Notes of Ten Scholars and Collection of Parallel Prose are two collections of parallel prose compiled by Wang Xianqian, a famous gardener in the late Qing Dynasty. Taking these two collections as examples, this paper analyzes Wang Xianqian's attitude towards the controversy of parallel prose and his theory of parallel prose, which is helpful for us to fully understand Wang Xianqian's academic thought.
Keywords: Wang Xianqian; Parallel prose; Selected copy; An article or work
Wang Xianqian was a famous landscape scholar in the late Qing Dynasty. He wrote a lot in his life, which can be described as outstanding achievements. Wang Xianqian also attached great importance to the compilation of selected books, and his Compilation of Continuing Ancient Chinese Vocabulary included China ancient writers and works after Yao Nai's Compilation of Ancient Chinese Vocabulary, which had a wide influence. Ten Liu Si Wen Chao and Parallel Prose Collection are two collections of parallel prose compiled by him. These two anthologies of parallel prose embody Wang Xianqian's theory of parallel prose and Wang Xianqian's academic thought.
Attitude towards the dispute between parallel and scattered.
In the Qing Dynasty, Sinology began to prevail in the early Qing Dynasty, so there was a dispute between Han and Song Dynasties, and the dispute between parallel prose and prose in article study also came into being. Tongcheng School adheres to the ancient righteousness and laws of China, advocates prose, and rejects parallel prose; Ruan Yuan School, which strictly distinguishes between writing and not writing, worships parallel prose and refuses to disperse; Li Zhaoluo and others advocated supporting "artificial design" to expand the new realm of China ancient writing. Wang Xianqian lived in the late Qing Dynasty and was a famous sinologist. He compiled a compilation of Tongcheng? Easy to send? In order to continue the compilation of ancient literary words, he also edited the Fourteen Classics and the Collection of Parallel Prose. So, what does he think of the debate on parallel prose?
Wang Xianqian's attitude towards the dispute between parallel prose and prose is consistent with his attitude towards the dispute between Han and Song Dynasties.
Textual research and righteousness attacked each other during the Ganjia period and spared no effort. As a sinologist in the late Qing Dynasty, Wang Xianqian showed an understanding and tolerant attitude towards the dispute between Han and Song Dynasties. In Yan Fu Ji Rong Shu, what does he think of the Han and Song schools? Respect for teachers all say that it is light, while ignorance slows down the flow of money, so there is the purpose of studying Han and Song Dynasties. ? He did not advocate using the names of sinologists and Song scholars, but advocated using the theory of righteousness and textual research, which caused the difference between sinology and Song studies only because they were two different means of Confucian classics. From this perspective, Sinology and Song Studies have their own strengths, and it is naturally wrong to criticize each other. In addition, Wang Xianqian's criticism of the disadvantages of Neo-Confucianism and textual research is undoubtedly understandable and accommodating compared with the incompatible attitude of Han and Song scholars in the Ganjia period.
Wang Xianqian showed the same understanding and tolerant attitude towards the dispute of Pian San. He said? Wen Ming Dow, why different parallel prose. ? (Yan Fu Ji Rong Shu) regards Ming Dow as the purpose of controlling parallel prose, instead of focusing on the stylistic dispute of parallel prose, which is actually his affirmation of the status of parallel prose. Moreover, he also pointed out fairly that it is improper to handle parallel prose badly, saying: those who learn beauty are extravagant, and those who are talented are happy to gallop. Often the words are rich but barren, the feelings are exhausted and the words are floating, the strange sound screams, the ears are dazzling, and the traces are not repaired, and the wind will be bleak. So the two bodies are scattered and syncope is out of balance. ? His compilation of Selected Ancient Prose and Selected Parallel Prose shows that he is not limited to the stylistic differences of parallel prose. This is the same as his attitude towards the dispute between Han and Song Dynasties, and it is the embodiment of his understanding and accommodating academic thoughts.
