The following article is transferred from the study of poetics, and I would like to thank you.
Associate Professor Han Liping
Abstract: Mr. Xu Peijun's dialectic of Qin Guan's "Ode to the Revival of the Title" highlights the factor of party contention too much and ignores the factor of "holding mourning", which leads to a certain degree of deviation from the direction of the discourse, which has aroused opposition from the academic circles. In fact, the interpretation of Qin Guan's motivation for writing poems under the name of the original documents of the Southern Song Dynasty, such as "The Gathering of Ancient and Modern Things", mainly focuses on the theory of "holding mourning" in the context of traditional ethics, while the theory of "fear" in the context of party struggle is a secondary reason. According to the theory of "holding mourning", "Ode to the Rise of the Title of Huxi Zhongxing" was written by Qin Guan, which has greater credibility and rationality, and can also avoid unnecessary controversy.
Keywords: "Ode to the Revival of the Title" Qin Guan Zhang Lei, "Ancient and Modern Things"
"Ode to the Rise of the Title":
No one swept the blood of the Yuhuan demon, and Yuyang was tired of Chang'an grass. The battle bones of Tongguan are higher than the mountains, and the king of Shu is old. Jin Ge Iron Horse came from the west, and Guo Gong was a hero. Raise the flag for the wind and the rain for the rain, and sprinkle and sweep the nine temples without atmosphere. Who is the name of Yuan Gong and Ji? Elegance does not continue to make people die. The star fighting text in the chest of the water department, the dragon and snake characters written by the Taishi. Heaven sent two sons to pass on the future, and the high mountains and cliffs were grinding. Whoever carries this monument into my room, makes my eyes open at the sight of it. A hundred years of prosperity and ruin, the number of sons is now safe. The desolate muddy water is abandoned and not collected, and there are tourists who sell monuments from time to time. [1]
Book shadow of "Huaihai Collection Note".
In 1985, Mr. Xu Peijun (1928-2019), an expert in Qinguan studies, wrote "Huaihai Collection Notes", which included the poem "Ode to the Rise of the Inscription in the Xixi" in the "Addendum". In 1995, Mr. Xu wrote "Qin Shaoyou's Long Chronicle", which was also written under the name of Qin Guan. In 2002, Mr. Xu's "Notes on Li Qingzhao's Collection of Notes" was published, and when discussing Li Qingzhao's "Ode to Zhongxing in Huxi and Zhang Wenqian", he once again verified that the author of "Ode to Zhongxing in Huxi" was Qin Guan. Since then, scholars have expressed different opinions on the authorship of "Ode to Zhongxing in the Title", such as Mo Lifeng, Zhou Yukai, Wang Xing and other scholars have held opposite views in relevant papers, believing that the author of this poem should still be Zhang Lei. Mr. Xu's judgment on the author of "Ode to the Rise of the Inscription in the River" emphasizes Qin Guan's motive for writing poems in his later years because he was "blamed and fearful", focusing on the background of party struggle. The rebuttal of Mo Lifeng and other scholars also revolves around the clue of party struggle. However, if we go back to the relevant original documents of the Song Dynasty, we will find that the fundamental reason for Qin Guan's poetry may not be the "fear" in the context of party struggle, but the "mourning" in the traditional ethical context. The theory of "mourning" is more credible and reasonable than the theory of "fear". Using the theory of "holding mourning" to explain the name of Qin Guan's poems, the question of the attribution of the author of "Ode to Zhongxing in the Title" can avoid unnecessary controversy. Mr. Xu Peijun's research process ignores important materials such as the Southern Song Dynasty's "Gathering of Ancient and Modern Stories", which leads to a certain degree of deviation from the direction of the discourse, which overemphasizes the factor of party contention and obscures the factor of "holding mourning". For this reason, the author does not speculate on this small article, but intends to slightly supplement Mr. Xu Peijun's views in order to be in line with the Fang family.
