The word "tong" in "Luan Che" drum "□bow has a large hole, and the arrow □=". Confucius said: "When princes have great achievements, they are given bows and arrows, and then they go on expeditions. Tonggong teaches virtue and practices archery, hiding it to show to his descendants." "Historical Records: The Family of Qi Taigong" records: Duke Huan of Qi "in the summer of the thirty-fifth year, he met with the princes in Kuiqiu. King Xiang of Zhou sent Confucius, the Prime Minister, to give Duke Huan civil and military weapons, red bows and arrows, and large chariots" and other documents. This shows that the "Tong Bow and Tong Arrow" are the tokens and certificates of the emperor's hegemony. They are items that ordinary princes cannot obtain. Therefore, "Tong Gong and Tong Ya" naturally become the key clues to solve the mystery of Shigu. Since Qin Xiaogong was the only Qin king in the history of the Qin people who conquered the throne for the Zhou emperor, linking the content of this drum poem with Xiaogong will help to gain an understanding of the content of the drum poems in "Luang Che" and the center of the stone drum poems. Further understanding of thoughts. When most scholars encounter the problem of "red bow, red arrow", they either simply mention it as "red bow, red arrow", or ignore it, completely ignoring the real meaning of "red bow, red arrow" The connotation and significance of it have made them go further and further down the road of research. Generally speaking, there are different key phrases in the content of each drum poem, which indicate that the content of the poem is closely related to the historical deeds of the Dukes and Kings of Qin in different eras, and these have also become key clues to interpret the content of each drum poem. For example: "Ma Jian" drum "Ma Jian" etc. suggest that the content of this drum poem is related to the historical deeds of Qin Zu Feizi, who was born in horse herding. The drum "Qian" and "Junzi" in "Qianyan" suggest that the content of this drum poem is related to the historical deeds of Qin Xianggong in the First Kingdom. The drums "Junzi", "Wa", "Qian", "Boat", "Yu Shui Fang", etc. in "Mei Yu" suggest that the content of this drum poem is related to "Seven hundred soldiers hunted eastward" and traveled thousands of miles to Qianwei. It is related to the historical deeds of Qin Wengong, the second generation prince of Qin State. "Yu people" drum ("Wu people" drum), "Wu people (Yu people)", "Don't cut and cut", etc. suggest that the content of this drum poem is related to the use of Yu people's official Baili Xi "Benefiting the country for twelve years, opening up the land" It is related to the historical deeds of Qin Mugong, who traveled thousands of miles and conquered Xirong. The drums "Yu", "Yuan", "罟", "Er", "Fifth", etc. in "Zuoyuan" suggest that the content of this drum's poetry is related to that of Qin Xiaogong who "as Xianyang, built Jique, Qin moved the capital there" Relevant to historical events. ...The drums of "My Water" include "Emperor", "Jing", "Ping", "Ning", "Gold", "Why not leave friends", etc., which suggest that the content of this drum poem is related to the unification of the six countries and "receiving the world" The soldiers gathered in Xianyang and sold him as Zhong Qi. His historical deeds are related to the first emperor of the Jin Dynasty. In addition, the calligraphy styles of each of the ten stone drums are also different, and they should belong to the calligraphy works of different calligraphers. This is also one of the key clues to interpret the time when the stone drums were produced and the reasons for their engraving. But it is a pity that almost all scholars in ancient and modern times have ignored this important clue, and basically unanimously believe that the Stone Drum Inscriptions are the result of calligraphy created by one person, either Shi Zhen or a historian of a certain dynasty. Even with regard to the view that "poetry was composed earlier than drum making", it is probably just that there is only one person who writes poetry and one person who is "calligraphy". Their understanding is so stubborn and biased that it inevitably leads their research to go astray. However, the stubbornness and bias of scholars in their research is not only reflected in this, but also in their understanding of the writing characteristics of Shigu's poems that imitate "Poems" and quote "Poems". In other words, although scholars have recognized the writing characteristics of Shigu's poems and articles, they deliberately imitate and quote "Poetry" in terms of genre, composition, sentence structure, style, words and even rhyme. For example, Ouyang Xiu said: "The text is the same as "Ya" and "Ode". Zhu Guozuo also said: Shigu "is like a chariot attack chapter on an auspicious day". Quanzu Wangyun said: "On one side of the water, this is the chapter of Jian Jia. It is three chapters. Ten miles away, if you see anything that sounds like it, don’t cut it, it will make you happy.” However, they still stubbornly and biasedly put the date of the Stone Drum Inscriptions on the basis of some far-fetched evidence to before "Qin had no Confucianism" and "a country where King Zhao claimed that Confucianism was of no benefit to people". However, "Poetry" was originally Confucius' teaching plan, a Confucian textbook. At the same time, since the stone drum is a Qin artifact, Confucius did not reach Qin when he traveled westward, and Xunzi entered Qin in his later years and called it "Qin Wu Ru". Therefore, how could it be possible that Shigu poetry was produced earlier than the period when "King Zhao called the country a country where Confucianism is useless" (324 BC to 251 BC)?
Liu Xing and Liu Mu think "The understanding and judgment of the age of the stone drums and the order of the drums is not the result of a little "biting" on the stone drum characters and calligraphy, or the result of simple operations such as "arranging and combining" the ten stone drums. A summary and summary of the "Shigu Comprehensive Research" process.
This comprehensive research process should not only include the overall analysis and research on the historical background and cultural background of Shigu's creation, but also include partial analysis and research on the font and shape of Shigu's characters, the meaning of poetry, and the meaning of words. In this process, the overall and partial research on Shigu are interrelated and inseparable. It can not only improve the overall understanding through partial research, but also guide local research based on the overall understanding. However, we must not separate the connection between the whole and the parts, and judge the age and order of the stone drums based on an isolated and one-sided understanding of the fonts, glyphs, poetry fragments and other parts of the stone drums. Otherwise, different researchers will grasp different parts of the problem and look at the problem from different angles, leading to a complicated situation of "blind men feeling the elephant and each saying heresy". ”
Thus, through a comprehensive analysis and study of the remaining poems and calligraphy of each drum, they finally obtained.
1) The emergence of stone drums and "Historical Records: Qin Shihuang" "Benji" records that in the 28th year of the Qin Dynasty, the First Emperor "discussed with the Confucian scholars of Lu about carving stones to praise the virtues of Qin";
2) The stone drum poem is "Ode to Qin", and the central idea is "Ode to Qin" "Qin De";
3) The advocate of Shigu was the First Emperor;
4) The author of Shigu's poems was "the Confucian scholars of Lu";
5) The content of Shigu Poetry is the record and praise of the "multiple" major historical deeds of the Qin people's ancestors, Lie Gong, who have made great contributions and influences on the historical development of the Qin people. The Shigu Poetry is a set of magnificent epics that record the origin and development process of the Qin people. ;
6) It is very likely that the stone drum was produced some time after the First Emperor and the Confucian scholars of Lu "discussed carving stones to praise the virtues of Qin" in the 28th year;
7) The stone drum He was eventually abandoned in the wilderness and his poems were not circulated. Later generations have close connections with the "burning books and entrapping Confucian scholars" case.
Due to space limitations, please refer to the National Social Science Project Liu Xing for details. , Liu Mu's "Restoration and Interpretation of Shigu Poems"