This is an ancient legend: When the giant Kuafu, who was chasing the sun, collapsed to the ground due to hunger and thirst, he used his last effort to throw out the staff in his hand. The peach wood staff cut through the air and fell, deeply implanted in the loess soil - growing a peach forest to quench the hunger and thirst of the descendants.
When our poet Du Fu went through many hardships and rested on his pillow in a small boat to support himself, he suddenly remembered the distant legend: "Search for Deng Lin in all dangers." 'Deng Lin, that peach forest that has been searched for for generations! But the down-and-out genius didn't realize that the peach and bamboo stick in his hand had already passed through the sky, turning into another piece of Denglin in the history of culture - more than 1,400 Du poems shining like the starry sky, nurturing generation after generation. A generation of Chinese descendants! (Lin Jizhong's "Selected Reviews of Du's Poems·Foreword")
If there is any poet, due to profound historical reasons, he went to the bottom and wrote all the pain, and his works also have continuous awe. (There is a sentence in Lu You's "Visiting the Shaoling Ancestral Hall in Jinping Mountain": "I have known how many people have been wiped out in ancient times, but this old man is still alive. ... The article is from the time of the world, and the loyalty and righteousness are thought-provoking."), has become a kind of anger. This is Du Fu who has a permanent spiritual existence and exerts an immeasurable influence on Chinese culture. Du Fu's more than 1,400 poems make people strongly feel the depth of the national soul contained in them - the majestic sense of sorrow and the sincere heart that always beats in the poems. It is this induction and call from the depths of the national soul that gave Du Fu an unwavering spiritual attraction in the eyes of future generations. He "became the first great poet in the history of China, the most solemn and most solemn poet in the four thousand years of culture." The most magnificent and permanent brilliance" (Wen Yiduo, "Du Fu"). People wander in the world of Du's poems, reading and exploring them unremittingly...
Regarding the reading experience of Du's poems, the narrations of Li Gang and Wen Tianxiang are the most profound. Li Gang's "Preface to the Re-Correction of Du Zimei's Collection" says:
...Zimei's poems are more than 1,430 in total, and his loyalty and integrity, the hardships of travel, sadness, anger and boredom are all first seen in poetry. The syntax is reasonable and gets better with age. When I read it at ordinary times, I don't see his work; after the war and the chaos, I recite his poems as if they were unexpected at the time, and it certainly touches people's hearts, and then I know the beauty of his words.
Wen Tianxiang's "Collection of Du's Poems: Preface" says:
I was sitting in Youyan Prison, doing nothing but reciting Du's poems for a while. What inspired everyone was that the five words were collected into quatrains. After a long time, I got two hundred songs. Whatever I want to say, Zimei will speak for me first. I play it day after day without thinking about it, but I feel that it is my poem and forget that it is a beautiful poem for my son. But I know that beauty is not capable of writing poems by myself. The poems are naturally humane in nature, and they are beautiful to the ears. Zimei is separated from me by hundreds of years, but his words are used by me, which is not the same as his emotions!
"Reciting his poems is as if it was unexpected at the time, and the plow is certainly relevant to people's hearts." "But I feel that it is my poem, and I forget that it is my poem." What a sense of harmony this is! The generation of a sense of fit is "without others, it is the time" (Huang Zongxi's "Preface to the Poems of Chen Wei'an Nianbo"). This is the understanding and appreciation that only scholars who are in national crisis can have. As the saying goes, "Reading the world will reveal its hatred", and "Getting close to the world is the only way to understand it" (Liu Xuxi's comment on Du). The reason why Du Fu has been deeply respected and paid attention to by scholars of all ages is that the similarity of historical situations cannot be ignored. They obtained the key to the world of Du's poetry by relying on the painful experiences accumulated in the disastrous national and personal fate. Therefore, their reading of Du's poetry has more of a deep reflection on themselves - for them. In other words, Du's poetry is a world with the same life experiences and emotions.
Therefore, whenever suffering from chaos and separation, people will invariably return to Du Fu and his "History of Poetry" with extraordinary sincerity.
Needless to say, the same is true for scholars in the late Ming and early Qing dynasties who cherished Du Fu and were keen on Du Fu's poems.
Yu Huang (Du Jun), the poet master Fa Shaoling, experienced vicissitudes of life, which is similar to Du Ling's Tianbao rebellion. Therefore, its sound is deep and tragic, making it sad to read. (Chronicles of Ming Poems by Chen Tian of the Qing Dynasty)
Zhang Gai was named Fuyu, a native of Dongqiao in Wuyong, and a mediator. However, at the beginning, he was crazy about writing, rarely had any control, and his reputation was not what he wanted. He was good at poetry. ... Empress Jiashen suddenly destroyed herself, so she offered to pay tribute to the Imperial Academy, but was not accepted.
