Literary classics never refuse disputes, and Jiang Kui's experience in writing his own songs Dimfragrance and Shuying in later generations is the best illustration. In ancient times, the works of these two Yongmei sisters received a lot of praise and also attracted complaints. In the 20th century, some new scholars became more outspoken in their criticism of these two works. Wang Guowei thought that they were "very elegant, but they didn't say a word" (a thorn in the world), and Hu Shi said, "These two sentences are only classical with a few plum blossoms, and there is nothing new. The one in the thin film is even worse" (Xuan Ci). Obviously, they are very dissatisfied with the allusions between the lines, but this accusation always has a premise, that is, we must first find out which allusions are used in the works, and then we can discuss whether these words are "authentic" or "new". Specific to "Thin Shadow", the source of the sentence "Nothing is like a spring breeze, nothing is like Ying Ying, and the golden house is arranged early" is still in doubt.
This sentence in each note quotes a lot of things hidden by Emperor Wu of the Han Dynasty in the Golden Palace, which is a well-known classic in classical poetry, but Mr. Yu Pingbo has a different view. He said in the annotation of the word:
There is a feeling of cherishing flowers here, and it is a bit far to compare it with a golden house. Wang Yucheng's Poems said, "When Shi Chong saw Haitang, he sighed,' If you can smell it, you should keep it in a golden house. ""(ancient and modern book integration, natural history compilation, vegetation code, volume 300 cited) If you use the golden house to hide Haitang as a metaphor for plum blossoms, it will be closer. However, Shi Chong's poems were not recorded in the Six Dynasties, and Wang Yucheng's poems were recorded for reference. (Selected translation of Tang and Song Ci)
Mr. Yu's words are cautious, but they are also well-intentioned: if the word is "a little far", it will naturally leave a flaw of "nothing to say"; If this period becomes the language of Shi Chong, it is certainly not "nothing new, not desirable" as Hu Shi said. I studied under Hu Shi. He found out Shi Chong's words as a comment on "tidying up the golden house", perhaps in response to the teacher's intention to criticize "thin shadow". Inspired by Mr. Yu, the author once thought that many allusions related to "fragrance" were used in Shu Ying, which fully showed Baishi's ability to describe the beauty of "fragrance and fragrance" (see Three Notes on Dark Fragrance by Jiang Kui and Shu Ying, included in the Proceedings of the International Symposium on Ci Poetry 2008+02). But now it seems that the original understanding may not be accurate, so I wrote this article in vain, hoping to make up a small footnote for teacher Yu's "preparation for the exam"
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The first question to ask is whether Wang Yucheng recorded this sentence. Wang Yucheng (954- 100 1) was a famous scholar in the early Northern Song Dynasty. There are many surviving works, but there is no Poetry Talk among them. The book Wang Yucheng Shi Hua has never been circulated, but if Shi Hua is understood as On Poetry in a general sense, there are still some doubts. First, because there are no quotations in Wang's works today; Second, Wang Yucheng completely ignored Shi Chong's sigh when he wrote Haitang poems, which was contrary to common sense. His "Three Flowers on the Sea" says: "I regard it as a flower that doesn't bloom like Haitang, but it blooms like papaya, but it is more beautiful than it ... Recently, a good man wrote" Flower Spectrum "and regarded Haitang as a fairy among flowers. It is said that this flower is not under the begonia, and it is named after the fairy, just right. " His works "Bietang Begonia" and "Shangshan Begonia" all describe his impression of Begonia, which is a five-ancient poem and describes all the forms of Begonia. There is another sentence: "If you don't learn from the beginning of Du Gongbu, you won't be given begonia poems." From these examples, Wang Yucheng is quite familiar with Haitang, but these poems don't use the dictionary "If you can smell it". What is even more puzzling is that when he praised the fragrance of Haitang, he still ignored Shi Chong's point of view, such as "Jiangdong is still in Qiantang, and the courtyard is full of flowers and fragrance" (titled "Begonia is planted in the east of Luojiang, Qiantang County"), "Liu Shu's eyes are half open, and Haitang hides the musk umbilical cord" (fish in the spring suburbs). The reasonable explanation is that Wang Yucheng didn't record Shi Chong's words, or he didn't know at all. From this, it can also be inferred that the quotations in The Integration of Ancient and Modern Books may be wrong.
