Yuefu occupies a large proportion in erotic poems, which are mostly created by emperors and literati as folk songs. Scholars have been learning to write folk songs for a long time. Starting from Wang Xianzhi in the Eastern Jin Dynasty, his three poems about peach leaves have their origins. In addition, there are other poems, such as Jasper Song and Fan Lang, which are all written strongly.
In the Liu and Song Dynasties, from Liu Jun, the filial piety emperor, to Liu Yiqing, the king of Linchuan, to Bao Zhao and Tang Huixiu, there were many people planning to write folk songs in the imperial court. In the Southern Dynasties, folk customs were open and songs and dances were developed. "The prosperity of the city, the elegance of literati, the festival of singing and dancing, the dazzling array of costumes and makeup, the peach blossoms and green waters, and the spring breeze of autumn and moon all make people feel overwhelmed." Folk songs and dances, Zheng's voice, reappeared at that time. "The court's rites and music violated the code, and the people actually created new songs and miscellaneous songs." Since the family has been fighting for the new, people are still popular, business is killing, regardless of temperament, no cliff, the unknown is extremely unknown, rejecting positive music, and worshiping the long and hating the short ... Therefore, the ugly system is increasingly prosperous. The sound of taste is unique in clothes. Upper-class society is also influenced by it: Xiao Yan "chose a prostitute in Wu Ge and Xiqu in the harem to encourage her to enter China" [8] Folk Yuefu, which was once regarded as a ballad in the alley by the imperial court, began to receive unprecedented attention, and Xiao Yan and others successively drew up midnight songs, singing songs on the top and flying shrike songs in the east. Folk songs in the Southern Dynasties are mainly composed of wusheng songs and western songs. Mostly to express the love between men and women, singing in a feminine tone. The content is single, the style is simple, the feelings are bold and strong, and there is also femininity, which is related to the literary tradition from beginning to end. The five tones in Chu Ci are tactfully delicate, which also affects the Yuefu created by literati, such as:
"When I wanted to know Lang, two hearts were regarded as one heart, and I finally got into the machine. Why didn't I realize it? "
"Kill the chicken, play black mortar bird. I hope that even ghosts will no longer know, and they will know in a year. "
"Moon window, put out the candle petticoats. In the smiling curtain, hold up the spearmint. "
The description of two emotions and the feeling of "short pleasure" in these folk songs have more or less influenced the creation of upper-class literati. Especially in the third poem, the technique of virtual realism is widely used by palace poets. The poem omits the direct description of the love scenes between men and women, and sets off the feelings of travelers with curtain incense, carving marks, which is exactly what court poets do, from love affairs to women's ornaments, to write the beauty of beauty, such as Xiao Gang's "Singing a Wife to Sleep":
"North window chat pillow, south eaves not inclined. Climb the hook and drop the obstacle, insert the pipa. The dream is smiling, but the sleeping temple crushed the flowers. Bamboo stripes give birth to jade wrists, and sweat soaks red yarn. It is not bad to have a husband to accompany you and advocate your family. "
This is soft and fragrant, but it doesn't mean obscenity. It is a typical palace poem, and it is also very implicit. In contrast, the court poets headed by Shen Yue had a very folk mood before, boldly depicting erotic poems, such as Shen Yue's Six Memories:
"I remember when I came, my friends all went to Dan, gathered diligently and missed each other. I often don't expect each other, but when I meet you, I forget hunger. "
"Remember to sleep, people are better than sleep. If you don't want to be persuaded, you need to put it on your pillow. If you are afraid that others will see you, you will be shy in front of candles. "
Folk colored songs are very popular in the upper class, and their development has influenced the formation of palace poems. However, the colourful poems written by literati are quite different from folk songs, just like "Midnight Song", Xiao Yan's works: "Love seems to be eager to enter, but I am ashamed to refuse, full of colourful songs, and my fingers are slim." Folk song: "Don't comb your hair at night, send your shawl." Kneeling on lang's knee is not pitiful. "
