Transferred from the public account of "East China Normal University Ancient Books Institute"
Originally published in Wang Shuizhao, Zhu Gang edited the ninth series of "New Song Studies"
About the Author
Tang Ling, Postdoctoral Fellow in Literature, Associate Researcher, Institute of Ancient Books, East China Normal University. His research interests include Song Dynasty literature and literature.
The so-called Nandu poetry refers to a series of works written by the author in the early period of Emperor Gaozong Jianyan and Shaoxing of the Song Dynasty, although he spanned the two Song Dynasties. Their importance in the history of criticism is not whether they reflect the tragic history of Nandu, but in the awakening of the concept of poetry in this period, which further clarifies the principles, purposes, and methods of poetry compilation, and gives it a clearer positioning as an independent style. This is undoubtedly a new development in the development of poetry compilation. The turn of the two Song Dynasties can be described as the era of "poetry bees out", and those who survive today, such as Lü Benzhong's "Ziwei Poetry", Xu Yan's "Yanzhou Poetry", Zhou Zizhi's "Zhupo Poetry", Zhang Biaochen's "Coral Hook Poetry", Zhu Ben's "Fengyuetang Poetry" and so on are among the best.
1. Establishment of the principle of compilation "nominally"
Looking at the compilation of poetry in the Northern Song Dynasty, from the beginning of Ouyang Xiu's "collection of funds and small talk", it has laid the nature of his notebook style. In the subsequent development, Chen Shidao's "Houshan Poetry" broadened the scope of literary criticism, most of the entries in Wang Lizhi's "Wang Zhifang Poetry" had "copyright awareness", Wei Tai's "Linhan HermitAge Poems" and Ye Mengde's "Stone Forest Poetry" repeatedly used the "mutual seeing method" to deal with the same material, but did not change the fate of poetry as a "literary note", and the positioning of the poet was still vague. In terms of compilation style, although Sima Guang's "Continuing Poems" pioneered the model of "taking people as the guideline", it did not receive large-scale inheritance and development in the poetry of the late Northern Song Dynasty. And "taking things as the guideline" only appears sporadically in the "Linhan Hermit Poetry" and "Western Qing Poetry", which is not enough to form a fixed model for future generations to take the law. After the Southern Crossing of the Song Dynasty, in just a dozen years, poetry has a spurt of development, not only increasing in number, but more importantly, there is a clear definition of the essence of poetry, which is the most intuitive form of self-awakening of poetic criticism. Regardless of whether the positioning is accurate at this time, at least it gives poetry a status of competition with other genres "nominally".
The first theoretical summary of poetry and the summarization of its characteristics is Xu Yan's "Yanzhou Poetry". He said in the preface: "Poets, discern syntax, prepare ancient and modern, Ji Shengde, record strange things, and correct and false." If there is irony, if there is evil, if there is slander, there is no one to take. [1] Xu Yan believes that the five major elements of poetry compilation are: distinguishing syntax, that is, paying attention to the layout of poems and the formation of words and sentences; preparing ancient and modern, that is, generally discussing the evolution of ancient and modern poets, poetic styles, and poems; Ji Shengde, that is, recording people of high moral character and their poems; recording different things, that is, recording strange stories, which are rarely known; correct and false, that is, examining the background, allusions, and words of poetry, and making false accusations. In addition, there are the so-called three noes, that is, "sarcasm, evil, and slander", which means not to make malicious attacks.
Xu Yandang made a meticulous combing of the poetry since the Northern Song Dynasty, summarizing the similarities and differences of the various families, coupled with his own understanding and understanding of the essence of poetry, to make this definition. From the perspective of poetic development, "distinguishing syntax, preparing ancient and modern, correct and wrong" is indeed an essential element, which is enough to reflect the author's talent and knowledge. And "Ji Shengde and recording different things" is the inevitable of "discussing poetry and things".
The theory of yanzhou poetry is obviously stronger than other poems at the same time, which is also the result of the effort of "discerning syntax". The poetry of the late Northern Song Dynasty is basically a simple discussion of poetry and the law of law, and in the "Yanzhou Poetry", the author consciously first marked out the theory of poetry, and then quoted the works to comment and analyze, which has the flavor of "poetry method", such as:
If any poem is filled in, it is called "point ghost book", also known as "pile up dead bodies". Can be as the "orangutan brush" poem: "A few or two in life, five cars of books behind me." Another example is "Guan Chengzi has no carnivorous phase, and Brother Kong Fang has a letter of submission." Subtle and clear, can not be added, when this language against the three corners also. [2]
The articles of the ancients, not easily, read them repeatedly, add meanings, and see them a few times. Dongpo's "Send an An Fall First Poem" Yun: "The old book is not tired of reading a hundred times, and it is familiar with deep thinking and self-knowledge." "The servant tastes this phrase inscribed on the right and the book gentry also. Dongpo is overseas, Fang Sheng called Liu Liuzhou poetry, after tasting someone offended the sea, see Li Ziyun Xiucai, said that there is no book overseas, suitable canal family has Liu Wen, Dongpo day and night play. Oh, although the Eastern Slope is looking at the book, it is also necessary to study the poor with care, and to see the evil with the heart! [3]
Poetry has power, like the fighting power of a bow, and when it is not pulled, it does not know its difficulties; and when it is not saved, it is not strong enough. If the "Out of the Plug Song" cloud: "The sunset shines on the flag, and the horse sings the wind and Xiao Xiao." Three or four shots, the brave man was not proud. And the "Eight Sorrows" poem Yun: "Ruyang let the emperor, Meiyu true heavenly man." The beard resembles Taizong, and the color reflects the outer spring. "Such power is not to be tolerated by others. [4]
The above three examples are Xu Yan's theoretical guidance on the practice of poetry and the citation of good works. By quoting Huang Tingjian's famous works "Orangutan Brush" and "Drama presents Kong Yi's father", they discussed the method of using allusions; borrowed Dongpo's day and night to play with Liu Wen, admonishing the ancients of later generations that the articles must be read repeatedly; and pulling out the poems of Lao Du's "Out of the Plug" and "Eight Sorrows" to discuss the difficulty of poetry having power. Articles such as those that first put forward poetic views and then combine their own judgment and commentary abound in the Yanzhou Poetry, which shows the author's emphasis on "discerning syntax".
