How many "emperors" have been handed down from generation to generation? Mr. Chen and Mr. Tuesday have different opinions. After textual research and analysis, the author thinks that the "six" of the "six emperors" is not the mistake of "five" or "three", and there is nothing wrong with the word "six" itself, but a small note of this poem in the whole Tang Dynasty, which has brought unnecessary ambiguity to later readers.
First, small notes are the source of misunderstanding in later generations.
According to the author's research data on Lianchang Palace Ci, Mr. Chen Yinque should be the first person to suggest that the poem "The Biography of Six Emperors" is wrong, and this problem attracted Mr. Chen's attention because he found that the small note below the sentence of Lianchang Palace Ci in the whole Tang Dynasty was "Su Dai Deshun Fairy Mother". Bian's Chronicle of Yuan Zhen did not mention Chen's theory that "six" should be "five". Mr. Zhou agrees that the theory of "six emperors" is wrong, and points out that Yuan Zhen's Lianchang Palace Ci was written by Xian Zong. Since the Spring Calendar was popular, what about the "Xianzong" after his death and the temple name of Mu Zong later? So he re-examined the "Six Emperors" along this line of thought.
This paper tries to analyze this problem from a different angle. The study of literary style and literary theory in the history of literature tells us that it is an indisputable fact that poetry comes first and annotation comes last in the relationship between poetry and annotation. Mr. Chen Yinque's "all the books are six, and none is five" shows that this poem has been circulated for more than a thousand years, and all the versions seen are six, and there has never been any difference. As for the origin of the small note "Su Dai Deshun Xianmu", "Yuan Zhen was written in the most easy-to-understand way (there is no such annotation in Lu Jiao Song Ben, Song Shu Ben, exegetical copy Song Ben, Si Ji Ben and other Lianchang Palace Ci)". It was not written by Yuan Zhen himself, and there is no such annotation in other visible versions, so it probably appeared in the whole Tang poetry at the earliest, which is the written basis for Mr. Chen Yinque to question the number of "six emperors".
1960, Zhonghua Book Company reprinted The Complete Poems of Tang Dynasty. The preface said: "However, such a big book with nearly a thousand volumes was compiled by only ten people in less than two years, and there must be many false omissions." At that time, Zhu Yizun already had the sigh of "writing without words" (see Feng's "All Tang Poems are Unprepared", one of the Four Bibliography of Morning Wind Pavilion Series), which is also the habit that ordinary officials did not want to delve into in the past. In our opinion, the shortcomings of The Whole Tang Poetry can be summarized as follows: 1. Wrong reception, omission ... 2. The author of the work reappeared ... 3. Biography, small notes, mistakes ... 4. Improper editing ... 5 ... Others ... The above are only aimed at its big end, and other details are false. It can be seen that there is a great possibility of mistakes in the small note "Su Dai Deshun Xianmu" in the whole Tang poetry. Instead of going back to the original poem and wondering if there is anything wrong with the poem itself, we should correct the publishing mistakes of small notes. In fact, Mr. Zhou also pointed out that "the virtuous mother has no evidence" in his notes, but he did not follow the existing doubts to delve into the reasons, but found another way and reached the conclusion that "the six emperors are doomed to be wrong", which is hard to agree with. Poetry comes first, notes come last; Poetry is the cause, and notes are the result. There are fallacies in the annotation, which leads to the conclusion that the original poem is wrong, and reverses the temporal and causal relationship between the poem and the annotation. The argument based on this is logically untenable.
Secondly, the interpretation of the word "then"
Back to the poem itself, the first two sentences are the scene of the Lotus Palace as seen by the author (or sketched according to the title). From the third sentence to the sentence "Aunt Yang fought over the wind", the author tells the story of the prosperity of the Lotus Palace in the past with the mouth of "the old man by the palace". Chen and Bian have fully verified its authenticity, and will not repeat them. Next, Yuan Zhen wrote:
In October next year, the east will be broken and the imperial road will still exist. I dare not hide when I am in a hurry, and a thousand tears are silent.
