(1) Lv Mastiff is one of 25 pseudo-ancient books; And these twenty-five articles are called Mei's forgery. Yan Ruoqu has confirmed them from all aspects, and Mr. Zheng also said that this confirmation has "become the final judgment" (page 43). However, when he narrated the fragment of the third kind of chronicle in Shangshu, he did not hesitate to quote this false historical material, "It's only fair, so it's popular in KMB ..." (page 45). In fact, there are ready-made examples in Jintengli, except for the Lv mastiff. Why not throw them away?
(2) Quoting the original text of The Book of Songs, there are also many casual places. For example, "Don't say what bandits say, don't say what bandits say", and mistakenly think that "bandits say suddenly, bandits say suddenly" (page 6 1). "bandits crow, flies sound." It is misinterpreted as "the sound of bandits and chickens, the sound of flies" and "his room is near, but people are far away", which is a poem by Zheng Fengdongmen, and Mr. Zheng mistakenly wrote Dongfeng. I believe there are more mistakes in the same poem: "If you don't think about it, it will be useless, if you don't think about it, it will be dangerous", but you can't proofread it for Mr. Zheng one by one, you can only extract it from memory. Mr. Zheng has written many books, such as quoting false history and changing the title by mistake. He is concerned about the outline, and may feel irrelevant. In fact, it is wrong to delay beginners (such as changing "Cockcrow" to "Cockcrow"). I believe this is by no means the people's fault. I have checked the errata of all the examples I cited, but I haven't corrected them.
(3) the third series of 657 to 658 poets in the northern song dynasty:
To select the word+it (press; Suspicion of abundance), a native of Hanoi, has a happy word. Huang Li can listen to Jian. He liked to write words in vernacular at that time, so he can't understand some sentences now. Such as "Like a Dream": "Who sits alone in the bright window? Me and Yinger. When the lamp is dying, the shadow throws people away. Nothing, nothing, I am so sad. " ……
Why does Mr. Zheng "don't understand" such a simple sentence? I really don't understand. According to this poem, it was actually written by Yi Lee (see Ci Tong, Shu Yu Zhai's Shu Yu Ci, which is included in the addendum). Although there is a legend that it is written by Gao, as long as you have some literary skills and look at Li Xiang's works a little, you can see which episode the word belongs to. Even if Mr. Zheng thinks it is ambiguous, ambiguous works should not be regarded as one's masterpiece. Zheng also wrote under the chapter "Lyrics": "There are four editions of 31 Lyrics in Song and Yuan Dynasties". The contents of "Thirty-one Ci Poems in Song and Yuan Dynasties" are as follows (subject to the original edition in the 19th year of Guangxu):
First, carefree words; Second, Yunxi Ci; Third, the word+Lu; Fourth, the woodcutter's songs; Fifth, Mei Ci; Sixth, Ithaca words; Seventh, east and west words; Eight, Wen Ding childe; (Volume I or above) IX. Yan Xi's Ci; Ten, Meishan Ci; Eleven, clumsy mouth and tongue; Twelve. Congratulatory words; XIII. Huian Ci; Fourteen, the words of raising a church; (Volume II above) XV. Double happiness poems; Sixteen, Longchuan Ci complement; Seventeen, Guifeng Ci; Eighteen, Meijia poetry; XIX. Qiu Ya's Ci; Twenty, break the brocade word; Twenty-one, hidden fast words; (Volume III above) 22. Cover word; Twenty-three, caressing words; Twenty-four, zhanghua's words; Twenty-five, Tibetan Spring Yuefu; 26. Huaiyang Yuefu; Twenty-seven, Joan's words; Twenty-eight, wall east poetry; Twenty-nine, God Blessed Words; Thirty, Cao Lu's ci; Thirty-one, five phoenix words. (Volume IV above)
There is no word of joy. Among them, Yan Xi Ci was written by Cao Guan, not a mistake in Yuefu Ci. In addition, there are 17 kinds of words published in Siyinzhai, such as Dongpo Yuefu, and Happy Words are not accepted. However, what is the basis of Mr. Zheng's so-called "happy word"?
