In the book, A Yuan clarifies many complicated and confusing statements according to the facts behind Lu Xun's poems and the inherent requirements of the poems themselves, providing readers with multiple perspectives to understand Lu Xun's poems. Readers may not all agree with his point of view, but the rich historical materials and annotations in the book are very helpful for us to enter a world of wise men. For this reason, Humanities Weekly invited A Yuan to write an article to talk with readers about the time before and after he wrote Lu Xun's poems.
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To achieve a good thing, it is extremely necessary to have a good chance to meet; I deeply felt this in the process of writing and publishing the Chronicle of Lu Xun's Poetry.
Just after I published the story of Tang poetry and Song poetry, I continued to study Tang poetry and Song poetry in depth. During this period, I came across a book named Notes on Yu Dafu's Poems, which was full of mistakes and made me deeply disappointed. If only I liked Yu Dafu's poems, then why don't I annotate them myself and go back to the source?
While searching for information, I am preparing to annotate Yu's poems. Several senior researchers who came to listen to my lecture on China's famous poems learned the news. They said they wanted to know more about Mr. Lu Xun's poems (hereinafter referred to as Lu's poems, mainly referring to old poems) in the process of learning poems, and asked me if I could annotate Lu's poems so as to learn them effectively. To this, I immediately agreed; Because I also love Lu. I remember that as early as 1994, at the second national symposium on young and middle-aged poetry held in Qingyuan, Guangdong, I talked with Professor Song Mouyou, a knowledgeable and generous predecessor, about their enthusiasm for Lu's poetry, and thought that Lu's poetry was mellow, elegant, profound and diverse in style.
Some comments about Lu's poems are ridiculous at first glance.
When I really wanted to annotate Lu's poems, I suddenly found the connotation of Lu's poems difficult to understand. Not to mention that Lu's poems involve a wide range of knowledge, even the images in the poems are mostly caused by various situations, and the theme is particularly implicit, so it is difficult to get a positive solution at once. In the face of those explanations or comments on Lu's poems, I found that many of them are contradictory or even antagonistic; Others can see at a glance that their fallacies are outrageous-this really surprises me! With the deepening of research, I feel more and more that those who think they have understood Lu's poems may not.
For example, in the field of Lu's poetry research, the author claims to be a "better book", and I also think that some materials also have certain reference value in a book "A Probe into Lu Xun's Old Poems". According to my rough statistics, there are at least 260 obvious intellectual errors! This book explains that the "hooligans" in Lu's poems are "swearing words, referring to unreasonable people who are entangled with others"; He also explained that the "two rooms" in "two more and one pawn" refers to "between the enemy and the revolutionary front", and so on, which is really endless. In fact, these are all jokes caused by looking for meaning in literature, learning from the present and not knowing the inherent usage of poetry. In this regard, I quote more than a dozen poems by famous poets such as Du Fu and Li Shangyin that are the same as Lu's poems to prove that the former is not "swearing words" but "describing the loveliness of spring". The latter means "between heaven and earth". In addition to quoting earlier etymologies such as Biography of Hu Anguo in Song Dynasty, in fact, the words "fill two rooms" and "live in two rooms" written by Lu Xun himself in his early days mean "between heaven and earth".
In addition, there are about 10 and 20 other famous works about Lu's poems. Although some authors are really famous, their intellectual "wounds" always flash in front of them. For example, the author of one of the books is a well-known senior scholar in China, but it is a pity that fallacies and heresies are incredibly displayed one after another. The book explains the "simple heart" in Lu Shi's Four Methods of Love Flowers, and notes: "Tao Qian returns to the countryside:" simple heart is like this ". I know that Lu Xun likes Tao Yuanming's poems all his life (Lu Xun's diary records that he has bought various versions of Tao Qianji several times), so I have read through his complete works for a long time and think that Tao should not have this sentence, but I can't remember whose poem it is. Later, when I read Selected Works, I found that it was a poem written by Jiang Yan, a native of the Southern Dynasties. The title of the poem should be Tao Tian Ju. "(a) quasi Tao Qian; ), and the word "this" in the poem should be "positive". I was not sure at the moment, so I read other versions of Jiang Yan's poems, which proved that this "simple heart is so much"-"righteousness" is right; Inadvertently reading Cihai, I was surprised to find that the annotator was originally caused by mistakes in copying Cihai, but the poems in Cihai were not wrong, indicating that the annotator further corrected the mistakes when misquoting.
