Liu Zongyuan (773～819) was a writer and philosopher in the Tang Dynasty. The character is thick. A native of Hedong (now Yongji, Shanxi). It is known as Liuhedong in the world. Because he died as the governor of Liuzhou, he was also known as Liuzhou. Together with Han Yu, he was an advocate of the ancient prose movement in the Tang Dynasty.
Life Liu Zongyuan’s life experience roughly has three stages:
The first stage is the adolescent period. Liu Zongyuan's father had settled in Chang'an (today's Xi'an, Shaanxi), with a farm and a house and many books. His father, Liu Zhen, served as an official to serve on the imperial censor, guarding the right and guarding against evil. Liu Zongyuan was educated by his mother, Lu, since he was a child. He could read 14 ancient poems at the age of 4. When I was young, I went to Anhui, Hubei, Jiangxi, Hunan and other places with my father. When he was 13 years old, he wrote "For Cui Zhongcheng He Ping Li Huaiguang Biao", which has already gained a "wonderful reputation". However, he wrote in his early years mainly to prepare for the Jinshi examination, so he "used words as his work" and "picked up the color and praised the voice" as his ability ("Reply to Wei Zhongli on the Master's Book of Taoism"). He also once claimed: "The first servant's ambition is to learn, he is very self-respecting, and he admires the great and promising people in the past." ("Reply to Gongshi Yuan Gongjin's Letter on Official Advancement") It can be seen that he has great ambitions.
The second stage is the period of being an official in the government. In the ninth year of Zhenyuan (793), he became a Jinshi. In the 14th year, he entered the Bo Xue Hong Ci Department. Granted the official title of Jixian Hall. He was once transferred to Lantian County Lieutenant. Soon after, he returned to the imperial court and was appointed as the censor Li Xing. He was the same official as Han Yu and Liu Yuxi. Together with Liu Yuxi, he joined Wang Shuwen's political group that advocated reform. In the first month of the 21st year of Zhenyuan, Shunzong came to the throne and Wang Shuwen's group came to power. Liu Zongyuan was promoted to wailang, a member of the Ministry of Rites. He collaborated with Wang Shuwen and others to implement a series of progressive measures within six months, which were opposed by eunuchs, vassal towns, and conservative bureaucrats. . In August of the same year, Shunzong was forced to give way to the crown prince Li Chun, known as Xianzong, and changed his name to Yongzhen. In September, the Wang Shuwen Group was persecuted. Liu Zong was demoted to the governor of Shaozhou in the early Yuan Dynasty, and in November he was demoted to the Sima of Yongzhou (now Lingling, Hunan). Liu Yuxi, Wei Zhiyi, Han Tai, Chen Jian, Han Ye, Ling Zhun, and Cheng Yi were also demoted to Yuanzhou Sima at the same time, known as the "Eight Sima" in history.
The third stage is the period of being demoted to Yuanzhou. In the winter of the first year of Yongzhen, Liu Zongyuan arrived at Yongzhou where he was demoted. During his nine years in Yongzhou, I had the opportunity to deeply understand the sufferings of the people, visit the scenic spots of the state, and write many famous poems. "Eight Records of Yongzhou", "Three Commandments", "The Anecdotes of Duan Taiwei", "Zhenfu", "Fei Guoyu", "Tian Shuo", "Tian Dui", "Snake Catcher Said", etc. are all from this time made. In the spring of the tenth year of Yuanhe (815), he was summoned to the capital. In March, he went out to serve as the governor of Liuzhou (now part of Guangxi). When I arrived at my post in June, my official position was slightly promoted, but my location was even more remote. Here he promoted advantages and eliminated disadvantages, renovated the state's appearance, developed production, built schools, freed slaves, and made outstanding achievements. He died of illness in November of the 14th year of Yuanhe. Local residents mourned him and built a temple in Luochi to commemorate him. There is also the tomb of Liu Zongyuan in Liuhou Park in Liuzhou City. Although he was demoted to Yong and Liuzhou, he was frustrated politically, but he made great achievements in literature. Many people in the south turned to him for academic advice, which expanded his influence in the literary world.