(4) In the chapter "Poets in Wei and Jin Dynasties" on page 20 1, Zhuge Liang was listed as one of the poets, and he copied "a very plain poem"-"Fu Liang Shi"-as proof. According to Zhuge Liang's words "Be good at Fu Liangyin", it can be seen in Shu Zhi. Literally speaking, the word "Wei" here can be interpreted as the word "Zuo" created for oneself; It can also be said that there is a meaning of a poem that is very easy to sing. Now Mr. Zheng lists Zhuge Liang as a poet, which shows that Song of Fu Liang must be Zhuge Liang's creation in his mind. Therefore, we should distinguish the correctness of historical materials. I thought that the meaning contained in Shu Zhi meant that Zhuge Liang was humming the Song of Fu Liang while plowing the field. It means that he likes that song, not that he wrote it himself. If we only rely on the words "good for singing", we can conclude that singing was written by Zhuge Liang, so we can also say that it was written, because in his poem, "When I tuck my knees, it is singing" ("Sitting in Changsha Purple Palace"); It can also be said that it was written by Du Fu, because in his poem, "Twilight City is called' Song of Fu Liang' ('Going upstairs'). I'm afraid there are so many examples in the poems of past dynasties that we have to call everyone the author of Song of Fu Liang! Look at the previous views on this song, and the same is true. Guo Maoqian said:
"Ancient and Modern Music Record" said: "Wang Sengqian's technical record has" Fu Liang Yin Xing ",and it is not sung today." Xie on Qin said, "Zhuge Liang wrote Song of Fu Liang." "Chen Wuchuan" said: "Wu often rides donkeys and shepherds families. There are dozens of people in pastoral areas who still know folk songs. Wu Sui studied the song of the father of Mount Tai, the song of Youzhou Horse, and the song "Difficult to Go". Shu Zhi said: "Zhuge Liang is good at' Fu Liang Yin', but he can't help but shine! Li Mian's Qin Shuo said: "Song of Fu Liang was written by Ceng Zi." Cao Qin said, "Ceng Zi plowed Mount Tai, and it was freezing with rain and snow. I can't go back in October, miss my parents and write "Liangshan Song". " Cai Yong's "Qin Fu" said: "The father of Liang is an elegy, and the Duke of Zhou is more elegant (? ) Press: Fu Liang, the name of the mountain, under Mount Tai. " Song of Fu Liang covers people who died and buried this mountain, as well as Corona. There is also "Song of Fu Liang on Mount Tai", which is similar. (Poems of Yuefu, Volume 41)
The so-called "Fu Liang is a prostitute and Ceng Zi is a follower" may not be reliable, of course, but it was not written by Zhuge Liang, which has long been clear.
Second, the choice of historical materials.
Since a book is called "history", the author should choose historical materials according to historical facts, and should not favor one over the other. It is not easy to control what you have to say and say what you don't like or are unfamiliar with. Generally speaking, most writers lack training on this point; And the author of this book, seems to have failed to avoid custom:
(1) The author can't tolerate "Fu", especially Han Fu, because it is synonymous with "searching for strange words and poor records" and "moaning without illness" in Sao Tan. (2 19) I think it is a very reluctant thing to say that Sandu, Liang Jing and other Han Fu are "moans" one after another. I'm going to groan with "searching for strange words everywhere, poor records and hard facts" I think all the people in Ban Gu and Zhang Heng, although "no longer think about poetry", are not necessarily so stupid! As for the genre of Han Fu, on the surface, it is really "looking for strange words everywhere", but from a historical standpoint, it seems that it should not be despised because of its vigorous spirit, rich words and bright colors. In fact, it is also a poem, a descriptive poem. There are no real epics in the history of China literature (some ancient Yuefu poems are too poor in quantity: Journey to the West and Lengyan in Pingshan are too poor in quality). But this does not mean that China has never produced a great poet who can write epic poems. Just because of the lack of literature, great poets can't go that way, and there is no ready-made foundation for them to build epic palaces. In fact, some great poets often show their genius in writing epics in other genres, and the grandeur (grandeur, majesty and luxury) of Han Fu is what epics have. Mr. Zheng added: "Han Fu writers imitated Qu and Song ... (page 2 19) but unfortunately, I didn't see Qu Yuan or Song Yu write such poems as Three Capitals and Two Jing!
