Qing Chen Mei 《月馬清游 Album》
Qing Leng Mei "Spring Girl Tired Book Map"
Image from Wu Hong's "Women's Space" in Chinese Painting
"Supplement to the School of The Fang Collection" (all 4 volumes) by Fu Qiong, People's Literature Publishing House
【Author said】
Chinese female poetry, descended from the late Ming Dynasty to the fall, wei was a grand view, and reached its peak in the Kangqian period of the Qing Dynasty. Wang Qishu's compilation of the "Collection of Picking Fang" is a collection of poems that can reflect this grand situation. This book collects more than 6,000 female poems, more than 1,900 poets, and more than 400,000 words of biographical materials such as prefaces and steles in the 150 years from the early Qing Dynasty to the end of the Qianlong Dynasty. The author participated in more than 400 kinds of literature and completed the proofreading of this book. As the final result of the "National Ancient Books Collation and Publication Planning Project", the "Supplement to the Collection of Fangfang" (all 4 volumes) has been published by the People's Literature Publishing House. This book further strengthens the characteristics of the "Collection of Fang fangs" for its life materials, and comprehensively reflects the main spiritual outlook of kangqian's boudoir chanting.
1. Boudoir body and fat powder gas
In the Qing Dynasty, there were more than 3,900 female writers who could be examined, which was more than 10 times the total number of previous dynasties. The prosperity of women's poetry in the prosperous qianlong era is not only reflected in the number of works, but also in a more essential aspect - the maturity of the "boudoir style" as a poetic body. "Fat powder gas" is its label. During the Kangxi Dynasty, Tang Sunhua said: "The poets of the Boudoir Pavilion, occasionally, most of them are Douye Lihua, Shi Zhu and Powder, Short Chapters and Small Talks, and Juan Charming." "(The Collection of Condensed Buildings) is obviously dissatisfied with its fat powder. During the Qianlong period, the female writer Shen Cai said: "Husband poets, Taoist temperaments, temperaments, according to the position in which they live." A person who is a Qiluo Xiangze wants to get rid of the habits of Qiluo Xiangze, and his words are not rooted in temperament, not rooted in temperament, and can be composed of poetry! ("On poetry with Madame Wang Yinghui") believes that as a person of Qiluo Xiangze, you should write the poems of Qiluo Xiangze, otherwise it is to get rid of the "position you live in". The two can be said to be tit-for-tat on whether boudoir poetry should be fat, which basically represents the difference between conservative male writers and progressive female writers.
Today, it seems that the reason why the boudoir body is a product of its own is because of its "fat powder", that is, the obvious feminine characteristics derived from the female position, female perspective and femininity.
The "female position" refers to speaking in the interests of women, so that her works acquire a female gender confidence that is difficult to find from the male position. In ancient China, the status of women was based on male coordinates, but Wang Weiyu said: "Why do male children have concubines?" Take gold from your elbow! Zhuang Tao said: "The King of Chu has become empty, and he has left the flowers and branches to dance and the wind." The song is red and wet with tears, and the children have never been heroes. ("Yu Meiren") Here "children" is the abbreviation of "children and women", which refers specifically to women. Between praise and disparagement, there is a difference between men and women, and Wang Weiyushi's gender self-confidence is the same. Another example is Xu Deyin's "Out of the Plug": "Liu Qi said that Han Mouchen, this day and Rong are women." It can make the side garden without herding horses, and the moth's eyebrows can also be painted with unicorns. The poem's tendency to belittle the "eyebrows" and promote the "moth eyebrows" also stems from the poet's female position. This position, and the resulting gender self-confidence, constitutes the inner wind behind the fat powder.
