One thing is to participate in the academic seminar "Ba Culture and the Southern Silk Road" at the invitation of the Ba Culture Research Institute of Sichuan University of Arts and Sciences, and submit a speech entitled: Regional Vision and Thinking of Ba Literature. After the speech, he also presented a short chapter of the Ba Culture Research Institute: "Chu and Shu are close to the river, and poetry can be collected in the mountains. Bayu dance, Chinese style, the word bamboo branch in the old country. The construction of the hospital is full of string songs. Just talk about the weather. Where is Yuntai? The board of directors is completely new. " The first word "Chu Shu" refers to the interaction between Ba literature and Chu Shu, which is related to "Fu". For example, in Shanglin Fu, people wrote "the songs of Bayu" and described the prosperity of singing and dancing. In Hanshu, Yan Shigu noted: "The people of Bayu are brave and good at fighting, and they used them in the early emperors' ancestors to successfully make Yuefu people dance for Bayu." "Ba" in Ben Shu literature. In addition, in the first sentence of Nine Songs Shan Gui, Wang Yizhang said, "If someone is in the mountains, Shan Gui seems to be in the mountains." (Supplement to Hong Xingzu's Songs of Chu) "Yushan" is Wushan Mountain, which belongs to Cuba and is related to "Yunmengtai" in Song Yu's two poems. It transferred the "Goddess of Hanshui" in The Book of Songs to the "Land of Wushan", and was also called "Ba" in Chu literature, which essentially left a "dream" memory for Ba literature.
Of course, this has nothing to do with "giving a dream" itself, so another thing may lead to thinking. This is a recent comment on the "Wushan Yu Yun" described in Song Yu's two poems "Answering the History Book of Jianghu Ministers", written by a person from A Qing Dynasty. At the beginning, Juventus said that "the story of sex in Wushan Mountain has been talked about by poets for thousands of years", and listed some poems such as "After Gao Tang Fu was completed, Chutian Yu Yun had doubts", and made three textual researches on this "dream": First, he recognized the so-called "man of insight" and distinguished that his dream was not the "former king" in Gao Tang Fu. This statement is based on Song People's Three Things of Rongzhai, Volume III, Goddess Fu of Gaotang. "If we say that Wang and his son are both dissolute with this woman, they are simply ugly." Secondly, "Wang Meng" in Goddess Fu should be a "jade dream", and the so-called "a slight mistake is more undoubtedly a jade dream", combined with Song Yu's other "Ode to a Disciple", he thinks: "So is the master's son." Therefore, he said, "Jade givers have dreams. Dreams are born of thoughts, dreams are born of reasons, but there are also people who dream because they have no thoughts. ..... between heaven and earth is very strange, dirty, trance, upside down, why not? What's the matter now? " Thirdly, you quoted Cao Zhi's Ode to Luoshen and Tang Xianzu's Peony Pavilion to say that "this woman's dream is like a small wind disappearing the moon" and came to the conclusion that "the dream was given in the prosperous Tang Dynasty": "The dream was solid when it was cloudy and rainy, that is, the goddess did not exist, but died like a child's deficiency. Or there is hypocrisy and false reputation, such as the name "Luo Shen" after Zijian felt guilty. Ann knows that the son who doesn't feel the master is fascinated by the goddess! " Although his theory is speculative and reflective, its metaphor in disguise is not uninteresting.
Taking the metaphor of high school dreams as an example, we can see the relevant quasi-fu series, such as Cao Zhi's "Luo Shen Fu", which means "feeling Song Yu's affection for the goddess of Chu". Although it is not a way of description, it is also a dream, that is, a dream. For this kind of description, or its metonymy from the cultural tradition, this can be represented by Wen Yiduo's analysis of the legend of the goddess of Gaotang. This paper discusses its origins from the perspectives of Waiting for People Poetry and Gao Tang Poetry, Gao Tang and Levin, Gao Tang Goddess and Tu Shanshi, Yunmeng and Mulberry Forest, among which Yunmeng and other mulberry forests explain the Qing Dynasty's return to Chunqiu. That is to say, in Wen's opinion, the plot of "copulation between man and god" in Gao Tang Fu is a sacred ceremony that originated from ancestors' sacrifice to gods. Only through Song Yufu's dream, "piety becomes lust, fear becomes interest, so the pioneer and high-spirited Gao Tang had to degenerate into the running girl in Song Yufu."