Literary ideas Liu Zongyuan’s literary ideas are closely related to his philosophical and political thoughts. His philosophical thoughts inherited the tradition of Wang Chong's natural theory of vitality and enriched it with the scientific knowledge of astronomy and geography at that time, and had a simple materialist component. In his works such as "Tian Shuo", "Tian Dui", "Fei Guoyu", "Duan Xing Lun" and other works, he believed that the universe is infinite, the origin of the universe is "vital energy", and there is no god of creation; the material world Changes are due to the movement of yin and yang. There is no reward or punishment relationship between human affairs, misfortunes, social chaos and objective natural phenomena. His political thought is mainly reflected in the progressive social and historical view that emphasizes "potential". In "On Feudalism", he believed that the county system was better than the feudal vassal system because it conformed to the inevitable trend of historical development. He affirmed the system of counties and counties, mainly to oppose hereditary privileges, oppose the separatist rule of vassal towns, and maintain the unity of the feudal country. He also opposed eunuchs' interference in government in "Jin Wen Gong Wen Shou Yuan Yi"; in "Preface to the Poems of Fan Ming Mansion in the State of Ning" and "Preface to the Poems of the Sending of Xue Cunyi", he proposed that officials should "serve the people instead of serving the people". "Serving the people"; in "Xingzhou Jiangyun Ji" and "Fei Guoyu No Borrowing", he advocated paying attention to agricultural warfare. These progressive ideas all have practical significance. However, the Tang Dynasty was an era when Buddhist philosophy was rampant. Liu Zongyuan claimed that he had "loved Buddhism since he was a child and has been pursuing his path for thirty years." It is very close to "Nirvana". If the world's scholars want to enter from this, it will be contrary to the scriptures." ("Song Chen Master's Preface to the South"). When he was politically frustrated, he went further to seek spiritual relief from Buddhism. The collection of works related to Buddhism, such as steles, inscriptions, notes, prefaces, and poems, occupies a certain proportion. They all touch on the popular theories of Zen, Tiantai, and Vinaya in the Tang Dynasty, and agree with the idealist stance of Buddhism. Although he also believed that "a man with no husband and wife, no father and son, not a farmer and sericulture, but a human being, if so, I would not be happy" ("The Preface to Sending Senghao"), but he opposed the creation of an alliance like Han Yu's Buddhism believes that it is "angering the outside and leaving it behind; it is knowing the stone but not knowing the jade" (ibid.). He said, "What I have taken is consistent with the "Yi" and "The Analects of Confucius". Even if the saint is resurrected, it cannot be obtained and rejected" (ibid.). What he opposed was only those monks who "remove filial piety in order to achieve greatness, and leave affection in order to value the emptiness" ("Song Yuan Shi Preface"). He looked at the "law" of Buddhism from the perspective of "Confucianism established benevolence and righteousness based on etiquette", saying "Confucianism is based on etiquette, and enlightenment is promoted by law" ("Monument of Monk Lu at Daming Temple in Nanyue"). This weakened the materialistic element of his thinking.
