It is said that Sima Qian and Ban Gu wrote the historical text "The Biography of Sima Xiangru." Although Sima Xiangru did not participate in any major court affairs, his writings were particularly renowned, so they wrote about him. Ban Gu also wrote "The Biography of Jia Zou and Mei Lu" because these individuals were recognized for their outstanding writings. Fan Ye wrote "The Book of Later Han," which includes "Biographies of Literature," recording more people in greater detail.
You see, governing a country requires an emphasis on rituals, music, an understanding of history, and the ability to comment on right and wrong, achievements and failures, all of which rely on written works. Therefore, emperors of all dynasties valued literature, and officials and nobles also considered it very important, a tradition that has not changed. The Emperor Gaozu was intelligent and had literary talent, governing the country wisely. He sought out talented individuals from across the realm and even issued decrees to recruit them. At that time, literary culture flourished, and many talented individuals gathered together. Every time the emperor went on a trip, he asked his ministers to write poems. Those who wrote well were rewarded with gold, silver, and treasures. Those who presented their poems at court could even receive an audience with the emperor.
At that time, court officials, such as Shen Yue, Jiang Yan, and Ren Fang, were renowned for their exceptional writing, unmatched by their contemporaries. There were also individuals like Pang Chengdao, Qiu Chi from Wuxing, Wang Sengru from Donghai, and Zhang Shuai from Wujun. Some of them served in the Wendian Hall, while others attended court banquets; all of them were famous figures at the time. Shen Yue, Jiang Yan, Ren Fang, and Wang Sengru were all recorded for their achievements and deeds. Now, I have collected information about these talented and knowledgeable individuals, from earlier periods to those from the Taiping era, and compiled a work titled "Biographies of Literature."
Dao Huang, courtesy name Maoxie, was from Wuyuan, Pengcheng. His great-grandfather Yan Zhi was a general in the Song Dynasty; his father Hui served as the Minister of Military Affairs in the Qi Dynasty. Dao Huang was bright and quick-witted from a young age. At the age of five, his father was copying ancient poems behind a screen, and Dao Huang requested to see and read them. After just one reading, he could recite them perfectly. As he grew up, he was diligent in his studies, excelled at writing, and had excellent calligraphy skills, especially skilled in seal and clerical scripts. He was also quite handsome, with a charming demeanor. During the Qi Jianwu period, he began serving as a military secretary for the rear army. In the early years of Tianjian, he was promoted to the registrar of the Office of Pacifying the Barbarians. When the founding emperor ascended the throne and began recruiting talented individuals, he greatly valued Dao Huang's talents. After the Eastern Palace was completed, he was appointed as the Crown Prince's attendant. At that time, the Wendedian established the Imperial Academy, gathering talented scholars to work there, tasked with collating classical texts. The founding emperor also invited Dao Huang to participate.
Once, Gaozu hosted a banquet in Huaguang Palace and ordered his courtiers to compose poems. He specifically instructed Dao Huang to write a 200-character poem within the time it takes to burn two incense sticks. Dao Huang completed the poem and presented it, and it was exceptionally well-written. Shortly after, he was appointed as the Xima, responsible for the Eastern Palace documents, and the Youcewen of the Ministry of Cavalry. Three years later, the court issued a decree to select diligent and talented individuals from the Shangshu Langzhong to serve as Shilangs, and Dao Huang was appointed as the Shilang in the Dianzhong Cao. Dao Huang and his brothers, such as Daogai and Daoqia, were all talented, and the brothers took turns holding important court positions, which drew envy from others. Four years later, Dao Huang was promoted to Taizi Zhong Sheren. He was humble and never spoke ill of others, and he had a good relationship with Ren Fang from Le'an and Fan Yun from Nanxiang. In the same year, he was promoted to Danyang Yin Cheng, but due to illness, he was unable to fulfill his duties and was reassigned as a military advisor in the Beizhonglang. Five years later, Dao Huang passed away at just thirty years old. Gaozu was deeply saddened and issued a decree granting him 20,000 coins and 30 rolls of cloth. He wrote over a hundred poems and essays in his lifetime.
