@ Yang Jianmin [Original]
@ Tieshan Qingshi (laughing alone) [excerpt]
1959 1 7, Guo Moruo wrote an article entitled "Talking about Cai Wenji's Research". At the beginning of the article, I made a very high evaluation of Eighteen Beats of Hu Jia: "There is an injustice in the history of China literature, which is the experience of Eighteen Beats of Hu Jia by Cai Wenji. This is really the most enjoyable lyric poem since Qu Yuan's Lisao. "In Guo Moruo's view," Du Fu's seven songs of Tonggu County are similar to their genre, but they are dwarfed in quantity and quality by comparison. "
Scholars who study the history of modern literature think that Eighteen Beats of Hu Jia is a fake by later generations. After pointing out that Hu Shi, Zheng Zhenduo and Sister Liu all hold this attitude in the history of literature, Guo Moruo expressed his opinion: "I appeal for Eighteen Beats of Hu Jia. Be sure to let everyone watch it once or twice. What a touching work this is! It's like an endless wave, it's like an active volcano erupting lava, so it screams with its whole soul. I firmly believe that this must be written by Cai Wenji. People who don't have that kind of personal experience can't write such words ... "He even said," I don't think even Li Taibai can write them. He hasn't had that kind of spirit and that kind of painful experience. " "Like" Eighteen Beats of Hu Jia ",no matter in form or content, that kind of bold and vigorous spirit, that kind of overwhelming grief and indignation, that kind of bloody pain is by no means beyond the reach of the Six Dynasties or even the Sui and Tang Dynasties."
After a brief survey of ancient accounts, Guo Moruo emphatically questioned the corresponding views of two influential modern "China Literature History"-Zheng Zhenduo's Illustrated History of China Literature and Sister Liu's History of China Literature Development. Zheng Zhenduo's Illustrated History of China Literature was published earlier. His judgment on Eighteen Beats of Hu Jia is: "Eighteen Beats of Hu Jia is a narrative of a person singing in the street, just like a white-haired Forbidden City man telling the story of Tianbao ... Could such a narrative poem be written by Cai Yan himself? This is of course impossible. " Sister Liu's History of the Development of China Literature says: "Although there are many well-known sentences in Hu Jia's Eighteen Beats, most of the techniques and styles are not like the poems of the Han Dynasty." After giving some examples, he said, "This kind of cutting skill and style was originally from the Southern Dynasties, and later it was probably the Sui and Tang Dynasties."
In view of these views, Guo Moruo refuted them one by one by giving examples. He believes that the poem "has an atheistic tendency and is in the form of folk songs, which not only hurts the' gentle and sincere' poetry teaching, but also mixes with foreign influences, so it is not elegant." It is believed that this is the reason why Hu Jian's Eighteen Beats of History was not included, the previous anthology was not selected and recorded before the Song Dynasty. Finally, I strengthened my understanding: From the form to the emotional content, Eighteen Beats of Hu Jia belongs to Cai Wenji.
1959, 16 In March, after "Talking about Eighteen Beats of Hu Jia in Cai Wenji" (published in Guangming Daily 1 25 Literary Heritage Weekly 1959), Guo Moruo wrote "Talking about Hu Jia in Cai Wenji again". This paper starts with the data in the preface of Cao Pi's "On Mourning" and touches on the writings of people in the times. It not only roughly infers the new times, but also proves that "Eighteen Beats of Hu Jia" is written from the perspective of writing style and true feelings. Guo Moruo's point of view is: "We can be sure of this: a sad poem like Eighteen Beats of Hu Jia cannot be faked. If it's fake, it must be a big deal. I don't think even Du Fu and Li Bai have such skills because they have no such life experience. "
At that time, Zheng Zhenduo was gone (1958 10 died in an air crash).
