Guo Tai, the word Zong Lin, and Ye Fan's Book of the Later Han Dynasty (Volume 98) Biography of Guo Tai (Note: Ye Fan changed it to Guo Tai in the Book of the Later Han Dynasty to avoid his father Fan Tai's taboo) recorded an anecdote of Guo Tai, which was the earliest source of Lin Zongjin's allusions:

(Mrs. Guo) Knowing people by sex is a good reward for training people. He is eight feet long, tall and handsome, and travels around the county. When I tasted the rain between Chen and Liang, I put a corner of the towel on it, so people folded the corner of the towel and thought it was "Zong Lin towel". All the same.

Judging from this passage, the allusion of "Lin Zongjin" contains at least three basic elements: Guotai and headscarf, and the corner of the towel is folded because of the rain. It should be noted that Guo Tai here should be wearing a corner scarf, so there will be "corner bending in the rain". So, what did the horn scarf look like in the Han Dynasty? " The early towel was just a soft square towel, wrapped casually. Later, in order to dress conveniently, I specially cut four feet and lengthened them to form a broadband. When wrapping the head, cover the towel on the top of the head, wrap the back two feet forward, tie them on the forehead from bottom to top, wrap the front two feet on the forehead, wrap them around the back of the head, droop like two ribbons, and then evolve into progress.

Guo's portrait ("China Chaonan") tells us the general appearance of the horn scarf, and its shape is slightly like the right:

This kind of corner towel is usually made of gauze or kudzu cloth. Naturally, it will be damaged by rain and one corner will collapse. Some similar expressions are derived from "Zonglin towel" or related to Cathay Pacific itself, such as "Guotai towel" and "Zonglin towel"; Or associated with corner folding actions, such as "corner folding towel", "corner folding towel", "corner folding towel" and "cushion towel"; Or related to rain events, such as "rain towel" and "rain towel", although the focus of attention and expression are slightly different, they have the same meaning and the same source of allusions. This statement can be regarded as waiting. The spread of Lin Zongjin's allusions is directly related to these three elements.

Guo Tai's "celebrity effect" was the subjective factor and important condition for Lin Zongjin's popularity at that time. Guo Tai's family background is prominent, and his ancestors have a virtue, which can be traced back to the royal family of the Zhou Dynasty. He also knows something about tombs, and his reputation is widely spread: "Mr. Wang is born with a high heart, wise and wise ... learning six books, exploring the latitude, traveling around China and visiting the imperial school."

(The Monument to the Cathay) Reading is extensive, and knowledge is extensive, chinese odyssey. After abandoning his official position and retiring, he taught thousands of disciples with his talents and got married. At the same time, he has a broad mind to reward scholars: "Know human nature, reward and cultivate scholars."

(Biography of Guo Tai) His distinguished family background, talent and selflessness, as well as Geng Jie's integrity, made him famous.

In addition to his high personal reputation, Guo Tai himself is elegant and full of personality charm: "Lin is in the same boat, and all the guests are looking forward to it, thinking that the immortal is immortal ... eight feet long, gorgeous in appearance and well-known."

(Biography of Guo Tai) The Han Dynasty 1 foot was about 23 cm, and Guo Tai was about 1.84 cm tall. He was called "magnificent" and didn't show off. He is tall and straight, taking off his coat with a wide belt and standing at the bow. You can imagine his handsome figure.

His temperament is noble and proud. At that time, someone asked Fan Pang's evaluation of Guo Tai. Fan Pang replied: "I don't disobey my relatives, I'm good, the son of heaven can't be a minister, the princes can't be friends, and I don't know anything else."

(Biography of Guo Tai) Although it is only a few words, it outlines the lofty spirit of Guo Tai in the last days. Guo Tai, with his personal fame and personality charm, made full use of the psychological opportunity of later scholars to express the theme of "praise" by using the allusions of Lin Zongjin.

