The literary writing of the famous prostitute Sai Jinhua in the late Qing Dynasty

Judging from the literary writing of the theme of Sai Jinhua, there have been three climax periods in the past hundred years. The first period was before and after the Gengzi Boxer Rebellion, the second was in the 1930s and 1940s, and the third was from the 1980s to the present. Fan Zengxiang's "Caiyun Song" before and after was also deeply rooted in the hearts of the people along with the image of Sai Jinhua and became a classic masterpiece.

Fan Zengxiang's "Caiyun Song" was produced in the first period. Fan Zengxiang's "Caiyun Song" was composed in 1900 and 1904 respectively. After the advent of the works, Luoyang paper was expensive for a while, spread throughout the Beijing Division, and became well known, and Sai Jinhua also became more famous with the help of these works.

The influence of the two poems is not accidental, on the one hand, due to their artistry, on the other hand, from Sai Jinhua. "Former Caiyun Song" mainly describes the life of Sai Jinhua before the Gengzi Incident, selling himself as a prostitute, being concubined by Hong Jun, sending an envoy to the Western Kingdom, and returning to his old business after Hong Jun's death. The poem praises the beauty and wisdom of Sai's family, and the preface of the poem is as follows: "The heroine of the Ying Dynasty, aged eighty, the male and long Europe, the honor and harmony, the color in and out of the pepper court, the independence and the resistance, the taste of the emperor and sit and take pictures, the time is glorious." "The poem does its best to lay out the power to show the charm of Saishi. The poem praises his beauty as "the sea of the plutonium is amazing". Praising her for the glory of being favored by the Emperor, he compared her to the Han Dynasty female foreign family "Feng Yan", and also referred to dong Shuangcheng who served the Queen Mother of the West. Poetry: Lady Vajrayo Matsushou... Jinche Feng Yan also fell into the city. The crown is full of seven clouds, and Pan Dun Double Dragon gives treasure stars. Double into yade king's will, in and out of the pepper court to complete the ring pei. The concubines come and go when they are green birds, and the first three under the nine play the same game. The costume will be western vulgar, and the language always loves Wu Wamei. The food is partial to seafood, and the letter is also translated into English. These depictions highlight her beauty and talent, and render her momentary scenes and moods. This contrasted with her fall again after Hong Jun's death and various unfortunate encounters. From this, it also expresses Fan's sympathy and feelings for the fate of his characters. "After the Rainbow Cloud Song" was composed in 1904. The first half of the poem chronicles the atrocities of the Eight-Nation Alliance when it entered Beijing and the incompetence of the Qing government. After the pen turned to praise Sai's merits, the poem said: "Scolding the thief and scorning Mao Pity, entering the palace and praising himself as Master Li." Words and words have been fighting for a long time, killing people and chickens and dogs indiscriminately. Caiyun had a little bodhisattva heart and manipulated Yi Fang in his hands. Qiu Zhenxiu probed the red side of the money, and the knife was not forced to force the red-faced woman. The first letter of the qingcheng poet woman's words is stronger than the debater Qin Kou. The preface to his poem, Sai Shi urged the Germans to stop plundering a little, which can be described in detail. This poem describes Sai Jinhua in the context of the Gengzi Incident, and has always been regarded as a work of poetic history.

After the two poems came out, they attracted the attention of the world. According to Pan Feisheng's "Poetry in the Mountain Spring", the former "Caiyun Song" was just written, and it was recited by the Beijing Master, and it was compared with Wu Weiye's "Yuanyuan Qu". Li Zhiding said in the "Yiqiuguan Poetry": "This song is compared to the Meicun "Round Round Song", and it seems that there is not much to let go. "I agree with Fan's artistic level." Subsequently, the manuscript was published in major newspapers in Tianjin and Shanghai. As for the post-"Caiyun Song", Fan Shi seemed more proud, commenting to himself: "I claim to regard the front as a work, but the common eye does not know." But Shen Zi Peiyun's is Xiangshan, not Meicun, nor Muzhai. It's a connoisseur'. Dang Qingfan thought that the two poems were very different, the former song style was beautiful, and the latter song was sad and desolate, because the Country of Gengzi was broken, the world was vicissitudes, and although Cixi returned to Beijing, the small people in the dynasty were even more rampant. Fan Shan has a knot in his chest, so he borrows poetry to feel nostalgic. Fan Shan tasted that it was difficult to find the sound, and it was not yet possible. When people can compare Fan Shi with Xiangshan and Meicun, it is also evident in its status. Fan Shi inherits the Yuan Bai poetry system and merges with the poetic style of the times. In the late Qing Dynasty, narrative poetry was very developed, and the ranks of poets grew and there were many famous pieces. For example, Wang Minyun, Zheng Zhen, Jin He, Huang Zunxian, Qiu Fengjia, Wang Guowei, etc., all have excellent long narrative poems passed down. These works cultivate the reading habits of the people of the time, accumulate reading experience, form a vision of reading expectations, and also stimulate the poet's desire to create.

