Qiu Lingju, a native of Wucheng, Huzhou, Zhejiang, comes from a family that once served as Secretary Supervisor. Qiu Lingju had a passion for learning from a young age and excelled in writing. He started as a minor official in the local government and was later recommended by the local government to meet the military commander Shen Yanzhi. Shen Yanzhi told him, "I used to be an official in the prefecture and visited the military commander Xie Hui. The seating arrangement back then was just like ours today. Perhaps you will be in a similar position in the future." Later, he passed the imperial examination and became the chief clerk in the prefecture, gradually advancing to the position of a department official.
When Empress Yin, the consort of Emperor Xiaowu of Song, passed away, Qiu Lingju presented three elegies, one of which, "Clouds hang over the wide steps, frost deepens in the high hall's cold," particularly moved the emperor, who greatly admired the line. He was then appointed as a military officer in the Northern Command of Prince Xin'an and later was sent to serve as a county magistrate in Shan County and Wucheng County, but he was not satisfied with these roles. In the early years of the Taishi period, he was imprisoned for several years because of his involvement in a case concerning an eastern rebel group. Later, Chu Yuan became the Prefect of Wuxing and told others, "The talents in this county are abundant; only Qiu Lingju and Shen Bo are real talents!" He then recommended him to the court. Emperor Song Ming asked him to write the "Memorial on the Southern Expedition." Eventually, he was appointed as a military officer under the Grand Commandant and then promoted to the Anbei Assistant Secretary, concurrently serving as the Prefect of Fufeng, though he never took up the position. He later served as an official in the Three Excellencies, the Prefect of Jiankang, and then was promoted to the position of a direct assistant, concurrently serving as a Gentleman of the Palace Library.
During the Shengming period, he was promoted to the position of Regular Official, in charge of the county's Zhongzheng, while also holding the position of Secretary of the Central Secretariat. At that time, during the period of abdication, the emperor had Qiu Lingju participate in drafting the edict. In the first year of Jianyuan, he was promoted to Secretary of the Central Secretariat, while his role as Zhongzheng remained unchanged, and was also appointed by the emperor to be in charge of the documentation work of the East Palace. Soon after, he was also tasked with overseeing the national history. In the second year, he was assigned to Zhen Nan as the Chief of Staff, and also served as the magistrate of Xunyang County, before being promoted to Left Assistant Minister of the Ministry of Personnel. After Emperor Shizu ascended the throne, he was promoted to Tongzhi Chamberlain, and shortly after, he also served as the sacrificial official of the East Hall. Qiu Lingju said, "I've been an official for a long time and don't want to keep getting promoted. Let me continue to be this sacrificial official; I have no complaints." In the second year of Yongming, he was appointed as the General of the Agile Cavalry. Qiu Lingju did not like this military position and remarked to others, "I should go back home and dig up Gu Rong's grave. In this area of Jiangnan, there are thousands of miles, and those talented and cultured scholars all come from here. Gu Rong suddenly led a group of rough men across the river, blocking the path for us; he deserved his fate even after death!" Later, he was reassigned as Zhengyuan Chamberlain. Lingju was particularly fond of drinking and was good at evaluating people. Once, he saw a poem written by Wang Jian at Shen Yuan's house, and Shen Yuan said, "Wang Ling's writing has improved a lot!" Lingju immediately responded, "How does it compare to when I didn't improve before?" This was said directly to Wang Jian. Lingju had a great reputation during the Song Dynasty, but it declined significantly during the Qi Dynasty. His hair was disheveled, and his clothing was casual, and he didn't take care of household matters. Wang Jian remarked to others, "Qiu Gong (referring to Lingju) has not been promoted in his official position, and his talent has also declined." Later, Lingju was appointed as the Changshi of Prince Changsha's chariot and also became a Grand Master, before he passed away. He wrote the "Preface to the Record of Jiangzuo Articles," recording articles from the Taixing period to the Yuanxi period, and his collected works have been passed down through generations.
Tan Chao, courtesy name Yuezu, was from Gaoping Jinxiang. His grandfather, Tan Hongzong, once served as the Governor of Nanlangye in the Song Dynasty. Tan Chao has been fond of literature since childhood, with a somewhat unrestrained personality. When he first became an official, he was the Censor of the West. He once worked with Deputy Xiao Huikai and was no less competent than him. He even said to Xiao Huikai, "We both came from the same old lady (referring to our ancestors), what's there to brag about?" Empress Xiao was Xiao Huikai's ancestor, while Princess Daolian Fei was Tan Chao's ancestor. Later, Tan Chao was recommended as a scholar. In the early years of the Xiaojian era, he was demoted to Liangzhou and served as a military officer. Emperor Xiaowu heard of Tan Chao's literary talent and ordered him to be summoned back to the Eastern Palace. He was successively appointed as a General of the Cavalry, Chief Clerk of Ningman, and Advisor of Zhenbei. Tan Chao held many positions in the border areas but never found much success. He was later transferred to the position of Counselor of the Ministry of Revenue, Military Secretary of the Cavalry, and Internal Historian of Guiyang. He then returned to the court, serving as a Palace Attendant and also served as a Gentleman of the Palace Library, Internal Historian of Lingling, Secretary of the Northern Expedition of the Cavalry, National Teacher, and concurrently as the Left Minister.
Tan Chao particularly loved drinking, enjoyed composing poetry and essays, and behaved quite casually. He even compared himself to Xi Chao of the Jin Dynasty, saying that two "Chaos" came from Gaoping, and added, "I think I'm a little better." Emperor Taizu of Northern Wei appreciated him greatly and promoted him to General of the Elite Cavalry, Palace Attendant, and Chief Historian.
In the second year of Jianyuan, the court had just begun to establish the position of historiographers, and the emperor appointed Xiao Chao and Secretary of the Northern Expedition Jiang Yan to manage historical records. Xiao Chao memorialized the court, establishing regulations for compiling historical books, deciding to adopt "Kaiyuan" as the era name instead of the Song Dynasty's era names. The titles and rewards of various ministers were detailed in their personal biographies, so there was no need to repeat this in the historical records.
This time, ten historical books are to be compiled: "Law and Calendar," "Rituals and Music," "Astronomy," "Five Phases," "Ritual Sacrifices," "Criminal Law," and "Literature and Arts," following Ban Gu's historical writing methods; "Court Meetings" and "Carriages and Attendants," based on the methods of compiling historical books by Cai Yong and Sima Biao; "Provinces and Counties," based on Xu Yuan's method of compiling historical books; "Officials," based on Fan Ye's method of compiling historical books, and "Officials" and "Provinces and Counties" have been merged. In Ban Gu's historical book, the records of the five celestial bodies are found in the "Astronomy" section, and the records of solar eclipses are in the "Five Phases" section; now we have moved the records of solar eclipses to the "Astronomy" section and taken the founding year as the starting year of the historical book. In order to reflect the status of the imperial family, we have also specifically set up the "Biographies of Imperial Women" to record the life stories of imperial women, to highlight their significance within the family; at the same time, we have added the "Biographies of Scholars" and "Biographies of Exemplary Women." The emperor has ordered both court and local officials to discuss this in detail.
