The Jiangnan complex in the Qing Dynasty Western Poetry

Author: Zhou Yanling (Associate Professor, School of Chinese Chinese Literature, Xinjiang Normal University)

The geographical scope of "Jiangnan" and "Xiyu" has changed many times in history, but the cultural character behind them is relatively stable, and it has become a highly mentioned and highly representative pole in the pattern of regional pluralism. The collision of western regions and Jiangnan regional cultures is a very interesting phenomenon in literary creation, and this phenomenon has appeared since the Yuan Dynasty. For example, Sadula, who is known as the "Crown of Yuan Poetry", lived in Hangzhou and other places in his later years, and often likes to write about the scenery of Jiangnan, which is a typical example of the fusion of northern and southern literary styles. In the Qing Dynasty, this situation was even more prominent, the difference was that the phenomenon of the literati living in Jiangnan in the Western Regions was reversed, and a large number of Jiangnan literati who lived in the Western Regions appeared. In addition to serving as officials, these literati wrote about the scenery of the western region on the one hand, and on the other hand, expressed their longing for Jiangnan, formed a unique creative landscape, and influenced the poetry of other non-Jiangnan literati. We'll explore that.

The disciples of "West Out of Yangguan" integrate the rough and bold spirit of the Western Regions with the gentle and delicate Jiangnan culture in their poetry creation, so that the Western Poetry of the Qing Dynasty shows a new look. For example, in the forty-sixth year of Qianlong (1781), Zhuang Zhaokui (1726-1798), a native of Jiaxing, Zhejiang Province, dispatched Yili for an incident. When the poet had not yet left Jiayuguan, he lamented that "suddenly the postal pavilion outside the Sai Sai, the birds mourn and cut the weak plume" ("Out of Jiayuguan Jixing Twenty Songs", the ninth). Zhuang Zhaokui lived outside sai for eight years, and his homesickness was always filled with a series of Jiangnan writings, such as the poems "Yongjia Wind and Rain Talking about the Night" and "He Angelica Zhejiang Tide" in the poem "Snow Dynasty About the Same People Xiao Dinner, Xu Shuyu Can't Arrive Due to Illness, Walking and Asking". In the poem "Idle Clouds", he looked at Yun Xing and sighed: "How to sing the angler, do not share the water and cloud town." Wuqu stopped the boat dream, and the peak was high to collect medicinal incense. In the recollection of the scene in Jiangnan, the poet's deep attachment to his homeland is revealed. Zhuang Zhaokui was promoted to Yili Fumin Tongzhi during the period of dispatch, and his identity was changed from a deposed member to a local Wupin official, but the change of identity still did not dispel his homesickness, and he planted flowers in a special room in the office, and placed his thoughts on Jiangnan: "I planned to float to the heavens and han, and Ling Feng went straight down to Jiangxiang." ("Yu Yu Yu Xi Zhi Garden Art Flower and Boat Building Room") Similar expressions are very common in the Qing Dynasty Western Poetry. For example, Zhuang Zhaokui's friend Chen Tingxue (1739-1803) shiyun: "Listen to yue yin si, and seek to return to Yan Zhenzhen." He Dang returned to the country of Ze and took advantage of the people of Ze. Chen Tingxue is a native of Wujiang, Jiangsu Province, who is a native of Daxing Wanping, so in his poems, he also naturally uses "Jiangnan" as his emotional sustenance for his return. Shi Shanchang (1768-1830), a native of Shanyin, Zhejiang, saw the snow scene after coming to the Western Regions, and touched the scenery with affection: "The account is revoked and the golden pity is plugged, and the whip is knocked on the warm jade to remember jiangnan." Jiangnan is full of wind at this time, and the figure of a banana shirt is thin. ("Heavy Snow on the Second Day of the First Day of April") The poet saw the rain outside the Sai and wrote a poem: "Drunk, I don't know where I am, and when the flowers fall, I am in Jiangnan." "("To the Rain") Whether it is a snow scene or a rain scene, it cannot erase the thought of Jiangnan. Zhu Balsong (year of birth and death unknown) "Yijiang Miscellaneous Songs" is also full of this self-pity meaning of "Jiangnan tired guest": "Listen to the song of the eastern neighbor moon half sink, where yangchun finds zhiyin." Jiangnan disciples bian guan old, singing broken Kunshan tears. Hearing the familiar Kunqu opera outside the sai evokes the poet's thoughts of "cutting constantly and rationalizing the chaos", and now he can only find a trace of psychological comfort in his memories of Jiangnan: "Listening to songs and wanting to gamble on double singing, the intestines break the old restaurant in Jiangnan." In addition to generalized writing, poets also weave Jiangnan thoughts from a microscopic perspective, and representative Jiangnan famous objects frequently appear in their pens. Such as "West Lake", Chen Yin (1740-1814) "Nazhongfeng General Town Office open and head Lotus Jirui": "There is no need for the West Lake in June, and the purple plug is different from the red." Huang Mao (1779-1866) "Snow Night Xiao Yin Chased The Second Jiang Baishi Snow Six Interpretation Rhymes Sent to the Third Brother of the Present Tree and cambodia Song Junting Mountain MingFu": "The old man did not dream of going to the West Lake, but drew a snow hunting map of the Tianshan Mountains." Such as "Lettuce perch", Chen Tingxue's "Four Songs of the Ancestral Stove Day Shouxu Garden" Cloud "The soil wind can be but the perch is beautiful, the desert knows the rice and crab fat", using Zhang Han's "Thoughts of the Perch" to refer to Jiangnan with the sea bass. Such as "Six Bridges", Chen Tingxue's "Late Spring Accompanies Fang Laiqing to Observe You De's Garden": "Recalling the scenery on the lake in his hometown, the high car looks at the side of the Six Bridges." Zhong Guangsheng (1876—?) "Mid-Autumn Festival": "The Golden Dream of the Bright Moon of the Six Bridges, just as Clear and Bright To See." These specific objects have become the carrier of the poets' diversified expression of Jiangnan complex.

