Mr. Ke Ling said in the article "Knee Gossip Zhongshujun": "Qian's two spiritual pillars are profound knowledge and wisdom. , Literature, History and Philosophy are all-encompassing, all-encompassing, wisdom enables him to go in, get out, lift up, put down, enter the room, embrace the world's treasures into my arms, transform them into gods, and never fall into it. So often, never follow the predecessors, cast Zhuoran as the "Qian Xue" of Zhuoran's family. Profound knowledge enables him to stand tall, see far, see through, spread widely, have spiritual insight, discern and think deeply, love life and detach himself from things, and see Dashi's love is not stained with dust, crystal-like transparency and solidity, forming his unique style of standing in the world. This quality, reflected in the text, is an endless stream of epigrams, because he himself is a world epigram. Profound and wise, two If one is missing, it is not Qian Zhongshu." This is Mr. Ke Ling's highly in-depth summary of Mr. Qian.

The supplementary edition of "Talking about Art" written by the profound and wise Mr. Qian is one of the masterpieces of "Qian Xue" that has become a prominent contemporary school, and is loved by readers.But for ordinary readers, some guidance is needed to read this book. Therefore, we compiled this "Reader of Talking about Art".We roughly divide it into: (1) Appreciation, (2) Creation, (3) Writer’s Work, (4) Literary Criticism, (5) Style, (6) Rhetoric, (7) Style.Select a few articles from each category and add subtitles for easy review.Brief notes and explanations are added after each article for easy reading.The first three categories were drafted by Zhou Zhenfu, and the last four categories were drafted by Ji Qin, and they were circulated to each other for some amendments.

Regarding the content of the supplementary edition of "Talking about Art", Zhou Zhenfu's "On Literature and Art in the Supplementary Edition of "Talking about Art" is quoted here as an explanation. The theory of literature and art discussed by Mr. Qian in the supplementary edition of "Talking about Art", here can only be seen from a superficial point of view, and a little bit of insight is waiting for scholars at home and abroad to make more in-depth discussions. First, talking about imitating nature and embellishing nature in artistic creation, Mr. Qian said:

In Changji's "Gao Xuan Guo" there is a phrase "pens make up for the futility of good fortune".The principles of heaven are popular, and nature is made by nature, so it doesn't matter if you study Taoism or art. Those who study and art are the ones who know the law of human affairs, the ones who can conquer the sky with their determination, and the ones who have the power of the human heart. "Book Gao Taomo" said: "Heavenly craftsmanship, people can replace it." "Fayan Wenwen" said: "If you ask about carving all shapes, it is not heavenly. Said: 'Because it does not carve,' "The occurrence of all kinds of Taoism is due to the cooperation of heaven and man.It's just Gu Tianyi, purely natural, art is made by man, it's a difference. (Page 60) Mr. Qian went on to talk about the creation of art in the West, which can be divided into two schools: "One is to imitate nature, which is based on imitating nature." "Heavenly craftsmanship, human beings replace it".Man-made workmanship is different from ingenious workmanship, which is close to imitating nature; however, man-made workmanship shows that human work cannot violate the laws of nature, and neither academic nor art can violate the laws of nature, and must be in line with "the principles of heaven prevail, and the work of heaven makes good". , that is, "the law of human affairs".He also quotes "If you ask about engraving many shapes, it is not heaven. Said: 'Because it is not engraved'." It is believed that all things in nature have countless images, not carved by heaven, but formed naturally.This points out that "Tianyi is nothing but nature".However, "art is made by man", as far as the imitation of nature is concerned with the "law and nature of human affairs", Mr. Qian also quoted "Changli's "Gift to the East" poem 'Words look at the sky', which can be included. The word 'watch' comes from The best; based on the theory of this school, it is believed that although nature has many beauties, it cannot be perfect, and the author must add some simplicity and choice. That is the meaning of "looking at the cleverness". (Ibid.) When imitating nature in art, we need to make some choices and choose the subtleties in nature to imitate.In terms of embellishing nature and winning nature, Mr. Qian thinks that "Changji's pen makes up for nature's vain work" can be used as a hook.The theorists of this school not only think that the beauty of the created environment in art is beyond the reach of the natural realm; they even say that there is no ready-made beauty in the natural world, only materials, which can be beautifully seen after being driven and melted by art.This is why "heaven has no merit" and needs to be "replenished". (Page 61) This is "man's will conquers nature".

Then Mr. Qian put forward his theory of artistic creation: I humbly think that if the two theories are opposite, the reality will be the same, and the appearance will be different but the heart will be the same.Fumo writes about nature, and the word "choice" implies Tao Zhen's rectification.It is called "repairing" since it comes out of the original intention, it is called "replenishing" when it is expanded according to its nature, and it is called "repairing" when it is deleted without harming its nature. ... The secret of good fortune, and the luck of the craftsman, blend together without distinction.

For those who have not reached it, they are obsessed with the number of sects, hanging around to shoot, and it is not a coincidence.Realists are solid and unrefined, miscellaneous and ridiculous, such as Ludoxon and Hu Dingjiao; landscape creators are also ghosts and snakes, grotesque and boring, and Yuchuan and Changgu are also unavoidable. (Pages 61-62) Mr. Qian pointed out that the imitation of nature must be selected, that is, "looking at the ingenuity of nature"; you can't write miscellaneous and ridiculous things; you can embellish nature and "repair" nature. Nonsensical stuff.

