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One of them). This proofreading of Lan Gaoming's Selected Works is the first proofreading and publishing since the beginning of Kangxi Yuan Dynasty. After the first edition of Summary of Ming Ci, there are two literal translation versions of Sibu and Mingci Magazine in this century, but they are not collated. This proofreading publication is not only revised, but also supplemented and edited in previous years, which is more perfect than the original block printing.
Some achievements have also been made in the textual research of poets and their life stories in Tang and Song Dynasties. Two monographs, Chronology of Zhang, Chronology of Poets in Song Dynasty and Textual Research on Wang Yining's Life (China Literature Research 1988. 1), have made detailed textual research on the life stories of six genealogists, which is unknown to predecessors. Professor Yang Haiming of Soochow University thinks that Chronicle of Poets in Song Dynasty is a rare masterpiece in recent years (China Bibliography Quarterly 1995.6). Papers such as Textual Research on the Birth and Death Years of Six Poems in Song Dynasty (the sixth research series on ancient books collation) and Textual Research on the Birth and Death Years of Jiangxi Poets Xie Yi and Xie Hanju (document 1993.4) have determined the birth and death years of famous poets such as Hongyan, Deng Su, Xie Yi and Han Ju, and also solved some unsolved or doubtful problems of predecessors.
I have also made some efforts in the textual research of Ci-Hua materials. In the process of consulting the materials needed to compile the five pronouns of the Whole Tang Poetry, I often see ancient and modern scholars quoting Yuefu Jiwen, but no one has ever indicated the source and basis of its version, which aroused my suspicion. Therefore, I wrote a long article "An Examination of Yuefu Moon Hee" (document1996.4-1997.1serial). By investigating the sources of more than 50 historical materials of Moon Hee Yuefu quoted in Qing Ci Hua, the nature and the writing date of this lost article were finally clarified.
After all, one's knowledge is limited, and it is impossible to read all the books in the world. Although I try to fully occupy the materials in the textual research, sometimes I can't help being impetuous and eager to write an article based on the viewpoint of insufficient materials. 1995 I published a short article "A Textual Research on Yang Jiong's Death Year Based on Jin Shilu" in the second issue of Literary Heritage, and made a new inference on Yang Jiong's death year according to a piece of historical data in Jin Shilu of Song and Zhao Mingcheng, but this is an isolated evidence. In the same year, Professor Tao Min of Xiangtan University published an article in Literary Heritage, pointing out that the isolated evidence of my paper could not be established, and revised my point of view according to new historical materials. On the one hand, I wrote to thank Professor Tao for his advice, on the other hand, I also reflected on myself and learned from it, in order to be more solid and rigorous in future academic research. Learning is the public instrument of the world, and normal academic arguments and different academic viewpoints contribute to the development and progress of learning. You can't treat yourself as contempt just because others criticize or discuss your own views. This is also the style of study and school spirit advocated and demanded by Mr. Gui Zhang, a former teacher.
In the study of literary history, textual research is a historical judgment, which mainly lies in seeking truth and eliminating falsehood; Theoretical criticism is value judgment and aesthetic judgment. As far as a person's talent is concerned, he can emphasize this and ignore that, or be longer than that. However, as far as the literary research system is concerned, both are indispensable. If we don't know the basic facts of literary development, we can't make theoretical criticism and analysis; If the study of literary history only stays at clarifying literary historical facts, but lacks theoretical criticism and value judgment, then the value and significance of literary history can not be discussed. I am engaged in the study of classical literature, trying to combine them organically, paying equal attention to textual research and criticism, combining traditional research methods with contemporary new criticism methods, and explaining and criticizing on the basis of "restoring" the real process of literary development history.
