Nine Chapters of "Roselle Endowment", by Dai Yan, The Commercial Press, August 2021 edition, 254 pages, 58.00 yuan
As the most famous writer in the Middle Ages, Cao Zhi has made outstanding achievements in many fields such as lexicography, poetry, and prose, and his representative work "Luoshenfu" was included in the "Anthology" by Xiao Tong, the prince of Liang Dynasty, which established the status of a classic very early. However, the speculation of the main theme of this fu in later generations has always been controversial, and the author of the fu preface "feeling Song Yu's affair with the goddess of the Chu king was dismissed by himself". The Tang Dynasty Li Shan, in volume 19 of the Selected Notes on The Selected Writings, cited the anonymity "Records of Feeling" and took the lead in proposing the theory of "Feeling Zhen", believing that Cao Zhi was the one who was grateful for the favor of his brother Cao Pi of Wei, so he originally wrote "Feeling Zhen Fu", which was later changed to "Luoshen Fu". In the article "Cao Zijian's Luoshen Endowment" in the 45th volume of the Yimen Reading Book, he advocated the "Sending Heart to Emperor Wen", inferring that Cao Zhigai referred to Cao Pi in the metaphor of Luoshen, intending to blame himself, showing his heart, hoping that his brother would be able to take care of his brother's brotherhood. Both of these ideas attracted a large number of loyal adherents, and as a result, each side was unable to hold on to each other's opinions. In recent times, there are still many scholars, in addition to extending and deducing from the old theory, they have also found another way to re-establish new ideas. Zhan Cheng's "Cao Zhi's "LuoshenFu" (published in Oriental Magazine, Vol. 39, No. 16, 1943) suspected that it contained the meaning of "seeking merit and self-assistance", which was related to the tragic murder of The Ding Yi and Ding Shu brothers around Cao Zhi; Miao Qi's "Selected Writings" Fu Notes (in the "Chinese Cultural Studies Journal", vol. 7, 1947) believed that "Cao Zhi had both worries about life and the pain of restoring friends", and wrote this endowment to mourn the poisoned Rencheng Wang Cao Zhang; Lu Qinli's "Luoshen Endowment and Leisure Endowment" (in Xueyuan) Vol. II, No. VIII, 1948) also pointed out that Cao Zhi "wanted to use it personally, but eventually he was neglected, and all desires were related to his experience of seeing and hearing when he was commanded to enter the dynasty" with this endowment. It is also difficult to come up with new ideas, which makes the problem more complex and, of course, more fascinating and in some ways more fascinating.
Gu Kaizhi's "Roselle Futu"
Dai Yan's "Nine Chapters of "Roselle Endowment", referring to a large number of historical documents and research results, tries to propose a new interpretation of this old problem that is inconsistent, and then uses this as an example to explore possible ways to break through the existing paradigm of classical literature research. Many years ago, the author wrote "Half for the Year of Fu Luoshen" (in the June 2014 issue of "Book City"; also included in "Lecture Notes on the Romance of the Three Kingdoms", Sanlian Bookstore, 2017), reiterating the historical background of Cao Zhi's writing of this endowment; and subsequently published "Luoshen Endowment: From Literature to Painting and History" (in Wenshizhe, No. 2, 2016; and also included in "Traveling Across the Mountains and Rivers: A Collection of Research Papers on the Literary History of the Southern and Northern Dynasties of Wei and Jin", Fudan University Press, 2017), and his research and judgment on many key issues has given people a glimpse of it After a large amount of integration and expansion, this time it is a deep examination of the creative process, theme origin, structural layout, main meaning, circulation acceptance, and transmutation of this assignment.
