There are many versions of Strange Tales from a Lonely Studio, and the existing ones mainly include:
Half of the manuscripts (discovered at the beginning of liberation, photocopied and published) are the author's revised editions, from which we can see some features of the original works. Unfortunately, there are only 203 manuscripts left (not including the second edition of Pig Woman Dragon), which is about half of the original. In the manuscript, there are Wang Shi's comments recorded by the author.
In the 16th year of Qianlong (1752), (pseudonym) wrote a notebook based on Ji 'nan Zhumiao Chunting Notebook, which was used to copy Strange Tales from a Lonely Studio. This book has 12 volume and 488 titles, but there are 14 titles without titles, and there are actually 474 articles. This book is also accompanied by Wang Shi's comments.
At the same time as Zhu Xuezhai's manuscript, there is another 24-volume manuscript Strange Tales from a Lonely Studio (discovered in 1963, photocopied and published). Its manuscript should be another manuscript of the author, and it was proofread and rechecked with reference to other manuscripts. There are 474 articles in this book (Wang Gui □ and parasitic annex are combined into one article). These are the two most complete early manuscripts we have seen so far, which are of great value to the study of Strange Tales from a Lonely Studio.
The earliest extant edition of Strange Tales from a Lonely Studio was carved in Zhao Qi's hanger-on Pavilion in the 31st year of Qianlong (1766). His "words" and "examples" describe the source of the manuscript and the work done by the sculptor. There are 16 volumes and 43 1 articles. Although the content is incomplete, important chapters have been included. The revision of its text also has some merits.
After the version of Qingketing came out, the book was reprinted accordingly. There are several books with different contents in this edition. One is that the content is incomplete, that is, there are more than 10, which is more than 40 less than the general Zhao version. One is the book "Chronicle of Engraving Books" and "Bridge of Post Office"; There is also a kind of book without "chronicle" and book card. This edition is also accompanied by Wang Shizhen's comments, and some articles have some appendices at the end. The following year, in the thirty-second year of Qianlong (1767), another edition of Wang was published. This is a collection of 18 volumes, 26 chapters and more than 270 articles. In addition, there is a picture album of the bookstore, which is characterized by adding some related appendices on the basis of Zhao's appendix. As for other editions, such as Li Shixian Fujian engraving in the 32nd year of Qianlong, Shaozhou Jingshe Bookstore engraving in the 7th year of Guangxu (188 1) and Xiaoyi Qiao Shan anthology, their characters are similar.
The annotated version of Strange Tales from a Lonely Studio was welcomed by Lu Zhanen and He Yin. Lu Zhu was originally carved in a single engraving, with Daoguang engraving for five years (1825). In the 23rd year of Daoguang (1843), the engraving of Wuyunlou, Guangdong Province began to combine land annotation with the original works of Zhiyi, and later there were drawings by Song Zhai and Bookstore. He annotated the block print of the Flowers and Trees Evergreen Pavilion in the 19th year of Daoguang (1839) and the annotation of Shaozhou Jingshe Bookstore in the 7th year of Guangxu (188 1). Two kinds of annotations, indicating allusions and explaining the meaning of words, are very convenient for readers to read Strange Tales from a Lonely Studio. However, Lu's comments are more detailed and cautious, with fewer mistakes; He's annotation is too complicated and contains many mistakes.
The comment on Strange Tales from a Lonely Studio was first put forward by Wang Shi. Although Wang's comments are brief, they are sometimes accurate. After publication, it was carved into a book with comments by Feng Zhenluan, He Shouqi and Shan Minglun. The comments of scholars from all walks of life are full of reference value, either to clarify the author's will, or to comment on writing methods, or to verify the similarities and differences of rumors. However, its pedantic persistence is inevitable.
Strange Tales from a Lonely Studio still has various gleanings. 1962, Zhonghua Book Company published an annotated edition of Strange Tales from a Lonely Studio edited by Zhang Youhe, which was compiled as 12 volume, with 49 1 article (including "You" and addenda, all of which belong to the text, not counting one article), plus 9 appendices, which is nearly 70 more than the current edition. Notes on the Qing Dynasty Block Edition of Strange Tales from a Lonely Studio
A friend bought a copy of Pu Songling's Strange Tales from a Lonely Studio published by Shanghai Literature Ancient Books Publishing House from the mainland, with a colorful portrait painted by Zhu Xianglin, a famous painter in the Qing Dynasty, and an inscription written by Pu Songling in September of the fifty-second year of Kangxi (A.D. 17 13). The handwriting of the inscription and postscript is consistent with the manuscript, which proves that this manuscript was written by Pu.
For more than 200 years, Strange Tales from a Lonely Studio has been widely circulated. Although there are many versions, according to the Transcript of the Spring Pavilion in Zhu Miao, Jinan, it is based on the book copied by Zhang in Licheng in the 16th year of Qianlong (AD 175 1 noon). This is the famous Strange Tales from a Lonely Studio. The manuscript of Dian Chun Ting produced during Yongzheng period has long been lost. So what exactly is Pu's manuscript? It has long been a mystery.
This manuscript was presented by Pu Wenshan, a farmer in Xifeng County, Liaoning Province in the late 1940s, which caused a sensation in the cultural circle. Pu Wenshan is over 500 years old and is the ninth grandson of Pu Songling. Although he is a farmer, he is gentle and honest. The author once had the opportunity to know him and listen to his story about the Pu family's collection of this manuscript.
It turned out that after copying the last draft of Strange Tales from a Lonely Studio written by Pu Songling, he told future generations to cherish it from generation to generation and not to lose it. Pu Renjie, the seventh grandson of Pu Songling (that is, Pu Wenshan's grandfather), worked in Fengtian (Shenyang) during the Guangxu period of the Qing Dynasty, and his family moved from Zichuan County (now Zibo) to Shenyang. In the early years of the Republic of China, the son of Pu became an official in Xifeng County, and then moved to Xifeng. According to Pu Wenshan, this manuscript was originally composed of four volumes, and the existing four volumes are only the first one or two. There are also three or four letters (that is, the second half) which were brought to Beijing by Yi Ketang, the garrison minister of Shengjing during Guangxu period.
Originally, the Pu family had family rules, and he kept the ancestral ink book secret. Then, why did the second half of the manuscript lend to the garrison minister? Maybe Pu Jie people are scared by Iraqi power to lend it money. I read the first half of two letters in January and borrowed the second half after I returned them. Later, Iraq returned the first half as scheduled, so it succeeded in borrowing the second half. Unexpectedly, he died in March of the 25th year of Guangxu (AD 1899). Then Eight-Nation Alliance invaded Beijing, and many public and private treasures were looted. It is reported that the second half was plundered by foreigners at this time and exiled abroad. In the eighth year of Kant's puppet Manchukuo (194 1), Shengjing Times quoted a German news: "Some manuscripts of Strange Tales from a Lonely Studio are in Berlin Museum." If the news is true, the two situations are consistent.