What kind of literary work is Li Sao?

Li Sao is the representative work of Qu Yuan, the longest political lyric poem in the history of ancient Chinese poetry. As far as its literary value is concerned, Li Sao is not only a treasure of China literature, but also a treasure of world literature. Li Sao was written after Qu Yuan was exiled to the northern part of Han Dynasty, and paid a visit to the temple of the first king and the ancestral temple of officials. Starting from his own life experience, moral character and ideal, Qu Yuan exposed the ugly reality of the king of Chu's fatuity and disorder, and at the same time showed his embarrassing situation of being hit by him. In contrast, it shows Qu Yuan's inner anguish and contradiction, and regrets that the ideal of "American politics" cannot be realized. At the same time, it also shows Qu Yuan's self-love spirit of adhering to American political ideals and not colluding with evil forces and his eternal loyalty to the Chu Dynasty. From the perspective of the whole structure, Li Sao can be divided into several independent stories: Qu Yuan led the way (telling Qu Yuan's life experience, ambition and the necessity of promoting American politics), Qu Yuan's defeat (the process and reasons of the failure of political reform; Views and attitudes towards the failure of political reform), Qu Yuan's unyielding (Qu Yuan's self-reflection), Qu Yuan's being blamed (because Qu Yuan was demoted and accused by his family), Qu Yuan's reasoning (Qu Yuan's sense of injustice), Qu Yuan's knocking on the sky (directly talking to the king of Chu), Qu Yuan's begging for a woman (trying to straighten himself through the harem), Qu Yuan's asking for a sign (asking for a future) and asking for God (asking for God) In the form of writing, Li Sao broke the traditional system of the Book of Songs, which was mainly composed of four neat words, short and pithy, and created a "Sao-style poem" with long or short sentences (five, six, seven, eight and nine words per sentence, as well as three sentences with uneven syntax and flexibility), which was grand in length and rich in connotation, namely "Xi". From the artistic features, Li Sao created a unique contrast and prosperity by using the metaphor of vanilla beauty. For example, he used vanilla as a metaphor for the noble quality of poets, for the relationship between men and women, for the relationship between monarch and minister, for driving horses as a metaphor for national governance, for making friends with gentlemen by picking herbs, and for keeping clean by wearing vanilla. Wang Yi's "Songs of Chu" said: "Li Sao's prose is based on poetry, and it is better to be loyal to birds and grass; Compare bad birds with smelly things; Spiritual beauty, in order to compare with jun; It is this artistic feature that makes Fu Fei lose his daughter and compare him to a virtuous minister. When describing the characteristics of things, Qu Yuan boldly used exaggeration, spread the wings of free imagination, and made full use of myths and legends to make Li Sao have a strong romantic atmosphere. The content creation of Li Sao is rooted in historical facts and full of profound thoughts. Qu Yuan used extravagant descriptions to perfectly and naturally interweave realistic figures, historical figures and mythical figures, forming a magnificent, peculiar and colorful spiritual world, which made Li Sao a romantic composition interwoven with thoughts and historical facts. Duality is also a common rhetorical device in Li Sao. According to statistics, there are more than 100 antitheses in the whole article, and there are also complicated antitheses, such as "being clever at keeping up with the times and customs and following the rules to correct mistakes;" "Pick up a pen and ink to chase songs and compete." In addition, the use of reduplicated words makes Lisao read harmoniously. There is a kind of ups and downs, such as singing three sighs, such as "being in a precarious position" as a towering crown, and "winding" as a dragon swim ... The words in Lisao are also beautiful. Qu Yuan, who thinks he is noble, uses herbal metaphors, such as "making tobacco". I don't know it's awkward, and I feel that I believe it. "The lyrics of the poem are beautiful, the flowers and plants are beautiful, the fragrance is more beautiful, and the color of the scenery is also beautiful. Even if you don't read much, the elegant and upright protagonist image has long been vividly portrayed. In addition to feeling the charm of the text itself, we will also be attracted by the tall protagonist. First of all, Qu Yuan described his outstanding appearance characteristics, such as "the high crown is awkward, and it is far from the ground" and "it's okay to take care of it for a long time". The distinctive features make people recognize many portraits at a glance even if they are not marked with Qu Yuan's name. Secondly, Qu Yuan has distinct personality characteristics. He advocates the rule of law ("follow the crowd but not fully satisfied"), advocates beautiful politics, attaches importance to folk interests and folk functions ("God is selfless, and there is nothing wrong with human morality"), opposes rulers and courtiers' wanton pursuit of interests, and more importantly, is firm in ideals ("I am full of kindness, although I have no regrets in my death"). Qu Yuan's image is a concentrated expression of goodness and beauty, and his ideals and personality integrity have become countless latecomers.