At the beginning, a guest came from Lingling and said that there was a good singer in the seat of Rong Hong's envoy. Xiangyang Gong () was called Yan. How dare you disobey orders and arrive more than a month later? When it comes to singing, it means that you are honored to send prostitutes. ..... Rong Shijun said in his poem: "Bao Yue is in love with Hunan and Hubei, and the jade clothes hide tears. Yin Qin likes to take care of the wishes of the king, and Mo Xiangyang dreams of being a king. " (Xiangyang Street, the first volume of Yunxi Friends)
The first skill involves the relationship between prostitutes in Huainan and He Zhang. Only then can we say that "Zhang (who is new here) tastes guangling, has prostitutes, tastes well and makes love, but is not satisfied", then the so-called "sex" and "dream" in the poem refer to the sex between prostitutes and Zhang. The second skill describes the relationship between Lingling, Yu Yong and Rong Hong, and their emotional closeness. In the poem, "Wang Xiang" refers to the host city in Shannan, and "Shi Jun" refers to the secretariat of Yongzhou. These two skills have obvious * * *. First of all, the story generally involves three characters: one is the character with the prostitute as the center of the story, the other is the character with the literati as the author of the poem, and the third is Lian Bo, the giver of the prostitute, who occupies a dominant position in the story and constitutes a triangular ownership relationship. Secondly, the story of a witch is used in the poem, and the relationship between a witch and Song Yu is compared with that between a prostitute and an honest man and a scholar. However, the influence of the story of a witch on the story of a prostitute is mainly manifested in its influence on empowering women. This is understandable, because the story of dreaming of a goddess that does not exist in Goddess Fu has replaced the story of a pregnant goddess in Gaotang Fu, and it is self-sufficient to use Goddess Fu without involving Gaotang Fu.
The story of feeling prostitutes came into being after the middle Tang Dynasty. At this time, the words "Wang" and "Yu" in Ode to the Goddess in the Selected Works have been misplaced, and the person who dreams of the Goddess has been mistaken by Song Yu for the King of Chu Xiang. Then, why did the emotional intimacy between Song Yu and the goddess appear? The reason is that, firstly, as an important reading classic in the Tang Dynasty, Jian Wendi's "Walking in the Rain" is included in the poem, which uses Song Yumeng's theory of meeting gods. Secondly, even Shan Li's comments on Selected Works did not completely sweep away the traces of the original story. For example, "Wang Yue:' Mao Yi Mei Yi ...'" and "Notes on Shan Li" Yu Yue: "Mao Yi Yi Yi Yi ...", and then a long conversation tells the dream of meeting the goddess. In Song Yufu's works, there are also words such as "looking through the curtain" and "asking through the curtain". It seems that Song Yu, not Wang Xiang, met the goddess. In fact, the plot of dreaming of the goddess in Shan Li's notes has always been tangled and chaotic. Therefore, after the mid-Tang Dynasty, there is still the saying that Song Yumeng met God. For example, Li Qunyu's poem "Give One Person" said: "I keep Song Yu's old clothes, which makes me fragrant in the Wushan dream. Sex rain is hard to control, let him not marry King Xiang of Chu. " It is this surplus theory that is used in prostitutes' sensitive poems.
There is an evolutionary process from the story of witch to the story of feeling prostitutes in Tang Dynasty, and the middle link is the story of feeling virginity. If this evolution is regarded as the reproduction of life, then its "genetic factor" is two story modes, namely, the story of losing prostitutes, the story of gaining prostitutes and the story of talented people and beautiful women.
The story of feeling virginity has evolved from the story of the goddess of Wushan to the story of "losing virginity" and "gaining virginity", and the story mode of losing prostitutes and gaining prostitutes in Tang poetry has been determined. When the story of Cao Zhi's meeting with Luochuan after Zhen Xuan was fictionalized in Ganzhen Ji, accompanying stories such as Cao Zhi's unsuccessful search for his daughter and Zhen Shi's "improper cultivation" for Cao Pi were derived, which were the direct sources of the story of losing prostitutes and getting prostitutes later. The joys and sorrows of Rong Hong and Lingling prostitutes, that is, the story of a prostitute who slipped, were recorded by Rong Hong in a poetic way. Quoting Zhang's poetic art, he recorded the story of Zhang's reunion with Huainan prostitutes twenty years later, that is, prostitutes. The story of losing prostitutes includes Liu Yuxi's story of losing prostitutes in "Technical Love Poetry" and Liu Yuxi's story of losing prostitutes in situ. In addition, there are Yuan Hao's Lost Prostitute, cited in the Chronicle of Tang Poetry, Volume 67, and Zheng He's Keeping Prostitutes, cited in Volume 168 and Volume 273 of Taiping Guangji. In addition, Poems on Feeling Prostitute, Poems on Feeling Prostitute by Zhao Tuo, Poems on Feeling Prostitute by Tang Yan, Taiping Guangji (volume 168) and Han Yi's Liu's Jiangling Family Biography are all stories that have been lost and recovered. The relationship between the stories of "losing one's virginity" and "gaining one's virginity" and the story of losing a prostitute to gain a prostitute is very clear in the Tang Dynasty. There are two sentences in Yuan Zhen's "Hundred Rhymes of Qujiang Old Man": "The class girl touched Zhao with kindness and thought that the king was endowed with true feelings", and told the story with true feelings. The poem tells the rise and fall of Xuanzong with the memory of Qujiang old man. In the first sentence, Xuanzong was fond of seeing Yang Guifei, and in the second sentence, it was implicitly said that Xuanzong took the life of a princess. Yang Yuhuan was originally the concubine of Emperor Xuanzong of the Tang Dynasty. In the twenty-eighth year of Kaiyuan, she was a Taoist priest, and Tianbao's four-year book was an imperial concubine. The so-called "feeling of missing the king" is to show the depression and anguish of Shouwang who lost his concubine. Here, the story of chastity is regarded as the story of losing a concubine, which is similar to the story of losing a prostitute in a skill.