In the riverside area of Jianghan, China, there have been many beautiful legends about goddesses for a long time. These legends have attracted generations of poets and writers with their unique charm. They yearned for and sang in a low voice, leaving behind countless beautiful and moving masterpieces. The God of Hanshui in Nan Zhou Hanguang is elusive, the God of Xiangshui in Qu Yuan's Nine Songs is graceful and affectionate, and the God of Luoshui written by Sima Xiangru and Zhang Heng is enchanting, beautiful and charming. However, among these gentle carols and wonderful descriptions, Cao Zhi's Ode to Luoshen is the most full of plot and touching. According to the Preface, Cao Zhi's Fu was written after Huang San entered Luoyang, the capital of the DPRK, and passed through Luoshui on his way back to Juancheng, a fief, "feeling Song Yu's worries about Chu women". Shortly after Cao Pi proclaimed himself emperor, he killed Cao Zhi's close friends Ding Yi and Ding Kuang. After going abroad, Cao Zhi himself played "Drunkenness, Robbery Ambassadors" for the state supervision, and was demoted to Anxiang Hou, later renamed Juancheng Hou, and later made Juancheng King (for details, see the Three Kingdoms Chen Sichuan). These are undoubtedly a heavy blow to Cao Zhi, who is determined to "serve the country faithfully, benefit the people, make contributions and make a lasting legacy" (a book with Yang Dezu), and his depression and anguish can be imagined. 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 sets and the car is in trouble." 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; Bright eyes and white teeth, should you laugh? ; 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. "In the face of such a scene, we seem to smell the fragrance coming from Luo Shen's walk and see her wandering in the corner of the mountain, collecting wisdom at the water's edge. At this point, Luo Shen's image is both elegant and vivid. 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. Look at her wandering. 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; A moment later, I screamed in disappointment, and my voice echoed with the deep sorrow of acacia. When Luo Shen's funeral summoned the gods to "play clean, or gather pearls, or gather jade feathers", although she was accompanied by Princess Nanxiang and Hanbin's secluded daughter, she still couldn't help but "sigh for the lack of horses, sing for the lonely cows" and stood there lost in thought. In a flash, she was like a fast-flying waterfowl, wandering on the foggy water, and her whereabouts were uncertain. Only the flowing, affectionate eyes and the lip kiss seem to pour out their infinite attachment and sadness to the author. Reading the author's description of Luo Shen's hesitation, chanting, wandering or wandering, we seem to be enjoying 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, hating the prime of life is the best", 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.
The theme of love between man and god is common in western literature, but it is rare in ancient China literature. In particular, it is even more rare to express the mutual admiration and love between man and god like Luo Shenfu. Song Yu's Goddess Fu focuses on the external beauty of Wushan Goddess, but fails to pay more attention to the inner feelings. At the same time, the king of Chu is not described as a party in love in his works. Therefore, Cao Zhi's Ode to Luoshen can be said to be one of the most outstanding works of this kind. The predecessors had different views on his creative motivation. Some people think that Cao Zhi failed to find a concubine, and then he saw his golden pillow in Yu Pei, so he wrote sadly. Formerly known as Ganzhen Fu, it was changed from Ming Di to Luoshen Fu (Notes on Selected Works of Shan Li). Some people think that Cao Zhi's truth-seeking has nothing to do with history. The old theory is that he mistakenly put it in bamboo slips with the world-famous novel Ganzhenji, and his works are actually based on Cao Zhi's "exoneration" (textual research on Hu Kejia's Selected Works and He Chao's Secretary of Reading Yimen). Some people think that there is a true feeling, but what they feel is not that Cao was demoted to Juancheng in the third year (Zhu Gan's Yuefu Justice). There may be some truth in these views, but we feel that if we are too obsessed with historical facts when we understand and appreciate a classic literary work, it is not worthwhile to regard the writer's literary creation as a direct reflection of history. Therefore, judging from the author's situation at that time and the content of his works, it is better to regard the goddess as an artistic symbol of the unfulfilled ideal of serving the country repeatedly expressed by the author in other works, which may be closer to the author's creative intention. From this point of view, the work not only successfully created a goddess image of "if you are surprised, if you are charming, if you are graceful, if you are Youlong", but also gives people valuable enlightenment from the ideological pursuit and persistence of ideals.
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 in Song Fu. In addition, its plot is complete, its technique is changeable and its form is meaningful, which is beyond the previous works. Therefore, it has 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", adding 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.