(This article was published in the Journal of Guizhou Normal University (Social Science Edition), No. 1, 2021.) Please indicate the source for citations or reprints. ）
Abstract: There are many different texts and different interpretations in Zhang Ji's "Fengqiao Night Berth", but the controversy mainly focuses on how "Jiang Feng" should be understood. One says "maple tree by the river", and the other says it is a combination of "river bridge" and "maple bridge". But a large number of literature shows that the damp maple tree does not grow by the river, and there was no "maple bridge" and "river bridge" in the Tang Dynasty. Moreover, the current "Hanshan Temple" was named "Fengqiao Temple" in the Song Dynasty, and earlier it was called "Puming Zen Temple", that is to say, the "Hanshan Temple" in the poem does not really mean. The earliest Tang dynasty poet to include this poem is the Tang poem "Zhongxing Jian Qi Collection", the poem title was originally "Night Poisson River"; in song ben "Wenyuan Yinghua" and Song Ben 'Yu Yin Cong', those four words are "Jiangcun Fisherman Father". Comprehensive judgment: "Night Poisson River" and "Jiangcun Fishing Fire" should be the original, Zhang Ji's night berthing place should be songjiang in the east of the city, not the Fengqiao in the west of the city. In addition, the "crow" in "The Moon Is Falling and The Sky Is Full of Frost" refers to the crow, not the crow.
Keywords: Zhang Ji Fengqiao Night Berth Night Poisson River Jiangfeng Fishing Fire Jiangcun Fishing Fire Hanshan Temple
The moon is falling and the sky is full of frost, and the fishing fire in Jiangcun is sleeping.
Gu Sutai went down to Hanshan Temple, and the midnight bell rang to the passenger ship.
This poem by Zhang Ji (c. 715 – c. 779) is well known not only in China, but also among women and children in Japan. However, there are also many different texts and controversies in this poem, such as "Moonfall" as "Sunset", "Wu Cry" as "Ape Cry", "Jiangcun" as "Jiang Feng", "Riverside", "Fishing Fire" as "Fisher Father", "To Sleep" as "To Sorrowful Eyes", "Under the Stage" as "Outside the City", "Under the City", "Midnight" as "Midnight", "To the Passenger Ship" as "Passing By", and the poem title is "Night Po Song River", "Fengqiao Night Berth", "Night Berth Maple River", "Fengqiao Temple", "Su Feng Bridge", "Evening Berth", "Maple Bridge", "Boat" and many (for the convenience of discernment and expression, hereinafter referred to as "Night Berth" in the general context), and even the author has another wen Tingjun. Among them, the controversy about "Jiangcun Fisherman" and "Midnight Clock" has swept the poetic circles for nearly a thousand years and has not stopped. With "Fengqiao Night Berth" as the keyword, I searched on CNKI, and there were more than 40 related papers. Scholars are constantly interpreting, interpreting, or questioning the poem with new knowledge and from new perspectives.
The times are developing, and technology is progressing. In the Internet era, we have more advanced search methods, more and larger databases, and we can obtain more literature, so as to conduct more comprehensive examination and research on classic chapters such as Tang poetry. In this examination and analysis, the author retrieved 56 kinds of classical documents containing "Night Berth" from several major databases such as the Ancient Books Library of Peking University, the National Digital Library of China, the Harvard Yenching Library, and the Special Collections of the Chinese, with a total of 64 editions. According to the chronology of the literature, 1 kind of Tang Dynasty, 22 kinds of Song Dynasty, 1 kind of Yuan Dynasty, 19 kinds of Ming Dynasty, 12 kinds of Qing Dynasty; divided by edition publishing time, 4 Song Ben, 3 Yuan Ben, 17 Ming Ben, 37 Qing Ben, 2 Republic of China editions, and 1 modern edition.
In the process of reading the relevant literature, the author gradually developed a feeling that the previous understanding of "Night Berth" was seriously inconsistent with a large number of documents and historical materials, and the more I read, the stronger this feeling became, and finally subverted the previous cognition and made a judgment that was very different from the predecessors: the place described in this poem was not the "Fengqiao" and "Hanshan Temple" in the west of Gusu City, but the Songjiang area in the east of the city. The "Jiang Feng" in the poem should be "Jiangcun", "Outside Gusu City" should be "Gu Su Taixia", and the original poem title should be "Night Po Song River", certainly not "Fengqiao Night Berth".
1. Overview of version source streams
The controversy over the different texts of "Night Berth" is mainly focused on "Jiang Feng" and "Fishing Fire", and this controversy is closely related to the title of the poem.
Among the 64 versions, there are 51 "Jiang Feng", 13 "Jiang villages", 57 "Fishing Fires", and 5 "Fisher Fathers", namely 2 versions of Wenyuan Yinghua, the Song carvings of "Yu Yin Cong Dialect", the Quan Tang Poems and the "Compilation of Ancient and Modern Poetry". In addition, there are 2 poems on the porcelain pillows of the Jin Dynasty called "Fisher Father by the River".
The earliest document to include this poem is the "Zhongxing Jian Qi Collection" compiled by the Tang Dynasty Gao Zhongwu (中唐人, birth and death year unknown). The 3 ancient book versions of the book are all "Jiangfeng Fishing Fire", but the titles are not exactly the same. The HanfenLou Tibetan Ming translation of the Song periodical is "Night Poisson River", the Siku ben is "Night Po Song River" with a small note "The original title of "Fengqiao Night Berth"", and the Zhonghua Bookstore edition (based on the Mao's Ji Gu Ge Ying Song Manuscript) adds a small note to "Overnight Stay in Songjiang". Another: Wang Shichen (1634-1711) deleted the "ZhongxingJian QiJi" in the "Ten Selected Tang Poems" as "Night Posong River".
Comprehensive judgment, the title of the poem "Zhongxing Jian Qi" should be "Night Poisson River". Although this poem title is only found in the "Zhongxing Jian Qi Collection", it should be the original title of this poem, and it is also the most appropriate poem title. "Fengqiao Night Berth" was only available after the Song Dynasty. Because this poem title gradually became popular in the world, leading posterity to mistakenly think that it was the original title, so the four libraries were originally called "the original title "Maple Bridge Night Berth"" (肑). The "Jiangfeng Fishing Fire" in the "ZhongxingJian Qiji" should also be the result of channeling, because in the Ming Dynasty, "Jiangfeng Fishing Fire" was already popular, and it was recognized that the Ming people liked to change the ancient books. Some people may ask: Then why is it said that the title of the poem has not been tampered with? This requires reference to various other factors. The author's overall judgment is that this poem was first changed to poetry, and then changed to poetry title, which is a fairly long process. This will be discussed later.
Li Fang(925-996) "Wenyuan Yinghua" is one of the earliest documents to include the "Night Berth". Fragments of the Song Ben have been handed down in this document, including the 292nd volume of the Night Berth, which is also one of the 5 Song Ben of the 64 editions. The title of the poem in this book has become "Fengqiao Night Berth", but the main text is "Jiangcun Fisherman" with a small note "Selected Poems as Jiangfeng Fishing Fire", which is also one of the earliest sources of "Jiangcun" and "Fisher Father". The title of the poem in the Siku benefactor is still "Fengqiao Night Berth", but the main text becomes "Jiangfeng Fisherman Father" plus a small note "Selected poems as Jiangfeng Fishing Fire". It should be noted that although "Wenyuan Yinghua" was compiled in the early Northern Song Dynasty, due to too many errors, it was changed again and again, and it changed hands several times, and it was delayed until the Southern Song Dynasty. And "Feng" appears in "Night Berth", which should begin in the Northern Song Dynasty.
