Question 2: Mrs Xiang is one of the eleven poems in Nine Songs of the South. "Xiang Jun" and "Mrs. Xiang" are said to be a pair of spouse gods in Xiangshui. Xiang Jun is a male god and Mrs Xiang is a goddess. Their images are closely related to the legends of Yu Shun and his two emperors Ji Zie and Nv Ying. According to legend, Dashun traveled south, and the second concubine followed suit. Shun died in the wilderness of Cangwu during his journey. Tracing back to Yuan Hexiang, I heard that Dashun was dead, so I threw myself into the river. Chu people had a high degree of imagination, so the image of Phil gradually evolved into the spouse god of Xiangshui. Xiangshui is the largest river unique to Chu. This pair of gods and Mrs. Xiang reflects the primitive people's idea of worshipping natural gods and the concept of "love between god and man" Chu's folk literature and art have a strong religious flavor, and the altar is actually a "theater" or "literary world". Take Mrs. Hexiang as an example: when people offer sacrifices to her, female singers or worshippers play the role of greeting; When offering sacrifices to Mrs. Xiang, male singers or admirers play the role of welcoming Mrs. Xiang and express their deep feelings. They take God as the object and place their simple and sincere love for the world. At the same time, it also embodies the harmony between Chu people and nature. Because the ringing water injected into southern Chu has a close relationship with Chu people, she is like a loving mother who nurtures Chu people from generation to generation. People place deep love on Hunan water, regard it as a river of love and happiness, and then personalize its description. The image of God also shows the story of joys and sorrows like people, and the God in people's minds is also specifically covered with the shadow of historical legends. Xiang Jun and Mrs Xiang are based on the legends of Shun and his second concubines (E Huang and Nv Ying). In this way, the image of God is not only richer and more vivid, but also closer to people in real life emotionally, making people feel cordial, approachable and full of human feelings.
Although the title of the poem is "Mrs. Xiang", the hero in the poem is Xiang Jun, and the theme of this poem is mainly to describe the life and death of the two lovers, who never meet each other. Works always take waiting for someone to come as a clue, expressing deep resentment to each other in frustration, but the love between them is consistent.
"Mrs. Xiang" is a unique love poem. It can be said that it is a major feature of this poem to have feelings in the scenery and feelings in the scenery. The scenery description of "Mrs. Xiang" is very successful. It does not write scenery for the sake of scenery, but sets off the protagonist's psychological activities, that is, the flow of emotion is synchronized with the external form. The poet put Xiang Jun's date with his wife in Xiangshui in autumn. The whole picture is autumn scenery. This provides a natural environment for the protagonist to express homesickness and sadness. In Xiang Jun's mind, he thinks that "Di Zi went down to Zhu Bei"-Mrs. Xiang has been waiting for herself at the place where she was dating (Zhou Bei). However, when he arrived, Mrs Xiang had already left. He couldn't see each other's shadow through the autumn water, and his heart was very sad. The "worry" in "eyes embarrassed and anxious" is suddenly triggered in this environment. "Autumn wind is blowing, and Dongting waves are under the leaves." Is to further borrow autumn scenery rendering, spread, deepen the sadness I have never met. The hero didn't see the arrival of his beloved beauty, and Bai Ji wanted to see him until he didn't see him. The psychological gap between them is very big, and there is a heavy sense of loss. The emotional experience of the hero is stained with a certain color, which constitutes an aesthetic mentality. At this time, in Xiang Jun's eyes, it is full of desolate scenery: the autumn wind is rustling, and it seems that coolness penetrates into the heart; Leaves fall one after another, like a heavy heart sinking; Ripples are like "heart waves". Facing the misty Dongting Lake, Xiang Jun was at a loss and full of sadness. Love and scenery are in perfect harmony, bringing readers into a wonderful artistic conception.
