廣弘明集 3.24

3.24

日月貞明。匪光景不能垂照。嵩華載育。非風雲無以懸感。大聖挺生應期命世。所以匡濟風俗矯正彝倫。非夫丘索墳典詩書禮樂。何以成穆穆之功致蕩蕩之化也哉。故鴻荒道喪。帝昊興其爻畫。結繩義隱。皇頡肇其文字。自斯以往㳂襲異宜。功成治定各有方冊。正宗既殄樂崩禮壞。先聖之法有若綴旒。故仲尼歎曰。大道之行也。與三代之英。丘未逮也。而有志焉。夫有志以為。古文猶好也。故自衛反魯。始立素王。於是刪詩書定禮樂。列五始於春秋。興十翼於易道。夫子既亡微言殆絕。七十並喪大義遂乖。逮乎戰國俗殊政異。百家競起九流互作。嬴正疾之。故有坑焚之禍。至漢惠四年。始除挾書之律。其後外有太常太史博士之藏。內有延閣廣內祕室之府。開獻書之路。置寫書之官。至孝成之世。頗有亡逸。乃使謁者陳農求遺書於天下。光祿大夫劉向及子伋歆等。讎校篇籍。每一篇已輒錄而奏之。會向亡哀。帝使歆嗣其前業。乃徙溫室中書於天祿閣上。歆遂總括群篇。奏其七略。及後漢蘭臺。猶為書部。又於東觀及仁壽闥。撰集新記。校書郎班固傅毅並典祕籍。固乃因七略之辭。為漢書藝文志。其後有著述者。袁山松亦錄在其書。魏晉之世文籍逾廣。皆藏在祕書中外三閣。魏祕書郎鄭默刪定舊文。時之論者謂為朱紫有別。晉領祕書監荀勗。因魏中經更著新簿。雖分為十有餘卷。而總以四部別之。惠懷之亂。其書略盡江左草創十不一存。後雖鳩集。淆亂以甚。及著作佐郎李充始加刪正。因荀勗舊簿四部之法。而換其乙丙之書。沒略眾篇之名。總以甲乙為次。自時厥後世相祖述。宋祕書監謝靈運丞王儉齊祕書丞王亮監謝朏等。並有新進。更撰目錄為七志。其中朝遺書收集稍廣。然所亡者猶太半焉。齊末兵火延及祕閣。有梁之初缺亡甚眾。爰命祕書監任昉躬加部集。又於文德殿內別藏眾書。使學士劉孝標等重加搜進。乃分數術之文。更為一部。使奉朝請祖暅撰其名錄。其尚書閣內別藏經史雜書。華林園又集釋氏經論。自江左篇章之盛。未有踰於當今者也。孝緒少愛墳籍。長而弗倦。臥病閑居傍無塵雜。晨光纔啟緗囊已散。宵漏既分錄帙方掩。猶不能窮究流略探盡祕奧。每披錄內省多有缺然。其遺隱記頗好搜集。凡自宋齊以來王公搢紳之館。苟蓄聚墳籍。必思致其名簿。凡在所遇若見若聞。校之官目多所遺漏。遂總集眾家。更為新錄。其方內經記至于術技。合為五錄。謂之內篇。方外佛道各為一錄。謂之外篇。凡為錄有七。故名七錄。昔司馬子長記數千年事。先哲愍其勤。雖復稱為良史。猶有捃拾之責。況總括群書四萬餘卷。皆討論研覈標判宗旨。才愧疎通學慚博達。靡班嗣之賜書。微黃香之東觀。儻欲尋檢內寡卷軸。如有疑滯傍無沃啟。其為紕繆。不亦多乎。將恐後之罪子者。豈不在於斯錄。如有刊正。請俟君子。昔劉向校書。輒為一錄。論其指歸辯其訛謬。隨竟奏上。皆載在本書。時又別集眾錄。謂之別錄。即今之別錄是也。子歆探其指要。著為七略。其一篇即六篇之總最。故以撮略為名。次六藝略。次諸子略。次詩賦略。次兵書略。次數術略。次方技略。王儉七志改六藝為經典。次諸子。次詩賦為文翰。次兵為軍書。次數術為陰陽。次方技為術藝。以向歆雖云七略。實有六條。故立圖譜一志。以全七限。其外又條七略及漢藝文志中經簿所闕之書。并方外之經。佛經道經各為一錄雖繼七志之後。而不在其數。今所撰七錄斟酌王劉。王以六藝之稱不足。標榜經目改為經典。今則從之。故序經典錄為內篇第一。劉王並以眾史合于春秋。劉氏之世史書甚寡。附見春秋誠得其例。今眾家記傳倍於經典。猶從此志。實為繁蕪。且七略詩賦不從六藝諸部。蓋由其書既多。所以別為一略。今依擬斯例分出眾史。序記傳錄為內篇第二。諸子之稱。劉王並同。又劉有兵書略。王以兵字淺薄軍言深廣。故改兵為軍。竊謂古有兵革兵戎治兵用兵之言。斯則武事之總名也。所以還改軍從兵。兵書既少。不足別錄。今附于子總以子兵為稱。故序子兵錄為內篇第三。王以詩賦之名不兼餘制。故改為文翰。竊以傾世文詞。總謂之集。變翰為集。於名尤顯。故序文集錄為內篇第四。王以數術之稱有繁雜之嫌。改為陰陽。方技之言事無典據。又改為藝術。竊以陰陽偏有所繫。不如數術之該通。術藝則濫六藝與數術。不逮方技之要顯。故還依劉氏各守本名。但房中神仙既入仙道。醫經經方不足別創。故合術技之稱以名一錄為內篇第五。王氏圖譜一志劉略所無。劉數術中雖有。歷譜而與今譜有異。竊以圖畫之篇。宜從所圖為部。故隨其名題各附本錄譜。既注記之類。宜與史體相參。故載于記傳之末。自斯以上皆內篇也。

The sun and moon are pure and bright, yet without their radiant beams they could not shed their light below; Mount Song and Mount Hua sustain and nurture, yet without wind and clouds they could not suspend their subtle resonance. Great sages are born out of the ordinary, answering their destined times to order the age; thus they rectify and succour prevailing customs and reform the constant human relations. Were it not for the Three Odes and Eight Inscriptions, the classical canons, the Songs, Documents, Rites, and Music, how could they accomplish reverent and majestic achievements, or bring about such vast and boundless transformation? Therefore, when the primeval vastness receded and the Way was lost, Emperor Taihao originated the lines of the trigrams; when the significance of knotted cords became obscure, Sovereign Cangjie first created written characters. From that time forth, traditions were inherited or altered according to appropriateness; when achievements were completed and order was established, each had its bamboo tablets and books. But once the orthodox tradition perished, music collapsed, and rites disintegrated, the ways of the former sages hung precariously like trailing banners. Thus Zhongni sighed, saying: 'The practice of the Great Way and the outstanding men of the Three Dynasties—I, Qiu, did not reach them, but to them my aspirations are set.' Having his aspirations set, he deemed that the ancient texts were still good. Therefore, returning from Wei to Lu, he first established himself as the Uncrowned King. Thereupon he pruned the Songs and Documents, fixed the Rites and Music, arrayed the Five Beginnings in the Spring and Autumn Annals, and gave rise to the Ten Wings in the Way of Changes. When the Master passed away, the subtle words almost ceased; when the seventy disciples likewise perished, the great principles were subsequently compromised. Coming down to the Warring States period, customs differed and governments diverged; the hundred schools competed to arise, and the nine lineages of thought emerged alongside one another. Ying Zheng detested