In contrast, folk songs may be more erotic, but as far as their feelings are concerned, it is not difficult to judge sentimentality and ruthlessness. Small poems describe the shyness of geisha with a purely enjoyable attitude, which is a bit artificial, with beautiful words but cold and pale, while the direct expression of folk songs makes it easy for people to appreciate that kind of strong and sincere emotion. For example, Xiao Yan's works are more typical after the palace poems mature. Away from the excitement and fierceness of folk songs, all palace poems "hurt lightness". In fact, this kind of "light injury" also has its development and evolution process: Liu Xie summed up the development of poetry in the Six Dynasties in "Wen Xin Diao Long Shi Ming": "Jinshi is a group of talented people, a little light, and ... adopts the right beginning, is soft on Jian 'an, or thinks that the analysis text is wonderful, or modest, roughly so. Jiang Zuopian system, addicted to the mysterious wind, laughed at the ambition of gorgeous affairs, and advocated the talk of forgetting the machine. ... prose chanting in the early Song Dynasty, body change, Zhuang Lao excused himself, landscape graceful; If you choose one hundred words, you will be surprised at the price. Your feelings will be extremely beautiful, your words will be exhausted, and you will be the first in modern times. "Since the Western Jin Dynasty, people began to pay attention to literary talent rather than spirit. The Western Jin Dynasty was dominated by metaphysical poems, and since then, "Zhuang Lao retired and the landscape was graceful". After the Yongjia Rebellion, celebrities crossed the south, the beautiful natural environment and their pursuit of transcendence merged into one, and their interest in nature increased greatly. " The landscape is full of charm, and the benevolent is happy. "Literati mostly express Hyunri by describing landscape scenery, and there are landscape poets such as Xie Lingyun, whose poems are exquisite and vivid when describing natural scenery, which is exactly what Liu Xie said. This atmosphere of describing the scenery in detail later evolved into chanting poems, which is actually a reasonable extension of the poet's aesthetic consciousness of objective natural objects. Poems about objects come down in one continuous line from meticulous landscape poems, and the objects described gradually involve boudoir feelings from natural scenery such as flowers, trees and so on, among which there are many works with mixed scenes, such as Xiao Gang's "Looking at Wild Goose Alone at Night":
"Tianhe frost white night stars, where there is a wild goose hush? It is better to fly alone than to know that you will lose each other halfway. "
This kind of poem is successful in writing a lonely goose and thinking of a woman. However, most of the poems about objects only pursue the true description of the scenery, "soft power" and "elegance", forming an eternal style that emphasizes the harmony between melody and rules and praises the beauty of things. However, the realm and theme are increasingly narrow, and influenced by folk songs, from landscape to indulgence to eroticism, palace-style poems are formed. However, palace-style poets praise women's poems by chanting things, which are mostly "cool and unfeeling" and are deeply criticized by future generations.
Step 2 pursue formal beauty
Influenced by the beautiful style of writing in the Six Dynasties, Xiao Yi said in "Yan Zili in the Golden House": "Singing wind ballads lingers in mourning for people", and he also believes that "a person who is good at writing only needs to be full of enthusiasm, and his palace is full of people, and his lips and kisses will be full of affection." It contains the requirements of gorgeous rhetoric, melodious melody and other forms, which are manifested in three aspects in palace poems:
(1) Pay attention to the allusions.
For example, Xiao Gang's "Fu Yue Fu Da Hammer Hand": "Suddenly I lowered my hand and the swallow was in my palm. Se's posture is led by the wind, and the light belt shakes with the situation. It's like Changsha, and it doesn't go back. " The "jiao in the palm" here refers to the palm dance. For details, please refer to the sentences of "Dancing Miscellaneous Dances" and "Luo Yi" in Six Holes and Six Sticks. For the sentence "Lei Yi", please refer to the Biography of Thirteen Kings of Han Dynasty. This little poem has six sentences and as many as three allusions, which shows that the wind is very strong.
(2) Pay attention to temperament
Qi Yongming, Wang Rong, Xie Mao and Shen Yue began to use four tones in their articles, considering them as new changes. More beautiful than before. [15] In the next year, Shen Yue formally established the theory of "four tones and eight diseases" from the literary point of view, using the research results of predecessors' temperament, and according to the enlightenment of Buddhist scripture conversion and Sanskrit pinyin at that time, forming a poem of eternal Ming style, which is quite harmonious. For example, Xiao Gang's "Folding Willow" says: "Birds are crowded at night, the wind is light and flowers fall late." Has become a legal sentence.
(3) Pursuing rhetoric
"The carved algae are dazzling, especially the five colors are red and purple, and the eight tones are Zheng Wei." Xiao Gang's Poems such as "Celebrities in Eastern Hunan":
"Beauty is beauty, color pi flower beauty. Although he lives in the north of Licheng, he lives in Songjiadong, teaches the princess the first song and learns to dance in Hancheng Palace. You can swim more on the water, but you can live in Phoenix. Step high and doubt, build high and fear the wind. Take off your shirt lightly, and you'll get mixed up in the pearl. Silk was hung around the curtains, and the room was darkened by the sunset. The makeup window is separated by willow color, and the well water shines pink. If you don't pity Pujiang Pei, it will be empty. "
It can be seen that its rhetoric is gorgeous, its melody is flowing, and it is round and jumping.