At first, Xiang Jun was very sad because he didn't see each other, but he still hoped that he might come again in the future, so he was going to meet him in the evening and kept looking at the distance. This is also in line with the psychological activities of the characters. This kind of psychology is written in a sentence in Deng Baibi. If he waits and still doesn't see Mrs. Xiang coming, his mood will inevitably get worse and worse. At this time, it was already in the evening, and the sight of birds returning to their nests and fishermen closing their nets reminded him of his own situation. After failing to stand up, he felt even more lonely and distressed. On the contrary, when association occurs, the real scene is distorted into an imaginary scene, and the original scene is deformed: the four sentences of "bird what", "elk what", "Iraq what" and "burning what" are the hallucinations of the protagonist in extremely depressed emotions-distorted scenes. "Suddenly looking into the distance" just shows that he is in a trance, thus creating an illusion that is completely opposite to the real scene. The occurrence of this phenomenon is not only a complex psychological phenomenon, but also a reasonable psychological process. After waking up, he still refused to give up and rode across the river to the west bank to wait patiently. On hearing that Mrs Xiang was "summoned", be in heaven was busy with all the preparations for welcoming Mrs Xiang. The next series of environmental descriptions are full of surprises and cheerful atmosphere, and it seems that a happy life is waiting for him. The protagonist's mood and description of the surrounding environment have become bright and cheerful, and his mood and scenery are natural. Sorrow and pain turn into exultation, which is to pin the unrealized things in reality on fantasy and turn the lost things into beautiful things, thus obtaining a kind of spiritual satisfaction. Xiang Jun's spiritual world is shown in the description of realistic and illusory realm.
Levels overlap and cross, and can be consistent. This poem is also quite unique in structure. It takes the emotional activity when you stood me up as the central clue, and connects the changes of scenery and the activities of characters in series, which is both tortuous and comprehensive.
From the perspective of emotional structure, this poem echoes "horizon of expectation" with "calling way". Since "Mrs. Xiang" is a hymn, it is bound to pray for the gods to come by summoning. The whole poem starts with calling for the arrival of Mrs. Xiang and looks forward to it throughout. The first half of the poem is mainly about the expectation of thinking of Mrs. Xiang to you. Experienced emotional fluctuations such as sadness, regret, regret and trance. These are all emotional fluctuations caused by disappointment with expectations. In the second half of the poem, I was overjoyed to learn that Mrs. Xiang was going to keep an appointment, and was busy preparing for the wedding with the expectation of meeting by chance and not meeting again. At the end of the poem, Mrs. Xiang appeared, and the purpose of calling was achieved, echoing the previous series of expected descriptions. In fact, the description in the second half is only the fantasy realm of the Xiang army, and this fantasy is also due to the eager expectation for it. The whole poem describes the process of expectation, including beginning, contradiction, development, climax, low tide and calm. The line of consciousness is clearly visible.
This poem also has a double structure corresponding to light and shade. The performance of the protagonist's emotions is bright and dark, and the combination of light and dark. Lyric objects can be real or symbolic. When describing the real situation, the hero's emotions are superficial, with clear meaning, clear reference, bright language, vivid emotional color, ups and downs, clear strength and weakness, all in a transparent state. For example, in the second half of the poem, the scenes of building houses and halls, decorating new houses, decorating facades and welcoming guests are all superficial, that is, they are clearly written. From "building a house in water" to "thinning stones and leaving fragrance", it is from the outside to the inside, from big to small; From "building Lotus House" to "building incense door", it is from the inside out. The lines are clear, the facts are clear, and the emotional catharsis is exposed, which is a way to show your breasts. Heartfelt, unrestrained, not so reserved, the flow of emotions is synchronized with external forms.
From the deep structure, this poem also has the expression of situational emotion. The scenery is not what it used to be, such as "Why Birds", "Why Pounds", "Why Elk" and "Why jiaozi". Or emotional scenery, such as autumn wind, autumn water and autumn leaves. The flow of emotion is more subtle, subtle and deep, such as the undercurrent of the sea floor, which is not easy to be found. So it needs to be understood through surface images.
This double-layer structure, light and shade correspond and complement each other, forming a realm of scene blending. The advantage of this structure is that it can increase the capacity of emotion and make the expression of emotion three-dimensional.
