Qin Guan (1049-1100), named Shaoyou and Taixu, also known as Huaihai Jushi, was a native of Gaoyou, Yangzhou (now part of Jiangsu). He was a poet in the Northern Song Dynasty and one of the "Four Scholars of Sumen".
Qin Guan (1049-1100), also known as Shaoyou and Taixu, was born in Gaoyou, Jiangsu Province. Also known as Hangou Jushi, scholars call him Huaihai Jushi. A writer and poet of the Northern Song Dynasty, he was respected as the first generation of Ci of the Wanyue School. Emperor Shenzong of the Song Dynasty became a Jinshi in the eighth year of Yuanfeng (1085). Representative works: "Magpie Bridge Immortal", "Huaihai Collection", "Huaihai layman's long and short sentences".
He once served as a doctor of Taixue (that is, an instructor at a national university), secretary of the provincial government, and editor of the Academy of National History. Politically, he leaned towards the old party. During Zhezong's time, the "new party" was in power. He was demoted to supervise the state wine tax. He moved to Chenzhou, where he was in charge of Hengzhou, and then to Leizhou, where he died in Tengzhou. Together with Huang Tingjian, Chao Buzhi and Zhang Lei, he was known as the "Four Scholars of the Su School" and was highly appreciated by Su Shi. Qin Guan was bold and free-spirited by nature, and his words overflowed with emotion. He lost his father at the age of fifteen and studied classics, history and military books since he was a child.
He became a Jinshi in the eighth year of Yuanfeng Shenzong (1085), and was initially appointed as the administrator of Dinghai and professor of Caizhou. At the beginning of the Yuan Dynasty (1086), Su Shi recommended him as secretary of provincial Zhengzi and editor of the Academy of National History, where he pre-edited "Records of Shenzong".
Shao Shengchu (1094), took the Yuanyou party membership and served as the general magistrate of Hangzhou. He was also demoted to Chuzhou, Chenzhou, Hengzhou, Leizhou and other places. After Huizong ascended the throne, Qin Guan was appointed Fu Xuandelang, and later died in Tengzhou on his way back to the north.
In the eleventh year of Xining (1078), he wrote "Ode to Huanglou". Su Shi praised him as "having the talents of Qu and Song Dynasty".
After Qin Guan compiled ten volumes of poetry and essays in the seventh year of Yuanfeng (1084), Su Shi wrote a book for it and recommended it to Wang Anshi. Wang Anshi said that he "has the influence of Bao and Xie Qingxin". Because Qin Guan repeatedly received guidance from famous teachers, often competed with his colleagues, and was gifted with talents, his literary achievements were impressive. At the age of 20, he wrote "Fushanyan Ode". At the age of 24, he wrote "Ride Alone to See a Capture", which is highly regarded by the world.
Biography
Qin Guan (1049-1100), whose name was Taixu in his early years and later changed to Shaoyou, also known as Hangou Jushi and Huaihai Jushi, was a native of Gaoyou City, Jiangsu Province. When he was young, he was smart, well-read, and ambitious. He traveled around Huzhou, Hangzhou, and Runzhou (now Zhenjiang).
Qin Guan lived a rough life, and the poems he wrote are ancient and heavy, reflecting his life experience and deeply touching. Su Shi passed through Yangzhou and visited Qin Guan in person. It happened that Sun Jue and Wang Gong were also in Gaoyou, so they made an appointment to visit Dongyue Temple, where they drank wine, recited poems and composed poems, which became a good story.
Personal works
Qin Guan is an important writer in the literary history of the Northern Song Dynasty. However, among all the existing works of Qin Guan, there are only three volumes with more than 100 poems, while there are ten poems. There are more than 430 poems in four volumes, and more than 250 articles in thirty volumes. The combined length of poems and essays is many times longer than that of words.