From the "Feeling Zhen" to the "Sending Heart to Emperor Wendi" theory, and even the various new theories proposed by the neighbors, although they seem to be tit-for-tat, they can really be described as ever-changing in the way they are interpreted, and they all invariably cater to the critical concept of "knowing people and discussing the world". This book is quite dismissive of this, and uses a lot of ink to refute this kind of far-fetched but long-standing "suo implicit" reading, "that is, to outline the so-called hidden secrets in literature from between the lines, and use this method to associate "Luoshenfu" with the characters and events of the Three Kingdoms era at the end of the Han Dynasty, from which cao Zhi's intentions are speculated, speculating on who he is alluding to"; then solemnly reminds readers not to put the cart before the horse, "To understand the meaning and purpose of "Luoshenfu", it is bound to return to the text. From the analysis of the text, let's see what Cao Zhi actually said in this fu" (Chapter 5, "The Moral of the Luoshen Fu--Expressing Shou Li with Multiple Voices"). It is worth noting that although this kind of "implicit" reading has continued in the history of the reception of "Roselle", it is not that no one has doubted or even challenged it. The early Tang Dynasty historian Liu Zhiji already mentioned in the outer part of "Shi Tong" in the "Miscellaneous Sayings and Biographies": "Since the Warring States have been descended, the writers belong to the text, and they are all false guest masters, and false rewards are answered." As for Qu Yuan's "Resignation from the Troubles", it is said that he met the fisherman's father Yu Jiangzhu; Song Yu's "Gao Tang Fu", and the goddess of Yunmeng was on the balcony. Husbands and articles, sentences and rhymes, narratives, and falsity. And Sima Qian, the disciples who practiced chiseling teeth, all adopted as anecdotes, compiled various historical books, and learned after doubting mistakes, which is not very evil! If it is so, then Ma Qing travels to Liang, and the sword is said to be lustful; Cao Zhi to Luo, concubine Mi sees the rock bank. Those who write the history of Han and Wei should also compile it as a record. He accused Sima Qian's "Records of History" and Xi Chisel's "Spring and Autumn of the Han Dynasty" for failing to discern the proper boundary between Ling's illusory literary creation and the compilation of historical books that seek truth and responsibility, confusing the two and thus misleading readers; and finally referring to the "LuoshenFu" incidentally, he also implicitly and euphemistically criticized The interpretation of Qi'er's fu as a "real record". Liu Zhiji and Li Shan were about the same time and later, and his "Shi Stone" was written in the fourth year of Emperor Jinglong of Tang Zhongzong (710), while the "Selected Notes" was written in the third year of Emperor Gaozong of Tang (658), and the distance between the two was only fifty years. After the Annotated Texts were presented, "the edict was hidden in the Secret Cabinet" ("Old Book of Tang, Confucianism, Li Shan"), and in his later years, Li Shan taught the "Selected Writings" in the area of Bian and Zheng (now part of Henan), "The four lives are far away, passing on their business, and the title is 'The Study of the Selected Texts'" ("New Book of Tang, Literature and Art Column Biography, Li Yong"). And Liu Zhiji was "famous for his good literary words" ("New Book of Tang Dynasty Liu Zixuan Biography"), and the evidence given by Qu Yuan's "Fisher Father", Song Yu's "Gao Tang Fu", Cao Zhi's "LuoshenFu", etc. are all found in the "Anthology of Literature", presumably also heard of the fame of Li Shanyanzhi's "Selected Writings", and had the opportunity to examine the collection of books in the secret cabinet to understand the details of the "Notes on the Selected Writings". His ridicule of the "writers of the History of Han and Wei" is probably implicitly dissatisfied with what he said about "Feeling Zhen". Along the wave, this may be the earliest question raised in history about the "hidden style" reading of "Roselle". Liu Zhiji did not participate in the revision of national history because he had held a historical position for many years, and he was comfortable accepting the pan-historical interpretation. This point has often been overlooked by successive reviews, including this book, and it seems necessary to emphasize it.
