"Buju" and "Fisher Father" were not written by Qu Yuan

Regarding the copyright of the two works of "Buju" and "Fisher Father" in the "Chu Ci", from the Han to the Song Dynasty, Xiang Wu recognized it, and mostly obeyed Wang Yizhi's sayings, all of which were attributed to Qu Yuan's name. Especially after the "May Fourth" new cultural movement, many scholars have refuted difficulties and falsified, and there have been many lawsuits, and the trend of confrontation has so far been inconclusive. The author does not speculate about the ugliness, although sitting in the well and watching the sky, I also want to spit out my heart.

Internet searches can be seen that from ancient times to the present, it is believed that these two articles are not qu Yuan's views, and they are one after another. The author does not want to quote from the sidelines, and pile up the food to make a strong momentum. The reason why the words of the two Chu Ci masters in modern times are quoted is only because it speaks to the author's heart.

You Guoen's "Introduction to Chu Ci" said: "The Biography of Qu Yuan Jia Sheng Lie in the History of Qu Yuan says that Qu Yuan's name is Ping, then 'original' is a word that can be known. Where the ancients called themselves, many without words. Not only did he claim to be so, that is, as Shangguan Da said in front of King Huai, he also said 'Pingfa Qigong', but also said "Pingfa Qigong", which shows that the ancients called names very measured. "Buju" and "Fisher Father" are called 'Qu Yuan' throughout, which is obviously used by descendants to see Qu Yuan's name and use it casually. Mr. You Guoen believes: "Buju and Fisher Father are undoubtedly products of the Qin Dynasty or the early years of the Two Han Dynasties. Ancient China attached great importance to ethical relations on the one hand, and on the other hand, paid attention to humility and respect for others, and did not call themselves words in their own articles. ”

The author believes that this article is indeed the most fatal point of the affirmationists. Calling oneself by one's own name and calling one's own characters is a common practice in ancient times. Does a great writer make a low-level mistake by calling himself a word in his essay? In the "History of Qu Yuan Jia Sheng Lie Biography", it is said: "Qu Yuan's name is Ping", and these two parts are both "Qu Yuan both put" and "Qu Yuan Yue", since it is called "character", it is not Qu Yuan's own work. Unless someone stands up to prove that Sima Qian was wrong and convinces the people of the world, this statement can be overturned. In addition, Liu Xiang's "New Order and Jieshi" also said: "Qu Yuan, Mingping".

Guo Moruo said in "Qu Yuan's Fu Jin Translation and Afterword": "Bu Ju" and "Fisher Father" are two articles, and many people suspect that they are not Qu Yuan's works. In particular, the article "Fisher Father" should be a work of posterity. However, the author only took Qu Yuan as the subject matter and engaged in creation, and did not intend to pretend. They are considered to be Qu Yuan's works, which is a misunderstanding of those who collected Qu Yuanfu. Because these two articles use pre-Qin ancient rhymes, they should be the works of the Chu people. The author must not be far from Qu Yuan, and he is a person who knows Qu Yuan's life and thoughts very well." He also said: "This 'Buju' is a narrative poem, and the original text has rhymes. It is said that it was written by Qu Yuan, but I am afraid that it is not the case, and it may be the work of the Chu people who are well aware of Qu Yuan's life and thoughts. From these two paragraphs, it is not difficult to see Mr. Guo Moruo's conclusion.

The author has sorted out some of the most common reasons for the negationists, and then interpreted them in his own way, with the following five points:

First, Qu Yuan's works in "Chu Ci", although their lengths are different, the content and thoughts and emotions they show are all profound and thick, containing grudges and gentle repetitions. And these two narratives are concise and vivid, and the whole story is smooth, clear and simple. "Buju" raises sixteen questions in one breath, the front is positive and the other is reversed; "The Fisher Father" is like a dramatic note-memoir, short and deep. They all conceive of Qu Yuan's situation as a third party, and through narrative dialogue, they make general speculations and synthesises of Qu Yuan's psychology, so they are naturally one level different from Qu Fu's self-expressive depression and resentment, and the depth of his thoughts.