Guo Tai can become an example for scholars in the late Han Dynasty, which is more due to his wisdom in life. He can find a more balanced "meeting point" between the country and the family, between official and seclusion, between helping the world and being immune to it, and between saving the time and the whole body from disaster, realize his value in the turbulent last days, complete an ideal life model, and become a life model for scholars at that time and later generations. The repeated use of "Lin Zongjin" allusions by literati who expressed the theme of "seclusion" in later generations was also launched from this. Guo Tai enjoyed a great reputation in Shilin before his death: "Those who were born at that time, those who looked at his appearance and attached to his scenery, those who listened to Jia Zhi's voice and attached to it, still belonged to the giant sea, and those who were born by scales were turtles and dragons."

(Guo Taiming) But he can do it without being burdened by fame. He instinctively foresaw the hidden dangers and disasters he would face in the future, and consciously avoided them in advance. When he felt the social unrest at the end of the Han Dynasty and knew that the decline of the dynasty was irreversible, he rushed back. After repeated appeals by the imperial court, Guo Tai refused to send a letter: "Or advise the people who entered the court to say to him,' I watch the dry elephants at night and the personnel by day, which is abandoned by heaven and cannot be raised.' So, it shouldn't be. "

("Biography of Guo Tai") Later, "most celebrities suffered from the party, but Runan was too spared."

(Guo Taichuan). After retirement, he taught thousands of disciples. After his death, tens of thousands of people came to see him off. According to "The Biography of Guo Tai in the Later Han Dynasty", "Tai died in the first month of the second year of Jianning, 2,000 miles west of Hanguguan in Hongnong and 2,000 miles north of Tangyin in Hanoi." So when Cai Yong wrote an inscription for it, he said, Lu Zhi of Zhuo Jun said, "I have a lot of inscriptions and I have a sense of shame, but Guo Youdao has a clear conscience."

The characteristics of "headscarf" and the metaphor of hermit status became the objective factors and necessary conditions for Lin Zongjin's popularity at that time. In the pre-Qin period, scholars wore crowns and ordinary people wrapped in towels, which was a sign that men distinguished themselves as adults. There is a saying in Interpretation of Famous Ornaments: "The towel is also sincere. Twenty adults, crowns, Shu Ren towels. When you are willing to practice in the four major religions. " The "towel" here is the status symbol of ordinary people without official positions, and it also means to be cautious and self-cultivation, reminding people to practice the "four religions"

Confucius regards writing, behavior, loyalty and faith as the four major purposes of teaching people. The Analects of Confucius said: "Confucius taught four things: writing, action, loyalty and faith." See Notes on the Analects of Confucius in the Eastern Han Dynasty (Volume 7). "Scarf" has been widely used because of its light and practical effect and cheap and easily available materials. At that time, the "headscarf" became one of the daily necessities of literati, and more and more famous but retired people like Guo Tai emerged. The identity of ordinary people makes them often choose to wear "towels" in their daily lives. Most of them have knowledge and temperament. In the later Han Dynasty, when Guo was caught in the rain, a corner of the towel was padded, and people were late, and the corner was folded into a towel and hidden. "

(Li Changji's Interpretation of chang ji Sentences, Volume 4, Chou-heung Engraving with the Early Qing Dynasty) The influence of the horn scarf is also enduring, and there is Zhou Shu Wudi Xiaji: "If you take it for the first time, you will always win it. Soap yarn is used as it, and there is no tassel guide, so it can be made into today's corner towel. " It records the black veil "permanent crown" in the style of "horn scarf" in the Ming Dynasty, and there is still the shadow of "horn scarf" in the water margin: "Suddenly I saw a scholar wearing a horn scarf and leading a blue robe major general to teach Qiong Ying to fly stones."

