The Study Of The Literature Of The Tang Dynasty Literati "Zhuangzi"

Chuang-tzu provided the plight of the wisdom of life for the later scholars.The literary acceptance of Chuang-tzu by the scholars of the Tang Dynasty included not only learning the wisdom of life,but also a model of imitation in the literary creation.This paper divided into six chapters based on the receiver’s life encounter.The first chapter discusses the cultural context of the literary acceptance of the writers in Tang Dynasty to Chuang-tzu,it also includes the situation of acceptance.The cultural context of the times plays a role in promoting the acceptance behavior.In the Tang Dynasty,the status of Taoism rose,which generated the reprosperity of Chuang-tzu as a Taoist classic.Chuang-tzu became the classic which must be learned in the rest selecting the people who study Taoism.In the Tang Dynasty,Confucianism,Buddhism and Taoism of developed independently and gradually been fusing,which appeared to add Confucianism and Buddhism into Chuang Tzu in the acceptance of literature of the Tang Dynasty to Chuang-tzu.The writers lived in the different times of Tang Dynasty,had differing experiences and literature style.They and Chuang-tzu produced different fit points.The second chapter discusses the hermit literati’s acceptance of Chuang-tzu in the early and peak Tang Dynasty.Chuang-tzu was a hermit exactly,and Chuang-tzu also created many hermit images.Chuang-tzu expounded the reclusive thought in the text:preservation of life and disposition,the seclusion in the world and seclusion in the heart.Wang Ji,Meng Haoran and Wang Wei respectively represent the three main types of seclusion:seclusion because of anger,seclusion because of their own temperament,seclusion because of escaping from the mundane.Wang Ji lived at the turn of the regime.Not being used by the world,he believed in Chuang-tzu,and selected seclusion to quell the anger of life with the attitude conforming to the world.He built an ideal wine world beyond the secular to be free here and preserve his life and disposition.Although Meng Haoran refused the hard won opportunity to enter the official career,because he wanted to be free and not want to be bound his nature.Many of his works picked Chuang-tzu’s words,explained Chuang-tzu’s philosophy,and their meaning were consistent with Chuang-tzu,which reflected many direction of acceptance.Meng Haoran’s poetic style was light,which accepted Chuang-tzu’s aesthetic taste of keeping simple and treating light as beauty.Wang Wei’s official experience was bumpy.He secluded himself in the imperial court to take back his heart.His poems described a large number of artistic conception without me to observe the objects from the perspective of objects,and remove self center point,which accepted the thought of Chuang-tzu’s idea of integration of man and nature.Wang Wei learned both about Chuang-tzu and the Zen.His clean and transparent artistic conception not only had the imprint of the Zen,but also was the result because of his Chuang-tzu acceptance.In the early and peak period of the Tang Dynasty,there are many other hermit literati who secluded themselves in the mountains and learn the wisdom of spiritual consolation in Chuang-tzu to maintain their disposition.The third chapter discusses Li Bai’s acceptance of Chuang-tzu.Li Bai used the literature images of Chuang-tzu in his works,especially the Peng image.The Peng under the pen of Li Bai has the connotation of imposing manner,the free and unfettered,lofty spirit.It was combined with his life experience.His works presents a self image of self sufficiency,shows a strong sense of independence,even be regarded as arrogant,which is the personification of the spirit of Li Ba’s Peng and the further acceptance of’Chuang-tzu.Li Bai’s works imagines strangely,exaggerates amazingly,has broad artistic conception and bold momentum,It has the connected meaning but broken words.Li Bai’s aesthetic style of writing accepted Chuang-tzu.The fourth chapter discusses the relegated literati’s acceptance of Chuang-tzu.In the face of difficulties after the relegation,the relegated literati need to correct their own behavior.They faced the world with the "fool" that hided the previous edge with flexible and useless character,and added cautious behavior into the "fool" in pursuit of human nature in order to be far away the strife and harm,protect life,further obtain the happiness of the soul,which obviously came from Chuang-tzu.In the face of a mourning mood,there are two kinds of reaction of relegated literati.The one was to reduce the sorrow,the most typical was Liu Zongyuan’s landscape travel notes.In the landscape where Liu Zongyuan was banished,he realized the joys of free life,and into Chuang-tzu’s artistic conception of integration with "Tao",but did not conceal the grief of the emotional life.The other was to completely removed the sorrow of relegation.The most typical was Bai Juyi.He alienated from the world with the mode of seclusion in small office,and created a large number of poems which expressed his leisure and free.He extended Chuang-tzu’s spirit of the free to the daily,and gave Chuang-tzu’s connotation of peace and no worries to sleep.In terms of literary creation,Han Yu’s literary theory that express with works when the writer was indignant and Chuang-tzu’s theory of emotion had certain relation.The sad life feelings of the relegated literati were expressed,which is a concrete example of Chuang-tzu’s theory of emotion.They used banter and irony in a strange sight to deconstruct sadness and achieve a special relief.This attitude of banter and irony came from Chuang-tzu.Because of banter function and flexibility of expressing meaning,fable was selected by the relegated literati in a sensitive status.They followed Chuang-tzu that created many fable.They adopted Chuang-tzu’s model of the story frame,or explain Chuang-tzu’s Philosophy,and compared themselves with fable,the fable image type also accepted from Chuang-tzu.The fifth chapter discusses the acceptance of Li He who expressed the ghost world of Chuang-tzu.Li He spent his life in anticipation and indignation.Reality can not be free to stretch his hart,so he was in great need of meditation.In the literary world,he accepted Chuang-tzu’s mode of hart flying.Flying in the ghost world,he was looking for life companion to relieve grief.Flying in the heaven,he expressed his ideal.The creation mood of Li He was very chilly,so he liked to choose the words with cold tone in the poem,which was consistent to Chuang-tzu’s creation psychology.He was not willing to pay attention to the "true" or "false" of the secular,except his feelings.He pursued the spiritual resemblance,and ignored the appearance resemblance,so did his poems,which was the acceptance of Chuang-tzu’s theory of the relationship between form and spirit.The sixth chapter discusses the Chuang-tzu acceptance of literati who lived at the end of the Tang Dynasty,The literati who lived at the end of the Tang Dynasty were enraged by the chaos,they accepted Chuang-tzu’s cynic.Their works expressed the chaos at the end of the Tang Dynasty,satirized the cruel kings,sorrow for not be used,expressed sentimental mood which reflected the feelings at the end of dynasties under intense anger.At the end of the Tang Dynasty,the literati’s mental state and psychological feelings changed fragilely and sensitively,so their works pursued the aesthetic style that had more meaning,which developed Chuang-tzu’s theory about the relation between the words and the meaning.They realized that works meaning must be considered firstly,and pursued the images outside the object images,the views outside the object views,the taste outside the object taste.In the poem creation,they also tried to practice the idea.Li Shangyin’s poems often express a hidden deep mood,used the writing method that leaves the images and select the spirit,which deepened Chuang-tzu’s theory about the relation between the words and the meaning.In the late Tang Dynasty,the social atmosphere declined.The literati refused to chase right in troubled times,and also refused to sink into the destruction.They occupied their life with Chuang-tzu’s feelings escaping from the world.They denied the secular value standard,made the spirit and interest return to evacuation in order to preserve of the life and disposition with uselessness and resist the secular.They gave the literati character to daily life to remove the resentment and hardships in the mountains,which added Chuang-tzu’s spirit free into their life.But the feeling escaped from the world had no choice.Inevitable resentment appeared with it.This complex emotional superposition is also consistent with Chuang-tzu.