In terms of theoretical criticism, whether it is the study of individual poets or the observation of poets' groups, I focus on the evolution of ci history, or discuss the poets' ci works from the perspective of the evolution of ci style and ci context, trying to construct a new research framework of ci history. On the creative subject level, I pay more attention to the study of poets; On the ontological level of Ci, I put forward the idea of "paradigm criticism" (see my essay "Towards Norms and Science" in Classical Literature Knowledge 1994. 1), trying to change the way of grasping fuzzy sensibility in traditional literary criticism into a standardized, scientific and clear rational explanation. The study of poets in Southern Song Dynasty is the concrete practice of this kind of thinking. And this kind of effort and attempt has been recognized by the academic community. The Oriental Series 1993 published an article in No.3-4, commenting that the book "broke through the previous practice of dividing the poets of the Song Dynasty into historical stages according to dynasties and lineages, established the' generation group staging method', divided the poets of the Song Dynasty into six groups of pronouns, and accordingly divided the history of Ci poetry for more than 300 years into six stages. This interpretation is closer to the reality of the development of Song Ci, and truly grasps the blood and whole of Song Ci. At the same time, from the perspective of lyric paradigm, it summarizes three lyric paradigms in Tang and Song Ci: Huajian Paradigm, Dongpo Paradigm and Halal Paradigm. It is believed that the development of Tang and Song Ci is actually the process of the change and evolution of these three paradigms. " (Page 138) Liu Yangzhong, a researcher at the Institute of Literature, China Academy of Social Sciences, also believes that this "is undoubtedly of great significance for changing the customary practice of simply listing writers' works in the study of Ci history, and for breaking through the traditional pattern of rigidly covering the development history of Song Ci with the dichotomy of' bold and graceful' and establishing a new framework for the study of Ci history" (a successful attempt to construct a new framework for the study of Ci history).
As for the study of ci history, I try to put the ci works of poets in different periods on the same level and on the same chain to see what pioneering and originality each poet has, so as to clearly describe the development of ci history. Paradigm criticism is based on this idea. The aesthetic level and evolution of Tang and Song Ci (literary heritage 1994. 1) and the aesthetic characteristics and new changes of Jiaxuan Ci in the heroic ci circle (Journal of Hebei University 1993.4) are also based on the same purpose, but they just want to start from the three aesthetic connotations of Ci from a different perspective.
On the road of learning, I don't want my way of thinking to form a framework and fall into a pattern prematurely, but I try to explore new research methods, thus broadening my research horizons, changing my perspective, constantly discovering and solving new problems and putting forward new ideas. Recently, I tried to apply the quantitative analysis methods of bibliometrics, quantitative history and quantitative sociology to Ci research, and achieved initial results. The book "The Choice of History" (Literary Heritage 1995.4) co-authored by Dr. Liu Zunshi and me quantifies the historical position and influence of poets in the Song Dynasty for the first time, which has aroused the concern and interest of academic colleagues. At present, we continue to cooperate with Dr. Liu Zunming to conduct in-depth research on the history of ancient poetry in China by quantitative analysis.
I have been blogging for ten years. Although I have published three monographs, edited several books and published more than 80 papers in the past ten years, compared with my peers in the academic field, my achievements are still insignificant, and the future academic road is longer, so I need to keep forging ahead.
Looking back briefly on my way to study, I think of a passage that Song Lian said at the end of "Preface to seeing Ma Sheng off to Yang" in the early Ming Dynasty: "I said that I worked hard when I was young, and I can be described as a studious person! He was going home to visit his parents, and I told him about the difficulties in his studies. It is said that Yu Mian's fellow villagers are all scholars, and so is Yu. Those who laugh at me and brag about my wealth and prosperity and arrogance to the villagers know my ambition! " This passage is also of great concern to me. How can you compare yourself with the great writer Song Lian? Just because the "ambition" of writing this article has something in common with Teacher Song, I think of it!
Understanding its gains and losses, success or failure is beneficial to today's academic circles in China. It is even more essential for graduate students who are just getting started. Specifically, I think it has the following advantages.