Wang Anshi (1021-1086) "Selected Poems of Tang Hundred Families" also has a fragment of Song Shaoxing (1131-1162), the title of the poem in the book has been "Fengqiao Night Berth", the text is "Jiangfeng Fishing Fire".
The other two Song Ben are Zhu Mu (?) —1255) Song Xianchun III (1267) engraving of Fang Youyu Sheng and Wang Xiangzhi (1163-1230) Qingying Song manuscript of Youdi Jisheng. None of the poems quoted in these two books have a poem title, and the text is "JiangFeng Fishing Fire".
Of the 64 editions, Liu Kezhuang's (1187-1269) Selected Poems of the Tang and Song Dynasties (also known as The Thousand Poems of houcun) is the only original. The poem in this book is titled "Boat" and is also seen only. "Categorization" is the style of the book, in order to make the poem title more compatible with the category, the editor modified the title of many poems. For example, under the category of "boat", there are 8 poems with the title "Boat". In addition to Zhang Ji's "Night Berth", Cui Hao's "Four Songs of Long Gan Xing (Part III)" was also changed to "Boat".
Gong Mingzhi (c. 1091-1182) "Zhongwu Jiwen" in 4 editions, the poems are titled "Sufeng Bridge". The main text of the 7th year of Ming Hongzhi (1494), the Mao's Jiguge inscription of the late Ming Dynasty, and the Yue yatang ben of the 3rd year of Qing Xianfeng (1853) are all "Jiangcun Fishing Fire", but the text of the Siku ben is "Jiangfeng Fishing Fire".
Hu Zai (1110-1170) quoted this poem twice in his "Tales of Yu Yin Cong of Cangxi". The second volume 2 does not quote the poem title, the main text of the Song inscription is "Jiangcun Fishing Father", the Ming codex and the Siku ben are "Jiangcun Fishing Fire"; the later volume 15 is entitled "Fengqiao Night Berth", the Zhengming civilization codex is "Jiangcun Fishing Fire", and the Siku ben is "Jiangfeng Fishing Fire" (Song carved Benque).
The surviving version of Hong Mai's (1123-1202) "Ten Thousand Tang Dynasty Absolute Sentences" is also different. The poems in the three ancient book versions of the document are titled "Fengqiao Night Berth", but the poems are different. The Ming Jiajing inscription and the Siku ben are both "Jiangfeng Fishing Fire", while the Ming Wanli Inscription (Zhao Eun Guang School) is "Jiangcun Fishing Fire", which was followed by the 1983 edition of bibliographic literature publishing house.
Wang Guanguo (who died around 1140) "Xuelin" (1809) inscription of Ming Jiaqing has been in the year of 1809, The Twenty-fifth Year of Qing Guangxu (1899) Guangya Bookstore reprint, siku ben are all "Jiangfeng Fishing Fire", the Qing codex originally wrote "Jiangcun Fishing Fire", but some people changed it to "Feng" next to "Village".
In addition, Wu Zeng's (Southern Song Dynasty Shaoxing period) 'Records of the Nengjie Zhai Manga' are also "Fengqiao Night Berth" and "Jiangcun Fishing Fire". Since then, the Ming Dynasty's "Gu Su Zhi", "Tang Yin Tong Signature", "Shicang Dynasty Poetry Selection", "Daming Unified Famous Scenic History", and the Qing Dynasty's "Quan Tang Poetry Record", "Yuding Peiwen Zhai YongWu Poetry Selection" and other documents are "Jiangcun Fishing Fire", most of the other literature is "Jiangfeng Fishing Fire", and the poem title has basically become "Fengqiao Night Berth". The only exception is the Quan Tang Poems, which take "Jiang Feng Yu Father" plus a small note "Father", a fire. ”
Gao Tang's (1350-1423) Ming Jiajing inscription, Mingwang Zongni inscription and Siku ben are all "Jiangfeng Fishing Fire", but the Jiajing inscription has a footnote "Fengzuo Village". The Ming Jiajing inscription of the "Tang Poems Zhengsheng", which is also selected by Gao Tang, is "Jiangcun Fishing Fire".
A note in Lu Rong's (1436-1497) "Miscellaneous Notes on Shuyuan" says: "Zhang Ji's poem "Fengqiao Night Berth" has two sentences: 'Jiangcun Fisherman's Father Sleeps', which is not as good as the old 'Jiangfeng Fishing Fire', which is also a mistake in the engraving. Another small note said: "Originally, 'Jiangfeng Fishing Fire' was better, but I didn't know how to change it and set it on others." This shows that there was also a version of "Emura Fisherman".
Hanshan Temple houses a stele of poems written by Yu Yu (1821-1907). The poem on the front of the carved stone is the popular version, but the back of the carved stone is engraved with a note by Yu Fan: "Tang Zhangji's poem "Fengqiao Night Berth" is very popular, but the second sentence 'Jiangfeng Fishing Fire' is quite suspicious. Song GongMing's "Zhongwu Jiwen" as "Jiangcun Fishing Fire", the old Song people's book Ke Baoye. This poem was once written by the Song Dynasty King Gao Gong to carve a stone, but it is not visible today. The book to be written in the ming text is also rambling, and the next word 'Jiang' is indecipherable. Shinoshi Zhongzhong belongs to the Yu Supplementary Book, Gu congens the present book, but the 'Gangcun' ancient book must not be left behind, because a poem is attached to the engraving to inform the viewer. His poem reads: "The old ink of the Duke of Gao has not existed for a long time, and the stele must not be destroyed." Fortunately, there is "Zhongwu Jiwen", and the word Qianjin is 'Jiangcun'. Obviously, Yu Fan could not bear to abandon his love for "Jiangcun", but he only noticed the "Jiangcun Fishing Fire" in the "Zhongwu Jiwen", but he did not know that "Wenyuan Yinghua", "Ten Thousand Tang Dynasty Absolute Sentences", "Can Change the Zhai Manga" and other Song Dynasty documents are all in it. The reason why Yu Fan didn't notice was probably because most of what he saw was the Four Kuben. Siku basically changed the original "Jiangcun Fishing Fire" to "Jiangfeng Fishing Fire", and did not even note a different text, which is really misleading for future generations. In fact, the four libraries of the "Zhongwu Jiwen" are also "Jiangfeng Fishing Fire", fortunately, at the end of the Qing Dynasty, there was also the Yue Yatang series of books, and this book is "Jiangcun Fishing Fire". The "Zhongwu Jiwen" that Yu Fan read may be this version. If he had seen the Song Ben "Wenyuan Yinghua" and other documents, he would have written "Jiangcun Fishing Fire" directly on the front of the poem.
