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| “Jizhou”: Figurative Thinking and Artistic Interpretation of Ancient Chinese Grammar Theory |
| Xie Wenhui1, Sun Minqiang2,1 |
1.School of Chinese Classics, Guangzhou University of Chinese Medicine, Guangzhou 510006, China
2.College of Liberal Arts, Zhejiang University, Hangzhou 310028, China |
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Abstract The original meaning of “Jizhou (机轴)” refers to the part on the loom that rolls up the cloth or silk. It is because “Jizhou” is in a position of great significance on the textile machine that it is often used as a metaphor for the critical part. Furthermore, as “Jizhou” features the warp and the weft interweaving, just like works of literature do, this term extends in meaning to the principle of literary creation. Considering the poetry and prose of late-comers heavily plagiarized the ancients, literary critics began to reflect on the success or failure of poetry and prose, hoping to reverse such situation and get rid of the disadvantages through new changes. In this process, scholars in the Song Dynasty mostly compared the ancient and modern prosers, and put the word “Jizhou” in the position of the cornerstone of the theories of grammar, so as to apply the innovative meaning contained in “Jizhou” to interpret or appreciate grammar. From the specific practice of literary creation, “Jizhou” is manifested in the conception, layout, diction, syntax, rhetoric, structure and even momentum of the text, with emphasis on variation and innovation. Thus, using the term “Jizhou” to evaluate articles and emphasize innovation gradually became a trend, and “Zichu Jizhou (自出机轴)” became one of the main values of writing in the Song Dynasty and subsequent periods. In this sense, “Jizhu (机杼)” and “Jizhou” mutually support each other, both pointing to the grammar and structure of innovation and change in literary works. The relationship between the two was defined during the Song and Yuan Dynasties.Later scholars using water as a reference expanded the scope of “Jizhou” to “Shuiji (水机)”, giving emphasis to “Wenxin (文心)” and making the connotation of grammar theories more refined and broader. In short, using “Shuiji” as a metaphor for “Wenxin” aims at highlighting the key points of the article in terms of content and emphasizing the diversity of form. To be specific, literary critics use the metaphor of “Shuiji” to explore the relationship between water and literature, seeking a kind of “similarity”. First, the meaning of crux carried by “Shuiji” corresponds to the meaning of the key points of the article contained by “Wenxin”. Second, the emphasis on the characteristics of constant change in “Shuiji” coincides with the creative techniques and methods of literary creation. On the basis of such interpretation and understanding, although “Wenxin” and “Shuiji” are heterogeneous, they are identical in spirit and both point to the ultimate principle of literary creation and criticism. Whether as a standard for weighing grammar or as a metaphor for flexible ways of literary creation, “Shuiji” and “Jizhou”, using water as a reference, reveal the inseparable relationship between grammar innovation and creation. As a concrete mode of thinking and expression derived from “Jizhou”, “Shuiji” reflects the idea of literary critics communicating their own life activities with the operation of the natural world, expressing the pursuit of the state of unity between man and nature.In conclusion, the scope of “Jizhou” is rooted in the form of poetry and prose, allowing for the development of an innovative approach to poetry and prose writing. In the process of logical generation to connotation evolution, its categories are refined to include words, phrases, sentences, and chapters, constructing a relatively complete system of grammar categories. This system is rooted in the creation and writing of literary works, which are not only related to the text but also rely on the momentum of the text. Its research objects initially focus on the pure textual level of grammar theories, but gradually deepen to the aesthetic information contained within the text. Its internal context and artistic interpretation demonstrate the “Chinese nature” of grammar theory and even the entire unique ancient Chinese literary theories.
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Received: 21 February 2023
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2023, Vol. 53 
