> Keywords: "Xiao Fu" by Cheng Gongsui of the Jin Dynasty, preference for thoughts and emotions> CLC number: I206.2 Document identification code: A> Introduction> Fu is the literary brand of the Han Dynasty, and the music and dance of the Han Dynasty There are eight types of flute, flute, sheng, qin, dongxiao, reed, dance, and zheng. However, there are fifteen types in the Wei and Jin Dynasties. Although there are no two types of flute and dongxiao in the Han Dynasty, there are new types of flute, pipa, festival, and song. There are ten categories of music, whistle, drum, horn, gold, horizontal blowing, and konghou, and there are sixteen categories, exceeding the number and variety of the Han Dynasty. These new types of music and dance Fu created after the Wei and Jin Dynasties and the cultural, Thoughts and information are all worthy of study by future generations. >The reason why this article classifies "Xiao Fu" by Cheng Gongsui of the Jin Dynasty and "Ge Fu" by Yuan Song as vocal music fu is that the music described in such fu works does not require the use of external objects, but treats the human body as an instrument. People can make beautiful sounds with their mouth, tongue, throat, teeth, breath, etc. The skills are between people's lips and teeth, mouth and tongue, throat, breath, and chest, which are roughly the same as today's vocal music skills. > Yuan Song's "Ge Fu" is a fragment with only three sentences. The first sentence "the red lips are not opened, the white teeth are never separated" says that singing requires the use of one's lips and teeth; the second sentence "the clear air circulates alone, and the beauty is hidden" shows that the secret of vocal music lies in the use of breath; the third sentence starts with "like stopping" ", "Ru Ji" describes the intermittent singing and the changing rhythm. Although there are only three lines, it can be seen that the singer's grasp of rhythm and reality is appropriate and skillful. > Cheng Gongsui's "Xiao Fu" is the earliest and most complete vocal music poem that has been written so far. It is one of the six music and dance poems compiled in "Selected Works" and also the music and dance poems of the medieval period compiled in "The Complete Antiquity, Three Dynasties, Qin, Han and Six Dynasties". A unique vocal composition among the poems. This article will focus on the description of the whistle in Cheng Gongsui's "Xiao Fu", hoping to travel through time and space through the whistle to understand the behavioral habits, hobbies and thoughts and feelings of the scholars who lived in the charming era of Wei and Jin Dynasties. tendency. > 1. "Xiao" and Cheng Gongsui> "Shuowen Jiezi" explains "Xiao" with the three characters "blow sound", which means "Xiao" is a sound blown by the mouth. "Selected Works" says: "Xiao, a sound made by frowning." The following definition clearly points out that Xiao is a long and crisp sound made by people with their mouths pinched. This is what Xiao Tong quoted from Zheng Xuan's notes explanation; then he said that what is called "Xiao" in "The Book of Songs" is actually "song". From these explanations, it can be seen that "whistling" is not a sound that the human body makes at will in a natural state, but requires a certain mouth shape and the use of abdominal breath to make it in a deliberate state. > There are poems about "howling" in "The Book of Songs", such as "Bai Hua": "Song of Roaring and Sadness", which expresses the yearning and sadness for the beloved in the form of roaring song. The lyrical heroine in "You in the Middle Valley": "Tiao Qi is roaring" also expresses her feelings in the same way. It seems that people in the pre-Qin Dynasty could express their feelings by whistling. > Qian Zhongshu's "Guan Zui Bian" quotes Tao Qian's questions and answers about vocal music. He first compares silk (string music), bamboo (wind music), and meat (vocal music) one by one, and then uses Tao Yuanming's words to explain the meaning of meat (vocal music). The charm lies in: "gradual and natural". That is to say, Tao Yuanming believes that among various music categories, string music is inferior to wind music, and wind music is inferior to vocal music, because vocal music is not fake and is closest to nature, so it is the most attractive. > The author of "Xiao Fu", Cheng Gongsui, whose courtesy name was Zi'an, was from Baima, Dongjun, which is now Dongdong, Huaxian County, Henan Province. During the reign of Sima Zhao, he was the Cavalry Commander. There are thirty-seven poems, odes, and inscriptions handed down from generation to generation, among which there are twenty poems. Among the essays compiled in "The Complete Antiquity of Three Dynasties, Qin, Han, Three Kingdoms and Six Dynasties", there are three poems on music and dance alone. His poems and poems are all beautiful, and he was a versatile literary and artistic talent in the Jin Dynasty. > Cheng Gongsui once clearly expressed his views on Fu in his "Preface to the Fu of Heaven and Earth": "Those who give to Fu should be able to study physics." It is believed that Fu has a strong physical nature; it is also said that Fu "has no way of performing" and can accommodate all things; and "can lead to thinking", that is, it can express expressions in detail. It can be seen that Cheng Gongsui himself attached great importance to the physical and expressive functions of Fu. "Book of Jin" records that Cheng Gongsui was "elegant and good at music" and often "whistled in the wind and composed music calmly". He wrote "Xiao Fu", which used the popular whistle as the theme of the poem to show the style of the Wei and Jin Dynasties and the behaviors, habits and hobbies of the scholars at that time. "Xiao Fu" reflects the characteristics of the Jin Dynasty from many aspects such as performers, environment, theme, image, music, etc., and embodies the noble conduct and spiritual pursuits of the scholar-bureaucrats in the Jin Dynasty.

