Professor Longxi ZhangA History of Chinese Literature (2023)Chapter 4 Political Disunion and Intellectual Diversity There is a special section: Tao Qian, The Poet of Nature and Country Life (p.67) Tao Qian in this title is Tao Qian (Tao Yuanming, 365-427), a man from the Eastern Jin Dynasty to the Southern Song Dynasty. The so-called The Poet of Nature and Country Life is the "Pastoral Poet".
a history of chinese literature
In The Cambridge History of Chinese Literature, "idyllic" is literally translated as "poetry of fields and gardens."”（p.221) In The Columbia History of Chinese Literature, "idyllic" is bucolic poetry.
the cambridge history of chinese literature
This article talks about when Tao Qian had a bosom friend and how he was designated as a "pastoral poet".
Tao Qianshi not appreciated in his own time....
Professor Zhang believes that poets of the Wei-Jin period and the northern and southern dynasties, that is, roughly from the third to the sixth centuries, had the predilection for a richly decorative and elaborate style of writing, represented by lu ji and other poets we discussed above. because of that, tao qian’s works became conspicuous for the lack of a blazing display of rhetorical br**ura.
That is to say, Tao Qian's poetic style is plain and simple, while the poetic style of his contemporaries is gorgeous and ingenious, and Tao's poetry is dwarfed, so Tao's poetry is not appreciated by his contemporaries and has been neglected for a long time in the history of literature.
Mei Weiheng, editor-in-chief, The Columbia History of Chinese Literature, 2002 edition.
Professor Zhang's exact words were: consequently, his poems were not appreciated in his own time and even long after (p.).69).Readers are invited to note not appreciated and long after.
Professor Zhang gave evidence that in Zhong Rong's (459 518) "Poems", Tao Qian was only listed in the middle grade;In the famous "Wenxin Carving Dragon", Tao Qian's name is not even mentioned ......It can be seen that Tao Shi was not taken seriously at first.
However, the opposite of "his poems were not appreciated" has long been presented.
In 1971, the Japanese scholar Okamura Shigeru (1922-2014) had already published**, and in 1974, Okamura Shigeru published the book Tao Yuanming, Secular and Extraordinary, (Japan Broadcasting Publishing Association), pointing out that Tao poems had been highly appreciated during the Yuanjia period (the year name of Liu Yilong, Emperor Wen of the Southern Song Dynasty).
Shigeru Okamura, "Tao Yuanming, Secular, Extraordinary" (Japan Broadcasting and Publishing Association).
During the Northern and Southern Dynasties, the "extremely high evaluation" and "unique and superhuman" are innumerable
Shigeru Okamura, "Tao Yuanming and Li Baixin" (Shanghai Ancient Books Publishing House, 2002), says: "...In the Yuanjia period, shortly after his death, and in the highest aristocratic society, it is surprising that the poetic style imitating Yuanming was actually popular. Regardless of this, at least it can be said that the most famous literati such as Wang Shengda and Bao Zhao were so interested in and admired Yuanming's poems at that time, which is enough to show that Yuanming was not only a noble hermit, but also highly regarded as a poet in the literary world at that time. (p. 21).
Bao Zhao, known as Bao Joins the Army, was a person from the Southern Song Dynasty. He was born in the twelfth year of Yixi (416) and died in the second year of Taeshi (466). Wang Shengda (423-458) was a member of the Langxiwang clan. There is an overlap in the time of the lives of Tao, Bao, and Wang.
Okamura Shigeru "Okamura Shigeru Complete Works" Volume 4 "Tao Yuanming Li Bai Xin Treatise".
Shigeru Okamura said, "At that time......"Extremely highly rated" is very different from what is said in the general literary history books. What do the general literary history books say?
The "History of Chinese Literature" edited by You Guoen et al. said: "The plain and natural style of his Tao Qian is also very different from the literary style of the time, so it is still not taken seriously." (Part III, chap. III, sect. 3).