Qiu Chi, courtesy name Xifan, was born in Wucheng, Huzhou, Zhejiang. His father, Qiu Lingju, was a talented official in the Qi state, achieving the rank of Grand Master of the Palace. Qiu Chi could write essays by the age of eight, and his father often remarked, "This child's writing style and spirit are just like my own!" The Yellow Gate Attendant Xie Chaozong and the scholar He Dian both took notice of him. As Qiu Chi grew up, he was appointed as an official in the local government, passed the imperial examination and became a scholar, and later became a Doctor of the National University. He later rose to the position of a military officer in the Grand Marshal's office, but he resigned after the death of his father. After his mourning period ended, he was appointed as a military officer in the Western Army. He continued to rise in ranks, becoming a Palace Attendant, and then resigned after his mother's death. After his mourning period ended, he returned to his position as a Palace Attendant and was later promoted to a military officer in the Chariot and Cavalry Department. After Xiao Yan pacified the capital, he established the Ba government and appointed Qiu Chi as the Chief Clerk of the Cavalry, showing him great respect. At that time, Qiu Chi wrote articles advising Prince Liang and for various grand ceremonies. When Xiao Yan became emperor, he appointed Qiu Chi as the Cavalier Attendant, and soon promoted him to the Minister of the Palace Library, while also serving as the Magistrate of Wuxing County and attending to imperial decrees at the Hall of Literary Virtue. At that time, Xiao Yan wrote "Lianzhu" and ordered his ministers to continue writing, with dozens of people participating, but Qiu Chi's contribution was the most outstanding. In the third year of Tianjian, Qiu Chi was sent to Yongjia as the governor, but his governance was deemed unsatisfactory, leading to his impeachment by the relevant authorities. Xiao Yan admired his talent and chose to suppress the impeachment memorial. In the fourth year of Tianjian, General of the Central Army, Prince Linchuan Xiao Hong, launched a northern expedition, where Qiu Chi served as a military adviser and secretary. At that time, Chen Bozhi was in the north confronting the Wei army, and Qiu Chi wrote a letter persuading him to surrender, which he ultimately did. Upon returning to the court, Qiu Chi was appointed as a Gentleman of the Palace Library, and later promoted to the Minister of Works. In the seventh year of Tianjian, Qiu Chi passed away at the age of forty-five years. His poems and essays continue to be celebrated through the ages.
Liu Bao, courtesy name Xiaochang, was born in Pengcheng, Xuzhou, Jiangsu. His great-grandfather Liu Meng was the Grand Minister of Works in the Song Dynasty. His father Liu Xuan was the Crown Prince's Chief Steward of the Qi State. When Liu Bao was around six or seven, he would cry whenever he saw his uncles and older cousins. At that time, his uncles Liu Quan, Liu Hui, and others were all very distinguished, and Liu Bao's mother thought he was scared of them, which made her angry. Liu Bao replied, "I lost my father when I was young and didn't understand much. I heard that all uncles and older cousins are very similar, so I feel like crying in my heart, with no other intention." As he spoke, he began to cry, and his mother joined him in tears. Initially, Liu Bao's parents and two older brothers passed away, and they were temporarily buried. When Liu Bao was sixteen years old, he started the process of relocating and reinterring their graves. He managed to complete everything on his own without relying on his uncles or older cousins, which earned him great admiration from Liu Hui.
From a young age, he loved studying and writing articles. Initially, he was appointed as a military officer in the Situ Department, but he did not take up the position. In the early years of the Tianjian period, due to his relationship as the younger brother of the Princess of Linchuan, he was summoned to serve as the Registrar of Military Campaigns, and later promoted to the Military Officer of the Central Army. He then gradually rose to become the Deputy Director of the Ministry of Personnel, the Magistrate of Danyang, the Attendant of the Crown Prince, the Deputy Director of the Ministry of Personnel, and the Magistrate of Nanxu. However, he was eventually dismissed from his position due to official misconduct. Eventually, he was appointed as the Crown Prince's equerry, tasked with managing documents and giving lectures in Shouguang Hall. Since the reign of the Emperor Gaozu, talented young individuals were promoted, including his cousin Xiao Xiaochuo, his cousin Xiao Ru, as well as Dao Gai and his brother Dao Qia from the same county, his cousin Xiao Hang, and Lu Cui and Zhang Shuai from Wu County. These individuals were appreciated by the Emperor for their outstanding literary talent and were frequently invited to attend court banquets. Although their official promotions varied, the Emperor rewarded them all equally. In the tenth year of the Tianjian period, he died at the age of thirty. Before his death, he called his friend Liu Zhilin from Nanyang, entrusted him with his affairs and asked him to keep things simple. Xiao Bao was highly capable during his time as an official, upright and straightforward in his dealings with others, openly pointing out flaws while privately praising others' virtues. He was transparent in his intentions, which made everyone deeply saddened by his passing.
Yuan Jun, courtesy name Xiaogao, was from Yangxia, Chen County, and the eighth generation grandson of Yuan Huan, the Langzhongling of the Wei state. Yuan Jun lost his father when he was young, but he was very ambitious and loved to study. Since his family was poor and couldn't afford books, he often borrowed books from others to copy them. He transcribed at least fifty sheets of paper every day, refusing to rest until he met this goal. Although he was not good at speaking, his writing was excellent. When the rebel army took the capital, Prince Xiaohui of Poyang defeated the bandits in Dongzhen, and Yuan Jun followed the prince to record events. In the early years of Tianjian, the Poyang Kingdom was founded, and he was appointed as a secretary to the prince, following him to guard Jingkou. Later, when the prince moved to Yingzhou, he also took on the role of a military officer at the capital. Emperor Gaizu had a great fondness for poetry, and at that time many people submitted their poems to the court. These works were grand and beautifully crafted, and some were appreciated and promoted. In the sixth year of Tianjian, Yuan Jun wrote a memorial inspired by Yang Xiong's "Official Admonitions" and presented it. Emperor Gaizu appreciated it very much and rewarded him with silk. He was then appointed as an attendant cavalier, working in the Ministry of Culture, and was ordered to transcribe "Records of the Grand Historian" and "Book of Han," each transcribing twenty volumes. He was also tasked with writing the "New Inscription" alongside Lu Cui, but the specific content of the article will not be discussed here.