This not only points out that there is a choice in the requirement of "the law of human affairs", but also points out that the requirement of "the victory of human determination" cannot deviate from nature, that is, "the human heart is in harmony with the sky".If you deviate from the two in artistic creation, write miscellaneous and ridiculous things in imitation, and absurd and uninteresting things in embellishment, you will fail.The poems of the former such as Lu Duoxun and Hu Dingjiao are miscellaneous and ridiculous, while the poems of the latter such as Lu Tong and Li He are unavoidably absurd and boring.Here, Mr. Qian pointed out to us the correct path and wrong way of artistic creation, as if there is nothing to say.However, Mr. Qian said in the Supplement:

There is another saying in Changji, which is quite in line with "pen supplement good fortune". "Chun Huai Yin" says: "The precious pillow hangs down the clouds to choose the spring dream"; the scene is "Xi Shi's dream is cold in the tent, and the fragrant bun is half-sinking sandalwood" in "The Song of Beauty Combing Hair", and the word "choose" is unique. ...Dream and Xu Cao "choose" politics, if you choose generals, choose colors, or order plays, order dishes, then people are free, dreams can be made according to one's heart, and one's wishes can be fulfilled.What is lacking in life when waking up can be "filled up" after the dream, just like "good fortune" can "make up" with a pen, and I am full of ambition.Zhou Liyuan's "Lai Gutang Collection" Volume 20 "Yu Shuaijun": "The ears on the plane. But the nightmare (that is, Xixi) has been haunted by it. The fear of closing the eyes is worse than opening them. The ancients wanted to buy dreams. Recently, Lu Deshui wants to choose a good dream"; it can be used as a note for a long and auspicious sentence. (382 pages)

Here, Mr. Qian made a supplement to "pen supplement good fortune". "What is lacking in life when waking up must be 'made up' by the end of the dream. This is a good dream to make up for what is lacking in life; and as a "meat on the plane", being disturbed by nightmares every night is to make up for the suffering in life. The nightmare. This kind of dream selection reflects the pen-filling good fortune beyond the waking life, so it "quite corresponds to the 'pen-filling good fortune'". After this supplement, it shows that the work reflects the complexity of life and can be viewed more comprehensively and profound.

Second, Mr. Qian talked about Miao Wu and Shen Yun.Mr. Qian said: If you "enlighten" and say "wonderful", you may not achieve it overnight;To study Taoism and poetry, you must be enlightened. ... Volume 3 of Lu Kangting's "Spiritual Records Collection" says: "Anything that can be gained from experience is enlightenment. It's just that the ancients didn't call it enlightenment, but called it to know the truth.The ancients regarded this state as normal. "You said: "Everyone in human nature has enlightenment.If there is fire in a stone, it must be struck continuously, and the fire will only appear.However, it is not difficult to get fire. After getting fire, you must inherit it with moxa, and then oil, and then the fire will not be extinguished.Therefore, enlightenment must be followed by practicing mechanics. "It's a rare analogy, but it can be used to describe poetry." (98 pages)

Mr. Qian pointed out here that "you can learn something by collecting a lot", like a bee "collecting a hundred flowers into honey"; If there is a God".The wonderful enlightenment pointed out by Mr. Qian mentioned that "everything can be gained from experience", which is the combination of reading ability and practice, so it is called "practice mechanics".Mr. Qian pointed out that "the law of human affairs is the law of the sky, the determination of man is superior to the sky, and the heart of the human heart is in the sky". Enlightenment.Mr. Qian also said: ""University" said: "Think about it and then you can get it"; "Xunzi Encouraging Learning" said: "If you really accumulate strength for a long time, you will enter." Both of them use thinking power to penetrate obstacles and break through difficulties: On Its work is learning, and its state is cultivation of enlightenment." (Ibid.) Mr. Qian also pointed out that in addition to the enlightenment gained from further study, there is also "the wonderful enlightenment that can be found at a glance, such as the so-called "Preface" in "Liang Shu·Xiao Zixian Biography" : "Every time there is a production, there are few talents and merits, and it must come from itself, not to build it with strength"; Li Wenrao's external collection "Articles" attached to "Proverbs" so-called "Writing is a thing, natural aura, come from indistinctness, Arrive without thinking.' It is different from what is said in "University" and "Xunzi", although work and rest are different, but slowness and speed are intertwined, but it is enlightenment." (102 pages) This refers to what Xiao Zixian said: "Climbing high and looking extremely , send you back by the water; early geese and early warblers, flowers bloom and leaves fall." As for the feelings aroused by what you see and encounter, you can grasp it and express it in poetry.This kind of feeling is also a kind of enlightenment, so it is "to realize one." Yan Yu's "Canglang Poetry Talk" discusses poetry, talks about enlightenment, and charm.In addition to talking about Miao Wu, Mr. Qian also talked about Shen Yun.Mr. Qian said: The fifth volume of the inner chapter of Hu Yuanrui's "Shisou" says: "The main points of poetry, but two ends: physique and tone, image and wind spirit. Physique and tone, there are rules to follow; Xingxiang Fengshen, there is no way to stick to it.Therefore, the author only seeks to be upright and high-spirited, with a majestic voice; after a long period of practice, his reserve will be exhausted, his appearance and