Luo Shen Fu Original Text and Translation Appreciation

Overview

Luoshen Fu (洛神赋) is a famous piece of fiction written by Cao Zhi (曹植), a writer of Cao Wei (曹魏), during the Three Kingdoms period of China.

This fugue fictionalized the author's own encounter with the God of Luo and the mutual admiration and love, the image of the God of Luo is beautiful, the love of man and God is misty and mysterious, but due to the difference between man and God and can not be united, and finally expressed the infinite sadness and disappointment. The whole piece can be roughly divided into six paragraphs: the first paragraph of the writer from Luoyang back to the fiefdom, in a trance to see the goddess of fortune standing on the cliffs; the second paragraph of the beauty of the goddess of fortune's appearance and dress; the third paragraph of the writer adores the goddess of fortune's knowledge of etiquette and good speech, although the mutual gift of the answer, but worried about encountering the obstacles; the fourth paragraph of the goddess of fortune for the "king" of the sincerity of the feelings of the future but not yet arrived; the fifth paragraph of the situation and behavior; the fifth paragraph of the goddess of fortune's sincerity, but not yet arrived. The fourth paragraph is about the situation and behavior of Luo Shen after being touched by the sincerity of the "king" and then coming but not arriving; the fifth paragraph is about the number of escorts of Luo Shen and her departure with hatred because of the difference between human and divine paths; and the sixth paragraph is about the author's deep feelings for Gu Wang, who could not bear to leave after Luo Shen's departure. The whole work is beautiful in diction, delicate in description and rich in imagination, and the feelings are inseparable, if there is a support.

Original text

Luoshen Fu (and preface)

In the third year of the Huangchu era, I went to the capital and returned to Luochuan. The ancients have said, the god of the water, the name is Mi Fei. Sense of Song Yu on the Chu king of the goddess of the matter, so I made the Fu. The words said:

Yu from the Beijing area, the words return to the East Clan. Back Yiquet, over the chariots, through the valley, mausoleum Jingshan. The day has been westward, the car is tired of the horse. You are taxed to drive to Asengao, team of horses to Zhitian, and to Yanglin, looking at Luochuan. So the essence of the God shocked, suddenly think of dispersal. Down to the end of the inspection, up to a different view, see a beautiful person, in the rock of the shore. He said, "Do you have a face to face with him? Who is she? If this is so colorful!" The king said: "I heard that the god of the river Luo, the name is Mi Fei. However, the king saw, no Nai day? What is her appearance? I would like to hear about it."

Yu said: "Its shape is also, fluttering like a shocking, Wan as a swimming dragon. Rongyao autumn chrysanthemum, Huamao spring pine. As if Ruoxi light clouds of the moon, shaking Ruoxi flow of the wind back to the snow. When you look at it from a distance, it is like the sun rising in the morning sun; when you look at it from a distance, it is like lotus flowers coming out of the water. The flora and the fiber are in the right place, and the length of the flora is in the right place. Her shoulder is like a chiseled shoulder, and her waist is like a veil. Her neck is beautiful and her white color is exposed. There is nothing to add to the fragrance, and the lead is not to be resisted. Cloud buns, eyebrows, and a combination. Dan lips outside Lang, white teeth inside fresh, bright eyes good favor, dimple auxiliary bearing power. The colorful and elegant posture and the quiet and relaxed body. Soft feelings, charming in the language. The strange clothes are worldly, and the bone image should be pictured. She is dressed in the splendor of a robe, and has a jade jade jewels. Wearing jewelry of gold and jade, adorned with bright pearls to shine. She had a long walk and a light train of raw silk. The first time I saw her, I was in the middle of a mountain, and she was stumbling over it.