Six or seven years after the establishment of the two capitals, they found their home and went to the palace. The manor burned out and there were dry wells, and the palace doors were closed.
Later, it was said that the Six Emperors did not leave the palace gate for a long time. When I was a child, I said Chang 'an, and Xuanwu Building became a calyx waste.
The sentence "October next year" in Yuan Zhen says: "Note in The Whole Tang Poetry: In the thirteenth year of Tianbao (the year is regarded as" bearing "), Lushan defeated Luoyang. Press: An Lushan's destruction of the eastern capital should be in December of Tianbao's fourteenth year. Yuan Zhen's records and the above notes are all wrong. " According to historical records, An Lushan rose up against the Tang Dynasty in the 14th year of Tianbao (755), not in the 13th year. This note once again confirms the fallacy that there are many small notes in the whole poem of Tang Dynasty, and it can be confirmed that the poem started from the perspective of "the old man beside the palace" and started with what he saw and heard about "childhood eating". Then, the narrative time base of this poem is the year before last, that is, the thirteenth year of Tianbao (754). The Six Emperors is also related to this time base point. "Later" is neither after Chen Yinque's suzong nor after Zhou's suzong, but the time base point of narration, that is, thirteen years after Tianbao. In the fifteenth year of Tianbao (756), Su Zong ascended the throne in Lingwu, honoring Xuanzong as the emperor's father. Before that, Xuanzong was an "emperor" for more than a year. From this point, it is clear that the "six emperors" of "Hou" refer to Xuanzong, who was still in power for thirteen years in Tianbao, and the following six people: Su Zong, Dai Zong, Shun Zong and Xian Zong. As for Mr. Zhou's so-called "not leaving the palace" written by Yuan Zhen at that time, it is still unknown, so we can't use the existing tone, so the emperors passed down from generation to generation do not contain Xian Zong. The author thinks that "staying in the palace" is only a statement of facts when writing poems, which does not mean that he can't stay in the palace for life, so it is far-fetched to exclude Xian Zong from the "six poems".
Third, the definition of the word "legend"
The author thinks that understanding the word "legend" in Six Huangdi is another key to solve this problem.
The word * * * appeared 50 times in The Whole Tang Poetry (excluding the reprinted poems). According to the context before and after this poem, its explanation is summarized as follows:
(1) Dissemination, transmission, communication and teaching
The Milky Way half leans against the Phoenix Terrace, and the jade wine says the parrot cup.
(Shi Li, Princess Anle's New Home)
Colored clothes are not wasted, and Confucianism is passed down from generation to generation.
(Quan Deyu's "Send Han Xiaolian's squire home")
Before I met the Dragon King, I was accompanied by a sword.
(Lv Yan's "The Real Sword of the Fire Dragon")
As the old saying goes, * * *, seventy people are rare.
(Bai Juyi's "Feeling Autumn")
New words are handed down from generation to generation, and the sleeves are swaying.
(Liu Yuxi's Zaqu Gexing)
My teacher robbed 40 thousand, passed down from generation to generation.
(Li Bai's "Respect the teacher like a Taoist priest, and return to Beihai after preaching")
The duke will eventually recover, which has been handed down from generation to generation.
(Du Fu's "Gift to Suzhou at the age of 25")
(2) Circulation, legends and rumors
Worrying about the country and the people is said to have buried nine doubts.
(Song Wenzhi, Huangtanshun Temple in Guizhou)
The old story of Liyang used to be a tortoise. It is said that the cave has the ability to change.
(Yuan Zhen's "Twenty Charms")
Since ancient times, it has been said that it is a sea eye, and moss erodes waves.
(Du Fu's Stalagmite Tour)
According to legend, when it emerged, Yunhe fell in love with the mountain peak.