Women often have more acute feelings about certain objects than men, and they can also come up with new ideas in the form of chants, which is the "female perspective". Huang Yuanjie's "Nanhu Bamboo Branch Words": "Jiaxing beauties are accustomed to heavy makeup, and they are absolutely like The Southern Pearls are cuirong." Wide sleeves embroidered with four drapes, and a single cover of purple silk on the outside. Chen Linrui's "Boudoir Words": "Boudoir likes to make Taoist makeup, and Yunjin cuts into green feathers." Learn to wear the star crown hairpin sun and moon, and the waiter Qi Qi bun double. Qiao Niang of Haicheng County, Guangdong Province, "Spring Day Ye Travel Miscellaneous Poems": "Carry wine to find spring and sail to Shanghai, and the silver plate will bee nut first." The southern people are really amorous, and they do not hesitate to wrap their heads around the storks. Jiang Suying's "Sutai Bamboo Branch Words": "The neem flowers fly in the yellow fish season, and the snow blade in the Wu kitchen is waved." The tile pots were given to the same house, and Lang returned from Haikou to sell fresh food. "Depicting a prosperous scene of abundant food and clothing, it gives people a fresh feeling like a genre painting." Another example is Wang Xiangbo's "Pingxiang Daozhong": "Shuicun Shandian always leaves his feelings, and listens to the voice of Qianlin Duyu." Depending on the country, the children bark and the chickens crow. "Chickens barking and barking dogs" is a traditional image of peaceful life in the countryside, and the poet adds "child crying" here, which gives rural life a more humane connotation, obviously benefiting from the perspective of the mother.
The most essential feature of the boudoir body lies in the Chinese style of femininity, that is, the aesthetic characteristics of being more sensual, slightly feminine and quite reserved. Most of the female poets of the Qing Dynasty were painters, and their poems were often "paintings in poetry", which had a picture-like perceptual impact. Huang Ruhui's "Yang Liu Zi" said: "A few days of spring light to the wicker, linliu fine learning Chu Palace waist." West Lake Ten Mile Peach Blossom Road, and send warblers across the Six Bridges. "There are colors, there is movement, there is space, there are layers, there are transfers, and the vivid scene of the West Lake in early spring is written." Bian Mengjue's "Lake Tower" Cloud: "A lake of quiet conditions to send poems, painting the pavilion at the beginning of the twilight curtains." Smoke on both sides of the strait flew cranes, and several bells woke up the gulls to sleep. The mountain is left with a true shadow from the virtual mirror, and the tower stands naturally in the sky. How many white clouds are fragmented, and the yo-yo is connected with the distant peak. "Write about the change of scenery in the West Lake at night when the Lake Tower sees it, poetic and picturesque, and natural. Another example is Jiang Tanrui's "Gift to Xiangjun Niece": "Don't make up new makeup to draw pictures, Yinhua was drunk last night." The yellow warbler evokes a weak, half-fragrant shoulder small jade support. "Charming and moving. Such verses are from the hands of men, and may be somewhat contrived, and from the hands of women, they seem to be naturally fit and wonderful.
However, there are strict limits to the femininity of women's poetry. As Wu Nian said, "If you are a woman, if you are a woman, you will judge the flowers and ask willows, and your words will be slightly suspicious, that is, you will be silent and shake your hands, and you will not dare to come out." As Mansoon (American) argues, "As for women's lust, in China during the Sheng qing Dynasty, it was rarely expressed directly." This dignified feature is that traditional culture has made a deep imprint on boudoir poetry, making it feminine and not glamorous, thus distinguishing it from the poetry of the same kind as men.
