1. You can proofread the existing poems of the original author according to the set poems. There are two ways to collate the original author's existing poems by using set poems: one is to increase the varieties of the original author's existing poems. There is a lot of information in this regard. Here are two examples of collating Du Fu's poems according to Wang Anshi's poems. Collating predecessors' poems with collected poems began in the Song Dynasty, among which the collating of Du Fu's poem "I fled to the south and I looked to the throne in the north" is a famous example. Thirty-five years, the first volume of Tiaoxi Fishing and Conceiving Conghua;
"Wandering around Zhai Zhai Zhai" says: "Although Gong Jingshi's poems are tired of dozens of rhymes, they all come in an instant, and the words and meanings return together. If it is out of their own, others will try their best to make them effective, but they are not as good as themselves. For example, the old man's trip said,' Turn your hands over for the clouds and cover your hands for the rain. Say it to your face and laugh behind your back.' Don't be suspicious of each other in the former sentence of Lao Du and the latter sentence of Lao Du. Combine the two sentences into a couplet, but the duality is so kind. There is also a "Send Wu" cloud: "I fled to the south and looked at you in the north. You should know this gentleman." "eighteen beats of Hu Jia" says:' I fled south, but I looked north, taking three steps and five steps.' This is Lao Du's sentence collection. Du Fu's poem "Ai Jiang Tou" says:' When you go to Tatar, the dust in Huangmuyun Town wants to go south and forget the north and south.' Jing and Gong both used "forgetting the north and the south" as "looking north". At first, Du Fu's poems were suspected to be wrong. Later, several good books were written as "Forgetting the North and the South", or "Gong Jing changed his words to suit his own wishes." However, Jing's poems have not changed the language of the ancients, so readers should study them carefully. Shao xiyu said, "Qing Shan said: Lao Du said,' If you want to forget the north and south and return to the south', Chu Ci said," The center is chaotic and confused. " Wang Yi wrote: "I miss you so much that I forgot the north and the south." Zimeigai also uses this language. "
In fact, it is not uncommon to make a version of Looking North. For example, when Guo Maoqian's Poem of Yuefu (Volume 91) quoted the poem "Mourning for the Head of a General", it was called "I fled to the south and looked north at the throne", and it was bet that "the north and the south should see it once each." Wei Qingzhi quoted the full text of Ai Jiangtou in Volume 14 of Poet Jade Scrap, also called Looking North. Cai Mengbi used the record of the poet's jade chips in the volume of Caotang Poetry, but only put the evaluation language under the name of Su Zhe, whose sentence is also called "Looking North". On this issue, Lu You's Notes on the Old Learning Temple (Volume 7) has this explanation:
Lao Du's "Ai Jiang Tou" says: "When you board Tatar, in the twilight, the town is dusty and you want to forget the north." When the emperor said that he was confused and avoided death, he wanted to go to the south of the city, but he couldn't remember which was the north and south. However, all the sentences collected by Gong Jing are "I fled to the south, but I stared at the throne to the north". It is neither right nor wrong to think that this is a mistake or that it has been changed. Guy's biography is different, but the meaning is the same. Northerners say they want to go to the south of the city, but they want to go to the north. They are also confused and avoid death, and they can't remember the meaning of North and South.
Judging from the existing annotations of Du Fu's poems in Song Dynasty, it can also be proved that "biographies are different". In the second volume of Nine Poems of Du Fu, Guo Zhida's poem "Mourning for the Head" uses the words "I fled to the south, but I looked to the north for the throne", while the word "looking to the city" says: "One forgot the city and the other forgot the south." Huang and Huang's Supplement to Du Fu's Poems, Volume II, quoted General Ai as saying, "A cloud looks north". Such examples typically show that Wang Anshi's classic poems have real collating value.
Another example is Wang Anshi's poem Hu Jia's Eighteen Beats and Three Beats, which reads:
I entered the Xiguan slightly, and the mountain was blocked and I couldn't walk. The water head stays in the grass and the grass sits in the grass. In the wild, only the heart and gallbladder are broken. What's more, carving a saddle teaches a horse, and jade bone is thin. After throwing the saddle bridge several times, I often fall under the horseshoe.
