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22<br />

闺 中 少 妇 不 曾 愁<br />

春 日 凝 妆 上 翠 楼<br />

忽 见 陌 头 杨 柳 色<br />

23<br />

悔 教 夫 婿 觅 封 侯<br />

The young wife in her boudoir does not know the<br />

sorrow <strong>of</strong> parting,<br />

A spring day and resplendently dressed she ascends the<br />

steps <strong>of</strong> her green coloured home.<br />

Suddenly she sees the image <strong>of</strong> willow trees 22 beside<br />

the road,<br />

and regrets allowing her husband to go and seek<br />

an <strong>of</strong>ficial noble title. 24<br />

The aforementioned poems from The Book <strong>of</strong> Songs contain the primitive genes common to<br />

frontier poetry <strong>of</strong> the theme <strong>of</strong> separation caused by the demands <strong>of</strong> a husband serving in a distant army<br />

and the resultant misery felt by both parties <strong>of</strong> the marriage. “Gathering Ferns” (“Cai Wei” 采 薇 ),<br />

another work from the same ancient collection, is noted for both deepening the emotional impact <strong>of</strong> the<br />

seemingly endless life <strong>of</strong> soldiering while also introducing and invigorating the description <strong>of</strong> frontier<br />

life and battle scenes, details whose enrichment would expand over the centuries but whose source is<br />

found in these early texts. 25 In accounting for the genesis <strong>of</strong> the defining thematic characteristics <strong>of</strong><br />

Tang frontier poetry, the importance <strong>of</strong> “Gathering Ferns” rests in its descriptions <strong>of</strong> martial activities<br />

and frontier life. However, in the opinion <strong>of</strong> some writers, the poem is also germane by being a<br />

contender for the first Chinese frontier poem. 26 Ng's support for this second hypothesis derives from the<br />

is indicative <strong>of</strong> the wife's longing for her husband as well as her dismay for having allowed him to depart.<br />

22 Willow trees, in addition to their arboreal being, were a symbol <strong>of</strong> departure.<br />

23 QTS 143.1446.<br />

24 See Daniel Hsieh, The Evolution <strong>of</strong> Jueju Verse (New York: Peter Lang, 1996), pp. 44-47, on the structure <strong>of</strong> the<br />

quatrain in which the four lines are traditionally divided into an opening (qi 起 ), continuation (cheng 承 ), turn (zhuan<br />

转 ) and resolution (he 合 ).<br />

25 Kam-lung Ng, “Tangdai biansaishi yanjiu”, p. 25; Robert Shanmu Chen, “A Study <strong>of</strong> Bao Zhao and his Poetry” PhD.<br />

diss, <strong>University</strong> <strong>of</strong> British Columbia, 1989, p. 174.<br />

26 An earlier footnote registered my own reservations towards such an assessment; I am presenting these opposing opinions<br />

for the reader's contemplation.

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