Chu Ci is a literary work created by Chu people represented by Qu Yuan during the Warring States Period. When Han became emperor, Liu Xiang joined forces with Qu Yuan, Song Yu, Le Tang, Jing Ke, Jia Yi, Huainan Xiaoshan, Dong Fangshuo, Zhuang Ji and Bao Wang. And his own words into a set, *** 16, named "Chu Ci". Qu Yuan's works are the most numerous and of the highest quality in Chu Ci, and his Li Sao is a masterpiece of Chu Ci, so later people call it "Sao Style".
Li Sao is the representative work of Qu Yuan (about 340 ~ 277 BC) and the longest lyric poem in ancient China, with 373 sentences and 2490 words. This is a masterpiece of romanticism. In this poem, the poet makes the generation shine with lofty ideals and passionate feelings.
Li Sao can be divided into eight parts. The first part introduces Qu Yuan's family background, birth and childhood ambition. The second part describes his political experience; The third part describes his feelings after persecution, which shows that he sticks to his ideal until death do us part; In the fourth part, he wrote that women advised him not to "learn from others' strengths and be easy to repair", so he made a speech to Zhong Hua, the legendary ancient emperor, and spoke out his political ideals positively. In the fifth part, he wrote that he was depressed and had no choice but to fantasize that he would find someone who understood him when he went to heaven and earth. The sixth part describes his ambivalence: he asked Ling Feng and Wu Xian for advice, Ling Feng advised him to leave Chu, and Wu Xian advised him to stay and make plans, but looking around the political situation in Chu, he was disappointed; The seventh part writes that he fantasizes about leaving Chu for a long trip, but in the end he is reluctant to part; The eighth part is Essays, which means to die for his ideal.
Li Sao shows the poet's yearning for the motherland and his love for the people. Qu Yuan is a great patriotic poet with great ambitions. He wants to refresh politics, save the peril of Chu, make Chu strong, and realize the unification of China. Li Sao also shows the poet's spirit of persisting in ideals, hating darkness and taking evil as his enemy. However, the practice of the king of Chu was foolish, and he listened to the rumors in the party and exiled Qu Yuan, which led to the decline of Chu State. The poet chose to die for his ideal in the contradiction that he could neither change the face of Chu nor change himself. Li Sao shines with shocking idealism.
The artistic achievement of Li Sao is extremely high. First of all, the whole work has a strong romantic color, and in the second half, this color is even stronger. The poem uses a lot of figurative techniques, but it is different from the figurative techniques in The Book of Songs. It is not a simple metaphor, but its image as a metaphor contains a distant artistic conception: "I am full of beauty, and I attach importance to cultivation." Hu Jiang left with Bi, thinking that she was admirable. If I am not as good as me, I am afraid that my age is not with me. Mulan is embarrassed in the morning and embarrassed at night. " "Lotus thought clothes xi, set lotus thought petticoats. I don't know if it is already embarrassing, and I feel that I believe it. " The poet wrote his love for all kinds of vanilla flowers in his works to describe his purity and elegance. When people read these poems, they not only feel the color and fragrance of flowers and plants, but also feel attracted by a far-reaching artistic conception. Li Jiang, Vishnu, Qiu Lan, Lotus and Hibiscus, which grow deep in the rocks of water towns, can easily lead people's mood to the realm of fantasy. Poets use them to symbolize noble character and wear them. This is a symbol of his clothes and morality. This wrote a noble and touching image of a poet. Secondly, the most important artistic feature of Li Sao is that there are a lot of myths and legends, historical figures, the sun, the moon and the stars, the quicksand of mountains and rivers and so on in the poet's pen. Appear, constitute an extremely magnificent and complete picture. For example, the poet wrote that his ideal could not be realized and no one could understand him. With a feeling of helplessness, he fantasized about driving a phoenix and flying into the sky in the wind, and went to talk to the Emperor of Heaven: "In the morning, Cangwu will arrive at the county garden in the evening; If you want to stay less energetic, it will be dusk. I am cautious in my life, and I look forward to it; There is a long way to go in Xiu Yuan, and I will go up and down. The salty pool drinks more than one horse, and the rest is always on the hibiscus; When the wood breaks, blow the sun and chat with the sheep. Wang Shu was the pioneer before, and Fei Lian was the subordinate after; Emperor Luan warned Yu first, but told Yu not to eat it. I make the phoenix fly, followed by day and night; Floating away from Xi, the handsome Yun Ni came to the royal family; There is always a clutch, just leave it. " The artistic conception written in this paragraph is extremely broad and magnificent. The poet imagined that he would leave Cangwu in the south in the morning and arrive in Cang Kun in the northwest before sunset. He also told the sun god to slow down and walk up and down before sunset. He drank horses in the salty pool where the sun bathed and rested in the hibiscus where the sun passed. He was followed by many gods, such as Luna, Fengshen, Luan Huang and Schleswig. And the momentum is very considerable. In addition, Li Sao's poetic style is patchy, and there are also questions and answers between the subject and the object and a large-scale extravagant description. Most of them are four sentences and one chapter, and the words and sentences are even different, which has formed the characteristics of patchwork, neatness and changeability, and has a great influence on later words.