(2) Due to the author's dissatisfaction with Han Fu, the later "parallel prose" and Fu phase were abandoned, and even the chapters and books of The Romance of the Three Kingdoms in the Later Han Dynasty, which were not similar to Fu, did not give them any status. In fact, the letters of the seven sons of Jian 'an with Cao (Pi, Zhi) and Wu (Zhi) are not necessarily under their five-character poems. Five-character poems are limited to the number of words, they are not well written, and they are often deliberately written, so later readers can't help feeling isolated. On the contrary, it was not as good as at that time, and various letters and sentences (such as "Commending Rice Scale Table", "Seeking Family Table" and "Seeking Self-Test Table") could better express personality and reveal everyone's inner news. "Wen Xin Diao Long Secretary Zhang" said: "Official and business notes are beautiful and regular, while the theory of Zi Fu Huan has been left over from the past. If the name is slightly realistic, beauty is better than poetry. " Actually, it's not just business (Liu Zhen). We read the letters of Cao Shi brothers, Wu Zhi and Chen Lin more cordially than their poems. These were vernacular letters at that time and should not be abandoned. As for the Song of Fu Liang, it was not written by Zhuge Liang, and critics have already said it. The strangest thing is that the author insists on listing Zhuge Liang as one of the poets out of misunderstanding. In addition to quoting Yin, I also talked about many works that are "not what they used to be", but I didn't mention a word about the straightforward and moving "model"!
(3) Si Liu's parallel prose should not be completely abandoned in the whole history of China literature. Originally, China's style, in addition to poetry, there are two mainstream parallel prose. By the Six Dynasties and the early Tang Dynasty, parallel prose not only conquered all the prose, but also swallowed up many poems. The light and clear poems of the Six Dynasties are the product of poetry being given to parallel prose and being swallowed up. From the later Han Dynasty to the prosperous Tang Dynasty, 46 parallel prose ruled the literary world for four or five hundred years, and even poetry was forced to be "too beautiful to be precious" until Han Yu became a revolutionary. However, Linghu Chu and Li Shangyin also came back with dazzling light. Li Shangyin thinks that his four or six essays are not under his poems. Describing his experience of learning from Ling Huchu, he said, "I don't envy Wang Xiangde's sword, because I handed clothes in the middle of the night." How conceited he is! Both Wang Wei's letters and Liu Zhiji's History can't escape this barrier of integration. In the chapter of Ci Fu in Six Dynasties, Mr. Zheng quoted Cao Zhimin's Heng Wang Neng lightly, which was less than five pages (page 306-310)! Calculated by the book 1600 pages, it is less than one third of it.
(4) The documents about the Northern Dynasties are generally too brief. Poems of the Northern Dynasties included in Yuefu poetry anthology, such as "leading water, drifting along the mountain, thinking of me everywhere, drifting in the wilderness!" And "men would rather fight to death than build the Great Wall!" A class of great works has never been mentioned.
