Luo Shen Fu written by Cao Zhi, a writer of Cao Wei during the Three Kingdoms period in China.
I told him, "Its shape is as striking as a rainbow and as elegant as Youlong. Glory Qiuju, Song Chun, Hua Mao. Beards and beards are as light as Yun Zheyue, and they float like snow with the wind. Looking from a distance, if the sunrise rises; If you are forced to check it, it will burn like a wave.
I told him that she was as elegant as a flying swan and a Youlong. As bright as chrysanthemums in autumn and as full as pine trees in spring breeze. She is like a light cloud, floating around like returning air and spinning snow. Looking from a distance, it is as clear as the rising sun in the morning glow; At close range, it looks as beautiful as a new lotus in full bloom between blue waves.
Extended data:
Luoshen Fu can be regarded as a bridge for the transformation from the big Fu in Han Dynasty to the small lyric Fu in Six Dynasties, which has had a very extensive and far-reaching influence in history. Gu Kaizhi, a great calligrapher and painter in the Jin Dynasty, showed the spirit and style of "Ode to the Goddess of Luo", which added a rare masterpiece to the bookshop and painting circle.
In the Southern Song Dynasty and the Yuan and Ming Dynasties, some playwrights put it on the stage again, and Wang Daokun's Sad Life of Chen Luoshui is one of the more famous ones. As for the writers who used this as the theme in the past dynasties, countless people read poems and songs. It can be seen that the artistic charm of Cao Zhi's Luo Shen Fu is enduring.
Cao Zhi has made outstanding achievements in the creation of poetry and ci fu. His Fu inherited the tradition of lyrical small Fu since the Han Dynasty, absorbed the romantic spirit of Chu Ci, and opened up a new realm for the development of Ci Fu. Luo Shen Fu is an excellent work in Cao Zhi's Ci Fu. Through the dreamlike realm, the author describes the sincere love between man and God in a romantic way, but he is disappointed and separated because of the "different ways between man and God".
Appreciate:
The work begins with a trip out of Beijing, which includes "carrying a gap, crossing a shaft, crossing a bronze drum and crossing Jing Ling", and describes the scene when the author and his entourage arrive in Robin. At that time, "the sun is setting and the car is in danger." They levied high taxes, cultivated fields, endured poplars and flowed to Luochuan. In a quiet atmosphere, the author looked at the sparkling waterinfo in a trance. At the moment when he occasionally looked up, a miracle appeared: a beautiful goddess stood on the cliff opposite. This makes the author extremely amazed. Unconsciously, he grabbed the ruler beside him and asked eagerly, "Do you have to believe him?" ? Who is he, if this is gorgeous! "Here, the beautiful scenery and water on the hillside before sunset set off the surprises of the characters and created a fascinating artistic conception. Next, the charioteer's answer is also very clever. He evaded the author's first question-"I am bound to the other" and did not answer. Instead, the goddess Luo was put forward in the tone of speculation such as "I heard" and "nothing is", which intentionally left a foreshadowing for the later description of Luo, and also cast a mysterious color on the already strange experience. Luo Shen is said to be the daughter of the Mi family in ancient times. She is a water god because she drowned in waterinfo. Qu Yuan mentioned this ancient legendary goddess in Tian Wen and Li Sao. Later, Zhang Heng described her in their fu: "If my husband is a piano player, he is definitely unconventional, enchanting and refined, elegant." ..... fragrant and melancholy, cool and melancholy; White teeth, laugh it off; Long eyebrows, joint volume, slight shame "(Shanglin Fu); Xi Taihua's jade girl is called Fu Fei of Lop. Xian Jiaoli's charm is charming, which increases her eyes and eyebrows. Shu? Jing's waist is fine, but Yang's emblem is wrong. Smile away from your lips, Yan? Legacy with light ... "(S. Fu Xuan). Different from the direct description of predecessors, the work first gives a colorful description of Luo Shen's presence with a series of vivid and peculiar metaphors: "Its shape is also strange, graceful as Youlong, and glorious as autumn chrysanthemum and spring pine in Hua Mao. "Like light Yun Zheyue, gone with the wind like romantic back to the snow. Looking from a distance, if the sunrise rises; If you check it forcibly, it will burn like a lotus. " Its vivid image and gorgeous colors attract people's attention. Among them, "If you are amazing, if you are graceful and restrained, if you are Youlong" especially vividly shows the charm and charm of Luoshen. It, along with Light Yun Zheyue and Love Back to Snow, gives people graceful and graceful movements in terms of posture. Autumn Chrysanthemum, Spring Pine, Sunrise and Soaring Up give people a sense of bright, clear, gorgeous and enchanting colors in appearance. This sense of movement and color are intertwined and immersed in each other, weaving into a colorful magical scene, which shows people the beauty of Luoshen. On the basis of the strong artistic effect of this repeated