Lin Bu (968- 1028), a Chinese character, was one of the "Late Tang Style" poets in the early Northern Song Dynasty. He is famous for his two poems "Xiao Mei in the Garden in the Mountain". First, in the poem, "the shadow is shallow and the dusk is fragrant" is a joint name. If you don't marry without children, take plum as your wife and crane as your son, and your poem will be handed down. Many predecessors have discussed this, such as Yuan in the History of Song Dynasty. "Biography of Seclusion" [1] said, "(Lin Bu) was less isolated in mechanics, not in chapters and sentences, and his nature was calm and ancient, becoming rich and rich, and his family was poor in food and clothing. Ru Yan is also good at writing books, enjoying poetry, and his words are plain. " At the same time, May Yao Chen said. His language is modern, and so is Li Han. His poems, written according to the facts and with emotion, are plain and beautiful and unforgettable. His writing is mainly quiet, not sarcasm, and then he knows that it is often far-reaching and suitable for poetry. "The Summary of the General Contents of the Book of Qin Ding Si Ku" [2] said, "His poems are simple and elegant, just like a man", and Mr. Qian Zhongshu [3] said, "Lin Bu wrote a miserable and quiet secluded life with a small brushwork." The author searched the relevant papers after the founding of the People's Republic of China, and found that he had a certain understanding of the study of Lin Bu's birth and death year, but he had not reached a clear conclusion about Lin Bu's native place. The research on Lin Bu's poetry creation has realized the characteristics of "prose culture", but there is no intentional research on Lin Bu's singing works. However, the study of his thought is still in a tentative state, and there is no systematic and organized understanding. The author wrote this article just to review the previous research results and make a detailed arrangement for the later research.

A Study of Lin Bu's Life Thought

(a) Life research

1, study of native place. Many works on the history of literature today are based on "Lin Bu was born in Qiantang, Hangzhou" in The History of Song Dynasty. However, in the 1980s, the author of local chronicles in Fenghua County, Zhejiang Province believed that "Linbu was from Huangxian Village, Fenghua." (Fu Yuan. Where is Limbu from? Zhejiang Academic Journal No.4 1985) They demonstrated according to Huang Xianlin's genealogy, which was later compiled into Fenghua City Records [4]. There are also reservations about these two views, such as Zhejiang Dictionary of Ancient and Modern Characters? The last article [5] said: "Lin Bu, a native of Fenghua, made Qiantang (now Hangzhou)". Whether Lin Bu was born in Hangzhou or Fenghua or moved to Hangzhou after Fenghua remains to be verified.

2. Study on the year of birth and death. Lin Bu's year of birth and death is generally expressed as: (967- 1028). Such as "resigning from the sea? Literature fascicle (Shanghai Dictionary Publishing House, 1979, p. 8 1 page), Encyclopedia of China, China Literature I (China Encyclopedia Publishing House, 1986, p. 429), China Cultural Grand Ceremony II (Shaanxi Education Publishing House, 65439), Li Junqi's China Writers of Past Dynasties. Page 129) and so on are all called "Linbu (967- 1028)". Scholars generally have no objection to Lin Bu's death year (1028) in Song Renzong. Whether the year of Lin Bu's death is "61"[6] or "62" [7] is worth discussing. Li Yifei's Research on Lin Bu's Early whereabouts and the Year of Birth and Death (China Moire Academic Journal,No. 1 2000) and Zhu Zekai's Gu Shan Chu Shi Lin Hejing (Classical Literature Knowledge, No.2, 1999) both think that it should be "the year of death". Accordingly, Lin Bu's birth year should be "six years in Germany (968)". Mr. Zhu Zekai believes that only Lin Bu's brief introduction is correct in The Whole Song Poetry [8] recorded in previous literature and historical materials. In fact, Xu Gui's Chronicle of Wang Yucheng [9] also determined that Lin Bu's birth year was 968.

