'spring water is born, spring forest is in full bloom, spring wind is ten li, not as good as you. 'it comes from' its thirty 'in the twenty fourth & lt; great joy & gt; of the thirty Sixth National Congress of Feng Tang (Feng Jinxian). Although Feng and Tang have been very popular in recent years, I don't know when the spring breeze began to spread. The word "ten li in the spring breeze" suddenly became popular. In the circle of friends and microblog, it's all "not as good as you", which is more popular than the author. Later, Mr. Lu's spring wind ten li and Zhang Yishan's TV play "spring wind ten li is inferior to you" became popular all over the country. However, we don't think that the real source of the spring breeze is from Du Mu's poem: "the spring breeze is ten li Yangzhou Road, and it's not as good as rolling up the bead curtain." so, what is the spring breeze ten li worth discussing?
Photo source: screenshot of Weibo
After having a look at it, I think that they seem to have made some misunderstandings about the literati's life and words in the Tang Dynasty & hellip; & hellip;
Is Du Mu's poem about whoring? That's right
Two farewell songs (one of them)
More than thirteen graceful curls, cardamom peak in early February.
Yangzhou Road, ten miles in the spring wind, is not as good as rolling up the Pearl curtain.
"Four part series" photocopies the Ming and song editions of "Fan Chuan anthology".
(please allow me to Tucao, as one of the most famous poems in ancient Chinese poetry, and even in many works selected by many children to recite ancient poetry. If this poem is regarded as a terrible culture, then the cultural level seems to be a bit low. )
'ping' and 'ni'o' in the poem are both words describing women's light and slender body. 'over thirteen' means a little over thirteen. 'cardamom' means' cardamom '. The 'cardamom' in ancient poems is not the Amomum plant of the ginger family, such as the grass fruit and Amomum, but the Alpinia hainensis plant of the ginger family. In February of the lunar calendar, the flowers of these plants are still in bud. They are small and bright in shape, and the upper part of them looks like a woman's breast. The ancients commonly known as the 'pregnant flowers', often use them to describe girls. The main idea of the last two sentences of this poem is that no matter where the geisha and dancer are in Yangzhou ten li under the spring wind, the curtain with jewels on it for people to see is not as good-looking as the girl mentioned above.
But the background behind these beautiful words & hellip; & hellip; yes, the 13-year-old girl who is about to leave the author and the beauties behind the rolling curtains on the "ten li Yangzhou road" mentioned in the poem are all female opera indeed.
Du Mu, a top poet, adores and even 'whores' the 13-year-old daughter, which is regarded as rape by modern legal concept, which is extremely contrary to contemporary morality. Some netizens probably can't bear to see the connection between Du Mu's famous articles and the things that are disgusted by people today, such as pedophiles. They say that Du Mu and other literati love "Ji", not "prostitutes", while "Ji" is not for selling.
However, from the perspective of handed down documents, this kind of defense is totally untenable. In terms of the common meaning of "female Ji", the relationship between "Ji" and "prostitute" is completely different, and there is no difference in sound and meaning. Duan Yucai, the most famous philologist besides Xu Shen in the history of ancient Chinese philology, explained the meaning of "prostitute" in his representative work "Shuowen jiezizhu": "today's custom uses the word for female prostitute". '
Shanghai Ancient Books Publishing House photocopies the original version of Duan Yucai's Shuowen jiezizhu.
(Xu Shen initially interpreted "prostitute" and its variant character "姕" as "little woman". The exact meaning of this sentence is not clear. The "small things" here may refer to the small things in life, or the personal articles without the function of etiquette, or the small things. Each explanation is in line with the grammar. Due to the lack of context, it is difficult to interpret accurately. )
Prostitute system in ancient China
In ancient times, "prostitute" mainly refers to "Yueji", whose meaning is not exactly the same as that of "prostitute" in modern times. In the ancient society with strict hierarchy, except for the rulers, landlords and gentry, some civil servants and religious clergy, the occupations that did not directly engage in production activities were generally discriminated by the system. The people who live on singing and dancing are always in the boundless scenery in modern times, but they were once in the official position of "bitch" in the middle of the middle ages. They are mainly composed of the descendants of criminals, prisoners of war and other people with very low social status, and they will be included in the "music book" for generations, so they are hard to turn over in the very low social status. The family included in the music books is called "prostitute family" (also called "advocate family"), among which the female musicians are collectively called "prostitutes".
At that time, "prostitute" was a general term for practitioners of such low social status occupations, which did not directly have a derogatory emotional color. This can be compared with the modern "intellectuals", "scholars" and "postgraduates". There are four kinds of female prostitutes in Tang Dynasty: Palace prostitutes, official prostitutes, civilian prostitutes and domestic prostitutes (some people think that there is also one kind of "business prostitutes" in the "official prostitutes", so it can be divided into five kinds). The women's roles, social status and economic relations are different, but their main business is performing music such as singing and dancing, instrumental music and so on. As for whether to provide other sexual services, it depends on the requirements of the officials, bustards, fake fathers or employers who manage them. According to the story of pingkangli (also known as "Beili") in the red light district of Chang'an City in the Tang Dynasty, the notes "beilizhi" written by the Tang Dynasty's sun 棨 (Q ǐǐǐǐǐǐǐ棨棨) directly recorded the sexual services provided by such prostitutes. Therefore, although female prostitutes don't necessarily provide sexual services, they can't be generally considered to be specialized in performing arts. As for the part of the singers and dancers who communicate with the literati, most of them are both entertaining and selling themselves.
