Fang xiaoyi
From the perspective of stylistic history, this paper discusses the artistic development made by Europe, the Soviet Union, Zeng and Wang in Song Dynasty. First, the stylistic system established in Tang Dynasty changed, and some stylistic writing methods were adopted, which became "variants", such as taking theory as a memory and fable as a memory. Secondly, in the "self-identity", Song Sijia also realized the intersection and integration of various literary expressions according to the needs of the theme. Thirdly, the use of allusions and textual research techniques also participated in the creation of four styles. Therefore, Song Sijia's writing style presents a new look different from that of the Tang Dynasty.
Keywords: Song Sijia's prose style art
The achievements of prose creation in Song Dynasty were outstanding, and many famous writers emerged, especially Ouyang Xiu, Su Shi, Ceng Gong and Wang Anshi. The Biography of Wen Yuan in the History of the Song Dynasty said: "Luling was pioneered by Ouyang, and the ancient prose was created. It merged with Linchuan Wang Anshi, Meishan Su Shi and Nanfeng Ceng Gong, and the prose in the Song Dynasty gradually became ancient." This passage clearly shows the important position of four ancient writers, Europe, the Soviet Union, Zeng and Wang, in the prose history of the Song Dynasty. Jiang Hong's Preface to Yuan Feng's Reprint in Ming Dynasty said: "Mr. (Ceng Gong) is like this ... His works are world-famous, and he is called Europe, the Soviet Union, Wang and Zeng. Is it accidental? " (1) It is no accident that later generations put these four schools together, because Europe, the Soviet Union, Zeng and Wang not only traveled far to Korea and Liu, but also inherited the remnants of the ancient prose movement in the middle Tang Dynasty and made great achievements in expanding the creative space and artistic pattern of prose.
According to modern stylistic standards, the narrative style to be discussed in this paper should belong to narrative style. Among the various genres of ancient prose, Collection is a late master. Liang Xiaotong's Selected Works has no category of "recording", while Liu Xie's "Wen Xin Diao Long" has a chapter of "secretary". However, judging from the expression and the categories listed, the concept of "secretary" here is superior to later generations. The first one to lay the embryonic form of style was Yuan Jie in the middle Tang Dynasty. A total of eight stories were recorded in Quantang Wen, including stories about hall walls, pavilions and landscapes with strong literary color. Later, Quan Deyu, Liang Su and other authors wrote as many "notes" as Jie Yuan, but they were mainly practical. It was not until the emergence of Han Yu and Liu Zongyuan, the leaders of ancient Chinese prose in the middle Tang Dynasty, that the creation of narrative prose was greatly improved. Although there are only nine Notes written by Han Yu, there are various themes and rich artistic changes. Liu Zongyuan ranks first in the notes of the Tang Dynasty with 39 pieces, and his travel notes on mountains and rivers are of great significance to later generations. However, the writers after Han and Liu did not carry forward the creation of stylistic articles, and their successors, such as Li Ao, Huang Fushi and others, rarely produced stylistic articles. Since the Song Dynasty, the creators of narrative style have developed. In the early Song Dynasty, Wang Yucheng's Huangzhou Hsinchu Tower and Fan Zhongyan's Yueyang Tower appeared. The appearance of four great masters, Europe, the Soviet Union, Zeng and Wang, has greatly broadened the scope of the theme of Ji and enriched the content of Ji, but this has been obscured by many commentators. Therefore, this paper intends to make some superficial discussions on the artistic development of Song Sijia's writing style.
one
Song Sijia changed the "discipline" system formulated by the Tang people. A considerable part of their writing styles actually undertake the tasks of other styles, and even completely misappropriate other styles of writing methods. In other words, although these essays are called "Ji", they have been replaced by other styles.
The first to notice this phenomenon was Chen Shidao in the Song Dynasty. His poem The Back Hill said:
Write it down and remember its ears; Today's record is a theory.