It is worth mentioning that the Shanghai Museum once exhibited a porcelain pillow for a lady of the Song and Jin dynasties, on which it was written: "The leaves fall on the apes cry frost all over the sky, and the fishermen by the river sleep." [1] The same is written on another tiger-print porcelain pillow. The words "leaf", "ape", "edge" and so on these two porcelain pillows are only seen, but "father" is also found in "Wenyuan Yinghua" and "Quan Tang Poems". The "Father" is similar to "fire," which must be the main cause of error. "Fishing fire" refers to "the lights on the fishing boat", and "fisherman father" refers to "the man on the fishing boat", both of which make sense and have little impact on poetry, and will not be distinguished below.
There are too many versions to elaborate on. In general, the poem title of "Fengqiao Night Berth" has become the mainstream in the Song Dynasty, and it was almost unified in the Ming and Qing dynasties, and "Jiangfeng Fishing Fire" has gradually become the only choice. Therefore, in terms of the number of versions and the source flow, it seems that the title and text of the poem should be "Fengqiao Night Berth" and "Jiangfeng Fishing Fire". However, in other aspects such as poetry and historical facts, there are many inconsistencies that cannot be justified.
Second, "River", "Maple" and "Temple" are all nothing
The controversy about "Night Berth" revolves around "Jiang Feng"; and the controversy about "Jiang Feng" is not in the different text, but in how to understand - that is, what does "Jiang Feng" mean? There are two main views: one refers to the "maple tree by the river", and the other refers to the "river bridge" or "Jiangcun Bridge" and "Maple Bridge". However, there is only a small river next to Hanshan Temple, neither river nor maple trees; moreover, the literature shows that in the Tang Dynasty there was neither "Jiangcun Bridge" nor "Feng Bridge"; even, there was neither "Hanshan Temple" nor "Midnight Bell".
(1) Hanshan Temple is not the actual reference
The most authoritative record of the history of Hanshan Temple is the "Chronicle of Hanshan Temple" compiled by Ye Changzhi (1849-1917) in the late Qing Dynasty. Prior to this, Hanshan Temple had not compiled a temple chronicle. The Chronicle of Hanshan Temple makes a more systematic and comprehensive examination and bibliography of the history of Hanshan Temple. However, the early history of Hanshan Temple has not been clear. As soon as Ye Changzhi's "Hanshan Temple Chronicle" came out, some people disagreed, saying: "Hanshan Temple Qiang has no reason, but a desolate mountain temple ear!" [2] Although Hanshan Temple is quite prosperous today, it is only because it is famous for poetry and because of its name, the embarrassment of "Qiang has no reason" has not changed. In fact, Hanshan Temple is a temple born of poetry.
The earliest association of poetry with temples may have originated in the Song Dynasty. Zhu Changwen (1039-1098) "Wu County Tujing Continuation": "The Puming Zen Temple is in Wu County's West Ten Mile Fengqiao. Maple Bridge is famous. Du Mushi tasted it, and Zhang Ji had a must for "Late Berth". [3] The "Scenery" section of the Youdi Jisheng Pingjiangfu introduces Xingfu Temple, Kaiyuan Temple, Juebao Temple, Bao'en Temple, Fuzhen Temple, and Guanyin Temple, without mentioning Puming Zen Temple or Fengqiao Temple or Hanshan Temple. Zhu Mu (?) —1255) Fang YuSheng: "Fengqiao Temple, in the west of Wu County. Tang Dynasty Zhang Jishi: "The moon is falling and the sky is full of frost, and the river maple fishing fire is sad and sleeping." Gu Sutai went down to Hanshan Temple, and the bell rang in the middle of the night to the passenger ship. [4] Fan Chengda's (1126-1193) Wu Junzhi also includes Zhang Ji's poems, also titled "Evening Berth", which only contains "Puming Zen Temple" or "Fengqiao Temple", but no "Hanshan Temple". "Puming Zen Temple, that is, Maple Bridge Temple also." In the west ten miles of Wu County, the old Fengqiao Miaoli Puming Pagoda Courtyard also. "According to the Wu County Chart Sutra, it is really miao Li PuMing Pagoda Courtyard, not the beginning of the scriptures. The Tang dynasty zhang ji and zhang you tasted their poems and recited them to this day, and Fengqiao Temple was also famous all over the world. At the beginning of the Taiping Revival, Jiedu made Sun Chengyou rebuild seventy percent of the floating tu, and the strong and rugged positions were admired by the gods and gods of heaven and heaven. In the middle of the Jiayou, the Puming Zen Temple was first given, and the view of Xiongjie Weili was raised. This means that during the Song Dynasty, Zhang Ji's poem already had the word "Fengqiao" in it, and the so-called "Evening Berth" should be a short language. But these records also show that the name "Hanshan Temple" was not yet available at this time. However, because of the "years of the beginning of the scriptures", it is uncertain whether this "Fengqiao Poem" or "Puming Pagoda Temple" named after the poem was the later "Hanshan Temple".
The name "Hanshan Temple" appears in Li Xian's (1409-1467) "Chronicle of the Unification of the Great Ming Dynasty": "Hanshan Temple, ten miles west of fucheng." [5] Wang Jun's (1450-1524) Gu Su Zhi: "Hanshan Zen Temple, under the Feng Bridge in the west of Zhangmen, was formerly known as Miaoli Puming Pagoda Temple. At the beginning of the Song Taiping Revival, Jiedu made Sun Chengyou build a floating map of 70%. In Jiayouzhong, it was changed to Puming Zen Temple. However, the Tang Dynasty has called Hanshan Temple. According to legend, the cold mountain, picked up to taste this, hence the name, but can not be examined. [6] First the poem title, then the poem, and then the cold pick, but it is only "passed on" and "cannot be examined".
Ming Jiajing's Wu Yizhi: "Hanshan Temple, Liang Jian." [7] Just two words advance the history of Hanshan Temple to the Period of the Southern and Northern Dynasties. Tongzhi's "Suzhou FuZhi" said: "Hanshan Zen Temple, in the west of the county, Fengqiao, so called Fengqiao Temple, from Liang Tianjian, the former name of Miaoli Puming Pagoda Courtyard. [8] This statement is more specific than the Su Yizhi, and the current interpretation is more according to this. Previous documents have called Hanshan Temple "unknown about its chronology", and suddenly became so detailed and did not give any basis, it is too abrupt.
Or: In addition to Zhang Ji's "Night Berth" poem, there are also many Tang poets who appear in the poems of "Hanshan Temple", how can we say that the "Hanshan Temple" of Gu Su of the Tang Dynasty and "Qiang wushi" are not real? In fact, the "Hanshan Temple" in those poems refers to the "temple in the Hanshan Mountains", rather than the temple named "Hanshan Temple", and it has nothing to do with this "Hanshan Temple" in Suzhou, such as Wei Yingwu's "Sending Heng Xuan": "The heart is desperate to go to the fate, and it lives in the human world." Look for the Autumn Grass Trail alone and stay overnight at Hanshan Temple. Today, the county is idle, thinking about the Linga character. Liu Yanshi's "Sending Monks Back to the Mountain": "Chu customs send flowers to greet themselves, and secret people do not know about their comings and goings." Night walk alone Hanshan Temple, snow path with the sound of gold tin. Fang Gan's "Words and Deeds on the Way to the Distant People" also has the sentence "Baiyun Xiao Wet Hanshan Temple, Red Leaves Flying Bright Moon Village", the so-called "Hanshan" is not a real name, but a rhetoric - because "frost is full of sky", the mountain is shrouded in cold, so it is called "Hanshan". Although there is indeed a small mountain called "Hanshan" outside Suzhou, this mountain has nothing to do with Hanshan Temple. There is a sentence in Shi Jiaoran's "Smelling the Bell" that "on the cold mountain of the ancient temple, the distant bell raises a good wind." The "Hanshan Temple" in Zhang Ji's poem should also mean "ancient temple on the Hanshan Mountain".
