The appearance of Su Xiaoxiao was first seen in Yu Tai Xin Yong Xiao Su Song in the Pre-Tang Dynasty compiled by Xu Ling in the Southern Dynasties. As the song points out, Su Xiaoxiao is a passionate girl who actively pursues love. In the middle and late Tang Dynasty, she was remolded as a deeply affectionate and loyal Qiantang prostitute by literati. From the Song and Yuan Dynasties to the Qing Dynasty, Su Xiaoxiao was gradually known as the living soul of the landscape culture of the West Lake. She also changed from a spoony famous prostitute in Qiantang to a typical beauty with both talents and looks, and became a classic female image in history.
0 1? Su Xiaoxiao was originally described as a girl who actively pursued love. In the Southern Dynasties, the folk song "Yutai New Ode to Qiantang Su Song" said:
"I ride a car with oil, and I ride a green horse. Where is the knot? Under the pine and cypress in Xiling. "
Qiantang is Qiantang, and so is the oil wall. This well-known folk song in the Southern Dynasties tells the story of Su Xiaoxiao's tryst with his lover in the first person.
This poem constructs a place where future generations yearn for Qiantang (Qiantang West Lake in the Southern Dynasties was still a deserted village). Here, Su Xiaoxiao rides a tanker, while her lover rides a blue horse; In the "Xiling" (Hangzhou Xiling), under the pine and cypress trees, "together forever". In such an environment, the tryst between men and women is a metaphor for the original passion of life, and the romantic legend of later generations also comes directly from such a romantic situation.
In essence, this folk song is the product of artistic creation, but it is not fictional, but based on the objective Qiantang area. All kinds of characters and love stories are attached to cultural memory and become an inseparable part of memory images. As a whole, they are sublimated into a symbol.
This poem, like a flash of lightning, brought a burst of thunder to future generations. On the basis of learning from other Yuefu lyrics, although it is only a short fragment of life, it has a motif-like echo in the history of literature, which has made scholars and writers compete for beauty for thousands of years.
02? In the middle and late Tang Dynasty, Su Xiaoxiao was portrayed as an affectionate and loyal prostitute, Su Xiaoxiao, who was born in the wild period of West Lake history. The unfortunate experience of her untimely death and her love vision placed on the bank of Xiling have been buried for more than 300 years.
After the Anshi Rebellion, the strength of the Tang Dynasty declined in the north. People keep coming to Jiangnan, which is relatively peaceful and prosperous, for reasons such as avoiding chaos, being an official and studying abroad, which also brings prosperity in population, economy and culture. Coupled with the beautiful natural landscapes of Qiantang and wuyue, Hangzhou's regional advantages in China are increasingly prominent. With the southward movement of economy and culture, the scenery and local culture in the south of the Yangtze River have continuously entered the literati's field of vision and penetrated into their works.
On the basis of Qiantang Pavilion, poets in the middle and late Tang Dynasty reconstructed the image of Su Xiaoxiao through literary imagination. She was portrayed as a sentimental "famous prostitute". In the early years of Changqing, the great poet Bai Juyi made a secretariat for Hangzhou. In his works, Su Xiaoxiao is resurrected as an innocent and affectionate West Lake girl. He wrote in Yang Liuzhi's Miscellaneous Songs:
"Suzhou willow to brag, Qiantang Guan Sheng dolls. If you are keen on finding a small one, Su Jia is deep in Qingyang. Sue's daughter used to be famous, but Yang felt differently. Sue's daughter used to be famous, but Yang felt differently. Stripes are like silver rings, and leaves roll to blow Yu Di. "
In the poem, the rich and simple commoners who peel off strips and rings, roll their leaves and play the flute are praised, which is better than the martial arts girls who are fragrant with powder and makeup. Bai Juyi can be regarded as the poet who recited Su Xiaoxiao the most times in history. In those poems, Su Xiaoxiao is a "prostitute" without exception. For example, "Where the spring is deep, the prostitute's family is deep in spring ... Su Xiaoxiao, a native of Hangzhou, is the most human." Twenty Poems in Late Spring ","Recruitment Temple in the Midnight of Waves, Liu Chun in the Su Family "in Hangzhou, Su Xiaoxiao in the works is fascinating.
