A Study Of The Lyrical Tradition Of Late Qing Poetics

Lyricism,as one of the undertones of Chinese literature,is a topic that arouses lasting attention.With the diversified development of academic environment,"lyric tradition" has developed from a single judgment and induction of the phenomenon genre of Chinese literature into a set of systematic theoretical paradigm,covering knowledge discourse,emotional politics and even poetic mode.It is also one of the relatively active critical discourses in current Chinese literature research,with rich space for interpretation and theoretical value.Under Wang Dewei’s voice of "No late Qing Dynasty,no May 4th",as the beginning of modernity,the complexity of literature in the late Qing Dynasty has gradually attracted attention,especially the lyric discourse in poetics.The mixed historical materials not only preserve the inheritance of Chinese lyric tradition,but also integrate into the new trend of thought,which is the key point of the study of lyric tradition.This paper firstly describes the historical evolution of lyric discourse in Chinese poetics from a macro perspective.Secondly,it mainly selects the poetics of the late Qing Dynasty as the research object,examines the "lyric" discourse in poetry creation and poetics theory,and tries to explore the theoretical construction of lyric discourse in poetics by taking Gong Zizhen,Wei Yuan,Huang Zunxian and Liang Qichao as examples.It focuses on the realistic acceptance and theoretical direction of "lyric tradition" in the late Qing Dynasty.The introduction part from the origin of the topic,the research status,the definition of the concept of three aspects of the necessary comb and review,on this basis,introduced the research ideas of this paper.The first chapter mainly traces the source from the historical point of view,combs the discussion on "emotion" in Chinese poetics criticism before the late Qing Dynasty,and classifies and summarizes the theoretical nature of the discussion on "emotion" in Chinese poetics based on the previous discussion.This paper mainly elaborates and recognizes the discussion of "emotion" in Chinese poetics from two aspects: "temperament" and "affinity","individual" and "group".The second chapter of Gong Zizhen’s poetic lyricism: The author makes a detailed investigation of Gong Zizhen’s poetic thought,focusing on the "respect for emotion" and "respect for heart" in his poetic theory and the images of "sword qi" and "Xiao heart" in his poetic practice,and summarizes the exalting and promoting of the subject spirit in his poetic theory.The third chapter of Wei Yuan’s poetic lyricism: Based on the creation idea of Wei Yuan’s classical literature,the author combs the deep relationship between emotion,image,nature and rational interest in his poetic theory and practice,and the lyricism consciousness contained in "emotion","nature","scenery" and "truth",which become the key core of lyric politics.The fourth chapter of Huang Zunxian’s poetic lyricism: it analyzes the emotional expression of his poetics program "there is something beyond poetry,but there is someone in poetry",deeply probes into the value and significance of his lyricism in his unique folk song creation as well as the attention to "human" in poetics,which reveals the consciousness of modern human concern.The fifth chapter of Liang Qichao’s poetic lyricism: taking into account Liang Qichao’s acceptance of the traditional poetic teaching concept in his poetic practice,and the significance of his emotional education concept to enlighten the people under the new trend of thought,and explaining the new creation of the feeling of home and country integrated into the poetic lyricism discourse on the basis of the traditional Confucian poetic teaching concept.The conclusion is based on the "lyricism" of the late Qing poetics’ poetry creation and poetics research,from the perspective of political education poetics and cultural poetics,to re-examine the lyricism purport in the field of poetics in the late Qing Dynasty,and grasp the "poetic teaching" essence and new meaning of the lyricism discourse in the late Qing Dynasty.