Yu Yuling, courtesy name Zijie, was the younger brother of Qianlou, a cavalier attendant. At the age of seven, he could articulate some profound concepts. When Prince Qi, Xiao Zilong, was appointed Inspector of Jingzhou, he summoned Yu Yuling to serve as his registrar, along with Xie Mao and Zong Quai, to transcribe and organize various books. After Xiao Zilong was recalled to the capital, he sent Yu Yuling back. Later, when Xiao Zilong was killed by Emperor Ming, his subordinates were all afraid and kept their distance; no one dared to step forward, only Yu Yuling and Zong Quai stayed behind to handle his affairs.
After that, when Prince Shi'an Xiao Yaoguang served as the military commander, he appointed him as an assistant military officer and also as a secretary. In the later years of the Yongyuan period, he was appointed as the magistrate of Suian County in Dongyang County and was highly praised by the people and officials. In the early years of the Tianjian period, he served as the prison supervisor in Jiankang and was later promoted to the position of Minister of Works, serving in the Hall of Cultivated Virtue, where he attended to the emperor.
Later, he was sent to Xiangzhou as a deputy and then promoted to the position of Cavalry Attendant and Recorder, while also serving as a secretary in the Imperial Secretariat. Not long after, he served as the magistrate of Yizhong County in Nanjun and was then appointed as the Equerry to the Crown Prince, while retaining his position as a secretary in the Imperial Secretariat. In the past, officials in the Eastern Palace were all carefully selected scholars, and the Equerry oversaw official documents, a role known for its integrity. In recent years, officials have been selected from those from prominent families with talent and reputation, and when Yu Yuling and Zhoushe were promoted at the same time, Emperor Gaozu remarked, "Official positions should be determined by integrity, not restricted to those from noble families." People at that time thought the emperor's words were very good.
Soon after, he was promoted to the Cavalry Attendant and was appointed as the Grand Yizhong of Jingzhou. After several promotions, he was appointed as the Yellow Gate Attendant in the Imperial Secretariat, with the positions of secretary in the Imperial Secretariat and Grand Yizhong of Jingzhou still retained. Later, he was appointed as the Chief Clerk of Xuan Yi Jin'an Wang, the Prefect of Guangling, in charge of prefectural affairs, but was dismissed for official reasons.
He was later reinstated as a Tongzhi Lang (a junior official) and shortly after was promoted to Hongluqing, while also serving as the Grand Yizhong of Jingzhou. He passed away in office at the age of forty-eight. He left behind a ten-volume collection of writings. His younger brother, Yu Jianwu, was named.
Jian Wu, also known by his courtesy name Zishen, was able to write poetry at the age of eight, and his brother Yuling was particularly fond of him. Initially serving as an attendant at the Jin'an Kingdom, he later rose to the position of a military officer at the Wang Xuanhui Mansion. Whenever the prince relocated, Jian Wu followed the mansion. Later, he also served as a Lang in the mansion, a military officer under the Yunhui, and he also served as a military officer in the record office. In the third year of Zhongdatong, the prince was appointed crown prince, and Jian Wu also served as the Tongshi Sheren of the Eastern Palace. He then transferred to the position of a military officer in the Anxi Xiangdong Mansion, and soon after, he concurrently held the position of Grand Zheng of Jingzhou alongside his original role. Afterwards, he continued to rise in ranks, becoming the military officer of Zhongluoshi Zixi, the prince's rate officer, and the middle chamberlain.
It is said that when Emperor Taizong was still in the fiefdom, he had a particular admiration for talented scholars. At that time, Jian Wu, along with Xu Chi from Donghai, Lu Gao from Wu County, Liu Zun from Pengcheng, Liu Xiaoyi, and Jian Wu's younger brother Xiaowei, were all recognized and honored by Emperor Taizong. When Emperor Taizong moved into the Eastern Palace, he established the Wende Ministry, recruiting scholars. Jian Wu's son Zixin, Xu Chi's son Ling, Wu County's Zhang Changgong, Beidi's Fu Hong, Donghai's Baozhi, and others were all selected.
During the Yongming period of the Qi Dynasty, the writings of literati such as Wang Rong, Xie Mo, and Shen Yue began to emphasize the four tones, which was considered a new change. By this time, people began to focus on tones and strive for a more ornate and extravagant style, even more so than before. At that time, the prince wrote to the Xiangdong King to discuss this matter, stating in the letter:
We don't really have any chance to go out and have fun, and just spend our days reading and studying. I've always enjoyed writing, and sometimes I even write little poems. Even though my writing isn't great, I just can't seem to stop, feeling like my talents are going to waste, and I find myself slipping back into old habits. Lately, I've noticed the writing style in the capital that comes off as stiff and mediocre; everyone's just mimicking this flashy, hollow style, rushing after fancy words while missing the essence of what writing should be. With the long winter nights, I find myself pondering in vain, struggling to find the right way to express myself, not following the principles of metaphor or matching the styles of the Book of Songs and the Songs of Chu. The six classics and three rituals have their specific contexts; the rituals for good and bad events, and the feasting of guests, all come with their own etiquette. But I've never heard of expressing personal feelings in poetry while having to imitate the 'Neize'; or expressing my aspirations in writing while copying the 'Jiu Gao'; or describing the slow arrival of spring while learning the style of 'Gui Cang'; or depicting the vastness of the river while imitating the 'Shang Shu Da Zhuan'.
