Who was the first to put forward the phrase "one solitary essay unifies the whole Tang Dynasty" or "one solitary essay covers the whole Tang Dynasty"? There seems to be no source. Enter these words online and search for a large piece of relevant information, mostly words from the media. I saw a reliable article in Phoenix Sinology: "Overwhelming the whole Tang poetry for more than 800 years", which wrote the reasons that the author thought:
"Up and down in one thousand, Wan Li, it is difficult to find a poem that touches the essence of the universe and life like" Moonlit Night on a Spring River ". It is precisely because of this touch on the essence of life that the feeling of' endless life, passed down from generation to generation' perfectly fits the spirit of the prosperous Tang Dynasty and the weather of the prosperous Tang Dynasty. "
Mr. Wen Yiduo commented on this poem with the following sentence in "Redemption of Palace Poetry": "More unique cosmic consciousness! Deeper, broader and more peaceful realm! " In fact, the consciousness of the universe has existed for a long time, at least in Qu Yuan's Song of JIU during the Warring States Period, which is nothing new. However, after Zhang introduced this consciousness into "Palace-style Poetry", it was one of the reasons why Wen Yiduo commented that "there are poems in poetry and peaks on the peaks".
Who preached it at the beginning of ancient times? (Who guided the spread of this state at the beginning of ancient times? )
The top and bottom are shapeless, how to test them? Where did heaven and earth come from before they were formed? )
It's dark, but who can do it? (light and shade are inseparable, who can explore the root cause? )
Sun, Moon and Safety? Li Xing Chen An? How are the sun, moon and celestial bodies connected? How did the stars fall in the sky? )
If you don't die, what is the end of your life? If you prolong your life, you won't die. When will your life last? )
Excerpted from Qu Yuan's Tian Wen
In The Redemption of Palace Poetry, Wen Yiduo not only didn't say it, but also never thought it was "an isolated poem that overwhelmed the whole Tang Dynasty". Lao Jie thought that his evaluation of this poem was limited to two circles: the early Tang Dynasty and the Palace Poetry. Why do you say that? Here are three pieces of evidence:
1. First of all, this article is a palace poem from the title to the content.
2. Wen Yiduo commented on "The Pulsatilla Generation", saying, "At this time, it has been half a step closer to Zhang, but it is not far from the peak".
3. There is a sentence at the end of the article: "Backwardness, together with another peak, Chen Ziang, will clear the way for the prosperous Tang Dynasty. Zhang's achievements are immeasurable. "
Wen Yiduo clearly put forward "clearing the way for the prosperous Tang Dynasty", indicating that he was talking about the early Tang Dynasty. Secondly, I think Liu Xiyi is only half a step away from the peak, and Chen Ziang is another peak. No one who comments on Tang poetry will agree that Chen Ziang is the peak of the whole Tang Dynasty. Obviously, Wen Yiduo refers to palace poems and the early Tang Dynasty, which is not the same as "a solitary poem overwhelming the whole Tang Dynasty". Later generations misinterpreted Wen Yiduo's meaning.
In addition, I also saw a record on the Internet: Wen Yiduo's Complete Works 6 (Tang Poetry Compilation) P99 "An Introduction to Tang Poetry" (based on the photo copy of the author's manuscript), and the author marked "the peak of palace poetry" under "Moonlit Night on a Spring River". I don't know if this passage is true or not. If it is true, there is no need to argue.
Therefore, Laojie believes that "there is a poem in the poem, and there is a peak on the peak" refers to the "peak of palace poetry" and is by no means the peak of "all Tang poetry". The following is the last paragraph of Wen Yiduo's Redemption of Palace Poems. You can judge for yourself:
Some are strong cosmic consciousness, pure love sublimated from cosmic consciousness, and sympathy radiated by love. This is the poem in the poem, the peak on the peak. Looking back from here, Lian is a process, needless to say, it is a process with his supporting role Wang.
As for the darkest sins left by the four dynasties of Liang, Chen, Sui and Tang in the past hundred years, can't they be washed away with court poems like "Moonlit Night on a Spring River"? Advance to atone for the sin of the century-old palace poem, therefore, retreat will also clear the way for the prosperous Tang Dynasty with another peak, Chen Ziang. -Zhang's achievement is immeasurable.