Words: "Looking at the Sea Tide", "Qinyuanchun", "Water Dragon Song", "Eight-Sixth Son", "Merry Man", "Dream of Yangzhou", "Flowers in the Rain", "A Cluster of Flowers", "Slow Drum and Flute" ”, “Promoting Photography of Flowers on the Road”, “Sauvignon Blanc”, “Many Gardens of Fragrance”, “Jiangchengzi”, “Many Gardens of Flowers”, “Magpie Bridge Immortal”, “Welcome to Spring”, “Bodhisattva Man”, “Magnolia” ", "A Thousand Years Old", "Traveling on the Sand", "Butterflies in Love with Flowers", "Yi Luo Suo", "The Ugly Slave", "Nanxiangzi", "Drunken Peach Garden", "The Legend of the River", "Huanxi Sand" , "Like a Dream", "Ruan Lang Returns", "Man Ting Fang", "Memories of Old Friends in Taoyuan", "Cixiao Ling", "Poppy Beauty", "Dian Red Lips", "Pin Ling", "Nan Gezi" ", "Linjiang Immortal", "Good things are coming soon", "Jade House Spring", "Nanxiangzi", "Linjiang Immortal", "The Proud Fisherman", "Xingxiangzi", "Jiangchengzi", "He Manzi", "Recalling Qin'e", "Wind into the Pine", "Man Jiang Hong", "Bi Hibiscus", "Nian Nujiao", "Man Ting Fang", "Jie Yuhua", "Jade Candle", "Water Dragon Song", "Stone "Zhou Man", "Xi Migrant Orioles", "Merry Son", "Qinyuan", "Touching Fish", "Lanling King" [1]
Poetry: "Gift to the Female Crown Changshi" "Autumn Day", "Enjoying the Coolness", "Spring Day", "Two Poems of Ciyun, the Grand Administrator Xiang Gong Climbing the Tower and Looking Over the Tower", "Evening View of the East City of Sizhou", "Evening View of Jinshan"
Article: "A Speech on Return with Tao Yuanming" " "Inscriptions on Longjing", "A Journey to Longjing", and "Jingqi Collection (Preface)"
Collection: Volume 17 of Chen Zhensun's "Zhizhai Shulu Jiejie" contains 40 volumes of "Huaihai Collection" and "Post Collection" 6 volumes, 3 volumes of "Long and Short Sentences"; Volume 21 contains 1 volume of "Huaihai Ci". "Huaihai Collection" has the Yingming version of "Four Parts Series" and the "Four Parts Preparatory Notes" version. The "Huaihai Ci" version of "Baijia Ci" engraved in Changsha of the Southern Song Dynasty is no longer visible. Today there is one volume of "Huaihai Ci", which is included in the publication of "Sixty Famous Ci of Song Dynasty". There are also three volumes of "Huaihai Jushi Long and Short Sentences", including the Yingming version of "Sibu Congkan", Zhu Zumou's "Xiangcun Series", the Song version photocopied by Peking Library, the Song version copied by Ye Gongchuo, and the "Sumen Four Scholars" edited by Long Yusheng "Ci" book.
Literary characteristics
Ciography
Qin Guan shows a unique aesthetic realm in the artistic expression of graceful and sentimental lyrics.
First of all, in terms of artistic conception creation, Qin Guan's lyrics are good at describing the quiet and lonely natural scenery, expressing the resentment and helplessness of the immigrant poets, and creating a bleak and solemn "state of self".
The representative work is "Traveling on the Shasha" written when he was demoted to Chenzhou:
The tower is lost in the fog, the moon is lost in the river, and the Taoyuan is nowhere to be found.
It is worth noting that the lonely pavilion is closed in the cold spring, and the setting sun is setting in the sound of cuckoos.
The plum blossoms are sent by mail, and the ruler is passed down by fish. There are countless ways to build up this hatred.
The Chenjiang River fortunately circles Chenshan Mountain, but for whom does it flow down to Xiaoxiang?
This poem deeply expresses the poet's sadness of being exiled, having a bleak future, being lonely, and missing his hometown. Especially the last two sentences, which are set in context, painfully express the helplessness and grief of being far away from the imperial court and banished to the end of the world. After Qin Guan died of illness, Su Shi specially wrote these two lines of poetry on a fan, and wrote: "I have traveled so little, how can I redeem myself even if I have ten thousand people!"
