Pu Songling
Pu Songling (from June 5, 1640 to February 25, 1715) was named Liuxian, Jianchen and Liuquan Jushi. He was known as Mr. Liaozhai in the world and called himself Yishi. Jinan Zichuan (Zichuan District, Zibo City, Shandong Province Hongshan Town pujiazhuang) people. He is an outstanding writer and short story writer in Qing Dynasty.
He is the author of Liaozhaizhiyi, a collection of short stories in classical Chinese in the early Qing Dynasty. Apart from Liaozhaizhiyi, Pu Songling also has a large number of poems, plays, folk songs and works on agriculture and medicine, with a total of nearly 2 million words. Before Pu Songling died, Liaozhaizhiyi became popular all over the world after it was published. In the later period, imitations emerged, which led to the prosperity of the legendary novels. Many chapters have been adapted into operas, movies and TV dramas, which have far-reaching influence. Strange Tales from a lonely studio went to the world very early. Pu Songling created precious spiritual wealth for China and the world.
Life of the characters
Pu Songling (1640-1715) was born in Zichuan County of Shandong Province (changed to Zichuan District of Zibo City in 1956), whose name was Liuquan. He is an outstanding writer and short story writer in Qing Dynasty.
Family background
Since the early Ming Dynasty, Pu family has lived in manjingzhuang in the east of Zichuan City. Later, they took the family name of RIFO, but few other surnames, and changed their name to pujiazhuang. Although Pu's family is not a famous family, there are many scholars who have won the imperial examination. Pu Songling's father, named Pu pan, learned to work in the imperial examination when he was young. He was well-informed in the village. He was not good at the imperial examination. He abandoned Confucianism to do business and had a lot of surplus. He was called Su Feng. After the war between the Ming and Qing dynasties, he had more children and more index fingers, so his family declined.
Life
Relative members
Literary achievements
Pu Songling's literary career wavered between traditional elegant literature and folk literature. Growing up in the countryside, he was influenced by the rural farmers' culture when he was young. He could sing folk songs and wrote his own new words, but the "Liaozhai Xiaoqu" copied in modern times could not tell the true from the false. As a scholar, he was praised for his ability to write. Most of the articles he wrote are the combination of parallel prose and prose, with brilliant literary talent. Most of them are the entertainment words of singing and crying for generations. Only a few of the four or six articles of Fu are his own literary works, which are regarded as the experts of Fu in the early Qing Dynasty by Fu historians. He has also been involved in CI, and his works are few. It is obvious that he only occasionally uses his pen because of his temporary interest or the need of communication. Poetry is abundant. At the beginning of his study, he was high spirited. He once formed a "Yingzhong society" with his schoolmate Zhang Duqing and others, and "spent the rest of his banquet as a career of sending happiness.". (preface to Yingzhong Society) however, the collection of poems advocating rewards does not exist. The poems started in 1670, the ninth year of Emperor Kangxi's reign, when he traveled to the south in autumn and passed qingshiguan. The last poem was a quatrain written on the new year's Eve in 1714. It was only 22 days before his death. More than a thousand poems can be said to be chanted all his life. His poems, like his people, are mostly straightforward, plain and natural. It can be seen that his life was bitter and sorrowful. Among them, many of his works satirized the world. Some of them satirized local officials for hiding disaster and not reporting it, and for spending a lot of money on driving, which embodied his forthrightness and uprightness. As a private school teacher, he wrote many books about self-cultivation and family management in his middle age, such as shengshenyulu and huaixinglu. In his later years, Liaozhaizhiyi stopped writing and became more enthusiastic about writing for the public. On the one hand, he used local folk tunes and dialect to create folk songs reflecting family ethics, such as fuguqu, fanmengjinlu, Zhuozhou, and wutouji In order to facilitate people's literacy, farming, sericulture and medical treatment, we also compiled popular cultural and technical reading materials such as daily common characters, liziwen, nongsangjing and yaosuishu.
Pu Songling called himself "happy to talk about ghosts" and "love to search for gods". Literature shows that he was keen to record anecdotes and write fox ghost stories from his youth. For a scholar who aspires to become an official, this is not doing his job properly, "pitiful spirit of no subsidy". For this reason, he has been friendly dissuasion, unfriendly ridicule. At the age of 40, he collected the chapters he had finished into a volume and named them strange tales of a lonely studio. He also wrote a sad and profound preface, self portrait of a lonely studio. He described his writing difficulties and expected to be understood. He did not succumb to the prejudice of society, and he continued to write persistently until he was over 60 years old. Strange Tales from a lonely studio was created one after another in most of his life.