As for Wei Yingwu's "Sending Heng Xuan" was later renamed "Su Hanshan Temple" and was used as evidence that there was a Hanshan Temple in the Tang Dynasty, it is also far-fetched. It is true that Wei Yingwu once served as the Assassin of Suzhou, but he also served as the Assassin of Chuzhou. Some scholars believe that "Sending Heng Xuan" and Wei Yingwu's other poem "Su Yongyang Sending Xuan Lawyer" should have been written in the same period, and Yongyang County was under the jurisdiction of Chuzhou. Examining the poetry carefully, "Sending Heng Xuan" should not have been written in Suzhou, but more likely in Chuzhou.[9] When Cheng Dequan (1860-1930) rebuilt Hanshan Temple, he carved stones from Wei Yingwu's "Su Hanshan Temple" and Shi Jiaoran's "Wen Zhong" into the temple, which was obviously a raw pull.
Zhang Hu (c. 785–849), who was born after his death, was particularly fond of excursions and loved the Yong Temple. His "Zhang Chengji Anthology" includes many poems with inscriptions on Suzhou Monastery, such as "Title Tiger Hill Temple", "Titled Tiger Hill East Temple", "Titled Tiger Qiu West Temple", "Titled Suzhou Lengjia Temple", "Titled Suzhou Siyi Temple", "Titled Suzhou Lingyan Temple", "Titled Puxian Temple" and many other poems with inscriptions on Suzhou Temple, but there is no one about Hanshan Temple.
Or ask: How to explain the relationship between the famous monk Hanshan and Hanshan Temple in the Tang Dynasty? There is a saying: "Because of the monks there is a temple, because of the temple there is poetry", that is, because of Hanshanzi there is Hanshan Temple, and with Hanshan Temple there is Zhang Jishi. Although this statement is widely spread, in fact, it was only after the Song Dynasty that Hanshan Zi was related to Hanshan Temple (Fengqiao Temple), such as shao tan Zen master's poem "Fengqiao Kuishan Obituary": "In the middle of the night passenger ship bell, fishing and fire sleep in the province." I don't see the old cold mountain, and the tears are wet and Wu Yun is cold. The birds cry frost moon shadow obliquely, and the maple leaves of the wild bridge turn red brocade. Hanshan is mentioned here, but the title of the poem is "Maple Bridge", not "Hanshan Temple", but the two are very close. Song Dynasty literature refers to "Fengqiao Temple" instead of "Hanshan Temple", which also shows that "Hanshan Temple" was not recognized by the people of the time because of Hanshanzi. If, as the legend goes, the Tang Dynasty built the Hanshan Temple and named after hanshanzi, the Song people could not have completely failed to mention the "Hanshan Temple".
Directly associating the name of Hanshan Temple with Hanshanzi is the "Record of the Revival of Hanshan Temple" written by Yao Guangxiao in the eleventh year of Ming Yongle (1413), whose text reads: "Tang Yuanhe has Hanshanzi ... Search for the cold rock on the roof, make friends with The Pick and Fenggan, and finally disappear into the rock. It was here that Zen master Xiqian founded Garan, known as Hanshan Temple. However, the authenticity of this article is quite controversial, and it has been explained that the so-called "hanyan" is on the rooftop in eastern Zhejiang, not in Suzhou.
(2) In the Tang Dynasty, there was neither a "Feng Bridge" nor a "River Bridge"
In the Quan Tang Poems, "FengQiao" only appears twice, except for "Fengqiao Night Berth", only Zhang Hu's "Fengqiao", and Du Mu's "Huai WuZhong Feng Xiucai". "The grass outside the Changzhou Garden is xiaoxiao, but it is a long way to go." Only don't forget today, twilight smoke and autumn rain across the Maple Bridge. This is believed to be the main evidence of "Fengqiao" in the Tang Dynasty, but the origin of this poem is unknown and very suspicious: First, there are very few documents containing this poem. Second, the authors are different, some versions belong to Du Mu, some versions belong to Zhang Hu, and some versions are both accepted by both. The third is that this poem first appeared in the literature of the late Northern Song Dynasty. This poem is not included in wenyuan Yinghua, one of the four major books of the Northern Song Dynasty. The "Poems" of "Youdi Jisheng PingjiangFu" contains nearly a hundred poems about Suzhou by dozens of poets of the Tang and Song dynasties, including Zhang Ji's "Night Berth" and Zhang Hu's "Songjiang Huaigu", but no "Fengqiao" or "Huai Wuzhong Feng Xiucai". The Fan Chuan Anthology compiled in the Tang Dynasty does not contain "Huai Wu ZhongFeng Xiucai", and the Song Supplement "Fan Chuan Wai Ji" only contains this poem. The "Fan Chuan Wai Ji" is neither known by whom nor when it was completed. "Because the late Northern Song Dynasty carvers did not distinguish between true and false, greed for more and more ... Therefore, there are many falsehoods in the "Fan Chuan Wai Ji". [10] The Song Shu engraving Of Zhang Chengji's Collected Works contains 516 poems by Zhang Hu, and there is no Fengqiao. The "Annotations to Zhang Hu's Collected Poems" published by the Bashu Book Society in 2007 added this poem to the "collected poems", indicating that the source is those historical records. The author believes that the poem should be a forgery of the Song people.
"Wu Junzhi": "FengQiao, in the Nine Mile Road outside the Gate, has been famous since ancient times, and there are no people from the north and south who do not rest on this bridge and chant." [11] Gusu is a place of prosperity and humanities, and Fengqiao is also the main road of "traveling from north to south, must pass through here" and "famous since ancient times", and also has a poetic name, according to common sense, it should indeed be like the "Twenty-Four Bridges" in Yangzhou, becoming the object of poetry, but this is not the case. Take Wei Yingwu (737-791), who served successively as the Assassin of Chuzhou and the History of Suzhou, and was also known as "Wei Suzhou". When he was in Chuzhou, he wrote several poems in a small grassy ditch on the outskirts of the city, including the famous "Chuzhou Xijian", but during the period of guarding Suzhou, he did not leave a word on Fengqiao. Among the nearly one hundred Tang and Song poems collected in "Youdi Jisheng Pingjiangfu", Bai Juyi's "Reminiscences of the Old Tour" and "Sending Li Envoy" mention gaoqiao and Wuqueqiao respectively, and none of the poems mention "Fengqiao". In this regard, the Song people have already raised questions. Wang Shu (1151-1213) asked in the "Wild Guest Series": "Bai Lotte and Wei Yingwu tasted Wu County, and also used the name of poetry, Pi Rixiu, Lu Luwang and Wu Sergeant Dafu Geng Yong scenery, such as gao bridge and Wu Que bridge, also ban ban saw the record, did not care about the word 'Feng bridge'. Why? ”[12]
The author believes that the most reasonable explanation is that outside the City of Gusu in the Tang Dynasty, there was no "FengQiao" at all. In fact, not only is "Fengqiao" rarely seen in Tang poetry, but it is also difficult to find the shadow of "Fengqiao" in other Tang Dynasty documents. The emergence of "Fengqiao" may have begun in the Northern Song Dynasty.