Yuan Xingpei's History of Chinese Literature believes that Tao Qian's literary creation was not highly praised because "his plain and natural style did not match the gorgeous literary style advocated at the time." (p. 90).
Zhang Peiheng and Luo Yuming's "New Works in the History of Chinese Literature" said: "Tao poetry is still some distance from the general aesthetic taste of the later Qi Liang era. (p.321) This is for Zhong Rong's "Poems" to Tao Shi's "middle grade". The implication is that Tao Qian did not receive a high evaluation during the Qi Liang period.
New Works on the History of Chinese Literature, edited by Zhang Peiheng and Luo Yuming, Fudan University Press, 2007.
The above three are all weighty works. All three books conclude that Tao Qian did not receive enough attention from the literati of the "time" or the Southern Dynasties.
The Columbia History of Chinese Literature, edited by American scholar Victor Mair, makes a similar argument: ......for tastes ran to more elaborate phrasing and diction than he typically used.(p.266)。The he in this sentence refers to Tao Qian.
It is not uncommon for later generations to be confined to the prejudices of their predecessors. Take Pingtao as an example: Can Zhong Rong and Liu Xian represent the whole of the literary world of the Southern Dynasties?Why do many historians "follow the rules" and only talk about Zhong and Liu?
Tao Yuanming's Poetry and Literature Review", edited by the Department of Chinese, Peking University, Zhonghua Book Company, 1961 edition.
Did the people of the Southern Dynasties ignore Tao Qian's works?Xiao Tong (501-531), the prince of Zhaoming, commented on Tao Qian: "His articles are not grouped, his rhetoric is exquisite, the ups and downs are clear, he is unique and surpassing the others, he is cheerful and cheerful, and he is not in harmony with Beijing." Hengsu waves and streams, dry clouds and straight up. Current affairs refer to and can be imagined, and when it comes to embrace, it is open and true. With unremitting chastity, peace and hardship, not ashamed of ploughing, not sick of lack of wealth. Since he is not a great sage, he is filthy, how can he be so serious?Yu Ai loves his writing, can't let go, still thinks about his virtue, and hates not ...... at the same time"Tao Yuan's Time Collection". See also Tai Ching-nong, History of Chinese Literature, vol. 1, p. 204. ）
The Harvard-Yenching Library has Tao Yuanming's Collection (Preface to Prince Zhaoming).
Doesn't such a high evaluation as "unique and superb" count?Xiao Tong and Bao Zhao, aren't they from the Southern Dynasties?
Professor Zhang said that he did not appreciate in his own time and even long after, and it seems that Professor Zhang did not see Xiao Tong's comments, nor did he see Bao Zhao and others admiring Tao Qian's poems (of course, they may also have seen it but did not pay attention to it).
Tao Yuanming Studies in the English-speaking World
Tao Yuanming only had a "bosom friend" in the Song Dynasty
Professor Zhang said: "It was not until the song dynasty more than 600 years later that Tao Qian eventually found his Zhi Yin, a truly sympathetic reader." su shi (1037–1101), the great poet of the song dynasty, made the insightful comment that tao qian’s poetic language was “dry outside but full of marrow inside, seemingly insipid but actually delectable.The su shi in the sentence is Su Shi of the Northern Song Dynasty. Professor Zhang is saying that it was not until the Northern Song Dynasty that Tao Qian had found his zhi yin.
Su Shi's comment on Tao's poems is: "The outside is dry and the middle is creamy, like light but real beauty" ("Dongpo Inscriptions", Volume 1, "Commenting on Han Liu's Poems").
The Complete Works of Su Dongpo
Su Shi also said elsewhere: "I am not very good at poets, but only good at the poetry of Yuanming." Yuan Ming does not write many poems, but his poetry quality is real, and it is solid and solid, and everyone from Cao, Liu, Bao, Xie, Li, and Du is beyond their reach. I have nine out of a hundred poems before and after, and I am proud of it, and I am not ashamed of it. (Dongpo Sequel, Volume 1, "Book with Su Zhe"). The quality is solid and solid, and the meaning is similar to "dry and creamy, like light and beautiful".
