Author: Xiong Liangzhi (Professor, Sichuan Normal University)
"Qu Ping's resignation gives the sun and moon hanging" - Li Bai's praise actually comes from the evaluation of Qu Yuan by Liu An, the king of Huainan in the early Han Dynasty. This was the second year of Emperor Wu of Han's reign, and Liu An was commanded to compose the "Tale of Departure from Sorrow", saying that the "Zhi" described in the "Departure from Sorrow" was "although it can compete with the sun and the moon for glory". The first historical record of the appearance of "Chu Ci" is also because of the appreciation of Emperor Wu of Han: "Zhuang Shu made people buy ministers, and buy ministers with "Chu Ci" and helped them, and served as Taizhong Doctor." This record in the "Records of History" is not as clear as the "Biography of Zhu Maichen" in the "Book of Han": "Hui Yizi Yan helped Guixing, and recommended to buy chen." Summoned, said "Spring and Autumn", said "Chu Ci", the emperor even said it. Bai Maichen is the middle doctor, and he serves with YanSuke. Zhu Maichen said "Spring and Autumn" and "Chu Ci", and Emperor Wu of Han worshiped him as a middle doctor. It was the admiration of the emperors of the Han Dynasty that opened the historical process of the classicization of Chu Ci, and the completion of Chu Ci is one of its most important historical symbols.
The words of the Chu people in Huainan
Like the early texts in history, Chu Ci also had a stage of oral circulation of a single article before it was written, see the "Huaisha" one, and the "Historical Record" contains more than 40 different texts from the "Chu Ci Chapters and Sentences". The American scholar Yuwen Soan put forward his thoughts on the way it was circulated and generated: "Is there any evidence to prove to us that Huaisha was originally created 'in writing'? One possibility is that "Waisha" was originally only written orally, circulated orally. ("The Stone Records of His Mountain--Yuwen Soan's Self-Selected Collection") Therefore, Wang Yi said that Qu Yuan's composition was "twenty-five articles, the Chu people exalted their righteousness, Wei Qi's literary style, and passed it on to XiangJiao" (Wang Yi's "Chu Ci Chapters and Sentences"). This was empirically demonstrated in the Hanjian of Fuyang, Anhui Province, unearthed in 1977. At the end of the Warring States period, King Chu Kaolie moved his capital to Juyang (Chronicle of the Six Kingdoms), near present-day Taihe County, Fuyang. The tomb of Fuyang Hanjian No. 1 was xiahou Zao, the second marquis of Ruyin in the Western Han Dynasty, who died in the second year of Emperor Wen of Han (165 BC). Fujian unearthed two fragments of Chu Ci sentences: "Yin Wu to descend", which are the four characters in the "Leaving sorrows" "Only Geng Yin Wu to Descend", and one is "do not enter the water and return to the water", which is the six characters in the "Wading River" "The ship tolerates and does not enter the water, and the water is drowned and condensed" (Fuyang Hanjian Collation Group "Fuyang Hanjian "Chu Ci"" and "Chinese Rhyme Literature Journal", the first issue). Because of the migration of King Kaolie, the poems of Qu Yuan, which the Chu people taught and passed on, naturally followed suit, and the Chu Ci Zhujian hidden in the tomb of the Marquis of Ruyin can prove that it is a work handed down from the Warring States period. The character "兮" in the present edition of the Chu Ci (Chu Ci) in the present edition of "Huaisha" (淮沙), "Ship Rong and Not Entering xi", is written as "旑" in Fujian and is the same word as the Chujian "兮" (旖) character unearthed today, which should be a good proof.