The "Continuation of the Wu County Diagram Classic" volume says: "The Puming Zen Temple is in the West Ten Mile Feng Bridge of Wu County. The name of Maple Bridge is far away... In the old or mistakenly sealed the bridge, the current Xiang Xiang Wang Hao ha lived in Wumen, his own handwriting Zhang Jiyi was absolutely stone, and the feng character was correct. "Wang Hao was a scholar of the Song Dynasty during the reign of Emperor Renzong of Song. This record says that Wang Hao changed "feng" to "feng" when he wrote Zhang Ji's poems, but Zhang Ji's poems never had the word "feng", which is really inexplicable. Another puzzling thing is that the "Bridge" chapter in the "Continuation of the Wu County Map Classic" chapter 15 sections, record more than 20 bridges, neither "closed bridge" nor "Maple Bridge". "Jiangnan Tongzhi": "Fengqiao is Fengguan, the old name is Fengqiao, because Zhang Jishi inherited the Feng." [13] The "Feng Bridge" of the Gu Su Zhi contains: "The Leopard Hidden Record Talks" Yun, the old work sealed the bridge, and later because of Zhang Jishi's poems, he wrote 'Feng'. Today, Pingsi Temple has a collection of many Tang Dynasty books, with the words 'Seal the bridge and live permanently' on the back. [14] Li Rihua's (1565-1635) Liuyan Zhai Erbi also has almost the same record as the Gu Su Zhi.[15] According to Wang Xiao (1888-1969) "Song PingJiang Chengfang Kao": "Fengqiao, go to Zhangmen Seven Miles." "Leopard Hidden Talk" Cloud: The old work seals the bridge. Wang Hao's gongju Wu Shishu Zhang Jishi carved a stone as the word 'feng', which has been inherited to this day. Tianping Temple has a collection of Many Tang Dynasty books, and the four-character Zhu seal of 'Sealing the Bridge and Staying permanently' is on the back. The prefect Wu Qian went to the temple to give poetry, and Yun 'borrowed to ask the people by the bridge to seal the bridge'. In the history of the pen, the submarine refuses to change, and the letter is well-founded. Weng Fenglong also has poems, and the Yun Temple has a Tibetan scripture, entitled 'To and three years Cao Wendi wrote Shi Fengqiao Temple.' 'Being 'maple' is not. The bear tasted the Buddhist book, written by Cao Shi, and believed in the cloud. [16] Wang Jian believed that "Fengqiao" was the name of "Fengjia bridge", "Feng" was a surname, and there were still descendants of the surname "Feng" in Songjiang. The contemporary "Suzhou City Chronicle" said: "Fengqiao, once known as the Sealed Bridge, was an ancient water and land transportation artery, set up a grain protection card, whenever the grain was transported north through here, it blocked the river channel, forbidden other ships to pass, so the name is 'sealed'." Since Tang Zhang succeeded to the poem "Fengqiao Night Berth", the name of Fengqiao has spread far and wide. These records all prove that during the Northern Song Dynasty, "Fengqiao" was also called "Closed Bridge". That is to say, during the Tang Dynasty, Suzhou did not have a bridge named "FengQiao".
Regarding the change of "feng" to "feng", the "Gu Su Zhi" and other documents are quoted from Zhou Zundao's (Song Ren, birth and death years unknown) "Leopard Hidden Chronicles". However, the author consulted the Harvard Yanjing Chinese Special Collection and the Shanghai Hanfenlou edition of the "Leopard Hidden Chronicles" included in the "Talking" version, and there is no record of "Fengqiao" in both versions.
The "Suzhou" volume of the Taiping Huanyu Ji Jiangnan Dongdao only introduces the "Yiqiao",[17] and does not mention the "Fengqiao" or "Sealed Bridge". The "Scenery" section of "Youdi Jisheng PingjiangFu" introduces Wujiang Bridge, Wuque Bridge, Chengyu Bridge, Baikou Bridge, and other bridges. There is "Fengqiao Temple" in the "Temple View" section of "Fang Yu Sheng Lan Pingjiang Fu", but there is no "Fengqiao" in the "Bridge" section.
Similar to "Fengqiao", the Tang Dynasty did not have "Jiangcun Bridge" or "Jiangqiao". The modern version of the "Reconstruction of Jiangcun Bridge" says: "Jiangcun Bridge, the date of construction is unknown. The present bridge was rebuilt in the 45th year of the Qing Kangxi Dynasty (1706 AD). ”
"Jiangcun Bridge" does not appear in the Quan Tang Poems, and "Jiangqiao" appears 7 times, but none of them have anything to do with Hanshan Temple, such as Du Fu's "Leaning on (Yanting County)" in "Shan County Early Rest City, Jiangqiao Spring Gathering Boat." Among the more than 20 bridges listed in the "Continuation of the Wu County Map Classic", there is neither a "closed bridge" or a "feng bridge", nor a "Jiangcun Bridge" or a "Jiangqiao Bridge". The Southern Song Dynasty stone carving "Pingjiang Map", in front of Hanshan Temple, there is only Feng Bridge, no Jiangcun Bridge. In the Ming Dynasty's "Gu Su Zhi", "Jiangcun Bridge" appears, but the interpretation has only four words "Fengqiao Northwest". Another mention is made: "From the north of Hengtang straight into the canal, known as Dongjing; from caiyungang north out of the west of Dongjing, known as Bailianjing; and west out of Jiangcun Bridge, known as Fengqiao Bay." The record of "Jiangcun Bridge" in the "Zhiqiao" of the Hanshan Temple Chronicle has only 7 words: "Jiangcun Bridge, Fengqiao Bay." [18] This article is from the Gu Su Zhi, but it does not make sense to intercept it in this way. Therefore, in this way, it may be that no historical materials about the "Gangchon Bridge" have been found, so I have to make up the number of these 7 words. It can be inferred that at least before the Song Dynasty, there was originally no "Jiangcun Bridge" or "Jiangqiao" next to Hanshan Temple, and in order to annex the "Fengqiao Night Berth", the name was given to the bridge that was built later. That is to say, when Zhang Ji composed the poem "Night Berth", there was no Jiangcun Bridge in that place.
As for the so-called "Fengjiang", there is no source for investigation. There are only two poems about "Feng Jiang" in the Quan Tang Poems. Liu Qizhuang's "Yangzhou Sending People" has the sentence "Gui Yu Mulan Boat, Fengjiang Bamboo Arrow Flow", and Xu Hun's "Xiyuan Book" has the sentence "Sending Gui Shui, Tears Extreme Feng Jiang". In these two poems, the confrontation between "Fengjiang" and "Guishui" and "Guishui" is neither a real reference nor anything to do with Gusu. The "FengJiang" in the "Yuding Piao Character Category" is cloudy: "Luo Binwang's "Gift to Li Eight Riding Cao Sequence": The mountain fang attacks and blows, sitting in the room of doubtful orchids; the water tree contains spring, like the Maple River. Also "The Preface to the Fengcheng City of the Early Summer And Song Shaofu": Dili Tianjin, Huaiqu divides the water of the Black Dragon; Baling Tunnel, Fengjiang even the Gate of the White Horse. [19] The "Feng River" in this is also a word for work, nor is it actually this river. The small river near Hanshan Temple is really not called a "river". In the ancient book version, "Feng Jiang" only appears in the "Quan Tang Poems", and the poem title is "A Work of "Night Po Feng Jiang"", I don't know where it came from.