The Collection of Ancient and Modern Books was compiled in the last years of Kangxi, and it was a large-scale book copied from a batch of books. The quotation "Wang Yucheng talks about poetry, Shi Chong looks at Haitang" can also be found in the earlier Ding Yu's Wide Fang Qun Pu (Volume 35), which is an updated version of Wang Xiangjin's Fang Qun Pu in Ming Dynasty. After investigation, this sentence has been included in Fang Qun Chronicle, and it is a little far away, and its writing time is earlier than that of Petrochemical Zuobian. Zuo Bian of Flower History includes Self-knowledge written by the editor in the forty-sixth year of Wanli (16 18), and the genealogy includes the postscript written by Wang in the first year of the apocalypse (162 1). These two books are compiled according to various flower spectrum data of predecessors. Of course, there is no evidence that Wang Yucheng's records were forged in the late Ming Dynasty. The above discussion is only a conjecture based on the existing materials, and the second question is directly related to this conjecture: Did Shi Chong say so?
Shi Chong is famous for his wealth and luxury in history. "If you can smell incense, you will hide the golden house" is in line with his usual temperament, and he is also quite infatuated with some celebrities in Wei and Jin Dynasties, which can be called the golden sentence of celebrities. However, "people in the Six Dynasties have never recorded it", and it has not been found in the texts before the Song Dynasty. Several large-scale books edited in the Southern Song Dynasty, such as Zhu Mu's Collection of Ancient and Modern Events and Documents, Xie Weixin's Compendium of Ancient and Modern Events, Chen Jingyi's All Fragrances for the Ancestor, Splendid Flower Valley, etc., all left it out, and even Chen Si's Haitang Spectrum, which records the information of Haitang, was not recorded. Moreover, when writers chanted Haitang in the Tang and Song Dynasties, no one used this allusion, and some works used "Golden House with Hidden Charms", but it had nothing to do with the fragrance of Haitang. Only He Yaoxi's "Haitang", chanting Haitang, using "Golden House", cloud:
When it rains, rouge disappears bit by bit, and the half-open season is the most enchanting. Who has a golden house to hide jiao, lock the east wind to save jiao.
The first two sentences are about the beauty of begonia after the rain, and the last two sentences are about the beauty of the golden house, which means that flowers are beautiful. There is not a word about the fragrance of Haitang in the poem, which should have nothing to do with Shi Chong's sigh. In the Song Dynasty, the works of singing Haitang surged, and many of them used the word "Golden House". For example, Zhao Cigong's "Dongpo Dinghuiyuan Begonia": "In the colorful flowers, I feel the gods are vulgar. Fat is lazy and uneven when sleeping, and it is naturally greasy and fleshy. The bustling scenery is far away, and Xianna is full of charm. Guan Shu is the only graceful child, and she is really like the gentle and graceful Guan Shu. If you can't rush to Baiyulou, it will be a golden house. Although the wind is warm, it is already dusk, and it is difficult to stop leaning on bamboo. Poor eyes don't know how expensive it is, and empty light shines in the valley. " This poem follows the rhyme of Su Shi's famous poem "East Miscellaneous Flowers in Dinghui Garden are full of begonia, but one native doesn't know its price". Begonia flower used to be called "the fairy in the flower", so the beginning of the poem is written from now on, and the last few sentences describe the shape of begonia with beauty as a metaphor. "Baiyulou" takes care of the phrase "immortal", and "Golden House" is still the original intention of hiding beauty, and the whole poem has no language and fragrance of Haitang. Other use cases include Liu Kezhuang's "Xiong Zhushu Shi Meihua's Ten Poems of Begonia Rhyme": "Obviously, the Golden House was destroyed, but it fell into the wild." Beijing boring "Drunken Down and Out": "Gillian shared a golden house. Who sent it to the empty valley? " Weng Longyuan's "Candle Shadow Shakes Red": "The Golden House is famous, and the eyes are empty and the eyebrows are idle." The writing ideas of these poems are the same as those of He Wei, and they are all common metaphors of flowers and people. Therefore, it has nothing to do with the absence of the fragrance of begonia. It can be concluded that these authors have collectively "ignored" Shi Chong's sigh.
