(1) Introduction
In his later years, Li Bai was drunk in Caishiji, Yangtze River, and drowned to catch the moon. This legend has become a symbol of Li Bai's poetic style and character, and it is widely circulated all over the world.
Generally speaking, Li Bai is the most legendary poet in China, and the legend of "Catch the Moon" has unique biographical significance only from its depiction of the dying scene in the poet's life. This paper aims to explore the formation and spread of the legend of "catching the moon" and its significance to Li Bai's poems and biographies, and then explore its status. Compared with the death legends of Du Fu and Li He, we can find a series of problems such as their differences. By comparing the differences of different dying legends, the characteristics of literary figures embodied in the legend of Catch the Moon are more clear.
(2) Re-confirmation of the legendary literature of "Catch the Moon"
Nowadays, Tang Yan, which is widely circulated, is mostly written by the kings of the Five Dynasties. However, in Wang Qi (1) and Li Taibai Chronicle (Wang Zhuben, Volume 35) in the first year of Baoying (762), only:
It is said that Li Bai wore a palace robe and swam in the river where the stone was quarried. He was so proud that he got drunk in the water and caught the moon and died.
Because all the references are unconfirmed original works, at least there is no such description in the current strict works. [(2)] Perhaps, this article may be included in the original Tang Yanyan used by Wang Qi during the Qianlong period [(3)]. Because of this possibility, this article should also pay attention when quoting Wang's note. 〔(4)〕
Secondly, as the earliest extant material, it is also a poem by Mei (1002- 1060) in the Northern Song Dynasty.
Stone-quarrying month presents Guo Gongfu.
Don't be hungry and vomit when you smell the immortal under the stone-quarrying moon.
Take a brocade fishing boat at night. Bento rides a fish to heaven.
I love when I am drunk, the moon hangs on the bottom of the river, and there are people buried in the green hills.
Turn the moon over with your hands. But we have known each other for several years.
……
(Volume 43, Four Series of Collected Works of Mr. Wan Ling)
This is an ancient poem with seven rhymes in each sentence. Omitting some six sentences is a kind of ode to Guo Gongfu's present situation. "Wang, change your rhyme and avoid ... sheep" *]
In addition, Guo Gongfu himself has the same poem handed down from generation to generation:
Ride a whale and catch the moon, leaving the green grass in Hanlin grave.
(Crossing the River in the Quarry [6] The eleventh and twelfth sentences of twenty Seven-character Poems)
Guo Gongfu ("Fu" is the "father" in the 444 Chinese version of History of the Song Dynasty), a native of Dangtu and a stonecutter, lived in seclusion in Castle Peak next to Li Bais Tomb in his later years and wrote Castle Peak Collection. [(7)] In addition, according to Mei's poem, your mother dreamed of Li Bai and was born later, which is called Li Bai's back. [(8)] Only this can be regarded as the early inheritor of the legend of catching the moon.
These two poems are particularly striking, that is, based on a series of elements such as quarrying, drinking, moonlight and drowning [(9)], which makes Li Bai's legendary story about catching the moon appear in a complete form. Even if "whale riding" ((10)) is added, as the spread of this story, it can be said that it is not an additional element that was completely absent before.
General legends have such a feature, which is gradually formed by the expectations and needs of readers and listeners. After their expectations and needs are generally met, the basic aspects of the legend are mostly unchanged. But the legendary story about Li Bai appeared in the form of completion from the beginning. 〔( 1 1)〕
After the plum blossom at the beginning of the Northern Song Dynasty, Zhao Ling (Linde) wrote in "After" (Volume 6 "Hai Ben") in the middle of the Northern Song Dynasty:
Legend has it that it is too white to quarry, and the drunkard's intention is not wine. Secretly, I was buried here and went to Assistant Minister Fan () to move to Castle Peak.
It is worth noting that "catching the moon and drowning" is listed as a biographical fact and example. Subsequently, in the early years of the Southern Song Dynasty, Hong Mai (1 123- 1202) made a more detailed discussion on Rongzhai Essays (Volume 3):
The secular saying' Li Taibai was quarrying in Dangtu, so he got drunk and rowed on the river. When he saw the moon, he drowned with it. Therefore, there is a platform to catch. "
According to the newspaper, Li wrote a preface for Taibai Caotang Collection: "Try string songs in Dangtu, which is urgently needed by the public. There are thousands of manuscripts, and you can't fix them. Write a short explanation on the pillow in the preface. Li Hua also wrote a Taibai epitaph, which also said' Try to die by singing'.
