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introduce
Tang poetry summed up the excellent artistic tradition of China's classical poetry, vividly, richly and profoundly reflected the social outlook of the Tang Dynasty, showing a scene of prosperity. They are rich in quantity, high in quality, diverse in style, wide in subject matter and different in poetic style, leaving a precious artistic heritage for our Chinese nation and providing extremely rich and beneficial artistic reference for later generations' poetry creation.
In order to preserve this heritage, we especially want to thank the famous or unknown scholars of the previous generation who collected, sorted out, selected and printed Tang poetry, the researchers who commented, commented and dialectically commented on Tang poetry, and all those who made such contributions to the preservation of Tang poetry. During the reign of Kangxi in Qing Dynasty, Jiangning weaved Cao Yin's order to publish and engrave the whole Tang poetry, and brought out ten ci ministers such as Peng Dingqiu and Yang Zhongne from imperial academy. On the basis of Hu Zhenheng's Tang Yin Tong Gan and Ji Quan Tang Poetry, it took more than a year to complete the editing and proofreading of Quan Tang Poetry. "The essence of such a poet in the prosperous Tang Dynasty for 300 years can also be prepared by gathering in one series." (Michelle Ye's Preface to Complete Tang Poetry) The 900-volume Complete Tang Poetry contains more than 2,200 poets' works and 48,900 poems, which is the most important collection of classical poems in China.
Needless to say, there are still many problems in the compilation of The Whole Tang Poetry, such as mistakes, omissions, improper compilation, incorrect annotations, and sparse dissemination. There are a large number of pseudo-poems and recurring poems, and the problem is particularly serious. A large number of Tang poems are mixed in authenticity and confusion, which damages the scientific nature of this collection of poems. The vast number of literary and historical workers often encounter difficulties and sometimes even make mistakes when using relevant materials. Because of this, the author probes into the pseudo-poems and heavy poems in the whole Tang poetry, finds out the reasons for these phenomena, and puts forward some concrete suggestions on textual research, handling pseudo-poems and distinguishing heavy poems, in order to provide some superficial opinions for the compilation of the whole Tang poetry in the future.
On false excuses
The whole Tang poetry contains a large number of poems in disguised form, which is caused by many reasons:
(1) pseudonym
Unknown scholars imitate the style of famous poets, fake their names, rank ahead of their own works and spread in hope. It is for this reason that some pseudo-poems in Li Bai's concentrated works are caused. Gong Zizhen's "The Most Recorded Li Baiji": "Li Baiji, five or six times out of ten, was faked by the Tang people, the Five Dynasties, the Ten Kingdoms and the Song people." "I don't see the truth of white, but I regard white poetry as an easy effect, so Du Fu and Han Yu are less effective, and there are many white effective people." The phrase "Du Kao Shan Tou in Li Bai's play" recorded in Youyang Miscellanies (that is, Li Bai's poem "For Du Fu") was written by a busybody under the pseudonym of Li Bai and spread among the people. Liu Zongyuan's Biography of Li Chi says: "Li Chi, a prodigal son in the Jianghu, tasted:' I am good at poetry, and my poetry is Li Bai. "Therefore, it was named Li Chi." Isn't Li Bai's condensed Poems on Old Books written by Li Chi under a pseudonym? Yan Yu's textual research on Cang Lang Shi Hua also thinks that the poems in Wen Yuan Hua Ying, such as Looking at the Moon after Rain, Duiyu, Wang Fushi and Winter Returning to Laoshan, are not too white, but all pseudonyms of later generations.
(2) The name is incorrect
During the Tang and Song Dynasties, official writers wrote legendary novels, in which their own poems were often named after poets in the Tang Dynasty, and were later mistaken for Tang poems. As recorded in Records of the Sui Dynasty, Yu Shinan was ordered by Emperor Yang to write Yuan Baoer in Ying Chao, and the complete works of Tang poetry were recorded in Volume 36. In fact, Sui Shu is an anonymous pseudograph named Yan Shigu in the late Tang Dynasty. Poetry is also self-made, the name of Yu Shinan, and later generations mistakenly think that Yu Shinan's poem. Another example is Wei Chui's Song Chuanglu, in which Yang Guifei rewarded peony, and Tang specially ordered Li Bai to write a story with a clear tone. Three poems of Qingpingdiao were recorded by later generations in Li Baiji and Quan Tang Poetry. According to this matter, it is purely a novelist's statement, which is quite different from historical facts and Li Bai's whereabouts; The three poems in Qing Ping Diao, either written by novelists or others, have long been mistaken for Li Bai's poems and named after Li Bai.