In addition, judging from the development of the aesthetic concept of ancient begonia, Shi Chong is unlikely to express his opinions on begonia. Ancient plants basically experienced a process from less to more, from surface description to deep sustenance. Begonia flowers were not inscribed by scholars before the middle Tang Dynasty, and related works gradually increased after the late Tang Dynasty. Therefore, Shen Li's preface to Haitang in the Northern Song Dynasty said: "Those who call Shu flowers beautiful have Haitang. However, there are many records that are not recorded, and I am afraid that there will be one in modern times. " Considering the truth of Shi Chong's exclamation in this general trend, it is hard to believe that it has never been seen before and has never come since.
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It is undoubtedly an extremely abnormal phenomenon that famous people's golden sentences are ignored, so the author speculates that Shi Chong's sigh is a fictional gain of later generations and a fake code. Careful examination of Shi Chong's words implies that the default concept is: Begonia can't be fragrant (no fragrance means no fragrance). Only under the premise that "Begonia has no fragrance" becomes a common view, the regret of "if you can smell it" is necessary and in line with semantic logic. On the other hand, if the smell of begonia is a kind of knowledge, or people don't care about the smell of begonia at all, then this feeling is meaningless, and "storing you in the golden house" becomes redundant. Therefore, to review the cause of this pseudo-code, we must revisit the sentence that begonia has no fragrance.
Begonia initially attracted people's attention with its beautiful appearance, and almost all the early works focused on the brushstrokes described here. Whether begonia is fragrant or not is not a problem. Try the following example:
Brilliant but * * * smile, sweet almost boast. (Don Gu Xiong Fei, "Playing Begonia Flowers in Gu Jie's Postal Pavilion")
The less fragrant something is, the more beautiful it is. (Tang Xueneng's "Haitang")
Begonia is old and fragrant in spring, and the fog in the small building is hazy. (Five Dynasties Ning He's "Linjiang Fairy")
The ruins of Jiangdong are in Qiantang, and the flowers planted by hand are full of county fragrance. (Wang Song Yucheng title "Hand-planted Begonia in Luojiangdong, Qiantang County")
The east wind is full of worship, and the fragrant fog turns to the corridor. (Shi's "Haitang")
On a cold night, pedestrians are absolutely forbidden. (Zhang Song Shunmin, "Moving from Yuezhou to Fangling Road to See Begonia")
It can be seen from these poems (words) that in the vast time and space from the Tang and Five Dynasties to the Northern Song Dynasty, from Sichuan and Shaanxi to Hunan and Jiangdong, the aroma of begonia never stopped, and the writer did not show any entanglement and hesitation in writing (Author Press: It is generally believed that Su Shi's Begonia was written in Huangzhou. In addition, there are many kinds of begonia, which was distinguished in Chen Si's Begonia Book in the Song Dynasty. There are differences between different species and genera, but the ancients did not care about the specific classification of begonia when writing poems. The debate about the authenticity of "begonia without fragrance" is mostly about the classification of begonia flowers, so this article will not make a detailed distinction in the cited works. However, at the end of the Northern Song Dynasty, this situation was broken by an accident. Hui Hong's Cold Zhai Nightmare (Volume 9) Chapter 9 "Crane lays eggs";
Strangely, Yuan Cai is pedantic ... Taste: "I have never hated anything in my life. I hate five things." When people asked him why, Yuan Cai closed his eyes and said for a long time, "I didn't listen when I was talking, for fear that Cao Cao would take it away easily." The questioner urged him to say, but he replied, "First, I hate the bones of shad; second, kumquat is sour; third, water shield is cold; fourth, begonia is tasteless; fifth, I hate that Ceng Zi can't write poetry." The listener laughed, and Yuan Cai stared, "All the philosophers are kind."