Before and after the "Caiyun Song" provides enough topics for the simultaneous and latecomers, including aesthetic tastes at all levels of society. Mainly speaking, there are the following aspects: one is how to recognize the image of Sai Jinhua and how to look at Sai Jinhua; the other is historical facts, such as whether Sai Jinhua took a photo with the British Empress, such as the relationship with Wadesi. It is clear that these topics have extended from literature to historical facts. Of course, in art, Fan Shi's description of Sai Jinhua's beauty and rendering of his life are inherited by the times and future generations. From this point of view, Fan Shi created a topic for the literary production and dissemination of the theme of Sai Jinhua in the future, which was really pioneering. This is also one of the reasons why it has a wider range of dissemination and greater influence, and has become a classic.

Before and after the "Caiyun Song" also stimulated the creative desire of the people of the time, competing to give poetry. Yuan Zuguang has ten Sai Niang Qu, Bi Ye Tang's main work Continuing CaiYun Song, Wang Jiarong's Cai Yun Qu, and Xue Xiuyu's Old Line, all three of which are long narrative poems and are also well constructed. This enthusiasm for creation continued into the 1930s, such as "Caiyun Qu" composed by Ba Ren, and Tang Bingzheng had "Caiyun Qu". Judging from the themes expressed in these poems, one of the "Caiyun Songs" is played before and after. Yuan Shi wrote about Sai Shi's affair with Hong Jun; the lord of Biyetang thought that Fan Shi was too gorgeous, and it was contrary to the purpose of gentleness and generosity to establish a biography for a prostitute. Xue Shi is a female poet, who can feel the suffering of women, and for Fan Shi, there are quite critical words, saying: "Celebrities and talents are always negative, and beautiful people are shameful." Wang Shi wrote it twice, the first half in 1900 and the second half in 1921. Wang Shi has similarities with Fan Shi, lamenting his origins and related to current politics, but relieving Fan Shi's erotic feelings and the ridicule of Sai Shi in the poem, and sympathizing with Sai Shi. Mr. Qian Zhonglian has a high evaluation of Wang Shi, thinking that his artistic achievements are higher than Fan Shi's, which is also a family statement. As for Xue Shi, Mr. Qian thought that Shen Bo was absolutely beautiful, but he did not arrest Fan Wang's second family, but Xiang Shi was too good.

Many poems and literati notes also discuss Fan shi and Sai Jinhua. There are those who interpret Fan's poems, and there are those who pay attention to historical facts. Pan Feisheng's "Poetry in Shanquan" focuses on the content and dissemination of Fan's poems; Chen Yan's "Yiyuan Cong" focuses on Hong Jun's life; Qiu Yulu's "Anecdotes of the Qing Dynasty" and Xu Yishi's "Essays on Ling Xiao Yishi" pay attention to the untruthfulness of the group photo of Sai Shi and the Empress Ying; Xu Ke's "Qing Barnyard Bills and Prostitutes" details Fan Shi's account of Sai's imprisonment for forcing him to die; Guo Zehuan thinks that Fan Shi's narrative of Sai's persuasion to rebel against the people is a history of faith; Wang Yuchang's "Poetry of National Shame" feels this, believing that the fate of the country is a great shame and great humiliation for Sai Shi. Li Zhiding's "Poetry of Yiqiuguan" comments on the artistic value of poetry; Guo Zehuan's "Poetry of the Ten Dynasties" is an interpretation of Fan's poems; and Long Muxun's "Records of Enduring ColdNess" is an identification with the theme of Fan's poems. These are the best annotations of Fan's poems, which also shows the breadth of their influence. These are all recorded after Fan Zengxiang's "Caiyun Song" article before and after Mr. Qian Zhonglian's "Chronicle of Qing Poetry" (Guangxuan Volume).