They are the first to be able to do so, and they are the first to be able to do so, and they are the first to be able to do so. The left side of the banner, the right side of the shade of the laurel flag. The first thing I'd like to say is that I'm not sure what I'm talking about, but I'd like to say that I'm not sure what I'm talking about. I was so happy to be there that my heart oscillated and I was not happy. There is no good matchmaker to receive happiness, so I have to put up with the microwave to communicate my words. I hope that the first to reach Chengsu will unlock the jade pendant and ask for it. Contemplating the faith of the beautiful people, Qiang practiced etiquette and poetry. Resisting Qiong [Wang Di] and I Ruoxi, pointing to the submerged abyss for a period of time. I am afraid that I will be deceived by the Spirit. I feel that I have abandoned my words, and I am disappointed and doubtful. The first thing I want to do is to get a good understanding of how to use the Internet and how to use the Internet to help people.

So Luo inspiration, reclining and wandering, God's light clutch, at first Yin and Yang. The first thing you need to do is to get a good look at your favorite products and services, and then you'll be able to see them. The first thing you need to do is to get your hands on some of the most popular products and services in the world, and then you can get your hands on some of the most popular ones. I'm not going to be able to get the best out of you, but I'm going to be able to get the best out of you, and I'm going to be able to get the best out of you.

Elsewhere, the spirit of mixed scruffy, friends and lovers, or play in the clear water, or Xiang Shenzhu, or picking pearls, or picking up cui feathers. From the two concubines of Nanxiang, with the Hanbin tour girl. They sighed at the unmatchedness of the Lagenaria and sang of the solitude of the Altair. The light jacket is not in harmony, and the cataract sleeve is extended. The body is swift and eider, fluttering like a god, the slightest of steps, and the stockings are dusty. The movement is not constant, if the danger is as safe as security. It is hard to find a time to move in and out, if you are going or returning. The glance of the flowing essence, the light moist jade face. She has not yet spit out her words, but her breath is like an orchid. The fact that they are so graceful makes me forget to eat.

So the cataracts were closed, and the river was quiet. The first time I saw this was when I was a kid, and it was the first time I'd ever seen a kid. The first time I saw this, I was in the middle of a long journey, and it was a long time coming. The six dragons were just like their heads, the cloud car was loaded with their descendants, the whales and salamanders danced and clamped their hubs, and the water fowls flew and defended themselves.

So the northern islet. The South, the twisted collar, back to the Qingyang, moving the lips to Xu speech, the outline of Chan's handover. I hate the way people and gods are different, and I complain that I am not in the prime of life. Resisting to cover up the tears in my arms, I was in a state of mourning for the eternal end of the Liang Hui. Mourning the eternal end of a good meeting. Mourn the passing of a foreign land. I have no feelings to love and offer the bright south of the river. Though I am in the sun, I will always send my heart to the king. I'm not sure what I'm talking about, but I'm not sure what I'm talking about, and I'm not sure what I'm talking about.

So the back of the mausoleum high, foot to the God to stay, the last feelings of imagination, looking at the nostalgia. I hope that the spirit of the body of the form, Royal light boat and upstream. The first thing you need to do is to get a good look at the whole thing, and then you'll be able to see what's going on in the world. The night is not sleepy, stained with frost to the dawn. I ordered my servant to drive, I will return to the east road. The first thing I did was to get the horse and the bridle, and then I was disappointed that I couldn't get away.

Translation

In the third year of Huangchu, I came to Kyoto for a pilgrimage, and returned to cross the Luo River. The ancients had said that the god of this water was named Mi Fei. Because I was moved by what Song Yu said to the king of Chu about the goddess, I composed this fugue. The text reads:

I set out from Luoyang, the capital, and returned eastward to my fiefdom, Jancheng, carrying Yiquet, crossing the chariots, passing through the Tonggu, and ascending Mount Jing. By this time the sun was setting in the west, and the carriage was tired. So he unloaded the cart on a bank full of Asparagus and fed the horses in a field of sesame grass. I strolled in the sun forest, looking out over the vast Luo River. So I didn't realize that I was in a trance, and my thoughts drifted away. When I looked down, I didn't see anything, but when I looked up, I found an unusual sight, only to see a wonderful beauty, standing beside a mountain rock. I couldn't help but pull the driver beside me and say to him, "Did you see that person? What kind of person is that, to be so colorful!" The driver replied, "I have heard that the name of the god of the River Luo is Mi Fei, but what the king has seen could be her! What shape she is in, I would like to hear."