The earliest book of the Chu Ci, the Book of Han and The Geographical Chronicle, is very clear: "Qu Yuan, the sage of Xi Chu, was exiled and exiled to mourn himself, and later Song Yu and Tang Le's subordinates Mu And said that they were all famous... The king of Huainan, An Yidu Shouchun, invited guests to write books, while Wu Youyan and Zhu Maichen Guixian of the Han Dynasty, with concurrent literary remarks, were passed down from generation to generation. "Shouchun is also the place where King Chu Kaolie moved the capital in the twenty-second year, and there will certainly be Qu Yuan's poetry circulating." Now that fuyang Hanjian 'Chu Ci' was obtained, Liu Anzhao wrote a book, "The Hereditary Transmission of Chu Ci", which confirms Mr. Zhang Taiyan's statement: "The "Chu Ci" is not one, but the King of Huainan is "Leaving the Troubles", and it is known that the fixed version is from Huainan." It was because of emperor Wu of Han's edict that Liu An had the action of collecting, sorting out, and compiling Chu Ci. From the present edition of Huainanzi, we can see that among the 14 articles such as "False Titles", there are poems that are the same or similar to more than 10 poems such as "Leaving Sorrows", "Heavenly Questions", "Nine Chapters", "Recruiting Hermits", etc., which can also prove to a certain extent that Liu An "invited guests to write a book" "Chu Ci". According to Mr. Tang Bingzheng's study of "The Exploration of Chu Ci Chengshu", the "Interpretations" contained in the catalogue of Hong Xingzu's "Supplementary Notes on Chu Ci" in the Song Dynasty retained the order of the old editions of "Chu Ci", and the "Chu Ci" compiled by Liu An, including the first to tenth articles of the "Interpretations", were all Chu ren's words, composed of works by Qu Yuan and Song Yu. Among them, the ninth "Recruiting Hermits" is written by Xiaoshan in Huainan, but Xiao Tong's "Selected Writings of Zhaoming" is titled Liu An. If so, it is an old example of an ancient book, and the author's own work is attached at the end of the book. The article "Summoning the Soul", without knowing the author, is an appendix, which has also become a compilation style of Liu Xiang and Wang Yi's "Chu Ci" later.
The acceptance and generation of the poetic paradigm of the riot genre
Liu Xiang's compilation of the Chu Ci is found in Wang Yi's Chu Ci Zhang sentences: "Captured to Liu Xiang, the canonical school scriptures, divided into sixteen volumes." It not only includes all the works of Liu An's collection of "Chu Ci", but also adds the Han Dynasty writer Yan Jie "Lamenting the Fate of the Time", Wang Bao's "Nine Huai", Dongfang Shuo's "Seven Sayings", Liu Xiang's own "Nine Sighs", in addition, the author of "Xi Oath" and "Great Moves", Wang Yixu has a different theory, and the "Interpretation" is listed in the fourteenth and fifteenth, which belongs to the appendix. This made the connotation and extension of "Chu Ci" change, no longer just the words of Chu people, but a collection of poems written in the style of Chu Ci. The riot works created by Han Dynasty writers all have Qu Yuan as the central character, using a first-person narrative perspective and a "rewriting" way of speaking. We look at or title Jia Yizhi's "Oath of Regret": "Cherish the old age and decline", Jia Yi was only thirty when he died, why should he say that he is "old"? Strictly avoid "Mourning the Fate": "The Spirit Emperor does not know the peace", "Who knows the rest of the calm"? Dongfang Shuo's "Seven Sayings" "Go to Yuanxiang Zhizhi" "Huaisha Gravel to Sink Yourself", Liu Xiang "Nine Sighs": "Yun Yu Zhaozu in Gaoyang Xi", "Nine years do not rebel". All this can be seen that qu yuan is written, not the life experience of the Han Dynasty writers themselves. Their poems not only use the first person, but some also use Qu Yuan's verses or similar verses. Song Yu's "Nine Discernments" "Go to the hometown and leave home to be a distant guest", "May I see the afterglow of the Road". Zhang Yunxuan, a Qing dynasty, said that "in the passage, the words of qu are song, and the language is qu" (Xuanxue Jiaoyan). This first-person endorsement is the expression of Qu Yuan's poetry. If it is said that the "Departure from the Troubles" and the "Nine Chapters" first-person narrate Qu Yuan's life and deeds, but the "Nine Songs": "Ying Wu Dao Xi Dong Ting", "Junsi I Can't Be Idle", "Ling Yu Jin Xi Yu Xing", "Tianwen": "Wu Guang fights for the country, Long Yu is victorious", "I accuse Ao to not last long", all of which are not poets (see Humble