The Human World of Poetry

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Questa edizione è una traduzione assistita da IA e revisionata da persone, preparata da BooksWhale per leggibilità, formattazione e coerenza.

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In questa edizione

1. 01I.1 · The Realm Is the Highest Criterion in Ci Poetry
2. 02I.2 · Creating a Realm and Depicting a Realm
3. 03I.3 · The Realm with the Self and the Realm without the Self
4. 04I.4 · The Realm without the Self Is Beautiful; the Realm with the Self Is Sublime
5. 05I.5 · Realists and Idealists
6. 06I.6 · Joy, Anger, Sorrow, and Happiness Are Also Realms
7. 07I.7 · A Single Word Can Reveal an Entire Realm
8. 08I.8 · The Size of a Realm Does Not Determine Its Excellence
9. 09I.9 · Poetic Interest and Spiritual Resonance Are Inferior to the Realm
10. 10I.10 · Grandeur of Vision
11. 11I.11 · Profound Beauty and Majestic Restraint; Exquisite Splendor Beyond Comparison
12. 12I.12 · Poetic Lines and the Character of Ci Poetry
13. 13I.13 · The Exquisite Lines of Li Jing, the Middle Ruler of Southern Tang
14. 14I.14 · Beauty of Language, Beauty of Structure, and Beauty of Spirit
15. 15I.15 · Only with Li Yu Did the Vision of Ci Poetry Broaden and Its Emotions Deepen
16. 16I.16 · The Ci Poet Must Preserve the Heart of a Child
17. 17I.17 · Poets and Their Experience of the World
18. 18I.18 · Li Yu's Ci Poetry Was Written in Blood
19. 19I.19 · Feng Yansi's Ci Initiated the Literary Fashion of the Northern Song
20. 20I.20 · Feng Yansi's Drunk Among Flowers
21. 21I.21 · Ouyang Xiu Improved upon His Predecessors
22. 22I.22 · Qin Guan and Ouyang Xiu Learned from Mei Yaochen and Feng Yansi
23. 23I.23 · Supreme Masterpieces on Spring Grass
24. 24I.24 · The Profound Suggestiveness of the Ancient Poets
25. 25I.25 · Anxiety over Human Life and Anxiety over the World
26. 26I.26 · Those Who Achieve Great Undertakings or Great Scholarship Must Pass through Three Realms
27. 27I.27 · Ouyang Xiu's Ci Combines Boldness with Composure
28. 28I.28 · Qin Guan's Simple Language Possesses Depth, and His Plain Words Possess Grace
29. 29I.29 · Qin Guan's Realm Is the Most Melancholy and Tender
30. 30I.30 · Similar Grandeur of Vision
31. 31I.31 · Ci Poetry Rarely Attains the Grandeur of Tao Yuanming's Poems or Xue Shou's Rhapsodies
32. 32I.32 · Refinement and Vulgarity in Ci Lie in the Spirit, Not the Appearance
33. 33I.33 · Zhou Bangyan Had More Talent for Creating Forms than for Creating New Ideas
34. 34I.34 · Ci Poetry Should Avoid Substitute Expressions
35. 35I.35 · Using Substitute Expressions Does Not Constitute Literary Excellence
36. 36I.36 · Zhou Bangyan's Su Curtain Captures the Essential Spirit of the Lotus
37. 37I.37 · Su Shi's Response Poem Seems Like the Original
38. 38I.38 · Su Shi's Water Dragon Chant Is the Finest Ci on an Object
39. 39I.39 · Jiang Kui's Descriptions of Scenery Remain Separated by a Layer
40. 40I.40 · The Distinction between Separation and Immediacy
41. 41I.41 · Immediacy in Expressing Emotion and Depicting Scenery
42. 42I.42 · Jiang Kui's Ci Possesses Style but Lacks Poetic Conception
43. 43I.43 · Among Southern Song Ci Poets, Only Xin Qiji Can Rival the Northern Song Masters
44. 44I.44 · Su Shi's Ci Is Expansive; Xin Qiji's Ci Is Heroic
45. 45I.45 · The Noble Breadth and Lofty Refinement of Su Shi and Xin Qiji
46. 46I.46 · The Unrestrained, the Scrupulous, and the Hypocritically Respectable among Ci Poets
47. 47I.47 · Xin Qiji's Ci on the Moon
48. 48I.48 · The Character of Shi Dazu's and Zhou Bangyan's Ci
49. 49I.49 · The Best Ci of Wu Wenying
50. 50I.50 · Evaluating Wu Wenying and Zhang Yan through Lines from Their Own Ci
51. 51I.51 · Such Realms Are Magnificent Spectacles for All Ages
52. 52I.52 · The Sincerity of Nalan Xingde's Ci
53. 53I.53 · Ci Poetry Is Not Necessarily Easier than Shi Poetry
54. 54I.54 · Every Literary Form Flourishes at First and Declines in the End
55. 55I.55 · When Poems and Ci Acquire Titles, Poetry and Ci Begin to Die
