The Category Of “Fa” In Ancient Poetics Andweng Fanggang's Poetic Theory

In the early twenties of the twentieth century,modern scholars started to pay attention to the research of Chinese Bao Juan.The law of poetry is the combination of techniques and rules of poetic creation.It is the most central and abundant about the elaboration of the techniques and rules of poetry creation in Chinese ancient poetic system.“When Article was finished,the rules also were established.” The law of poetry is not only a practice form but a theoretical category.Historically,ancient Chinese poetic theory did not form a normative theoretical mode of existence in a conscious and mature way from the beginning.Generally speaking,the maturity of poem is relative to the creation of poetry,and it has experienced a stage from mysterious and vague fragmentary recording to purposeful generalization.The most obvious of these is the difference between the scope of the poem and the object of study,which is caused by the difference of the existing forms of rule(such as“Shu”,“Ti”,Lv,“Ge” and so on).In other words,the interdependence and compatibility between the various concepts make the law's prescriptive and inclusive system less clear.This paper takes Weng Fanggang 's poetic theory in the middle period of the Qing Dynasty as the research subject.We try to find out the connotation of Weng Fanggang 's poetic theory and take it as a line to trace the evolution of poetics,thus to establish its position in the history of Chinese poetics.The paper consists of six parts:The introduction mainly explains the necessity of this research,the research present situation,thinking and method.Chapter one mainly analyzes the connotation and existing form of the poetic theory roughly according to the consciousness of literary creation and the awakening of legal consciousness in theoretical criticism.We think that the “Fa” contains the basic contents of the later law in the connotation and denotation of the literature before entering the field of literary creation.Thethesis regards the literary consciousness of the Wei and Jin Dynasties as the starting point,and regards Liu Xie's theory of ‘shu' as the first and authoritative theoretical expression of “Fa” entering into the literary creation field.the appearance of the poem theory of the Tang Dynasty has become a phenomenon that can not be ignored.The existence of the poem style,which is both epochal and practical,plays an important role in the study of the evolution of poetry theory.The paper finds out Du Fu's thought was the formal proposition and preliminary construction in the field of poetics,using a verse “What is the format of a good poem?” The poets of the Song Dynasty,especially Jiangxi poetry,inherited the spirit of Du Fu's conscious exploration of poetry,and further deepened the law into the intrinsic and fixed features of poetry,marking the establishment and formation of the category of “Fa” in the field of poetics.However,Ming Dynasty inherited Yan Yu's mantle and resisted the abuse of Jiangxi poetics.They put forward and labeled “style” in order to pursue Tang poetry,but in the path of the division or involuntarily move closer to Jiangxi poetry.And the Ming Dynasty poet opened up the endless changes of the “law” to the retro,conservative approach.Chapter two mainly investigates the motivations of its poetic theory.First,the paper talk about the internal logic of the development of Qing poetics,including the struggle between the Tang and Song poetry and the problem of “Ge Diao ” “Sheng Yun” and “Xing Ling”.We conclued that the emergence of Weng Fanggang's “Ji Li” theory is not the inevitable outcome under the influence of academic thought,howerer,it is the inevitable result of Weng Fanggang's works on ancient poetics,especially the poetic theory of Song Dynasty.Second,it is about the poetry of Weng Fanggang himself and his active participation in the activities of Poetry Society,thus confirming Weng Fanggang's poet characteristics.Thirdly,starting with the study of the relationship between Weng Fanggang's academic career and poetic education,the author points out that Weng Fanggang's different attitudes towards the general poems and Shixi poems.The paper points out his intention to fosterthe consciousness of the poet's creative ability and poetic problem,and to reveal his identity as a poet.Based on the above three reasons,we can conclude that the analysis of the poetic theory of the “Ji Li”produced by the scholarly research method in the past is misunderstood and is not consistent with the fact.The third chapter is about the the connotation of“Ji Li”.We analyze it from the positive angle.Criticism is made on the misunderstanding of the obsolete“Yili”and“Wenli”in the academic circles for many years,thus revealing the“texture”which is the essence of Weng Fanggang's poems to explore the life of his poems,referring to the“Fangcun”(??),“Chishu”(??)which is a class of difficult poetry method.The paper explores Weng Fanggang's recognition and deduction of“Ji Li”,and completes his analysis of Du Fu's poems.However,the mode of the operation of the poem is not easy to learn,so he put forward Huang Tingjian's“NIbi”rule,advocated by Huang Tingjian's poetry method into Du Fu's poetic theory.Through the analysis of the essence of Wang Shizhen's“Shen Yun”poetic theory,Weng Fanggang thinks that“Shen Yun as a style”is hardly tracked,therefore,Weng Fanggang put forward the“Ji Li”,the transformation of the meaning of the two poetry theory to complete its comprehensive criticism,that is“Ji Li”is not only the“Ge Diao”,but also“Shen Yun”.He formally embeded the“Ji Li”into the whole system of ancient poetic theory.The analysis of“texture”as a poetic theory is the pioneering of the ancient poem in horizontal and vertical direction,According to this,Weng Fanggang is the synthesizer of ancient poem theory.Chapter four explores the evolvement of poetics in the late Qing Dynasty(especially Chen Yan's Shi Yi Shi Shi Hua),and deduces three pieces which best reflect the characteristics of ancient poetic theory to end the study of this thesis according to the logic of the development of poetics.The paper analyzes the acceptance of Weng Fanggang's view of “Writing poetry through knowledge” by the Song Dynasty poets in the late Qing Dynasty,and concludes that they have dealt with the relationship betweenlearning and poetry in a more secure way.The thesis examines the poetic ideas of the School of Song Shi and the poets of Tongguang,and finds that they hold a positive attitude toward the spirit of “Ku Yin ”.They followed with Weng Fang-gang and still criticized the ideas of “Shen Yun”.They tend to specialize in the positive side of poetry,advocated by the law to no rules,and advocated by the deliberate processing to natural writing.They concluded the paradigm of learning poetry,which is in Tang and Song dynasty.To harmonize the schools of poetry in the Tang and Song Dynasties,and to advocate the ancient ways of “learning from different people to write poems” and “learning the typical poetry form”.Thus it actively responded Weng Fanggang's change rule about writing in practice and theory.Through the analysis of the above four chapters,the evolution of ancient Chinese poetry theory can be said clearly.In the last part of the thesis,we make a review of the poetics theory from Liu Xie,Du Fu and Huang Tingjian to Weng Fanggang and think that their poetry theory is an important knot and turn of the ancient poetry theory.The point of view of these people ahead along one clue and gradually advancing.The thesis draws the reflection of Qian Zhongshu on the ancient poetics as a circumstantial evidence,and concludes that the spiritual essence and ontological feature of ancient poetics is the concept of“Fa”,rather than “Shen Yun”,“Jing jie” and “Xing Qu”.