Chapter 7 Chapter 6 Historical Situation (A)

6.1 The mainstream of classical Chinese The historical situation of classical Chinese is so intricate that it is impossible to talk about it.Here I want to answer only a small question, that is: From a bird's eye view, what kind of classical Chinese is there in each era.But even so, there are still many clues, because one is that the time is too long, and the other is that there are too many stocks.There are many, I have to outline and outline.There is more than one feasible way to select a program. I think that, at least for the convenience of explanation, it is more appropriate to divide it into two streams.One is the mainstream, which refers to the writing that deals with affairs (from the perspective of function), that is, the writing without rhyme (from the perspective of expression form).This stream of water is called "prose" by many people.However, prose has ambiguity: for poetry, it refers to non-rhyme writing; for parallel style, it refers to prose (that is, non-dual) writing.If this mainstream is called prose, its meaning should refer to the former, the non-rhyme prose as opposed to poetry.The other branch is the tributary, which refers to the prose of chants (in terms of function), that is, the prose with rhyme (in terms of expression form).This classification of mainstream and tributaries can be based on the quality and quantity of the two types of works.Generally speaking, the mainstream literature is about daily life, while the tributary literature is about ritual and music.In daily life, you can write freely, and it is suitable for writing freely, so it becomes scattered; and because it is always used, the output is large.Ritual music seeks beauty, and it is often sung, so it is suitable for neat sentences and harmonious rhymes; and because it is not often used, the output is not large.Naturally, ceremonial and musical literature will attract literati to imitate, no longer sing, and the output will increase, such as fu, poems, admonitions, and inscriptions.But no matter how the output increases, compared with the non-rhyme prose, it is nothing compared to the non-rhyme prose; as for the early lyrics, such as "Songs of Chu", compared with the pre-Qin non-rhyme prose, the number is even greater .Therefore, as far as all classical Chinese works are concerned, we can say that non-rhyme writing is the mainstream and rhyming writing is the tributary.This chapter first discusses the mainstream situation.

6.1.1 Before finalization As mentioned in Section 2.3.2 above, classical Chinese was finalized in the Qin and Han Dynasties, and works at that time can serve as specimens.According to this view, we can divide the non-rhyme prose into three stages: the period before the Qin and Han Dynasties was a period characterized by archaism, in which part of the vocabulary and sentence patterns were different from those in the fixed-form period; It should be used as the standard to measure right and wrong; after the Han Dynasty, there was a stage characterized by following the path of the Qin and Han Dynasties, or imitating.Let's talk about before the Qin and Han Dynasties first.

There are not many documents and materials at this stage, but there are many problems.On the one hand, the age is too early, such as oracle bones, some of the characters in it cannot be accurately understood.On the other hand, there are problems with the age of some materials, such as "Zhou Li", whether it is appropriate to be included in the previous stage, different people will have different opinions; another example, although the writing date is relatively early, it is inevitable that it has been revised before it is completed.Fortunately, the focus here is not on the authenticity of ancient documents, so it is no harm to measure the materials for use, and only take some clear or relatively clear dates, and can explain the problem.Most of such materials come from real objects, which are nail bone inscriptions and bronze inscriptions; some of them come from books, which refer to "Shangshu" (many of which are copied from previous government documents).When we read the texts on such materials, we will feel that they are very different from the works of the Qin and Han Dynasties, such as "Mencius" and "Historical Records".See the example below:

Oracle (1) Jiaxu Buqing Zhenyi Yihai Xun Yu Xiaoyi died in January (Luo Zhenyu [actually Wang Guowei] "Yinxu Book Deed Research and Interpretation" Volume 2) (2) Bingzi Buzhen Jiugao Three Small Prisons Mao Three Prisons (same as above) (3) On the next day of Jiachen Buzhen, King Yi’s guest Zu was not raining in his clothes (same as superior) (4) When Jiachen Zhen came to Jiayin, there was a cutting of Jiayang and Wumao cattle—(same as above) (5) Xinhai Bu Chuzhen and its drums reported to Tang Jiuniu-Yue (same as above) Bronze inscriptions (6) The tripod inscription on the Shangqi flag - only the auspicious day of August, when the day is in Yimao, and Gongxi flag servant.The flag is used as Wenfu Riyi Baozun Yi,  offspring. (Volume 1 of Ruan Yuan's "Jiguzhai Zhongding Yi Ware Inscriptions")

(7) Zhou Boke's inscription - Only in ten or six years, in October, was born Ba Yiwei, the servant of Bo master Xiboke.Burke dared to face Boxiu, the king of Yangtian, and used it as a queen Zhongzun after the imperial examination, and restrained him as a beggar.Kekeqi's sons and grandsons, Yongbao, enjoy it. (Yu Shengwu's "Anthology of Double Swords and Jijin" Volume 2) (8) There is no special tripod inscription in Zhou Dynasty-but in September, when Jiaxu is looked at, Wang Ge is in Zhou Temple, burnt in Zhou Dynasty, Situ Nanzhong You has no special entry, and he establishes the Zhongting.Wang Hu Shiyou's book Ming Wuzhuan said: "The lawsuit against the king, the side of the tiger, the Xinuyuan (xuan) belt, the Ge Jihalberd, the onyx and the Tongya, and the Youleluan flag." Yang Tianzi does not show Luxiu, as a tripod, used to enjoy the test of Zhenlie, used to cut eyebrows and lived for thousands of years, and used by descendants Yongbao. (Ruan Yuan's "Jigu Zhai Zhong Ding Yi Ware Inscriptions" Volume 4) "Shang Shu"

(9) After Pan Geng moved, Dian Jue You lived here, and now he is in the position of Zheng Jue. There are many people in Yuan Sui, saying: "There is no play, let's build a great life! Now I will give it to my confidantes and kidneys, and I will tell the common people in my aspirations." , I don’t blame you all, you have no anger, and I share this slander with one person. In ancient times, my ancestors, who will do more than the previous ones, are suitable for the mountains, and use them to bring down my evil deeds, and make good achievements in our country. Today, our people use the slander to separate and live , There is no fixed pole, you say, I will shake all the people to move. Si God, will restore the virtue of my ancestors, and overrun my family. I respect and respect the people, and use the eternal land in Xinyi. Si Yu Chong , It’s not the waste of Jue’s plan to hang you, each of them dares to disobey the divination, and use Hongzhe. Woo hoo! Mr. Bangbo, a hundred deacons, are still hidden. Give him a simple plan, remember and respect us all. I can’t shoulder it Good goods, dare to be respectful and live, invite people to seek people's protection, Qinqin. Now I am ashamed to tell you my ambition, if there is, there is no Fuqin. There is no such thing as goods and treasures, life is mediocrity. The style applies to the people's morality, Shoulder forever and one heart." ("Shangshu·Pangeng II")

(10) At that time, Jiazi was ignorant, and the dynasty was sworn to Muye in the suburbs of Shang.The king held a yellow axe on his left, and a white yan on his right, saying: "Ti! People from the Western Lands." The king said: "Sigh! I am the Lord of Youbangzhong, Yushi, Situ, Sima, Sikong, Yalu, Shishi, Chief of Thousands, Chief of Centuries, and people from Yong, Shu, Qiang, Mao, Wei, Lu, Peng, Pu, and Xie Er. Ge, Birgan, set up a spear, and swear to him." The king said: "There is a saying in the ancients, saying that there is no morning for a rooster, and the morning for a rooster is only the rope of the family. Today, the king of Shang accepts the words of a woman, and faints. Sacrificing to Fuda, fainting and abandoning the king's parents and brothers, but the many crimes in the four directions fled. They respected the elders, believed in the envoys, and thought that they were officials and scholars, so that they could be tyrannical to the people and raped in Shangyi. Today I only want to respectfully practice the punishment of heaven. Today’s affairs, don’t make mistakes in six steps and seven steps, but stop Qi Yan, Master Xu! Don’t make mistakes in four cuttings, five cuttings, six cuttings and seven cuttings, but stop Qi Yan, Master Xu! Shang Huanhuan, like a tiger like a phoenix, like a bear like a scorpion, in the suburbs of Shang, fled and rushed to conquer the western lands, Master Xu! Wherever you go, you will kill him.”