Liu Zhiji, Pu Qilong's Commentary on "Stone Tongshi, Miscellaneous Commentaries, And Other Transmission of the Nine Articles"
Although there were many people in the Tang and Song dynasties who were in tune with Liu Zhiji, it was a pity that the discussion was mostly superficial and general, and it was not until modern academic circles that the criticism of this kind of "implicit" reading gradually became more thorough and detailed. In his early years, Huang Kan wrote "Luoshen Fu Discernment" (serialized in the Republic of China Daily, September 11 and 20, 1916), and then it was retouched and supplemented, and then changed to "Luoshen Fubao" (in Shangzhi, Vol. 2, No. 9, 1919) and "Cao Zijian's "Luoshen Fu" Zhiyu" (included in the Hubei Provincial People's Government Literature and History Research Institute revised "Huang Jigang Poetry Notes", Hubei People's Publishing House, 1985) and published successively. The article refutes the absurdity of the old theory in a dissected manner, emphasizing that "the Luoshen Endowment is a word of hatred for King Chen, not for Emperor Siwen, and for retreating is not because of Zhen Houfa, a few words, etiquette, and two bodies", making a new interpretation of its main theme. Shen Dacai's "The Legend of Cao Zhi and LuoshenFu" (Huatong Bookstore, 1933) is even divided into two parts, "The Legend of LuoshenFu Examination" and "The Anatomy of Luoshen Endowment" in the form of a monograph, and does the search for Yuanshao and Qianyuan Jingwei's inquiry and examination, and finally points out that "'Luoshenfu' is imitating the "Divine Female Endowment" in terms of genre; and the actual basis is that it relies on a concubine as a disguise, which is also a common thing in the literature of the ancients, and it is not surprising. Therefore, today, when we talk about the composition of the content of "Roselle Endowment", it is a crystallization product that imitates and relies on both. Our final conclusion is still not made for what" (Part II, "Why did Roselle do it?"). This is just a purely lyrical work that doesn't need to be over-interpreted. These studies have undoubtedly brought great inspiration to the author of this book, and when combing the origin of "Luoshenfu", she successively discussed "the legend of Princess Mi" and "the goddess of Song Yu" (see chapter 3 "One of the previous histories of "Luoshenfu" - The Legend of Princess Mi, and chapter 4 "The Former History of "Luoshenfu" - Song Yu's Goddess"), which echoed Shen Dacai's label of "imitation and dependence on the two"; and when exploring the meaning of "Luoshenfu", she believed that the whole text was composed of "shou li", "affection" and "praise" The polyphonic structure of this tripotentic voice (see Chapter 5 "The Allegory of "Roselle"—Expressing Shou li with multiple voices) also has an obvious inheritance origin with Huang Kan's statement that "love and etiquette, two bodies are obtained". However, from a methodological point of view, compared with the works of modern scholars such as Huang Kan and Shen Dacai, this book does present a very significant essential difference, the most eye-catching is the introduction of a large number of calligraphy and painting works derived from the text of "Roselle", in order to re-examine, hook and examine the source of "hidden" reading, rather than being confined to repetitive analysis through a single perspective of literary works, so the examination is more detailed and rigorous, and the final conclusion is more solid and credible.
Shen Dacai,"The Legend of Cao Zhi and Roselle"
Huang Kan's "Roselle Endowment"
Calligraphy and paintings around the theme of "Roselle Endowment" have actually made many achievements in the field of art history research in recent years. Among them, the most representative and can be called a collection of Masterpieces, "Luoshen Futu and Ancient Chinese Story Paintings" (Stone Publishing Co., Ltd., 2011), the book painstakingly collects nine kinds of "Luoshen Futu" created in different eras and scattered around the world and the rest of the "Luoshen Futu", and after meticulous comparison and examination, the composition mode, narrative method, style genealogy, and periodization of different paintings have been brilliantly explained. However, precisely because it is based on the study of art history, the book mainly focuses on "how pictures translate the content, meaning, and aesthetic qualities of the text; how the pictures are narrated, including the various compositional methods seen in the story paintings; and how to represent various important issues such as time and space on the picture" (Conclusion), that is, abandoning differences and seeking common ground, focusing on the ways in which images reproduce words. The Nine Chapters of "Roselle Endowment" was touched by the phrase "translation" used by Chen Baozhen when it was conceived and concluded, and the interpretation and interpretation of the frame was also borrowed from a lot, but in terms of examining the perspective, it made intriguing adjustments, that is, "it is important to see clearly the part of the map that is faithful to the endowment, but it is more important to know what information the diagram adds and what information is missing when it is transcribed, and why there is such an increase or omission" ("Conclusion: The Paradigm of Literary Research Needs Repeated Breakthroughs"),, That is to say, abandoning the same and seeking differences, and focusing more on distinguishing what differences exist between images and text. This book repeatedly emphasizes that the first-person "Yu" in "Roselle" is only a bystander narrator, not the protagonist of the assignment, and cannot simply be regarded as Cao Zhi himself; however, once the text is transformed into an image, the painter inevitably has to use his imagination to fill in the gaps, "as the narrator's 'Yu' will change from hidden to obvious, from invisible to a king with a good appearance", and the protagonist also evolves from the Luoshen in the text to the king and The Luoshen in the picture; and this intuitive and vivid picture will in turn affect the understanding of the text." Reinforces the reader's notion that "Roselle" is about Cao Zhi's encounter with Roselle" (Chapter 7, "The Transformation of Roselle Into a Picture— The Third Eye of the Painter"). After this deduction and analysis, the author reveals that in the process of the circulation and acceptance of "Roselle", there is not only a one-way influence of text interpretation on the creation of painting, but also a reverse influence of painting creation on the interpretation of text. As a text, there is only one "Roselle Endowment", and the paintings based on it for "second degree creation" are one after another, and the reverse influence formed under this and the other is not to be underestimated. The painters' wandering minds after deviating from the text and resorting to the meticulous depiction of the poor state will undoubtedly have a great guide to the reader. The earliest and most far-reaching "feeling zhen" theory, which originated in all kinds of "implicit" reading, is likely to have originated from the gap in the transformation of the text into painting. The cross-domain integration between literature and art is quite valued nowadays, and there is even the so-called "wentuology", which is committed to dredging the intrinsic relationship between the connotation of the text and the brush and ink of calligraphy and painting, but this book emphasizes the need to "always pay attention to the differences between literature and painting, respect them as different materials, in fact, each has its own characteristics" ("Conclusion: The Paradigm of Literary Research Needs Repeated Breakthroughs"). In addition to presenting the commonality of the two, it is more necessary to pay attention to each other's different tendencies and interpenetration, which is the proper meaning of the topic, and literary researchers and art critics really need to reflect on this.