Mr. Cheng made a detailed textual research on this in Zhang Chunjiang's Moonlit Night. In the long Tang, Song, Yuan and Ming dynasties, Zhang's "Moonlit Night on the Spring River" was ignored by many documents, but it was included in Yuefu poems because it was Yuefu. Editor Guo Maoqian is from the Northern Song Dynasty. His book includes all Yuefu poems, good or bad.
700 years after Zhang's death, this poem was included in A Collection of Tang Poems in the Ming Dynasty, but it disappeared in another Tang Poem. Time has passed 100 years, and Zhang's Moonlit Night on the Spring River ushered in a turning point of fate. Since Li Panlong's Poems of Ancient and Modern Times, it has been continuously included in various anthologies of Tang poetry. It can be said that Zhang was the first nobleman. Later, Hu Yinglin, who was several decades younger than Li Panlong, also mentioned this poem in his famous Poetry Talk, which was first discovered in poetry talk.
Scholars in Ming and Qing dynasties classified Zhang's poems as "Wang Luo's modern poems", that is, they belonged to the four masters in the early Tang Dynasty. The first seven scholars in the Ming dynasty engaged in the retro movement: literature must be in Qin and Han dynasties, and poetry must flourish in Tang dynasty. However, He Jingming, one of the literary leaders, later changed his mind and thought that Lao Du's poems were not as good as the four outstanding poets in the early Tang Dynasty. He turned against Li Menglong and began to admire them. Therefore, under this background, this poem by Zhang has been paid attention to and studied by people in Ming and Qing Dynasties, and continues to this day.
Mr. Cheng has a saying: "In the literary world, the poverty of writers and the brilliance of works cannot rule out the role played by accidental factors, and some of them are even decisive." Recently, Yuan Mei's poem "Moss" became popular overnight. Many people don't even know "Poetry with the Garden", but it doesn't prevent everyone from singing together: the day is not everywhere, and youth has just arrived.
It can be seen that this poem "Moonlit Night on the Spring River", which was evaluated by later generations as "an orphan poem covering the whole Tang Dynasty" or "an orphan poem covering the whole Tang Dynasty", did not get the attention of poets and critics in the Tang, Song and Yuan Dynasties at all, and was only recognized by people in the Ming Dynasty.
Speaking of crossing the border, it naturally reminds me of "The Great White Mountain, to the west, is still only a bird path, reaching the peak of Emei" in Li Bai's "Difficult Road to Shu". There is also a saying in Sima Qian's Historical Records: Stay in Houjia: "Swan flies high and flies a thousand miles. Feathers are already there, and they are absolutely everywhere. " In these two articles, horizontal refers to horizontal and horizontal.
Li Shangyin's "Gift" has: "If you want to rest at dusk upstairs, the jade ladder will never hook the moon." Crosscutting means cutting off. Cao Xueqin's grandfather, Cao Yin, wrote a poem "Send Bright Students to Fujian": "I wonder who will provide a cheerful poem for Wu Mu." Deviance means transcendence. However, does Wang Kaiyun really think that Moonlit Night on a Spring River "completely destroyed the whole Tang Dynasty"?
Yun (1833- 19 16) and Zeng Guofan are fellow villagers in Hunan. When they were young, they taught at home in Su Shun. When Empress Dowager Cixi staged a coup, she killed eight ministers, including Su Shun. Wang Kaiyun was lucky to escape. In the third year of the Republic of China, he was hired by Yuan Shikai as the curator of the National History Museum, editing national history and concurrently serving as a counselor. Wang Kaiyun has been giving lectures all his life. Qi Baishi, a great painter, Yang Du, a legendary figure, Yang Rui and Liu Guang in the "Six Gentlemen of the Reform Movement of 1898" are all students of Wang Kaiyun.
Wang Kaiyun's "Solitary and Unique, but for Everyone" comes from "On the Origin of Tang Poetry" (answer to Chen Wanzhi's question);
Zhang's "Moonlit Night on a Spring River" is unique to everyone because of its "Xizhou" style. Li He and Shang Yin are fresh and moist; Song and Yuan Dynasties, as tributaries, are also magnificent palaces.