Strange stories from a lonely studio
Pu Songling's strange tales from a lonely studio inherits the strange tales of the Six Dynasties and the legends of the Tang Dynasty, but has made a qualitative leap in concept and practice. People in the Six Dynasties wrote strange stories by believing that they were true, and that they were not slandered by the divine way. People in the Tang Dynasty wrote strange stories by "false illusions, setting up their own views", focusing on the illusory conception and the strange plot, but less on the realistic content and Implication. Pu Songling got rid of the idea of "the way of God" and used life experience and rationality to control the strange tales of the Six Dynasties and the mysterious consciousness that later infiltrated into the folk religious belief, such as people's death as ghosts, the unity of light and seclusion, the aging and refinement of things, the transformation of human form, the immortality of Tao and the blessing of God, etc, Express personal feelings, experience and interest, and place spiritual pursuit and yearning. In this way, the mystery consciousness and its thinking mode in the Six Dynasties' Ghost Novels and folk religious beliefs have been transformed into the aesthetic way and expression method of literary fantasy. Fox, ghost, flower and goblin are no longer the mysterious phenomenon in superstitious consciousness, but become the literary image created by Pu Songling's false fantasy, and immortals are no longer the object of worship in religious consciousness, but become the focus of attention Most of the literary images of bureaucrats or certain kinds of people are critical. Strange Tales from a lonely studio is the most outstanding literary masterpiece of this kind of novels, which surpasses the previous Legend Novels. The basic reason is that it transforms the religious superstition consciousness into the aesthetic way of literature.
There are more than 490 chapters in Strange Tales from a lonely studio. The content is quite complicated and the methods are different. The thought and art are extremely unbalanced. It can be said that the advantages and disadvantages coexist. However, as far as the dominant aspect is concerned, most of the chapters come from real feelings, reflect social problems, and have certain practical significance. Generally speaking, it can be divided into the following categories: first, exposing the darkness of the government, corruption and abuse of officials, killing innocent people, plundering and killing innocent people wantonly by the government and army; second, condemning the gentry for being rich and inhumane, insulting the good and good people; third, ridiculing the officialdom examiners for being mediocre and dethroning the good scholars for being mediocre; fourth, ridiculing the worldly manner and watering down the customs; fifth, embodying the philosophy of life experience, praising the freedom of love and the independence of marriage I want to pursue. In terms of the art of Ghost Novels, Liaozhaizhiyi also has many innovations, which give full play to the artistic potential of the real and illusory, and show the diversification of plot structure mode. Some of them win by plot twists and turns, making the most of ups and downs, some don't win by story, or focus on depicting the character, or describing a deep scene, or focusing on creating an artistic conception of blending feelings and scenes. In the narration, although the omniscient point of view is basically adopted, the fictitious pen and foreshadowing are often used to create suspense and even vagueness, resulting in a kind of complicated interest and enhancing the artistic charm of the novel. In many chapters, huayaohugui is not only full of human feelings, but also full of poet temperament. It expresses its meaning with poetic expression. Some stories are composed of poetic meaning, some scenery descriptions are full of poetic and picturesque, and the narrative language is elegant and meaningful. Liaozhaizhiyi presents different poetic tendencies. Pu Songling can be regarded as the master of classical Chinese novel creation in ancient China.
poems
Liaozhaiwen
. There are 13 volumes of Pu Songling's Liao Zhai Wen Ji. The first volume is Fu, accounting for 11; the second volume is Zhuan and Ji, accounting for 14; the third volume is Yinxu and Shu, accounting for 82; the fourth volume is Lun, postscript and inscription, accounting for 13; the fifth volume is Shuqi, accounting for 131; the sixth volume is Wengao and Chengwen, accounting for 23; the seventh volume is marriage Qi, accounting for 56; the eighth volume is Shengzhi, epitaph and Xingshi, accounting for 3; the ninth volume is sacrificial essay, accounting for 41; and the tenth volume is Xingshi There are 20 Essays (8 couplets attached), 31 essays in volume 11, 48 essays in volume 12 and 66 essays in Volume 13. There are 539 articles in all styles.
Liaozhai Poems
. Pu Songling's "Liaozhai poetry collection" consists of five volumes, plus "xulu" and "Addendum", a total of 1039 poems. From his youth, Pu Songling began to write poetry, which can be seen from his Yingzhong society preface. Unfortunately, his early works have not been handed down. The current collection of Liaozhai poems, compiled by Lu Dahuang, began in 1670 and ended in 1714. Among them, the words and sentences of dujiu in Volume I are the same as those in xulu. The 11 poems in the sequel include Baotu Spring (two poems), Youlong Temple (one poem), Dushun fandaming Lake (one poem, three poems), Qianfo Mountain (one poem), youdafo mountain (one poem), Baiyun Pavilion boating (one poem), denglixia Pavilion (one poem), Beizhu Pavilion (one poem), huanbi Pavilion (one poem), etc In. (Li Boqi's several fakes of entering Liaozhai poetry anthology is published in the third volume of Pu Songling research collection.) In fact, there are 1017 poems in Liaozhai poetry anthology. There are five lost poems by Pu Songling in listening to the sound of autumn in Oxford University Library, London, and 14 in the collection of Liaozhai poems collected by Zhang Qinglin in Zibo. (see Zhao Weizhi's notes and supplements to Liaozhai poetry collection.) Zou Zongliang
Chinese PinYin : Pu Song Ling
Pu Songling