Amazed by the underwater Roselle, do you know her past life and this life?

Henan Satellite TV Dragon Boat Festival Program - Cartoon Version of Dance "Prayer". Courtesy of Visual China

Recently, the underwater dance of the Henan Satellite TV Dragon Boat Festival was amazing to the fans, and the beautiful and beautiful dance posture interpreted the Roselle of "Flying like a surprise, graceful like a dragon" like a dream. As the most famous goddess in China's ancient literary works, the image of Princess Luoshenmi is largely due to the shaping of Cao Zhi's "LuoshenFu". The source of Cao Zhi's inspiration is not the beautiful Zhen, but the romantic Qu Yuan and Song Yu. The original identity of Mi Fei was not that of the Eastern Water Goddess, but of the Western Goddess.

First Qin Xi out of Kunlun

Qu Yuan, in his lyrical poem "Leaving sorrow", once expressed his admiration for Concubine Mi, "I order Fenglong to ride on the clouds and ask for the place of Concubine Mi", let the cloud god Fenglong ride the clouds to find Concubine Mi, the daughter of Fuxi, "make The cultivation justify", and ask the minister of Fuxi to act as a matchmaker for the elder of the moon. However, Princess Mi's attitude was non-committal, "there is always a disagreement, and it is difficult to move", and the words are quite ambiguous, and the behavior is quite improper, "Bao Yumei is proud, Ri Kangyu is obscene", Qu Yuan finally went away disappointed, "although he believed in beauty but was rude, he came to disobey and change his demands".

Although the "Departure from Sorrow" does not clearly state who Mi Fei is sacred, some scholars have deduced from the two sentences in the poem that "Xi Gui is inferior to poor shi Xi, and Chao Mao Fa Is Huan Pan", and deduces that the poor stone where Mi Fei lived was the birthplace of the weak water in the north of Kunlun, and the Mi Fei Mao washing hair of The Shui Pan Water originated from the last mountain in the western fourth column of the Mountain System in the "Classic of Mountains and Seas and the Four Classics of the Western Times", thus judging that the early Mi Fei myth was closely related to the Western Kunlun Mountains.

Qu Yuan also said in the "Heavenly Question" that Luoshui has a water god, "The emperor descended on Yiyi, and the evil Xiamin was reformed." Hu Zhifu Hebo, and his wife Piluo Concubine", the king of the poor country Hou Yi seized the throne of Taikang, the son of Xia Qi, abused the people of the Xia Dynasty, and then shot Hebo and occupied his wife Luo Shuishui Shen Luo Concubine.

In qu Yuan's pre-Qin period, the images of Concubine Mi and Luoshen had already appeared, but they belonged to Kunlun in the west and Luoshui in the east. Until the Western Han Dynasty, Concubine Mi and Luoshen, who did not know each other and did not know each other, began to merge into one.

The two Han Dong went to Luoshui

The image of Concubine Mi in the Western Han Dynasty literati is still as gorgeous and sentimental as portrayed in Qu Yuan's "Leaving sorrow". Sima Xiangru's "Shanglin Fu" praised the grandeur and magnificence of Shanglin Garden, and the palace women who served Tianzi were like Concubine Mi, "absolutely extraordinary, enchanted, and beautiful makeup", which made people "give souls and souls, and their hearts were happy on the side", and their hearts were fluttering and it was difficult to sustain themselves. Yang Xiong's "Ganquan Fu" says that when wishing the queen mother of Kunlun West a happy birthday, he must be extremely pious and eliminate distractions, "ping jade girl but mi concubine", so that "the jade girl has nothing to look at her clear, and the concubine has not been allowed to use her moth eyebrows", so as to avoid being confused by the jade girl Qiu Bo and Mi Fei E's eyebrows.