It is not enough to know the customs and spread them well. Guy and that guy were roasted to death by a cow because they ate white wine.
Hong Mai is famous for his erudition and textual research. According to the opening sentence "worldly talkative", it can be seen that during this period, the legend of Li Bai catching the moon has become a well-known topic. It should be noted that, compared with the poems of Mei and Guo Gongfu and Backstreet Record, both of them have complete forms as legends, but at the same time, like the legend that Du Fu died after eating beef and white wine, they are regarded as secularism that should be denied.
Wang Qi's comments and thousands of cited records-except for a slight shift in the focus of the debate-have clearly shown that the legend of "catching the moon" is regarded as a secular view. First of all, according to the fact that there is no legend of "catching the moon" in Biography of Old Tang Books and New Tang Books and Li's Introduction to Caotang Collection, the following judgment is made:
I didn't drown in ancient times, so the stone house is taboo. Suppress fiction, but poets are curious, so they can take a holiday to create new ideas.
That is, because of the unlucky custom of drowning in ancient times [( 12)], historians may avoid disaster for Li, or novels and other things are false. Because the poet was curious, he used the legend of catching the moon to express his new ideas. Moreover, there is the following "Thousand Records":
Du Zimei has not traveled to Yueyang for more than forty years, but Ke Xiang has been involved in Shouyang. Wei Yuan's "ambition" is detailed, and Li Taibai died in Dangtu, in order to accept the uncle of Tuozu as Yang Bing. Yang Bing's "order" is clear. Barnyard grass said, but the clouds were drowned. Two male students talk at the same time, but they don't ruin it together. Do jealous people gossip and curious people don't read it?
Based on Li Bai's theory that Du Fu drowned [( 13)], it is speculated that the reason for the phenomenon of "live and die together" is that the rumors spread by people who are jealous of their talents have not been clearly observed by curious people.
Whether it is well-intentioned (the monarch's taboo) or malicious (the gossip of jealous people), it is obvious that "drowning" is an ominous sense of death, which negatively marks the death of great poets.
Because it is related to a certain view of life and death of China intellectuals, this negative imprint has a strong inheritance and has been discussed from time to time in recent years. [( 14)] But at least it is not appropriate to regard the legend of "catching the moon and drowning" involving the dying poet Li Bai as a negative imprint. We will pay attention to this point in a little detail below.
(3) the structure and function of the legend of "catching the moon"
Judging from the existing historical data, as mentioned above, the legend about Li Bai's death to catch the moon was formed at the beginning of the Northern Song Dynasty (Mei) at the latest. In addition, if Wang Qi's "admonition" is based on some historical materials, rather than misquoting, then its formation period can be traced back to the Five Dynasties.
However, in either case, judging from the lack of records in the existing historical materials of the Tang Dynasty, it was gradually formed after Li Bai disappeared for more than one hundred years, which is more appropriate. At least you can be sure that Li Bai didn't explode immediately after his death. If it has become a well-known topic after Li Bai's death, then Li's Preface and Fan's Monument, which are articles aimed at promoting Li Bai's poetry and career, can be mentioned from at least three aspects: saying, or saying and saying. It goes without saying that the legend of "catching the moon" should be mentioned as a compliment. On the contrary, it is considered derogatory, so it is even more necessary to deny this well-known popular saying.
The above facts mean that the legend of "catching the moon" was actually formed after grasping Li Bai's "Poetry and Life" for a period of objectification and relativism. Mainly because the history of literature and appreciation can easily express the understanding of a poet in the form of "typical summary of the most distinctive elements". If we analyze its inheritance and evolution from the perspective of "story structure", it is easy to understand how the legend of "catching the moon" embodies the characteristics of the poet Li Bai. 〔( 15)〕
Aside from Li Bai's own subjectivity, from a historical and objective point of view, the themes of Li Bai's poems are mainly "wandering", "drinking" and "moonlight". If this theme is excluded from Li Bai's poems, there is no doubt that Li Bai's poems have become the characteristics of Li Bai's poems-feelings, thoughts and images, which will be completely changed. This is enough to prove that it is indeed an indispensable part of Li Bai's poems.
