Tang Youxia's Short Stories

Author: Chief Editor: Li Shiyao
Publisher:
Publication Date: 1996-08-01
Features: The preface explains that in ancient times, the term "xiaopin" did not carry a distinct literary meaning. It was merely a term used in the Six Dynasties period to refer to abridged Buddhist scriptures. As noted in the annotations to "Shishuo Xinyu·Literature," "The Buddhist scripture 'Discerning Emptiness' had both detailed and abridged versions: the detailed one was called 'Dapin,' and the abridged one was called 'Xiaopin.'" The use of "xiaopin" outside of Buddhist texts became prominent after the mid-Ming Dynasty. Tian Yicheng wrote "Zhuquan Xiaopin," and Zhu Guozheng, imitating Song Hongmai's "Rongzhan Xueshi," compiled a miscellaneous collection titled "Yongzhuang Xiaopin" in 32 volumes. Collections titled with "xiaopin" include Chen Jieru's "Wanxiang Tang Xiaopin," Pan Zhiheng's "Luanxiao Xiaopin," and Wang Sirren's "Xue'an Wenfan Xiaopin." Collections titled with "xiaopin" as a selection include "Shangming Sixteen Masters Xiaopin," "Guobao Xiaopin," and "Xianqing Xiaopin." Naturally, "xiaopin" must be short in length, but this is merely its external characteristic. It also has an undeniable internal quality. The rise of the late Ming's "spiritual essence" theory and the advocacy of the Jingling's "lonely emotions and single threads" contributed indispensable strength to the intrinsic character of xiaopin. The flourishing of prose xiaopin by the late Ming Dynasty was closely tied to the era's trends, and it can be seen as a form of literary self-awareness. It was like a light cavalry in traditional prose, galloping everywhere, leaving an indelible mark. Liu Shiting's preface to "Wenzhi" once discussed the "unintentional" realm of xiaopin: "Thus, among literary masters throughout history, those who were not overly concerned with literature often achieved the highest level. Take Chunyu and You Meng, for example. Their words and expressions were as vast as the ocean, yet they never intentionally wrote literature. Yet when they laughed while looking up at the sky, their hats fell off; when they shook their heads and sang, they cried out passionately at the balustrade. They could make the angry calm down and the joyful smile. The essence of literature is nothing more than this." Modern scholar Yu Pingbo also held a similar view: "The perfect realization of literary endeavors follows a general principle: 'Seeking it may not find it, but not seeking may find it naturally.' This principle is particularly evident in the creation of xiaopin texts" (Preface to the Reprint of "Fusheng Liuji"). Xiaopin belongs to the tradition of prose, but it also has features that transcend literary genres. Everything from miscellaneous records of people and events, landscape travelogues, eulogies and prefaces, diaries and fables, colloquial sayings and prefaces, biographies and letters, to notes on poetry—all can find their place under the banner of xiaopin. The xiaopin of the Ming Dynasty expressed their "spiritual essence," aligning with the trend of individual liberation in the era. Discussing art and literature, they were full of wit; depicting landscapes, they were rich in emotion. The xiaopin of the Ming Dynasty sought the hidden realms of the soul. All-encompassing, yet covering a thousand miles in a single scroll; close in language but distant in meaning, with hidden allegories. The xiaopin of the Ming Dynasty recorded the footsteps of a generation of writers. "I want a good collection of books, a few xiaopin of the Ming Dynasty, a framed portrait of Li Xiangjun on the wall for worship, and a box of cigars on the desk," Lin Yutang wrote in "Yanzhi Pian" in the 1930s. The xiaopin of the Ming Dynasty nurtured a generation of prose masters in the 1930s, and in today's flourishing trend of prose and xiaopin, they will continue to provide nourishment for writers and all interested readers! Our publishing house, based on the broad needs of modern people, has selected xiaopin texts by Xu Wei, Tang Xianzu, Chen Jieru, Yuan Zongdao, Yuan Hongdao, Yuan Zhongdao, Zhong Xing, Wang Sirren, Tan Yuanchun, and Zhang Dai, adding annotations. The book is titled after each author's courtesy name to maintain formal consistency, with the overall title "Ten Ming Dynasty Xiaopin," to delight readers. This series of selected and annotated xiaopin will take you into a colorful and radiant world of wonder.
Fragment from Cultural and Art Press: "To the Grand Historian Luo Gong, a letter from Yujiang"① Yuan Chun's encounter with the world came late②, and luck is hard to speak of. Passing the bowl and passing the lamp③, what the great path does not spare④, but following the ink and chasing Luo's recitation⑤, only this literature has a strange transmission. I did not expect in the autumn of the Jiazi year⑥, to rely on Ma's tent⑦; in the Daming year⑧, to travel far to the Dragon Gate⑨. As the father of all fathers⑩, the teacher of my teacher, it was first that He Fan returned to Yangcheng⑾, saying it could be passed to Han Yu⑿; now it is Ganyu studying in Xia⒀, turning each other in thought to Confucius⒁, as if this origin must be from the sound and atmosphere. Respectfully, your official, with a pen that is wonderful in the world, standing in court like the ancients, with unique favor from the sovereign⒂, yet the cloud is slow in meaning; the object of the same return, but the water flows and the heart does not compete⒃. On the day of fortune and misfortune, when the Gu and Luo fight⒄, if it were not for the Mr. holding it with a pillar, changing it with a hollow boat (19), then the Chu bow would show that it must return (20), when would the Zou Valley get warm (21)? The so-called deep achievements of the state, the kindness that shines on the homeland, are the shame of Confucians, the honor of Confucians, and those who have not had each other before have not had each other. Yuan Chun, from hardship to rest, sitting and talking in the mountains and rivers, often passed but failed to achieve, wanting to repay the favor but accumulating sorrow first, empty of the ambition of the swan (22), only the flight of the mulberry tree (23). But talent is not as good as others, and fate is not in my hands, I hope to carry lead and ink (24), first to study north of the officials (25); every day I sing the brambles and the brambles (26), because of the beauty and return to the west (27). To seek to be cut off by the disciples (28), not to be attached to the opening of the door (29), to admire the snow standing (30), to be sad when facing the wind.