1. In Xin Qiji's time, the possibility of writing "rhyming poems" in the form of parallelism is very small. The Riggs Collection consists of a volume of Five Words Close to Style and a volume of Seven Words Close to Style. Both volumes are written according to the rhyme of Pingshui, that is, in the order of "One East" and "Two Winter", and each rhyme is written separately. This kind of poem was later called "rhyme poem". However, does Xin Qiji's era have a smooth rhyme? Can there be a "rhyme poem" written according to Pingshui rhyme at that time?
Let's take a look at the official summary of the book made by Siku:
Riggs Collection is a volume collected by Ma in Huaibei. The Old Topic was written by Qi Ji of Song Xin. Abandoning illness is the Ten Theories of Meiqin, which has been recorded. It is a collection of poems in the Six Dynasties and the Tang Dynasty, with five or seven words close to the body, even tones, thirty rhymes and one rhyme. I have given up my illness before. Today, according to Tang Yun and Li Buyun in Song Dynasty, there are 28 upper classes and 29 lower classes. After Li Zong, Pingshui Liuyuan began to be divided into fifteen parts. Abandoning illness should be a high, filial, light and flat dynasty, and the level of water rhyme has not yet come out, so it can be used safely. And the rhyme is divided up and down, since "Guang Yun". Concentrate on taking one as the top 16 and salty rhyme 30, which has never been seen in rhyme books. According to Wei Liao Weng, "Tang Yun" is divided into twenty-nine, and those who change slightly also. Set sentences began in Xi 'an, and Wang Anshi, Kong Wuzhong and others all had set sentences in the Song Dynasty. At the beginning of this preface, the rhyme is not ancient, and Chen Houshan and Lin Putian are singled out, not Wang and Kong, especially sparse. The writing style is quite similar to Jingling School in the late Ming Dynasty, and he will never give up his illness.
Sima Chaojun, a contemporary writer, also said in the book "A Study of Literary Falsification": "The rhyme used in the book (Reggae Collection) contradicts the rhyme characteristics of Xin Qiji's era (early Southern Song Dynasty), so Reggae Collection can't be written by Xin Qiji."
The main reason why Si Ku Guan Chen and Sima Chaojun deny that Reggae Collection was written for Xin Qiji is that the time in which Xin Qiji lived is not peaceful, but this reason is untenable. Sun Yuxiang's article "Ping Yun Shui 106 was first written by Ren Jin Wang Wenyu" makes it very clear:
Wang Li's History of Linguistics in China (Shanxi People's Publishing House, 198 1 edition) thinks that Liu Yuan is a man of average water, so his A Brief Introduction to Renzi's New Publication is called "average water rhyme", which is not true.
According to newspaper records, the Jin Dynasty established the Institute of Confucian Classics in Pingyang House (alias Pingshui, now Linfen City, Shanxi Province) on Hedong South Road, and published a large number of books. During the Dading period, Wang Wenyu (a native of Songzhou, Henan Province), an official of the Imperial Academy, thought that the rhyme 206 of Song Guangyun was too complicated to be used for learning poetry, so he "refined" and "added notes" and merged the rhyme 206 into 106 (upper 15, lower 65). Because the book was welcomed by students, Wang Wenyu visited the famous poet and scholar Xu Gu (the word is true) in the sixth year of Zheng Da (1229) and asked him to make a preface (see Volume 20 of Jin Wen Zui), and changed the title of the book to Pingshui New Publication Rhyme (also known as New Publication Rhyme), which was published for the second time. In the following 24 years (1252), Liu Yuan, a native of Pingshui, wrote "New Publication Rhyme of Renzi", with a rhyme of 107, which is one more rhyme than Wang Wenyu's book. At the beginning of Yuan Dynasty, Yin Shifu still compiled the book Yunfu Qunyu according to the rhyme 106 set by Wang Wenyu. Then, in the tenth year of Yuan Dade (1306), Zhonghexuan, a century-old shop of Pingshui Bookstore, published the third edition of The Rhyme of Pingshui New Publication.