However, what Professor Zhang said was not until the song dynasty more than 600 years later that....This sentence is probably overdone, because there were people who admired Tao Qian in the Southern Dynasty, and there were people who admired Tao Qian in the Tang Dynasty.
Among the poets of the Tang Dynasty, there were many poets who admired Tao Qian, and they sang this sentiment into their poems, such as Meng Haoran, Wang Wei, Li Bai, Gao Shi, Liu Changqing, Du Fu in the Tang Dynasty, Han Yu, Liu Yuxi, Bai Juyi in the Middle Tang Dynasty, and Sikong Tu and Tortoise Meng in the late Tang Dynasty, all of whom admired Tao Qian's works in the world (Tao Yuanming and Li Baixin, p. 26).
Detailed Notes on Du Poems", Qiu Zhaoao's Note, Zhonghua Book Company, 1997 edition.
Du Fu's "Listening to Xu Shiyi's Poetry and Love at Night": "Tao Xie is not a branch, ** a total of exciting" (Qiu Zhaoao's Note, "Du Shi Notes", Zhonghua Book Company, 1997, p. 247). These two sentences call Tao Xie together, and they are against **, which has the meaning of pushing Tao Xie's poems.
Let's look at Du Fu's "A Short Description of the Value of Water on the River Like the Sea": "Thinking is like Tao thanking your hand?".Let the canal be narrated and travel together. In other words, Du Fu pushed Tao Xie's poems (Luo Xiumei, A Study of Pottery in the Song Dynasty: An Analysis of a Case Study of the History of Literary Reception, Xiuwei Publishing, 2007, p. 73). ）
Luo Xiumei, A Study of Song Dynasty Pottery: An Analysis of a Case Study in the History of Literary Reception
Tang Dynasty poets admired Tao Qian
Among the poets of the Tang Dynasty, Bai Juyi was the most eager. Bai Juyi not only wrote idyllic poems in the same vein as Tao Yuanming, but also wrote sixteen poems of "Imitation Tao Latent Poems" in one fell swoop, which are directly inferior to Tao Yuanming's "Drinking" twenty poems in terms of ideological connotation and artistic style. This is the tradition of imitation pottery that inherits the Baozhao and Jiangyan dynasties in the north and south.
Chung Cheng University in Taiwan has Jiang Jingyu's master** "Tao Yuanming's Style in Bai Juyi's Poetry" (2002, total pages: 201), readers may wish to refer to it.
In the autumn of the tenth year (815) of the reign of Emperor Yuanhe of Tang Xianzong, Bai Juyi was demoted to Jiangzhou Sima because of his outspokenness. In the spring of the following year, Bai Juyi traveled to Lushan, passed through Tao Yuanming's hometown, visited Tao's former residence, and wrote the poem "Visiting Taogong's Old Residence". In the title, it is called "Tao Gong", revealing admiration.
Xie Siwei's "Proofnotes on Bai Juyi's Poetry Collection".
There is a small preface before the poem, which explains the background of the writing very clearly: "I admire Tao Yuanming as a person." In the past, Weichuan lived idlely, and tasted 16 effective pottery poems. Today's tour of Lushan, through Chaisang, through Lili, think of its people, visit its house, can not be silent, and inscribe this poem:
The dirt and dust do not stain the jade, and the spirit phoenix does not peck at the body.
Woohoo Tao Jing Festival, born in the Jin and Song Dynasties.
The heart is guarded, and the mouth cannot be spoken.
Yongwei lonely bamboo, brushing the clothes of the first Yang Mountain.
All of them are in one body, and they are not embarrassed by poverty and hunger.
He had five males, and he was hungry and cold.
The intestines are not full of food, and the clothes are not finished.
Lian Zheng can't afford it, Si can be described as a real sage.
After I gave birth to the king, there were 500 years apart.
Every time I read the biography of Wuliu, I think about my heart.
In the past, he often sang about the legacy of the wind, and wrote sixteen articles.
