Yesterday I wrote "The 31-year-old Wen Yiduo opened a Tang poetry class at the National Qingdao University in SCO Qingdao 2003-88 years ago" and read Mr. Wen Yiduo's "The Self-Redemption of Palace Style Poetry" again. The reason why this article is famous is that there is a sentence in it that evaluates Zhang Ruoxu's "Moonlight Night on the Spring River": "Poems within poems, the peak of peaks." So this sentence, together with Wang Kaiyun in the late Qing Dynasty, "A solitary poem, but it is for everyone" evolved into the famous saying "A single poem dominates the entire Tang Dynasty". It seems that these two people think this poem is the No. 1 poem in Tang poetry. This is completely the same. kind of misinterpretation.

Who first came up with the phrase "a solitary chapter covers the entire Tang Dynasty" or "a solitary chapter covers the entire Tang Dynasty" seems to have no source. After entering these words on the Internet, I searched for a large amount of relevant information, most of which were carried by various self-media. I saw a reliable article on Phoenix Chinese Studies: "This poem of a single poem overwhelms the entire Tang Dynasty." "Buried for more than 800 years", which writes the author's reasons: "Thousands of years and thousands of miles away, it is difficult to find a poem like "Moonlight Night on the Spring River" that touches the universe and the essence of life. It is precisely because of this touch on the essence of life that the perception of "life is endless" perfectly fits the spirit of the Tang Dynasty and the atmosphere of the prosperous Tang Dynasty."

Wen Yiduo. In "The Self-Redemption of Palace Poetry", Mr. Wang commented on this poem with this sentence: "A more desolate consciousness of the universe! A deeper, more sweeping and tranquil realm!" In fact, the ancients had a consciousness about the universe, at least in the It can be seen in Qu Yuan's Tianwen during the Warring States Period, and it is nothing new. However, after Zhang Ruoxu introduced this awareness into "palace style poetry", this was one of the reasons why Wen Yiduo commented on his "poetry within a poem, the peak upon the peak".

At the beginning of ancient times, who preached it? (May I ask who guided this state in the beginning of ancient times?)

If the upper and lower parts are not formed, how can we examine them? (Where did the heaven and earth come into being before they were formed?)

Who can overcome the darkness and the darkness? (There is no distinction between light and darkness, and it is chaos. Who can explore the root cause?)

The sun and the moon belong to the same category? Lie Xing An Chen? (How are the celestial bodies of the sun and moon connected? How are the stars arranged in the sky?)

If you live longer without dying, how can your lifespan end? (Prolonging life and immortality, when will the long life end?)

Excerpt from Qu Yuan's "Heavenly Questions"

In "The Self-Redemption of Palace Poems", Wen Yiduo not only did not say, He has never considered this poem to be "a single poem that dominates the entire Tang Dynasty". Lao Jie believes that his evaluation of this poem is limited to the two circles of early Tang Dynasty and palace style poetry. Why do you say this? Here are 3 pieces of evidence:

1. First of all, this article is about palace poetry from the title to the content.

2. When commenting on "The White-headed Man of Dai Bei", Wen Yiduo said, "At this time, Liu Xiyi had actually taken half a step closer to Zhang Ruoxu, and was not far from the top",

3 , there is a sentence at the end of the article: "In the future, he worked with another peak, Chen Zi'ang, to clear the way to the prosperous Tang Dynasty. Zhang Ruoxu's achievements are impossible to estimate."

Wen Yiduo said clearly " Cleared the way to the prosperous Tang Dynasty", indicating that he was talking about the early Tang Dynasty. Secondly, I think Liu Xiyi is half a step away from the top, and Chen Ziang is another peak. No one who criticizes Tang poetry will agree that Chen Ziang is the peak of the entire Tang Dynasty. It is obvious that Wen Yiduo was referring to the palace-style poetry and the early Tang Dynasty, which is completely different from "a single poem overwhelming the entire Tang Dynasty". Later generations misinterpreted Wen Yiduo's meaning.

In addition, I also saw a record on the Internet: "The Complete Works of Wen Yiduo·6" (Part 1 of Tang Poems), p99 "Summary of Tang Poems" (compiled based on photocopies of the author's manuscripts), in Under "Spring River Flower Moonlight Night", the author marked it as "the pinnacle of palace style poetry". I don’t know whether this statement is true or false. If it is true, there is no need to argue.

Therefore, Lao Jie believes that "poems within poems, peaks upon peaks" refers to "the peak of palace-style poetry" and is by no means the peak of "the entire Tang Dynasty". The following is the last paragraph of Wen Yiduo's "The Self-Redemption of Palace Poems". You can judge for yourself:

Some are strong cosmic consciousness, pure love sublimated by cosmic consciousness, and radiated from love. The compassion that is poetry within poetry, the pinnacle of pinnacles. Looking back from here, even Liu Xiyi is a process, not to mention Lu Zhaolin and his supporting role, Luo Binwang, are a process.