them; hence occurred the catastrophe of burying scholars and burning books. Not until the fourth year of Han Emperor Hui was the statute prohibiting the possession of books first abolished. Thereafter, externally there were the archives of the Minister of Ceremonial, the Grand Astrologer, and the Erudites; internally there were the repositories of the Yan Pavilion, the Guangnei Hall, and the Secret Chamber. A path for presenting books was opened, and officials for copying books were appointed. By the reign of Xiaocheng, rather many texts had been lost; hence he sent the Internuncio Chen Nong to seek out lost books throughout the realm. Liu Xiang, Grandee of the Imperial Household, and his sons Ji and Xin collated the chapters and texts; whenever each chapter was finished, they recorded and submitted it. When Xiang happened to pass away, Emperor Ai commanded Xin to carry on his previous undertaking; thereupon the books kept in the Wenshi Hall were moved into the Tianlu Pavilion. Xin then comprehensively synthesized the various treatises and submitted his Seven Summaries (Qilüe). Under the Later Han, the Orchid Terrace was still the bureau of books; furthermore, in the Dongguan Library and the Renshou Gate, newly recorded compilations were drafted. Ban Gu, Gentleman Collator of Books, and Fu Yi both took charge of the secret archives; Gu then relied on the text of the Seven Summaries to compose the Treatise on Arts and Literature for the Book of Han. Among those who subsequently composed works, Yuan Shansong likewise recorded them in his book. In the Wei and Jin eras, literary texts became increasingly numerous; they were all stored in the three inner and outer pavilions of the Department of the Palace Library. Zheng Mo, Gentleman of the Palace Library under Wei, edited and settled the old texts; contemporary critics described it as 'distinguishing the vermilion from the purple.' Xun Xu, Director of the Palace Library under Jin, composed a new catalogue based on the Wei Zhongjing; although it was divided into more than ten fascicles, he comprehensively distinguished them using four sections. During the disturbances of Emperors Hui and Huai, these books were almost completely lost; in the rustic beginnings on the south of the Yangzi, not one in ten remained. Although they were collected later on, confusion and disorder were extreme. Not until Assistant Editorial Director Li Chong began to edit and correct them: relying on the four-section method of Xun Xu's old catalogue, he swapped the books of the second and third classes (B and C), omitted the individual titles of various treatises, and comprehensively ordered them using Jia, Yi, Bing, and Ding (A, B, C, D). From that time onward, successive generations took this as their model. Under Song, Director of the Palace Library Xie Lingyun and Vice Director Wang Jian, and under Qi, Vice Director Wang Liang and Director Xie Fei, all presented new accessions and further compiled a catalogue called the Seven Records (Qizhi). The collection of lost books from the Central Court grew somewhat wider, yet more than half of what had been lost was still missing. At the end of Qi, the fires of warfare spread to the Secret Pavilion; in the early years of the Liang, the gaps and losses were very numerous. Thereupon Ren Fang, Director of the Palace Library, was commanded to classify and assemble them in person; in addition, diverse books were separately stored within the Wende Hall, and Scholars such as Liu Xiaobiao were ordered to search out and present more. Then, separating texts on calculations and divination (shushu) into a distinct section, they ordered Zu Geng, Court Attendant, to compile their nominal catalogue. Within the Department of the Affairs of State, classic, historic, and miscellaneous books were separately stored, and in the Hualin Garden the sūtras and treatises of the Śākya lineage were brought