("Book of Zhou · Shepherd's Oath") These characters are simple and ancient, and difficult to read, because part of the vocabulary and sentence patterns are no longer used by future generations, that is, there is no element that has become a common classical Chinese.Among the three types of materials, the nature of "Shangshu" is different from oracle bone inscriptions and bronze inscriptions. It comes from books and may be affected by future generations. There are more possibilities to influence future generations.But that's it, in the eyes of ordinary literati, it is an old antique after all, and writing for writing should not be completely according to it, but should be according to Qin and Han Dynasties.Therefore, as far as the history of classical Chinese is concerned, this kind of Shang and Zhou characters are things before classical Chinese was finalized. It can be counted as classical Chinese, but it is different from the commonly used classical Chinese.

6.1.2 Qin and Han Dynasties When we look at the works of this period, compared with oracle bone inscriptions, bronze inscriptions, and "Shangshu", we will have the feeling of changing from familiar to familiar.Such as: (1) At the beginning, Zheng Wugong married Yu Shen, named Wu Jiang, who gave birth to Zhuanggong and Gongshuduan. Duke Zhuang Wusheng startled the Jiang family, so he named him Wusheng, and hated him.I love uncle Duan, and if I want to establish him, I urgently ask Duke Wu for permission. ("Zuo Zhuan" Yin Gong Year) (2) The Master said: "Study and practice from time to time, don't you say (joy)? Have friends come from afar, isn't it a pleasure? People don't know but are not stunned, isn't it a gentleman?" You Zi said: "He is a human being. Also, those who are filial to younger brothers (brothers) and like to offend their superiors are rare, and those who like to offend their superiors and like to cause chaos are rare." ("The Analects of Confucius Xueer")

Among the pre-Qin works, "Zuo Zhuan" has relatively profound characters, and its characters are relatively simple and ancient, but when we read it, if we have just read the bronze inscriptions and "Shang Shu", we will feel that they are all simple.In addition to being difficult and simple, there is another important difference between the writings of the two periods: the writings of the Shang and Zhou dynasties were "official affairs", while in the Warring States period it was not, but "writing articles".For example, "Xunzi·Tian Lun" started with "Heaven's actions are permanent", and "Han Feizi·Said Difficulties" began with "Everything is difficult to say", both of which are based on empty arguments, so what is written is "text".The characteristics of Wen Youwen are not only the content is refined, the organization is well-organized, but also the language has a tone.As far as classical Chinese can be shaped and become a specimen, the tone of the language is very important. The so-called "text must be Qin and Han" in later generations, and it is mainly this that is pursued.What is an accent?It is more difficult to say, but roughly speaking, the appropriate coordination of different sentence patterns is related, the appropriate change of voice is related, and even the use of appropriate function words (mainly function words expressing mood) is also important to make the meaning run through.Such as:

(3) Therefore, it is said: the mouth is related to taste, there is the same age (addiction), the ear is related to sound, there is the same hearing, and the eyes are related to color, there is the same beauty.As for the heart, is there nothing the same?What is the same in the heart?It is called reason and righteousness.The sage first gets what my heart wants.Therefore, reason and righteousness please my heart, just like grass feed pleases my mouth.Mencius said: "The trees on the Niu Mountain are beautiful. Considering that it is in a big country in the suburbs, can it be considered beautiful? It is the rest of the day and night, moistened by the rain and dew, and it is not without the growth of the tiller. Cattle and sheep And then to herd them, so that they are like the other ones. When people see them, they think that they are not talented. This is not the nature of the mountain!" ("Mencius Gaozi 1") In articles like this, the sentences are neat and varied, and the tone is rich, so that the meaning and sentiment are integrated together. This is the style of the Qin and Han Dynasties, which did not exist in the Shang and Zhou Dynasties. There are many documents and materials in the Qin and Han Dynasties, and only a small part of them have been handed down to future generations, but the number is still quite a lot.From today's point of view, these are all classical Chinese.There