In May, Sister Liu wrote a long article "Eighteen Beats of Hu Jia about Cai Yan" (also published in the "Literary Heritage" column of Guangming Daily). The article clearly stated: "I still believe in my previous views." After refuting the quotation of Guo Moruo's article, Sister Liu drew a conclusion from four aspects: "Eighteen Beats of Hu Jia" was written by later generations: First, it was impossible to record, discuss and quote (for a long time from the end of the Eastern Han Dynasty to the Tang Dynasty, no scholar paid attention to this long poem. ); Second, the style and genre are different (compared with the works of the Eastern Han Dynasty); Third, the geographical environment does not match (the geographical environment expressed in the poem does not match the reality); Fourth, no matter how high the artistic achievement is, it cannot be proved that Cai Yan did it. On the whole, Sister Liu thinks: "It is powerless to raise four points ... If we only take one point, it is to deny that Hu Jian Eighteen Beats was written by Cai Yan. If these four points are combined, plus one or two sections as circumstantial evidence, it will be very credible. "
Subsequently, Guangming Daily's "Literary Heritage" column published "About Cai Wenji and His Works" by Liu Kaiyang, an expert in literature and history, and "Eighteen Beats of Hu Jia" by Li Dingwen. Is this written by Cai Wenji? "and several other articles related to this issue.
Liu Kaiyang's article expresses his views on Cai Wenji's age, time and place of capture mentioned in Guo Moruo's article: "I think it's better to look at the work itself to get reliable proof of the materials before the Tang Dynasty. The system of "eighteen beats of Hu Jia" is really invisible between the Han and Wei Dynasties, and Guo Laoju's song "Qin Yueren before" is somewhat similar. It is difficult to find it in the works of Wenxi's contemporary authors. " Although his conclusion is speculative, does it actually confirm Cai Wenji's copyright: "I think Eighteen Beats of Hu Jia is a better poem. Although it was published late, it is not vulgar. The author may not be Cai Wenji, but it is a great work. ..... "Eighteen Beats of Hu Jia" was not written by Cai Wenji, but this does not damage her position in the history of China literature.
Li Dingwen's article starts with the content of Eighteen Beats of Hu Jia, and compares it with the background of the poem. Firstly, the author of the poem is not clear about the relationship between the Southern Xiongnu and the Eastern Han Dynasty. And Cai Wenji "She is an educated woman, how can she be so vague about the situation of both sides at that time?" Secondly, the poet's description of the customs of the southern Xiongnu is not true, because the author has no direct experience, so he has to rely on books and has not carefully selected books; Third, the author of this poem doesn't know much about Cai Wenji's life in the southern Xiongnu. According to the record of The Story of the Wife of Dong Si in the Later Han Dynasty, his writing is mainly perfunctory. Fourth, the poet copied the words and phrases in the poems after the Eastern Han Dynasty and so on. Finally, it is proved that Eighteen Beats of Hu Jia was not written by Dong, a famous guqin player in the Tang Dynasty (please pay attention to young scholars: Dong Jusheng is a treasure of Tang Kaiyuan).
At the same time, the scholar Professor Wang Yunxi put forward a new viewpoint. He thinks that the song "Grief for Strength" is said to be Cai Wenji's work, which should be "eighteen beats". In his view, two poems can also be called "one beat", so this poem in Sao style is "eighteen beats of Hu Jia" and "now it is generally called" eighteen beats of Hu Jia "by Cai Yan. I agree with Sister Liu and others that it is not Cai Yan's work"; Scholar Liu Pan, on the other hand, strictly abides by the official rhyming norms of the Tang Dynasty, and takes Eighteen Beats of Hu Jia as the basis. However, The Poem of Mourning Anger, which is recognized as Cai Wenji's poem, has a broad rhyme, and it is not too much to say that it is a work after the Tang Dynasty.