"Ode to the Rise of the Tang Dynasty" rubbing (detail)
One
Qing Daoguang Ding You Wang Jingzhi re-engraved "Huaihai Collection" (now in the Shanghai Library) 17 volumes, 2 volumes of the latter collection, 1 volume of words, and his "Addendum" included "Ode to the Rise of the Title of Huxi". Since the Southern Song Dynasty, this poem has been included in "Mr. Wanqiu's Anthology" and "Zhang You's History Collection" as Zhang Lei's poem. The re-engraved version of the Huaihai Collection by King Jingzhi of the Qing Daoguang is the first time that it is included as a poem of Qin Guan. Some scholars conclude that the author of the poem is Zhang Lei, and deny the possibility that Qin Guan is the author, which seems to be arbitrary in the author's opinion. It is indeed a fact that "Ode to the Rise of the Title" was included early in Zhang Lei's collection and late in the Qin Guan collection, but this is not necessarily related to the question of determining the author of this poem. It is likely that from the very beginning, this poem was included in Zhang Lei's collection and was incorrected for hundreds of years. Similarly, Li Qingzhao, who was at the turn of the Northern and Southern Song Dynasty, wrote "Two Songs of Xingxing in the River with Zhang Wenqian", and it cannot necessarily be deduced that the author of this poem is Zhang Lei.
After Wang Jingzhi's re-engraved book "Huaihai Collection" included the "Ode to Zhongxing in the Title", he quoted Sheng Ruzi in the Yuan Dynasty "Shuzhai Old School Talk": "The poem "Ode to the Zhongxing in the Title" and "Yuhuan Demon Blood No One Sweeps" is thought to be written by Zhang Wenqian, and it is really a little bit of a pen. When he was scolded and feared, he was mourned, but he relied on the name of the book to write the ear. And add Yuyun: "This poem contains "Wanqiu Collection". "Yuyin Conghua" is based on the stone carving for Wen Qian's work, and "Zizhi Poems" also quotes Wen Qian's "Zhongxing Tablet" "Tongguan battle bones are higher than the mountain" sentence, all of which are Shu Zhai's so-called "the world thinks Zhang Wenqian wrote". Wang Shizhen of the National Dynasty "Huxi Kao" contains Zhang Lei's poems, and also contains Qin Guan's "Manlang" poems, although not Yun Yun wrote for "Ode to Zhongxing", but "knows" the following four sentences, not "Ode to Zhongxing" is not enough to deserve. Li E's "Chronicle of Song Poetry" is also cited as Zhang Lei's poem, which is not corrected. It is hereby supplemented according to the "Shu Zhai Cong Talk". Zeng Minxing's "Duxing Magazine" Yiyun: "Shao Youfu's "Ode to the Revival of Huxi", titled Zhang Wenqian, is written by Zhang Wenqian, and is famous for it. Then the statement of "Shu Zhai" is sufficient evidence. Wang Jingzhi's remark is also seen in his "Collection of Small Words: Pillow Shanju Miscellaneous Sayings". The Huaihai Collection of the Four Preparations of the Zhonghua Book Company is typeset according to Wang Jingzhi's re-engraved version, and also includes Wang Jing's research text. Qing Liju's "Song Poetry Chronicle" volume 26 places the "Ode to Zhongxing in the Title" under Zhang Lei's name, while Qian Zhongshu's "Supplement to the Song Poetry Chronicle" determines that "this Qin Shaoyou's poem can be seen from the "Duxing Magazine" and "Shuzhai Old School Talk"[2].
Book shadow of "Song Poetry Chronicle Supplement".
On the basis of Wang Jingzhi's research, Mr. Xu Peijun added two materials. One is the Southern Song Dynasty Wang Xiangzhi's "Jisheng of the Land". The fifth and sixth volumes of the book "Jinghu South Road" and "Tablet" include a poem "Ode to Zhongxing in the Title", entitled "Ode to Zhongxing in Qin Shaoyou", which is recorded as: "Qin Shaoyou Poems: Yuhuan Demon Blood No One Sweeps ......"