together. Ever since the rise of literary works south of the Yangzi, none has surpassed the present time. In my youth I, Xiaoxu, loved ancient canons and records, and in maturity never grew weary. Lying ill in leisurely retirement, I have had no worldly distractions around me. As soon as the morning light breaks, the pale yellow bags are unfastened; when the night clepsydra is divided, the book cases are finally closed. Yet I have still been unable to exhaustively investigate the traditions and summaries, or plumb every secret and profound depth. Whenever I open the catalogue and reflect within, I find there are many deficiencies. I have rather been fond of gathering lost and obscure records. For all the mansions of princes, dukes, and officials from Song and Qi onward, if only they had accumulated ancient books, I always thought to obtain their lists and registers. Whatever I encountered, saw, or heard, when collated against the official catalogues, showed many omissions. Thereupon I gathered the various collections together and made a new record. From the domestic scriptures and records down to skills and arts, they are combined into five records, called the Inner Chapters; the external traditions of Buddhism and Daoism each form one record, called the Outer Chapters. Altogether there are seven records, hence it is titled Seven Records (Qilu). In ancient times, Sima Zichang recorded the events of thousands of years; former sages took pity on his diligence, and although he is renowned as a fine historian, there were still reproaches regarding his selections. How much more so when comprehensively synthesizing more than forty thousand fascicles of various books, discussing, investigating, verifying, and determining their central tenets! My talent is ashamed of lacking penetrating discernment; my learning is embarrassed by lacking broad mastery. I have neither the imperial grant of books of Ban Si, nor the Dongguan Library of Huang Xiang. When I wish to look up and inspect something, my private shelves are scarce of scrolls; if doubts and blockages arise, there is no one beside me to enlighten or instruct. Are not the errors and blunders bound to be manifold? I fear that those who blame me in the future—will it not be on account of this catalogue? If there be corrections, I beg to await the noble-minded. In ancient times, when Liu Xiang collated books, he made a record for each, discussing its purport and discerning its errors; as each was completed, he submitted it, and all were appended to the original books. At that time he also separately collected these records, calling it the Separate Records (Bielüe); this is the present-day Bielüe. His son Xin extracted its essential purports and composed the Seven Summaries (Qilüe). One of the chapters was the overall summary of the other six; hence it was named Summary (Cüelüe). Next was the Six Arts Summary; next, the Philosophers Summary; next, the Poetry and Rhapsodies Summary; next, the Military Treatises Summary; next, the Calculations and Divination Summary; next, the Methods and Skills Summary. In Wang Jian's Seven Records (Qizhi), the Six Arts was changed to Classical Canons; next was Philosophers; Poetry and Rhapsodies was changed to Literature; Military Treatises was changed to Martial Texts; Calculations and Divination was changed to Yin-Yang; Methods and Skills was changed to Arts and Techniques. Because Xiang and Xin, though speaking of seven summaries, actually had six branches, he established a section for Charts and Genealogies to complete the number of seven. Outside of this, he also itemized the books missing from the Seven Summaries, the Han Treatise on Arts and Literature, and the Zhongjing catalogue, together with the scriptures of the external realm: Buddhist scriptures and Daoist scriptures each formed a record, which, though following after the Seven Records, were not counted