Sima Xiangru, a sage, once shocked the "Han master" three times with his three poems, Zi Xu, Shang Lin and Da Ren, regained the weight of "a thousand dollars" with the poem "Poem on Changmen" and satirized "Qin Zheng" as a metaphor for "Han Zheng" with the poem "Mourning Qin Ershi", all of which are famous in the field of fu. According to Ge Hong's "Miscellanies of Xijing", Volume II records:

Changqing was known for his thirst-quenching, and returned to Chengdu, which pleased Wen Jun, so he became ill. It's a "Beauty Fu", and I want to stab myself, but I can't change it in the end, so I died of this disease. Wen Jun was bequeathed to the world.

To define "beauty" as Zhuo Wenjun means "self-stabbing", and the reason is that Xiang Ru suffers from "diabetes". Because "Beauty Fu" does not contain the history books of Han Dynasty, and "Selected Works" has not been collected, Fu Fu first saw the Tang Dynasty's books "Yiwen Leiju" and "Chuxue Ji", and collected the "Guwenyuan" discovered in the Northern Song Dynasty, so the author's authenticity lies between the dragon and the snake. However, there are many theories about reality in academic circles. For example, Mr. Tsung-Wu Chien's Dialectics of Beauty Fu (included in the History of Han Fu) proves that it is the grammar of the Western Han Dynasty from the phonology, which is an example. Of course, the short essays don't agree with Xiang Ru's motivation in Miscellanies of Xijing, but Xiang Ru's "illness" is proved in the history books.

There are five descriptions about Xiang Ru's "illness" in Biography of Sima Xiangru in Historical Records. First, "Liang Xiaowang came to Korea, and from the lobbyists, Zou Yang, Huaiyin Mei Cheng and Wu Zhuang were jealous of the disciples of Confucius, and they talked about each other as soon as they saw each other, so they were exempt from illness and traveled as guests"; Second, "Linqiong makes Miao respectful, and the day is like the DPRK. I saw it at the beginning, and then I called it a disease, which made the followers thank Ji and Ji became more and more cautious. " Third, "Changqing can't go because of illness, and Lin Qiong doesn't dare to taste food, so he welcomes himself"; Fourth, "he entered the official position, never agreed to work with officials or officials, said he was ill and lived in seclusion, and did not admire the official position"; Fifth, "it is like being free from illness and living in Maoling. The son of heaven said,' Sima Xiangru is very ill, so he can learn his books later; Otherwise, it will be lost later. " I am loyal to it, but I am dead, and there is no book at home. " It can be seen that "illness", "illness-free" and even "death", illness has become a common word to write about Xiang Ru's life, and the last one "Mao Ling at home" refers to Xiang Ru's experience after "worshiping the garden order for filial piety", so Xiang Ru's illness is also known as "Wenyuan disease" in later generations. For example, "I am ashamed that I am sick like a literary garden" (Chen Yi's My Second Friend See the Post), "I am thirsty for a literary garden" (Bian Gong's Answer to Luo Yanzhou), "After I moved from a literary garden to a disease, I made the mysterious grass come out of the world" (Xu Zhonghang's Crying for Liang Gongshi) and "I am sick of a literary garden" (Zhang Juzheng and Wuchuan Building gave it to me The most interesting thing is that Xu Ke's "Clear Barnyard Notes" records the interesting story of Hong Jun's lust for beauty and death, which is almost a copy of "Miscellanies of Xijing":

Fu Caiyun is famous for a long time, and Cao Menglan is also a famous prostitute in Suzhou. In thirteen, I lived in Shanghai with my sister. Hong Wenqing, assistant minister of Wuxian County, won a big prize at the beginning of Jun, and returned it with a shirt. When he saw it, he took it as a room with a lot of money and waited for the new year. Xiangqin began to tune, the golden house was opened, and it was brought to the capital, and it was favored by a special room. Vincent held a festival to make Britain, Wan Li whale day, mandarin duck and carry ... And WenYuan thirst, unexpectedly died.

Xiang died for the color of Wen Jun, and Hong Jun died for the color of colorful clouds (or dream orchids). Besides, the tune of Xiang Qin is also a copy of the story of Qin picking Wen Jun. The difference is that Xiangru left a copy, which is "Beauty Fu".

Whether this "Beauty Fu" with similar signatures is related to "Wenyuan Disease" or not, we should read the text of this Fu. The existing prose can be roughly divided into two sections. The first section is "Sima Xiangru is a beautiful idle capital" to "I abandon but not allow it", which mainly explains the origin of Liang Wang's "lewdness" and the matter of "I look forward to my three years" and "I abandon but not allow it". From "life drives from the east, passing through Zheng Wei" to the end of the poem, through the protagonist's provocative and adamant narrative of "beauty" in "going to the palace for leisure", the conclusion of "lewd" is drawn. Only then, there are two points that are inconsistent with the description in Miscellaneous Notes of Xijing: First, the fu writes about "visiting the beam", so there is an answer to "Liang Wang's question", while the historical event of "Qin picking Wen Jun" is after "Liang Xiaowang died, but his family is poor, so he has no business", and second, the fu writes about "lewdness" and "self-stabbing" with lewdness. Of course, Fu's family can be disguised as a word, crisscrossing time and space, so that Dai Zhonglun exclaimed, "Changqing Changqing, according to you, Lu Nanzi is also. Is it evil before and after Zhuo's? From the front, you do not hide your words, and from the back, you don't care about your words "(on the volume of" Art "by Deng Bogao). However, it is appropriate to look at the most important description in the fu:

The way out of Zheng Wei, the road from the mulberry, the morning hair, and the night stay in Shangguan. ..... I lined up his family and built his hall. It was fragrant and fragrant, and his account was high. There is a woman alone, quietly in bed. Wonderful and beautiful, beautiful and beautiful. Seeing the minister's delay, speaking with a smile ... Jade hairpin hangs the minister's crown, and Luo sleeve blows the minister's clothes ... So the bedding is set ... The woman relaxes her clothes to show her profanity, and her body is exposed, with weak bones and abundant muscles, and when she comes, she kisses the minister, which is as smooth as fat. I have my pulse set inside, my heart is in my arms, I swear that I will never return, but I will hold high and say goodbye to him.

this is the words of "Liang Wang Wen" from the pretender, which is both "erotic" and "exalted" and "long words". This kind of self-description is neither human nature nor logical, but it is actually a copy and exaggeration of the previous poetry and prose creation.

if we trace back to this profound inheritance, the predecessors often refer to the satirical fu of Fa Songyu and the lascivious fu of the lothario, and their creation is closer to the latter. Song Yu's Lustful Fu contains the Selected Works. In the Fu, not only the mode of writing Song Yu's "carefree and beautiful body" and narrating "the son of the owner" and "visiting the minister for three years" is completely taken from the Beauty Fu, but also the description quoted in the Beauty Fu, and the writing thought and method are completely equivalent to the statement of "Dr. zhanghua" in the Lustful Fu. It's the end of spring, welcoming the summer sun, Cang Geng Zi, and a group of women are born, which is a suburb. Chinese color contains light, body beauty and metallurgy, not to be decorated. I look at its beauty ... So the virgin seems to be expected and doesn't come, but suddenly she doesn't come, her mind is dense and her body is sparse, her attitude is different, she smiles with joy, and she secretly looks at it. It's called poem again ..... I want my face, my heart cares about my righteousness, and I celebrate my poem and keep the ceremony, but it's not bad.

Although comparatively speaking, Lin * * * in Beauty Fu is more exposed, the place where men and women meet and get together is "in the mulberry" and "in the palace", which originated from "I am in the mulberry and want me to go to the palace" in Poem of Sang Zhong, and "Zheng Wei" in The Lothario. As for the names of "Sangzhong" and "Qin Yan" poems, Mao's preface refers to "stabbing rush" and "stabbing chaos", which are all related to the love poems represented by "Zheng Feng". Therefore, the description of the "cloud dream" and the encounter between man and god in Song Yu's Gaotang and Goddess is just like the so-called "Yan has an ancestor, when Qi has a country, Song has a mulberry forest, and Chu has a cloud dream" in Mozi Minggui, which is the sacred place for worshipping the goddess of fertility.

There are three textual researches on this "Sanglin" literary tradition. First, Volume 8 of Hui Shiqi's "Hui's Spring and Autumn Annals" quoted Mozi's theory to explain the cloud: "Gai Yan Zu Qi Society, men and women of the country gathered together to look at it, and it was the same as the dream of Chu, Song Zhiyun and Sanglin. In March of Zheng Dynasty, the scholars and women met in Hun. The theory of "aiming at women" has far-reaching significance. Secondly, according to the descriptions in Zhou Li Di Guan Mei Shi, "Daughter of Midspring, so I can't help but rush to the meeting", "Moon of Midspring" and "Temple in Gaoqing" in The Book of Rites, "Moon of Midspring" and "Pray for Rain", a general survey of ancestral temples in the suburbs of Gaoqing by Chen Mengjia. Thirdly, the article MuNv and Silkworm Mother, written by the French sinologist Jie Yu, combs the word from Zheng Wei's "Mulberry Room" to the ancient Chinese Yuefu poem "A Journey to Luo Fu" and many drafts since the Jin and Tang Dynasties, and draws the conclusion that the theme of Mulberry Garden literature has "two forms, that is, the love song spontaneously produced in the spring festival and the condemnation of moral judges, which can be said to be the two extremes of the development of this theme" (MuNv and Silkworm Mother, edited by Qian Linsen,