I told him, "Her form was as graceful as a flying wild goose, and as graceful as a swimming dragon. She is as radiant as a chrysanthemum in the autumn sun, and as lush as a pine in the spring breeze. She appeared like a light cloud over the moon, floating and fluttering like the wind and snow. From a distance, bright and clean as the rising sun in the sunset; close to see, bright as the green waves between the new lotus bloom. Her body shape is moderate, height and fit, shoulder narrow as cutting, waist as thin as a bundle, beautiful neck to reveal the white skin. Neither apply fat, nor powder, hair buns towering like clouds, long eyebrows curved and slender, red lips fresh, white teeth, a pair of good look forward to the shining eyes, two cheekbones under the sweet dimples. Her posture is elegant and charming, her demeanor is gentle and quiet, her mood is soft and smooth, and her speech is appropriate and attractive. Luo Shen's costume was marvelous and stunning, and her bones and physical appearance were the same as those painted on the picture. She was clad in bright Luo clothes, with exquisite jade. Her head was adorned with gold, silver and emerald jewelry, and she was adorned with shining beads. Her feet are decorated with flower patterned shoes, dragging the mist-like train, faintly emitting the fragrance of orchids, wandering in the mountain side. Suddenly, she is floating lightly again, walking and playing, leaning on the left side of the colorful banner, on the right side of the shade of the laurel flag, stretching out her hand on the river bank, picking up the black sesame grass by the current.

I was so enamored of her beauty that my heart fluttered and was restless. Because there is no suitable matchmaker to talk about love, only with the help of microwaves to pass the words. I hope that my own sincere heart can be preceded by other people Chen Da, I took off the jade pendant to send her an invitation. I marveled at the beauty of her, who was both polite and good at words, and she held up the jade to me in reply, and pointed to the deep stream of water in anticipation. I was in love with her, but I was afraid of being deceived by this goddess. Because of the fact that Zheng Jiaofu had encountered a goddess who reneged on her promise, I was not feeling depressed, hesitant and hesitant in my heart, so I rested my head and held myself with propriety and righteousness.

Then Luo Shen was y moved and wandered back and forth, her divine light flickering on and off, bright and dark. She is like a crane towering up the light body, as will fly but not fly; and step on the path full of flowers and peppers fragrance, walking through the grass and make the fragrance flow. Suddenly, he chanted long and sadly to express his deep admiration, and his voice was mournful and long. So the gods flocked to the miscellany, calling all kinds of people, some play in the clear water, some flying in the small islets of the gods, some in the collection of pearls, some in the down to pick up the feathers of the kingfisher. Luo Shen is followed by E Huang, female Ying Nanxiang two consorts, she held the god of the Han River, for the gourd star of the unmatched sigh, for Altair's solitude and mournful chanting. From time to time to raise the wind fluttering blouse, with long sleeves to shield the light and look into the distance, stand for a long time; from time to time and the body is as light as a mallard, fluttering and wandering indefinitely. She walks on the water waves, her stockings splashing water like dust. Her movements were not regular, like a crisis and like leisure; her advance and retreat were unpredictable, like leaving and like returning. Her eyes were shining, her face was glowing and moist, and her breath smelled like orchids before she spoke. Her physical appearance is graceful and graceful, and I can't stop thinking about it.