Liu Zongyuan’s philosophy and political thoughts also affected his literary ideas. In terms of prose theory, first, he and Han Yu advocated ancient prose at the same time, both attached great importance to the content of prose, emphasized the primary and secondary relationship between Tao and prose, and advocated that "the writer should understand the Tao" ("Reply to Wei Zhongli on Master Taoism"). But as for the content of "Tao", it is different from Han Yu who only talks about benevolence and righteousness. He believes that "the Tao reaches only the objects" ("Replying Cui An's Scholars as Documents"), "the facts of the intention to do are to supplement the time and objects as the Tao" ("Reply to Wu Wuling on Fei Guoyu Shu") , "Taking life to the people (people) as one's own duty", "Taking uncle (hegemony) to help the world", "Every gentleman is the way, and there is no one who thinks it is great" ("The Second Book with Yang Jizhi"). "Tao" should make the country strong and beneficial to people's lives, and should be practical and practical. Starting from this, he attached great importance to the social function of literature and advocated that literature must be "beneficial to the world" ("Reading the Postscript of Han Yu's Biography of Mao Ying"), "The purpose of literature is to praise and criticize, and to promote satire" ("Yang") "Afterword to the Collected Works of Commentary"), emphasizing the role that works play in reality. Second, he also attaches great importance to the role of art form. On the one hand, he opposed works whose content was not in line with Taoism and one-sided pursuit of beautiful form. He said, "In this world, people are cautious about writing because of their noble speech, their work is regarded as workmanship, and their ability is regarded as sophisticated. This is nothing more than nothing else" ("Reporting Cui An's Scholarship" "Documents"), "When I write a book, I strive to be rich in literary talent, regardless of the facts, and use it to benefit by false accusations, exaggerate it with exaggeration, use it to lure the younger generation, and finally use it to rectify it. This is like using literary brocade to cover a trap. "Also" ("Reply to Wu Wuling on Fei Guoyu Books"); on the other hand, he also criticized the tendency to ignore artistic forms, saying that "words without writing lead to mud" ("Reply to Wu Wuling on Fei Guoyu Books"), "Although his words are crude enough to be useful, he lacks literary talent and cannot be listened to when the song is moving. He can boast about his later learning and decay after establishing his words. A gentleman cannot help himself" ("Preface to the Collected Works of Yang Pingshi"). Good content must be supplemented by good form and have artistic appeal to be a perfect work. Third, he believed that writing must be done with a serious attitude and should not be "careless", "lazy", "faint" or "pretentious" in order to avoid "plagiarism", "chip" and "miscellaneousness" in the article. ", "arrogance" and other shortcomings ("Reply to Wei Zhongli's Essay on Teacher Taoism"). He emphasized that "most literature is based on behavior, with sincerity among it" ("Report to Yuan Jun and Chen Xiucai's Famous Letters for Avoiding Teachers"), pointing out the importance of moral cultivation of writers. Fourth, he admired the writings of the pre-Qin and Han Dynasties, and proposed to learn from Confucian classics, "Zhuangzi", "Laozi", "Li Sao", "Historical Records", etc., and use them for my own use ("Reply to Wei Zhongli") "Book of Taoism"), while at the same time not falling into the trap of "glorifying the past and overpowering the present" ("Discussing Documents with Friends"). In terms of poetry theory, he inherited the tradition of poetry theory in which Liu Xie advocated "Bixing" and Chen Zi'ang advocated "Xing Ji", and was consistent with the views on allegorical poetry in Bai Juyi's "Yi Yuan Jiu Shu" at the same time. He said: "The introduction of allegorical edicts is based on comparison with others" ("Preface to the Collected Works of Yang Pingshi"), "The works that I sent when I was sick and inspired have been in the world, and the words have branches and leaves, and they are blown into the wind, and they are useful." "Gracefully" ("Reply to Gong Shi Shen Qi Shu"). At the same time, he accepted Sima Qian's statement: "The three hundred chapters of "Poetry" are mostly the work of sages out of anger. These people are all frustrated and unable to follow their path." ("Historical Records· Tai Shigong's Preface") ) He believes that "the principle of a gentleman's life in the world is to groan and eagerly seek knowledge in the world, but his ambition to escape has died. So he is grateful and angry, thinking about his ambition to be effective in the current world, expressing it in words and singing. , it is the behavior of those who have their own tools but have not yet learned how to practice them" ("Preface to Lou's Twenty-Four Scholars Singing and Poem Over Flowers"). This is similar to Han Yu's saying that "there will be anger if there is injustice". But what he said about gratitude and anger is the behavior of those who are determined to use the world but cannot practice their own way. This argument about creative motivation is compared with what Han Yu said: "Poor words are easy to be good" ("Preface to Jingtan Singing Poems") , "Complaining about one's misfortune" ("Sending Meng Dong Ye Preface") and other arguments that focus on personal poverty and do not talk about the world's ways, the meanings are different. Liu Zongyuan's poetry theory represented the progressive trend of the literary movement at that time.
