The author is the director of the National Social Science Fund project "The Classic of Mountains and Rivers", and a professor of the School of Chinese Language and Literature, Southwest University for Nationalities
When we read Tao Yuanming's poetry anthology, one of the outstanding feelings is that there are many different essays in his works. For example, the earliest edition of Tao Yuanming Collection in existence, there are more than 700 different writings recorded in the Song Dynasty carved manuscript Tao Yuanming Collection now in the National Library. The numerous variations in the poetry and prose collections indicate that Tao Yuanming's poetry and prose have been widely popular in the era of transcripts before the appearance of the printed version. It is because of its popularity that it has been copied frequently that a large number of variant texts have been produced.
Theoretically, an author's original is a manuscript, and the words should be fixed and unique. When we are faced with a large number of different essays collected by Tao Yuanming, it is inevitable that we will have such a question, which is the author's original? Or all of them are not the original, and the real original needs scholars to seek after careful and meticulous research. It is an extremely difficult process to determine which is the original text in multiple versions of foreign languages, or to exclude all foreign languages and find another original text. It is also an important work. Because only by establishing the original, can we ensure that the words we read are the words written by Tao Yuanming, not the mistakes of later generations' copywriters or engravers.
Taking two variant texts in Tao Yuanming's poem group "Reading the Thirteen Mountains and Seas" as an example, we will see how to choose or reject the variant texts or reconstruct the original. At the same time, if the evolution path between the reconstructed original text and the variant text can be reasonably explained, the credibility of the reconstructed original text can be greatly improved.
"鴅 Goose" is mistaken for "鴸 Singing"
According to the revised edition of Collection of Tao Yuanming from the Song Dynasty, the first two sentences of the twelfth poem in the series "When the goose sees the city, the state will release the scholar", in which the word "goose" is used, the original note said: "One piece of work 'Singing the swan'." The same is known for the Zeng Collection and the Su Collection. However, we can't find the corresponding words in the Book of Mountains and Seas, no matter whether it is "Yi Goose" or "Ming Hu" in a variant, which is obviously wrong. Therefore, in the first year of Song Chunyou's reign (1241), Tang Han's version of "Yi Goose" was written as "Yi Goose", but the self annotation said, "It is regarded as an 'Owl'. Under the volume of Xixi Congyu, there is a large section of interpretation of Tao Yuanming's Thirteen Songs of Reading the Book of Mountains and Seas. The interpretation first quotes Tao's poems, then quotes the Book of Mountains and Seas and other documents for explanation. The twelfth cited pottery poem "When an owl sees a city, its state will release scholars". It can be seen that Yao Kuan's version of the pottery collection is "an owl". Yao Kuan also cited the Shanhaijing as evidence, and said: "It is not true that 'Owl' or 'Goose' or 'Singing Que'." The variant text of 'Goose' was inherited by Tang Han, but the versions of 'Owl' and 'Singing Que' could not be passed down. Tang Han's school reform has received a positive response from later generations. Li Gonghuan of the Yuan Dynasty's Commentary on Tao Yuanming's Collection and the collection of Tao in the Ming and Qing Dynasties mostly copied Tang Han's version.
In modern times, Ding Fubao's Commentary on Tao Yuanming's Poems still wrote "鸼鸼鸼鸼鸼鸼鴸" in the main body, he said: "鸼鸼鸼辀辀辀辀辀辀辀辀辀辀辀辀辀辀辁辀辀辀辁辁辀3673.
Most scholars accepted Tang Han's correction and directly used "Owl" as the main text, such as Fu Donghua's "Tao Yuanming's Poems", Gu Zhi's "Reviewing Tao Yuanming's Poetry Notes", Wang Yao's "Tao Yuanming's Collection", Wang Mengbai's "Tao Yuanming's Poetry Notes", Sun Junxi's "Tao Yuanming's Collection Notes", Yuan Xingpei's "Tao Yuanming's Collection Notes", Gong Bin's "Tao Yuanming's Collection Notes", Meng Erdong's "Tao Yuanming's Collection Notes" It seems that the theory of "Owl" has become the mainstream in the academic world.
