Hu caifu
( 1903— 1995)
, Zhejiang Jiande people. In his early years, he taught in the Chinese Department of the College of Arts and Sciences of Zhijiang University, and had close cooperation with Xia, Yu Dafu and others. Hu's name appeared many times in Xia's Tian Feng Ge Shi Diary, and his Canglang Shi Hua was also a preface written by Xia, saying that "Canglang is the son of a poet and the hero of Canglang" and he spoke highly of it. After the victory of the Anti-Japanese War, he returned to Shanghai Journalism College and worked as a librarian in Zhejiang Literature and History Museum in his later years. Hu has written a lot, besides, there are Collected Notes on Canglang Poems, Selected Poems by Fang Gan, Notes on Wang Yuanliang's Collection, Selected Poems by Li Pin, Selected Poems by Xin 'an Landscape, etc. He is good at poetry annotation.
Regarding the classification of the book A Textual Research on Poetic Style, Hu Caifu said in Fan Fan: "Those who come to discuss poetic style are concerned about the difference of articles, the source of articles, Yan Yu's Cang Hua, Wei Qingzhi's Poet's Jade Scrap, Wu Ne's argumentative style of articles, and Xu Shizeng's argumentation of poems. However, the separation between people is not without disadvantages; Grading and being too careless and having no rules are minor flaws. I will sort out and consider the various schools of thought, taking into account my own opinions, and divide them into five levels: according to style, according to phonology, according to form, according to appellation, according to region, and those who have no classes outside the five levels are called miscellaneous. " In his view, there are various drawbacks in the classification of predecessors' works according to people and times. For the purpose of style, sound, shape, topic and domain, he divided the poems of past dynasties into five categories, and others that could not be classified were set as miscellaneous, but actually they were six categories. Some of them are subdivided under each category. For example, if the second part is divided by phonology, there are two kinds: level tone and phonology. The third part is divided into three forms: split sentence, split duality and split text, each of which is illustrated by examples. But this division is only general, and there are still many intersections between entities, which is not so strict. For example, it is also Du Fu's Chang Yuchun poem, and the second part contains seven laws, such as the Moon, drunken songs in the army sent to Ba Shen and Liu Zuo, Yonghuai Monument, and Zheng Yima Banquet Cave. In the third part, the division forms of Five Laws Qutang Two Cliffs, Cold Food Moon, Seven Laws Yelao and Ji Xiang Temple Guanyin Pavilion in Fucheng County are included. The seven laws "Provincial Wall" and "Bouru" are classified into the fifth part, which is divided into regions. This division separates Du Fu's five-character metrical poems from his seven-character metrical poems, which leads to the division of Du Fu's metrical poems into different categories, and it is obviously unreasonable to distinguish the specific basis of the division criteria.
Because the author does not strictly follow the attributes of poetry style, it is easy to fall into contradiction in the classification of poetry. For example, there are nine styles of * * *, which are selected style, palace style, Bailiang style, Yutai style, Taige style, Kunxi style, Xiang Lian style, Zheliu style and Zhuzhi style. According to the geographical classification, there are Wu style, Jiangzuo style, Jiangxi style, Yongjia Siling style, Gongan style and Jingling style, which are different from those in poetry genres. Specifically, for example, Yang Yi and Liu Yun's two seven-tone Tears in Song Dynasty, Answering Huang Zongxi in Ming Dynasty and Watching Lights on Tanabata, Zhao Xu's weeping willow in Yongjia style, Zhao Shixiu's Autumn Color, Ji Xu's Farewell to My Brother in Weng Juan, and the Public Security Institute. In fact, in the division of a large category, the author is not completely standardized. For example, in the form division, it is difficult to distinguish foreign sentences, five sentences, six sentences, shadow contraction sentences, short tones and so on. From the formal division of bending, bee waist, stealing spring style. In the fourth part, the separation of titles is often far-fetched. These poems are often named only by the last word or two of the poem's title, lacking the basis for the division of poetic style and unable to see the internal logic. For example, Zhang said, "Two Commanding Slogans for Fifteen Nights" was originally a four-line poem, but the author made it a slogan according to the word "slogan" in the title of the poem. Other poems, such as Du Fu's Homelessness, Meng Jiao's Spider Irony, Li He's Thoughts in the Room, Wang Bo's Jiangnan Lane, etc., are classified into other poetic styles such as parting, irony, thinking and lane, but they are divorced from the genre and theme of the poem itself and are inevitably criticized. In addition, in the division of personal poetry style, the author often fails to keep consistent. For example, the division of metrical poems mentioned above is divided into several places, whether it is phonology or form. Therefore, Hu's book still has some shortcomings in the division of poetic style, but it can also roughly show the poetic characteristics of China's classical poetry, and it is an easy-to-understand introductory book.