In this regard, we can refer to Du Fu's Drinking. Although there are more than 270 poems [( 16)], they are not as qualitative as Li Bai's. His main representative works seldom talk about wine. [( 17)] Especially if the theme of "drinking" is removed from Du Fu's works, the reason why Du Fu's poems are the characteristics of Du Fu's poems has not changed decisively. If the main theme of Du Fu's poems is indispensable, take "homesickness", "poverty" and "worrying about the country" as examples.
From this point of view, the elements of the legend of "catching the moon" are investigated. Then, it is the organic integration and typical generalization of the theme of Li Bai's poems. This is also the main reason why this legend has become a symbol of Li Bai's poems and his life in the minds of later poets and readers.
Moreover, as the inheritance of Li Bai's dying legend "Travel-Drinking-Catching the Moon-Drowning", it runs through Li Bai's poems and songs and the basic aspects of his life, that is, people's abstract basic views on Li Bai's vulgarity, talent and guest, and it is visualized through the dying scene of catching the moon. This is also the role of this legend.
Needless to say, this is not in contradiction with Li Bai's secular, mortal and non-guest deeds and attitudes reflected in his real life and specific works. Even if these elements are more, compared with other poets, Li Bai's works and his whole life still give people a clear sense of transcendence, genius and tolerance. It is this feeling or the truth of this poem that becomes the most important point that the poet's works and legend theory must involve.
To sum up, the legend of "catching the moon" has become a vivid symbol of Li Bai's poetry and life, the direct reason is the concentration and generalization of travel, drinking and moonlight, which is the result of typical processing. In other words, it is because a series of abstract ideas and morphological things that constitute the tone of "Li Bai's poet image" are visualized and visualized by the dying scene of life.
(4) The systematic correspondence among birth legends, stylistic legends and death legends.
In this way, we can't help but notice an interesting problem, that is, there is a systematic correspondence between the dying legend "catching the moon and dying in water" and the other two legends "Tai Bai Xing" which also symbolize Li Bai's vulgarity, talent and strangeness, and the creation style legend "Ren Xian".
Li's Preface to the Cottage Collection (762) and Fan's New Tombstone (8 17) both record the legend that Li Bai's mother dreamed of Taibai Star (Venus and Chang Geng Star) and gave birth to Li Bai:
At the beginning of the dragon, he fled to Shu, meaning that Li Shu was born in Boyang. On the night of Jiang, Chang Geng fell asleep, so he gave birth to a white surname and an ethereal white character. Everyone knows the essence of Taibai and gets it. (preface to the collection of thatched cottage)
When I was a boy, the first gentleman referred to Tian as a compound surname, and the first lady dreamed of Chang Geng, which was auspicious. Names and words are salty. (new tombstone)
If these two legends are really told, they are by no means in the time and place of pregnancy or birth. People around him predict that he will become a representative poet in China from fetus and baby in the future. Therefore, the legend of "Tai" is the same as the inheritance of Li Baisheng's "compound surname Li" (meaning that he was born in Bai Yang, and Tian Zhi took the compound surname), which was gradually created and formed during the growing influence of Li Bai's talent and reputation in society. This is more appropriate. At the same time, it means that it is different from the inheritance of "fallen immortals" based on historical facts and constitutes a legend.
But judging from the existing historical data, at least Li Bai's name is too white, which he originally owned. The general situation is likely to be like this: a. His father or parents paid great attention to Li Bai's Excellence when he was a teenager. B. Maybe at the bar mitzvah stage, when its official name was "Bai", it was decided that its words were too white, hoping to make great achievements with the meaning of Taibai Star. It can be said that A is an inevitable understanding (supernormal) based on facts. Although B is speculation, it is also possible from the perspective of "too white names and too white words".
In either case, the most important point is that Li Bai has clearly demonstrated the qualifications and practical achievements corresponding to the evaluation of "Taibai Star incarnated in the earth" as an adult, and it is this that makes the birth legend symbolizing Li Bai's vulgarity, genius and objectivity adopted by persuasive biographical theory. The preface to the collection of thatched cottage says that "the essence of Taibai is easily obtained in the world", which shows that this legend has been very common at least in Li Bai's later years.