are many and mixed authors, ranging from the Spring and Autumn Period to the end of the Eastern Han Dynasty. The area is mainly in the Central Plains, and there are also the east, west, north, south, and north outside the Central Plains. Therefore, as far as expression habits are concerned, there are always small differences in the sameness.The so-called fixed shape, the so-called Qin and Han Dynasties as specimens, refers to the great unity above the small differences.Also, from the perspective of the descendants of "Wenbi Qin and Han Dynasties", when taking specimens, it is not that one counts as one, but that the weight is differentiated.The so-called heavy refers to those that must be read according to the traditional reading method.Because it must be read and familiar, it is easy or even necessary to use that style when writing it yourself.The so-called must-read books can be mainly divided into three categories: one is philosophers, the other is history books, and the third is works that explain scriptures. The philosophers were mainly in the pre-Qin period, because that was the era of arrogant discussions and the golden age of unrestrained thinking.There are many works and great achievements. For schools alone, Ban Gu's "Hanshu Yiwenzhi" is divided into nine schools (not counting novelists): Confucianism, Taoism, Yin-Yang School, Legalism, Famous School, Mohist School, Strategist, Miscellaneous School, and Farm School .Each school has many masters and many works, but unfortunately most of them have not been handed down.The ones that have been handed down and had a great influence on future generations are the following: (in the old days, they were counted as classics), "Mencius" (also counted as classics), "Xunzi", "Laozi", "Liezi" (there are small Questions), "Mozi", "Sun Tzu", "Guanzi", "Han Feizi", "Lushi Chunqiu", "Huainanzi", "Lunheng".Less important are the following: Shenzi, Shangzi, Deng Xizi, Yin Wenzi, Gongsun Longzi, Fayan, Xinyu, Xinshu, Yantie On", "On the Latent Fu", "New Theory" and so on. There are not many types of history books, but they are very important, because there are unprecedented and unprecedented masterpieces among them.This refers to "Zuo Zhuan" (books or scriptures that were regarded as commentaries in the old days) and "Historical Records".There are the following three with similar status: "Guoyu", "Warring States Policy", and "Hanshu".Less important are the following: "Yue Jue Shu", "Wu Yue Chun Qiu", "New Preface", "Shuo Yuan", "East View of Han Ji" (remnant) and so on. There were quite a lot of books explaining scriptures in the Han Dynasty, because there were many scripture teachers at that time, and their specialty was explaining scriptures.Many of these works are annotations to chapters and sentences, a few fragmented sentences, not a whole article.The more important ones are the following: "Yi Zhuan" (also known as Yi Shiyi), "Spring and Autumn Gongyang Biography", "Spring and Autumn Guliang Biography", "(Xiao Dai) Rites".Less important are the following: "Da Dai Li Ji" (remnant), "Han Shi Wai Zhuan", "Spring and Autumn Fan Lu", "Bai Hu Tong Yi" and so on. We say that these works are specimens of classical Chinese because, on the one hand, most of them are the best in terms of content and expression.The so-called best, for the sake of simplicity, we can give a circumstantial evidence, that is: for more than two thousand years, countless literati have made discussions and recorded historical events. "Zuo Zhuan" and "Historical Records".This is not to favor the past over the present, because until now, most people still see it roughly this way.Another reason is that countless literati in the future generations are willing to learn, or have to learn.As mentioned earlier, reading is required. According to the traditional unwritten academic regulations, most of the works in the Qin and Han Dynasties are not only required to be read, but also to be read again and again until they are familiar with them and can even be recited.In this way, a large number of sentences from the Qin and Han Dynasties were imprinted in my heart, and when I wrote them down, they had similar meanings and unconsciously used similar expressions, which was very natural. 