Looking at all the poems, the phrase "grasping the body" comes from two sad poems by Cai Yan. The sentence "Guanshan" comes from Cai Yan's "Eighteen Beats and Seventeen Beats in Hu Jian"; The phrase "Shuitou" comes from Hu Jia's Eighteen Beats and Five Beats, which is still popular in the Tang Dynasty. One sentence of "jade bone" comes from Li Shangyin's "Give Four Roommates Seventy-two Sentences of Even Rhyme"; The sentence "several times" comes from Mrs. Hua Rui's "Gong Ci"; The sentence "often" comes from Zhang Ji's Song of Mourning for the Past, which is the same as the original words, but there are also two sentences that are different from the original words. For example, the sentence "I only teach my heart and gallbladder to break through the wild" comes from Du Fu's "See Wang Jianjun's envoy saying that there are two eagles beside the mountain. Luo Zhe took it for a long time and failed to get it. Wang thought that his hair and bones were different from those of other eagles. He was afraid of wax before spring, flying to avoid warmth, and worrying about autumn was hard to see. Please write two poems. "
Yun Fei stands in the clear autumn, and does not hesitate to travel far and wide. In the wild, you only teach yourself to break your heart and ask for nothing more. I have known all my life that I am invincible and I can be ashamed to fight for it. If you have to avoid it for nine days, rabbits don't have to worry deeply when they cross the three caves.
About this sentence, nine Notes on Du Fu's Poems and Supplementary Notes on Du Fu's Poems in Song Dynasty are all heartbroken. As mentioned above, Wang Anshi wrote poems with definite sentences and did not change others' original sentences, so it can be judged that there was a version of "broken heart and gallbladder" at that time. From the perspective of antithesis, the net and Luo are two things, and although the heart and force can also be interpreted as two things, the heart can still be said to be broken, but how can the force be said to be broken? For example, "Heart and gallbladder are broken" is very appropriate. Even in a single sense, "broken heart and gallbladder" is better than "broken heart". "Broken heart" means to do your best, and the focus is on the difficulty of saving lives. "Broken heart" not only contains this meaning, but also highlights a strong sense of fear. When Du Fu's Notes on Poetry and The Complete Works of Tang Poetry included this poem, it was noticed that the editor did see a version of "broken heart and gallbladder" under the word "strength". Moreover, the phrase "throwing a shovel and holding the saddle bridge several times" in the same poem comes from the word "hug" in Mrs. Hua Rui's Gong Ci, commonly known as "ba". When this poem was included in the whole Tang Dynasty, the word "a hug" was marked under the word "ba". All these examples show that classic poems can supplement the original author's poems and have important collating value.
On the other hand, if the original author's poems are missing, we can also make textual research according to the poems of the set sentences. There are not many examples in this regard. Here are two examples. The eighth volume of The Whole Song Poetry includes Two Poems for Sun in Ceng Gong's Nanfeng Volume I, and the second cloud:
Hidden as a dragon and snake, clearing the ice and snow is even more unparalleled. Although the ambition to stay in the world is a legacy, Wen has fallen into the world or crossed the river. Strict discipline is the end of learning, and healthy poetry is still ashamed to fall for a while. * * * near also think strong companion, hate can't sing * * * north window.
It's a pity that a good poem is missing a word in the middle. But because there is no other version, you can only pay. Fortunately, the thirty-seventh episode of Guo Yuheng's poetry collection Xiangmei in Yuan Dynasty provided valuable materials. Its poem cloud:
Clear as ice and snow, like flowers falling from the north. Putuo truth comes to the world, and a general who quenches thirst has a brothel. Spring fragrance returns to the tripod, and the moon window projects the bookcase. When friends get together, they must enjoy themselves and lay flowers in front of the white jade jar. (Dongpo, Nanfeng, Zuiweng, Juqing, Houcun, Zheng Xingzhi, Liu,)
There is a line in this poem "as clear as ice and snow", and the correspondent of the note after the poem is "Nanfeng", which is Ceng Gong's word. Judging from this, the missing word in the two letters to Sun is "Ru". Fortunately, Ceng Gong's incomplete poem has been restored to perfection.
Another example is Chen's "Continued Complete Collection of Tang Poems", volume 29. According to Li Bi's biography of Wang Jingwen's poetry, volume 35, Jinling Nostalgia, Li Shangyin's sentence "leaning against the green window" was quoted, and three words were missing behind it. Fortunately, Wu Zhiyao, a poet in the Southern Song Dynasty, wrote the poem "Leaning on a Green Window to Learn Women" in Wen Jun. Although the author's name is not indicated in the original text, it is probably Li Shangyin's poem. The author thinks that the three missing words in the sentence compiled by Chen can be filled with "honeymoon as a female guide".
