classic in ancient Chinese literary criticism.Since the concept of "Xiangyu" criticism paradigm was proposed at the beginning of this century,it has attracted widespread attention and researches from scholars.Both in the overall study of "Xiangyu" criticism and in its case study in Wenxin Diaolong,many influential and valuable academic accomplishments have been achieved.This also provides valuable base and reference for this research.This dissertation aims to analyze "Xiangyu" criticism of Wenxin Diaolong from the following aspects:Chapter One summarizes the theoretical origins and developments of "Xiangyu" criticism which was bred in "Shang Xiang" traditions of Xia,Shang and Zhou Dynasties,and is the product of the radiation of "Xiangyu" thinking into the field of literary theory."Xiangyu" criticism and thinking absorbed a great deal from witchcraft and divination culture of Yin Zhou,the symbol system of Zhou Li,the image of the Six Arts,and the pre-Qin sages’ application of "Xiangyu" as arguments.At the time of the Han Dynasties,"Xiangyu teachings" advocated by Buddhism also had a direct impact on the "Xiangyu" criticism."Zang Xiang" and "Mai Xiang" of Chinese medicine theory,"Xiang Xing" and "Xiang Shi" of Chinese characters formation,"Guanxiang Shoushi" of the astronomical calendar are all early achievements of "Xiangyu" thinking.The rich practice of "Xiangyu" thinking in the above fields has laid a solid foundation for its radiation to literary and artistic theory criticism.Chapter Two analyses the "human as Xiangyu" in Wenxin Diaolong.Human as "Xiangyu"was developed from the calligraphy criticism of the late Han Dynasty.The self-awakening of people in the Han and Wei Dynasties gave it the guidance of thoughts and values,while the evaluation of celebrities and traditional physiognomy provided it with more direct discourse reference and aesthetic models.As a model of literary and art theory criticism in Wei,Jin and Six Dynasties,Wenxin Diaolong has achieved high accomplishments with the aid of "human as Xiangyu".LIU Xie compared "human body" to "literary style" to emphasize the importance of stylistic norms;compared "body style" to "literary style" to express the pursuit of unique style;compared "disease" to "literary errors" to highlight the respect for overall and infinite vitality.As a result,a series of far-reaching categories and propositions such as Tizhi,Timao,Fenggu,Yimai and Fengqing Gujun have also been formed.Chapter Three discusses the "natural objects as Xiangyu" in Wenxin Diaolong.Chinese civilization originated from farming,and Chinese are close to nature.The way of cognition of the ancestors with insight observation determined that nature is not only the initial object of cognition,but also the most significant aesthetic object."Taking natural objects as Xiangyu" thus became the earliest discursive paradigm to appear in "Xiangyu^ criticism.In Wenxin Diaolong,LIU Xie used astronomy to compare civilization and established the sacred status of the "heaven,earth and human" of literary communication;Comparing the beauty of literature from the heart with the beauty of all things in nature not only demonstrates the legitimacy of literary ornaments,but also establishes Ziran Huimiao rhetorical ideal for literary creation.And he uses this to correct the wicked style of writing in the Qiliang period.By employing the roots of plants and trees and the source of rivers as "Xiangyu" for classics,it profoundly reveals the original value and exemplary significance of Confucian classics for literary creation and criticism.Chapter Four analyses the "technology as Xiangyu" in the Wenxin Diaolong.The technical experience accumulated by the Chinese ancestors provided a knowledge basis for literary and art theory criticism "technology as Xiangyu"."Philosophy with the illustration of craft" of the pre-Qin sages provided them with a demonstration of discourse.In the critical practice of the Han,Wei and Six Dynasties,technical and artistic discourse was continuously absorbed by theorists,which greatly enriched the concept and category system of literary and art theoretical criticism.The main purpose of Wenxin Diaolong is to discuss the problems of literary technology,so it makes the most frequent use of "taking technology as Xiangyu".With the metaphor aid from woodworking,metallurgy skills,it analyzes the problems of rules and laws,learning and imitation in literary creation.With metaphor aid from silk weaving and carving techniques,the necessity of literary ornamentation and the aesthetic ideal of perfect form and content are expounded.With metaphor aid from cooking and driving skills,this paper discusses the scheduling and matching between different elements in literary creation,as well as the aesthetic realm of "Yuwei Qubao"and "Liupei Ruqin"Chapter Five deals with miscellaneous types of "Xiangyu" criticism of Wenxin Diaolong.This part focuses on the secondary types of "Xiangyu" criticism of the book,that is,"objects as Xiangyu","music and dance as Xiangyu",and "military as Xiangyu".LIU Xie used the objects as an analogy of artifacts,revealing the cultural function of the Chinese chapter of early Chinese society as an intermediary between.heaven and people,and a carrier of ritual and music inheritance simultaneously.LIU Xie’s purpose is to discuss the rhythm of the article with the rhythm of the dance,and to explain the harmony of the article with the harmony of the music.LIU Xie’s took "soldiers as a Xiangyu" with three purposes:there is no fixed pattern for commanding battles,there is no fixed routine for literary creation,the sharpness of weapons is compared with the acuity and agility of writers’ talents,and the courage of war is used to compare the momentum of articles.Through the complementation of these types,it can be more clearly sensed the key role played by "Xiangyu" criticism in the construction of the theoretical system and the generation of critical discourse in Wenxin Diaolong.The "Xiangyu" criticism of ancient literary theory still developed beyond Wenxin Diaolong.After experiencing the peak period of the Wei and Jin Dynasties,"Xiangyu" criticism continued to expand and extend to new fields with the enrichment of literary and artistic genres.In addition to the extension of the scope of application,the object of "Xiangyu" criticism has also been continuously expanded and updated with the progress of the times.With the expansion of the territory and the innovation of terminology,the "Xiangyu" criticism of literary and artistic theory has always maintained the vitality of theory.