| Literary works are the reflection of the real world.Writers,through artistic conception,incorporates the real space into literary works,thus forming the internal textual spaces of the works.Because of the deformation effect of writers' artistic conception,the existing form of textual spaces in different works will be different from the space sensed by humans in the real world,sometimes even subverting the rules of space operation in the real world.In the different degrees of deformation of the textual space against the real space,the aesthetic feeling of space arts in the literature works will be revealed.Ci-poetry is one of the most artistic styles in Chinese classical literature and it reached the climax in the Tang and Song Dynasties.To explore the space arts of literary works,and then to create a textual space hermeneutics featured by methodological nature,taking Ci-poetry in Tang and Song Dynasties as the research object is a good choice.The sense of space presented by Ci-poetry in Tang and Song Dynasties can be divided into six types on the whole: narrow and delicate,broad and abundant,thick and deep,broken and leaping,linear and extensive,and cadent and circular.The first three are the grasp of the spatial sense of the work from the static point of view,and the last three are the dynamic investigation results of the spatial sense of the works after taking into account the time dimension that measures the operational state of the space.The narrow and delicate textual space is represented by poets who belongs to the Huajian Style and has the meaning of “original quality” of Ci-poetry.Ci-poetry is a literary style born in Jiangnan Culture,which tends to be delicate and soft in cultural background.The Huajian Ci-poetry is mostly a song for the banquet and feast,and the female life is the main description object.The setting of scenes is usually restricted to a narrow scope of the boudoir garden behind.These two factors lead to the fact that the textual spaces of Huajian Ci-poetry are mostly confined to a very small pattern,which makes the narrow sense of space known as the mainstream of Huajian Ci-poetry.At the same time,Wen Tingyun,who established the style of Huajian Ci-poetry,mostly used the method of “focusing” space construction to give a large number of close-up shots of women's makeup,clothing and other details,which made the textual space of Huajian Ci-poetry narrow and exquisite at the same time.The origin of the narrow spatial pattern of Huajian Ci-poetry text lies in the fact that the poet describes the imaginary boudoir life according to the needs of female subjects,so that the limited content does not need a large textual space to carry.The broad and abundant textual space is represented by Liu Yong,Su Shi and Xin Qiji.Although Liu Yong also created a large number of Ci-poetry in the style of Hua Jian with female as the subject,he also promoted the creation of Ci-poetry into a wider social life.In his works,he wrote about the distress and poverty of travel.Thus,the natural landscape of rivers,lakes,seas,mountains and so on,was written into the Ci-poetry,forming an open and broad textual space.At the same time,Liu Yong also created a large number of Ci-poetry depicting the greatness of cities.In these works,he used “horizontal portrayed” space construction techniques to arrange all kinds of prosperous and luxurious scenes,and displayed a magnificent and prosperous atmosphere in the textual space.Su Shi continued to take over the tradition of “Cipoetry of scholar bureaucrat” originating from Li Yu in the Southern Tang Dynasty(937-975),and really set it up as another aesthetic paradigm of Ci-poetry which can be separated from the “Hua Jian Ci-poetry paradigm”.“Ci-poetry of scholar bureaucrat” can be seen as a creative way of integrating the author's profound thinking of life into his Ci-poetry.Because Su Shi has supreme talent of all time,his Ci-poetry can often reach the height of “only being bond with the spirit of heaven and earth” in the ideological level,and push the textual space of the works to an infinite cosmological pattern.At the same time,Su Shi injected his innate philosophic temperament into his works in the way of “injecting Qi into Ci-poetry”,so that the textual space of Ci-poetry writing can be enriched with inner quality and powerful tension,presenting a space atmosphere full of overflowing view.Xin Qiji's Ci-poetry are mostly related to the great themes of the era featured by resisting Jin Dynasty,which must be loaded with the large textual space.At the same time,he continued Su Shi's “injecting Qi into Ci-poetry” in his creative way,and injected his heroic spirit into the works,thus forming a heroic atmosphere of great theme with great courage.In addition,Xin Qiji also likes to describe magnificent natural scenery to creat a large volume of textual space.Therefore,Xin Qiji's Ci-poetry often combine the three themes of the big theme,the great soul and the big picture,and create a great and intense space of text with great tension.The thick and deep textual space means multiple space overlapped textual space structure.This spatial structure is more concentrated in the works of two poets of Feng Yansi and Xin Qiji,as well as the works of chanting objects.Feng Yansi was in the prime minister's position in the Southern Tang Dynasty(937-975),enjoying the luxurious life,but he also had a clear understanding of the reality that his country will decline and fall.In this case,he did not choose to help the monarchy and reinvigorate the national court.Instead,he chose to escape from reality.The Ci-poetry created by Feng Yansi in such a living environment and state of mind show a multiple textual space which is mutually deviated from the external environment of worry and joy,which is the result of his inner unconsciousness.Xin Qiji's multi textual space is deliberately-created artistic achievements.This deliberate creation has originated from Xin Qiji's two special methods of using allusions: firstly,he used the allusion to place the ancients and himself in the same space scene,and exchanged with the ancients;secondly,he used the historical allusions similar to his own situation or mood to put the ancients in his own situation to express his emotion.These two methods can be unified as “summoning the spirit”.By using this method,Xin Qiji can combine historical space with real space to create a multiple textual space of “blending ancient and present situation”.In the Song Dynasty,the Ci-poetry of “chanting objects” is the highest artistic standard,which need to rely on chanting things to put up other emotions to achieve.The chanting objects are bound to have two levels of textual space,namely,image and emotion,and form multiple spatial structures with overlapping spaces.In addition,Zhou Bangyan created a “sketched” technique that does not write directly on the basis of his sustenance,making the multiple textual space of chanting