The contingency and singularity of the event itself made it popular, catered to the psychology of literati, and was the psychological mechanism and sufficient condition for the prevalence of "Zonglin towel" at that time. People often have a group of curiosity about novelty and try to imitate it; When a "novel" thing happens to a "famous" person, and it is fashionable and easy to be imitated, this kind of psychology will be multiplied in a short time, resulting in an effect similar to fanaticism and idolization. Some researchers have noticed this: "According to legend, Guo, a famous Eastern Han Dynasty star, went out in the rain, his turban was wet, and his corner was half high and half low, which made people feel elegant and novel. Therefore, it was also called' Zonglin towel' and' Folding corner towel', and scholars followed suit one after another. By the Qi and Liang Dynasties in the Southern Dynasties, it became a common first dress. " (Li Xi "On Hanfu")

Second, the cultural evolution of Lin Zongjin's allusions

After the Han Dynasty, the allusions of "Lin Zongjin" developed in two opposite directions at the cultural level. On the one hand, it continued the trend of "admiration for others" when it came into being, and expressed its praise for the noble character and romantic temperament of Guo Tai and others; On the other hand, it develops in the opposite direction. Ironically, when people are arty, they blindly imitate foreign things without their spirit and charm, and they make fun of "changing their names is just like Lin" and "learning from the East is effective".

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Continuing the trend of "seeing Si Qi" at the end of the Han Dynasty, scholars began to use this canon in batches in the process of creation, expressing their praise for the handsome people who came out of the dust, making it have a concise image function. This kind of works often appear in poems such as Inscription, Reward, Offering Peace, Mourning, etc., or describe the elegant and elegant character: "The water jade hairpin wears a horn scarf, and the lyre is silently brushed."

(The title poem "Seclusion", the article "Wen Feiqing's Notes on Poetry", Volume 4) Or write the meaning of being indifferent to fame and fortune: "Floating clouds are light and famous, and you Lin Zongjin."

(titled "Tao Shi Wu Ping Ti", Qi Xuebiao's "Poems of Jingwentang", Volume II) or praise the external charm of the characters: "Yungu and the independent blind date, copy the horn scarf from other places. There is no need for Wujiang to sigh, and the charm is jade. "

(Wind and rhyme, Zhang Ben's Song Ji Ling, Volume 9) Or praise the dead to express their grief: "Why not put a towel after the rain, and the clothes in front of the wind will naturally float."

(Crying for Shen, Zhang Zaogong's Collection of Thoughts, Volume 9) Even in the epitaph, it is used to describe the noble temperament of the tomb owner: "You are good at cleaning, wearing a shawl, wearing a crane, looking at the mountains and water, and moving forward."

"Sun Yuanbao's Epitaph" Gong Shitai's "Wan Zhai Ji" (Volume 10) His works, such as comments on Guo, gifts from Chen and gifts from Wu, all belong to this category.

Zong Lin's towel is used to express the mood of "visiting a scholar" and praise the noble character of the recipient, which comes from its original intention. There are some similarities between the recipient's beautiful quality and Guo Tai's arrogant temperament. The use of Zong Lin's towel image here is not only an implicit compliment to the described object, but also a positive cultural implication of the image itself.

2. "Pad towel makes Guo Gong" and "Rename Tonglin"

On the contrary, in the process of its dissemination and acceptance, it has gradually produced an opposite effect, that is, "going with the flow to change the name", which has become a direction worthy of our attention.

Analyzing the descriptions quoted by Guo Taichuan and Lin Zongjin before, it is obvious that the sentence "I have always admired him" is a compliment to Guo Tai, but it seems to contain some sarcasm on the imitator's behavior. As early as Zhuangzi's Destiny, there was a mockery of Shi Dong's behavior. For the first time, the biography of Dai Kui in the Book of Jin linked the two events: "The corner of the towel was folded" and "the corner of the towel was spread to the east": "Yuan Kang's people, if they are good at tracing the trace without seeking the root, have a journey of donating the root to the end and giving up the truth to learn from the scriptures, and admire the Tao and fold the corner of the towel, so they are admirers.

(Fang Waiting for the Biography of Dai Kui, Volume 94) Criticize his "seemingly expensive" behavior of neglecting the essentials.

In the Tang Dynasty, there was a more direct criticism: "Isn't it far to be different from your husband and change your name to Lin Tong?" Yes, I saw it, too. "

(Han Yu's theory of three instruments) From "Shi Dong" to "renaming the same surname", it essentially extends from the level of "imitation" to the level of "Yi". "Imitation" is just a simple act of imitation. The ID is still there, but "Yi" completely abandons the characteristics of the ID and tries to pretend to be another person. In contrast, the latter changed more and criticized more deeply.