Wang Jian, the Left Supervisor, expressed his opinion: "Strengthening the national finances is the foremost task of governance. The circulation of grain and goods is essential for national prosperity and for the people to live and work in peace. Therefore, a 'Food and Goods Chronicle' should be added to record content in this area, to underscore the nation's foundation. In past historical texts, the 'Court Meeting Chronicle' was not recorded. Cai Yong noted that his teacher Hu Guang had commented on the 'Old Rites of Han', but this was only Cai Yong's personal opinion; its content was trivial and insignificant, and there was no need to record it. Thus, I propose establishing a 'Food and Goods Chronicle' while abolishing the 'Court Meeting Chronicle'. Among the nine categories of 'Hongfan', one pertains to the Five Elements, and the essence of the Five Elements is rooted in the principles of water and fire, which is the foundation of the Five Elements of the sun and moon. Now we should follow the practices of our predecessors; there is no need for any reforms. In addition, it is also inappropriate to create a 'Biographies of Imperial Women'. If the imperial women have noble character and special deeds, they should be included in the 'Biographies of Exemplary Women'; if they are just ordinary women, there is no need for a separate biography." Ultimately, the emperor accepted Wang Jian's recommendation and decided to record the unusual phenomena of the sun and moon in the 'Astronomy Chronicle', and the remaining matters were to be addressed according to Wang Jian's recommendations. Xiao Chao passed away before the historical compilation was completed, and Jiang Yan took over and finished the work, but it remained imperfect. At the same time, Xiong Xiang of Yuzhang authored a historical work titled 'Qi Dian', chronicling history from the ten ancient dynasties. In the preface, he stated: "'The Book of Documents - Yao Canon' is referred to as 'The Book of Yu', thus, when combined, they are referred to as 'Qi'; this work is also known as 'Heluo Jinkui'."
Bian Bin, courtesy name Shiwei, was a figure wronged in Jiyin. His ancestor Bian Sizhi had held the position of General, and his father Bian Yanzhi was known for his integrity and served as the magistrate of Shangyu County. Bian Bin was very talented, unconventional, and often penned satirical articles. He had served as the Chief Clerk of the Western Office in his province and held a position in the Ministry of Rites. As the Song Yuanhui period was drawing to a close, four influential ministers held sway over the court. Bian Bin said to Liu Yu (Taizu), "There is a nursery rhyme circulating outside: 'Pity the deceased in mourning clothes, filial sons no longer weep for their fathers, and those on the list are temporarily silenced and their families extinguished.' Have you heard this?" At that time, Wang Yun and Yuan Can were killed together due to their fathers' deaths, hence the reference to "mourning clothes"; "clothes" refers to attire, and the character旁 of "Chu" signifies "clothes"; "filial sons no longer weep for their fathers" refers to Chu Yuan; "those on the list" refers to Xiao Daocheng. After saying this, Bian Bin took his leave, and Liu Yu laughed and said, "This nursery rhyme was concocted by Bian Bin himself." When the Qi Dynasty had just been established, Bian Bin said, "Who says the Song Dynasty is so distant from us? I could see it even if I stood on tiptoe." Liu Yu did not punish him; instead, he appointed him as a military advisor. His family lived in poverty, and he was later sent to take up the post of county magistrate in Nankang County.
Bian Bin loves to drink and is not particular about small details. He wrote a piece called "Ode to Fleas and Lice," in which he wrote: "I live in poverty; I haven't worn new clothes in ten years. A tattered robe is my only means of survival; it has accompanied me through the seasons, and I can't bear to replace it. My health is poor, my daily routine is irregular, I sleep on old cotton batting, too lazy to move. Moreover, I am lazy and unclean, rarely bathe, and my schedule is irregular, making me dirty and smelly. Therefore, between my mat and thatch, there are plenty of fleas and lice. They itch and bite; they never stop for a moment, and I scratch all day without stopping. There is a saying among lice, 'born in the morning, dead by evening.' Like the lice on me, there’s no need to worry about bathing or being eliminated; they thrive in my old clothes, never leaving. Scratching doesn’t help me get rid of them; I’m too lazy to catch them, and they multiply generation after generation—it has been thirty-five years." Most of what he said is true.
He served as the Chief Medical Officer of the Nanhai Kingdom, an Official of the Ministry of Personnel, the County Magistrate of Anji, and the Secretary of the Chariot and Cavalry. This person especially loves to drink, using a gourd as a wine pot, a ladle and spoon as wine utensils, using tree bark for plates, and wearing the same silk hat for twelve years. He even uses a large gourd as a fire lamp. In short, everything is very peculiar. He even gave himself the nickname "Bian the Recluse," and his wife is called "Fu Canshi." Some people advised him, "If you don't pay attention to your reputation and official position, how will you be promoted in the future?" He said, "Look at me throwing wooden dice; I win nine out of ten times. Does that mean I'm bad at throwing dice? I like throwing wooden dice; that's my ambition." During the Yongyuan period, he became the Chief Historian of Pingyue and the Governor of Suijian, and he eventually passed away while in office.
He also evaluated some animals, saying, "Sheep are lecherous and fierce, pigs are timid and honest, geese are stubborn and proud, dogs are cunning and love to bite." In fact, he was alluding to those high-ranking officials. In his "Ode to the Toad," he wrote, "Wearing green and dragging purple, known as a clam." Everyone said this was a satire on officials and servants. He also wrote, "The officials are submissive, the masses are murky like dark water. Day and night, they toil like ghosts." This is a satire on clerks and assistants. His articles were widely circulated among the people.
During the Yongming period, Zhuge Xu, a man from Langya, wrote a piece titled "Cloud Fu," which alluded to officials below the rank of sacrificial official, and everyone felt like he was talking about themselves. As a result, he was imprisoned in Dongye Prison, where he wrote another piece titled "Dongye Tu Fu." After the emperor saw it, he pardoned him.
There was also Yuan Gu from Chenjun, who was particularly proud of his writing. He said, "My poetry, only those of great talent can truly appreciate, otherwise, it will fly away." During the Jianwu period, he became the magistrate of Zhuji County, but he was later murdered by Wang Jingze.
