Emperor Levin's Miao nationality is Xi, my emperor Kao Boyong;
While taking photos of Zhen, Geng Yin and I are going to surrender.
Emperor view more than once, tin more than reputation;
The name is right, and the word is all;
Fenwu has both inner beauty and self-cultivation ability;
Hu Jiang left and monarch, threading thought Pei;
If I am not as good as me, I am afraid that my age is not with me;
Mulan Xi in the morning [Li Bi], Shu Mang in the evening;
The sun and the moon are not flooded suddenly, and the spring and autumn have their order;
But the vegetation is scattered, fearing that the beauty will come late;
Do not cherish the strong, abandon filth, why not change this degree?
Run with the horse and guide my husband first.
The purity of the past three times is where the public is;
How can you be a husband with the miscellaneous use of pepper and fungus?
Peter Yaoshun's Geng Jiexi, both by the way and by the way;
He is arrogant, and her husband has only the embarrassment of taking shortcuts;
However, couples steal happiness, and the road is dangerous;
I am afraid of the rest of my body and Huang Yu's defeat;
Suddenly ran to Xi, and the heel of the former king;
I don't care how I feel, but I'm greedy and angry.
Gu Yu knew it was painful, but he couldn't give up.
Refers to the positive nine days, zork;
At the beginning, I talked to Yu Chengyan and regretted having him;
It is not difficult for me to leave my husband, and it is difficult to quantify my practice.
I am not only the nine of Zilan, but also a hundred-acre tree;
If you want to stay abroad and expose the bottom of the car, you should mix with local chronicles;
Hebei has lush foliage, so I wish I could cut the mountain (sound "four");
Although it is withered, it is a pain, mourning the filth of the public;
Everyone is greedy and eager to seek;
Forgive yourself for being in Qiang and being jealous of each other;
That's not what I'm worried about.
Old Ran Ran came, and he was afraid that his name would not stand;
Drink Mulan in the morning and dew in the evening, and autumn chrysanthemum in the evening;
If you are full of affection and trust [female praise] (sound "praise"), you must practice, and it will hurt if you grow salty (sound "salty");
Tie a knot with the root of the wood and thread it into the falling core of Ficus pumila;
Change bacteria and laurel to thread, and ask Hu Sheng to do so.
Li Sao is a passionate political lyric poem and an artistic masterpiece combining realism and romanticism. Some fragments in the poem reflect the historical facts at that time (for example, "Beginning and Yucheng each said their own words." Regret running away and having him. The practice of numerology refers to Wang Huai's repeated political diplomacy and attitude towards Qu Yuan. However, in the performance, it completely adopts the romantic method: not only the materials of myths and legends are used, but also a large number of figurative methods are used to express feelings with flowers and birds, "taking feelings as the inside, taking things as the table, and being depressed and resentful" (Liu Zawen). The deployment of vehicles in the figurative symbols used by poets is based on the inheritance of traditional culture, which always gives people a feeling of endless meaning.
Because of the poet's incomparable grief and uncontrollable passion, the whole poem is like a running river with no end. But after careful consideration, both the conception of artistic conception and the external structure reflect the poet's extraordinary artistic ingenuity.
Conceptually, this poem describes two worlds: the real world and the surreal world composed of heaven, gods, ancient figures and personified sun, moon, wind, thunder, wind and birds. This surreal fantasy world is a supplement to the real world. There is no king on the ground and no emperor in the sky; On the earth, it is "everyone strives for greed." If you can't find a comrade, you can't achieve anything if you beg for your daughter. This is somewhat similar to Xi Fang Ping's description of the underworld in Strange Tales from a Lonely Studio. Only in "Xi Fang Ping", the hero went to another world by turning people into ghosts, while in "Li Sao", he shuttled freely between heaven and earth. This conception is more suitable for expressing the passion of lyric poetry. The celestial world envisioned by the poet is above the high altitude and the legendary Kunlun Mountain, which is consistent with the universal consciousness and prototype myth formed from the primitive society, so it is very natural, and it is more mythical than the treatment of going to another world through death, dreams and eternal life in later literary works, and has no religious superstition. The background presented by the poet is broad, majestic and magnificent. The beauty, strength and sadness of its artistic conception are unprecedented. In particular, the poet regards the image of dragon and horse as a tool from the world to heaven and from heaven to the world. "Hou Shang Shu" is lost, saying that Emperor Yao succeeded to the throne and that "the dragon and horse were crowned with armor". One of the archetypes of the animal dragon in ancient China is the deified steed. Zhou Li said that "a horse over eight feet is a dragon", and Lv Chunqiu said that "the beauty of a horse is a dragon's horse, and it is a legacy". The horse on the earth is a dragon when it is lifted up. Originally, it was only the difference between the ground and the sky, but because of the implication of the changes in Shen Jun, the sky became a paradise. The poet formed the internal structure of this long poem with the help of his own plot changes from earth to heaven and from heaven to earth. The plot of the fragments written in the poem is only used as the carrier of emotion to externalize the ideological struggle and emotional changes. However, these plots effectively avoid the disadvantages that long lyric poems are easy to flow in the air.