In the history of Chinese poetry, the Book of Songs is the first classic of four-character poems, and the five-character poems of Han and Wei dynasties are the first classics of five-character poems. It should be noted that these classics appear in the mainstream history, and are largely far from their original forms, but appear as remodeled classic forms. Regarding the reasons for the remodeling, Zheng Ye of the Song Dynasty made the most judgment when he "voiced up when he lost his voice." Among them, "sound loss" is a passive consequence in the course of history, and "justification" is an active choice under the condition of "sound loss". The so-called classicization is exactly an initiative created in accordance with historical development and cooperation with changes in the literature.
Although there are many similarities between the classics of the Book of Songs and the five-character poems in the Han and Wei Dynasties, people have generally paid attention to the classics of the Book of Songs, while they have paid little attention to the problems in the five-character poems in the Han and Wei dynasties. The reason may be that the classicization of the Book of Songs has a significant remodeling. The ideological content added by the Chinese Confucianist teachings often contradicts the original intention of poetry and is easy to see through. The classicization of the five-character poems in the Han and Wei Dynasties is relatively hidden. It bears so much load from the ideological realm, and its relationship with later literary history is relatively natural and difficult to detect. Therefore, this article focuses on the classic remodeling of the five-character poems in Han and Wei dynasties.
There are two common concepts in the mainstream history, one is the Han and Wei Yuefu (the following is only five words), and the other is the Han and Wei five-character poems. The objects it refers to are originally the same, which is divided into two by the changing times: when the original Han and Wei Yuefu lost their use of music, they became the so-called five-character poems of Han and Wei. Nineteen Ancient Poems is a typical example. There are many self-reports and music in the poems, such as "being dressed in Luo Changyi, clearing the tunes in the house," etc., it can be seen that it is Yuefu, but it is called "ancient poem" by posterity: visible from "ancient", posterity is regarded as the ancestor; "Poetry" can be seen, in the pursuit of ancestors, its Yuefu attributes have been diluted and turned into "poems". As for whether there are unmatched music in the five-character poems in the Han and Wei dynasties, it is difficult to conclude; even if some of the works have no soundtrack practice, it cannot be denied that it has a Yuefu attribute.
Our reflection on the classicization of the five-character poems in Han and Wei Dynasties is to return to its attributes of Yuefu, and to explore a series of changes accompanied by "voice up" after "lost sound", including the emotional characteristics, formal characteristics, acceptance methods, and relationship with the author , Future generations' annotations, literature circulation, etc., and their influence on mainstream history. The following attempts to propose three research perspectives from a methodological perspective.
First, the work was rewritten. Rewriting is mainly reflected in turning the oral performance of Yuefu into a written text. Yuefu was recorded, and even relatively objective people, such as "Song Book · Lezhi", have been altered in many basic attributes due to the loss of "voice". These changes are easily overlooked by later generations, which is called the first deformation in this article.
The first is the change in presentation order. The order of sound presentation is relatively fixed in terms of order and speed, while the order of presentation of written text is much more flexible. This results in a difference in the way they are accepted. With the common order of voices, the singer and the audience enter a certain situation simultaneously, which helps to build a community sharing situation and strengthen collective identity to achieve the various purposes of the community gathering. Or serious ceremonies, or easy entertainment. This is quite different from the free entry of the reader into the individual reading world when reading in writing.
The second is the change in the relationship between Yuefu and context. Yuefu not only depends on the context of performance, but also often changes the lyrics due to contextual adjustment, so it contains many specific and vivid time processes. Once it is recorded in writing and closed in a book, its dependence on the context is changed and it becomes an independent chapter; its textual variability is also changed and it becomes a stable text.
Thirdly, the relationship between Yuefu and the author has changed. To a large extent, Yuefu is not an individual creation, but a public memory, so its relationship with the author is relatively loose. Creators (sometimes singers) often use themes and phrases that have been used by other authors, and in their own way, play in conjunction with specific contexts. Because they often express their intentions but not the public's ideas, they often use community-sharing language models instead of pursuing individual originality. Undoubtedly, the gorgeous poems of Han and Wei Cifu also infiltrated into Yuefu to varying degrees, but this has not changed the latter's overall lack of originality. The fact that there are many repeats of Hanfu and Yuefu sentences is proof. Although Huang Kan's Five-character poems on Jianxin's "Notes on Wenxindiaolong" are "literary and colorful", they cannot be separated from the quality of the ballads in Bali. They are very objective. The individual innovation deliberately pursued by future generations is related to written expression. The closed world of writing makes individuals possess the desire to possess words and makes writing a self-fulfillment.
It can be seen that although "Song Shu Le Zhi" aims to save "voice", it is still largely lost due to the limitation of the text carrier. The same is true of Zheng Sheng's "Tongzhi · Lelue" and Huang Jie's "Hanwei and Yuefu Wind Notes".
