Ancient Chinese Poetics, since Mr. Chen Liangyun published "An Outline of Ancient Chinese Poetry Theory", Chen Liangyun: "An Outline of Ancient Chinese Poetry Theory", Literary Heritage, No. 1, 1985. Since then, as a new discipline, it has aroused the academic interest of classical literature researchers and literary theorists, and monographs such as "Theory of Poetic System", "General Theory of Chinese Poetics", "History of Chinese Poetic Criticism" and "History of Chinese Poetics" have been published successively, becoming a prominent science. What is "poetics"? There are generally two understandings, the broad sense is consistent with the Western meaning, referring to literary theory or literary theory. It is derived from the ancient Greek philosopher and poetic Aristotle's treatise on literary theory "Poetics". In this work, using epics, tragedies, and comedies as objects of study, Arsh discusses "questions about the art of poetry itself, its kinds, the special functions of each class, how many components there are in each class, what the nature of these components is, how well the poem should be written, how the plot should be arranged, and all the other questions of this study." [Ancient Greek] Aristotle: Poetics, translated by Luo Niansheng, People's Literature Publishing House, 1982, p. 3. Of course, poetry here mainly refers to epic poems and dramas that are mainly narrative. The so-called poetics, that is, the theory and criticism of narrative literature, has been recognized by the world. Poetics in the narrow sense, in China, refers exclusively to poetry theory. This understanding, in addition to special referents (e.g., "poetics", abbreviated as "poetics"; Or in ancient times, poetry creation was also called "poetics", which has lasted for more than a thousand years. The Book of Han Yi Fengchuan says: "Poetry is for learning, temperament is only" (Han) Ban Gu: Book of Han, vol. 75, Zhonghua Bookstore, 1975 edition, p. 3170. , probably the earliest poetic concept in China. Poetry works named after "poetics" include Fan Zhao's "Poetics Forbidden Neck" in the Yuan Dynasty, "Poetics Ladder Voyage" by Zhou Xu in the Ming Dynasty, and Gu Longzhen's "Poetics Guide" in the Qing Dynasty. Ancient Chinese poetics in the modern context mainly refers to poetics in a narrow sense. For example, the "Introduction" to the History of Chinese Poetics edited by Chen Bohai and Jiang Zhelun says: "In our own tradition, it is customary to limit 'poetics' to the scope related to poetry, a specific genre, and does not include the study of essays, novels, dramas, etc., so that 'poetics' has become 'literature and art'..." It is clearly stated that the "poetics" of the "History of Chinese Poetics" compiled by him are "limited to the field related to 'poetry'" Chen Bohai and Jiang Zhelun, eds.: History of Chinese Poetics, Lujiang Publishing House, 2002, Page 1. Starting from the perspective of comparative poetics, Jiang Yin believes that the core of Chinese poetics is a 'study', and this 'learning' includes not only people's understanding of poetry itself and its creative methods, but also the understanding of the history of poetry and reflection on the process of understanding by ancient and modern people." He believes that Chinese poetics should include five aspects: (1) poetic philology, (2) principles of poetry, (3) poetry history, (4) poetic history, (5) comparison of Chinese and foreign poetics. Jiang Yin: The Idea and Practice of Chinese Poetics, Guangxi Normal University Press, 2001, p. 2. Of course, generalized poetic concepts have appeared in the history of Chinese and Western classical literary theory and literary criticism. The so-called "poetics" in this book does not refer to Aristotle's broad "poetics" that includes all literary and artistic theories, but to the narrow sense of "poetics" commonly known in modern times, that is, the theory of poetry as a specific genre. In China, the concept of poetry has never been as broad as in the West. "Shi" in the pre-Qin dynasty specifically referred to the Three Hundred Poems (i.e., the "Book of Poetry"), and later gradually became the name of a genre, including ancient modern poems with five words, seven words and miscellaneous words, as well as later words and songs. China is a country of poetry, especially in ancient times, poetry, as the first of various genres, was pushed to "the great cause of the country, the grand event of immortality" (Eastern Han Dynasty) Cao Pi: "Classics and Essays", edited by Guo Shaoyu: "Selected Writings of Chinese Dynasties", Shanghai Ancient Books Publishing House, 1979 edition, p. 61. From the imperial courtiers to the pawns of the peddlers, everyone can sing poetry. The popularity of poetry and the status of poetry are so high that no country can compare with ancient China. Before the emergence of novels and dramas, only poetry could be said to be a pure literary style, and only the theory and evaluation of poetry could be talked about as pure literary theory. Therefore, the ancient Chinese literary theory is essentially based on poetry theory, which can be described as true poetics. Chinese when looking at the world and grasping the world, he adopted an intuitive and holistic way of thinking from the beginning. For the results of rational thinking, using an illogical language and using perceptual forms to express theoretical connotations, this is the main way of speech in ancient Chinese poetics. The exposition of poetic doctrine by ancient Chinese scholars is not a boring and meticulous rational interpretation, but mostly a refined intuitive grasp and perceptual description, which is rich in meaning and intriguing. For example, if a poem is good, it is "the first is like eating olives"; If it is not good, it is "like eating small fish at the beginning, and the income is not paid". When commenting on style, this expression becomes a standard way, such as "Emperor Wudi of Wei is like a veteran of Youyan, with a deep temperament." Cao Zijian is like a young man of three rivers, and he appreciates himself. Bao Ming is far from being alone like a hungry eagle, and he is strangely corrected..." (Song) Ao Taosun: "Poetry Review", Zhonghua Book Company, 1985 edition, p. 1. Lu Ji's "Wenfu" uses the literary genre of "Fu" to write essays, while Sikong Tu's "Poems" are purely twenty-four poems. This way of speaking with the help of perceptual forms to express rational thinking, visualization, or use poetic words to express literary opinions, on the one hand, uses the poetic