Under the infiltration of modern civilization, we have different values from the ancients. If it is said that whoring itself is against morality, there may be controversy, at least there are families and whoring today seems to have been an act of infidelity. It is generally believed that this poem was written in the ninth year of Dahe in the Tang Dynasty, i.e. 835 A.D. According to some documents, Du Mu's first marriage may be in the second year of Dahe, i.e. 828 A.D.; no matter whether this calculation is accurate or not, at least in the ninth year of Dahe, he and Pei are in a state of marriage.
What's more difficult to accept is that the prostitute in the poem is only 13 years old. However, the ancient people's understanding of the extension of young girls is different from today's. In different periods of ancient times, only having sexual relations with young girls under the age of 10 or 12 can they be condemned morally or punished by law, while 13 is usually regarded as the age of marriage by the ancients.
In addition to the problems of whoring and young girls, Du Mu's farewell is completely materialized for the beauty of women, which also causes the unhappiness of many modern readers.
Although it is difficult to judge this specific woman without historical data, there is no doubt that prostitutes in the Tang Dynasty have low status and lack personal freedom and autonomy as a whole; and the concept of prostitutes, the age of legal commitment and the aesthetic standards of women in the Tang Dynasty are also the products and components of a society with serious gender inequality. Although Du Mu is a great poet, he is unable to surpass the background of the times. To what extent should a person be responsible for the prejudice of an era? Does such moral defect affect our appreciation of his artistic creation? These questions have no consistent answer to this day. However, we can at least say that his era has sufficient historical data, and the participants in the debate should not distort historical facts to support their own views.
Only prostitutes can be called "fairies"?
It is believed that many people were shocked when they first found out that Du Mu's poem was about prostitutes. However, it can be understood that literati probably would not like to use the word "prostitute" when they write poems and praise. But it's hard to avoid that: are there any other verses that seem harmless to human beings and animals, but they are also prostitutes?
As a result, there are such problems:
In the Tang Dynasty, prostitutes were generally compared to & lsquo; immortals & rsquo; and brothels to & lsquo; fairylands & rsquo;. 'in the screenshot, the book and shadow quoted by this netizen comes from "prostitutes and literati" written by Japanese scholar Saito Mao. However, perhaps due to cultural estrangement, the Japanese scholar misunderstood the Tang Dynasty.
In the Tang Dynasty, poets did use "immortals" as a metaphor or description of female opera. For example, in Wang Wei's poem "worship and holy system are already in the spring watching pavilion to watch and drink", there is a sentence of "painting the fairy maids, moving the fairy prostitutes, and listing the golden Martens on the public". In addition to taking "Xian" as an adjective, poets sometimes directly use "Xian" to refer to jinv. For example, Li Bai, a poet representing the prosperous Tang Dynasty, used the sentence "dancing two beauties, floating like a cloud Fairy" to describe the "prostitute" in his poem "hunting at Meng Zhu in the autumn, buying a wine list and watching a prostitute in the East Room", while in Bai Juyi's "after drinking, Li and Ma two prostitutes" were also called the "fairy in the middle of the rain". 'this kind of phenomenon is especially common after the middle Tang Dynasty, and once became a literary phenomenon that can prompt the era of works.
However, the metaphor of prostitutes as immortals does not mean that all immortals refer to prostitutes; the "universal" here only refers to other literary periods. This Japanese scholar called it "average", which is easy to cause readers' misunderstanding. These metaphors or metonymies are only a kind of rhetoric phenomenon of poetry at the verbal level, rather than the same; in most contexts, the "immortals" and "fairies" written by the Tang people refer to immortals imagined in religious superstition, which have nothing to do with prostitutes.
As for the scholar's use of the word "fairyland" to refer to brothels in Tang Dynasty, I'm afraid it's the author's misunderstanding caused by misreading or misremembering Chinese literature. We can not find the case of referring to brothels with the word "fairyland" in the handed down materials of Tang Dynasty. Although the grottoes and fairyland that immortals lived in described in some literary texts, such as "Youxian Grottoes" mentioned in the scholar's book and "sleepwalking in spring" written by Yuan Zhen, are actually metaphors of brothels by scholars objectively, however, these examples belong to the very occasional metaphors in literature, not to mention the "generality" in linguistic sense, and there is no "fairyland" in their texts One word.
There are also imaginative elements in the scholar's explanation of the origin of the metaphor of immortals for prostitutes. As far as I know, there is no evidence that these metaphors come from associations with the state of being out of family. In fact, on the one hand, this metaphor comes from the natural association of "fairies" to "beauties", on the other hand, it is related to the two famous ancient allusions related to love, namely "Wushan Goddess" and "Liu Ruan goes to the Tiantai".
In Bai Juyi's poems quoted above, the juxtaposition of "Fairy" and "Fairy" reflects the bridge of semantic association between "Fairy" and "Fairy". The story of "Wushan Goddess" comes from the ode to the high Tang Dynasty written by Song Yu. It is mentioned in the Fu that when King Huai of Chu was sleeping in the daytime of the high Tang Dynasty, he once met a beautiful goddess of Wushan who took the initiative to give up her arms. This story about sexual love can be seen in Chu Ci, which has a great influence on ancient literati. The words "Gaotang" and "Yunyu" appeared in the story have become the pronouns of sexual behavior, and the words "goddess" have also become the commonly used pronouns of female characters in sexual relations.
As for the relationship between the female Taoist and the prostitute mentioned by the Japanese scholar, theoretically speaking, it may also be one of the motivations to stimulate the aforementioned Association. The emperor of Tang Dynasty surnamed Li, so he pretended to call Li Er as his ancestor, followed Lao Tzu as "emperor Xuanyuan", and forced to touch the light of famous scholars in the axial age. Because Taoism also claims to be originated from laodan's learning, so Taoism