Papers on Melia azedarach were included in Yushu Hall Series. This series was compiled by Shen Shan in Qing Dynasty, with a collection of 2 1 book and 25 volumes of ***53, including 7 kinds of printed books and 4 kinds of printed books1book. Essays on Melia azedarach belongs to the former. Zhou Qingyun's Chronicle of Nanxun (Volume 40) and Writings said: "The essay of Melia azedarach is accompanied by a volume of essays, written by Gengzi Liu Tong, with a postscript." Volume 54 also quotes Zhang Jian's "Fei Xu Ting Poetry" and says: "The essay volume of Melia azedarach is an unfinished manuscript, and the rest are manuscripts written by my late friend Liu Shuyu." It can be proved that this book was written by Dong Shuo and edited by Liu Tong, and there was no block print at that time. Liu Tong, whose name is Shun Hua, is Yu Shu and has the same surname as Dong Shuo. He was a famous bibliophile in Qing Dynasty, and Fan Laigeng's Annals of Nanxun Town (Volume 7) and People's Annals have been handed down to this day. The Essay of Melia azedarach that I saw was compiled by Ji Fa, with no postscript. Ji Fa is just like Dong Shuo. Fan Laigeng's Annals of Nanxun Town, Volume 7, Annals of People: "Ji Fa, with a word, is a fish, and is elegant in poetry. At one time, it was famous for a while, only one ending, and all the poems were lost. " The manuscript of Essays of Melia azedarach seems to have been lost, and was later collected by Ji Fa and included in Yushu Hall Series.
The fifty-fourth volume of Zhou Qingyun's Nanxun Chronicle quotes Yu Yue's Essays on Spring Day in Class: "There is an Essay on Neem Tree, which is often used by Shengu officials to show off, and its handwriting is scrawled, and it is also written by the village boy." The fifty-fourth volume of Nanxun Chronicle quoted the poem "On the Flying Pavilion", and also said that "everything can be disciplined and unspeakable". The collection of Melia azedarach essays in Yushutang series is seal script, and the manuscript is not available. However, there are also many mistakes in seal cutting. Tan Zhongxiu's hand-proofreading language is common in Tian Tou and Jiao Di. Occasionally in the article, Shen Shandeng, editor of the series, wrote a case, such as "dreaming of filial piety at night, pretending to sing cymbals, and waking up before a word". Later, he said, "Shan Dengzhan: The word cymbal was originally loose, and the proofreader named it cymbal. Mr. Qu Yuan said that the word' cymbal' is insoluble, but it may actually be the word' needle'. " It can be seen that the mistakes in block printing are also related to the proliferation of the original.
Mr. Liu Fu said, "As far as the articles cited in Exegetics are concerned, the early events recorded were before the age of 20, and the later events were after the age of 60, and they were all trivial narratives similar in nature to diaries. It can be seen that the book is very heavy and must have more than one volume." The collection of Melia azedarach essays in Shanghai Library is not very heavy, only two volumes, or one volume can be called "Essays" (the author's situation: Zhou Qingyun's essay "Essays" was named "Mistakes in Essays"). Generally speaking, the volume is an academic essay, mostly a record and feeling of reading; The second volume is Dong Shuo's memories of his later years and early years. There are many years, but there is no chronological order between articles. Although it is the same in nature as a diary, it is not necessary to keep it every day, so it does not carry as much weight as Mr. Liu Fu imagined. Most of the attached essays are comments on poems, paintings and calligraphy. Throughout this book and its accompanying miscellaneous works, its values mainly include:
First, it provides a lot of information about Dong Shi's friends and daily words and deeds, thus revealing Dong Shuo's life story and personality mentality. Dong Shuo's friends (mainly in the second volume and miscellaneous works) found in Azadirachta azedarach include more than forty people, such as Jin, Xu Zhaofa, Zhang Lvxiang, Chao Duanming, Zheng Tongan, Zhou Zipei, Wang Shuangbai and Bo 'an, a Buddhist monk. Among them, Zhou Zipei and many others are not seen in Dong Ruoyu's poems. Among them, Jin, Xu Zhaofa and Zhang Lvxiang were famous adherents of the late Ming Dynasty. Zhou Zipei, the son of Zhou Shunchang, is a figure in the complex society and has friends with Huang Zongxi. Xiong Kaiyuan, the Zen master of Boan, was Dong Shuo's colleague and a man of the hour in Ming and Qing Dynasties. It is not uncommon to write essays in the middle, and then the former teacher retired from Hunan, which has a great influence on Dongshi. It is also recorded in the article that Dong was advised to add spiced sauce, and Dong told him, "I think of spiced sauce, which is different from what you mean. When I was born, my hands smelled good without an operator. I don't like that my feet are fragrant when I step on my own countryside. My eyes are fragrant when I don't want to learn science articles. My ears are fragrant when I don't learn the local language. Don't talk about Sancun School, my tongue will be fragrant. " Dong said that we can see