Second, stylistically, Qu Yuan's works in Chu Ci are beautiful poetry, not sensual or rational prose. These two passages use Liu Xun's "Wenxin Carved Dragon Interpretation Fu" as "the narrator takes the first lead", the beginning and end are completely scattered, the middle is scattered and interlaced, and the rhyme is relatively free, which has overflowed the Chu ci style to a certain extent, which is a new genre between poetry and prose, just like modern prose poetry, showing signs of evolving from Chu ci to Han Dynasty prose endowment.

Third, when Sima Qian recorded Huaisha in the "History of Qu Yuan's Biography of Jia Shenglie", he stated that it was composed by Qu Yuan, but when he quoted "The Fisher Father", he did not explicitly state that it was Qu Yuan's work, which shows that he could not be sure that it must be Qu Yuan's work, but only used it as a biographical material about Qu Yuanping.

Fourth, the explanation of Wang Yi's "Chu Ci Zhang sentences and Fisher Fathers" first said: "The "Fisher Father", Qu Yuan's work is also", and then said: "The Chu people miss Qu Yuan, because of the narration of his words to pass on", inconsistencies, hesitations, proof that Wang Yi can not be sure. Later generations "miss", there must be legends or transmissions, "narration" has implied that there are words circulating. Therefore, these two parts should be the chu people's posthumous remembrance of Qu Yuan's deeds, and the author's objective account of Qu Yuan's anecdotes close to Qu Yuan's spirit is in line with the characteristics of folklore, and the other is also possible to entrust qu Yuan with the name.

After deducing the words of the predecessors, the author will pick out a few words and sentences from these two works and analyze them from the perspective of text and language.

First, "Buju": "Qu Yuan was released, and he did not see it again for three years... I went to see Taibu Zheng Zhan Yin.". Taibu was the official in charge of the Chu court, holding a high position and serving at the side of the King of Chu, Qu Yuan had been exiled for many years, and he could not return the king's orders, so how could he return to his hometown to seek advice from the imperial court official Bu Ying? Qu Yuanren would never open his eyes and talk nonsense.

Second, "Taibu Zheng Zhan Yin", Zhan Yin is "Zhan Yin", the official of the Chu State in charge of Bu, and the "Gong Yin" and so on. Taibu was the official name of the Shang and Zhou Dynasties, and was the head of the imperial court of the northern states, and the Chu state only set up the position of "Bu Yin (or Zhan Yin)", which must have been misused by future authors for the unknown meaning of "Zhan Yin" at the time of the text.

Third, "zú (哫) 訾栗思, Oh Ru'er", Mr. Tang Bingzheng believes that it was originally four kinds of legendary beasts, and when he saw people, he shouted, laughed, and jumped, and the nouns here are used as adjectives to express the ugliness of song and flattery, laughter and flattery. "The sudden ladder is funny, like grease like Wei", the first two are originally wine vessels. The abrupt ladder is the yiyi, the wine sac, the funny is the vomiting vessel, and the two are also nouns used as adjectives, used as eloquent and clever people. Fat is grease, Wei is soft skin, and the two are metaphorically smooth and smooth. Such words, which are contemptuous and indecent, are obviously chu folk sayings of the Warring States period, how could they be adopted by Qu Yuan of "Literary Liya"? Although Qu Yuan learned from folk sayings, they were all selected and tempered. It is precisely because of the feeling that the folk ritual music song "its words are despicable, because it is composed of the song of the Nine Songs" (Wang Yi's "Chu Ci Zhang sentence • Nine Song Preface").

Fourth, the Fisherman chapter: "I have heard: 'The new mu will play the crown, and the new bather will vibrate his clothes.'" Ann can inspect with his body, and the one who receives things is "? And "Xunzi Bugou" said: "Therefore, the new bather vibrates his clothes, the new Mu plays his crown, and the love of the people is also." Who can be ridiculed by others with his own jiào jiào (明察慕), huò huò (bewildered by others) ! "It's almost the same.