traces will be integrated, he will look like a wind god, and he will surpass himself.The arm is the mirror, the flower and the water moon: the body and tone, water and the mirror; the image of the wind god, the moon and the flower.The water must be clear and the mirror bright, and then the flowers and the moon will be just like it; if the face is faint and the turbid flow is seen, seek to see both. "... Poets, art is derived from words. Words have sound, and poems get them as tunes and rhythms; words have meaning, and poems get them to be called by bridles and colors. Those who use images as algae, express their aspirations by writing their hearts. The meaning is the emotion. Jifu tunes have residual sounds outside the strings, and words have aftertaste of words, so the charm is full of charm. (41-42 pages) Mr. Qian pointed out that Yan Yu said: "'Poems with charm , like the moon in the water, the flower in the mirror, transparent and exquisite, not to be missed.Not involved in reasoning, not interpreting words, and so on, almost the same as the wordless scriptures. "(100 pages) Mr. Qian gave a clear explanation of Shen Yun here. When talking about Shen Yun, he came into contact with the "Xingxiang Fengshen" in the poem. Don't put words into interpretation". Mr. Qian pointed out that poetry is "the art of art is derived from words", and when it is about to put words into interpretation, the image needs to be "said by color and color", and it is about to touch on the way of reasoning. The so-called charm also needs to have "outside "The leftover sound", "the aftertaste of words and expressions", not only has the image style, but also contains the implication in the image style, which constitutes the charm. Sound, and cooperate with Miaowu, this is exactly the requirement for poetry creation. Third, on the interest of theory.When discussing Shen Yun, Mr. Qian also mentioned that "those who are interested in rationality should see the Tao when discussing poetry" (p. 42).Mr. Qian said: According to Shen's (Deqian) writings, Yu Chang knew that the theory of "reason and interest" began in the third year of Qianlong. He wrote the preface to Yushan Shiluran's "Xiyingzhai Poetry Copy", which briefly said: "Poems are valuable Zen theory and Zen interest are not expensive to have Zen words. Wang Youcheng's poem: "Walk to the poor water, sit and watch the clouds rise"; "Poetry and Yuyu", Juan Xiayun: "Du's poem: 'If the river and the mountain are waiting, the flowers and willows are selfless'; 'The fish in the deep water are happy, and the forests and birds know their home'; .Shao Zi said: "When the yang first moves, when everything is not born", the words of reason can be used to form poetry."... If the husband is interested in theory, then the reason is contained in the thing, and the thing is contained in the reason. The inner objects are displayed.Giving things a clear reason is not to take an analogy to be close, but to give an example to generalize.Or witnessing the completion of the Tao, but I have a heart, and things can be printed, and the inside and outside are harmonious, and the heart and matter are in harmony; using things to write the heart is not a rare example, but a wonderful combination and coagulation.My heart does not compete, so it is slow to follow the flow of clouds and water; and the slow flow of clouds and water also makes my heart not to compete.This so-called condensation also. The singing of birds and the fragrance of flowers are the awe-inspiring aura of heaven and earth; and the awe-inspiring aura of heaven and earth is also revealed in the fragrance of flowers and birdsong.This so-called example is also generalized. (223-228 pages) Mr. Qian believes that "the purpose of reason and interest is extremely subtle" (224 pages), and has made an in-depth elaboration on it.Poems are rational and interesting, and they are opposed to rational language.Liyu is the words of Neo Confucianism written in rhyme, not poetry.Liqu is to describe the scenery, and there is reason in the scenery.The interest of reason is not to use scenery as a metaphor to explain the reason, but to use the scenery as an example to summarize the said reason.For example, Du Fu's quatrain: "The mountains and mountains are beautiful in the late days, and the flowers and birds are fragrant in the spring breeze." Volume 8 of "Helin Yulu" believes that "seeing two is not a business", and the vitality of the world can be seen in the fragrance of birds and flowers. The vitality of heaven and earth is revealed from the fragrance of birds and flowers. It is an example, an example to summarize.The interest of reason is not a rare example, but a cohesion of mind and matter.For example, in Du's poem: "The flow of water does not compete with the heart, and the clouds care about it late." The non-competition of the heart and the slowness of the mind are consistent with the slowness of the flow of clouds and water, so the mind and things are condensed, and we can realize the principle of slowness without competition.Mr. Qian pointed out that Han Shan, a Tang poet monk, ridiculed Taoists for seeking longevity in "Yesterday to Yunxia Temple", saying: "But when the arrow shoots into the air, it will fall to the ground in a moment." The dynamics of things. They are all based on facts, not instant facts. "(page 232) Therefore, Han Shan's analogy is based on facts to simulate reason, not rational interest. The rational interest should be the same as the matter, and the matter should be condensed. Mr. Qian also pointed out the difference between the rational interest and the rational language in the "Supplement". : Chang Jian's "The Shadow of the Lake and the Human Mind", Shaoling's "Water Flows and the Heart Doesn't Compete", and Taibai's "Water and Mind Are Idle", all show the state of mind in the state of matter, that is, the eyes are in agreement, and there