? -"Zhouyi"? Fuck? Xun
The Book of Changes, the oldest classic in China, puts Gan and Kun at the head of the sixty-four hexagrams, and holds that the changes in nature, society and personnel symbolized by the other sixty-two hexagrams are the by-products of the interaction between the two hexagrams. All Yi-ology scholars agree with the symbolic meaning that dry represents heaven and Kun represents earth. "The doer, the sky is also, so the father; Kun, the land is also called the mother ",and then, Shuo Gua Zhuan uses a word" rope "to describe them intertwined like a rope-just like the image of Fu and Nu Wa's snake body" mating "(sexual intercourse)-and produces a shock, a ridge and a root representing men and a loss and a separation representing women. They are called the sons of Gan and Kun. Heaven and earth correspond to parents, and the encounter between heaven and earth breeds everything; Human sexual behavior, the spirit of all things, in turn stimulates the lust of heaven and earth, so that heaven and earth give birth to all things. This is the natural philosophy or primitive thinking of the Book of Changes. The amount and existence of "rain" directly leads to the production and living conditions of everything. In other words, the ancestors thought that "rain" was the semen shot by the heavenly father, and the mother earth in the rain accepted "rain" and gave birth to everything. "Clouds cover the rain and dew, and things are manifold" is undoubtedly a metaphor for this idea.
As primitive people living on the earth, whenever there is drought and no rain, they are terrified because the heavenly father seems to have lost his sexual desire. During the Shang Dynasty in China, in order to arouse the lust of the heavenly father, praying for rain became the king's main job, and a sacrificial ceremony was formed. Oracle Bone Inscriptions recorded a large number of Oracle Bone Inscriptions. We don't know the details of this ceremony, but we can find some speculative plots from the later written records. Generally speaking, in the ceremony of praying for rain, sexual intercourse between men and women is to stimulate the lust of father and rain (ejaculation). Dong Zhongshu wrote Spring and Autumn Period in Han Dynasty? "Begging for Rain" said that at the ceremony of praying for rain, "the government and the people are all in one place (that is, intercourse). "even let the husband hide, while the woman has sex with other men to achieve the purpose of asking for rain ("the general purpose of asking for rain is that the husband should hide and the woman should be happy "). This is the situation in the Han Dynasty. In ancient times, a woman who had coitus must be a so-called "saint". In addition to chastity, she must also "flatter" and coquetry to induce the passion of the heavenly father and make it rain. Ye Shuxian said that coquettish women actually represent the earth ("Mother Earth").
I say this here, not to give readers a very clear cultural history about "rain", but simply to explain how "rain" evolved into a symbol of love. Gao Luopei, a Dutch sinologist, said in "An Examination of Ancient Houses in China": "The intercourse between heaven and earth in the storm is an enduring ancient symbol. Sex is still the standard expression of classical Chinese. " Let "rain" be a metaphor for love, lust and even sex, which has been done by Song Yu. His "High Order" clearly tells how a mysterious woman walked into the dream of the king of Chu and had sex with him (self-recommended pillow). The king of Chu was infatuated with her and asked to meet again, but she said that she was "raining at dusk". Since then, "sex" has become the most popular metaphor of expressive theme in the history of China literature. In Li Shangyin's pen, "rain" is his key word or common language to express love and sex. His poem "Feeling" said: "After Gao Jiancheng, Chu Yu was very suspicious." It means that since Song Yu finished Gao Tang Mi, the image of "sex and rain" has the possibility (suspicion) of the love between the king of Chu and the goddess. This is how Li Shangyin's poems are handled. I quoted the poem 1 1 in "Goddess of Gaotang: Venus of China" to illustrate this fact. Now, explain one of his poems in detail.
? ? Revisit the Temple of Our Lady
? Li shangyin
White rocks are covered with green moss,
It's too late to clear the supernatant.
In the spring dream, the rain often floats,
? The spirit of the sun is not satisfied with this flag.
? Sepals have no fixed place to bloom,
? When Du Lanxiang left, he didn't move.
? Yu Lang will pass the immortal records here,
? I asked Riji about Zizhi.
Four sections and eight sentences, we regard it as a "frame", which, like architecture, defines a meaningful form of a poem. In this framework, all words (or images) in a poem are carefully arranged. These words form an organic system to explain each other, and the meaning of the poet in poetry is also revealed in the interactive relationship of these words. This is the so-called "muscle mass" in the "new criticism". It is like the organic connection between muscles (words), and together with * * * constitutes a fleshy human "frame"-as a whole poem.
The last sentence in Li Shangyin's poem asks "endowment rule", which does not exist. Li Shangyin, as a mortal, and Zizhi, as a fairy, one is in heaven and the other is on earth. Undoubtedly, the distance of space makes his question lose its power. Li Shangyin's annotation scholars believe that this Zizhi is probably the first love of Song Huayang, Taoist female crown and Li Shangyin. After their love affair was exposed, Song Huayang was punished and expelled from the Taoist temple. So, Li Shangyin once again returned to the Taoist temple where they met many times, but people went to observe it, which triggered Li Shangyin's question: When can you return to this place?