On the other hand, the corresponding inheritance of "fallen immortals" is like this: Just as Li Bai appeared in Chang 'an poetry circle as a national poet, the predecessors in the poetry circle commented on his personality and poetic style, so the inheritance of "fallen immortals" obviously has a definite historical basis. However, its evaluation content is composed of the image of fallen immortals: ① from heaven (supernatural), ② from temporary exile (entertaining guests), ③ from immortality (genius), all of which stem from the characteristics of Li Bai's own words and deeds, such as Wang Yang's free indulgence and unrestrained indulgence. (Refer to the document indicated in the note [( 18)])
Furthermore, the legend of "fallen immortals" and the legend of "Taibai Star"-① The basic structure of Taibai Star (extraordinary and genius) incarnating in the world (lodging) is homogeneous. To say that they are highly homogeneous means that the legend of "Taibai Star" was born with the opportunity of "Famous White", and the legend of "Xianxian" was gradually brewed after he became an official in Chang 'an. [( 19)] The main difference between the legend of birth and the legend of entering the central poetry circle lies in the chronological relationship.
If we examine the inheritance of his dying legend "Catch the Moon" on the premise of this legend of birth, personality and poetic style, then the latter obviously corresponds to the former two, that is, the three will push the unconventional, talented and entertaining image of Li Bai to the stage of systematic completion.
Needless to say, the legendary intention to form this system may not be very conscious to the people (individuals or collectives) who form this system, but the existence and strength of the conscious intention of the people who form this system is another problem; Once the legend is formed, it plays a variety of performance functions because of its own structure. Moreover, even if the legend of extremely weak performance function is formed, it is difficult to spread widely and be accepted by people in the end. The main reason is that readers get a "character image" about the author from specific works, which leads to a sense of expectation, which is not consistent with the legendary image of the author provided at present. For example, the legend of discord between Du Fu and Yanwu recorded in the Book of the New Tang Dynasty (Du Fu's biography) (Du Fu was killed by Yan Wu for making rude remarks) is such an example.
"It's just ... a proud Christmas. When he was drunk, he climbed onto the martial arts bed and stared at him and said,' Yan Tingzhi, you have such a son.' Kung fu is also very powerful. If you don't mind being outside, you will win the championship. One day, he wanted to kill Fu and Zhang Yi, the priest of Zizhou, and gathered officials at the gate. The military commander is out, the crown hook curtain is three, and the mother is white. Run to save, stop, and kill Yi alone. "
Now look at the relevant situation in the history of literature, people don't mind that the legend of "catching the moon" was gradually formed more than 100 years after Li Bai's death. They still regard it as a symbol of Li Bai's poems and his life, as a positive image, and they never forget it and recite it. [(20)] As for the ominous words of drowning, the negative impression that should be avoided is covered by a stronger positive impression, which is the actual state in the history of literary inheritance.
So, what is the charm core of this legend of catching the moon? As the third part of this paper reveals, it has two functions: ① typifying the theme of Li Bai's poems. (2) Visualize and visualize the keynote of the ideological system of "Poet Li Bai", and complement each other to form a more vivid impression. In other words, Li Bai's miraculous, genius and hospitality are vivid because he died of drinking and catching the moon in the Yangtze River's Quarrying. In other words, the extraordinary talented poet who lives in a guest house is not suitable for his ordinary ending of old age and death in his own home. He must be integrated with the Yangtze River and the bright moon to maintain his eternal life. The legend of catching the moon illustrates this point. Song Mei's ode to "Riding a Whale to Heaven" (A Stone-quarrying Moon Gift) and Yuan Saduko's ode to "Don't Be a Fairy and a Narcissus" (Quarrying Stone with Li Bai) [(2 1)] depict the spirit of Taibai Star rushing to the distant space or underwater Chihiro by moonlight. This additional fantasy image repeatedly recited by the poet fully proves this point.
(5) The legend about the death of Du Fu and Li He.
The status and significance of Li Bai's dying legends have been clearly defined, but the dying legends of Du Fu and Li He, which give people the same impression, cannot but attract our attention.
The dying legend of "beef liquor" recorded in Du Fu's biography in Old Tang Book and New Tang Book is based on novel miscellaneous materials such as Huang Ming Zalu (22), but it is actually based on Du Fu's own work (24), and it is also clearly recorded in two official histories recording the history of the Tang Dynasty. [(25)] However, compared with the legend of "catching the moon" which is almost not a historical fact, it is purely produced in the process of readers' appreciation and acceptance, and the formation of Du Fu's dying legend is quite different.