(5) On the other hand, whatever Mr. Zheng likes, though unnecessary, he will not hesitate to repeat it until the third. That is, the skill of The West Chamber can be known to anyone who pays a little attention to China literature; In the history of literature, it is no problem to tell a story simply, and it doesn't matter if you don't tell it. Mr. Zheng told a similar story three times (pages 694-695, 700-706, 859-862). * * * accounts for more than ten pages before and after, which is more than twice as much as the chapter of Eight Dynasties Ci Fu. Before and after the story, the author, the origin, version and explanation of the story are not included. For example, the "comprehensive Pinghua" in the chapter "History and the legend of heroes" can be said to be worthless in literature; Its value only lies in "having such things". A specialized scholar can write a special book about its discovery, the origin of the edition and the author's research, which is as thick as he likes; However, in the history of literature applicable to ordinary people, there is no doubt that it can only occupy a very small space, as long as it is stated that "such a thing happened." Mr. Zheng seems to be particularly interested in storytelling. He has five kinds of storytelling, ranging from "Cutting" to "Destroying Gold in Liu Cong", accounting for 18 pages (938-955 pages). This chapter occupies four times as much space as the whole article of Ci Fu in Six Dynasties and twice as much as that of Poets in Southern Song Dynasty. In fact, according to Mr. Zheng himself, the content of these Pinghua words is: "Although their narratives are close to history, more or less absurd legends or bizarre military talks, their words are not fluent, and the white words are full of broken sentences, but they are all the same" (page 956). Mr. Zheng told the story of 18 pages of Legend of Meaninglessness and Talking about Ghosts and Ghosts in one breath, and quoted four pages (pages 956-959) of the original text of Ignorant and Interrogated Words, which is not enough. He described Yan, a great poet in the Northern Song Dynasty, and only quoted 55 words (633 pages) from the original text. For Lu You, "there are more than 10,000 poems", only two seven-melody poems are quoted, and even the narration is less than eight lines (796 pages)!
In the chapter "Revival of Critical Literature", the author points out that it is appropriate for Zhu and others to read ancient books intuitively. But the author said: "Since the Six Dynasties, the critical spirit has declined. ..... The critical spirit of the Tang Dynasty was very poor; In particular, there are few specialized critical works. Their attitude towards the interpretation of ancient books is often the same as that of Han Confucianism; Just explain the sentence, and don't go any further to explain its meaning "(page 807). I think the author may have only read Lu Deming's Shi Wen, but not Liu Zhiji's Stone, which is why he said such a thick derogatory word to the Tang people. In fact, the starting point of Song people's criticism is to seek truth in philosophy, and the starting point of Shi Tong is to seek truth in historical documents. In nature, Liu's book seems to belong to literary criticism and historical criticism. The works of Song people tend to be "epistemology" of philosophy. When it comes to "specialized critical works", I'm afraid that books like Shi Tong are not specialized, and they are not necessarily less specialized than any works of Song people. It was also initiated by the Tang people with the theory of poetry. In Li Bai's Antique, the phrase "Don't do it for a long time" is a declaration of poetry. Later, Du Fu's "Drama as Six quatrains" and Yishan's "Five Chapters of Mancheng" (the first two chapters) really started the trend of later generations' comments on poetic quatrains (such as Yuan Yishan). In Du Li's poems, there are many fragmentary comments on the poems of predecessors and people at that time. Although Si Kongtu's poems only refer to reason, they don't really refer to poetry. In fact, it is not under the many gossip-like "poetry talks" of Song people. Later generations' poetry criticism is mostly inferred from Shi Pin: the metaphors of various quasi-poems in Yi Yan Yuan Yan are particularly obvious. Therefore, it is unfair to say that their critical spirit has regressed if the works of the ancients are erased.
The History of Three Non-biographical and Non-famous Writers
Mr. Zheng's most fundamental mistake is that when he wrote a book, he did not focus on the literary works themselves, but on the list of people who promoted literature and literature in historical books of past dynasties-especially before the Song and Yuan Dynasties. Therefore, there are two most serious fallacies:
First, many extremely important works have been abandoned or scribbled. For example, many poems in Yuefu Poetry Collection mentioned above, letters in Wei and Jin Dynasties, and many beautiful parallel prose in Hongming Collection and Guanghongming Collection (such as the preface to Sanzang's holy teachings, etc.). ), many Buddhist literary biographies and classic works (such as Fa Xian's "Buddha Country" and many fables of the Ministry, etc. ), another example in the Tang Dynasty is that Su Dongpo's poems only quote five or seven words; There are less than nine lines about him, his father Lao Su and his disciple You (page 6 15-6 16). This neglected writing will make readers unable to have a clear and profound impression on many great writers, unable to generate interest and unable to feel their greatness-although Mr. Zheng does not hesitate to use "great", "everyone" and "crystal clear as jade".
