On the Aesthetic Significance of Wang Fuzhi's Theory of the Unity of Poetry and Music, with Criticisms of Certain Biases in the Study of His Theory of Poetics

In recent years, studies on Wang Fuzhi's theory of poetics have tended to emphasize his depiction of circumstantial relationships. After reading Wang Fuzhi's theoretical writings on poetry, this author has come to believe that the proposition, "Poetry and music derive from the same principle" [shi yue zhi li yi],1 is also one of the fundamental perspectives in Wang Fuzhi's theory of poetry and song-making. Wang Fuzhi clearly described the relationship between poetry and music as one in which "music and poetry take each other mutually for essence and for usage" [yue yu shi xiang wei ti yong zhe ye]2 and "poetry and music take each other mutually as external [expression] and internal [substance]" [shi yu yue xiang wei biao li].3 Thus, in his view, music is the essence and the internal for which poetry is a usage and an outward expression. Since Wang Fuzhi has placed such emphasis on the intrinsic connection between poetry and music, and because he considered music to be the essence of poetry, we are obliged to give this theory our greatest attention.