According to "The Biography of Empress Wen Zhaozhen": Zhen was born in Wuji, Zhongshan, and was the daughter of Zhen Yi, the emperor of Shang Cai Ling. During the Jian'an period, she married Yuan Xi, Yuan Shao's son. In the seventh year of Emperor Xian's reign in the Eastern Han Dynasty, Yuan Shao was defeated and died of illness in the Battle of Guandu. Cao Cao took the opportunity to send troops, and Zhen became a prisoner of Cao's army, and then married Cao Pi.
Zhen family, also known as Zhen Luo. After Cao Pi's death, Cao Rui, the son of Cao Pi and Queen Wen Zhaozhen, succeeded to the throne as emperor. She was posthumously named "Queen Wenzhao".
The original name of "Luo Shen Fu" is "Gan Zhen Fu". Folklore, its writing involves a complicated relationship between Cao Zhi and Zhen, the concubine of Emperor Wen of Wei Cao Pi.
Cao Zhi was gifted with great knowledge and a strong memory. He was able to write poems and poems at the age of ten, which was highly praised by Cao Cao and his staff. At that time, Cao Cao was obsessed with his hegemony, and Cao Pi also had an official position. However, because Cao Zhi was still young and did not like fighting by nature, he was able to get along with Zhen day and night, and a relationship developed. After Cao Cao's death, Cao Pi ascended the throne in the 26th year of Emperor Xian of the Han Dynasty (AD 229) and made Luoyang his capital. He became Emperor Wen of Wei. The state of Wei was established. Zhen was named a concubine, but died tragically due to the instigation of Empress Guo. It is said that she stuffed her mouth with chaff and covered her face with her hair, which was very miserable.
In the year when Empress Zhen died, Cao Zhi went to Luoyang to meet his brother. Cao Rui, the crown prince born to Empress Zhen, accompanied the emperor's uncle to dinner. Cao Zhi looked at his nephew and felt extremely sad when he thought of Empress Zhen's death. After the meal, Cao Pi gave Cao Zhi the jade and gold pillow that was the relic of Empress Zhen.
Cao Zhi saw things and missed people. When he returned to his fiefdom, he stayed in a boat at night. In a trance, he saw Concubine Zhen coming in the wind in the distance. Cao Zhi woke up with a start. It turned out to be Nanke Yimeng. Back in Juancheng, Cao Zhi's mind was still churning with the scene of meeting Luoshui, Empress of Zhen, so his literary thoughts were aroused and he wrote a "Fu" about Zhen. Four years later (AD 234), Emperor Ming Cao Rui succeeded to the throne. He felt that the name of the original Fu was inelegant, so he changed it to "Luo Shen Fu".
Due to the influence of this Fu and the fact that people were moved by the love tragedy between Cao Zhi and Zhen, according to legend, Empress Zhen was identified as the Goddess of Luo.
The God of Luo is Concubine Mi. Concubine Mi was originally the daughter of the Fuxi family. She was infatuated with the beautiful scenery on both sides of the Luo River, so she came to the world and came to the bank of the Luo River. Legend has it that there is a love story between Hou Yi and Concubine Mi. The Emperor of Heaven named Hou Yi the God of Zongbu and Concubine Mi as the God of Luo.
Zhen (182-221) was 10 years older than Cao Zhi (192-232). Cao Zhi was only twelve years old when Cao Pi married Zhen, so it was impossible for him to "desire to be his wife". There is also textual research that although "Gan Zhen Fu" does have its name, "Zhen" is not the "Zhen" of Empress Zhen, but the "鄄" of Juan City. According to the biography of King Chen Si in the Chronicle of the Three Kingdoms, in the second year of Huangchu, Cao Zhi was deposed as king of Juancheng (now Pu County, Shandong). In the third year of Huangchu period, on his way back from paying homage to the emperor, he passed through Luoshui (now Yanshi City, Luoyang). He recalled that during the Warring States Period, Song Yu accompanied King Xiang of Chu on a trip to Yunmengze. He saw the clouds of the High Tang Dynasty and wrote "Ode to the Goddess", so he imitated his style. Compose "Ganjuan Fu". It is said in the poem: "I use Concubine Mi to send my heart to Emperor Wen" and "I always send my heart to the king". It is precisely this poem that expresses the depressed mood of being unable to stretch one's ambitions and having no reason to be loyal to the royal family. In fact, it has nothing to do with Empress Zhen. Moreover, the political struggle between brothers Pi and Zhi was already very tense, and people had many doubts about the relationship between uncle and sister-in-law. Some people think that it is a pretext to express the incomprehensible political anguish of Luo Shen and Emperor Wen. Therefore, the metaphor of the monarch and his ministers' righteousness is also more popular.
Cao Zhi has outstanding achievements in the creation of poetry and Ci Fu. His Fu inherits the tradition of lyrical Fu since the Han Dynasty, and absorbs the romantic spirit of Chu Ci, opening up a new realm for the development of Ci Fu. "Luo Shen Fu" is an outstanding work among Cao Zhi's poems. The author uses romanticism to describe the true love between humans and gods through the realm of dreams, but in the end they are melancholy and separated because of the inability to combine the "different ways of humans and gods".
"Luo Shen Fu" is an excellent literary work. Don't read it as a historical story. The predecessors have all spoken highly of the ideological and artistic achievements of "Luo Shen Fu". The most obvious is that it is often compared with Qu Yuan's "Nine Songs" and Song Yu's "Goddess" poems. Cao Zhi's poem has both. It not only has the strong lyrical elements of "Xiang Jun" and "Xiang Madam", but also has the exquisite portrayal of female beauty in Song Yuyi's Fu. In addition, its plot is complete, its techniques are varied, and its form is timeless, etc., which are beyond the reach of previous works. Therefore it has a very broad and far-reaching influence in history. Wang Xianzhi, a great calligrapher of the Jin Dynasty, and Gu Kaizhi, a great painter, both described the spirit and style of "Luo Shen Fu" in calligraphy and ink, adding rare masterpieces to the calligraphy and painting circles. In the Southern Song, Yuan and Ming dynasties, some playwrights put it on the stage. Wang Daokun's "Chen Si Wang Bei Sheng Luoshui" is one of the more famous ones. As for the writers of the past dynasties, there are even more countless writers who have used this theme as a theme and chanted it in poems and songs. It can be seen that the artistic charm of Cao Zhi's "Luo Shen Fu" is enduring.