This is a sentence often quoted by later generations when discussing Song Dynasty prose, and it is also often used to prove that there are more discussion elements in Song Dynasty prose than in Tang Dynasty. Wang Ruoxu of the Jin Dynasty objected to Chen Shidao's statement, and his Wenbian retorted:
People in the Tang dynasty were shorter than the discussion, so every time. Although there is a lot of discussion, what are the disadvantages of remembering? Generally speaking, the cover text is different, but its principle is one, and it is almost wrong to distinguish right from wrong. I still evaluate Dongpo's "Poetry as Ci". Besides, Wen Song regarded all styles of Han and Tang Dynasties as different, changing from generation to generation, and only one or two people were to blame for the hills. What's the matter? (2)
To understand the change of "sending" style, we must first analyze this debate. Whether the Tang people are "shorter than the discussion" can be ignored. Judging from his rhetorical question, "Although you argue a lot, why not remember it?", he really misunderstood Chen's words. Yes, adding some comments to the style of writing does not mean that the nature of the article has changed. It is still "writing". However, when this discussion "goes too far" to a certain extent, or even fills the whole article, it becomes the backbone of the full text, while the narrative elements in the original narrative text become embellishments. At this time, the stylistic nature of the article has undergone a fundamental change, from "recording" to "discussing", not just the difference between "opening the outline horizontally" as Wang said. In my opinion, Chen Shidao refers to this situation.
The variation of narrative style in Song Dynasty actually started from four schools. Wu Nianyun in Ming Dynasty:
When I arrived in Europe and the Soviet Union, I began to speak exclusively as a reporter, which was appropriate for the old people in Houshan. (Preface to the article)
He not only agreed with the theory, but also noticed the existence of the variant of "send" and further pointed out that it appeared in Europe and the Soviet Union. Then, the contribution of Ouyang Xiu and Su Shi to the development of writing style is obvious. In Wu Ne's view, this kind of essay is "specialized in discussion, and its words are enough to teach the world, which will harm the change of its style" (ibid.). It is also believed that Ouyang Xiu's Collection of Xiang Zhou Zhou and Su Shi's Shi Licang belong to this kind of style. Therefore, we might as well analyze how these two articles "teach from the world" through discussion first. They all use the method of comparison. The story of Zhou Jintang in Xiangzhou compares the honor of "an ordinary man" returning to his hometown with Han Qi's political achievements, aiming at praising the latter's "great achievements". The comparison between "it was difficult for a gentleman to read in the past" and "now scholars have books but don't read them" shows the importance of careful reading. In fact, among the four narrative styles, Xiang Jin Tang's collection is more universal, that is, Zhai Ji and other narrative styles are often used by authors to express their views, such as Fei Ji by Ouyang Xiu, Drunk White and Collection by Su Shi, Zhai Ji by Gentleman by Wang Anshi and Li Sao by Ceng Gong. Song people also realized this phenomenon. After reading Su Shi's Drunken White Hall, Wang Anshi jokingly said, "Although the language is very clever, it is not drunk white hall, but it is the ear of Bai Han's discussion on the advantages and disadvantages" (3). As for the integration of Tibetan secretaries, it is the same as Xueji and Classic, which flourished in the Song Dynasty, because the object of writing itself is related to culture and education, and it is also the proper meaning of the author's discussion.
