For the study of Qian Chengzhi's poems, the historical materials I have read are the most detailed in the book "The Sorrow of YiDai - Qian Chengzhi and His Poems" written by Mr. Zhang Hui, and from the collation of the book, I know that the author's research on this book lasted for four years, and it was "an unfinished manuscript left by zhang Hui, a young scholar who died early". And most of my small articles quote the views from the book, so in the following quotations, all those who do not indicate the source are from the book.
For Qian Chengzhi's position in the history of poetry, Zhang Hui first studied Qian Qianyi's "Wu Ji Ji", after statistics, the book contains 245 poems, the author counts 20 people, of which the most received poems is Xu You, a total of 107 poems, in the second place is Qian Chengzhi, including 74 poems. Although Qian Chengzhi ranked second in terms of quantity, it seems that Qian Qianyi attached more importance to Chengzhi, and he said in a letter from "With Shi Weichang": "'My Hot Collection' is like my family's young light, it is really rare. ...... Therefore the light is the only light of the collector.... Although this is a whisper, it is actually a thousand autumns to evaluate. Those who hear about it today may not be happy to discuss it. That is to say, this proves how important Qian Chengzhi has in the eyes of the great poet Qian Qianyi.
Lead the way and the tattered pavement
Why does Qian Qianyi value Qian Chengzhi so much, or what point does he value Chengzhi? On this issue, it can be proved by the fourteenth poem of the "Twenty-five Works of Jinling Miscellaneous Sentences and Twenty-five Works Left behind by Yi Weichun" written by Qian Qianyi: "The Guihai sea in Minshan is full of frost, and the poetry is sour and xin Qian youguang." Shu Shu made up a strange light, and the ghosts came to the mountain at night to guard the sac. Qian Qianyi regarded Qian Chengzhi's poems as the poetic history of the Southern Ming Dynasty, because the first sentence of the poem, "Minshan Guihai", referred to Qian Chengzhi's tenure in the Longwu Dynasty (Fujian) and Yongli Dynasty (Guangdong), and Qian Chengzhi wrote these special experiences in his own poems, which is where Qian Qianyi valued Qian Chengzhi's poetry.
In 1644, the Chongzhen Emperor hanged himself in Coal Mountain, and the Southern Ming regime was established. Qian Chengzhi was a member of the Fu Society, and Ruan Dacheng controlled the government of the Hongguang Dynasty and retaliated against the members of the Fu Society, so Qian Chengzhi also hid, and a year later, the Hongguang Dynasty collapsed, Qian Chengzhi joined the army in Zhejiang, and after the defeat, he went to Fujian to defect to the Longwu Dynasty. At that time, Huang Daozhou served as an official Shangshu and a university scholar in the Longwu Dynasty, and Huang was Qian Chengzhi's teacher, so he elected Qian Chengzhi to serve as the governor of Zhangzhou Prefecture in the Longwu Dynasty. When Emperor Longwu was alive, he once held a township examination, but Qian Chengzhi was already a court official, so he could not take the examination.
The leader said that the tutai in front of him was Qian Cheng's tomb
The Longwu Dynasty existed for only two years, and then it was destroyed by the Qing army, which disappointed Qian Chengzhi, so he became a monk at Shouchang Temple. However, shortly after his renunciation, he was surprised to hear that the Yongli Emperor had ascended the throne in Guangzhou again, so he immediately went to Guangzhou to serve as king. Here, Qian Chengzhi participated in the scientific expedition personally held by the Yongli Emperor, became a jinshi, and became a Shujishi of the Hanlin Academy, which made Qian Chengzhi unforgettable. He wrote twenty "Linxuan Songs" to depict the whole process of his participation in scientific expeditions.
In the seventh year of Qing Shunzhi, the Yongli Dynasty defeated Guilin, Qian Chengzhi had no support, so he returned to his hometown, and on the way back to his hometown, he wrote "Four Chapters of Imitation Yuanming's Return to Birds", one of which was:
Birds of Prey, and Twilight.
There is no other tree, love this old branch.
The neck is night-time, and its vocal holes are sad.
Calling for the return, the clouds are sad.
The words "Suminoku" or "Field" could not be found on this stone
Why Qian Chengzhi would imitate Tao Yuanming's poems at this time, liu Weizhi discussed in detail in the article "Pseudo-Pottery Poems Under the "Loyalty and Indignation Theory" of Early Qing Dynasty Pottery", and the subtitle of the article is "Take Qian Chengzhi's "Drinking Poems of Yuanming" as an example". As for the reason why Qian Chengzhi likes Tao poetry, the article said: "The poems and related sentiments of tao are all at the same time as those poems with strong ideological meaning. It seems that Qian Chengzhi wanted to emulate Tao Yuanming and not bend his waist for five buckets of rice, but Tao's hanging away from his post did not catch up with the change of dynasty, nor did he resign because the imperial court did not exist, but only resigned and went into hiding because of his personal mentality. Qian Chengzhi is completely incomparable with Tao Yuanming's departure nature, so why does he like Tao Shi even more? In the preface to the poems written to him, Han Ling had such a sentence: "Drink less prestige, and sacrifice wine for all beings." The chaos of the Ming Dynasty, with the news of the times, its use is wonderful, not easy to peek at also. It is a poem that dilutes the depth of purity, out of nature, du wang, Meng and Tao Yi. (Preface to the Field Anthology). Han Shu said that Qian Chengzhi had a poetic name when he was a teenager, but later he was changed by Yi Dynasty and displaced everywhere, so his poetic style became diluted and natural, with the poetic style of Wang Wei, Meng Haoran and Tao Yuanming. It seems that this passage can only explain the characteristics of Qian Chengzhi's poetry, but still cannot explain why he likes to imitate pottery poems.