Wang Xianqian thought that parallel prose should go hand in hand, but at the same time he advocated strictly distinguishing the two styles. In his Preface to Parallel Prose, he said that he had read Liu Zongyuan's Yongzhou New Pavilion when he was young. What does he know? Are you wild and far away? Such a couple sentence? Deep doubt? This shows that he does not agree with the practice of loose strips. For Yao Nai's "Ancient Thorns"? Class Ci? What poems are included in Mei Zengliang's Introduction to Ancient Chinese Vocabulary? What do Wang Xianqian think? The intention is deep, and what is the law? ; What do you think of Li Zhaoluo's Pian Wen Chao, which included prose in the pre-Qin and Han Dynasties? The limit is not sincere? All these show that he advocates the strict distinction between parallelism and dispersion. What does this have to do with Li Zhaoluo's proposition? Rongtong San? Article study's point of view is obviously different. Was he impressed by the parallel prose writing when he compiled the Selected Parallel Proses? Signs and seals will be loud? ("14-character banknote"), so? Analyze the origin, deduce the purpose of Gu Bin's original works, and trace back to the source? (preface to parallel prose) obviously, its purpose is to establish the writing criteria of parallel prose by selecting books, so as to promote the development of parallel prose.
Stylistic theory
In Preface to Parallel Prose, Wang Xianqian commented on every style, calling it? Stylistics? ; What is his summary of the experience of parallel prose creation? Creative theory? . Let's look at Wang Xianqian's stylistic theory first.
Wang Xianqian's stylistic theory inherited the stylistic theory of Liu Xie's Wen Xin Diao Long, and attached importance to the historical evolution of stylistics. For the same style, he has a more detailed distinction, such as? Board game class? It is subdivided into nine categories, which summarizes the different types of platforms from Qin to Qing. As he explained? Imperial edict? It is said that the book given by the Western Han Dynasty is called an imperial edict, which is both an imperial edict and an imperial edict. Wu Ce's third son, a friend of the Lord, applied for the discipline, which was also embarrassing. Liu:? Those who quit for the sake of writing are really serious? , troublesome is easy. The master of the Han Dynasty ordered the Prince, who knew it was not just for the State Council. Almost to the Six Dynasties, the world was different from feudalism. Nine Tin of Zen is based on parody. In the Tang and Song Dynasties, he wrote letters, either to one person or to counties. The imperial edict spread all over the world and was made into a gift. It's bigger. ? Being good at textual research is a remarkable feature of Wang Xianqian's scholarship. Here, he pointed out the actual situation of using style in Han Dynasty through investigation? Hey? With what? System? 、? A ring? With what? Hey? In practical application, it is not completely separated, but there is a common situation. For the Tang and Song Dynasties? Hey? 、? Hey? 、? System? He also made a concrete explanation of the object and purpose of use, which can make people have a deeper understanding of the origin and evolution of similar styles.
The style of Wen Xin Diao Long ended in the Eastern Jin Dynasty. According to the actual situation of later writing, Wang Xianqian made some amendments to Liu Xie's style theory, such as the theory of the other. Missing class? Say: bullying and mourning, face and discrimination. Its theory also says:? Eulogize, glory begins and sorrow ends. ? On mourning, he also said: The mourning with words can cover up the mourning without tears, so those without yellow hair are shocked. ? I call it a mourning work. Entrust your virtue to fatigue, and don't be too arrogant to your elders; Say a sad word. Plus humbleness and security. ?
Liu Xie made a strict distinction between the applicable objects of funeral and mourning poems, while Wang Xianqian pointed out that both funeral and mourning poems are works mourning the dead, and there is no strict distinction. Wang Xianqian's analysis of origin, classification of genres and comments on later styles can make up for what Wen Xin Diao Long has not prepared.