Xin Qiji lived in 1 140 ~ 1207. Wang Wenyu was only 28 years old when he published The Book of Rites, 40 years before his death. Although there were forbidden books between Song and Jin Dynasties, rhyme books were not among them. It is very likely that Ping Shui Yun was introduced into the Southern Song Dynasty before Xin Qiji was born. Xin Qiji was born and raised in the State of Jin. Although he lived in the Southern Song Dynasty, he still had some connections with the North, so it was naturally easier to accept the "smooth clouds and waters" of the State of Jin. If you have the opportunity to accept Pingshui rhyme, in theory, you will have the possibility of "rhyme poetry" at that time.
Compared with general poetry collections, Riggs Collection belongs to "rhyme poems" and has a distinct external feature: it is a poetry collection written with five laws and seven methods. As far as the development of parallel prose is concerned, before Xin Qiji, Ge Cizhong and Lin Zhen at the end of the Northern Song Dynasty had written very exquisite five laws and seven laws in the form of parallel prose; After Xin Qiji, there were 156 five-rhythm poems and 5 1 first seven-rhythm poems in Shi Shaosong's travel poems in Jiangsu and Zhejiang in the middle of the Southern Song Dynasty, which were also well written. This shows that in Xin Qiji's time, the conditions for writing five-character and seven-character poems in the form of sets of sentences are ripe, and it is possible for him to write such poems. Moreover, Xin Qiji once wrote two sentences, "Tasha's trip (a fine sentence by Xuan Ji)" and "Recalling Wang Sun's farewell to Qiu Jiang's collection of ancient sentences", which can also prove that he has the ability and possibility to write poems with sets of sentences.
However, when we add these two "possibilities" together, the possibility of the result is very small. Although there may be "rhyme poems" in Xin Qiji's time, the author has consulted "All Song Poems", "All Liao and Jin Poems" and related materials, and never found any examples of poets writing poems in this way in the Song and Jin Dynasties. The appearance of "rhyme poetry" should be in the Ming Dynasty, and more works appeared in the Qing Dynasty. If the poetic style of "rhyme poem" didn't even appear in the Song Dynasty, how could Xin Qiji write "Reggae Collection" like this? On the other hand, although the conditions for Xin Qiji to create parallel prose are ripe, and he himself has spread parallel prose, there is no record of Xin Qiji's creation of parallel prose in other existing materials, or even a few words. If Xin Qiji doesn't write poems, how can there be such poems as Riggs? Therefore, even if we infer from these two aspects, the possibility of Xin Qiji's creation of Riggs can't be completely ruled out, but the probability is really low!
2. The so-called "author's preface" in Riggs Collection not only adopted the theory of "Four Tang Dynasties" put forward by Gao Yun in Ming Dynasty, but also had a high level of theoretical understanding of Giggs' poems, which was impossible in Song Dynasty. The preface reads as follows:
The rhyme is not ancient, and the furnace also has its own chemical industry, otherwise it is just awkward. There are probably five advantages and five disadvantages, and the work is sloppy. If you don't know what to do, it won't be fun; It is not good to take a familiar sentence in order to form a joint; Words are even than sentences, and the pulse is broken, which has disadvantages; If the couple are close and the situation doesn't match, then write a topic and make a song, which is fake; It is harmful to change one's surname, or it is easy to draw one voice for eight families. The so-called chemical man, ironically, is alive in spirit; That is, things to things, the scene is one, and the interest lies in sketching; Search quaint sentences, use my computer, and former people hurt each other. Now, they are separated from each other, making the middle and late days as beautiful as ever, and making Du Li a family. The fun lies in melting the ancient; It is difficult to start a sentence and unite; It is difficult to end a sentence, but it is difficult to start a sentence; It's only interesting to adjust the pulse when you come through thick and thin. Symmetrical nature, not my scenery, should be cut and not used, the fun lies in being able to give up; All chapters are good. If the words are the same, they must be put in another structure. The fun is not bullying people. All this is just like what Zen says: "Turn to Dharma China, not Dharma China". There are many rhymes in My Dynasty, such as Chen Houshan, Lin Putian, Shen Noda and Xu Yayan. However, the upper and lower rhymes of a topic all start from. The rhyme width must be strict, and the rhyme risk is inevitable. If you are a bachelor, write Riggs; Today, I will use seven words to briefly describe the gate mountain, weather, personnel, climate, flowers and birds running through it, and don't lose it. It's hard to choose sentences than chapters! Gaiyu lived in the mountains for many years and became attached to Zishan. He is in no hurry to see the future. He has spent a lot of time on it, so he can't do it for long. So once in a while, after chanting, he wrote it down by hand and gradually accumulated it into a poem. If great writers later mocked each other, Gu Yu would be the first one to say so. The rhyme set is not ancient. Jia Xuan said the old cloud.
