A Study of Song Dynasty Poetry and Prose Selections: Poetry and Prose Selections Compiled by Song Dynasty People and Poetry and Prose Criticism

Author: Zhang Zhihua
Publisher:
Publishing Date: 2002-06-01
Features: The more than 200 poetry and prose anthologies compiled by the Southern Song people hold significant documentary value and theoretical importance, and should occupy a place in the history of Chinese academia. This research primarily focuses on both the documentary and theoretical aspects. In terms of documentation, it examines the types and extant status of Southern Song poetry and prose anthologies, and traces the textual lineage of some important anthologies. Theoretically, it explores the principles behind the compilation of these anthologies and their relationship with classical prose theory, poetic theory, and academic trends. The flourishing tradition of compiling poetry and prose anthologies in the Southern Song period surpassed previous eras for several reasons. First, the brilliance of Tang and Song poetry and prose provided an abundant source of material for the Southern Song anthologies. Second, the imperial examinations served as a strong driving force for their compilation. Third, the development of printing in the Song Dynasty ensured the technical feasibility of producing numerous anthologies. Lastly, the exceptional prosperity of Southern Song academies promoted the selection, annotation, and evaluation of poetry and prose anthologies.
Before the Southern Song period, poetry and prose anthologies could be broadly categorized into two types: those that combined poetry and prose, and those that focused solely on poetry. The Southern Song anthologies introduced new varieties, reflecting a diverse and refined categorization, which revealed unique and rich cultural connotations. The integration of anthologies with critical commentary had already emerged sporadically before the Southern Song period. However, most anthologies before this time consisted solely of selected works without accompanying commentary. Southern Song poetry and prose anthologies not only included prefaces but also featured annotations and critiques. The close integration of anthologies with annotations and critiques gave rise to a new form of anthology, which became a tradition in later dynasties. The diversity of compilers and annotators, as well as the varied purposes behind their selections, enriched both the content and form of these critiques. Beyond the intrinsic value of the selected works, these anthologies also held dissemination and theoretical significance. Southern Song poetry and prose anthologies made significant contributions to poetic and prose theory, emphasizing the analysis of specific works to reveal theoretical insights, which distinguished them from purely theoretical works and established a new form of classical literary theory. Although these theoretical ideas were fragmented, a systematic and coherent framework can be discerned upon careful analysis. Additionally, Southern Song anthologies introduced important topics, concepts, categories, and terminologies related to literary criticism.
There were numerous Southern Song poetry and prose anthologies, with complex textual histories. This paper lists comprehensive catalogs of Southern Song poetry and prose anthologies, providing details such as the number of volumes, compilers, compilation principles, and extant status of each anthology. The textual lineage of some key anthologies, such as Lu Zuxian’s Collected Prose of the Song Dynasty, Zhen Deshou’s The Orthodoxy of Literature, and Zhou Bi’s Methods of the Three Styles of Tang Poetry, has been traced. Southern Song classical prose scholars disseminated classical prose through anthologies while theoretically summarizing the Tang and Song prose movement, forming a distinctive feature in Southern Song literary theory. Southern Song classical prose scholars shared certain tendencies in their literary theory: they emphasized the relative independence of literature in relation to the Way, admired vigorous and robust writing styles, and placed great importance on specific artistic techniques, such as structure, syntax, and diction. However, their views on the art of classical prose evolved over time, as did their selection and annotation tendencies, which could be broadly divided into three stages.
Southern Song Confucian scholars’ prose anthologies often included works discussing Confucian classics and history, emphasizing the primacy of the Way over literature. Their strong inclination toward Confucianism sometimes also valued the uniqueness of literature. They focused on long-term utilitarian goals in their anthologies and exhibited conflicting attitudes toward the emotional content and artistic form of literature. Southern Song political figures also compiled numerous prose anthologies, prioritizing practical issues and immediate benefits, emphasizing the unity of righteousness and profit. Their selections were largely composed of memorials, with an emphasis on content over form, while also appropriately valuing literary styles and rhetoric. They demanded that memorials be written with classical elegance, powerful rhetoric, and rigorous logic.
Southern Song poetry anthologies were closely tied to contemporary poetic trends and literary theories. This paper focuses on three aspects: first, Sun Shaoyuan’s Sound and Painting Collection and the evolution of the Southern Song poetic theory that valued both Tang and Song traditions; second, Zhou Bi’s Methods of the Three Styles of Tang Poetry and the evolution of the late Southern Song poetic theory that revered Tang poetry; third, Sang Shichang’s Collected Antithetical Poems and its relationship with games, entertainment, and the refined aesthetic tendencies of the Southern Song poetic scene.
Southern Song poetry and prose anthologies were deeply influenced by academic trends, particularly the relationships between Lu Zuxian’s school, Zhu Xi’s school, Chen Liang’s school, and Ye Shi’s school. These schools had distinct compilation principles and aesthetic inclinations. This book primarily investigates Southern Song poetry and prose anthologies from both documentary and theoretical perspectives: in terms of documentation, it examines the types and extant status of these anthologies, tracing the textual lineage of some key works; theoretically, it explores the principles behind their compilation and their connections with classical prose theory, poetic theory, and academic trends.