Literary Creation Liu Zongyuan left more than 600 works in his life, including poetry and essays. The achievement of literature is greater than that of poetry.
Liu Zongyuan’s achievements are multifaceted. Nearly a hundred of them are in parallel prose, which does not deviate from the Tang parallel prose style, but there are also excellent pieces such as "The Tang Dynasty Gute Presents Kaifu Yi and Sansi Yangzhou Governor Nanfu Jun Suiyang Temple Monument". The ancient prose part can be roughly divided into five categories: essays, fables, biographies, landscape travel notes, and poetry. Many of them are works with rich realistic content and exquisite artistic skills, especially those written after being relegated to the south and in-depth contact with society.
Discussions include articles on philosophy, political commentary, etc., as well as essays focusing on discussion. It is characterized by sharp writing and precise argumentation. "Tian Shuo" is a representative work of philosophical essays. "On Feudalism" and "On Punishment" are representative works of long and medium-length political treatises. "Jin Wen Gong Wen Shou Yuan Yi", "Tong Ye Feng Di Bian", "Yi Yin Wu Ji Jie Zan" and other representative works of short political commentaries. In particular, "On Feudalism" is so long that Lin Shu called it "the most important text in ancient and modern times, rivaling "Guo Qin"" ("Han Liuwen Research Methods").
Fables inherit the traditions of Zhuangzi, Han Feizi, Lu Shi Chun Qiu, Lie Zi and Warring States, and have new developments. His fables were mostly used to satirize and criticize the ugly reality of society at that time. They were innovative and creative, and they made good use of various animal anthropomorphic artistic images to express philosophy or political opinions.
The representative works "The Elk of Linjiang", "The Donkey of Guizhou" and "The Rat of the Yong Family" are composed of "Three Commandments". Through the depiction of the three physical states of the Elk, the Donkey and the Rat, it reflects the reality with vivid images and sharp language. Although the article is short, it is full of waves. "Biography of □□" and "Zuan Shuo" and other articles mock those who are greedy and deceive the public with false claims. They also laugh and curse, and show a high degree of humorous satirical art based on the shapes of animals.
Biographies inherit the traditions of "Historical Records" and "Hanshu" and make some innovations. One is about heroic and upright upper-class figures, such as "The Anecdotes of Duan Taiwei", which depicts a moving image of Duan Xiushi's courage to fight against the rapist and his sincere concern for the people's sufferings. It also describes the arrogant rogue status and cruelty to the people. Crime, the article is written with great vigor, and has always been known as Han Yu's "Preface to the Biography of Zhang Zhongcheng". Another type is about the oppressed characters of the lower class, such as "The Biography of Zi Ren", "The Biography of Planting Trees and Guo Laituo", "The Biography of Tongqu", "The Biography of Song and Qing Dynasties", "Snake Catcher", etc., with a progressive political stance. and deep sympathy, reflecting and praising the talents, experiences, noble character, and anti-violence spirit of these characters. It is based on real people and real events, with exaggerations and fictions, like fables and novels. Ancient writers of the Tongcheng School believe that "Biographies of Song and Qing Dynasties" and others are "too novelistic" (Wu Dexuan's "Introduction to Chuyuelou Ancient Essays"), which exactly reflects the characteristics of Liu Zongyuan's biographies. Liu Zongyuan said in "Reading the Postscript of Han Yu's Biography of Mao Ying": "Haiku is not abandoned by saints", which shows that he has a relatively correct understanding of novels. Such works are the practice of his proposition.