From the perspective of time span, the selected poems in Shi Ti Shi Yi went all the way from the Han Dynasty to the Ming Dynasty, among which the poems in Tang and Song Dynasties were the most, and special attention was paid to the selection of famous articles. In style, the book is mainly composed of two parts, namely, the name explanation and examples, which are concise and easy to understand. When explaining people's names, the author often makes great efforts to explain the meaning and origin of poetic style first, and then finds out the basis from the poetry talks of past dynasties to prove it, which is concise and convenient for readers to understand quickly. For example, the interpretation of Wenxuan said: "The poems selected in Zhaoming Wenxuan are selected poems, all of which are five-character poems between Han, Wei, Southern and Northern Dynasties. Cang Hua: "The system of selecting poems varies with the times. Modern people call five-character ancient poems anthologies, which is incorrect. "According to the Collection of Poetry, there are thirteen volumes, seven orders and twenty-three doors." This kind of problem solving is really concise, which not only explains what an anthology is, but also explains the number and categories of poems in Selected Works, so that readers can have a clear understanding of the anthology. He also stated his views and corrected what Hu thought was incorrect in the previous generation's poetry. For example, "The Interpretation of Quincy's Poetic Style" said: "Song and Qian Wanggong wrote poems as gentle as plum and sang as harmony. There is a collection of Quincy Awards, so it is called Quincy Style. Tian Kuang's "Scholars" says: "Yang Yi changed the ban on writing, and Liu Yun replaced money, which took effect, and the new poetry was more harmonious. One hundred million years later, it was edited and named "Quincy Award Set". People who call it Quincy think this is the name of Yushan Tsefu. According to Cang Hua, "Kunxi style is Li Shangyin style, but this dynasty is also called Wen and Yang and Liu Wangs", which is inevitable. Feng Ban's Yan Shizheng has been lost. Generally speaking, Quincy's poetic style is devoted to even pairs, and there are many works of chanting things. The solution of this paper first briefly explains the origin and characteristics of Quincy style, and then proves it by quoting Tian Kuang's The Scholar's Friendship, and then corrects the discussion about Quincy style in Canglang Poetry, and finally reveals the main artistic characteristics of Quincy style. Through the supplement of literature quotation, seamless connection and concise writing, Hu has a good academic quality.
The interpretation of some poetic styles is of high academic value because of its rich materials and unique exposition. Some can even be regarded as a brief history of poetry genre creation, such as solving problems about quatrains, verses and six-character poems. For example, to explain quatrains, say "seven quatrains, five quatrains" first. There are also three kinds of people, plus six words, and the author does not take it. " Secondly, it introduces the records about the origin of quatrains in Hu Yinglin's poems in Ming Dynasty and Zhao Yi's Textual Research in Qing Dynasty. At present, there is no conclusion about Hu Yinglin's so-called "meaning of quatrains". It is not enough to refer to those who cut off the head, tail or middle couplets. Five words never start with two capitals, and there was no five-character method at that time. Hu refuted the view that "there were no seven-character quatrains at that time": "The origin of poetic method began with quatrains being truncated sentences. It means that if the last two sentences are correct, it is the first half of this poem. Yes, the first two sentences are the second half of the poem. If four sentences are right, just cut off four sentences. Four sentences are wrong, that is, four sentences before and after. " What Hu said is more in line with the actual situation of the origin of quatrains. In the Ming Dynasty, quatrains and metrical poems were regarded as a whole, and their structure belonged to modern poetry. Wu Ne's "On the Preface of Articles" said: "Therefore, the Tang people called quatrains metrical poems, compiled Changli Collection, and all quatrains entered metrical poems." By quoting predecessors' comments, we can see the general situation of poetic research and correct the mistakes, which shows that the academic attitude of the author Hu Tsefu, although a popular introductory reading, should be paid attention to.