are not many words, which can be read An example of capital "interest of reason".Xiangshan's "Sent to Xiaotan to the Master" says: "Xiaotan is clear to the bottom, and idlers sit open. If there is no running water, how can there be no thoughts..." The meaning is also similar, but involving lip kisses and thinking are just "reasoning" language" ear. (547 pages) "Liqu" is to describe the state of matter and express the state of mind in the state of matter; Liyu uses scenery to explain the reasoning. Although it is different from the reasoning of Taoists, it is still reasoning, so it is still Liyu. Fourth, on seeing temperament in mountains and rivers.Mr. Qian said that "the flow of water does not compete with the heart" in Du's poems means "revealing the state of mind in the state of matter", not "seeing the temperament in the mountains and rivers". Mr. Qian also talked about seeing one's temperament in the water: (Wen Tingyun) There is a saying in "Late Return": "The mountains on the west of the lake seem to be laughing at each other". In addition to "Mountain flowers smile at me" and Shaoling's "Mountain birds, mountain flowers, my friends", they open up a new realm, and are invented with Du Mu's "Song Meng Chi" poem "The mountain is alive after the rain".Fu Weichang's "Thinking is like flowing water", Shaoling's "Sorrow is like a mountain"... The imagery should be used to imitate the heart, although the scene is present, the inside and outside are still judged.I only use the mountains and rivers to understand my disposition, not to see my disposition in the mountains and waters; therefore, I only say that my heart is like a landscape, but I don’t know the mountains and rivers, and I have my own heart, and I treat my heart as a reflection. (53 pages) "Wen Xin Diao Long·Wu Se" states: "Since modern times, Wen Gui has been similar in shape, peeking at the scenery, drilling in the vegetation." That is to explore the emotion and appearance from the scenery and vegetation, that is, to see the temperament in the landscape.This is different from anthropomorphism. Anthropomorphism uses objects to represent people, which is a kind of comparison.This is to see its disposition from the scenery, and this disposition is possessed by the scenery itself, not added by the poet.For example, in "Zhuangzi·Autumn Water", it is said that "fishes are happy", because the fish are happy; and in "Qiwulun", it is said that the butterflies in "Dream of Butterflies" are vivid and self-satisfied, which is the butterfly's vividness, not something added by people.Mr. Qian also quoted Guo Xi's "Lin Quan Gao Zhi Ji Shan Shui Xun" as saying: "The body is the landscape and if you take it, you can see the meaning of the landscape. The mountains in spring are light and mellow like smiles, the mountains in summer are green and dripping, and the mountains in autumn are clear and clean. Make-up, Dongshan is bleak and sleepy." (55 pages) This describes the mood of the mountain itself.This kind of observation and description of scenery is not limited to landscapes.Mr. Qian also said: The first poem of Su Dongpo's "Book Chaobu's Collection and Paintable Bamboo" said: "When I was with the paintable bamboo, I saw the bamboo but didn't see people. How could I not see people, but I left my body. Its body and bamboo are infinitely fresh. Zhuang There is nothing in the world, who knows how to focus on it."... The best way is to have a state where I have a thing, not a non-thing. (Pages 55-56) When painting landscapes or writing landscapes, you must "see your temperament in the landscape", and the same is true for painting bamboo. Wen Tong (character and Ke) draws bamboo, how can you see your temperament from bamboo?Su Shi's "Yuandang Valley Yanzhu Ji" mentioned Wen Tong's talk about bamboo: "Bamboo begins to grow, with sprouting ears of one inch, and joint leaves; , It is born with it. Today's painters do it in joints, and the leaves are tired. How can there be bamboo again! Therefore, to draw bamboo, you must first have the bamboo in your heart, and you will see what you want to draw when you hold the pen. Those who are eager to follow it." Here points out the nature of bamboo, from budding to growing bamboo, it is complete and alive, when painting, you should form a complete bamboo with vitality in your chest, and draw it on the paper. Only by seeing the image of bamboo on the Internet can we draw it well.Because what I think about and see in my eyes is the image of the bamboo, and I forget myself, so "I see the bamboo but don't see the person, and I suddenly leave it alone."From the brain, the eyes, to the writing in the hand, to the painting on the paper, there is this vital and complete bamboo, which achieves the state of "the body and the bamboo", which can make the works "infinitely fresh".Bamboo has endless forms and is fresh, so the bamboo in the brush is also "infinite and fresh".Concentrating in this way will achieve the state of "concentration". "The body and the bamboo", in terms of spirit, the bamboo and I become one, that is, the brain, eyes, and hands are all concentrated on the image of the bamboo; in terms of "seeing the bamboo but not seeing people", the bamboo and I are still separated. Second, the division is "I have things", and the combination is "I am not a thing", which points out a state of concentrating on writing things. Fifth, on "taking the old as the new, taking the vulgar as the elegant".Mr. Qian said in the Supplementary Note of the Valley Poetry in "Supplementary Edition" "Xin Buliu "Rhyme Yang Mingshu Again·Introduction"": "Gai takes vulgarity as elegance and oldness as innovation, and he is victorious in every battle. This is the wonder of a poet." Tianshe has no comment.According to "Poetry Talk" in Volume 23 of "Houshan Collection": "Fujian scholars have good poets, they don't use old sayings, they write to Mei Shengyu. The answer is: 'Zi's poems are sincere, but if they are not explained, they use the old as new, and use the vulgar as elegant.'"