In-depth "implementation" of this principle, there is a large number of detailed discussions on the creation of pragmatic words, syntax and coarse syntax, and Zhou Zizhi's "Zhupo Poetry", as he said:
The poem is easy to get sentences with double-stacked words. Such as "paddy field flying egret, Summer wood yellow oriole", this Li Jiayu poem also. Wang Mo Jie Naiyun: "Desert paddy field flying egret, yin yin summer wood yellow oriole." "The four words of Maharaja are the most relevant. If Du Shaoling "blows the guest's clothes and the sun is high, the tree stirs up the flowers and meditates", "the wood falls for no reason, and the Yangtze River is not exhausted", then it is wonderful. [5]
This article discusses the magic of using overlapping words in the poem. Wang Wei added the words "desert" and "yin yin" to Li Jiayou's original poem, which although it seems to be "eavesdropping", is "the most stable" in the eyes of the author, which is far better than the original work [6]. As for Du Fu's repeated use of overlapping characters in his poems, it is even more "wonderful", and one example after another is used for posterity to take the law. In the "Zhupo Poetry", there are also articles such as "Donglai Cai Boshi's "Du Shaoling Zhengyi"", "All Poets Writing Words", "Poets Using Words to Create Words" and other articles all discuss the gains and losses of syntax, which shows that "distinguishing syntax" has become the consensus of poets at the time of Nandu.
Compared with "distinguishing syntax", the phenomenon of "preparing ancient and modern" is not so prominent. In the three poems of the early Song Dynasty, the material is mainly around the poets of this dynasty, and there are not many articles on the poems and poets before the Song Dynasty. It was not until the poetry of Ye Mengde, Cai Yun and others that the poets of the Six Dynasties and the Five Tang Dynasties were more talked about. Of course, the general admiration of Du shi since the middle and late Northern Song Dynasty is an exception, and almost all poems are filled with elements of "Zun Du", "Yan Du", "On Du", "Shi Du", and "Zhu Du".
First of all, the collection of ancient and modern poets' masterpieces so that they will not be submerged in the process of circulation is naturally the most important manifestation of "preparing for ancient and modern". The Bamboo Slope Poetry attaches particular importance to this, yun:
Du Muzhi tasted the Xuancheng Curtain, toured the Jingxi Shuixi Temple, and left two small poems. One of the clouds: "Li Bai inscribed poem Shuixi Temple, ancient wood back to the pavilion wind." Half awake and half drunk swimming for three days, red and white flowers bloom in the rain. This poem is now in the collection. One of the clouds: "Three days to go and live, a lifetime to swim again." With love for the bixi water, heavy on the Cantonese public building. "This poem is not concentrated in the wall of the list today, but I know that the good sentences of the predecessors are scattered and scattered. [7]
Tang Caizi was famous such as Du Mu, and there were also good poems scattered outside the collection. Zhou Zizhi occasionally saw Du Mu's second poem, knew that one of them was no longer in the collection, and specially recorded the poem. There is really no such poem in the "Fan Chuan Collection" in this examination, and other anthologies and collections such as Hongmai's "Ten Thousand Tang Dynasty Absolute Sentences" are included, but they are later than the "Zhupo Poems", which shows the necessity of "preparing ancient and modern".
Moreover, in addition to recording anecdotes, talking about the similarities and differences between ancient and modern poetry can be regarded as an "upgrading model" of "preparing for ancient and modern". After the opening paragraph of "Yanzhou Poetry" puts forward the theory of poetry - "poetry is easy to speak, bitter language is difficult, deep thinking and self-knowledge, can not be discerned by tongue", the next several articles are about the pre-Song poets and their poems, the arrangement principle of "first ancient and then modern" is very clear, such as talking about the ancient and modern ancestral structure of the farewell image:
"Yan Yan Yu Fei, Poor Pond Qiyu." The son of Yu Gui, far away in the wild. Looking at the Buddha, weeping like rain! "This can really cry ghosts. Zhang Ziye's long and short sentences were cloudy: "Eyesight does not know people, go far up to the Creek Bridge." Dongpo's "Sending Sons by Poetry" Yun: "Ascending to look back at Po Longjie, only to see the black hat haunting." "It's all far from clear.
Countless matrix forms in later poems are derived from the Book of Poetry, which is the ancestor of the farewell poem. From "looking at the Buddha, weeping like rain" to "only seeing the black hat come out and go", the words are different, and the farewell is deep.
Since it is necessary to "prepare the ancient and the modern", it is inevitable that the source of imagery will be explored. The level of talent among poets can be seen from this. In the "Poetry of Zhupo", there are also many such contents, such as:
Bai Lotte's "Long Hate Song" Cloud: "Yu Rong is lonely and tearful, and the pear blossom is a branch of spring with rain." "Everyone likes its work, but does not know the proximity of its charm." Dongpo made a small word cloud to send people: "Therefore, I will not be a beautiful person, but I want to see the rain on the pear blossom branches." "Although it is in Rakuten language, it has a different flavor. Non-point iron into a golden hand, can not be for this also. [8]
Zhou Zizhi compared Bai Juyi and Su Shi's poems, believing that the famous sentence of "Long Hate Song", which is praised by everyone, rhymes with near vulgarity; but the Su poems that come from this sentence are turned into gold, washed away from the vulgar rhymes, and have a different flavor. The reason why there is such an evaluation is precisely because the author's subjective sense of involvement is too strong, and the whole article is full of respect for Su Shi, and the evaluation is inevitably unobjective and fair. To be fair, the two poems have their own wonderful, the white poems are delicate, and the Su poems are fluent, showing the similarities and differences in styles.
