Nineteen Ancient Poems first appeared in Tong's Selected Works. It is a group of poems representing the highest achievement of literati's five-character poems in Han Dynasty. It has had a far-reaching influence on the creation of five-character poems by literati since Wei and Jin Dynasties, and was praised as "the crown of five-character poems" by Liu Xie. Since then, poetic theorists of all previous dynasties have been exploring the immortal artistic charm of Nineteen Ancient Poems or making the finishing touch on it. Or write a book for research. Their comments brought a beautiful light ring to Nineteen Ancient Poems, making it another highly respected poem after The Book of Songs and Songs of the South. Following the study of Nineteen Ancient Poems in modern times, the study of Nineteen Ancient Poems in the 20th century has made remarkable achievements in the interpretation of ancient poetry texts, the arrangement of research materials, the deepening of research contents and the updating of research methods. According to the research characteristics of different periods, this paper is divided into three stages:
I. 1900~ 1949
If the traditional study of Nineteen Ancient Poems focuses on the interpretation of things, the listing of sources and the excavation of words; Or reveal the inner meaning of poetry by means of "comparison" and "sustenance"; Then, in the first half of this century, many scholars started with traditional research methods such as annotation, explanation and textual research of Nineteen Ancient Poems, paid attention to the exploration of "image level" and "image level", and made many innovations in data collection, collation, analysis and textual research.
He Lingyang's book A Study of Nineteen Ancient Poems makes a systematic study of the author, the time when the works were produced, the artistic characteristics and the manuscripts of various schools. [1] More than 20 papers published in periodicals during this period not only explained, annotated, explained and questioned the text of Nineteen Ancient Poems, but also preliminarily discussed the author, time, emotion and position in the history of literature. A more representative one is Xu Zhongshu's Textual Research on Nineteen Ancient Poems. Considering that Nineteen Ancient Poems was produced after the Eastern Han Dynasty, his textual research was rigorous and his judgment was cautious. [2] With regard to the poem "The Moon is in the sky, and there is a strike every night", Jin Kemu tried to explain the ancient poem "Yuheng refers to Meng Dong" because Shan Li quoted "Ming is Han Meng Dong, not Xia Meng Dong" and "Han Meng Dong, this July" in Huainanzi and Hanshu. His statement accords with astronomical theory and practice, and seems to be less far-fetched than the predecessors and sages at that time, thus shaking the inference that the poem "Bright Moon in the Sky" was written in the early Western Han Dynasty and the calendar was unchanged. [3]
Sui Shusen's Nineteen Ancient Poems can be said to be a masterpiece of previous studies. In the first textual research, the book analyzes the time when Nineteen Ancient Poems came into being and the author's problems, and lists "Mei Cheng's theory, Fu Yizhi's theory," "Cao Zhi's theory, Wang Shen's theory" and "Zhang Heng's theory, Cai Yong's theory", which is considered to be legends and speculations, without empirical basis and insufficient credibility. From the Six Dynasties to the Qing Dynasty, the argument between Gu and Xu Zhongshu and other close friends about "the theory of the Eastern Han Dynasty" and "the theory of the Western Han Dynasty" could not be fully established. After refuting them one by one, he thought that "the theory of Han Dynasty" was the most credible. It was right to say that Nineteen Ancient Poems were not necessarily written by one person, but once. This statement seems to have no big controversy; After the six ministerial notes, the Notes in Volume II lists the materials selected from the monograph Wenxuan Xue and Selected Ancient Poems, such as the source of ancient poems and the mirror of ancient poems, which are clear in level and convenient for researchers to read. The third volume brings together the explanations, comments and comments in the works and papers of Nineteen Ancient Poems by Qing Dynasty and modern scholars such as Liu Lv, Zhang Geng and Wu Qi. The fourth volume of Shi Pin is a compilation of outstanding comments on Nineteen Ancient Poems by poetic theorists since Liu Xie. This book is informative and academic, and it is a rare and important reference book for studying Nineteen Ancient Poems. [4]
The annotations of Zhu Ziqing's Nineteen Ancient Poems are unique. He analyzed Nineteen Ancient Poems with a new academic vision and aesthetic taste, inherited Shan Li's tradition of interpreting classics and things in the annotation part, revealed the inner intention of Nineteen Ancient Poems in the explanation part, and interpreted the "canon" and "meaning" in the poem. [5]
It can be said that in the first half of the 20th century, scholars, with their earnest attitude and solid academic foundation, inherited the previous research results, or collected comments and opinions. Or analyze the data and draw conclusions from it; Most of them broke the model of "Bi Xing Theory" and "Chen Jun Theory" of the old learning, and realized the transition from the old learning to the new learning with different research methods. Their research results have pointed out the direction for beginners of ancient poetry and laid a solid foundation for the further study of Nineteen Ancient Poetry.