This book focuses on the middle two parts, and a lot of work has been done. China's classical poems are divided into phonology and form, with various forms and complicated situations. It is difficult to sort out the context and differences. There are 35 kinds of classification involved in the division of phonology, such as poetic style, orthographic style, overlapping font, off-warp style, seven-rhyme style, seven-character variant, advance and retreat rhyme, inverted rhyme, gourd rhyme, flat rhyme and sentence-promoting rhyme, which not only explain the names, sources and characteristics of these poetic styles, but also distinguish their relationships. For example, what are the connections and differences between the three poetic styles, namely, full-length disyllabic, full-length disyllabic and full-length disyllabic? The author will quote the classics to explain which one comes first, which is beneficial to the study of classical poetry. Poetry should not only rhyme, but also pay attention to form. The form mainly includes the length and number of words, as well as various techniques used in specific creation, such as borrowing pairs, cross pairs, fourteen-character pairs, fan pairs, antithesis and so on, which are all important contents in the creation of classical poetry. Many poetic works are vague about this, and the examples are unclear, which makes readers confused. The author is from the outside to the inside. He started with several main forms such as quatrains, metrical poems, ancient poems, arranged poems and miscellaneous poems, and then focused on various poetic styles. These unusual poetic styles are one-character to seven-character poems, 13579-character poems, 3577-character poems, 3567-character poems, half-five-character poems, two-character poems, three-character poems, four-character poems, six-character poems, nine-character poems, cross poems, eleven-character poems, one poem, two songs, five poems, cross sentences and so on. All kinds of classics and poems quoted in the book become excellent research materials, which can guide readers to expand their materials for special research. By reading examples of poetic styles, we know how rich the creative styles of China's classical poems are, but usually only a few poetic styles can be seen from various anthologies. In the dissemination of classical poetry knowledge, Hu Tsev made great contributions to this book.
Rhyme pays attention to antithesis, especially the middle four, but there are many kinds of antithesis in rhyme, which is often confusing for beginners. The author analyzes and explains several common antithesis techniques, such as fan to fan, borrowing from right to right, sentence to sentence, and negotiation to equality, one by one, which has the feeling of clearing the fog and clearing the clouds. For example, explaining Fan quoted the poet Yu Xie as saying, "Rhyme has its own style, the first and third sentences are right, and the second and fourth sentences are right." He also quoted Du Fu's "Crying for Zheng's Little Sword in Taizhou", explaining that the last four sentences of this poem "Offending Taizhou" are relative; In Zheng Gu's "Message to Mr. Pei", the first four sentences are labeled as interval pairs, so that readers can understand what a puzzle pair is. Another example is to explain the statement about borrowing Canglang's poetry and the poet's jade chips, and give full play to its role: "It is better to borrow by mistake than to borrow by mistake. If it is deliberately made, and the right person says that it will win, it will be too much. " It turns out that the borrowing in the orthodox poem is based on nature and opposes deliberate affectation. Hu deliberately quoted two Tang poems as examples to illustrate. One is Meng Haoran's "Seeing a stranger", which states that "this poem is like a chicken, borrowing the sound of a sheep", and the other is Du Fu's "Nine Days", which states that "bamboo leaves in this poem are also called chrysanthemum, bamboo leaves and wine, and also borrowed". Through the examples and explanations of these two Tang poems, readers can directly understand what metonymy is in the creation of metrical poems, thus increasing their perceptual knowledge, and the difference between metonymy and fan dui is also obvious. One is that each sentence focuses on the form relatively, and the other is that it focuses on the matter and the implication, which are commonly used in metrical poetry creation. After being revealed by the author, it is clearly presented to the readers, so it is no stranger. Another example is sentence-making versus sentence-making, and argument versus sentence-making, which is slightly rare in creation, and Hu Caifu also explains it. The so-called sentence pair is also called