At this time the god of wind, Pingyi, collected the evening wind, the god of water, Chuan Hou, stopped the waves, Feng Yi played the divine drum, and Nuwa sang a clear song. The flying wenyu guarded the chariot ride of the god Luo, and the gods departed in unison with the tinkling jade luan. The Six Dragons marched in unison, driving the Cloud Carriage calmly forward. Whales and salamanders leaped on either side of the chariot, and waterfowl circled around to guard it. The car ride through the north of the sandbar, over the south of the mountain, Luo Shen turn white neck, back to the beautiful eyebrows, Zhu lips slightly open, slowly explaining the outline of the handover. I only complained that people and gods are different, although each other are in their prime and can not get what they want. Said could not help but raise the sleeve to cover the face and cry, can not stop the tears stained lapel, mourning the joy of the meeting is over forever, and now a parting in two places, has not been to the subtle tenderness to express the heart of love, can only be given to the danganas as a permanent souvenir. Although I am deep in Taiyin, I always miss the king. I was y disappointed by the disappearance of all the spirits and the loss of their splendor.

So I went up to the top, and although my feet moved, my mind remained in the same place. I was so happy that I was able to imagine the scene of the meeting and the appearance of Luo Shen; looking back, I was even more sad. Hoping with all my heart that Luo Shen would appear again, I recklessly drove my light boat upstream. Boat in the long Luo water to forget to return, but the feeling of longing is continuous, more and more strong, so that the whole night can not sleep, so hard to calm the mind, the body is covered with thick frost until the morning. I had to order the servants to prepare the horse on the car, embarked on the road back to the east, but when the hand holding the reins of the horse, raised the whip to drive, but then disappointed, wandering attachment, unable to leave.

Background

Cao Zhi's poem, according to the preface, was written in the third year of Emperor Huangchu's reign (222), when he passed through the Luo River on his way back to his fiefdom, Jancheng, and "felt the feelings of Song Yu for the goddess of the king of Chu". At that time, Cao Pi had just assumed the throne and killed Ding Yi and Ding Jie, Cao Zhi's close friends. Cao Zhi himself was relegated to the position of Marquis of Anxiang after he was inaugurated, and was later reappointed Marquis of Jancheng, and then made King of Jancheng (all in Three Kingdoms Records - Chen Si Wang Biography). For Cao Zhi, who was determined to "make a great effort in the upper country, to benefit the lower people, to build an everlasting career, and to make great achievements" ("The Book of Yang Dezu"), this was undoubtedly a series of heavy blows, and the depression and bitterness of his mood can be easily imagined.

Appreciation

Cao Zhi had outstanding achievements in poetry and fugue creation, and his fugue inherited the tradition of lyrical fugue since the two Han Dynasty, and absorbed the romanticism of Chu Rhetoric, which opened a new realm for the development of fugue. Luo Shen Fu is an outstanding work of Cao Zhi's fugue. The author used romanticism to describe the sincere love between man and god through the dreamy realm, but in the end, because of "different paths of man and god", there is no way to unite them and they are separated in despair.

