This article is a duet between Shao Siming (Shao Siming's spiritual son) and the wizard (in Priestess of Death's tone). At the end, it says "Sun Yi should be righteous for the people", and the last paragraph is the lyrics of the wizard. Then, the first sentence (there is a sentence "Why is Sun so sad") will also be sung by the wizard. Judging from the lyrics, the second, third and fourth paragraphs are for Shao Siming, and the fifth and sixth paragraphs are also sung by the wizard in Priestess of Death's accent.
Because this aria is connected with the last one, Shao Siming and Priestess of Death were present, so there was no more words to worship God, but the relationship between the host and the guest in this one was opposite to that in the last one. In the second half of the last article, the witch sang in the tone of a young master, so at the beginning of the article, the wizard sang a song praising the young master in the tone of Priestess of Death. As far as emotional acceptance is concerned, Shao Siming, his predecessor, has shown many sad emotions, so he said at the beginning of the article, "My wife has her own beauty, so why should Sun be sad?"
"Qiu Lan's passion for moose and weeds, Luo Sheng's passion for life" is a foil to Shao Siming, the goddess who loves life, on the other hand, it also implies that this sacrifice is for seeking children. "Er Ya Yi" says: "Orchid is a national fragrance, and people are proud of it. In ancient times, they thought it was auspicious to have children. And Wu Hong's root, a housewife, has no children. So "Thinking Less about Life" quoted. " Zhenghe Materia Medica also says that Xiong Xiong's rhizome can be used as medicine to treat "women with blood stasis and childless". Therefore, these two sentences not only highlight the theme of the poem, but also reflect an ancient custom.
When Shao Siming boasted of bluegrass, it was also a good sign to have a child. "There are many beautiful women, and suddenly they are alone in their eyes", which means that many women attend the worship ceremony, hoping to have a good son and daughter, and throw begging eyes at her, and she will return with a glance. She is willing to satisfy everyone's good wishes. Now that she has achieved her goal with these people, there is no sorrow. She saw the piety and courtesy of the people in the altar and was deeply moved. She "went in without saying anything" and "left without saying anything" and left contentedly. She rode a whirlwind with a cloud flag on it. I am glad that she has made many friends again; And I feel sad that I will be separated from these people again. This is to connect the feelings of man and God, and to embody the amorous feelings of the goddess. In the next part, the goddess said her dress and left the altar. Compared with Priestess of Death's "Yiyun Xi Bei, Yu Pei Xi Lu Li", "Heyi Xi Hui School" has more female characteristics. "Stay in the Imperial Suburb" is the place to go after leaving. "Reading Notes, Monthly Preface" Kong Ying Da cited Zheng Zhi with justice. After Zhu Di became an auspicious official, he "worshipped it to match the emperor and called it Gao _". Another reason is that the young officers transformed by it live in the suburbs of the emperor. "Who needs a cloud?" Priestess of Death said it the other way around.
Verses 5 and 6 are all sung by wizards in Priestess of Death's accent. He answered Shao Siming's question first: "I'm waiting for you, and I want to accompany you to Xianchi to wash your hair and bask in the sun. Because I've been waiting for you not to come, I suddenly stood in the clouds and sang in the breeze." The sixth section describes Shao Siming's situation after he ascended to heaven, and depicts a glorious image of protecting children: she holds a sword in one hand and holds the child in the other. She is not only a god to send children, but also a god to protect them. "Only Sun should uphold justice for the people!" In fact, it sang the reverence and love of the broad masses of the people for Shao Siming.
There is a compact and sonorous rhythmic beauty in the form of "Nine Songs Whistle Four Rings". Form is the carrier of poetry, and what people feel most directly is its form. Because poetry is a literary genre that reflects life and expresses emotions through a language with a strong sense of rhythm, it naturally has the beauty of rhythm, which is one of the main manifestations derived from the art of poetry-rhythm. Qu Yuan's original poetic structure and meter give China a new rhythm, as shown in Nine Songs.
The compactness of the rhythm of Jiuge ShaoSiming is mainly manifested in the structure, and the whole poem is completed in one go from beginning to end without any delay. Although the whole poem can be divided into five parts, the transition between the parts is smooth and natural, and it is unconsciously completed: the first part is the witch chorus representing human women, the second part is the solo of the main witch representing the less-lived goddess, the third part is the question of the less-lived goddess, the fourth part is the answer of the less-lived goddess, and the fifth part is the chorus of women in the world, which is interlocking.
The rhythm of Jiuge ShaoSiming is sonorous, which is mainly manifested in the meter. Its verses are uneven or antithetical, ups and downs, strong sense of movement, "rhyme with words, rhyme with fun", vivid and interesting. Poems vary widely, which is the subtlety of Chu Ci's inheritance and development of The Book of Songs. It not only retains the typical four-sentence sentence pattern in The Book of Songs, but also expands it into five sentences and six sentences (excluding the modal particle "Xi"), and adds "thirty-two" and "thirty-three" on the basis of the basic discussion of "twenty-two" in The Book of Songs, just like the poems with the rhythm of "twenty-two", "thirty-two" and "thirty-three" in Shao Siming.
Compared with the Book of Songs, the rhythm of this poem has experienced greater ups and downs and changes, and it is also more sonorous and moving. At the same time, the use of modal particle "Xi" in the sentence structure of Songs of the South is also brilliant. Mr. Jin Kaicheng once speculated: "If the number of words at both ends of' Xi' is small, the pronunciation of these words will be long and close to singing; On the other hand, if there are many words at both ends, the pronunciation of these words must be short and close to chanting, which forms the unique artistic effect of Chu songs. The antithesis of poetry is typical, such as "without saying anything, without saying anything", "taking the return air, raising the cloud flag" and "parting with sorrow, knowing each other with joy". They are full of love and words, which can fully mobilize people's * * *.
As far as form is concerned, these poems are completely in line with China's traditional singing rhythm, and they are all made into antithetical sentences according to the level of pronunciation and the false teaching of meaning. This kind of neat antithesis comes down in one continuous line with the development track of the previous generation of southern poetry.