The "variant" with theory as memory also comes from the writing style that has formed a certain creative mode. For example, the walls of the hall are integrated, originally engraved on the walls of the government offices, recording the names and achievements of officials in previous dynasties. People in the Tang Dynasty basically followed this pattern, and even a little discussion was limited to clarifying the nature and responsibilities of the official position itself. For example, at the beginning of Jie Yuan's article "The Wall of Daozhou Secretariat", it tells the important role that the secretariat should play when the world is "peaceful" or "prosperous". Although Han Yu's "The Story of the Pavilion Wall in Lantian County" is unique in art, its description of the embarrassing situation of Xiancheng delivering documents still focuses on the fact that the official position is weak. However, in Wang Anshi's famous "The Wall of Du Fu's Deputy Official Position", the author's discussion is not only focused on Du Fu's responsibilities in "financial management". This paper discusses the relationship among "wealth", "law" and "official", and points out the significance and serious consequences of "being kind to me and choosing an official to guard it so as to manage the wealth of the world". It can be said that these arguments are the core of the article, but there are very few names of previous officials, just taking a back seat and not very important. It can be seen that Wang Anshi broke through the creative mode of practical writing and wrote an argumentative essay expressing his political views, which might have become a bureaucratic article. Another example is the paintings and calligraphy of the four schools, and "variation" also exists. As usual, this kind of writing focuses on describing the content of calligraphy and painting itself and its relationship with the author of the article, with Han Yu's paintings as the representative. However, Su Shi did not agree with this kind of writing: "The painting book that the servant tasted is similar to A and B, so he did not agree." (4) In some of Su Shi's calligraphy and painting notes, the explanation of painting theory has replaced "A-B narration". For example, The Painting Theory of Pure Cause Academy puts forward that "common sense" is more important than "normal shape" in painting, while "Painting Water" draws the difference between "dead" and "alive" in painting. Because of the author's own incisive views, the painting embodies Su Shi's comprehensive artistic accomplishment, which is inappropriate, but it also has another merit.
When "record" is alienated into "theory", the image of literature may be weakened, but it will also show another style in art, because argumentative essays have literary value and often conquer readers with their rigorous argumentation logic and sharp argumentation language. For example, Ouyang Xiu's Fan Hou Temple Disaster is actually a refutation with unique artistic charm. Thieves of Emperor Zhengdi broke into the temple of Fan Kuai, a general of the Han Dynasty, and dug up his idol. Later, the local farmland was hit by hail, which was thought to be caused by the anger of Fan Houzhu. Ouyang Xiu wrote a composition to solve people's doubts. The article believes that:
It's a danger for Hong Men to join her husband in the rear, which makes her feathers lose their breath. His courage is enough to surpass others. Therefore, later generations said that they were brave and called General Fan. They should be smart, upright and have a legacy. However, a thief can't protect his heart, kidney and intestines when he is in his stomach? Instead of provoking innocent people, what is it? Can you live with ten thousand enemies and die without a bow? Is its spirit not aimed at thieves, but at civilians, so as to shock its eyes and ears? Whether it's windy, rainy or hail, does the sky shake to punish those in power and then insult them?
A few words, but with four rhetorical questions, spilled out in one breath, sweeping, throwing gold to the ground and pointing out the contradiction of "angry" theory layer by layer, which made people suddenly enlightened. No wonder some seniors commented that "distinguishing the wind quickly really wins the military affairs" (5). However, don't forget that the wonderful refutation difficulty that is equally difficult to find in this ordinary argumentative paper is precisely the variation of the style of writing. It can be seen that the part of Song Sijia's style called "On" by Chen Shidao really shows the artistic style that "Zhengti" does not have. They are not only excellent representatives of Wen Song's good arguments, but also illustrate the renewal and development of the "recording" art system.