If combined with the statement quoted by You Dong, the dream god is only "pretending to be his name", the metaphor of "dream fu" in the words of "mountain god" and "Daming Palace god" in Pi Rixiu's Huoshan Fu and Sun Qiao's Daming Palace Fu in Tang Dynasty is similar, and this dream metaphor phenomenon can also be roughly understood from the writing of "dream fu" by scholars in previous dynasties. There are many poems with the theme of "dream" in past dynasties. Take Fu Hui of Past Dynasties as an example, including Wang Yanshou's dream fu, dream fu, dream fu, Jia Meng fu, dream fu and Zhouyi's dream fu of Zhong Kui.
Generally speaking, there are three types of dreams endowed by foreign archaeologists: one is "dreaming", which is divided into "auspicious" and "fierce". For example, Du Yi said in "Dream Fu": "The dreamer is caught off guard or born out of emotion, so as to forgive first and then blame, so as to express emotion. It's good luck to hang three knives for the county and levy eight doors ... "For example," Hang three knives "in" Auspicious Dream "or" Hang a knife dream "in the book" Biography of Wang Jinjun ":"Night dreams hang three knives on the sleeping beam and benefit another knife in an instant, which is shocking. Li Yi, the main book, bowed to him again and said,' Three knives are the words of the country, and one knife is beneficial. Is the Ming government close to the country?' ..... Guo Qian deepened the Yizhou secretariat. "This is a promotion dream. When it comes to specific works, such as Meng Fu written by Wang Yanshou, the first Han Chinese, according to the records of the Later Han Dynasty, it was written as Meng Fu and the thirty-eighth year of Zhu. It is said that this kind of fu is very fierce. Eighteen kinds of ghosts in Fu's works, such as "the snake head has four corners, the fish head has a bird body, three feet have six eyes, and the dragon looks like a human being", are disturbing. However, the order of this poem recorded in "Ancient Wenyuan" is "I am weak, and the hell fights with me. "Dong Fangshuo and his ministers wrote a book cursing ghosts, and my ministers wrote a narrative dream. Later dreamers read it to exorcise ghosts and count, and endowed it with "things that Qi Huan dreamed of, but also dominated them". Wu Ding night sigh with emotion, and got the good assistant. When Zhou Meng was nine years old, Ke Baiqing celebrated that Jinwen was a national competition with brains. I regard ghosts as gods and turn disasters into blessings forever. " It can be seen that this nightmare should point out that the plot is fictional and has the meaning of turning disaster into pleasure. "There are also many dream fu writing auspicious omen, and the most typical one is" Dream Fu Holding Heaven ",which belongs to the way that the Tang people praised" auspicious "with textual criticism. Pei Songzhi quoted Shen as saying, "I often dream of Mount Tai, holding the sun with both hands, which is different, and I dream of Bai Taizu in the language". Later, I used the metaphor of holding the sun to help the emperor faithfully. Guan's rhyme is "When God meets a bright candle, it is auspicious", which has already indicated his intention, while Fu said "I am a sign of sincerity, and I am a saint of Fu Yi", "I always pay attention to heaven as soon as possible, and every punch is in the clouds", which shows that scholars are eager to meet. Different from Wang Yanshou's dream narration about ghosts, The Book of Changes, one of the "Ten Philosophers of Xian Tong" in the late Tang Dynasty (A Ming Di Meng Zhong Kui Fu) uses the folklore "Zhong Kui playing ghosts" and the Tang Emperor ordered Wu Daozi to draw a picture of Zhong Kui catching ghosts after he recovered from illness to describe that Xuanzong of Tang Dynasty was sick and dreamed that Zhong Kui was coming. In Fu, the style of playing ghost is like "struggling for a long time in a broad imagination, with the diagonal collar fully open;" It is dangerous to scratch your short hair on the round skull, and the crown is on the verge of falling. " Tiptoe when jumping in the valley, hold your head high when jumping in the abyss of Yue Long "and" raise your voice with your mouth, or squat while hitting "are vivid, but they are self-evident.
