Exploring Li Dezhu, a model of proofreading - reading Zhou Yukai's "Shimen Character Zen Annotations"

Exploring the beads, proofreading exemplars

——Reading Zhou Yukai's "Shimen Character Zen Annotations"

Zhang Jian

Shimen Character Zen Annotations (all ten volumes), by Hui Hong (Song) and Annotated by Zhou Yukai, Shanghai Ancient Books Publishing House, September 2021, first edition, 598.00 yuan

Among the contemporary scholars who study the literature of the Song Dynasty, mr. Zhou Yukai is a recognized one of his peers, who is both long in theory and literature and has made outstanding contributions. His "General Theory of Poetics of the Song Dynasty" was reprinted in the first edition, and the popularity of the scholarly circles has not declined for decades; the "Annotations to the Complete Works of Su Shi", of which he is one of the editors-in-chief, is regarded as the highest level of the current compilation of Su Shi's poetry collections; he also has in-depth research on Buddhist classics and literature, and has authored "Chinese Zen Buddhism and Poetry", "Text Zen and Song Dynasty Poetics", "Zen Language", "Song Monk Huihong Xingxing's Chronicle Of The Chronicle", "Dharma Eye and Poetic Heart", etc., which can be described as the cultural protector of Shimen. Today, the "Shimen Script Zen Annotations" compiled by him for 20 years is 10 volumes and 2.5 million words, which is a model of proofreading.

1. Cross-time and space dialogue with the Japanese monk Komen

HuiHong was a famous poet and monk of the Northern Song Dynasty, whose collection of poems, Shimen Character Zen, was compiled and printed by his disciple Jue Ci in thirty volumes. However, the Song Ben has no way to find, the earliest edition of Imami is the Twenty-fifth Year of the Wanli Dynasty Ding You (1597) Zhejiang Hangzhou Jingshan Temple Ben, later all of which can belong to this version system, but in the process of long-term circulation, there are constant errors and procreations, and it is not easy to proofread; and the Huihong department is a deeply learned Zen monk, and the poems involve a large number of Buddhist texts and characters, which is more difficult to interpret.

In 1709 AD, the Japanese Zen monk Kömen published and published the "Shimen Character Zen" that he spent more than 20 years painstakingly writing, which was the first proofreading and annotation of the "Shimen Character Zen", which not only provided great convenience for future generations to read the "Shimen Character Zen", but also reflected the achievements of Sino-Japanese cultural exchanges, and was of great significance for the study of Song Dynasty literature, Zen studies, and foreign Sinology. However, after all, Khomen was an exotic monk hundreds of years ago, and there was a gap between the mountains, people, customs, and culture of China's native region, and there were limitations of the times, regions, and knowledge, and there were many misreadings and omissions in proofreading and annotation. Three hundred years later, the "Annotations" that also took more than twenty years of painstaking efforts came out, and the omission of the door was fully compensated.

The correction of the komen gate has been inadvertently caused by the closeness of the shape or the proximity of the sound. For example, in "Ziguo Temple Xizhai Show Transcendence Two Songs", "Close to Hanyan Mistletoe Village", Khormen mistakenly "mistletoe" for "檞"; "On the evening of July 7, I walked to Qiyun Lou to give Wu Bangzhi a pen", "The Master in the Building", and the Khomen mistakenly "Fu" for "Heaven". There are also subjective errors in the way that the door is wrong. For example, in the "Ten Songs of Elder Spring of HeYuqing", "Ye Yun Who Cuts the Body of the Qian", the Khomen Note: "'Qian' is regarded as 'Shelter'." "Shi" Qian" is "sheltered", and the meaning of covering is not wrong. In this regard, the Annotations are examined and revised.

The notes on the Khomen are obviously erroneous due to cultural barriers. For example, in "Ciyun Li Fangshu Shuisu", "one tiger in the city becomes three mouths", Khomen does not know the "Warring States Policy" "three people become a tiger" classic, mistakenly note "three mouths, said three forks of the road junction also". More often, because Khomen failed to go to China in person, he was mistaken on paper. In particular, when the names of places and persons are the same, the mistakes of the komen have increased significantly, and the Annotations have pointed out and corrected them one by one.