Song poetry is in charge, and Tang poetry is still affectionate, which is the consensus of posterity. Correspondingly, the spirit of rational speculation commonly possessed by the Song people was applied to poetry, which was manifested as a delay in examination. Starting from the "Poetry of Wang Zhifang", "correct error" has gradually become an indispensable content in poetry, and Wei Tai, Ye Mengde, and Cai Yun all have a large number of articles that distinguish between errors. In the poems of the Nandu Zhujia, it became a common practice, so Xu Yan listed it as one of the five elements of poetry, and put it into practice. It is worth noting that he often maintains a rigorous and prudent attitude toward the doubts in the poems, avoiding arbitrary and one-sided examinations, but deliberately doubting them for future generations to judge. as:
Five horses, the ignorant. Chen Zhengminyun: "The widow is dry, in the capital of Jun." The silk group, the good horse five. "The governor is said to be a governor, and he is too guarded." And "Han Guanyi" notes that the horse plus the left horse is left and the right horse, and the two thousand stones have the left horse, thinking that it is five horses. However, the predecessor Yang Liu Li Song was the most aware of strange things, didn't he know the evil of reading the notes of "Han Guanyi"? Therefore, they all exist, and they dare not think that it is, so that they will know those who will know later. [9]
In the "Five Horse Matter", it seems that there has always been little certainty, and Chen Zhengmin and the notes of the "Han Guanyi" are all words of the same family, so they are only listed for answers by future generations of Bo Qi, showing the style of doubt and reverence. Of course, in response to those sure mistakes, Xu Yan also said bluntly and analyzed them one by one. as:
The Southern Qi sheep are extravagant and extravagant, and the dancer Zhang Jingwan. Waist circumference of one foot and six inches, can dance in the palm of the hand, Tang Ren composed "Willow Branch" word cloud: "Recognize the yang family quiet waist." Later generations removed the word "home", only to make the sheep quiet and graceful, mistaken. [10]
In this article, Xu Yan specifically pointed out that "YangJia Jingwan" must not be mistaken for "Yang Jingwan". The Song people used the canon in their poems, often changing in order to be ingenious, and the phenomenon of misuse of allusions occurred from time to time. Even if the talent is like Su Shi, there are also misuses of poetry. RuYun: "Lazy Yuanlong Hundred Foot Building." In the Chronicle of the Three Kingdoms, Xu Feng and Liu Bei talked about Chen Deng(Ziyuanlong). In the original text, it was Liu Bei who said that "lying on top of the hundred-foot building" was Liu Bei, not Chen Yuanlong, and somehow Su Shi actually wore a crown and Li Dai.
Of course, in addition to the "Yanzhou Poetry", there are not a few examples of "correct errors" in the "Zhupo Poetry", and Zhou Zizhi has expanded the perspective of discernment to a wider and newer field, not only limited to the consideration of words, allusions, and skills. as:
There are those who wrote Tao Yuanming's poems at the end, and Yan Yuanming's poem "Reading the Classic of Mountains and Seas" has the sentence "The form is not a thousand years old, and the fierce ambition is inherent", and I don't know its meaning. After reading the "Classic of Mountains and Seas", Yun: "Punishment heaven, the name of the beast is also good, and it is good to dance with qi and qi." "I know that every five words are wrong." "Shape Death" is "Punishment Heaven", and "No Chitose" is "Dancing Qi" ear. This is in line with the next sentence. The misrepresentation of the book is so false that it must not be ignored. [11]
This article discusses the issue of different versions of the text, although it is a new addition to the "correct and false", but it is very important for both the algae and the study. In the process of Tao Yuanming's poem "Reading the Classic of Mountains and Seas", the first five words of the poem were all blackmailed by "Lu Yu Hai Feng", and their faces were completely unrecognizable. Later, when the sutra revealed the main text of the Classic of Mountains and Seas, the original appearance of Tao Shi was restored. Therefore, Zhou Zizhi deeply sighed: "The transmission of books is so false, we must not fail to detect it!" "It provides an excellent proofreading example for the Song people, who have a relatively weak sense of version.
In the poetry of the late Northern Song Dynasty, the two types of content of "Ji Shengde" and "Recording Strange Events" have been greatly reduced, and they are not representative and universal. The reason why Xu Yan put forward such a point of view may still be influenced by the notes.
For those who have "virtue", the poets always have a green eye, trying to record their noble moral character in a literary way.
Yan Zhou Poetry Cloud:
Sima Gong Zhi Chi, RenMiao Dynasty to be systemized, Wen Guowen Zhenggong's father also. Composed the poem "Xingse": "The water is lighter than the autumn, and the first poor see the ferry." Lai De Danqing has no place to paint, and the painting should be sent to a lifetime of sorrow. "And Huang Gong Shu, the father of Lu Zhi." Composed the poem "The Great Lonely Mountain": "The silver mountain is a huge wave that is dangerous, and it is better than a piece of Cui Song's heart." "It is said that the Wen Gong family used to have a glass cup, which was broken by the officials and slaves, and Luo Yin was angry, and ordered the correction to listen to the Wen Gong District. GongJue Yun: "Jade Lord Fu Waving, although the ceremony is smelled in the past; the clouds are easy to disperse, and it is advisable to forgive the Si people for their mistakes." "And lulu straight poetry, with things to suppress rhymes, are super wonderful, cover its transmission of articles, the caste is so. [12]
Ziwei Poetry Cloud:
Sima Wengong resigned as a privy councillor, and his name was heavy in the world, and Han Wei's chancellor Old De, doubly admired, and at the North Gate with Wen Gong Shuyun: "Many sick sleep dramas, que Yu Xiu qing. However, the deacons of the heard take the lives of the clan as their intentions, repeatedly speak with straight talk, listen to enlightenment, earnestly speak to the heart, and hope to be moved, be loyal and righteous, fill the heavens and the earth, cross the ancient and modern, and consolidate the admiration of the people of the world, not paper and pencil. You Shuyun: "The sound of asking is rare, and it is difficult to ask questions." However, with the people of the world, there is a sense of envy and admiration, and it is not forgotten. You Shuyun: "Fu Cheng was ordered to lead the West Terrace again, because of high knowledge, inherent in the joy of travel, what is the hope of the heavenly life?" The reason why this is so depressed. ”[13]
Xu Yan mentioned Sima Guang and Huang Tingjian's father and son, recorded the poems of their fathers, and pointed out the importance of family origins, which certainly belonged to the category of traditional poetic theory. However, another meaning in the text is to commend Sima Guangzhi's "Shengde", and by recording the ability and judgment of the officials and slaves to break the glass cup, the image of Wen Gong, who is loyal and generous, is perfectly presented in the poem. It was also Sima Guang who wanted to "Ji Shengde" in Lü Benzhong, but he did not write in front of him, nor did he record his words, but instead used Han Qi's three letters to not only commend Sima Guang's "great loyalty and righteousness, across the ancient and modern", but also expressed the regret and helplessness of the subjects of the world for resigning as a privy councillor and retiring to the Western Capital. Although the content is substantial, it does not conform to the principles of poetry writing.