I'm not great at writing, so I hesitate to comment freely. However, I've read a lot of works by both ancient and modern masters, such as Yang Xiong, Sima Xiangru, Cao Cao, and Wang Can from ancient times, and Pan Yue, Lu Ji, Yan Yanzhi, and Xie Lingyun from modern times, and found that their writing styles and intentions are really different. If modern writing is seen as right, then ancient writing must be wrong; if those ancient masters are worth praising, then modern literary styles should be abandoned. I cannot agree with either of these two statements.
Sometimes people compare the articles of Xie Lingyun and Pei Qi, which leaves me puzzled. Why is that? Xie Lingyun writes as if it comes naturally to him, but that can be a drawback; Pei Qi is an excellent historian, but his articles have no literary value. So, trying to study Xie Lingyun doesn't capture his essence; it often just leads to his long-windedness. Studying Pei Qi means losing his strengths and only learning his weaknesses. Xie Lingyun's cleverness is difficult to imitate, and Pei Qi's simplicity is not worth emulating. Those who blindly follow trends, chasing fame without substance, are like trying to take meat from a kind beast, learning to walk in Handan, entering a fish market and not smelling the stench, ultimately bringing trouble upon themselves. Reaching Xie Lingyun's level is as tough as climbing to the sky; rigidly imitating Pei Qi, one's articles may not be passed down.
Therefore, those fancy words will be mocked by those with poor taste; the straightforward "Xia Li Ba Ren" fits the taste of the people in Yingdu better. Although "Yangchun Baixue" is elegant, it is not harmonious, and while the beautiful music is unparalleled, it is hard to find. If you don't take the time to think about the words and sentences, weighing the literary style and content of the article, you'll end up like "Qiao Xin," ruining the reputation of skilled hands. Therefore, talented people, seeing Zhengguo's decline, know to step back carefully; those in fancy clothes, seeing the decline of Mindi, know to sigh.
Poetry is like this, and writing is the same. I am just guided by the pen and ink, allowing it to flow freely; the paper is emotionless, allowing it to be folded. Alas, the flood of writings has become overwhelming! Speaking of it, poems by figures like Xie Tiao and Shen Yue, and writings by Ren Fang and Lu Cui, are the pinnacle of literature, exemplars of writing! Zhang Shijian's fu and Zhou Shengyi's debates are also top-notch; it’s rare to find talents like them today. As long as literature thrives, exceptional talents will continue to arise; and who else can lead these people besides you (referring to "younger brother")? I always want to talk about these matters with others, but I can't find a suitable conversation partner. I often think of Cao Zhi and wish I could have a good conversation with him. Distinguish the quality of writings clearly, just like the clear distinction between the Jing River and the Wei River; critique writings, just like the fair critiques from Runan. The errors in the writings have been clearly marked, and the signs of revision are also evident, shaming those who plagiarize and exposing the pretenders. Like Yuan Shao, who feared facing capable generals; and like cattle thieves, afraid of upright people like Wang Lie. I miss you so much, and it worries me that I can't see you! During the Taiqing era, Hou Jing captured the capital; when Emperor Taizong took the throne, he appointed Jianwu as the Minister of Finance. At that time, various ethnic minority tribes in the Yangtze River basin occupied states and counties to resist Hou Jing. Hou Jing forged an imperial edict and sent Jianwu to Jiangzhou to negotiate with General Dangyang, Xiao Daxin, to persuade him to surrender, and Xiao Daxin ultimately surrendered to Hou Jing. Jianwu fled to the border of Jianchang, and it took him a long time to reach Jiangling, where he passed away shortly after. His literary works have been preserved through the ages.
Liu Zhao, courtesy name Xuanqing, was a native of Gaotang in Pingyuan and the ninth great-grandson of Wang Yan, who served as the Grand Commandant during the Jin Dynasty. His grandfather Bolong was famous for his filial piety during the mourning period, and Emperor Wu of the Song Dynasty even ordered the Crown Prince and other princes to pay their respects to him, which led to his appointment as the Minister of Works. His father Biao was the secretary for General Xiao Ziliang of the Qi Dynasty. Liu Zhao was bright and clever from a young age, understanding the teachings of Laozi and Zhuangzi by the age of seven. As he grew up, he studied diligently and excelled in writing, and his cousin Jiang Yan recognized his talent early on. In the early Tianjian years, he began his career as an imperial attendant, later rising to the position of Army Advisor for the Northern Expedition and then as a Gentleman of the Imperial Secretariat, and finally becoming the Magistrate of Wuxi County. He also served as the secretary to Prince Xiao Zong of Xuanhui Yuzhang and Prince Xiao Hong of the Central Army. Earlier, Liu Zhao's uncle Liu Rong had collected annotations on the "Book of Jin" from various sources and compiled them into forty volumes along with Gan Bao's "Records of Jin." When it came to Liu Zhao, he collected different versions of the "Book of Later Han" to annotate Fan Ye's "Book of Later Han," earning praise for his profound knowledge. He later rose to the position of Court Gentleman and served as the Magistrate of Yan County before he passed away while in office. His annotated edition of the "Book of Later Han," consisting of one hundred and eighty volumes, "Biographies of Youth" in ten volumes, and his collected works in ten volumes have been passed down.