Qiu Juyuan was from Lanling. In the early Song Dynasty, Lanling was initially part of Danyang County before being transferred to Lanling County. Qiu Juyuan was recognized as a model of filial piety and integrity in Danyang County when he was young and was highly regarded by Emperor Xiaowu of Song. In the fifth year of Daming, the emperor ordered him to assist Xu Yuan in compiling national history. After the emperor's death, Prince of Jiangxia, Liu Yigong, asked him to be the chief secretary. After Emperor Ming ascended the throne, he played a role in drafting imperial edicts and was often by the emperor's side. Later, he transferred from the Southern Inspectorate to be a military officer under Wang Jingwen. After his mother's passing, he returned home to fulfill his mourning duties.
In the first year of Yuanhui, Prince Guiyang Xiu Fan was in Xunyang. Hearing that Qiu Juyuan had a talent for writing, he sent a boat to pick him up and gave him a lot of money. Qiu Juyuan used the name of Emperor Taizu to submit a petition, and the emperor ordered him to stay in the capital. Prince Guiyang rebelled, and Qiu Juyuan drafted official documents in the Ministry of Rites. After the rebellion was suppressed, he was appointed as a court official. Qiu Juyuan thought he would be rewarded, but he was not, so he wrote a letter to the Minister of Works Yuan Can:
The common people believe in what I say, and I am also at peace with myself, thinking that as long as one is sincere, rewards and promotions can be obtained. I didn't expect to remain unnoticed for three years. Some might say that I am just a small figure who writes articles; how can I influence matters of right and wrong? However, seizing the initiative and achieving results later is an established principle in military strategy! The names of the generals and their notable deeds resonate throughout the realm. Look at the arrangements of the emperor: there are generals to the right and prime ministers to the left; look at the arrangements of personnel: military officials to the west and civil officials to the east. I am not like those sorcerers who merely chant spells, nor am I like those craftsmen who only know how to perform tricks.
In the past, sudden military forces emerged unpredictably. Although the fierce rebels were wiped out, the common people's minds became even more confused. Mao Tian surrendered and opened the city, a once-in-a-thousand-years rebellion. At this time, the Hu and Yue people, those confidants, all ran to Xinting to welcome the rebels, and the common people swarmed to Xinting. Those who joined the rebels ranged from the ignorant to the knowledgeable, from women in the boudoir to middle-aged men, all rushed there. The common people were confused, though some were not; the common people were frightened, yet some were unafraid. This serves as my first argument.
At the critical moment in Xinting, the only one who had the courage to draw his sword and slay the traitor was Zhang Jing'er; and in the Ministry of Central Affairs, the only one who dared to write boldly and without hesitation was Qiu Juyuan. Civil and military officials have their own strengths and weaknesses, which can be judged by their successes and failures in life and death. Faced with the collapsing world and resisting unpredictable disasters, I ask everyone, how brave are you really? This is my second point.
At that time, the country was in turmoil, and the court summoned scholars everywhere. The Imperial Guards and the Ministry of Central Affairs gathered together, and there was no shortage of talent among them. So why did the court still rely on those mediocre individuals? If it is said that because the rebels are strong and the outcome is unpredictable, the talented people dare not show any courage, then the common people should be rewarded for their bravery; if it is said that because of the urgent war, excellent writing is needed, and the talents recommended by their peers are given important tasks, then the common people should be promoted for their abilities. This is my third point.
Privately, I saw that in the list of twenty-five people sentenced to death for the rebellion in Guiyang, Li Heng and Zhong Shuang were among them. They were released after their defeat, and all charges were dropped, while Wu Maiyuan's whole family was killed. The standard for punishment seems to be that writing is a grave offense, while taking up arms is overlooked; in rewarding merit, military officials are promoted, while civil officials remain unknown. This is my fourth point.
Furthermore, Wu Maiyuan's farewell message came off as overly dismissive, prompting the common people to create talismans and proclamations, freely insulting him and taking up their pens to thoroughly denounce him. If the Guiyang rebels succeeded, if the common people were not killed in the military camp, they would be beheaded in the city. Infants were butchered into a bloody pulp; just the thought of it is horrifying. This is my fifth point.
In the past, during the war, there were more than 10,000 people in the army; only one-tenth of them were truly capable of fighting; the rest were just laborers—there were far too many. Those who attached themselves to the powerful were like clouds soaring through the sky, quickly rising to power. Among the common folk, truly talented individuals were few and far between. They only knew how to follow the orders of the court, like lifeless statues, completely unmoving. Are all those who charge into battle truly figures like Bai Qi? Are all those who work hard in the rear like Lu Zhonglian? The talents of the common people are quickly utilized by the country, sending them to die in battle. The emperor selects talented individuals, only to send them to their deaths. Those soldiers who charge into battle and bravely kill enemies should be rewarded with a drink and a good meal. Instead, they are abandoned in ditches, like floating creatures and ants, casually discarded and forgotten, like dust and ashes. Those civil officials who can only write and draw, lacking any combat skills, rise in rank and title due to their connections; those who are neither literary nor martial in the court sit comfortably in idle official positions. Look at those dead soldiers, then look at those who have risen in rank and wealth; they're not just plants or trees, so why can't they speak up?
Qiu Juyuan's grievances ultimately went unheard. Later, he held various subordinate positions in several royal households and even served as the Feather Forest Supervisor. In the first year of the Jianyuan era, he was appointed as the Chief Guest Official of the Ministry of Personnel, the Commander of the Army, and the Colonel of the Yue Cavalry. He was later promoted to the position of Wuchang Prefect, but once in office, he was not keen on serving outside the Jiang region. When Emperor Song Shizu asked him the reason, Qiu Juyuan said, "As the ancients used to say, 'I’d rather drink Jianye's water than eat Wuchang's fish.' I am old now; I would rather die in Jianye." So he was reassigned as the magistrate of Yuhang.
After Shen You's incident, Taizu appointed Qiu Juyuan as the Minister of Works of Jingzhou. Qiu Juyuan hoped to receive special rewards, leaving him feeling perpetually discontented. When Gaozong was in Wuxing, Qiu Juyuan wrote a poem titled "Autumn Hu," which included satirical lines, and as a result, he was executed.
Wang Zhishen, also known as Yuncai, was from Langya Linyi. When he was young, he studied writing with Xie Chaozong from Chen County. He liked drinking, was somewhat awkward, and lacked elegance. When King Jingsu of Song was in South Xuzhou, Wang Zhishen wrote a poem titled "Observing the Law," which was appreciated by Jingsu, who appointed him as a book assistant in the West Cao. However, he was very poor and had no decent clothes to wear, and before he could take office, Jingsu fell from power. Later, he became a state ritual official. When Taizu was stationed, Qiu Juyuan recommended him to Taizu, and Wang Zhishen was appointed as a staff officer in the military, later promoted to Grand Marshal of the Prince of Yuzhang, Tai Xueshi, and the military officer of the Grand Marshal of the Prince of Yuzhang, and also served as a secretary.