Wang Xianqian attached great importance to summarizing the stylistic features and usage of contemporary Qing Dynasty. In view of the use of table playing in Qing dynasty, he said: In this dynasty, it was true for China. Anyone who entered the imperial court was called to play. On major policies, we still use discussion. Submit a book to congratulate Jay. It's all on the table. Gong Kao, Han Kao, the topic is sparse, the point of view is humanistic, and the ancient style has just been tested. ? Regarding the use of the Qing campaign, he said: The country rebelled, but it was under the cloud. It's a little conquest, and then with the transfer of death, everything is the same. ? Heteronomy? Record? Say: the country benefits from the flow of friends, but the records of tour sets are always different from the orders. Generally, the person who records is the purpose of registration, and the person who recites is called in sequence. Although this flow is very small, it is not miscellaneous. ? Pointing out the difference between memorization and order from nuances is helpful for people to understand the use of these two styles in Qing Dynasty. As a famous scholar in the late Qing Dynasty, Wang Xianqian's exposition of contemporary styles in the Qing Dynasty has certain reference value from the perspective of stylistic research.
Creative theory
In Preface to Parallel Prose, Wang Xianqian elaborated on article creation in detail.
First of all, Wang Xianqian discusses the motivation of literary creation:? As for the feeling of boredom, I spread out my paper and wrote down my imagination. My screen is full of inspiration. Fan Changfeng is endless again, so he goes back to his love nest. Watching the morning star disappear, you will feel sad for your bosom friend. There are also friends who are good at returning and love each other. Sighing that the deceased is like this, remembering the past is happy and easy to fall. Zhao Xiang painted things, endowed new poems, and even volatilized words and chapters to declare his feelings. Within a volume, history is like new; A hundred years later, if you meet in ancient times. No false truth, self-realization, creating spirit from the eyes and ears, driving away the smoke and ink cage universe. Literature is the Tao, and the most prosperous one is with it. ? It is believed that natural scenery and social life are the driving forces to induce the author's creation. The author touches the scene and feels because of things, and expresses his personal emotions and feelings by writing articles. It can be seen that Wang Xianqian highlighted the expression of personal true feelings in his article, but he didn't emphasize it? Wen Yi Ming Dow? Or by? Justice? Taking purpose as the value orientation, it doesn't emphasize the article to safeguard the social function of the people in the world, which is different from Yuan Hongdao and others in the Ming Dynasty. Theory of mind? Pretty close. In the eighth year of Guangxu (1882), Wang Xianqian compiled A Dictionary of Continuing Ancient Chinese Words, which respected Yao Nai and adopted Tongcheng School as the ancient Chinese school. Easy to send? From the purpose, it shows his recognition of the orthodox literary theory represented by Tongcheng School. Twenty years later, in the preface of parallel prose, the expression of the article was emphasized. Sexual spirit? The role of. On the eve of the late Qing dynasty, social unrest, the spread of western learning to the east, political thought and academic culture have undergone tremendous changes. Being in it, Wang Xianqian will naturally be moved. Express the spirit? As the highest realm of the article, we can get a glimpse of the other side of Wang Xianqian's literary thought.
Secondly, Wang Xianqian discussed the imitation and learning of parallel prose writing to the previous generation's works. In his view, since ancient times, article writing has developed and changed in the process of inheritance. Ancient and modern literary words, handed down from generation to generation, with heavy weight and the same essence? . Wang Xianqian summed up how to learn previous articles from five aspects: topic, genre, sentence pattern, language and conception. With concrete examples, it shows that article writing is developed in the process of learning, imitating and drawing lessons from previous articles. On the imitation and reference of predecessors' articles, Wang Xianqian put forward his own requirements, saying? Sentences can be made in cases, but they can be copied occasionally, and there is no sign of stagnation. The use of language is because of the arrival of interest, which is purely a secret. It means use, and it's not bad. The old and the new are new, and the rules are clever. ? He opposes mechanical imitation, thinks that it is natural and appropriate to imitate and borrow the sentences of predecessors, and advocates giving full play to his subjective creativity and seeking innovation and change on the basis of the ancients.