The former minister of Siku Library said that "the writing style of Riggs' books is quite similar to that of Jingling School in the late Ming Dynasty", but the "writing style" is mysterious and difficult to demonstrate. However, this so-called "preface" by Xin Qiji (claiming to be a Jiaxuan layman) can't be written by Song people. Not to mention that his introduction to the poets of the Song Dynasty was rather sketchy (as the treasurer has pointed out), Xin Qiji's deeds did not omit the names he sang, such as "Riggs" and "Menshan", and the literary thoughts reflected in them were not unique to the Song Dynasty.
First, the Song people's understanding of Tang poetry has not yet appeared such views as "early, prosperous, middle and late". There is a process for later generations to understand the development stages and different characteristics of Tang poetry. As far as the Northern Song Dynasty is concerned, there is no overall understanding of early and middle Tang poetry, but when it comes to "prosperous Tang" and "late Tang". Since the Southern Song Dynasty, people's understanding has been further deepened. In Cang Ti, Yan Yu divided Tang poetry into early Tang style, prosperous Tang style, Dali style, Yuanhe style and late Tang style, which is the so-called "five-style theory", which represents the highest achievement of Song people in this respect. Yan Yu lived in the late Southern Song Dynasty, when Xin Qiji had died for more than half a century. Yan Yu's "Five Styles Theory" first developed into "Four Tang Dynasties Theory", that is, Gao Kun in Ming Dynasty divided Tang poetry into four periods: early, prosperous, middle and late. He said in the "Tang Poetry Summary":
There are 300-year-old poems in the Tang Dynasty, and many people have prepared them. Therefore, there are systems such as de-aspect, near-aspect, five-seven-word long and short sentences and quatrains. These all start from the beginning, become in the middle, flow in the change and end at last. As for temperament, image, writing and reasoning, they all have different personalities. In short, there are differences in early Tang, prosperous Tang, middle Tang and late Tang. ...
The statement in the preface to Riggs Collection quoted above that "the middle and late period will remain prosperous" obviously comes from Gao Kun's theory. Gao Kun said in Preface to Tang Poetry: "I love Tang poetry and I like cataloging. I first collected many works. My name is anthology of Tang poems. There are 620 people from different schools in the Tang Dynasty, and there are 5769 poems in 90 volumes. Since the Jiazi of Hongwu, it began in Gui You (that is, in the 26th year of Hongwu, 1393), and its meaning is diligent ... "Therefore, the publication time of Collection of Tang Poems will not be earlier than this year, and its circulation will be later. Based on this, it can be inferred that the writing time of "Preface" of Reggae Collection is probably in the middle and late Ming Dynasty, not earlier than the twenty-six years of Hongwu.