Regarding Qian Chengzhi's mentality, it seems that from the first of the twelve poems he wrote, "Drinking Poems of Xiao Yuanming", some clues can be glimpsed:
In the parasitic block, who is my fault.
For example, there is a temporary basis for the reverse travel.
Although he has been alive for a hundred years, he has given up after all.
If you are not in love, you will not live in love.
Therefore, daguan people, suddenly encountered.
Between life and death, it is not tired or admired.
Drinking a glass of wine a day can make it all fun.
Use the branches to sweep away the dust above
Qian Chengzhi believes that Tao Yuanming likes to drink because he looks down on the death and prosperity of the world. I think That Qian Chengzhi likes Tao Shi more than that he likes this aspect of Tao Yuanming, because this is exactly in line with Qian Chengzhi's unique mentality at the stage of the destruction of the country and the death of the family.
After leaving home for many years, he finally returned home, which made Qian Chengzhi's mood very excited, so he wrote a "Homecoming":
The hard work of the end of the world has been violated, and Jiangcun has returned to the old firewood.
Ten years of things to pay the immortal dream, thousands of miles of dust invaded the study of Buddhist clothes.
The door alley was changed to Song Gui, and the court steps recognized the brothers.
Meet Mo sue the vicissitudes of hate, Yu Sheng made the weihua crane return.
In this poem, he considers his hard work to be a dream of ten years of wandering immortals, and the fourth sentence of this poem states that when he returned to his hometown, he was still dressed as a monk, and he did not know what kind of mentality his brothers would have when they saw his dress. But being able to return to his hometown still makes Qian Chengzhi feel very difficult. He wrote eleven poems, one of which was:
Who in this life expects to have a repayment period, crying and looking at each other in the dream is suspicious.
Only three sons remain in the same birth, and one is held by two brothers.
Tears stained tourists' letters, and the walls were remembrant of his brother's poems.
It is not the end of the world that is lazy, and the lazy return is afraid of when he arrives home.
In this poem, Qian explicitly states that he did not expect to come back alive, so that when he actually got home, he still wondered if he was dreaming. At this stage of returning home, he also interacted with some poets, such as when he planned to visit Qian Qianyi in Changshu in the third year of the Kangxi Dynasty, but did not expect that Qian had died on May 24 of that year. After Qian Chengzhi heard this news, he went to Xin'an to spend the summer, and he did not expect to meet a deceased person more than ten years ago in Xin'an.
On this remnant stone you can see the engraving of the year
The deceased's name was Deng Kequan, and it turned out that Qian and Deng had fought against the Qing army in the Longwu Dynasty, and when the Qing army went south, Deng suggested that Qian leave Sha County and go to Datian to hide, and the two have been separated since then, and it has been sixteen years since then. However, this time of encounter, Qian Chengzhi became a monk, and Deng Kequan had become a new dynasty scholar in the twelfth year of Qing Shunzhi, such an identity, so that when the two people met, it should be somewhat embarrassing. However, Deng Kequan said that at this time, he was tired of being an official in the DPRK, and even proposed that he hoped to be able to go into hiding. Although the two were somewhat uncomfortable seeing each other, Deng Kequan told Qian Chengzhi some news about his departure from Fujian, and at the same time told Qian Chengzhi that there were still many friends in Fujian who missed him. Deng's statement immediately moved Qian's heart, so he had a trip to Fujian, and what he did not expect was that this tour actually took him three years.
When Qian Chengzhi was in Fujian, he actually fell ill in Jianning, and his compatriot Yao Wenxie was serving as an official in Jianning at the time, so he found a job for Qian Chengzhi and asked him to write the "Chronicle of Jianning Province" and earn some wages. But for some reason, after the book was written, it could not be published in the end, so Qian put the manuscript in Yao Wenxie's place and returned to his hometown in the winter of that year. After Qian Chengzhi returned to his hometown, his main energy was to write, a period of twenty-five years, during which he also went out many times, such as to Suzhou, Hangzhou, Wuchang and other places, and once to Beijing. The purpose of his trip was, according to Zhang Hui: "In addition to seeking food, Qian Chengzhi prefers to use the hands of officials to publish his own writings." ”
In the eleventh year of the Kangxi Dynasty, Qian Chengzhi came to Beijing at the age of 61 and lived in Gong Dingzi's home, where he lived for a year until Gong's death. During this period, he visited the White Pagoda Temple, and then gave a poem "The White Pagoda Temple of the Ugly Yuan Deng":
The old dressing table after the temple passed on the Liao, and came to accompany the visitors for a visit.