Landscape Travel Notes is Liu Zongyuanwen’s most popular work and has a unique status in the history of Chinese literature. These travel notes were all written after he was demoted to Yongzhou, and the works from Yongzhou are better than those from Liuzhou. The famous "Eight Records of Yongzhou": "The Banquet Travel Record of Shide Xishan", "The Record of the Cobalt Pool", "The Record of the West Xiaoqiu of the Cobalt Lake", "The Record of the Xiaoshitan West of the Xiaoqiu", "The Record of the Yuan Family's Thirst", "The Story of Shiqu", "The Story of Stone Stream", and "The Story of Xiaoshicheng Mountain" are its examples. These works show the beautiful landscapes at the turn of Hunan and Guangxi in a gallery style, inheriting and developing the tradition of Li Daoyuan's "Shui Jing Zhu". "Shui Jing Zhu" is a geography book, with more objective descriptions of scenery and less expression of subjective emotions. Liu Zongyuan's travel notes integrate his life experience, thoughts and feelings into the description of natural scenery. Due to his profound observation of objective scenery and careful management, he is able to accurately reflect the object. In the process of artistic thinking, the author himself is involved, and the beautiful scenery abandoned in remote areas is used to express his own misfortune. Pour into resentment and depression. In addition to this feature of using scenery to express anger, there is also a description of a quiet state of mind in the travel notes, which shows that he turned to pursue spiritual sustenance in extreme depression, such as the so-called "cold appearance and eyes, the sound of sex and ears, leisurely" The imaginary ones are related to divine plans, while the profound and still ones are related to mental plans." ("The Story of Xiaoqiu in the West of Cobalt Lake"), "The heart is condensed into shapes and forms, and is in harmony with all things" ("Shide Xishan Banquet Travel Notes")," Lonely and without people, desolate and chilling, quiet and deep, the environment is too clear to live in for a long time" ("A Story of Xiaoshitan in the West of Xiaoqiu"), etc., all embody this state. As for the direct description of landscapes, the writing style is either steep and clean, or clear and beautiful. Some are "red and green" ("The Yuan Family's Ke Ji"), and some are "green and white" ("The Banquet Travel Notes of Shide Xishan") . Write the shape of the hills and rocks, maybe like "cows and horses drinking in the stream", or like "bears climbing on the mountain" ("The Story of Xiaoqiu in the West of Cobalt Pool"); draw the shape of the stream, or "the boat is running as if it is poor. "Suddenly boundless again" ("Yuan Jia Ke Ji"), or the fish "are all swimming in the air and have nothing to rely on, the sun is clear, and shadows are spread on the rocks" ("The Story of Xiaoshitan in the West of Xiaoqiu"), both of which can be used in exquisite language. Artistically reproduce the beauty of nature. Later generations often regard him as a role model when writing about travel journalists.
Sao Fu is also a distinctive part of Liu Wen. After the Eastern Han Dynasty, Qu Yuan's erotic style became merely formal and completely lost its spirit. Liu Zongyuan failed in the political struggle and was demoted for a long time. His grief, anger and passion are similar to Qu Yuan. "Punishment Ode", "Min Sheng Ode", "Menggui Ode", "Prisoner's Mountain Ode", "Ode to Condolences", "Essays about Cursing Corpses", "Essays about Snakes", "Ode to Hate the King and Sun", etc. They all use the style of "Li Sao" and "Nine Chapters", either expressing emotions directly, borrowing from ancient times to injure oneself, or allegorically expressing satire, meditative and bitter words. Indeed, as Yan Yu said: "Liu Zi was the only one in the Tang Dynasty who had a profound knowledge of Sao. "Tui Zhi and Li Guan are both inferior." ("Canglang Poetry·Poetry Review") "Tian Dui" and "Jin Wen" are two huge pieces, the form of which is imitated by "Tian Wen" and "Qifa", which is another type. . In many places in the previous article, questions raised by "Tianwen" were answered from a materialistic point of view, involving all aspects of the universe and human affairs. The latter article uses the form of questions and answers to exaggerate the ruggedness of Jin's mountains and rivers, the strength of its armor, and the abundance of its products. It is attributed to Tang Yao's purport of political clarity. The two articles have strange wording, but there are also mysteries and incomprehensible aspects.