This is the earliest source of the current credible "Begonia without fragrance". We don't know what Peng Yuancai's judgment is based on, but it is obvious that the first four hates are natural phenomena, and the fifth hates are poking fun at contemporary celebrities. When these two unrelated things are artificially organized together, it will have a dramatic effect. "Listening to people laugh" should be exactly what Yuan Cai, who is "pedantic and eccentric", wants to achieve. Another story related to begonia is recorded in the same volume of this book, The Begonia in Changzhou is a Good County: "Dr. Li Dan has been sent for one year and was awarded in Changzhou. The discussant decided to stay away from home, but awarded it to Hubei. Hearing this, Yuan spat and strode to Li Chenggong and said, "Who is willing to work for the doctor, Chang and Jia? Why not give it up?" Li Jing said,' Is there sufficient supply?' Say' no', is civil litigation simple? Say,'No.' Say,' But how do you know it's good?' Yuan Cai said,' Haitang has no fragrance, but Changzhou Haitang has its own fragrance. "Isn't this a good county?" Anyone who hears it will laugh. "It's all the same. This time, he added "Changzhou Haitang has a unique fragrance" after "Haitang has no fragrance", but the response of the "listener" is still the same.
Peng Yuancai himself "visited the noble gate of the capital for more than ten miles, and all the noble people sat in the front" (Volume 8 of Huihong's Cold Night Talk), "Taste Le Shu and get a husband" (Volume 6 of Cheng Peng's Mo Ke Lang Rhino), Zou Yuanzuo and Hong Juefan's Three Wonders of Xinchang (Volume 54 of Jiang Yikui's Yao Shan Tang). He once had a series of strange words and deeds, such as shaving his eyebrows and taking the ancient road (Volume 2 of Mo Ke Waving Rhinoceros), Bu Yi Family (Volume 8 of Nightmare in Cold Zhai) and Talking about the Birth of Crane (Volume 9 of Nightmare in Cold Zhai), all of which can show his careless and funny character. For "Haitang has no fragrance" and "Changzhou Haitang has a unique fragrance", the listener just smiles.
Probably thanks to the long-term experience of being a guest in Beijing and being welcomed by the nobility, Peng Yuancai became a master of telling jokes. "Five Hates" and "Juexiang" all achieved good audience effects. The former was quickly recorded in Cold Zhai Night Talk, Mo Ke Waving the Rhinoceros, Tiaoxi Fishing in Conghua and so on. , and widely known (the author quoted this statement as "Fang Quan North Ancestor", "Splendid Flower Valley" and "Event"), but it was mistaken for "three hates". However, the situation of "Changzhou Haitang unique fragrance" is more complicated, and some records are "Jiazhou Haitang unique fragrance". For example, the former Fang Quan North Ancestor, Volume 7, The Real Ancestor of the Flower Begonia, quoted the Flower Spectrum: "Begonia is colored and odorless, but it is fragrant in Jiazhou, Sichuan, and its wood is broken." These two records have many supporters in later generations, and serious readers often pay attention to the smell of begonia everywhere to verify the unique fragrance of begonia in Changzhou (or history). This argument began in the Southern Song Dynasty. Lu You's Haitang: "The flower of Sichuan place names is so ancient and modern that it can overwhelm thousands of forests in one breath. Satire is more fragrant, and I often hate people talking too deeply. " Yang Wanli's "Watching Begonia at Dawn on February 14th": "When I invade the stars, bees help me. Deep material has no nostrils, and scattered words have no fragrance. " Wang's "Dianjiang Lip Jiaxiang Begonia": "Whoever hates no fragrance, try to smell the flowers. The wind is slightly permeable. Exquisite smoked brocade sleeves. More than history. " In recent years, Zhang Ailing's ci has become popular. She followed up with A Dream of Red Mansions (A Dream of Red Mansions Nightmare) that "one hates shad, and the other hates Haitang without fragrance", so Haitang without fragrance climbed to the top of A Dream of Red Mansions, and its attention was raised again.
