Chen Ziang composed "Motto" to doubt

Author:Cao Lifang(Professor, College of Literature, Liaoning Normal University)

"Motto" "Father Filial Piety" article, the earliest extant Chen Ziang collection engraving Ben Ming Hongzhi four years Yang Cheng engraved "Chen Boyu Anthology" is not collected, all the manuscripts and engraved Chen Collection known today in the Ming Dynasty are also not collected, until the Qing compilation of the "Quan Tang Wen" was supplemented into Chen Ziang's article, and then Mr. Tong Yangnian's "Quan Tang Poetry Continued Supplement" Volume 1 was added to Chen Ziang's name, with a small note saying "Chen Boyu Collection" was not collected" and "Wenyuan Yinghua" 790 "Ming". Published by zhonghua bookstore in 1960 and revised and published by Shanghai Ancient Books Publishing House in 2013, Xu Pengdian's school edition "Chen Ziang Collection" is based on the "Quan Tang Wen" and added to the last part of the volume. Peng Qingsheng's "Annotations on Chen Ziang's Collection" published by the Huangshan Book Club in 2015 was added to the "Zhiming" part of volume 6 according to the style. For this "Motto" that has gradually been accepted as Chen Ziang,the author believes that there are still some doubts, and there is a need to put it forward for the academic community to further examine.

Judging from the available materials, the earliest signature of this "Motto" by Chen Ziang was in the "Wenyuan Yinghua". Although the Song Dynasty Zhu Mu's "Ancient and Modern Events and Literature Clusters" Volume VIII also contains this article, there are many texts in the "Ancient and Modern Events and Literature Clusters" that show that Zhu Mu often took funds from the "Wenyuan Yinghua", such as Wang Wei's poem quoted in the article "No Poetry and Plagiarism" in the sixth volume of the Other Collections, "Walk to the water poverty, sit and watch the clouds rise", the source of the small note is "Yinghua"; after the introduction of Xue Daoheng's "Former Salt", there is a small note saying: "According to the title of this "Wenyuan Yinghua", Liu Changqing's "Don't Hang Zi Complaint". At the beginning of the Changqing collection, there was no such article, and Guo Maoqian's "Le Fu" and Hong's "Rong Zhai Continued Writing" and thought that Xue Daoheng's "Former Salt". According to the Tongjian, the Sui Dynasty Emperor Saidao Heng said: "Is it more likely to be an empty beam and fall into the mud?" "Yinghua" was mistaken because wei Yun's "Cai Tuning" was composed of Liu Changqing's poem. Therefore, we have reason to think that in the case that all kinds of Chen Ziang collections in the Song Dynasty did not include this "Motto", the basis for the inclusion of "Ancient and Modern Events" is most likely "Wenyuan Yinghua". The "Wenyuan Yinghua" put the poem "Xi Xi Yan" under the name of Liu Changqing, which also proves that although this book was compiled earlier and has a high degree of credibility, there is no lack of zhang guan li dai.

The author suspects that this "Motto" was not written by Chen Ziang. First, because the early Chen Ziang collection did not include this article. When Lu Zang used it to compile a collection for Chen Ziang, "his articles were scattered and more than the population" ("Chen's Biography"), so he "took his remains that can survive, and compiled them in ten volumes" ("Chen Ziang Collection Sequence"). Lu Zangyong was a close friend of Chen Ziang, and he edited Chen Ji after Chen Ziang's death, and he was bound to try his best to be perfect, in other words, Lu Zang used poems that could not be found at that time, and the possibility of future generations finding them again was extremely small. And Lu Bian Chen Ji was widely circulated in the Tang Dynasty, so that "the text of the collection of relics, within the four seas, the family has a copy" (Zhao Dan's "Chen Gong Jingde Stele"), and since then, the bibliography of the successive dynasties has been recorded as ten volumes, just as Mr. Wan Man said: "There is only one source for the "Chen Boyu Collection", which roughly preserves the original appearance of the ten volumes compiled by Lu Zangyong, although it has been reprinted several times, but no major differences have been found, and it is a relatively simple and complete one in the Tang Collection inscription. "(Narration of the Tang Collection)" Mr. Wan's remarks, the Dunhuang fragments can also help confirm." At the end of the eighth volume of the Dunhuang book of the Present-day "Chen Zi'ang Collection", the number of volumes 9 and 10 is identical to that of the present Chen Collection; and Lu Zang uses the "Preface" Yun: "As for the talent of Wang Ba, Zhuo Ji's journey, then the "Other Biography" is preserved, and the final yun'er is followed. At the end of this volume of Dunhuang, there is a copy of Lu Zang's "Biography of chen", which can also be proved to be the original appearance of Lu's compilation. (Peng Qingsheng's "Annotations on the Collection of Chen Zi Ang") It can be seen that although the ten-volume Chen Zi Ang Collection seen today has lasted a long time, it basically retains the original appearance compiled by Lu Zang, and before the Compilation of the Quan Tang Wen, there is no "Motto" article in various manuscripts and inscriptions, so it can be speculated that Lu Zang did not accept this article in the Chen Collection compiled by Lu Zang.