Sima Guang (1019-1086)
If some of the entries of "Ji Shengde" can barely be counted as "on poetry and things", then most of the "recording of strange things" articles seem to be "serious nonsense". In the pen of Xu Yan, Zhou Zizhi and others, all kinds of strange and absurd and strange things have been quoted and recorded, I don't know if it is related to the limitations of the worldview and epistemology of the people of the time? In addition, the two Song Zhiwei novels developed and prospered, and the works were produced one after another, and the poets may have been influenced by this trend, so they wrote some strange things related to poetry as materials and wrote them into poetry. For example, in the "Poetry of Yan Zhou", a strange incident is quoted, and the author believes it to be true:
Yuan wrote the "Record of Shu Xuan", which contains people entering the tomb of Fu Cha, seeing bai juyi, Zhang Yuan, Li He, and Du Mu all giving poems, all of which can be remembered, and the syntax is also similar. Finally, Lao Du also came to give a poem, remembering the first four sentences of the cloud: "Purple collar and widow's robe and wine towel, Jiangtou Xiao scattered as an idle person." The sad wind deliberately destroys the leaves of the forest, and the sunset is mercilessly on the waterfront. "Woo hoo! If there are a few gentlemen, they cannot get rid of it, as if they were ghosts and evil? It's not clear. If you think that Yuan wrote this word by himself, then the poems of the number of gongs can still be counted, and the four sentences of Shaoling are beyond the yuan. [14]
This article is quoted from the Book of Trees, and the things contained in it are unbelievable. If viewed from the perspective of today's people, there seems to be no need to argue. However, in the Song Dynasty a thousand years ago, it could not be denied that most people believed in the existence of ghosts and gods. In particular, the ghosts in the poems have become the talk of the literati after tea and dinner. Xu Yan also seems to argue for the authenticity of this matter in the text, believing that if the poems of Bai, Zhang, Li, and Xiao Du can be forged by posterity, while the poems of Lao Du are beyond the ability of the fabricators, he himself is confused and said that "it is impossible to know." Also documenting ghost poems is the "Bamboo Slope Poetry":
Dongping Wang Xingzhou said: "Dongping people have people who live in bamboo and call themselves Zhuxi Weng, and overnight, there is a ghost inscription poem Zhujian Cloud: 'The ancient wood in front of the tomb is autumn wind, and the ghost at the end of the tomb is worried about the air.' Only the poetry soul can not be extinguished, late at night to visit Zhuxi Ong. There are many ghost poems passed down from generation to generation, and it is often suspected that they are false, and this poem will not be vain when it is transmitted in Xingzhou Township. Ghost Noh poem, is sure to be also [15]
The author of this matter heard about Wang Xingzhou, a Dongping man, and with this "human testimony", he could determine that ghost poetry was not vain, and deepened his sense of belief in the existence of ghost poetry, so that at the end of the article, he lamented that "ghost poetry is indeed true". The difference between the above two things is that they are unheard of and unseen by the world, and the author of the poem actually recognizes the attitude of identification, and designates "recording different things" as one end of the poem, which seems to be a "strange thing" for today's readers.
In the Nandu poems, although only Xu Yan has a clear positioning of the poetry itself, the compilation principles of other poems such as "Zhupo Poems", "Ziwei Poems", "Fengyuetang Poems", and "Tibetan Sea Poems" are generally similar, but their respective emphases are different. Why, then, is it that the poetic conception of this period was only "nominally" established? This is because the development of poetry also goes through a complex process of twists and turns, and not every work can develop benignly along a established trajectory, and sometimes it does not conform to the principles of compilation. Moreover, due to the limitations of the author's cognition and the imbalance of judgment, such views as "Ji Shengde" and "recording strange things" will be put forward, which are obviously contrary to the essence of poetry, so it should not become the "practical" guidance in the development of later generations of poetry. All in all, the five points proposed by Xu Yan are not only a summary and reflection on the compilation of poetry since the middle and late Northern Song Dynasty, but also laid the foundation for the development and maturity of poetry in the late Southern Song Dynasty.
II. The Inheritance of Compilation Methods and "Tortuous Progress"
The five points proposed by Xu Yan in the "Yanzhou Poetry" can be regarded as the macroscopic theoretical positioning of Nandu poetry. If we examine the specific compilation methods, it is not difficult to find that compared with the poetry of the late Northern Song Dynasty, there are both inheritance and innovation. More importantly, its compilation style has undergone a process of "tortuous progress" to varying degrees, and the general trend is to take another step towards the systematic and structural nature of the poetry of the late Southern Song Dynasty.