Secondly, in terms of grammatical structure, Qin Guan was influenced by Liu Yong and created a large number of slow poems. However, he can bring the implicit and meticulous charm of the poems into the long tone of the slow poems, thus making up for the shortcomings of Liu Yong's eloquent writing, which is superficial and monotonous.
For example, "Looking at the Tide":
The plum blossoms are sparse, the ice is melting, and the east wind is changing the years.
Wandering in the golden valley, walking in the alleys of bronze camels, walking on the smooth sand in the new clear weather.
Chang Ji accidentally followed the car. The butterflies are dancing in the catkins, full of sweet thoughts.
The peach branches are under the willows, and the beauty of spring comes to everyone at random.
Drinking and singing bamboo sticks at night in the West Garden. There are bright lanterns that block the moon, and flying canopies that block the flowers.
Lanyuan is not empty yet, the pedestrians are getting older, and it will be a shame to start again.
The smoke and wine are rising. But leaning against my arms and looking far ahead, I saw crows roosting from time to time.
I have no choice but to return to my heart, secretly following the flowing water to the end of the world.
Thirdly, in terms of the use of calligraphy, Qin Guan’s poems have the characteristics of implicitness and elegance. They use images to pursue the exquisiteness and beauty of the images, and depict natural scenery, mostly flying swallows, jackdaws, and weeping poplars. , fragrant grass, setting sun, waning moon, distant villages, Yanzhu, etc.; imitation of architectural objects include post pavilions, solitary pavilions, painted screens, silver candles and the like. He used soft and graceful brushwork to elaborate and modify the words in his poems, and used exquisite and concise diction to convey a melancholy and hazy artistic conception.
Just as Zhao Zunyue commented on the wonderful use of words in Qin Guan's Ci in the volume of "Ci Ci Cong Hua": "Huaihai is a beautiful word, which is dazzling to the eye, such as 'in the east wind, the red doors reflect the willows, low press "Xiao Qin Zheng", one word "ying", one word "low press", and one word "small", has driven the quality to be sparse and beautiful, and people can see its grace."
Poetry
< p>Qin Guan's poems and essays are also one of the great poets in the Northern Song Dynasty. Hu Yinglin of the Ming Dynasty wrote in the fifth volume of "Shisou Zabian": "Qin Guan considered himself to be a poet at that time. Now he is promoted by the Yuefu family to be the commander of the canal, and he is rarely known in the world." From the Song Dynasty blockbuster, the collection of "Huaihai Collection" before and after* There are forty-nine volumes, of which only three are poems. The rest are one volume of poems, fourteen volumes of poems, and one volume of elegies ("the above are rhymes"). The text is the most numerous, with thirty volumes.Qin Guan's poetry has deep emotions, far-reaching artistic conception and unique style, which makes him unique in the poetry world of the Song Dynasty. The most outstanding essays are political commentaries, philosophical essays, travel notes, and short essays. His policy papers are sharp in writing, thorough in reasoning, referencing the past and present, and are persuasive and infectious.
The third type of poems written by Qin Guan in certain specific environmental situations, such as "Huaihai Qinlang and the world's scholars, embrace all kinds of worries throughout their lives", such as recalling the past and relocation, have made It turns out that the traditional values ??of drinking, entertainment and singing along to the beat have been relegated to a secondary or even irrelevant behind-the-scenes position.
On the other hand, he was ordered to shoulder the emotional function of poetry in classical poetic theory, and thus became a specific materialized form of the self-subject mentality and mood, so as to satisfy his lamentation about the tragedy of fate and catharsis. The realistic spiritual needs of life's worries.
