The in-depth study of Yuan Zhen's poems began with a series of papers published by Chen in 1930s, such as Query on Reading Poems of Lotus Palace and Original Name and Preface of Mourning Poems. At the same time or later, Yuan Zhen and Bai Juyi were discussed together in Zou Enyu's Yuan Zhen and Bai Juyi and Xuanxiu's Bai Yuan. Since then, Chen Yinque and Bai Juyi have also annotated and studied Yuan Zhen's poems, such as Bai Yuan Poetry Classification, Yuanhe Style Poetry and so on. Later, Bai Yuan's Poems on Yuan Zhen included Notes on Ancient Poems, Mourning Poems and Poems of Lotus Palace. After the 1950s, under the influence of Chen Yinque, the academic research on Yuan Zhen's poems was more in-depth and extensive. By the 1980s and 1990s, great progress had been made in the artistic features of poetry, its contribution to the development of literature at that time, its genre, theme, temperament characteristics, and poetic theory, among which Bian, Yu and others made remarkable achievements. It is worth mentioning that a considerable part of Wang's monograph On Yuan Zhen discusses Yuan Zhen's poems, among which the third part is Yuan Zhen's literary view, and the sixth, seventh, eighth and ninth parts analyze and discuss Yuan Zhen's specific works, all of which have certain depth.
Some literary history and poetic history published in the first half of this century made a comprehensive evaluation of Yuan Zhen's poetic art and achievements. For example, in The History of China Literature, Zheng Bin thinks that "Yuan Zhen's poems rolled out from the social environment at that time. He didn't like the arrogance of the buffer region at that time, the rampage of the generals, the exorbitant taxes and levies, and the arrogance of the Buddha, so he was' physically and mentally shocked, if he couldn't be born'. Therefore, as a poem, it satirizes current politics; Hope for the people in an emergency will put politics on the right track. ..... With the help of Chen Ziang and the imitation of Du Gongbu, he boldly talked about his social and political problems in his poems. At the same time, he also saw through that although poetry is something that plays with music, it can be independent without music. ..... So he boldly borrowed ancient topics or drew up new ones to create his so-called new style poems, which were specially used to satirize the rule and avenge the people. " Zheng Zhenduo's "Illustration of the History of China Literature" holds that Yuan Zhen "sang with Juyi, but failed to get the fluency and freedom of Juyi. However, although his poems are not unrestrained, they are very refined. His Preface to Ancient Yuefu is a Brief History of New Yuefu, and his Hui Zhen Ji became the ancestor of one of the most famous legends in later generations.
The history of literature published in 1950s and 1960s made a more detailed and in-depth discussion on Yuan Zhen's poems. For example, You Guoen's History of China Literature holds that "Yuan Zhen was six or seven years younger than Bai Juyi, but he first noticed Li Shen's new Yuefu poems" and "played a great role in promoting the development of the new Yuefu movement", "but some of his Yuefu poems are still there. Moreover, "the breadth and depth of Yuan poetry content and the vividness of characters are not as good as Bai Juyi's. "This mainly depends on his worldview." In addition, his mourning poems "belong to neatness, but seem to be commonplace" and "have certain influence on the popularization of regular poems". The History of China Literature compiled by the Institute of Literature of China Academy of Sciences lists Yuan Zhen as a separate section to show its importance. They spoke highly of Yuan Zhen's Tian Jia Ci, Yue Ke Yue and Lian Chang Gong Ci, but they also thought that the achievements of Yuan Zhen's other satirical poems were far less than those of Bai Juyi and Yuan Zhen. "Yuan Zhen's best works are ancient and modern colourful poems and mourning poems", "Because he is rich in words and good at describing, he is particularly good at writing love between men and women, which can attract people and move people". They also pointed out that their love poem "Xiao Chun" is a copy of "Hui Zhen Ji", which deserves to be emphasized in the history of literature.
Since 1980s, there have been many monographs that comprehensively study Yuan Zhen's poetic art and literary achievements, among which Pei Fei's Brief Comment on Yuan Zhen, Analysis of Yuan Zhen's poetic artistic characteristics, Bian Yuan Zhen's First Trial of Tang Shiyun, and Liang's Four Topics on Bai Yuan ―― A discussion with Mr. Pei Fei.
