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The Discourse Era of Song and Yuan Dynasties and Its Textbooks

There was a folk skill called "talking" in Song Dynasty, which developed from "talking" in Tang Dynasty and absorbed some characteristics of Bianwen. It was still popular in the Yuan Dynasty. Its content is mainly telling stories. The popular novels of Song and Yuan Dynasties that we know now are basically scripts used by "talking" artists at that time, that is, "speakers", so they are also called "storytelling". But it may be added or deleted on the basis of the original version, which is different from the original appearance.

There are four schools of "talking" in Song Dynasty. According to the article "Washe all the geisha" in Song Dynasty gardener Nai Deong's "The Capital is Prosperous":

There are four "speakers". A person's novels are called silver characters, such as smoke powder, ghosts, legends, telling legal cases (all about giant knives, poles, sticks and getting rich) and telling iron fighters (that is, about Ma Shijin Valley). To say scripture means to say Buddhist scripture; When we say "participation", we mean "participation in Zen and enlightenment". Talking about history books and biographies of the previous generation, Tan Xing's war of abolition is most afraid of novelists, who can tell stories from generation to generation in an instant. Synbiotics, similar to now and now, have their own things.

Correspondingly, the four "Shuo" schools are: first, novels; Second, say classic, including inviting you;

Third, tell the history; Fourth, joint health. Lu Xun's A Brief History of Chinese Fiction and Historical Changes of China's Fiction generally adopt this statement, and Sun Kai's The Number of Speakers in the Song Dynasty makes a detailed textual research on it, which can be seen. However, due to Hong Mai's "Jane Yizhi", Volume 2, Volume 6, "Hesheng Poetry", it is said that "Jiangsu and Zhejiang women have the wisdom of writing and ink, and they can recite things at the table, saying that they must walk, which is called harmony."

The funny and ironic person is called Joe. Some researchers think that "Hesheng" does not belong to one of the four schools of thought, and punctuate this passage quoted in Das Kapital in other ways, so there are other ways to divide the four schools of thought. But it seems not as safe as the split between Lu Xun and Sun Jiedi.

(1) Only among the four "talkers", Hesheng has the least influence. Based on the records in Dream of China in Tokyo, Dream of Liang Lumeng, Countless Records of Old People in West Lake, Jingshi Jisheng and Old Stories of Wulin, only two Hesheng artists have names to test, while there are dozens of novels and stories with similar stories. Hesheng has been declining since the end of the Southern Song Dynasty. Therefore, there is a story about "talking" in Volume 20 of Meng Lianggu, the title of which is "Fiction Telling History", and there is no mention of harmony. As for the characteristics of synbiotics, it is difficult to understand now, because the previous records are vague.

(1) Hong Mai gave two examples in this paper. One is a casual musician, who "sings" a seven-melody, sings with each other and two satraps. The other is a woman who sings Zhu Gong's tune, and her Shu Huai ditty uses plum blossoms in the snow as a metaphor. In addition, Zhang Qixian's "Luoyang Paper Expensive Past" said: "There is a woman who talks about songs, Yang Zhuluo, who is good at combining and joking." This paper also records the singer's five-character poem mocking a spider (actually mocking a fat monk), from which we can see Hong Mai's so-called "legacy of Kyoto". It "taunts spiders", that is, a kind of "finger". According to Biography of Wu Ping, a Book of the New Tang Dynasty: "I think what Le Hu did to temperament was the number of four barbarians. Bilai ... A witch, a monk, a street boy, or a princess, or a prince, singing and dancing, called him a harmonious life. " That is, "co-birth" appeared in the Tang Dynasty, which was originally "applied to temperament" and could also be combined with dance, so there was a language of "singing and dancing"; The content of "calling the princess the master of feelings and looks, or listing the names and qualities of princes" is obviously related to "chanting". Hong Mai's poems are all "songs" and "songs" written by musicians, and Zhang Qixian's poems are also poems written by "singers", which should be regarded as the continuation of "harmony with temperament" in Tang Dynasty. Ye Luo's Introduction to Fiction, Volume I, and The Collection of Xu Yin: "Novelists flow ... or play with history, or they are made for each other." The novel here is a broad concept, which is similar to what is usually called "novel" today, so it can be called "or history"

From this record, we can know that its so-called "cohabitation" is a novel in a broad sense and also tells stories.