(C) novel character poems
During the Tang and Song Dynasties, the characters in Guangu's novels often recited poems. These works were adopted by later editors, but the characters in the novel were mistaken for the authors of poems. For example, The Complete Poems of Tang Dynasty, The Poem Banquet of Liu Yi, The Song of Qiantang and The Song of Long Jun Erlong's Poems Answered by Liu Yi in Dongting are all attached. Writing names and poems is unreasonable and a bit neither fish nor fowl. According to: Long Jun, Qiantangjun and Liu Yi of Dongting. Li Chuanzhong was a "fictional" figure in the Tang Dynasty and a product of artistic imagination. How can we regard them as the authors of poetry? Poems such as The Night Banquet and The Song of the Qiantang Monarch are important parts of this novel, which were of course written by the novelist Li. Japanese scholars Shang Mao and Shi Ning wrote The Whole Tang Poetry, and named several poems of Zhang Kun's You Xian Cave after Cui Shiniang, Cui Wusao and Xiang Er respectively, which inevitably made the mistake of the editors of The Whole Tang Poetry.
(4) Misremembering poems
Literati in Tang and Song Dynasties recorded the poet's whereabouts and poetic skills, liked the new and hated the old, and ignored the objective facts, so they often mistakenly remembered the anecdotes of poets and their poems in Tang Dynasty. For example, in Fan Gang's Friends of Cloud Creek, there are six records of Li Guinian running into the river beach, and Du Fu wrote poems at that time. Therefore, Meeting Li Guinian, written by an unknown scholar when he fled to Jiangtan to escape the Anshi Rebellion, was mistaken for Du Fu's work. "Technical Poetry" mistakenly recorded that Liu Yuxi invited Li to dinner, and the wine was so vulgar that he wrote Liu Yuxi's poem. The editors of Complete Tang Poems did not search for letters, but compiled them into Volume 232 and Volume 365 of Complete Tang Poems respectively. There were many similar mistakes in the Tang and Song Dynasties, which was an important factor in the production of false poems.
(5) Ghost Fairy Poems
Some ghost fairy poems were recorded in the note novels of Tang and Song Dynasties, either written by novelists or invented by busybodies, which were adopted by novelists in their own books. The editor of "All Tang Poems" actually picked them into the anthology and named them ghosts and gods, thinking that they were writers. For example, there are a large number of "ghost" poems in the 866 volumes of The Whole Tang Poetry, such as Zhang Renbao's On a Banana Leaf, Li Yu's Poem of Seeing Shape after Death, Wang Jun's Poem for Chang Yi, and Wang Lizhen's Poem of Meeting with Zeng Jiheng, all of which are obvious camouflage poems.
We urgently need to pay attention to fake poems. This kind of works, the text itself seems to see nothing wrong, and people are used to it, confusing the fake with the real. However, if we use these materials to carry out research work and talk about them, it is a taboo, and they will plunge our work into the quagmire of subjective idealism. I want to ask: It is obvious that Li Bai has never written a cursive script, but according to this poem, we have to make sure that Li Bai has been to Lingling and met the calligrapher Huai Su. Is this ok? Meeting Li Guinian Down the River is obviously not Du Fu's work, but according to this poem, we have to determine the reality that Du Fu went to the river beach after the Anshi Rebellion. Is this ok? Therefore, the pseudo-poems in the whole Tang poetry cannot be the direct object of Tang poetry research, and the research work must never be based on these works, otherwise it will be like building a tall building on the beach. It will be our unshirkable and urgent responsibility to gradually identify the false poems in the whole Tang poetry and deal with them appropriately, so as to provide reliable first-hand information for the study of Tang poetry.
Thirdly, about the reappearance of poetry.