Zi Sui, courtesy name Yanming, was a diligent scholar who was knowledgeable about the "Three Rites." During the Datong era, he became a Gentleman of the Sacrificial Offices in the Ministry of Rites, but soon resigned and never took on another official role. His younger brother Zi Huan, courtesy name Handu, gained recognition at a young age. He served as a secretary to Prince Xiangdong of Anxi and Xiangdong, where many scholars gathered at the Western Court, with Zi Huan being among the most outstanding. He later rose to the position of Court Gentleman and then to the position of Recorder of the Central Office of Prince Zhennan of Xiangdong, accompanying the prince's household to Jiangzhou, where he ultimately passed away.
He Xun, courtesy name Zhongyan, was from Tan County in the East Sea. His great-grandfather was the Minister of Rites of the Song Dynasty, his grandfather was an Assistant Minister, and his father was a military advisor to the Qí Dynasty. He Xun was able to write poetry at the age of eight, and at a young age, he was recommended as a Xiucai by the local government. Fan Yun from the Southern District saw his essays and greatly appreciated them, thus forming a deep friendship with him. Whenever He Xun wrote an article or poem, Fan Yun would always praise it, telling his friends and family, "Most literati I have seen recently are either too rigid in their adherence to Confucian classics, seeming dull, or too extravagant and lacking substance; He Xun's writings manage to balance elegance and simplicity, retaining the charm of ancient times while also incorporating contemporary characteristics, which is truly rare!" Shen Yue also admired He Xun's literary talent, once telling him, "Every time I read your poems, I have to read them three times in a day, and still feel unsatisfied." Clearly, He Xun was highly regarded among the literati.
During the Tianjian period, He Xun was appointed by the court as a court official, later promoted to be a military advisor to the Prince of Jian'an, also serving as a secretary. The Prince of Jian'an enjoyed the company of literati, often feasting with them. After moving to Jiangzhou, He Xun continued to serve as a secretary. He later became a military officer for the Prince of Anxi, also serving as a secretary in the Ministry of Water Resources, but resigned following the death of his mother. After the mourning period, he was appointed as a secretary for the Prince of Lu Ling, following the prince to Jiangzhou, where he passed away shortly after. The Prince of Donghai collected his writings and compiled them into eight volumes. Initially, He Xun and Liu Xiaochuo's writings were both highly regarded, and they were often referred to together as "He Liu." Emperor Taizong once penned an article about them, stating, "Shen Yue excels in poetry, while Xie Tiao and He Xun show great promise in their youth."
At that time, there was also Yu Qian from Kuaiji, who was skilled in writing five-character poems. His reputation was comparable to He Xun, and he eventually held the position of Attendant of the Kingdom. Later, there were also Kong Wenggui from Kuaiji and Jiang Bi from Jiyang, who both served as secretaries for the Grand Marshal of Nanping. Kong Wenggui was also a talented poet, while Jiang Bi was knowledgeable and talented, with deep insights. He even annotated the Analects of Confucius and the Classic of Filial Piety. Both of them left behind collections of their writings. Zhong Rong, styled Zhongwei, was from Changshe, located in Henan, and was the seventh-generation descendant of the Minister of Ceremonies from the Jin Dynasty. His father, Zhong Dao, held the position of military officer in the Qi Dynasty. Zhong Rong and his brothers, Zhong Yan and Zhong Yu, were all very passionate about learning and had innovative ideas.
Zhong Rong was a scholar at the Guozi during the Yongming period of the Qi dynasty, and he was well-versed in the Book of Changes. At that time, the military official Wang Jian held the position of Guozi Ji, and he greatly appreciated Zhong Rong. Later, Zhong Rong passed the provincial examination and became a Langzhong, then he was promoted to the position of Deputy Military Advisor, and later he was sent to Anguo County as the county magistrate. As the Yongyuan period drew to a close, he was appointed as the Deputy Military Advisor to the Situ. At the beginning of the Tianjian period, the court implemented reforms, but the workload was overwhelming, so Zhong Rong wrote a memorial saying, "The disorder that emerged during the Yongyuan period was stemming from the court's misuse of titles. These individuals lacked merit; they merely relied on bribery to obtain official positions. A small bribe could secure them a ninth-rank official position, and a letter could summon soldiers from six garrisons; cavalry filled the streets, and young officers filled the roads. They donned extravagant official robes while performing menial tasks; they held high positions and salaries, but personally did labor. This disconnect between title and reality is more serious than anything! I believe military officers ought to be scholars from esteemed families, inherently upright and honest. They should not receive titles for this reason, and this practice should be abolished to deter those who exploit the system. Regarding those outsiders who are crude and unrefined, they should be appeased, but their salaries and powers should be strictly limited to prevent them from obstructing the right path; they should be granted only an empty title. I risk offending others by voicing my thoughts, in the hope of serving the court faithfully." The emperor ordered the Ministry of Personnel to act on his recommendations. Later, Zhong Rong was promoted to Deputy Military Advisor under Prince Linchuan. Wang Yuanjian, the Prince of Hengyang, appointed him as the Ning Shuo Jishi during his tenure as the Governor of Kuaiji, specifically responsible for administrative duties.