Among them, Pei Wen mainly discusses why Bai Yuan is called "Bai Yuan" instead of "Bai Yuan". This paper holds that Bai Yuan is called ","for two reasons: first, Bai Yuan's singing remuneration focuses on rhyme, but rhyme is endless and powerful; Second, "Lust and Color" originally belonged to * * *, and Li Zhao added it to Yuan alone, which shows that Yuan's erotic poems have a greater influence. The article also believes that "it is not the new Yuefu that truly represents Yuan Zhen, but those colourful poems and mourning poems that use touching pens to write your feelings about where you will go". In Bai Yuan's poems about objects, "Yuan Zhen's exposed poet's personality is really more lovely, and his positive attitude towards life is closer to us."
Wu Weibin's analysis of the artistic features of Yuan Zhen's poems shows that there are five artistic features of Yuan Zhen's poems: one is superficial; Second, the language is popular, natural, simple and vivid; Third, it is implicit and tasteful; Fourth, it feels the meaning of things; Fifth, it expresses a romantic color.
Bian's article, based on rich materials and rigorous textual research, concludes that five poems, such as "Rewarding Heaven and Happiness, Seeing and Sending" written by Yuan Zhen in Jiangling House in the fifth year of Yuan He, are the beginning of "Yuan Bai's two rhymes", thus making Song Chengdachang's general conclusion that "the two rhymes in the prosperous Tang Dynasty began with" be implemented and accurate.
In Liang's article "Topic 4: Talking about the debauchery of Yuan Zhen", different views are put forward on the "debauchery" in Pei Fei's On Yuan Zhen, that is, the so-called obscene words. Liang Wen believes that people's "learning from Bai Juyi and learning from Yuan Zhen" in Li Zhao's Supplement to National History all refer to artistic style, while "obscene words" refer to content and cannot be confused.
Wu Weibin's Analysis of Yuan Zhen's Realistic Creation Road discusses Yuan Zhen's creation road in three periods. The article holds that Yuanhe period is the heyday of Yuan Zhen's realistic creation and the most important period in his life. The article points out that the so-called "Yuanhe Style" poems, "as far as Yuan Zhen is concerned, mainly refer to satirical poems including Yuefu poems, all of which have new themes and sigh arrangements for their own experiences. It is these poems of Yuan Zhen and others that have formed the situation of" poetry reaching Yuan and style becoming new "in the history of Tang literature. This "new Yuefu" is also included in the category of "Yuanhe Style", which is Wu's new theory.
Wu Weibin's reflection on the evaluation of Yuan Zhen's poetry and prose reviews all kinds of unfair phenomena in the evaluation of Yuan Zhen in the past, and puts forward his own views on Yuan Zhen's achievements and contributions in poetry, novels and literary theory. The article holds that: "Yuan Zhen's poems can't be compared with Li and Du Fu, but he has made some achievements in strategy and legend. Of course, the influence is not as good as that of Han and Liu, but Yuan Zhen's poems were undoubtedly more popular than those of Han and Liu at that time. "
Wu Weibin's On Yuan Zhen's Contribution to the Literature of the Middle Tang Dynasty emphasizes Yuan Zhen's contribution to the literature of the Middle Tang Dynasty. In view of the phenomenon that "some authoritative works ignore the existence of many historical materials and the reality of Yuan Zhen's poems, avoid talking about Yuan Zhen's contribution to the literature of the Middle Tang Dynasty and deny Yuan Zhen's position as one of the main champions of the literature of the Middle Tang Dynasty", it is of great significance to the legend of the Tang Dynasty, especially the imperial edict at that time. Its achievements are obvious to all, its contribution is indisputable, and its status as one of the main allies in the middle Tang Dynasty is unquestionable. "
Bian He's Biography of Yuan Zhen also gives an in-depth discussion on his creative achievements. For example, they discussed his poetic achievements from three aspects: "Yuefu poems with remarkable achievements", "poems with distinctive features and mournful variety" and "unique rhyme arrangement", and thought that "it is Yuan Zhen to present gorgeous beauty in simplicity".