(2) Ideological research

Lin Hejing and His Poems by Zhong Ying (Journal of Hangzhou Normal University (Philosophy and Social Sciences Edition), No.3, 1982) makes a survey of Lin Bu's life, and thinks that his "seclusion" has family reasons; There are many reasons, including dissatisfaction with the secular society of the Song Dynasty, dissatisfaction with some national policies at that time (such as Zen), and their own Buddhist ideas and attitudes towards life. The personality factor of "being calm and good at the past" is important, but it is mainly a social factor. Yu Minglun's On Lin Bu's Thought and Art (Zhejiang Academic Journal,No. 1986,No. 1-2) holds that "Lin Bu was a hermit who was forced to sink" and "Lin Bu was originally a pretentious and passionate person". This view of Lin Bu seems a little unpleasant, but Mr. Qian Jibo's History of China Literature [10] has a low evaluation of Lin Bu, saying that he "paid tribute to officials, decorated lakes and mountains, praised his poems, and wanted to meet him, and his body was cold-eyed, which was typical of countless practices for the mountain people of later generations." Yu Wen's introduction is very modest. "This article can't be said to quote others' words, just want to say something that others haven't said; Nor can it be called a conviction-reversing article, but unfortunately it failed to arouse the response of the academic circles at that time. Zhong Ying's A Review of Lin Bu [1 1] discusses Lin Bu's life and family background, among which there are doubts about Lin Bu's native place "Siming (formerly known as Ningbo)". This paper gives a detailed account of Lin Bu's friendship with "the poets of the Five Dynasties in the early Song Dynasty", which shows Lin Bu's life and talent in a panoramic way. Lin Bu's philosophical thought is defined as "mainly inheriting Tao Yuanming, not focusing on wealth". What is particularly commendable is that "Lin Bu's Birth Year" is attached at the end of the article, which is a pioneering work for further research. After analyzing Lin Bu's poems, Xie Xianmo's Cynicism in Lin Bu's Poems (Journal of Chengdu University (Social Science Edition) No.3, 1989) thinks that "Lin Bu's poems show his unwillingness to yield to his own destiny, his bitter satire on the ugly phenomenon of officialdom and his resentment against the world", "all these make his thoughts in an extremely contradictory state. He was in great pain, so he had a cynical idea. " Mr Zhao Qiping also discussed the contradictory factors in Lin Bu's thought [12]. Lin Bu has really been stuck in the "hidden and obvious" contradiction and can't get rid of it; Ancient hermits in China faced the same problem, and Lin Bu was no exception. Mr. Zhang Yi thinks: "In Lin Bu, the moral perfection of Confucianism and quietism's attitude towards life show a noble and refined moral integrity and elegant and leisurely personality." [13] Ma Maojun's "Lin Bu's Retro Thoughts and Literary Creation" (Journal of West China Normal University (Philosophy and Social Sciences Edition), No.4, 2003) holds that "Lin Bu's pursuit of a more ancient lifestyle of three generations ... is the personality of the nest, that is, it is easy to escape from the past", which is integrated with Lin Bu's "hermit thought". This theory provides a perspective for us to explore the origin of Lin Bu's thoughts, and also makes a useful attempt to explain the identities of Lin Bu and Chu Shi.

