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The Han River embankment under Xiangyang City is old and old. The Xiangyang Fu Zhi says: "During the Three Kingdoms period, Hu Lie built an embankment for Xiangyang taishou to resist floods. "But this is probably the beginning of the formation of the dike. In fact, the history of embankment construction should be almost synchronized with the history of city building. Gu Yanwu's Book of The Diseases of the Heavenly Counties and Counties has another saying: There is a large levee song in the ancient days of Kao Xiangyang, which is the setting of the, and it has been complete since the Shang Zhou. ”
Gu asserts that the Xiangyang levee began in the Shang Zhou Dynasty, and although he did not produce detailed historical evidence, he noticed a very special phenomenon: in the ancient era of Xiangyang, there was a popular poem of "Great Dike". Indeed, all cities in Kyushu that thrive on the water should have embankments; but a large embankment can cause so many poets to take turns singing for it, and it has also formed many special song titles with distinct local colors in the lefu poems, except for Xiangyang, I am afraid that there is no second place.
The special names in the poems of Lefu include "Xiangyang Music", "Xiangyang Music", "Causeway Song", "Causeway Line" and so on. The earliest known poem is the "Xiangyang Le" of the Southern Dynasty Song Dynasty:
Chaofa Xiangyang City,
Twilight to the levee.
Daughters of the Levee,
Hua Yan was stunned.
This is the first of nine poems in the group, and the whole poem writes that the women of the great embankment and the Yangzhou merchants who came to Xiang admired each other. Since then, this levee has been laid with the background of love, and the "flowery and stunning" levee woman has also flashed in later poems many times, becoming the most beautiful scenery on the embankment.
Xiangyang is located in the Central Plains, the key to land and water transportation, and in the Tang Dynasty, it was also the seat of governance of prefectures and counties and Shannan's eastern provinces. Its location is superior, the humanities are gathered, the trade is prosperous, the song and dance are prosperous, and it can be said that it is extremely prosperous. Whether tourists gather from all directions or scatter towards the stars of east, west, south and north; whether it is boats or cars and horses, they cannot bypass the Han River embankment. Therefore, this place can not be unusual, and has become the most desirable "punch card place" for the Tang people's Xiangyang trip.
Although the "punch card" of the Tang people cannot take photos to pass on the circle of friends, the many levee poems they have written are enough to pass on to the world.
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First of all, let's look at how the great local poet Meng Haoran described the grand amusement on the embankment in "The Seventeenth Day of the Great Causeway":
The Levee Fun Place,
The carriages and horses galloped against each other.
Years of spring grass,
Step on February and March.
Wang Sun with a bead bomb,
Wanderer socks.
Hand in hand with motong,
For whom jianghua is sent.
The poem is written in February and March, tourists walk to enjoy the scenery, the destination is to choose the levee, because there is a "place of fun" that everyone expects, "cars and horses rushing" and tourists weaving. It can be said that this is a panoramic view of the spring tour.
The poem, as the title suggests, was sent to a friend named "Wanqi". In the past years, the poet probably came to visit with Wan Qi in previous years, but now no one works hand in hand, so there is an exclamation at the end of "Who is Jiang Hua sent for". There is no doubt that this is a poem about friendship and does not seem to involve love. However, the "close-up" in the poem is intriguing, and the poet does not lead it, but it is not difficult for the reader to understand, because it is the same nature as why the peacock wants to show off its beautiful hairy feathers and why the dove shows a clear singing voice.
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Nanguo Duojia,
Moro Levee Woman.
Jade bed green feather tent,
Socks lotus torch.
The soul is self-evident,
Colour granted happy promises.
Invisibly,
Nippori Kusugae.
Zhang Kamzhi's Great Song begins by saying that there are many beautiful people in the southern country, and no one is as beautiful as the woman; then depicts her exquisite spring boudoir furnishings and costumes to flatter and render; then writes that the two sides are eyebrow-raising and affectionate, entering a good state of love; and finally writing about the rediscovery of the Yi people and being invisible, leaving a melancholy under the empty sunset.
Zhang Kam Zhi (file photo)
"Empty Sorrow" indicates that it is the poet himself, and the poem is full of romantic youthful atmosphere, so the author has only previously deduced that it was Zhang Kamzhi's work when he was young. In fact, the bustling Xiangyang causeway is originally a place of joy for young people. It is surrounded by the water in the city, the scenery is beautiful, especially in the tea house liquor store, the song stage dance hall, there are many young women selling wine, is the most easy to induce and interpret the love story of the place.
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Idle with the teenager,
Try your hand at the levee tour.
Paint the horns and perch,
Clear the strings.
Stele Sink Chu Mountain Stone,
Zhu Chu Han Jiang Qiu.
Good style everywhere,
The Lu family went upstairs.
Yang Juyuan, the author of this "Xiangyang Music", served as the second jinshi and the first in the fifth year of Zhenyuan, and served as a doctor of Taichang, a sacrificial wine of the state, and a rebbe lang. The poet wrote together and said that he had come with the teenagers to visit the levee. Then write about what was heard and seen on the embankment: the sound of the painted horns on the castle tower startled the black magpies perched in the trees; the strings before the feast were clear, causing the nostalgia of the passers-by. The sentence "Stele Shen" brings out the historical allusions of Du Pre-carved Stele Shentan, and the "Zhu Che" sentence leads to the myth and legend of the Han River goddess Xie Pei zhu. These narratives have shown that "the style is good everywhere", and the end of the poem is the finishing touch - "The Lu family is even more upstairs". A "more" word that focuses on the poet's point of interest.