Chen Baozhen,"Roselle Futu and Ancient Chinese Story Painting"
Whether it is the hook and sinking of "implicit" reading, or the exploration and interpretation of the main theme of "Roselle", this book does have many new insights, but the scope involved is both wide, and the problems to be solved are also numerous, and sometimes it is inevitable to lose sight of one or the other. For example, the theory of "Feeling Zhen" originates from the anonymity "Record" quoted in Li Shan's "Selected Notes on Literature", whether this is a document that existed before Li Shan's annotations, or was added separately when you published the "Selected Notes on Literature" in the Southern Song Dynasty, the author's attitude is somewhat uncertain. Considering past disputes, the main text argues that "the Record should have been written by the Tang or Tang dynasty"; however, in the commentary, a large section of the commentary quotes the Japanese scholars Koo Koichi, Tominaga Kazuno, and Kenji Kaokawa in the "Examination of the Annotated Book of Li Shan' Notes" (Kenbun Publishing House, 1992) (in fact, the Japanese scholars said that the opinions of the Qing dynasty Liang Zhangju's "Anthology of Texts" and Hu Kejia's "Selected Texts and Examinations of Differences" were not invented), mentioning that "according to research, this is not cited by Li Shan, but added by You Yuanben" (Chapter 8 " and the historical interpretation of the figure - why zhenhou"), without any explanation of this, it is inevitable to lose ground, leaving the reader a little confused. Li Shan's Anthology of Literature was written in the era of writing, and the situation of early copying and circulation was quite complicated. According to the "Non-Five Ministers" article on the volume of Li Kuangqi's "Zihui Collection" at the end of the Tang Dynasty, "there were several copies of Li's "Selected Writings" passed down from generation to generation, including those who were initially annotated, those who made duplicate notes, and those who made three and four notes, and at that time they were passed down and written", "Several books were merged and proofread, not only were the notes slightly different, as for the sections and sections were different from each other, there was no such thing as the Yu family's original preparation", it can be seen that at that time there were a variety of complicated and simple writings with different paragraphs coexisting in the world. Because the Qing Dynasty Hu Kejia's "Selected Writings and Examinations" did not have this "Record" in the Li Shan Notes in the "Selected Writings of the Six Families" (Ming Jiajing Yuan Jia Jia Qitang) and the Chaling Ben (Southern Song Dynasty Chen Renzi's "Supplementary Six Chen's Annotated Anthology"), it was directly claimed that You Yuan's Li Shan's "Selected Notes on The Selected Texts" was disturbed, but in fact there was no sufficient evidence. When it comes to "Feeling Zhen", there should be no doubt that it originated in the Tang Dynasty or even before the Tang Dynasty.