It is common to read a poem twice and read a poem more. Especially those poems with different titles and slightly different verses are more difficult to find. Li Bai's Long March (Part II) was written not only by Li Yiji, but also by Juck Zhang. In the second half of the fourth volume of Fan Chuan's Poems, I occasionally see a quatrain on the river and Liu Yuxi's poems "Appreciating foreign envoys to make you eat cold food in cold weather, I will send you four rhymes first" are reproduced; Sun Shu re-starred in A Palace Poem by Zhao Ying Hot Springs and Chang Sun-nao. Du Mu's Huai Xiucai and his reappearance. This phenomenon, you see the whole Tang poetry, is really everywhere.
In the picture books of some poets, the phenomenon that other people's poems go astray sometimes reaches an alarming level. Take Qian Qi set and Fan Chuan set as examples to illustrate. There are 53 1 poems in Qian Qi's Complete Tang Poetry, many of which were written by his great-grandson Xie Qian. There are only 108 poems of Xie Qian recorded in The Complete Poems of Tang Dynasty (including seven poems selected by Wei Ying in Vegetable Garden, one hundred poems selected by Hu Zhenheng and nine first editions of Tongcheng), and the rest of Xie Qian's poems are mistakenly collected in Qian Qi. Song Baoqin, Ge Changzhi, Ming Hu Zhenheng, Cen and others all pointed out this problem. Another example is Du Muji's Complete Poems of the Tang Dynasty, which consists of eight volumes, among which, in addition to the thirteen poems pointed out by predecessors and the poems of Li Bai, Zhang Ji, Zhao Wei, Wang Jian and Li Shangyin, Xu Hun's poems are also reprinted in large quantities (most of them are concentrated in Du Muji's Seven Poems in Volume 526 of Complete Poems of the Tang Dynasty, and also found in Zhonghua Book Company 1962 Shanghai Editor. In addition, there are Poems on the River Occasionally, Sending Du Thirteen Back to Beijing with a Pen, Living in Shoe Road, Learning from Dr. Sichuan Assistant Minister, Forty Rhymes, and Liang Xiucai's trip to the countryside in early spring. If you don't show it, you will get a gift. Every twenty rhymes, he will write according to the rhyme "and" write it on the seat of the Ministry of War "
This phenomenon was noticed by the editors of "Complete Tang Poetry", who made comments under some poems: "A poem is a poem". However, there are many omissions. As Comrade Quan Wang pointed out: "Some republished works are annotated with each other, some are not annotated, some are annotated with a poem but not included in an episode, some are annotated with a poem but not included in an episode, and some missing sentences attached to an episode are found in an episode, and even one person is mistakenly divided into two people." (See Notes on Proofreading Tang Poems) 1962, the proofreading team of the Chinese Department of Kaifeng Normal University published a manuscript (published in the first issue of the Journal of the Institute 1962), which supplemented several examples and was very valuable. Of course, there are still many poems that have not been seen, and we still need to work hard.
The editor of Complete Tang Poetry is responsible for the appearance of a large number of repeated poems. However, the responsibility is not entirely on them. The compilation of Tang poetry has a historical process, and the problems in the book have historical origins. In the process of spreading Tang poetry, mistakes gradually appeared; The predecessors recorded Tang poems, but sometimes there were mistakes; When predecessors compiled a special collection of Tang poems, they often mistakenly included other people's poems in the collection. During the Ming and Qing Dynasties, Hu Zhenheng, Ji and others independently completed the Collection of Tang Poems, which inevitably made mistakes. The compilers of Complete Tang Poems not only summarized the achievements of predecessors in sorting out Tang poems, but also inherited many mistakes. Therefore, when discussing the reasons for the emergence of a large number of mutual poems in the whole Tang Poetry, we should distinguish the faults of our predecessors from the responsibilities of the editors of the whole Tang Poetry.
Let's take a look at the mistakes of our predecessors:
First, Tang poems, especially those short poems, are often passed down from mouth to mouth, and it is easy to miss the title of the poem and the name of the author. As a result, some people add poems in vain, while others mispronounce the poet's name. Over the years, many republished poems have gradually appeared. The composer did not distinguish clearly, which is an extremely important reason for the re-publication of this poem. For example, Liu Yuxi has a seven-character poem entitled "Appreciating foreign servants makes you eat cold food every day, and pine nuts are given four rhymes first". People love the second half of the poem, turn it upside down and lose its title and the author's name. In the future, people mistakenly thought that this poem was a quatrain poem and that it was written by Du Mu. The title is "I occasionally see quatrains on the river". Pei Hanyan edited my uncle's poems and mistakenly put them into a collection of poems. In the same way, Sun Shuxiang's book Zhao Ying Hot Springs has gradually become Sun Ao's Gong Ci by mistake; Tu Mu's Huai Xiucai gradually became. There are many examples, so I won't say them one by one.