metaphor, the author further describes Luo Shen's posture, appearance, clothing and manners in detail by using traditional techniques. This Mi Xi's daughter has a moderate figure, shoulders and waist, and is born with beauty. Her eyebrows are trimmed into a bun, her lips and teeth are fresh, and her eyes are hidden and radiated; Coupled with the gorgeous clothes, bright jade and shining pearls, it is even more "elegant and elegant, quiet and leisurely". These descriptions by the author remind people of the praise of Wei Zhuanggong's wife Zhuang Jiang in the Book of Songs: "Soft hands, firm skin, collar like a dragonfly, teeth like a rhinoceros, low head, clever smile and eager eyes" ("Feng Wei said people"); It is also reminiscent of Song Yu's praise for the woman next door in the East: "One point is not increasing, one point is not decreasing, the powder is too white, and Zhu Taihong is not enough" ("The Loser"). The author is obviously influenced by them, but he pays more attention to the dynamic beauty of characters than his predecessors. Next, he focused on Luo Shen's naive and lively behavior: "Practice the pen and shoes of traveling far away, and drag the fog lightly." The fragrance of small orchids lingers in the corner of the mountain. So how can you suddenly jump and travel and play? Leaning on the left, leaning on the laurel flag on the right. I am busy exercising my wrist, and I am learning the mysterious wisdom of the noise. "At this point, the image of Luo Shen has both grace and be vividly portrayed. The author was deeply moved by the beautiful goddess in front of him. At first, he was depressed because he couldn't convey his love. Later, he "wanted to be sincere first" and "understood Yu Pei to get it". After receiving Fu Fei's response, he remembered the legend of Zheng Jiaofu's mourning for Han Bin, and was suspicious of her "pointing out the abyss and temporarily avoiding the edge". The twists and turns of the author's feelings vividly reflected his subtle inner situation at that time. Correspondingly, Luo Shen was also moved. However, unlike the writer, the work does not directly describe her psychological changes, but through a series of detailed descriptions of her actions, it shows the passionate love in her heart and the strong sadness that this love cannot be realized. She wandered around. The light of god flickers on and off, and at first glance it turns cloudy to sunny. After a while, I shrugged and lifted it lightly, as if to fly and not get up; After a while, I wore a thin pepper coat, which attracted a strong fragrance; After a while, I was disappointed, and my voice echoed with the depth of lovesickness ... When Luo Shen's mourning called the gods, they "played clean, or picked pearls or jade feathers" without any worries. Although the Second Princess of Nanxiang was accompanied by a quiet girl named Hanbin, she still couldn't help sighing that there was no horse in the melon and singing about Petunia. In a flash, she was like a flying waterfowl, wandering on the foggy water with uncertain whereabouts. Only the flowing, affectionate eyes, as well as the lip kiss, seem to be pouring out their infinite attachment and sadness to the author. The author's description of Luo Shen is like a dance drama, with intense feelings and beautiful posture. The character expresses her inner love, contradiction, melancholy and pain with changeable and swaying dance steps. In particular, "the body flies fast and erratic." Limbo walked slightly, and Luo's socks were covered with dust. Unstable is dangerous, and dangerous is safe. The passage "If you go back, if you go back" pushed this dance drama to a climax, and the psychological contradictions and emotional waves of the characters were fully expressed here. Just as the author and Luo Shen were relatively speechless and reluctant, the moment of parting finally came. This is a fantastic and colorful scene: the screen is full of clouds and waves, and the river waves are still there. Fu Fei is driven by six dragons and set off under the escort of whales, whales and fins. The beautiful Luo Shen sat in the drifting car, turning his head and pouring out his heart to the author. "Sorrow will last forever, sorrow will die in a foreign land", and deep sorrow hangs over this mythical picture. After stating the "Handover Outline" that "hating God is different and complaining about others", Luo Shen also vowed: "Although I am in the moonlight, my heart grows on the king." Finally, Luo Shen's gorgeous image finally disappeared in the boundless twilight, but the author still stood by the water, looking disappointedly at the direction of Luo Shen's death, and suddenly lost. He sailed back to Sichuan in a canoe, hoping to see the beautiful image of the goddess again. However, the misty waves and the long night have made him more affectionate and considerate. After dawn, the author had to "retreat to the East Road", but he still "took the initiative to take countermeasures, but he couldn't leave. "This passage of the work is full of rich lyrical atmosphere and has a fascinating power, which more prominently and perfectly outlines and sets off the image of Luo Shen in people's minds.