Place names were misnoted, such as "The Great Snow Drama Zhao Ye Xi Mr. Zou Yuanzuo", and Khomen mistakenly marked the Ruoye Creek in Xinchang County as the Ruoye Creek of Shaoxing. "Sending Qingchang and Jian Zhongxuan" "Shicheng Haohuang Tianshui Connection", Kömen mistakenly marked the name of the province of Shicheng (i.e., Jiangning Province) as Shicheng Mountain of Taiping Province. "Gifting Huang Deyun Prodigy" "Zhao Luo Tong Shan Yang" and "Return to Ru Shui Huan", Ku Men mistakenly marked the Copper Mountain and Ru Shui in Linchuan as the Copper Mountain and Ru Shui in Nanyang Province.

Names are misnoted, such as "Chongyinhui Wang Dunsu" "Wengong Zhulang Neng Family", Wengong is Wang Anshi, and Khomen is mistakenly noted as another Wengong Wang Shu. "Sending Transcendent Brother", Transcendence is the monk Xizu, the word Transcendence, kumen mistakenly noted as Peng Chaoran. "Buddha Jian Xing Xiu Tianning and Da Tan Yue Spoke Together In Early June Ji Ji There are double lotuses to open the temple court of the West Pond to do this", The Buddha Jian is the pure cause, the character Jue Xian, the number of the Buddha Jian Master, the Khomen mistakenly noted as Hui Qin (also known as the Buddha Jian).

Incorrect or incorrect annotations outside the names of place names and persons are also corrected in the Proofreading Notes. For example, in the "Food and Vegetable Soup Shows He Daoist", "Record to send Xu Wen, Ah Tong should laugh and rejoice", Kumen did not know this pseudo-Su Shi tone, which was Recorded in The poem was sent in Leizhou (Xu Wen belongs to Leizhou) su ru (Ah Tong is a small character of Su Ru), but instead mistook Xu Wen as a personal name, thinking that it referred to Xu Wenzhen in the "Biography of Liexian". "Sending Thunder from the Dragon to See Xuanshou" "Jiangpu buys a boat in the spring aquatic life, and when the sail arrives in Xuancheng." If you see The Empty Qinglao in the house, from the canal to find the poem manuscript", the Kömen mistakenly noted Jiangpu as The Tianfu Jiangpu County, the real poetry is not clear, Jiangpu is the riverside, can not be interpreted as a place name; Kömen also does not understand the "empty Qinglao", that is, Zeng Lun's self-title, Zhuyun: "The empty Qing does not know who it is, and the fool thinks that it must not be solved." Du Shi: 'The stone wall is broken. ’”

Even in terms of Buddhist Meditation, the Annotations are even better, repeatedly making up for the lack of preparation. For example, in "Falun Qi Zen Master Kaixuan Yu XueBu Cong Name Yue Xue Bu Ershou", Khomen mistakenly noted Qi Zen Master as Qi Tian, and the "School Notes" corrected to Jing Qi (Song people used to call the monks the second word of the Dharma name in the province, if the province was called Qi Tian, it should be called Tim Zen Master, not Qi Zen Master). "With the yun cover rhymes with the cloud character" "happy to grind the skirt", the knob does not understand what the grinding skirt is, mistakenly noted: "'grinding' as 'hemp'." The "Annotations" quote the "Protector of the Six Ancestral Masters' Dharma Treasure Altar" and Su Shi's "Mo Gong Zanshu" and the Anonymous "Ji Lin Zhi", which proves that it is the Mo Yuan. "Sending Lin Shangren" "and negative Basket visited Jai", komen note: "Basket, basket also." 篅, Sheng Gu utensils. "And cloud" jaied, called the Weng family also. The "Annotations" quote the "Biography of a High Monk", which proves that the 籚篅 is lu yuan, referring to the futon; the zhai is chen ou, the number is Weng, and the number is also the jai.

The "Annotations on the Proofreading" have great respect for the achievements of his predecessors, and although he corrected the mistakes of the Komen and added thousands of examples and sources to the Komen Annotations, he also fully affirmed the contributions of the Khormen, often adding the phrase "what he said is very true", and refused to rob the former sages. Through a unique dialogue with Kumen that spans time and space and turns from time to effect, the Annotations pay homage to the labor of the sages. More importantly, this is the first comprehensive and high-quality interpretation of the Shimen Script Zen completed by Chinese scholars, and from then on, foreign scholars cannot concentrate on the front, and the Annotations defend the dignity of national culture in their own way.