The second is "dream narration", that is, Fu Jia expresses his real feelings by writing dreams. Liu Zongyuan's Dream Returning Fu in Tang Dynasty and Hu Yan's Dream Narrating Fu in Ming Dynasty are representatives. The homesickness written by Liu Fu when he was relegated to Yongzhou pretended to be a dream. First, he said that dreams are floating between heaven and earth, "floating around, but Russia has nowhere to go." The square is mixed but not shaped, and white is not white. There are no stars in the sky, and there is no land or water under the sun. "Later, I wrote about the bleak scene I saw after I dreamed of returning to my hometown." Harada is filthy and towering; Trees urge you to solve problems, but you don't decorate them. "Still tied with' emotional, Wang Lang lost' confused mood, the superposition of dreams and facts is endless. Khufu wrote Dreams and Immortals. In addition to imitating Qu Yuan's "Li Sao" parade, Hu Fu, for example, "Thousands of people dared me, and Yang Qiao dared me; When you board Kunlun Mountain, you can eat jade and eat jade, and the water is crumbling, often interspersed with fairy tales, such as saying, "Lu Sheng went and didn't return, Hai Ruo boasted of Hebo, but he was ignorant of Kuafu, but he was puzzled by fools." But the result will always be a realistic mood of "suddenly returning home, only sleeping, thinking far away in the boundless, playing lonely" Therefore, although this kind of dream fu is not the same, or homesick, or wandering around the fairy, the dream written is bizarre again, and it is still the political and religious restraint and will of "the road is open without twists and turns, not exceeding my heart" (Yang Jue's Sleepwalking in the Mountain).
The third statement "on dreams" is the reason why Fu writers describe "dreams" and "dreams" in history with meticulous methods. "What you get in your sleep is true, what you get in your dream is thought, and if you masturbate, it is not true or false" (Ouyang Xiu's Narrating Dreams), which may be a typical exposition and attitude of ancient China literati towards dreams. In the field of fu, it can be said that the creation of dream fu contains the meaning of exhortation and the theory of education. Chao's Dream Fu dreams of "three things", which are full of evil images. However, if we look at what he said, it means that "Duke Zhou's view is Xi, while the rest are languishing". This implies that Confucius dreamed of Duke Zhou's interest in music education. Confucius mentioned Duke Zhou four times in The Analects of Confucius. For example, Taibo's dream of Duke Zhou is a Confucian "ritual dream" because of his beauty and the system of rites and music. Correspondingly, the dream of butterfly in Zhuang Zhou in Zhuangzi's theory of everything should be a natural dream of Taoism, and Zhuangzi's dream, as a famous dream in history, is deeply loved by the Fu family. For example, Jia's "Dream of Zhuang Zhou is a Fu" (rhyme means "Dream of Former Zhuang Zhou") takes "pivot as a metaphor to comfort the soul" as its purpose, and advocates that "people can enter the rivers and lakes as fish, and their emotions can be controlled as birds." Gone with the wind, knowing that you abandoned me like an inheritance; Shu 'er is back, and he suspects that he is dreaming with you. Dream of Zhuang also contains the theory of dreams. Another example is Zhang Sui's "Zhuang Zhoumeng Hu Die Fu" cloud: "Forget words and rest, create a happy environment; Sleep quietly and dream, and go to the hometown of elephants. ..... began to fly, slightly into Russia, lifelike, enjoy themselves. Smoke from kitchen chimneys, lingering spring scenery; Walking in the forest, a leaf in Chiufung. ..... If you want to be poor and have a dream butterfly, you should ask Lu Hong. "Although there are many descriptions or deductions in Zhuang language, its theory of" Dream Butterfly "still belongs to nature and accords with Zhuang's intention. I remember one year I was invited to give a lecture on Chinese studies to a cadre training class, and the other party asked for the theme of "Chinese Dream". I hesitated, lost my head, and suddenly had a brainwave. I listed the "four dreams" in ancient China, saying that "the dream of Confucius and Mencius" is a dream of music and ceremony; Secondly, Zhuang Zhou Meng is a natural dream; Thirdly, the "Garden Dream" in The Peony Pavilion is a love dream; fourthly, the "Huang Liang Dream" in The Biography of Li Gongzuo Conan and The Book in the Pillow by Shen Jiji is a fantasy dream. The dream of Confucius and Zhuangzi, supported by courtesy and nature, is the twin peaks of Confucianism and Taoism. Reading the dreams of past dynasties does not seem to be "beyond this heart."
Back in the dream of the Gaotang Dynasty, both Bashu and Bachu were inspired by the magical images brewed by Jiangshan, which reminded me that the year before last, I should write "Guangwu Fu Shan" for the famous soldier Yue in Bazhong, thinking that "the light is huge and vigorous; Fog is like a gentle and graceful fairy. It is not a dream to watch its scenery and write its articles. So I thought, the dream of the ancients and the "dream" of the dream are just a metaphor, whether true or false.
(Author: College of Literature, Nanjing University)