Mei Lianjuan repairs her beauty, but her life will not last long. Decorating as a new official to extend storage, you will never return to your hometown. It is miserable and filthy, and its hidden place is quiet and sad. The horse is riding in the mountains and peppers, and it is not sunny at night when it is about to repair. The autumn air is full of tears, and the osmanthus branches fall and die. The god Qingqiong is thinking about me from afar, and his essence is floating out of the pit. I hope that the heavy rain will last for a long time, but I regret that the flowers are still young. I miss you so much that I won't return it, but I am like a sheep in my childhood. The letter is sent to wait for the wind to blow, and the fragrance is mixed to fill the chapter. The appearance is elegant and graceful, and the mist is floating in the sky. The swallow is lustful and spreads, caressing the couplet, and the stream is flowing, and the e is Yang. I am so excited but my heart is so excited, and I am so confused about the beauty. It’s time to say goodbye and welcome each other, the glow of dreams in the late morning. Suddenly it changes without turning back, and its soul is free and flying. How many spirits and souls are coming, mourning and hesitating. The road to power is getting farther and farther, so he suddenly quits. Chao Xi marched westward, but he disappeared. Soaked and open, silent and soundless. Thoughts are like flowing waves, stuck in the heart.
Luan said: The good knight is shining brightly, and the glory is gone. Jealous of Min Rong, he will be in peace. It is prosperous at the time, but sad at the end of the year. The number of disciples increased, and Yi Mo felt sad. I am sad and sad in the city, and the noise cannot be stopped. If you don't respond in vain, you should follow your own example. The concubine sighed too much and sighed childishly. I don't say anything, I just rely on what I have. If a benevolent man does not swear an oath, how can he make an appointment to get married? Bygones are bygones, so please keep your faith. If you go to Zhaozhao, you will be in the dark. There is neither a new palace nor an old home. Alas, I miss my soul!
Emperor Wu of the Han Dynasty was the only emperor in the Western Han Dynasty whose poems and poems were handed down to the world. According to "Hanshu·Yiwenzhi": "Shangsuo wrote two poems by himself." Yan Shigu noted: "Emperor Wu." One of these two poems should be recorded in "Hanshu·Biography of Wai Qi" "Mrs. Li's Fu", and the other poem is unknown. From the records in "Hanshu·Yiwenzhi", which confirms the extant works of Emperor Wu of the Han Dynasty, it is not difficult to find that Emperor Wu of the Han Dynasty was not only good at Ci Fu, but also personally composed Ci Fu. His "Ode to Mrs. Li" is the originator of mourning odes in the history of Chinese literature.
Mrs. Li died in the autumn after 108 BC (the third year of Yuanfeng) and before 104 BC (the first year of Taichu). Emperor Wu of the Han Dynasty's "Mrs. Li's Fu" was written during that period, when Emperor Wu was 49 to 53 years old.
If "Mrs. Li's Song" expresses Emperor Wu's grief for his deceased concubine in a concise and implicit way, then "Mrs. Li's Fu" expresses Emperor Wu's multi-faceted feelings in a rich and colorful way. In memory of the deceased concubine. The poem is divided into two parts: main text and random words. The text mainly expresses the lingering pain for the deceased concubine Mrs. Li through fantasy and reminiscence. The first four sentences of the poem: "The beautiful beauty is used to repair the beauty, but the life is not long. The new palace is decorated to extend the beauty. It will not return to the hometown." A new palace can be built, but the beautiful life can no longer be lost. return. This is similar to the grief and helplessness about the perishable life of "The dew will fall again in the Ming Dynasty, and when will people return after death" ("Xie Lu"), which shows that while Emperor Wu mourned Mrs. Li, he also paid attention to the shortness of life. Thought deeply. The next two sentences, "It's miserable and filthy, the hidden place is quiet and sad" are the imagination of Mrs. Li's miserable situation in the tomb. Here, Emperor Wu did not write how he mourned Mrs. Li's early death, but wrote that Mrs. Li's soul was sad in the tomb because she missed him. This further writing method is bold and unique in imagination, doubling the expression of Emperor Wu's feelings. Endless sadness. And "The autumn air is filled with tears, and the osmanthus branches fall and perish" expresses the sadness in the heart with the autumn scenery in front of me, once again conveying the pain of the untimely death of my beloved concubine. Under the guidance of this mourning mentality, the author imagined that her soul left the body and went to look for traces of Mrs. Li, and saw the appearance of "the letter is waiting for the wind, and the fragrance is mixed with the seal." Mrs. Li of "Piao Piao Yao Hui Yuzhuang". Such a magical imagination, like a dream, shows that Emperor Wu of the Han Dynasty missed Mrs. Li deeply.