As far as I know, although there are only two such cases, there will be more such surprising discoveries with the in-depth investigation of the set of poems.
In addition, in theory, the poems written earlier in the collection can be used as the proofreading basis of the words and phrases in the original author's poems, because the version based on it is closer to the original author's life than the later version of the collection or collection, so some mistakes in the later version can be avoided and the credibility is higher. For example, in recent years, Zhang Fuqing's "The Documental Value of Shao Song's Poems Collected in Jiangsu and Zhejiang in Sorting out, Correcting and Compiling the Whole Tang Poetry" (No.6 of Ancient Books Research, 2007) and "On the Documental Value of Shao Song's Poems Collected in Jiangsu and Zhejiang in Sorting out and Correcting the Whole Tang Poetry" (China Rhyme) in my opinion, Zhang Fuqing noticed that the value of poetry in this respect is very valuable, but it needs special care to judge the correctness of previous poems according to the set of poems. Only when the existing original author's poems have obvious mistakes, and the collected poems just provide a good version, can the mistakes be corrected according to the collected poems. But unfortunately, no such example has been found so far.
2. The original author of the poem can collate the poems according to the set sentences. Collating the author of the original poem with the relevant materials of the poems of the set sentence has three functions. One is to combine the authors who are mistaken for two people into one. There is Lu Yue in the whole Song Dynasty, in Volume 64; Lu Meipo is in Book 72. In Guo Yuheng's The Fragrance of Plum Blossoms, there are two poems that point out Lu Yue: Comments on the Poet's Pavilion and Pen FeeNo. 1 in the previous episode, and The Iron Flute makes people lean on the column No.43. Look at two sentences. The first sentence can be recorded from Yongmei's poemNo. 1 in the previous episode of Fang Quan's Northern Ancestors.
Xue Mei refused to surrender for spring, and the poet pavilion commented on the pen fee. The snow in Mei Xu Xun is three points white, but the snow has lost a kind of plum fragrance.
See Liu Kezhuang's Poems of Thousands of Households in Houcun, Volume VII, and Poems of Ming Dynasty, Volume II. The seventy-second volume of The Whole Song Poetry was named Plum Blossom when this poem was recorded.
The latter sentence is found in the second volume of the Collection of Poetry. Before the last poem, the author was also "Lu Meipo":
Conceited and lonely, accompanied by the coldness of the years, Yutang is generally seen. Do you know that the stubborn wind destroyed you? The iron flute clings to the bar.
In the same poem, Guo Yuheng wrote "",while Liu Kezhuang and the editors of Poetry Garden wrote "",which naturally reminds people that "and" may actually be the same person. But he is as knowledgeable as Qian Zhongshu, and he is still not sure about this problem. In the tenth volume of Supplement to the Chronicle of the Song Dynasty, Lu Meipo added: "This book (that is, its Supplement to the Chronicle of the Song Dynasty) has Lu Yue in sixty-six volumes, the word is Yongfu people, and I doubt the number of Mei Po." Happily, Wang Sanmao's article "An Examination of Lu Meipo, a Poet in the Late Song Dynasty" proves this speculation. For the establishment of this view, the signature of Mei Huazi Xiangzi is the most direct evidence. "The Whole Song Poetry" mistakenly divides one person into two, so the poems under the name of "Lu Meipo" should be merged into one place and named "Lu Yue" when it is revised.
Another example is "Wang Anzhi" in Volume 70 and "Wang Shuan" in Volume 72 of The Whole Song Poetry. Wang Shu 'an's poem "How many times the sunset is red (96)" is used in plum blossoms, which can be found in the poem "Send a Friend" by Wang An-zhi in Volume 70 of The Whole Song Poetry. It can be inferred that Wang Shuan is Wang Anzhi. Therefore, the poems such as Wang Shu 'an and Chunmu recorded in Volume 72 of All Song Poems should be incorporated into Wang Anzhi's name.
Another example is 24 volumes of Quan Song's poems. According to the first volume of Fang Quan's Northern Ancestors, there is a "Zhu Jin Flower" cloud that explains Long Shao:
When Zhu Jin transplanted Brahma, the old monk didn't like bonuses. As long as people know the color is empty.