Subsequently, it became a "fashion" for literati to go to Xiao Su's tomb. For example, Liu Yuxi's farewell poem to Pei, stepping on Fang's * * * to climb to Sue's grave, Quan Deyu's "Su Xiaoxiao's Tomb", "The grave is desolate forever, and I am alone" and so on. Among them, Li He's "Su Xiaoxiao's Tomb" appeared earliest and has the best structure:
"You orchid floor such as crow mark. There is no knot in the knot, and the flowers in the cemetery are even worse. Grass is like grass, loose as a cover, wind as a skirt, water as a compliment. The oil-wall car used before death should be waiting around at night. Wildfire Wildfire green, courtesy, lightning. Under the Xiling, the wind blows and the rain blows. "
The title of "Su Xiaoxiao's Tomb" combines the legends in ancient ci with the artistic conception of Shan Gui in Chu Ci, creating a sad and sad ghost image of Su Xiaoxiao and a sad and gloomy Leng Yan world. The car with oil wall is the carrier of love, the dew is the tears of disappointment, the water in the windbreaker is the figure hovering between the grass and the pine and cypress cover, and the flame on the cold candle is the eternal love wish. However, destroyed by the wind and rain, Su Xiaoxiao is doomed to endure the tragic fate of "making something out of nothing" forever.
The tragic image of Su Xiaoxiao in Li He's works has a shocking artistic influence and has aroused the admiration of many famous poets. He invented the plot after Su Xiaoxiao's tryst with his lover, and implanted the tragic factor of "separation and waiting" into Su Xiaoxiao's romantic legend, which made Su Xiaoxiao add a "loyal" side to his "amorous"; On the subject matter, he extended his concern for Su Xiaoxiao from the love affair before his death to the ghost after his death. At the same time, he led the story of Su Xiaoxiao to a sentimental road.
After Li He, Hewen's poem "Su Xiaoxiao's Tomb" shows her loyalty and infatuation from "divorce". For example, the last four sentences of Su Xiaoxiao's Tomb are:
"Wu Gong daughter waist beam, home in Qiantang xiaojiang district. A gust of wind blew from Tan Lang, and the spring water in front of the door was green every year. "
Since the separation from her lover, the water that Su Xiaoxiao missed has been dyed green in spring, accompanied by Qiantang Xiaojiangqu, which gurgles every year. Gentle as water, she waited persistently in the fleeting time, and Su Xiaoxiao's soft lovesickness and persistent spirit flowed like water in front of her door.
Su Xiaoxiao's youth, love, life and prosperous history are all non-eternal, and it will eventually return to "nothing". In this movement from existence to nothingness, flowing water highlights the relationship between existence and time. It is with the observation of flowing water that Su Xiaoxiao's life consciousness and life tragedy consciousness are dynamically displayed.
The flourishing age of the late Tang Dynasty is over, and the homesickness poems at this time, in particular, have a universal mourning mood. For example, Su Xiaoxiao's Tomb in Quan Deyu:
"There is a grave through the ages, and I am looking for it alone. Loneliness is all pink, dark and deep. The creeping weeds reflect the cold water, and the empty suburbs are warm and cloudy. Love has a good story and makes you sad. "
Pink withered, the grass withered in Shui Han, and the empty suburbs were overcast. Facing the lonely and barren grave in Su Xiaoxiao, how can one not be sad? The word "romance" vaguely conveys the relevant modality of Su Xiaoxiao's love or life, and the whole poem is filled with unspeakable tragedy.
And Xu Ning's tomb of Su Xiaoxiao:
"Tomb west Western jackdaw noisy sunset, six dynasties hate the vast grass. Water is like a fragrant rafter, and a boat is like a leaf. Xiling can't see Lang. "
The tomb is bleak, and the past of the Six Dynasties is unforgettable. After all, spoony Su Xiaoxiao failed to wait for a lover, and her poems were bitter and desolate.
The last two sentences in Zhang Hu's Tomb of Su Xiaoxiao are: "I don't know who * * * refers to, but I want to unite." Now I don't know who Su Xiaoxiao is in the same grave with, but the good wishes of those years to be one have failed. Disappointed literati like Zhang Hu and Su Xiaoxiao are in the same boat, so it is not difficult to see their lonely shadows in Su Xiaoxiao's love tragedy.
As a symbol of prosperity and romance in the Six Dynasties, Su Xiaoxiao's youth and love have long been in blowing in the wind. Now, the lonely grave buries her broken heart and failed love. From this point of view, Su Xiaoxiao is very similar to the late Tang Empire. Su Xiaoxiao, as a cultural symbol of an era, a cultural symbol and a cultural medium, communicated with the late Tang Dynasty and the Six Dynasties, and the historical tragedy was displayed on her.