...Modern Russian formalism Literary critic Shiklovsky and others believe that literary words are the easiest to follow the old routine and be stereotyped, so the author must use his hands and eyes to make the familiar come alive, or in other words, make the writer wild.Stealing is called Shengyu's second language, long-awaited and first-conscious.Husbands use the old as new, even if they are familiar with it, they will be born; and making the writer wild, can also be called the writing of the wild man, driving the wild words, so that they can enter the literary language, and accept the vulgar in Yaer. ... It is true not only to cultivate Ci, but also to select materials and contexts. (320-321 pages) Mr. Qian pointed out that Huang Tingjian believes that "taking the vulgar as elegant, taking the old as new, and winning every battle".It can be seen that Huang Tingjian wrote poems in this way.Take a look at the fifth of his "Ciyun Liu Jingwen Deng Ye Wangtai Seeing Post": "Public poetry is like a beauty, and it is a city before it is married. Married as a prodigal woman, the cold machine will cry until the dawn. The green qin and pearls are all over the net, and the strings will never be successful. Voice. I want to see Chi Yizi, the world is full of love." "Overwhelming country and beautiful city" is a metaphor for beautiful women, and I am very familiar with it.It is used here to compare Liu Jingwen's poems, comparing Liu's poems to Qingcheng, as "unmarried is already fallen", and "unmarried" is used to show that his poetic talent has not been employed.This is a new usage, that is, making the old new. "Selected Works Nineteen Ancient Poems": "I used to be a housewife, but now I am a prodigal woman." This is also a relatively familiar poem. considered to be unrefined.Here it is said that "married as a prodigal woman, weeping until dawn" is based on vulgarity.Another example is that Fan Li carried Xizi, floated in the rivers and lakes, and was called Chiyizi. This is a relatively familiar story.Here is "I want to see Chiyizi, the love of thousands of miles in the rivers and lakes", Ren Yuan notes: "I haven't met a bosom friend." Since Liu Jingwen's poem is Qingcheng, it can be compared to Xizi. It is also new.It can be seen that in Huang Tingjian's writing, his so-called rebirth is precisely the use of "taking the vulgar as elegant, and taking the old as new" to achieve "victorious in a hundred battles", strive to surpass his contemporaries, and create the Jiangxi School of Poetry. Sixth, talk about the "line cloth" of article layout.Mr. Qian said in the "Supplementary Edition" about Huangshan Valley's Poems Supplementary Notes "The Second Poem of Ciyun Gao Zimian": "Xingbuquan is near": Fan Yuanshi's "Qianxi Poetry Eyes" records that the valley said that "articles must be carefully arranged", which is exactly called "line cloth". ... He Ziyi's "Poetry Raft" said: "Poems have very ordinary words, which are tasteless as a sentence, but used as a clever one. For example, Zheng Gu's "Farewell to the Old Man on the Huaihe River" says: "Yangliuchun at the head of the Yangtze River, Yanghua Worry about killing the people crossing the river; several Qiang flutes leave the pavilion late, the king goes to Xiaoxiang, and I go to Qin.' The title is right, and there are only seven characters: 'Your go to Xiaoxiang, I go to Qin'. If you say it at the beginning, it will be straightforward and tasteless; this But it is used as a conclusion, leisurely and affectionate, making readers linger, feeling that there are still dozens of sentences left to finish."... "Ying Kui Lv Sui" Volume 19 Chen Jianzhai's "Drunkenness" begins with a sentence: "Drunk in the present The ancients rise and fall, and the mountains and rivers in the poem shake down." Ji Xiaolan commented: "The meaning of the fourteen characters is better than the beginning, but it is not as good as a pair of sentences." Try to discuss it with a few examples. If Jianzhai used fourteen characters for the couplet, or Duguan used the seven characters "Junxiang" as the opening sentence, it would not be unreasonable. However, the "brilliance", "superb" and "tall" are all gone. No more masters.It is just like the valley's self-written "Answer to the Yuan and Ming Dynasties to the South of Qiannan", which said: "Thousands of miles look at each other and forget the journey, and three tears fall from the cup. Chaoyun used to dream of climbing the sky, when will the night rain be cool on the couch.The sharp snow ridge makes the shadows together, and the frightened geese cannot travel.Going back to the sky, I often look back, and since then I have written frequently to comfort my heartbroken. "Sentences one, two, three, four, seven and eight are all direct statements, while five or six sentences are comparative, and they are placed in between to adjust the background. Gou five six and one two are placed in different places, and they are not in order but they are well-behaved. Just three and four Next, from Chen to Jing, there is no change in the middle; and the four things of cloud, rain, snow and wind are divided into two places in the front and back halves, and the whole poem is judged into two parts, and the scheduling is out of order. (323-325 pages) Mr. Qian's talk about "line and cloth" here is not about the general arrangement of articles, but about the management of poetic meaning and craftsmanship and the subtlety and subtlety of literary heart, and the achievement of creation.For example, in Zheng Gu's poem, if you switch "the king to Xiaoxiang and I to Qin" with "Yangliuchun at the head of the Yangtze River", the difference is made clear at the beginning, but the ending sentence is "Yangliuchun at the head of the Yangtze River", and "Yangliuchun" and "Yangliuchun" are