> 2. Excellent Howling Description > Music is a fleeting art of time, and it is almost impossible to capture it without the help of modern technological means. It was even more difficult for ancient literati to describe it in literary language. Cheng Gongsui used the most challenging literary style - fu, to describe the whistling sound, which really amazed future generations. > The protagonist of "Xiao Fu" is a man with "strange body, arrogant and arrogant". This Yiqun son "abandons human affairs and admires the ancients" is definitely different from the popular customs. He is close to nature and "thinks long-term." "Thinking", often expressed in "traveling thoughts" by "climbing Jishan Mountain" and "floating on the sea". He is maverick, proud of the secular world, chasing after the sages, and reposing his noble aspirations in the mountains and rivers. "Long roaring" is his habit and hobby. He has a disdain for honor and a detached attitude. He is able to abandon himself and pursue the ancients. He is also able to grasp the mystery of the Xuanfeng of Lao Zhuang and Wei and Jin Dynasties. This Young Master Yiqun is a complete representative of the deviant and unconventional scholars of the Wei and Jin Dynasties. His behavioral habits and unique lifestyle are special products of the Wei and Jin Dynasties. > "The sound is not a false instrument, and it is not necessary to borrow anything." It is said that the whistler does not use any external objects, but "takes everything close to the body, and uses the heart to control the air." He only relies on the body and mind, lips, breath, ears, eyes, feelings, emotions, and thoughts. As far as it is concerned, "the lips move to make music, and the mouth makes sounds", they can run freely without any restraint, "touch and feel things, and sing along with the songs". The music is neither as sad as "Ji Chu" nor as exciting as "Beili". The author wisely grasped the common point between music and literature - the word "love" to make an article, so he was able to write the whistle superbly with twice the result with half the effort. > There are two sections in the poem: Climbing the High Platform and Touring Chonggang. They describe the roaring sound with the most ink and are the place where the author’s talent is displayed. It is also the cadenza movement of "Xiao Fu". > Climbing a section of the high platform, Young Master Yiqun stood on the high platform, raised his head to the sky, held his mouth with his hands, and began to roar. The poem first uses two sentences to summarize the whistling sound coming from the sky, which is gentle and loud, and then uses the words "shusi", "wandering", "ran weak", Words such as "Pengbi" describe the howling sound's ease, lingering echo, and variety. The whistling sound is sometimes clear and sometimes turbid, sometimes "depressed and roaring", sometimes "floating and clear"; sometimes it is "exuberant" and sometimes "colorful and intertwined", which is highly imitative. Then he further described the whistle as light as silk, soaring like ten thousand horses, roaring like a wild horse, and trumpeting like the north wind; it is also like the sound of wild geese taking their young and the trumpeting in the desert. The whistling sound has its own ability to imitate and change, and the author's writing is even more flexible and wonderful. > Qian Zhongshu once talked about the imitative power of Xiao Sheng and said with praise: "It is like the 'cross talk' of ventriloquism". > The poem goes on to describe howling sounds like "flying drums" in the "secret tunnel", "tiger" in the "valley", "nanji" in the "sky", and "arbors" blown by "Qingbiao"; in the text Although I don't know how to describe the sound, but I write from other places, I can hear the whistling everywhere. It can be said that "silence is better than sound at this time"! It is also written that the whistling sound can "change the harmony of yin and yang" and "remove the obscenity and vulgarity". Such praise for the effect of whistling is due to Cheng Gongsui's excessive preference for this technique.