objects more complex and subtle.The broken and leaping textual space presented in Wen Tingyun's Ci-poetry is the most representative of the fragmented textual space.Fragmentation is a main way for Wen Tingyun to construct textual space in his Ci-poetry.The operation state of this textual space structure is a jump from one fragment to another,showing a sense of jumping space in the broken situation.There are two kinds of interacted states in the fragmented textual space: the scattered natural state and the combined state after the reader's consciousness intervenes.The latter has a strong dependence on the reader's reading ability.The textual space of this kind of fragmentation structure has a negative restrictive effect on the artistic expression of Wen Tingyun's Ci-poetry,which makes its sense of space narrow and fragmentary.At the same time,it gives Wen Tingyun's Ci-poetry great explanatory tension,so that its smaller textual space can load more connotations and show its unique artistic value.In addition,the merging structure in the textual space of Ci-poetry in Tang and Song Dynasties is also embodied in the way that the upper and lower parts are combined as two space units respectively.There are four types of spatial structure relations in the works of upper and lower fragments: continuity,fracture,parallelism,and inverse.In these four spatial structures,except for the continuity,the other three can be regarded as the space construction method of combining the two space units of the upper and lower parts,which produces a sense of jumping space between the two parts.The “stretching” of space is another kind of space construction technique which can form the sense of leaping space.It can be divided into three types: one is the stretching of the area from A to B;the other is the stretching of the time from the present to the past;and the third is the stretching of the point of view from one character to another which was called “writing on the opposite side”.The “stretching” technique can create a sense of jumping space in the textual space of nonfragmentation structure.Linear and extensive textual space,that is,the operation state of space accords with the linear rule of time in natural state,and it is embodied in the narration of Ci-poetry.This kind of textual space that follows time linear is reflected early in Huajian Ci-poetry.However,due to the restriction of the size of the poem,the narrative can not be complete.Therefore,the linearly extended textual space in Huajian Ci-poetry is mainly embodied in two forms: first,the story is hidden in the allusion which completed the timeline of the story in the two or three words;secondly,interception of several fragments of the story which were arranged in chronological order,and the story fragments can be attached to a complete timeline.Although these two forms are not completely meaningful narration,they can still make the textual space flow smoothly because of they conform to the linear rules of time operation.What can really tell a complete story is Liu Yong's narrative long tune Ci-poetry.In these Ci-poetry,Liu Yong uses the “vertical narration” method to lay a complete and continuous timeline for the textual space of Ci-poetry,so that the story in the Ci-poetry can be presented with “from the beginning to the end”.To a large extent,the “vertical narration” is the result of Liu Yong's learning of folk poems,so there is hardly any reference from other poets.Beside Huajian Ci-poetry and Liu Yong,there are also three other forms of the linear extension of the textual space in the Ci-poetry in Tang and Song Dynasties: the first is to give a static picture the extension of the time dimension;secondly,to present the dynamic activities of the characters in the form of “one act play”;thirdly,to use the technique similar to the “follow shooting” in film and television system,which made the transformation of space follow the action of the characters.These three forms lay a complete timeline for the textual space in different ways,so that the works can be presented with a dynamic and dynamic sense of space.The cadent and circular textual space is to break the time linearity and create the textual space of loops in time and space.This type of textual space was created by Liu Yong,Zhou Bangyan and Wu Wenying.Liu Yong constructs the textual space of “flashback” structure by inserting a memory into the linear narrative.Although the “flashback” of this space only completes a twist and turn in the operation of time and space,and essentially still follows the psychological time process of cherishing people and reminiscing the present and the past,it can still make the works present the intricate sense of space caused by the time and space loop.Liu Yong's spatial “flashback” structure is a relatively simple circular textual space,and shows the drawbacks of modelling and routinization in his creative practice.Compared with Liu Yong,Zhou Bangyan's creation of space-time loops in Ci-poetry is more mature.On the one hand,he makes the space-time loops in Ci-poetry more complex and changeable by weakening time information,setting up space-time links and breaking psychological time.On the other hand,Zhou Bangyan is good at laying the meaning of the whole poem in secret,which makes the textual space complicated but not lost in confusion.Wu Wenying,on the basis of Zhou Bangyan's artistic experience,further deepened the artistry of the space-time loop,which not only had a greater range of loops,but also left no trace between the space transformation.In addition,through the “cross-narrative” space construction method,he spliced and merged the memory,reality,illusion,dream and other nature of space units,creating a highly artistic charm of the “Interior Castle”.The space art shown by Wu Wenying's Ci-poetry had reached the peak of Ci-poetry in Tang and Song Dynasties.Summarizing the various spatial artistic phenomena exhibited in Ci-poetry in Tang and Song Dynasties,we can comb out the development of space art in four stages: the beginning stage of the Tang and Five Dynasties,the outbreak stage in the early and middle period of Northern Song Dynasty,the turning stage in the late Northern Song Dynasty and the deepening stage in the Southern Song Dynasty.Based on the summary of art,we can preliminarily extract “textual space hermeneutics” at the theoretical level,and its core problem consciousness can be expressed as: how a specific sense of space is generated and conveyed in literary works.This “textual space hermeneutics” is only the embryonic form of the initial establishment,which needs further improvement and amendment.At the same time,“textual space hermeneutics” also has its theoretical boundaries.It is not applicable to the works like lacking of spatial information,having a meaning beyond the mere words or the artistic excellence just cannot be reflected in the textual space. |
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