Selected Poems and Prose of Liu Zongyuan with Commentaries by Renowned Scholars -- Classical Literature Series with Annotations and Critiques by Prominent Figures

Author: Wu Wenzhi (Commentary and Annotation)
Publisher:
Publishing Date: July 1, 2004
Features: Liu Zongyuan (773–819), styled Zihou. Born in Hedong (present-day Yongji, Shanxi), he later moved to Chang'an (present-day Xi'an, Shaanxi) and was known as Liu Hedong. He was also called Liu Liuzhou because he served as the magistrate of Liuzhou. Together with Han Yu, he advocated the Tang Dynasty's classical prose movement and were collectively known as Han and Liu. Liu Zongyuan came from an official family and was renowned for his talent from a young age, harboring lofty ambitions early in life. However, in his early years, he focused on writing with ornate style to pass the imperial examinations. In 793 (the ninth year of the Zhenyuan era), he passed the imperial examinations and, in 804 (the fourteenth year), achieved the title of Scholar of the Imperial Academy. He served as a magistrate of Lantian and later entered the court as an official, actively participating in Wang Shuwen's political reforms and was promoted to the position of Assistant Director of the Ministry of Rites. In September 805 (the first year of the Yongzhen era), the reforms failed, and he was demoted to the position of magistrate of Shaoshan. In November, he was further demoted to the position of magistrate of Yongzhou (present-day Lingling, Hunan). In the spring of 815 (the tenth year of the Yuanhe era), he returned to the capital but was again appointed as the magistrate of Liuzhou (now part of Guangxi), where he achieved outstanding achievements. He passed away in office in November 818 (the fourteenth year of the Yuanhe era). During his exile, many scholars from the south sought knowledge and guidance from him.
Liu Zongyuan emphasized the content of writing and advocated that literature should serve to illuminate the "Dao" (the Way), which should be beneficial to the state and its people and practical in implementation. He attached great importance to the social function of literature, insisting that writing must be meaningful to society. He promoted the perfect combination of ideological content and artistic form, emphasizing that writing must be approached with seriousness and that writers must cultivate moral integrity. He admired the prose of the pre-Qin and Han dynasties and proposed learning from Confucian classics, the Zhuangzi, the Laozi, the Li Sao, and the Records of the Grand Historian, taking what was useful and avoiding an excessive reverence for the past. In the theory of poetry, he inherited the traditions of Liu Xie's emphasis on "" (metaphor and allusion) and Chen Zi'ang's advocacy of "" (inspiration and commentary). His views on satirical poetry aligned with those expressed in his letter to Bai Juyi. His literary theories represented the progressive trends of the literary movement of his time.
Liu Zongyuan left behind over 600 prose and poetry works in his lifetime, with his prose achievements surpassing those of his poetry. His parallel prose includes nearly 100 pieces, which still reflect the conventions of Tang Dynasty parallel prose, but also includes excellent works like the Biography of Nan Jiyun of the Temple of Suizhou. His classical prose can be broadly categorized into five types:
1. Discourses: Includes philosophical and political essays, as well as miscellaneous writings dominated by argumentation. His style is sharp and his arguments precise. Representative works include the philosophical essay On the Heaven and the political essays On Feudalism and On Capital Punishment. Shorter political essays include The Discussion on Guarding Yuan and The Debate on the Seal of the Son of Jin. His philosophical thought contains elements of naive materialism, while his political thought is characterized by a progressive historical view that emphasizes the "force" and Confucian people-centered ideals. However, he was also influenced by Buddhism, especially during his political setbacks, often seeking spiritual solace in it.
2. Fables: He inherited and developed the traditions of the Zhuangzi, the Han Feizi, the Lüshi Chunqiu, the Liezi, and the Zhan Guo Ce, often using them to satirize and critique the vices of society. His ideas were innovative, and he skillfully employed anthropomorphic animal imagery to convey philosophical insights or political views. Representative works include Three Cautionary Tales (The Deer at the Riverside, The Donkey of Qian, and The Rat of Yong) and The Biography of Chuang and The Tale of the Bear. His humor and satire are vividly expressed through humor and mimicry.
3. Biographies: He inherited the traditions of the Records of the Grand Historian and the Records of the Han Dynasty while also innovating. Representative works include The Anecdotes of Grand Tutor Duan and The Biography of the Master of Wood. Some works, based on real people and events, include exaggeration and fiction, resembling both fables and fiction, such as The Biography of Song Qing and The Biography of Guo Taotuo, the Tree Farmer.
4. Landscape Travelogues: These are highly acclaimed and were written during his exile, with those from Yongzhou being particularly outstanding. His most famous works are the Eight Records of Yongzhou: The Banquet at the Western Hills of Xishan, The Record of the Coiled Spring Pool, The Record of the Western Small Hill of Coiled Spring, The Record of the Western Small Stone Pool of Coiled Spring, The Record of Yuan's Spring, The Record of the Stone Canal, The Record of the Stone Gully, and The Record of the Small Stone Mountain. These works not only use beautiful scenery to express his own misfortunes and frustrations but also depict his tranquil state of mind, reflecting his search for spiritual solace in extreme distress. His direct portrayals of landscapes are either rugged and pure or serene and magnificent, using exquisite language to recreate natural beauty.
5. Regulative Prose (Shao Fu): These have a unique style. Works like The Punitive Ode, The Lament for Chuang, The Dream of Return, and The Ode of the Mountain Prison follow the style of the Li Sao and the Nine Pieces. Some are direct expressions of his emotions, others use ancient stories to reflect on himself, and some employ allegory to satirize. His profound and melancholic language deeply embodies the essence of the Li Sao. The two monumental works, The Response to Heaven and The Inquiry of Jin, follow the forms of The Heavenly Questions and The Seven Elegies, 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 the Precepts.
Liu Zongyuan left behind over 140 poems, all written during his exile. His predecessors ranked him alongside Wang Wei, Meng Haoran, and Wei Yingwu as one of the "Four Masters of Poetry." Some of his five-character poems in ancient style resemble the ideological content of Tao Yuanming's poetry, with simple and natural language, a refined and profound style, and a deep meaning. Other five-character poems are influenced by Xie Lingyun, with exquisite language, occasional philosophical reflections, and even the way he titles his poems mimicking Xie's style. However, Liu's poetry blends clarity with melancholy, showing both similarities and differences.
Among his regulated verse (lüshi), the regulated couplet On the Tower of Liuzhou, Sending Off the Magistrates of Zhang, Ting, Feng, and Lian is a renowned regulated verse of the Tang Dynasty. The quatrain River Snow is also an exceptional work among Tang Dynasty quatrains.