In addition, the objects described and the language used in the whole poem are Chu-style, with distinctive local characteristics of Chu. Shui Yuan, Xiangshui, Lishui, Dongting Lake, Radix Angelicae Dahuricae, Ficus pumila, Polygonum multiflorum, Flos Magnoliae, Guangxi, Hui, Holland, elk, birds, white jade and other natural landscapes, animals and plants, minerals, as well as folk customs, myths and legends, unique romantic colors and religious atmosphere in that place. The buildings and furnishings envisaged in the poem are very distinctive, all based on the natural environment, social customs and cultural and psychological structure of Chu, otherwise it is impossible to make such an assumption.
Language also has the characteristics of Chu culture. A large number of dialect proverbs are used in Chu Ci, and Mrs. Xiang is no exception, such as "Fu" (verb), "Mei" and "Fu" (noun). The most prominent thing is the extensive use of the word "Xi"-every sentence in the whole poem has a word "Xi". This modal particle is equivalent to the word "ah" today. Its function is to adjust syllables, increase the turning and jumping of meaning and tone, and enhance the expressive force of language. "Mrs. Xiang" is mainly based on dialects, with five or seven words. The sentence pattern is flexible. This kind of "Sao Style" poem is a new free poem after The Book of Songs, and it is a great innovation in the development history of ancient poetry in China.
Question 3: Mrs Xiang is one of Qu Yuan's Nine Songs of Chu. Both of them are stories of joys and sorrows. There are many similarities in theme, characters and plot, but there are also similarities and differences. The similarities and differences between these two poems present complex forms, including similarities and differences, differences and similarities. At first glance, they are very similar, but after in-depth study, many differences are found.
Different poetic styles and structures. Dream is a narrative poem, which focuses on narration and lyricism, focusing on the time process: it completely describes a woman's whole process from love to marriage and her painful life for three years after marriage until she is abandoned. It is basically a true description of the development order of the situation. Write life truthfully. Although the author vividly describes life according to the logic of life itself and projects regret and hatred in the narrative, he shows the development of the situation with subjective feelings in the objective narrative and lyricism. The most touching thing after reading this poem is not the reappearance of the event itself, but the theme emotion like lyric poetry, and the narrative also pays attention to emotional infection. For example, we can find the heroine's thoughts and feelings: being abandoned, waddling into the flood and seeing withered mulberries. She can't help but recall the joy and joy in her love and marriage, and at the same time think of the bitter days of being "poor at three years old" after marriage. If we take the "Seven Waters" as a witness, she is happy before marriage and sad after marriage, and its trajectory goes from joy to sadness to despair. In a word, the whole development process of marriage tragedy is very concise with few words.
"Mrs. Xiang" is basically a lyric poem with narrative. Mainly lyrical, focusing on writing the soul, expressing the eagerness and disappointment of a male god. The whole poem is organized according to the "meaning vein" of expecting psychological and emotional flow. But it doesn't float on the surface structure of poetry like Meng, but the deep structure of potential poetry. We should learn to change like Monkey Sun, sneak into the poet's consciousness, observe with the poet's eyes, experience with the poet's feelings, and think with the poet's heart, and we will find that the lyric hero's intense emotional changes, from sadness to chagrin, to trance, to fantasy, to liberation, follow the development process of "emotional logic". Emotion is more important than image and runs through. From the lyrical point of view, the whole poem expresses the pain of lovesickness when people don't come, and writes all kinds of complicated feelings that are both suspicious and trusting, both resentful and loving, and absolutely can't be rejected. As far as its internal emotional flow is concerned, it has a beginning, a development, a climax and an end. It is the poet's flowing consciousness that integrates those scattered fragments into a whole. From the narrative point of view, the whole poem is written from the moment Xiang Jun first arrived at the appointment place to the moment he left, which is also the whole time process.