The following "Swallows are lustful and caressing the couple, they look at each other in succession, they are excited and their hearts are chasing each other, they are wrapped in beauties but they are not clear. They are happy to meet each other and part with each other, and they are dreaming at night. "The glow", from meditative imagery, to the recollection of the happy life of the past; from the recollection of the past, back to the illusion that looks like a dream but not a dream. In this fantasy, Mrs. Li's figure is "suddenly changing without turning back", or "sorrowing Pei back and hesitating". The author's strong expectation for the return of Mrs. Li's soul is expressed by the reluctance of Mrs. Li's soul to leave. However, people cannot be resurrected. Emperor Wu finally returned to the cruel reality of the separation between yin and yang in front of him in the illusion of Mrs. Li's soul "suddenly resigned" and "disappeared". "Thoughts are like waves, lingering in the heart", infinitely sad. The pain is like running water.
Ranci once again expressed his infinite sorrow for Mrs. Li's early death and expressed that he would live up to her dying trust, which reflected Emperor Wu's deep affection for Mrs. Li. In the random words, the sad scene of mourning for Mrs. Li is described, which is extremely touching:
The disciples increased their training, and the disciples were sad. I am sad and sad in the city, and the noise cannot be stopped. If you don't respond in vain, you should follow your own example. The concubine sighed too much and sighed childishly. I don't say anything, I just rely on what I have.
The description of the mourning scenes of Mrs. Li's brothers and their children is very humane. It is not difficult to find that although Emperor Wu of the Han Dynasty was a heroic figure, he also had the sincere and emotional side of ordinary people.
"Mrs. Li's Fu" was a unique and important lyrical poem during the Emperor Wu period and even throughout the Han Dynasty, and its significance in literary history cannot be ignored.
First, "Mrs. Li's Ode" is the first mourning poem in the history of Chinese literature, which has pioneering significance in the subject matter of poetry. The surviving mourning literature before Emperor Wu include "Bei Feng·Green Clothes" and "Tang Feng·Gesheng" in the "Jing", but they all appear in the form of poetry. The first mourning poem in the history of literature is none other than "Ode to Mrs. Li".
Mr. Ma Jigao believed that a paragraph of random verses in this poem was "very affectionately written, and it was the ancestor of later generations' mourning works." In fact, "Mrs. Li's Ode" is not only "the ancestor of later generations' mourning poems" in terms of writing techniques, but also pioneered the theme of mourning poems. After Emperor Wu of the Han Dynasty wrote "Mrs. Li's Fu", there were many poems mourning the death of the deceased. Such as Cao Pi's "Mourning for Talents", Cao Zhi's "Si Zi Fu", Wang Can's "Huang Tian Tian Fu" and "Thinking of Friends", Cao Mao's "Sad Soul Fu", Pan Yue's "Mourning for Death", Emperor Wu of the Song Dynasty Liu Yu's "Imitation of Mrs. Li, Emperor Wu of the Han Dynasty" "Ode", Jiang Yan's "Ode for Injuring My Loved Son", "Ode for Injuring Friends", Song Li Chuquan's "Ode for Mourning", etc. all fall into this category. The emergence of many poems mourning death has made mourning an important theme in ancient Chinese poetry.
Secondly, the artistic techniques of "Mrs. Li's Fu" provide reference for later generations of mourning literature. First, "Mrs. Li's Ode" uses "the osmanthus branches fell and perished" as a metaphor for Mrs. Li's death. This technique was followed by later generations of mourning poems and poems. For example, Pan Yue's "Mourning Ode" "contains the fragrance of fragrant flowers, falling in the wind", Liu Yu's "Ode after Mrs. Li, Emperor Wu of the Han Dynasty" "remembers the autumn wind of cassia branches, cherishes the spring splendor of Yaohua", Liang Jian Emperor Wen's "Poetry for Injuring a Beauty" "There is a break when the incense burns, and the flowers fall without return", Yin Keng's "Poetry for Injuring a Concubine in the Jinling Mausoleum of Fan" "The Painted Liang Dynasty is exhausted, and the fragrant trees fall with flowers", Li Chuquan's "Ode to Mourning for the Death" "Believe in the Beautiful Things" It is easy to be destroyed, and the rare flowers fall early, etc., these are all metaphors for the death of wives and concubines, and are the inheritance of the "falling osmanthus branches" in "Ode to Mrs. Li" as a metaphor for the death of Mrs. Li. The second is that "Mrs. Li's Fu" uses illusion to express grief, and the artistic technique of combining psychological illusion with the real scene in front of her has been inherited by later generations of mourning poems and poems. Before "Mrs. Li's Fu", mourning in "Bei Feng·Green Clothes" mainly expressed the author's grief by seeing things that hurt people; "Tang Feng·Gesheng" mourning in "Bei Feng·Green Clothes" not only hurt people by seeing things, but also expressed the misery of the deceased's tomb. The scene is described to express the author's sadness of "if I die here, who will be alone with me". The poem "Ode to Mrs. Li" mourns the death of Mrs. Li, making full use of the advantages of elaboration in poems