The work begins with a description of the journey from the capital, "back Yiquet, over the chariots, through the Tonggu, Lingjing Mountain", and describes the scene when the author and his attendants arrived at Luobin. At that time, "the sun was leaning to the west, the car was tired of the horse", they taxed driving asengao, team of chi field, with Yanglin, looking at Luochuan. In a quiet atmosphere, the author was in a trance, looking far into the rippling Luo River. At the moment when he occasionally looked up, a miracle occurred: a goddess of beautiful beauty stood on the opposite cliff. The author was so astonished that he unconsciously took hold of the imperialist beside him and asked eagerly: "Have you ever D??àêàêàêàêàêàêàêàêàêàêàêàêàêàêàêàêàêàêàêàêàêà? Who is he, if he is so colorful!" Here, the beautiful scenery by the mountain and the water before the sunset sets off the character's surprise of accidental discovery, creating a fascinating mood. Luo Shen Mi Fei is said to be the daughter of Mi Xi Clan in ancient times, who became the goddess of water because she drowned in Luo water. Regarding this goddess of ancient legend, Qu Yuan mentioned it in "Heavenly Questions" and "Li Sao". Later Sima Xiangru and Zhang Heng, and in the fugue to her made this description: "If the Qingqin Mi Fei's disciples, absolutely different from the vulgar, demonic and skillful, beautiful makeup carved decorations, will ring nicknamed. ...... fragrant compost, cool Shuyu; white teeth brilliant, suitable for smiling luster; long eyebrows Lianjuan, micro-examination of Mianchi" ("Shanglin Fugue"); "Carrying the Jade Lady of Taihua Ruoxi, called Luopu of Mi Fei. She is very pretty and beautiful, and her eyes and eyebrows are very beautiful. The slender waist of the Shu Ruoxi is raised in a variety of wrong emblems. The smile from the vermilion lips is the last light of the face ......" ("Si Xuan Fugue"). Unlike the direct description of the predecessors, the work first of all to a series of vivid and strange metaphors, Luoshen first temporary situation for a wonderful description: "its shape, as if the shock, as if the dragon, glory Yao autumn chrysanthemum, Hua Mao spring pine. As if Ruoxi if the light clouds of the moon, floating Ruoxi if the flow of the wind back to the snow. Look at it from afar, bright as the sun rises in the morning sun; forced to look at it, burning as hibiscus out of the clear water." The image of the distinctive, colorful, dazzling. Among them, "fluttering like a shock, like a swimming dragon", especially the God of Luoshen floating to the charm of the wind. It and the following "light clouds of the moon" and "the flow of the wind back to the snow", are from the posture, give a person light, airy, flowing, nicknamed the sense of movement; and "autumn chrysanthemum", "Spring Pine" and "Sunrise Sunset" and "Hibiscus out of the strain", from the aspect of appearance, give people a bright, clear, gorgeous, and the color of the siren. This sense of movement and color intertwine with each other and immerse each other, weaving a magical scene of overflowing light and color, which prominently displays Luoshen's absolute beauty to the most gorgeous in front of people. On the basis of this strong artistic effect caused by repeated metaphors, the author further uses traditional techniques to make a detailed portrayal of Luo Shen's physique, appearance, dress and demeanor. This Mi Xi's daughter of moderate stature, drooping shoulders and waist, natural beauty, no false decoration; she buns repair eyebrows, lips and teeth fresh, bright eyes hidden dimple, glowing; plus Luo brilliant, jade gel blue, pearl flashes, light train flick, more appear "the beauty of the gods, Yi Jing body leisure". The author of these depictions, reminiscent of the "Poetry" on Wei Zhuang Gong's wife Zhuang Jiang's praise: "hands such as catkins, skin such as gelatin, collar such as grub, teeth such as gourd, cicatrizes E eyebrow, smile Qianxi, beautiful eyes look forward to" ("Wei Feng - Shuo Ren"); also reminiscent of the Song Yu on the East neighboring women's praise: "increase It also reminds us of Song Yu's comment on his neighbor's women: "One point is too long, one point is too short, one point is too white for powder, and one point is too red for vermilion" (Dengtu Zi's Fugue of Good Lust). The author was obviously influenced by them, but he emphasized the dynamic beauty of the characters more than his predecessors. In the following, he focuses on Luo Shen's innocent and lively demeanor: "Treading on the literary shoes of a distant traveler, trailing the light train of a misty image. The fragrance of the orchid is a little bit more amiable, and she stumbles