Tian Xiaofei of Harvard University put forward a different view in his book "A Brief Record of Dust -- A Study of Tao Yuanming and Manuscript Culture": "Li Gonghuan thought that the first sentence 'Tuo Goose' was regarded as' Owl '. In fact, the first word of the poem should be' Tuo 'in Zeng Ji's version and Su's version, and the second word could be' Tuo 'in Li's version." In fact, predecessors had the same view for a long time, Wu Renchen in the Qing Dynasty said in his "Commentary on the Book of Mountains and Seas" that "Tao Qian's poem" Reading the Book of Mountains and Seas ": 'When a goose sees a city, the state will release its scholars.' Or, as the saying goes, 'A goose is a bird'." Yuan Ke's "Commentary on the Book of Mountains and Seas" believes that "It is a bird '." He also said: "This is like an owl's bird', or it is the death of red ink." A connection was established between Jiangyuniao and Yao's eldest son, Danzhu. The Book of History · Yao Code says: "The emperor said: 'Chou Zi is like a person who ascended to the throne at that time?' Fang Qi said: 'Yin Zi Zhu Qiming He thought: "Zhu is a kind of divine bird in the myth... also called '鴸'." On the surface, "Zhu=Danzhu", "鴸=鴅 鴸" correspond neatly, but it is difficult to determine whether one is a person's name and the other is a bird's name. Even if it can be established, this is only the view of later scholars. Tao Yuanming was never informed of it, so it is impossible to write "鴅 鴸" in the Book of Mountains and Seas.
Portrait of Tao Yuanming (Wushuangpu in Qing Dynasty) Author/Picture provided
Tao Yuanming's Thirteen Songs of Reading the Book of Mountains and Seas (a revised version of the Song Dynasty)
However, whether it is the "goose" and "goose" with version basis, or the "bird", "bird" and "bird" revised by later generations, it is difficult to say that it is closely connected with the original Shanhaijing. "The Book of Mountains and Seas · The Book of Nanshan" says: "The first of the" South Second Classics "is called the ark mountain, where there are birds. Its shape is like an owl, and its voice is like Bi. Its name is Yi, and its name comes from its name. If you see it, there will be many free scholars in the county." The word "free scholars" is only seen in the book of the "Book of Mountains and Seas", so the two lines of Tao's poem "If you see a city with a goose, there will be free scholars in the country" must be written according to the words in this section. However, the Book of Mountains and Seas clearly records that the bird's name is a single name, called "鴸", which has nothing to do with "鴅 鴸"; Although its shape is "like an owl", it can never be called "the owl", so the school reform of later generations is difficult to establish.
What should Tao Yuanming's poems originally be? We believe that the first word should be taken from the variant "Singing Goose" recorded in the Song Dynasty Carving Edition, Zeng Ji Edition and Su Writing Edition, the variant "Singing Que" recorded in Xixi Cong Yu, and the "Singing" character in the variant "Singing Goose" recorded in He Tao Edition; The second word should be taken from the word "鴸" in "鴸" recorded in "Xixi Congyu", that is, it was originally regarded as "鴸鴸鴸 saw the city, and its state-owned release scholars". So it can be closely connected with the records in the Book of Mountains and Seas. You may ask, can such school reform be established? The word "Ming" is based on different versions, and the word "鴸鴸" is based on the evidence of Shanhaijing documents, which is obviously valid. Not only that, we can further prove the correctness of this correction according to Guo Pu's "Mountain and Sea Sutra Tuzan" (hereinafter referred to as "Tuzan"). The earliest annotator of Shanhaijing was Guo Pu of the Eastern Jin Dynasty, who also wrote Tuzan. In Guo Pu's Tuzan, which is attached to the Daozang version of the Shanhaijing, it goes like this: "Comets cross the sky, whales die in the waves. When the birds sing in the town, the sages see the freedom. The reason is subtle, and the words are not bad." It can be seen clearly that Tao Yuanming's two lines, "When the birds sing in the town, the country will release the scholars", directly use the two lines of Guo Pu's Tuzan, "When the birds sing in the town, the sages see the freedom", It shows that Tao Yuanming is very familiar with Guo Pu's Tu Zan. Guo Pu and Tao Yuanming are connected with "letting go of scholars" by "singing/singing". The Ming Dynasty Yang Shen's "Rong Lv Fu": "chanting the introduction of the Qing people, feeling the singing of the letting go of scholars". It is also connected with "letting go of scholars" by "singing", which can be described as a poet's thought, and has been hidden for thousands of years.