Yuan Haowen commented on Qin Guan's poems as "girl poems", and there were many misunderstandings in later generations. However, there are more than 400 poems by Qin Guan in existence, among which only a few are truly "girl poems". Accounting for a quarter of the total number of works
Policy Theory
Qin Shaoyou is an important writer in the literary history of the Northern Song Dynasty. However, for a long time, people have always been accustomed to talking about Qin Shaoyou. He is associated with graceful words, but his poems are rarely mentioned, and his essays are even less discussed. In fact, among all the extant works of Qin Shaoyou, there are more than 100 poems in three volumes, more than 430 poems in 14 volumes, and more than 250 articles in 30 volumes. The combined length of poems and essays far exceeds the number of poems. . Of course, when commenting on a writer's artistic achievements, we cannot only look at the quantity of works without looking at the quality. Although some writers only have one (piece) work in existence, their influence is huge and their status in literary history is unshakable. Nonetheless, in order to evaluate Qin Shaoyou's contribution and status in literary history historically and objectively, if we only discuss his lyrics and ignore his poems and prose, especially his strategies, it will not only be biased, but also fail to give a complete evaluation. Qin Shaoyou. Qin Shaoyou's policies are lofty in their arguments, thorough in reasoning, strict in organization, and sharp in writing. They have a unique artistic tension, "the words are elegant and ancient, and the things are well prepared but high in meaning."
Close to reality, not empty talk
Qin Shaoyou has 50 policy essays, including 30 advanced policies and 20 advanced essays. A careful analysis of the content of these policy papers shows that most of these articles were closely related to the social reality at that time and were less empty talk by scholars. On the one hand, this is related to the requirements of the academic writing at that time, and on the other hand, it is also related to the encouragement and guidance of his master Su Dongpo. Su Dongpo was one of the Eight Great Masters of the Tang and Song Dynasties, and his prose writing achievements were quite high. His encouragement and advice were of course based on experience.
Quoting the past to prove the present, and reasoning thoroughly
Policy theory is a unique literary style in ancient times, equivalent to modern political essays. It is the opinions and opinions on state affairs and government affairs proposed by ministers to the king. suggestion. It is mainly intended to be read by emperors, so the writing should not be long and general. The length should be short, the arguments should be clear, the arguments should be sufficient, and the reasoning should be thorough. We should not only pay attention to discussing one thing at a time, explaining things in simple terms, but also pay attention to speaking in a reasonable, well-founded and orderly manner. Looking at the policies written by Qin Shaoyou, we basically meet the above requirements, especially in terms of citing the past to prove the present and making thorough reasoning.
Tight structure and orderly organization
In the fourth year of Xining, Song Shenzong adopted Wang Anshi’s suggestion and reformed the imperial examination law. Discuss strategies and test scholars." In order to be selected, Qin Shaoyou put a lot of effort into the writing of policy theory, and he even paid more attention to the writing of policy theory than poetry. He once said, "There is no need to write a good article when writing a poem. It only relies on intelligence and skill. If it is an essay, it cannot be the same as Japanese." Because of this, Qin Shaoyou pays great attention to the layout of his essays, no matter how long or short they are. Pay attention to changes in structure and organization.
Presentation and parallelism are full of vitality
The prose of hundreds of scholars in the pre-Qin Dynasty and the prose of the eight great masters of the Tang and Song Dynasties mostly paid attention to the use of "whole sentences" to develop and parallelize, making people read I felt a surge of momentum coming towards my face, which was very shocking. In the process of reading a large number of classic prose, Qin Shaoyou had a deep understanding of how to use arrangement and parallelism in prose. In addition, when he was a teenager, he also wrote "Fushanyan Fu", "Huanglou Fu", "Tangquan Fu", "Guo Ziyi Riding Alone to Meet the Captives" and " "He Yuanming's Return" and so on, especially the "Huang Lou Fu" written to commemorate Su Dongpo's success in fighting floods in Xuzhou, was highly appreciated by Su Dongpo, who believed that this poem "is a mixture of modern and ancient poems, with Qu Song's gestures in it" ". He applied the familiar layout and comparison used in the poem to the policy analysis, which made the article more vivid and complete.
To sum up, Qin Guan's policy style can be summed up in one sentence: "The rhetoric is elegant but ancient, the things are well prepared but the intention is high".
