Appreciation:
This poem is a sacrificial song for mountain ghosts. It tells the story of the passionate mountain ghosts passed down in the mountains, their trysts with their sweethearts in the mountains, and how they wait for their sweethearts in the future. Complex emotions, depicting a human-like image of gods and ghosts. The plot also keeps turning with the tune, which is the beginning of a grand ceremony and the spiritual continuation of the ancestors' future life.
As if standing on the top of the mountains, shouting into the distance, listening carefully, the music and flutes interweave, time and space flow, the sounds in the empty valley are birds flying in the forest, and the sounds coming from the depths of the mountains. The words are gentle and affectionate, but also full of power, reaching people's hearts.
The proper integration of Qu Fu allows modern people to have a deeper understanding of the ancient people. The integration with modern ancient music creates a wonderful picture that complements each other.
Extended information:
Literary Appreciation
There is controversy over whether the "mountain ghost" in this poem is a goddess or a male god. According to "Guoyu" and "Zuo Zhuan", most Chu Ci writers before the Song and Yuan Dynasties regarded Dingshan ghosts as "monsters of wood and stone" and "demon monsters", and regarded them as male mountain monsters. However, painters in the Yuan and Ming dynasties often painted "graceful" and moving goddesses based on the descriptions in poems. Gu Chengtian of the Qing Dynasty first advocated the theory of mountain ghosts as "Wushan goddesses" in his "Jiuge Jie". After further elucidation by You Guoen and Guo Moruo, the opinion that "mountain ghosts" should be regarded as "female ghosts" or "goddesses" has been widely accepted. The appreciation here is based on this theory, and I think it is closer to the image of the mountain ghost described in the poem.
Since Su Xuelin put forward the theory that "Nine Songs" expresses "the love between humans and gods", most researchers have interpreted this poem in terms of the lovelorn relationship between the "mountain ghost" and the "gongzi". This statement seems inappropriate. According to the sacrificial customs of the pre-Qin and Han dynasties, the shaman who wishes to seduce the gods must first dress himself up to resemble the gods in appearance and clothing before the gods are willing to "possess" them and be sacrificed. However, since mountain ghosts belong to the "gods of mountains and rivers", the ancients adopted the "looking at sacrifice" method of "looking at the sacrifices from a distance", so mountain ghosts do not come to the sacrifice site.
This poem is based on this characteristic, using a witch dressed as a mountain ghost to enter the mountain to welcome the gods but not meet them, to express the world's longing for the gods sincerely in order to seek blessings. The "jun", "gongzi" and "lingxiu" in the poem all refer to mountain ghosts; the first person pronouns such as "yu", "I" and "yu" refer to the witches who enter the mountains to welcome the gods.