among their number. In the present compilation of the Seven Records, I have deliberated between Wang and Liu. Wang deemed the designation 'Six Arts' insufficient to serve as a banner for the canonical texts, and changed it to 'Classical Canons'; I now follow this. Therefore, the record of Classical Canons is arranged as the first of the Inner Chapters. Both Liu and Wang combined the various histories with the Spring and Autumn Annals. In Liu's time historical works were very few; attaching them to the Spring and Autumn Annals truly suited the precedent. Now the records and biographies of various authors are twice as many as the classical canons; if one still followed this scheme, it would truly be redundant and chaotic. Moreover, in the Seven Summaries, poetry and rhapsodies were not subordinated to the sections of the Six Arts, presumably because those books were already numerous, and thus made into a separate summary. Now, imitating this precedent, I have separated out the various histories, arranging the record of Chronicles and Biographies as the second of the Inner Chapters. The designation 'Philosophers' is the same in both Liu and Wang. Further, Liu had a Military Treatises Summary; Wang, deeming the word 'military' (bing) crude and shallow and the word 'martial/army' (jun) profound and broad, changed 'military' to 'martial'. I venture to think that in antiquity there were expressions such as 'weapons and cuirass' (bingge), 'military operations' (bingrong), 'regulating troops' (zhibing), and 'deploying troops' (yongbing); these are general terms for martial affairs. Therefore I have reverted from 'martial' back to 'military'. Since military books are few and insufficient for a separate record, I now attach them to the philosophers, comprehensively titling them 'Philosophers and Military'. Therefore, the record of Philosophers and Military is arranged as the third of the Inner Chapters. Wang, deeming that the title 'Poetry and Rhapsodies' did not encompass other genres, changed it to 'Literature'. I venture to consider that in recent ages literary compositions are comprehensively called 'anthologies' (ji); changing 'letters' (han) to 'anthologies' (ji) makes the designation especially distinct. Therefore, the record of Literary Anthologies is arranged as the fourth of the Inner Chapters. Wang, deeming that the designation 'Calculations and Divination' (shushu) was suspect of being complicated and miscellaneous, changed it to 'Yin-Yang'. The phrase 'Methods and Skills' (fangji) lacked canonical authority, so he also changed it to 'Arts and Techniques' (yishu). I venture to consider that Yin-Yang is biased toward a single connection and is not as comprehensive as 'Calculations and Divination'; 'Arts and Techniques' confuses the Six Arts with calculations and divination, and does not match the conciseness and clarity of 'Methods and Skills'. Therefore I have reverted to following Liu's system, keeping each to its original name. However, since bedchamber techniques and immortals are already subsumed under the Daoist way of transcendence, while medical classics and formularies are insufficient to establish a separate category, I have combined the titles of techniques and skills (shuji) to name a single record as the fifth of the Inner Chapters. Wang's category of Charts and Genealogies was absent in Liu's Summaries. Although Liu's Calculations and Divination included calendars and genealogies, they differed from today's genealogies. I venture to think that treatises of drawings and paintings should be classified according to what is depicted; therefore, following their titles, each is appended to its original record. As for genealogies, being of the nature of records and notes, they should be correlated with the style of history; therefore they are placed at the end of Chronicles and Biographies. All the above constitute the Inner Chapters.