Once, there was a hermit named He Yin who built a house on Ruoxie Mountain. When a flash flood struck, many trees and rocks were washed away, but only this house remained intact. King Yuan Jian had Zhong Rong write a poem, "Ode to the Auspicious Room," to commend this event, and the poem was beautifully composed. Later, Zhong Rong was appointed as the recording secretary for Prince Jin'an, the General of the Western Zhonglang.
Zhong Rong evaluated both ancient and modern five-character poems, discussing their strengths and weaknesses, and wrote a book called *Poetry Evaluation*. The preface of the book is:
Speaking of poetry, it is the natural expression of human emotions touched by external objects, which makes people excited and unable to help but compose poems. The charm of poetry lies in its power to illuminate the world, allowing subtle truths to be revealed. When it comes to what can move heaven, earth, and spirits, there is nothing more powerful than poetry. In the past, the verses of "South Wind" and "Qing Yun" were deeply meaningful! In the "Summer Song," it sings "Yutao Hu Yu Xin," and the songs of the Chu State sing "Ming Yu Wei Zheng Ze." While these may not be complete poetic forms, they can be seen as the origins of five-character poetry.
It was not until the Han Dynasty, with Li Ling, that this poetic form was officially termed "five-character." Ancient poetry, with its long history, is difficult to verify, but stylistically, it indeed flourished during the Han Dynasty, rather than emerging during the decline of the Zhou Dynasty. After figures like Wang Can, Yang Xiu, Mei Cheng, and Ma Rong, the trend of lyricism thrived, while poetry creation waned. From Li Ling of the Han Dynasty to Ban Jieyu, in nearly a hundred years, only Ban Jieyu, a female poet, emerged during this decline in poetic creation. During the two hundred years of the Eastern Han Dynasty, only Ban Gu's "Ode to History" gained some recognition, but overall it was rather plain and unremarkable, lacking any elegance.
During the Jian'an period, both Cao Cao and his son, Cao Zhi, were very fond of poetry, and the Pingyuan brothers were prominent figures in the literary world. Liu Zhen and Wang Can were their capable assistants. In addition, there were many followers, estimated to be over a hundred people. The flourishing of poetry during the Jian'an period reached its zenith! Afterwards, poetic creation began to decline and continued to do so until the Western Jin period. During the Taikang period of the Western Jin dynasty, Zhang Zai, Zhang Xie, Zhang Hua, Lu Ji, Lu Yun, Pan Yue, and Zuo Si, among others, revived poetic creation by inheriting and developing the styles of their predecessors, ushering in a revival of poetry. During the Yongjia period of the Western Jin dynasty, the teachings of Huang-Lao were in vogue, and philosophical discussions (Qingtan) were popular. At that time, poetic creation became overly focused on reasoning, neglecting the use of rhetoric, appearing dull and tasteless. By the time of the Eastern Jin dynasty, the aftermath of poetry was still spreading, with poets such as Sun Chuo, Xu Xu, Huan Wen, and Yu Liang writing in a plain style, similar to the "Tao Te Ching"; the poetic style of the Jian'an period had faded away. Before this, Guo Pu, with his outstanding talent, pioneered a new poetic style; Liu Kun, with his steadfast integrity, refined this style. However, because there were few advocates for this style at the time, it failed to gain popularity. During the Yixi period of the Eastern Jin dynasty, Xie Lingyun inherited this style from his father, Xie Yishou, and continued to create poetry. In the early years of Yuanjia, Xie Lingyun emerged with exceptional talent and eloquence, surpassing even Liu Kun, Guo Pu, Pan Yue, and Zuo Si. Therefore, the representative figure of the Jian'an period is Cao Zhi, assisted by Chen Lin and Wang Can; the representative figure of the Taikang period is Lu Ji, assisted by Lu Yun and Pan Yue; the representative figure of the Yuanjia period is Xie Lingyun, assisted by Yan Yannian. These individuals stand out as remarkable figures in the history of poetry.
Oh, the four-word poetry, though concise, can convey a wealth of meaning, somewhat similar to the style of the "Book of Songs" and "Songs of Chu." If written well, one can gain a lot, but the challenge is in the labor-intensive writing process and the limited expression of meaning, so nowadays few people write them.
As for the five-character poems, they are the key to writing articles and the richest in everyone's works, which is why they are very popular. Why is that? Because they can describe things and express emotions in concise language, allowing for a detailed and nuanced expression! In the "Book of Songs," there are six ways of expression, the first being "xing," the second being "fu," and the third being "bi." After expressing the meaning, there is a lingering taste, which is "xing"; using things to metaphorically express emotions, which is "bi"; directly describing things, using language to describe things, which is "fu."
We must carefully consider and apply these three ways of expression, using a majestic style, adding some finishing touches, inviting readers to savor every word, and listeners to feel deeply moved; only then can it be considered a good poem! However, if only "bi" and "xing" are used, it is easy to fall into the dilemma of overly abstract meanings. If the meaning is too profound, the written work will appear difficult to understand. If only the method of "fu" is used, it is easy to appear vague in meaning. If the meaning is vague, the article will appear scattered, unfocused, like a rambling account, making it tedious to read.