With the same name as Hong Mai's Synbiotics, it refers to things and sings them, adding "Yin" and "Song". In other words, there were two kinds of "joint life" at that time, one was "speaking" and the other was reciting poems. According to Hong Mai, in the Southern Song Dynasty when he lived, the latter kind of "Harmony" was performed by women ("Qilu Mausoleum Women"), while the "Harmony" artist recorded in "The Old Man of the West Lake" was a "double scholar", obviously not a woman. It can also be seen that the "harmony and prosperity" recorded in "The Old Man in the West Lake" is not what Hong Mai called "harmony and prosperity", but should be.

The form of "saying" generally begins with poetry and ends with poetry. In the narrative process, poems and parallel prose are often mixed together, so they are also called "poetry talk" and "ci talk".

As for the difference between "novel", "talking about history" and "talking about classics", Lu Xun said: "The style of talking about history is mixed with empty words when telling historical facts. The text of the novel tells a story and knows the ending. "

(A Brief History of Chinese Fiction: A Story of Song Dynasty) Although Shuojing is about Buddhist books, it later developed into a story devoted to Buddhist history, which is close to "novel" and "history", but the theme is different, and its representative is "Three Monks Learn Tang Poetry".

Both "Tan" and "Bian Wen" in Tang Dynasty belong to the category of folk literature.

From this point of view, as its successor, Song Yuanzhi's "Tan" should also be of the same nature. Moreover, the "talking" in Song Dynasty was mainly described in "Washe", and its audience was mainly ordinary people, as was the main audience of "talking" in Yuan Dynasty, so it can be regarded as ordinary literature. On the other hand, the "talking" in Song and Yuan Dynasties was deeply influenced by classical Chinese novels since the Six Dynasties. Ye Luo's "Novel Development" said in "Drunken Talk":

Novelists, although at the end of their studies, are particularly knowledgeable. There is a reason for the extraordinary and superficial flow of knowledge. Young students learn Tai Ping Guang Ji and attack history books for a long time. Smoke powder travels strangely and accumulates in the chest; Romantic knowledge, only on lips and kisses. There is everything in "Jane Yizhi" and everything in "Ying Ying Ji". Move whistle, middle whistle, is it Dongshan Laughing Forest? Quotation and bottom quotation must return to the green window Newspeak.

Of course, Tai Ping Guang Ji contains many stories of the Six Dynasties and legends of the Tang Dynasty. Jane Yizhi and Green Window Mandarin are also famous works in the Song Dynasty. Therefore, the development of vernacular novels in Song and Yuan Dynasties is based on classical Chinese novels since the Six Dynasties. This can also be seen in specific works. For example, Chen Xunjian's "The Wife Lost in Meiling" (Qing Pingshan Tang Huaben) was obviously born out of the Tang legend "The Biography of General Bujiang and White Ape". As for Ye Luo's "attack on history", it also points out the close relationship between China's ancient novels and history books.

(1) The Taiping Guang Ji mentioned in A Drunken Man's Feelings Are Not Drinks is probably not the original text compiled by Liu Yun and others, but has been added or deleted for the purpose of "the speaker". The reasons are as follows: 1. A secret engagement with Li Niang, recorded in the first volume of The Drunken Man's Talk, describes the current events in Bao Zheng in the Song Dynasty, but it is said that "everything is seen in Taiping Guang Ji". The Five Commandments of Zen Master's Private Red Lotus in Shantang Dialect of Qingping narrates the current events in Song Yingzong, and also says: "Although it is a famous talk about Hanyuan, it is compiled into Taiping Guang Ji." These two articles are not only not included in the Taiping Guang Ji compiled by Liu Yun and others, but also out of date. Therefore, when there is "Tai Ping Guang Ji". But since the old name is used, most of the works should come from the original.

As far as we know now, it is difficult to tell which is Song's and which is Yuan's. I used to think it was a script of the Song Dynasty, but today it seems basically unreliable. Because at that time, as the basis of judgment, one was recorded in old books and the other was in kind, which contained many problems.