2. Boudoir Male Voice
The mainstream poetry circles' ridicule of the boudoir body "fat powder gas" forced some female poets to "therefore speak strongly" (He Feixiong's "Preface to the Poetry Collection of Wangyun pavilion") in order to gain the approval of public opinion. There are also female poets, or originally strong, or learn to be rich, super-discerning, open-minded, compared with the excellent scholars and doctors at that time, there is no shame, hair for poetry, natural heroic posture, and "so it is a strong word" is different. As the Qing dynasty said, "many of the poems have heroes" ("Xigao Waiji"), which is another prominent feature of the chanting of the Boudoir of Qianlong Shengshi. For example, Wang Duanshu, who was called "eight men and not easy to have a woman" by his father Wang Siren, has the sentence "Seven inches of small minister's blade, five steps of the king's head" ("Title Lin Xiangru Biography"), which was called haoba at one time. Another example is Liu Ru, "a good man with light wealth and a fierce husband's wind" (Xu Jun's "Benshi Poem"). Gu Ruopu and shifu sat down at a banquet, "then pay attention to the great plans of Hecao, Tuntian, Ma Zheng, and Bianbei", and his poems are mostly "economic chapters" (Wang Shichen's "Chibei Occasional Talk"). Zhu Zhonglin "Where the gains and losses of the government of the dynasty, the merits of talents, and the rise and fall of the ancient and modern rulers of the husband, the number of eunuchs rising and falling is obscure, and it is not better to count than the candles" (Li Yuanding's "Order with the Grass"), "The poems that are written, the scale of Wei and Du, the majestic and strict, have the spirit of a fierce husband, and do not win in vain with style." Each one is published, and Yilin recites it, calling it Lady Yuanshan, and the hidden fragrance is a grand event cloud" ("Xijiang Poetry"). Obviously, this kind of "majestic and strict" poem is easier to enter the center of the topic than poetry that seems to be full of fat powder. Xu Zhaohua, a female disciple of Mao Qiling, has a "Plugged Song": "Ride three thousand out of HanGuan and carve 100,000 Woyan Mountain." Yueming is close to the plug frequently driving horses, and there are still generals hunting at night. Qing Gang was particularly eye-catching, Chen Weisong called it "a man of the boudoir as a hero", and Wu Chen Yan compared it with the "Seven Sacred Hands" Wang Changling's Biansai poem.
Boudoir and male tone, overlooked, and has reached a very high level. Hu Xiuwen's "Listening to the Story of Bo's Cangtou Talking and Joining the Army" has a description of "rare grass wheat shadow in the end, birds and cicadas are not heard through the years, Saima yellow sheep walk everywhere, jackals and foxes rub shoulders", which is quite majestic. Qian Shuhui's "Degree of Pear Pass": "Passing over the pear ridge, shoulder public opinion wins two." Xiongguan is limited to Minyue, and the shadowy area is extremely southeast. The floor heating is often rainy, and the clouds are suddenly open. The township is not extremely hopeful, and the chat is back to the dust niche. "The pen is strong. During the Qianlong period, Ni Ruixuan of Suqian County, Jiangsu Province, was "knowledgeable and knowledgeable through ancient and modern, all the jingzi hundred families, the twenty-two histories, the Tongjian and tongkao, as well as the sayings of Futu and Laozi, and the texts of the Han, Tang, and Song dynasties, all of which were familiar and integrated" (Qu Yuansu's "Preface to the Manuscript of the Poetry of Zhencun"). He created "about 200 poems of shiyi, about 1560 poems of ancient Chinese, and about 1,000 poems" (Xu Qitai's "Succession Room Ni Ru Ren Xing Strategy"), especially longer than the Seven Laws. His "Reading Ming Shi Shi Ying Biography" Yun: "Wang Shi asked about the sin of Omi, and the prime minister Zhongshu was drunk and unheard." The fu community complained deeply, and Yangzhou was full of blood. Jin Yong's old danger was abandoned, and GuoWu hid more than one torch. The traitor will still sell himself, and the word adulterer will be called a king. "To the effect that Ma Shiying is adulterous and not male, and is useless." This poem is cut off, the words are full of emotion, the temperament is heavy, and it is extraordinary.