Since he left all his birthplaces, he would sit alone behind closed doors and read Du's poems. He would often pass five or six years old. The poems are also refined and have the charm of Shaoling. (Shen Hanguang's "Quotations from Zhang Fuyu's Poems")
Commentators have seen many such examples, so why bother citing them one by one. Liang Qichao once said: "Originally, the rise and fall of a surname was not a major event in history, but it was a little different from before. The new dynasty was Manchuria that was "not of my kind", and it came too unexpectedly and by chance. ... This kind of corruption arouses the people's extremely painful self-consciousness, and the first manifestation of self-consciousness is actually the society of scholars." ("Academic History of China in the Past Three Hundred Years") The resurgence of Du Shixue in the late Ming and early Qing Dynasties was to a large extent. This is due to the "painful self-consciousness" of this generation of scholars - they "consciously" discovered the spiritual connection between themselves and the "poetic saints" hundreds of years ago: from social consciousness, national feelings to personal tragic feelings, and thus "consciously" "Consciously" joining the team of interpreting Du's poems - this can be regarded as one of the common academic choices they made after suffering bad luck!
There is no doubt that the "scholar society" with its keen self-consciousness is the best interpreter of the meaning of Du's poetry. Only they are best equipped to convey the unique life experience, life emotions, and thoughtfulness. To analyze Du's poems in detail, especially to explore the connotation of ethics and personality in Du's poems, which is a level of significance that has attracted much attention in this special period. What is particularly interesting to us is that human ethics, political beliefs, including the relationship between monarch and ministers, many topics that were particularly sensitive at the time, are also conveyed in a subtle and tortuous way through the interpretation of Du's poems. Whether it is the theory of "enlightening the Tao through poetry" in Wang Sixi's "Du Sui", or Qian Qianyi's explanation of the poems in "Washing Soldiers and Horses" that "cut open the Hongmeng, wash the sun and moon with hands", or Jin Shengtan's "Explanation of Du Shi" "Today's Those who are full of scriptures often find it difficult to express themselves when the king and his ministers meet. "This poem by Mr. Shi Xin must be read." , through the great changes in history, we pay attention to the intention of reflecting on the "present" in many ways. And this kind of reflection is self-critical in a certain sense. It is this unprecedented sense of mission, social responsibility, and clear sense of history and reality that makes Du Shixue in the late Ming and early Qing Dynasties so close to the history of the late Ming and early Qing Dynasties. Therefore, Du Zhu almost became a commentator Expressions related to the times. In addition, against the general background of great historical changes and the heavy and difficult life situations, Du Zhu also incorporates the more personal and more delicate life experiences of the commentators. Li Changxiang, an anti-Qing strategist who was detained by the Qing court, and Wang Sishi, the "80-year-old man" who was "tireless" and entered the decline of the Ming Dynasty together with the Ming Dynasty, personally experienced the urgent conquests and expropriations in the late Ming Dynasty and the urgent conquests in the early Qing Dynasty. Zhang Yu - In various people's writings about Du's poems, we can always read a lot of their own "experiences in reading Du's poems". Some are depressed and uneven, and some are profound and desolate... reflected in different annotations of Du Even the different flavors in different chapters of the same Du Zhu are just a manifestation of the objectification of the commentator's spirit. In the process of interpretation, what makes the annotator feel most comfortable may be a certain fit between the interpreter and the person being interpreted. This fit can lead the annotator to the depth of the work, allowing the annotator to not only accurately grasp the work, but also use it to understand the work. The author's interpretation of the work explains himself well to the readers.
Although not all Du Zhu in the late Ming and early Qing Dynasties can be explained in the above meaning, and not all Du Zhu that appeared in this period were directly inspired by the tragic historical changes without exception. , as the "late Ming and early Qing" period moves from the "early" of the "late Ming and early Qing" to the "middle" of the "late Ming and early Qing" and the "after" of the "late Ming and early Qing", Du Zhu must appear more or less clearly The stage difference: for those commentators who gradually calmed down the depression and sadness caused by the "Change of Generations", the new life situation gave them other life experiences that also affected their comments. We can indeed see them in the choices of later scholars who studied Du either because they were "respecting the family members of the master" (Wang Hao's "Zhibentang Reading Du Du Autograph"), or because they had no hope of career, or even just for the sake of class. Other spiritual desires - despite this, many questions that are integrated into the later Du Zhu still have to be answered in the "Yi Dynasty".
From Qiu Zhaoao's remarks about Zhu Heling criticizing money (Qian Qianyi), Pu Qilong's remarks about "Yu Shan (Qian Qianyi) being frivolous" and their efforts to defend Du Fu's "Yunhuai Junfu" in the annotations of Du's poems "On the one hand, we feel that although the "Yi Dynasty" has long passed as a historical fact, its influence as an event is far from gone. It is like a symptom of this era, which makes the rulers of the new regime always worry about It is vigilant and thus strengthens its monitoring of ideology, which inevitably affects many performances of Du Shixue.
