Song Yu's works were first published in History of Han, Art and Literature, with 16 pieces. Today, according to legend, two books, Nine Arguments and Evocation, are found in Wang Yi's Songs of the South. Five articles, Feng Fu, Gao Tang Fu, Goddess Fu, Lothario Fu and Questions to the King of Chu, are found in Xiao Tong's Selected Works. There are 6 pieces of Flute Fu, Dayan Fu, Xiaoyan Fu, Irony Fu, Fishing Fu and Dance Fu, which can be found in Zhang Qiao's Guwenyuan. Gao Tang Dui, Wei Yong Fu and Ying Zhong Dui are found in Liu Jie's Guang Wen Xuan in Ming Dynasty. However, these works are mixed with authenticity, and only one article, Nine Arguments, is credible and has no objection. Evocation of Soul is quite controversial, and it is generally believed that it was written by Qu Yuan. Others, such as Gao Tang Fu, Goddess Fu, Lothario Good Color Fu and Feng Fu, think that it was not written by Song Yu, but their position in the history of literature is still quite important.
Nine Debates is a long lyric poem, which expresses the injustice of "the poor man's dereliction of duty" through sad autumn, and exposes the darkness of reality to some extent. The poet's feelings are sincere, but not as intense and persistent as Qu Yuan's, and his mood is relatively low. The theme of mourning for autumn and the lyrical technique of borrowing scenery in poetry have had a far-reaching impact on the poetry creation of future generations. From the autumn wind ci written by Emperor Wu of Han Dynasty, such as Cao Pi's Yan Ge Xing, Cao Zhi's Qiu Si, Xia Houzhan's Mourning Autumn and Mourning Autumn, Jiang Zhou's Ode to Autumn, Zhan Fangsheng's Poem on Autumn Night, He Jin's Sad Autumn Night, etc., they are all related to Nine Debates. This is followed by the author, and there are many people on behalf of him.
Poems such as Gao Tang Fu, Goddess Fu, Lothario Fu, etc. describe women's facial expression and body appearance with rich imagination and elaborate methods, which also have a certain influence in the history of literature. This kind of works may have originated from the tradition of seeking women from heaven in Li Sao, but they are full of sentimental thoughts and less ironic meanings. After the Han Dynasty, such as Li Furen Fu by Emperor Wu of the Han Dynasty, Beauty Fu by Sima Xiangru, Luo Shen Fu by Cao Zhi and Jiang Fei Fu by Xie Lingyun all started from this. In the Southern Dynasties, between Liang and Chen, it evolved into the last stream of palace poems and erotic poems. Feng Fu, comparing "the majestic style of a king" with "the feminine style of Shu Ren", describes the difference in life between the rulers and the people. Although it is a game entertainment article, it is somewhat ironic and enlightening to future writers.
Although Song Yu's achievements are difficult to compare with Qu Yuan's, he is the direct successor of Qu Yuan's poetic techniques. In his works, the description of objects tends to be exquisite and meticulous, and the combination of lyricism and scenery writing is natural and appropriate, which plays a role in connecting the past with the future between Chu Ci and Han Fu. Later generations are mostly called Qu Song, which shows the position of Song Yu in the history of literature. (Jiang Liangfu)
Song Yu and His Nine Debates
After Qu Yuan, the writers of Chu Ci whose ancestors described "coquettish" came forth in large numbers, and they competed with each other. Among many poets, Song Yu is the outstanding and brilliant poet of Chu State who rose in the late Warring States Period. He is a master of Chu Ci who is obedient to Qu Yuan, but has his own way and is unique. Although his character, ambition and artistic attainments are hardly the same as Qu Zi's, in the history of Chinese literature, Qu Song is also known as Qu Song, and they have lived together ever since.
Du Fu, a patriotic poet in the Tang Dynasty, once sighed with emotion: ""Decay and decline": deep knowledge have I of Sung Yu's grief, romantic and refined, he too is my teacher. Sadly looking across a thousand autumns, one shower of tears, melancholy in different epochs, not at the same time. Among rivers and mountains his old abode -- empty his writings, deserted terrace of cloud and rain -- surely not just imagined in a dream?? Utterly the palaces of Chu are all destroyed and ruined, the fishermen pointing them out today are unsure. " The poem (Chanting for Monuments) expresses his mourning and love for Song Yu, and at the same time summarizes Song Yu's life experience, emotion and artistic achievements.