However, compared with these documents which try to save the “voice”, the literature that has a greater influence on the mainstream history is those that deliberately deleted Yuefu. This article calls it the secondary deformation. The method of deletion is mainly to remove the phrase, such as removing the phrase "I want to make this song, this song is sad and long. Let's have fun today, don't forget it later", and change the less innovative words more Innovative. The "Ben Ci" recorded in "The Collection of Yuefu Poems", as pointed out by some researchers, is that later generations' modification of the musical vocabulary does not appear before the musical vocabulary as the word "Ben" implies. The texts provided by these documents for historical commentary are naturally farther from the original form of Yuefu.
Second, the literature was re-edited. After Yuefu was rewritten into a written text, it was compiled into other collections, general collections, and genres, which became the basis for the study of writers, genres and contemporary literature. In the reorganization of the literature, these works have encountered another deformation, which is called the third deformation in this article. Take Cao Zhi, an important representative of the five-character poems in the Han and Wei Dynasties, as an example. The collection of Cao Zhi was edited in the period of Wei Jingchu (237-239). It has been lost for a long time. The number of works of Cao Ji's ancestors in the future generations has been increasing, from twice in the Song Dynasty to three times in the Qing Dynasty. One of the important reasons is that future generations have continuously compiled into Yuefu, a signature Cao Zhi scattered everywhere. The relationship between Yuefu and the author was originally loose. In the existing literature, the probability of different signatures of the five-character poems in Han and Wei dynasties is high, which can be proved; because of the looseness, it is relatively random, which makes some pseudo-trust works easily under Cao Zhi's name. Most academics agree that the "Seven Steps Poems" is out of false pretense, but Cao Jizhong's five-character hypothetical pretender may be more than this one.
The reorganization of the literature also includes some adaptations, such as adding written poems. These poems are not only related to the category of the works in the anthology, genre, but also their status in the history. For example, "Selected Poems" recorded Cao Zhi's "Poetry of the Banquet", Liu Xun's "Poetry of the Banquet", and "Tourism" recorded Cao Yu's "Furong Poems". These poems are written by later generations for Yuefu Poetry. The title of "Festival Poetry" comes from categories. It is a common method for future generations to add titles to Yuefu. However, the three poems are more harmonious. Originally, they were the same kind of Yuefu created in the same situation. Not to mention that the poems are not as good as Hibiscus. After a little speculation, you can see that the editor's intentions: "Furong Chi Zuo" is placed in the top of the "tourism", is the only work from before the Eastern Jin Dynasty; "tourism" is an important poetry category in "Selected Works", one The pioneers from Jian'an best fit the respect of Jian'an five-character poems. It is for this seemingly reasonable history that the editors assigned similar Yuefu to different poems and divided them into two places. This shows that the compilation of literature and the concept of history cooperate with each other.
Third, the connotation is repeated. As mentioned earlier, Yuefu's expression is often determined by the way the sound is presented, but not by its own intentions, but by the public mind; but most of the posterity ignored this, and regarded it as the author's personal feelings. This is called the fourth deformation.
"Hanshu · Yiwenzhi" "poetry and prose" discusses "song poetry" with "observing customs, knowing thin and good", which is based on its community sharing, so it can be considered a local custom. Although Wei Yuefu is different from this, it is mainly based on emperors and scribes. It is mostly influenced by written works and has a lot of individual feelings, but the overall characteristics of its community sharing have not changed. "Wen Xin Diao Long Ming Ming Poetry" described Jian An's five-character poems as "Fei Fengyue, Wuchiyuan, Shu Enrong, and Xu Yan feast", still based on the entertainment background shared by the community. Zhu Ziqing's "Poems and Dialectics" said, "The nineteen poems are still from Yuefu poems, as are Jian'an poets. In the era of Zhengshi, Ruan Ji got rid of the style of Yuefu poems and sang himself with five-character poems." Previously, Yuefu did not specialize in one's own feelings.
An autobiographical interpretation centering on the wise men's encounters is a common pattern for future generations to misinterpret the Han, Wei, and Yuefu. For example, Ban Gu ’s Poems on History, and Li Shan's Annotations in Selected Works are titled “Poems of Songs”, and later generations have written titles of “Songs of History”. Associated. If this poem is compared with the skill of saving the father in the Biography of Historical Records of Bian 鹊 cang Gongbi, it can be seen that this poem is only a simple stylistic rewrite, lacking individual creation, and it is common for Yuefu to disseminate public thoughts. Misreading of Cao Zhi ’s poems such as “Gift to Xu Qian”, “Gift to Ding Yi”, “Sanliang Poems”, and “Famous Capitals” in the Five Official Notes of Selected Works and the Commentaries of Later Generations, similar to the author ’s other articles, this The office will not be expanded for the time being.
From the above three aspects and fourfold deformation, we can see that the five-character poems of Han and Wei dynasties written in the mainstream history are far away from their original form. Regarding the evolution from oral works to written works in early history, scholars all over the world are paying close attention to it, and they have made the most in studies such as Homer's Epic. The Classical Remodeling of the Book of Songs and the Five-character Poems of Han and Wei Dynasties is related to it, and has its uniqueness. In a deeper perspective, re-examining these literary history phenomena can enrich relevant research on a global scale.
(Author: Xu Yan, researcher at the Institute of Fudan University Ancient Books)