Second, many small and insignificant writers, because they occasionally occupy several biographical positions in their biographies, regardless of whether their works have been handed down from generation to generation or not, whether they are literature or not, Mr. Zheng takes their surnames, places of origin, official ranks and years of death as examples; Or add: "There was an episode ...". Even if the work is extremely naive or has not been handed down, it is also covered with this definite formula. The number of elevators is as follows:
Fu Qin has a poem "Travel Far": "Mianzhu people in Guanghan, and Uncle Ping thought they were engaged in offering wine. Later, it was Dasinong. (page 202)
Kong, whose real name is ancestral home, was once the Prince Zhan of the State of Qi, riding a regular servant. Zhang Siguang, a native of Qi, is the right phase of Situ and Changshi, and Zhou Qiu is a brother. They share the same interests and are good at singing. However, what has been done is very piecemeal, which is not enough. (page 282)
Xianzu Ye, the word beauty ... Yuyao people, official to the Ministry of Industry. ..... His legendary works include Two Notes on Double Cultivation, Four Notes on Gorgeousness, Yulin ... Yulin and Double Cultivation have never been seen before. ..... the records of our ancestors, ... are enough to make people feel uncomfortable; In particular, the four stories in Si Yan Ji are all similar in appearance and particularly boring to read. (Page 1 18 1)
Che Renyuan Yu+Zhai, whose real name is Abrupt Zi, is from Shangyu and is the author of Four Dreams. ..... I didn't watch Four Dreams today, but Jiao Lou Meng has ears. This drama ... is too solid in narrative and loses its ethereal and fantastic flavor. I teach too seriously, and I feel like a fool talking about dreams ... (page 228)
Sun Yuan, a native of Wuxi, wrote a play "Hungry Fang Shuo", which has not spread to this day. (Page 12 19)
Liu Shilian, stubborn ... Changzhou people. Hong Guang Guan Shi Guang Lu Qing. In the Qing dynasty, you couldn't live in seclusion. Write "The Story of West Taiwan" ... I cherish today and don't pass it on. (page 230)
Wait, the list goes on. Instead of occupying precious space with this unknown and not widely circulated thing, why not copy the "collection department" or "division" of official literary classics?
Fourth, the meaning is unknown.
There are many obscure places in Zhengshu. For example: (1) Page 15 1:
There are some narrative poems in ancient Yuefu poems, but most of them are not five-character poems; Written in five-character style, only one ear is like "Shang Mo Sang". There are only two five-character narrative poems we are talking about now; ……
There are so-called "Shang Mo Sang" and so on, but besides Shang Mo Sang, there is of course at least one; If you add mulberries to strangers, there will be two articles. Why is there only one ear? If "waiting" is superfluous, how can we go on to say "there are actually only two articles"? Is it "an article like Shang Mo Sang" or "an article about Shang Mosang"? Is it "only one" or "only two"?
② Page 160
The fourth kind of Qu (according to the previous page, the ancient poems of Yuefu in Han Dynasty) has four surviving songs: Yu, Dong escaped from Xing, Ying Xing and Chang 'an had a narrow and oblique trip. ..... The fifth "tonal tune" is "kindness",
Journey to the west, going out of Xiamen, folding willows, traveling to the west gate, traveling to the east gate, traveling to sick women, traveling to orphans, traveling to the satrap of Yanmen, double white owls, traveling to wild songs, and staying in fields on wild songs. In this tune, many narrative works ...