Besides Li Sao, Qu Yuan has many excellent works, such as Nine Chapters, Nine Songs and Nine Questions.
Han Fu is a unique literary genre in ancient China. Its main feature is to tell stories and write things without singing. The representative writers of Han Fu mainly include Jia Yi and Mei Cheng in the early Han Dynasty. Jia Yi (20 1 ~ 169) is from Luoyang. His representative works include Fu for catching birds and Fu for hanging Qu Yuan. Jia Yi inherited Qu Yuan's prose style. His Mourning for the Wrestling compares Qu Yuan's experience with his own. Lying on the ostrich expressed his unfair and uncompromising spirit. His prose tends to be rambling, and he uses a lot of four words, which reflects the trace of the transition from Chu Ci to new prose. In the early Han Dynasty, besides Jia Yi, Mei Cheng was the most important. The main active periods of Meicheng were Emperor Wu of the Han Dynasty and Emperor Jing. There are nine essays by Mei Cheng in Hanshu, and three have been handed down to this day. Seven essays are his representative works. Seven hairs consists of eight paragraphs, with questions and answers from the king of Chu and Wu Ke. The work assumes that the King of Chu is ill, and Wu Ke talks with him, pointing out that the root of the King of Chu's illness lies in his corrupt life and his desire for comfort, which cannot be cured by medicine. Wu Ke skillfully narrated music, diet, horses and chariots, palaces, hunting and Taoist temple, with the purpose of diverting the interest of the king of Chu with "witticism". As a court scholar, Mei Cheng is familiar with court life, so he can tell the facts very clearly and to the point. Seven hairs makes good use of image contrast in art and has distinct characteristics of extravagance. For example, the pottery-shaped paragraph: "From the beginning, it is raining, if it is under the egret; Its small progress is also vast, such as a white horse curtain cover of a plain car; Its waves are turbulent, such as the disturbance of the three armed forces; It ran from the side and fluttered like a light car. " This passage has repeatedly used marching operations to compare the situation and write Tao's momentum to the fullest. Seven hairs mark the formal formation of Han Fu. Many writers in later generations imitated the form of "seven hairs" and formed a style of question and answer between subject and object in Fu, which was called "seven bodies", but it did not surpass "seven hairs". The era of Emperor Wudi and Emperor Chengdi was the heyday of Han Fu, with Sima Xiangru and Yang Xiong as the representative writers. Sima Xiangru (former 179 ~ former 1 18) was born in Chengdu. Representative works include Zi Xufu, Shanglin Fu, Changmen Fu, Beauty Fu and Adult Fu. There are many nouns and adjectives in Zi Xu Fu and Shang Fu Lin, and they rarely change. But some sentences focus on description and read naturally. After reading Zixu Fu, Li Bai envied the cloud dream scenery described in it. He once lived in Anlu (now north of Anlu County, Hubei Province) and was obviously attracted by some descriptions by Sima Xiangru. Yang Xiong (before 53 ~ after 18) was born in Chengdu. He lived in the period of Emperor Wu of the Han Dynasty, and some people commented on his portrait of Sima Xiangru. Representative works include Ganquan Fu, Hunting Feather Fu, Changyang Fu and Poverty Alleviation Fu. At the end of the Eastern Han Dynasty, Fu gradually declined, with Zhang Heng's Erjing Fu and Guitian Fu as representative works. "Return to Talent" is a lyric poem, which sweeps away Han Fu, imitates and praises old habits, creates an indifferent, romantic and fresh style, shows the author's pleasure in seclusion in the countryside under the political situation, and has an important impact on the emergence of lyric Fu in Wei and Jin Dynasties.