Wu Zhijia, a poet of Amin, felt that imitation and plagiarism prevailed in poetry and prose creation in Ming Dynasty, and even blindly imitated "Lin Zongjin" and similar events with fierce tone criticism: "The state of secular imitation is really despicable. When Guo got caught in the rain, one corner of the towel was padded, so people folded the corner of the towel and thought it was a towel. Xie An inadvertently took a Pukui fan, which was admired by literati and cost several times. At this time, one of them, Tathagata, is willing to fold the corner? Would you like to hold a fan? Ancient sages and philosophers also had flaws, such as Zong Lin's towel and Xie An's fan. Instead, scholars should seek various theories, pay attention to quality, and don't blindly follow the trend. Like Li Zongmeng, known as a model painter, Wujiu Wang's name became a warehouse. "

(Wu Zhijia's "Quiet Collection", Volume 4, Wu Chongkang's engraving in the fourth year of Qing Qianlong) Wu's attitude of imitating but not imitating his gods is ridiculed and despised. He believes that people who are really studious and learned should return to their original source, seek their gods, understand their true meaning, and not imitate them superficially. This kind of person is just like people calling Li Zongmeng an expert in copying paintings and Wujiu Wang as a fan. Article 91 "The First Year of Song Huizong" of the History of History as a Mirror for Capital Management reads: "So we carried out a major overhaul, changed the Beijing investment of ten yuan into Pingquan three goods, and then returned to the warehouse to stop going straight." ), just an imitation tool and transshipment device, has no benefit.

Thirdly, the literary evolution of the image of Lin Zongjin.

Although "Lin Zongjin" developed in two completely opposite directions in the cultural level, except for criticizing the imitation behavior of blindly following the trend like Wu Zhijia, most literati used the allusions of "Lin Zongjin" to express their praise in their literary creation from the original intention.

On the one hand, in literary creation, the author likes to use skills and original intention, especially when writing water-related scenes such as "rain", "paddling" and "clear spring", he often mentions "Zonglin towel", which sets off a quiet environment through similar beautiful image combinations, reflects the elegance of characters swimming in it, and tries his best to create a "picture-like scene". Some describe the outing, using "paddle" to describe the quiet environment, and using "mat towel" to write leisure and happiness: "The paddle is far away from the grass crossing, and the mat towel is also next to the green Di Yang."

("South of the City", Su Hu's "Wen Gong Ji", Volume 4) "Paddle in the float, and the corner pad is in the forest towel."

("Cao Yun's Western Landscape", Wang Yuan's "Wu Xi Ji", Volume 5) has the opposite meaning. It is good to write sunny light day, and there is no trouble of folding towels in the rain: "Sunny light is slightly funny, and there is no suspicion of folding towels in the rain; The clouds become cloudy, so don't think about walking barefoot on the ice. "

(Mr. Yang Yizai invited him to go boating to see Bai Lianhua (May 14th, Xu Jiarun)) and Zhang Zaogong's 47th Hall Collection (Volume III). There is also an elegant and elegant gift of a clear spring towel and a drizzle mat: "Xilin attracts idleness alone, and a spring flies in the south."

("Sending Liushi", Yang Jiong's "Tang Yin", Volume III) "The drizzle mat is across Liushi City, and the cool breeze is on the copper embankment."

("Childe", Yang Yi's "Quincy Songs") and so on. The use of Lin Zongjin's allusions in this kind of literary works only meets the needs of literary creation on the surface, and its figurative image is closely related to the source allusions, which has strong practical reference.

