It was born of the ancient voodoo system of schultz, which broke through the practical shackles of art and built a cosmological system of cosmological awareness of the ancient people of huaxia. It has long gone beyond mere philosophy or learning. In view of the vast river of ancient chinese literature, the emancipation is by no means a static desk book, but rather a bottom logic rooted in the depths of the literature. Its original vision, its veritable and mundane philosophy, from its roots, its aesthetic paradigm, its narrative structure to its inner core, has profoundly shaped the artistic traits and the spiritual background of chinese classical literature, and has become the fundamental foundation upon which to nourish the fabric of the millennium。
When it comes to chinese poetry, most of the world begins with the poem, and illustrated with the old and more ancient buds of poetry. And when the words of “happiness and regret” are removed, the rest of them are phrases, rhythms and old songs. As in the rumours of "the queen of the earth" , "the queen of the earth is flying. A man walks, eats for three days, so as to damage the natural remnant of a bird's wings, and sows him to the conditions in which he lives. This narration and philosophies are very much in line with the pattern of “swallows fly, illustrated with their feathers” in psalms. The core thinking of the emancipation “images” directly inspired the tradition of chinese literature. The words of the queen's scholars have been used to say the following: “the difference between ei and poetry is particularly evident”. Ei speaks of the world in the image of nature, and poetry is inspired by the love of the beasts, both of which are the same in artistic expression. From the two words and four words of the emancipation, to the four rhymes of the chorus, to the maturity of the four poems of the emancipation, the classical poetry has been transformed from text to text and from hidden to visible literature, laying the foundations for the prosperity of chinese poetry。
In addition to the creation of a poetic tradition, the emancipation has shaped chinese literature even more profoundly by building a unique cosmological dialectic and internalizing it into the core aesthetic law of literary creation and criticism. The philosophy of the veneer doctrine, which advocates the unity of everything, the identity of each other, and the dynamic balance, is applied to the literary sphere, resulting in two central aesthetic domains, namely, “moral” and “negative”. The euphemism of the li-bai poem, the euphemism of li qing's euphemisms, the euphoria of han's increasingly proficient texts, the dilution of light and small items, and the aesthetic orientation of the literary creations of generations bear witness to the traditional aesthetic pursuits of yin and yang complementarity. At the same time, the changing philosophy of the elysium, which is “poor, variable and permanent”, provides the core theoretical underpinnings for the development of chinese literature over time. In the dragon of the heart, liu of the south stated, not only in the book of change, but also in the book of the book, that the inheritance and innovation of literature are easily interpreted, but also in the original book, that: “the value of the human being is the result of the greatness of the greatness, the hymn of the hymns, and ei is the first.” this directly established the emancipation as a source of poetry in chinese literature. This new dialectical thinking has allowed china’s ancient literature to evolve over thousands of years, both with deep cultural foundations and with continuous rejuvenation。
In the deep structure of narrative literature, the emancipation also leaves an indelible mark. China's classical novels often use “days” or “number of heavens and earth” as a framework for overall conceptualization and contextualization. In the red house dream, for example, its mesh structure of “grass ash line, vagaries”, as well as its fateal dictum of “the golden mausoleum” in a far too illusory context, permeates the emancipation of the euphoria's euphemism, which is long and counterproductive. The fate of the characters in the books, often convoluted with the flow of gossip, has led to novels transcending secular family proliferating and raising the profile of the universe's laws and life-changing feelings of deep sorrow. The symbolism of this “dignificance” has allowed chinese classical novels to be written in addition to an ingenuity of philosophy。
In addition to the aesthetic paradigm and narrative structure, the advent of the emancipation has made it possible for the emancipation of the emancipation from the book of the book to the great upgrading of the philosophy of the classics and has injected a deep human spirit into chinese literature. Confucius rejoiced in the queen's day, and jumped out of the light of the evil-doing, plowing its moral connotations, and brought forth a man who had the knowledge of the heavens, so that he would not worry. The message of emancipation, which advocates “a humanistic approach to the world”, not only shapes the spiritual foundations of the future human beings' security, but also lays down the grand social ideal of chinese literature “in the name of culture, peace and dignity”. This spirit is rooted in individual creation and is centred on the manhood of the man and the quest for transcendentism. Sioux wrote in the middle of huangzhou: "a smoke pouring rain for a lifetime" and wang wei said, "at the height of the cloud, when he was living in yichuan," behind the old words, "the emancipation of the book is the wisdom of life, the wisdom of life. In addition to writing about personal sad experiences, the literary literature is based on the ultimate reflection on the life of the universe, so that chinese classical literature will always have a secular temperature and philosophical depth, with its own extraordinary spirit。
In china's ancient literary system, the emancipation is by no means a mere repository of material and quotations. It is the birthplace of classical literature, the foundational norm of the traditional aesthetic paradigm, the lower code of the classical narrative structure and, above all, the core pillar of the ancient spiritual world. It gives “changes” to literary students, and it upgrades them to the realm of valor. Without understanding the philosophy and the logic of thinking behind the emancipation, the spiritual core of ancient chinese literature cannot be really touched. It is like an endless flow of literature that is silently nourished by the thousands of valours that keep the classical literature alive and alive and the light of thought forever in the end of time. In this time of noise and uncertainty, when we return to the emancipation, to understand the implicit beauty of the words and the emancipation of the words and the emancipation of the wisdom, not only to look back on the path of classical literature, but also to find a permanent place to rest our hearts and minds。