Two. 1950~ 1979
1956- 1957, Ma Maoyuan and Zhu Guangqian published papers on New Construction, Sinology and China Youth, and began to study 19 ancient poems. Ma Maoyuan's book The Origin of Nineteen Ancient Poems gives people a new interpretation of reading and appreciating nineteen ancient poems. The style of this book is the same as that of Nineteen Ancient Poems by Zhu Ziqing. List the original poems first, then add comments, and finally explain them. Annotations and explanations also draw on the strengths of others and incorporate their own new ideas. For the first time, he made an in-depth and detailed analysis of Nineteen Ancient Poems by using the methods of aesthetics and literature and art, which made up for the deficiency that Zhu Ziqing only completed nine poems in the collection and interpretation of Nineteen Ancient Poems. In the past, the research on Nineteen Ancient Poems mostly focused on the textual research of the author, the year of completion and the specific words in the poem. The innovation of Ma Maoyuan's book lies in a new exposition of the background, ideological content and artistic features of Nineteen Ancient Poems, with accurate appreciation and beautiful language. This book is refreshing and a perfect combination of academic and artistic. However, this book, which made Ma Maoyuan a famous critic of classical poetry, set off a storm about criticizing the viewpoints of "aestheticism" and "bourgeois theory of human nature" in the study of Nineteen Ancient Poems under the social and political background at that time. Since then, no one has specially studied Nineteen Ancient Poems, and we can only see some fragments from the history of literature.
With regard to the author and writing date of Nineteen Ancient Poems, 1962 The History of China Literature compiled by China Academy of Sciences, based on the development of five-character poems and the social life and thoughts reflected in some chapters of Nineteen Ancient Poems, speculated that Nineteen Ancient Poems "was probably produced in the world of Huan and Ling, although it was not written by one person at a time". [7] Although these speculations are reasonable, the definition of specific age is too broad. You Guoen also made a clear inference about the upper and lower limits: "It probably didn't start from the last years of the Eastern Han Dynasty (more likely, the last decade), but as early as the last years of Shunchang and before Xian Di at the latest, about 140~ 190". [8] Since 1980s, this view has been recognized by most researchers.
As for the artistic achievements of Nineteen Ancient Poems, The History of China Literature compiled by China Academy of Sciences points out that the artistic achievements of Nineteen Ancient Poems cannot be underestimated. Represents the highest peak of five-character poems in Han Dynasty. It inherits the techniques of lyric poetry in Yuefu folk songs and absorbs the nutrition of The Book of Songs and Songs of the South, so some of its works, especially those about lovesickness and parting, are rarely surpassed by imitators in past dynasties. Nineteen Ancient Poems expresses deep feelings in natural, clear, concise and vivid language, and the expression method is just right, plain and implicit. There is nothing novel, but it is chewy and no aftertaste is allowed. [9] When talking about the language of Nineteen Ancient Poems, Zheng Zhenduo said that there are many feelings and sincere words, which are true, self-centered, not beautiful, but have their own charming and charming gestures. [ 10]
On the issue of "eat, drink, and be merry in time" in Nineteen Ancient Poems, Sister Liu objectively saw that "the poet's appeal for eating, drinking, and being merry in time contains deep grief and indignation, while the superficial decadence masks a positive attitude towards life". [1 1] This view of his was quoted many times by some later papers. Since then, the study of Nineteen Ancient Poems has almost been interrupted. The chapters on Nineteen Ancient Poems published in the History of China Literature in this period are either insincere descriptions or perfunctory ones, and their ideological content, artistic achievements and position in the history of China literature have not been and cannot be fully affirmed.
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