1: Reader asks a series of cognitive questions and, through textual analysis, aims to resolve a problem in his mind. This is efferent reading, efferre (lat. “to carry away”) is what a reader takes from the information. It’s like archeology–the reader digging for information in search of truth and meaning.
2: A poem’s evocation of the poet’s feelings–focused not on grammer or syntactical relations but on sensuous images. This is aesthetic reading where the reader is interested only in what is experienced during the reading, paying attention to associations, feelings, attitudes, and ideas that the words arouse within him and gaining a holistic understanding.
“reader doesn’t pay attention to broad abstractions about jealousy and guilt and human tenderness that might be enunciated but to the actual moment-to-moment participation in Othello”
In Chinese literary criticism, these 2 different reading styles are designanted by the concepts jie shi and du shi. (jie meaning to interpret)
For example: what do you see in a painting? Do you notice composition, lighting, and the subjects? Or do you stand back and evaluate the overall feeling that it evokes?
Chinese critics rarely approach a poem as an isolated, self-contained object. Discussions are embedded in the author’s life experience, the social-historical background of the author’s time, and most importantly the reader’s evaluative and emotive response to the work. Shi yan zhi–the founding program (kaishan gangling) of Chinese literary tradition. (poetry expresses intent and emotion)
For the Chinese, however, the author is where the meaning comes from because his intention or emotion is the origin of his poetry. Text is no more than a medium for the author’s mind, and the meaning of a poem lies in the author’s mind inscribed in the text. Thus to know the poet (time & person) is to know the meaning.
On one hand, the poet, stirred by an emotion, expresses his feelings in words, thereby generating a poem. On the other hand, by reading the poem, the reader at the other end of the spectrum re-enacts the author’s feelings and thereby finds his own emotion expressed. fu shi yan zhi (“reciting poetry to express one’s intent/emotion”) and ting shi guan zhi (“hearing poetry recited to observe one’s intent/emotion”)
shi yuan qing (“poetry stems from emotion”)
In the Analects, Confucius exhorted his students:
“Why don’t you study the Book of Poetry? Poetry can help to stimulate the imagination (xing), to observe social conditions (guan), to associate with others (qun), and to give expression to complaints (yuan). It teaches you to wait on your father at home and serve the sovereign at court. It also helps you learn the names of birds, beasts, plants and trees. (185)”
Xing–to rise, exalt, evoke–this must happen first before the other functions can follow
Although the life of an age may have passed beyond our view, we may often, through reading its literature, succeed in grasping the heart of it.
Poetry is like ripples on a pond–the author expresses, writes words, the words flow to a reader who receives them and then works back to the feelings of the author, following the waves to their source.
The Chinese language allows a poet to group words into phrases that are in harmony with one another regardless of semantics or grammar (w/no tense or pronouns present)
“concealed expression” (hanxu) or pursuit of “the meaning beyond words” (yan wai zhi yi). Zhong Hong (fl. 483513) maintained that the best poetry is that in which “the words have ended and yet the meaning lingers on” (4) . Liu Xie preferred the quality of “concealment” (yin) to that of “ostensiveness” (xiu) in poetry
Therefore, the miraculousness of their poetry lies in its transparent luminosity, which cannot be pieced together; it is like sound in the air, color in appearances, the moon in water, or an image in the mirror; it has limited words but unlimited meaning
In Chinese literary criticism, the creative undertaking of the reader is also referred to as pin wei, or “to savor the flavor.” As the two words clearly indicate, the objective of reading is to apprehend the nuances of the emotive mood or atmosphere of a poem, and the way to do this is through a meditative and holistic comprehension.
Gaston Bachelard proposed that the great function of poetry “is to give us back the situation of our dreams” that lie dormant in the depth of the unconscious. Reading poetry is contemplative, experiencial, and meditative.