Secondly, some republished poems are caused by mistakes in old books. For example, in Wang Jian's Gong Ci, "Yan Ying quotes Bi Yilang", and "All Tang Poems" includes a poem written by Yuan Zhen. The Complete Poems of the Tang Dynasty also included this poem in Yuan Zhen's anthology, entitled "Self-report", with the caption "A poem by Wang Jian". This theory originated from Fan Gang's "Yunxi Youyi", and the whole Tang poetry did not indicate the source. However, Fan's record is wrong (see the relevant textual research text in Wang Jian's Dialectical Draft of Gong Ci), which causes the poem to reappear. The reappearance of Zhang Hu's "Two Poems of Gathering Lingtai" and Du Fu's "Lady Guo" is due to the author's name being mistaken. Catalogue of Siku Quanshu and Summary of All Tang Poems: "It is contained in the remaining monuments, broken monuments, historical books and miscellaneous books, and it is supplemented." It is precisely because the compilers of Complete Tang Poetry did not carefully select the materials of Shangshu and Miscellaneous Books, and compiled some erroneous poems into the whole book, which caused many poets to repeat and see each other's poems.
Thirdly, the later generations compiled Tang poems, which is another important reason for the re-publication of poems. The predecessors' criticism of Song Min's compilation of Li Baiji is aimed at this phenomenon. Besides, there are many examples. Wang Jian's One Hundred Gong Ci Poems were lost in the process of circulation. In order to make up for the number of one hundred poems, the wrongdoers entered other people's poems, resulting in the consequence that "forgers in past dynasties are common in various people's collections". Poets often mistakenly put other people's poems that others should and sing into special collections, which leads to reappearance. For example, Xu Hun's poetry collection "Appreciating Du Buque, Boating in the Rain in Early Spring" (Complete Poems of Tang Dynasty, Volume 535), "Boating in the Spring Rain in Middle Time, Peishi in Hengjiang met Li Zhaoer and sent him to the south of the Yangtze River because of his four rhymes" (Complete Poems of Tang Dynasty, Volume 536). After the problem, the words are not fluent. Du Muji's evidence shows that there is a lack of words in this problem. The title of Du Muji's poem is "boating in the rain in early spring, and Peizhou, the envoy of Hengjiang, met Li Zhao and sent four rhymes to the ancestors of Xu Hun in the south of the Yangtze River" (The Complete Works of Tang Poetry, volume 523). In contrast, it is known that Du Mu wrote a poem to Xu Hun and Xu Hun because of his boat trip and state, which is the premise of two poems. However, the editor gave Du Mu's poems to Xu Hun, which was also recorded as Xu Hun's poems, and changed the title of Du Mu's original poems, so that the two poems met. In Du Mu's poetry collection, there is a poem "Send Du Thirteen to Beijing", which was originally written by the poet's brother-in-law and Zhou Cui's satrap when he sent him to Beijing, and was also included in Du Mu's poem.
Fourthly, poems with similar artistic styles and the same poet's surname are easy to confuse the author in the process of circulation, and it is easy to mistake other people's poems into the album when compiling, which is also a reason for the re-publication of poems. For example, Li Bai's Song of Concentrated Chang Gan (Part II) reappears with Li Yi's poems and Zhang Chao's poems. The predecessors thought that "the styles of the two poems before and after are similar" (Zhu Jian's Shi Li Bian Yi) was based on the poetic style. There are dozens of poems by Du Mu and Xu Hun. Although Xu Hun didn't catch Du Fu, he missed Du Fu's poems. However, "The poems of Xu Hun, a talented scholar in the south of the Yangtze River, are fresh in every word and strange in every sentence" (Wei Zhuang's On Xu Hun's Poems) and "I want to make it clear in Yunshan" in "On Bao Fa Shu Zan", which are similar in some aspects, so later generations mixed Xu Hun's poems into Du Mu's anthology. There are many Xie Qian's poems in Qian Kao Gong Ji, and Liu Shi's angry poems are mistaken for Liu Yuxi's poems by Nan Chu News because of the author's surname.