Secondly, there was no mature poetic theory in Song Dynasty. Parallel prose developed and matured in the Song Dynasty, but the theoretical development of parallel prose lagged behind parallel prose itself, and it was far from mature in the Song Dynasty. Judging from the evaluation of Wang Anshi's and Kong's poems in the Northern Song Dynasty, people at that time only wanted to be "quick" and "good at one hand" in poetry creation. People in the Southern Song Dynasty put forward requirements for parallelism poems. In "Archaeological Query", Ye Daqing praised Ge Cizhong and Lin Zhen's Poems of Set Sentences at the end of the Northern Song Dynasty, saying: "Ding Maonian of Qing Dynasty (1207) arrived because Weng Zhen and Ge Cizhong both had Poems of Set Sentences. Observing their collection, the machine really came out, but naturally, it was not far-fetched at first, and it was often better than this. " Chen was full of praise for Shi Shaosong's poems, but he said, "The master of the Song Dynasty is a poet, who is absorbed in poetry, but unable to do so. He has more than enough to say, and he silently reflects on the holy land." People look at their poems, but they don't know it's a set of sentences, and neither do people. ...... "All this shows that although people in the Southern Song Dynasty have begun to attach importance to the antithesis of poetry, in theory, they mainly emphasize the characteristics of' the loom is as true as oneself' and' the heart is full'." The "five interests and five disadvantages" put forward in the Preface to Riggs is a very mature and complete poetic theory. This theory could not have appeared in the Song and Yuan Dynasties, or even in the early Ming Dynasty. Parallelism poetry developed in Song Dynasty, but it was very depressed in Yuan Dynasty. It was not until the establishment of the Ming Dynasty that they gradually regained their vitality and developed further. The great development of poetry in parallelism puts forward higher requirements for theoretical problems, which makes it possible for such a systematic and in-depth theory to appear in the Preface to Riggs. In this sense, the writing time of this preface should also be after the middle of Ming Dynasty.
Based on the above analysis, the time when Reggae Collection appeared should be after the middle of Ming Dynasty, and the so-called author is Xin Qiji, which is just a ridiculous lie.
3. Denying the "hard evidence" of Xin Qiji's works in Reggae Collection is a poem written by Zhang Jian, a poet of Yuan Dynasty, in Seven Words Close to Body and Ten Ashes.
One of the outstanding features in the selection of poems in Riggs Collection is that most of the poems used are from the hands of poets in the Tang Dynasty. The author carefully examined all the poems sentence by sentence and found that there were few poems outside the Tang Dynasty. There are 30 ***240 "five words close to the body" in Riggs Collection; The last two songs of "Qi Yan Jin Ti" are all lost, and there are three sentences left in the 28th song, ***2 19. The two add up to 459 sentences. Among these poems, only Zuo Si 1 in Jin Dynasty, Xiao Gang 1 in Liang Dynasty, Yu Zhongrong 1, Wang Senru 1, Yu Xin 1 in Zhou Dynasty, and 3 and 5/in Northern Song Dynasty (among them, 1 was initially mistaken for poems. TanYongzhi substituted five sentences for three sentences in the Northern Song Dynasty, which can be counted as Song people, but it can also be counted as Five Dynasties; Su Hu is from the Northern Song Dynasty. However, Yuan Haowen not only selected 38 poems by TanYongzhi, but also selected 23 poems by Su Hu when compiling Advocacy of Tang Poetry in Jin and Yuan Dynasties. The fact that the Reggae Collection doesn't use a single sentence of Song poetry outside of them shows that its author prefers Tang poetry to Song poetry, which is consistent with the poetic schools of the "Seven Scholars" around the Ming Dynasty. TanYongzhi and Su Hu's use of poetry is probably influenced by the propaganda of Tang poetry. This just proves that Xin Qiji can't be the author of Reggae Collection after "Tang Poetry Advocacy".
However, among all the materials, Xin Qiji's irrefutable evidence in writing Reggae Collection is the adoption of a poem by Zhang Jian, a poet of the Yuan Dynasty, Seven Words Close to the Body and Ten Ashes. The full text of this poem and its notes are as follows:
At present, personnel are only sad, and they are half drunk and idle. The color hall is fragrant, and the stone gate is silent. Day after day, we have to have a few drinks. Oh, pilgrim of fame, oh, pursuer of interests, beauty is helpless. (Zhao Wei, Gao Pian, Cai Xizhou, Su Hu, Juyuan Yang, Zhang Yong, Cui Hao, Wu Rong)
The phrase "Instant" comes from the West Tower of Deng 'an Road written by Tang Zhaotuo, the phrase "Half Drunk" comes from A Hermit Never Met, the phrase "Color Palace" comes from the Hot Spring Palace of Wind and Hu Yu written by Tang Caixizhou, the phrase "Shimen" comes from Xu Chongguan written by Song Dynasty, and the phrase "Time flies" Wrong, the author's "Juyuan Yang" should be changed to "Zhang Ji". The phrase "Excuse me" comes from Hao's Crossing Huayin (A Zuo Shan), and the phrase "Beauty" comes from Tang's Poems of Shang Yang Palace. The original poems of these poems are all here, which is very convenient to look up. However, to my great surprise, the author of Reggae Collection, who even rejected the poems of Song people, even used a poem by Zhang Jian, a Yuan person, and even put the name of the original author after the poem! Not only that, the source of this sentence can also be found in Zhang Jian's existing collections. His collection of abandoned temples has four volumes: "On that day, Wei Xue's family members drank alone":
Suddenly, it grew into the sun, and this chilling feeling was like ashes. Every day when I think about getting old, I have to drink a few cups and count them. A magpie knows its old age and never changes its nest. Rabbits are ashamed of being good, and the rest are frozen.