I traveled along the rivers in Hunan, traveled to Hengshan and lived in Leiyang. I just tasted the Yue Temple, but I was blocked by the raging water and couldn't eat for ten days. Leiyang county magistrate knew about it and came back from the ship. ..... Spitting beef and white wine, he died overnight in Leiyang at the age of 59. (Book of Old Tang Dynasty (volume 1900))
I went back to my hometown to climb Hengshan Mountain. Because of the guests Leiyang and Yue Yue Temple, I was not allowed to eat for ten days. The magistrate greeted him with a boat and was taken back by him. Stir-fried white wine with beef. Drunk, former pawn, 59 years old. (Book of the New Tang Dynasty, Volume 20 1)
On the other hand, the inheritance of Li He's dying legend "Baiyulou" was recorded by Li Shangyin's Biography of Li He (the fourth volume of Li Yishan's Selected Works), so the context of inheritance (that is, what Li Shangyin recorded and what Li Hejie said) itself has high credibility, and the content corresponds to Li He's fantasy image, but it is more similar to the legend of "catching the moon"
When Chang Ji was dying, he suddenly saw a man wearing clothes, driving a red scorpion and holding a blackboard. If Tai Sui seals or thunders, the cloud says,' Call Chang Ji'. A Nv is old and ill, so he doesn't want to go. Fei Yi people laughed and said,' The Emperor became a white jade building, and I call you as a memorial. There is no joy in the sky, and it is not bitter'. Longji cried alone and everyone around him saw it.
Less is no shortage of long luck. There is a lot of smoke in the window where Chang (Chang) lives. When she heard the flute, Mrs. Tai told people to stop crying. Waiting for it, after drinking five buckets of millet, Chang Ji actually died.
Sister Wang, I can't pretend to be a long-term lucky person, so I can see it. (Four episodes of Li Shangyin and Li Hechuan, Volume 4 of Li Yishan's Collected Works)
Comparing Du Fu's and Li He's dying legends, firstly, people feel that Du Fu's theme of "beef and white wine died" → "drowning" → "dying in a boat" has changed correspondingly with the changes of the times, while Li He's "white jade building" legend has remained the same.
If you go further, why is this? The reason is nothing more than legend, especially the dying legend, which reflects people's evaluation and impression of this character when it was formed. Therefore, when the established dying legend is inconsistent with the evaluation and impression of this person in the new era, the legend itself is adapted or deformed.
As we all know, Du Fu's dying legend is related to Du Fu's works, that is, from the following passage, it was formed shortly after his death.
"Nie Leiyang uses servants to block water, and books to make wine and meat, and to cure the barren river. Poetry should be carried forward and rhyme exhausted. In the county, it was ordered to go to Tianyi Fang by land for 40 miles and sail for one day. When the river rises, it is moored in the field. " ("Zhu Qiu" Volume 23)
The title and text of this ancient poem are clearly recorded. Du Fu, who stayed in Leiyang, was blocked by the flood nine days later. Nie county magistrate in Leiyang only got books and wine and meat to satisfy his hunger, and (2) presented poems to the county magistrate to thank him. His poem says: "Leiyang Tai Su sees the wilderness." ..... I know I was hindered by the rough waves, and it took me half a year to win Hao Gā o @ ②. "There is no doubt that Du Fu's life in a water town in his later years, that is, the personal description of hunger, cold and aging, provided direct material for Du Fu's dying legends in Ming Di Miscellanies, Old Tang Books and New Tang Books. In particular, Old Tang Shu and New Tang Shu, which are official histories, regard "not eating for ten days" as the key basis of "being full of wine and meat", explaining their narrative and. ② From the middle Tang Dynasty to the early Song Dynasty, readers of Du Fu's poems did not regard Du Fu's image as their own fault, at least in the general trend of public opinion.
The above trend continued until the mid-Southern Song Dynasty, until the theory of "drowning" was formed, which denied the legend of "wine and meat are full of death". Detailed Notes on Autumn Poems of Du Fu in Qing Dynasty quoted Addendum to Du Fu's Biography in Tang Dynasty (recent research [(26)] has shown that it should be written by poets in Song Dynasty), which recorded another legend, that is, Nie Hou of Leiyang fabricated false reports to deceive Xuanzong, and Du Fu actually drowned in the flood.
(A) Du Fu in the Tang Dynasty, poetry is beautiful and versatile. At that time, he was alone. He was frustrated and traveled all over the world, from Shu to Leiyang, all by Nie Hou. He doesn't treat him with courtesy, but his beauty is casual and unhappy, wandering between the city and the countryside, adapting to poetry and wine.