The number of poems is relatively small, with only more than 140 remaining, all of which were written after he was demoted. Most of the predecessors who commented on Liu's poems thought that they inherited the tradition of Tao Yuanming, and were called "Wang, Meng, Wei and Liu" together with Wang Wei, Meng Haoran and Wei Yingwu. This mainly refers to his Five Ancient Chapters such as "The Plowman Meets the Plowman in the First Spring", "Dwelling in the Stream", "Drinking", "Reading", "Encounters", "Ode to History", "Ode to Three Good Persons", "Ode to Jing Ke" etc. , the ideological content is similar to Tao's poems, and the language is relatively simple, as Yang Wanli said; "The five-character ancient poems that are elegant and light but profound are Tao Yuanming and Liu Zihou."
"("Chengzhai Poems") But he also has other five ancients such as "Sitting in the Early Autumn Night to Present to Wu Wuling", "Reading Zen Sutras in the Chaoshiyuan of Chenyi", "Water Curtain on the Rocks in Jiewei", "Xiangkou Pavilion Xiaoxiang" "Meeting by Ershui", "Climbing Shiji in Puzhou to look at the deep and diagonal Tan Island at the mouth of the Hengjiang River facing Xiangling Mountain", "Title in the South Stream", "Climbing the Western Mountain with Cui Ce", etc., are all learned from Xie Lingyun, and their expressions are exquisite. Mixed with metaphysics, he even learned from Xie Lingyun when writing questions, so Yuan Haowen also thought that "Liu Zihou Jin Zhi Xie Lingyun" (the fourth self-note of "Thirty Poems"). However, Xie and Liu had different life experiences and different ideological personalities. , Liu's poems contain resentment in their beauty, and although they are similar, they also have differences. In addition to inheriting the traditions of Tao and Xie, Liu's poems are also good at generous, tragic and vigorous style, such as "Crying Lu Hengzhou" and "Weeping at Lu Hengzhou". "Weeping for Lianzhou Ling Yuan Wai Sima" mourns the comrades and those who were demoted during the Yongzhen coup, "Wei Dao'an" praises chivalrous behavior; Qigu such as "The Road Is Difficult", "Gu Dongmen Xing", "Caged Eagle Ci", " "Send to Wei Heng", some of them praise the heroes and benevolent people, some expose the crimes of the powerful, some denounce the rebellion in the feudal towns, or describe the hardships and dangers of life, all of which are highly realistic. The performance of the military group's intrusion reflects the patriotism of safeguarding national unity. The image is majestic, the sentences are strange and alarming, the mountains and rivers are majestic, and the sound cracks the stone. Rhymed poems such as "Climbing the Liuzhou Tower and sending messages to Zhangting to seal the four states" are famous poems in the Seven Rhythms of the Tang Dynasty. , "De Lu Hengzhou Shu Yin Sent in Poems", "Lingnan River Journey", "Liuzhou Dong Meng", "Farewell to his Di Zongyi" and other chapters, through the description of the strange customs and customs in the south, express the sadness of the relegated life , has a unique realm in the Tang Dynasty, such as "Snow on the River", "Feeling Old in the South Building in front of the Changsha Post Office", "Watching the Mountains with Master Hao Chu to Send Relatives to Beijing", "Not drunk after leaving the wine cup, but sending messages to each other in the post office". Chapters such as "Zhu Gong", "The Banyan Leaves Fallen in February in Liuzhou", "Repaying Cao to the Imperial Guards for Visiting Xiang County and Seeing Mail", etc., describe the sceneries and express feelings, either secluded and strange, or melodious, which are rare among the quatrains of the Tang Dynasty. . It can be seen that Liu's poetry is rich and eclectic.