/kloc-On June 2nd and 5th, 0/5, Guo Moruo wrote two articles, three about Cai Wenji's Eighteen Beats of Hu Jia and four about Cai Wenji's Eighteen Beats of Hu Jia, which refuted the previous articles. In the "Three Lectures", Guo Moruo mainly focuses on Sister Liu's article: "We can see that we should possess materials when studying problems, but after possessing materials, we must see how to use them flexibly. Materials are not necessarily reliable, and materials are not necessarily unreliable. The material also depends on its nature: sometimes there are ten materials that can only say one word, and sometimes there is one material that can say as many words as possible. Scientific research can be boldly inferred according to objective laws. For example, the Javanese ape-man only found a small part of his limbs, but according to the proportion of the human body, paleoanthropologists can infer his whole body. "
In the article Four Conversations, Guo Moruo responded to the articles of Sister Liu, Kaiyang Liu and Li Dingwen. Guo Moruo analyzed the background, customs and habits of Li Dingwen's views at that time. Regarding the example of the phrase "copying", Guo Moruo thinks: "Some are copying predecessors and some are copying future generations, but there is nothing wrong with copying predecessors, and copying future generations is not so simple. In fact, who "attacked" who? This can only be a ratio of one to one in the number of machines. " In Four Talks, Guo Moruo talked about an interesting phenomenon in the study of ancient history: "The farther away from ancient times, the deeper the suspicion of ancient times." The evidence comes from Cai Wenji's Eighteen Beats of Hu Jia. People in the Tang Dynasty didn't have much doubt, and people in the Song Dynasty didn't have much doubt, but some people doubted it in the Ming Dynasty, and more people denied it in the Qing Dynasty. Modern people continue to deny it more firmly; However, Guo Moruo still insists on his firm and affirmative view.
In view of the fact that several articles have mentioned that "style and genre are not harmonious", Guo Moruo quoted Princess Wusun's Song from Han Shu Xi Yu Zhuan; Five inscriptions on Shang Jun folk songs and bronze mirrors in Han Dynasty are quoted from Biography of Han Feng Shi Feng, to prove that the styles of these works are not much different from those of Hu Jia's Eighteen Beats, although they are somewhat vulgar compared with the popular literary works at that time.
Editor's Note of Tieshan Qingshi: This article is excerpted from Yang Jianmin's Debate on the Eighteen Beats of Hu Jia (originally published in China Reading Newspaper, 2065438+July 6, 2006,No. 15). The original text is divided into four parts, with a total of about 7300 words. Now the title is drafted by the editor.
appendix
Hujiashibai
@ [Korea] wrote [poetry]
I did nothing at the beginning of my life, but after I was born, the Han Dynasty declined. Heaven is ruthless and chaotic, and the earth is ruthless, which makes me meet this time. The road is dangerous and the people are in exile. Smoke and dust cover the wild, land rover prospers, and ambition is good and righteousness is lacking. Humiliated. Who should I sue? After a while, I knocked on the piano, feeling angry and resentful.
Rong Jie forced me to get married and pushed me to the horizon. Yunshan is heavy, and the wind blows thousands of miles, raising dust and sand. Many people are violent and fierce. Like snakes, they are arrogant and extravagant. Two beats and one string, the string is heartbroken, heartbreaking and sad.
It is better to have no life than to go to the country of Yue Han and enter the city of Hu. Felt hair shocked my flesh and blood, and karma strangled my feeling of taste. Drums are ringing from the night, and Hu Feng is dark. Today's sadness is the triple beat of gold, and it is flat when the sad beast hates it.
I miss my hometown day and night, which is the most bitter. Natural disasters make the country chaotic and the people have no ownership. I am the only one who has no luck. Different customs and different physical difficulties, different appetites, who can talk! It's sad to think about how hard it is to remember clearly.
The south of the wild goose wants to make a sound, and the north of the wild goose returns to the west to get a Chinese sound. Wild geese fly high, hard to find, but heartbroken and homesick. The folding of the eyebrows caressed Ya Qin to the moon, and the five strokes were profound.
First frost is cold and hungry, so you can't eat meat and cheese. At night, the water sobbed and the Great Wall crowded the road. Looking back, it is difficult to pack your bags, and six beats of sadness come and go.