Song Yu's life story
There are few historical materials about Song Yu's life story and artistic career, and they are contradictory to each other, so it is impossible to tell the truth from the falsehood. However, we should sort out a little thread from the numerous and complicated threads, and strive for a more correct understanding of this unique scholar.
According to Sima Qian's Biographies of Qu Yuan and Jia Sheng, "After Qu Yuan's death, there were followers of Song Yu, Le Tang and Jing Jing in Chu, all of whom were fond of words and were called Fu Jian. However, all the ancestors of Qu Yuan's calm rhetoric will not dare to directly remonstrate. " In addition, Ban Gu's "Han Shu Yi Wen Zhi" says: "Sixteen pieces of Song Yufu, Chu people, were in harmony with Le Tang, and also after Qu Yuan." In addition, "History of Han Geography" said: "At the beginning, Qu Yuan, a sage of Chu, was released to the world, and he wrote various poems in Lisao to mourn himself. Later, Song Yu and Le Tang belonged to Mu, all of which were famous. " The above account is more credible. In addition, there are some sporadic records in some ancient documents, such as Biography of Han Poetry (Volume 7), New Preface Miscellaneous Matters (First) and (Fifth), Chapters and Sentences of Chu Ci (Volume 9) and so on.
Based on all the reliable data, we can basically draw the outline of Song Yu's biography:
Song Yu, a descendant of Qu Yuan, was born around the time of Qu Yuan's sinking into the river and died at the time of Chu's death. Although he was not a disciple of Qu Yuan, he admired Qu Yuan very much. He inherited Qu Yuan's style in literary creation, but at the same time, he set up a new door. "Sad for autumn" is one of the characteristics of Song Yufu. He is a poor man of the humble family. In order to seek a way out and serve the country, he once left his hometown and moved to Kyoto and other places. After many twists and turns, I worked as a literary courtier around the king of Chu. Although the official position is small, he once won the appreciation of the king of Chu with his superior talent and sharp talk. Who knows that his official career was rugged, and he was not tolerated by troubled times, and he was slandered by treacherous men. However, the bad king trusted him and was irritable, and he was finally dereliction of duty, down and out in the rivers and lakes, and was down and out for life. He is loyal to the king and patriotic, and always hopes to gain the trust of the king of Chu to display his arms. However, the monarch is heavy, and loyalty (kǔn) is difficult to apply for. He cares about the country and the people and is cynical, but he can't risk his life to remonstrate like Qu Yuan. Just treat the dark reality and unfortunate experience with the attitude of "gentle and sincere" and "complaining without anger". He hopes to be honest and clean, cultivate one's morality and improve oneself, preferring to be high in poverty rather than go along with others in order to show his glory. He is a scholar who has no choice but to serve the country, and he is frustrated in his official career.
What works did Song Yu leave behind
What works did Song Yu have? This is a problem that is difficult to cross-examine since ancient times. Sixteen pieces of Song Yufu were recorded in Hanshu Yiwenzhi, but the titles of the articles are no longer available. However, there are only 14 existing works entitled Song Yu Fu: Wang Yi's Chapters of Songs of the South contain Nine Arguments and Evocation of Soul, and other books such as Selected Works and Ancient Wenyuan also contain several articles such as Feng Fu, Gao Tang Fu, Goddess Fu, Disciple's Lust Fu, and Question to the King of Chu, all over the world. Here are a few examples:
First, the style of prose fu recorded in Selected Works, Ancient Wenyuan and other books is not Chu Ci; But the prose style created by Sima Xiangru in the Western Han Dynasty. This style was not produced during the Warring States period in which Song Yu lived. Therefore, if we must say that they are the works of Song Yu, then this Song Yu can't be the Chu people in the Warring States period.
these works are mostly in the form of dialogue between song Yu and the king of Chu, and they are often called "king of Chu" and "king of Chu Xiang" in narrative writing, which is based on common sense (kuí). since song Yu is a Chu, he can't be crowned with the word "Chu" when he calls his country's monarch, let alone call him "Chu" before his death.