Speaking of it, spring brings gentle winds and singing birds, autumn brings the bright moon and the sound of cicadas, summer brings fluffy clouds and torrential rains, winter brings the cold moon and biting chill. These are all scenes that poets celebrate in their verses. When happy, they compose poems to express closeness; when parting, they compose poems to voice their sorrows. For example, officials from the State of Chu leave their homeland, Han Dynasty palace maids bid farewell to the palace; some corpses lie scattered across the desolate northern wilderness, some souls drift like dandelion seeds in the wind; some soldiers bear arms to defend the frontier, others stand watch with fierce determination; border soldiers wear threadbare clothing, women in their chambers weep bitterly. There are also officials who remove their jade ornaments and resign, never to return; women favored by the emperor for their beauty, yet yearning for a beauty that could enthrall a nation. In short, all these scenes touch people's hearts; how can such meanings be conveyed without poetry? How can their emotions be conveyed without singing heartfelt ballads? As the saying goes: "Poetry can voice joy and sorrow." Let the downtrodden find solace, let the reclusive not feel lonely anymore; nothing compares to the power of poetry. Thus, every poet holds a deep love for poetry.
These days, everyone's caught up in this craze. They're barely out of elementary school, still struggling to make ends meet, and are already enthusiastic about writing poetry. So you get all sorts of poetry, from the really bad to the… well, still pretty bad. Rich kids, if they think their poems aren't up to scratch, they're mortified, so they spend all day pondering poetry and even recite it at night. They think it's brilliant, but to everyone else, it's just blah. Some of these poseurs sneer at the old-fashioned stuff by Cao Zhi and Liu Zhen, saying Bao Zhao was the greatest ever, and Xie Mo was one of a kind. However, when they imitate Bao Zhao, they can't achieve the kind of artistic conception found in "the market is full at noon," and when they imitate Xie Mo, they can't even reach the level of "yellow birds cross the green branches." They're chasing fancy words, but they haven't got a clue about what poetry's really about.
I saw those high-ranking officials, literati, and scholars, who often used poetry as a topic of conversation after their debates, expressing their own opinions and arguing endlessly. The clinking of wine glasses, the elegantly dressed people vying with each other, arguing and making a racket, completely lacking any order. I know a talented man from Pengcheng, Liu Shizhang. He was fed up with this chaos and wanted to establish a ranking for the poetry of his time, but unfortunately, he hadn't finished writing the article, so I felt compelled to write this piece. In the past, there was the Nine Ranks system for evaluating officials, and the Seven Military Classics also selected talents, but in reality, many of them were unreliable; when it comes to poetry, everyone has their own understanding, much like playing chess, where comparison will reveal the truth. Now the emperor, he is a dragon among men, talented, profound in thought, shining in his writings, knowledgeable and outstanding, already remarkable when he was an official in the court; not to mention now that the world is unified, talents are abundant, and talented individuals are as plentiful as grass. He doesn't even consider the poets of the Han and Wei dynasties worth mentioning, let alone the poets of the Jin and Song dynasties. This isn't just some crude piece written by a country bumpkin, but something I wrote after careful consideration. I'm jotting down these thoughts today simply to help everyone, amidst laughter and conversation with neighbors, gain a better understanding. After some time, he passed away. (Wan, known by his style name Changyue, served as a military officer and played a role in establishing peace in Jiankang. He authored "Biographies of Virtuous Officials," a ten-volume work.) He, known by his style name Changyue, held the position of a military officer and played a role in establishing peace in Jiankang. He authored "Biographies of Virtuous Officials," a ten-volume work. (Yu, with the style name Jiwang, served as the magistrate of Yongjia county. In the fifteenth year of the Tianjian era, he was commissioned to compile the "Comprehensive Overview" alongside other scholars. Both brothers had their own collections of writings.) He, with the style name Jiwang, served as the magistrate of Yongjia county. In the fifteenth year of the Tianjian era, the court ordered the scholars to compile the "Comprehensive Overview," and he also participated. Both brothers had their own collections of writings.
Zhou Xingsi, whose courtesy name was Sizuan, hailed from Xiang County in Chen Commandery. He was a descendant of Kan, the Grand Tutor to the Crown Prince during the Han Dynasty. His father, Zhou Ning, served as a military officer in the Western Expeditionary Bureau of the Jin Dynasty and as the Prefect of Yidu. Zhou Xingsi's family lived in Gushu. At the age of thirteen, he went to the capital to study, spending over a decade studying and ultimately becoming well-versed in a wide array of literature, with a particular talent for writing.
One time, while walking from Gushu, he stopped at an inn where a stranger told him, "Your talent surpasses that of ordinary people. Initially, you will gain the appreciation of high-ranking officials, and eventually, you will be valued by wise monarchs." After saying this, the stranger vanished. During the Qi Longchang era, the attendant Xie Pai, who served as the Prefect of Wuxing, engaged only in discussions of history and literature with Zhou Xingsi. After Xie Pai returned to the capital, he strongly recommended Zhou Xingsi to the court. The local authorities recommended Zhou Xingsi as a scholar, and he was appointed as the county magistrate of Guiyang. The Prefect Wang Rong greatly admired him and treated him with great respect.
