A Study On Liao Xingzhi

After once being glorious in Tang Dynasty,Hunan Literature fall into low ebb in Song.Among many reasons which result in this phenomenon, the influence of Neo-Confucianism is the most important one. The works by Liao Xingzhi reflect the trend. This paper is divided into six chapters.The first chapter introduces Liao Xingzhi’s life and his convinction to Neo-Confucianism. The second chapter is the study on Liao’s poetry,which is divided into four sections. One, Liao deems writing poetry should learn from Qu Yuan and Du Fu, emulating their spirit of concern for the country.But in fact, he is driven by the Confucianism,not the deep emotion from heart. So his many poems worrying about the country are stiff and superficial, which can not move the readers. Two, Liao writes many poems for congratulation and social intercourse. Part of them are obsequious and repulsive, while another part can express the real passion for friends and relatives. Three, as the Neo-Confucians, Liao was good at writing observation poems which are unconceptual and poetic, making use of observing nature to comprehend the heavenly principles. Other poems depicting nature scenery can get away from the restriction of Neo-Confucianism and enjoy the readers with beauty.Four, Liao was familiar with Buddhism and liked to use allusions of it. But except for one piece of writing, most of them are either talking about abstruse principles uninterestingly or just wrapped a layer of Buddhist semblance. It is hard to reconcile the poetic quality and Buddhist allusions for Liao. The third chapter is the study on Liao’s ci poetry. Most researchers focused on his birthday congratulations ci. Actually there are a lot of flattering works just for sociality sheerly. Only the ci depicting scenery and yearning hometown can represent the real level of his creation. The fourth chapter is the study on Liao’s proses, which are divided into unrhythmical and rhythmical ones. His unrhythmical proses like to discuss politics and philosophy, which are monotonous and without concinnity. Only a few records and prefaces can break through the hull of reason and reach the region of the emotion narrowly. Most of his rhythmical proses are written for official business, having the obvious practical purpose. The duplication of sentences in them are serious. However, the artistic quality of his lament proses is quite high, expressing the deep emotion and mourning to the deceased. The fifth chapter is the study on the two common points of his works. The first is vernacular poetry, some researchers commend using colloquialism in his verse. Some of his vernacular poetry are indeed forthright and sincere, taking advantage of the forte of vernacular, but there are other works which are philistine and dull. The second is emphasis on filial duty. Liao always display his devotion to parents in his writing, but such reiteration can hardly move the readers and even be stereotyped. The filial piety is standardized by the law and norms of etiquette in Song Dynasty, which is related to the appointment and removal of officials, so it is doubtful that the ceaseless profession of author himself is authentically heartfelt. The sixth chapter is to survey Hunan Literature in Song Dynasty through Liao’s works. The economy and culture of Hunan lags behind Central China, so the native writers are largely influenced by foreign writers’ level. The Huxiang School which is mostly composed by outsiders has a great effect on Hunan Literature and mark clear Neo-Confucianism feature on it. The works of Liao Xingzhi is a representative of such circumstance.