The interpretation is the work of ancients thousands of years ago, but we can read the "contemporary" meaning in it - the "profound" and "profound" and "profound" reflected in the interpretation of Du poetry by scholars of Du poetry in the late Ming and early Qing dynasties. "Everything" often lies not in the suspense of the Zhu family's isolation situation, but in the Zhu family's deep understanding of life's events. The above-mentioned penetration of the spiritual trends of Du poetry scholars in the late Ming and early Qing dynasties into the interpretation of Du poetry cannot help but remind people of the famous saying once said by the French historian and literary critic Danner in the preface of his "History of English Literature":
If a literary work is rich in content and people know how to interpret it, then what we find in this work will be a kind of human psychology, often the psychology of an era, Sometimes it's more of a racial mentality.
Isn’t it true that Du Shixue in the late Ming Dynasty and early Qing Dynasty displayed such an intriguing literary-cultural phenomenon? If you think about it carefully, in the entire historical process of Du Shixue, there is no other period that incorporates such rich elements of the times as the late Ming and early Qing Dynasties. It seems that there is no other period that is so thought-provoking and tempting to explore as the late Ming and early Qing Dynasties. .
Today, some scholars take Du Poetry in the late Ming and early Qing Dynasties as the research object. It can be said that it is precisely based on the richness and temptation mentioned above. However, what we need to do to explore Du Poetry itself is not to find the so-called "human psychology", "psychology of the times" and "psychology of race" implicit in it, but rather to trace back through this end, that is, Using the investigation of the historical background and historical conditions in which Du's poetics resides, as well as the individual life experiences of commentators and the various "psychologies" reflected therein as clues, we explore the various approaches that influenced Du's poetics, thus presenting the late Ming and Qing dynasties. The general outline of the development of Du Poetry over the past hundred years.
Strauss in "How to Start Studying Medieval Philosophy?" "It is said in the article:
Everyone admits that if you have to study medieval philosophy, you have to do it as accurately and wisely as possible. To be as precise as possible means that no detail, no matter how trivial, can be considered unworthy of careful investigation; to be as sensible as possible means that when studying all details in detail, the whole must always be kept in mind, and the forest cannot be seen for a moment.
If our understanding is correct, Shi is telling us that overall research should be supported by details, and the study of details that support the whole must have an overall vision. This statement can be used as a benchmark for our study of Du Poetry in the late Ming and early Qing dynasties. Inquiring into the overall process of Du's poetics in the late Ming and early Qing dynasties must be based on the specific (rather than general) study of Du's collections, and on this basis, we must clarify the criss-cross similarities and differences between various Du's collections, thereby outlining the development of Du's poetry at this stage. Historical context. In this way, it is required that each case has an "overall" meaning that can be extracted after being studied by us as "details", and to do this, "when studying all details specifically, the whole must always be kept in mind." We believe that the so-called "always keep the whole in mind" should not only be a consciousness, but also be operable, that is to say, there should be a consistent mode of observation, that is, a research method governed by a certain perspective. Because the so-called "whole" is just a relative concept, different modes of observation will produce different wholes.
At this time, it goes without saying that we must not forget the "academic" dimension of Du Shixue in the late Ming and early Qing dynasties. In many cases, the broad background of the times and complex historical conditions focused on "academic trends of thought" and influenced Du's poetry. At the same time, Zhu Jia's personal life experience and psychological experience often affected his personal academic pursuits, which were reflected in Du's poetry. The late Ming Dynasty and early Qing Dynasty coincided with the critical moment of academic transformation from Neo-Confucianism to Pu Xue.
As we all know, the collapse of the Ming Dynasty and the occupation of the Central Plains by the Manchus not only brought intense psychological shock to the scholar community, but also triggered painful reflections on their minds. “Scholars at that time attributed the death of the Ming Dynasty to moral decay and the collapse of the ethical order, and believed that it was caused by empty and shallow Neo-Confucian speculation.” They were convinced that “only by reflecting on the academic failures of the previous generation can we make philosophical and spiritual progress.” Revival, and find a way out to effectively solve practical problems" (see Elman's "From Neo-Confucianism to Pu Xue - Aspects of Late *** Thought and Social Change"). Therefore, in the specific research process, on the basis of "knowing people and discussing the world", we should further focus on "academic ideological trends" and personal academic interests under this ideological trend. The research scope can be delineated accordingly, and the content structure can also be Divide accordingly.
All in all, at the time of the change of dynasties in the late Ming and early Qing dynasties, scholars of Du poetry were more conscious than ever before in observing their era through annotations and interpretations of Du. This was also the most significant aspect of Du poetry in the late Ming and early Qing dynasties. It means the most enjoyable place to play!
(Author’s unit: College of Liberal Arts, Fujian Normal University)