Third, discuss parallel prose writing. Use allusion to things? problem It is one of the important characteristics of parallel prose to use scripture to accomplish things, also known as official affairs. In Wen Xin Diao Long, Liu Xie specially set up Shi Lei's and Li's ci poems, and discussed in detail how to use Shi Dian. Wang Xianqian also attaches great importance to the use of allusions, he said. As for the official party, I also said it. Wives are different from generation to generation, so the words are changing and new. Take, for example, the hunting books of Confucian scholars. Or when the world is separated, they become lovers; Don't say anything, just use it clearly. For example, if gold is in the furnace and the ship floats, the work of turning it into something depends directly on creation; The beauty of hedge is better than the beauty of spirit. ? Proper and natural use of allusions can achieve the effect of saying less and doing more. However, it is more difficult to use allusion in parallel prose, which requires the author to read widely and be familiar with classics. The concrete examples in Wang Xianqian's predecessors' article writing summarize the mistakes or inappropriateness that often appear in allusions. Like what? Improper use of words? 、? Don't comment on the article? 、? Got canon wrong? 、? How about making it up? 、? Feel free to attach? 、? Increase the number of papers? And so on, these are the situations that the author often appears in the process of using allusions. In view of these situations, he said: Therefore, we should quote the old editor's words, collect evidence and allow association. If you combine these two kinds of beauty, the viewer will jump with joy; If you don't plan to be on it, readers will be afraid to lie down. ? Wang Xianqian believes that the use of allusions must be accurate and meet the needs of the article, and proper use will make the article vivid; Improper use will hinder readers' reading effect.
Finally, Wang Xianqian put forward the idea of parallel prose creation? Both words and anger? Requirements. What did he say? Words? , refers to the wording and language of the article; ? Gas? , refers to the internal momentum and charm of the article. ? Both words and anger? This is Wang Xianqian's general requirement for parallel prose creation, and it is also his standard to measure the quality of parallel prose works. He thinks that during the Han and Wei Dynasties? Its words are ancient, but its spirit is muddy? At this time, the article is the best; Since the Six Dynasties, though? With money? But the article has a complicated disease; Below Song and Yuan Dynasties? Is this word barren and clear? , the article is not desirable. He commented on contemporary parallel prose creation in Qing Dynasty. Zhao Chao wrote the right article, expecting morality and martial arts. The finer the rice, the fresher the wind. Quote the meaning in ancient Chinese and wash away the vulgar tune of "Nuoyou". Wonderful choice of words, compromise according to fiber; Qi-flowing, cardinal-lifting and internal rotation. Therefore, it can adapt to the foreign environment, and it is fresh and not bad. If you get married, you can be desperate. ? Fully affirmed the creation of parallel prose in Qing Dynasty. It is believed that parallel prose should learn the ancient meaning. It is the aesthetic ideal of Wang Xianqian's parallel prose creation to get rid of his elegant and vulgar habits, so as to achieve beauty and charm. ? Both words and anger? Theory is a theoretical proposition put forward by Wang Xianqian on the basis of inheriting the traditional literary theory. As for the creation of parallel prose, it is necessary to learn ancient prose, which reflects his attitude of not paying attention to the dispute of parallel prose style and his understanding and accommodation of academic thoughts.
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After the middle of Qing Dynasty, parallel prose showed a revival trend. Through the efforts of many writers and theorists, parallel prose was more widely accepted in the late Qing Dynasty. Under this background, Wang Xianqian compiled Ten Forty-six Banknotes and A Collection of Parallel Prose, which showed the achievements of parallel prose creation in the late Qing Dynasty and previous dynasties, reflected his attitude towards the controversy of parallel prose and his theory of parallel prose, and made contributions to the preservation of parallel prose documents and the development of parallel prose creation.