Fifth, in the poet's album, there are also reappearance phenomena. For example, Xu Hun's concentrated "Tai He Gong Jing Li Chugan" and "Wen Kaijiang Song Xianggong Shen Xi Next Life" reappeared in the second song; "Back to the Top of the Mountain" and "White Gate" (based on the poem of Li, a poet in Xuancheng, Northern Song Dynasty) are both reproduced. In Li Bai's collection of poems, more than ten poems have been reprinted. This personal collection reappears for many reasons. Some reprinted poems show obvious signs of revision, but a poem has two drafts, one is the first draft and the other is the original. The editor thought it was two poems without careful examination, and the income was concentrated; Some of the copied poems have some similarities and differences. This is a variation of a poem in the process of passing money, and the editor regards it as two poems and enters the collection.
In addition to inheriting the mistakes of predecessors, the editors of all Tang poems also have their own responsibilities. Generally speaking, of course, they have the common fault of "unwilling to delve into it" in the past, but mainly because of limited manpower and time, they can't seriously absorb the research results of predecessors and can't well implement the principle of dealing with reprinted poems determined by themselves in Complete Tang Poetry. On March 19th, the forty-fourth year of Kangxi, Cao Yin ordered the publication of The Complete Poems of Tang Dynasty. It was not until May of that year that he called ci ministers to Yangzhou, compiled them into The Complete Poems of Tang Dynasty, and began to publish and collate them. According to Cao Yin's "Starting Date of Weaving in Jiangning and Printing and Engraving the Whole Tang Poetry" and "List of Whole Tang Poetry in Books", it can be seen that the date of finally completing the task of printing and engraving the whole Tang poetry is the first day of October in the forty-fifth year of Kangxi. It took only 17 months to publish and carve such a voluminous collection. In the meantime, members engaged in editing, publishing and proofreading also changed from time to time. Wang Yi, who was edited, is famous for anemia. He left Yang for his hometown after the onset of illness and died soon. Other members also left Yang for some reason. By the end of June of the forty-fifth year of Kangxi, there were only five people working in Yangzhou Poetry Bureau. (After Cao Yin was ordered to publish and engrave the whole Tang poetry, he wrote a lot of memorials about the publication and engraving of the whole Tang poetry, all of which were included in the Historical Materials of Jiangning Weaving Cao Shi Family Archives published by Zhonghua Book Company 1975. Due to the shortage of personnel and time, the editors of the whole Tang poetry pay attention to collation and supplement, and fail to spend energy to absorb the achievements of predecessors and do a good job in textual research, falsification and appraisal.
Fourthly, distinguishing between republished poems and fake poems is one of the important tasks of sorting out the whole Tang poetry.
Identification is to identify the authenticity of the poem and the true author of the poem.
Due to the serious duplication of poems included in The Whole Tang Poetry of Qing Dynasty, and there are many poems in disguised form, it will be one of the important tasks to reorganize The Whole Tang Poetry. The more detailed and meticulous this work is, the higher the quality of the newly compiled Complete Tang Poetry will be.
It is difficult, but not impossible, to find out the problematic poems in the whole Tang poetry. Because the previous generation, modern and contemporary scholars have done a lot of useful work for us and opened up the road. Using the method of historical proof of poetry, Mr. Cen pointed out that Yong's poem was not written by Liu Yuxi or Wei, but by others (see Yu Lian, Volume III). Zhao He, a poet in the Song Dynasty, used the method of poetry textual research to point out that the poem "I remember flying on the grass in those years" was by no means written by Huang Chao, but was pieced together by someone who copied the poems of Yuan Zhen's Two Poems of Wisdom (see Bin Tuilu and Liu Hua, Volume V). Their methods of discovery and textual research are worth learning. Textual research in the Song Dynasty, Notes on Changing Zhai, Notes on Sleeping, Before Tang Yingui by Hu Zhenheng in Ming Dynasty, Hu Yinglin's Shaoshi Shanfang Biji, Shi Zhen's Poems in Classroom and He's Textual Research on Poems of Past Dynasties are all close to the people and contemporary people. Shi Yulian in Tang Dynasty by Cen Zhongmian, A Brief Analysis of Four Treasures by Cen Zhongmian, Poems of Song Dynasty by Guo Shaoyu, Poems by Canglang, etc. , have adopted various methods, has done a lot of identification of Tang poetry, reading, reading, for us to carry out all the identification of Tang poetry has laid a good foundation. On the basis of predecessors, this paper conducts extensive research on the identification of Tang poetry, and gradually reaches a more consistent opinion on the authenticity and authenticity of Tang poetry through a hundred schools of thought in academic circles, thus preparing good academic conditions for reorganizing the whole Tang poetry. Then, the leading institutions of academic research, together with the publishing department, will organize their efforts to compile a complete Tang poem that can reflect the new academic level of our country in accordance with the new compilation policy.