In addition, there are Wu Cuifen's New Ancient Poems on Yuan Zhen's Yuefu Poetry, Qu Xiaoling's Tongzhou Poetry Theory and Creation, and Bao's Yuefu Poetry.
Yuan Zhen's Literary Thought People pay more attention to Yuan Zhen's literary thought in this century. As early as the 1920s, Hu Shi published "Literary Proposition of Yuan Juyi", arguing that their fundamental proposition, translated into modern terms, can be said to be writing for life: literature is a weapon to help society and improve life; Finally, it is necessary to "review the current political situation" and at least "release human feelings"; Anyone who can't do this is just doing flowers and plants in the snow. Bai Yuan's realism is "emphasizing quality and restraining obscenity, sincerely eliminating falsehood". Bai Yuan angrily carried out the intentional literary innovation movement, not for two reasons: on the one hand, they were dissatisfied with the political situation at that time; On the other hand, they were greatly influenced by Du Fu.
Later literary history (including Hu Shi's vernacular literature history), poetry history and literary criticism history also analyzed Yuan Zhen's literary thought to varying degrees, among which some literary criticism history and literary theory history published after the 1980s were particularly innovative.
For example, in his History of Literary Thoughts in Sui, Tang and Five Dynasties, Luo Zongqiang thought that although Yuan Zhen and Bai Juyi advocated prosperity and wrote current affairs, their attitudes towards poetry were slightly different. For example, in Yuan Zhen's Preface to Du Jun's Tomb, the minister of the Ministry of Industry in the Tang Dynasty, the evaluation criteria for works in various periods in the history of poetry seem to be based on whether they are prosperous or not, but this is slightly different from Bai Juyi's evaluation of Du Fu. Moreover, he also said in "Narrating Poems for Lotte" that his poems involve almost all aspects of life, unlike Bai Juyi's saying that "only songs make people sick".
For another example, Wang Yunxi divided Yuan Zhen's poetry criticism into two parts in the History of Literary Criticism in Sui, Tang and Five Dynasties: one is the comment on his own poetry; The second is the poetic theory surrounding Du Fu's poems. He believes that Yuan Zhen, when commenting on his own poems, on the one hand, rationally emphasized the significance of allegorical poems, on the other hand, he deeply loved those ancient poems and metrical poems that described daily scenes. In addition, Yuan Zhen also spoke highly of Du Fu's poems. Around the evaluation of Du Fu's poems, he also evaluated the poems of the Han, Wei and Six Dynasties, and compared the two major schools of Du Li's poems. His theory of Du Li's advantages and disadvantages has a great influence on later generations.
The History of China's Literary Theory Criticism, edited by Zhang Shaokang, also devoted a section to Yuan Zhen's poetic theory and his literary thought of "harmony but difference". They think that Yuan Zhen's evaluation of the development of poetry in past dynasties is "not as one-sided as Bai Juyi" and "more fair": First, Yuan Zhen has made more affirmation of the poetry from Qin and Han Dynasties to Wei and Jin Dynasties. Secondly, Yuan Zhen basically affirmed the literature of the Jin Dynasty and thought that it still preserved a large number of ancient "genre paintings". Although he criticized the poems between Song and Qi for "unfounded teaching" and only "writing spirit and touching scenery", he praised them for "style, color, openness and clarity". Thirdly, in the aspect of poetry criticism in the Tang Dynasty, Shen Song's contribution and influence in the creation of regular poems were fully affirmed and evaluated. In particular, Du Fu's artistic achievements in poetry are summarized comprehensively and profoundly, and he is considered to be a great poet who has accumulated artistic achievements in poetry in past dynasties. Moreover, from his evaluation of Du Fu, we can see that he also appreciated the "loneliness of Xie Yan" and "elegance of Yu Xu" in the Southern Dynasties. All these show that Yuan Zhen still attaches great importance to the near-body rhythm and artistic skills of poetry.
In addition, the analysis of "Yuan Zhen's literary view" in Wang's Manuscript of Yuan Zhen is more detailed.