It is precisely because of the original desire of "striving for women" and the ethical spirit of criticizing "Zheng Sheng's immorality" with the moralist represented by Confucius that the works of later generations imitating the legacy of "Spring Festival" are inherently contradictory, forming some writing characteristics of wanting to talk about it or stopping abruptly. The modality of "woman" and the exaltation of "minister" in "Beauty Fu" are both absurd and funny, but they reasonably show the organic unity of "two extremes". Therefore, before this Fu, there were "Gao Tang" and "Lustful" Fu, and then, as listed in Volume 16 of Wang Xun's Wild Guest Series, "Cai Yong drafted it as Xie He Fu, Cao Zhi as Jing Si Fu, Chen Lin as Zhi Yu Fu, Wang Can as Xian Xie Fu, Ying Yang as Zheng Qing Fu and Zhang Huawei. Due to this creative tradition, one year I was invited by the Chinese Department of the National University of Singapore to give an academic speech on the topic "Poetry and Fu Creation and Music Education Tradition", which was intended to start with "Sangzhong" poems. After receiving the topic, the inviter thought it was too simple to attract the audience, so I changed the topic to "Altar Love Song", and the content remained unchanged, which was immediately approved. At an academic conference in another year, I added this speech as a paper presentation, opening with the change of the topic at that time, and interposed to Mr. Chen Shangjun, a seat at Fudan University: it would be better if the topic was changed to "Love in BC". The joke of that year is still ringing in my ears. Imagine how the distant love developed into the resistance of the original desire. As a part (or a stage of development) of Sangyuan's literary tradition, Beauty Fu is a simulated article, not a new one. Although it is neither fish nor fowl, is it really "sick"?

Back to the theory of "self-stabbing" in Miscellanies of Xijing, the narrator thought that the phase was like stabbing and didn't stop, so he died, so "Wen Jun was a ghost". A study of Wen Jun's "Sima Xiangru Ji" first saw the "Kawachinoayanofumi Ji" compiled by Mei Dingzuo, a Ming dynasty. The author found it difficult to believe it, and wrote in the obituary that "it was good to recall the past, and it was natural and graceful; Compassion only encourages virtue, and the piano entertains itself; Always be a princess, not ashamed to be a furnace; Life is shallow, and life is hard to help. " The words are taken from Qin Ge in the original biography of Historical Records and New Poems on Yutai. However, the sentences of "Graceful Confucius Capital" and "Compassion for Talent and Morality" may reflect the "garden disease" in Beauty Fu. There are two main cases of "illness" described in this biography of Historical Records, which are related to life behavior and emotion. One case, "I am exempt from illness, and I am traveling on the beam", originated from my dissatisfaction with the work at that time, that is, the so-called "filial piety to Emperor Jing, constant attendance for martial arts, is not good." Emperor Huijing is not good at ci fu ",which is a lifelong heart disease, or the feeling of" not meeting a scholar ",and it is also a common fault of ancient literati. If it is reflected in the "Beauty Fu", it is like the lyrics sung by "Women are songs": "I am lonely in the room, and I miss the beautiful woman and feel sad. Why is it too late to have a beautiful woman? The sun is fading, and I dare to be selfish. " This kind of heart disease is particularly obvious when Xiang Ru was appointed as the "Filial Piety Garden Order", and his "Adult Fu" and "Changmen Fu" all contain the writing and metaphor of this mentality. Secondly, he said that he was ill and lived in seclusion, and he didn't admire the official position. His illness was due to the feelings of the literati with conscience who couldn't float and sink with the vulgar, and the coldness and sadness with the world. This is the "Ning Angry as a Thousand Miles", "Ning and Qi Kang Yoke" and "Ning and Huang Hu" in Han Fu's ci poems to Qu Yuan.

If reading Beauty Fu is similar to lewdness, as Wu Ziliang said, "Song Yu's satirical Fu ... is roughly similar to the lothario's lewd Fu, but the second Fu covers the words to satirize the ears of the king of Chu. Sima Xiangru drew up the satirical Fu and wrote the Beauty Fu, which means that if the minister is not lewd, then people will know that he is falsely accused (Volume III of My Talk in Jingxi Forest). If it is not limited to lewdness or not, it is another example that theorists attribute this Fu to the purport of Song Yu's satirical Fu, but it has another meaning. Jin Xiangxiang, a close friend, thinks: "It is the reason why Fu Shouyan is not a lecherous person and Mu Yidong came;" In Chinese, it uses the meaning of Song Yu's satirical fu to caress the songs of Youlan and Snow White, and imitates the words of jade bed, which are beautiful and obscene; At the end of the speech,' I am convinced by the air ...' In the harmonic play, it is very elegant. ..... Tai Shigong's "Xiang Ru Chuan Zan" said:' Although Xiang Ru is full of empty words, it should be attributed to frugality, which is different from the wind admonition in the Book of Poetry!' The purpose is to say. "(The Development of Ci-Fu in the Han Dynasty, Chapter 9, The Types of Ci-Fu in the Han Dynasty, Lyric Class) comments like this, or you may get a positive solution. It's just "irony" in fu. Why should we take men and women as metaphors? Maybe people say "all evils are the first" ("Augmented Xianwen")? Or Confucius said, "I have never heard of virtue as lewdness" (The Analects of Confucius Zi Han). Of course, the traditional power formed by the imitation of the "Sanglin" literature and the pattern of prose, which is also considered as a "disease" in the fu altar, but there are many new meanings in the author's arms between * * * and music education for us to find and ponder.

(Author: College of Literature, Nanjing University)