On the Remnant Plays in Zhu Shi's Continued Poems;
Heaven and earth received the killing power (Lu Wuguan's "Anti-Frost Flowers"), and the chrysanthemum branches were not completed (Lu Wuguan's "Dark Day in September"). It's hard to pick up the broken gold (Lu Wuguan's "The Endgame"), and the picture shows the empty color (the monk chants "Lotus", and the last sentence is "What will happen in the morning and evening").
Comparing with Zhu Shi's notes, it can be judged that the so-called "flower among flowers" chanted by monks is actually Long Shao's "flower of Zhu Jin". According to Zhu Shi's poems, it can be inferred that not only "opening and closing at dusk makes people know that the color is empty" is a variant of "opening and closing at dusk makes people know that the color is empty", but "chanting monk" should also be another name for Long Shao.
The second is to supplement and inspect the existing variant forms of author's name. Among the existing Tang poems, there are two poems named Yuanlin, namely "Jiujiu Dujiu" and "No Moon on a Mid-Autumn Night". However, for this "Yuanlin", its name, residence and deeds are unknown, except that its name was first recorded in books of the Song Dynasty, such as Sui Shi Za Fu. However, Zhu Shi's Huang Ju in the sixth volume of Hundred Chrysanthemums Collection, Poems and Sentences Collection and Yakumo;
Who did Huang Ju open the fence for (Li Jiayou), and recalled it (Gao Shi). Put the wine (Shao) still stained with wine into it and ask Yushan (Yuan Yi) to be happy.
According to Zhu Shi's Poems Quoting Famous Poets from Tang and Song Dynasties, "Yuan Yi" belongs to the Tang Dynasty, which is exactly the same as the author indicated in the last sentence of the previous poem. The seventh volume of this book is true and false, but it is not as good as Yuan Yi, which shows that in Zhu Shi's view, Yuan Yi's writing is correct. And Zhu Shi's poem "Yuan Yi" can be found in the poem "Nine Days Against Nine" signed as "Lin Yuan" in Chronicle of Tang Poetry and Poems of Tang Poetry:
Chen Jia met the platform again, and her friends poured gold with a smile. The autumn colors of the smoke stalls are just as fun, and the wind blows the chrysanthemum fragrance endlessly. If we don't leave today, we will seek happiness and contact Yushan. Who knows that at that time, Jingjie happened, and the crazy song of empty learning was carried back.
"Lin" and "Ji" are similar, and there must be something wrong between them. Comparatively speaking, I believe Zhu Shi's records more. On the premise that it is impossible to judge right or wrong, at least a small note should be added after the poet "Lin Yuan": "One is a poet."
Another example is Wu Wei, a poet of the Song Dynasty mentioned in the previous section, or Wu Yi. There must be a mistake between the two. Take Hu Weiwei's poem Gong Ci in the early years of Southern Song Dynasty as an example. There are three poems that have been lost, namely, Rushing to the Courtyard to Make Spring Dress (the ninth), All Kindness to Wash Children's Money (the forty-seventh) and Planning to Tell Children (the forty-eighth). Based on this, combined with the textual research quoted by Tang Dynasty, it can be inferred that the possibility of the poet's name "Wu Wei" is greater than that of "Wu Yi", and the so-called "Wu Yi" should be a mistake.
The third is to find out the original author of individual unowned works. Although some poems exist, their authors' names have been lost, and their authors can be collated according to the collected poems. Song Ruan read Volume 15 of Poems on Turtle and quoted Guanglu as saying: "There are many people who wrote the title of the cold spring pavilion in Yuquan Mountain of Jingmen Army, and one of them is the best, but I forget its name. The poem says,' It's windy and snowy, and it's especially cold when it's not cold. There is no rain in June, please come here and lean on it. ""It's a great pity that you don't know the author of such a good poem. Fortunately, it can also be corrected according to the poems. The seventy-sixth cloud of Hu Weiqi's poem Gong Ci:
Frosty wind and long snow (Hanzicang), Jade Palace and Jade Cold (Qian Wen). The beautiful women upstairs looked at each other (Wang Jian) and invited Luan Jiaxiao to see them (Wu Ke).
According to Hu Weiwei's notes, it can be judged that the poem praised in Shi Hua is actually the work of Han Ju. Hu Weiwei lived in an era not far from Han Ju (1080 ~ 1 135), so what he said was well founded. The 25th volume of The Whole Song Poetry records five volumes of Han Ju's poems. If it can't be found in previous poems, it can be supplemented.