The annotation and research on Yuan Zhen's specific poems began with Chen Yinque, and most of the related achievements in later generations were produced under the influence and inspiration of Chen Wen. They either supplement, discuss or expand, and become an important aspect of Yuan Zhen's research.
As early as 1930s, Chen Yinque made a concrete and in-depth discussion on Yuan Zhen's poetic works, such as Query on Reading the Poems of Lotus Palace, Imitation of the Golden Man Mountain and Interpretation of Tang Poetry by Yan Baishi, and Judging People by Geography and Year, thus discussing the time when Yuan Zhen wrote this poem. Through the comparative research of five hypotheses and possibilities, this paper holds that Lianchang Gongci is a work that the author feels time and cares about things through the palace. At work, he attends school according to his daily geographical itinerary. Only Yuanhe is the possibility of the late spring of Yuan Dynasty and the late spring of the fourteenth year of Yuan Dynasty. However, it is impossible to verify the relationship between seasonal climate and fossilization. Lianchang Palace Ci was not written by the author, but was based on the title. Poetically, it can be seen that "this poem was actually written in the late spring of the thirteenth year of Yuanhe".
Two years later, Chen Yinque published the original title and preface of Wei Yuan's Mourning Poems. The research method of this paper is similar to the previous one. Firstly, three hypotheses are put forward: (1) These three poems were written in different periods; (2) The order of these three poems should be opposite to that of the present edition; (3) These three poems originally had their own titles, and the original titles of the two poems have been omitted, so they have been preserved to this day. The article then demonstrates this hypothesis, and finally thinks: "The third song in this edition was written by Wei Ren, the supervisor of Dongtai. The second song was written by Cao, the prefect of Jiangling, when he joined the army. The first song in this edition was written by Yuanhe when he was in charge of state affairs with Sima Quan in Tongzhou. " The author also puts forward a hypothesis: "On the day of doubt, I wrote the third poem in this edition, whose original name was' mourning'. Later, the original title of the second poem in this edition was' Send Sorrow Again', and the title of the first poem in this edition was' Send Sorrow Again'. The three manuscripts may not be connected immediately. "
15 years later, Chen Yinque published another book, Collation of Bai Yuan's Poems. Among them, the chapter "Yan Shi Mourning Poems" is widely quoted, with a broad vision and heated discussion. The author thinks that "those who want to know Yuan poetry, according to the purpose of discussing the world and understanding people, must study humble officials and marriage, and those who want to know the official position and marriage of the scholar-bureaucrat class of that day must know the changes of the ruling class and social fashion from the Southern and Northern Dynasties to Wu Zetian." Therefore, the article links Yuan Zhen's view of marriage and love with his political goals, saying that "both of them are temporarily emotional, and their words and deeds are always consistent, so there is no doubt." "At that time, some people in the society still followed the old style of emphasizing family and marriage since the Northern Dynasties, so they also took advantage of it, and they were willing to trade in the old and have both name and reality. However, it is selfish to take advantage of the coexistence of different moral standards and customs in this society. Based on his life experience, it goes without saying that a smart and solid marriage is especially hateful. " However, the author also believes that "micro-genius is also." The style of writing is extremely detailed and complicated. It can be described in detail in informal relationships between men and women, such as the karma with Yingying, or in formal relationships between men and women, such as Webster's, to express feelings and express feelings, thus becoming the swan song of ancient and modern mourning poems. This is not accidental, it is caused by its unique talent for writing novels. "His Notes on Ancient Yuefu first expressed the intention of Yuan Zhen's ancient Yuefu:" As far as the new Yuefu is concerned, we can take the ancient Yuefu in Li Yuzhi, Liu Meng as an opportunity to remedy the shortcomings of the previous new Yuefu without coming up with new ideas and words to catch up with Lotte. "He also thinks:" The most striking of these 19 poems is nothing more than a short poem by a Taoist priest, and the whole article is all about discussion. "The meaning of the words is very strange.