(Jie Yuan's "Dengjiuyi Second Peak")
The game is said to be Miluo, so you can't help thinking about it.
(Bai Juyi's "Yang Wanzhou Jingsi Jueju")
There is a rock house in the world, which is said to be a spiritual house.
(Yang Heng's "Mr. You Lu's Old Rock Residence")
The cold light splashed the dust on the road, and it was said that monsters were lurking.
(Luo Yin's Wild Fox Spring)
The word "legend" in Yuan Zhen's poem "Twenty Charms" means rumors, legends and stories. Mr. Chen Yinque and Mr. Zhou's understanding of the "legend" of the "six emperors" is the meaning of the ancient monarch's succession or succession, but from the above examples, it can be seen that this is not the only explanation of the "legend". Moreover, people's understanding of the "legends" in Chen and Tuesday is another reason for the "post-emperor" dispute. Therefore, the usage and meaning of "legend" here should be interpreted as rumors, legends and stories, which is the same as the usage of "legend with the ability to change", which is not only more in line with "the old man by the palace"
Fourthly, the rhetorical way of "ellipsis"
The sentence "Later spread to the Six Emperors and soon left the palace gate" caused a misunderstanding between Mr. Chen and Mr. Zhou. In addition to the uncertainty of the specific time of "later" and the deviation of the understanding of "legend", another more important reason is the use of ellipsis rhetoric here. Ellipsis refers to "relying on the help of language environment, omitting some elements and making the text concise". Ellipsis in poetic language is like "blank space" in China's ink painting, which not only arouses the elastic beauty of association, but also makes the implicit and concise poem have the uncertainty of grammatical relationship, so it is very possible for readers to understand the poem in many directions and with different meanings when reading. In 757 AD, Tang Jun recovered Chang 'an and Luoyang, both of which were pacified. During the Guangde period in Tang Daizong, the "old man by the palace" returned to Lianchang Palace after the war to "find a home" and saw that "the manor was burnt down and there were dry wells". The war plundered the people's homes and made them miserable. Turning to the door of Lianchang Palace, we can see that "the door of the palace is closed and the trees are swaying", and "the trees are swaying" refers to the sentence at the beginning of the poem that "there are peach blossoms on the wall and the flowers are falling red and rustling", and there is a feeling that "people don't know where to go, but the peach blossoms are still smiling at the spring breeze". It should be noted that "the palace gate is closed" has been written in the last article, and here it is mentioned again that "the palace gate has been closed for a long time", repeating the meaning in the poem. This is not caused by the author's negligence, but omits a crucial connecting sentence, that is, the author's question: "Why is the palace door closed?" I heard "The Old Man by the Palace" describing the songs and dances of Lianchang Palace, but after a few years, the door was closed, which aroused suspicion. According to legend, "the six emperors stayed at the palace gate for a long time" was the old man's answer: according to legend, Xuanzong and several emperors after that year never came to Lianchang Palace again, so the palace gate was closed for a long time. "Talking about Chang 'an as a child" implies that the political status of Luoyang, the eastern capital near Lianchang Palace, has declined, and Li Tang politics is dominated by Chang 'an, the western capital. The "Xuanwu Building has become a calyx waste" refers to the political change of several generations of monarchs and the end of Xuanzong's kaiyuan heyday with two images, which is a supplementary explanation of "the palace gate has been closed for a long time", which is different from "the maid-in-waiting has white hair and argues Xuanzong's grand occasion"
To sum up, the sentence "Six Emperors Later" in Yuan Zhen's Lianchang Palace Ci has always been misunderstood because of readers' misunderstanding of individual meaning, context, original text and annotations. This paper sorts out the misunderstandings one by one, re-examines the meaning of the sentence, determines the relevant time nodes, and digs out the key sentences omitted in the poem "Meaning is not shallow, words are endless" to answer some questions that readers have had before.
(Author: College of Literature, Northwest University)