We should seek truth from facts and be cautious in the appraisal work, and take appropriate measures to deal with those poems that have been falsely entrusted, mistakenly entered and reprinted, which can not only overcome mistakes, but also maintain the "complete" face of Tang poetry. To this end, the following suggestions are made:
(a) there is evidence of false poetry, which should be deleted from the album without reservation. Some poems are still controversial, and it is difficult to make a final conclusion for a while, but they must be briefly explained so as not to delay future generations. Ghost poems and immortal poems are obviously entrusted by later generations by mistake and should be deleted; However, according to the actual situation, those poems with profound meanings by ghosts and gods should be preserved. The real name of that author can be determine; Not sure, anonymous.
(2) Re-publishing the poem can lead to the conclusion that if the author's surname is written, it should be "deleted back here" and there is no need to re-publish a common opinion. However, the problems left over from history are very complicated, and the real authors of some reprinted poems are difficult to verify for a while; There are still different opinions in academic circles about the real authors of some reprinted poems. These poems, however, had to be doubted, but they were rewritten and annotated under the title of the poem: "A poem is a poem". It is best to compile a poetry index of the whole Tang poetry reprint and attach it to the back of the book for future reference.
(3) The Tang poetry mentioned in the novels of the Tang and Song Dynasties should be divided into two situations: first, the novelist's own works pretending to be Tang poetry and the names of the characters in the novels should have the novelist's name. Speaking of the legends of the Tang Dynasty, Zhao Yanwei of the Song Dynasty said: "Cover these articles for the public, and you can see historical talents, poems and comments." Poetry is common in novels, and its copyright should probably belong to the official himself. Secondly, the poems in the novel are not written by novelists, but really poems of the Tang Dynasty. We should find out the source of the poems and return them to the original author.
(4) Reprinted poems in the poet's special collection can coexist with works with small differences in poem names and poems, and can also be used as "proofreading"; For the work of "one poem and two manuscripts", you can't delete either one at will, but keep it together. At the same time, a poem has two drafts, one is for people to study which is the first edition and which is the original edition, and the other is for future generations to provide the creative experience of ancient poets in revising manuscripts and gain artistic reference from it. Any arbitrary guess and hasty deletion are wrong. There have been lessons in history. In the Song and Wu Dynasties, Li Heji was annotated by orthography, and the poem "White Gate" was deleted. Since then, all Li Heji's books in Ming and Qing Dynasties have been lost. Wang Qi quoted Wu Zhengzi, the fourth volume of Li Changji's Collection of Songs and Poems: "There is a song in front of the white door after this article, which is the same as this song, so the article should be taken as correct." Wu Zhengzi was quoted at the beginning of the volume "External Collection" as saying: "The first chapter of" The Story of the White Gate "is the same as the fourth volume" Turning Back ". ..... I dare not cut it all, so I don't care if it reappears. " The fact is just the opposite of Wu's opinion. "Back to the Peak" and "White Gate" were originally two drafts of a poem. After the revision of The Book of Songs, poems, words and allusions are better than before. Mr. Qian Zhonglian believes that "The Story of White Gate" and "The Rate of Turning Back" should be translated into Poems Outside the Collection. "Wu Zhengzi noticed that Back to the Peak should be correct, and the original intention of this poem was not explored at first." (See Notes on Long Valley Poems, the third series of China Literature and History Series in 79). Very accurate, indicating that Wu Zhengzi's judgment is obviously wrong. He deleted the white door without authorization, which was particularly inappropriate.
(5) For the sake of prudence, the newly compiled Complete Works of Tang Poetry should set up an "appendix" column for many unedited poems (including works deleted for various reasons) and keep these poems for future reference. It is easy to delete, but it is not a scientific attitude. ?