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INFORMATION TO USERS This manuscript has been reproduced &om the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from aiy type of computer printer. The qoalil^ of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and inqjroper alignment can adversefy affect reproductioiL In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note wîO indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing ffom left to right in equal sections with small overly. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9" black and white photographic prints are available for aiy photographs or illustrations appearing in this copy for an additional charge. Contact UMI direct^ to order. UMI A Bell & Howell Information Company 300 North Z eeb Road. Ann Arbor. Ml 48106-1346 USA 313/761-4700 800/521-0600 A CLASSICAL CHINESE PERSPECTIVE TOWARD LITERATÜRE: LIU XIE’S THEORY OF ^^WENXIN” DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By MINRULI,B. A.,M. A. ***** The Ohio State University 1996 Dissertation Committee: Approved by David Y. Ch’en Yan-shuan Lao Adviser, Department of Kirk Denton East Asian Languages & Literatures UMI Number: 9620036 Copyright 1996 by Li, Minru All rights reserved. UMI Microform 9620036 Copyright 1996, by UMI Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. UMI 300 North Zeeb Road Ann Arbor, MI 48103 To My Mother and Ailian II ACKNOWLEDGEMENTS My deepest appreciation goes to Professor David Y. Ch’en, whose instructions, especially that of Wenxin diaolong, have a great influence on my academic thinking, and have shaped my development as a scholar during the years at the Ohio State. Without his encouragement, insightful advice, and criticism, the completion of this dissertation would not have been possible. I express sincere appreciation to Professor Yan-shuan Lao for his guidance in my reading of the Chinese classics, for his advice, suggestions, comments on the dissertation drafts, and for his open and innovative intellectual attitude he exemplifies. I would like to thank Professor Kirk Denton for his friendship, careful reading and invaluable critical comments, which have tremendously helped to improve the quality of this work. My gratitude goes to Professor Timothy Wong for his encouragement and discussions on the project, and to Professor Frank F. Hsueh for his insightful instruction in Chinese linguistics. I am deeply indebted to the late Professor James Liu for his acceptance of me as his student at Stanford. I regard my critical comments on his work as a best memory of him and his pioneering works in the field of classical Chinese poetics. I am iii grateful to the Department of East Asian Languages and Literatures at The Ohio State University, and the East Asian Section of the Main Library-especially Carmen Lee and Daphne Hsueh-for their support and encouragement, I also wish to express my thanks to Professor Yang Mingzhao for teaching me Wenxin diaolong at Sichuan University, Professor Wang Wensheng for providing me with valuable materials and suggestions. Dr. Hu Wenze for his technical assistance in computer, Mr. He Dajiang for his friendship and inspired discussions, Ms. Robyn Hamilton for reading of my draft of Chapter One, Ms. Juming Tong for checking several notes, and Dr. Mark Bender for reading of my draft and suggesting stylistic changes. I highly appreciate Li Jianzhong and Yi Zhongtian for mailing me their works and Professor Cao Shunqing for his discussions. I thank my parents, brothers, and sisters for their warm support in all my endeavors for these years. To my wife, Ailian Peng, I deeply appreciate her sufferings and hard work during my lengthy project. I also owe a debt to my son, Han, for his patience and cooperation. IV VTTA October 16,1953 ........................................ Bom, Changsha, Hunan, People’s Republic of China 1980 ..............................................................B. A. Chinese Department, Changsha Metal College, Hunan, China 1982 ..............................................................M. A. Chinese Department, Sichuan University, Chengdu, China 1983-1985 ..................................................... Lecturer, Chinese Department, Wuhan University, China 1985-198 6 ..................................................... Visiting Scholar, Yale University 1986-198 7 ..................................................... Ph. D. Student, Department of East Asian Languages, Stanford University 1987-199 0 ......................................................Graduate Teaching Assistant, The Ohio State University 1991............................................................... M. A. Department of East Asian Languages and Literatures, The Ohio State University 1990-1994..................................................... Graduate Administrative Assistant, Main Library, The Ohio State University 1995................................................................Lecturer, Department of Asian Languages and Literature, The University of Auckland, Auckland, New Zealand FIELDS OF STUDY Major Field; East Asian Languages and Literatures Specialities: Chinese Literary Criticism and Classical Chinese Poetry Minor Field: Comparative Literature TABLE OF CONTENTS DEDICATION........................................................................................ ii ACKNOWLEDGMENTS.................................................... iii VITA........................................................................................................ V TABLE OF CONTENTS.......................................................................... vi LIST OF FIGURES...................................................................................vii CHAPTER PAGE Introduction...............................................................................................1 I. Expressive or Metaphysical: A Controversial.......................... Issue 14 n. Wenxin: The Central Concept............................................................39 ni. The Integrated Theory Originated from the PerspectiveWenxin.S5 of IV. Wenxin as a Medium Between the Reader and the Author................142 V. Functions ofWenxin in Chinese Culture............................................. 187 Conclusion................................................................................................ 217 Bibliography............................................................................................. 222 VI LIST OF FIGURES FIGURES PAGE 1. M. H. Abrams’ Triangular Diagram .............................................15 2. James Liu’s Circular Diagram ...................................................... 21 3. Wai-lim Yip’s Diagram ................................................................ 32 4. James Liu’s Diagram of Dao, Sage and Literature .......................57 VII INTRODUCTION This work attempts to solve the puzzle that has bothered the writer for years; Is there any systematic viewpoint behind the fragmentary statements, with the notable exception of Liu Xie’s (ca. 465-538) Wenxin diaolong hr classical Chinese literary criticism (classical here refers to the time from the earliest period to the late Qing Dynasty)? Answering this question will help us understand the nature of Liu Xie’s Wenxin diaolong and that of classical Chinese literary criticism as a whole. Classical Chinese literary criticism, generally speaking, takes the following six forms: 1) scattered comments on literature in works such as Lunyu (Analects) and Zhuangzi (Works of Zhuangzi); 2) essays and letters, usually very short, such as Cao Pi’s W3S (187-226) Dian lun, “Lun wen” (A Discourse on Literature) and Bai Juyi’s (772-846) “Yu Yuan Jiu shu (Letter to Yuan Zhen); 3) prefaces and postscripts, often terse and brief, such as Zhaoming wenxuan (Preface to Literary Anthology Edited by Prince Zhaoming); 4) poems on poetry, usually quatrains offering allusive comments, such as Yuan Haowen’s (1190-1257) ‘Xun shi jueju sanshi shou” (Thirty Quatrains on Poetry); 5) remarks and random notes on poetry, characterized by short entries, such as Lii^i shihm ^ —'HfU 1 2 (Talks on Poetry) by Ouyang Xiu # # # (1007-1072); and 6) interpretive comments, interspersed in, and jotted down on the margins of, literary works, such as Jin Shengtan’s (16107-1661) marginalia and comments on Shui hu zhuan (All Men Are Brothers). These forms share a fragmentary and unsystematic structure of discourse. Zhu Guangqian thus comments that pre-modem Chinese literary criticism is largely “chaotic and fragmentary, unsystematic; it tends toward the subjective and placing too much faith in tradition, and lacks the spirit of science and methodolo©^.”^ Yang Songnian in an article entitled “Zhongguo shilun