Xunzi was born around 313 BC, Qu Yuan was born around 340 BC, and Xunzi was about thirty years younger than Qu Yuan. The "Bu Gou" was written after Xunzi was about fifty years old, that is, after 263 BC, and at this time Qu Yuan had been dead for fifteen years, and it was impossible that Qu Yuan had attacked Xunzi. When "Xunzi" cites the works or remarks of predecessors, there is a habit of indicating the source, such as "poetry", "poetry cloud", "book", "easy", "transmission", "language", "folk language", and so on. Since the source of those few words of "Bu Gou" is not indicated in front, it proves that it is XunZi's original. "Fisher Father" has the three words "I smell", which shows that "Fisher Father" has copied "No Goo" and made adjustments when quoting, "Mu" is to wash the head and mention the front; "bath" is to wash the body and move to the back, which is more appropriate; and the two difficult words of "掝掝" are changed to relatively easy to understand words, which is also in line with the law of the use of words that are difficult to use by later generations. Therefore, "The Fisher Father" was not composed by Qu Yuan, but after "Xunzi" (Xunzi died in 238 BC).

Fifth, the "Fisherman's Father" is quoted at the end of the "Song of the Canglang", which is wrapped up in a song. Zhu Yao's "Ancient Fu Debate Style" said: "There are few songs in the "Thinking of The Dragon" section, and at the end of the "Fisher Father" chapter, 'Canglang' and 'The Song of the Widow', then the Fu family also uses songs as words. It is therefore that most of the descendants think that the 'song' is substituted for the 'chaos', and there are also those who are singers in the middle. Liu Xizai's "Outline of Art and Fu" said: "The pawn of endowment is often tied to 'song', such as "Chu Ci" 'chaotic yue', 'heavy yue', 'less song yue', 'advocacy' and so on. "Song Yu's "Deng Disciple Lustful Endowment" uses the poetic way of affixing it, which is a form of prose endowment ending.

Sixth, Qu Fu used "兮" as a word of help, forming the most typical grammar style of the riot characters. For example, the word "兮" is in the "Departure" type at the end of the odd sentence, the word "兮" is in the "Ode to Orange" type at the end of the even sentence, and the word "兮" is in the "Nine Songs" type in the sentence. The word "Hu" is used at the end of the sentence except for "Woo Woo" and "Fisher Father"; in addition to "Bu Ju", the word "Hu" is used at the end of the sentence; in addition to the word "Xi" used in the Canglang Song at the end of the text, the word "Hu" is also used at the end of the sentence. These grammatical differences can also reflect the different expression styles and rhyme systems of Buju, Fisher Father and Qu Sao, as well as the different eras in which they originated.

Seventh, the first cloud of the "Buju" chapter: "Qu Yuan has been released, and he will not be seen again for three years... It is to see Taibu Zheng Zhan Yin", the beginning of the "Fisherman's Father" also Yun: "Qu Yuan is released, swimming in the river pool, walking on the banks of the Yinze, the color is haggard, describing withering." The fisherman's father saw it and asked", it did look like the tone of other people's narratives, and could not help but make people suspicious; moreover, in the barbaric exile land, there was no bronze mirror to illuminate, and its "color was haggard" and "described withered", and he had no way of knowing, only outsiders could see it, so the protagonist could not say it to himself.

The two articles "Buju" and "Fisherman", which the author believes to be the works of chu people who were contemporaries of Qu Yuan or slightly after him, were intended to record Qu Yuan's words and deeds to show the world and pass them on to future generations. The author knew Qu Yuan and sympathized with Qu Yuan, so he did it, which also highlighted Qu Yuan's huge social influence at that time. Denying Qu Yuan's copyright in these two articles does not harm Qu Yuan's greatness in the slightest. On the contrary, it is precisely because it was done by others and entrusted to him, which further proves Qu Yuan's greatness. If not, how could others have written in anonymity to "exalt his deeds" by recounting Qu Yuan's words and deeds?

The two texts of "Buju" and "Fisher Father" are indeed different from the Chu Ci articles, but the words are derived into the indiscriminate pursuit of endowments. Although the author is not Qu Yuan, the ideas reflected in the text are none other than Qu Yuan, which is recognized by all. Especially in "Bu Ju", the strong contrast between the two attitudes to life is closely related to Qu Yuan's experience and consistent with Qu Yuan's thought, which cannot be faked or denied.

Wang Yi, in accordance with the custom of the Han people in editing ancient books, attached doubtful works to the end of the anthology, as important materials for studying authors, and when it was no problem, it also gave a reminder to future generations, and had to attract our attention.