History of Tang Dynasty Literature (Volume 1 and 2)

Author: Qiao Xiangzhong, Dong Naibin
Publisher:
Publish Date: 1995-12-01
Features: Wang Bo, Yang Jiong, Lu Zhaolin, and Luo Binwang, who were active in the early Tang literary scene alongside Wang Guoyi, formed another prominent group of writers known as the "Four Masters of Early Tang" or simply "Wang, Yang, Lu, and Luo." The earliest to propose this sequence was the poet Song Zhiwen of the same era, who wrote in "Eulogy for Scholar Du Shenyan": "Later, there were Wang, Yang, Lu, and Luo, followed by Zi Yue in the clouds. Wang, with his talent, was a minister in Western Shanxi; Yang, a distant governor in Eastern Wu; Lu, sorrowful for his mountain retreat and illness; and Luo, unable to protect his family and body. By fate, they could not rely on fortune or longevity; by divine displeasure, they could not enjoy both glory and substance. Unlucky in life, they perished, but their names, great and immortal, remain." This indicates that the Four Masters were highly regarded in their own time. This overall evaluation of the Four Masters (including Du Shenyan) was neither based solely on the of their literary works nor on age order, and it has been ever since. The Four Masters were a highly influential reformist literary group during the reigns of Emperor Gaozong and Wu Zetian. Although they belonged to different generations, they shared many similarities in their life paths. Three of them were renowned as child prodigies in their youth. They were celebrated for their talent and driven by ambitions for success, yet they all suffered setbacks from the ruling class under different circumstances, which exposed them to a broader range of social life. They despised the ornate and overly rigid literary style prevalent in the imperial court and deeply feared that the path of elegance and refinement would be lost. To reform the literary style, they all clearly expressed their views and pioneered new paths in their creations, each making significant contributions. Due to their low social status and turbulent lives, especially their bleak aftermath (the extinction of the Wang and Luo clans, and the lack of descendants for Yang and Lu), they faced numerous criticisms. Some called them "frivolous and superficial" (in the New Book of Tang·Biography of Pei Xingjian), others "showy without substance, failing to end well" (Zhang Yue's Epitaph for Grand Tutor Pei Gong), yet others referred to Yang Jiong's writings as a "ghost list" or Luo Binwang as a "calculation scholar" (Zhang Wu's Record of Court and World), and some even posthumously branded them as "tyrants" (Ji Yougong's Annals of Tang Poetry). The rumors of disputes over their rankings, such as "Lu before Wang," were recorded in history, and countless derogatory remarks were made. However, their literary reforms, new achievements, and contributions in poetry and prose were often underestimated, dismissed in a few words. These frivolous criticisms had long angered Du Fu, who responded in his Six Quatrain Jokes with: "Wang, Yang, Lu, and Luo were of their time, but critics mock their frivolous writings. Your names and fame may perish, but the rivers and seas will flow forever." This is a fair assessment of the Four Masters. They were not only poets but also masters of parallel prose, and their achievements and reputation in parallel prose were no less than in poetry. Although their parallel prose followed the formal structure of four-and-six parallel lines, it brimmed with rich diction, vibrant language, and an air of brilliance and elegance. Their prose, whether in argument, narration, or expression, was unrestrained and fluid. Luo Binwang's Imperial Edict Against Wu Zetian was full of passionate indignation; Lu Zhaolin's Five Laments and Release from Illness were profound and sorrowful; Wang Bo's Preface to the Pavilion of Prince Teng was magnificent and exquisite; and Yang Jiong's Preface to Wang Bo's Collection was spirited and lively. All of these works possessed strong artistic appeal and have been praised throughout history, standing in stark contrast to the ornate and overly decorated parallel prose of the Chen and Sui dynasties. Some called it "the new parallel prose of the Tang Dynasty." This parallel prose, too, carried revolutionary significance. It remained popular in Tang and Song administrative documents for a long time and coexisted with the classical prose of the Tang-Song Eight Great Masters without conflict—for good reason. Following the traditional order, we will first discuss Wang Bo and Yang Jiong. In the first year of Emperor Gaozong's reign (650), in the regions of Qin and Jin along the Yellow River, two prodigies were born—Wang Bo and Yang Jiong. Both shone with literary brilliance in their time, but their life paths and fates were vastly different. Wang Bo's short life was fraught with hardships and ended tragically in an untimely death. Yang Jiong, on the other hand, spent his life in relative tranquility in the imperial court, though he was temporarily exiled as a judicial officer to Zhizhou. Upon completing his term, he returned to the capital, which cannot be considered a major disaster. Among the Four Masters, Yang Jiong had the best outcome. P93-94