In order to clarify the old theory and prove itself, some details in the book also allow room for further discussion. For example, Cao Zhi mentions in the "Luoshen Fu Order" that "in the third year of the Huang Dynasty, the Yu Dynasty Jingshi", there is a discrepancy with the narrative of the "Romance of the Three Kingdoms" and Cao Zhi's other works. Li Shan, in the "Notes on Selected Writings", compared the records in the historical records, speculating that "the Wei Zhi and the preface of the poems and the four years of the cloud, this cloud for three years, mistaken", which has also become a generally accepted conclusion in history. The book mentions "why no one questions the lack of documentary basis for Li Shan's reasoning", "especially the premise of his deduction is that the Luoshenfu is regarded as a 'realistic' work" (the first chapter, "The Time when Cao Zhi wrote the Luoshenfu: The Fourth Year of the Huang Chu or the Third Year of the HuangChu"), and even boldly infers that "the 'Huang Chusan' is deliberately written in the wrong year, with the intention of reminding the reader that this is by no means documentary, and 'Yu' is not exactly the author's deity" (Chapter 4, "The Structure of the LuoshenFu: Dialogue Bodies and Two Languages"). But if it is true that as the author has judged, Cao Zhi can be completely vague in the self-prologue, or simply avoid talking about it, why should he deliberately write the wrong time to arouse people's suspicions? In fact, Li Shan also mentioned another possibility in his note: "Yiyun's "Wei Zhi" did not speak of planting dynasties for three years, and Gai "Wei Zhi" was slightly also. (Because the Hu Kejia "Selected Writings and Examinations" sees that there is no such annotation in the Yuan Ben and Chaling Ben, it is suspected that it is not from Li Shan's note, and believes that "this is also the mistaken take of Youyan, or the record of the good notes on the side", I am afraid that it is not enough to rely on the letter, as detailed above.) The Qing dynasty Zhu Xu was inspired by this, and according to Shen Yue's "Book of Song and Lizhi", "In the third year of the First Huang Dynasty, the original Fengxi (the original work of the Book of Song "Fengbi") was a pilgrimage", believing that "since gaizen ascended the throne, it was the first ceremony of the Yuanhui in the year, and its ceremony was from the duke below the emperor to the court, and Zi Jianshi was also a three-year imperial capital master" (Cao Ji Kao Yi, vol. 3), so what the Luoshen Fu Order said may not be wrong. Although literary creation cannot be simply equated with the author's life record, it can also refer to and integrate personal real experience or personal experience, fiction and documentary are often interpenetrated and mixed, and there is no clear and clear strict boundary between one or the other.
After discussing the main topic, the book also has an interesting introduction to some "alternative stories related to 'Luoshen'", which have successively collected several stories from the Eastern Jin Dynasty Ganbao's "Search for God", the Tang Dynasty Duancheng style "Youyang Miscellaneous Tricks", Pei Jun's "Legend", and the Qing Dynasty Pu Songling's "Liaozhai Zhiyi", the content of which is either the jade girl who agrees to each other, or the jealous woman competes for favors, or the goddess appears, or the fox demon is famous, which can indeed explain that "the origin of "LuoshenFu" is complex, the clues are intricate, flawed and full of vitality", "It can give the reader a huge space for imagination" (Chapter 9, "The Metamorphosis of Roselle Endowment: The Eternal Goddess and the Fallen Concubine"). These bizarre and absurd plots reflect, to varying degrees, the ambiguity and frivolity of the male scribes of the past, sometimes even narrow and vulgar. This is reminiscent of Liu Ruyi in the late Ming and early Qing dynasties, who once wrote a unique "Male Luoshen Endowment" (included in "Peng Yin Cao") from a female perspective, trying to portray the male abundance of "the yi posture of Qi Fenxun and the uniqueness of Xin Wanjia". The main theme of the creation of this assignment is as controversial as its parody of "Roselle Endowment". Chen Yin kejue concluded that this was Liu Ruyi's (no. Hedongjun) bold confession of love to his lover Chen Zilong (zi wozi) in his early years, "Wozi is just a young and strong year, he is high and vigorous, and Zi Jianfu's sentence of 'divine light' is an appropriate description." What is the most ideal person in Hedongjun's heart? It is advisable that it has the purpose of 'male Luoshen'" (Liu Ru is a biography, chapter 3, "The Relationship between Hedongjun and the Former Phase of Wu Jiang" and "Filial Piety between the Clouds", Shanghai Ancient Books Publishing House, 1980). Qian Zhongshu, on the other hand, noticed the sentimental lamentation of "only Junlang's forgetting", guessed that "like a child, the so-called 'Junlang' is also", and criticized Chen Yinke's research as "pedantic and ridiculous" ("Qian Zhongshu Manuscript Collection, Rong An Guan Notes , Rong An Guan Notes", volume 1, Commercial Press, 2003). Exactly what is right and what is wrong still seems to be uncertain. It can be seen that although the Nine Chapters of "Roselle Endowment" has outlined the general outline of the evolution of "Roselle Endowment" in later generations, there are undoubtedly many interesting issues worthy of in-depth study.