Second, during the Southern Song Dynasty, Zhou Bida, Peng Shuxia, and others made a school record when they revised the Wenyuan Yinghua, which also confirmed that this inscription was not Chen Ziang's work. When compiling the Wenyuan Yinghua in the Southern Song Dynasty, Zhou Bida and Peng Shuxia referred to various Song ben in Chen Ziang's collection, and the school records were written as "Ji Zuo X", "Yi Zuo X" (after the text, there may be the words "Yi Zuo Ji Ben"), "Min Ben Zuo X", "Shu Ben Zuo X", "Chuan Ben Zuo X", and so on. After the author's examination, "Wenyuan Yinghua" contains a total of 78 Articles by Chen Ziang, and only 7 articles without school records, including "Motto" (and two lists for the final funeral of Yixing Gongchen, the author believes that it is not Chen Ziang's work, there is another text to examine). Zhou, Peng and others found a number of different texts in Chen Ziang's articles collected in Wenyuan Yinghua, indicating that the Wenyuan Yinghua written in the early Northern Song Dynasty was very different from the Chen Ziang collection circulated in the Song Dynasty. Although it cannot be ruled out that this text is not written in various versions of the Song Dynasty Chen Ji, and the possibility that wenyuan Yinghua is completely the same as all the Chen Ji versions of the Song Dynasty, compared with the situation that chen Ziang's other articles have many different versions of different texts, the author believes that this possibility is very small, but the Song Dynasty Chen Ji does not accept this article, and the possibility that Zhou, Peng and others cannot participate in the school is greater.

