Selected Poems and Prose of Liu Zongyuan with Comments

Author: Wu Wenzhi
Annotations
Publisher:
Publishing Date: 2004-07-01
Features:
1. In terms of selection, it strives to include the representative works of renowned writers from this period, while also paying attention to different themes, genres, and styles. At the same time, it reflects the basic characteristics of the era and focuses on ( does not need translation, remains as is). Works that are overly difficult or have unhealthy ideological tendencies are excluded.
2. Each book is preceded by a preface written by the author himself, serving as an introduction to the era, the development of literary works of this type, their stylistic features, and historical significance. It provides both practical and concise overviews, incorporating new research findings from both domestic and international scholars to reflect the most up-to-date research standards.
3. The author bio (for specialized collections, it is integrated into the preface) is concise and well-evaluated, reflecting the author's years of research.
4. The annotations are clear, easy to understand, concise, and precise, avoiding forced interpretations while minimizing overly detailed citations or textual research. It ensures not to misrepresent the past or confuse the present. Another distinctive feature is the integration of annotations directly into the text, reducing the burden on readers by avoiding separate notes.
5. Comments, also known as critiques or annotations, are an ancient Chinese literary criticism method. Their characteristics include flexibility, meticulous evaluation, and enlightenment for readers. When commenting on works, insights are offered, while omissions are left untouched, with lengths varying based on the commentator's insights. This saves unnecessary verbosity; in critiques, one can comment on the composition, poetic art, style, spiritual essence, or brilliant phrases of the work, either in detail or briefly, from one or more perspectives, or with a holistic approach, to help readers gain a deeper understanding of the author's intentions and meanings. These are aspects that are difficult to achieve through other methods (as cited by Chu Binjie).
Introduction to Selected Poems and Prose of Liu Zongyuan
Liu Zongyuan (773–819), styled Zihou, was of Heping origin (now Yongji, Shanxi) but later moved to Chang'an (now Xi'an, Shaanxi), hence the epithet Liu Hedong. He was also known as Liu Liuzhou because he served as the magistrate of Liuzhou. Together with Han Yu, he advocated the Tang Dynasty's classical prose movement, often referred to as Han Liu.
Born into an official family, Liu Zongyuan was renowned for his talent from a young age and held ambitious aspirations. In his early years, he focused on writing with ornate language to pass the imperial examinations. In 793 (the ninth year of the Zhengyuan era), he passed the imperial examinations and, in 794 (the fourteenth year), the Imperial Academy Examination, becoming a Zhi Xian Dian Zheng Zi. He served as a magistrate of Lantian before entering the court. He actively participated in Wang Shuwen's political reforms and was promoted to the position of Assistant Minister of Rites. In September 805 (the first year of the Yongzhen era), the reforms failed, and he was demoted to the governor of Shaoshan. In November, he was further demoted to the position of Magistrate of Yongzhou (now Lingling, Hunan). In spring 815 (the tenth year of the Yuanhe era), he returned to the capital but was sent out again as the magistrate of Liuzhou (now part of Guangxi), where he achieved notable governance. He passed away in November 818 (the fourteenth year of the Yuanhe era) while in office. During his exile, many scholars from the south sought his guidance.
Liu Zongyuan emphasized the content of literature, advocating that "the Way" () should benefit the state and its people and be practical. He stressed the social function of literature, insisting that writing should serve the world. He promoted the perfect combination of ideological content and artistic form, emphasizing a serious and rigorous attitude toward writing and the importance of a writer's moral cultivation. He admired the prose of the pre-Qin and Han dynasties, advocating learning from Confucian classics, the Zhuangzi, the Laozi, the Li Sao, and the Records of the Grand Historian, while avoiding an overemphasis on the past over the present. In poetry theory, he inherited the tradition of Bi and Xing as proposed by Liu Xie and the advocacy of Xing Ji by Chen Zi'ang. He was in agreement with Bai Juyi's views on satirical poetry in his Letter to Yuan Ji. His literary theories represented the progressive trend of the literary movement of his time.