What is the style of Xizhou? Song of Xizhou is a lyric poem in Yuefu folk songs in the Southern Dynasties: Recalling Xizhou and Seeing Mei off the North of the River. Thin clothes are as red as apricots and hair as black as crows. Where is Xixi Jiao? The two oars on board can be placed at the ferry pier of the Kau Xizhou Bridge. Shrike flies at dusk, and the wind blows ebony trees. ..........
In addition to the "cosmic flow", Moonlit Night on the Spring River also contains the content of this kind of love between men and women: white clouds are drifting away and green maple is overwhelming. Who will go boating tonight? Where do you miss Mingyue Building? Poor people wander upstairs for the moon, so they should leave someone to fill the mirror. The jade curtain won't roll up, so brush it back on the anvil. ..........
Why did it become "isolated, but for everyone"? Wang Kaiyun thinks this is a magnificent palace. He believes that the reform of palace poems has a far-reaching influence on the later love poems of Li He, Li Shangyin and Song and Yuan Dynasties. In today's words, this is a palace poem that has broken away from "low taste" and is no longer a simple erotic poem describing lewdness in the Qi and Liang Dynasties. This is actually similar to Wen Yiduo's "redemption of palace poems" I don't know if Wen Yiduo learned this sentence from Wang Kaiyun when he wrote The Salvation of Palace Poems, but it is really like writing this sentence into an article.
Cheng's understanding and misreading of Zhang's "Moonlit Night on a Spring River" shows his understanding of palace poems, and Wen Yiduo's "Salvation of Palace Poems" has different views.
1, the Sui Dynasty has begun the "redemption" of palace poems.
Wen Yiduo also expanded the scope of palace poems ... Wen Jiabao's views are contradictory. On the one hand, he clearly pointed out: "Palace poetry ... erotic poetry centered on the court ..." This is completely correct. But ... he thinks that the seven-character rhythmic poems in the early Tang Dynasty are palace poems ... including Chang 'an Ancient Meaning, Luo's erotic response on behalf of Guo's family, A Journey to the Childe, and Spring Flowers in mourning for Pulsatilla and Zhang. The conclusion is: "Palace-style poetry is like a moonlit night on a spring river ... atoning for the crime of palace-style poetry for a hundred years." But these have little to do with "erotic poems centered on the court" ...
Later, Cheng quoted several poems by poets in the early Tang Dynasty, such as Emperor Yangdi, Zhuge Ying and so on, explaining that "Mr. Wen ignored the budding trend of new poetry in the Sui Dynasty" and "obliterated the efforts of Yu Xinzhong, Emperor Yangdi and others", and at the same time classified the works of Lu, Luo, Liu and Zhang into the palace style. ...
2. Limited by the times, Wang Kaiyun expanded the scope of palace poems.
Cheng thinks:
Wang Kaiyun and Wen Yiduo have different educational backgrounds and different ways of thinking, but in terms of expanding the scope of palace poems, which leads to misunderstanding of A Moonlit Night on a Spring River,
Although "Moonlit Night on a Spring River" had a great influence on later poets, "Li He, Shang Yin; Song Ci and Yuan Qu can't be said to be "tributaries" of palace poetry. Wang Kaiyun expanded the scope of palace poems, but Li He, Li Shangyin and others did not write palace poems.
From the analysis of Wen Yiduo and He Cheng in different times, their views are slightly different. Although there is a strong sense of the universe, the poem "Moonlit Night on a Spring River" is a poem of "pure love sublimated from the sense of the universe". Although it is called "a solitary poem for everyone" and "there is a poem in the poem, and there is a peak on the peak", it is limited to the category of palace poetry. Neither Wen Yiduo nor Wang Kaiyun ever said or thought that this poem was "a lonely poem completely surpassing the whole Tang poetry" or "the peak of the whole Tang poetry".
Whether it is "an isolated article in the whole Tang Dynasty" or "an isolated article in the whole Tang Dynasty", it is a fallacy and a misinterpretation of predecessors.
In fact, I read the comments on the Internet, and many people don't agree with the idea of "overwhelming the whole Tang Dynasty with an isolated article", but I just can't tell you why. If you think what I said is debatable, please leave a message to correct me, thank you!
Laojie taste