"Lu family" refers to the young woman of the Lu family. Since Emperor Xiao Yan of Liangwu had a poem that "the daughter of Luoyang is named Mo Shuo... Fifteen married to the Lu family", this young woman of the Lu family (that is, the mo sorrowful woman) became famous. The poets of the Tang Dynasty love to talk about her. In short, this "Lu family mo worry woman", it does not matter who it is, what is important is that she is synonymous with beauty and love.
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Hanshui Linyang,
Flowers bloom on the levee warm.
Under the embankment,
Tears filled the clouds to the south.
The spring breeze is merciless,
Blow my dreams away.
I don't see the people in my eyes,
The days are long and the message is broken.
The love story in Li Bai's "Levee Song" is not about a sudden unrequited love. The heroine of the poem has obviously met and made love with her lover on the embankment before, and has a different agreement to reunite. In the spring, hundreds of flowers bloom on the embankment, and the climate is warm, which is the "good time" for the agreed reunion, but when the clouds are broken and the people are gone, the waiters can't help but burst into tears. The "good period" is wrong, only to send love to the dream, but "the spring wind is merciless, blowing my dream soul scattered", even the meeting in the dream is also blown away by the wind, so how embarrassing!
Li Bai (file photo)
The Folk Song of the Southern Dynasty Lefu "Midnight Spring Song" has the sentence "Spring Wind Is Full of Emotions, Blowing Me Luo Pei Kai", writing about the delicate psychology of a woman who is blown by the "Spring Wind" and stirs up spring love. Li Bai here means the opposite more easily, and the spring wind changes from "amorous" to "ruthless"; and the pleasant person who blows the wind "Luo Peikai" also becomes a frustrated person who blows the wind "dream and soul scatter". Li Bai also has a poem "Spring Thoughts", in which he chants: "Spring wind does not know each other, what is the matter with Luo Wei?" Here, the "spring wind" has become an uninvited guest who has never known each other, but has broken into the boudoir for no reason to stir up women's feelings. The same is the "Spring Wind", driven by the poetry of the Daytime Genius, each endowed with different Bixing functions, so as to perfect its own in the artistic conception.
The good time has been wrong, the dream has been dispersed, looking at the long sky, the "eye man" has been interrupted, and the mournful feelings of the waiting people on the levee have become more and more long-reaching and endless. This poem is elegant and fluent, the language is shallow and affectionate, and in many poems describing the love of the daughter of the levee, it appears to be more fresh and unworldly, more natural color of folk songs.
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For the sake of the southern tourists,
Move home to the levee to live.
Thousands of sails come,
Go through the door.
Zi Lan, the author of this "Xiangyang Song", was a poet of the late Tang Dynasty. The poem is also written about an infatuated woman who is struggling to watch over her lover on the levee. Her obsession was that, in order to facilitate the waiting, she had to move her home to the side of the embankment, so as not to miss the boats she expected from time to time on the river. Just like this, the moon and the moon are waiting, every day, "thousands of sails" passing in front of the door, is she waiting for the boat she wants? The poem ends abruptly at this point, leaving suspense.
This poem is somewhat familiar. If you think about it carefully, isn't it a "simplified version" of Wen Tingjun's word "Wangjiangnan"? Wen Tingjun's words: "Freshen up, lean on the river tower alone." Over a thousand sails are not, the veins of the oblique vein are leisurely..." Also waiting for people by the river, but also counting the passing boats on the river one by one, Wen Tingjun's words clearly say "over a thousand sails are not", although the poem does not explicitly say, but "thousands of sails" Since "all the sails go before the door", it did not stay, obviously not the ship that the heroine expected. This expression of wanting to spit back and swallow and not reveal itself does not satisfy the perfection of the story, but adds poetic implications.
It is said that it is a "simple version" because the artistic conception of WenZi is indeed richer and more complete: the heroine first grooms and dresses up, full of expectations, and after disappointment, there is the emotional contrast of the "intestinal break" sandbank, and the scenery of "oblique veins" is set off, which seems to be frustrated. However, the heroine of this poem, waiting for the ship on the river, did not hesitate to "move her family to live on the embankment", and by virtue of this move, if we talk about the depth of affection and the foolishness of watching, it seems to be better.
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I have written several articles about the depictions of the love story of the female by other poets in the Tang Dynasty. For example, Zhang Hu's dam girl, romantic in temperament and meticulous in mind, she specially chose to borrow the wind to help in the beautiful scenery of the spring river and the moonlit night, so as to meet with her lover. Tortoise Meng's big embankment girl, simple and warm, hospitality, and her gentle and kind little children's attitude is lovely and pitiful. Li He's woman, beautiful and gentle and sentimental, she uses the return sail as an excuse to keep her sweetheart from leaving; she also uses flowers and trees to symbolize the easy aging of life, suggesting that the other party should cherish the joy in front of her.
This Tang poem all vividly depicts the women with different styles, writing about their pursuit of love, the watchfulness of love, the sorrow of love, and the steadfastness of love. It may be said that the Han River embankment under Xiangyang City is a love embankment paved by Tang poetry.
Source: Xiangyang Evening News (January 21, 2022, 16th edition)
Author: Yan Aihua
Edit: Gao Yuan
Proofreader: Huang Yu
Review: Yang Mingyang
Final Judge: Cai Jianwei