his personality of disdaining livelihood and disharmony with the world. Judging from Dong Ruoyu's poems, Dong Shi absolutely loves to travel, but in reality, if he can't do his best, he will lie down and sleepwalk, so he calls himself a Taoist priest and a dreamland, and is often complacent that he can cross the five mountains in an instant. This mentality is also reflected in the essays. Inscriptions for 30 scenes of Huazang: "Never like reading and recording", "Those who never like reading and recording, or seeking the wonders of the rock valley, or seeking the facts they see, must be determined". Obviously, Dong Shi is reading and browsing landscapes to satisfy his curiosity and wandering consciousness. Among the many places of interest recorded in the essays, Dong said that the footprints were not enough, which should be the records of his reading of local chronicles.
And feelings. Such as: "Qu Wei is in Fan Chuan, Tang Wei Anshi's other business, Linquan Zhu Hua,No. is the scenic spot. Wei Zhuang's poem: The sound of warblers fills the garden, and the stick of quinoa is life. If people want to have a well-known surname, Wei Quxi is the first one. "These records not only strongly reveal Dong Shi's curiosity and wanderlust, but also reveal Dong Shi's haggard adherents' mentality. Because regardless of personality, wandering curiosity is only a self-adjustment of the mentality of being haggard and bereaved.
Secondly, it shows Dong Shuo's poetic view which is quite individual and accords with the basic tendency of Zhejiang School. This book is about poetry, and it still exists now. As poetic documents, these words and opinions have never been mentioned by researchers. The interesting viewpoints are: 1. Oppose the old saying of "Poetry must flourish in the Tang Dynasty" of the Seven Scholars. Pu Wei Suzhou Old Books Collection: "In Jialong, there is an elegant and unconventional road, which is a symbol of the prosperous Tang Dynasty. It is a great harm to the poetic style, and it is still contaminated with elegance. " Postscript Zhao's Autumn Xing Fu':' Poetry of the world rate is to learn from the Tang people, poetry of the Tang people, close to its body. There is a floating sound today, but it has no literal meaning after the Tang Dynasty, which is called Tang poetry. I don't know what people in the Tang Dynasty were like. " Dong Shi admired the poetic style of bitter songs, but he was dissatisfied with the parallel tone of the seven sons of later generations, especially disliked Li Panlong's poems, saying that his "Cang Ming Ji" was "obscene", and even thought that commenting on his poems could spit, which was more effective than anti-phlegm drugs such as Guadi San. 2. In the combination of poetry and Tang and Song Dynasties, it is advocated to change teachers more and wash and cut them deliberately. Dong Shi only opposed the seven scholars of Tang Zong School, but he didn't ignore the Tang poetry. In Answering the Master's Poems, Dong used climbing means to seek truth from facts without threatening the beauty of Tang poetry. He said: "Poetry is safe and wonderful, and everyone is beautiful without preparation. It is true that the Tang people came here for seven or eight hundred years and read their words. " Dong didn't even abolish Song and Yuan poetry. He once said, "It's delicious to read the poems of Song and Yuan Dynasties when you are sick." Su Shi was most impressed. He also praised Mei and Lin Bu. Dong Shi not only advocates both, but also emphasizes seamless digestion. Comment on Zeng: "To expand his poetic thoughts, we must be eclectic and have no boundaries, and further deliberately wash them away." 3. On poetry, emphasize learning temperament and oppose using allusions. Dong Shi believes that writing should be "related to temperament from the perspective of Confucian classics, history and learning" and "read the books that are difficult to read in Sinian with the eyes of the world". Besides the philosophers of the Six Classics, we should also study Buddhism. Answering the master's question about poetry: "The key to learning poetry is to learn Zen. If you want to learn poetry instead of Zen, if Yu Xia manages water instead of learning Hong Fan, there may not be a waterway. " Regarding the role of Buddhism, Dong Shi has a wonderful metaphor: "I suddenly found the seal of the sage of the western soil, and I wanted to do it." Only in this way can "Gao Huai be broad-minded, open an elegant face with a broad pen base and the help of rivers". Therefore, although Dong Shi emphasized learning in his poems, he opposed taking learning as poetry. He commented on Du Mu's poem "Kaiyuan Temple": "This poem is fashionable, and there is no bad habit of building walls in the early Tang Dynasty. It can be used as a poetic style, so that later studies will not go astray. " He also said: "Du Mu's poems are always unique in rhyme, but the poems of being a fisherman alone are not expensive, and the price is reduced after using the story." To sum up, Dong Shi's opposition to the Seven Scholars, attaching importance to Song poetry, and attaching importance to learning and temperament are the basic poetic tendencies of Zhejiang School.