(b) One day, crossing the river in the middle of the mainland, I got drunk and couldn't go back, so I stayed in a restaurant. It is already evening, the river is soaring, and the beauty of children is shocking and erratic. I don't know where his body fell.
(3) Bo Xuanzong returned to the south, thinking about the beauty of his son and asking the world. After Nie, he accumulated empty soil in the river, saying,' Zi Mei died of wine and cattle swelling and was buried here', and heard about Xuanzong.
(4) Nie Hou should be sincere to the son of heaven. This is an empty grave. It's ugly to drink with wine. Those beautiful and talented people don't know the difference between eating and drinking. The poet regrets it, and the beauty hall has a sigh. If you know that you are not drunk, you will die.
(e) gaoyu @ ③ Tucheng Leiyang, there is a poem saying, "Poetry opens the sky, but bones bury Leiyang." I feel it, but it's not burning. Tang Xian said, "A night's rain in the river is a hundred-year grave of the Ministry of Industry." Han Wengong's poems are all clear, and he knows that the tomb of Zi Mei is empty, not because of wine. (Guan "Legacy Biography", Anthology, Four Series)
(A)(B)(C) is about Du Fu's dying legend, (D)(E) The second half is full of the narrator's comments. Although the region, characters and background of "Leiyang-Niexianling-Dashui" are the same as the legend of "full of wine and meat", there is no mention of beef and white wine in this legend.
Du Fu died in 770, eight years later than Xuanzong died in 762. It just shows the fiction of this legend. A series of comments in the second half show that those who described the legend of Du Fu's drowning at that time thought that the legend of "beef and white wine died" was detrimental to Du Fu's image, so they tried their best to wash and deny it.
(e) The "Han Wengong's Poems" mentioned in the previous paragraph are included in Cai Mengbi's notes "Poems of Caotang" (singing and appendix) and "Poems of Du Gongbu" (preface) in the middle and late Southern Song Dynasty, followed by Xu and Huang He's supplementary notes "Poems of Collection of Thousand Notes and Classification" (preface). [(27)] Because Li Guan praised "Everything is clear", the content and evaluation of this poem are the same as the drowning legend in Yi Bu Zhuan, so it can be seen that Yi Bu Zhuan clearly describes the drowning legend based on this poem. However, there is no such poem in Han Yu's Poems. Cai Mengbi thinks that "this ... is only contained in Liu Fu's Book of Changes (20 volumes). ..... is a good thing after the vulgar Confucianism, and it is entrusted with this matter, and it is by no means clear to recite it with a thick fake back. "This poem is purely a forgery. According to the research of relevant papers (see Note [(26)], this poem is from the Northern Song Dynasty to the Southern Song Dynasty and is the main part of Du Fu's legend of falling into the water.
The legend of "drowning", just as Qiu, who quoted and criticized this legend, lamented: "This theory wants to' argue the fallacy of cattle drinking to death, and sitting back and drowning in water is a supplement, which is the same as the custom. "However, dying because of an unexpected flood is indeed a further revision than' drinking meat and dying' because of your own diet. However, this modification reflects the legend's intention.
In the final analysis, in the highest evaluation of Du Fu as a poet in the Song, Yuan, Ming and Qing Dynasties [(28)], Du Fu's death was neither "the death of satiated food" nor drowning, but the theory of "dying of old age in a boat" dominated. Of course, some commentators, such as Qian in the early Qing Dynasty, emphasized the historical essence of "eating enough to support death": "Beef liquor is not enough to pollute". However, as far as the general trend in the history of annotation is concerned, the theory of "death from illness" represented by Qiu has become conclusive and widely circulated, even today (the theory of "death from illness" is the most detailed in Wen Yiduo's Chronicle Notes of Mr. Shao Ling and Wen Yiduo's Complete Works).
In particular, the meticulous Poems of Zhu Qian Du criticized the "death" advocated by Song Jigong's Chronology of Du Poems [(29)], Song's History of Dust [(30)] and Song Huanghe's Thousand Notes on Du Gongbu Poems [(3 1)]. For example, in a series of textual research styles of Du Gongbu's Poems (Volume 11), as well as Various Styles and Autumn Notes (Volume 23), people can feel the persistent belief of trying to deny Du Fu's unfavorable inheritance. It can be seen that the formation and spread of Du Fu's dying legend is of great significance to Du Fu's biography theory.