The other is Huang Tingjian's "Zhongxing Ode to Poetry and Parallel Notes": "In March of the third year of Chongning, I came to Boxi in the wind and rain. Jinshi Tao Yu, Li Ge, monk Boxin, Dao Zun, together with the "Zhongxing Song" under the cliff. Tomorrow, lay scholars Jiang Danian, Shi Junyu, Taiyi Chengquan and his nephew Yi, monks Shouneng, Zhiguan, Deqing, Yiming, and Chongguang will come. Tomorrow, Xiao Bao and his younger brother will come. Wandering the cliff for three days, please give a poem. The old man, how can he revert to the text, and force a few words. It's a pity that Shaoyou has been born, and you can't have this wonderful ink cliff stone ear. Xiushui Huang is straightforward, and the sons are from the line, 棁, 㭒, 楛, and Lingling Wuchao. Mr. Xu's "Huaihai Collection Notes" quoted Huang Tingjian's account of this trip, and added a note to the cloud: "The one who has the most sufficient proof" is Huang Tingjian's article, "Huang is the same door of Qin, and the cloud should be credible"[3]. In the proofreading of "Li Qingzhao's Collected Notes", Mr. Xu once again argued:
In March of the third year of Huizong Chongning (1104), Huang Tingjian moved south to Yizhou, and Bo Xixi in the wind and rain, proclaiming: "Tomorrow again...... It's a pity that Shaoyou has been born, and you can't have this wonderful ink cliff stone ear. ”…… It shows that this poem has not yet been carved into stone, but it has been confirmed that it was written by his fellow disciple Shaoyou...... In the Qing Dynasty, Wang Jingzhi re-engraved the "Huaihai Collection", which was widely examined...... The mystery of hundreds of years has been cleared up here. There is no doubt that poetry is less traveling.
Today, Zhang Wenqian's life is examined, and he has not tasted a ...... Shaoyou died in the party in the spring and March of the first year of Shaoxi, and was demoted to the state liquor tax...... In the summer and April of the first year of Yuan Fu, Shaoyou moved from Chenzhou to Yongzhou, both with the author of the poem "Ode to Zhongxing" in the poem "Manlang", and wrote this poem in the local family. Both poems are seven ancient poems with the same style. Because he is in the party, as Sheng Ruzi said, "when he was scolded and feared", this poem "is a famous literary potential". Shiwen Qian is still in Huangzhou, far away, not to mention this poem sent to Shaoyou, how can Shaoyou get this poem and the book to carve the stone for future generations? In short, the author of this poem should be Shaoyou. Qingzhao didn't know the truth at the time, so he pretended to be "and Zhang Wenqian". [4]
Regarding the material of Huang Tingjian's "Zhongxing Ode to Poetry Quotation and Parallelism", Mr. Xu believes that "it has been confirmed that it was written by his fellow disciple Shaoyou", and this interpretation seems to have loopholes. "I regret that Shaoyou has passed away, and I can't do this wonderful ink cliff and stone ear", this sentence does not prove that Huang Tingjian has confirmed that "Ode to the Rise of the Title of Huxi Zhongxing" was written by Qin Guan, in fact, there are many other possibilities: or Huang Tingjian read the poem signed by Zhang Lei and written by Qin Guan; Or just because Qin Guan was a friend of the same family, good at calligraphy, and died not long ago, so Huang Tingjian remembered it. Therefore, the material of Huang Tingjian's "Zhongxing Ode to Poetry Citation and Parallelism" cannot be used as direct evidence for determining the authorship of "Ode to Zhongxing in Zhuxi".
"Ode to the Rise of the Tang Dynasty" rubbing (detail)
Mr. Xu discussed the reason why Qin Guan wrote poems under the name of Zhang Lei, and once again emphasized Yuan Sheng Ruzi's "being blamed and feared". In response to this issue, Mr. Mok raised objections. Mo Lifeng believes that Zhang Lei and Qin Guan both belong to the Sumen, and they were both demoted in the party struggle, and their situation and mood are similar, "If Qin Guan does not dare to sign his name because he is 'blamed and afraid', then how can he sign the name of his friend Zhang Lei, who is in the same disaster?" [5] Mok's reasonable doubts show that there are logical loopholes in the "fear" theory endorsed by Mr. Xu Peijun. Why did Qin Guan write poems under the name of Zhang Lei? What is the motivation? In addition to the theory of "fear" in the context of party struggle, is there any other way to interpret it? In fact, Sheng Ruzi's "Shu Zhai Old School Talks" originally provided two reasons: "fear" and "mourning". The original text is as follows:
The poem "Ode to the Revival of the Title" "Yuhuan Demon Blood No One Sweeps" is thought to be written by Zhang Wenqian. It's really a little bit of a pen also. When he was scolded and feared, he was mourned, but he relied on the name of the book to write the ear. [6]
Book shadow of "Shu Zhai Old School Talk".