1. Select the prototype of the poem of this type
Lü Benzhong wrote a volume of Ziwei Poetry, also known as Donglai Poetry, but its influence was not as great as his already "Jiangxi Poetry Sect Diagram". The "Sectarian Chart" marks one ancestor and three sects, that is, with Du Fu as the ancestor, Huang Tingjian, Chen Shidao, Chen Youyi as the sect, and more than 20 people as the sect, and the "Jiangxi Poetry School" is also officially named after this, becoming one of the mainstream of Song poetry. In contrast, the poetic theory of Ziwei Poetry is very small, mainly recording the poems and anecdotes of the Lü family, Jiangxi poets and their relatives and friends. From the perspective of compilation, two-thirds of the length of the book is for the purpose of survival[16], and there are relatively few evaluations, appreciations, and analysis, which is more like the prototype of the "poetry selection type" poetry of later generations.
The poems recorded in this book are generally not from the three major groups of the Lü clan and their relatives and friends, the poets of the Jiangxi Sect Society, and the sumen disciples. For example, the first ten articles select the poems of Chao Zaizhi (Sumen), Chao Yongzhi (Sumen), Gao Maohua (Sumen), Wang Ge (Jiangxi Poetry School), Hong Peng (Jiangxi Poetry School), Lin Mingong (Jiangxi Poetry School), Fan Zhongwen (his cousin), Lü Zhizhi (his congshu), Lü Dayou (his congshu), Zhao Caizhong (his maternal brother) and other poets. Compared with the essence of "discerning syntax" of "Yanzhou Poetry", "Zhupo Poetry" and "Fengyuetang Poetry", "Ziwei Poetry" analyzes and plays with words and sentences, and the evaluation of the poet's skills is not in-depth, often only an introductory and quotive overall evaluation. For example: "Yang Nian Sanzhang DaoFuKeyi, Lü Shi's nephew, Zhang Gongwen's nephew also." Little talent, known to my uncle. At the fifteenth hour of the year, he composed a poem in Ezhu: "When there is no wind in the cave garden, there is a bright moon above and below." Microwave did not dare to be excited, and even quietly mirage. ’[17]”
When Lü Benzhong selected poems, although he did not involve much theoretical and artistic qualities, he had more ink on the poet's introduction, word interpretation, and poetry skills. as:
Mr. Zhang Zi Hou, the same age as from the grandfather into the jinshi also. Mr. Zhang has ceased to be a monk since Denko and lives in Biling. Shao Shengzhong, from the zu zi zhongshu she people out of Zhimu Prefecture, Zi Hou Xiaozhou sent several journeys, farewell to send a poem cloud: "Fences and clouds have their own journeys, hurriedly parting each other has not forgotten their feelings." Hate Jun is not at the bottom of the cage, listening to the sound of Xiao Xiao's night rain. "Sir, there are few different talents, many different dreams, taste dreams, remember the things in dreams, give the old treasures, and now they are lost." Mr. Dreams poems such as "ChuXia Yunjiao Song Yu Sorrow, Yuemingxi Net Printing Silver Hook." King Xiang must have dreamed before thinking, and then carried Xia Yu up to the Jade Building. And the sentences "Infinite jackdaws fly in the rain" and "mangroves are high above the pink wall" are not human-like people. Shao Shengchu, tasted his grandfather Xingyang Gong yu Liyang, both returned, Qi Xiaozhou To Wujiang, also wrote yun: "Today's river travel, wind and waves in the sky, try to write poems in The Capital Division: 'Bitter and tired of dust and sand with the horse's feet, but thinking of the wind and waves hitting the bow of the ship' also. ”[18]
This article is the most informative entry in the Ziwei Poetry. While memorizing Zhang Zihou's three poems, the author intersperses an introduction to his life, focusing on zhang's interactions with the Lü clan. As for how exquisite the three poems are, and how talented Zi Hou is, it is not the key to the author's record. Most of the entries in the book are the same, so I will not repeat them. Lü Benzhong's compilation style obviously laid the foundation for the selection of "Zhuzhuang Poetry" and "Houcun Poetry", so that it can further arrange poems and poems into volumes in a mutually corroborative way, forming a new style, and Lü Shi's guide is indispensable.
In addition, in the "Yanzhou Poetry", there are also many examples of poems without comment, such as "Li Yishan Fuyun", "Yang Yang Geyun" and so on. However, what goes further than "Ziwei Poetry" is that Xu Yan often points out where the poem is wonderful after recording, and clearly puts forward the inclusion criteria. Such as the following two:
Chao Wu blamed Li Chengzhi's long and short sentences between Chongning, in order to hang on to him, saying: "Shoot the tiger mountain to find the old traces, ride the whale on the sea to chase the previous covenant." He will never forget the rivers and lakes[19], and he will be happy. "It is true that it is not alone, it means that Gao Gu is deeply sad, and the good resentment is like "Leaving the Troubles", so it is specially recorded.
Yang Hua ran to Liang, and After Yuan Wei Hu Wuling wrote "Yang Baihua Song", the palace people stepped on the song with their arms, and the sound was very sad. Liuzi Houle Fuyun: "Yang Baihua, the wind blows across the river, the sitting Ling palace tree has no color, and the spring heart is thousands of miles." Looking back at the long autumn under the sunset, the lament has not been interrupted by the city. "Words are gentle and affectionate, and ancient and modern singing also." Wei Old Geyun: "In February and March of Yangchun, Yang Liuqi makes flowers." The spring breeze entered the boudoir one night, and the Yang flowers fell into the South Family. Weak feet out of the house, yang hua tears were stained. Autumn to spring to double swallows, may the Yang flowers into the pot. This word is also from Qili, recorded to save the ancient music house inscription cloud. [20]
One of the characteristics of the compilation of Yanzhou Poetry is that it is good at extracting its commonalities from many literatures, and then making a brief explanation so that readers can better understand the motivation for its compilation. In the above two examples, Xu Yan believes that Chao Wu blames Li Chengzhi's words "not to use things alone, it means that Gao Gu is deeply sad, and good resentment is like "Leaving the Troubles", so it is specially recorded", which points out the criteria for poetry critics to record poems. Similarly, he included The Lefu poem "Yang Baihua" by Hu Wulinghou and Liu Zongyuan respectively, also because his works "Qili" and "Gentle and Affectionate" conformed to the principle of selection.
