Guo Linli

   "The end of the song is missing, the peaks are counted on the river", is a famous phrase that has been passed down through the ages, from Qian Qi's "Provincial Examination of Xiang Ling Gu Se". The poems of the past dynasties praised it as a pen from the gods. "Yunyu Yangqiu" stated: "People in the Tang dynasty are famous for their poetry, often because of the goodness of a text, the work of a sentence, and the name Gong Xianda to talk about Yan Yu, and then heard the four songs." Missing in the end, Jiang Shangfeng counts.'Qian Qi is named after him.'

  In fact, this poem was written by Qian Qi when he took the Jinshi examination in the tenth year of Emperor Xuanzong's Tianbao (751), and it was a real "full composition for college entrance examination".

  Since the establishment of the imperial examination system, no mathematics has spent time in the examination room, exhausting everything he has learned to write the test-taking works, but these "compositions" rarely make a name in the history of literature. Why is Qian Qi's "Provincial Examination Xiang Ling Gu Shi" a "full score composition"? Why should it become a classic that is passed down through the ages?

The Number One Champion in the Export Painting "Chinese People's Clothing and Utensils" in the Qing Dynasty

  A test post poem: There are many rules for "test-making work"

  The poem title is "Provincial Examination of Xiang Ling Gu Se", "Xiang Ling Gu Se" is the test question, "Provincial Exam" is the type of exam, and "Province" refers to "Shangshu Province". There are two types of students taking the exam in the Tang Dynasty. One type is the students of various central and local schools, called students, who need to pass the prescribed academic exams and selection; the other type is the non-school-based scribes from various places, called Xianggong is required to pass the preliminary examination at the county and state levels. These two types of students are finally concentrated in Shangshu province to take the examination of the corresponding subjects. The exam was originally presided over by Li Lang, an exam examiner, and was changed to Li Shi, the courtier after the twenty-four years (736) of Xuanzong of the Tang Dynasty. Since both the Ministry of Li and the Ministry of Rites belong to Shangshu Province, they are both called provincial test.

  The test is held in Beijing, and it is called the provincial test in the Tang, Song, Jin, and Yuan Dynasties, and the test in the Ming and Qing Dynasties. Once every three years, it is usually arranged in February and March, so it is also called "Spring Test" or "Chun Wei". The provincial test is a very important test. Every time the provincial test is held, Beijing will be moved by it, and a solemn ceremony will be held before the test. On the examination day of the Ministry of Rites Tribute, the incense case was set before the stage, and the main company and the people worshiped. After a series of ceremonies, the examination was conducted. The provincial (meeting) test is called Gongshi, and the first name is "huiyuan". Students can only enter the hall test after passing the provincial (meeting) test, which is the final "test champion".

  In the Tang Dynasty, there were many imperial examinations. Among the permanent subjects, there were scholars, Ming Jing, Jin Shi, Ming Fa, Ming Zi, Ming Shu, etc. These subjects were also called regular subjects. Although there are many subjects for the imperial examinations in the Tang Dynasty, there are only five methods, namely oral test, scripture, Moyi, policy theory, and poetry. Poems written by students during exams are called test-oriented poems or test-posted poems.

  The test post poems originated in the Tang Dynasty, also known as "fude style", because the scientific research proposition is often just to extract a sentence from the predecessors' poems, or choose an allusion, an idiom, so the word "fude", And limit the rhythm, content must be relevant. The test post poems are mostly five-character six-character rhythm or eight-character rhythm, and require correct battles and proper use of classics. The scope of the topic and rhyme were initially loose, and Tang Xuanzong began to specify rhythm feet when he opened it. Song Renzong began to stipulate that the topic must be based on the history of the scriptures.

  Taking poetry as a scientific research project is one of the projects for the scholars in the early period from the Tang Dynasty to the Song Dynasty. In the period of Song Shenzong, due to Wang Anshi's reform, one of the test post poems was cancelled, and the two Yuan and Ming dynasties have not been restored. In the early Qing Dynasty, there was no test of poems and fuss. Since the Qianlong dynasty, the test item of test post poems was resumed, but there were more restrictions on the form, and eight forms of test post poems were formed.