The emperor asked the prince's family to write the "Book of Song" and planned to write a biography of Yuan Can to gauge the emperor's sentiments. The emperor said, "Yuan Can was originally a loyal minister of the Song Dynasty!" In the book, Shen Yue also wrote about many ugly things regarding Emperor Xiaowu and Emperor Ming. The emperor sent someone to tell Shen Yue, "You can't write about Emperor Xiaowu so bluntly. I also served Emperor Song Ming before; you should be mindful of the taboos." As a result, Shen Yue removed substantial portions of the content.
Later, the emperor commissioned Zhishen to write the "Song Ji" and summoned him to the Hall of Hibiscus, rewarding him with clothing and housing. Zhishen informed Prince Yuzhang of his poverty. Prince Yuzhang said, "After you finish writing the book, I will reward you according to your merits." After completing the thirty-volume work, the emperor later summoned Zhishen to the Hall of Xuanming to present the work. However, before he could present it, the emperor passed away. In the first year of Longchang, the emperor ordered that the book be retrieved. Zhishen was appointed as the Sima Jun of Jingling Wang but was later dismissed for misconduct. Prince Jiangxia and Prince Hengyang treated him well.
Initially, Zhishen was favored by Minister Yuan Can. Later, while writing the "Song Ji," he often thought of Yuan Can. Yuan Can's parents died when he was young, and his grandmother named him "Minsun." Later, he admired Xun Can and changed his name. He Qiao from Yueji once mocked him for this, so Zhishen wrote articles in response.
He lived in poverty with no one to care for him. He once went five days without food, surviving only on wild vegetables. Minister Wang Senqian and his son also provided him with clothing and food. Ultimately, Zhishen passed away at home.
Prior to this, Yuan Bing from Chen County, whose courtesy name was Shuming, was quite talented and also favored by Yuan Can. He wrote the "Jin Shu," but unfortunately passed away before finishing it.
Yu Xian from Yingchuan was an accomplished writer and was favored by Prince Yuzhang. He was promoted to Grand Sima's Secretary Jun but later passed away.
Lu Ju, courtesy name Hanqing, was from Wu County, son of the Yangzhou magistrate. From a young age, Lu Ju exhibited an extraordinary demeanor, loved writing, and developed a unique style in five-character poetry. In the ninth year of Yongming, the court mandated that all officials recommend talented individuals, and Gu Hao, the Minister of the Left from his county, recommended him in a formal memorial. The county designated him as a scholar, and Wang Yan appointed him as a rear army military officer.
During the Yongming period, literature flourished. Shen Yue from Wuxing, Xie Tiao from Chenjun, and Wang Rong from Langye admired each other's literary styles. Zhou Yong from Runan was skilled in identifying tones. The articles written by Shen Yue and others all used the Gongshang mode, with the four tones of Ping, Shang, Qu, and Ru as rhyme endings, known as the "Yongming style." Shen Yue further elaborated on the Gongshang mode in his discussion at the end of Xie Lingyun's biography in the Book of Song. Lu Jue wrote to Shen Yue, stating: "Fan Zhan's preface states: 'Literature is like the Gongshang Jue Wei Yu in music, capable of distinguishing clarity from muddiness, particularly adept at managing lightness, heaviness, pace, and urgency, navigating challenges and obstacles. Most writers of the past and present have not done well in this regard. Even if some grasp the nuances, they might not fully comprehend them.' Shen Shangshu remarked: 'From Qu Yuan onwards, few have truly grasped this secret.' Or, 'The essence of literature aligns with reason naturally, rather than being obtained through deliberate thought. Zhang Heng, Cai Yong, Cao Zhi, and Wang Can, these masters, have not completely grasped it; Pan Yue, Lu Ji, Yan Yanzhi, and Xie Lingyun, these famous figures, are even further away.' In short, the key is that 'the Gong and Yu tones change each other, rising and falling in a well-ordered manner. If there is a frivolous sound in the front, there must be a steady echo in the back; within a sentence, each tone is different; between two sentences, there are also differences in lightness and heaviness.' A well-crafted piece of writing conveys truth as well. But looking at the sages of past dynasties, it seems that they do not all fail to understand this truth, but to claim that 'few have seen through this secret' feels a bit excessive, doesn't it?
Fan Zhanshi said "not understood at a fundamental level," and Shen Shangshu said "doesn't come from mere thought." This can be said to reflect an overly abstract understanding of creation, and the analysis of syntax also strays from the principles of rhythm. Fan Zhanshi also mentioned that "some people understand the mysteries within it," while Shen Shangshu suggested that "perhaps it naturally conforms to reason." Therefore, well-written and easy-to-read articles, even if there are imperfections, still have their merits. This can be understood in a broader context. There are times when thoughts can be clear or unclear, and the wise of earlier generations are not immune to such mistakes; there are also times when articles flow smoothly and when they do not, and such situations are inevitable in creation. Cao Zhi was open to criticism and correction from others, while Zhuge Liang left a lifelong regret. Since it is called regret, it means it is not a perfect masterpiece; of course, it can be criticized. A nobleman dedicated to criticism believes that reasonable creation comes out of thin air. Shouldn't we acknowledge its merits and view criticism as a form of regret?
Emperor Wen of Wei's essay delves deeply into the distinction between clarity and obscurity in writing, while Liu Zhen's memorial fully demonstrates the grand momentum and exquisite reasoning of his work. Those intricate and implicit discussions, along with the forced associations and contradictions, are like using the mysterious and yellow tones in musical theory, shining in harmony like the five colors. If one has not seen these undisclosed arguments, how can they understand the essence of his writing? So I think that the previous talents had already mastered the musical scales, but they just did not apply them as intricately and exquisitely as this essay. As for concealing flaws and hiding illnesses, where mistakes outnumber the correct parts, as the people of Linzi say: "There is no writing without faults." This doesn’t imply that one knows the errors yet chooses not to correct them, but rather that if they are corrected, it shows that the errors are known. Cao Zhi and Lu Ji have also said things like "often regret after writing with all one's might" and "cannot force oneself to write." Now, some people use faults and regrets to talk about things; they are aware that there are times when they write without regrets or flaws. Why do they slander those well-written and coherent articles by labeling the poorly written and inappropriate ones as obscure and difficult to grasp? Perhaps it is because of the different eras, varying writing styles, and the shifting preferences of people across time. They focus more on the emotions and content of the articles, rather than on the structure and syntax. Emotions and content take precedence in writing, so it is normal for them to be a mix of good and bad; structure and syntax are secondary, so there are few that conform to standards and many mistakes. The crux of the matter is that he certainly understands the subtleties of writing.
