By Zong-qi Cai
The first elements of the booklet concentrate on cultural traditions, exhibiting how Liu canonized the chinese language literary culture, assessing the place Liu's paintings stands in that culture, and demonstrating his accounts to the highbrow currents of his time. The 3rd half explores Liu's concept of literary production through the use of modern severe views to investigate Liu's belief of mind's eye. The fourth half offers 3 certain stories of Liu's perspectives on rhetoric: an in depth analyzing of his bankruptcy on rhetorical parallelism, a dialogue of his personal use of parallelism as a way of research and textual construction, and an research of his perspectives on alterations and continuities in chinese language literary kinds. The publication concludes with a serious survey of Asian-language scholarship on Wenxin diaolong during this century.
The individuals are Zong-qi Cai, Kang-i solar Chang, Ronald Egan, Wai-yee Li, Shuen-fu Lin, Richard John Lynn, Victor H. Mair, Stephen Owen, Andrew H. Plaks, Maureen Robertson, and Zhang Shaokang.
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Additional info for A Chinese Literary Mind: Culture, Creativity, and Rhetoric in Wenxin Diaolong
Thus, throughout Wenxin diaolong, Liu Xie attempts to show both the cosmological significance of the wen (as realized in the natural patterns) and the literary wen (as reflected in the writings of the sages). He assumes that wen comes from the original Tao, which only the mind (xiri) of the sage is able to comprehend and bring out its true quality. From the Tao to the sages and then to wen, there seems to be a compelling connection. Thus, Liu Xie seems to argue that wen is not just literary but also cultural.
Therefore," he concludes, "we chant with the virtue of the mean, and we sing with the notes of the mean. The virtue and notes are not violated in order to bring harmony between the spirits and man. Thus the spirits are put at ease and the commoners are made to listen" [;£ i| £ W t & ° fc^tt ° H1*^ ° ^ In sum, the reformulation of the "Shi yan zhi" statement in the Zuo Commentary and Speeches of the States gives birth to a new, humanistic concept of literature. In elevating the status of music and in rethinking the functions of music and poetry, the speakers in these two texts consistently display an overriding concern with sociopolitical and natural processes that immediately affect the conditions of human existence.
From substantive plainness [zht] on to falseness— the nearer we come to our own times, the more insipid literature becomes. ( WXDL 29/49~54)25 In Liu Xie s view, the main problem with his contemporaries and immediate predecessors is that by modeling themselves after the tradition of Chuci, they learned only the rhetorical art of qi (strangeness) from Qu Yuan without observing the classical requirement of zhen (genuineness). 26 In other words, ancient poets sang of their true emotions, while more recent poets wrote about false emotions that were merely decorated with colorful language.
A Chinese Literary Mind: Culture, Creativity, and Rhetoric in Wenxin Diaolong by Zong-qi Cai