Sheng Ruzi, the year of birth and death is unknown, Yuan Dade was a professor of Confucianism in Jiading Prefecture. The theory of "fear" and "mourning" was not first proposed by Sheng Ruzi. The text of "Shu Zhai Old School Talks" actually comes from earlier Southern Song Dynasty documents. Although the original source of this document is no longer known, it is reprinted in Zhu Mu's "Gathering of Ancient and Modern Things" in the Southern Song Dynasty. Mr. Xu Peijun may have ignored the "Gathering of Ancient and Modern Things", which led to the obscuration of the "fear" theory on the "mourning" theory in the process of his argumentation.
Two
Southern Song Dynasty Zhu Mu's "Ancient and Modern Things and Literature Gathering" in the first collection of volume 52 "Funeral" section "Funeral Poems":
Mei Shengyu went to Ningling and sent poems: "Alone with the mourning of the mother, tears and river flow." The river will eventually run out, and the fountain of tears will always be in the eyes. Yan You and Zhiguo ridiculed the poems early, and Yu Yingzhi wrote poems such as "Tate" and Fu Xian's "Gift to the King He Er". According to the preface of Jin Sun Sui's poem: "Since Ding is poisonous, carrying cold and heat, he can't help but wail, compose a poem, dare to forgive the ridicule of the dark, and stretch the extreme pain." Therefore, Hong Yu's father was worried about Lu Zhiding's mother, and he would never write poetry. Fu Lu is not the author, and he is not a poet of missing relatives. Sun Sui author, to think of the poems of relatives. Sheng Yu is early, why hurt? Qin Shaoyou first passed through the Xixi, and inscribed a poem: "The blood of the Yuhuan demon is not swept", in order to be blamed and fearful, and the party held the funeral, hand-written this poem, borrowing the name of Wenqian, and later generations thought that Wenqian, not also. ("Miscellaneous Records of Jianglin"). [7]
This material can also be found in the article "Mourning Poems" in the "Funeral Discipline" section of the first volume of Xie Weixin's "Preparations for Things" in the Southern Song Dynasty, and the text is the same, and it is indicated that it is taken from "Jianglin Several Miscellaneous Records". In fact, this paragraph of material is also mixed with Wu Zeng's "Neng Gai Zhai Manlu" and other sources of text. Wu Zeng's "Can Change the Zhai Manlu" Volume 10 "Discussion" category "Mei Shengyu Sun Sui Mourning Poems":
"Jianglin Several Magazines (Record)" cloud: "Mei Shengyu sent poems to Ningling: 'Alone with a loving mother's funeral, tears and river flow. The river will eventually run out, and the fountain of tears will always be in the eyes. 'Yan You, Zhiguo ridiculed the poems early, and Yu Yingzhi used "Tate" and Fu Xian's "Gift to the King He to Gift Two Servants". Jiang said. Yu Yu is not here, Jin Sun Xuan's poem "Expression of Mourning", its preface: "Since Ding is poisonous, carrying away from the cold and summer, it is unbearable to wail, compose a poem, dare to forgive the ridicule of the dark, and declare the extreme pain." Therefore, Hong Yu's father was worried about Lu Zhiding's mother, and he would never write poetry. Fu Lu is not the author, and he is not a poet of relatives; Sun Sui author, to think of the poems of relatives. Since he knew that Shengyu wrote poems early, why should it hurt? He said, "Dare to forgive the ridicule of the dark", then even if the people are ministers, they can also forgive the dark. [8]
The book shadow of "Can Change the Fasting Manga".