"The 'Changmen Fu' and 'Shanglin Fu' were likely not written by the same author; 'The Luoshen Fu' and 'The Reply to the Middle Book' are two different writing styles. Meng Jian's writings are concise and precise, and 'Ode to History' embodies the literary style of the Eastern Han Dynasty. Ban Gu's works are grand and opulent, and 'The Feather Hunting Fu' is not limited to mere fiction. Wang Can's 'The First Expedition Fu' stands out among all other works; Yang Xiu is sharp and clever, yet he has long struggled to complete 'Reply to Cao Cao's Inquiry about the Heat Fu.' When writing freely, mistakes are rare, and it can be completed in a day; if one revisits it repeatedly, the more one writes, the more it feels lacking, leading to delays of several days. The pace of thought can vary significantly for the same individual; likewise, the quality of their writings can differ greatly. Why is it necessary for the use of the five notes to be entirely consistent? Critics can only say that he has not fully displayed his talents, but cannot say that he did not comprehend the mysteries of the craft beforehand.
My answer is: The five notes of the pentatonic scale allow for countless variations in expression. Expressing the nuances of the pentatonic scale through the myriad changes of language is not something that can be fully achieved by human effort. And this is not all. Even in a ten-word piece, the permutations and combinations are nearly endless; after Qu Yuan, no one has truly grasped and utilized this writing technique, and thus cannot replicate his style. Such a subtle technique is not even endorsed by the sages; why is that? This is because this intricate and subtle technique of sound does not align with the instructive purpose of the writing, nor is it esteemed by the wise. Thus, Ziyun likens it to 'carving insects and engraving seals,' asserting that 'a true hero does not engage in such things.'
Ancient writers certainly knew the distinctions of the pentatonic scale, as well as the differences in tones and pitches. However, even with this basic knowledge of music, the practical application of these various combinations is complex and unpredictable, with many subtle aspects difficult to master, which is why I say, 'this secret remains unseen!' From this, we can infer that the literati of the past did not fully grasp this principle."
If the rhythm of an article is compared to the melody played by a stringed instrument, then the quality of the article, like the harmony of music, cannot be contradictory. Just like a skilled musician playing a piece of music, how could there suddenly be unstable rhythm and off-key notes? When comparing Cao Zhi's "Ode to the Goddess of the Luo River" with other odes, it feels as if they were written by different authors. Thus, when inspiration strikes, the music harmonizes naturally; when emotions are blocked, the music becomes chaotic.
Although Zhong Rong praised Cao Zhi's poetry in "Poetic Judgments" as "bright as brocade," upon closer examination, it is not flawless in every aspect, just as a gorgeous brocade may contain some flaws, like the clothing of Duke Wen of Wei, which is not entirely without blemish. Therefore, Lu Ji's evaluation of Cao Zhi's poetry and prose is not entirely accurate either. The rhythm of an article has its subtleties and roughness, much like crafting a round wheel for a cart, which cannot be fully articulated, and even this old man cannot fully discern it.
In the first year of Yongyuan, Prince Shi'an Yaoguang rebelled; his father was killed, and he was imprisoned in the Shangfang. Later, the court granted amnesty, but he was devastated by his father's murder and ultimately succumbed to depression at the young age of twenty-eight. His collection of writings has been preserved through the ages.
Yu Yan, a native of Kuaiji, gained the appreciation of Crown Prince Wen Hui alongside Shen Yue during the Yongming period for his literary talent and received special recognition. He eventually rose to the rank of General of the Agile Cavalry.
Cui Weizu, courtesy name Yue Zong, was a native of Wucheng in Qinghe Dong. His father, Cui Qingxu, served as the governor of Liangzhou during the Yongming period. Cui Weizu began his official career as a courtier. After his father passed away, he stopped eating salt. His mother said, "Since you have no brothers or sons, too much sorrow can take a toll on your health. It's fine not to eat meat, but why not salt? I won't eat salt anymore either!" Cui Weizu had no choice but to listen to his mother. His father had accumulated millions in wealth during his tenure in Liangzhou, and he distributed it all to his relatives, engraving the character "Ri" (日) on lacquerware. Objects with the character "Ri" spread far and wide. He assessed the documents related to the money his father had lent out during his lifetime and said to his relative Cui Hong, "If they have money, they will naturally repay; if they don't, there's nothing I can do." Then he burned all those documents. He was an avid learner who amassed a collection of thousands of books. Children from neighboring families who liked to read would come to borrow books from him. Cui Weizu would personally hand the books to them without hesitation. I started out as a low-ranking official under Prince Shi'an, then was promoted to manage the prisons and also served as a recorder. At that time, Prince Shi'an loved to play chess and often asked Weizu to play with him. Weizu always declined, claiming he wasn't good at chess, and only agreed on the first and fifteenth day of the lunar month. During the Jianwu period, the court was on the lookout for talent, and my brother Huijing recommended me and my cousin Pingyuan Liu Xiaobiao, both renowned scholars. The emperor wanted to test us and posed a particularly challenging question, but I refused. The National Teacher Shen Yue and the Ministry of Personnel official Xie Mo once held a gathering at the ministry, with many friends present. They took turns quizzing Weizu with some obscure geographical questions, totaling over a dozen. Weizu spoke somewhat haltingly and plainly, but his answers were extremely accurate and detailed, gaining the respect of everyone there. Xie Mo sighed, "If Ban Gu and Sima Qian were alive today, they wouldn't hold a candle to him!"
Wei Zu put the house up for sale at 450,000 yuan, and the buyer said, "Can you make it cheaper?" Wei Zu replied, "I am really ashamed; how could I dare to ask for such outrageous prices like Han Boxiu? How could I charge double that?" The buyer said again, "Just take 460,000 yuan; I will give you an extra 10,000 yuan." Wei Zu said, "That would be deceiving; this is not my intention!"
When Wei Zu was young, he had a good relationship with the attendant, Jiang Si. Later, Jiang Si became a high official and often came to see Wei Zu, but Wei Zu never visited him. He also had a good relationship with Liu Feng, the magistrate of Danyang. Later, Prince Yao Guang of Shi'an staged a rebellion in the East Palace, and Wei Zu was in the city at that time. One day before the city fell, Liu Feng told Wei Zu, "You still have an old mother at home; hurry up and leave!" and then had the gatekeeper let him out. Wei Zu ran to the palace to surrender and was imprisoned in the Shangfang. He later fell ill and died.
Wei Zu wrote the book "Hai Dai Zhi," which chronicled figures from Jiang Taigong to the Western Jin Dynasty in a total of forty volumes, but unfortunately, he completed only half of it. Before he died, he wrote a letter to his brother Wei Wei, saying, "I have always wanted to re-annotate 'Zuo Zhuan' and 'Guo Yu,' supplement over two hundred events that were omitted in the 'Records of the Grand Historian' and 'Book of Han'; the materials are in a box in the kitchen. You can find them and copy them to preserve the main content. 'Hai Dai Zhi' is not finished yet; you can make a few copies and give one to each of the guards, and to my friends Ren Fang, Xu Yin, Liu Yang, and Pei Kui." He also instructed, "Bury the coffin directly in the ground, without bricks, and do not set up a spirit tablet." He died at the age of thirty-five.
