“Whispering Shadows and Fragrant Secrets: Exploring the Cultural Depth of Chinese Poetic Expressions”
In the winter of the year Xinhai, amidst the snow-laden landscape, I embarked on a journey to visit the recluse known as Shi Hu, residing southwest of Suzhou at the edge of Taihu Lake. His dwelling nestled within the tranquility of the stone lake, where the allure of ancient plum trees adorned with moss captivated the essence of poetic musings.
Upon my arrival, Shi Hu requested my creation of new verses, and thus, I composed two songs. These pieces, named “Subtle Fragrance” and “Sparse Shadows,” were met with great appreciation by Shi Hu, who then instructed musicians and courtesans to practice and perform them. Their melodies were tuned to perfection, resonating with melodious cadence and elegant grace.
From the preface of “Subtle Fragrance,” it is evident that both “Sparse Shadows” and “Subtle Fragrance” were created concurrently. It appears that after composing “Subtle Fragrance,” the urge remained unfulfilled, leading to the creation of “Sparse Shadows.” Previous commentators have found the latter particularly enigmatic and elusive, and rightly so. Comparing the two pieces reveals that while “Subtle Fragrance” extols the plum blossoms, it does not delve deeply into their physical description but rather revolves around expressing affection for a beloved woman. In “Subtle Fragrance,” the beauty remains simply that – beautiful – without any metaphorical or symbolic significance attached to the plum blossoms. By peeling back another layer of meaning, imbuing the plum blossoms with personification allows for the emergence of another song, which is “Sparse Shadows.”
In “Sparse Shadows,” the poet intermittently likens the plum blossoms to a graceful woman leaning against bamboo, or recalls them as the sorrowful Zhaoling after returning from the moonlit nights. The poem praises the plum blossoms while simultaneously celebrating the beauty of women, melding the plum blossoms with the essence of a woman. Scholars of the past have suggested that these songs carried significant emotional burdens. Zhang Huiyan suggested that Shi Hu harbored a reclusive spirit, composing these two songs as a means of self-restraint. “Subtle Fragrance” reveals his past aspirations and regrets over the passing years, while “Sparse Shadows” expresses the frustration of both emperors, hence the mention of Zhaoling. Zheng Wenchao in “Bai Shi Dao Ren Gequ” stated, “This is clearly the work of both emperors, embittered by the thought of their abduction and the subsequent reunion of their consorts.”
Liu Yongji mentioned that both Emperor Huizong and Emperor Qinzong lamented their time in Hu’s hands, which resulted in their reunion with their horse. Zheng Wencho suggested, “This is clearly the work of both emperors, embittered by the thought of their abduction and the subsequent reunion of their consorts.” They also suggested that the association was unfounded. In this case, Zhaoling is unrelated to Emperor Huizong of Song and Qinzong’s empress, nor does it bear any relation to the two rulers of the subsequent court. Wang Jian’s “Sai Shang Yongmei” and “Yongmei” made the assertion that the Emei people had a long history, and the Song Dynasty Emperor Huizong. The assumption is that the two songs feature Zhaoling and the association. The poet said that the maid is a great five-flower who was off. In the first, the king of Yu (rare) is in the form of a green-collar. The “shallow body” is the eyebrows. “Green,” color eyebrows. “Tai Ping, Imperial.” “Volume” for “five” “: “Song Wu Fei Fei, me on 1 in the voice.” It was it was on, fallen, why did worry use in small to to had.