Second, overcome difficulties and refuse "water injection"

In recent years, with the development and maturity of the digitization technology of ancient books, it has become more convenient to retrieve and extract documents, and a number of undesirable phenomena have emerged in the collation of ancient books. For example, some "water notes" in the annotations of ancient books are popular, and the difficult notes are not noted at the notes, and the easy notes do not have to be annotated but they copy the "Chinese Dictionary" and other reference books to think that they can. As everyone knows, "the main function of annotation is to help readers dredge up the meaning of the text, if you do not copy the entry in combination with the context, or even deliberately avoid the difficulties that are not found in the dictionary, it is difficult to call it a qualified annotation." (Du Yu, "Abandoning "Pseudo-Proofs" and "Pseudo-Annotations"", People's Daily, July 20, 2017)

Although the "School Notes" are huge, they are an excellent commentary on ancient books that rejects the "water notes". A large number of words in the Shimen Script Zen canonical facts cannot be completely solved by relying on reference books, or even making mistakes based on them. For example, "birthday" refers specifically to the day of death of a monk, that is, the day of death, in some works of the book, and this special meaning cannot be found even in Buddhist dictionaries. Another example is the "bolt rope" (leash), the reference books have not been collected, some researchers have interpreted it as a rope, the "bolt rope still exists" in the "Younanyue Fuyan Temple" as evidence of HuiHong's detention, and the "Annotations" point out that the "bolt cord" is often used in the book to refer to the connected skeleton and skeleton, and the etymology is Huang Tingjian's "Ode to Dry Bones". Such words involving Buddha's Zen, the Annotations are mostly well-defined and invented, which is very helpful for the study of Zen literature and even the culture of the Song Dynasty. Compared with those "water notes", "Proofreading Notes" can be called gold notes.

Good annotations, of course, must be based on reliable textual proofreading. In addition to the photocopy of the Wanli Jingshan Temple Ben of the "Preliminary Compilation of the Four Series", the "Annotations on the School" is based on the same system version, such as the "Four Libraries Of the Whole Book", the "Wulin Xiangzhe Testament", the Changzhou Tianning Temple Ben, the Kuanwen Periodical, and so on; it also participates in the school's anthologies of the past dynasties, the notes on the poetry of the Song Dynasty, HuiHong's own works, and other Zen men classics; in addition, it participates in various types of books and Fang Zhi, makes extensive use of materials as much as possible, and flexibly applies the proofreading method, the school method, the other proofreading method, and the rational correction method, and corrects a large number of textual errors. When proofreading, the original text of the original text is marked in parentheses, so that the reader can know the original appearance of the original text. For example, "Lying Sick Ciyan Zhou Yun" "Who Makes the Pavilion Feng Ou (Gull) Language" is a good example of the use of the four school methods. The character "ou" in the base text is "Ou" in the proofreading method; using his proofreading method, Su Shi's "Professor Shu in the Rain" is introduced: "Sit in Pu Brown Zen and listen to the Wind Ou language". Using the school method, it is pointed out that the phrase "Feng Ou" is often used in this collection. Using the method of rational correction, the bell dott made of the terracotta tiles hanging from the eaves of the pavilion is analyzed. Finally, it was judged that the base "Ou" was "Gull", which was close to the shape and wrong, so it was corrected. According to rough statistics, there are four or five hundred corrections in the "Proofreading" correction of similar errors, providing readers with a concise and credible version of the "Shimen Script Zen".

Excellent annotations also need to know people and discuss the world. In 2010, the author of the "Annotations" has published the "General Case of the Chronicle of the Writings of the Song Monk Huihong Xingxing", which not only chronicles the works of Huihong and the chronicles of the writings, but also the examination and narration of the biography of The Traveler, the Genealogy of Zen Buddhism, political events, partisan disputes, literati associations, and the Buddhist system. With this profound early research result, the "Annotations" can only be the year of most of the works of "Shimen Character Zen", and examine the names, place names, and abilities of the works, and solve many difficult problems. For example, the second of the "Jingshi Shangyuan Guan Driving Two Songs" has "special transmission of the edict Jun Enzhong, gaze at the Heavenly Order Xie Supreme", and "Yingkui Law Essence" Yun Huihong shi "more than twenty ears". The "School Notes" say that when HuiHong was in his twenties in the Capital Division, during the Yuan Dynasty, he was not favored by Emperor Zhezong and Empress Xuanrengao, and there was no possibility of "special edicts"; in the fourth year of Daguan, Huihong went to Beijing to undertake guo Tianxin's disciples for the Privy Council, and was very favored by the trust, and so on October 10 of the year, Tianning rhythm gave the Purple Cloth master number, the so-called "special transmission of the edict", when the government and the first year of the shangyuan were introduced by Guo Tianxin, and Huizong summoned you xing; therefore, the creation was made as the Kaifeng Mansion on the fifteenth day of the first month of the first month of the first year of the government and the first year. "Shitai Night Sitting Two Songs", "School Notes" not only examines its composition in the winter of the fifth year of Zhenghe, corrects the error of "Ruling the Ping Years" in the "Jiangxi Tongzhi Scroll", but also cites historical materials such as "Youdi Jisheng", "Fang Yousheng Sheng", and Su Rui's "Gifting Shitai to Ask the Elders two absolutes" to determine the place of creation in Xinchang County. All these provided practical help for an accurate understanding of Huihong and the social situation at that time.