sentence pair, and sentence pair is also called "self-pair in sentence", which is a very important rule and skill in couplet rhyme. There are also working pairs and wide pairs in sentence pairs, especially wide pairs, which are the most attractive. Using the technique of wide antithesis can greatly broaden the thinking of couplet creation. Hu Xian quoted "Wandering Nine Pairs" in Canglang Poetry, and then quoted Du Fu's "Temple Pavilion in Fucheng County" to analyze the self-sufficiency duality used in the sentence "The cloister in the small courtyard is silent in spring, and the herons fly at dusk", which really grasped the main point. As for the right, the situation is a little more complicated. The author explained: "Rights are also called rights. The words in the transfer sentence are flat and even, and the shares are changed. " Then, for the poem "Drinking with Zheng Xiang and Ge Li", "The skirt drags six pieces of Xiangjiang River water, and the temples shrug a cloud on Wushan Mountain", he thinks that "six pieces are against one piece, Wushan is against Xiangjiang River, and shares are used, while Pingxie is also". At the end of solving the problem, I quote the relevant comments about Hui Hong in The Poet Jade Chip to explain and correct it, so that readers can have a more intuitive grasp of this poetic technique.
When discussing the internal relations of different poetic styles, the author pays special attention to their main characteristics and makes some differences. For example, the characteristics and differences of Yutai style, Gongti style, Xiang Lian style, Liu Ti style and Zhuzhi style, so as to clarify their concepts, characteristics and categories, and analyze the differences between them, so that readers will not be confused, is the main feature of this kind of poetic interpretation. The fishway style is the same as the selected style. It is well known that the poem selected from Ode to a New Yutai is Yutai style. However, Hu Tsefu defined Yutai style from the content and characteristics of the poems selected in Ode to a New Yutai, that is, "all poems are romantic and extremely beautiful", and Yutai style has continued in later generations. He not only chose Fan Qin's love poems in the Eastern Han Dynasty, but also selected three of Quan Deyu's twelve Yutai poems in the Tang Dynasty. Such definitions and examples not only expand the poetic category of Yutai style, but also reveal its vigorous vitality, which is very beneficial to the popularization of classical poetry knowledge. The palace body and incense body related to Yutai body mostly describe palace life and affairs between men and women, and are full of powder and fat, which is sometimes difficult to understand. Hu quoted the definitions of palace style and fragrant style in Jing Ji Zhi and Shi Hua successively, and pointed out that although both poems mainly described eroticism between men and women, the palace style mainly described palace life, while the fragrant style originated from the palace style in the Six Dynasties, but its description scope expanded from the palace aristocrats to the romantic and narrow life of ordinary literati, and in the Tang Dynasty, it mainly focused on lying in the Han Dynasty. Through this analysis, readers have a clearer understanding of these poetic styles. Another example is folding willow and bamboo branches, with seven-character poems as the main content and folk songs as the main content, with fresh and lively tone. At first glance, they are similar, but there are great differences between them. Hu compared the popular time of the two styles of poetry, and thought that folding willow began in Emperor Liang Yuan, also known as folding willow. According to the relevant records of Yuefu Poetry Collection and Tang Shuyuezhi, its lyrics mainly come from the north, which evolved from the song "Zheyangliu" played by gongs and drums. Since the Tang and Song Dynasties, there have been many authors and variations, which hurt the spring in content. Zhuzhi Ci appeared much later than Zheliu Ci, which was mainly popular in the middle Tang Dynasty and evolved from the folk songs between Bashu and Sichuan. The representative writer is Liu Yuxi, whose main feature is chanting local customs. Stylistically, there are five or seven words to break the willow, and the length is not limited, such as five words in "Breaking the Willow" by Emperor Liang Yuan and seven words in "Breaking the Willow" by Weng Man. However, there are only seven words in Zhuzhi Ci, which is the integration of the seven musts, such as Liu Yuxi's Nine Zhuzhi Ci. Through this comparison, the main characteristics and differences between folding willow and bamboo branches are vividly listed, which is clear to readers and easy to understand.