2. The universal use of arranging by category
Sima Guang's "Continuing Poems" created an article style based on people and events, while Wei Tai's "Linhan Hermit Poetry" pushed this style one step further. In terms of people-oriented, there are consecutive articles written around the same person (Han Yu), which seems to be regarded as the prototype of the "Yu Yin Cong Dialect of Cangxi". In terms of taking events as the guideline, it mainly includes two categories of "poetic disaster" and "witty", and under each category, there are several consecutive articles related to this. This example is inherited by the "Poetry Total Turtle". However, this arrangement method is not applied to the whole book on a large scale, and it is not until the Nandu poems that there is a more obvious breakthrough and become a transitional stage in the arrangement of poems according to categories.
Judging from the arrangement of the volumes of the whole book, Zhang Biaochen's "Coral Hook Poetry" is the most obvious feature of similarity. Is the length of the book is not long, according to different categories of three volumes, involving a mixture of content, but also love to show off their own poetry, the most criticized by posterity is that the author's own positioning of the integration of poetry and words has been confused and biased, if measured by the perspective of the development of poetry, this is indeed a kind of regression. However, in the arrangement of style, compared with the poetry of the same period, it is more systematic.
"Coral Hook Poetry" begins with a long poetic summary, from Zhongni Zushu Yao Shun, talking about the self-pace of Ousu composition, proposing that "a good scholar should first measure his strength, and then word it." Failing to recite the charter, he wanted to transcend the soaring, and it was often seen that its views were whimsical and awkward" were opened up and penetrated through the ancient and modern, which had the flavor of a general theory of generation. Similarly, at the end of volume THREE, there is a long treatise, which summarizes and summarizes various styles such as wind, elegance, praise, endowment, ci, inscription, proverbs, songs, ballads, etc., revealing their characteristics and essences, which has a high poetic theoretical significance and can be regarded as the conclusion of the whole book. The author's two macro poetics expositions are consistent, as if they were intentional, which can be regarded as the precursor of Yan Yu's "Canglang Poetry", which has a certain innovative color.
Judging from the examples of the articles in each volume, there is almost no content of "discussion on poetry and things" on the volume of "Coral Hook Poetry", and it is generally based on expounding poetic theories and evaluating poets' poems. as:
Poetry is mainly based on meaning, and it is necessary to practice sentences in the passage, and practice words in sentences, but to get the ears. With the charm of the high and deep, the one who is high and deep is the winner, and the one who is majestic and heroic wins with Greeya. Yuan light white vulgarity, suburban cold island, are also its diseases.
The chapter is based on the implicit heaven becoming the upper, and the broken carving as the bottom. For example, Yang Danian Xikun body, not bad also, and the axe is too much, the so-called seven days and chaotic death. Take the flat and idyllic as the top, and the strange and dangerous as the bottom. For example, Li Changji Jin's sentence is not unusual, and the cow ghost snake god is too much, and the so-called Shi Zhulang Temple is terrifying. [21]
The above two expositions start from poetic theory, first proposing the method of composing poetry, commenting on the rules of poetry, and then citing poets whose poetic style is contrary to it to counterbalance. Combining theory and poetry criticism, the highlights of the book are here. Unfortunately, there are not many such examples in the volume and under the volume, and in the end, the formula cannot be formed.
The first ten articles in the Coral Hook Poetry volume are all references to the famous objects, systems, words, words, music, customs, and utensils in the poem, which seem to be similar, but the content of the next record becomes disorganized. There have been a number of entries that are simply chronicles and have nothing to do with poetry, such as "Fifteen o'clock in the year of Yu Nian", "Jing Kang's first year of winter and November", "Chao Yuansheng's "Tian Zhiru Tomb Table" Yun" and so on. The compilation style under the volume is similar to that in the volume, and it is also in the opening several articles with Du Fu as the center, interpreting, interleaving, distinguishing, and interpreting Du's poems. It is a pity that the style of "taking people as the guideline" has come to an abrupt end again, and the following entries are all kinds of miscellaneous notes, or recording strange events, or discussing historical events, interspersed with words on poetry and poetry, which is more like returning to the old road of Song notes. The most amusing thing is that there are many places in the book that show off their abilities and self-pity, but they are disorganized in the arrangement, scattered in three volumes.
Overall, "Coral Hook Poetry" has a strong theoretical color, and at the same time has a complex tendency to take materials, which shows the author's vague understanding of the concept of poetry. However, the overall arrangement of the book and the writing style of some articles do have certain merits that cannot be erased in one stroke.
In addition, other poems of the Nandu period have also inherited and developed the "people as the guideline" and "taking the matter as the program". The opening chapter of "Yan zhou poetry" begins with more than ten articles from "Yan Yan Yu Fei, Poor Chi Qiyu" to "Poets Writing Character Attitudes", all of which are pre-Song poets and poems. Since then, the "people-oriented principle" has begun to have a generalization tendency, and the author has consciously arranged different entries recording the same poet, such as Tao Yuanming, Bao Zhao, Gao Xiushi and others. However, the "protagonists" of poems such as Du Fu, Su Shi, and Wang Anshi are still scattered in the book and have not been merged. As for "taking things as the guideline", it is also very prominent in the "Zhupo Poetry", and several major themes such as "collection sentences", "poetry", "Zhiwei", "Zun Su", and "practicing characters" appear before and after, compared with the poetry of the late Northern Song Dynasty, the categories of records are greatly increased, and they are no longer regarded as accidental phenomena.