Today, I came to visit the old house, and Sen Ruojun was in front.
Don't admire the wine, don't admire the piano and no strings.
Mu Jun left a legacy of glory and profit, and died of old age in this hill garden.
The ancient village of Chaisang, the old mountains and rivers of Lili.
There is no chrysanthemum under the fence, but there is smoke in the ruins.
Although the descendants have not heard of it, the clan has not moved.
Every time the surname Tao is a person, my heart is still there.
Xie Siwei, "Proofnotes on Bai Juyi's Poetry Collection", Zhonghua Book Company, vol. 7, pp. 594-595. ）
Tao Yuanming's Research Data Compilation
Bai Juyi thinks that Tao Qian is a "true sage".
In addition, Bai Juyi's poem "Zhu Chen Village" and Wu Tao Yuanming's "Peach Blossom Spring Poems and Preface", Bai Juyi's depiction of Zhu Chen Village is a simulation of the "Peach Blossom Spring", which is a beautiful situation that the world yearns for (Xie Siwei, "Bai Juyi's Poetry Collection Proofreading", Zhonghua Book Company, p. 777).
In addition, Bai Juyi's "The Biography of Mr. Drunken Yin" takes the meaning of Tao Yuanming's "The Biography of Mr. Wuliu" and expresses the taste of self-comfort (p. 1981).
The above facts show that the Tang Dynasty already paid attention to the pottery submersible, so why wait until the Song Dynasty?It was not until the song dynasty......, is it consistent with historical facts?
There is a hidden "literary" in the writing of history
Okamura pointed out that when Tao Yuanming begged for food or gave alms to others, he sometimes flatly refused to show his nobility, and sometimes accepted it calmly and was not ashamed. Tao Yuanming has a "double face" in dealing with the environment (Tao Yuanming Li Baixin, p. 41).
Tao Yuan's next year's score
We can see the "two-sidedness" from Okamura's research report: Tao Qian did not deliberately cover up the "secular side" and was hidden, on the contrary, Tao Qian's poems reflect Tao Qian's vacillation and his contradictory life experience.
Bai Juyi's "Baixiangshan Poems" volume 22 includes a poem "Zhong Yin", which also reflects Bai Juyi's vacillation in advancing or retreating, "life is in one life, and its path is difficult to be perfect", so he longs for a set of "life rules" of "middle hidden".
Okamura's research reveals that writers of literary history are "swayed by the idealized image of Tao Yuanming." Perhaps because Tao Qian's secluded, unworldly, and natural side is more popular with the world, the discourse on literary history has repeatedly "foregrounded" Tao Qian's secluded side.
The fifth poem of Tao Qian's "Drinking", the first and third poems of "Returning to the Garden and Pastoral Dwelling", "Words of Returning", and "Tales of the Peach Garden" are almost "must-cid" in the writing of literary history, such as Zhang Peiheng and Luo Yuming's New Works on the History of Chinese Literature (Fudan University Press, 2007).
Since the writers often use these five articles as the basis to talk about Tao Qian, Tao Qian's image of "pastoral poet" is naturally solid. In fact, there are more than 120 Tao poems, and 12 works other than poems, the content of which is not limited to "pastoral themes".
Mr. Dongpo and Tao Yuanming's poems
"New Works on the History of Chinese Literature" said: "It was only in the Song Dynasty that Tao Yuanming's literary status began to improve substantially, and Su Shi even said that 'his poetry is qualitative and real, and his poetry is solid and solid......p. 321).
The author believes that this sentence is equivalent to the ...... of it was not until the song dynasty in Professor Zhang's book. Professor Zhang himself admits that the History of Chinese Literature edited by Yuan Xingpei of Peking University and the New Works of the History of Chinese Literature edited by Zhang Peiheng and Luo Yuming of Fudan University are his reference books.
A New Work on the History of Chinese Literature says: Since then, the realm of showing "the sound beyond the strings and the taste beyond the words" has increasingly become an important aspect of Chinese poetry and expanded its influence (p. 316).