The migration of Luoshen's origin from Kunlun to Luoshui appears in Yang Xiong's "Feather Hunting Endowment", which has the phrase "Whip Luoshui's Concubine, QiQuyuan and Peng and Xu", which clearly merges Concubine Mi and Luoshen into one. In tribute to Qu Yuan's "Nine Songs", Liu Xiang inherits Yang Xiong's new positioning of the goddess Of Luoshui, also known as "Welcoming Concubine Mi in Iloilo".

The eastern Han Dynasty fixed the capital luoyang, and even affirmed Yang Xiong and Liu Xiang's view that concubines were from Luoshui. Wang Yi, in his annotation to the Chu Ci Zhanggu, said, "Concubine Mi, goddess, water spirit of Gailo". Zhang Heng recalled the history of the founding of Luoyang in the "Tokyo Endowment", saying, "Mi Fei Youguan, the god uses Tingji; the dragon map is given to xi, the turtle book is a concubine", it is precisely because luoshui has appeared in the residence of concubines, dragon horses spread Fu Xi Bagua, the god turtle gave Dayu Tuwen and other auspicious rui, when the Western Zhou Dynasty built Luoyang as the eastern capital, today the Eastern Han Dynasty is determined to move the capital from Chang'an to Luoyang.

In "Si Xuan Fu", Zhang Heng completely stripped Mi Fei from the Western Kunlun mythological system, "carrying the jade girl of Taihua, summoning the concubine of Luopu", writing that on the way to Kunlun in the west to meet the Queen Mother of the West, he met two goddesses of enchanting and radiant posture. Concubine Mi and Jade Girl "Xian Jiaoli expressed her admiration for Zhang Heng with her charming, increasing her eyes and moth eyebrows", but Zhang Heng was not confused by the beauty, but "although the color was bright and beautiful, the ambition was vast and not Jia", and he went all the way to the west without nostalgia.

Princess Mi's beauty and affection also made folk women wary and wary. In the nineteen ancient poems, "The Age of Rin" has the sentence "JinYuan left Luopu, and the robe is against me", writing that the wife is worried that her husband who has traveled far away has met a woman as gorgeous as a concubine, chooses a new joy, forgets the love of sharing with his wife's robe, and does not return to his hometown for a long time.

It was not until cai Yong's pen at the end of the Eastern Han Dynasty that Concubine Mi began to get rid of her gorgeous and enchanting image. In the autumn of the second year (159) of Emperor Huan's reign, it was the most chaotic "Huan Ling Time" of the Eastern Han Dynasty, when Cai Yong was forcibly recruited by eunuchs to play the piano in Luoyang, and when he walked to Yanshi near Luoyang, due to illness, he "did not return home", and wrote "Shu Xing Fu", which contained the words "Wanting the Spirit of Concubine Mi, and the Divine Shadow hidden with The Hidden Spirit", and the beautiful and clear brilliance of Princess Luoshen was deeply hidden, alluding to the darkness of reality. Cai Yong's reconstruction of the image of Concubine Mi undoubtedly profoundly inspired Cao Zhi 63 years later.

The Three Kingdoms Cao Zhi met

In the third year (222) of the reign of Emperor Wen of Cao Wei, Cao Zhi, who had lost the competition for the throne, made a pilgrimage to Luoyang, the capital of The Capital, passed by Luoshui on his way back to the fiefdom, remembering that "the ancients had a saying, and the name of the god of Sishui was Princess Mi", and feeling that "Song Yu said the thing about the goddess to the king of Chu", he could not help but be moved by his heart, thinking about it for a thousand years, and writing "Luoshen Endowment".