At the end of the Ming Dynasty and the beginning of the Qing Dynasty, the creation of novels with the theme of Sai Jinhua also played a role in promoting the spread of Fan poetry. In 1902, Zeng Pu created "Evil Sea Flower" and serialized it in Jiangsu magazine. Later, it was printed and published separately, and the sales volume reached 50,000 copies, which was very impressive. After Zeng Pu, sequels include Lu Chen's "New Iniquity Sea Flower" (1912) and Zhang Hong's "Continuing Evil Sea Flower" (1934). In addition to novels, plays and stage performances are also endless. Stage plays such as Yuan Quyuan's "Golden Flower Dream" in the 1920s, Xun Huisheng's "Sai Jinhua" in the 1930s, Xin Yanqiu's "Lady Zhuangyuan", and Shaanxi Yi Folk Society's "Summer Palace" and other stage plays. Of course, there is also Xia Yan's script "Sai Jinhua", which has aroused heated discussion.

In the 1930s, Fan's poetry was classicized thanks to newspapers and periodicals. In fact, the image of Sai Jinhua that was created at that time was included in Fan Zengxiang's "Caiyun Song" before and after, whether it was style or patriotism. A typical representative of this period is Xia Yan's drama "Sai Jinhua". After the play was staged, the response was strong, and many newspapers in Shanghai at that time had comments and discussions on the play, not only that, at that time, Shanghai, Beijing and other newspapers positively evaluated Sai Jinhua's actions when the Eight-Nation Alliance entered Beijing, commended his patriotic spirit, and regarded it as a pioneer in the female world. Such an evaluation was undoubtedly influenced by the political environment and elevated The image of Saishi. Still, the publicity piqued concern about Sai Jinhua's real and embarrassing life. It can be said that the press at that time directly raised another climax of Sai Jinhua's acceptance. Xia Yan's "Sai Jinhua" and the media at that time created a new image of Sai Jinhua, and sympathy for his fate and patriotism were definitely the main theme of this period.

In the third period, the novel was the main form of creation of the theme of Sai Jinhua, and together with the adapted TV series and dramas, it formed an acceptance field. Jin Dongfang's Sai Jinhua, Ke Xing's The Legend of the Famous Prostitute sai jinhua at the end of the Qing Dynasty, Ah Cheng's Peerless Style, Retelling the Great Qing Dynasty Sai Jinhua, Wang Xiaoyu's Sai Jinhua Fan Chen, and Swiss Chinese writer Zhao Shuxia's Sai Jinhua. Recently, another drama "Magnificent Style" was staged. These works are either concerned with history, or politics, or with the love affairs of men and women, but they are mostly sympathetic to the suffering of Saishi. For example, the article "A Brief Analysis of the Image of Sai Jinhua in Literary Works" believes that Sai Jinhua should be a sympathetic "strange flower", not a "sinful flower" that has been repeatedly destroyed by posterity.

The writing of literary history undoubtedly laid the foundation for the status of "Caiyun Qu" in literary history before and after. In fact, as early as the 1930s, Qian Jibo introduced Fan Zengxiang and the Caiyun Qu in detail in the "History of Modern Chinese Literature", and entered the full text of the two poems into the book. Several popular "History of Ancient Chinese Literature" and "History of Modern Chinese Literature" have made positive evaluations of the two poems, believing that they are famous long narrative poems in modern times. Local literary histories such as the "History of Hubei Literature" also set up a special section to introduce Fan Zengxiang's poems. As for the anthologies of works, those with greater influence, such as Guo Yanli's "Selected Poems of Sixty Modern Dynasties" selected 3 poems by Fan Zengxiang, and "Houcaiyun Qu" is one of them; for example, Qian Zhonglian's "Modern Poetry Banknote" recorded "Former Caiyun Qu"; regional works such as He Yaxian's "Selected Poetry of Hubei Dynasties" recorded "Former Caiyun Qu".