3. Theoretically, the title of the original poem can also be collated according to the poem with a set of sentences. For Song Ci, it is very standard to indicate the name of the original author, and almost no one will further indicate the title of the original work after the author. However, in some occasional cases, the poet will notice the title of the original work. Theoretically, such titles also have collating value. But from the actual situation, this kind of arrangement is of little value. Take the Poem of Ji Juju carved in the Southern Song Dynasty for example. Among them, there are 16 in the previous poems:
If you want to be true, you must be true, improve the wind and improve your eyesight (Su Ziyou's White Chrysanthemum), which is in the fourth part of Chrysanthemum.
Live the same life as fate (Zheng's Chrysanthemum), see the sixth part of Chrysanthemum.
Looking out of the window, Lengju is close to the people (the kind word "Uncle Tong"), which can be found in Chrysanthemum Twelve.
White hair pays off every year (mid-autumn moon, a well-known kind word), which can be found in the twelfth part of Chrysanthemum.
It was still raining on the opening day (the third sentence of Ding's Chrysanthemum), which can be found in the third part.
Self-satisfied gold is the true color (the second sentence of Ding's Chrysanthemum), which is found in the third part.
In Huang Ju, you can find a garden full of beautiful chrysanthemums and golden flowers (Double Ninth Festival Banquet by Bai Letian).
And I like to be a gardener every year (Bai Letian's Sigh Before Flowers), which can be found in Huang Ju.
Also accompanied by Qiu Guang (Luo Yin's "Chrysanthemum"), see the fifth chapter of "Huang Ju".
It is difficult to pick a broken gold (the chrysanthemum of the military attache Lu), and there are endpieces.
If the world is looking for an elixir of life ("Love Poems of the Ancient Road", the next sentence is "Only this boldness of vision is a great reward"), it can be found in the sequel "Chrysanthemum".
How much fragrance permeates (Lu Guimeng's Chrysanthemum) can be found in the sequel Chrysanthemum.
The sequel "Remnant Drama" has the merit of "Heaven and Earth Kill Frost" (Lu Wuguan's "Anti-Frost Flowers").
Chrysanthemum branches don't grow into a bush (Dark Day in September by Lu Wuguan), which is seen in the sequel "Remnant Drama".
The broken gold is a mess (the mess of the military attache Lu), which can be found in the sequel.
The picture shows the color sky (the monk chanting "hibiscus" and the last sentence "What is the sunset"), which was seen in the sequel "The Endgame".
This 16 poem is partially lost and belongs to the scope of compilation. For example, the sentence "complacent" is Ding's gaffe; Some poems have not even been recorded by the author, for example, there are two well-spoken poems, namely, the sentence of Looking at the Window and the sentence of White Hair; Some don't even have the author's name. For example, the phrase "common people" comes from ancient love poems.
The remaining 12 sentences can be found under the original author's name. This sentence 12 can be summarized as follows:
First, set the title of the poem marked by the sentence poem to be the same as the original title. The sentence "The stronger the wind, the better your eyesight" comes from Su Zhe's "Luan Ji Cheng". The original poem was titled "White Pony". The phrase "I like to be a flower master every year" comes from Bai Juyi's "Bai's Evergreen Collection", and the original poem is entitled "Sighing before flowers". From these two examples, we can see that the title marked in the poem can further prove the correctness of the original title.
Second, the title of a poem with a set of sentences is the abbreviation of the original title. The sentence "long life" was originally marked as "Zheng's chrysanthemum". In Zheng's "Beishan Collection", the original poem is entitled "Building a Monument in Late Autumn"; The sentence "The sun is still raining", the original note "Ding's Chrysanthemum", comes from Ding's poem listed in the fourth volume of "Hundred Chrysanthemums Collection", and the original poem is entitled "Chrysanthemum on the fifteenth day of the second rhyme". The sentence "Beautiful chrysanthemums and golden flowers in the garden" was originally the annotation "Bai Letian Chongyang Banquet", which came from Bai Juyi's Changqing Collection (the word "Jia" in the sentence was "flower" in Bai Juyi Collection, but it was "Jia" when it was included in the fourth volume of Bai Juyi Collection, so it was a version problem and was not intentionally changed). The sentence "Broken gold is a mess" was originally quoted from "Chrysanthemum" written by Lu Wu Guan, but actually came from "Poem of Jian Nan" written by Lu You. The title of the original poem is "How many chrysanthemums in the grass in the mountain garden drink alone". The sentence "How much fragrance is filled" was originally written by Lu Guimeng's Chrysanthemum, but in fact it was written by Lu Guimeng's Li Ze Series, and the original poem was entitled "Remembering the White Chrysanthemum". The sentence "Chrysanthemum branches grow into clusters" originally came from Lu Wuguan's Dark Day in September, but actually came from Lu You's Jian Nan Poetry, the original poem was titled Dark Day in September. The original annotation of the sentence "lust is emptiness" comes from Monks' beads and flowers, which is an interpretation of this sentence in Long Shao's Ci-Hua on Earth. From these comparisons, we can see that the title of the poem marked in the poems of the set sentence is only the abbreviation of the original title, and the collation is of little significance.
