A Study Of Yan Yu's Theory Of "Immersion In Spirit"

Yan Yu put forward the poetic theory of "Immersion in Spirit" in Cang Lang Discourse on Poetry · Poetry Discrimination.It is regarded as the highest aesthetic realm of poetry creation.As an important aesthetic concept in Chinese classical poetry,"Immersion in Spirit" has its profound historical origin.As an important part of Yan Yu's poetic theory system,the theory of "Immersion in Spirit" is closely related to such poetic theories as "Intuitive Enlightenment","Poetic Pleasure","Reasonable" and "Sanctification".It has rich poetic implication and historical value,and gives many inspirations to later poets and poetry critics.This paper takes Yan Yu's theory of "Immersion in Spirit" as the research object,and discusses it from four aspects: the historical origin of Yan Yu's theory of "Immersion in Spirit",the relationship with other related theories of poetry,the implication of poetry and the influence of poetry.This paper consists of four chapters.The first chapter discusses the historical origin of Yan Yu's theory of "Immersion in Spirit".The word "Immersion in Spirit" extends and rises to the field of philosophy and aesthetics through the original meaning of "God",then transforms into the concept of literature and art,and with the conscious infiltration of poetry into the field of poetry.Yan Yu inherited the rich expositions of the predecessors on "God",and established a poetic system centered on "Immersion in Spirit",regarded "Immersion in Spirit" as the highest standard of poetry aesthetics,and promoted the significance of "Immersion in Spirit" poetry to an unprecedented height.Chapter two analyses the relationship between Yan Yu's theory of "Immersion in Spirit" and "Intuitive Enlightenment ","Poetic Pleasure","Reasonable" and "Sanctification".Yan Yu's theory system of poetry is composed of "Immersion in Spirit" and "Intuitive Enlightenment" and "Poetic Pleasure",which are closely related to each other."Intuitive Enlightenment " is the only way to "Immersion in Spirit",while "Poetic Pleasure" is the aesthetic expression of "Immersion in Spirit".At the same time,Yan Yu criticized the Jiangxi Poetry's practice of "taking argumentation as poetry",and emphasized that "Reason" is an indispensable factor for poetry to be "Immersion in Spirit".In addition,there is a certain relationship between "Immersion in Spirit" and "Sanctification","Immersion in Spirit" is higher than "Sanctification",and "Sanctification" can also be "Immersion in Spirit".The third chapter explores the poetic implication of Yan Yu's theory of "Immersion in Spirit"."Immersion in Spirit" is not a vague and unsupported concept of poetry,but requires certain conditions to achieve.Yan Yu's theory of "Immersion in Spirit" is a poetic concept that can not be clearly defined in a single sentence.It contains three aspects of poetic connotations,namely,the harmony of word,reason,interest,meaning,the infinite rhyme beyond the image and the harmony of things and me.Yan Yu regards Li Bai and Du Fu as poems,and the model of "Immersion in Spirit" is closely related to Yan Yu's background of the times and his poetic ideas.However,although both Li Bai and Du Fu's poems can achieve the "Immersion in Spirit" state,the main performance of their poems is obviously different.Chapter four explores the poetic influence of Yan Yu's theory of "Immersion in Spirit".Yan Yu's theory of "Immersion in Spirit" has exerted various influences on the theory of poetry and the creation of poetry.Yan Yu's theory of "Immersion in Spirit" has inspired the later poets and poetic theorists in many ways.It has provided useful reference for the later generations,especially the poetic theorists in Ming and Qing Dynasties,to construct their own views and opinions.At the same time,the poetic theorists in Yuan,Ming and Qing Dynasties understand and comprehend the connotation of Yan Yu's theory of "Immersion in Spirit",which promoted the development of poetry creation in this period.In addition,Yan Yu's theory of "Immersion in Spirit" shows a clear poetic tendency of "respecting Tang Dynasty and suppressing Song Dynasty",which also has a certain negative impact on later poetry theory and poetry creation.