Among the old books, the original name of the Song and Yuan dialects is Ye Luo's Drunken Weng Tan Lu; Qian Ceng's Collection of Books in Shupu Hall and Bibliography of Gardens also recorded "Ci-Hua of Song People". The Drunken Man's Record was lost in China, then found in Japan, and is now in the Tian Li Library in Japan. Printing published in China comes from Japanese collections. When this book was first discovered in Japan, it was mistaken for the Southern Song Dynasty. A large number of scripts recorded in the book are naturally considered as Song scripts. However, Japanese academic circles later discovered that the original judgment was not accurate. When introducing this book, they also said: "This book is generally considered to be the Southern Song version, but you can see the names of people in the Yuan Dynasty and feel the style of worshipping Song, and then you can survey the layout, or it can be the version in the late Song Dynasty and early Yuan Dynasty." (Published by tenri university Publishing Department 1966, p. 1). However, the names of known Yuan people were not published at the end of the Song Dynasty, and were already under the pursuit of the Song Dynasty. It was first published in the early Yuan Dynasty. It is said that "or it was published at the end of the Song Dynasty and the beginning of the Yuan Dynasty" may be somewhat accommodating to the old theory (the so-called "Southern Song Edition"). In addition, there is a sentence that "Zhao Zheng angered the capital" in the novel "The Drunken Man's Intention is not in the Wine Tan Lu", while Yuan Zhong's "Ghost Book Lu" records Lu Xianzhi's words: "The people of the capital of song dynasty have a copy of" My good son Zhao Zheng ". Then the work of Drunken Man's Record should be after Lu Xianzhi wrote My Good Son Zhao Zheng. Therefore, we can only think that these words recorded in "Drunken Weng Tan Lu" came from the Yuan Dynasty and before, and we can't tell which is Song and which is Yuan. As for the "Ci-Hua of Song people" recorded in Shugutang Collection and Garden Bibliography, it may not be reliable. There are twelve kinds of "Song Hua Ci" recorded in the two books. There are only five kinds recorded in Shugutang Collection; Most of these 17 species have died today. Among them, there are five books in Qingping Shantang Dialect, namely Notes on Monks, Notes on the Three Pagodas of West Lake, Notes on Liu Shi's Wine Play and Jiangta, Moonlight and Notes on Contracts, all of which are not earlier than the Yuan Dynasty.

(1) For the textual research on the time of these five manuscripts, please refer to Zhang's On the Existing So-called Transcripts of the Song Dynasty, published in Journal of Shanghai University,No. 1996,No. 1. In addition, in this section, all the questions related to the script era are different from the popular saying. Please see this article unless otherwise indicated.

(2) Mr. Sun Jiedi's Bibliography of Popular Novels in China was mistaken for Tan Luchuan, and then he thought that "Zhao Zheng's story had stories in Yuan and Southern Song Dynasties" and "Lu Xianzhi also adapted the old version, which was not creative". However, since "The Drunken Man's Drinks Are Not in the Wine" is the premise of the Southern Song Dynasty book, then "Haoer Zhao Zheng" should be the creation of Lu Xianzhi.

Let's talk about the real thing. The most important thing in this respect is the popular novels in Beijing. The earliest book that can be seen now is 1920 Miao's Essays of East Tang Dynasty in Cigarette Cards, and * * * received seven articles. Miao said in the Postscript that the original book was written by the Shadow Yuan people.

In the book, Feng Yumei met again and talked about "the year when I made suggestions in Song Dynasty", "the year when Cui Ning was wrongly beheaded", "the year when the Bodhisattva crossed the river" and "the vitality of my Song Dynasty was damaged by Xi Ning's political reform". Therefore, in the 1950s and before, researchers thought that all four of them were written by Song people, and even thought that the other three were from Song Dynasty. However, in 1965, Ma Youyuan and Ma Tailai published The Age and Authenticity of Various Popular Novels in Beijing (Journal of Tsinghua University, Taiwan Province Province, new 5 volumes, 1 issue), pointing out that the Popular Novels in Beijing were compiled according to Feng Menglong's "Wake Up the World", and the Reunion was even before Miao. As for the words "I'm in the Dynasty", "I'm in the Song Dynasty" and "Da Song Dynasty" appearing in the book, they are all absent from Shi Jing's Childlike Eyes and Xing Shi Heng Yan, which were revised by the editors of Jing Ben Popular Fiction in order to show that these works are really scripts of Song people.

(1) This point was first discovered by the late Mr. Sun Jiedi, and Ma Youyuan and Ma Tailai have explained it in their papers: Sun's theory can be found in The Development of China's Short Vernacular Novels.

Therefore, they think that this is a fake book based on the words of warning the world and the words of awakening the world, and the forger is probably Miao Sunquan. Before they published this article, some scholars had doubts about the background of Kyoto popular novels, such as Zheng Zhenduo and Japanese Nagazawa Katsuya and Ji Chuan Kojiro. But they are not so clear and powerful. After its publication, many influential scholars highly affirmed it, such as patrickHanan in the United States and AndréLévy in France. Su Xing, a scholar in China, didn't see their papers at that time, but through his own research, he also came to the conclusion that the popular novels in Beijing are fake books (see Su Xing's Doubt about the Popular Novels in Beijing, containing cultural relics 1978, No.3). Therefore, the popular novels in Beijing can't be used as the material objects to judge the Song version.

