Selected poems from selectors in selected poems of the Qing Dynasty

As far as the form of criticism is concerned, poetry anthologies and poems are important ways of criticism in classical Chinese poetics. The "poetry" that is directly attached to the commentary of the poetry anthologies began with the "Ming Poetry Synthesis" compiled by Zhu Yizun in the early Qing Dynasty. According to Yang Qian's "Annals of Mr. Zhu Zhuyuan", "(Kangxi) forty-one years old, seventy-four years old: compilation of "Ming Poems"... Attached to the "Poetry of Jing Zhiju". Later generations attached great importance to Zhu's comments, and Yao Zuen compiled them from the "Ming Poetry Synthesis" during the Qianjia period and compiled it into a twenty-four-volume single line of "Jing Zhiju Poetry". The Ming Poetry Synthesis pioneered a form of "poetry" written by the appendice selectors in the poetry anthologies, and was imitated by many subsequent Qing poetry anthologies. Among them, the famous ones are the "Poetry of Zhu Hanju" attached to Zheng Jie's "Records of the Poetry of the Whole Fujian Dynasty of the State Dynasty", the "Poetry of Pubei Mountain Fang" attached to Wang Chang's "Biography of Huhai Poems", the "Eight Flags Poetry" attached to the French-style Shanshan "Peng old and seeing record", the "Poetry of Yuhu Shanfang" attached to Liu Binhua's "Lingnan Qunya", the "Poetry of Yu Yu Shan Fang" attached to Xu Qiaolin's "Poetry of Shu hai", the "Poetry of Shi Yu Shan Fang" attached to Hu Changji's "Continuation of Li Poetry Series", the "Poetry of Shi Xin'an" attached to Fu Baosen's "Zhengya Collection of the State Dynasty", and the "Poetry of Shi Yu Room" attached to Chen Yan's "Modern Poetry Notes" and Xu Shichang's "Evening Qing Qing Poetry Collection" attached to the "Evening Qing Qing Poetry Collection" and so on.

Such poetry anthologies can usually be divided into two styles: one is under the introduction of the poet, that is, the poems written by the selector, and the poems of various genres are listed after them, such as the "Biography of The Poetry of the Lake and the Sea"; the other is that after the poet's biography, the commentaries of the same or previous generations are recorded first, and then the poems written by the selector himself, such as the "Ming Poetry Synthesis". Obviously, the latter is more of a collective review nature. The poems in this type of poetry anthology have both similarities and differences from ordinary poetry. From the perspective of the critical function, both are criticisms of the poet's poetry, the difference is that the poetry anthologies are both implicit anthology criticism and explicit poetry criticism. From the perspective of the independence of the text, the poems in the poetry anthologies obviously do not have independence in the process of engraving and dissemination of the anthologies, and they are a by-product of the subject attached to the poetry anthologies. However, like Zhu's poems attached to the Ming Poetry Collection, once the Jing Zhiju Poetry Was published, it was detached from its subordination to the poetry anthologies.

In fact, before the Song Dynasty, poetry anthologies were influenced by the concept of "poetry without da", and generally selected poems on poetry without comment. It was not until the fall of the Southern Song Dynasty that new styles of "selected commentary" began to appear in poetry anthologies, such as Fang Hui's "Yingkui Law Essence" to select more than 3,000 Poems of the Tang and Song Dynasties, commenting on them one by one, saying that "the selected poems are also selected, and the poems are also annotated". As Chen Yunheng said in "The First Collection of Guoya Fan Cases": "Ancient people choose poetry, and there is no circle point." However, if you want to learn from Jiahui, a little finishing touch on the cheek can not be abolished. Xu Xi read Du, the vicissitudes read Li, not without exhaustion. But when it is explained, it can also benefit the reader's wisdom. "In the Qing Dynasty, the poetry anthologies not only contained a short biography of the poet and compiled the comments of famous artists, but also accompanied by the comments of selectors named "poetry". Although these are still within the broad category of commentaries in the anthology, the use of the name "poetry" can undoubtedly make its evaluation more systematic, and it can better highlight the active participation of the selectors in the poetic criticism activities. If the anthologies, biographies of poets, and comments from others in the anthologies are "objective criticisms", then the poems of the selectors are the "subjective criticisms" of the selectors who express their personal likes and dislikes and poetic concepts. At the same time, this composite evaluation mode also marks the enrichment of the criticism form and the expansion of the critical function of the Qing Dynasty poetry anthologies. From a critical point of view, this kind of anthology not only includes various forms of ancient poetry criticism such as commentaries, annotations, excerpts, and poems, but also can penetrate each other and not see the grid, which not only clearly reflects the critical consciousness of the selection, but also reflects the inclusiveness of the Qing Dynasty poetry anthologies from one side.

