| Summary: | 碩士 === 銘傳大學 === 應用中國文學系碩士在職專班 === 94 === All of his life, Chih-Mo’s thought and action had been inspired by Liang Chi-Chao’s patriotism since his early youth. It was a time when Chinese government was defective in Bureaucracy and weak in national power. People of vision took their homeland as their responsibility, striving for ways to save this country. Chih-Mo engaged in political an econonmical affairs under the encouragement of this patriotism, which later fostered his aspiration for new idea observed in the west and urged his experiments on them. In his pursuit of studies, he realized the importance of ideals. In his opinion, a country without ideals was no more than a duckweed drifting at sea. A person without ideas wandered as a boat losing its helm. Only through ideals could one set up the goals to fight for.
For Chih-Mo, it was beautiful to behold ideals which were the embodiment of true beauty. Chih-Mo’s love for beauty originated from his craving for ideals and then expanded to worship of nature. The concepts of “love”, “freedom” and “beauty” are omnipresent in his essays. Chih-Mo’s works presented an intact form of resonant syllables as well as soul-touching sentences, unleashing ebullient and unrestrained cordial passion. Furthermore, Chih-Mo expressed himself in his unique poetic language. All of these instill refreshing running water into modern Chinese prose. Analyzed from the perspectives of literary aesthetics, his creation of essays condensed the affection of beauty. In terms of rhetoric, his elegantly elaborate language and complicated rhetoric artistry endued his works with beauty in forms, tones and meters as well as implications. From the angle of imagery aesthetics, Chih-Mo displayed his distinctive disposition in his essays, developing his own style of prose abundant with graceful imagery. These are quite thought-provoking perspectives that haven’t yet been probed. They are the ways of proof that the writer intends to examine and discuss.
The first chapter Preface provides a detailed explanation of study motives and objectives, study status and scope and study methodologies and steps. The second chapter explores Chih-Mo’s course of life which is divided into the following for aspects for analysis：family background, integrated studies of Chinese and western cultures, dedication to literature as well as love and marriage. I also elaborates Chih-Mo ‘s road in the literature art and delves into his growth environment and art background that influence his aesthetics in prose creation. These analyses serve as fundamental knowledge for further studies of Chih-Mo’s aesthetics. The third chapter deals with the aesthetic experience of Chih-Mo’s essays. I will cut in from the aesthetic system comprehensively applied by the Chinese aesthetic maestro, Chu Kuang-Chien, introducing respectively the so-called “Intuition of shape looks theory”, “Psychological distance theory”, “Empathy theory” as well as “inside simulate theory”. Based upon the discourse of these four aesthetic theories, the presentation of “intuition of shape looks”, “psychological distance”, “empathy function” and “inside simulation” in Chih-Mo’s essays will be explored.
The fourth chapter analyzes the rhetoric traits and gives a conclusive study of three major aesthetic traits peculiar to Chih-Mo’s essays：integrity in form, harmony intones and meters and bountifulness in implications, all of which are my major concerns in examining rhetoric aesthetics.
The fifth chapter dissect the imagery aesthetics in Chih-Mo’s essays and categorizes five artistic conceptions in Chih-Mo’s works. “Artistic conception of creativity” ensues from innovative association of images, composing into new aesthetic harmony. That is the sublime demonstration of association ability. “Artistic conception of reflection” signals warnings in myriad ways to awaken people for introspection. “Artistic conception of infinity” impresses readers with the haunting feelings of immensity and liberty.
The sixth chapter is the conclusion, summing up the analyses and examinations made from chapter row to chapter five and giving a integrated and profound review of the aesthetic traits, aesthetic exhibition, aesthetic conceptions as well as aesthetic values in Chih-Mo’s essays.
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