Tang Bohu, according to "The Anecdotes of Tang Bohu" records: "The Tang Dynasty lived in Peach Blossom Nunnery, with half an acre of pavilion's front yard filled with many kinds of peonies. When they bloomed, Wen Zhengzhong and Zhu Zhishan were invited to write poems under them, and the flowers were white. In the morning and evening, when the flowers fell, I would send them to pick them up one by one, put them in a brocade bag, and bury them on the east side of the medicine bar. "Xu Yao Wen" records that his daughter Ye Xiaoluan said that she once "reluctantly gave up bead rings to collect Han jade, and donated powder boxes to bury the souls of flowers." Du Jun, a poet in the late Ming and early Qing Dynasty, wrote "Flower Tomb Inscription", which is from "Flower Tomb Inscription". It can be seen from the Flower Tomb Inscription that he also had the act of "burying flowers". The text of the Flower Tomb Inscription is as follows: "I love the flowers in the vase, and I will not reduce the continuous forest, so as to pay for the savings of the world. The one who flowers in the vase should be prosperous. It is pleasing to the eye, cherish it very much; if it is in decline, it will be abandoned, or it will be turned into a mixed channel. It will not be out of place, and the good will be ruined. There are ninety-three branches in total in a bunch. They are chosen in the east corner of the thatched cottage and buried in a hole. The inscription reads: Ru chrysanthemum, Rumei, Ru Narcissus, Osmanthus sinensis, Lotus Fang, Zhui Fen, Begonia, Chui. Where there is silk and glory, there must be fall, and the bones are here, and the spirit is all there. Could it be turned into a masterpiece and a true poem?" Cao Yin's "Mei Pavilion Poetry Notes" also contains two poems about funeral flowers. The capital is composed of poems on paintings, one of which is "Picture of Ink Apricot Blossoms in Liu Village": "The spring beauty of Wu comes from the buds, and how much clear frost touches the hair on the temples. The provincial girl has full sleeves, and the peach blossoms are buried in a solitary grave for hundreds of years." Another poem It is the "Picture of Apricot Blossoms under the Moon in the King's Beard": "There are countless people on the wall, and I look at the newly red houses. Swallows came to the old nest the day before yesterday, and at the same time, the spring rain buried the plum blossoms. Who can describe the whole sleeve with pen and ink, and the self-starting alchemy furnace is dotted Sand. The people in the thirty-sixth palace are looking forward to it, and the golden basin is empty and the moon is slanting to the west.
Speaking of the origin of the story of "Burying Flowers", some people say that "The Song of Burying Flowers" comes from two poems by Tang Yin. Of course, poetry can be inherited and borrowed, but the relationship between "source" and "flow" of literary and artistic creation should not be reversed. Speaking of certain wordings in "The Burial of Flowers" In order to make use of the works of predecessors in terms of sentence construction and artistic conception, there is no need to look for it in the collections of the Ming Dynasty. In Liu Xiyi's "The Pulsatilla of Daisei" in the early Tang Dynasty, "the color of the flowers will change this year, but who will be there next year when they bloom again" and "every year." Isn’t it enough to borrow and use the well-known poems such as "flowers are similar every year, but people are different every year"? Even in the plot of "burying flowers", it may not be directly taken from Tang Yin's "Putting peonies in a brocade bag and burying them in the medicine column" "Dongpan" incident, the author's grandfather Cao Yin's "Nem Pavilion Poetry Notes" also contains the poem "Peach Blossoms Buried in a Solitary Tomb for a Hundred Years". Isn't that enough to inspire his ideas? But these are all "currents", and they are all Mere use does not express the main spirit of the poem, nor can it replace the author's creation from real life. What's more, as mentioned above, the author's uncanny craftsmanship in this poem does not lie in the superficial pity for spring. The pathos of flowery words and sentences.