Judging from the creation of Song Sijia's narrative style, they developed more than one kind of "variation". Ouyang Xiu and Su Shi tried to write some records in allegorical style besides taking "theory" as "record". This is another variant of "self", which is ignored by most theorists. In the Ming Dynasty, Xu Shizeng pointed out in the preface to stylistics that there was a fusion of "subterfuge to hint" in the style of writing, and took Wang Ji's Drunken Hometown in the early Tang Dynasty as an example. In this article, Wang Ji depicts the drunken scene as a charming fairy wonderland, and uses the different relationships between different characters and drunken scene to convey the author's praise and criticism to them, and at the same time outlines the author's social ideal. However, later writers did not develop this writing style and provided more works. It was not until the emergence of Europe and the Soviet Union that the model of taking fables as "records" was inherited and expanded. Su Shi's "Sleeping Country" imitates the writing of "Drunken Country", describing the sleeping country as a carefree realm bordering qi zhou. "Its vast land has no east, west, north and south, and its people are comfortable and comfortable, and there is no disease and pain." The key is that its residents are not disturbed by "seven emotions" and "everything" and have no interests. Therefore, among the kings, only the inaction of the Yellow Emperor and Yao Shun can reach the sleeping country, while those who are busy making contributions, such as Yu, Tang, Zhou Gong, naturally miss sleeping country. Finally, the article talks about Zhuangzi in Butterfly in My Dream, and makes some self-reflection seriously: "Husband, I am young, hardworking and competitive, so I can't come. Is it not pedantic? " Obviously, in this narrative article, the author's virtual "sleeping hometown" is actually the realm of Taoist inaction, in which the author entrusts the Taoist ideal of life. This style of writing in Europe and the Soviet Union is often deeply influenced by Taoism, especially Zhuangzi. For example, Zhuangzi's theory of "talent dies, talent lives" leads to the view that "everything is lucky and unfortunate, depending on where it goes", and his writing also has traces of imitating Zhuangzi. The article Fish Culture is based on the theory that a big fish is rare in a small ditch in Zhuangzi Foreign Things. Combined with the example of boys raising fish, it is lamented that the big fish are "out of place" while the small fish are "self-sufficient" in the "water for welcoming guests". This obviously contains the author's deep dissatisfaction with the status quo of the court villain's success. Compared with Ouyang Xiu, Su Shi's "recording" has more artistic freedom. The story of Miaotang was written because of a dream, and it still played several stories told by Zhuangzi, but it realized a higher realm from the molting and dormancy of pheasants, which confirmed the proposition of "the mysterious is both mysterious and wonderful" in Laozi. Guan Ji fictionalized two characters, namely "Don't worry about Taoist priests" and "Happy children". Their conversation shows that wonderful things are neither considerable nor unspeakable, but ubiquitous. The idea of this article completely imitates Zhuangzi, so that it is confused with the truth. However, its writing is deeply influenced by Buddhist scriptures, and the so-called "transcending the three realms and entering the wisdom gate" is certainly not found in Zhuangzi.
The emergence of Song Sijia's narrative style variants has expanded the established narrative style creation mode since the mid-Tang Dynasty and realized the intercommunication between styles. In fact, Su Shi has personally tried various narrative styles, such as the story of Tang Dynasty written in legendary style, the story written in question-and-answer style of Han Fu, and so on. Some even went into the misunderstanding of word games through "drama is a flowing language" (6). However, no matter what people's attitude towards this variant and how to judge its artistic gains and losses, we have to admit that this part of our works has indeed opened up a new atmosphere and a new world in the field of "collection".
two
The emergence of "variants" of Song Sijia's narrative style shows that a style will constantly develop and change in the process of evolution. But if the final result of the change is that the boundaries between styles disappear completely, then the independence of this style will be lost and it will be destroyed. This is not the case with writing style. The reason why we want to point out "variants" is precisely because there are also "normal bodies" that account for the majority. However, in the Collection, even these "metrical patterns" have shown artistic features different from those of the Tang Dynasty. In a word, they realized the intersection and integration of various literary expressions in their creation.