First, learn to look at all kinds of "conclusions" in the past with suspicion. Borrow the question from Lu Xun's Diary of a Madman: "Never?" However, this kind of "doubt" and "challenge" should not be limited to small details, let alone forced, but must be a problem of "knowing the root and the bottom". Like all disciplines, the study of literary history has certain inertia, and according to the existing thinking, it can only stay in the constant revision of side issues. And those fundamental problems, or "real problems", are likely to be covered up by current academic news and essays. I have no objection to scholars writing prose, and I have been writing it myself. I mean, you can't study, you must face up to the difficult problems-because that is probably the key to success or failure, and you must work hard. Whether the "real question" can be found depends not only on historical opportunities and personal talents, but also on the perspective of academic history.
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Fourth, to reflect on "literary history", or to talk about "literary history" in academic history, is to face the future by touching history. Since we are facing the future, we should choose the good ones directly, follow the good ones and introduce the good ones directly. Why are you so wordy? It is really slower to gain experience and sense of direction through dialogue with the past than to "bring it" directly. Why would you rather make such a foolish effort? It is precisely because the academic circles in China have been eager for quick success and instant benefit for a hundred years. The popular idea is to go abroad and look for the "latest" theories and methods and apply them to our own research. On the surface, it has gone very fast, and it has long been "in line with international standards", but in fact it has been lagging behind others. It is not a good idea to "take advantage of it" forever, and "China experience" should not be just "raw materials" in research. It is not advocating ignoring foreign research results, but criticizing popular western theories for "grafting" local experience. To put it bluntly, this is laziness. The purpose is to "save as much as possible" in one step. Getting a sense of problem and direction by touching history can't provide any theories and methods that can be applied flexibly. It can only be said that it is long-term, and it cannot be upgraded immediately. It belongs to "nourishing" rather than "emergency".
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Finally, I want to talk about the possible side effects of academic history research. As the saying goes, "medicine has three poisons", and the trend of academic history research that has gradually taken shape since the 1990 s is no exception. I want to remind you that taking this course may cultivate a better vision and a higher taste, but you can't get magical power from it. The most common state is: ambition is great, talent is sparse, and eyes are superior. This is not a big problem, just like the old saying goes, "the master leads the way, and the practice is in the individual". Just work hard in the future. What I am most afraid of is "when you climb to the top of the mountain, you will see that all the other mountains look short under the sky." I will create a condescending attitude and give directions at will, like nobody's business. It is terrible to think too simple about reading and learning and too stupid about our predecessors and peers. Therefore, I don't advocate specializing in academic history research, but I hope you will specialize in academic history research first, and then take academic history as a research topic or a way of self-exercise. In this case, it is important to be more understanding, more considerate and more sympathetic-both in life and study.
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6. Analysis of the argumentation method in this paper has both positive and negative aspects: more emphasis on positive comments, less negative inferences, point-to-point, one positive and one negative, strong contrast and clear distinction between right and wrong. For example, the first paragraph lists the fact that four generations of monarchs appointed Qingfutian as a guest of Qiang Bing. Then use "Why did the guest lose to Qin Tsai?" Leaving the four monarchs out, making the scholars useless, is to make the names of Tian Fu and Wu Qin mighty. "Very compelling and thought-provoking. (Jane)
Jia Yi: On Qin 1. On Storage and Chen Zheng's Poems were both performed by Emperor Wen of the Han Dynasty.
2. The Qin Dynasty belongs to the historical theory. The meaning of the conclusion is to cover the central argument of the full text: "benevolence and righteousness are not applied, and the offensive and defensive situations are different."
3. The word "Shandong" in On Qin refers to the east of Xiaoshan. The description of the Chen She Uprising in the works "cutting firewood for soldiers, uncovering poles as flags, gathering responses from all over the world, and seizing grain with the scenery" is very infectious.
4. On Qin, "When it is right, Shang Jun assists it", and Shang Yang assists Qin Xiaogong.
5. The meaning of "Guo Qin Lun" is: accusing negligence (that is, pointing out negligence).
6. The meaning of the title "On Qin" and the author's writing intention: (1) The title means to discuss the faults of the Qin Dynasty. (2) It is to summarize the historical lessons of the rise and fall of the Qin Dynasty, as a lesson of the Han Dynasty, warning the rulers at that time to remember the historical lessons and avoid repeating the mistakes of the Qin Dynasty's demise. (Jane)
7. What is the conclusion of On Qin? How did the author come to this conclusion? (1) The conclusion is that "benevolence and righteousness are not applied, and the offensive and defensive trends are different".