56. 56I.56 · The Works of Great Masters Reveal Genuine Perception and Profound Understanding
57. 57I.57 · The Way of Poetry and Ci
58. 58I.58 · The Difference between Bai Juyi and Wu Weiye in Their Use of Allusions
59. 59I.59 · The Forms of Regulated Poetry and Ci
60. 60I.60 · Entering into and Emerging from the Universe and Human Life
61. 61I.61 · Disregarding External Things and Valuing External Things
62. 62I.62 · Licentious, Vulgar, and Insincere Ci
63. 63I.63 · Ma Zhiyuan's Tianjingsha Attains the Exquisite Realm of Tang Quatrains
64. 64I.64 · Everyone Has Abilities and Limitations
65. 65II.1 · Only Two Lines of Jiang Kui's Ci Are My Favorites
66. 66II.2 · Whether Poetry and Ci Become Instruments of Social Courtesy Determines Their Rise and Decline
67. 67II.3 · Zeng Di's Imperial Mid-Autumn Ci
68. 68II.4 · The Ci of Shi Dazu, Wu Wenying, and Others Suffers from Shallowness
69. 69II.5 · I Dislike Composing Long Ci, and Especially Dislike Using Other Poets' Rhymes
70. 70II.6 · Shen Hong's Butterflies in Love with Flowers
71. 71II.7 · In Composing Ci, I Strive for the Highest and Most Original Meaning
72. 72II.8 · Lyric Poetry, Narrative Poetry, and Drama
73. 73II.9 · He Zhu Is the Least Accomplished among the Famous Northern Song Ci Poets
74. 74II.10 · Easy to Learn but Difficult to Perfect; Difficult to Learn but Easy to Perfect
75. 75II.11 · Literature Arises When Equilibrium Is Disturbed
76. 76II.12–13 · Habit Destroys People; Poetry Possesses a Broad Realm
77. 77II.14 · It Is Better to Speak of Realm than of Temperament or Spiritual Resonance
78. 78II.15 · Borrowing the Realm of the Ancients and Making It One's Own
79. 79II.16 · Extraordinary Ci Composed Entirely in the Language of Emotion
80. 80II.17 · Zhou Bangyan, Liu Yong, Su Shi, and Xin Qiji Excelled in Long Ci
81. 81II.18 · Xin Qiji's Congratulations to the Bridegroom Was Not Deliberately Contrived
82. 82II.19 · Xin Qiji and Han Yu Anticipated the Interchangeable Use of the Four Tones in Northern Songs
83. 83II.20 · Tan Xian's Discussion of Ci
84. 84II.21 · He Shang's Comments on Zhang Yan's Sources of Ci
85. 85II.22 · Zhou Ji's Criticism of Zhang Yan's Ci
86. 86II.23 · The Theory of Historical Periods in Ci Criticism
87. 87II.24 · Living Fragrance and True Color versus Artificial Flowers
88. 88II.25 · Wang Shizhen's Best Ci Resembles That of He Zhu
89. 89II.26 · Zhu Xiaozang Represents the Highest Achievement of Scholarly Ci
90. 90II.27 · The Subtle and Profound Suggestiveness of Song Zhengyu and Tan Xian
91. 91II.28 · Wang Pengyun's Ci Written to Feng Yansi's Rhymes
92. 92II.29 · The Ci of Wen Tingyun, Ouyang Xiu, and Su Shi Were All Works of Spontaneous Inspiration
93. 93II.30 · He Shang's Comments on Shi Dazu's Ci
94. 94II.31 · Yuan Haowen's Criticism of Chen Shidao's Poetry
95. 95II.32 · Northern Song Ci Has Memorable Lines; Ci after the Southern Song Has None
96. 96II.33 · Zhu Xi's Judgment of Mei Yaochen's Poetry
97. 97II.34 · Lines Such as "I Pity My Own Thinness from Poetry and Wine" Are Not Memorable Verses
98. 98II.35 · Wen Tianxiang's Ci Possesses Lofty Moral Strength and a Genuine Realm
99. 99II.36 · A Certain Roughness Is Acceptable in Northern Song Ci
100. 100II.37 · Zhu Yizun Disparaged Caotang Shiyu and Praised Juemiao Haoci
101. 101II.38 · An Examination of Ancient and Modern Discussions of Ci
102. 102II.39 · The Words of a Statesman and the Words of a Poet
103. 103II.40 · Most Song Dynasty Anecdotal Narratives Are Unreliable
104. 104II.41 · Possessing Fine Lines and Possessing Complete Works
105. 105II.42 · Entertainers and Vulgar Men
106. 106II.43 · Butterflies in Love with Flowers Was Written by Ouyang Xiu
107. 107II.44 · Sensuous Ci May Be Written, but Frivolous Language Must Never Be Used
108. 108II.45 · The Sincerity of the Ci Poet
109. 109II.46 · Parallels between Ci Anthologies and Poetry Anthologies
110. 110II.47 · The Shortcomings of Ci Criticism
111. 111II.48 · The Expansiveness of Su Shi and Jiang Kui
112. 112II.49 · Inner Beauty and Cultivated Ability
113. 113II.50 · The Poet Regards All External Things as Materials for Play