  The test post poems made for passing the provincial test are called provincial test poems. The provincial test poems of the Tang Dynasty have their own specific format, requiring a genre of five-character rhythm, six rhymes, and twelve sentences, as well as limited poem titles and rhyme. Because the provincial test poems have limited topics and content and strict requirements on phonology, such poems rarely include famous articles of the population. But Qian Qi's "Provincial Examination of Xiang Ling Gu Si" is a masterpiece that has been passed down through the ages.

Fu Baoshi, "Mrs. Xiang's Picture"

  Erqianqi "Provincial Examination of Xiang Ling Gu Se": Introducing Chen Xinxin to Write Answer Sheets

  The exam title is "Xiang Ling Gu Si", from Qu Yuan's "Yuan You": "Make Xiang Ling Gu Shi, make Hai Ruo dance Feng Yi." "Xiang Ling Gu Si" comes from a sad legend: According to legend, Shun Emperor traveled He died while patrolling the south and was buried in Cangwu Mountain. His concubine mourned excessively, cast himself in Xiangshui, and turned into a Xiangshui goddess. He often murmured on the riverside to express his sorrow. "Xiangling" refers to the legendary Xiangshui goddess, and the poem title itself has a sad color.

  The story of "Xiang Ling Gu Se" was almost well known at the time, so candidates often lacked fresh ideas in answering questions, and most of them set the theme as expressing their own loyalty to the monarch with the loyal love of Shun Fei to Shun Emperor. The ambition to join the WTO and the loyal monarch. For example, there was a candidate Shi Yun named Chen Ji:

  The goddess Pan Yaose, the ancient temple Yanye Pavilion.

  Chu Yun came along, Xiangshui helped Qingling.

  Miao refers to a slight quiet contract, and the sound enters Yao Ming.

  A crescent moon, a few twilight mountains.

  Tiao Jing Jing people complain, Shiyao Emperor Zi Ling.

  If the leftover sound is admirable, the audition is for the king.

  This poem is quite satisfactory. The poem first depicts the scene of the rumbling of the Xiangling, the ancient pavilion and the pavilion, and the Xiangshui is cold. Then describe the sound of rumbling, desolate and sad. The last two sentences are lyrical, "Legacy is like a reward, audition for the king", expressing their loyalty and companionship was a common theme and paradigm of poetry at that time. Chen Ji also entered Jinshi and Di at the time, but this poem was not widely circulated.

  And Qian Qi's "Provincial Test Xiang Ling Gu Se" poem cloud:

  Shan Gu Yun and Se, often heard about the emperor's spirit.

  Feng Yi empty dances, Chu guests can not bear to listen.

  Painfully adjust the poignant stone, voiceless into Yao Ming.

  Cangwu came to complain and Bai Zhi moved Fang Xin.

  The water flows to Xiaopu, and the sad wind passes through the Dongting.

  Qu eventually disappeared and counted on the river.

  As a test post poem, the whole poem is closely related to the topic, and is straightforward. "Shen Gu Yun and Se, often heard about Emperor Zi Ling", the poet summarized the theme at the beginning, pointing out the legend that once heard the goddess of Xiangshui is good at Gu Se. "Cloud Harmony" is the name of an ancient mountain, and "Zhou Li Chunguan Da Si Le" contains "Cloud Harmony". The phrase "Emperor", using the poetry of "Queen of the Nine Songs" from Qu Yuan's "Mrs. Xiang Xi Bei Beizhu", depicting the goddess of Xiangshui landing on the shore of the lake, she was so sad that she caressed Yun and Se, and played like Weeping sad music.

  "Feng Yi empty dances, Chu passengers can't bear to listen", using allusions, "Feng Yi" is the legendary name of the river god, "Chuke" refers to Qu Yuan, and refers to travellers traveling far away. The sounding sound of the waterside first attracted the water god Feng Yi, but the word "empty" showed that he did not understand the grievances of the Xiangling; and those "Chu Ke" who had been relegated to Xiangshui like Qu Yuan, had Qi Qi, understands the sorrow of Xiang Ling, but can't bear such a sadness.