Generally speaking, Meng is narrative, objective and moving with "things"; "Mrs. Xiang" is lyrical and subjective, with "emotion" moving. This can be seen more clearly from the description of expectation psychology. After "Autumn is the Period" between the heroine and Meng Meng in the poem Meng Meng, she eagerly wrote about her sincere longing for love and waiting for marrying Meng Meng, which was "going to the other side of the cliff" and "looking forward to resuming the customs", and the result was "not seeing the customs, crying"; Once you see it, you will smile. Through the comparative description of "not seeing" and "seeing", one is sad and the other is happy, which brings together the voice, face and inner feelings of a spoony girl before marriage, and her vivid expression is like her eyes. It can be described as a pen of chemical engineering. Similarly, he also wrote to the horizon of expectation. Xiang Jun missed Mrs Xiang and didn't see it. He "went to the white cup" and "looked forward to it", and expressed his desire to look as far away as possible. He also wrote that his eyes were dying, his eyes were dying, and he saw far away. He is really eager to see it. This subjectivity and exaggeration is obvious.
Creative thinking, objects and scenery are different. Dream is a documentary chapter reflecting real life. The author mainly draws materials from real life and refines them to make them typical. The floods, mulberry trees, silk, walls and pigeons in the poem are mostly the scenery around the country where the heroine is located, which makes the whole poem full of a very rich flavor of life and gives people a sense of reality. It is through these vivid and lifelike scenery descriptions that poets create the environment, create the atmosphere and render people's feelings and psychology. For example, writing Qi Shui vividly reproduces the change of the heroine's fate. When I first fell in love with Meng, she was very cheerful and sent one journey after another. Later, when she was abandoned to go home, she "staggered in the water and gradually got on the bus." The fluctuation of water marks the change of time and symbolizes bad fate. Finally, it compares the heroine's far-reaching resentment against being abandoned with "if there is a shore together, it will be pan" "Dream" is an image system of works based on images in real life and reflecting the objective world and subjective world in a realistic way. The connotation of his works has the characteristics of accuracy and distinctiveness, and pays attention to the reproduction of objective reality.
"Mrs. Xiang" is a lyrical chapter about remembering the gods, writing something that does not exist in real life. It forms the image system of its own works with myths and legends, and reflects the subjective world and the objective world in an unreal way. The connotation of his works is characterized by vagueness and emphasis on the expression of subjective thoughts. At that time, the Chu people believed that ghosts and gods in heaven and earth, like people, also had love lives and joys and sorrows. On the basis of the love legends of Shun Di, E Huang and Nv Ying and the myth of Xiang Shui, Qu Yuan galloped through imagination, processed folk sacrificial songs, deified the world system, personified nature and socialized life, and shaped characters into a unique artistic mode that was both illusory and bizarre, and some people were sad, frustrated and hesitant. Poems include, Dongting, Jiao, Jiang Gao and so on. Most of them are the waterfront scenery in Hunan, especially the bridal chamber design of the purest and most beautiful vanilla Yushu, which is full of myth. Whether it's building a house, painting a new house, or decorating the facade to welcome distinguished guests, it's written in detail and colorful, which makes people overwhelmed. In particular, the use of exotic flowers and herbs such as lotus, sunflower, purple shell, sweet pepper, osmanthus tree, magnolia, white jade and Du Heng, on the one hand, beautifies the environment, renders the atmosphere, and vividly depicts a wedding atmosphere that is infinitely beautiful and beaming everywhere, making the whole picture look like. On the other hand, vanilla and Yushu are metaphors, metaphors, which describe beautiful things clearly and write beautiful things secretly. Beautiful pictures set off touching love and touching ideals.
The most fundamental difference lies in creative thinking. Meng describes a woman's misfortune in love and marriage, and her resentment against divorce, profoundly exposes the evils of feudal ethics and reflects the tragic fate of love, marriage and family in a society where men and women are unequal. Mrs. Xiang, on the other hand, describes the yearning and bitterness for love, showing the loyalty to love and the pursuit of a better life. Therefore, Meng is more realistic than Mrs Xiang, and Mrs Xiang is more ideal than Meng.