It is still necessary for us to talk about the style of writing in the middle Tang Dynasty. Yuan Jie's "record" usually introduces and records things first, and then draws a conclusion through metaphor or slight discussion. The author's mind is mainly focused on writing scenery and objects, and the discussion is only natural and related, and he does not deliberately seek novelty or exaltation, such as Mao Ge Collection and Jupu Collection. Some even write landscapes without any discussion, such as You Ji and Han Ting Ji. When Liu and I arrived in North Korea, the style of writing was still mainly narrative and description. Even if it is mixed with discussion, it is mainly based on personal feelings and practical affairs. Taking landscape travel notes as an example, Liu Zongyuan's Eight Chapters of Yongzhou is much more detailed in scenery description than Jie Yuan's stylistic description, and the most wonderful part of the full text is scenery description, which is his main contribution to stylistic description; As for the exposition of "harmony with all things", it comes entirely from the author's real aesthetic experience of mountains and rivers. It is worth noting that in the Song Dynasty, the focus of expression of "Gui" and "Lu" shifted. Xie Fangde of the Southern Song Dynasty said that there must be an indelible sentence in the historical criticism of the Song people (7). In fact, isn't the style of writing written? Because the author wants to organize an "eternal and indelible" truth in his heart into a narrative style, the discussion elements of the article are aggravated, which is bound to have an impact on the narrative and descriptive elements that used to be the main body of the article, forcing various expressions to change and merge with each other. Therefore, judging from the creative situation, "Ji" has actually changed from a simple "chronicle article" to an important style that combines various expressions.
The change of description technique in narrative style is the most remarkable. Originally, the more detailed the description of the scenery in Ji, the better, because the purpose of the author's description of the scenery is not to "make the scenery gloomy" (Liu Zongyuan's "Returning the Mountain to Be a Horse"), but at the end of the article, he mainly expresses his pleasure of "adapting the outside to the inside" (Bai Juyi's "Caotang Collection"). Once the principle of "indelible through the ages" is involved in the writing, the scenery can be refined and can be based on the theme. One of the results of the adjustment is the generalization of the scenery. The author no longer sticks to the specific scenery, but refines and processes his impression of the scenery, and finally writes it with concise pen and ink, such as a scene description in Ouyang Xiu's Zuiweng Pavilion:
If the husband is in the forest at sunrise, the clouds will return to the cave, and the changes will be bright, and sooner or later in the mountains. The wild fragrance is rich, the wood is beautiful and the shade is beautiful, the wind and frost are noble and clean, and the water is clear, and it is also in the mountains at four o'clock.
There are only fifty-three words, which sum up the scenery changes of Chuzhou Mountain from day to year. Among them, the scenery of the four seasons is written in four short sentences, especially famous for its refinement. However, compared with Liu Zongyuan's Eight Chapters of Yongzhou, this description of landscape is too general and too general. Why does the author write this ever-changing scene of nature so succinctly? Because the meaning of drunkenness is not in wine, nor in "the joy of mountains", but in "the joy of people" and the joy of people. Because the author is no longer expressing the pleasure of traveling alone, but a kind of emotion related to society and personnel, he certainly hopes that readers can see his intentions, so it is not appropriate to make more fuss about the scenery to distract readers. And a local official wants to have fun with the people, which is not only related to personnel, but also to politics and religion. In order to express this significant theme, the scenery has to be written in general, but it has to be written lightly, so that these descriptive elements can be integrated into the big theme and become an integral part of the article. The scenery in Fengle Pavilion written by Chuzhou is the same. The description of "elegant shady trees, wind and frost, snow and ice, exquisite carving and lovely scenery in all seasons" is only for "spreading kindness and enjoying the people", because that is the responsibility of secretariat, which is more important than the pleasure of sightseeing. We noticed that Ouyang Xiu's generalization method was to blur time and write the scenery of the four seasons at the same time. Su Shi also used this method, and his "Flying Crane Pavilion" said: "At the turn of spring and summer, there are trees and grass. Autumn, winter, snowy moon, thousands of miles away Between wind and rain, the pitch changes. " The author intends to use the behavior of "letting cranes fly to attract cranes" to illustrate his yearning for "the joy of seclusion", so he has to pass on the past in the real scene. In addition, the method of summarizing scenery is fuzzy space, that is, writing things in all directions. For example, Su Shi's Transcendental Terrace and Xu Lingtai all adopt this technique, which on the one hand conforms to the habit of climbing high and overlooking, on the other hand, it also makes the author not get entangled in the details of the scenery and easily turn his pen to the discussion. Taking the Story of Lingxutai as an example, the author counts the ancient palaces in all directions, and only uses their "helplessness" to write about the ups and downs of everything and the loss of personnel. It can be seen that the simplification and generalization of descriptive elements in narrative texts make it more logical, interwoven with discussion, and better serve the "great truth" that the author wants to tell deliberately.