6.1.3 After the Han and Wei Dynasties In the previous section, Qin and Han were regarded as a stage because classical Chinese was finalized during this period and became a sample for future generations to imitate.From this point of view, from the Han and Wei dynasties to the end of the Qing Dynasty, 1,600 to 700 years, can be regarded as a period, because in terms of expression, they all follow the path of the Qin and Han Dynasties, that is, they use the same vocabulary and syntax system .However, this stage took a long time, with many authors and works, not only many, but also tricks that were not seen in Qin and Han Dynasties.In order to reduce the clues and make it easier to explain, we leave the parallel style to the next section.But even so, it still suffers from too much material.As a last resort, here I would like to talk about the general situation based on "how to imitate" and "the results of imitation". How to imitate can be roughly divided into two categories: one is to follow without knowing it, and the other is to follow Qin and Han as the direction, intentionally and vigorously.Let's talk about the former first.Classical Chinese has established its shape, and literati, whether they are from the Tang and Song Dynasties or the Yuan, Ming and Qing Dynasties, express their ideas with expressions, unless they do not use classical Chinese, as long as they use it, they cannot do without the style of the Qin and Han Dynasties.For example, the saying "there is also the future" was popular in the Qin and Han Dynasties, and after the Han and Wei dynasties, regardless of the time, ancient and modern, and the division of the north and the south, as long as it is written in classical Chinese to express the same meaning, it must also say "there is also the future", not Say "there is no such thing".In this way, we might as well say that, except for some genres that advertise that "the text must be Qin and Han", all those written in classical Chinese, from the Seven Sons of Jian'an to Zhang Taiyan and Wang Guowei, an infinite number, imitated Qin and Han unconsciously.This so-called imitation is not just casual writing.The same is true for parallel style, such as "the husband who is confused (road) knows how to return, and the philosophy is the same; if he returns not far away, the first code is high." (Qiu Chi's "Book with Chen Bo") intends to make up four four pairs of four four, which can be It is said to be a new trick, but it is broken down into four sentences, and the expression method of each sentence is still Qin and Han.The same is true of poems, "The beacon fire lasts for three months, and the family letter is worth ten thousand gold" (Du Fu's "Spring Hope"), "Lingbo does not pass the Hengtang Road, but watches the fragrant dust go" (He Zhu's "Sapphire Case"), every sentence in it, As far as the way of expression is concerned, none of them jumped out of the old pattern of Qin and Han Dynasties. Let alone intentional imitation.Deliberately means not only learning, but also thinking in your heart and speaking with your mouth.This kind of imitation is generally said to have originated from Han Yu and Liu Zongyuan in the Tang Dynasty; some people say that it has already shown signs of imitation in the late Six Dynasties and the Chen and Sui Dynasties.This wind comes from the tiredness of the parallel style.Parallel style prevailed from the Southern and Northern Dynasties to the mid-Tang Dynasty, and writing requires neat four-six couplets. This is like walking with bound feet. Even if the bound people think it is beautiful, everyone will feel that it is very inconvenient.Moreover, most of the content is romantic, and it is very laborious to write and not practical.In this way, the parallel style, which seems to be a beautiful tool, becomes an inapplicable tool.If it is not applicable, it has to be changed, so there is the ancient prose movement.The general direction is to switch to Qin and Han prose writing.What is written in parallel style is Shiwen, so what is written in imitation of Qin and Han Dynasties is ancient Chinese.But this is in general terms, as for practice, there are still quite a few differences.One of the differences is that many works of the Qin and Han dynasties tended to be ancient and Austrian, but that was the nature of Ren's era; some writers of the ancient prose movement were not like this, but deliberately pursued them, such as Liu Zongyuan, who was more prominent.The second difference is that in the Qin and Han Dynasties, duality was also left to itself, and it was used when it happened, and it was not used when it happened. If it was intentional, it was intentional, not intentional, such as Jia Yi, Mei Cheng, etc.; The author of the movement is not the same, but tries his best to avoid it, lest he get a little bit of the smell of parallelism.The third difference is that in the Qin and Han Dynasties, especially the pre-Qin period, the works are all about words and have no orthodox ideas. Mencius scolded Yang Mo for having no father and no king ("Teng Wengong Xia"), and Han Fei can also scold Confucianism and Mo for being stupid. ("Xianxue"); Han Yu, the leader of the ancient prose movement in the Tang Dynasty, also focused on the content of the article verbally. Learning