context of narration or discussion to expand the form of readers' imagination space and contains rich theoretical information; On the other hand, it is precisely because of this expression that it has caused the theoretical shortcomings of ancient Chinese poetics. First, because it talks about the overall impression and does not make a comprehensive and detailed analysis, it often has the drawback of partial generalization; Second, because the writer's emotional intervention often brings a certain degree of subjectivity and one-sidedness; Third, because it is customary to express the impression of perceptual intuition rather than rational concept in highly poetic language, and this impression of perceptual intuition cannot define its meaning in essence, and often makes people incomprehensible and difficult to understand; Fourth, the meaning of concepts and categories is ambiguous, the same term means different meanings, and different terms represent the same meaning, etc., resulting in the ambiguity and arbitrariness of the use of the same concept and proposition, which is not as clear and logical as Western theories. This makes the ancient Chinese poetic theory superficially lacking scientific and systematic. From the perspective of the expression of ancient Chinese poetics, empirical and emotional fragments of words are often not easy for people to link them with a theoretical system with strict logic. In fact, there is a problem of the relationship between external manifestation and internal essence. Is there a system of ancient Chinese poetics? Regarding this issue, looking back at the historical factors of its construction, first, the ideological and cultural background is complex, Confucianism, Taoism, and Buddhism all have different characteristics or systems, and have different poetic ideas and works under the guidance of different ideas; Second, there are few tomes, and historical theories are scattered in poems, words, prefaces, and letters, which are relatively loose and scattered, rather than many well-structured theoretical works like in the West; Third, many poets are themselves famous poets and lyricists, and their theoretical expression may be their inadvertent exchange of creative experience, the sublimation of poetry appreciation and perception, with a vivid empirical nature, and it is difficult to have a complete theoretical system. However, most of the ancient Chinese poetic theories are based on the inheritance of predecessors, or in the interpretation of classic texts, or in the criticism of a certain theoretical category. On the surface, just listing a few poems of predecessors is nothing more than cliché, but taken together, it expresses his new views and expresses his own intentions. Between disciples and teachers, descendants and predecessors, there are all kinds of inner spiritual inheritance. It is in this kind of inheritance and transformation that the ancient Chinese poetics system is gradually formed. This system does not appear in the form of individuals, but with categories as the core, which has endured for thousands of years. Such as "shape god", "wind bone", "artistic conception" and so on. It is fluid, not fixed. The divine dragon sees the head and does not see the tail, the east shows a scale, and the west shows a claw, but it does not mean that its head and tail do not exist. The purpose of the researchers is to clear the clouds and mist, and completely depict their heads, tails, claws, whiskers, and even pieces of scales, showing a whole. Marx said in Capital: "Research must fully possess the data, analyze its various forms of development, and explore the internal connections of these forms." Only when this work is completed can the movement of reality be properly narrated. Once this is done, once the life of the material is conceptually reflected, what is presented to us is like a priori structure. Marx: Capital, vol. 1, People's Publishing House, 2004, pp. 21-22. This passage points out a line of thought for our researchers, to study ancient poetics, starting from the specific categories, propositions and argumentation methods of ancient poetic theory, and gradually rising to some theoretical topics and even the overall structure. Why would you want to do that? Because a theoretical form is like a network as far as its entire system is concerned, the propositions and categories on which the system is constructed are like the dot eyes on the network, and the crisscrossing of the dots and eyes is twisted into a network. Therefore, when studying ancient poetics, when starting from the most typical categories, propositions and critical methods, from the individual to the general, from the local to the global, we can finally construct the entire system of ancient poetics. Category, originally a philosophical term. Dialectical materialism believes that category is a form of thinking that reflects the essential connection of objective things, and is a generalized reflection of the essential characteristics and relationships of things by human thinking. The so-called category of poetic theory is the summary and reflection of poets and critics on the essence, characteristics and internal relationships of poetry. In the process of its evolution and development, ancient Chinese poetics has formed a series of unique basic propositions and categories, which are of great significance to our correct understanding of the theoretical system of ancient poetics. This book selects some propositions and categories of ancient Chinese poetics, such as poetry and speech, speech imagery, wind bone, void quiet, imagery, artistic conception, taste, enlightenment, Shen Yun, sexual spirit, etc., based on historical data, with retrieval, examination and combing as the main methods, starting from the historical and cultural context, poetry creation state, and the ecological environment of poetic theory itself, etc., to explore the historical generation and original significance of this category and proposition. From the perspective of historical development, this paper sorts out the process of its evolution and development, and explores the new meaning of its derivation. Taking diachronic and synchronic as structural clues, this paper explores the laws of occurrence, evolution and development of its propositions, categories, and the transformation of its modern meaning from the aspects of philosophical and social trends, Taoist Zen enlightenment, literary communication and acceptance, and the internal structure of poetics.（AI翻译）