Pèiyùzhāi lèigǎo 佩玉齋類藁
Classified Drafts of the Jade-Pendant Studio by 楊翮 (撰)
About the work
A ten-juǎn prose-and-verse collection by Yáng Hé 楊翮 (style-name Wénjǔ), late-Yuán Tàicháng bóshì of Shàngyuán (Nánjīng). The collection contains bēimíng, xù, zhì, zhēn, sòng, lùn, zàn, and verse. Four extraordinary original prefaces are preserved: by Chén Lǚ 陳旅 (Hòu Zhìyuán bǐngzǐ = 1336), Yú Jí 虞集 (no date, after Zhìzhèng 8 = 1348), Wú Fùxīng 吳復興 (Yuántǒng yǐhài = 1335), and Yáng Wéizhēn 楊維楨 (Zhìzhèng wùzǐ = 1348). These four prefaces — Chén Lǚ a leading mid-Yuán prose figure, Yú Jí the most authoritative Yuán shīwén arbiter, Wú Fùxīng a Guǎngxìn literatus, and Yáng Wéizhēn the dominant late-Yuán cízhāng leader — collectively make this volume one of the better-documented Yuán-era prose collections for its reception history. The two senior prefaces (Chén Lǚ and Yú Jí) are written explicitly fùzhí zìjū (as elders representing the father’s generation to the son), connecting Yáng Hé’s learning back through his father Yáng Gāngzhōng 楊剛中 to Zhāng Dáshàn 張達善 and ultimately to Zhū Xī. The collection’s intellectual genealogy is therefore a documented mid-Yuán Jiāngníng Zǐyáng lineage.
Tiyao
Pèiyùzhāi lèigǎo, 10 juǎn. By Yáng Hé of the Yuán. Hé, style-name Wénjǔ, was a man of Shàngyuán. His father Gāngzhōng in the Dàdé era held office as Hànlín dàizhì and composed the Shuāngyuè jí, which is now untransmitted. Hé began as a yuàn of the JiāngZhè Mobile Secretariat. In the Zhìzhèng era he was Xiūníng zhǔbù, served as JiāngZhè rúxué tíjǔ, and was promoted to Tàicháng bóshì. Gāngzhōng was a renowned senior of his day; what he studied had foundations; the leading current of his day were largely his associates. Hé inherited his family teaching and worked even more strenuously at ancient prose and verse. From Yú Jí, Yáng Wéizhēn and others’ prefaces — all of whom firmly stand as fùzhí (father’s circle) to him — we see that the zhǐshòu tísī (instruction and prompting) was very direct. So his prose’s gélǜ (style and rule) is largely derived from teachers and friends he saw and heard; the yìtài bōlán (mood and undulation) does not fall short of the earlier rule. Even if his range is not yet wide and his maturation not yet deep, his fǎdù jǐnyán (method and seriousness) is far superior to those who, having no teaching lineage, run their talent and breath. This collection was cut at the end of the Zhìzhèng era. But Liú Zǎijiān’s Xuǎn Míng yǎsòng zhèngyīn takes Hé’s poetry in; and Yáng Jī’s collection has a dào Yáng Wénjǔ bóshì shī that says “White-haired, dark-bearded, the old Tàicháng — in the chaos finally glad to return home”. So Hé must have died in the early Hóngwǔ era. We now place him with the Yuán since he did not accept Míng salary. Respectfully collated, Qiánlóng forty-sixth (1781), eleventh month. Compilers: Jì Yún, Lù Xīxióng, Sūn Shìyì; head proofreader: Lù Fèichí.
Abstract
Pèiyùzhāi lèigǎo is one of the most prefatorially anchored mid-Yuán biéjí in the SKQS. The four collected prefaces — Chén Lǚ (1336), Wú Fùxīng (1335), Yú Jí (post-1348), Yáng Wéizhēn (1348) — collectively constitute a documentary record of the mid-Yuán literary circle’s regard for both Yáng Gāngzhōng (the father) and Yáng Hé (the son). The collection’s intellectual-genealogy claim — Zǐyáng (Zhū Xī) → Zhāng Dáshàn → Yáng Gāngzhōng → Yáng Hé — is explicitly made in Yáng Wéizhēn’s preface and is a useful documentary anchor for the southern transmission of Zhū Xī’s learning through the mid-Yuán Jiāngníng lineage. Composition window: from c. 1335 (the earliest prefaces) through to Yáng’s death in the early Hóngwǔ era (1368+). The poetic side of the collection is the smaller part; the prose dominates, with bēimíng / xù / zhìmíng commissions on a substantial scale.
Translations and research
- The collection is regularly cited in studies of mid-Yuán literary criticism — especially for the four-preface documentary record. Chén Lǚ and Yú Jí’s prefaces are foundational mid-Yuán texts.
- Treated in scholarship on Yuán Zhū Xī transmission lineages (Zhāng Dá-shàn → Yáng Gāng-zhōng → Yáng Hé).
Other points of interest
- The collection’s title — Pèiyù zhāi “Jade-Pendant Studio” — is a Confucian classical-allusion sobriquet (Lǐjì-derived: the pèiyù are the ceremonial pendants worn by the jūnzǐ). This is a useful documentary anchor for late-Yuán Jiāngníng Confucian self-identification.
- The Yáng Jī mourning poem (“the old Tàicháng white-haired and dark-bearded”) supplies Yáng Hé’s deathdate context — early Hóngwǔ era.
Links
- WYG SKQS V1220.2, p49.