replaced by "Yangliuchun". The contrastive writing of "Yang Hua is sad to kill" also destroys the sorrow of parting caused by parting.Therefore, the sentence "Jun Xiang Xiaoxiang" is placed at the end of the sentence, which not only means infinite affection.Another example is Chen Yuyi's "Drunkenness": "Drunkenness is the rise and fall of the past and the present, and when the mountains and rivers are shaking in the poem. Two hands can still be used to drink wine, but the heart is only known by the temples. Jishan embraces the east and west, and Yuxue creates clouds. There are no poems for thousands of miles of southern expeditions, and the vastness and distance are beyond sorrow." Fang Hui commented: "Three and four are wonderful, and the remaining meaning is deeply emotional." When the death of the Northern Song Dynasty was included, and Song Yubeiqiu's "shaking down knows Song Yubei deeply", it caused a sigh.With both hands, I can only raise a glass to relieve my sorrow, lamenting that I have done nothing, and my heart of serving the country only makes my temples grey, which is of no avail.This kind of emotion comes from one or two sentences.If one or two sentences are swapped with the two sentences of "Jishan", it will be completely understandable, but the deep emotion in the three or four sentences will be lightened.Looking at Ying Tingjian's poem again, Yuan Ming sent Tingjian to Qiannan all the way, and he couldn't bear to stay there for several months, so there is a saying of "seeing each other from thousands of miles"; ; Passing through Wu Gorge with Yuanming, so there is a sentence of "Chaoyun", I don't know when we will meet again, so there is a sentence of "Yu Yu".After such an experience, the two sentences of "the ridge order and the shadow" and "swan geese cannot travel" were issued, "Poetry Xiaoya Tangdi": "The ridge order is in the original place, and brothers are in urgent need." It means "seeing each other from thousands of miles away". "Swan geese can't fly", and they have to say separately when they are pointing.After the narration in one, two, three or four sentences, I will use the couplet "Jixue" as a comparison to show even stronger emotions.If the two sentences of "Wanli" and "Jixue" are reversed, it will also work, but it will be damaged in expressing strong emotions.Mr. Qian said from the artistic point of view, the artistic point of view serves the lyric, so it can also be said from the lyrical point of view.It can be seen that "Xingbu" is closely related to artistic techniques and lyricism. Seventh, talk about coquettishness.Mr. Qian said: "A piece of "Jinse" borrows Bixing's wonderful words to explore the profound and secret purpose of coquettishness, and sings it three times with sighs, and the sound is far away. It is also the best in our country. "(Page 371) This is about using Bixing's technique to express the coquettish purpose.Take Li Shangyin's "Jinse" as a "superior" work.How to explain Bixing's coquettish writing method in combination with "Jinse"?Mr. Qian made an explanation in the commentary "Jinse". Due to space limitations, a few excerpts are given: Three or four sentences "Zhuang Shengxiao dreams of butterflies, Wangdi Chunxin entrusts cuckoos" are the method of writing poetry.The thoughts of the heart, the feelings of emotion, allegories and false objects, metaphors and simulacrums; such as Zhuang Sheng's Yixing's appearance in flying butterflies, and Wangdi's mourning in the form of cuckoos.It is called "Tuo" for expressing the meaning of the matter; it is called "misleading" for the deep text and hidden purpose.Li Zhongmeng said that "seeking things to entrust feelings", the old Western sayings are "showing the essence with traces" and "showing the spirit with forms", and the recent sayings are that "emotions and thoughts need things to be right", which is the law.Five or six sentences, "There are tears in the bright moon in the sea, and smoke in the warm jade in the blue field", describe the style or state of poetry,... I don't say "beads are tears", but "beads have tears", so that even though the condensed beads are round , still tearful and hot; it has become a precious ornament, still bitter and bitter, with precious qualities and popularity. ... The words are different from the coldness of Changyu and the condensation of Changzhu.Although Yu's poems are polished, they must reveal their true feelings and be full of vitality, which is different from the works of carving and painting that are spiritual and delicate. ...The tears and jade smoke are also the poetic style of "things should be right".An Austrian poet in modern times said that Heine's poems are more brilliant and durable than pearls, but they are still living objects, containing brilliance and moisture.Feizhuming has tears. (436-437 pages) Mr. Qian pointed out here that using the images of butterflies and cuckoos as metaphors to express feelings, borrowing objects to express meaning is called "entrusting", and the deep meaning of the text is called "fanning".Using images to compare is Bixing; entrusting deep feelings is poetry.In "Mi" and "Tuo", there is both emotion and deep resentment, which can be compared with poetry.Here, Mr. Qian proposed that "things should be right". Page 629 of "Guan Zhui Bian" pointed out that "things should be right" in Western poetry, such as "Wu Wenying's "Slow Voice": "Greasy powder and dry, I still smell the fragrance on the sleeves", with "smell" lining the "fragrance", Still belongs to Zhi Chen, "Wind into the Pine": "Wasps frequently explore the swing rope, and there are fragrances in their hands at that time", but they don't say "still smell" and use the "frequent exploration" of flower-seeking bees to show the "condensation" of fragrance in their hands. ’, the bees are ‘things’ that smell the fragrance.” This is exactly the case in “Jinse”, and “Zhuangzi Equality of