in the mountains. I was so happy to see you, and I was so happy to see you, and I was so happy to see you, and I was so happy to see you. The left leaned on the banner, the right shaded the flag of laurel. The god of Luoshen is in the divine marquee, picking up the Xuanzhi of Turbulent Rivers." At this point, the image of Luo Shen has been both God, calling out. "The rest of the love of its Shu Mei Ruoxi, heart oscillation and not happy", the author for the beauty of the goddess in front of him y moved. He was not able to convey his adoration and bitterness, and then "I wish that Cheng Su of the first to reach", "to unravel the jade pendant to want it. In the Mi Fei's response, "the implementation of the family of the paragraph real", he remembered the legend of Zheng Jiaofu Hanbin left Pei thing, on her "refers to the submerged abyss and the period of time" have doubts. This change of the author's feelings reflects the subtle condition of his heart at that time. Accordingly, Luo Shen was also moved. However, the work does not directly write about her psychological changes as the author did, but through the fine portrayal of her series of actions, it shows the passionate love that stirred up in her heart, as well as the intense sorrow that this love could not be realized. She is "reclining and wandering. God light clutch, at first yin and yang", a moment shrugged lightly, like a crane wanting to fly and did not get up; a moment from the pepper painted asarum thin in the past, attracted a burst of rich aroma; a moment and frustrated long whistle, the sound echoed in the deep and long sadness of the long lovesickness ...... when the god of the gods of Luo's lamentation to call the gods, they carefree "or play in the clear water, or Xiang Shenzhu, or picking pearls, or picking up cuiyu", although she has the two consorts of Nanxiang, Hanbin tour of the female companion, but still can not help but "sighing Lagenaria of the unmatched Ruoxi, Wing of the Altair of the solitude", stood there in a trance. In a flash, she was like a swiftly flying water bird, hovering and drifting on the misty water, uncertainty of whereabouts. Only that turn and hope flow, imploring eyes, and want to speak still lips, seems to the author to pour out the infinite inner attachment and grief. The author's depiction of Luo Shen, either wandering, or chanting, or standing on a standstill, or fluttering, is like a dance drama with intense feelings and beautiful gestures. The character shows her inner adoration, contradiction, despair and pain with her changing and swaying dance steps. In particular, "The body is swift and flying like a mallard, drifting like a god. The slightest step is made by the waves, and the stockings are covered with dust. The movement is not constant, if it is dangerous, if it is safe. Into and out of the difficult period, if to if still" paragraph, more will be this dance drama to the climax, the character's psychological contradictions, emotional ups and downs in the fullest expression. Just as the author and Luo Shen relative speechless, two love when, the parting moment finally arrived. This is a conceptualization of the strange and elegant, colorful separation scene: screen cataracts collect the wind, after the quiet wave of the river, in Feng Yi, Nuwa's drums and music, driven by six dragons of the cloud car carrying Mi Fei, in the whale salamander clip hubs, fish winged under the escort, began to depart. The beautiful Luo Shen sat in the fading car, and still kept turning back to the author to pour out a piece of her heart. "Mourning the eternal end of Lianghui, mourning the passing of a foreign land", a deep sadness shrouds this image full of mythological colors. After stating the "outline of the handover" that "I hate the difference in the ways of men and gods, and I complain that I can't be in the prime of my life," the goddess of the underworld vowed, "Although I am in the Taiyin, I will always send my heart to the king." In the end, Luo Shen's gorgeous image finally disappeared in the pale twilight, while the author still stood by the water's edge, despairingly looking at the direction of Luo Shen's passing, as if he had lost his mind. He drove a light boat up the river, hoping to see the goddess's silhouette again. However, the misty waves and the long night made him even more emotional and thoughtful. After dawn, the author had to "return to the East Road", but still "harnessed to resist the policy, disappointment hovering and can not go". This text is full of a strong lyrical atmosphere, with a kind of power to captivate the soul, it will be the image of Luo Shen in people's hearts outlined, baked more prominent, more perfect.