Third, we can understand Dong Shuo's strange book creation and its theory. Dong Shuo is a famous calligrapher, which is recorded in Li Fang's Draft of the Qing Dynasty and Dou Zhen's Record of Painters of the National Dynasty. "History of the Qing Dynasty" Volume 32: "I love cursive and Lu cursive, and I am well prepared, and my drafts are all strange and gratifying." "Records of China Painters and Calligraphers in Past Dynasties" Volume 1: "His poems are quiet, especially cursive, with more than 30 kinds of books." However, in modern times, Dong Shi's calligraphy creation and achievements have never been mentioned by researchers, which is related to the fact that Dong Ruoyu's poems are not explicitly mentioned. Fortunately, Essays on Melia azedarach shows more about this. 1. records Lin Chi's enlightenment and his proud work. "Leakage frost memories from childhood ignorance (1643), every illness is worse than a book. Looking back at history after the autumn has the meaning of facing the pool. At this time, I realized that the grass method is the ancient prose in Zhong Ding. " It can be seen that Dong said that when he was twenty-four years old, he deliberately practiced calligraphy and learned the cursive techniques from Zhong Ding ancient prose. The masterpiece of his life is a trip to Tibet after climbing mountains and watching clouds in the rain at the age of 42. "At the beginning, remembering the new and ugly (166 1) led to the ancient Yaofengyuan, and the autumn rain was torrential, and the grass trees were destroyed. Walking on the grass, I brushed aside the side stone road of Baoyun Spring, climbed Qifeng, looked at Yuntao, and went back to Zhangfu, boasting that pen and ink were rainy. Later, he was a book fan, and every time he did this body, he was called the Quick Rain Pavilion. " 2. Learning books advocates the introduction of epigraphy and ancient prose, advocates reading more books, and opposes copying from the beginning. "Xueshu Avenue is not good at reading, and it is not good at copying ancient times." Zhong Ding's characters, whether they are related or unique, annoying or simple, all go their separate ways. Learn the book "Non-epigraphy, there must be different ways to get started". He also said, "Since ancient times, seal scripts have been divided into eight parts, and the world has picked up their skins, all of which are vulgar. It's terrible, but once it's common, it can't be cured. " In fact, this is a rebellion against the gentle and lovely custom of ancient clumsy calligraphy in Zhong Ding Characters. It is worth noting that this theory is quite consistent with the calligraphy tendency of Yangzhou Eight Eccentrics. In books, it worships Jin, Song and Tang. Dong believes that learning books means "those who learn from Jin and Song have nothing to gain, those who learn from Tang have nothing to lose, and those who learn from Tang and Yan Zhenqing have nothing to lose". He also said: "The method of writing is golden, because it is full of charm." With Dong Shi's eccentric and elegant personality, he certainly doesn't like Tang books, especially Yan style. But for Song people, Dong Shi also had likes and dislikes. He valued the Soviet Union more than rice, and the standard was lightness. Dong said, "Master Yun once said that the Minangong values power. I am sick and weak. " He also said, "Cloud comments on Song books, rice comments on Su. The rest is more important than the meal. Mi Fei is not self-walking, but dazzling, not romantic in Jin and Song Dynasties. The child stretches far-reaching. " Dong Shi believes that "lightness" is brought by nature and can't be learned. "Canon has no teacher's wisdom, and painters call it verve". 