The Poem Says China's 5000 Years. Song, Liao, Jin, Yuan Volume

Author: Wu Heqing, Li Yongxian
Publisher:
Publishing Date: 2006-06-01
Features: In the long and continuous history of China, poetry has been the mainstream of literary art for a considerable period. Poetry, with its brevity, clear rhythm, harmonious sound, implicit meaning, and ease of recitation, has been particularly favored by people. For example, the Classic of Poetry (Shijing) consists of 300 poems, with simple yet beautiful language. Whether for expressing emotions or recording events, it possesses strong artistic appeal. Since Confucius compiled it, it has been highly valued by scholars and literati. The Confucian school regarded it as a classic, repeatedly studying it, and achieving mastery in its subtleties could make one a renowned expert. The Classic of Poetry has had a profound influence on the development of later poetry, from the Chu Ci and Han Fu to the Yuefu of the Wei, Jin, and Southern and Northern Dynasties, from Tang poetry and Song Ci to modern vernacular free verse. Chinese poetry has a long and rich heritage, with an abundance of outstanding works. Classical poetry gradually evolved from the initial focus on expressing emotions and describing objects to two main directions: romanticism and realism. Among them, narrative poetry, with its strong social impact, was highly valued. For instance, the Mulan Poem and other Yuefu poems like The Mulberry Grove, The Imperial Guard, and The Peacock Flying Eastward from the Han and Wei dynasties have long been cherished for their enduring charm. Du Fu’s “Three Officials and Three Farewells,” Bai Juyi’s Song of Everlasting Sorrow and The Ballad of the Pipa, and Yuan Zhen’s Ode to the Palace of Connected Fragrances are timeless masterpieces. Since the Ming and Qing dynasties, Li Dongyang’s Song of the Flower General, Li Mengyang’s Ode to the Xueming Palace, Wei Yuan’s Lingnan Ode and Ode of the Capital, and Huang Zunxian’s Song of General Nie and Lament for Lushun have all strived to match the artistic heights of their predecessors, all being immortal works. Compiling collections of narrative poetry is an excellent tradition in Chinese scholarship. In the Southern Song Dynasty, Ji Yougong extensively collected Tang poetry materials and compiled a monumental work, first publishing Records of Tang Poetry, followed by Li Xiao’s Records of Song Poetry, Chen Yan’s Records of Liao, Jin, and Yuan Poetry, Chen Tian’s Records of Ming Poetry, Deng Zhicheng’s Initial Records of Qing Poetry, and Qian Zhonglian’s Records of Qing Poetry, edited by Qian Zhonglian. These works, though chronologically connected and following similar formats, differ in purpose: some aim to uncover hidden truths and “verify history through poetry,” others seek to evaluate artistic merit and “verify poetry through history,” while some simply preserve anecdotes and works of poets of a generation. Records of Tang Poetry was compiled by Ji Yougong out of concern for the loss of authors’ biographies, collecting the main works and anecdotes of 1,150 poets, preserving valuable materials. However, its shortcomings include the lack of citations and a lenient selection criterion, with a significant number of poems lacking substantiation. Records of Song Poetry was compiled by Li Xiao, who noticed that later generations overlooked the artistic value of Song Ci, aiming to reform literary trends. His “events” still referred not to major social, political, or economic events but to anecdotes of poets’ creative processes, supplemented by critical reviews, resembling a comprehensive collection of poetry for a generation. Chen Yan’s Records of Liao, Jin, and Yuan Poetry follows Li Xiao’s format but maintains stricter selection criteria, excluding non-narrative poems. Chen Tian’s Records of Ming Poetry also follows Li Xiao’s tradition, focusing on collecting poets’ anecdotes while occasionally including long poems reflecting major political events, though works without significant events still occupy a considerable portion. Deng Zhicheng, treating poetry as a historian, meticulously verified the biographies of the 600 poets included in Initial Records of Qing Poetry, selecting over 2,000 poems with rigorous standards, excluding works without substantial events. From this perspective, his selections are not limited to renowned poets but prioritize “events.” Unfortunately, he only covered the Qing emperors Shunzhi and Kangxi. Qian Zhonglian, professor and editor of Records of Qing Poetry, combines the strengths of various formats, citing over 1,000 books and including more than 5,000 authors, creating a monumental work that comprehensively covers poets’ anecdotes and important narrative poems. These collections generally follow the format of associating people with poems, with works on the same event scattered across volumes, making retrieval difficult due to their vast size. “Verifying poetry through history” is an excellent academic tradition in China. Huang Zongxi, a renowned thinker in the early Qing Dynasty, advocated for “complementing history with poetry,” once stating: “When praising Du Fu’s poetry as a history of poetry, it is indeed true. However, those annotating Du Fu’s poetry only see verifying poetry through history, yet they have never heard of complementing historical gaps with poetry. Though called a history of poetry, history is not entirely dependent on poetry.” (Huang Zongxi: Preface to the Poetry of Mr. Wan Lian’an, from Collected Works of Nanlei Volume 1). Chen Yinque, a famous historian, recognized this and engaged in research on “verifying poetry through history,” his Commentary and Verification of Yuan and Bai’s Poetry holding great academic value and being highly regarded by scholars. Most official histories have been meticulously altered and embellished by rulers, presenting a false facade and concealing the truth. Through the authenticating method of “verifying poetry through history,” gaps in historical records can be filled, allowing people to approach historical reality. Based on this understanding, we have carefully selected narrative poems of various themes, adopting the format of “associating events with poems” to compile this book, attempting to find historical truth through the intersection of literature and history, appreciate poetic art, and disseminate knowledge. We hope that through systematic reading of these epic poems, literary enthusiasts can recognize the rise and fall of Chinese history over five thousand years, while history enthusiasts can appreciate the social impact of poetic art and enhance their literary and artistic appreciation. In compiling this book, we have strived for consistency across volumes, but due to the division of labor among multiple contributors, minor inconsistencies may exist. We apologize for any inconvenience. Additionally, due to the urgency of compilation, omissions are inevitable. We sincerely welcome your corrections and suggestions.