This fu has three main characteristics: first, it is rich in imagination. The author set out from Luoyang, the capital, and returned to Juancheng, a fief in the East. On the way, on the edge of Luochuan, I stopped to drink horses. When I was walking, I saw Luoshen. This is imagination. Her posture is swaying like a wild goose, graceful as Youlong in water, more delicious and gorgeous than Qiuju and Maosong, beautiful as sunrise, pure as hibiscus, and absolutely beautiful. Then, he took a fancy to her, sent her a short message from Shui Bo, and made a promise to Yu Pei. However, her holiness and nobility made him dare not expect anything. Luo Shen was finally moved by his true feelings, met and poured out his feelings. But in the end, because of the different ways of man and god, the combination of the two was hopeless, so I said goodbye. The imagination is gorgeous, and the romantic sadness is light and unchanging, which makes people feel sad. However, this kind of imagination is not bizarre, so this poem was written with the feelings of Song Yu's two poems, Goddess Fu and Gaotang Fu.
The second feature is that the rhetoric is gorgeous but not impetuous, and the fresh air is refreshing. Pay attention to the arrangement of duality, antithesis and melody, and the language is orderly, concise, vivid and beautiful. The conception of Han Fu based on materials has no rival. This pen just creates a dull and strange atmosphere. Just as Tao Yuanming's Peach Blossom Garden tells the beginning of Wu Lingren's boat trip, the fairyland appeared without any warning in advance. But at this moment, the author suddenly witnessed an unforgettable scene: a pretty woman-Luo Shen appeared. Then the author tries to describe the beauty and pain of Luo Shen, as if he wanted to compete with Song Yu's Wushan Goddess. Then write Luo Shen leading everyone to leave, similar to Qu Yuan's "Lisao" describing the tragic death of the protagonist.
Thirdly, the vivid description, combining metaphor and contrast, is ingenious and appropriate, giving people a grand but not disturbing feeling, beautiful but not shocking, making people feel like watching a wonderful painter, in which the characters are flesh and blood, without making people feel nothingness. When describing Luo Shen's figure, facial features, posture, etc. It conveys the appearance of Luo Shen sinking fish and the ability of falling geese. At the same time, there is a fresh and noble "clear water gives hibiscus, natural carving." In the description of Luo Shen's manner when he saw him, people felt that the Sri Lankan people emerged in front of them and were personable. As for Luo Shen's description when he broke up with him, "the screen gathers wind, the river is quiet, Feng Lai Ming drums, and Nuwa Qing songs." The sincerity and purity of love, everything is so beautiful that after parting, people all go to stay in their hearts and their feelings continue. Luo Shen's beautiful image and the scene when they met each other are vivid, romantic and bitter, and I am uneasy and reluctant to leave.
Predecessors spoke highly of the ideological and artistic achievements of Luo Shen Fu, most obviously compared with Qu Yuan's Nine Songs and Song Yu's Goddess Fu. In fact, Cao Zhi's Fu has both. It not only has a strong lyrical component with Mrs. Xiang, but also has a delicate description of female beauty by Song Yufu. In addition, its plot is complete, its technique is changeable and its form is meaningful, which is beyond the previous works.