4. Dong Shi's book theory has a strong Zen meaning. In addition to the word "light", Dong Shi also used Zen words such as "positive", "light", "cool" and "coagulation" to express pen and ink. His postscript, Qiu Xing Fu, quoted a former teacher who retired Weng's talk about calligraphy to Yan: "The former teacher said,' Try to pick a word as a cigarette pulp.' It's getting colder and colder because of enrollment. The teacher said,' This cigarette is of good quality, too.' Another word is Sue. The teacher said,' So is the color of this cigarette.' The last word is correction. The teacher said,' This is the God of Smoke. No correction, no exceeding, no exceeding, no cost. "Can be moved to pen and ink." In Mr. Yang Ming's postscript, Dong Shi said, "It's wonderful that a husband speaks with great ink. This kind of frost leakage has accumulated in Italian and Chinese. "He also said," The word "Ning" written by former teacher Xu and the word "Liang" written by Bushantang are unpublished secrets of the bookstore, and Yang Ming has it in this post. "In connection with other trivial words about calligraphy and painting in the essay, I think its so-called' lightness' means that it is rich in charm but not vulgar; The so-called "vegetarian" is natural and not carved; The so-called "positive" is the transcendence without pollution; The so-called "coagulation" means being calm and not wandering; The so-called "cool" is the most difficult to understand, and it is not true and has far-reaching influence. If the author understands, Dong Shi's words and books are quite reasonable, although there is a Zen machine.
Fourthly, it can provide some evidence for the supplement to Dong's theory. There has been a debate in academic circles about whether The Journey to the West is the author of Dong Shuo or his father Dong. Who is the author of The Journey to the West in Gao Hongjun? (Journal of Tianjin Normal University, No.6, 1985) and Fu Chengzhou's Textual Research on Dong (Literary Heritage, No.3, 1989) both questioned that Dong was the author of The Journey to the West and thought that he should be his father Dong. Xu Jiang's Textual Research on Dong Shuo's Supplement to The Journey to the West (Journal of Graduate School of Chinese Academy of Social Sciences, No.4, 1993) has made textual research on this issue in many aspects and redefined the copyright of Dong Shuo's Supplement to The Journey to the West. Mr. Xu's textual research is more convincing, and Neem Theory can also provide some evidence for this. 1. the Monkey King's search for the exorcist of Qin Shihuang is a very important clue in The Journey to the West, which is recorded in the volume of Essays on Melia azedarach: "Ji Shengzhong said that a fisherman once caught a golden lock in Zhongshan, which was hundreds of feet long. In another minute, like a mound, it was lifted, and the sound was like a thunderbolt. The mountains and rivers shook and the fishermen sank into the water, or it drove the mountains and priests. " 2. Many Buddhist languages in The Journey to the West have been recognized by researchers. Essays on Melia azedarach tells poetry, calligraphy and painting, educates philosophers' disciples, and even records daily joys and sorrows, with Zen quotations. In particular, he recorded his early contact with Buddhism: "When I was six or seven years old, every Spring Festival and Double Ninth Festival, Mr. Borrowing Temple would order me to go to various hospitals in Li Xi"; "When I was seven years old, I read the Jue Yuan Classic; "Kaiyuan Stone Buddha is contained in the canon, and I rarely look at the sacred instrument, which makes people Philip Burkart." What is even more strange is that Dong said that in the second year after he became a scholar (when he was only fifteen years old), he wanted to visit monk Sanfeng in Xuanmushan. These records, together with volume one of Dong Ruoyu's Poems and Songs, made me suddenly see Yu's eight-year-old calligraphy in the paper, which became a poem because I read the words of my ancestors. Twenty years ago, I was wise. Remembering the sentence "Teach the Heart Sutra under the Loquat Tree in Xia Hou on a bamboo bed" and the annotation "When I was eight years old, I converted to Master Wen Gu and gave me a wise age" can reduce some researchers' doubts that Dong Shi could write novels with such meditation at the age of twenty-one. In addition, this paper also provides some materials for Dong Shuo's academic research on philology, phonology and Yi-ology.