Of course, this cannot be generalized. Sometimes, according to the needs of the theme of the article, the author also tries his best to describe the scenery in detail, because writing the scenery carefully at this time helps to explain the truth thoroughly. For example, Ceng Gong's Mountain Pavilion uses eight metaphors to vividly describe the "land and water risks" in central Fujian, and the details of the scenery are almost as close as Liu Zongyuan's. But the author only proves that his land is "far away, so he often dares not go" by taking risks, which reflects Cheng Shimeng's great ambition of "forgetting its distance and taking risks, but refusing to think about it from Egypt". Another example is Ouyang Xiu's "The Story from Zhou Xia to Xiting", which describes Jingjiang Waterway as a thrilling spectacle of "leaning back straight, fighting with anger, tying it to turbulence and touching it to spin". Its intention is as Mao Kun made clear: "Try to describe the accident in Shu to show people's happiness." (8) The boatman's "happiness" when he escaped from danger was finally used to show Zhu Qingji's open-minded gentleman's heart that "his wife will worry". Su Shi's description of exploring cliffs at night in The Story of Shi Zhongshan is widely spread, in order to increase the credibility and persuasiveness of the author's conclusion on naming Shi Zhongshan. It can be seen that the scenery in Song Sijia's narrative style, whether simple or complex, is closely related to the truth that the author wants to clarify, and even becomes an integral part of the theme of the article. In this way, the expression techniques of description and discussion are combined.
The combination of lyric, narrative and argumentative is another feature of the narrative style of the four schools. Due to the full involvement of the author's subjective feelings, the narrative and discussion parts are permeated with emotions, which makes the article have a long charm and artistic appeal. For example, Ceng Gong's description of his "wet behind the world" and the difficulty of managing family affairs in The Book of Xuegong is far beyond the general description. Here, the author pours out the feelings that have been suppressed in his chest for many years. For example, if you write that your father died in a foreign land, you will go back to your hometown sadly: "The sky will fall and Texas will cry alone. Thousands of miles away, rushing south is a big deal, a disaster or a worry. " In addition to narrative, the pain of his father's death and his loneliness and helplessness are also vivid on the paper, which is enough to touch the readers' hearts. Ouyang Xiu's "Li Xiucai's Pavilion in the East Garden" is also a writing full of the author's feelings. The author lived in Li Jia's home in Suizhou when he was young, and Dongyuan was the place to play at that time. 19 years later, he revisited his old place and recalled the past. He couldn't help feeling a lot: "what Zhou saw when he was looking for the boy was embraced by evil trees, and the past was embraced by wood flowers." Those who plant grass are clustered, and the best ones are fruitful today. Ask him about his wanderer. He will have a son as big as a boy. Compared with the past, it was seven years ago, but suddenly it seemed like the day before yesterday. I sighed and couldn't go. " This passage is a true account of the present situation, but in the comparison between the past and the present, the author's infinite feelings about the passage of time are permeated. Lyricism and narrative work together seamlessly, achieving artistic effects that cannot be achieved by one expression alone. In this way, the author's subsequent lyricism was targeted, and naturally he said, "Hey! I'm going to Fang Shihuan, but I don't know how many steps I have to jump to get to this pavilion in the south of the city. Fortunately, when I come again, things in Dongyuan will change several times! " Irving's lyrical color is praised by critics, and his narrative style is a model of the combination of narrative and lyricism.