In addition, there are five generations of historical Pinghua, Liang Gong Jiu Jian, and Tang Sanzang's poems on learning from the scriptures, which are also regarded as Song editions by many scholars. However, except for Nine Jian of Liang Gong, the time is unknown (there is no evidence to prove that it is a Song dialect version), the other two are Yuan dialect versions. Another example is Cui Daizhao's Enemies of Life and Death, Ghost Cave, Destroying the Monster and Awakening the World in Feng Menglong's Warning Story. The captions are "The Story of the Song Dynasty is called Broken Jade Guanyin" and "The Story of the Song Dynasty, the old name is' A Ghost in the West Mountain'". Therefore, it is usually considered as a book of Song dialects. Cui Daizhao's Enemies of Life and Death and A Cave of Ghost Roads contain the language and life characteristics of Ming people. It is estimated that it has been greatly processed by Feng Menglong, and it is not what it used to be. It is difficult to judge whether their background is the Song version of the Yuan Dynasty. Fifteen jokes make a coincidence that disaster is a meta-version, and it is impossible to tell whether it has been handled by Feng Menglong.

(1) "Cui Daizhao is an enemy of life and death" refers to "Tanzhou Prefecture, Hunan Province", which is a place name in the Ming Dynasty. "A Hole in a Ghost Road" said that Wu Hong went to Lin 'an to take the exam, but failed to pass the exam, so he settled in Lin 'an. Plan to "move in the next three years, choose a venue, and then seek fame." This situation can only occur in the Ming and Qing Dynasties. For details, please refer to Zhang's "About the Existing So-called Book". According to historical records, in February of A.D. 1279, the remnants of the Southern Song Dynasty and the Yuan Army launched a great naval battle in Yamen Sea (now Jiangmen City) in Xinhui for more than 20 days. The two sides invested more than 500,000 troops and used more than 2,000 warships. In the end, Song Jun was completely annihilated, the warship sank, and 654.38 million corpses were floating at sea, which ended the Southern Song Dynasty.

In the second year of Song Deyou (1276), the Yuan Army entered Lin 'an (now Hangzhou, Zhejiang). In the Southern Song Dynasty, Empress Xie led hundreds of officials to surrender to the Yuan Army. Yang took Zhao Min, Yi Wang, Zhao Min and some ministers to Fujian and Guangdong to continue the Anti-Japanese War. Finally, she established a pilgrimage site in Yashan, Xinhui, Jiangmen, which was called "the two kings moved south" in history. On the way south, Chen, Zhang Shijie, Lu Xiufu, etc. Zhao Yunli made Li emperor and became emperor himself. 1March 278, Duanzong died in Tanzhou Island, Zhanjiang City. Lu Xiufu, Zhang Shijie and others made Zhao Min emperor again, and changed Jingyan three years to the first year of Xiangxing. During his stay in Yashan, Song Shaodi, Zhao Min built palaces and military houses, trained foot soldiers, made ships and weapons, and opened the market to promote trade. Hearing the news, all localities organized insurgents, delivered rations and materials, and assembled more than 200,000 officers and men.

In the second year of Xiangxing (1279), in the first month, marshal Zhang Hongfan of the Yuan Army, together with deputy commander Heng Li, attacked the cliff mountain by land and water. Zhang Shijie made a decisive battle plan, assembled more than 1000 warships, strengthened the surrounding battle net and formed a strong city at sea. Several attacks by the Yuan Army, including arson and storming, were repelled. Marshal Wen Tianxiang threatened to write to surrender, but Wen Tianxiang resolutely refused. In prison, Wen Tianxiang wrote "Crossing the Ocean in Dingding", which was a farewell song throughout the ages; He used Zhang Shijie's nephew to turn himself in and was scolded by Zhang Shijie. On the 22nd of the first month, the Yuan army occupied the periphery of the cliff mountain, cut off the grain and water supply line in Song Jun, ate dry food and drank salt water, vomited weakly, and its combat effectiveness declined. On the sixth day of February, the sky was overcast and stormy. Yuan army came early, and the tide ebbed at noon. From north to south, Zhang Hongfan attacked the city from the sea to the north. Although Song Jun fought hard all day, he was finally defeated and the fleet collapsed. Zhang Shijie saw that the tide was gone, and he couldn't find a young emperor and prime minister in the melee, so he led several warships through the fog. The young emperor Zhao Yun and the prime minister Lu Xiufu died in the sea on the cliff. "The harem ministers are all dead." "More than seven days later,1000000 people were found dead at sea." .

A few days later, Zhang Shijie came back to look for the emperor's room, only to know that Shaodi was dead, so he had to lead the fleet out to sea again and was unfortunately drowned by a hurricane when sailing to the waters near Hailing Island.