(2) Contrasting historical facts layer by layer, the development of Qin declined rapidly after reaching its peak. (Jane or choose)
8. Analyze the contrast technique used in On Qin to highlight the theme in time: (1) The comparison between Qin and the governors of six countries before the unification of Qin; After the unification of Qin Dynasty, it reached its peak compared with the Chen She Uprising. Chen She's strength compared with the six governors; The ratio of prestige and strength before and after Qin's reunification. (2) All this shows more profoundly that the demise of Qin mainly lies in its failure to show benevolence and righteousness, which is thought-provoking and makes the article more convincing. (discussion)
9. "On Qin" describes the prosperity of Qin in the main space, but finally turns to the death of Qin and draws a conclusion. The advantages of this way of writing are: first promoting and then restraining, strong contrast, natural and convincing conclusion.
10. Language features: Many sentences are used in this article, such as "sweeping the world, including the whole world, including the meaning of the four seas, devouring the heart of the eight barren areas", "chasing the north, burying millions of corpses, bleeding and drifting, taking advantage of the situation, killing the world, splitting rivers and mountains, asking the powerful countries to serve, and the weak countries to enter the DPRK", which makes people feel magnificent, literary and artistic. (Jane or choose)
Chao Cuo: On the Precious Millet Shue 1. This is a book given to Wendi by Chao Cuo, which is selected from History of Hanshu Shihuozhi. This paper mainly discusses the truth that food is the most important thing: "hunger and cold, regardless of shame", we should pay attention to agricultural production.
2. On your millet discusses the decisive significance of attaching importance to agriculture and your millet to the prosperity of the country and the stability of people's lives from two aspects, and puts forward feasible concrete measures at that time. The wise monarch should "pay attention to the grain at the expense of gold and jade" and the state should "make up for the losses".
Sima Qian: 1. Historical Records is the first biographical general history of China, which records the history from the legendary Huangdi to Emperor Wudi of the Han Dynasty for more than 3,000 years.
Historical Records is used to describe the deeds of emperors.
2. Lu Xun said that "the historian never sings, Li Sao has no rhyme" is Historical Records, which is the first biographical literature of China and represents the highest level of literature in the Han Dynasty.
The letter given 1. This article is a letter. The author's friend Ren, whose real name is Ann. Ren An was beheaded. He wrote to Sima Qian for help, and Sima Qian returned the book. In the letter, the author described the cause and effect of castration and the painful feeling of having to bear the burden of humiliation and drag out an ignoble existence for the book Historical Records. This rare "strange article" puts forward the argument that "writing a book with indignation" and "people are inherently mortal, or they are heavier than Mount Tai or lighter than a feather, with different uses".
2. Put forward that "Qu Yuan's exile is to write Li Sao"; Zuo Qiu was blind, and Sima Qian became the theory of "writing books with anger" because he had 300 pieces of mandarin and poems, and what the sages at the bottom did with anger. (See "Report to Ren")
3. The purpose of Sima Qian's Letter of Appointment is to achieve the great cause of "learning from heaven and man, learning from the changes of ancient and modern times, and getting married".
A sentence synonymous with "physical disability and filth" in the book is: "Great qualities are lacking".
Xiang Yu biography is 1. This is one of the most literary chapters in the biographies of Historical Records. The story of Xiang Yu about the death of Qin, the burning of Qin Gong and the massacre in Xianyang is only a light stroke, which mainly praises his bravery in fighting and sympathizes with his unfortunate ending.
2. Xiang Yu said, "Sword is one enemy, not enough for learning, but learning from ten thousand enemies." It means that if you learn the art of war, you can resist 10 thousand people.
3. When Qin Shihuang made a patrol, Xiang Yu said "it is desirable"; Liu Bang looked at it and said, "Ah, a gentleman should be like this." Analysis of the personality differences between the two men: (1) Xiang Yu and Qin Wei's enemy, born in nobility, ambitious and sharp-edged; (2) Liu Bang was born a commoner, envious, ambitious and slightly euphemistic.