and poems to show the various illusions that Emperor Wu of the Han Dynasty had when he mourned the death of Mrs. Li, in order to express the endless sadness in his heart. While describing the psychological fantasy, "Ode to Mrs. Li" also describes the actual scene of mourning Mrs. Li in random words, further expressing the infinite sorrow for the deceased concubine. This lyrical way of alternating reality and reality makes the whole poem full of magic and psychedelic while being sad. The artistic originality of "Mrs. Li's Fu" was accepted by later generations of literature on similar themes. For example, Pan Yue's "Mourning Poem": "The spirit is wandering but not responding, and the form is stable and stable for a long time. When attacking, it is submissive to the remains, and the beauty is reflected in the remaining face. ... The Yan'er tribe is approaching, and the people's room is empty. Looking at the mourning seat, the curtains are fluttering and the lamps are shining. The lamps are shining as before, the curtains are fluttering as if they are still there, the things have not changed but the people have been transformed, and the dust is still there and the wine has stopped." I imagine the elusiveness of the deceased wife's soul and its makeup. He dressed up and combined this psychological fantasy with the reality before his eyes of the "empty room" and "the person has transformed" to express his endless condolences. Another example is Mr. Jiang's "Poem of Fenghe East Palace by the Old Concubine's Palace": "I still remember the window when I was undressing. The moss grows early, and the swallow comes late to speak. If you return to the moon, you will see no need "Doubt", Li Chuquan's "Mourning for the Death" "In the silence of the empty boudoir, I think about the sound and appearance in the desert... I cherish the good relationship of my life, but I can't let go of the soul and the dream. "The vastness of the field. Although the river is dry and wet, I cannot write about the vastness and sadness." They all combine the real scene in front of you with the psychological fantasy to express the longing for the deceased. From these, we can see the profound influence of "Mrs. Li's Ode" on the artistic techniques of mourning poems and poems in later generations.
Thirdly, "Mrs. Li's Fu" is the forerunner of lyrical poems in the Han Dynasty. Before "Mrs. Li's Fu", Sao style Ci Fu had become the main lyrical style of the Han people, but most of them were used to express personal feelings of adversity on the occasion of Qu Yuan's speech. For example, Jia Yi's "Ode in Memory of Qu Yuan" and "Cherishing the Death", and Yan Ji's "Sorrow for Time and Life", etc., although the emotions are sincere, they are ultimately separated by a layer. Although "Mrs. Li's Fu" is in a Sao style, it directly expresses the author's inner feelings after Mrs. Li's death. This lyrical technique is not only much more natural and friendly than borrowing the words of ancient people to express emotions, but also pioneered the lyrical poetry of the Han Dynasty. This kind of direct expression of emotions is the inheritance of the spirit of "Emotions move in words and are expressed in words" ("Preface to Mao's Poems") in "The Book of Songs", and it is also a promotion of Qu Sao's tradition of "expressing emotions with anger". After "Mrs. Li's Fu", although there were still successors to Qu Yuan's imitative poems, lyrical poems had gradually become popular by the Eastern Han Dynasty, especially the mourning poems in the late Han, Wei and Jin Dynasties, which were basically direct expressions of one's feelings. , which is the result of "Fu Madam Li's Fu" guiding her husband first.
Fourthly, "Mrs. Li's Fu" paved the way for the general awakening of people's life consciousness in the Wei and Jin Dynasties. Emperor Wu of the Han Dynasty's "Ode to Mrs. Li" deeply mourned Mrs. Li and at the same time reflected his thoughts on the perishability of life. This is related to the changes in the worldview of Emperor Wu of the Han Dynasty. According to records such as "Historical Records·Fengchan Shu" and "Han Shu", "Wudi Ji" and "Jiao Si Zhi", in 118 BC (the fifth year of Yuan Shou), Emperor Wu of the Han Dynasty suffered a serious illness. , deeply felt the fragility of life, and gradually became addicted to gods. This change is also reflected in his "Autumn Wind Ci" and "Mrs. Li's Song". Here, the diligent pursuit of achievements has disappeared, replaced by thinking and questioning about life, cherishing and loving the existence of life. Such works by Emperor Wu of the Han Dynasty, together with works such as "Battle in the South of the City" and Princess Wusun's "Song of Sorrow" that appeared at the same time, reveal the evolution of literary creation in the Han Dynasty: from blindly praising virtues and embellishment of great deeds, the theme gradually shifted to lyricism. *** The theme of love and thinking about life.
This seemingly decadent change in literary fashion actually reflects the gradual awakening of individual life consciousness in the Western Han Dynasty, setting a precedent for the general awakening of people's life consciousness in the Wei and Jin Dynasties. Its significance is so great that it is worthy of future generations to study the literature of the Western Han Dynasty. Pay full attention to it.