Second, poetry creation and achievement research

(A) the study of poetry creation

1, poetry research. Mr. Xia's paper Plum Blossoms in the Dongfeng World (Guangming Daily1961March 2 1 Dongfeng Supplement), Lin Bu's Poems and Dazhong Xiangfu's Tianshu (Wen Wei Po1July 7, 962, 4th edition). It is concluded that this poem was written "for Lin Bu's dissatisfaction with' the heavenly book is Zen'" rather than "on his deathbed", thus correcting the mistakes in history books such as A Brief History of Dongdu [15] and Records of the Words and Actions of Five Dynasties [16]. The study of Lin Bu's poems generally focuses on the study of "Plum Blossom" poems, and mainly focuses on appreciation. For example, Li Rulun's Unique Artistic Conception and Charming Poetic Scenery-Appreciation of Lin Hejing's Xiao Mei in the Mountain Garden (Guangzhou Daily 3rd Edition1980 July 13) makes an artistic summary on the basis of appreciating the words. Many similar papers have not deviated from this road, and the progress of Lin Bu research is not too great. Thankfully, some commentators have compared Lin Bu's poem Xiaomei in the Garden in the Mountain with other writers' poems of the same name, thus highlighting the unique artistic achievements of Lin Bu's poems. For example, Yang Lei's article "Self-reliance and Original Creation are Really a Farewell-Reading Lin Bu's Poems" (Journal of Kunming Normal University (Philosophy and Social Sciences Edition), No.2, 1986) compares Lin Bu's poems with previous poems. Zhao Qiping's article "Dim fragrance and thin shadow-on Lin Bu's Xiaomei in the mountain garden (I)" was quoted before, and discussed in the article "Xiaomei in the mountain garden". On the basis of the appreciation of "First", the comments of later generations on the couplets of "Thin shadow is shallow, the moon is fragrant" and "trees in the garden after snow, the hedge beside the water suddenly falls and branches cross" were sorted out. What is particularly valuable is that this article disagrees with Fang Hui's definition of "late Tang style" and clearly puts forward that "Lin Bu's poems do not belong to late Tang style." This theory provides a useful attempt for us to re-examine Lin Bu's artistic value and position in the history of literature. Our research should not be limited to predecessors, but should be based on works and strive to restore the intrinsic value of works or poets in the history of literature. Another example is Wang Yousheng's article "Charming Beauty and Body-Appreciation of Poems by Miracle, Lin Bu and Lu Ran in Yongmei" (Classical Literature Knowledge,No. 1997,No. 1 period). On the basis of comparing the description objects of the three men (Zaohe, Mei Sheng and Luo Mei respectively), this paper analyzes the ideological significance of their creation. This comparative study of similar works by different writers provides a good methodological guidance for us to understand Lin Bu's literary achievements. Li Binghai's "Pure Land Full of Buddha and Plum Blossom Poems and Their Buddhist Causes" (Journal of Northeast Normal University (Philosophy and Social Sciences Edition) No.4, 1995), through the analysis of some plum blossom poems in the Song Dynasty, thinks that Mei Zhi's noble singing is related to the popularity of Pure Land Sect, and Lin Bu is influenced by Pure Land Sect, forming a "clean incarnation" of Mei Zhi in his works. Gemee's article "The Significance of Lin Bu and Yongmei in the Aesthetic Understanding of Plum Blossoms" (Academic Research, No.7, 200 1) sets a suitable position for Lin Bu's Yongmei Poetry Group. Lin Bu is famous for "discovering an extremely important aspect of plum blossom beauty-the beauty of branches and leaves, so that the beauty of plum blossom can be completely established". "In Lin Bu's place, plum blossom and' water' and' moon' have become a classic combination, and' water' and' moon' are both plum blossoms' expressing virtue'", and "Lin is a hermit, yes".

The study of Lin Bu's poems, except Yongmei, mainly focuses on recluse poems and landscape poems. Zhong Biqin's "Lin Bu and His Hermit Poems in the Mountains" (China Classics Culture, No.2, 1997) appreciates his representative poems and thinks that "(Lin Bu's poems) are really full of a kind of hermit's unique feelings and interests". Lu Hui's On Lin Bu's Landscape Poems (Journal of Yuncheng University (Philosophy and Social Sciences Edition), No.6, 2003) analyzes Lin Bu's landscape poems, but in fact it adopts a single appreciation method. Mr. Tao's article Lin Bu: Dedicated to the Beauty of the West Lake says: "After all, he (Lin Bu) is another poet dedicated to landscape poetry in the history of China poetry after Xie Lingyun. His personality and poetic style have had a far-reaching impact on later generations ... Lin Bu's poetic performance of the West Lake in Hangzhou really inspired Su Shi, enabling him to further vividly depict the West Lake and create more popular landscape songs of the West Lake. " [17], Lin Bu's landscape poems of the West Lake are analyzed in the large-scale system of landscape poetry history, which makes a beneficial attempt for Lin Bu's position in the history of literature.

Among Lin Bu's 3 13 poems handed down from ancient times, there are more than 150 works with dignitaries, monks or anonymous people, accounting for nearly half of all poems. Unfortunately, our research has not attracted enough attention. If these poems are sorted out, we will have a fundamental breakthrough in the study of Lin Bu's life. It may be difficult, but as an extremely important part of the study of writers, we can't ignore these poems.

2. Research on vocabulary. Lin Bu has three words, "Sauvignon Blanc? Farewell and crimson lips? The title grass is the most famous. Mr. Wu Benxing's article "Passion is like tide and tenderness is like water —— Reading Jiuquanzi in Pan Lang and Sauvignon Blanc in Lin Bu" (masterpiece appreciation,No. 198 1 issue) holds that "both of them wrote about the tide of Qiantang River, the former is like tide, and the latter is like water ... but Lin Bu's" Sauvignon Blanc? " Farewell ... is about parting love, using folk songs and elegant language. "[18] The fresh and beautiful tradition of five pronouns inherited from the Tang Dynasty is still obvious. Xu Ying's article "Affectionate and Parting Since Ancient Times —— Appreciation of Lin Bu's Sauvignon Blanc" (Guangzhou Literature and Art No.2, 1983) summarizes its artistic characteristics on the basis of appreciating the meaning of words. There is another article, Lin Hejing, Mei's wife and deer [19]. According to legend, Sauvignon Blanc? Farewell was written by Lin Bu when he was going to Jianghuai to say goodbye to a woman. This theory is similar to Mr. Yu's view that "Lin Bu has a wife and a son" [20] a few years ago, and this conjecture has been refuted by Mr. Jin (see Chewing Spare Time and Southern Weekend, July 3, 2003). And "crimson lips? The word "grass", "Can you change your vegetarian diet? Volume 17 [2 1] records the harmony between Mei and Ouyang Xiu. It can be seen that the word Lin Bu had a great influence at that time, and it should be studied deeply.