Since Ouyang Xiu first created "poetry", this genre has gradually developed into an important poetic theoretical writing. Academic circles attach great importance to the study of poetry, but they have not paid sufficient attention to the poetry of selectors in the poetry anthologies since the Qing Dynasty. In particular, those selected poems that have not been published in a single book, such as the "Poetry of Xuezhouguan" attached to Zhou Yubin's "Old Rain Collection", the "Obscure Poetry" attached to Xu Can's "Meili Poetry Collection", and the "Yuanxiang Poetry" attached to Shen Ailian's "Continuation of Meili Poetry Collection", are not recorded in the "Qing Poetry" and "Continuation", "Three Editions", "Qing Poetry Examination" and "Newly Revised Qing Ren Poetics Bibliography". Therefore, the excavation and collation of such selected poems can also make up for the lack of statistics of the current Qing poetry literature.

As for the selected poems of those who later published monographs, they are more documentary. Because the poems in the anthology are the earliest editions published together with the anthology, even if there are additions or deletions in the content of the later monographs, their initial appearance can be compared with it. For example, Chen Yan's "Poetry of the Stone Relic Room" has two versions: one is the "Poetry of the Stone Relic Room" appended to the small biographies of the "Modern Poetry Banknotes" selected in 1923; the other is a thirty-two volume of poems created intermittently by the author from 1912 to 1929, together with the six volumes of the 1935 "Continuation", referred to as "Post-engraved Poetry". Since the poems appended to the anthology predate the thirty-two volumes of poems, there are differences between the two. On the one hand, some of the thirty-two and six volumes of poetry are not included in the "Modern Poetry Notes", especially some important writers discussed in the "Continuation"; on the other hand, some of the famous modern writers selected by the "Modern Poetry Notes", such as Yao Xie, Zhu Qi, Lu Yitong, Deng Fulun, Gao Xinkui, Jin He, Zeng Guangjun, etc., are not discussed in the "Later Poetry". Therefore, the two books can complement each other.

In addition to the value of literature, the poetry of the selector itself also has strong academic value. First of all, benefiting from the unique style of the anthology, the selector's poetry not only focuses on those poets and poems that are highly known, but also takes into account many unknown poets and their poems. For example, the "Evening Qing Poetry Collection" contains more than 27,000 poems by more than 6,100 people in the Qing Dynasty, which can be regarded as the largest collection of Qing poems. Among them, "Poetry of the Evening Qing" not only has an analysis of important writers and important works, but also retains a lot of evaluation information on works that are not widely circulated and works of second- and third-rate writers. More importantly, if the fine and flat comments in the "Poetry of the Evening Qing" are combined with the detailed or omitted selected texts in the "Poetry Collection of the Evening Qing Dynasty", it can basically constitute the rudiment of the history of Qing Dynasty poetry. In general poetry works, although they also have both commentaries and selected poems, it is difficult to match the poetry of the selectors in the selected poems in the poetry anthologies in the coverage of the poets and poems reviewed.

Secondly, the selector can also use poetry to express the subtle meaning that the selected text and the biography cannot convey. Still taking Zhu Yizun's "Ming Poetry Synthesis" as an example, when it was printed in 1705, Zhu Shiziyun said: "More than 3,400 families were selected, or they stored their poems because of poetry, or stored their poems because of people, interspersed with poems, describing their abilities, and did not lose the author's purpose." The Ming Dynasty, the ministers who died and sealed the frontier, the doctors who destroyed the country, the people of the party, and the people who remained in the opposition, were all written in the record. Analyzed into a hundred volumes, several into a generation of books. Stealing the righteousness of national history, the viewer can understand the reason for the gain and loss. Obviously, Zhu Yizun is treating the compilation of this poetry collection from the perspective of a historian, and the ultimate purpose of the attached "Jing Zhiju Poetry" is also to let future generations "gain and lose" in Mingfu, rather than to understand the creative achievements of Ming poetry. Therefore, most of the Ming poems selected by Zhu Shi are works about the gains and losses of the dynasty and the character Zang's denials; the comments are also more fair and flat, mostly involving a generation of masters, which can make up for the lack of history. When Zhao Shenyi of the Jiaqing Dynasty wrote the preface to the Fulishan Fang's "Jing Zhiju Poetry", he also said: "Its righteous history, and its text does not need history." However, Mr. Zhu's behavior is a book, poetry? Shi Hu? Yu thought it was Shi Er. These words once again confirm that the "Jing Zhiju Poetry" attached to Zhu Yizun's "Ming Poetry Synthesis" is essentially a rigorous history book.

(This article is a major project of the National Social Science Foundation of China "Qing Dynasty Poets Collection Series" (14ZDB076))

(Author Affilications:College of Literature, Fujian Normal University)

Edit: Zong Yue