Wu Zeng's narrative is relatively clear, and it can be seen that the material of Mei Yaochen's funeral poems comes from "Several Miscellaneous Records of Jianglin"; Wu Zeng also cited the examples of Sun Sui and Huang Tingjian, and further affirmed Jiang Linji's point of view, that is, there is still no harm in writing poems about relatives during the period of "forgiveness and darkness". Jiang Xiufu (1005-1060), a neighbor of several characters, lived in the era of Song Zhenzong and Renzong, and it is impossible to write about the events of Qin Guan. Wu Zeng's "Neng Gai Zhai Manlu" was compiled in the 24th to 27th years of Song Gaozong Shaoxing (1154-1157), and soon after it was published, it was banned and destroyed because of people's admonitions, and was republished in Chengdu in the first year of Shaoxi (1190), which has been deleted. Is it possible that the material of Qin Guanju's funeral poem named Zhang Lei comes from the deleted part of "Can Change the Zhai Manlu"? We do not rule out this possibility. If it comes from "Neng Gaizhai Manlu", the saying of "being blamed and feared, and holding mourning" has appeared as early as the Song Gaozong period; If not, according to the time when the first four episodes of Zhu Mu's "Ancient and Modern Things and Literature Gather" were written, it can be seen that this theory appeared at the latest before the sixth year of the reign of Emperor Chunyu (1247)[9]. Xie Weixin's "Preparation of Things", according to his own preface, was written in the fifth year of Baoyou (1257), slightly later than "Ancient and Modern Things". The Qing dynasty Zhou Guangye's "Xun Xun Compilation News" volume 2 discusses "composing poems in clothing", transcribing all the examples contained in "Gathering of Things", and adding examples of Ouyang Di and Su Shi.
The record of "Shu Zhai Old School Talks" is either directly from "Ancient and Modern Things and Literature Gathering", or it comes from the same source as the latter. Judging from the literature classification and title of "Ancient and Modern Things", it is extremely obvious that the two reasons for Qin Guan's poems to be named are "fear" and "mourning", and "mourning" is the key and the fundamental. However, in "Shu Zhai Old School Talks", "when I am scolded and fearful, I am mourned", and readers are easy to regard "fear" as the main reason. The same material is easy to produce different interpretation directions in different contexts. The reason why Mr. Xu Peijun's examination only highlights the factor of party contention and obscures the "mourning" may be because of this.
Three
The Southern Song Dynasty personally went to the cliffs of Huxi for field investigation, and there was Hu Zai, the author of "Tiaoxi Yuyin Cong Words". "Tiaoxi Yuyin Cong Words" after the collection of volume 31 Han Ju advocated "suspicious Qin Shaoyou", Hu Zai then personally traveled to the river, observed the cliff inscription, and saw the signature "Zhang Leiwen Qian", and then there was "Qin Guan Shaoyou Book", Hu Zai finally advocated that "when the carved stone is positive", it was determined to be Zhang Lei's poem. Qing Lu Zengxiang's "Golden Stone Correction" also agrees with Hu Zai's use of stone carvings as positive. Contemporary scholars also hold similar views or similar ways of thinking, that is, this poem is included in Zhang Lei's anthology, and it is determined to be Zhang Lei's poem. It is true that the existence of such materials as stone carvings and anthologies is certainly convincing, but we cannot rule out the possibility that stone carvings and anthologies were false from the beginning. Qin Guan wrote a poem named Zhang Lei, the most original material, from Song Zeng Minxing's "Duxing Magazine" volume 5:
Qin Shaoyou's "Xixi Zhongxing Poems", when crossing the cliff, the cover has not been inscribed with stones. Both, the second Yongzhou, because of the vertical into the city, see a scholar's house, the door is slightly clean, so straight to build. said that its owner said: "I, Qin Shaoyou, also lend me pen and paper, and write poems as gifts." "The master was in a hurry, and there was a wooden machine between the corridors, and he wrote a book on it. The title is "Zhang Leiwen's hidden work", and it is written by his name. Between Xuanhe, its wooden machine still exists, and now this poem is also under the cliff. [10]
From Zeng Minxing's narration, it can be seen that the so-called "Zhang Leizuo, Qin Guanshu", a poetry writing text, was first presented on a "wooden machine". The stone carvings on the cliff of Huxi are the second form of text, which appears after the "wooden machine", and it is likely that the stone is based on the calligraphy ink on the "wooden machine". As for the "Ode to the Xingxing of the Inscription in the River" compiled into Zhang Lei's "Collected Works of Mr. Wanqiu" and "Zhang You's Historical Collection", it should be the third text form, which is based on the cliff stone carvings, and this final text form has stripped away the "Qin Guanshu", and only retains the information of "Zhang Leizuo". Therefore, the concept of "carving stones as the right" of later generations may not be completely accurate. The hard "carved stone" has resisted the erosion of the years and has been preserved to future generations, and the text form before the "carved stone" such as the "wooden machine" has been submerged in the long river of history.
