Interpretation of “Poetry Expressing Aspirations”—A Discussion on the “Manifesto”of Chinese Poetics

This paper delves into the ancient concept of shi yan zhi(poetry expressing aspirations)within Chinese poetry.It examines the precise meaning of zhi,the dialectical relationship between yan and zhi,and the historical development of“poetry expressing aspirations.”It further looks at how this foundational concept underpins the logical construction of Chinese poetic tradition,reaffirming its historical significance as the“manifesto”of Chinese poetics.

Shi Yan Zhi: From Ideological Construction to Moral Education

During the pre-Qin period,shi yan zhi(poetry expressing aspirations)was not a poetic concept.It primarily served to shape Confucian ideology,carrying significant discourse implications.The practices of shi yan zhi and bi zhi in religious rituals held important implications for poem reciting,a prevalent activity during the banquet ceremonies in the Spring and Autumn Period and its various forms.Together,they established the rites and music tradition characterized by yanshuo(speeches).This tradition further established the status of The Book of Odes as a classic,furnishing high-ranking officials and Confucian scholars with legitimacy and rich discourse resources to develop new ideologies.The different interpretations and applications of shi yan zhi resulted in diverse discourse models,such as duanzhang-quyi(to interpret out of context),xin’er youzheng(being reliable and borne out by evidence),wenwang yinyan(no word,no expression of thoughts)and yiyi-nizhi(interpreting a writing from one’s perspective).Through these different interpretations and applications,the scholarly-official class established multiple values and objectives,such as liyan buxiu(advocating lasting noble ideas untouched by time),xing-guan-qun yuan(stimulation,contemplation,communication,and criticism),shang you(befriending those superior to oneself),fa hu qing,zhi hu li yi(starting with feelings and control with propriety).In the process of building a unified ideology in the Han Dynasty,the“Introduction to Mao’s Version of The Book of Odes”advocated the unity of qing(sentiment)and zhi(aspiration),infusing shi yan zhi with connotations of enlightenment as well as extolment and satirical criticism.This advocacy redefined the political authority and discourse models of the scholar-official class,objectively unveiling the literary features of poetry,such as evoking an emotional response and commencing the practice of education through poetry teaching.

Evolution of the Pre-Qin Theory of Shi Yan Zhi and Different Interpretations

The phrase,shi yan zhi(poetry expressing aspirations)is ancient China’s first ontology of poetry,and therefore its significance should be examined from the ontological perspective.This paper explores the historical context in which this theory is created in three respects:the maturity of the artistic form that integrates poetry,music,and dance,the establishment of governance through an education system,and the establishment of an ethical system.This paper holds that as an ancient and classical theory,shi yan zhi was embraced and carried forward by the scholar-officials of the Spring and Autumn Period when reciting poems,and later was cited and further expanded by the pre-Qin philosophers.Zhi is the unique attribute of The Book of Odes to distinguish it from other classics.This paper also investigates the evolution history from shi yan zhi to the six music language skills and six forms of poetry described in“The Office of Spring”in The Rites of Zhou,as well as the six essential elements mentioned in the Introduction to Mao’s Version of The Book of Odes,highlighting the contribution of“The Record of Music”in The Book of Rites to the development of shi yan zhi.

Refuting the Misconception:Li Bai as an Impolite Person

This essay endeavors to dispel the lingering misconception that Li Bai,the celebrated Tang Dynasty poet,was a man devoid of propriety.Through a meticulous examination of historical records,literary works,and contemporary interpretations,this study presents a nuanced portrait of Li Bai as a poet who,despite his eccentricities and wanderlust,possessed a profound sense of etiquette and respect for societal norms.This essay argues that his unique personality in life and free expression in poetry are all driven by the need for artistic creation,rather than challenging for ancient propriety.