This passage seems to contradict the one quoted above. It is said that there are only two five-character narrative poems in Yuefu songs (referring to Peacock Flying Southeast and Poems of Sorrow and Anger), but these five-character narrative poems that Mr. Zheng never mentioned, such as Meeting, A Narrow Trip to Chang 'an, Westbound Journey to Longxi and Pulling Grass Up the Mountain. I wonder why Mr. Zheng explained himself.
③ Page 165:
China's ancient history books are all unformed original works, and Taishi Gongshu is the first official history book.
I wonder what generation "Gu" is? What kind of books are "history books" and what should be the definition of "primitive"? We assume that historical records were once "ancient". Are the three biographies Spring and Autumn Annals, Mandarin, National Policy and Lost Book "History Books"? Historical Records is definitely not "original". Why are these books "original"? Historical Records recorded the events before the Han Dynasty, and copied all the books and even the Book of History. What is the standard of the definition of "primitive man"?
④ Page 172:.
He (referring to Liu Xin) also tried his best to show an unparalleled ideal political model-Zhou Li. Later generations took Zuo Zhuan and Zhou Li as their forgeries; But this is an unreasonable prejudice.
The word "Zhanghuo" is inexplicable! Did he stamp the Rites of Zhou or did he write them? If he is just a badge, does Mr. Zheng think the Book of Rites is really the so-called "Duke of Zhou's masterpiece"? If Mr. Zheng also thinks that "Zhou Li" was not written by Duke Zhou, but was invented by Liu Xin himself, it is of course a "forgery". Why did Mr. Zheng also say that "later generations regard Zuo Zhuan and Zhou Li as their forgeries; But that is really unreasonable prejudice "? . According to Mr. Zheng's meaning, this painting "Zhou Li", entitled "After the Duke of Zhou", seems to be made by Liu Xin, a great politician; But you are not allowed to say that Liu Xin forged it. If you say so, it is "unreasonable" and "prejudice".
⑤ Page 186:
It is suspected that the poem of peas is too shallow to be like Zijian's style, and this poem is not included in this episode, but only exists in Shi Shuo Xin Yu; Why did the last page say, "Zijian also sang:' We are born from the same root, so why should we fry each other!'" ""and then what?
Five textual research is too brief
There are many unresolved issues in the history of China literature, which is also one of the biggest difficulties in writing the history of literature. The textual research in Zheng Shu's book is really too slight. Let's give an example, such as "Before the Tang Dynasty, the fermentation of Buddhist literature in China literature was really small" (page 266). I wonder what is the basis of this statement? In my opinion, Buddhist literature in China literature before the Tang Dynasty caused at least the following problems:
First, because every sentence in Sanskrit is usually eight syllables, the translation is followed by four sentences, and every two sentences are combined into eight words. This neat style contributed to the development of the later four or six parallel prose. Because there are ten syllables in each sentence of Sanskrit Buddhist scriptures, there are five poems in the translation. The five-character translation of this poem originated very early. The Tripitaka was collected by An Shigao,, and at the end of the Han Dynasty (such as An's translation of Buddhism's Six-Party Ritual Sutra, Wuyin Analogy Sutra and Brahma's Avoiding Death Sutra); There are also The Rise of Buddhism and Sharifutsu Mahayana Lotus Tour Four Qujing translated by Kang. ), there are extremely simple and well-known five-character poems. The importance of five-character poems in the history of China literature not only determines the development and fate of five-character poems, but also directly affects the thoughts of the five-character poetry school. Tao Yuanming's three answers to "God", "Form" and "Shadow" and Xie Lingyun's "Ten Examples and Eight Praises" are the best examples. It is because of Xie Tao's yeast that Wang Wei's Wang Fanzhi wine came into being.