In the evaluation of Liu Zongyuan and his works, most people in the old days tended to praise his works and praise him because of their lack of correct understanding of Wang Shuwen Group. His works are "Jade pendant Qiongju, full of nonsense words" ("Hongwen in Commemoration of Liu Zi"), "Majestic, profound, elegant and strong like Sima Zichang (Qian), Cui (Yuan) and Cai (Yong) are not enough" (Liu Yuxi's "Tang Dynasty") Therefore, Liuzhou Governor Liu Jun Ji Ji (quoted in "Collected Records of Liu Jun") believed that he could "take care of himself" after being demoted, but his participation in Wang Shuwen's group was considered to be "not self-respecting and taking advantage of others" ("Liu Zihou's Epitaph"). Scholars from Liu □, Song Qi, Ouyang Xiu, Wang Anshi, Su Shi to Zhang Boxing and Lin Shu in the Qing Dynasty all held this view. The first person to praise Liu Zongyuan Zhaoxue was Fan Zhongyan, who not only called his description "precise in etiquette and profound in the way of Taoism." ", also called him an "extraordinary person"; he believed that Wang Shuwen and others were seeking to be loyal to the country, and "the Book of Tang was written based on its successes and failures without correction" ("Preface to Poems about Dreams"). Later, Yan Youyi, Li Zhi, Wang Fuzhi, Wang Mingsheng, and even the recent scholar Zhang Shizhao also argued for this. Regarding Liu Wen, critics often compared Han and Liu on the premise of affirming his achievements. Some believed that Liu was inferior to Han, and some believed that Liu Wen was inferior to Han. I think Han is not as good as Liu. For example, Qi of the Song Dynasty said, "Liuzhou's writings, or the use of Chen's sayings by predecessors, are not as outstanding as those of Han's official department. They are not as good as those in ancient times, but come from one's own" ("Notes"). Fang Bao extremely praised Han and suppressed Liu in his articles such as "Shu Liuwen Hou", "Reply to Cheng Kuizhou Shu", and "Preface to Selections of Ancient Essays". Yan Shu, Yan Yu, Jiao Xun, Liu Xizai, and Chen Yan promoted Liu and suppressed Han. Jiao Xun praised Liu as "only one person since the Tang and Song Dynasties" (Ruan Yuan's "Tongru Yangzhou Jiao Xun Biography"). Chen Yan believes that "Liu Zhi is difficult to reach for several reasons: the first is that there is no vulgarity in his writing and words; the second is that the structure is his own; the third is that he is highly talented and his knowledge is not as good as others; the basis is specific, and the words are not what others are. Dare to speak, the fourth thing; good memorization, and the wording is not copied and smeared, the fifth thing is Changli's shortcomings" ("Shi Yi Shi Wen"). Zhang Shizhao's "Liu Wen Zhi Yao" extremely promotes Liu and suppresses Han. However, when discussing Liu Wen, most of them, except Zhang Shizhao, focus on the form of the article, whether they promote or suppress it. Occasionally there are those who refer to the thoughts in the article, such as Liu Yuxi and Wang Bosi who affirm atheism, while Su Shi, He Zhuo, etc. are on the contrary. Critics also have different views on Liu Shi. Su Shi said that it is "withered on the outside but creamy on the inside, seemingly bland but actually beautiful" ("Dongpo's Postscript: Comments on Han Liu's Poems"), "the hair is thin on the ancient bamboo slips, and the taste is sent to the indifferent" ("The Collected Poems of Huang Zisi"), It is affirmed that Liu's poetry is close to the style of Tao and Wei. Some overly praise it as "wonderful ancient and modern" ("Wang Zhifang's Poetry Talk"), "clear words and beautiful sentences, not all of which are worthy of glory" (Hu Zai's "Tiaoxi Yuyincong Talk"), "poetry "The Holy One" (Yuan Hongdao's "With Li Longhu"). Those who advocated the theory that Liu suppressed Han also said that "the ancient poems are exquisite, and Han is not as good as them. When the whole world is Yuanhe style, Han Yu is too vulgar, and Zihou can only speak for his family. Isn't he a heroic man" (Liu Kezhuang's " "Houcun Poetry Talk"). On the contrary, those who advocate the theory of Han suppressing willows may say that it is "too narrow in scope and not as magnificent as Han's" (Xu Yinfang's Collection of Poems), or that it is "contemporary and humble, especially insignificant" (Wang Shizhen's "Poetry"). Yiyuan Yanyan").