Liu Zongyuan left behind over 600 poems and prose works, with his prose achievements surpassing those of his poetry. His parallel prose includes nearly 100 pieces, still influenced by Tang parallel prose conventions, but with masterpieces like the Biography of Nan Jiyun of the Shuiyang Temple. His classical prose falls into five categories:
1. Essays: Including philosophical and political essays, as well as miscellaneous writings dominated by argumentation. His style is sharp, with precise arguments. Representative works include the philosophical essay On the Sky and the political essays On Feudalism and On Capital Punishment. Short essays like The Discussion on the Governance of Yuan and The Debate on the Enfeoffment of the Eldest Brother are also notable. His philosophical thought contains elements of naive materialism, while his political thought reflects a progressive historical view that emphasizes "power" and Confucian folk governance. However, he was also influenced by Buddhism, especially during his political setbacks, seeking spiritual solace in it.
2. Fables: Inheriting and developing the traditions of the Zhuangzi, Han Feizi, Lüshi Chunqiu, Liezi, and Zhan Guo Ce, these works often satirize and critique the vices of society. They introduce new ideas, employ unique artistic images of personified animals to convey philosophy or express political views. Representative works include Three Cautionary Tales (The Deer at the Riverside, The Donkey in Qian, and The Rat of Yong Family), The Biography of Chuang Tzu, and The Tale of the Bear. These works use humor and satire to vividly depict reality, showcasing a high level of artistic skill.
3. Biographies: Inheriting the tradition of the Records of the Grand Historian and the Records of the Han Dynasty while innovating, representative works include The Fragments of the Late Magistrate of Duan, The Biography of the Master of Wood, The Biography of the Master of Hejian, and The Tale of the Man Who Caught Snakes. Some works, based on real events, incorporate exaggeration and fiction, blurring the lines between fable and fiction, such as The Biography of Song Qing and The Biography of Guo Taotuo, the Tree Farmer.
4. Landscape and Travel Writings: Most of these were written during his exile, with those from Yongzhou being particularly renowned. The Eight Records of Yongzhou are masterpieces: A Banquet at the Western Hills of Xishan, Record of the Coiled Pool, Record of the Western Small Hill of Coiled Pool, Record of the Western Small Stone Pool of Coiled Pool, Record of Yuan Family's Spring, Record of the Stone Canal, Record of the Stone Gully, and Record of the Small Stone Mountain. These works not only use beautiful scenery to express his experiences and frustrations but also depict his tranquil state of mind, reflecting his pursuit of spiritual solace in extreme hardship. In direct depictions of landscapes, they range from rugged and pure to serene and magnificent, using exquisite language to recreate natural beauty.
5. Chao-style Prose: Distinctive works like The Punishment of Fault, The Lament of Life, The Dream of Return, and The Mountain Prison follow the style of the Li Sao and the Nine Pieces. Some are direct expressions of emotion, others use ancient parallels to lament, or employ allegory to satirize, with profound and melancholic language deeply rooted in the spirit of the Li Sao. The two monumental works The Response to Heaven and The Inquiry of Jin follow the form of The Heavenly Questions and The Seven Responses, with language that is peculiar and profound.
Additionally, Liu's collection includes many inscriptions, epitaphs, records, prefaces, and poems on Buddhism, touching on doctrines such as Chan, Tiantai, and Vinaya.
Liu Zongyuan's extant poetry includes over 140 pieces, all written during his exile. He was often compared to Wang Wei, Meng Haoran, and Wei Yingwu, known as the "Wang, Meng, Wei, and Liu." Some of his five-character poems resemble Tao Yuanming's in thought, with simple and natural language, a light yet profound style. Other five-character poems are influenced by Xie Lingyun, with refined language and occasional mystical elements, even in the titles. However, Liu's poetry blends clarity with melancholy, maintaining uniqueness.
Among his regulated verse, the regulated poem A Letter from the Tower of Liuzhou to the Four States of Zhang, Zhu, Feng, and Lian is a renowned masterpiece of Tang Dynasty regulated verse, while the quatrain River Snow is an exceptional work in Tang Dynasty quatrains.