As for the darkest sins left by the courts of the Liang, Chen, Sui and Tang dynasties in the past hundred years, a palace-style poem like "Spring River Flower Moonlight Night" is not Just washed it? Going forward, he atones for the sins of a hundred years for palace-style poetry. Therefore, going forward, he divides labor and cooperates with another pinnacle, Chen Ziang, to clear the way to the prosperous Tang Dynasty. Zhang Ruoxu's achievements are impossible to estimate.

Mr. Cheng Qianfan made detailed research in "The Understanding and Misunderstanding of Zhang Ruoxu's Spring River with Flowers and Moonlight Night". Zhang Ruoxu's "Spring River with Flowers and Moonlight Night" was ignored by many documents during the long Tang, Song, Yuan and Ming dynasties. It was just a fluke that it was included in the "Collection of Yuefu Poems" because it was a Yuefu poem. The editor Guo Maoqian is from the Northern Song Dynasty. His book contains all Yuefu poems, good or bad.

700 years after Zhang Ruoxu's death, Gao Xiang of the Ming Dynasty included this poem in "Tang Shi Pin Hui", but it disappeared again in his other book "Tang Shi Zhengsheng". Another 100 years have passed, and Zhang Ruoxu's "Moonlight Night on the Spring River" has reached a turning point in its destiny.

Starting from Li Panlong's "Ancient and Modern Poems", it has been included in various anthologies of Tang poetry. It can be said that Li Panlong, the leader of the "Later Seven Sons", was Zhang Ruoxu's first nobleman. Later, Hu Yinglin, who was a few decades younger than Li Panlong, also mentioned this poem in his famous book "Shi Sou". This was the first time it was discovered in Shihua.

Literati in the Ming and Qing Dynasties classified Zhang Ruoxu's poems as "Wang Yang Lu Luo's contemporary style", which means they belong to the school of the Four Heroes of the Early Tang Dynasty. The first seven sons of the Ming Dynasty engaged in the restoration movement: literature must be compared to the Qin and Han Dynasties, and poetry must be compared to the prosperous Tang Dynasty. But later, He Jingming, one of the literary leaders, changed his mind and believed that Lao Du's poems were not as good as those of the Four Heroes of the Early Tang Dynasty. He did not hesitate to turn against Li Menglong and began to admire the Four Heroes. Therefore, under the background of this era, Zhang Ruoxu's poem was valued and studied by people in the Ming and Qing Dynasties, and it continues to this day.

Mr. Cheng Qianfan once said: "In the literary world, the author's knowledge and the obscurity of his works cannot exclude the role of accidental factors. Some of these roles are even decisive." Recently, Yuan Mei's poem "Moss" became popular overnight. Many people don't even know "Suiyuan Poetry Talk", but it doesn't stop everyone from singing together: When the day is not around, youth will come naturally.

It can be seen that this "Spring River Flower Moonlight Night", which has been evaluated by later generations as "a single piece that covers the entire Tang Dynasty" or "a single piece that covers the entire Tang Dynasty", has not been able to win the praise of the poets and critics of the Tang, Song and Yuan dynasties. The Dharma Eye has only been recognized since the Ming Dynasty.

When talking about Hengjue, we naturally think of Li Bai's "The Road to Shu is Difficult" "There is a bird path in Taibai in Xidang that can cross the top of Emei." In Sima Qian's "Historical Records: The Liuhou Family" There is also: "The swan flies high, flying thousands of miles. The feathers are already in place, crossing the four seas." In these two articles, Hengjue means crossing and crossing.

Li Shangyin's "Gifts on behalf of others" contains: "Upstairs, my desires are gone at dusk, and the jade ladder is hooked in the middle of the moon." "Hengjue" means to cut off. Cao Xueqin's grandfather Cao Yin's poem "Send Liangsheng to Travel to Fujian": "No one in the world knows about Hengjue Wenlin, who can provide Wumu with a mocking poem." Hengjue means transcendence. But does Wang Kaiyun really think that the Flower Moonlight Night on the Spring River "unparalleled the entire Tang Dynasty"?

Wang Kaiyun (kǎi) (1833-1916) and Zeng Guofan were fellow townsmen in Hunan. When they were young, they taught at Sushun's family. When Empress Dowager Cixi executed a coup, Sushun and other eight ministers were killed. Fortunately, Wang Kaiyun survived. Get away. In the third year of the Republic of China, he was hired by Yuan Shikai to serve as the director of the National History Museum, where he compiled national history and concurrently participated in political affairs in the Senate. Wang Kaiyun lectured for half his life. The great painter Qi Baishi, the legendary Yang Du and Yang Rui and Liu Guang among the "Six Gentlemen of 1898" were all once students of Wang Kaiyun.

Wang Kaiyun's "A solitary piece is unique, but it is for everyone" comes from "On the Origin of Various Schools of Tang Poetry (Answer to Chen Wanfu's Questions)":

Zhang Ruoxu's "Spring River Flower Moonlight Night" uses " "Xizhou" style, solitary and unique, is actually for everyone. Li He and Shang Yin took advantage of its freshness and richness; Song poetry and Yuan poetry were all its tributaries, which are the great waves of the palace structure.