Things”: “In the past, Zhuang Zhou dreamed of being a butterfly, and it was a butterfly.” In "Zhuang Shengxiao In "Dream of Butterfly", the self-satisfied appearance of "lifelike" is not pointed out, but revealed through "Fantastic Butterfly", "Fantastic Butterfly" becomes the right thing. "Wangdi Chunxin entrusts the cuckoo", there is no explicit complaint here, it is revealed through "entrusting the cuckoo", and "entrusting the cuckoo" becomes the right thing. It goes without saying that Li Shangyin wrote about complaints in his poems.What is he so proud of?In "Three Poems of Mancheng", it is said: "In the evening of Wuxi, he chanted Fuqu, and He Lang was proud of it. At this time, whoever is the most rewarding, Shen and Fan are the two ministers." This is the feeling he wrote in his poems.In addition, "beads have tears" and "jade smoke" do not specify "sourness" and "vigorous", but in "have tears" and "raw smoke", it is revealed that "beads have tears" and "jade smoke" become The right thing.It is in line with "feelings and thoughts must be right", and it has become a work of "extraordinary in this body". Eighth, Mr. Qian talked about quyu many times, saying that the rhetoric of quyu is related to charm.Mr. Qian said: As far as the poet's rhetoric and fantasy are concerned, snow-capped mountains can be compared to elephants, so they might as well grow tail teeth;Most of the metaphors of the British metaphysical school of poetry belong to this category. ...but take Yuxi as the best at this, there is not much ink, and the charm is very far away.For example, "The End of the World" said: "The warbler's cry is like tears, and it is the highest flower of wetness". It's like letting the Tuojiang River cross Jincheng", the word "sit really thirsty" is a double meaning, and the water of the Tuojiang River is exhausted. (22 pages) Li Shangyin's "The End of the World": "Spring is at the end of the world, and the sun is slanting at the end of the world. The cry of the warbler is like tears, and it is the highest flower in wetness." Ji Yun commented: "Yao Pingshan said: The highest flower is the top branch of the flower. The flowers are all blooming now. "The end of blooming refers to the end of spring, which means hurting spring. "Yingcry" originally refers to birdsong, which turns from crying to crying, which leads to tears, from tears to wetness, and the highest flower when wet means hurting spring.Combining the expression of "spring is at the end of the world" to mean wandering, "the sun is setting" at dusk, and the sadness of spring, there are infinite emotions. In this metaphor, expressing such deep emotions is intriguing, which is unique in charm.Also in "Early Visits to the Zhaoguo General Li Shi when I was sick, Yu Qi's family tour Qujiang": "Ten hectares of flat waves are overflowing with clear shores, and illness comes only in dreams. Walking here. Xiangru is not really thirsty, it is like letting the Tuojiang River cross Jincheng." Sima If you have diabetes, you need to drink water when you are thirsty.It is said that Xiangru is not really thirsty. If he is really thirsty, he will drink up the Tuojiang River and leave it in Jincheng.Contact him to dream of only walking in the ten-acre flat wave, and he is really thirsty, so I only dreamed about ten-acre flat waves, which means that I want to drink water.This is combined with General Li Shi's tour of Qujiang, hoping that the general will help him quench his thirst.This quenching thirst refers to the desire to seek a mate, and hopes that the general will help him as a matchmaker. This kind of state of mind is more urgent than the similar courtship in a dream.The meaning is not mentioned here, but it is revealed through my dream of asking for water to quench my thirst, which makes the body feel, and the affection is so subtle, so it is called Shen Yun unique. Ninth, from creation to rhetoric, we must pay attention to the correspondence between mind, hand and object.Mr. Qian said: The husband and the art are also those who stick to the two ends of the mind and use the middle.The artistic conception of the image is a matter of the heart; the one who expresses the artistic conception of the image by means of driving is a matter of things.Each thing has its own nature: according to its nature, it is suitable for my heart; if it is against its nature, it must be strong to satisfy my heart; its nature must be irreversible, so it must break my heart to respond to things.The achievement of one art, but the combination of the three.Speaking from the heart, what is born in the heart should be in the hand, and what comes out of the hand is shaped in things, as the saying in "Lu Lan·Jing Tong": "The heart is not an arm, the arm is not a vertebra, and it is not a stone. It does not exist in the heart. And wood and stone respond to it." From the words of things, so the heart is the hand, and the hand is combined, such as "Zhuangzi·Tiandao" called "handy with the heart", "Dasheng" called "referring to materialization, not using the mind. " (210 pages) Mr. Qian quoted the article "Mastering" to say that "Zhong Ziqi felt sad when he heard about the rock-beater at night". This "sadness" is because the rock-beater was sad in his heart, and he hit the rock with his arm to make a sad sound.This sad sound is not in the arms and vertebral stones, it is caused by the sorrowful correspondence between the arms and vertebral stones and the heart, that is, the sorrowful correspondence between objects, hands and heart.He also quotes from the "Tian Dao" that the wheel is made of wood and made of wood, neither fast nor slow, "get it in the hand and respond to the heart", explaining the importance of hand skills.He also quotes "Dasheng" as saying that "gongji spins to cover rules, refers to materialization and not to heart".Gongji uses fingers to draw circles or squares, rather than using compasses or