However, "the seven wonders are delicate, between the lines, the seven wonders are the most brilliant, and the more you work, the more hidden your temperament." The beauty pursued here is a kind of beautiful but weak beauty, which is just a mere formality without paying attention to the inside. Even the description of the beauty in content is just a sigh of her appearance and posture, which has never been written into the heart of the beauty, which is quite different from Jian 'an's works of chanting women. People read Cao Zhi's Beauty;
"Beauty demon and idle, mulberry tour. Mulberry branches are soft and mulberry leaves fall. The rolled-up sleeves are clearly visible in her hands, and a gold bracelet is worn on her white wrist. She wears a sparrow gold hairpin on her head and an emerald green jade on her waist. The pearls are shining, and corals and pearls are interspersed. Silk rollers dance in the spring breeze, and thin skirts spin in the wind. Her look back left a charming light, and the smell of her whistle was like the smell of orchids. Drive with a break when you walk, and forget to eat when you rest. Someone asked where the girl was, and her family lived at the south gate of the city. The brothel is close to the road, and the high doors are closed around it. Who doesn't want to make faces, what is the media camp, and the jade is uncut and abrasive. A girl must love a noble person, but a virtuous man is hard to find. Everyone was shocked and knew what he was thinking. He lived in the bedroom in his prime and sighed in the middle of the night. "
Poets can deeply depict their deep sighs because they didn't meet a good couple, so as to express their grief and indignation because they didn't meet their talents. This depth is invisible in Qi Liang's poems. The beauties created in Jian 'an period were born with beauty, elegant manners and superhuman temperament, and were unique in the world. They could write their superb inner personality through their beautiful appearance. They can "learn from different paths" instead of "swimming more on water". They can "think highly of morality" instead of just learning to sing and dance. Jian 'an literature advocates women's natural beauty and noble inner temperament, while Qi Liang's poems pay attention to gorgeous clothes, which has a lot to do with social fashion and aesthetics in the latter two eras.
During Jian 'an period, people advocated freedom and detachment, despised etiquette and law, and respected nature. Cao Cao likes the indulgence very much. "Mao is an easy person without prestige, good music, advocating Excellence, and the night is long." Later, Cao Pi and Cao Cao also had this good idea, so it is not surprising that there are such poems. However, social unrest has aroused people's potential sense of social responsibility and subjective consciousness, and the world is full of vitality and poetry is full of vitality. However, after the beginning, this ideal of pursuing individual value gradually became an empty personality ideal. In the Qi and Liang Dynasties, this pursuit was gradually broken by reality, and the world was relatively soft. At that time, the nobles were extravagant, and it was very common to store prostitutes and set up women's music, which was also the source of the melody depicted in the palace poems. "At the peak of Liang Dynasty, it was very expensive to travel with children, but many students didn't learn anything. As for the proverb:' write if you don't fall down in the car, and be a secretary when you are on your body.' Without exception, they smoked clothes, shaved, painted faces, drove long-eaves cars, followed high-toothed bricks, sat on chess pieces, played with Tibetan silk bags, and walked in and out calmly, like fairies. If you strive for the first place, you will take care of others. Three fairs and nine banquets, and then write poems with fake hands. "As a result," my husband's ambition is beyond my Cao's reach, and he has always adhered to the end art of small talents and bugs, including those who spit in Xiangtan, swaying and swaying, winding with needles, smashing rice and salt, which leads to glory. How can he arrive? " [20] The political power of literati leads to the loss of life. On the other hand, although Xiao Gang and others wrote such beautiful poems, they still couldn't get rid of the orthodox Confucian ideas in their hearts. He himself "raised Germany in the Eastern Dynasty, but lost his voice in the summer and stayed in the throne. "Others, such as Shen Yue, Xu Wei and Jiang Zong, are also deeply influenced by Confucianism, and their lives are rigorous and respectful. Therefore, such poems are just their toys. They believe in the way of "standing up", which is different from the article. Be careful when you stand and talk, and the article should be debauched. "As a sage and a good minister, you can't indulge in wild behavior like a celebrity from the beginning and write poems and compositions with your true nature. They come from poor families and have no profound cultural background, so they are not interested in talking about Hyunri. Their interest is to appreciate the immobile temperament of women in a more accessible and open environment, from embroidered collars to bedding, from women to child sexual harassment, …
They are not really addicted to it. They just wait and see from a distance, quiet inside, and can't write the prosperity and grace of Li Yu, the queen of the Southern Tang Dynasty, as "cars are flowing in water and flowers are in the moonlight". However, since then, literature has got rid of politics and religion and began to have its own independent value, which is of great significance to the development of new themes that integrate chanting things, describing scenery and describing eroticism. As for the imitation of later generations, there have been some examples, such as "looking at the guests without seeing the truth." "The spring breeze is unintentional, and the secret is also looking for incense." "Zhijun is also a slut, and I advocate being my own master." Poems like this, even spread to later generations of Chen Houzhu "waste in debauchery, don't care about politics, about 50 mink, women beautiful smart posture to follow thousands of people. Eight people, including Kong Guiren, were seated, ten people, including General Manager Jiang and Kong Fan, had a pre-banquet, numbered' Xianke', and eight women wrote five-character poems with notes as shillings, and ten guests were peaceful, and were later punished. It is common for monarch and ministers to drink heavily from night to night. " It was also unexpected by Xiao Gang and others.