Because the original book of Huapu has been lost, it is difficult for us to make an exact textual research on this quotation, but Jiazhou and Changzhou are both in Shu, which accords with the statement that "the flowers in Shu are beautiful with begonia" in Shen Li's preface to begonia. In a word, in the Northern Song Dynasty, begonia was established as a place name flower of Shu, but the unique fragrance of Changzhou begonia was not paid attention to. Since Peng Yuancai threw out the remarks of "five hates" and "Changzhou begonia is unique in fragrance", begonia fragrance has become a topic. Since the Southern Song Dynasty, poets have mostly written with "Begonia without fragrance" as the canon, which is the prerequisite for the appearance of Shi Chong's sigh. The author speculates that in the upsurge of seawall literature, some works use allusions of the golden house with hidden beauties, while the readers associate "no fragrance" with "golden house" and forge the words "if you can smell it, you should keep it in the golden house". If this guess is not bad, it is somewhat similar to the popular "pseudo-Soviet annotation" in Du Fu's poetics in the Song Dynasty. "Fake Su Zhu" is the source of forging Du Fu's poems under the pretext of Su Shi. "Quotations are groundless, but the names of Du Fu's predecessors are added or deleted in the text, and sometimes those who have lost their time are reversed" (Zhu's Attached Notes on Zhang Guohua Du Fu's Poems). Just as Du Fu's concept of "no words and no evidence" and the prevailing trend of "turning stone into gold" in poetry circles gave birth to the appearance of "pseudo-Soviet annotations", Shi Chong's Sigh can also be said to be a dictionary forced by the topic of "Haitang has no fragrance" to some extent. Although the harm of this pseudo-canon is less than that of the pseudo-Soviet annotation, some books in later generations still list the items of "Golden House hides the jiao" or "Golden House hides the jiao for you", such as Zuo Bian of Flower History, which was quoted by Wang Lu before, and Hua Bu Yi, which is 450 copies of Yuan Jian Han Lei by Zhang Ying in Qing Dynasty. More interestingly, Shi Chong's sigh gave birth to the phrase "the thing in the golden house of the stone family": "When Shi Chong saw Haitang, he sighed,' If you can smell it, you should keep it in the golden house. "Later generations have been planted in Changzhou, which is fragrant and lovely, because the purpose is' stone house'. "(Chen Jiru compiled the article" Supplying Flowers and Begonia "in the fourth volume of" Reediting and Supplementing the Tales of Tao Zhugong ") However, under the influence of Mr. Yu Pingbo, some works now often use the phrase" Paijinwu "in Shi Chong's" Tanjie ",so it is necessary to clarify this misunderstanding.
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The beauty of begonia was fully recognized in the Song Dynasty. Although it is not as crazy as plum blossom, there is a moderate "Haitang fever" in the literary field. Thus, there are several controversial topics. Among them, "Du Fu didn't give Haitang" became the poet's case-solving problem, and "Haitang has no fragrance" provided a hotbed for the emergence of the false canon of Shi Chong's sigh. At last, the article returns to Mr. Yu Pingbo's comment: "If the golden house hides begonia as a metaphor for plum blossom, it will be closer." In fact, there are many examples of Yongmei using "Golden House" as flowers in the Song Dynasty, such as Lu You's poem "Xun Xiucai sent ten branches of wintersweet": "Put a treasure pot first and save the golden house." Yang's Four Unique Wax Plums (IV): "Gillian hates the vault and washes away her children's makeup." Liu Kezhuang's "Man Jiang Hong mentions Mei Weigu": "Ning, Tai Jindian. Ying Ning water, shame silver candle. Sigh out the charm of the group and put on ancient costumes. " Similarly, Song people also used "golden house" to describe peony, rose and begonia, which is also the focus of this paper. It is not surprising that these are nothing more than the combination of the allusion of "a golden house hides a beautiful woman" and the traditional expression of "a beautiful woman is like a flower". Of course, in all fairness, this paper still lacks sufficient literature support to question Shi Chong's sigh, and Shu Ying's artistic gains and losses can also be discussed. However, the author thinks that Jiang Kui didn't know the so-called Shi Chong's sigh when he wrote Shu Ying, and from the perspective of conception, the phrase "nothing is like a spring breeze, no matter what, it is not" new ".
[This paper is the achievement of the 20 15 project of the Youth Fund for Humanities and Social Sciences Research of the Ministry of Education (15YJC751050); Supported by Southwest University Education and Teaching Research Project 20 15 (20 15JY064)]
(Author: Southwest University College of Literature)