The former is like "only the grass and trees are scattered, and the beauty is afraid of dying."
The latter is like "many women are jealous of Yu's eyebrows, and they say Yu is good at prostitution."
It can be said that Qu Yuan expressed his feelings to a great extent by writing stories about his abandonment of his wife, so the whole poem is sentimental and touching. As a couple, Yu Junchen is not only vivid, but also in line with China's traditional thinking habits. As early as in the Spring and Autumn Period of the Western Zhou Dynasty, when the concept of Yin-Yang and Five Elements was developed, the monarch and husband, ministers and women were placed in the same position, which may have influenced Qu Yuan's creation.
Li Sao is full of all kinds of herbs, which, as decoration, support and enrich the beautiful image. At the same time, vanilla image, as an independent symbol, refers to the nobility of morality and personality on the one hand; On the other hand, it is opposite to evil grass and symbolizes both sides of political struggle. In a word, the image of vanilla beauty in Li Sao constitutes a complex and ingenious symbolic metaphor system, which makes the poem rich and vivid.
For example, different appellations of the King of Chu contain different meanings and express different emotions. Generally speaking, "beauty" and "practice" carry praise and hope; And "all" implies the meaning of accusation. Another example is clothing, which is mainly worn by fragrant flowers and beautiful grass. With a high crown, a long sword and Yu Pei, the poet was dressed in dazzling array.
Based on women's self-comparison, the poet compares the relationship between monarch and minister with the relationship between men and women: "I was embarrassed with Yucheng at first, but I regretted hiding him." Then, compare the matchmaker to a political middleman: "Xie Pei's words are awkward, I'll make sense." Furthermore, the poet compares women's jealousy to those little evils: "Many women are jealous of my beauty, and it is rumored that I am good at prostitution." Finally, the metaphor of female lovelorn is ignored: "It is not difficult for me to leave my husband, but what hurts is the quantification of practice."
The poet first endowed fragrant flowers and beautiful grass with the characteristics of goodness and beauty, and then compared them to virtuous people: "The purity of the past and the future is where all fragrance lies." Pepper and mushrooms mixed together, how to take care of her husband? Then he compared wearing delicious flowers and beautiful grass to studying hard: "Hujiang is withdrawn and thinks she can be admired." "Making lotus is thought to be clothes, and picking hibiscus is thought to be clothes." "Drink Mulan dew in the morning and eat autumn chrysanthemum in the evening." Then, the poet compared the cultivation of fragrant flowers and beautiful grass to the cultivation of talents: "I am a hundred acres of trees." "I stayed in the country and found the car that mixed Du Heng and local chronicles." Of course, the following filth of fragrant flowers and beautiful grass is a metaphor for disciple's betrayal and degeneration: "No fragrance, no hair." What grass was it in the past, and now it's Xiao Ai? In addition, weeds with mixed flowers have become synonymous with villains: "I want to fill the house" and "I want to be a husband". "Of course, this also includes Mao, including.