As the sun sets, the wind wails. I don't know who I'm talking to! Vilen is depressed, guarding Wan Li, vulgar, old, weak and young. There are aquatic plants to build homes and repair bases, and cattle and sheep gather in the wild like bees and ants. When the grass is exhausted, the sheep and horses are moved, and the seven beats are hateful.
Why don't you see me wandering alone? God, what happened? I live up to God. What makes me different? I failed my God. Why should I go to the desert state? I did eight beats to relieve my worries, but I didn't know my heart was turning to worry.
The sky is boundless and my heart is sad. Life is fleeting, but I can't be happy in my prime. I want to ask the truth, but the sky is gray and I have no chance. Looking up at the clouds and smoke, nine beats are nostalgic. Who is it?
The beacon fire in Chengtou has not been extinguished. When will the battlefield stop? The murderous look rushed to the door, and Hu Feng blew the moonlight. Hometown sound insulation, crying silently. A lifetime of hard work and parting, ten times of sadness and tears into blood.
I must live to eat and die to hate, so I can't dedicate my body and my heart. I still want to return to mulberry, and I have been dead for a long time. Sun, Moon and Sun are in Rongji, and the Hu people spoil me and have two sons. Bow's education has no sense of shame, but his thoughts are getting bigger and bigger. There is a beat in ten miles, and because of this, sorrow and joy are lingering.
Dongfeng responds to the law and has a lot of heating, so we know that the Han family is the son of heaven and the cloth and clothes are harmonious. The Qiang people danced wildly and sang praises, and the two countries went to war with each other. Suddenly, I met an envoy of the Han Dynasty, and he called me almost by imperial decree, asking my daughter to redeem my concubine. I am very happy to be alive and to meet the holy king, so I will not say goodbye to my children for no reason. Nine times out of ten, it is difficult to live in two emotions.
This doesn't mean I can't live, but I have to go back and caress Hu and gamble. Ambassador China greeted me. Who knows? Life and death come with me at this time, worrying about losing my glory as a child. How can I have wings to give you back? Step by step, it is difficult to move, and the soul disappears. There are three beats in ten, and the strings are anxious and sorrowful, and the intestines are stirring.
When I get home, my son won't follow me, and my heart hangs like I'm hungry. Everything in the four seasons has ups and downs, but I am sad and temporarily motionless. The mountains are high and the sea is wide. I will see you all my life. I dreamed that you came to Sri Lanka at night. Holding hands in a dream is a kind of joy and a kind of sadness, but it hurts after sleeping. Nine times out of ten, tears are falling, the river is flowing east, and I am thinking.
Fifteen beats, a holiday, a promotion, and a full chest. Who knows music? It's unusual in the vault. I hope I can come back, I hope I can be happy again. My heart is full of sorrow and sorrow. The sun and the moon are selfless and never shine. It is no wonder that mother and son are separated, and the same day is more and more like a reference in business, and life and death are unknown.
Sixteen beats, endless thoughts, my son and I stand on our side. The sun faces the east and the moon faces the west, so don't be heartbroken. I don't forget my worry about daylily, I don't care whether I play the piano or not! I don't want to go back to my hometown today. Old grievances are settled and new grievances are long! Blood and tears look up and complain to the gray son, Hu lives alone!
Seventeen patted Xi's heart, his nose was sour, and it was difficult for Guan Shan to stop Xi. I went with a lot of thoughts, but I didn't think long when I came. Filled with branches and dried leaves of Artemisia annua, the battlefield was scarred and covered with bones, knives and arrows. In spring and summer, the wind and frost are cold and the people are hungry and weak. I was so heavy that I entered Chang 'an. I sighed my heart and my tears dried up.
Hu Jia was born out of Hu and turned out the same melody. Although the 18th beat of Xi Qu is over, it sounds memorable. It is a work that knows the subtleties of bamboo silk, and the joys and sorrows change with people's hearts. Hu and Han are different, and heaven and earth are separated. I am bitter in heaven, complaining about others, and the breadth of Liuhe is intolerable!
Tieshan Qingshi Note: This abstract is from the ancient poetry network, and the text has not been checked.
(August 2020)