There are three main features of this fugue: feature one, rich imagination. The author departed from the capital city of Luoyang and returned east to his fiefdom of Jancheng. On the way, at the edge of the Luo River, stopping to drink horse, in the Yanglin walk, saw the Luo Shen Mi Fei, this is imagination. Her body swaying and fluttering like flying geese, Wanqu gentle like swimming dragons in the water, beautiful, gorgeous than the autumn chrysanthemums, lush pines ever, pretty as the morning sun, pure as hibiscus, magnificent. Subsequently, he had a love affair with her, and entrusted the water waves to convey the meaning, and sent the jade pendant to fix the love. However, her sacredness and purity made him not dare to do so. Luo Shen was finally touched by his true feelings, and met him, pouring out her love. But in the end, due to the different paths of man and god, there is no hope for the union, so he said goodbye to her. The imagination is splendid, the romantic and poignant feelings are light but not melted, which makes people sigh and feel melancholy. But this imagination is not bizarre, so the fugue was made with the feeling of Song Yu's "Goddess Fugue" and "Gao Tang Fugue" two fugues.

Feature two, the word is gorgeous but not impetuous, fresh air four escape, refreshing. Speaking of couplets, pairs of words, meter, language neat, condensed, vivid, beautiful. The language is neat, condensed, vivid, and beautiful. The conception of the material is unparalleled in Han Fu. The beginning of this fugue is the creation of a strange atmosphere in the flat. The beginning of the narrative is flat, just like Tao Yuanming's "The Story of Peach Blossom Garden," which describes the beginning of the boat trip of the people of Wuling, and there is no sign of the appearance of the strange situation beforehand. But at this moment, the author witnesses an unforgettable scene in a flash: the appearance of a beautiful woman, the goddess Luoshen. The author then describes the goddess's beauty and pain as if he wanted to compete with the goddess of Wushan in Song Yu's novel. Then he writes about the departure of the god of Luo, which is similar to Qu Yuan's "Li Sao," in which he writes about the sadness of the main character's passing away.

Feature three, the descriptive portrayal of the God, both with the metaphor, baking **** with, intricate changes in a clever and appropriate, give a person a kind of ho and not annoying, the beauty of the sense of surprise, so that people feel like watching a wonderful painting, the characters have flesh and blood, and will not make a person produce a sense of nothingness. In the description of Luo Shen's body type, features, posture, etc., to pass out the appearance of the god of the sunken fish, the face of the falling geese. At the same time, there is the freshness and purity of "clear water out of hibiscus, naturally undecorated". In the description and portrayal of Luo Shen's demeanor during the meeting with her, people feel that she is floating in front of their eyes and has a beautiful demeanor. As for the description of the time when Luo Shen parted with her, "the screen cataracts closed the wind, the quiet waves behind the river, Feng Lai sounded the drums, and Nuwa sang a clear song." The love of sincere, pure, everything is so beautiful, so that after the parting, people leave the heart to stay, the love is constantly, Luo Shen's silhouette and meet and know each other when the scene is vivid in my mind, romantic and bitter, the heart and soul for the restlessness wandering in the Luo water between the can't bear to leave.

The ideological and artistic achievements of Luo Shen Fu have been highly evaluated by previous writers, and the most obvious one is that it is often compared with Qu Yuan's Nine Songs and Song Yu's Divine Feminine Fugue. In fact, Cao Zhi's fugue has both, it has the strong lyrical component of Xiangjun and Xiangfu, and at the same time, it has the subtle portrayal of female beauty by Song Yu's fugues. In addition, its plot is complete, the technique is varied and the form is timeless and other wonderful points, but also for the previous works are not as good as.

Reviews of famous writers

Shen Yao: The Luoshen compares with Chen Si's other fugues, which is like the work of a different hand, and so he knows that when heaven's opportunity is enlightened, then the law will be adjusted by itself, and when the six sentiments are stagnant, then the sound and rhythm will be mistaken. ("Southern Qi Book" Volume 52 "Lu Jue biography")

Zhong Rong: bone Qi Qi Qi high, the words of Hua Mao, love and elegant grudges, the body by the quality of the text, Charming overflow of the present and the ancient times, outstandingly unlike, Contempt! Chen Si in the article also, such as the human nature of Zhou, hole, scale and feather of the dragon, phoenix, music of the piano and pianoforte, women's work of embroidery. So that you lead sucking ink, holding chapter and Jingmu, reflecting the afterglow to self-candle. ("Poetry")