Second, China has four tones because of Brahma's tone sandhi. Without the four tones, I'm afraid that Tang poetry, Song poetry, Yuanqu opera and Kunqu opera have lost their most important flavor-musicality. The rise of the four tones was before the Tang Dynasty; Four tones, due to Buddhist literature.
Thirdly, the story of Buddhism ran directly into the garden of China literature and was narrated by China (without translation). If you try to read Shui Jing Zhu, such examples can be seen everywhere, not to mention Faxian's Buddhist Records and other books.
But Mr. Zheng said: "Before the Tang Dynasty, the fermentation of Buddhist literature in China literature was very small."
Six other things
(1) Page 662: "Countless poets and poets have written countless poems about the people who left their feelings in in my heart forever; More than half of them speak on behalf of the heroine, and these poems are worthless before exposure. " This is a little too much. If Midnight, Wang Changling's Four Musts, Ode to My Daughter, Li Bai's Sauvignon Blanc, Wen ()' s Zhou (Bangzi)' s Long and Short Tunes are really worthless, why didn't the author comment on many of them?
(2) Page 248: "Xie Tao also said that it is far away." I don't know what to say. It seems that the negligence of this text makes the meaning unclear. When I wish to reprint, the author corrects me.
In all fairness, Mr. Zheng's masterpiece is unparalleled in the history of China literature, especially in the modern part. If readers can learn from this book and read it well, they will benefit a lot. We also hope that Mr. Zheng himself or other scholars can still conduct more detailed research and writings on the basis of existing materials and complete a relatively complete history of China literature.
Book Review, Volume II, Issue 7, 1934.
Bianwen Times and the Origin of Ci
After criticizing Zheng Zhu's History of Literature in the four volumes and six issues of Crescent, I wrote a letter to the editor of Crescent, which was published in the four volumes and seven issues of Crescent, and demonstrated five points, such as the occurrence time of Bianwen, the origin of the word and the origin of Li Qunyu. Except for the last point, the other five points are very important issues in the history of literature, so I also have a very detailed defense immediately and send it to the editor of New Moon. Later, due to printing problems, New Moon was not published. I can't get my manuscript back; So many people misunderstand that I have given up my idea and admitted Mr. Zheng's idea. Actually, it is not. I would like to take this opportunity to re-evaluate Zheng Zhu, and I would like to reply again.
(1) Regarding the time when Bianwen happened "the earliest Bianwen", we don't know when it happened, but it always happened before Kaiyuan Tianbao "-Mr. Zheng said that he" can't shake this "for many reasons, all of which are roughly the same as those in the Illustrated History of Literature. There is no need to repeat it. In fact, I didn't mean to "shake" this statement, because I really can't "shake". If Mr. Zheng said more firmly that "Bianwen always happened before the publication of A Brief History of China Literature", it would be even more difficult to "shake". The problem is: Gai had been a husband for a long time before Kaiyuan and Tianbao. For thousands of years, not a day! "But who can clearly point out that it is the first decade, the first fifty years, or the first one hundred years, the first two hundred years? "-Mr. Zheng asked. My answer is: the author of the history of literature should be able to point out clearly.
I think that the singing and guiding of Volume XIII of Biography of the Eminent Monks is the origin of Bianwen. Mr. Zheng denied my words because he read Singing Guide, Singing Guide, Wang Sengulu's Singing Guide and Making Wishes and Recognizing Buddhist Scriptures in Volume 15 of Ming Ji, which denied his "refreshing loss". I think Mr. Zheng is mistaken. Mr. Zheng probably didn't see the contents of the articles in Ming Ji and Biography of Eminent Monks clearly, so confusing them is actually two different things. Mr. Zheng quoted an article by Wendi to prove that it is different from Bianwen, of course, but it is a pity that Mr. Zheng did not finish reading this article and saw the main points of its content structure. When Mr. Zheng read Biography of a Monk, it seems that he only read the biography and didn't read the postscript, so that he still doesn't understand what the "singing guide" in Volume 13 of Biography of a Monk is about. In Volume 15 of Hong Guangming Ji, the so-called "singing to guide the text", "singing to guide the Buddha" or "recognizing the Buddha" are actually "vows". If Mr. Zheng patiently reads Jian Wendi's article, he will find that:
Regarded as the supreme salute, the Buddha in the world is Sakyamuni and the Buddha in the world is Tande. ...