3. The content is influenced by Buddhism.
The mentality of scholars affects the direction of literary creation, and the trend of the confluence of Buddhism and Taoism deeply affects the thoughts and even behaviors of scholars in the Six Dynasties, especially the influence of Buddhism from the West on culture.
Buddhism originated in India, was introduced to China in the early Eastern Han Dynasty, and spread to Youchang in the Southern Dynasties. For example, Liang Wudi once wrote Pure Industry Fu, which fiercely criticized and denied the enjoyment of reality from the perspective of Buddhism, pointing out that people pursue color, sound, fragrance, taste, touch and dharma with six senses: eyes, ears, nose, tongue, body and mind. In addition, Jian Wendi's 6,000 pieces of Hong Guangming's Collection, Shen Yue's A Thousand Regrets and Liang Junchen's Poems of Night Walking in the Four Gates of Baguanting all reflect their reflection and thinking on the realistic sensory life from the perspective of Buddhism. It can be seen that his way of living is rigorous, but he put forward the view that "articles should be debauched", which is actually related to the influence of Buddhism on the lifestyle of literati.
For example, Vimalakīrti Jing wrote that Vimalakīrti was a layman who lived in a downtown area. He frequented pubs and brothels, played games, made friends with dignitaries, accumulated wealth, practiced Sanskrit, and still had a wife. Although he knows everything in his secular life, his spiritual world is still superior, and he can still be enlightened in Buddhism, because he is proficient in Buddhism, good at doing things and convenient, and he is extremely intelligent and eloquent. This life realm of "no bondage, no solution, no joy and no joy" was highly praised by the literati at that time, so there was a saying that the way to establish a career in the Qi and Liang Dynasties was divorced from the article. At the same time, this statement of debauchery is also the pursuit of temperament by Xiao Gang and others influenced by Buddhism, and it is also a manifestation of the combination of Buddhism and the thought of "teaching more and letting nature take its course" in Wei and Jin Dynasties. This kind of temperament is not a real feeling, but an independent literary consciousness, which is a breakthrough to put politics and religion together, and it is easy to lead to over-technicalization of literature. Just like palace poetry, it pays more attention to the external description of women than women themselves, which is also deeply influenced by Buddhism.
Buddhism advocates "the origin of emptiness" and "color" into "emptiness". Only by teaching people to see through everything in the world can they let go of everything and become a Buddha. Therefore, there are many descriptions of the world in Buddhist scriptures, and the description of female lust is one of them. There is even a story that the Buddha turned into a woman, spreading people's lust, and then turned into a skeleton or a blood sac, teaching people to see through the world of mortals and throw an empty net. These descriptions are related to Indian literary traditions, and many words are extremely elegant in translation. As described in the ninth volume of the Solemn Sutra of Fangda, the witches in Papman confuse the Buddha with lust, and write about their 32 enchanting postures, or burning incense fiercely, or winking, or showing their knees, or revealing their thoughts, or crossing each other.
"Stay, cherish the disabled, and move in a negative state."
"The step-by-step performance of the new dance is as charming as Xu Ling."
"The bead curtain is opposite to the curtain, and the charm is irresistible."
"The words are charming every night, and the day is still fresh."
And Deng Keng's "Night Listening to Prostitutes":
"Candles are like the bright moon, and temples are better than flies. Prostitutes dance together, competing for beauty and learning Chu waist. New songs are composed by yourself, and old songs don't need to be tuned. If people don't laugh, they won't be embarrassed. "
Write about women's jealousy, such as:
"I'll make love first, lest you get suspicious and jealous."