In the early Qing Dynasty, female poet and painter Wu Qi lived a life of "white clouds on the ridge into the painting, and talking about soldiers at night in front of the bottle" (Chen Weisong's "Women's Collection"), which shows that femininity and heroism are not hindered, and their flow of wind is spread throughout the north and south of the great river, and the boudoir chanting of Kangqian's prosperous world can be viewed as such. If you tear off the label of "fat powder" attached to the boudoir body and incorporate all the content of the boudoir chant into the boudoir body, the boudoir body does not reject the heavy work. Bi Shu (Zi Taowen) of SheXian County, Anhui Province, "Accompanied his father to Jiqiu, and his father died in battle with the rogue thief, and the corpse was taken captive by the thief." The house of representatives asked the soldiers to take revenge, and Tao Wen said that 'the soldiers are protracted, and the thieves are prepared', that is, the elite robbery camp is led by night. The thief was drinking, the soldiers were terrified, and Taowen slashed his canal, and the crowd collapsed. Chase after it, and kill each other. It was the corpse of your father and buried in Jinling. (Shen Deqian's "Collection of Poetry of the National Dynasty") His "Chronicle" poem details this battle cloud: "My father ya reported to the country, and died in battle in Jiqiu. The father horse is a thief, and the father's body is a thief. The father's revenge cannot be repaid, and there is a shame for the Qin daughter Hugh. Riding on the thief is not enough to prevent, the night into a thousand cats. The thief is bloodied and the head of the enemy is held in his hand. The thieves killed each other, and the corpses filled the pits. The father returned to the mountain and buried the barren mountain. Phase wise warriors, full of hatred. The moth thief was swept away, and the country was solidified. "I was only twenty years old. Later, he married Shengkai, the king of Kunshan, and the eyebrow case Xiangzhuang. His "Village Residence" Yun: "Ximen is idle at the end of the water, and the husband and wife are poor and not writers." Tomorrow he will ask what time to ask, and bring the crow's mouth to plant plum blossoms. His poetry also changed from masculine to feminine. It can be seen that the boudoir chanting is generally feminine, in fact, there is no lack of masculinity. Some are even hard to distinguish between rigidity and softness. For example, Shao Feifei's parents coveted money and sold them as concubines, but they were later not tolerated by the eldest wife, and even transferred them to domestic slaves. His "Thin Life Words" Cloud: "Pick the lamp with tears and cloud notes, and report pity for thousands of miles." In order to ask the biological parents, how much money is left to sell the child? "Soft in the middle of the rigid, it is in this dimension that it reflects another uniqueness of the boudoir body.
3. Times confidence
The boudoir chant of the Qianlong shengshi not only has the love of children and heroes, but also is full of the self-confidence of the times, and together with the gender self-confidence, it has become a prominent representation of the shengshi chant. Huang Yan's "Fisherman" Yun: "Green water and green mountains are spring and autumn, but the floating family is wandering but there is no worry." Flowers bloom ancient crossing a thousand glasses of wine, the wind fills the cold beach in May. If there is a muddy stream, only the thorn cloth should be used to the unkempt head. The holy pilgrimage is a wide fishing tax, and it is allowed to steal the herons and gulls. The reason why the fishermen who are "floating and wandering" are immersed in the "worry-free" life enjoyment of "a thousand glasses of wine" and "fox heron gulls" without a sense of crisis is because they believe that the policy of "wide fishing tax" will not change, and their confidence in the times is self-evident.
However, prosperity does not mean that anyone can live a carefree life at any time. Self-confidence in good times is not difficult and easy to achieve, and self-confidence in adversity is rare and valuable. A person in the face of adversity, still full of hope for the future, still adhere to noble sentiments, this kind of self-confidence is the confidence of confidence. This confidence is a talent, especially in the great era, it can be said that the self-confidence derived from the great era is the broadest and deepest self-confidence. During the Qianlong period, Xu Jin of Xiushui County, Zhejiang Province, married Zhu Chenying, a master, and the whole family only had a quilt, and their life was very embarrassing. Zhu Chen should say, "Give the taste of the museum outside, the only one in the house, take it with you." In the winter, the wife is defeated, and there is no recommendation. Every day on the eve, when the children are asleep, that is, the operation of the bonfire, the leakage of three drums, the extinguishing of the bottle fire, the two teeth fighting each other, the sound of the alum, then go around the room, so that the heating comes out from the inside, that is, it operates as before. When the garments are undressed, the children's bodies are frozen, they are fed, and they are sick, so that the children cannot be raised for a long time, and the wife is haunted by this long-term malaria. ("The