(3) Hanshan Temple also does not have "maple trees" and "bells"
"Night Berth" is a poem with sound and color. The so-called "sound" includes the sound of crows and the sound of midnight bells; the so-called "color", including the white of the frost sky, and the red of the maple leaves. Readers must think that there must be maple trees under the Hanshan Temple, next to the Maple Bridge. However, no.
Wang Duanlu (1814 Jinshi) "Heavy Papers" Yun: "Jiangnan Linshui is planted with many black trees, autumn leaves are full of frost, bright red and lovely, poetry humans refer to as maples, do not know that maples are born in the mountains, sex is the most vicious and wet, can not be planted on the banks of the river." The word 'Jiang Feng' in this poem may also be misidentified. ”[20]
The modern scholar Chen Yan (1856-1937) also said with emotion: "There are people in the world who are very famous, but in fact, there are ordinary people." Suzhou Hanshan Temple, with Zhang Jiyi's poem, is popular among the population; to the Japanese, especially women and children are well known. Yu had two sentences before and after, one cloud: 'Only Zhang Jihanshan sentence should occupy a few maple trees in the broken maple bridge.' In fact, there is no one maple. Yi Yun: 'If you have a relationship with Hanshan Temple, the bell tower will come to the sunset. In fact, there is no bell. Tongcheng Fang Ben Chu Shou Yi had a definite sentence cloud: "I once read the Fengqiao Night Poem, and the bell sounded when I was a teenager." The old man came to visit Hanshan Temple, and the scattered lone monks pointed out the broken monument. It is also the same as Yu's feelings. ”[21]
Move the time forward seven or eight hundred years. The "Maple Bridge" of the "Wild Guest Series" said: "Du Mu's poem is: 'Cheung Chau MaoYuan Grass Xiao Xiao', 'Twilight Smoke and Autumn Rain Cross the Maple Bridge'. Recently, Sun Shangshu Zhongyi and You Shilang Yanzhi, the "Record of the Repair of Fengqiao" and the husband's "Record of Fengqiao Zhifeng", both cite the poems of Zhang Ji and Zhang Hu of the Tang Dynasty as evidence, and the famous writers of Fengqiao are the poets of the second gong, rather than Muzhi. At the same time as Mu and Huzheng... Cui Xinming's poem 'Maple Fall Wu Jiang Leng'. Jiang Yanshi: 'Wujiang Panqiu Ruins, Rao Guifu Duofeng. He also knows that Wuzhong has many maple trees. On the one hand, Wang Shu was unfair to Du Muming for the authorship of "FengQiao" or "Feng Xiucai in Huaiwu Zhong", on the other hand, he was surprised that "Fengqiao" was rarely seen in Tang poems, and at the same time, he also mentioned that he had built a Fengqiao bridge and planted maples by the bridge at that time. The author believes that such a move to plant maples has never been done more than once or twice in history, but what about maples? "Among the maple mountains, sex is the most vicious and wet." Although Wang Duanlu also "misidentified" as "Jiang Feng" round field, it is still a bit far-fetched.
"The Tang Dynasty has clouds: 'Gu Sutai goes down to Hanshan Temple, and the bell rings in the middle of the night to the passenger ship.'" The speaker is also cloudy, the sentence is good, and its three is not the time to strike the bell. [22] Ouyang Xiu's words have attracted countless controversies. Song dynasty poets such as Wang Zhifang, Ye Mengde, Wang Guanguo, Chen Zhengmin, Wu Yu, Wang Shu, Ji Yougong, Lu You, Chen Yanxiao, Hu Zai, Gong Mingzhi, Yuan Ren ShiYuanzhi, Ming Ren Lang Ying, Zhu Chengjue, Hu Zhenheng, Hu Yinglin, Xu Xueyi, Qing Ren Wang Shichen, Sun Tao, Ma Wei, Yuan Ming, Wu Jingxu, He Wenhuan, and his close associate Gao Buying all expressed their opinions on the "midnight bell" issue. Some people think that whether the bell rings in the middle of the night has nothing to do with the poetry, some people think that the "midnight bell" is actually the "five more bells" and is mistaken for the "midnight clock", while the vast majority of people believe that the Wudi Monastery does have a midnight bell based on research. Most of the commentators spoke in two words, general and concise, but Zhang Bangji (who was alive around 1131) and Gong Mingzhi of Wu were more specific. Zhang Bangji said in the "Mozhuang Manlu" that "the bell rings from the old Chengtian Temple in the present Pingjiang City, but after midnight, the Yu Temple hears the Chengtian Bell, but it is sounded one after another, and it is like this today, so as to know from the Tang Dynasty." According to this, it can be seen that the "midnight bell" of Gusu began in the Chengtian Temple in the Tang Dynasty, and later some monasteries were attacked. Gong Mingzhi said in the "Zhongwu Jiwen": "Poetry tastes the cloud of discernment: the bell of Gusu Temple rings in the middle of the night. To say that it is not exhausted, Gu Su Zhong only chengtian temple to midnight chime, the other five more bells also. According to this, only the Chengtian Temple has a "midnight bell", which is confirmed by Chen Yan's statement that Hanshan Temple "actually has no bell". The large bell hanging on the bell tower in the temple was cast in the 30th year of qing Guangxu (1904) when Jiangsu Inspector Chen Kuilong rebuilt the Hanshan Temple. In other words, there is no "midnight bell" in the temple, not even a "five more bells".
There is neither a "river (village) bridge" nor a "maple bridge", neither a "maple tree" nor a "maple river", then the two interpretations of "jiangfeng" do not make sense, and the poem "Fengqiao Night Berth" or "Night Berth Maple River" has also become a source of water and a wood without a root. On the other hand, "Night Poisson River" and "Jiangcun Fishing Fire" are logical, and there is no violation.
Le Shi (930-1007) Taiping Huanyu Chronicle: "Wujiang's real name is Songjiang, also known as Songling, also known as Kasazawa. Its river out of Taihu Lake... To the autumn moon more raw perch, Zhang Hansi perch also. [23] "Ming Dynasty Unified Name Shengzhi Songjiang Fu Zhisheng": "King Zhang Hanshi of Jin, King Qi of Jin, Qi, saw the autumn wind rising, Si Songjiang perch, and then ordered to drive back to the east..." [24] That is to say, at least during the Jin Dynasty, there was already "Songjiang". There are many works of Yong Songjiang in Tang poems, such as Bai Juyi's "Watching Fish in Songjiang", Du Mu's "Po Songjiang", Zhang Hu's "Songjiang Huaigu", and so on. "Songjiang" was originally named "Songjiang", "but the water is a disaster, so the song character goes to the water." Nowadays people do not know the origin, also known as "Wu Song River", as well as "Wu Songkou".