  "Bitter tone desolate stone, voiceless into Luo Ming." "Gold" refers to bell musical instruments, "stone" refers to chime musical instruments, the tragic tone of the sound makes the hard golden stone instruments also desolate; "杳羅" refers to distant Where there is, the sound is clear and loud, and the sound is contained, as if it can be transmitted to the sky that is very high and far away. "Cangwu came to complain, Bai Zhi moved the fragrant." The sound spread to the wild of Cangwu, and touched the spirit of Shun Emperor who lived in the mountain. The white Zhi on the mountain also spit out the fragrance, and it was in harmony with the sound. In these four poems, the author focuses on rendering the appeal of the thunderous sound, as if permeating between heaven and earth, making the earth and earth miserable, and the vegetation is emotional. "The flowing water passes through Xiaopu, and the tragic wind passes through the Dongting". The wretched sorrow sounds through the flowing water, passing through Xiaoxiang, carrying the tragic wind, and blowing through the 800-mile Dongting, making the realm more beautiful and magnificent. The poet used his rich imagination to express Xiang Ling's grief.

  The most poignant thing about the poem is the conclusion, "The end of the song is gone, and the peaks on the river are counted." The poem suddenly ends in the most exciting part of the music, which is unexpected; at the same time, it suddenly pulls the reader back from the imaginary and romantic imaginary world to the real world. "The end of the song is missing", echoing the beginning, the whole poem begins with the appearance of the Goddess of Xiangshui, and ends with the disappearance of the Goddess of Xiangshui. "Several peaks and green hills on the river", with a knot of emotions and endless sounds, after the end of the song, only one river and several peaks and green hills were seen.

  The whole poem is closely related to the subject, opening the door to the point, echoing from beginning to end, but also galloping imagination, heaven and earth, unreal reality, hand in hand. The invisible musical sound is embodied, creating a poignant and confusing music world. Princess Shun's loyalty to love and death, and his grievances and admiration for Shun Emperor, are all melted into the water world.

Inscriptions by Zhang Wohui and Chu Huan in the Yuan Dynasty "Nine Songs: Madam Xiang"

  The three songs disappeared in the end, Jiang Shangshu Fengqing: a sentence of achievement talent

  Qian Qi went to the test for several times in his early years. In the tenth year of Emperor Xuanzong's Tianbao (751), this poem was the test post poem when he was tested for Jinshi. "Provincial Examination of Xiang Ling Gu Se" thus became a model of test post poems, which were chanted for a while, and established Qian Qi's immortal reputation in the poetry circle. As one of the ten talents of the Dali calendar, Qian Qi is known as "the crown of the ten talents of the Dali calendar". In the name of the poem, it is called "Qian Liu" with Liu Changqing; it is also called "Qian Lang" with Lang Shiyuan, and it is called "Shen and Song before, and Qian Lang after". On the career path, Qian was initially Secretary of the Provincial School Shulang, Lantian County Welfare, and later he served as Xunyuan Wailang, Kao Gonglangzhong, and Hanlin Bachelor. He used to be a middleman of examinations, and he was called "Qiangonggong" in the old world.

  Qian Qi's reputation and achievements in the poetry are closely related to "Qu End of the Qu, No One Sees You, Peaks on the River", which has become Qian Qi's representative verse. Su Shi has a word "Jiangchengzi Jiangjing", with the following word cloud: "Suddenly heard the grief on the river, bitter and sentimental, who sent to listen. Yan Yunyun received, according to the agreement is the Xiang Ling. , People don’t see it, and count peaks.” The word “que” immediately translates into a verse with money, and it can also be regarded as an important process in the classicization of Qian’s poems.

  In terms of aesthetics, Mr. Zhu Guangqian has an article "Saying "Qu Ends Not Seen, Numbers Peak on the River"". By analyzing Qian Qi's poem, he clearly puts forward the "quiet" ideal of poetry. He said: "The highest realm of art is not warm. As far as the poet is concerned, the joy and sorrow he feels may be warmer than that of ordinary people. As far as the poet is concerned, the warm joy or warmth After the grief has been expressed in the poems, it is like the yellow wine has been stored for a long time, and it has lost its spiciness, but it is just plain mellow... Jingmu is a feeling of sudden enlightenment and conversion. He is like a low-browed meditation Guanyin , Beyond all sorrows and joys, at the same time, you can also say that it evaporates all sorrows and joys."

  Mr. Zhu Guangqian also believes that these two poems also reveal a kind of philosophical meaning, that "the end of the song is not seen" represents the passing away, and "the number of peaks on the river" expresses eternity. The music disappeared, and the green hills were still there, just like "the mountains and rivers have no way to doubt, and the willows and flowers bloom in another village." This poem not only contains desolate and lonely emotions, but also contains eternity and quiet aesthetic ideals in the passing away. .