Zhang Jian (1287 ~ 1368) was born in Jinning (now Linfen, Shanxi). From the Yuan Dynasty to the early years of Zheng Zheng, Zhang Jian was recommended as a hermit and became a teaching assistant in Guo Zi. Later, I went to Pingzhang, Henan, and started as an official with a bachelor's degree in Hanlin. In March of the 28th year of Zheng Zheng (1368), Zhang Jian died at the age of 82. In the first month of this year, Zhu Yuanzhang had proclaimed himself emperor in Nanjing, and the Ming Dynasty had been established. Not only did he use Zhang Jian's poems, but he also marked his name. Although it may be the negligence of the author of Riggs, it may also be a flaw that he deliberately sold to readers and a trick played by clever counterfeiters. Zhang Jian was a century and a half later than Xin Qiji. How does the latter see and adopt the former's poems?
With Zhang Jian's poems and the most tangible evidence, the thesis that Reggae Collection is not Xin Qiji is proved again.
From the above three aspects, it can be seen that the Reggae Collection signed by Xin Qiji is a fake book, which is beyond doubt. Reggae Collection, as a collection of poems by an unknown author in Ming Dynasty, has its own documentary value, but I hope that future scholars will not be deceived by its signature and continue to spread and study it as the work of Xin Qiji, a poet in Song Dynasty.
There are many mistakes related to parallelism poems in the existing literature, such as misreporting the author's name, misreading non-parallelism poems as parallelism poems, losing the author's name, or the author's deeds are unknown, or the author does not actually exist, or even has fake books, which increases the difficulty of using parallelism poems. It is precisely because of this that when reading the literature of Ji Sentence Poetry, on the one hand, we should carefully distinguish the authenticity, sort out and accumulate valuable materials to serve the future research; On the other hand, we should carefully examine all kinds of mistakes, so as not to delay future generations, thus eliminating the false and retaining the true, and pushing forward the study of parallel prose.
Note: (Qing) Ji Yun et al.: Summary of the Catalogue of Sikuquanshu, Hebei Education Press, 2000, p. 4582. # # # Sima Chaojun: A Study of Literary Discrimination, Wuhan University Press, 2008, p. 77. # # # Sun Yuxiang: Ping 106 was first written in Wang Wenyu, No.6 of Jinyang Academic Journal 1999, p. 99. # # # (Song Dynasty) Anonymous: Riggs Collection, Collection Department of Sikuquanshu, vol. 16, Qilu Bookstore, 1995, pp. 193 ~ 194. # # # (Ming Dynasty): Selected Poems of Tang Dynasty, Shanghai Ancient Books Publishing House, 198 1, p. 8. # # # (Ming Dynasty): Selected Poems of Tang Dynasty, Shanghai Ancient Books Publishing House, 198 1, p. 768. Ye Daqing (Song Dynasty): Archaeological Query, Zhonghua Book Company, 2007, p. 269. # # # (Song Dynasty) Shi Shaosong: Poems on Travelling in Jiangsu and Zhejiang Provinces, (Song Dynasty): Collection of Rivers and Lakes, photocopied Sikuquanshu, volume 1357, p. 68. # # # (Yuan) Zhang Jian: "Collection of Abandoned Temples", with photocopies of Sikuquanshu (volume 12 15), p. 68.