One. The artistic rules of myth point out the direction for the development of later literature. The theme of life triggered by myth has actually become the mainstream of the development of China literature. Myth is full of emotion, image and imagination, and it also greatly affects the development of later literature.
Two. Rich and colorful mythical works have become an inexhaustible source of subject matter for later literary creation. Such as Qu Yuan's Chu Ci, Zhuangzi's prose and Li Bai's poems and songs. The Journey to the West's novels of Ming and Qing Dynasties such as Romance of Gods.
How to influence later literature?
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China's myths and legends laid the foundation for later literature with their extensive and profound meanings and vivid expressive force. Among them, the influence on poetry and novel creation is particularly obvious. For example:
The Book of Songs: Shang Xuanniao praises "Xuanniao was born in the destiny."
Daya describes the adventures of Hou Ji, the ancestor of Zhou clan. His mother gave birth to him so smoothly that it was considered unlucky to throw him away. Throw it into an alley sheltered by cattle and sheep, throw it into the forest, just meet a lumberjack, throw it on the ice, and the big bird feathers cover him. When the big bird flies away, it cries loudly, and its cry resounds through the sky.
Qu Yuan's Songs of Chu, Li Sao, Tian Wen and Jiu Ge are also full of magical colors and imagination.
Many fables in Zhuangzi during the Warring States Period were adapted from myths. For example, Kun and Peng in "Happy Travel" are the embodiment of the northern sea god and wind god in "Shan Hai Jing". Ancient Tuo is also the "ancient Tuo country" in Haibei Classic.
Fu of Han Dynasty, such as Cao Zhi's Fu of Luoshen, is a successful work created by using the image materials of Fu Fei, the goddess of Luoshui.
Tao Yuanming, a poet in the Eastern Jin Dynasty, read the ninth "Kuafu's Birthday" and the tenth "Jingwei Title" in Shan Hai Jing.
Climbing Mount Tianmu in a Dream, Difficult Road to Shu, Fu Liangyin by Li Bai, a poet in the prosperous Tang Dynasty, etc.
Li Shangyin, a poet in the late Tang Dynasty, wrote a poem in Yaochi: "Grandma Tao's window opened, and the song" Yellow Bamboo "moved the earth. Eight horses went to Wan Li every day, and Mu Wang never came back." It is the magical application of mythical images.
There are also many novels based on myths, which are mainly recreated with the help of the strange imagination of myths and the images or plots in myths. For example, Li's novel Liu Yichuan in the Tang Dynasty created a beautiful love myth. The absorption and transformation of myths in the novels of ghosts and gods in Ming and Qing Dynasties reached the peak of this kind of literature, and their representatives, Journey to the West, the Monkey King, Pig Bajie and their seventy-two changes, became one of the most influential stories in China literature. From the Monkey King, we can easily see the influence of Huai vortex monsters such as Chi You, Xingtian and Wu. In addition, there are many thought-provoking fairy tales in Strange Tales from a Lonely Studio, Flowers in a Mirror, Romance of the Gods and Dream of Red Mansions.
There are also many works that use fairy tales in modern novels. For example, Lu Xun, the standard-bearer of new literature, often uses mythical materials in his creation, especially the four articles in A New Story, such as mending the sky, flying the moon, casting a sword and controlling water, are all written with mythical themes. In mending the sky, he demonstrated the tireless creative power of the national spirit through the creative activities of Nu Wa. "Running to the Moon" shows the loneliness and sadness of soldiers when they are useless through Yi's heroic ending. "Casting Sword" eulogizes the hero of the war of resistance against Japan; "Water Control" praised the backbone of the nation. These works of his are the earliest "root-seeking literature" in China literature. Guo Moruo is a poet with a strong sense of myth. He has a religious worship of ancient myths, and once said, "Myth is an excellent work of art and an excellent poem." (Noe: Guo Moruo: The Mythical World, Literary Series, Shanghai Guanghua Bookstore 1925. ) In his poetry creation, mythical images endowed with strong feelings can be seen everywhere, such as Phoenix, Tiangou, Zhuan Xu and Gong Gong. He named his masterpiece poetry collection Goddess, which showed his special liking for myths.
In addition to Lu Xun and Guo Moruo, Mao Dun, Zhou Zuoren, Zheng Zhenduo, Wen Yiduo and others also took a keen interest in myths from different angles. For example, Zheng Zhenduo borrowed some short stories written by Greek fairy tales, Shen Congwen's novel series describing the local conditions and customs of Xiangxi, Wu Zuguang's play The Cowherd and the Weaver Girl, the goddess of the Goddess Chang'e flying to the moon and so on. Among them, Shen Congwen's novels use mythical materials in a more developed way than before. He didn't simply adopt, adapt or rewrite the plot or image of a specific myth, but found a new way to reconstruct and recreate it in an all-round way on the basis of many folk culture prototypes. Beneath the surface structure of the story, there is a prototype of the collective unconscious. For example, some researchers have found that there are three archetypes in Border Town: seeking immortals, puzzles and fate, and three narrative modes are adopted: imitating immortals, triangle and circulation. (Noe: Li Jikai: "Reconstruction of Folk Archetype —— A Critical Attempt at the Archetype of Shen Congwen's Border Town" (China Modern Literature Research Series No.4, 1995). ) This new method of using mythical materials had an impact on later novel creation.
