A Study On The Pattern Of Temporal Sense In The Poems Of The Three Masters In Yuanjia Period

"The Three Great Master of Yuanjia Period" refers to Yan Yanzhi,Xie Lingyun and Bao Zhao in Yuanjia,the period of the Liu Song Dynasty,they spontaneously used the pattern of temporal sense in their poetry.The pattern of temporal sense is a kind of poetic composition technology,and also a kind of aesthetic experience mode,that is,it is a kind of stable expression strategy and consistent subjective cognition,its aesthetic significance has both cultural aspects and poetic art aspects.The sense of time in poetry first appeared in The Book of Songs.In the poems of the literati at the end of the Han Dynasty,the sense of time sequence was formed with the aesthetic experience of "the substance feelings result from emotions" and stable expression skills.The three masters of Yuanjia inherited the pattern of temporal sense,and expanded its content mainly in the philosophical and secular categories,so as to enrich their aesthetic experience,and developed the pattern of temporal sense into a skilled technique of composing poems.The cultural cognition and attitude of these three people are also reflected in the process of their expression of time.In terms of content,the pattern of temporal sense of the three major poets includes philosophical time,secular time and aesthetic time.By analyzing the philosophical problems,human affairs and aesthetic significance of their poems,we can tease out the connection between the time sequence and the themes of the ideal,emotion and philosophy.During the period of Liu Song,the connotation of "affection theory" changed,the limitation of "substance" decreased,"feel from substance" was not a necessary way to convey emotions,and the mode of temporal sequence feeling directly became a tool to express the theme.The three masters of Yuanjia took time as the core of their poems,used structural means such as the combination of time and space,the contrast between the present and the past,the combination of the real and the imaginary,described from multiple angles,exaggerate,compare and symbolize,parallelism,rhetorical question,and antithesis sentence patterns,and skillfully used reduplication,continuous words,adverbs,verbs and other skills to express this kind of poetic time.If we start from the perspective of the pattern of temporal sense,and investigate the retro and innovation of the three great poets,then the pattern of temporal sense will have richer aesthetic significance.Restoring ancient ways mainly refers to the restoration of the function of poetry to express emotions,specifically,it firmly grasps the lyric core of emotion and makes the connection between time and emotion more flexible.The two biggest aesthetic changes of the temporal sense model in the poems of the three masters are the increase of emotional concentration and the focus on scenery.The former is reflected in the frequent occurrence of the two themes of separation of life and death and fleeting youth,and even the direct expression of the feelings,direct discussion and questioning of the time sequence.The focus on scenery is out of the need to resolve the pressure of time sequence,and its main characteristic is that the change of scenery in the passage of time becomes the main object of expression,and even in order to better express the relationship between things and feelings,it has enriched the performance skills of symbolic metaphor.The first chapter describes the history of the development of the pattern of temporal sense,hand-painted the history of time-sense pattern of poetry from pre-Qin to Liu Song Dynasty as the background board.It is divided into two parts: the time consciousness of poetry in pre-Qin and Han dynasties and the time sense mode of poetry in Wei and Jin dynasties,bounded by "the Nineteen Ancient Poems",the symbol of the birth of the time sense mode.Considering the retro orientation of the three masters of Yuanjia,the emphasis falls on Jian ’an and Taikang.Then in the context of Yuanjia literature,the relationship between the three masters’ practice of retro and innovation and the pattern of temporal sense is investigated.According to the content and form of the temporal sense mode,the second to the forth chapters respectively show the aesthetic experience structure of the three masters’ poems based on the principle and sentiment from the perspective of philosophy,history and lyric aesthetics.The aim is to show the most characteristic part of the temporal sense model.It not only has something to do with the retro and change in the poetry creation of the three masters,but also shows the evolution of the pattern of temporal sense in the history of poetry and its form in the late mediaeval times.