Book shadow of "Awakening Magazine".
Zeng Minxing's "Duxing Magazine" described the process of Qin Guan's poems under the name of Zhang Lei, which was extremely specific. It may be that he did not know why Qin Guan acted in this way, so the narrative does not mention the motive at all, and presents an objective description of the facts. Assuming that Qin Guan's poem under the name of Zhang Lei was a fiction in the notes of literati during the Northern and Southern Song Dynasty, what was the motive for this fiction? What is the purpose? It's really puzzling. In the author's opinion, Zeng Minxing's narrative here does not have a deliberately fictitious motive, and the authenticity of the details of the poem named by Qin Guan's "Lang Xuan Wooden Machine" should be more credible.
Although there was a period of time between the occurrence of the incident of Qin Guan and Zhang Lei, it can be regarded as a reasonable explanation, which can be better integrated with Zeng Minxing's objective record of the incident itself. Mr. Xu Peijun's research only uses the brief materials in Yuan Sheng Ruzi's "Shu Zhai Old School Talks", and ignores the earlier and more complete materials of "Funeral Poetry" in the "Funeral" section of Zhu Mu's "Ancient and Modern Things". Therefore, too much emphasis is placed on the theory of "fear" in the context of party struggle, which obscures the theory of "holding mourning" in the context of traditional ethics, which has also triggered the opposition of the academic community.
To sum up, the interpretation of Qin Guan's motive for writing poems in the original documents of the Southern Song Dynasty mainly focuses on the theory of "holding mourning" in the context of traditional ethics. "Holding on to mourning" is the main reason for composing poems, and "fear" is the secondary cause. According to the theory of "holding the mourning", "Ode to the Rise of the Inscription in the River" was written by Qin Guan and has great credibility and rationality.
exegesis
[1] Qin Guan, Xu Peijun's Note, Huaihai Collection Note, Shanghai Ancient Books Publishing House, 1994, p. 1575
[2] Qian Zhongshu, "Song Poetry Chronicle Supplement", Life, Reading, New Knowledge Sanlian Bookstore, 2005 edition, p. 679.
[3] Huaihai Collection Notes, p. 1576.
[4] Li Qingzhao, Xu Peijun's Note, Li Qingzhao's Collection of Notes, Shanghai Ancient Books Publishing House, 2002, pp. 198-199.
[5] Mo Lifeng, "On the Five Poems of Zhongxing in the Late Northern Song Dynasty", Social Science Front, No. 5, 2016.
[6] Sheng Ruzi, "Shu Zhai Lao Xue Cong Tan", Qing "Zhi Zhai Series", p. 9.
[7] Zhu Mu's "Gathering of Ancient and Modern Things", the first volume of volume 52, the 32nd year of Wanli in the Ming Dynasty (1604) engraved version.
[8] Wu Zeng, "Neng Gai Zhai Manlu", Zhonghua Book Company, 1980 edition, p. 296.
[9] Shen Naiwen, "The Book and Version of 'Shiwen Cluster'", Literature, No. 3, 2004.
[10] Zeng Minxing, "Duxing Magazine", Shanghai Ancient Books Publishing House, 1986, p. 41.
This paper is the result of the National Social Science Funding Project "Research on the World of Humanities and Literature of Northern Song Dynasty Scholars" (20FZWB078) and the Shanghai Philosophy and Social Science Planning Project "Research on the Relationship between Suman Literature and Calligraphy and Painting from the Perspective of 'Poetry'" (2020BWY014). This article was originally published in the 24th volume of Chinese Poetics.
Han Liping, associate professor of the Department of Chinese, East China Normal University, has published a monograph "Research on the Evolution of Poetry in the Southern Song Dynasty". Some of the pictures are from the Internet, if there is any infringement, please inform us to delete.
Download link:
Editor: Zhu Nengyi
Proofreading: Qian Shiyi
Review: Any group