There is a saying in the third "Flute Fu": "Song Yi will send Jing Qing above Yishui, and she will be a woman." If it is determined that Song Yu lived mainly in the time of King Xiang of Chu, and Jing Ke stabbed the King of Qin in the first year of Chu, decades later than King Xiang, then Jing Ke's allusions will never be quoted by Song Yu decades ago. To take a step back, even if Song Yu still exists in the first year of the negative year, he will not write the story at the same time into his own works.
most of these works are obviously written in a third-party tone. Song Yu should not call himself by his first name in his works, such as "Song Yu, Jing Cha Shi", "Ask Song Yu Yue" and "Song Yu Dui Yue", and so on.
the fifth "Gao Tang Fu" states: "In the past, King Xiang of Chu and Song Yu swam in the pool of clouds and dreams", which is a memorable word of later generations.
six narratives of Gao Tang Fu, Goddess Fu and Gao Tang Dui; The satirical Fu and the lothario's lascivious Fu are similar in content and style. In particular, the article "Gao Tang Dui" is basically the same as the first paragraph of "Gao Tang Fu", only adding four sentences to the words of the goddess, which is actually a re-recording of the first paragraph of "Gao Tang Fu". Why did Song Yu repeatedly produce articles on the same subject?
Seventh, Guwenyuan was written late (it is said that it was an old collection of the Tang Dynasty, and Sun Zhu got it from a Buddhist temple in the Northern Song Dynasty, and later Han Yuanji and Zhang Qiao made annotations in the Southern Song Dynasty), but it was the first time that it recorded Flute Fu, Dayan Fu, Xiaoyan Fu, Irony Fu, Fishing Fu and Dance Fu. Assuming that these works are indeed written by Song Yu, why don't Liu Xiang and Wang Yi, who are not far away from ancient times and have extensive knowledge, include them in Chu Ci?
8. Most of these works use rhymes after the Han Dynasty instead of the ancient rhymes of Zhou and Qin Dynasties.
in a word, there are many suspicious things in these works, so I won't list them one by one due to the limitation of space. Among Song Yu's works, only Nine Arguments can be verified. Now we are going to talk about Nine Debates in combination with Song Yu's times, life and thoughts.
the ideological content and artistic features of Jiubian
Jiubian, originally the name of ancient musical tune, has been mentioned in Lisao, Tianwen and Shanhaijing. "Chu Ci Zhang Sentence" says: "The debater will change." "Zhou Li Da Si Le" Zheng Note: "Change is more important, and success is more important." In addition, Wang Fuzhi's "Interpretation of Chu Ci" said: "The debate is still repeated, and it is said again. Gai also plays the role of Xia Qi's Nine Debates, and Shao Guti is a new edition, which can be used as a orchestral instrument. His words are stirring and dripping, different from elegance, and Gai Chusheng is also. " From this, we can see that "Nine Debates" is more than "Nine Que", that is, a musical tune composed of most movements. Therefore, on the whole, the "Nine Debates" is an organic whole in content; Separately, "debate" is an integral part of the whole musical tune.
Song Yu's "Nine Debates" expresses his indignation that the poor people have neglected their duties, failed to meet their talents, failed to achieve anything when they are old, and have no way to serve the country. The main contents are grief for autumn, feelings and thinking of the monarch. These three are intertwined, infiltrated and integrated with each other.
"Nine Debates" first depicts the bleak and desolate scene of late autumn with passionate brushstrokes: "Alas! Autumn is qi. It's bleak, and the vegetation is falling and declining. If you are traveling far away, you will feel anxious. Climb the mountain near the water, and you will return. It is sparse, the sky is high and the air is clear. ? Hey, the water is clear. "
The word "Sad Autumn", with its first objective, awakens the original intention, sets the tone of the work, and also symbolizes the era in which Song Yu lived.
