View/Open - University of Victoria
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View/Open - University of Victoria
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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.