This collection and edition Liu Zongyuan's collection was compiled by Liu Yuxi and titled "Collection of Mr. Hedong". It was published by Mu Xiu in the early Song Dynasty. "Sikuquanshu" contains 45 volumes of "Collected Works of Mr. Liu Xunxun" by Song Hanchun, 2 volumes of external collections, and 1 volume of newly compiled external collections, which is the earliest extant edition of Liu's collection.
Song Tongzong's phonetic annotation, Zhang Dunyi's phonetic analysis, and Pan Wei's phonetic interpretation of "Zengguang Annotated Phonetic Analysis of Tang Dynasty by Mr. Liu" have 43 volumes, 2 volumes of special collections, 2 volumes of external collections, and 1 volume of appendices. There is also the Yingyuan edition of "Sibu Congkan". It is the earliest current photocopy. Song Tongzong's commentary "New Issue Zengguang Baijia Detailed Supplementary Annotation of Mr. Tang Liu's Collected Works" 45 volumes, Song Jianzhou engraved edition, now in the Beijing Library. Huaizhong of the Song and Wei Dynasties edited and annotated 21 volumes of "Collected Works of Mr. Liu Bianliu of Five Hundred Schools of Phonetic Notation", 2 volumes of external collections, 1 volume of newly compiled external collections, 2 volumes of "Longcheng Lu", and 8 appendix volumes, including "The Preliminary Collection of Rare Books of Sikuquanshu" Photocopy of the Wenyuan Pavilion edition. Liao Yingzhong of the Song Dynasty edited and annotated 45 volumes of "The Collection of Mr. Hedong", 2 volumes of external collections, addendums, appendices, etc., which is the last type of annotated editions in the Song Dynasty. There is a photocopy of the Song Dynasty's Tang Dynasty edition, which was edited by the Shanghai Book Company of Zhonghua Book Company. According to the typesetting, Shanghai People's Publishing House has a reprint. In the Ming Dynasty, Jiang Zhiqiao compiled and annotated 45 volumes of "Liu Hedong Collection", 5 volumes of external collections, posthumous texts, appendices, etc. Although the old annotations were collected and compiled, most of them were annotated by Jiang himself; 》Print version.
For the life story of Liu Zongyuan, see Han Yu's "Liu Zihou's Epitaph", the new and old "Tang Shu" biographies, and Wen Anli's "Mr. Liu's Chronicle" (containing five hundred commentaries on the first volume of Liu's collection, and another " Guangdong Yatang Series"). Modern works include Shi Ziyu's "Chronicle of Liu Zongyuan" (contained in the first issue of "Journal of Wuhan University" in 1957, and published by Hubei People's Publishing House), and the "Preliminary Draft of Chronicle of Liu Zongyuan" (published in "Journal of Wuhan University" in 1974, published by the Chinese Department of Shanxi Normal University). 3 issues) for reference. Regarding Liu Zongyuan's research treatise, Zhang Shizhao's "Liu Wen Zhi Yao" draws on detailed and extensive material and is a major work on Liu, but it mostly promotes Liu's theory of suppressing Han.