Song Sijia talked about many styles, but the forms of discussion were different, and the most touching thing was the discussion that melted into feelings. Many famous works by Ouyang Xiu, such as Fang Hua Zhai Ji and Xian Shan Ting Ji, have this feature and are widely known. Here, let's take Ceng Gong's "Yanlugong Temple in Fuzhou" as an example. He once praised Yan Zhenqing's noble personality of "worrying about the world without regret", and thought that compared with Yan's death, his behavior of daring to uphold justice and not being afraid of offending court dignitaries was even greater: "Therefore, it is not enough to see the public. What is this? As for poverty, righteousness leads to death. Although people can encourage it, Kuang Gong's self-confidence is also related. Wei Li was so evil that he was shocked. As for July 8, he was not worried about death, life and happiness in the end. People who are not proficient in Taoism can't do this. This is enough to see the greatness of the public. " Obviously, the identification with Yan Zhenqing is permeated with the author's own strong sense of justice. In this case, it is simply a wake-up call for incompetent bureaucrats who "dare not wait and see". Of course, there are many excellent structures in Song Sijia's narrative style, which combine narration, discussion and lyricism. For example, Su Shi's "The Story of Wen and Ke Mi's Ancient Flowers and Colorful Beads" combines painting, friendship and nostalgia. Ouyang Xiu's Portrait of the King was appraised by Mao Kun as "speaking with narrative lines makes him sentimental" (.
Song Sijia's style is a combination of description, discussion and lyricism, which are organized into a whole according to the needs of the theme of the article. In this process, each expression itself has been adjusted accordingly. They influenced and infiltrated each other, which made the style of writing of the four schools different from that of the Tang Dynasty.
three
From the above discussion, we can see that the emergence of Song Sijia's narrative style variants and the integration of various forms of expression in the narrative style reflect the high expectations and requirements of the Song people for the theme of the article. In narrative style, the author is no longer satisfied with merely describing and describing the face and situation of recorded things objectively, but wants to try his best to seek and show a great significance related to personnel, especially political education, or to reveal a universal law related to all success or failure. This desire objectively promoted the artistic development of Song Sijia's writing style. The interference of allusions and textual research on the style of writing can also be explained by this. The use of allusions and textual research in writing style is a feature neglected by critics in Song Dynasty prose.
The use of allusions in Song poetry has been concluded by the world. Literature in Song Dynasty used allusions, but few critics involved them. Song Sijia likes to use allusions in his writing style. Of course, the allusions mentioned here only refer to events. Because it is normal to quote the words of the ancients in an article (that is, "dictionary"), which is different from poetry. At the same time, it should be noted that the ancient events cited by the author in the process of argumentation can only be used as factual arguments and cannot be confused with allusions in the article.
It is sometimes common to record content in stylistic articles. For example, in the construction of a project, there are not many new things to record, and it is difficult to dig out any profound truth from it, except "the date of the year, the cost and the name of the chief assistant" (10). Song Sijia can't satisfy this situation, so they use allusions to illustrate the great significance behind ordinary buildings. Ouyang Xiu's Sizhou Spring Pavilion is a typical example. The article is about Zhang Houshou's government, which first built dikes to prevent the Huaihe River from flooding, and then built Cao Ting and Xianchun Pavilion for boatmen to entertain themselves. Therefore, the author thinks that "it is not good for him to see his blasphemy;" When you visit the museum, you will know that you will die. " The political significance of "building a castle road and staying in a hotel" is explained from the opposite side, and the conclusion that Zhang Hou is "good at politics" is drawn. It is the allusion that combines the far-reaching theme that the author remembers with what he wants to express, which suddenly improves the conception of the full text. Wang Anshi's "The Story of Guizhou New Town" quoted the allusions of Zhou Wenwang and Xuanwangpai ministers Nan Zhong and Zhong Shan who just built the city, saying that building the city is a great cause with infinite merits related to national security. Similarly, Ceng Gong's Ying Zhou Xing Zao Ji describes the reconstruction of Ying Zhou after the earthquake, which is beneficial to the people. However, the author insists on quoting the stories of Zheng Guo's son and Wei Wengong's post-disaster reconstruction in the Spring and Autumn Period to emphasize that Yingzhou's construction conforms to the ancient system. This shows how strong the demand for high-end products in Ceng Gong is. Su Shi's "Xi Yu Ting Ji" said that "the Duke of Zhou seized grain, named his book, and Hanwu seized the tripod and named his year; Sun Shu named his son ",which also shows that the author sought the historical basis for his pavilion name" Xiyu ",and explained the value of this behavior from the historical facts. It can be seen that allusions are an important artistic means for Song Sijia to improve his concept of writing style. On quite a few occasions, the author can only deduce an extraordinary truth from ordinary things through allusions.