Third, judging from the supplements written by Chen Ziang in the Quan Tang Poems and Quan Tang Wen, the Lu Compilation chen collection was very rarely scattered in the process of being circulated in later generations. Although only the fragments of volumes IX, 12 full volumes and 8 are preserved, from the 9th and 12th volumes, they are all the same as Yang Cheng's engraving of Chen Boyu's Collected Works, which at least proves that these two volumes were not scattered until the Ming Dynasty. After the Hongzhi Dynasty, chen zi'ang collections were circulated in two systems, one was a complete collection of ten volumes, and the other was a two-volume collection of poems. The former is mostly based on Yang Chengben, and there are not many changes, only the Wang Ting inscription during the Jiajing period supplemented the poem "Wei's Garden Pavilion People Endowed with a Thing to Get Qiuting Xuancao", and this poem was included in the "Chen Boyu Collection", which belonged to the two-volume system, indicating that this poem was original in the Song Ben Chen Collection. The Quan Tang Poems have ten more poems than Yang Cheng's poems collected in volumes 1 and 2, such as Qingyun Zhang, DengyouZhou Tai Song, Wei Garden Pavilion People Endowed with a Thing to Get Qiu Ting Xuancao, Obscure Day Feast Gao Shi Lin Pavilion and Sequence, Obscure Day Heavy Feast Gao Shi Lin Pavilion, Shangyuan Night Feast Xiao Yu Body, March 3Rd Feast Wang Mingfu Mountain Pavilion" "Tree Picking Song", "Landscape Powder Map", "Chuntai Introduction". Among them, "Qingyun Zhang" and the last three poems, Yang Chengben are included in volume 7 miscellaneous works; "Dengyouzhou Tai Song" Yang Chengben is included in the appendix at the end of the volume Lu Zang's "Biography of Chen", and the Quan Tang Poems are only five more poems than Yang Chengben's actual poems. If one more song of the original "Wei's Garden Pavilion" mentioned above in the Song Ben Chen Collection is excluded, the Quan Tang Poems only add four poems, and these four poems are all composed by the assembly. Volume VII of the ChaChen Collection has a number of assembly prefaces, such as "The Preface to the Eastern Ping of the Golden Gate", "The Preface to the Trial of Du Sihu in Jizhou", and the "Preface to the Winter Night Feast Linqiong Li Lushi's Residence", most of which have "Qun Gong Jiazhi, Give Poems to Gifts", "Please Chen Zhi, Leave the Order in The Order", "Give the same word, all are four rhymes" and other words, indicating that there were poems at that time, and in the existing Chen Ziang collection, there were no poems corresponding to these prefaces, indicating that Lu Zang used it in compiling the Chen Collection, and this part of the work did lose a lot. Later, there was a chance to hook one or two from the assemblies that were circulated in the world or other other other episodes of participants, in addition, there was very little room for supplementary compilation of Chen Ziang's poems. The Qing compilation of the Quan Tang Wen supplemented four articles for Chen Ziang, namely "The Second Table for the Final Funeral of Yixing Gongchen", "The Third Table for the Final Funeral of Yixing Gongchen", "The Table of Xie Zhi Winter Clothes" and the "Motto", as mentioned above, the author believes that at least two of the four articles for Yixing Gong and three of the "Motto" are problematic.

Fourth, from the perspective of the stylistic development of the "Motto" and the spread of Chen Ziang's works in the Tang Dynasty, this "Motto" can also be suspected of not being his work. Chen Ziang had a very high status in the minds of the literati of the Tang Dynasty, and as mentioned earlier, his anthologies were widely circulated, and the style of "motto" was not created by many people in the Tang Dynasty. Bai Juyi has a "Continuation Motto", preceded by a small preface, only saying: "Cui Ziyu's "Motto", Yu Stealing Muzhi. Although it was not done, it was often written on the wall of the house. However, there seems to be an unfinished one, because it continues to be the "Motto" cloud. "Cui Ziyu is the Han Dynasty Cui Yao, his "Motto" is very influential, and is considered by posterity to be the first person to write the "Motto". Bai Juyi is very familiar with and respectful of Chen Ziang, and has mentioned Chen Ziang many times in poems and books such as "Chu Zhi Shi Zhi Zhi", "Nine Books of The Yuan", and "Bai Shi Liu Ti", if Chen Zi Ang really has a rare "Motto", then Bai Juyi should mention it when he is in the sequel. If Bai Juyi occasionally does not mention it and does not have enough evidentiary power, then, coincidentally, the late Tang Dynasty Guan Xiu has the "Right Motto of Continuing Yao Liang", and the preface to it says: "Foolishly tasting the "Right Motto of The Continuation of Cui Ziyu" composed by Bai Taibao, its word is a canonical text, and then it is earnest and cut, and it can really be warned of unenlightened, and it will be fearful in the future. The next time I saw Yao Chong, Bian Lan, Zhang Shu, and Li Yong, all of whom had Swen, which was particularly mysterious. Although the author of the Motto mentioned by Guan Xiu is confused, it is clear that he has specifically collected this group of authors. Guan Xiu did not mention Chen Ziang, and we cannot but suspect that Chen Ziang did not write this article at all.

The above are some of the questions raised by the author about Chen Ziang's "Motto". The author deeply feels that the style of this article is too different from Chen Ziang's era and personality, so it has doubts, and then in the process of consulting the materials, the doubts have further deepened, and the reflection presented to you now is only hoping to help the final confirmation of the copyright of this article.

Guangming Daily (2021-01-18, 13th edition)

Source: Guangming Network - Guangming Daily