As for "Jiangcun", it is not a real reference, it is a village by the Songjiang River. The moon is setting, and the dark mortar is crying. The lights of the fisherman's house in Gangcun slept with sorrow, Gusu Mountain was shrouded in frost, there was a temple in the middle of the cold mountain, and there were bells that reached the passenger ship in the middle of the night... Killing, sadness, loneliness, and sorrow are not only in line with the environment of public opinion, but also in line with the author's state of mind.
In addition, the poet Sikong Shu, a contemporary of Zhang Ji, has a poem entitled "Jiangcun Is the Matter": "When you return from fishing, you don't tie a boat, and Jiangcun is sleeping at the end of the moon." Even if the wind blows overnight, it is only at the shallow water of the reeds. Five words in the second sentence are the same as Zhang Ji's Night Berth, namely "Moonfall" and "Jiangcun ... Sleep". No matter who borrows from whom, it can be confirmed that the "Jiang Feng" in "Night Berth" should be "Jiang Cun".
Chen Jingyi (Song Ren, date of birth and death unknown) has a section on "Mubu" in Quanfang Bizu that specifically introduces "maple", and its text reads: "Maple, incense tree, like poplar, round and divergent leaves, fat and fragrant, its son is as big as a duck egg, February flower hair ... After the frost, Ye Dan is cute, so many people call it. After the text, many poems of the previous poet Yong Feng are quoted, including "The moon is falling and the frost is full of frost, and the river maple fishing fire is sad and sleeping." "Of course, it also includes Du Mu's "Parking Sit Love Maple Forest Night, Frost Leaves Red in February Flowers." [25] Indeed, the red maple after frost is beautiful. Therefore, some people say that if there is no "feng" word, Zhang Ji's poem will be reduced. The people who changed "village" to "maple" in the first place may have thought so. But the original is the original, and posterity cannot change to the poetry of predecessors because they feel that a certain word is beautiful. In fact, "Gangchon" is also very beautiful. Except for "Fishing back without tying a boat... Only at the shallow water edge of the reed flower", Du Fu's poem "Jiangcun" also has sentences such as "from the swallow on the beam, close to the gull in the water". This kind of leisurely beauty has a special charm.
"Maple" is beautiful, but if there are more chants, it will also make people greasy, and even fall into the clichés. The beauty of "maple" is beautiful on the surface; the beauty of "village" is contained in it. Moreover, Zhang Ji's state of mind at this time is "gray", and there should be no "bright" colors in his eyes.
Third, "Gusu Taixia" is far better than "Outside Gusu City"
There are 63 versions of the poem, only Zhu Mu (?) —1255) The Ancient and Modern Events and The Fang Yu Sheng Lan (two editions) are "Gusu Taixia", the "Splendid Valley of Flowers" is "Gusu City", and the other versions are "Outside Gusu City", but the quotations of several poems are "Gusu Taixia". For example, in Ouyang Xiu's notes on the "Midnight Bell" in Ouyang Xiu's "June 1st Poetry", the quoted verse is "Gu Sutai goes down to Hanshan Temple, and the bell rings in the middle of the night to the passenger ship." Later, Song Weiqingzhi's "Poet Jade Crumbs", The Anonymous "Splendid Valley of Ten Thousand Flowers", Jiang Shaoyu's "Song Dynasty Fact Class Garden", Ruan Yue's "Poetry Total Turtle", Li Qi's "Ancient and Modern Poetry", He Wenhuan's "Poetry of Past Dynasties", Shi Jingcun's "Hundred Words of Tang Poems" and so on all retained the original sentences when quoting Ou Gong's passage, among which the Song, Yuan, and Ming carvings of "Poet Jade Chips", and the Hanfen Lou Jingming and Siku ben of "Poetry Total Turtle" were not changed. The later volume 5 of the "Splendid Valley of Flowers" refers to the whole poem as "Gu Su Chengxia", and the later volume 33 quotes Ouyang's notes as "Gu Su Taixia", which fully reflects the respect for the original work.
Although the number of versions of "Gusu Taixia" is far less than that of "Outside Gusu City", the author believes that the former is far better than the latter.
"Gusu City" does not need to be explained. What is "Gusutai"? It is the residence of Wu Wang Fuchai and was built in 505 BC. "Taiping Huanyu Chronicle": "Gu Sutai, Wu WangFuchai built for the west, in order to hope for Yue." [26] The Wudu Wenzhi (吴都文粹) reads: "Gusutai, in Gusu Mountain. The old map jingyun is thirty miles west of Wu County... Stretching for five miles, decorating civil engineering, expending manpower, and thousands of palace prostitutes. On the stage, the Spring Supper Palace was erected for the drink of the long night..."[27] Because of the pleasure, the country was broken and died, which is a classic case of "extravagance and subjugation of the country" in history, and often becomes the object of poets' laments. Li Bai has quoted this classic several times, such as the "Wuqi Qu" poem: "When GuSutai Wuqi was in Wuqi, the Wu King's palace was drunk with Xi Shi. The poem "Sutai Langu" says: "The old garden is barren and the yangliu is new... He was a man in the palace of King Wu. Cao Yi's "Gu Sutai" poem says: "Wu Gong wine has not disappeared, and Gu Sutai has been feasted... The stars scatter the nine gates, and the blood flows on the twelfth street..." Bai Juyi also wrote in the poem "Miscellaneous Xing": "Wu Yuanzhi is dead, and the floating corpse cannot be returned." Gusutai under the grass, elk secretly born elk. Liu Yong's "Double Voice" also takes Gu Sutai as the background: "Three Wu scenery, Gu Su Tai Xie, prison twilight mist first harvest." Fu cha old country, incense path is gone, there are barren hills..." In ancient poetry, "Gusutai" is an image, with a very rich historical connotation. As soon as the word appears in the poem, it will immediately remind people of the Wu King and his extravagant harm of that year, and naturally generate infinite emotions, so as to achieve the artistic effect of borrowing the ancient irony or warning the people of the world.
And "Gu Sutai" appears in "Night Poisson River", which is very in line with the historical background of this poem. Bai Juyi's "Long Hate Song" poem says: "There is no leisure for the feast of Chenghuan, and the spring is from the spring to the night." How similar this is to "Drunken Xi Shi in the Palace of King Wu"! It was precisely because Tang Xuanzong Li Longji repeated the mistakes of King Wu that led to the "Anshi Rebellion", so that Zhang Ji, who had only been in Dengdi for two years, went into exile in Wudi, and only then did he have the poem "Night Berth".
