The Human World of Poetry

Name: The Human World of Poetry
Author: 王国维

英语 BooksWhale 版本 · 王国维

原题: 人间词话

An English rendering of Wang Guowei’s poetics of artistic experience.

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The Human World of Poetry

The Human World of Poetry by Wang Guowei brings its central world, characters and themes into view, offering a distinctive entry to the period and tradition that shaped it.

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预览章节I.1 · The Realm Is the Highest Criterion in Ci Poetry阅读预览

In ci poetry, the realm (jingjie) is the highest criterion. Once a work possesses a realm, its style naturally becomes elevated, and memorable lines naturally emerge. The reason the ci poetry of the Five Dynasties and the Northern Song far surpasses that of other periods lies precisely in its possession of a realm.

预览章节I.2 · Creating a Realm and Depicting a Realm预览

There are realms created through imagination and realms depicted from reality. This distinction separates idealist writers from realist writers. Yet the two are difficult to distinguish clearly. This is because the realms created by great poets must necessarily accord with the natural world, while the realms they depict must also necessarily approach their ideals.

预览章节I.3 · The Realm with the Self and the Realm without the Self预览

There is the realm with the self and the realm without the self.

"With tearful eyes I question the flowers, but the flowers make no reply; scattered red petals fly beyond the swing."

"How can one endure the lonely inn, shut against the spring cold, as the setting sun fades amid the cries of cuckoos?"

These are realms with the self.

"I pick chrysanthemums beneath the eastern fence and leisurely behold the southern mountain."

"Cold waves rise gently, while white birds descend at ease."

These are realms without the self.

In the realm with the self, one observes things through one's own eyes, so everything takes on the colors of one's own feelings. In the realm without the self, one observes things from the standpoint of the things themselves, so that it becomes impossible to distinguish between the self and the objects observed.

Most ancient ci poets depicted realms with the self. This does not mean, however, that they were incapable of depicting realms without the self. The ability to do so depends entirely upon the cultivation of one's own character by those of extraordinary talent.

本版本内容

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