In fact, the evaluation of Qin Shaoyou's policy theory is very high, both in ancient and modern times. "Neng Gai Zhai Man Lu" written by Wu Zeng in the Song Dynasty: "...as for the argumentative words, today they are given to Shaoyou, Chao, Zhang, and Wuji...". Su Dongpo's "Notes on Bian Jia Yi Playing and Treating Crimes": "Qin Guan studied literature from his ministers since he was young. His words are brilliant and his discussions are sharp. His ministers really love and respect him." Liang Zhangran of the Qing Dynasty's "Mulida Xinhua": " ... Shaoyou's literary works of the Western Han Dynasty were very hard-working and not very subtle, but compared to Dongpo, he looked at the ocean and sighed, but he was also in a class of his own. "Zhu Dongrun, a famous modern scholar, said: "I give it to Shaoyou. I especially like to read the thirty chapters of Jin Ce, and see what I have learned from the source of Dongbo. I have learned a lot about elections and military affairs, and they are not secular words."
< p>Anecdotes and allusionsBeing demoted to Leizhou
Writing poems in dreams
Qin Guan was under the Haikang Palace Pavilion in Leizhou and dreamed of the goddess holding a painting of Vimalakirti. He was asked to write a praise for the portrait. Qin Guan believed in Buddhism, so he wrote: "Zhu Yi Hua Meng, the miasma face imprisoned the head. Although the mouth did not speak, it was very much like the nine. It is better to strive for the wonderful joy like the Tao family when the shadow of laughter covers thousands of people and roars like a lion. Hand." After waking up, I recorded this passage. Huihong, a monk from the Song Dynasty, said in "Leng Zhai Night Talk" that he personally saw this calligraphy from the monk Jie Chan at Tianning Temple, which was Qin Guan's handwriting. "Song Bai Lei Chao" compiled by Pan Yongyin of the Qing Dynasty also mentioned that the original work was in Tianning Temple in Leizhou.
Later Influence
Qin Guan’s sentimental lyrics formed a lyrical paradigm with great influence in the history of poetry. Before him, Yan Shu and Ouyang Xiu wrote the elegant poems of famous ministers with their polished pens; Yan Jidao wrote the sentimental poems of the declining princes with an ethereal and leisurely pen; Liu Qilang's flavor was shallow and vulgar; Su Dongpo's poems were bold and uninhibited They are not "true" or "proper", and they cannot be understood and accepted by the majority of scribes. The emergence of Qin Guan has become a common subject for people to learn from. He was born in the lower class, suffered heavy blows in the officialdom, and was repeatedly demoted. This is almost the epitome of the tragic fate of many lower-class scribes in feudal society. Qin Guan, with his graceful and poignant excellent lyrics, conveys the sorrow shared by most scribes, and has therefore been widely praised and praised.
In the process of the evolution of Ci style, Qin Guan made outstanding contributions. Qin Guan and Liu Yong wrote slow Ci poems, but were ridiculed by their teacher Su Shi. Based on Liu Yong's method of writing poems, Qin Guan and Liu Yong did more research and refinement, making the creation of slow Ci poems more mature. "Summary of the Complete Bibliography of Sikuquan" also states that Qin Ci "has both emotional and rhyme qualities, surpassing those of Su and Huang". Qin Guan's composition and syntax are relatively sparse, but his calligraphy is particularly elegant and refined. When this kind of effort developed to Zhou Bangyan, he paid more attention to the carving and outlining of compositions, the delicate combination of images, and the extensive use of previous poems. The slow-ci writing system became more complete, the techniques became more complex, and it became more and more intense. The color of literati and craftsmanship. This also guided Song Ci's transformation from natural beauty to artificial beauty. Such technological progress also eliminated the inherent vitality of the lyrics. Qin Guan uses clear and smooth compositions to connect exquisite and elegant words and sentences, making the words and sentences more elegant than Liu Yong, but not as obscure and difficult to understand as Zhou Bangyan's. Instead, he integrates skills without showing off his skills, which is appropriate. , just the right beauty, has been universally loved by the majority of appreciators, and has achieved a prominent position in the history of Ci. The first volume of Li Tiaoyuan's "Yucun Ci Hua" even praised him as "the first poet of the Song Dynasty".