Jūzhúxuān shījí 居竹軒詩集
The Living-in-Bamboo-Studio Poetry Collection by 成廷珪 (撰)
About the work
A 4-juǎn poetic collection of Chéng Tíngguī 成廷珪. Yángzhōu literatus who never sought office, supporting his mother as a market resident; in late-Yuán war years took refuge in Wúzhōng / Sōngjiāng. Hào Jūzhúxuān comes from the bamboo in his Yángzhōu courtyard. Wàngnián jiāo (cross-generation friendship) with Zhāng Zhù 張翥 — Chéng’s poetic method, particularly the yīnlǜ tǐzhì, derived from Zhāng. Wide exchange-network: Yáng Wéizhēn, Wēi Sù, Yáng Jī, Lǐ Fǔ, Yú Què, Zhāng Yǔ, Ní Zàn. Edited posthumously by Gào Sù 郜肅 and Liú Qīn 劉欽. Liú Qīn’s preface notes “wǔyán wù zìrán, búshì diāoguì — qīyán lǜ zuì wéi gōng, shēn hé Tángrén zhī tǐ.” The total absence of wǔyán gǔtǐ in the collection is the Sìkù tíyào’s notable observation.
Tiyao
Jūzhúxuān shījí, 4 juǎn. By Chéng Tíngguī of the Yuán. Tíngguī zì Yuáncháng, yīzì Yuánzhāng, yòuzì Lǐzhí — a man of Yángzhōu. Hào xué not seeking shìjìn (office) — only with yínyǒng zìyú (chanting to please himself). Cared for his mother in the market; planted bamboo in the tíngyuàn (courtyard) — much had shānlín yìqù (mountain-forest taste). Hence his place of yànxī (rest) was titled Jūzhúxuān. Late met the era’s chaos; took refuge in Wúzhōng; zōngjì duō zài Sōngjiāng — so the collection has the yù bǔjū hǎishàng zhī zuò. Later in the end died at Yúnjiān; the year already over 70. This collection is what his friends Gào Sù and Liú Qīn assembled from yígǎo. Tíngguī with Hédōng Zhāng Zhù as wàngnián jiāo; his verse’s yīnlǜ tǐzhì (sound-rule, body-form) — much obtained method from Zhāng. The shēngjià (fame and price) also close to Zhāng. Looking at the verse’s recorded chóudā — like Yáng Wéizhēn, Wēi Sù, Yáng Jī, Lǐ Fǔ, Yú Què, Zhāng Yǔ, Ní Zàn — all yīdài shèngliú — and Lǐ Fǔ and Yú Què’s zhōngyì, Ní Zàn’s gūpì — particularly not the kind of biāobǎng shēngqì (advertise-and-trade-pretense) men; their qīngdào (tilting / favoring) of Tíngguī — must have a reason to qǔ him. Liú Qīn praises Tíngguī’s “wǔyán wù zìrán — búshì diāoguì; qīyán lǜ zuì wéi gōng — shēn hé Tángrén zhī tǐ.” Now examining his qīyán gǔtǐ — also rather qiúlì. Only wǔyán gǔtǐ — jìng wú yī piān (entirely no piece — surprisingly). Should not the whole juǎn have been yíyì (lost). Or self-knowing this tǐ not his strength — so did not work it — like Sòng Wú’s 宋無 Cuìhán jí KR4d0498? Respectfully collated.
Abstract
Jūzhúxuān shījí preserves a Yángzhōu biéjí defined by its exchange-poetry network — Chéng’s connections with Yáng Wéizhēn, Wēi Sù, Yáng Jī, Lǐ Fǔ, Yú Què, Zhāng Yǔ, Ní Zàn make this an unusually well-connected late-Yuán biéjí despite Chén’s modest social position. The absence of wǔyán gǔtǐ — flagged by the Sìkù tíyào as either yíyì or a deliberate genre-avoidance like Sòng Wú’s Cuìhán jí — is a useful philological observation. The Zhāng Zhù wàngnián jiāo relationship makes Chéng a documentable second-generation poetic heir of one of the late-Yuán zhībǐ masters. Composition window: from earliest preserved compositions (c. 1330) to c. 1370.
Translations and research
- Yáng Lián. 2003. Yuán-shī shǐ.
Links
- WYG SKQS V1216.3, p277.