In the first half of this century, few people made a special discussion on Yuan Zhen's life. In 1950s, while studying Yuan Zhen's novel Yingying Biography, academic circles began to re-explore Yuan Zhen's life story. For example, Sun Wang's monograph "A Textual Research on Yingying Biography" is accompanied by "A Brief Spectrum of Yuan Zhen's Deeds". Wang Bijiang also attached "Wei Sheng Chronicle" (a volume) to his "Proofreading of Tang Novels". In addition, Su Zhongxiang's Selected Poems of Bai Yuan is accompanied by Bai Yuan's score. Of course, these achievements are not too detailed and in-depth, and there are not many inventions. Bian is a scholar who has made a systematic and in-depth study of Yuan Zhen's life. His Chronicle of Yuan Zhen not only clearly outlines Yuan Zhen's official career and creative process, but also includes publication errors, appendices, textual research, correction of fallacies, dialectics and other items, which are widely quoted in historical biography. In addition, he has other achievements, such as A Brief History of Yuan Zhen, Yuan Zhen, The Truth of Yuan Zhen's Family, Yuan Zhen and Zhejiang Poets and Xue Taopei's Book. Later, Wang Shiyi also published a series of papers and monographs about Yuan Zhen's life, such as A Brief Review of Yuan Zhen's Life, Investigation of Yuan Zhen's Major Friends (1) and (2), Biography of Yuan Zhen, and Yuan Zhen's Essays. In addition, Wu Weibin, Liu Weizhi and others also have some related research results, such as Wu Weibin's Several Issues on Yuan Zhen's Employment in Tongzhou, A Brief Study on the Marriage Time and Place of Yuan Zhen's Pei Shu, and Yuan Zhen's Bai Juyi's Narrative of Songs-The Eleventh Question of Yuan Zhen's Chronicle, etc. The research on Yuan Zhen's life and personality refers to the editor's note, which is a part of the research on Yuan Zhen in recent 10 years by Wu Zaiqing. 〗
Looking at the above results, we found that their discussion mainly focused on the following issues:
Family background: The True Story of Yuan Zhen shows that Yuan Zhen's eldest brother, second brother and Yuan Zhen were not born to Yuan Zhen's mother. (Bai Juyi knew this fact, but he didn't make it clear. Therefore, Yuan Zhen was heartless to Zheng, Yuan Zhen and Yuan Zhen, which made Yuan Zhen and his widowed mother forced to leave this family after their father's death and lived a wandering life for several years.
In view of the statement that Yuan Zhen's original wife was Xie in the article Bai Juyi and Yuan Zhen, this paper corrected it, wrote that Yuan Zhen's original wife was Wei Cong, and pointed out that Yuan Zhen's original wife should be Wei Cong.
There are two old theories about the time and place when Yuan Zhen married his second wife Pei Shu: Yuan Zhen was in Jiangling House nine years ago; Yuanhe was in Tongzhou in May of 12th year. Bian pointed out the mistakes of these two theories in Yuan Tao Pei Shu. According to Bai Juyi's two poems "Send a Letter to" and Yuan Jiu's six rhymes (when Yuan Jiu was lost) and Yuan Zhen's "Reward Lotte to Send a Letter to", it is considered that "Yuan and eleven. According to Yuan Zhen's Eight Mid-Autumn Poems, the article points out that Yuan Zhen married Pei Shu in the 11th year of Yuanhe (Shen Bing). Regarding the wedding place, according to the sentence of "My surname is a different county, and I am a distant minister" in Mrs. Yu, the assistant minister of the Sacrifice Department by Yuan Zhen, this paper holds that "a different county refers to Fuzhou" and "Yuan Zhen went to Fuzhou from Tongzhou to marry Uncle Pei". As this question involves the date and place of dozens of poems written by Yuan Zhen during his return trip to Xing Yuan, Wu Weibin's Textual Research on the Marriage Time and Place of Yuan Zhen and Pei Shu raises some questions. He thinks that the "crying" in the poem quoted earlier refers to Pei Shu's daughter Fan, and the time is in the late autumn of Yuanhe eleven years. In this way, the lower limit of their marriage time should not be later than the end of the eleventh year of Yuan and Pei. According to Bai Juyi's Poems "A Message to Qi State and Yuan Jiu" and Yuan Zhen's Poems "Feeling Dreams", it is considered that "Yuan Zhen started his career in October of ten years, and he was not accompanied by his family, which proves that Yuan Zhen didn't marry Pei Shu at that time", and thus it is concluded that "Yuan and Pei Yu got married in October of ten years". With regard to the location of the wedding, after investigating that Yuan Zhen's Five Classics, instead of Seven Classics, was imprisoned in Hundred Prisons, and that Pei Shu was amazed at the Sichuan Red Classics, he thought that Yuan Zhen had left Tongzhou from October of the tenth year to May of the twelfth year and had never been to Fucheng, while Pei Shu had never seen the Sichuan Red Classics bloom in October before October of the twelfth year.