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The main body of the Expression of the Jiangnan Complex in the Western Poetry of the Qing Dynasty is not limited to the Literati of Jiangnan Origin, such as Shu Qishao's (1742-1821) "Listening to the Snow Collection" has many poems involving Jiangnan: "Xiling has been hindered by the return of the mountains for ten years, and the water station has been carefully explored." Today's drawing is re-introspective, and several times the song pillow dreams of Jiangnan. ("Title Leng Xiang Painting Mei Four Songs", the third) "I have been dreaming of dust for ten years, and I hate Yangzhou for no reason. ("Xie Shu Mengting Champion Gives Peony Medicine Six Songs") "Wu Shan Yue Shui Bi Yan, gambling to win the double beard wine and half drunk." Today's song cannot be heard, and the broken intestines are in Jiangnan. Shu Qishao is a native of Renqiu, Hebei, and the homesickness expressed in his poems during his life in Ili does not directly point to his hometown of Renqiu, but is replaced by Jiangnan. Yang Tingli (1747-1813) also shows the inextricable Jiangnan complex in his poems: "There is a bullet crown celebration in the east, and a good Qianxi Lake washes the cold dust." ("Donor To Qing Observation") "Three spring flowers and birds tiannan dream, August frost saibei sorrow." ("Spring Huai") "Travel huai is prone to desolation, and recalls the orange grapefruit yellow of Jiangxiang." Shu Qishao was once in Changxingzhi County, Zhejiang Province, in the sixtieth year of Qianlong (1795), and this experience became one of the reasons why he liked to write about Jiangnan in his poems. For Yang Tingli, who grew up in Guangxi and served as the prefect of Taiwan for a long time, the performance of jiangnan scenery in his poems is also so easy to grasp. It is worth noting that the "Jiangnan complex" in the Western Regions poems of the Qing Dynasty is not unique to Han intellectuals. In the Qing Dynasty, there were many ethnic minority writers in the western region due to reasons such as officials, envoys, and who were shu, and jiangnan writing also became their group choice. For example, the Manchu Tiebao (1752-1825) shiyun: "Walk to the best place in the creek and mountain, and remember Jiangnan during the apricot blossom season." ("Spring Day") "Overheard SaiYuan's chagrin song, and Xiao Feng remembered Jiangnan. ("Chezhongkou Zhan" Part 4) Chagrin Song is the name of the Song of Wu Sheng, also known as the Song of Chagrin, which originated in the Southern Dynasty Jiangnan folk and wrote about the distress of men and women after their love was frustrated. After hearing the love songs of the ethnic minorities in the Western Regions, Tie Bao stirred up his reverie about Jiangnan's chagrin song. Another example is the poem of shu min (1777-1803) of the Manchu: "I vaguely remember Jiangnan Road, and the water station and mountain journey are full of incense." ("Plum Blossom Six Songs , Reminiscence of Mei") "Song skirt dance fan remembers Yangzhou, cai sheng Zhu Fu pressed the head." The apricot shirt is light and the wind is soft, and he smiles and looks at the dragon boat with red sleeves. ("Four Pieces of Duanyang") From these poems, it can be seen that Jiangnan has become a common spiritual home in the hearts of literati and doctors of all ethnic groups, which is also a vivid interpretation of China's pluralistic and integrated culture.