Excellent annotations should not only indicate phonetic pronunciation, explain the meaning of words, explain rhetoric, and examine allusions, but also dredge up the meaning of the text and clarify the idea. The "Annotations" are the most diligent and accomplished in this regard, especially a large number of vocabulary related to the truth of Zen Buddhism, not like the Guan Tianshu. The Annotations pay attention to the introduction of various Buddhist knowledge and Zen idioms, cite and interpret the corresponding Buddhist texts, and provide convenience for readers to read. For example, in volume 4, "Xie Zhongzi Goes Out of the Mountains", "The Ice and Snow of The Mountain of Mao Bone Ji", from "Mountain" and "Ice and Snow", it is easy to associate with the "Skin Like Ice and Snow" in "Zhuangzi Getaway", but the "Zhongzi" in the poem is a disciple of Huihong, and his identity is a monk, and should not be compared with the God of The Mountain. Proofreading Cloud:

Mao Bone Ji Shan Ice and Snow Miao: The spiritual temperament of Zhongzi is like the Tang poetry monk Lingche. The Biography of the High Monk of the Song Dynasty, Vol. 15, "The Biography of Lingche of the Yunmen Temple of the Tang Dynasty": "Jianzhong and Zhenyuan have come, and Jiang Biao proverb: 'Yue Zhiche, Dong Bingxue.'" 'It can be described as a generation of victories, and it is enough to be separated from Hangbiao and Xia di di. Volume 25 of this collection, "Inscription on the Gong Stone Carvings": "Wu Ren said: 'Yu Hangbiao, Mo Yunxiao; Xiaxi Day, Neng Qingxiu; Ji Shan Che, Cave Ice and Snow.'" Ji Shan: That is, Hui Ji Shan, this term refers to Lingche. Taiping Huanyu Ji Vol. 96 Jiangnan Dongdao Viii Yuezhou Huiji County: "Huiji Mountain, ten miles southeast of the county. "Khomen Note": "Ji Zi, Zhuangzi Getaway" chapter, is the same as 'Great Immersion in Heaven without Drowning'. "It's a misnomer.

Originally, Jishan was the abbreviation of Huiji Mountain, and Lingche had the reputation of "ice and snow" at that time, and was on a par with Huzhou Jiaoran (Qing Day) and Hangzhou Road Signs, and the proverb of the times said: "The day of The Xia, can be qingxiu; the standard of Hangzhou, Mo Yunxiao; Yue Zhi Che, Cave Ice and Snow." "Shimen Character Zen" often uses "day", "marker" and "che" to refer to poets and monks. Here, the Tang poetry monk Lingche is also borrowed to compare the loyal son who is also a monk. The "Annotations" approved the guide, so that the meaning of the text was suddenly penetrated.

The Annotations are also long on revealing the provenance of Huihong's poetry, indicating the context of his poetry, pointing out his writing habits, syntactic characteristics and innovations, and sometimes placing them in the context of the literary history and art history of the Tang and Song dynasties. For example, volume 1 of the first volume, "With the Transcendent Dustless Rice Berlin Temple Sub-titled Debai Character", "School Notes" not only picks out Huihong's first "sound painting" language, but also points out that its origin is self-contained, which is a reflection of the concept of poetry and painting in the poetry world at that time, and quotes representative poems of the Song people, which is similar to qian Zhongshu's "Selected Notes on Song Poems" to combine annotation with appreciation and judgment. The source of Huihong's poems revealed in the "Annotations on the School" is widely involved in the four parts and the two collections of the Buddhist Tao, which shows his extensive knowledge. Among them, nearly a thousand places were influenced by Su Shi, which can be called Su Shi's biggest fans, and there are also hundreds of people influenced by Huang Tingjian. The second volume of the "Continuation of the Monk BaoZheng" "Understanding the Biography of Hong Zen Master" says that Huihong "roughly reached the eastern slope of the scale and borrowed the valley", and the evaluation was very accurate. Finding a source for the poem not only helps the accuracy of the annotation, but also glimpses the author's intentions and the context of the development of literary history, and its value cannot be ignored.