3. Subjective experience has increased significantly
In the poetry of the late Northern Song Dynasty, the "Poetry of Wang Zhifang" has many interactions and dialogues between Wang Lizhi and his recorded objects, but the mode is relatively simple, often with the appearance of "someone is yu yan" and "Yu is seen somewhere". However, in the poetry of Nandu, however, there is a widespread phenomenon in which the author talks about his own experience and feelings, and the resulting increase in the subjective sense of entry. The most common pattern is to record the author's own different understandings of the poem at different stages. In Xu Yan's pen, he is also good at extracting poetic insights from this perception, such as:
When he was seventeen years old, the first doctor was JiangDongcao, and Li Duanshu and Gao Xiushi were both fathers. Suitable for Jinling, the second duke traveled to Jiang Shan, although the servants were young, counting from the staff after the cane. In Dinglin said that the poem of Yuan Wei, the introduction should have a source, ququ Qiao, Gao Xiushi can all say it, and the servant does not feel self-lost. Because the ancients read a lot, the words came from, and the predecessors also read a lot and could know it. [22]
Although poets like Gao Xiushi were also quite famous at that time, it was a pity that the anthology was not transmitted, so that the understanding of them by later generations was limited to the records of various poems and books. He was Xu Yan's father, and he lectured on the allusions and syntax of Yuan Shu's poetry in Jiang Shan, which not only made him feel frugal, but also deeply understood that the essentials of writing and appreciating poetry lay in "reading a lot" and "speaking where there is a source". The Zhupo Poetry also records an entry related to Jiang Shan:
Yu is a year of traveling to Jiang Mountain, the baogong pagoda at night, when the sky is dark, and the moon is still not out, in front of the river, looking down at the Buddha house Zhengrong, when hearing the sound of wind chimes, ignoring Du Shaoling's poem "The night is abrupt in the hall, the wind moves the golden Langhun", suddenly like his own language. Also taste the lone valley, the ancient wood between the road yin, only to hear the sub-rules corresponding to the wood, is to know that "the two sides of the mountain wood together, all day long rules cry" is also a good sentence. And in the summer, the creek is on the verge of the river, and the guest is cool, when the sunset is in the mountains, the sound of cicadas is full of trees, and the two people wash their horses in the stream. This Shaoling is known as "cool to see the washing horse, Mori wood chaotic cicadas" also. This poem is recited on weekdays and does not see its work, but where it is seen, it is known that it is wonderful. The poem is intended to write about what you see and hear, and you don't have to be too dangerous. [23]
Compared with the simple quotation and commentary of the northern Song Dynasty poetry, the phenomenon of writing one's own subjective feelings into the poetry of Nandu has generally increased. As mentioned in this article, Zhou Zizhi's understanding of Du Shizhi's magic in a specific situation is also more profound. Through the "benign interaction" between himself and Du Shi, the author put forward the principle of "writing poetry just to write what you see and hear, and you don't have to be too dangerous", which seems to be more convincing.
In addition to writing poetry based on his own experience and perception, another mode of expression that increases the sense of subjective involvement is to collect his own works on a large scale and show off and be self-effacing, which is most evident in the "Coral Hook Poetry". As the "Introduction to Poetry" said: "Of the seventy or so rules in the whole book, more than twenty of them quote their own poems, and many of them are given to them with celebrities to respect themselves." However, his poems are quite inadequate, such as 'Shoot flying why donate gold bombs, against the magpie vain use of luminous light.' Cut Yu Kun Wu Ning 㓨豕, 㫁蛟干越岂岂刲羊', deliberately stacking allusions, can be described as 'broken carving shovel' is particularly serious, and it is not commensurate with its argument. [24]”
Zhang Biaochen's way of showing off his own work is either direct or implicit, often through comparison with other people's poetry, and at the same time through the mouth of celebrities to praise themselves, and finally "try to poor daggers" to achieve the purpose of showing off. as:
Wang Linchuan Shiyun: "Counting the fallen flowers because of sitting for a long time, slowly searching for herbs is late." "What is the difference between this and Du Shi", see the light blowing of the bird, randomly counting the flowers and whiskers" Fate? Yu Shiyun: "The clouds move the birds and disappear, and the wind and butterflies fly over." What is the difference between this and the eastern slope of "flying in groups, white birds are lonely"? He who knows may speak, but not with the fool. [25]
Through the comparison between Wang Shi and Du Shi, And Ji Shi and Su Shi, Zhang Biaochen clearly places himself in the first-class crowd. Fearing that others do not know the beauty of their own poetry, they even say with great shame, "He who knows the way, but not with the fool." Self-esteem is high, and it is enough to cause ridicule. At the same time, there are not a few examples of flaunting oneself through the mouth of others, such as:
The guest has dedicated Li Weigong to the ancient wood, Yun: "There is a difference." "The public order is cut, and the lute groove is made, and its text naturally becomes a white dove." Yu Yu Yu Chao Ci Zhi Zhi: "The Gong "Gong Tou Duck Pipa Words" is sincere and wonderful, covering since the 'Xiao Feng Remnant Moon', there was a song of moving the ship out of the plug, but there was also a poem. Gong Yue: "What is the cloud?" "The white pigeon sneaked into the purple slot, and Zhu Luan flew to Qingxiao." The riverside plugs the love limit, and the Yingfu neon song is re-tuned. Man Dao LingFei Fei Yao Ser, False Immortal Yun Xuan. Xiao Pi broke the spring wind hate, as if the moon was high this evening. "Poetry is not evil either." ”[26]
As a junior, Zhang Biaochen attaches great importance to the evaluation of him by everyone in the circle of words such as Chao Ciyi. Judging from this record, after the author touted the chaotic words, he showed off his poems with stitches and needles. Chao Ciyi only said one sentence, "Poetry is not evil", obviously there was not much excitement, and Zhang Biaochen seemed to use it as a capital to show off and officially recorded it into the poem.
There are also many self-recorded poems in the "Coral Hook Poetry", without comment. For example, "Wuhou Chuang Eight Arrays and Wooden Cow Flowing Horse Method", "Yu Yu Ri once composed thirty poems of wine utensils", in today's buzzwords, it is "hard and broad". Fortunately, this was not a mainstream phenomenon in the development stage of poetry.