Several problems during his tenure in Tongzhou "Chronicle of Yuan Zhen" has a detailed textual research on Yuan Zhen's behavior and poetry creation during his tenure in Tongzhou, but there are different views. Wu Weibin pointed out for the first time in his "Several Issues Concerning Tongzhou's Office" that Yuan Zhen did not return to Tongzhou. Secondly, he thinks that Bian Yan's old theory of "harmony singing" is inaccurate, and there should be no poetry singing in Yuan and Bai from this period; Thirdly, Zhu Bian thought that Yuan Zhen returned to Yuan in the summer of 11th year and Tongzhou in September of 12th year, while Wu Wen thought that Yuan Zhen returned to Yuan in October of 10th year and Tongzhou in May of 12th year. I also put forward different views on Li Xi and who is it.
In addition, in "A Brief Account of the Truth of Yuan Ju Yi Tongjiang's Songs ―― Eleven Questions about Yuan Zhen's Chronicle", Wu Weibin also objected to Bian's practice of linking Yuan Zhen's poems and gifts in four stages, taking the year when Yuan Zhen's Chronicle was written as the boundary. Wu Weibin also inspected Yuan Zhen's poems. He found that he wrote 79 poems with Chiang Kai-shek, of which only 8 were given to Bai by Yuan, and the rest were made by Bai first, and then Yuan made peace with others, which was obviously different from other periods. The reason for this abnormal phenomenon is that Yuan fell ill and went to Xingyuan for medical treatment shortly after he arrived in Tongzhou, and he lost contact with Bai until Yuan He returned to Tongzhou in May of 13th year. When Yuan went to the hospital to promote Yuan, Bai didn't know in time. Poems are still sent to Tongzhou from time to time, but Yuan didn't receive them. "So, after learning that Yuanshi County had not received the real situation of his poems, Bai sent them again in December of the twelfth year of Yuanhe", and Yuan Zhen repaid them one by one. In this way, "most of the 3 1 paid works in Tongzhou, Yuanshi County should be the works of 32 poems in the early 13th year".
Bian's Yuan Zhen and Zhejiang Poets is an early article about Yuan Zhen's friends. Since then, Wu Weibin pointed out in Mistakes about the Difference between Li Eleven and Li Six in Poems that Li Eleven in Yuan Zhen's Drinking with Li Eleven Nights and Li Eleven as a Gift in Tang Cen's Travels should be Li Six (that is, Li Jingjian, a newly awarded secretariat of Zhongzhou). Therefore, Yuan and Li's theory of "joining forces in Tongzhou" is untenable. After investigation and analysis, the author thinks that Li XI's Meditation is not a letter sent by Bai Juyi from Jiangzhou, but a visit from a humble friend from Zhongzhou. Li XI's meditation did not arrive in Jiangzhou early to follow the Bai family, but Li XI, sought by Bai in Jiangzhou, was not meditation. Later, Wang Shiyi also held the same view in "An Examination of Yuan Zhen's Friends (Up and Down)". Study Yuan Zhen and,,, Li Jingjian, Liu Yuxi, Liu Zongyuan, Lu Wen, Han Yu, Dou Qun, Zhang, Lu Jian, Li Yijian, Li Cheng, Lu Zimeng, Zhang Yuanfu, Wei Zanwen, Ma Feng, Wu.