"Beauty is full of resentment and long eyebrows."
"Just talk about quarrels, not jealousy."
Buddhist scriptures only use these descriptions to persuade the world not to be confused by beauty, while palace poets are proficient in Buddhism, as if writing colors and emotions through classics. This is actually their cultivation of indifference to women's feelings and a transcendence of the secular life of debauchery. Only in this way can we achieve the true realm of cultivating wisdom. For example, Buddhism and Taoism No.4 describes the seduction of many women to the prince:
"The prince is in the garden, wandering around. Or for dressing, or for washing hands and feet; Or painted with incense, or decorated with Hua Yan; Or scarf, or pillow mat; Or bend over and whisper, or flirt with the world; Or what everyone wants, or make all kinds of tacky shapes and rules to impress people. Bodhisattva's heart is calm and firm, and it is difficult to turn. When she heard all the women say that she was not worried or happy, she was tired of thinking and sighed strangely. Only in this way can she know that all women want to be so prosperous, but she doesn't know how young and old she is. Alas, this great feeling, ignorance covers its heart. Imagine being old, dying of illness, doing your best at night, and having a knife around your neck, how can you still laugh? Seeing him die of old age and illness, I don't know how to observe myself, but it is mud. "
Taking this as the source, there is Tang Sanji's poem "New Ode to the Fish Platform" and "Ode to the Algae Well to Get the Golden Hook":
"In the past, I advocated a family and a woman, picking flowers and showing them by the well, picking flowers and inserting them, and still having pity according to the well. If you don't stop peeking, you will laugh. The treasure is hooked here, never remembering the year. Jade goes to the mud first, but gold remains. This person is not here today, and this matter is spread in the air today. "
This time, people's sigh over things is precisely the interpretation of "I don't know what youth is, but I am old and necrotic in an instant", and it is also the original intention of Buddhist teachers to break away from love. Liang Wudi has a happy song:
"Yan Yan Jin Lou female, the heart is like a jade pool lotus. Hold your heart and travel all the way to Brahma. "
Buddha nature is stronger. Brahma said, "A man marries a woman, walks in Yin and Yang, and lives together." It is his wish to get rid of the suffering of the world of desire and enter the world of Brahma with the lotus heart of Yuchi. Therefore, we can see that most of the palace poems describe the lust of men and women like classics, and the description of women's posture is precisely to show that they are the source of all evil in the world, to teach people to see through the beauty of lust and to persuade the world. As Xu Ling said in "The Book of Disciplining Master Renshan":
"Those who advocate benevolence, live in a magical environment, are obsessed with magic, and are obsessed with heresy. How can you care if your eyebrows are thin? Cheeks like hearts, can they last long? It is particularly sad to have a long letter when sharing a pillow; When you forget, you can't help Hu Qiu's resentment. Luochuan goddess, I'm still confused, Dong 'e, who works all over the world. What do you care? When a man's heart softens, he will be * * * angry * *, and once he is lingering, he will even get tired of the night.
The mage failed to shine, and Wu An sold flowers? If you can't get his heart, how do you know what you want? Oh! The osmanthus tree was burned by beans, but the pearls were buried by mud. "
It can be seen that the literati who are deeply influenced by Buddhism see through the truth of beauty in an instant, and the pursuit of sensuality is only a spiritual sustenance, just like the predecessors who have placed their feelings on metaphysics, and the understanding of Buddhism is the real refuge. This is also the reason why their poems are as cold as ice.
Coupled with the strong support and connivance of the rulers, the Buddhist temple economy is very rich, and monks and nuns, whether given by the emperor or invited as family monks, also live a luxurious and even promiscuous life. Buddhist temples and pagodas are luxuriously built and resemble palaces. They are often decorated with flags made of Bao Er, Yuling and brocade. Statues are made of gold, silver, copper and jade. It can be said that "poor workers are extremely skillful and exhaust their financial resources", which is consistent with the pursuit of sensory stimulation and the advocacy of flashy interests by princes and nobles at that time, which will inevitably affect literature and art.
At the same time, the progress in the translation of Buddhist scriptures has also influenced the palace poems in form. As an immature poetry genre, palace poetry actually opened the voice of lyric poetry for later generations. The perfection of metrical poems and quatrains also comes from this transition, and the development of secular themes begins. The techniques of chanting things, describing scenery and eroticism finally shone brilliantly in the Tang Dynasty, but their shallowness and paleness should serve as a warning for later generations.