| The development of poetic discourse in the Ming dynasty had already taken on the theoretical meaning of "thesis on poetry and rhetoric",and the literary activities of the Seven Sons before and after the Jiajing period are used as a boundary to explore the poetic discourse in the Ming dynasty before and after the Ming dynasty,with the influence of the Southern Song poetic discourse on it and the poetic thought of the Ming dynasty’s retrogressive trend as an implicit background.The hermeneutic analysis of poetic discourse and practice in the early Ming Dynasty reveals that the hermeneutic features of the early Ming Dynasty poetic discourse are that the path of poetic interpretation is through emotion,emphasising the importance of the emotion of the subject of poetic interpretation to the hermeneutic activity,and that the purpose of interpretation is through meaning,emphasising the search for meaning beyond words through the linguistic text of poetry.In the interpretive context of the poetic text,the subject is able to put himself in the shoes of the poet and develop his own emotional understanding and experience,emphasising the ’interpretability’ of the poem and the establishment of interpretive meaning in the process of pursuing its meaning.Based on the accumulation of poetry in the early Ming dynasty,poetic commentators chose to use the method of ’analogical interpretation’ to compare and analyse poetry in order to present the aesthetic experience and unique tendencies of choice as the subject of poetry interpretation.This essay combines a focus on the poetic background of the Ming dynasty with an analysis of individual poetic discourse to examine the interpretive features of pre-Ming poetic discourse,and is divided into five sections.The first chapter analyses the overall characteristics of the poetic discourse in the context of the Ming poetic ideology of restoration and repetition of the past.The second chapter identifies a shift in the reader’s interpretive perspective in poetry discourses such as Li Dongyang’s Lu Tang Poetic Discourses and Qu You’s Gui Tian Poetic Discourses,which emphasize the ability of the interpreter to ’know poetry’and place more emphasis on the ’reader’s self-acceptance’ and ’poetry to touch people’.The third chapter takes Yang Shen’s "Sheng’an" as an example of how the poem is interpreted.The third chapter uses Yang Shen’s Sheng’an Poetic Discourse on the interpretation of poetic texts as an example to illustrate the principle of interpretation of ’meaning against will’ practised in the poetic discourse of the early Ming dynasty,emphasising that poetry ’has a meaning beyond words,so that people can understand themselves’ to clarify that the interpreter of poetry,through the effective understanding of language,can The fourth chapter examines the poetic discourse of the early Ming dynasty.The fourth chapter strips away the similarity of interpretation practices in the poetic discourse of the early Ming dynasty and summarises them as the ’analogical interpretation’ method of ’similar language and meaning,but different workmanship’,including the ’same meaning and workmanship’ and the ’analogical interpretation’method."The poetic method is summarised as the ’analogical interpretation’ method of ’similarity of meaning and distant workmanship’,which consists of two different strategies of poetic interpretation: the linguistic comparison of ’the same meaning and workmanship’ and the ’comprehensive dialogue’ style of meaning interpretation.Chapter 5 summarises the path of interpretation that emphasises ’emotion’ and seeks ’meaning’ in the practice of poetry interpretation in the early Ming dynasty,and "meaning interpretation" became the hermeneutic characteristics of Ming poetic discourse and the direction of hermeneutic practice.At the same time,the mystical discourse in the poetic discourse is analysed,highlighting the mystical undertones of’love’ and ’meaning’ in the mystery of the effect of poetic interpretation. |
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