squares, the fingers have already turned into rules, so don't pay attention.This refers to skill.Here it is explained that artistic creation requires the correspondence between mind, hand, and object.Xingxiang artistic conception, that is, artisan management belongs to the heart; the tools and materials used in artistic creation belong to the material; it is the hand that makes the heart and the object correspond; the creation can be completed only when the heart, object and hand are in harmony.Mr. Qian also pointed out that "everything has its own nature", like a wheel flattening a wheel, chopping wood to make a wheel should conform to the nature of wood. It is in the hand and in the heart", which means "following its nature and fitting in with my heart", only in this way can we make a good wheel and not violate the nature of things.Literature is created with language, and this must adapt to the characteristics of creation with language.Mr. Qian pointed out in "Chinese Poetry and Chinese Painting": "Since poetry and painting are both art, they should have something in common; but they are not the same art, and they should each have their own particularity" ("Old Article Four" p. 7 ).The commonality is like "there are paintings in the poems, and there are poems in the paintings"; the particularity is like a picture, which is composed of colors and lines, which is suitable for depicting images and colors, but not easy to express feelings; poetry is composed of words, which is suitable for expression and expression. But it is not easy to describe the image. The skill of an artist is to express emotion in the image and color, that is, "there is poetry in the painting"; to describe the image and color in the language that is suitable for expressing emotion, that is, "there is painting in the poem."How to achieve "there is poetry in the painting" or "there is painting in the poem", it is necessary to adapt to the characteristics of lines, colors or language to create, to "go with the nature and fit my heart", not to "go against the nature and Strong to my heart", just like writing poetry, you must adapt to the characteristics of language. Tenth, poetic flavor and charm are preserved in the words of poetry.It is different from saying that Liwen and words can be separated. Mr. Qian said: Poetry uses words and language to settle down; the writing must be like this, and the words must be like that, so that there is a spirit beyond the text, and the rhyme and rhyme expressed in the words, the spirit and the rhyme, all depend on the words and the words.Tasting poems but forgetting words, wanting to abandon the signs to seek God, and suppressing sounds to obtain rhyme, it is like flying and cutting the scorpion first, being enthusiastic but not touching the ground.Valery once said that the ultimate meaning of narrative and reasoning texts is to express the meaning. Never change, never lose.Therefore, to enjoy the meaning beyond the words of a poem, one must linger and appreciate the words of the poem; (412-413 pages) 钱先生指出诗的用文词语言，跟说理文不同。读说理文，只要懂得了这个道理，文词语言都可不用，也可用另外的词语来说明这个道理。诗不同，诗的言外之音，诗的神韵，就保存在诗的词语里，只有吟赏诗的词语，才能体会它的言外之音和神韵，抛开了诗的词语，言外之音和神韵都没有了。即说理文的理与词语可以离，懂得了所说的理，词语都可抛弃。诗跟词语必合。钱先生在《管锥编》里对此作了有力的论证。 《易》之有象，取譬明理也，“所以喻道，而非道也”（语本《淮南子·说山训》）。求道之能喻而理之能明，初不拘泥于某象，变其象也可；及道之既喻而理之既明，亦不恋着于象，舍象也可。到岸舍筏，见月忽指，获鱼兔而弃筌蹄，胥得意忘言之谓也。词章之拟象比喻则异乎是。诗也者，有象之言，依象以成言，舍象忘言，是无诗矣，变象易言，是别为一诗甚且非诗矣。故《易》之拟象不即，指示意义之符也；诗之比喻不离，体示意义之迹也。不即者可以取代，不离者勿容更张。取《车攻》之“马鸣萧萧”，《无羊》之“牛耳湿湿”，易之曰“鸡鸣喔喔”，“豚耳扇扇”，则牵一发而动全身， 著一子而改全局，通篇情景必随以变换，将别开面目，别成篇什。毫厘之差，乖以千里，所谓不离者是矣。（《管锥编》12页） 这里明白指出《易》的拟象只是一种表示意义的符号，可以改变或舍弃；诗的比喻是表示情意的迹象，不能改变，一改变将别成面目或不成为诗了。钱先生更深刻地指出： 倘视《易》之象如《诗》之喻，未尝不可摭我春华，拾其芳草。……苟反其道，以《诗》之喻视同《易》之象，等不离者于不即，于是持“诗无达诂”之论，作“求女思贤”之笺；忘言觅词外之意，超象揣形上之旨； 丧所怀来，而亦无所得返。以深文周内为深识底蕴，索隐附会，穿凿罗织；匡鼎之说诗，几乎同管辂之射覆，绛帐之授经，甚且成乌台之勘案。（同上14—15页）这里指出把诗喻看作《易》象的祸害，含意更为深刻。这里说明诗喻和《易》象在运用词语上的各具特点，已经由创作而兼及鉴赏了。 ※ ※ ※ 《谈艺录》补订本中论及前人诗论，钱先生是与其作品对看。如元好问“渠虽大言'北人不拾江西唾'（《自题中州集后》第二首），读者苟执著此句，忘却渠亦言'莫把金针度与人'（《论诗》第三首），不识其于江西诗亦颇采柏盈掬，便'大是渠侬被眼谩'（《论诗三十首》之十四）矣。”（481 页）如元好问“《赠答赵仁甫》：'君居南海我北海'，用山谷《寄黄几复》：'我居北海君南海'。他如《阎商卿还山中》：'翰林湿薪爆竹声'，用山谷《观伯时画马》：“翰林湿薪爆竹声'。《下黄榆岭》：'直须潮阳老笔回万牛'，本山谷《以团茶洮州绿石砚赠无咎、文潜》：'张子笔端可以回万牛'，……《世宗御书田不伐望月婆罗门引》：'两都秋色皆乔木'，施注：'山谷句'；遗山七律《赠答乐丈舜咨》、《存殁》均有此句，盖三用也。”（485页）是元裕之于江西诗，再引三引，所谓“不拾江西唾”者，徒虚语耳。 又钱先生于诗论，将文学史上通常习而不察之概念，既为之树藩篱，复为之通墙壁。如称：“至吾州张氏兄弟（惠言、琦）《词选》，阐'意内言外'之旨，推'文微事著'之原，比傅景物，推求寄托，'比兴'之说，至是得大归宿。西方文学有'寓托'之体，与此略同。……顾二者均非文章之极致也。言在于此，意在于彼，异床而必口同梦，仍二而强谓之一；非索隐注解，不见作意。”（231—232贝）钱先生在这里既指出常州派词论的寄托说，与西方“寓托”之体略同；又指出这种寄托说不免牵强附会。 钱先生于前人诗论，又作出重新估价，如对《沧浪诗话》，郭绍虞先生《中国文学批评史》称：“沧浪论妙悟而结果却使人不悟，论识而结果却使人无识，论兴趣而结果却成为兴趣索然，论透彻玲珑、不可凑泊而结果却成为生吞活剥摹拟剽窃的赝作。”（下卷一，77页）对《沧浪诗话》的论点作了否定。钱先生对《沧浪诗话》作了重新估价，郭先生在《沧浪诗话校释》里就改变了看法，称引钱先生的《谈艺录》所说“最为圆通”，因引“胡应麟《诗薮》云：'严氏以禅喻诗，旨哉！'”（又21—22页）钱先生因称：“撰《谈艺录》时，上庠师宿，囿于冯钝吟等知解，视沧浪蔑如也。《谈艺录》 问世后，物论稍移，《沧浪诗话》颇遭拂拭，学人于自诩'单刀直入'之严仪卿，不复如李光照之自诩'一拳打蹶'矣。”（596页）《补订》更论“诗与禅之异趣分途”。“《元遗山诗集》卷十《答俊书记学诗》：'诗为禅客添花锦，禅是诗家切玉刀'；下句正后村所谓'将铅椠事作葛藤看'，须一刀斩断，上句言诗于禅客乃赘疣也。”（580—581页）以此论诗禅，较《谈艺录》原本更深入了。 钱先生论文学史，有将历来文学史上的说法澄清的，如论明末诗派之称“七子”“竟陵”而轻“公安”。钱先生说：“余浏览明清之交诗家，则竟陵派与七子体两大争雄，公安无足比数。聊拈当时谈艺语以显真理感。”（418 页）此外微言胜义，触处皆是，如论宗师与开派，钱先生称：“是故弟子之青出者背其师，而弟子之墨守者累其师。常言弟子于师'崇拜倾倒'，窃意可作'拜倒于'与'拜之倒'两解。弟子倒伏礼拜，一解也；礼拜而致宗师倒仆，二解也。”（517页）此说尤耐寻味。 《谈艺录》内容极为广博，在1948年出版时已经以它的博极群书、学贯中西引起学界的震惊和赞叹。经过了三十五年，钱先生再写《补订稿》，份量跟《谈艺录》相同。钱先生在《谈艺录》补订本的《引言》里说到这次“逐处订益之，补为下编；上下编册之相辅，即早晚心力之相形也。”通过钱先生的逐处订益，来研讨钱先生的早晚心力之相形，这还有待于海内外学人作深入的探讨。在这里只能浅尝辄止。钱先生在《谈艺录》序里说：“《谈艺录》一卷，虽赏析之作，而实忧患之书也。”那时是抗战时期。又称“麓藏阁置，以待贞元。”已望见抗战的胜利。书中也反映当时生活，如引郑子尹《自沾益出宣威入东川》诗：“逢树便停村便宿，与牛同寝豕同兴。昨宵蚤会今宵蚤，前路蝇迎后路蝇。”称：“军兴而后，余往返浙、赣、湘、桂、滇、黔间，子尹所历之境，迄今未改。形羸乃供蚤饥，肠饥不避蝇余”（183—184页）；想见抗战中的困境。 钱先生的文艺论，就这里所引的看，已包括了美学、艺术论、诗论、诗的赏析、修辞、创作论等。除文艺论外，本书还有论文学史的，论作家的，评各家诗论的，论作品的，论诗注和补诗注的，就是钱先生在本书里讲的文艺论，方面也很广，不限于上面所举各点，这里只能管窥蠡测罢了。冀勤从1937年的《文学杂志》里读到了钱先生的《中国固有的文学批评的一个特点》，认为在这篇文章里，钱先生对于中国固有的文学批评，即“把文章通盘的人化或生命化”，与西洋的文学批评作了多方面的细致的比较论述，又是属于中西比较文学批评论。不论就中国固有的文学批评说，或就中西比较文学批评说，这篇文章都可以作为《谈艺录》很好的参考，因此附录在后。 由于我们水平的限制，这个《读本》，不论在分类选材上，在简注上，在说明上，一定有许多不恰当或失误处，谨向钱先生表示深切歉意。本书的不恰当和失误处，谨请读者多多指教。 周振甫 July 1990