Under Cao Zhi's pen, Princess Luoshenmi is not only magnificent, like "the moon of light clouds", "the return of the wind", "the sun rises in the sun", "the scorching of the fu fleur out of the waves", the face is unique, "the shoulders are cut, the waist is like a covenant, the neck is stretched, and the quality is exposed"; it is also "quiet and leisurely", Duan Shu is elegant, "the faith of the beautiful people, the practice of Qiang and the poetry", and the beauty of the outside. Princess Mi, who has both neimei and cultivation, "does not spit out words, is angry like Youlan, Huarong Wanna, makes me forget to eat", making people not think about tea and rice. Sima Shao, the Ming Emperor of the Western Jin Dynasty, created the first "Luoshen Futu" based on Cao Zhi's writings. The Eastern Jin Dynasty painter Gu Kaizhi's "Luoshen Futu" made a more expressive image expression of "Luoshen Fu", but unfortunately the authentic manuscript is no longer seen, only the Facsimile of the Song Dynasty has been handed down.

In the face of the beautiful and affectionate and noble concubine image remodeled by "Roselle Endowment", not only Cao Zhi who "made me forget to eat", but also countless literati and inkers in later generations, who accidentally broke the vinegar jar and caused human life.

According to the Tang Dynasty Duan Chengshi's "Youyang Miscellaneous Tricks", Liu Boyu, a scholar of the Western Jin Dynasty, often recited the "LuoshenFu" in front of his wife Duan Shi, and read it to the fullest, saying to Duan Shi, "Marrying a woman like this, I have no regrets." Duan Shi was "sexually jealous", and after hearing it, he was jealous, "Why does Jun want to lighten me because he is good to the water god?" If I die, I am not worried about the god of water", saying that he went to the water that night and "died by sinking himself". Seven days later, Duan Shi Tuomeng gave Liu Boyu a dream, and since fuJun liked the water god, now I "have to be a god" and can come to meet quickly. Liu Boyu "slept and realized", woke up and remembered the things in his dreams, and was frightened that he would not cross the water again for life. After Duan Shi threw himself into the water, his jealousy was still there, and he made waves in the river. Beautiful women must wear bad clothes and makeup to cross the river, otherwise there will be a "storm outbreak", ugly women even if they wear heavy makeup, so that there are good people choreography cloud "desire a good woman, stand in Tsukou; women stand on the water, good ugly self-manifestation."

Sheng Tang Zhen possessed

During the Sui and Tang dynasties, the image of Princess Luoshen began to overlap with Cao Zhi's sister-in-law Zhen. In his commentary on the LuoshenFu in the Anthology of the Early Tang Dynasty, Li Shan said that when Cao Zhi pursued Zhen, Cao Cao married Zhen to his brother Cao Pi. Cao Zhi "is uneven, thinking day and night, sleeping and eating". In the second year of the Huang Dynasty (221), Zhen was killed by Empress Cao Piguo's rumors, and Cao Pi repented of his mistake and asked the crown prince Cao Rui to give his mother Zhen's relics, the golden jade, to Cao Zhi, who entered The capital the following year. Cao Zhi "saw it, did not feel weeping", and when Donggui passed through Luoshui, he missed Zhen so much that he met him in a dream, "sorrow and joy cannot overcome themselves", so he composed "Sense of Zhen Endowment". After the crown prince ascended the throne as Emperor Ming, he changed the "Sense of Zhen Fu" to "Luoshen Fu".

Although later historians have long examined this matter as nonsense, the statement that the image of Concubine Mi in "Roselle" is Zhen has since become almost a general theory in the literary and art circles. The poet laments the tragedy of Cao Zhizhen's love, especially Li Shangyin.

In "Lamentable", Li Shangyin borrowed "Concubine Mi sat in the Zhitian Pavilion and exhausted the Eight Dou talents of Chen Wang", sighing that the spring light and flowing water urged him to entertain himself and his lover. In "The King of Dong'a", Li Shangyin laments Cao Zhi's fate, "The king must not be the son of heaven, half for the god of Luo at that time", believing that Cao Zhi self-destructed his future because of his love for Zhen. In "Private Gifts from the Wei Palace", Li Shangyin expressed his affection to Cao Zhi with the mouth of Cao Wei Palace, and comforted Cao Zhi's sadness, "When the West Pavilion obstructs the good period, go to the Later Zhanghe River to dream; knowing that there is infinite intention of Concubine Mi, Chunsong Qiuju can be at the same time."