As far as historical reality is concerned, the emergence of the Jiangnan complex in the Western Regions poetry of the Qing Dynasty is first of all due to the huge number of Jiangnan literati who live in the Western Regions. Wei Peijin (1757-1808) "Guiying Quinoa Fang Bo Jingzhao with Miao Shenpu Taishou Jin Mid-Autumn Ya Collection from the Two Poems of Yi Zhai and The Second Rhyme (Part I)" "Wu Nong Xiang Wants to Be Proud" Under the sentence "Wu Nong Xiang Wants to Be Proud" He once said: "Shi Yili Duoxiang ancestors. "Wang Tingkai (1745-1830?) during the Jiaqing period. He also lamented that "there are many people in Jiangsu and Zhejiang" ("Ying Yin Xinzheng Two Days Recruitment Fan Collection"). After Shi Shanchang arrived in the Western Regions, he recorded that he and his friends "gathered together at the end of the world, and the earth sounds were practiced, and they were also in the Yu Yu Society" ("Miscellaneous Records of the Wheel Platform"). Because of the large number of Fellow Villagers in San'in, he even had the illusion of being in his hometown. Zhu Baosong was also attending hometown gatherings from time to time outside Sai, leaving behind the words "the hometown is not close to each other, and the smile is new" ("The Hometown Visits the Sentiments"). This all shows that there were many Jiangnan people who came to the western region at that time, and Jiangnan culture was also imported into the border area, which improved the cultural quality outside the Region.

On the other hand, as shown in the previous example, the Qing Dynasty Western Poetry often uses the "Jiangnan complex" to allude to the thought of the hometown, and this expression has its origins, going back along the vein of literary history, and its source points directly to Yu Xin's "Wai Jiang Nan Fu". Although the ideological connotation of the "Jiangnan Complex" in the Western Regions poems lacks the political meaning opened by "Lamenting the Southern Fu of the Southern Part of the Jiangsu Province", these poems have a stronger emotional impact due to the geographical distance between the Western Regions and Jiangnan, which has a unique profoundness of touching people's hearts. It can be seen that whether it is a general or specific pronoun, the Jiangnan complex in the Qing Dynasty Western Poetry has a strong metaphorical characteristic, after a long period of historical accumulation and cultural inheritance, "Jiangnan" has transcended the concept of region and sublimated into a cultural symbol that embraces fixed feelings and a cultural symbol in the general sense. As Mr. Zhou Zhenhe said: "Jiangnan is not only a regional concept – a concept that changes with the expansion of people's geographical knowledge, but also has economic implications – representing an advanced economic zone, and at the same time a cultural concept – looking into a range of cultural development." In a cultural sense, the unique scenery of "Jiangnan" and the developed economy and culture make Jiangnan a map of the soul with unchanged color in the minds of the literati, an imaginary carrier of dreams and beauty, and a gentle cultural character. As a result, Jiangnan has the cultural bearing of "spiritual hometown", which is intertwined with the geographical perception of poets who have personally experienced the border plugs, which soothes the sorrow and loneliness of the Western Regions scholars in the Qing Dynasty who "have a cup of turbid wine and a thousand miles of family", and also constitutes a unique landscape in the history of ancient Chinese poetry.

Guangming Daily ( 2020-08-03 13 edition)