from the pre-Qin philosophers expressed their own opinions, but "learning from ancient sages and sages" (ibid.), specifically to promote the way of Confucius and Mencius.The exchange of wind, flowers, snow and moon for the way of Confucius and Mencius is, on the surface, turning the fictitious into the real, and it is welcome.But looking at the consequences, this is not entirely the case, because on the one hand, the common problem of ancient prose since the Tang and Song Dynasties is that it is full of momentum and poor in thought; The direct descendants of Gu Wen are always close relatives.The fourth difference, as mentioned in the previous section, the prose of the Qin and Han Dynasties already had accents, but that was the nature of the language; the writers of the ancient prose movement were not like this, but deliberately pursued it deeply, not only asking for a catch-up from behind in terms of implementation, but also wanting to be in the Found theoretical grounds.Han Yu once talked about "Qi" in "Answer to Li Yishu", saying that "when Qi is strong, the length of the speech and the level of the voice are both suitable", as if Qi is a matter of content; in fact, even if it cannot be completely separated from the content, it is still If you want to make readers feel it, you have to rely on expression (Cao Pi's "Dian Lun·Papers" said that "art is mainly based on qi", and qi has clarity, such as music has ingenuity, which obviously refers to expression).We read Korean, and most of the passages are really exciting.Since the Song Dynasty, countless literati have read Korean and expressed their admiration, and the main reason is to feel arrogant.The Tongcheng School of the Qing Dynasty made this theory even more miraculous, and it was: "Thus, the writers are eighth, saying that the spirit manages the breath, the rhythm, the sound and the color." Great efforts have been made in the tone, which is more artificial than Qin and Han. The ancient prose movement was founded in the Tang Dynasty, and it was completely won through the efforts of Yin Zhu, Mei Yaochen, Ouyang Xiu, Su's father and son in the Song Dynasty.The general direction is to learn from the Qin and Han Dynasties and write in loose style, but there are small differences in the great unity.For example, compared with the ancient prose writers of the Tang Dynasty, the ancient prose writers of the Song Dynasty, especially Ouyang Xiu and Su Shi, wrote more plainly.In addition, the same Song Dynasty writers have different styles. For example, Zeng Gong strives for refinement, and his articles appear to be artificial;Since then, it was the seven sons of the Ming Dynasty who clamored to learn from the Qin and Han Dynasties: the important figures of the first seven sons were Li Mengyang, He Jingming, etc., and the important figures of the last seven sons were Li Panlong, Wang Shizhen, etc.The slogans are "Writing must be Qin and Han", but when I pick up a pen, I even forget Han Yu's idea of ​​"learning from its meaning, not from its words".Of course, this unhealthy trend would arouse resentment, so the Tang and Song Schools emerged, with representatives such as Wang Shenzhong, Tang Shunzhi, and Gui Youguang.Learning from Tang and Song Dynasties is actually learning from Qin and Han Dynasties indirectly, because Tang and Song Dynasties also learned from Qin and Han Dynasties.This style of learning from the Tang and Song dynasties was blown to the Qing Dynasty and became the Tongcheng School of Fang Bao, Yao Nai, etc., which taught more about righteousness and method, that is, they put more effort into expression.Afterwards, Yun Jing, Zhang Huiyan and others expressed their nostalgia for the past, and used the ancientness of the Qin and Han Dynasties to naturally correct the rigidity of the Tongcheng School, and became the Yanghu School. In terms of imitating slogans, it can be regarded as returning to the old base of classical Chinese, the Qin and Han Dynasties. What I have mentioned above is based on the Qin and Han Dynasties as samples and the similarities and minor differences among them. Generally speaking, they all belong to the stream of imitation.Is there any classical Chinese beyond this current?It depends from which aspect.If you just look at the slogans, the Gong’an faction headed by Yuan Zongdao and Yuan Hongdao in the late Ming Dynasty can be counted, because they opposed the imitation of the seven masters before and after, and advocated that the key to the quality of the article is whether it is up to date, whether it is ancient or not, which means that there is no need to learn from Qin and Han .But this is in terms of direction. As for writing, it is still inseparable from Qin and Han, because they use classical Chinese, and