Li Shangyin once crossed the Luoshui River, remembered Cao Zhi, hung the ancient wounds, and wrote "Wading In Luochuan", "Tonggu Yanglin did not see anyone, I came to hate the ancient Shichun; Concubine Mi had endless hatred, and did not kill Guanjun for the king", lamenting that Concubine Zhen failed to remove the traitorous minister Guanjun for Cao Zhi, so that Cao Zhi was framed and degraded by him. In "Untitled , The East Wind and Drizzle", Li Shangyin even used "Concubine Mi to stay pillow Wei Wangcai" to stimulate the infinite feelings of "spring heart is not a common flower, an inch of acacia is an inch of ash".

Men and women in the Ming and Qing dynasties are indistinguish

In the legendary novels of the literati, Zhen's feelings are more independent. The Tang Dynasty Pei Chun legend "Xiao Kuang", writing that Zhen was touched by Xiao Kuang's piano sound, out of LuoShui met with it, a night of "reeling the eternal sunset, feeling free to meditate", but also Cao Zhi's "Luoshen Endowment" in the pearl, Cui Yu to Xiao Kuang. I don't know if Cao Zhiquan knows, why is it so bad?

At the beginning of the Qing Dynasty, Pu Songling was influenced by Pei Jun, and wrote the article "Zhen Hou", borrowing the record of Liu Zhen being imprisoned by Cao Cao for "looking at" Zhen shi in the "Romance of the Three Kingdoms", and wrote that Zhen Shi was obsessed with Liu Zhen, who had only one side, and even went so far as Liu Zhongkan of Los Angeles after Liu Zhen's reincarnation to "dissolve the candle and make a good song", and promised him personally and "chatted to repay his love".

In the novel "Concubine Mi" by The owner of the MenghuaLou, Cao Zhi became a negative person. The novel writes that the luoshui kingdom is invaded by the evil god Duan Mingguang, and the princess of Luoshen asks Cao Zhi, who was reincarnated as the king of the Kingdom of Shasu, for help, but Cao Zhi is cowardly and incompetent, and refuses to send troops on the grounds that the grain and grass are not good. Princess Mi only turned to the human Luoshui Shusheng for help, and finally with the help of the heroic Luoshui Shusheng, she repelled duan Mingguang's enemy.

During the Ming and Qing dynasties, Roselle was not only emotionally autonomous, but also gender could be replaced.

At the end of the Ming Dynasty, Liu Ru, a talented woman who was "sexually alert and bold", was in love with Chen Zilong, who was known as the "Ming Poetry Temple Army" and "the first word person of the Ming Dynasty". Chen Zilong once wrote poems "In the Zhitian Pavilion, you should be sad, and you should hate the pearl for sleeping late" and "The vain pity flows forward to the Zhitian Pavilion, and Mo recalls the Chen King Fuli people", comparing Liu Ru to Luoshen.

In the late autumn of the seventh year of Chongzhen (1634), Liu Ru wrote "Male Luo Shenfu" based on Chen Zilong, praising Chen Zilong for "shangjie wind of the wind, carving the delicate smile of danyang; slashing and difficult to add, and discordant and incomprehensible", "Ernai se pleasure divine teaching, and body decoration; Qi Fenxun's yi posture, the uniqueness of xin wanjia", boldly expressing his strong admiration and fiery pursuit of Chen Zilong, highlighting the awakening of women's independent consciousness at that time.

After the death of ming, Chen Zilong rebelled against the Qing Dynasty, was arrested because of the secret opportunity, escorted to Nanjing on the way to righteousness, and was martyred in the suzhou ancient canal across the Tang Bridge, and finally lived up to the reputation of "male Luoshen".

(The author is a Ph.D. in History, Chinese Min University)

Wu Peng Source: China Youth Daily

Source: China Youth Daily