Professor Zhang has a similar statement in his book:a major principle in chinese poetics, that is, the use of a **language with words to imply meaning that reaches beyond what the text literally says.(p.67) One Chinese and one English, the traces of inheritance in the period are very obvious, of course, the English version has a **language.
Tao Yuanming's Research (Revised Edition).
However, the New Works on the History of Chinese Literature also discusses Tao Qian's Leisure and Affection (p. 320), and the History of Chinese Literature edited by Yuan Xingpei also discusses Tao Qian's contradictions and conflicts in his outlook on life (e.g., Tao Qian's Shadow God, see Volume II, Chapter 3, p. 79), which are all aspects other than nature and country life, but Professor Zhang's Tao Qian's theory of Tao Qian does not take into account.
In this way, A History of Chinese Literature (2023) presents Tao Qian and his literary achievements very thinly. This kind of Tao Qian is more like a "flat character". The "Tao Qian" in the annals of history was shaped by historians.
This is what history is written."LiteraryIn the light of New Historicism, we might as well refer to it as Textuality of History (see Louis Montrose, "Professing the Renaissance: The Poetics and Politics of Culture," Collected in H.). a.veeser ed.the new historicism. 1989:15-36）。
h. a. veeser ed., the new historicism (routledge, 1989)
Tao Qian is also a very "worldly" person
In Shigeru Okamura's writings, we can see Tao Qian's deeds and works that are not part of Nature and Country Life gaining attention. Tao Qian is also a very "worldly" person
Why is Tao Qian's "secularity" less evident in literary history books?
Naturally, historical writing cannot be all-encompassing and exhaustive, because historians inevitably omit some historical details (e.g., New Writings on the History of Chinese Literature).Don't talk about itTao Qian's "Shadow God"), some aspects of Tao Qian were despised, ignored, and ignored in the process......
Some literary history books do not mention Tao Qian's "Leisure Fu".
The Fu of Leisure describes the narrator's day and night longing for a beautiful woman, fantasizing about being inseparable from her, and even wanting to turn into various clothes and accessories to attach to this beauty, such as "willing to perform in silk, and the attachment is enough to circulate" (Yuan Xingpei's note, Tao Yuanming's collection notes, Zhonghua Book Company, 2017, p. 168).
In short, the ideological content expressed in "Leisure Fu" is different from other works in Tao Ji, which is reminiscent of Song Yu's "Deng's Disciple Lustful Fu".
So, should literary historians give up the "leisurely" side of Tao Qian?
Lu Xun's "Two Collections of Essays on Jiejieting".
Lu Xun commented on Tao Qian, Lu Xun said: "If there is a trade-off, it is not a whole person.......""And Jieting Essay Two Episodes · The title is undecided (6-9) "Abandonment" means to abandon, simplify, and omit. "Incomplete" means: an incomplete and incomplete person.
Lu Xun and Okamura advocated that when evaluating the ancients, we should pay attention to the issue of "giving". This principle should be preferable (according to: agreeing with its principle, it does not mean that Lu Xun and Okamura Shigeru are impeccable). We should pay attention to whether historians have greatly omitted (or simplified) certain aspects of the ancients and certain historical facts in ancient history, such as the Southern Dynasties and the Tang Dynasty.
If historians rely too much on the historical writing of their predecessors and summarize them on the basis of simplification, they are actually "giving up and giving up", and the image of the ancients will lose its three-dimensional sense. The Cambridge History of Chinese Literature also recognizes this disadvantage (p.).222.Tian Xiaofei).
Tian Xiaofei's English book: Tao Yuanming and Manuscript Culture (2013).
Professor Zhang's original intention in writing the English version of The History of Chinese Literature was to make Chinese literature a part of "world literature" (purposeful). Professor Cheung naturally has the right to select classic works that he agrees with (omitting "minor" works at the same time). Therefore, the efforts of A History of Chinese literature (2023) are by no means untargeted. Turn the page in 2023