By Zong-qi Cai
The first elements of the ebook specialise in cultural traditions, displaying how Liu canonized the chinese language literary culture, assessing the place Liu's paintings stands in that culture, and demonstrating his accounts to the highbrow currents of his time. The 3rd half explores Liu's thought of literary construction by utilizing modern severe views to investigate Liu's belief of mind's eye. The fourth half offers 3 designated reports of Liu's perspectives on rhetoric: an in depth studying of his bankruptcy on rhetorical parallelism, a dialogue of his personal use of parallelism as a method of research and textual construction, and an research of his perspectives on alterations and continuities in chinese language literary kinds. The ebook concludes with a serious survey of Asian-language scholarship on Wenxin diaolong during this century.
The participants are Zong-qi Cai, Kang-i sunlight Chang, Ronald Egan, Wai-yee Li, Shuen-fu Lin, Richard John Lynn, Victor H. Mair, Stephen Owen, Andrew H. Plaks, Maureen Robertson, and Zhang Shaokang.
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Extra info for A Chinese Literary Mind: Culture, Creativity, and Rhetoric in Wenxin Diaolong
36 These examples refer to the writers' wish to reach one another through time in recognition of their literary power. Instead of using the hand as a metaphor for immortality, Liu Xie stresses the power of the heart or mind (xiri). To Liu Xie, the literary mind is the only kind of mind that endures, because through writing, one writer's mind touches another's and one finds true immortality. In particular, Liu Xie speaks of Confucius as one "whose mind still shines after a thousand years" (WXDL 2/100).
0 o ^ f t f e ^ t ^ o W M f f 0 I bid you, Kui, the emperor said, to preside over music and educate our sons, [so that they will be] straightforward yet gentle, congenial yet dignified, strong but not ruthless, and simple but not arrogant. Poetry expresses the heart's intent [zhi]',4 singing prolongs the utterance of that expression. The notes accord with the prolonged utterance, and are harmonized by the pitch tubes. The eight kinds of musical instruments attain to harmony and do not interfere with one another.
Poetry is where the hearts intent goes," he writes. ' Emotions are stirred inside and manifest themselves in words" [l£f # » /^ -^_ $? £. >^ %§ i^ ' Hr "If %$ iNf] . He apparently believes that what is in the heart, be it called zhi or qing, manifests itself primarily in poetic verbalization. To support his elevation of words, he simply cites a passage from the "Record of Music" (Yueji He t£): "Emotions move within and take form in words. If words cannot express them adequately, we sigh them out.
A Chinese Literary Mind: Culture, Creativity, and Rhetoric in Wenxin Diaolong by Zong-qi Cai