Third, there are more words in the title of the poem than in the original poem. The sentence "Heaven and earth reap the frost's contribution" originally came from first frost Flower written by Lu Wu Guan, but actually came from Jian Nan Poetry written by Lu You, and the original poem was entitled first frost. The poet tries to be concise when commenting, and will not add words intentionally. Therefore, it can be considered that Lu You's poem "Refusing Frost" was originally named "Refusing Frost Flowers" in the version based on Zhu Shi. Although there is only one such example, it can best reflect the collating value of the annotated poems in Ji Sentence Poetry.
Fourth, the title of the poem is obviously wrong. For example, the phrase "I'm still with Qiu Guang" was originally quoted from Chrysanthemum in Luo Yin. Check Luo Yin's Luo Zhao Jian Ji, and if there is such a sentence (the word "Jude" in the sentence is "Yi Yi" in Luo Ji), the original poem is titled "Qian Hua" in various biographies. Based on this, it can be concluded that Zhu Shi's memory is wrong if he didn't change it on purpose.
The proofreading value of antithetical poems is mainly reflected in the proofreading of the original poet and poems. As for its collating value in poetry titles, although it can't be said that it doesn't exist, it can be ignored.
Note: (Song) Hu Zai: Preface of Tiaoxi Fishing Concealment from Conghua, People's Literature Publishing House, 1962, p. 238. # # # (Song) Guo Maoqian: Yuefu Poetry, Zhonghua Book Company, 1979, p. 1282. # # # (Song) Lu You: Notes on the Old Learning Temple, Zhonghua Book Company, 1979, p. 94. # # # (Song Dynasty) Guo Zhida: "Nine Poems of Du Fu", a photocopy of Wen Yuange's Sikuquanshu 1068, p.51p. # # # (Song Dynasty) Yellow River and Yellow River: A Supplement to Du Fu's Poems. Text photocopying "Sikuquanshu" volume 1069, page 89. # # # (Song Dynasty) Wang Anshi: Collection of Official Documents, Shanghai People's Publishing House, 1974, p. 865. # # # Peking University Institute of Ancient Literature: Complete Works of Song Poetry, Volume 8, Peking University Publishing House, 1992, p. 5608. # # # Chen: Supplement to Complete Tang Poetry, Zhonghua Book Company, 1992, p.112. # # # (Song Dynasty) Chen Jingyi: Preface to Fang Quan Monument Ancestor, Agricultural Press, 1982, p. 66. # # # (Ming) Anonymous: Poetry Garden Volume II, Bibliographic Literature Publishing House, p. 1 175. Qian Zhongshu: Supplement to Chronicle of Song Poetry, Volume X, Liaoning People's Publishing House and Liaohai Publishing House, 2003, page 48 15. # # # Wang Sanmao: A Study of Lu Meipo, a Poet in the Late Song Dynasty, Literature, No.4 1 ~ 46, 2008. # # # Peking University Institute of Ancient Literature: Complete Song Poetry, Volume 24, Peking University Publishing House, 1995, p. 16 174. # # # Peking University Institute of Ancient Literature: Complete Song Poetry, Volume 57, Peking University Publishing House, 1998, p. 35893. # # # (Song Dynasty) Zhu Shi: "Hundred Chrysanthemums Collection", Wenyuange photocopied "Sikuquanshu" Volume 845th, page 103. # # # (Song Dynasty) Ruan Yue: Preface to "Talking about Turtle in Poetry", People's Literature Publishing House, 1987, p. 175. # # # (Song) Hu Wei: Gong Ci, Ten Poems of Gong Ci, China Bookstore, 1990 Photocopy, p. 5.