What is Xizhou style? Xizhou Song is a long lyrical poem in Yuefu folk songs of the Southern Dynasties: Recalling the plum blossoms, I went to Xizhou, folded the plum blossoms and sent them to the north of the Yangtze River. The single shirt is apricot red, and the temples are the color of crow. Where is Xizhou? Two oars bridge crossing. Shrikes fly at dusk, the wind blows the black mortar trees...

In "Spring River Flower Moonlight Night", in addition to the "cosmic flow", there is also content about the love between men and women: the white clouds drift away leisurely , Qingfengpu is full of sorrow. Whose family is cheating tonight? Where do I miss Mingyue Tower? The poor moon wanders upstairs and should be seen in the dressing mirror. The jade curtain cannot be rolled away, and the brush on the anvil of the clothes still comes back...

Why does it become a "lonely piece of writing, but it is for everyone"? Wang Kaiyun believed that this was a huge wave in the palace. He believed that this transformed palace style poetry had a profound influence on the later love poems of Li He, Li Shangyin and the Song and Yuan Dynasties. In today's terms, this is a palace-style poem that has escaped "low-level taste" and is no longer a simple erotic poem describing sensuality in the Qi and Liang Dynasties. This is actually similar to Wen Yiduo's "The Self-Redemption of Palace Poetry". I don't know if Wen Yiduo has studied Wang Kaiyun's sentence when he wrote "The Self-Redemption of Palace Poems", but it does seem like he expanded this sentence into an article.

Cheng Qianfan specifically talks about his understanding of palace-style poetry in "The Understanding and Misunderstanding of Zhang Ruoxu's "Spring River Flower Moonlight Night"", and Wen Yiduo's "The Self-Redemption of Palace-style Poetry" and Wang Kaiyun's Opinions vary.

1. The Sui Dynasty had begun the "self-redemption" of palace-style poetry.

Wen Yiduo also expanded the scope of palace-style poetry. ...Wen Yiduo also expanded the scope of palace-style poetry. Gentleman's views are contradictory. On the one hand, he soberly pointed out: "Palace poetry... palace-centered erotic poetry..." This is completely correct. However... he also considered all the famous seven-character poems of the early Tang Dynasty to be palace style poems... including Lu Zhaolin's "The Ancient Meaning of Chang'an" and Luo Binwang's " "The Passionate Dai Guo's Reply to Lu Zhaolin"... Liu Xiyi's "The Young Master's Journey", "The Dai Beiful Pulpit"... Zhang Ruoxu's "Moonlight Night on the Spring River". The conclusion is: "A palace-style poem like "Spring River Flowers and Moonlight Night"... has gone forward to atone for the sins of a hundred years of palace-style poetry.

"But these have little to do with "court-centered erotic poems"...

Later, Cheng Qianfan cited several poems by Emperor Yang Guang of the Sui Dynasty, Zhuge Ying, Yang Su of the Sui Dynasty, and Zhang Zirong of the early Tang Dynasty. Poetry, it shows that "Mr. Wen ignored the new trend of poetry that had sprouted in the Sui Dynasty" and "obliterated the efforts of Yu Xin, Yang Su, Sui Yang and others, while at the same time he classified the works of Lu, Luo, Liu and Zhang as Returning to the category of palace style... is "the self-redemption of palace style poetry"... which can only be regarded as a misunderstanding of "Spring River Flowers and Moonlight Night".

2. Due to the limitations of the times, Wang Kaiyun expanded the scope of palace poetry

Cheng Qianfan believes:

Wang Kaiyun and Wen Yiduo received different educations. The thinking methods are also different, but in terms of expanding the scope of palace poetry and leading to the misunderstanding of "Spring River Flower Moonlight Night",

The meaning of this sentence should be that although Spring River Flower Moonlight Night has a profound influence on later poets It has had a huge influence, but "Li He, Shang Yin; Song Ci and Yuan poetry" cannot be said to be "tributaries" of palace style poetry. Wang Kaiyun expanded the scope of palace-style poetry. Li He, Li Shangyin and others did not write palace-style poetry.

Judging from the analysis of Wen Yiduo, Wang Kaiyun, and Cheng Qianfan at different times, there are slightly different opinions. For the poem "Moonlight Night on the Spring River", although it has a "strong cosmic consciousness" and is a poem of "pure love sublimated by the cosmic consciousness", although it is called "a solitary poem, it is actually for everyone", "Poems within poems, peaks upon peaks", but it is limited to the category of palace poetry. No matter Wen Yiduo or Wang Kaiyun, they have never said or thought that this poem is "a single poem that dominates the entire Tang Dynasty" and is "the pinnacle of all Tang poems".

Whether it is "a single chapter covers the entire Tang Dynasty" or "a single chapter covers the entire Tang Dynasty" is a fallacy and a misinterpretation of the predecessors.

In fact, I have read the reviews on the Internet, and many people disagree with the idea that "one single article dominates the entire Tang Dynasty", but they just can't explain why.

If you think what I said is questionable, please leave a message to correct me, thank you!

@老街香