What is particularly surprising is that a pamphlet on Lu Xun's poems published in recent years, despite the luxury of the penholder camp, actually labeled the whole poem as "Sao Poetry" and "Sacrifice Book" with only two words, calling it "Five-character Poetry"! The "Jiangnan Lushi School" that Lu Xun studied in Nanjing was called "Nanjing Lushuo School"! There are at least three or four obvious mistakes on each page like this, which is really unbearable to read. In the face of so many mistranslations of Lu's poems, I feel sad, but I am determined to make a modest contribution to the correct interpretation of Lu's poems, although I know that my poetic accomplishment is not the same as that of the knowledgeable Mr. Lu Xun.
On the reasons why Lu's poems are often misread from the "experience" of self-titled portraits
In fact, as a great poet who is recognized as the first among modern and contemporary writers who write vernacular Chinese (although his novels and essays seem to be more familiar to the world), Mr. Lu Xun has only more than 70 new and old style poems, of course, not many. However, as far as the number of this poem is concerned, since its appearance, the understanding of its poems in the past hundred years is quite complicated. Lu's poems used many allusions, which was understandable when the internet was very dense at that time. However, the sources of many explanations or annotations, words or allusions we have seen so far are not accurate or have never been found out, which makes the meaning of Lu's poems specious and even fragmented.
Here is an "encounter" in Lu's famous poem "Little Portrait of Self-Title", which I think can explain some problems.
As for the time and source of this poem's first publication, even the latest edition of Complete Works of Lu Xun (Volume *** 18) published by People's Literature Publishing House in 2005 still follows the old mistakes. It is not difficult to prove that other previous works about this poem have naturally been corrupted. They repeatedly said that it was an article "Homesickness" written by Lu Xun's good friend Xu Shoushang in February 1936 19, which was published in the first 13 issue of Miao Xin on October/0/9. In fact, this poem should have been first read in the article "Lu Xun I Know" written by Mr. Xu on June 27th, 936 1936 (not referring to the later books of the same name, although this article was also included), which was published in 1936+0 1 Miao Xin. Due to the repeated misrepresentation of Mr. Xu (many articles have been misrepresented many times), the comments on the poem have hardly been misrepresented since then. To this end, I wrote an article entitled "Not a Paper" published for the first time (this article was published in Luxun Research Monthly in 2009). This is one of them.
Mr. Xu's misunderstanding of the allusions in this poem makes the whole poem almost incomprehensible. Because he used the so-called "exotic allusions" in the first sentence; Therefore, since then, most commentators have recognized this as a classic of love, or even an extension of a so-called classic of patriotism, so that even the Lingtai in the poem was misinterpreted as a "heart" because it misquoted Zhuangzi (or even the latest edition of the Complete Works of Lu Xun), which made the connotation of the whole poem accidentally concealed. This undoubtedly completely deviates from the basic practice of quatrains. This way of saying poetry, not to mention Lu Xun's spiritual knowledge, will not agree, even we latecomers really can't agree. In fact, the correct source of this word should be The Book of Songs-Poetry, Elegance and Lingtai, which is earlier than Zhuangzi's Early Cultivation! Because only in this way can the whole poem be explained. This is the second one.
As for the writing time of poetry, Lu Xun himself loves poetry, and he has made it very clear (explicitly mentioned many times), which proves to be true and reliable. However, due to Mr. Xu Shoushang's repeated mistakes, at present, apart from a few mathematicians who admire Lu Xun's own statement (of course, the reasons for its confirmation seem to need to be supplemented and the arguments need to be revised), there are still many wrong statements made by Zu Shoushang, who repeatedly look for so-called "evidence" that should be completely divorced from the art of poetry, making the original poem that was originally solvable even more difficult to understand because of this loose way of interpreting poetry. This is the third one.
On these, the author has a short article to demonstrate (for the convenience of readers, please refer to the appendix of Lu Xun Chronicle), in order to maximize the original meaning of Mr. Lu Xun's poems.
In June 2009 165438+ 10/9, I wrote a long article about16,000 words, Lu Xun's Lingtai 10 meters away from the gods.
Ya's positive solution, Zuo Nian and others pointed out the fallacy of this poem, which is almost a "conclusion"-"written in Japan 1903" and "first published in homesickness" and so on, and has been widely recognized. Based on many arguments, I pointed out that at present
It seems that the age, the place of creation, and the poetic understanding of the self-titled portrait are all recognized, and most of them are inaccurate. Finally, Lu Xun decided to do this.
