碩士 / 淡江大學 / 中國文學系碩士班 / 95 / The entire thesis is constituted of four major chapters. The second chapter “Discourse of Chuan Shan Poetical Theory” expresses that how Chuan Shan defines a poet really is that he can compose genuine lyric poems through language derived by the awareness of personal existence. Furthermore, the ideal lyric poems are produced by the individual who perceives his own entity. The relationship between human entities and poetry, compactly connected by the mediation of “Xing”, contributes to the undividable, brilliantly reflected living community. Poetry has transcended its original form and displays the poets’ various aesthetic feeling toward life; human beings also change into lyric poets who possess the better fabric of history.
In the third chapter “Theory of Chuan Shan Poetical Composition”, the central concept explicates that the lyric poetry composers must equip with the quality of “Xing”, namely arousal of the personal existence. The inspirations for poets’ production, one is characterized as “Qi Xing”, that means outward emotion urged by the setting and the other is represented as “Xing Hui”, refers to emotional involvement in the setting. The two approaches to experience the surrounding pose “Xian Liang” present essence: different from the past space; the established essence: dependent upon intuition, very direct perception of the environment. Once the entity who values the environment aesthetically reaches to the extent of understanding, then he can foster the real image equally as the setting, which contains the third “Xing Liang” essence that emerges the complete structure of real meaning.
The creation of lyric poetry the poet needs to adopt the “Bi Xing” method, allowing the match between feelings and setting to happen, put it simply is that the abstract affection would be hidden in the typical concrete images. In order to define the difference in matching courses, there are, first of all, the natural development between feeling and setting and second, the opposite proceeding among them. The former comprises two types: the feeling flamed by the setting and vice versa; in contrast, the latter also has two distinguished forms: the conversion of sorrowful or joyful setting into total extremity. Their basis is all constructed by the poets’ real feelings upon that time. That the real feelings the poets present enables the poetry to be more unique and meaningful through the process of euphemistically implicit “Bi Xing.” The format-dogmatic poems can’t reflect its uniqueness and meaningfulness which belong to the two dominant characteristics of poetic images. However, those images produced by a great body of poems are not the peak—in fact, the meanings conveyed through feeling and setting are matching perfectly—for lyric poetry.
Then in the chapter four “Appreciative Theory of Chuan Shan Poetry”, the theme is discoursed specifically on the aspect of lyric poetry literature virtually serves as the bridge for communication across from the composer to the readership. The poet creates art work aspired from his life practice; the reader extracts essence from various art formations. Throughout the lyric poetry the poet’s touched feelings can be fully presented and meanwhile, the reader would be moved by sipping the lyric poems. Either the poet or the reader has experienced the feeling of touch which emphasizes greatly that it doesn’t exist in the lyric poetry. Thus, between the poet and the reader there appears a balance position. All of them are active entities that the lyric poet surges life force into his literary works and the appreciative reader adds more vitality into those he has read. An exquisite, perfect lyric poem for life, as a result, is formulated that leads people to behave kindly by the continuous passing down of different generations in many fine lyric poems.
Finally, in the appended chapter “The Historical Perspective on the Poetical Theory of Chuan Shan School”, it declares that the researcher will distinguish implications from “Positive Style Change”, “Generational Quality Change” to “Positive Genre Change” during the poetic development, followed by the announcement that Chuan Shan’s historical view on poetical theory is concluded into such a category of “Positive Genre Change.” The researcher will regard “Positive Genre Change” as the criterion to examine the past collections of Chuan Shan poetry, for example, “The Commentary of Chinese Ancient Poetry” and “The Commentary of Tang-dynasty Poetry”, with “Positive Change” as vertically and history as horizontally for the conclusion that the origin and style of five- and seven-words format poems. It turns out that Chinese ancient poetry, lyric verse and after-Tang poetry are sophisticatedly tied together and they can’t be examined separately from each other. The source of five-word format traces back to the progress from five-word ancient poem, strict tonal pattern and rhyme scheme to quatrain; as for seven-word one, it starts from seven-word lyric verse all the way to quatrain. In five-word poetical formation, its style is based on the paradigm of “Nineteen Chinese Ancient Poetry.” The style of seven-word poems takes the model of Bao Zhao’s seven-word lyric verses. In conclusion, Chuan Shan considers lyric pomes that can touch reader’s heart and arouse feelings as “Positive” or else “Changed.” The scale of “Genre Change”, therefore, forms the highest standard that he upholds to comment on past lyric poems.
| Identifer | oai:union.ndltd.org:TW/095TKU05045007 |
| Date | January 2007 |
| Creators | Bo -En Chang, 張柏恩 |
| Contributors | 曾昭旭 |
| Source Sets | National Digital Library of Theses and Dissertations in Taiwan |
| Language | zh-TW |
| Detected Language | English |
| Type | 學位論文 ; thesis |
| Format | 182 |
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