it is impossible to avoid the style of Qin and Han. Let's talk about "the results of imitation".Obviously, there are too many materials in this area, because as long as it is classical Chinese works, it must be counted.Many of those that were published and included in the official history, art and literature annals have not been handed down; only counting the ones that have been handed down, the number is still overwhelming.In order to control complexity with simplicity, I would like to talk about only a few key points, or characteristics.According to the general cataloging method, it is divided into four categories of classics and history subsets. Let me talk about the collection department first.Among them, "Bie Ji" is a new thing after the Qin and Han Dynasties. The traditional bibliography is collected, the earliest is "Cai Zhonglang Collection" and "Cao Zijian Collection".Bie Ji is a collection of various personal articles, starting from the Han and Wei dynasties to the end of the Qing Dynasty, not to mention famous scholars, even those who were ridiculed by "Yan's Family Instructions" as "get on the car and never leave", always try their best to publish and pass on to the world .Therefore, in the stage of imitation after the Qin and Han Dynasties, the largest number of classical Chinese works were the anthologies of writers of all dynasties, big and small.There are also quite a few collections, such as "Quan Tang Wen" for all collections, and "Song Wenjian" for selected collections. Let's talk about the Ministry of History.This is not a new thing, but compared with the Qin and Han Dynasties, the output is much larger. Not only does each dynasty have official histories (some have more than one kind, such as "Tang Shu" and "Five Dynasties History", both old and new), but also many important ones. For example, there are "Chronicles" and "Political Books" such as "Tongkao of Documents".There are countless miscellaneous works on other records, such as "Jinshilu" and "Yehuobian". Let's talk about the sub-department.As in the pre-Qin period, there were fewer works that were arbitrarily discussed by scholars and became exclusive opinions. It is difficult to say that Wang Tong's "Zhong Shuo" and Huang Zongxi's "Ming Yi Dai Fang Lu" can still be counted.There is another category with a large output, which can be collectively referred to as "miscellaneous notes".It can be divided into two types.One is more about learning, such as "Rong Zhai Essays" and so on, which have made great achievements.The other kind is more about recording knowledge, such as "Youyang Miscellaneous Zu", "Guixin Miscellaneous Knowledge", "Stop Genglu" and so on, and the achievements are not small. Finally, the Ministry of Scripture.The Sutra is an old name in the literature, and of course it is impossible for future generations to have it; there are only works that explain the scriptures.This kind of works mainly came from the Tang and Qing dynasties. The works in the Tang Dynasty were mostly found in the "Annotations to the Thirteen Classics", and most of the works in the Qing Dynasty were included in the "Huangqing Jingjie" and "Huangqing Jingjie Sequel". 6.2 Parallel Parallel style "wen" generally does not rhyme, and can be regarded as a branch of non-rhyme writing.The formation and specification of parallel style, as a characteristic of classical Chinese, has been mentioned in Section 5.7.3 above; here is another perspective to talk about the historical situation of parallel style works.Expressions are expressive, duals are often used, and they try to be neat. It should be said that it started from the Han and Wei Dynasties. We can clearly smell this smell when we read the articles of Cao Pi and Cao Zhi brothers.Since then, through the two Jin Dynasties, countless writers have followed this road "forward", that is to say, using antithesis, requiring more numbers and more particular voices.After Shen Yue, Zhou Yong and others in the Southern Dynasties created the theory of four tones and eight diseases, the requirements for couples became more and more stringent, so the literati put great effort into writing, and the whole article is parallel, four, Li and six.Xiao Tong’s “Anthology” collected a lot of such works from this period and before that, and more of them can be found in the anthologies and even monographs of various authors, such as Liu Xie.Many works other than the anthology, such as those belonging to the Ministry of History and the Ministry of Zi, often use parallel style to record events and reason. After the Qi and Liang Dynasties, until the early Tang Dynasty, it became a custom to write in neat fours and sixes.The power of ethos is irresistible. For example, Emperor Taizong of the Tang Dynasty wrote "The Preface to the Holy Teachings of the Tripitaka of the Tang Dynasty" in parallel style;This trend also made the parallel style pervasive, such as the verdict of a case, but also to play with the parallel style, Bai Juyi included it in the anthology, and Zhang Zhuo also had a single line "Dragon of Dragon Tendon and Phoenix Marrow".As a result, obviously, there will be countless parallel style works.Among them are also very valuable, such as "Shi Tong" by the historian Liu Zhiji and "Lu Xuangong Memorial" by the politician Lu Zhi.From the perspective of those who love parallel style, there are indeed many works that can be used as specimens in this period, such as Xu Ling's "New Odes on the Yutai Preface" and Wang Bo's "Tengwang Pavilion Preface", all of which are beautiful in rhetoric and elegant in use. To write poems to recite. After the rise of the Hanliu ancient prose movement, within a short period of time, the power of parallel style did not diminish greatly. For example, in the late Tang Dynasty, Li Shangyin, a famous four or six masters, appeared; later in the early Song Dynasty, Yang Yi, Qian Weiyan, etc. Followed Li Shangyin, and intensified, becoming the Xikun School monopolizing the literary world.It wasn't until Osu and others re-launched the ancient prose movement that they made great achievements in both theory and practice, and the ancient prose won the final victory.The so-called victory means that all literati believed that the Qin and Han Dynasties were the authentic texts, and that expressive expressions should be expressed in plain and natural forms.But even so, the parallel body did not die, but narrowed its position and stood firm.The so-called narrowing of the field means that it is used in only a part of the style from being spread all over the style. For example, the parallel style must be used for the system and table, and the parallel style is often used for the stele and preface.The so-called sticking to the ground means that the specifications are more rigorous and the face is clearer.Although the parallel style before the ancient prose movement was based on the whole parallel, four li and six pieces, many of them were mixed with a few prose sentences; the parallel style after the victory of the ancient prose movement was different. Very few).That is to say, the specification is stricter.The result of rigorous specifications is a clearer appearance, or a clearer boundary with ancient Chinese.Take Wang Anshi's letter as an example: (1) A certain person is stupid and superficial, and often offends crimes.The first life is in the shogunate, and at this time, it is especially ignorant.Since I went to the place where I was a member of the official family, until today, although I have tasted the language of serving Yan, I can't count myself with the number of others. ... ("Shang Song Xianggong Book") (2) This person ventured into the ranks of officials, entrusted envoys with envoys, bowed down to trifling articles, privately spread the meaning of slander, and was stingy when he was dry, shaking his heart.Will go to the tripod of Qian, humiliate the book and favor him, give priority to physical appearance, omit waiting for barbarians, reward the Dalong, and nourish the emperor's loss. ... ("Shang Song Xiang Gongqi") Example (1) is ancient Chinese, and example (2) is parallel style ("Qi" must use parallel style), and the difference is clear.This phenomenon can make us understand two things. One is that the parallel body is tenacious, although it gave in but did not surrender, and the other is that even the famous ancient writers cannot but be lenient.This tenacious character was manifested later that cannot be ignored, that is, in the Qing Dynasty, parallel style had a tendency of revival, not only many people liked to write, but also many famous writers such as Mao Qiling, Hong Liangji, and Wang Zhong. Parallel style is difficult to write, which means that the tools are not easy to use, and it is easy to be flashy. In short, it has a big disadvantage.However, after the victory of the ancient prose movement, it remained peaceful and did not perish. What is the reason?I think it's because the literati in the old days looked at the parallel style, in addition to being beautiful and elegant, they could also express solemnity.It's like clothing. If it is divided into two categories: formal clothes and casual clothes, it becomes impolite and impolite to wear casual clothes on certain occasions where formal clothes are required.Therefore, literati who are often in the upper class, whether they like it or not, must store dresses in their suitcases, that is, they must have the ability to write in parallel, so that when they need to write, they can also write in parallel.