Wang Qunzhi, style name Xuanyue, was from Linyi, Langya. His ancestors had been county officials for several generations. Wang Qunzhi was known for his politeness and extensive knowledge from a young age. He first served as a court attendant in the Jiangxia Kingdom, then became a military advisor and magistrate, eventually attaining the position of Interior Historian in Shi'an. After stepping down from official positions, he served as a military advisor to the Prince of Shanyang, while also holding concurrent positions as Imperial Historian, Langzhong of Ancheng, and Magistrate of Wu. In the later years of the Shengming era, the Right Minister, Wang Jian, placed great importance on Confucian studies and appointed Wang Qunzhi as a Literary Compiler, also concurrently serving as the Deputy Minister of Personnel and participating in the formulation of etiquette in the Qi Kingdom. Initially, Wang Jian wrote a book called "Collection of Mourning Attire Past and Present," to which Wang Qunzhi offered eleven points of dissent. He also wrote a five-volume work titled "The Conduct of the World." He was subsequently promoted to National Scholar. The national academy had fallen into neglect for many years, and in the second year of Jianyuan, Wang Qunzhi submitted a petition for its restoration, while also serving as a Compiler and authoring the "Yongming Daily Records." He was later promoted to Regular Attendant and General of Swift Cavalry, continuing to serve as a teacher and compiler. He was later appointed as General of Ning Shuo and Magistrate of Nankang, eventually attaining the title of Grand Master of the Palace, with the additional title of Palace Attendant. Wang Qunzhi was very humble, not bothering to wash his torn clothes and allowing dust to gather on his desk. Even in old age, he was never without a book in hand. He passed away in the second year of Jianwu.
His younger brother, Wang Gui Zhi, also understood history and wrote a book called "Qi Zhi Yi." In the ninth year of Yongming, Wang Gui Zhi's son, Wang Hao, a military officer in the central army, submitted a memorial saying: "My father, the former Chief Water Marshal Wang Gui Zhi, has always based his actions on Confucianism and followed the customs of the Confucian tradition. In the second year of Song Yuanhui, he was commissioned to compile information on ancient official titles and the positions of past dynasties. He carefully studied everything recorded in the classics. Therefore, he made detailed records of the ranks and responsibilities of various official positions; he also diligently examined the promotions and demotions of officials. He recorded the differences in official attire, headwear, and accessories. At a time when the country is embarking on a new chapter, the system also needs to be updated. Taizai Yuan was ordered to have him revise it as soon as possible, but before he could complete it, my family suffered a misfortune. Although I am insignificant, I still dare to present these fifty volumes of "Qi Zhi Yi" to you, hoping that you will treasure it in the Imperial Library for eternal preservation." The emperor then ordered it to be stored in the secret pavilion.
Zu Chongzhi, styled Wenyuan, was from Jianping, Ji. His father, Zu Chang, was a master craftsman of the Song Dynasty, and his grandfather, Zu Shuo, was a court official. Zu Chongzhi had a passion for studying ancient classics from a young age and was very talented. Emperor Xiaowu of Song appointed him to the Huayin Academy and also rewarded him with houses, vehicles, and clothing. He began his career as a reception officer in South Xuzhou immediately upon reaching adulthood and later served as a military officer in the public office. During the reign of Emperor Yuanjia of Song, the court adopted the calendar formulated by He Chengtian, which was more accurate than the previous eleven calendars, but Zu Chongzhi believed it was not precise enough, so he developed a new calendar. He presented a memorial stating:
I have consulted a large number of ancient classics, from the era of the Five Emperors to the Three Dynasties, from the records of the "Spring and Autumn Annals" to the "Chronicles" records. I have thoroughly examined the historical texts of Sima Tan and Sima Qian, along with the historical records of Ban Biao and Ban Gu. I have also studied the annotations and records of calendars during the Wei and Jin dynasties, and conducted an extensive study of ancient Chinese and foreign calendrical knowledge. Dating back to the oracle bone inscriptions, this knowledge spans over two thousand years. I have carefully studied the rules of the movement of the sun and moon, the changes in the positions of the stars, and I can explain them clearly. I not only consulted literature, but also personally measured the gnomon, carefully observed the sundial, measured with precision down to the millimeter, repeatedly calculated, and strived for thoroughness.
However, I found that there are many errors and omissions in ancient calendars, which are not precise enough, and various schools have different opinions, making it difficult to unify. I have studied the calendars previously submitted by He Chengtian. Although he wanted to reform, his methods were overly simplistic and now diverge significantly from current realities. After careful verification, I found at least three major errors: the deviation of the positions of the sun and moon reaches three degrees, the daylight time of winter solstice and summer solstice is nearly a full day apart, the timing of the appearance and disappearance of the five planets varies by as much as forty days, and even the order of the constellations is sometimes reversed. If the solar terms are calculated inaccurately, then the leap year setting will be inaccurate; if the positions of the constellations do not match the actual ones, then the observations will lose their reliability.
I seized the auspicious day of the emperor's birthday, and with your benevolence, I humbly present my thoughts, hoping to create a new calendar. The purpose of my proposed calendar reform is twofold, supported by three key points for improvement.
According to the old calendar rules, there are seven intercalary months in nineteen years, which is excessive and leads to a discrepancy of one day every two hundred years. Because the solar terms and intercalary months have gradually become misaligned, the calendar must be changed. This is the underlying reason for all the changes to the calendar. With the calendar we are now adopting, there are one hundred and forty-four intercalary months in three hundred and ninety-one years, which can match the calendars of the Zhou and Han dynasties, and can be used continuously in the future without deviation.
Secondly, the "Yao Canon" states, "The sun is short, the stars are in the Pleiades, and it is the middle of winter." According to this sentence, the winter solstice of the Tang Dynasty was about fifty degrees west of the current constellation. In the early Han Dynasty, following the calendar of the Qin Dynasty, the winter solstice was at the position of the star Altair. After Emperor Wu of the Han Dynasty switched to the "Tai Chu Calendar," the winter solstice was at the starting point of the Taurus constellation. Later, in the Eastern Han Dynasty's Four-Part Calendar, the winter solstice was at 22 degrees within the Dipper constellation. During the Jin Dynasty, Jiang Ji observed the sun during a lunar eclipse and found that the winter solstice was at 17 degrees of the Dipper. Now, considering both the central star and lunar eclipse, it is calculated that the winter solstice is at 11 degrees of the Dipper. In general, in less than a hundred years, there was a difference of two degrees. The old calendar stipulated that the winter solstice must be at a fixed position, but due to changes in celestial phenomena, the positions of celestial bodies gradually became misaligned, and the deviation became larger and larger, necessitating a change. Previous changes to the calendar could only be temporary, and it would not be long before they needed to be changed again. This continual back and forth was also due to this issue. Now we stipulate that the position of the winter solstice may vary slightly each year, but after thoroughly reviewing the Han Dynasty annotations, they are all very accurate, so they do not need to be changed frequently in long-term use.