On the other hand, with the distance from the emergence of literary skills, its literary significance has been enriched in the hands of generations of literati, and its materials and material contents have gradually weakened at the origin, that is, the physical characteristics and functions of headscarves have begun to blur, while the personal qualities carried by allusions have gradually strengthened, making "Zonglin Towel" gradually evolve into a more typical conceptual and symbolic literature based on Cathay Pacific. For the need of writing poetry and belonging to literature, literati often use things with similar characteristics and "celebrity effect" to create a "poetic realm" with a sense of order. Here are some examples:

Mochun took Ceng Dian's clothes, and Zong Lin's towel was padded in the heavy rain. ("Sunny Spring", once "Chashan Collection", Volume 8)

I'd like to take this humble alley. The mat is Zong Lin's towel. (Ya Feng's poems at the end of the year belong to the second rhyme, and Wang Xiang friends collect them in the Qing Dynasty Pavilion. )

Rain pad Zong Lin towel, wind falls Meng Jia hat. (Seclusion: Ten Past and Present Events) According to the rhyme of Good Garden Poetry, Lu You wrote Nanbo Poetry Draft (Volume 76).

Only An Laiwu retorted and admired Zong Lin's towel. ("Give Three Riding Heirs on Wednesday" second, Wu Jun "Wu Jijun")

Gods' Gods' Sticks, Jushilin's Towels. ("Doing things in service again", Deng Xianhe's "Old Collection of Xiang Jian in Yuan Dynasty" (Volume 144)

Seeing God's gift as a pen, don't change the horn scarf handed down from the family. ("Xiu Yuan Yong", Lu You's "Nanbo Poetry Draft", Volume 34)

When the weather began to fade and Lengying was in full bloom, I wore a crane suit, a horn scarf and patrolled the garden with nine sticks. I saw that quiet posture and strength. ...

(Ai Ju, Dai Liang's Jiu Ling Shan Fang Ji (Volume 18) "Lin Zongjin" and similar allusions have basically divorced from the real content when the story happened and become some kind of concrete symbol: in spirit, they are compared with "humble alley gourd ladle", "Laiwu bamboo slips" and "like a pen", symbolizing coldness. In image, compared with Ceng Dian's Clothes, Meng Jia Cat, Uncle's Fur Belt and Crane's Coffin Clothes, it can be called the graceful and free charm of a gifted scholar. Temperament, and "Tao Qian towel" and "Gebei staff", metaphor hermit aloof and clean character. As for the events that can be used as counterpoint, they often have a "celebrity effect", which is consistent with Cathay Pacific in a certain point. Here, the author abandons practical abstraction and formal meaning, and gradually completes the evolution of "Lin Zongjin" from allusions to literary images from the superficial to the deep.

Finally, it needs to be added that "Lin Zongjin" did not appear in Cai Yong's Guo Youdao Lin Zongbei, but first appeared in Ye Fan's Book of the Later Han Dynasty, which is related to the different characteristics of the epitaph in the late Han Dynasty and the historical biography in the Southern Dynasties.

Compared with "historical biography", "epitaph" often focuses on discussion and eulogy, which is a final evaluation of the tomb owner's life. Generally speaking, the length is short, the writing structure emphasizes discussion and less narration, and the language style is more solemn and elegant than light and vulgar. Cai Yong's "Guo Youdao Lin Zongbei", that is, "in words, it is mostly narrative, chanting, and mostly praise" ("A Study of Hanbei Literature"); The writing rule of "historical biography" is otherwise, which is often more realistic and story-telling. Therefore, it is not surprising that the story-telling and daily allusions of Lin Zongjin appear in the Book of the Later Han Dynasty.

At the same time, Ye Fan's record of this incident is also related to the prevailing fashion of wearing headscarves among literati in the Southern Dynasties. During the Wei, Jin, Southern and Northern Dynasties, the fashion of "celebrities" prevailed, and an important aspect of their lives was to pay too much attention to their daily clothes. Celebrities in Wei and Jin dynasties often choose more comfortable clothes because they need to "disperse" the heat after taking Wushi powder for a long time. In contrast, "headscarf" is a more daily and comfortable choice than "crown": "Since the Eastern Han Dynasty, towels have been widely used.

("On Han Fu"), it is not difficult to understand why Ye Fan specifically mentioned "Zonglin Towel" when writing Guo Taichuan.

(Author: College of Literature, Wuhan University)