4. The main plot in "Biography of Xiang Yu" (section): Xiang Yu learned the story of calligraphy and sword when he was a child; The Battle of Julu (the Battle of Saving Zhao Yuqin, Slaughtering, Crushing, and the Battle of Megatron); Hongmen Banquet (a confrontation with Liu Bang after Xiang Yu entered the customs, consisting of Xiang Yu's blocked entry, Xiang Bo's letter, Hongmen's drinking and Liu Bang's escape); The siege of Gaixia (describing the final ending of Xiang Yu, which consists of My Concubine, Battle of Dongcheng, Wujiang and other plots).
5. The idiom "Biography of Xiang Yu": Perseverance, cross the rubicon, watch the fire through the wall, and dance the sword with Xiang Zhuang. My original intention is to admire the public, work hard and make a knife for others. I crowned the fish monkey, besieged on all sides, farewell my concubine, ashamed to see my elders in Jiangdong.
6. Taking The Red Gate Banquet as an example, this paper analyzes the characters of several main characters in Liu and Xiang: Fan Zeng is far-sighted, extremely alert to Liu Bang, and can assess the situation; Liu bang is a public schemer and eloquent; Fan Kuai is loyal, generous and generous; Sean is affectionate and honest, and he has answers. (Jane)
7. At the "Hongmen Banquet", Xiang Zhuang danced his sword, which was intended to be Pei Gong, and Xiang Bo was the one who "often covered himself with his wings to be Pei Gong".
Biography of Wei Gongzi This article is selected from Historical Records. Wei Gongzi is one of the four famous Gongzi of Xin, surname and Warring States. Showed his feat of stealing symbols to save Zhao. Hou Sheng, namely Hou Ying, committed suicide because he believed in saving Zhao Yougong.
Bangu: 1. Hanshu is the earliest biographical dynastic history in China, with many authors. Ban Gu only wrote most chapters of Hanshu before his death, and his sister Ban Zhao supplemented them with the help of Ma Xu, and finally finished this historical masterpiece.
Su Wu biography 1. Biography of Su Wu is selected from Biography of Li Hanguang and Su Jian. Su Wu's father, Su Jian, was knighted for military service. Su Wu attached his biography. The works briefly describe Su Wu's missions to Xiongnu and Hui Han. , and the focus is on the forced fall of Wei Law, the surrender of Li Ling and the herding and mowing of Su Wu.
2. The Biography of Su Wu is an extremely vivid literary work in Hanshu and a masterpiece full of patriotism.
3. In Biography of Su Wu, Li Ling was persuaded by human feelings, and Wei Law was coerced into surrender.
4. In the Biography of Su Wu, "There is nowhere on the North Sea", and "North Sea" refers to today's Lake Baikal.
5. Compare the ideological and emotional differences between Wei Law and Li Ling: Wei Law is dead set on defecting to the enemy, satisfying the temporary prosperity and being a traitor; Li Ling cares about personal grievances and puts national justice behind him, but he still has guilt in his heart. Facing Su Wu, he wept bitterly. (Jane)
6. Analyze Su Wu's ideological realm with Su Wu's reply to Li Ling's persuasion, that is, Su Wu's image: full of patriotism, sticking to national integrity, not taking personal grievances as the transfer, and never coveting fame and fortune. (Jane)
7. Analysis articles are good at depicting characters' personalities with characteristic details: generally, they only give a brief explanation, and only touch on a few words, while paying attention to details such as Wei Law's forced surrender, Li Ling's persuasion, lying in the snow and herding sheep, etc., and depicting the image of Su Wu incisively and vividly through the characters' language actions and characteristic details. (Jane)
8. The allusion "Biography of Hongyan" comes from Biography of Su Wu. Chang Hui asked the envoy of the Han Dynasty to say to Shan Yu, "The emperor shot a wild goose in Shanglinyuan, and a silk book was tied to the goose's foot, which read Su Wu.