Next, let's talk about the other designs of the new calendar. Firstly, we designate the Rat as the starting point of the cycle, located in the north, corresponding to the beginning of the ninth day of ascension, and the Void constellation serves as the center of the northern constellations. The original energy should start from here. Mr. Yu Xi has also elaborated on this principle in detail. Therefore, in our new calendar, the first day of the year starts from the Void.
Secondly, we use the Stem-Branch Cycle as the beginning of the day, and the calendar era should also commence from this year. However, since the time of the Yellow Emperor, the eleven calendars used throughout the ages did not designate the Stem-Branch Cycle as the first year. In our new calendar, the first year is the year of the Stem-Branch Cycle.
Thirdly, many regulations in the calendar should start from the year of the Stem-Branch Cycle. However, the "Jingchu Calendar" is a bit deviant in terms of the convergence of elements in the Chengtian system, and there are deviations in the meeting of the elements; the sun, moon, and five stars each have their own elements, and the meeting of the elements is also deviant, only barely allowing the new moon to coincide. The system lacks coherence, unlike the stringent ancient calendars. The calendar we have designed now starts the meeting of the elements of the sun, moon, and five stars from the year of the Stem-Branch Cycle. This approach ensures consistency, eliminating errors.
First, I have to use a scientific method to determine the shape and ensure its practical effect. You see, just like measuring the shadow of the sun with a ruler to estimate the time, it is accurate and reliable; even minor climate changes can be accurately measured using small tubes. The method I propose is quite persuasive. However, overall, my plan has both simple and complex parts. The simple part is easy to understand, and the reasoning itself is sound; the complex part, upon careful consideration, is not unreasonable. Why do I say this? Because of the arrangement of leap years, numerical calculations have their own rules, which are very detailed and precise. It is precisely because of this that I pay close attention to every detail and strive for perfection. I am not afraid of trouble, constantly accumulating experience, and ultimately able to formulate a perfect and lasting system. This is not a spur-of-the-moment idea, but the result of repeated thinking and improvement. If my suggestions have any value, I respectfully request that you order the relevant departments to carefully study them.
The memorial has been submitted for review. Emperor Xiaowu ordered officials skilled in calendar calculations to refute my plan, but no one could refute me. Unfortunately, the emperor later passed away, and my plan was never implemented. After that, I was sent to Lou County as a county magistrate, and later served as an official in the imperial court.
Initially, after Emperor Wu of Song captured Guanzhong, he obtained guidance from Yao Xing's compass car. While the car had an exterior, it lacked a sophisticated internal mechanism, requiring manual rotation from the inside each time it was driven. During the Shengming period, when Emperor Taizu was in power, he asked me to re-examine ancient manufacturing methods. I redesigned the copper transmission device to rotate continuously while keeping the directional indicator fixed. This was an achievement unlike any since the time of Ma Jun! At that time, a man from the north claimed he could also make a compass car, so Emperor Taizu had us both build one and conduct a public test at Leyou Garden. His compass car had many deviations and was ultimately destroyed. During the Yongming period, Prince Jingling showed an interest in ancient crafts, so I created a tilting device as a gift for him.
When Crown Prince Wenhui was in the Eastern Palace, he saw my calendar and requested Emperor Wuzong to put it into practice. Unfortunately, Crown Prince Wenhui passed away shortly afterwards, and this matter was left in limbo. Later on, I was promoted to Changshui Colonel and continued to carry out my duties. I also wrote a treatise titled "On Securing the Borders," proposing the reclamation of farmland to develop agricultural production. During the Jianwu era, Emperor Ming let me inspect various regions and develop large projects beneficial to the people, but due to years of continuous warfare, these plans were ultimately not implemented.
I was proficient in the art of chronometry, unrivaled at the time, with no one able to match my skills. While Zhuge Liang invented the wooden ox and flowing horse, I created a device that could operate automatically without the need for wind or water power, using mechanical devices and requiring no human operation; I also constructed a ship that could sail a thousand miles, test sailing it on the Xinting River, able to cover over a hundred miles in a single day. In the Leyou Garden, I built a waterwheel mill, which Emperor Wuzong personally inspected. Additionally, I excelled in calculations. In the second year of Yongyuan, I died at the age of seventy-two. I wrote commentaries on the "Book of Changes," "Tao Te Ching," and "Zhuangzi," offered commentaries on the "Analects" and "Classic of Filial Piety," explained the "Nine Chapters on the Mathematical Art," and authored dozens of essays on mathematical principles.
Jia Yuan, known as Xijing, was a native of Xiangling in Pingyang. His grandfather, Jia Bizhi, was a Yuanwailang official in the Jin Dynasty; his father, Jia Feizhi, served as a cavalry officer. Their family had a special talent for researching genealogy, a skill handed down through the family. During the reign of Emperor Xiaowu, a tomb was unearthed in Qingzhou, inscribed with "Prince of Qingzhou, Lady of Donghai." The Emperor consulted renowned scholars at the time, including Bao Zhao, Xu Yuan, and Su Baosheng, but none could provide a complete explanation. Jia Yuan, however, said, "This is the daughter of Sima Yue, who married the son of Gou Xi." Upon verification, his statement proved to be true! The Emperor held him in high regard and even tasked him with the commentary on the "Guozi."
During the Taishi period, Jia Yuan was appointed as the county clerk of Danyang, and later served as a court attendant, a scholar at the Imperial Academy, a military officer serving under the Prince of Ancheng, and finally was appointed as the county magistrate of Dantu. During the Shengming period, the emperor valued the tradition of the Jia family's generations of researching genealogy and promoted him to be a military officer, appointed him as the Langzhong commandant for the Prince of Wuling, then sent him to fill the vacancy of the magistrate of Yuyao County. Before he could assume office, he was transferred to Yixing County as its magistrate. During the Yongming period, he was promoted to the Shangshu Lang for the Outer Army and later served as a Grand Marshal and a military officer in the Minister of Works. Later, Prince Jingling's son asked Jia Yuan to write a book called "Jianke Genealogy," and afterwards Jia Yuan was appointed as the county magistrate of Jurong County.
In earlier times, genealogy scholars were not well-known, but Jia Yuan's grandfather Jia Bizhi was dedicated to collecting genealogical records from various families and studying them diligently. During the Taiyuan period of the Jin Dynasty, the court even assigned copyists and secretaries to Jia Bizhi to organize the genealogy, which were kept in the secret pavilion and the Left Ministry. Jia Yuan's grandfather, his father, and then Jia Yuan himself, three generations passed down their family studies and compiled genealogies of the gentry of eighteen provinces, totaling more than a hundred letters and over seven hundred volumes, featuring detailed and accurate content that was unparalleled at the time. During the Yongming period, General Wei Wang Jian also compiled "Baijia Genealogy" and studied it together with Jia Yuan to improve it.