Nine Debates was written by Song Yu after he entered the old country. He was in the autumn of the end of Chu, when the bad king and the ministers ruined Ji Gang, and the talented people abandoned him in the wild. The Chu dynasty was tyrannical and decadent, and the birds were in the hall, and they were gentle and playful, cruelly squeezing the people at home and hurting the people; Implement a policy of surrender to the outside world, humiliating the country. The situation in Chu is like the afterglow of the west wind, which is a sad and shocking reality for every patriotic Chu people. What's more, Song Yu, who is loyal, patriotic and sober-minded? And the poor man's dereliction of duty, upset (zhiì), and made him have a bitter life experience. Facing the west wind and fallen leaves, I feel that Qiu Guang is easy to get old, and the good times are hard to come by, which arouses the sadness. At the same time, he saw Ziyan's resignation and Hongyan's south tour, which even aroused the sadness of wandering in a foreign land and the complaint of being incompetent: "I am arrogant and sorrowful, and I am in the cold." I am sad, and I am new when I go. When you are worried, the poor are dereliction of duty and frustrated. Lofty, wandering without friends. I am embarrassed and pity myself. "
He left his hometown and wanted to change to a new world. However, a poor man suffered from the bad luck of dereliction of duty, which made him stay up all night, listening to the cry of autumn insects and lamenting that "wèi passed by, but stay for a long time failed". The clear autumn scenery of nature, personal experience and social environment are all sad, and the poet who has fallen to the end of the world only hangs on his lonely shadow in the bleak autumn wind. Touching the scene and feeling sorry for the old is a natural voice. In the third chapter, it further describes how autumn sounds strongly destroy the poet's liver and intestines.
he thinks that he can't rotate Gankun, improve the times and save the world, and change the customs. Although I always want to do something, the ruthless reality knocks him down again and again: "Frost dew is miserable and sad, but my heart is still fortunate." The increase in snow and snow is a sign of impending doom. May you be lucky to wait, and you will die with the weeds. I am willing to go straight and go to Xi, and the road is absolutely blocked. ..... Stealing the beauty of Shen Baoxu is full of enthusiasm, fearing that the customs are not solid. ..... The world is the same and dazzling, so why don't you ruin it? ..... If you live in heaven and earth, you will be ineffective. "
At the critical moment of his life, he lacks Qu Yuan's spirit of being resolute and fearless, going straight on the right path and not regretting his death. But only forbearing, sad, persistent and helpless compassion. He can't stand up and fight tenaciously; It is to lead an honest and clean life, to keep a high position in the poor and to be immune to it. He is noble and has a desirable side; But there is a negative side. He sighs and feels sorry for himself, but he is obsessed with the word "I". This constant worry weaves an unbreakable net, which makes his talented person, who is old in spring and autumn, feel melancholy, hesitant and sad.
Song Yu is loyal to the monarch, so she thinks of the monarch and resents him: "I am sad, sad and poor, and I am alone, and I am beautiful." Going to the countryside to leave home and attract distant guests, it's super easy. How thin is it today? You can't change your mind, but you don't know what to do! Resentment and thinking, upset and forgetting to eat. I hope to see the meaning of the Tao, and the heart of the monarch is different. "
he regards himself as a "beauty", and he is depressed and sad because of his life. He has traveled a long way to adapt to a different place, but where is the destination for this floating duckweed? The sincerity of thinking about you and the loyalty of serving your country are hard to reach you. His hatred for you was born out of loyalty to Jun Jun and ignorance of Jun Jun, so he didn't hate or be angry.
Song Yu's dereliction of duty is due to the trust of a bad king and the framing of a good man. In the poem, the group of small people are compared to "fierce dogs", "dogs", "geese" and "floating clouds"; On the contrary, comparing the loyal people to "Qi Ji", "Phoenix Emperor" and "Bright Moon" shows the poet's distinct love and hate. But he only scolded the courtiers, not the bad king, which reflected his stupid and weak compromise.
The ruthless reality made him lose all hope. He thought that he was on the verge of despair and had no chance to serve your country. So I want to beg for an official position, and I think about it and wander in the sky. He spread his imaginary wings and soared into the sky, with many gods