It is generally called "poetry expresses ambition" and "poetry takes emotion as the body". The two statements are slightly different, but they are actually unified, and "emotion" is combined into one. However, the emotion involved in "poetry expressing ambition" is "starting from emotion and ending in ceremony", which should conform to etiquette and cannot be surpassed. I'm afraid it is more suitable for the Book of Songs. Meng was written after moving eastward. At that time, the feudal relations of production were still in the primary stage, and the feudal thought had not yet formed a complete tradition. As far as love is concerned, the communication between men and women was relatively free at that time, and it was not as strict as it was after the formation of the feudal ethical code system. Especially in the area where Zheng He defends the country, the customs are even more romantic. It is common for young men and women to make secret appointments, Jane to send medicine and throw plum blossoms at the river in the corner of the city. In the poem Meng, the heroine and Meng are free to fall in love. This can be seen from the narrative of "The Banquet at General's Corner, the Banquet of Laughter" that they knew each other before they became adults. As an adult, the man proposed to the woman's house on the pretext of "trading silk" and was agreed, so he did not negotiate with the matchmaker and the woman left the man's place. We say that the heroine's love is free, but her marriage is not happy. After marriage, although she was not too poor and worked hard at housework, she didn't get due gratitude and reward from self-protection. Instead, she was mercilessly left out and abused until she was abandoned. Why is this? Where is the cause of the tragedy? In addition to the bad moral quality of self-protection, it is mainly caused by society. With the gradual formation of the feudal system, the role of men in productive labor has gradually expanded, and their status in the family has also improved day by day, while women have lost their economic independence and are in a subordinate position. It has become a natural ideology that men are superior to women. This ideology is reflected in marriage, which is the inequality between husband and wife. In the family, the husband is the master and dominates everything; The wife is a vassal and is at the mercy of her husband. Meng's attitude towards his wife: a sheep before marriage, a wolf after marriage. Pretending to be a slave before marriage, sweet talk, and proposing marriage; After marriage, you put on a master's airs. Once you have a woman's body and the right to dominate your wife, you will show your true colors, enslave and abuse your wife at will, and eventually your wife will abandon you. We can see that the private relationship based on private ownership in class society is an unequal and unreasonable relationship. In women, what men pursue is to grab their property, labor and youthful beauty. Once these are eaten and squeezed out, men will turn against each other and deny people. Therefore, this relationship between husband and wife can only be a naked material interest relationship. The so-called love is just a veil of tenderness hanging over this relationship. Let's look at the heroine again. Although she angrily condemned Meng's capriciousness and disloyalty and expressed a clear attitude of breaking with him, she was unable to change her unfortunate fate. What she said about "scholar's anxiety" is fair. The enthusiastic cry of "A woman is too anxious to speak" not only contains her own painful lessons, but also reflects the true misery of millions of women under the feudal system. It also tells us that the "ambition" mentioned here is not beyond the scope of feudal ethics. As can be seen from the poem, the direct relationship between this woman's misfortune and the tragedy she suffered is caused by the entrustment of the heartbreaker after her private life. At first, she yearned for and pursued a free and happy love life, which was a lifelong marriage without "parents' orders and matchmakers' words". At that time, society and even later did not allow it, and it was regarded as "obscenity", which was outrageous. There is considerable pressure, public opinion, gossip of relatives and friends, and even the ruling class. Calling the heroine an adulteress is a slander on women who dare to resist feudal ethics. Even her brothers and sisters laughed at her. It can be said that the heroine is a victim under the double oppression of feudal ethics and unreasonable husband power system. As a social problem, Meng reflects the characteristics of that era from one side, so the theme of the poem has universal significance.