On the other hand, the legend that Li He died in "Baiyulou" is basically the same from beginning to end. This means that people's impressions and comments on Li He's poetry and life have basically not changed since Li He's time. Today, the people in "Baiyulou" have become a metaphor [(32)], which shows that its legend has a strong inheritance.
There is no doubt that the main cause of the legend of "Baiyulou" comes from Li He's personality and the individuality of his works. Li He's personality characteristics: his profile describes "thin, eyebrows, fingers and claws" (Li Hechuan), and his mother once lamented that "it's a son, you have to spit out your heart" (Li Hechuan), and has outlined the image of Li He. And the personality of his works is the special personality reflected by the characteristics of his works, especially, fairy songs, the third part of feeling and satire, Su Xiaoxiao's tomb and the trip to Nanshan field: that is, the sound of * * * and the concern for the underworld = the ghost world.
Li He's personality characteristics complement each other with the unique personality expression in his works, which plays a decisive role in the formation and spread of the legend of "Baiyulou", which symbolizes that Li He can communicate with the human soul after his death. In order to ensure the authenticity of the legend of "Baiyulou", we also recorded stories such as "Fei Ren", "Qiu Chi", "Strange Ancient Chinese Characters", "Li He's literary talent corresponds to the literati in the Ming Dynasty" and "Floating Cars and Music in the Air" as words that people saw, heard and felt with their own eyes during the day.
By the way, according to the available information, he was first regarded as a symbol of "a genius". In Qian Yi's Nan Xinshu (middle) in the early Song Dynasty, 200 years after Li He's death, there was such an evaluation: "Li Bai is a genius, Bai Juyi is a genius, and Li He is a genius."
However, there is a saying in Ye Tinggui's A Story of the Sea (Volume 18) in the Southern Song Dynasty that "Taibai is a genius in the Tang Dynasty, Bai Letian is a talent, and Li He is a ghost". From this point of view, the first evaluation of Li He with the word "ghost talent" may be traced back to an earlier period than the Southern New Book. In any case, it goes without saying that the image structure of "ghost talent" is the basis of the legend of "White Jade Pagoda". More fundamentally, the description of the underworld and the legend of "White Jade Pagoda" in Li He's poems are not the direct matrix for evaluating "ghost talent", so it is precisely because Li Bai regards the image of "genius and immortal talent" as the starting point of association that a remarkable picture of "harmony between man and nature" is formed.
(6) Conclusion
Generally speaking, both "authors" and "works" in the history of literature have such a basic personality characteristic, and only the relationship with readers is what determines their status and significance.
The readers mentioned here include ① general readers, ② creators of the same type, ③ researchers, and then, ④ the author himself, all readers.
From a historical perspective, Li Bai's legend of catching the moon, Du Fu's legend of beef wine and Li He's legend of Baiyulou are the most famous legends symbolizing the poet's poetic style and life in the history of China literature. 〔(33)〕
If we compare the dying legends of Li Bai, Li He and Du Fu with their own poetic styles and life symbols, then the situation of Li Bai is as follows: As mentioned above, the birth legend (the inheritance of Taibai Star) → the style legend (the inheritance of fallen immortals) → the dying legend (the inheritance of Catch the Moon) are three homogeneous legends of the system. The situation of Li He is like this: there is no story equivalent to a legend, but the legend of style is the inheritance of "disgusting" with great personality-continue to write poetry until his heart is spit out-which becomes a symbol of his attitude towards poetry creation. Needless to say, it is the same as the inheritance of "Baiyulou", which has the function of enhancing Li He's image as a "ghost talent".
In contrast, Du Fu's situation is like this. Generally speaking, he lacks legends, but there are no legends about his origin and style. [(34)] In addition, it is the extremely important dying legend itself, because it vividly depicts Du Fu's poor and scattered scenes in his later years. However, in order to adapt to Du Fu's high evaluation of the "poet saint", there is a strong feeling and thought to deny this legend gradually, and even another dying legend is formed, which is dominant in his life interpretation history (extended to the history of appreciation and acceptance). Judging from Du Fu's poetic attitude and biographical historical materials, it is particularly striking that Du Like Fu, a poet who lacks legend in essence, has a vivid and dying legend of "beef wine". In this regard, it can
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