The entire book of the "Proofreading" is marked with personal names, place names, and book title line symbols, and these proper name lines undoubtedly help to correctly punctuate and understand the text. For example, at the beginning of the first volume, the Interpretation of Daguan's "Zen Preface to the Shimen Text": "Therefore, Bao Jue wants to 'learn without learning, and to go to the Sect of Hundred Rivers.' 'Endless sigh of the people' South Sea Persia, because the wind came to shore'. The claim is stored, and the ritual punishment is not far away. The previous sentences in this paragraph were all wrong, and the "Proofreading" added the name line under "Baojue", "Endless" and "Mingong", which is indeed read and understood, so it can be accurately judged. Because it is a prologue, there is no annotation here, but fortunately, the author of the "Proofreading" has explained it in the WeChat circle of friends, and the excerpt is as follows:

In this passage, Baojue is the ancestral Zen master of the Huanglong Sect of the Linji Sect, who gives the number of obscurity and the number of Baojue. Huihong's "Biography of the Zen Forest Monk's Treasure" Volume 23 "Huanglong Baojue Heart Zen Master Biography" contains the ancestral heart saying: "I learn without learning, and I go to the Sect of Hundred Rivers." "Endless is the Northern Song Dynasty Huizong Dynasty Prime Minister Zhang Shangying, the character Tianjue, the number of endless residents, Sichuan Xinjin people, now Guanyin Temple is his hometown. Mingong refers to the Huazang An Min Zen Master, also known as the Emei Zhongfengmin monk, who was a disciple of Yuan wu Keqin of the Yangqi sect of the Linji Sect (the tomb of Yuan Wu Keqin exists today, next to the Chengdu Zoo). Song Shi Daoxing compiled the "Xuetang Xing Monk's Collection": "The monk of Fengmin in Emei first lectured on the "Leng Yan Jing" in Chengdu. ...... The people's first visit was endless, and they talked about teachings in Nagisa Palace, and they were endlessly happy. After that, Wen Minchong was the first to write an endless letter to Wu (Yuan Wu Keqin): "The lord of the people's seat is the study of righteousness, and the opening of the eyes of the sect is like a Persian treasure full of ships, and when the wind comes to the shore." Knowing the provenance of these two Zen texts, it is not difficult to break this passage in the Shimen Text Zen Preface...

It seems like a few simple name lines, but how much effort and how much knowledge need to be mobilized behind it to mark it correctly. The difficulty of sorting out ancient books can be seen from this.

Qiu Zhao'ao's "Preface to Du Shi's Detailed Commentary" Yun: "Those who note Du will repeatedly dive, seek their destination, and thus compare them with each other, and then compare them with each other, and the author has painstakingly been on top of thousands of years, suddenly as if he has experienced his life, facing his people, and there is still sorrow, and there is still residual thoughts." "This is the highest realm of annotation, and the Annotations are almost perfect in this realm.

Third, about the scales and claws of the dragon

It cannot be said that the "School Notes" have no regrets, for example, there are many characters whose lives are unexamineable, the place of creation is unknown, and the meaning of the words of the works is difficult to understand, and the "School Notes" never pretends to be understanding, does not wear chisels, does not attach it, and honestly admits that although there are regrets, it is worthy of academic conscience.

The Annotations are also imperfect in form. If the labels of some annotations are inconsistent with the body markings, this may be due to the change in layout before and after; most of the participating bibliographies do not list the version information, and it is recommended to list the specific versions of all the participating schools in the form of appendices when revising; some of the proofreadings that are not wrong and the reference texts are incorrect, and if they have their own considerations, they can be stated in ordinary examples; the annotation format is not uniform, and some of the annotations are not, and some are not, such as "Shimen Character Zen", which is difficult to read, and even it is not easy to point out the ancient books. Readers certainly want to add sentence meaning and poetic crosstalk.

This huge work of more than two million words has reached "the highest level of current collection of literature collation" (recommended by the public account of Shanghai Ancient Books Publishing House). Just as the probe has already obtained the bead, the remaining scale claws, even if they are lacking, do not affect the brilliance and value of their subjects. However, as far as I know the author of the Annotated Notes, even if the reader is not demanding, he will revise it more and more perfectly if he has the opportunity. Because in his heart, there will always be reverence for scholarship and respect for readers. (The author is a professor at the Department of Chinese, Peking University)

This article is reprinted from China Reading News (2022-01-19 10 edition)