The Huanxi Poetry (written by Wu Xun), which is slightly later than the "Coral Hook Poetry", even continued this style of showing off, quoting his own poems throughout, becoming another "strange thing" in the poetry world. Mr. Qian Zhongshu ridiculed him in the Selected Notes on Song Poems: "Wu Xun's "Poetry of Huanxi" at the turn of the Southern and Northern Song Dynasties is a peculiar work, because it mainly flaunts the author's own poetry. Maybe he had to praise himself, because the beauty of those poems was really invisible. [27] "This wonderful comment is a pleasant read.
Nandu poetry is the embryonic period of the self-"awakening" of the poetic body, and it has a greater development than the Northern Song Dynasty poetry in terms of compilation principles, style examples, and methods. In the late Xiaozong Dynasty, the concept of poetry was further established, and the compilation gradually became systematic, such as Ge Lifang's "Rhyme YangQiu" is an outstanding representative. Others, such as Huang Che's "Poetry of Qixi", Wu Ke's "Poetry of the Tibetan Sea", Zeng Jihu's "Poetry of BoatIng", Chen Yanxiao's "Poetry of Gengxi", Yang Wanli's "Poetry of Chengzhai", Wu Yu's "Poetry of Guanlin", etc., although their systematicness is not very obvious, they all have their own characteristics. In the same period, Zhang Jing's "Poetry of the Year Han Tang" is different from the above works, but the book is mainly based on expounding poetic theory, completely getting rid of the nature of the note body, which is a qualitative change in the compilation mechanism, and the poetry has since embarked on a path that is different from its predecessors and is becoming more and more mature.
exegesis:
[1] Xu Yan, "Yanzhou Poetry", He Wenhuan, "Poetry of Past Dynasties", Beijing: Zhonghua Bookstore, 2009, p. 378. Press: After the preface of "Baichuan Xuehai", there are fourteen characters of "Jianyan Pengshen June Early June Auspicious Day, Xiangyi Xu Yan Sequence", which can be certified in the second year of Jianyan in the Southern Song Dynasty.
[2] Xu Yan, "Yanzhou Poetry", Poetry of past dynasties, p. 379.
[3] Xu Yan' "Poetry of Yan zhou", Poetry of the Past Dynasties, p. 383.
[4] Xu Yan, "The Poetry of Yan zhou", Poetry of the Past Dynasties, p. 388.
[5] Zhou Zizhi, "Poetry of Zhupo", Poetry of past dynasties, p. 349.
[6] Press: Regarding Wang's theft of Li Shi, there were many Song people who defended Wang Wei, among which Ye Mengde's "Poetry of the Stone Forest" was the most representative. Qiwen Yun: "The Tang Dynasty remembered 'Flying Egret in the Paddy Field, Yellow Oriole in Xia Mu' for Li Jiayou's poem, which Wang Mojie stole, not also." The benefits of these two sentences are exactly the addition of the words 'indifference' and 'yin and yin', which are the initiation of Mahabharata for Kayu, in order to see their own wonders. For example, Li Guangbi will Guo Ziyijun, the first order, wonderful several times. Otherwise, as Jiayou said in this sentence, but Yong Jing'er, everyone can reach. The fifth volume of Hu Yinglin's "Shi Xue" is distinguished by the era, saying that Wang Wei is a Sheng Tang and Jiayou is a Middle Tang, and its inheritance relationship is self-evident.
[7] Ibid.
[8] Zhou Zizhi, "Zhupo Poetry", Poetry of past dynasties, p. 346.
[9] Xu Yan, "Yanzhou Poetry", Poetry of past dynasties, p. 396.
[10] Xu Yan, "Yanzhou Poetry", Poetry of the Past Dynasties, p. 395.
[11] Xu Yan, "The Poetry of Yan Zhou", Poetry of the Past Dynasties, p. 342. Press: This article is also found in Zeng Jihu's "Poetry of Boats", the so-called person who made the tail is his uncle Zeng Hong (zi Bo Rong).
[12] Xu Yan, "The Poetry of Yan Zhou", Poetry of the Past Dynasties, p. 397.
[13] Lü Benzhong, Ziwei Poetry, Poetry of Past Dynasties, p. 372.
[14] Xu Yan, "The Poetry of Yan Zhou", Poetry of the Past Dynasties, pp. 391-392.
[15] Zhou Zizhi, "Poetry of Zhupo", Poetry of past dynasties, p. 346.
[16] Press: Ziwei Poetry Yun: "At the end of Xuanhe, Lin ZiRenmin sent Xia Jun's father Ni Shiyun: 'Taste his years and receive the rest, Rao Sanluo entrusted me with a pedantic. The creek bridge changed the willow before the wind several times, and the monk wall now left a drunken book. Forget the next four sentences. Rao San, Defu also. Lü Benzhong did not comment on this poem, but simply recorded it. Among them, the sentence "forget the next four sentences" seems to be used as a counter-evidence, indicating that his recorded poems are mainly for the purpose of saving money.
[17] Lü Benzhong, Ziwei Poetry, Poetry of past dynasties, p. 366.
[18] Lü Benzhong, Ziwei Poetry, Poetry of past dynasties, p. 362.
[19] According to the "Chao Wu Ji Zi", "he and the rivers and lakes will never forget", as "the rivers and lakes and the world will never forget", ziwei poetry quoted incorrectly.
[20] Xu Yan, "The Poetry of Yan Zhou", Poetry of the Past Dynasties, p. 399.
[21] Zhang Biaochen, Coral Hook Poetry, Poetry of past dynasties, p. 455.
[22] Xu Yan, "The Poetry of Yan Zhou", Poetry of the Past Dynasties, pp. 388-389.
[23] Zhou Zizhi, "The Poetry of Zhupo", Poetry of past dynasties, p. 343.
[24] Liu Dezhong and Zhang Yinpeng, Introduction to Poetry, Hefei: Anhui Education Press, p. 64.
[25] Zhang Biaochen, Coral Hook Poetry, Poetry of past dynasties, p. 464.
[26] Zhang Biaochen, Coral Hook Poetry, Poetry of the Past Dynasties, p. 473.
[27] Qian Zhongshu, Selected Notes on Song Poems, Beijing: People's Literature Publishing House, 1979, p. 164.