(B) the study of literary achievements

Zhong You analyzed in Lin Hejing and His Poems that Lin Bu's landscape poems are simple, elegant, fresh and beautiful, which is also the basic feature of Lin Bu's poems. In addition, it is pointed out that Lin's poems are also bold and unconstrained. In literary view, he highly praised The Book of Songs, Songs of the South, Du Fu and Wang Changling, and his creative practice was influenced by Tao Yuanming. Yu Minglun's "On Lin Bu's Thought and Art" quoted earlier spoke highly of Lin Bu's artistic characteristics, saying that "(Lin Bu) writes poems with a good pen" and "his poems are mostly landscapes, which have a certain distance from social life ... but it is obvious to stand in the camp against" Quincy Style ". After all, Rainbow Yucheng, Su Shunqin and others insisted on the realistic tradition of China's poetry ... Before Mei Yao Chen, Ouyang Xiu, Su Shi and others, he revealed the news of poetry innovation in the Song Dynasty. " This theory provides a macro perspective for us to accurately understand Lin Bu's position in the history of literature. Ma Maojun's article "Lin Bu's Retro Thought and Literary Creation" holds that "Lin Bu's Retro Thought brought the retro tendency of literature and art ... He didn't stick to the rules, didn't pay attention to both refined and popular tastes, respected the ancient artistic style and created Gu Zhuo's elegant artistic style. He said that Lin Bu's "recluse thought absorbed Confucianism and Taoism, and infused Zen thought", and that "the theory of plainness accurately summarized the artistic style of Lin Bu's poetry, and the style of the late Tang Dynasty was the way for Lin Bu to learn from others". Some literary histories have discussed Lin Bu's achievements in poetry creation. For example, Mr. Liu Dajie thinks: "We read his poems carefully, full of weakness and affectation, and at the same time limited by the tight rhythm, lacking heroism and courage." [22] Yuan Xingpei's History of China Literature? The third volume [23] thinks that Lin Bu's poems are "full of artistic conception and lively interest, which are lacking in the poems of nine monks ... Lin Bu's poetic style is rich, which makes a breakthrough in Jia Yao's poetic style. "Whether Lin Bu's poetic style has a retro tendency seems to be analyzed on the basis of reading a large number of works, but Lin Bu's poems are broader and more comfortable than the narrow works of nine monks.

To sum up, we find that the study of Lin Bu after the founding of the People's Republic of China has the following characteristics: First, great achievements have been made in the study of life thoughts. Unfortunately, the study of chronicle in life research has not been carried out; In contrast, the perspective of ideological research, from ancient thought to Tao Yuanming and even Pure Land Sect, reflects the researchers' broad vision. Second, the study of works and creative achievements basically follows the principle of taking works as the basis, thus summarizing their artistic characteristics and reaching the same understanding of "plain and beautiful". Unfortunately, Lin Bu's "Reward Singing" has not been studied so far; As for Lin Bu's position in the history of literature, it has not surpassed the predecessors' theory of "Late Tang Style" (except Mr. Zhao Qiping's statement). There is no academic monograph on Lin Bu. Previously, there was only one school-based version of Shen's Poems [24], which made detailed comments on Lin's poems and books, laying a foundation for Lin Bu's research. In addition, it is worth pointing out that Zhong Ying's monograph "Lin Hejing and West Lake" [25], as one of the West Lake series in Hangzhou, aims to publicize Hangzhou's tourism resources. The author strives for the popularity of his works, deeply appreciates Lin Bu's poems, praises Lin Bu's pioneering work in the lonely mountain of West Lake, and makes a beneficial attempt to develop the tourism resources of West Lake. Although most of these papers were written in 1980s, Mr Zhong Ying's research is still based on the text. This kind of research also puts forward a new topic of "how to combine with the needs of the real society" for our study of ancient literature, adding new vitality to the study of Lin Bu.