Text" "Oral Tradition and Literati Creation - Centered on the Poetry Generation of Chu Ci", "Chinese Social Sciences"). Therefore, yan jie and other Han Dynasty writers' works are included in the "Chu Ci", because they read the works of Qu Yuan and Song Yu, shared the same feelings, and accepted the way of writing that recognized the poetry of the riot style. In the first "Chu Ci" paradigm in the history constructed by Wang Yi, their creations were included: Qu Yuan's poem "Satire on King Huai", Song Yu's "Min Xi Qishi" and "Composing the Nine Discernments to Describe His Zhi", "As for Han Xing, Liu Xiang and Wang Zhi's disciples, Xian Lamented His Writing, and wrote lyrics accordingly, so it was called 'Chu Ci'. Knowing this, we understand the reason why the Tang Dynasty Pi Rixiu's "Nine Ironies" does not understand the reason why Wang Yi did not record Yang Xiong's "Guangsao" and Liang Chen's "Mourning", because they do not belong to Qu Yuan's central character and use the first-person narrative of the endorsement method. Later, the Song people could not rewrite Chu Ci, also because they tried to incorporate many works that did not conform to the style of the riot. Therefore, from the writing style, we can better understand the significance of Wang Guowei's "Chu Zhisao" as "literature of a generation", and the "Outline of the Four Libraries" says from the academic nature of the book classification: "He sets not with Chu Ci, and Chu Ci does not set classes with him." The body is different, and the reason has to be divided. ”
In fact, why didn't the han Dynasty writers' riot works write their own encounters and life feelings? Their "Xian Sorrow and Qiwen" is that in Qu Yuan's works, they strongly feel the value connection of real life in it, and the Hancheng Emperor's edict Liu Xiang to "pass on the scriptures, the sons, and the poetry endowment" only created historical conditions for the generation of the sixteen-volume Chu Ci.
Chu Ci poetry and the study of Chu Ci
On the basis of Liu Xiang's Chu Ci, Wang Yi compiled the sixteen volumes of the Chu Ci Chapters and Sentences, although only a group of works of Wang Yi's "Nine Thoughts" was added, but it represented the final construction of a text of the Chu Ci classics, a total of seventeen volumes. In the past, the relevant works focused on explaining one piece of "Leaving sorrow", and the rest of the "fifteen volumes are que and not saying", while the "Chu Ci Chapters and Sentences" prefaces all the works of "Chu Ci" in parts, explains and explains sentence by sentence, examines the author and his creative background, and clarifies the main idea. Among them, "or Yue" and "Yun" retained more than 40 old notes of the predecessors, and tell us that they may be from Chu Ci's works of "Passing on the Teachings of Xiang", "Shi Guanludi", and "Listed in the Genealogy" Diversified Communication Channels.
Therefore, the classicization of Chu Ci is shown in the generation of texts such as "Chu Ci Chapters and Sentences". It contains all the information of Chu Ci works and authors, and in the historical recognition and acceptance of the poetic paradigm of the Tsubasa style, it constitutes the classic text of Chu Ci and becomes the textual basis for all chu ci studies in later generations. In the comprehensive and systematic interpretation, interpretation, interpretation and commentary, the explanatory space and value potential of the works are excavated, the infinite topics and reflections of Qu Yuan and Chu Ci poetics are summoned, and the vast space of the Chu Ci family's learning is displayed (Zhang Xuecheng's "Wenshi Tongyi Anthology"). However, Wang Yizuo's "Chu Ci Zhang sentences" is the upper court, and the style of chapters and sentences adopts the thinking method of Han Dynasty classics. He admired Qu Yuan as a model of "loyalty and righteousness as high" and "fu jie as a sage", and the positioning of Qu Yuan's poetry was "to make fun of the "poems" and "to satirize the king". This is in line with the Tradition of Liu An's "Departure from the Troubles" of the Han Dynasty, and Liu Xiang's tradition of proofreading the Chu Ci. It can be seen that the classicization of Chu Ci was completed in the historical process of the political and cultural construction of the Han Dynasty, and the works have been systematically commented and interpreted, and the classicization of Chu Ci has the possibility of realization, because it represents the test and identity of history.
Guangming Daily (13/11/2021)
Source: Guangming Network - Guangming Daily