Strategy of the Dead Wife") But Xu Jin's "high affection and rhyme, once did not be less frustrated", and the poem "Wind and Bone" (Yan Rong's "Red Yu Xiaocao Trek") did not have a pitiful appearance. His "Wing Bon Song" cloud: "Since the scripture cut to bid farewell to Hua Feng, the white crane and green bird have not been reunited." Although Qu Zhenxin was trapped, he was avoiding Qin Feng in the whole high festival. Youyun: "Talk about self-safety in front of the window under the column, and who will look at it now." Let him frustrate Ling Xiaozhi, Jinjie is still proud of the cold. In the "bending" of the pot, the pine trees moved from "Huafeng" can no longer become the material of the pillars, but the quality of the "proud age" has not changed because of the sudden change of the environment. Another example is Sun Fengtai's "Chinese New Year's Eve" Cloud: "The sick ghost is poor and the devil has been disturbed for a year, and tonight there is no smoke in the stove." After the dry intestines are hungry, they are cold, and the bones are as cold as iron. And the incense of the incense burner lasts forever, so why should a cup of wine break the sorrow. Ercao is eager to learn to make a living, and only grows heart fields and Yantian fields. "Chinese New Year's Eve, poor and sick, has been cut off from cooking, and there is no wine to pour sorrow." In fact, even if there is wine, there is no need to worry about pouring, because his bones are like "iron", and he can withstand this hunger and cold. Even thanks to the grind of hunger and cold, her heart became stronger and her articles were written more wonderfully. Not only did she not regret her choice, but she also asked her "Ercao" to "only plant heart fields and Yantian" like her. Another example is the Sheng clan of Tongcheng in Anhui, who married Pan Tiancheng, a filial son of Liyang in Jiangsu Province, at the age of thirty-eight. Pan Tiancheng "had a chest full of scrolls, a lack of money, a desire to soar, and a family of disciples", selling burdens to support his relatives, and also studied under mei Wending, a famous scientist at that time, and made great progress in learning. The Sheng clan admired his moral character and talent, and the disciple Li of the Master of The Kangxi Dynasty (1691) wrote an inspirational poem for him: "Jun is a great man in Jiangnan, and the chaff does not abandon the blind date." Zhi Huai's ancient way is not proud, only outdated and tired of poverty. Make up for the cold clothes and intestines, borrow the village wine and drink for three rounds. Mo worries that the autumn wind in the paper cabinet is cold, but the gray boy is all over the world. "An ordinary couple has such a strong self-confidence, and this confidence comes from personal talent and morality, and also from that extraordinary era."
Another "difficult daughter", Liu Lanxin, in her early years, "was changed by her family, and she trekked through the wind and dust of the north and the south with her old maid, and she was able to get rid of her mother from misfortune", and "with depression and misery, she had to sing songs as a last resort", hoping to "break the mouth of ignorance, send out uneven anger, and make a little spiritual platform not perish" (Nie Hao's "Order of The Rest of the World"). His "Gift of Righteousness Hero Lanfeng Shaoren" Yun: "The blue sky and the blue sea hate the vast, and the resentment is difficult to teach short and long." Involved in danger and difficult to do their own things, who is Phi Xing Dai Yue busy for? Gu Xinfa is like a learner, and when he is angry, he is just in harmony. Since the past grass grass and many festivals, An Neng national history full of commentary? "It can be said that in the midst of hardship, we have tempered a big care and a big heart, and sing the praises of the righteous hero who does not care about hardships and dangers, saves the difficulties and helps the crisis, but at the same time, it is not a praise for his responsibility to the whole family at a young age! We can also see from this great personal confidence that the confidence originated from the times.
In short, the boudoir chant of Kangqian's prosperous world has fat powder, there is also heroism, there is small care, there is also big care, there is gender confidence, there is also the confidence of the times, there is high rhyme and affection, and there is also exquisite reasoning. It can be seen from this that the literary women of ancient China were active constructors of Chinese literature, rather than indifferent bystanders and passive recipients of the crowd. The maturity of boudoir poetry as an independent poetic body and its great achievements strongly show that the rise of modern Chinese women's literature is a logical extension of ancient Chinese women's literature, especially the women's literature of the Kangqian Dynasty, rather than the unexpected result of the unilateral influence of Western foreign culture. The current Chinese literary history's inertial disregard for the achievements of ancient women's literature and the outward-looking traceability of the rise of modern women's literature are contrary to the melody of the times of cultural self-confidence, and are a phenomenon worthy of reflection.
(Author: Fu Qiong, Professor, School of Humanities and Communication, Zhejiang University of Finance and Economics)