Liu Kezhuang: "Luoshen Fu", Zijian fable, the good people are made after Zhen to real. So if there is, when I see the punishment in the Huangchu dynasty carry on. Tang Yanqian cloud: "the shock of a glimpse of the dragon to go, false annoyance Chen Wang nothing." Seems to be Zijian sub sparse. (Mr. Houcun Daquanji Volume 173)

He Zhuo: plant both not in the king, because Ji Luochuan as this fu, to address the Mi Fei to send the heart of the Emperor, it is also the will of the Quzi. (Yimen reads the book - Selected Writings, Volume 1)

Ma Bit: "Luoshen Fu" is very similar to the "Nine Songs". ("Autumn Window Essay")

Zhu Qian: According to the "Selected Writings - Luoshen Fu" note contained Zijian sense of Zhen thing, extremely absurd ...... However, the "Luo Shen" a fugue, is its sadness of the way of the emperor and the ministers are not, mourning the separation of flesh and blood, to the gods and men of the words of the words of the eternal, latent in the taiyin, send the heart of the emperor, the chaste woman of the death of the other, the loyal ministers have the death of no two of the will of the novelists will attach The novelists attached to the "sense of Yen", Li Shan did not know and wrongly adopted, not only to pollute the line of the former, but also to pollute the mouth of the future generations. ("Lefu Justice" Volume 14)

Pan Deyi: that is, "Luo Shen" a fugue, but also purely love the words of love Que. Its fugue to "towards the capital, but also Ji Luochuan" to start, to "potential in the Taiyin, send heart to the king" to end, the words of love is also to easy to see carry on. Gai Wei Wen sex brutal and thin Zongzhi, Zi Jian was slandered and much grief and fear, so the shape of the poem is not one, and this is also its type. The first Chen Rong color to show its talent, the second said sex repair to show its virtue, followed by suspicion for worry, the end of the knot for the wish, is not the poet satirizing the common saying? I don't know why the person who wrote this note appended to the matter of Zhen Hou, causing the painstaking love and loyalty to be falsified as the evil behavior of beasts, which is the greatest injustice in the ancient world. I have long held this view, but later I saw a recent poet, Mr. Zhang Junruo, writing a poem entitled "Inscription on the Tomb of Chen Siwang", which reads: "The poems of the White Horse sadly expel the guests, and the words and fictions are more amazing than those of Xiangjun." It was a great pleasure to have a goze theory with great insight and insight. ("Yang Yizhai Poetry" Volume 2)

Ding Yan: and Song Yu's words for the "Luoshen Fu", entrusted to the Mi Fei goddess, send the heart of the king, as if the will of the Quzi also. And the common saying is framed as "sense of Zhen Zhen", is not fallacious! I sighed at the loyalty and filial piety of Chen Wang, overflowing with kozo, as the crown of ancient and modern poets, and after Lingiun, there is only one person. ("Cao set interpretation" appendix)

Liu Xizai: Cao Zijian "Luoshen Fu" out of the "Xiangjun", "Lady Xiang", and Qu Zi farther. (The Art of the Generalization, Volume III)

Author's Introduction

Cao Zhi (192-232), the word Zijian, Peiqiao Qiao (present-day Bozhou City, Anhui Province) people. Cao Zhi was a famous literary figure of Cao Wei in the Third Kingdom of China, and a representative of Jian'an literature. He was the son of Cao Cao, Emperor Wu of Wei, and the younger brother of Cao Pi, Emperor Wen of Wei. During his lifetime, he was the king of Chen, and after his death, his posthumous title was "Si", so he was also known as King Chen Si. He was also known as Chen Si Wang. Later generations called him "Three Cao's" together with Cao Cao and Cao Pi because of his literary attainments, and Xie Lingyun, a writer of the Song Dynasty in the southern part of China, even said, "Cao Zijian was the only one who occupied eight of the one stone in the world". Wang Shizhen said that since the Han Wei two thousand years poets can be called "immortal talent", Cao Zhi, Li Bai, Su Shi three ears.