The heroine in Dream is a universal form of group emotion required by the tradition of rites and music. The image of Xiang Water God shaped and cultivated by Qu Yuan is a kind of personalized emotion of self-participation. "It is this unusual concrete and personalized emotion that gives the universal form of emotion an important breakthrough and expansion. It injects bright red and living human blood into the universal form of emotion, so that this universal form can be not only' poetry expressing ambition', but also' unbearable' and' unbearable anger'. " From the perspective of literary inheritance, the appearance of "Songs of the South" is a phenomenon brewed after contacting with the northern culture on the basis of the development of Chu's own poetic art. "It is the influence of the northern culture on the southern culture." At that time, "learning from China in the north", there is no doubt that Qu Yuan accepted the Confucian tradition. "His spiritual concept of actively joining the WTO and saving the country and the people, his tenacious will and loyalty to politics, and his pursuit of personality and social ideals are all related to Confucianism." Qu Yuan's "the most vivid and colorful romantic phenomenon that can only appear in primitive myths, and the most fanatical and profound romantic phenomenon that can only have individual personality and sentiment at the moment of rational awakening" have been completely dissolved into an organic whole, and are not strictly bound. "So it is not bound by so many moral norms and theories as the so-called' poetry teaching'. On the contrary, the original vitality, wild mood and unconstrained imagination are more free and full here. "
In the poem "Mrs. Xiang", Qu Yuan broke the routine of organizing his works according to the general logic of time, space and reason. Instead, he used the trajectory of the poet's consciousness to run through the whole article, connecting the opposing elements such as subjective and objective, virtual and real, spiritual and physical images, music scenes and sad scenes into a whole, so that these polar opposing elements were intertwined in the collision, but supplemented each other, thus showing the intangibility of human heart extremely vividly.
Entering the field of "poetry expressing ambition", "this kind of emotion is still the frame symbol of universal group emotion." Although Qu Yuan's "emotion" originated from an individual, it is still a kind of sadness and emotion about life, life and death, parting and so on. He "branded his works with his ideals, experiences, pains, enthusiasm and his whole life." It can be said that he broke through the shackles of "propriety and righteousness" to express his feelings. Xiang Jun's infinite intoxication of happy love life and irresistible pursuit of infinite beautiful ideals are precisely "finding a way out in the real environment" to turn lost things into beautiful things, thus obtaining a kind of spiritual satisfaction-turning sorrow into joy, artistically creating an imaginary "world", and even expressing what should exist in reality with fantasies and dreams, "arousing the glory of ideals in people's lives and inspiring people's pursuit and yearning. This is in sharp contrast with Meng's realistic writing method, which focuses on calmly describing objective life. Some people say that the characteristics of realism are "cold" and "calm", and the author's tendency is expressed by calmly describing objective life and objective things; Romanticism, on the other hand, is marked by "fever", which is passionate and unrestrained. It even eulogizes its ideals with volcanic enthusiasm, expresses its ideals and emotions with the wings of imagination, and promotes the development of reality. We say that when Qu Yuan created this shrine, on the one hand, he wrote about his love for Xiang Shui God and created a desirable and rare beautiful realm to make up for the lack of real life; On the other hand, he also poured his political feelings into it and sent them to his ideals. The whole poem is intertwined with the ups and downs of longing and caring, longing and disappointment, joy and sadness, reflecting the poet's political frustration and his reluctance to die even though he knows that his ambition is hard to pay. Qu Yuan loved Chu, persisted in progressive political thought and pinned his hopes on him, but he was attacked and framed by conservative nobles until he was exiled. Qu Yuan's earnest pursuit turned into deep disappointment. But he remained faithful in exile and never gave up his persistent pursuit. It can be said that the emotion of the lyric hero in the poem is an unconscious emotional expression when Qu Yuan rewrites this sacrificial song, and expresses his feelings and thoughts through the whole artistic image.
Through the above comparison, we will find that the interaction and influence between national culture and literary works is a long-standing objective social phenomenon and constitutes an important part of national literature. National literature is a whole, and all parts of this whole are independent and interdependent, but in real life, ideals and reality are also linked, and some ideals are determined by some realities and produced on the basis of reality; And a reality will inevitably develop into an ideal. Today and tomorrow are intrinsically linked, as Wang Guowei said: "Where there is a creative environment, there is a writing environment. This ideal and reality are split. However, it is quite difficult to distinguish the two. Because the environment created by great poets must conform to nature, the environment written is also close to ideal. " This tells us that focusing on realism (such as "Meng") or writing ideals (such as "Mrs. Xiang") can only be the "focus" and cannot be completely separated. Our comparative analysis above is put forward for the convenience of research. Writing environment, creative environment, reality and ideal all exist in realism and romanticism, and they are all applicable, but their purposes are different. But as far as the pursuit and shaping of artistic truth are concerned, the two are in the same strain.