Finally, we will briefly examine the evolution of the variant text of "Ming Xuan". The word "Ming Que" of "Ming Que" or "Que" because of its similarity in shape, is the "Ming Que" recorded in Xixi Congyu; Or he falsely wrote "Hu" because of the similarity of the form, that is, "Singing Hu" in the variant written in the revised edition, Zeng Ji edition and Su's manuscript of the Song Dynasty; The word "Hu" was also mistaken for "Gu" because of its near form, which means that the variant text "Singing the Gu" in the original version of Cheng He Tao. The word "Ming 鴸鴅鴅鴅鴅鴅鴅鴅鴅鴅鴅鴅鴅鴅鴅鴅鴅鴅鴅鴅鴅鴅鴅鴅鴅; The word "鴅" was mistaken for "鸼" because of its near form, that is, the text of Cheng Tang Han ben and Li Gonghuan ben "鸼 goose"; The word "鴅鴅鴅鴅鴅鴅鴅鴅鴅鴅鴅鴅鴅鴅鴅鴅鴅鴅鴅鴅鴅鴅鴅“
”, the text of Jicheng and Taoben“
Goose ". It can be seen that the variant texts seem complicated, but the track of their evolution is still clear. The "Owl" in Xixi Congyu may be the correction made by the engravers according to the Shanhaijing.
"Great cunning" is mistaken for "minister danger"
According to the revised edition of Tao Yuanming Collection handed over by the Song Dynasty carver, the first two sentences of the eleventh poem in this series are "the great craftiness is wantonly threatening, and the imperial edict is violated". The word "cunning" in the poem goes like this in the original note: "one work is' dangerous'." The same is known for the Zeng Collection and Su's version. The main text of He Tao's text is also "great cunning", but the annotation is "a work"‘
Dangerous ". "Great cunning" is not found in "The Classic of Mountains and Seas", which is obviously wrong. Ding Fubao's Commentary on Tao Yuanming's Poems was directly changed to "minister danger", which said: "The 'minister danger' is a 'great cunning', which is not. The 'great' is wrong because of its shape, and the 'cunning' is wrong because of its double voice
Ding Fubao's proofreading has the evidence of variant versions and Shanhaijing documents, which is undoubtedly correct and has become a conclusion. Tao Yuanming called "danger" as "minister danger" in his poems, which may be influenced by Guo Pu's "Tu Zan", the subtitle of which is "two negative ministers danger". Although Ding's school reform was completely correct, his explanation of the reason why "Chen Wei" was mistaken as "great cunning" was both right and wrong. It is correct that he made the mistake of "giant" and "minister", as is the case in Shanhaijing. The Shanhaijing Haineinan Sutra says: "The Xiaoyang State is located in the west of Beiqu, where everyone has a long face and lips, a black body with hair, and an anti heel. People laugh when they see it, and the left hand handles it." Guo Pu notes: "The Haineijing is called 'Gan Giant'." The "giant" of "Gan Giant" can be seen in the Song version, the Daozang version, the Ming Chenghua version, and Wang Chongqing's Interpretation of the Shanhaijing. He believes that it is wrong to mistake "danger" and "cunning" for dual tone, because the two words are not dual tone. We believe that the reason why "Wei" was mistaken for "cunning" has also gone through an intermediate process, that is, the word "Wei" was first mistaken for "flower" in the process of copying, because "Wei" is similar to "flower" running script, which is easy to be mistaken. For example, the Mountain and Sea Classic · Xishan Classic says: "The mountain of Huaijiang River is as cloudy as a tree." Guo Pu notes: "The Guoyu says: 'A tree cannot grow flowers.'" In the current edition of Guoyu Jinyu 8, it is said that "the wood is not in danger". It can be seen that "flower" is a mistake of "danger", which can be compared. "Chen Wei" used to be mistaken for "Juhua" in the process of copying. Later generations saw that "Juhua" was meaningless, so it was changed into a homonym of "giant crafty". The word "great cunning" appeared in Zhang Heng's Tokyo Fu in the Eastern Han Dynasty, meaning a person who is a big traitor. The evolution path of its variant writings can be simply marked as: minister danger → huge flower → great cunning, and the word "minister" was not only mistaken for the word "huge", but also used to be mistaken for the variant writings recorded by Tao Ben“
”And the traces of change can be clearly seen.
From the above two examples of Tao's poems in different languages, it can be seen that the early versions of the original text and different languages need to be re selected and referred to the "Book of Mountains and Rivers" to get an accurate text. Therefore, we speculate that there are still many mistakes in Tao Yuanming's collection text seen today. We also need to refer to the "Book of Mountains and Rivers" and other relevant documents to conduct a detailed investigation, eliminate the interference of mistakes, and provide the academic community with a collection of Tao Yuanming that is as close to the original as possible, which is one of the directions that Tao Yuanming needs to focus on in the future.
(Editor in charge: Jin Yi, Huang Wei)