May the holy palace be better than heaven and earth, and kindness shine with the sun and the moon. Nine of them will be blessed with health, and the grace of life will continue in all directions. ...
Regarded as the Crown Prince, he salutes the Oriental Baohai, where the lights are shining in the south, the life in the west is infinite, and the north is virtuous. ……
I am willing to leave the Ming dynasty, reflect from the heart, and be harmonious outside the wall. Yuzhen Yunfu, Golden Sound Sea Mirror, Japanese and Korean colors, four winds is good. The virtue of kindness and gentleness is the weight to supervise the country. ……
Fifty-three Buddha statues and thirty-five statues. ...
May the bright moon rest with the mountains and the golden sound be blessed with the four seasons; The seven senses are used to shine, and the ten senses are used to enjoy happiness. The boudoir abides by benevolence, and Gong Chuqin is virtuous. ...
Regard it as Linchuan, Jian 'an, Poyang, Shixing, Nankang, Luling, Xiangdong, Wuling, the Sixth Division of the Wangs, Ding Gui, and reply:
May the heart mirror be clear; Clone Emperor Zhi, Huang Yongmao Zhi, ...
The same is true of Wang Monk-ru's "Singing and Guiding the Duty of the Buddha":
May the Emperor and His Majesty be in harmony with the Tao at four o'clock, and the mysterious wind will be wide; Anti-chun originated in the ancient three dynasties, and nine dynasties splashed water on waves. Zhi Zhi has appeared today, and the avenue belongs to this era. ……
May the virtues of His Royal Highness the Crown Prince be reflected in the sky, spread widely in the sky, and the former stars shine, circling the ice in the East Palace, which is graceful and charming. ...
I hope that the kings have both wisdom and philosophy, and their voices span the country; I was surprised to hear that I was in Danxuan. ...
May the breeze fan your highness, and may the white clouds be lang; Yongzhong Qingzhi, the dragon enjoys Yuanji. ……
May the family members of Liugong be beautiful every day; Cai Zhen carved pictures and spread the history of poetry. ……
May the princesses become smarter and smarter. Four photos and four dances; Seven good and seven decisions, stop. ……
I hope you are all clean and willing to walk. ……
The content and form of "Confession to Buddha" are exactly the same as those quoted above:
May your majesty, your majesty, send you five fears and ten help; Hundreds of blessings are solemn, and thousands of weeks gather together. ……
I hope your majesty's scenery will blend with the "seven strategies", and the imperial inheritance and "two obsidians" will last forever. The land is flat and natural, and the music is harmonious and polite. ……
Yang is willing to re-clarify the tired saint+as if in: yes, driving the heavenly palace forever; Huatuo Golden Canal and invite you to visit the Treasure Hall. ……
May your Highnesses crack the earth more abundantly than Zhu Ji, and the stone is too long; ……
The same is true of the first night, which is nothing more than "I wish your highness" and so on. I quoted many original texts, because I want readers to know what the content and format of those articles are. As far as I can see, these words are all the same "oath" The Yu family's article in Volume 15 of Guanghong Mingji, collected in Volume 52 of Japanese Taisho newly revised Tripitaka, does not have the word "singing and guiding" but only "making a wish to the Buddha", which shows that my judgment is correct); Of course, it's different from Bianwen, and I think it's also different from the so-called "Singing Guide" in Volume 13 of Biography of Eminent Monks. Can these monotonous prayers of "worship" and "worship" make the audience "tremble" and "cry"? This kind of parallel prose is what the general audience can be interested in and love to hear. The so-called "Biography of Monks"