After Emperor Xia Daocheng seized the throne, Zhou Xingsi presented the "Xiuping Fu," which was highly praised by the Emperor. He was appointed as the Assistant Minister for the Kingdom of Ancheng, serving in Hualin Province. That year, Henan presented some fine horses, and the court tasked Zhou Xingsi, along with the attendant Tao Huang and Zhang Shuai, with composing poems. Emperor Xia Daocheng deemed Zhou Xingsi's poem the finest, so he was promoted to the position of an Assistant Cavalry Officer. He later moved to the provinces of Wende and Shouguang. At that time, Emperor Xia Daocheng transformed the old mansion of Sanqiao into Guangzhai Temple and instructed Zhou Xingsi and Lu Li to each write an inscription for the temple. Once the inscriptions were completed, they were submitted, and Emperor Xia Daocheng ultimately selected Zhou Xingsi's version.
Since then, articles such as "Inscription on a Bronze Tablet," "Inscription on the Palisade Pond," "Proclamation of the Northern Expedition," and "Thousand Character Classic in Rhyme with Wang Xizhi" were all written by Zhou Xingsi; each time they were presented, the Emperor praised them highly and rewarded him with gold and silk. Nine years later, Zhou Xingsi was appointed as the magistrate of Xin'an County. After his term ended, he returned to his position as a Gentleman of the Imperial Writers, participating in the compilation of national history. In the twelfth year, he was promoted to the position of Supervisor of the Right (给事中), still responsible for writing articles. Zhou Xingsi had previously suffered from erysipelas in both hands, and that year he contracted a contagious disease and became blind in his left eye. The Emperor held his hand and sighed, saying, "Such a talented person, yet afflicted with such a disease!" He even specially sent someone to deliver a prescription for treating erysipelas to him. It was clear that the court held him in high regard. Ren Fang also admired his talent greatly, often saying, "If Zhou Xingsi had not fallen ill, he would have been promoted to the position of Deputy Imperial Secretary within ten days." In the fourteenth year of the reign, Zhou Xingsi was appointed as the magistrate of Linchuan County. In the seventeenth year, he returned to the position of Supervisor of the Right, serving in the Western Province. The Left Guard Zhou She was ordered to annotate the poems written by the Emperor throughout the ages, and he requested Zhou Xingsi's assistance. In the second year of the Puyang era, Zhou Xingsi passed away. The books he wrote, such as "Records of the Emperor," "Records of Imperial Virtue," "Daily Records," and "Regulations and Ceremonies," totaled over a hundred scrolls, with a collection of his writings spanning ten scrolls.
Wu Jun, styled Shuxiang, was a native of Huzhou, Zhejiang. His family was poor, but he was particularly diligent in his studies and very talented. Shen Yue once read articles written by Wu Jun and greatly admired him. During the Tianjian era of the Southern Liang Dynasty, Liu Yun became the governor of Huzhou and recruited him as his chief secretary, composing poetry together every day. Wu Jun's writing style was elegant and refined, with an air of antiquity that many people sought to emulate, which became known as the "Wu Jun style." Later, Prince Jian'an Xiao Wei became the governor of Yangzhou and also recruited him as his secretary, in charge of managing official documents. After Xiao Wei was transferred to the governorship of Jiangzhou, Wu Jun was appointed as an Imperial Attendant, overseeing city affairs. He was later promoted to the position of Palace Attendant.
Earlier, Wu Jun petitioned to write "Chronicles of Qi." After completing the writing, he presented it to the court. Emperor Wu of Liang doubted the authenticity of his work, so he sent the Imperial Secretary Liu Zhilin to question him on several issues he raised. As a result, Wu Jun could not answer, and the emperor ordered the burning of his book and dismissed him from office. Shortly thereafter, the emperor summoned him again by decree to write "General History," covering the Three Emperors, Five Sovereigns, and extending to the Qi dynasty. Wu Jun had already completed the drafts of the annals and the lineage; only the biographies were not yet finished. In the first year of the Ordinary Yuan era, Wu Jun passed away at the age of fifty-two. Wu Jun also provided annotations for the 90 volumes of Fan Ye's "Book of the Later Han," and authored "Chronicles of Qi" in 30 volumes, "Records of the Temple" in 10 volumes, "Records of the Twelve Provinces" in 16 volumes, "Biographies of Wise Men of Qian and Tang" in 5 volumes, "Continuation of Literary Explanations" in 5 volumes, as well as a collection of essays in 20 volumes.
Now let's talk about a few other famous literary figures at that time: Gao Shuang from Guangling, Jiang Hong from Jiyang, and Yu Qian from Kuaiji, all of whom were skilled writers. During the Yongming reign of Qi, Gao Shuang once wrote poems dedicated to General Wei Wang Jian, which caught the attention of Wang Jian. Later, Gao Shuang became the Intendant of Danyang and was recommended as a filial and incorrupt official of the county. During the Tianjian era, he was appointed as the Army Advisor of Prince Linchuan. Later, he was appointed as the magistrate of Jinling County, but was later imprisoned for misconduct. He wrote a piece titled "The Poem of the Boiling Fish" to convey his experiences, which was very well-written. He was later pardoned, but sadly passed away shortly thereafter. Jiang Hong became the magistrate of Jianyang County and was executed for committing a crime. Yu Qian became the Gentleman of the Palace in the Kingdom of Wang. All three left behind their own literary collections.