03? From the Song and Yuan Dynasties to the Qing Dynasty, Su Xiaoxiao was shaped as the living soul of the landscape culture of the West Lake. After the Song and Yuan Dynasties, Qiantang West Lake entered a prosperous period in history, and the ancient crossing of Xiling further developed into a traffic artery connecting Qixialing and Gushan. People visit the lakes here by ferrying bridges and climbing mountains. In the past, the desolation of "selling fish instead of selling wine into reed flowers" was lost by "fanatics drunk the bright moon, beautiful women broke the song"
From Xu Xuan, a poet in the Song Dynasty, "Lang temporarily stays in Qingqima, and Qiantang is his home", to Yang Weizhen, a poet in the Yuan Dynasty, "There are many flowers at home, and women on the Su Gong embankment should sleep", to the poet's "Liu Zhu went to the grave, and the talented woman always surnamed Su", to the poet Huang Zhong's "Burying Xiao Su bones with hatred is heartless".
The poet recognized "Su, a plum blossom" from the shade of the lake, and associated this beauty with broken bridges and heavy snow. They even quoted the beautiful scenery of the West Lake, such as "Swallows hold spring scenery, Huang Meiyu screens", "Dreams break colorful clouds, and Nanpu is born on a moonlit night", and Xiao Su's beautiful image of "slanting jade comb clouds and half vomiting" and "My concubine lives on the Qiantang River". It can be seen that Xiao Su has become the living soul of the scenery, historic sites and culture of the West Lake to some extent.
The expansion of Su Xiaoxiao's influence was synchronized with the prosperity of West Lake culture in Song, Yuan, Ming and Qing Dynasties and the gradual decline of the whole feudal culture. During this period, the West Lake mainly played the historical role of a splendid and prosperous golden cave and a romantic place of talented people and beautiful women, and the whole cultural orientation also tended to pursue the satisfaction of closure, exquisiteness and reunion. The tragic spirit no longer conforms to the historical atmosphere, and the dominant tendency of Su Xiaoxiao's artistic image has also changed.
For example, He Jiong's note novel "The Story of Chun Zhu" in the Song Dynasty created a love story in which Sima Caizhong dreamed of meeting Su Xiaofang's soul, fell in love for three years, and lived in seclusion to get married, and for the first time transformed Xiao Su's tragic image with the mode of mass reunion of talented people and beautiful women.
This story has been repeatedly copied by many novel notes, such as Feng Menglong's love story, Zhang Dai's dream of the West Lake, Mei Dingxiang's imp and the lotus of green mud. Su Xiaoxiao also said that he was "beautiful and empty." At that time, he said nothing but it. ..... The beautiful image of "the fragrance of the soul is absent, but it often appears in flowers" has won the high praise of "talented people in ancient and modern times, regardless of men and women, never die".
During the reign of Kangxi in the Qing Dynasty, the vernacular novel Xiling Yun, a prodigal son of the ancient Wu Mo, systematically eulogized the life story of Su Xiaoxiao, a famous prostitute in Qiantang for the first time. Based on the living atmosphere and cultural characteristics of the West Lake in the early Qing Dynasty, the author boldly fictionalized such plots as Ruan Yu, the son of Su Xiaoxiao who was infatuated with serving the country, Bao Ren, a scholar with an eye for poverty, and Meng Xiancha, who fought against lust and kindness, and created the image of "strange girl" in Su Xiaoxiao with blood, showing her personality characteristics of infatuation with mountains and rivers, love for freedom, broad-mindedness, generosity, chivalry and familiarity with the world.
Through the integration of Su Xiaoxiao and West Lake, the novel establishes a sense of place with the nature of identification and conversion, and integrates Su Xiaoxiao's cultural identity with the local identity of West Lake, thus greatly promoting the aesthetic ideal of harmonious coexistence between man and nature. In the end, Su Xiaoxiao achieved some eternity through its integration with the natural landscape-"becoming immortal with the West Lake".
At this point, Su Xiaoxiao's stories and legends have been transformed into the classic paradigm of the novels of gifted scholars and beautiful women, and Su Xiaoxiao's artistic image has been enriched and improved on the basis of the old-fashioned gifted scholars and beautiful women in the Song and Yuan Dynasties, and has become a typical image in the artistic world of gifted scholars and beautiful women.
In a word, Su Xiaoxiao, from body to soul, from secular to sublime, from this world to historical history, embodies people's ideals and psychological needs at different levels. So this Su Xiaoxiao is the most popular, widely known and has become a classic image in history.
It is no wonder that during the Qianlong period, Chen commented on Su Xiaoxiao in West Lake:
"In ancient times, there were beauties who weren't strange, beauties who were talented, beauties who weren't strange, beauties who were knowledgeable, were even more strange, and they were wonderful."