Song Sijia is also good at giving different explanations to allusions according to the needs of writing style and conception. Ouyang Xiu's "Fairy Mountain Pavilion" and Su Shi's "Inscription of Tongguan Pavilion in Mizhou" both mentioned the allusion that yang hu climbed the Fairy Mountain in the Western Jin Dynasty and was sad that his name could not be spread all over the mountain, but their explanations were different. Ouyang Xiu's original intention is to hope that Xiangyang Magistrate's Clock Club will not pursue fame and gain from generation to generation, so he raised such a question about yang hu's behavior: "Are you all complacent about your name and worry too much?" Will those who treat themselves be kind, and those who think will be far away? "Su Shi was invited by Zhao Zhi, the judge of Mizhou, to write a composition, and the other party clearly expressed the wish that" my son will not die ",so the article did not object to yang hu's behavior. It's just that the author feels that he is "stubborn, self-indulgent, and he is old", which is not enough to leave a name for later generations, and where can he help others? In fact, Su Shi wrote essays with allusions, pinning his thoughts on subtleties. Sometimes, the author even mixes different allusions to get the novelty of the discussion. For example, Su Shi's article "Let the Crane Pavilion Remember" is based on such allusions to reflect the author's yearning for "the joy of seclusion". After declaring that it is "beneficial and harmless" for hermits to play with cranes, Su Shi said:
However, Wei Yigong died in a crane. Duke Zhou wrote about wine, and Duke Wu of Wei wrote about restraint, thinking that there were no drinkers in famine and chaos, while Liu Ling and Ruan Ji were famous for their frankness. Although my husband, Nanwang, Qingyuan is as idle as a crane, he is still not good, and good will destroy his country. People who live in seclusion in the deep mountains, although confused and defeated like wine, are not shallow, but their situation is worse than that of cranes. From its point of view, it is different from the same day.
In this passage, the author combines the allusion that emperors die with cranes and hermits drink with wine. "Confusion" is more harmful than "crane". A monarch who likes little harm will bring disaster to the country, and a hermit who likes big harm can preserve his nature and make a name for himself. Following this line of thought, who do you think is happier, the South King or the Hermit, who is more free? Smart readers should have realized the true meaning of this article from the allusions about "wine" and "crane" before the author comes to the point.
In addition to using allusions, Song Sijia's style writing also uses textual research techniques. Textual research is originally a research method, aiming at solving an academic problem. It seems incredible to use it in prose creation. In fact, because there are many kinds of things recorded in the style of writing, it is natural for the author to find out the ins and outs before commenting on things. Therefore, in some articles, in order to reveal the theme or make the argument strong, the author has to use textual research. In addition, Song people are well-read and eager to learn. Textual research has become the best way for them to show their knowledge, and it also reflects their skeptical spirit of not sticking to the old theory. Textual research has therefore become a unique artistic technique of memory style. Looking through the collected works of four schools, we can find that there are many textual researches on narrative style, including historical facts, geography, canon system, famous things and so on. The portrait of Wang in Ouyang Xiu's Wang Jiazhuan reveals the lack of official history, such as the surprise victory in Desheng World War I, the fact that he unexpectedly returned to Beijing, and the tragic situation of being outnumbered. These textual researches have proved Wang's loyalty and bravery, thus making the author's praise more powerful. Another example is Ouyang Xiu's Lingxi Stone and Su Shi's Shi Zhongshan.