Appreciation method of I don't know who I am

I don't know who he is, but? Different schools of literary studies have different answers to this question.

There are three elements in literary creation and appreciation: author, works and readers. All three can be used as research standards. According to the different emphases of the research object, different literary research schools and methods have been formed. Based on the writer's positivist criticism, literary research is equated with textual research, and the exploration of the background of the works is emphasized; Structuralism and formalism criticism based on works focus on the exploration of language structure of works; The reader-centered reception aesthetics theory emphasizes the uncertainty of works and pays more attention to the study of works' functions. All the methods are reasonable and effective from their own standpoint. However, if they are biased and mutually exclusive, it obviously violates the method of system theory. On the issue of "knowing people", although different literary research schools have different views, it is undeniable that "knowing people" constitutes a prerequisite for appreciation in actual appreciation activities. Of course, the situation of literary works is so different that it is difficult to stick to one. The necessary degree of "knowing people" also depends on the specific object.

"Poetry expresses ambition" ("Shangshu Yaodian"), "The heart is ambition, and words are poetry. Emotion is in the middle, and form is in words "("Preface to Mao Poetry "). People have long recognized that this kind of poetry is characterized by expression or lyricism. In China's ancient poetry, the image of the lyric hero is mostly the poet's self-image, or indirectly, more or less with the poet's shadow. Mencius Zhang Wan goes: "Ode to his poems, read his books, and don't know who he is, but don't know what he is?" The answer is self-evident.

Not only has China's traditional literary criticism always attached importance to "knowing people", but western literary criticism almost coincides with each other. For example, French modern literary critic Shen Tubaiwu believes that the study of works should start with the author's personality, state, inheritance, situation and career, and only through this "media layer" can the meaning of works be understood. Only the western modern new criticism opposes this method, arguing that the author's life story is of no use except to help us understand the meaning of some words and their innuendo to private life. For example, how Keats heard the nightingale in the garden has nothing to do with our evaluation of the poem Ode to a Nightingale. (See Zhao Yiheng's "New Criticism-A Unique Formalism Literary Theory") Although this objection really hits the sore spot of some literary criticism that has become a habit of textual research or textual research for textual research, it is one-sided. Because even if they are all poems, the forms of expression are very different and cannot be unified. Some poems in Li Bai's Thoughts on a Quiet Night express the common feelings of ordinary people: "There is such bright light at the foot of my bed, is there already frost?" . Looking up, I found that it was moonlight, sinking again, and I suddenly thought of home. " Or poems with obvious symbolic significance, such as Wang Zhihuan (actually Zhu Bin) and In the Heron Tower: "The mountains cover the daytime, and the sea drains the golden river. But as long as you go up a flight of stairs, you can broaden your horizons by 300 miles. " There is no harm in appreciating the author's life without knowing it. But more often, the poet's creation has a certain environment and personal relationship, expressing a special kind of thoughts and feelings, and his poems have artistic personality. Therefore, if the reader knows nothing about the writer's life and creative background, he is likely to have a little knowledge of this spiritual product as a personal creation, or even misunderstand it. If he still relishes this, the blind man will taste the fish soup and not know that the fish has not been thrown into the pot, which will become a joke. There are many examples of young friends misunderstanding ancient poetry without knowing anyone. There seems to be no need to make a mountain out of a molehill and make more jokes. However, it will have a different influence if famous artists ignore people to tell poems and make jokes. Li Bai and Du Fu, two great poets, have a profound friendship, and quite a few poems have been returned, which is also known to readers with a little knowledge of literary history today. Because Du Niandai was later than Li, Du gave Li Zhi many poems, such as the following two:

Hou Li has a beautiful sentence, which is often like a pit. Yu Yidong is a guest. He is like a brother. Drunk sleep autumn quilt, hand in hand with Japanese counterparts. I prefer to live in seclusion and look for Guo Sheng in the north. Getting started with Gao Xingfa, serving children. The scenery is cold and the clouds set off the ancient city. Who wants a soup? I don't want to talk about money ("Looking for it with Li")

Qiu Lai is very concerned about him, but he is not ashamed of Ge Hong for cinnabar. Crazy songs, empty life, who is domineering? (To Li Bai)

Wouldn't it make people laugh if someone said today that these two poems taught "later learning" as "predecessors"? As everyone knows, it was not others who made this mistake, but Jin Shengtan, a famous critic of six books (namely, Zhuangzi, Li Sao, Historical Records, Du Shi, The Water Margin and The West Chamber). He explained the first two poems in his masterpiece Du Shi Jie:

Why are you sleeping? Okay, why join forces? It can almost be said that Du Fu never taught to write poems in vain. Read the sentence "emphasize and elaborate" another day, and cover the teacher to teach. I don't believe it!

After reading the sentence of "flying around", I failed to live up to the words of "being willing to get started" and "serving children" Teacher Wang did not hesitate to ask for advice. He repeatedly warned me that his predecessors had treated him so thick.

Originally, the characteristics of Jin Shengtan's comments on poetry and prose are bold, lively and lively, which is often ignored by people. However, this gifted scholar who commented on the book of gifted scholars is so talented. He paid no attention to the age of Du Fu's poems or the historical background of his writing. He is an expert in Du Fu's poems, but he doesn't know Du Fu's age, which is really puzzling. (It is estimated that this misunderstanding comes from a misunderstanding of Du Fu's "No See": "If Li See doesn't make wine, it's really sad for crazy people". In ancient times, "fate" was called "sir", which should not be confused with the young people who later called it "fate". Ignoring people's views on the world, blindly opposing subjective opinions, ignoring textual research and trying to explain the subtlety of benevolence and righteousness will inevitably put my foot in my mouth. I don't know who praised his poems, but what? Answer: No.