In the Jianwu period, Jia Yuan was promoted to the Chief Water Officer position. There was a crude man named Wang Taibao who purchased a genealogy of Langya County, and Prefect Wang Yan reported Jia Yuan to the emperor, which led to Jia Yuan's arrest and near execution. His son Jia Qichang knelt down to beg for forgiveness, breaking his forehead and bleeding profusely, which moved the court to commute Jia Yuan's death sentence. After a few years, Prince Shi'an Yaoguang invited him to be a military adviser, but Jia Yuan declined and instead became a military officer in the Northern Central Army. In the first year of the Zhongxing era, Jia Yuan passed away at the age of sixty-two years. He wrote "Essential Records of Clan and Family" and "Book of Names," both of which circulated widely at the time.
Historical texts say that writing is the embodiment of the author's emotions and temperament; it reflects the rhythm and melody bestowed by the divine. Rich thoughts are brewed in the mind, repeatedly contemplated, and then the pen naturally flows with elegance onto the page. Every piece of writing is infused with the author's heart and expresses the author's preferences. The styles of writing vary widely, and people's levels of appreciation differ as well. Just as Xie Lingyun evaluated talent, Liu Zhongzhi distinguished literary genres, Lu Ji analyzed the subtleties of "Wen Fu," Li Chong discussed the essence of writing in "Hanlin," Zhang Xie's critique of sentences offered both praise and criticism, and Yan Yanzhi depicted emotions and interests in writing; everyone has their own thoughts, collectively forming the evaluation standards of writing.
The essence of writing comes from inspiration that stems from divine thoughts, being influenced invisibly and changing endlessly. Writing is like the five notes of music; although the tones are the same, the expressions differ. Just as the situations of all things can be similar, the expressions in writing are each unique. The norms for reciting writing stem from great poetry, with styles that are diverse, each with its unique style. For example, Cao Zhi's "Rhapsody of the Goddess of Luo" and "Miscellaneous Poems," Wang Can's "Rhapsody on Climbing the Tower," and the exquisite four-character poems, unmatched by predecessors or successors.
Zhang Heng's "Erling Fu" farewell words, the spirit of five-character poetry, is difficult for anyone to match. Guilin and Xiangshui serve as the backdrop for Zuo Si's magnificent works; Feiguan and Yuchi evoke the artistic conception of Cao Zhi's exquisite poetry. In the realm of seven-character poetry, who else can compare to them? The works of Xie Lingyun and Bao Zhao are both magnificent and exquisite, reaching their zenith. Zhang Heng and Zuo Si's writings are grand and majestic, difficult for later generations to surpass; the essence of Fu's writing lies in its elaboration, and no one has surpassed them. Emperor Xian of Han praised the works of Fu Yi, while Emperor Jianwen praised those of Yanbo; their discussions on the sentence structure and expression of articles are mostly in a praising tone. Pei Yuan served the emperor at court, while Xie An governed in Fengchi. After Xie An, a new standard emerged for writing memorials and documents. Sun Chuo's epitaphs drew from Cai Yong's style; Xie Zhuang's elegies drew from Lu Ji's style. Yan Yanzhi's "Yang Zan Stele Inscription" compared itself to the "Ma Du Stele," measuring the value of articles by the length of the text; I believe Xie Zhuang's assessment is more fitting. Wang Bao's "Tong Yue" and Bu Xi's "Bu Wang," humorous works, possess their own unique charm. The creation of five-character poetry stands out distinctly among various poetic forms.
Practice makes perfect; over time, one will find it dull and unremarkable. The same holds true for writing; the greatest fear is being outdated and banal. Without innovation, one cannot rise to the status of a literary giant. The literary style of the Jian'an period is discussed in "Dian Lun" with respect to sentence length; Pan Yue and Lu Ji were equally famous, but their styles were completely different. The literary style in the Jiangzuo region favored Daoist thoughts: Guo Pu's articles reflected his agility and versatility; Xu Xun's articles reflected his rigorous logic; the enigmatic quality of Tao Yuanming's works still lingers; Xie Hun's works are fresh and elegant, yet still lack widespread recognition. Yan Yanzhi and Xie Lingyun emerged around the same time, each showcasing their unique characteristics. Bao Zhao and Xie Huilian later appeared, also gaining fame. Each of their styles has its own merits, and they do not imitate one another.
While there are many authors today, they can generally be divided into three types. The first type is marked by vague ideas and flowery language that, while clever, ultimately comes off as convoluted. These are suitable for reciting at banquets but aren’t considered exemplary. The articles tend to be overly long, which is a major drawback; though some parts may offer inspiration, they lack genuine emotion. This style traces back to Xie Lingyun. The second type is filled with allusions and comparisons, often refusing to speak unless making a comparison; although knowledgeable, it comes off as rigid. Or it might rely entirely on ancient language to express modern feelings, which often feels forced and merely to hit a word count. Focusing solely on examples, they miss the essence of the piece. This style resembles Fu Xian's commentaries on the Five Classics and Ying Qu's historical writings; although not exactly the same, they can be classified together. The third type is bold and vigorous, with a steep style and gorgeous rhetoric that dazzles. Like having red and purple among the five colors and Zheng Wei's music among the eight tones, this is the legacy of Bao Zhao's articles.
In addition to these three types, I dare to share some other opinions. If the article can start from celestial secrets, refer to historical books, and write when inspiration strikes without preconceived ideas, the language should be concise and straightforward. The writing should steer clear of being overly contrived; the language should flow like gold, rich and soothing. Incorporating folk songs can add a light and lively touch to the writing, expressing sincere emotions while avoiding clichés. Just like a wheel maker crafting wheels, if the expression is lacking, few scholars can manage to balance both. This isn’t just due to a lack of knowledge; the two often hinder each other. Scholars tend to prioritize reason over rhetoric; if this is a requirement in writing, it often ends up sounding obscure and hard to grasp. So few people can balance both.
People often praise his strong ability to learn, as knowledgeable as Confucius, and he respects his predecessors, learning from their valuable experiences. His writing is exceptional, akin to beautiful flowers blooming in spring, a feast for the eyes.
The praise reads: "Xue Yasheng possesses knowledge and is well-versed in the virtues of those who came before him. His writing is exquisite, adorned with the beauty of spring blossoms." This reflects the consensus of those around him, which means his learning ability rivals that of Yasheng; he is both knowledgeable and respectful of his predecessors, and his writing stands out, brimming with vitality. The story should continue here since the original text only includes an evaluative paragraph without any narrative context. Please provide additional story content for continued translation.