There are Han Shaogong's Daddy, Wang Anyi's Bao Xiaozhuang, Jia Pingwa's Old Castle, Zheng Yi's Old Well and Zheng Wanlong's Foreign Land.
In addition, in the process of its formation and development, China opera has always been influenced by the spirit of myth and reason. To some extent, the aesthetic magic of traditional Chinese opera is closely related to China's mythological spirit. Fantasy breeds dreams and myths, and it can also be said that it breeds China opera. As we know, drama literature is the basis of drama art, and the essays and legendary novels in the Tang Dynasty are the basis of drama literature. Bianwen was originally developed by Buddhist temples to publicize Confucian classics through popular stories. However, some Bianwen are fictional and supernatural stories, so most of them are related to myths (legendary novels are also developed from China's ancient mysterious novels). China opera writers have always had a special liking for dreams, and they are obsessed with describing dreams, such as the dream of Caoqiao in The West Chamber, the dream of autumn rain in Wu Tongyu, the dream of a lonely goose in Autumn of the Han Palace, the dream of Du Liniang's lover in Peony Pavilion, the dream of Huang Liang, Butterfly, Yangzhou, Ascending Immortal and Fairy, etc. Dreams are connected with the real world by means of the legendary characteristics of images, and unified in images, which is a rational expression of secularism and ethics in drama. We saw the ghost of Dou E in Dou E Yuan, which deepened a character's indomitable character. The Dream of Western Shu also contains Zhang Fei's ghost dream, which reshapes Zhang Fei's image of integrity, courage and never forgetting revenge. There is also the moon lotus of "Cloud Window Dream" recalling the past; Bao Gong's dream butterfly in Butterfly Dream; "Haotian Pagoda" makes your father hold dreams and so on. Dreams are used to embody a mythical spirit-"fantasy-practice" spirit. The image-building in dreams gives full play to the freedom of imagination and description. Dreams can transcend life and death, transcend time and space, and vent their sorrows and joys to the maximum extent. Compared with reality, dream is the evolution of myth, which can show the deep psychology of characters more deeply.
Myths and legends can be seen everywhere in popular online novels. For example, the popular online novel Zhu Xian depicts Suzaku, mysterious snake and gluttony in ancient mythology. The creators of online novels draw lessons from the differences between gods and immortals, demons and demons in ancient myths and legends, and divide their creations into different categories, either fantasy novel or fix true novels. Among them, excellent works have attracted more and more people's attention, especially young readers.
Of course, the influence of myth on film and television works is obvious to all. In recent years, there are many series created with the theme of myth. For example, according to the fairy tale of Dong Yong and the Seven Fairies, Ariel Lin, a Taiwanese idol drama "One Sister", and a popular idol of the new generation took a break from the large-scale ancient mythological TV series "Flying Fairy"; Chinese mainland's version of Star Pig and Eight Rings, Lotus Lantern, Jingwei Reclamation and One Mountain in Gong Yu; Hong Kong version of Liang Zhu, the list of gods, I have a date with zombies and so on. Especially my date with a zombie, it's really hard to get many mythical characters in one play without being confused.
The influence of ancient myths and legends on customs is also obvious. For example, the saying that "men are left and women are right" began in Pangu: after Pangu created the world, the body turned into everything in the universe, in which the left eye turned into the sun and the right eye turned into the moon. The sun is the sun, the moon is yin, men are yang and women are yin, so there is a saying that men are left and women are right. For example, Chinese New Year, Begging for Cleverness Festival, Tomb-Sweeping Day and Dragon Lantern are all related to myths and legends. These customs in turn affect literary creation, making some literary works with strong local characteristics and romanticism.
The influence of ancient myths and legends on later literature is enormous and far-reaching. Ancient myths and legends are the source of romanticism, and we can often see the shadows of myths and legends in realistic works. It can be said that ancient myths and legends are the source of China's literary creation. Ancient myths and legends not only affect the literary creation of later generations, but also affect all aspects of China people's lives, and some buildings are also influenced by myths and legends. Together, these have formed the unique humanistic characteristics of China people.
All this shows that China's ancient myths and legends are the spiritual pillar of the whole Chinese nation. It will certainly continue to affect China people from generation to generation!