The ice in the South Garden is gradually spreading, and the snow in the West Mountain is full of green new piles.
Under the Red Building, I saw the end door near, and the Forbidden Purple Flat was opened in the Golden Temple.
Looking at the Forbidden City, it has not changed, and I am sad and sad.
Doors and windows are closed
For this poem, Zhang Hui felt: "It has been nearly thirty years since the change of Jiashen, but how can the old country be left behind and witness the towering palace? However, when Qian Chengzhi had just arrived in Beijing, his mood seemed to be extremely calm, and it was not until the First Day of the following year that his emotions suddenly exploded. It seems that Qian Chengzhi climbed the White Tower, and then he saw the red wall of the Forbidden City in the distance, so he recalled his experience of fighting hard in the Southern Ming Dynasty. Today, the White Pagoda Temple is still in The Fucheng Gate in Beijing, this place I have passed through countless times, because the rapid development of the city makes the White Pagoda look very small, it is impossible to see the Forbidden City through the heavy high-rise buildings, but since I read this poem, and when I pass the White Pagoda, I will imagine Qian Chengzhi standing on the tower overlooking the Forbidden City.
Regarding such a nostalgic poem, Qian Chengzhi also wrote a poem "Coal Mountain":
Xuanwu Gate opens a ring of water, and the king's resentment fills the coal mountain.
The court dispute may not be moved south, and the car is heard to block the return at night.
The vicissitudes of the sea have sunk long and dark, and the Qingtian Dragon has gone to climb whoever climbs.
Now the Imperial Garden is sadly covered with grass stains and old blood spots.
Qian's poem is written even more touchingly, because Coal Mountain is the Jingshan Mountain behind the Forbidden City. On March 18, 17th year of Chongzhen, the Chongzhen Emperor forced Zhou Hou to hang himself, and then led dozens of people to walk out of the Donghua Gate in disguise and prepare to rush out of the city of Beijing, but the Chongwen Gate, the Zhengyang Gate and other places could not go out, and the Chongzhen Emperor came to the Anding Gate again, but the Anding Gate could not be opened in any way, so he had to return to the palace again, and finally hanged himself on the coal mountain. Qian Chengzhi faced this sad place, his mood can be imagined, he sighed at the proposal of The Left Capital Yushi Li Banghua and others to move the capital south to Fengyang or Nanjing, but it was opposed by the cabinet and did not succeed. Qian Chengzhi felt that if the capital was moved in advance, there would be no subsequent tragedies, and there would be no demise of the Ming Dynasty.
But what is interesting is that Qian Chengzhi did not avoid writing the era name of the Qing Dynasty like other remnants, he had many of the Qing Dynasty era names in his articles, for this point, Zhang Hui made a careful analysis, and quoted a sentence in Qian Chengzhi's "Yao Zhanzi Xinglu YinYin" text: "Tao Yuanliang is called Gaoshi in the world, with the present view, Yuan Liang writes poems, uses the Jiazi chronicle, the world is not strange; drinking and singing with Chai Sang's sons, and dying of pleasure." With this as high, who does not want to be high now? Who can't be high also? Here, Qian Chengzhi is still aiming at Tao Yuanming, and he said that the reason why Tao Yuanming is regarded as a noble man by posterity is not only because he only uses the Jia Zi Chronicle, Qian Chengzhi said, if this can be called a noble man, it is too easy. If this is the case, then why did Qian Chengzhi still write the era name of the Qing Dynasty, Zhang Hui after some analysis, and then came to a conclusion: "The reason for this, if Qian Chengzhi uses the Qing Era number, the deceased is mostly a remnant who resists to the end or has nothing to do with the remnants; if Qian Chengzhi only writes the nails, the deceased must be the remnants of resolute resistance." Originally, whether Qian Chengzhi's article was signed with an era number was a law of memory, if he wrote an epitaph for others and only wrote a nail, it would mean that the deceased had been a remnant of the Qing army, otherwise, he used the Qing Dynasty era number, which meant that the deceased had nothing to do with the remnants.
Regarding Qian Chengzhi's position in the history of poetry, it seems that Qian Zhongshu has the highest evaluation of him, and Qian said in the "Tan Yi Lu": "Cheng Zhi talks about art is very exquisite, and his knowledge is above the same sect of the world." Qian Zhongshu believes that Qian Chengzhi's standard actually exceeds Qian Qianyi, this statement is difficult to get universal recognition, comparatively speaking, Jiang Yin said more objectively: "Qian Chengzhi's talk is very skilled, Qian Zhongshu thinks that above muzhai, people may not allow it." However, his "Preface to the Collection of Qingshan Texts", "Poetry Sayings To Wei Danshi", and "Chen Guanyi's Poetry Sayings" are all thorough, although they are clichéd topics, through their elaboration, they suddenly have a deep meaning. ("Jin Lingsheng's Small Talk")