In order to make readers have a personal impression of some poetic styles, Hu Tsefu pays great attention to the key points when explaining the names, that is, the internal difference between this poetic style and that poetic style. For example, at first glance, the six poetic styles divided by regions seem to be only different in regions, but in fact, these poetic styles are different in content and style, and there are significant individual differences. Understanding these differences and their causes is the focus of the author's attention. The six poetic styles selected in the book are popular in the southern region, which represents his preference for these poetic styles. Different geographical areas, cultural backgrounds and historical connotations in different parts of South China have different styles in poetry creation. For example, in Wu Ti, Hu Caifu quoted "Essays on Retirement Temple" and said that "the seven laws are completely out of tune, which is called Wu Ti". Its characteristic is that "the fifth word of each pair of sentences is left out in a flat voice, so the syllables are harmonious", which is the inherent attribute of Wu style creation, so poetry style is mainly popular in Wuzhong area, so it is called Wu style. The popularity of Wu Pai is closely related to Du Fu. Sentences are generally contrary to antithetical sentences, but flat and parallel sentences are not fixed and have irregular adhesion, so they are different from French style. Similar to Wu's style, Jiang Zuo's style, also known as Bones with Su Li's style. "His poetry loses rhyme, and if it loses rhyme, it loses rhyme, but it is very precise." These two kinds of poems were written by Du Fu, and Hu Shi quoted Du Fu's seven laws, entitled "The Wall in the Province" and "Don't Lift" respectively. Jiangxi Style and Yongjia Siling Style, which prevailed in the Song Dynasty, are mainly different from each other in their poetic features. For example, in Jiangxi style, "the word-making is very clever, and the so-called half sentence is only practiced before it comes out, but it is super anecdote, independent of everything, disdains antique, and can especially change ancient and modern times." Mainly from the Jiangxi style, we attach importance to the meticulous skills of writing and unique artistic skills, and really grasp the main points. Regarding the Four Spirits of Yongjia, Hu believes that the Four Spirits of Yongjia are "learning the poems of the late Tang Dynasty to correct the mistakes of Jiangxi". But what he lives in is actually a combination of Yao and Yao, the so-called martial arts body. Its method is based on new cutting, but the scenery is trivial and the edge is too narrow. Although the heart and kidney are painstakingly carved, it is inevitable to break the acid disease. "From this point of view, Yongjia Siling originally wanted to correct the loss of Jiangxi Poetry School, but as a result, his poems were too particular about carving and fell into a broken and bitter state. Through this comparative analysis, readers have a practical understanding of these two poetic styles in the Southern Song Dynasty.
The public security style and Jingling style in Ming Dynasty were named after two counties in central Hubei, and the public security county and Jingling county were very close. How to distinguish these two styles of poetry is very tricky. Hu Tsev distinguished their poetic thoughts and styles. He said that the public security system was "good for poetry, and good for Bai Juyi in Tang Dynasty and Su Shi in Song Dynasty." Generally speaking, it is fresh and elegant, and scholars follow more than Wang Li, aiming at the public security system. This summary basically tells the main characteristics of the public security system. In order to correct the disadvantages of Wang Shizhen's harmony, the public security school advocated the halal poetry, saying that "Jingling Tan and Zhong Xing corrected their disadvantages and turned them into seclusion". One is "fresh and elegant" and the other is "deep and lonely", which accurately summarizes the main characteristics of the public security style and Jingling style, and can be said to grasp the main points. Hu Tsefu consciously extracted three pairs of poetic styles popular in Tang, Song and Yuan Dynasties, and compared them from the aspects of creative theme, artistic style and poetic proposition, highlighting their respective characteristics in the comparison, which is helpful for readers to recognize the characteristics of various poetic styles. This is desirable.
Generally speaking, Poetic Poetry objectively exemplifies the evolution history of poetry, accurately explains some main schools of poetry, basically conforms to the reality of literary history creation, embodies his view of literary history, and has positive significance for understanding the development of classical poetry.
(Author: Institute of Literature, Sichuan Academy of Social Sciences)