"Sorrow" is the "poetic eye" of this poem. Worried about what? Worried about the future of individuals, worried about the fate of the country. In the twelfth year of the Kaiyuan Dynasty (753), jinshi and the first, the fourteenth year of the Kaiyuan (755) "Anshi Rebellion". The journey has just begun, and the prosperity is suddenly turbulent. Not only could the officials not be done, but they also had to wander around. Such a huge gap, such a chaotic situation, how can a "sad" word be obtained?! However, when many Selected Tang poems are appreciated and analyzed, although they also say that "sorrow" is a poetic eye, they are all vague. Either it is called "the sorrow of the journey" understated, or it is brushed over and not elaborated. The Appreciation Dictionary of Tang Poetry has a thousand words about the appreciation of "Night Berth", and does not say why the author is worried [28]. Why is that? On the one hand, it may be because many people do not understand the background of the poem and do not understand the spirit of the poem, on the other hand, it is probably related to the variation of the version. The most historical connotation of this poem and the most able to reflect the purpose of the poem are the three words "Gusutai", but the popular version is "Gusu City". "There is heaven on the top and Suzhou and Hangzhou on the bottom." In the eyes of the world, "Gusu City" is a poetic and desirable place. It not only does not make people "sad", but even gives people a sense of "joy". Therefore, it is no wonder that many people do not understand or do not understand the "sorrow" of this poem.
Looking at the poems of Li Bai, Du Fu, Bai Juyi, Du Mu, Zhang Hu and others in Suzhou, most people borrowed wu wang to rise, because that period of history is indeed very lamentable and thought-provoking. Li Bai, who lived in a prosperous world, still remembered the overthrow of King Wu, and Zhang Ji, who was suffering from the repetition of history, could not feel it? Poetry is given, and the emphasis is on the meaning. If you only focus on the scene in front of you and the personal encounter, it is inevitable that it is thin and light; but if you combine reality with history, personal future and national destiny, the work is much heavier. Shi Jingcun said, "This poem is a general poem that gives scenery, has no meaning of Bixing, and the reader has no in-depth study." [29] This detracts from the value of the poem.
From a rhetorical point of view, "Gusutai" is also superior to "Gusu City". Why? Because "Gusu Taixia Hanshan Temple" is more picturesque than "Gusu City Outside Hanshan Temple". The temple is under the stage, and the mountain is the background, "There are paintings in the poems, and there are poems in the paintings." This is the same as "the stone path of the distant cold mountain" is the same. And "Gusu City" and "Hanshan Temple" are even difficult to join the frame. In fact, the paintings with the theme of "Night Berth" do not have the shadow of "city".
In connection with the context of the poem, it should also be "Gu Sutai". As mentioned above, Li Bai's "Wuqi Qu" has "Wuqi time on Gusutai", and "Night Berth" also begins with "The Moon Falls". "Wuqi Qu" is one of Li Bai's famous works, and Zhang Ji, who is about 15 years younger than Li Bai and exactly one generation later in age, must have read this poem. To put it into use, it makes sense. In addition, Liu Shang (Tang Dynasty Jinshi) "GuSu Huaigu Sent Xiu Cai To the First Return to Jiangnan" also has "GuSutai pillow Wu Jiangshui ... The city crows the sea and the sea is pinned". It can be seen that "Wu" and "Gusutai" are like shadows. This poem was written after "Wuqi Qu" and "Night Berth", which should also be borrowed.
Or ask: Gusutai is in the southwest of the city, and Songjiang is in the east of the city. If the boat is moored in Songjiang, how can you see Gusutai? "Gusutai pillow WuJiangshui", and "Wujiang's real name is Songjiang" (from the Taiping Huanyu Record, quoted above). Now, Wujiang and Songjiang refer to the upper and lower sections of a river, which is not very long. At that time, Gusutai also no longer existed, and the "Gusutai" in the poem, like "Hanshan Temple", was a false reference. The support is flourishing, and the poetry is often also.
Fourth, several other different texts
Of the 64 versions, 11 appear in "Midnight", and the rest are "Midnight". Among them, Song Ben's "Selected Poems of Tang Hundred Families" and "Youdi Jisheng" are "Midnight"; Song Ben's "Fang Yousheng" is "Midnight", but sikuben is changed to "Midnight". The Song version of "Wenyuan Yinghua" was originally "midnight, a work of midnight", and the four libraries were also changed to "midnight". The poem quoted by Ouyang Xiu is "midnight", and later generations followed the original text when quoting Ouyang's notes, so "midnight" mostly appeared in the poems. "Midnight" and "Midnight", almost indistinguishable.
"Sunset Cry" is only found in Zi Mo Keqing's (late Qing Dynasty, year of birth and death unknown) in the Commentary on the Three Hundred Poems of Tang Dynasty.[44] The word "day" in this should be a false error.
There is a commentary in the Zhonghua Bookstore edition of the ZhongxingJian Qiji: "Sleep, a work of sorrow", but the author has not found the source in the ancient books. Although it also makes sense, it is more likely to be close to the wrong.
"Passing passenger ship" is found in the "Daming Unified Famous Scenic History". In terms of words alone, "over" seems to be more vivid than "to". But this is not enough.
"Zhongwu Jiwen" "Midnight Bell" Xiao Zhuyun: "This Zhang Ji poem, Wang's "Xuelin New Edition" mistakenly thought that Wen Tingjun. "The error is for sure. However, in the four libraries of Wang Guanguo's "Xuelin", it is clearly said that "Tang Zhang Jishi's moon falls and cries..." What is going on? Looking at other versions, the Jiaqing inscription of xuelin [45], the Guangxu inscription [46] and the Republic of China Wankuben [47] are all "Tang Wenting's poetry Yue Yue Yue Yue Wu Cry..." Presumably siku ben changed "Wen Tingyun" to "Zhang Ji", and the later three versions insisted on "Wen Tingyun" in the original. Reprints should respect the original work and should not be modified in principle. If you find obvious errors, you can add comments. If modified, it should also be noted. It is not advisable to modify the text of the four libraries without explanation. A lot of different texts, that's how they come about.
Wen Tingjun has a poem: "Leisurely travel and think back frequently, there is no return to the pine window midnight clock." There are many references in the debate about the "midnight clock.". Wang Guanguo or a momentary negligence, Zhang Guan Li Dai.
5. Conclusion
In summary, Zhang Ji's "Night Berth" began to change around the time of the Song Dynasty and was transferred to the trees. The process may be like this: first because of the closeness of the shape, the "(Jiang) Village" in the poem is falsely referred to as "(Jiang) Feng", and because of the sound proximity, "(Jiang) Feng" becomes "(Jiang) Feng". Then, the "Songjiang" in the poem became "Fengjiang", and later became "Fengqiao". Correspondingly, the "Puming Zen Temple" became "Fengqiao Temple", and then became "Hanshan Temple", and there was also a "FengQiao" near the temple, and then there was a "Jiangcun Bridge". Later, Han Shanzi also "moved" from Tiantai Mountain in eastern Zhejiang to Hanshan Temple in Gusu. As a result, Fengqiao, Hanshan Temple, and Hanshanzi interacted, with more and more stories and more and more fame. Hanshan Temple became a famous place, Hanshanzi became a famous monk, Zhang Ji became a famous poet, and "Night Berth" became a classic Tang poem. However, his poems are no longer the original appearance, and they can even be said to be unrecognizable. Zhang Jiruo still knew, but he didn't know how to feel.
The author believes that no author wants future generations to change his own words, because whether the changes are good or not, it is not his own work. As a future generation of readers, they should also know the original appearance of the poem, because even if the changed works are good, they will still be the relics of the cottage version.
Schedule: Omitted. (For details, see the Journal of Guizhou Normal University (Social Science Edition), No. 1, 2021, or the humble book "Original Tang Poems- "Big Data Examination of Tang Poems" series of papers to be published next month)
bibliography:
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