Self-titled Portrait, first published in Lu Xun I Know by Xu Shoushang, is a famous poem written by Lu Xun in his hometown of Shaoxing from1October 20th to March 6th190 10.
The reason why some of Mr. Lu Xun's poems have not been accurately understood for a long time, I think, is mainly because the critics failed to understand the significance of the source of words in the poems and Mr. Lu Xun's own articles related to them; Then there are some valuable sayings of Mr. Wang's relatives that have not been effectively quoted. Of course, these historical materials, especially the statements of relatives and friends, are not well-founded. For example, although many remarks made by his lifelong friend Mr. Xu Shoushang have special value, several major misunderstandings come from him, which leads people to go the wrong way in the dark. What a pity!
Read a lot of books and correct many mistakes about Lu's poems.
While studying Lu's poems carefully, I tried to find their etymology by imitating Notes on Selected Works in Tang Dynasty and Notes on Valley Poems by Ren Yuan in Song Dynasty, and reread Shangshu and Shijing to restore a large number of poems and note novels before the Republic of China. In the process of annotation, I occasionally read some classic reference books to see if the content of my annotation is stable. At the same time, I also need to read through the complete works of Lu Xun and extract the contents related to poetic understanding in order to confirm each other. In addition, the understanding and interpretation of some poems by Lu Xun's relatives and friends are widely collected to deepen readers' understanding and appreciation of Lu Xun's poems.
At present, according to my incomplete statistics, my book Annotations to the Chronology of Lu Xun's Poetry has clearly corrected more than 20 clerical errors of Lu Xun himself (the latest edition of Complete Works of Lu Xun by Humanities Society has not pointed out), corrected about 30 errors in the latest edition of Complete Works of Lu Xun, Lu Xun's Chronicle, Lu Xun's Poetry and Lu Xun's Letters, and corrected 40 errors in the accounts of Lu Xun's relatives and friends. Annotations on Lu Xun's Poetry Chronology also corrected more than 30 places, such as Ci Yuan, Ci Hai, Kangxi Dictionary, Travel to Qionglin, Quan Song's Poems, Selected Works and Textual Research on Selected Works. In addition, I pointed out the etymology that previous commentators did not involve, and there are too many to mention.
Why didn't those famous scholars or theorists find these problems before? In my opinion, this is probably related to some rather "authoritative" statements in the Interpretation of Lu Shi, and other annotations have been repeatedly mistaken since then. Moreover, because people tend to "stick to" Lu's poems politically, or adopt the principle of copying without deep thinking, many poems seem to be "clear-headed", but they are irrelevant. In addition, it is probably because some critics who do not have the basic poetic quality are driven by some interests (such as evaluating professional titles, being promoted to be leaders or even making money). ), so I rushed to publish books on Mr. Lu Xun's poems. As long as we read some books about Mr. Lu Xun's poetry annotations, we will find that some of them are actually copying earlier erroneous statements. Among them, words or allusions of unknown origin are the most obvious, because old poems pay attention to "dictionaries". Once the meaning of a single word is misunderstood, the whole poem will not be lucky enough to get a positive solution. Of course, due to the various materials cited, I can't guarantee that my understanding of Lu's poems is absolutely correct; And this, of course, should be criticized and corrected by readers.
This paper briefly describes the origin and completion of my book, and also wants to say a few words about publishing. After the manuscript of Lu Xun's Chronicle was written, I contacted Liu Lihua, editor of People's Publishing House and director of the Cultural Editorial Department of Oriental Publishing House, who edited The Great Works of Emperor Lu Xun. After listening to my summary of the manuscript, she immediately expressed great interest and expectation. Not long after, I saw Notes with only four or five thousand words. Fortunately, it was approved by the leaders of People's Publishing House and decided to publish it as soon as possible! In retrospect, I didn't know anyone from People's Publishing House before, and no one introduced me. The publishing house published academic works decisively and quickly, which was particularly touching!
Now, this 600,000-word book "Lu Xun Chronicle" has finally been officially published by People's Publishing House. I am deeply grateful and lucky, and I am waiting for the reader's judgment. Moreover, I especially dare not slack off on the study of Xue Lu in the future. In addition, if you want to talk about the feelings of writing this "Notes and Certificates", I feel that any knowledge is of course made on the basis of predecessors. Although there are so many unsatisfactory places in some of the books mentioned above, they can't completely erase the inspiration and reminder of my testimony. In this regard, I am also very grateful to them for their previous efforts, which should be a blue road.
Ps: This article was published in Wenzhou Daily and Humanities Weekly 1 1 in March.