In the framework of "questioning", what we seek is the muscular relationship between words and sentences. This muscle is a metaphor. So "rain" has become the key word to understand this poem.
All metaphors in the poem undoubtedly point to the poet's past. We have analyzed the image of "rain" before, which is the code word of sex. It is because of this "rain" that we can explore the significance. Because we found that many words in the poem have this possibility.
The third part uses two Taoist immortal allusions, whether it is "Green Flowers of Sepals" or "Fragrance of Duran", which all point to the love between God and people. Love can't last long without a trace, and it has formed a muscular relationship with the "rain" in the second part. The goddess of Gaotang claimed to be "morning glow and evening rain", and her whereabouts were erratic, and she gradually drifted away after intercourse with the king of Chu. Therefore, the "rain" here undoubtedly refers to the sex of the goddess, and the "living without a fixed place" in the poem coincides with the capriciousness of the goddess. Obviously, the poet is telling us that the female crown who once practiced in this Taoist temple has disappeared.
The reasonable wording of the sentence "A spring rain often floats tiles" should be "A spring rain often floats tiles". Because the meter of this sentence is "flat and flat", flat "spring" and peaceful "dream" are interchangeable. Therefore, the poet should be in the "dream spring rain", recalling and sighing the ambiguity with the female crown in the past. Recalling the past, but expecting it to reappear, this is why we have the question of "recalling the Japanese order and asking for the rule".
The word "Yu Lang" in Yu Lang Huitong Fairy has three directions: one is the fairy official in charge of Tianfu Fairy Book; The second is to insinuate Song Yu; The third is the metaphor of the poet himself. The first point is proved by "Seven Signs of Yun Qi". The second point is related to the third sentence, "Spring dreams often rain", because the goddess of Gaotang comes from Song Yu's Gaotang Fu. The third direction is related to Li Shangyin's self-titled "Yuxi Sheng" jade, and it is also possible to compare himself with Song Yu. Li Shangyin's poems are so tortuous, profound and tactful that you can't get his inner secrets without careful analysis and understanding. Because the person he loves is a Taoist goddess, he must use Taoist words, and because he wants to write his own things, he uses the goddess' rain, and because his love with the goddess is frustrated, he compares himself to "Yu Lang" and "dream rain", which is related to the scene where the king of Chu dreamed of having sex with the goddess, so as to compare his ambiguous relationship with the goddess and trance himself. That's why I came to the conclusion of asking about "Japanese order".
The love between man and god can't last long, which is the message that the third joint "Sepals have nothing left, while Duran Fragrant has gone" tells us. The object of Li Shangyin's love is the female crown, so the allusion to Taoist immortals suggests that his love with Song Huayang is like the failure of the love between God and man. The reason why Li Shangyin is attached to the crown of women is that he has already had a secret love with the crown of women (such as the dream intercourse between the goddess of the Tang Dynasty and the king of Chu), and "child" is a metaphor for their actual intercourse. It is said that after the affair between Song Huayang and Li Shangyin was exposed, Song Huayang was expelled from the Taoist temple and returned to Beijing. Li Shangyin went back to the place where she used to meet, the Temple of the Virgin, lamenting the past and looking lonely. He seems to be saying: since we have "learned" "fairy books", we should have been together a long time ago. Why can't we meet each other? You are an immortal, and I finally got the chance to be an immortal with you from Fan Dengxian. Why did you get rid of your immortal status and become a mortal, so that we could not meet each other? Therefore, their dislocation is the root of their frustration in love.
Besides, "Zizhi" was originally a kind of fungus, which Taoism thought could be immortalized, but in this poem, Li Shangyin compared it to the female crown, and Su thought it was another synonym for Zigu. If we talk about the relationship between muscle and quality, "Zizhi" echoes "Shangqing" in the second sentence. Shangqing is one of the highest settlements in heaven: Yuqing, Shangqing and Taiqing. Li Shangyin chose one of them instead of heaven. "Biography of Mao Jun" said: "There are five kinds of gods in Dog Qushan ... and they are dedicated to the immortal of Taiqing Dragon and Tiger." Therefore, when Li Shangyin used the word "zizhi", what he really meant was: first, he wanted to go to heaven to ask where his loved one had gone now and when he could return to the temple without being "relegated"; Second, he will take Zizhi and become the supreme ruler of the celestial world to save his loved ones.
As for the "sage temple", it is just a way for Li Shangyin to represent the Taoist temple that Song Huayang once practiced, symbolizing the holiness of his beloved daughter. If, as the scholar said, this poem is Li Shangyin's career experience, I think Li Shangyin will be surprised in his grave.
Nine times out of ten, Li Shangyin's Rain is related to his sexual love, which we should pay attention to when reading his poems.