Lisao absorbs the linguistic features of Chu folk songs, breaks the four-character sentence pattern in The Book of Songs, lengthens the sentence pattern and expands the capacity of poetry. Follow me to understand the influence of Qu Yuan's Li Sao on later generations. Welcome to read it! The influence of Qu Yuan's Li Sao on later generations
Li Sao had an important influence on the development of China literature. After the Han Dynasty, all the later literati admired Qu Yuan. The reason seems to be attributed to Qu Yuan's persistent and maverick moral integrity, and his spirit of daring to uphold the truth and resist the dark rule in adversity. What happened to Qu Yuan was generally experienced by upright literati in feudal China. Therefore, Qu Yuan's spirit can be widely recognized. Jia Yi in the Western Han Dynasty was jealous because of his talent, so he moved to Changsha and wrote "Ode to Qu Yuan", which was written by Qu Yuan himself. Sima Qian encouraged himself with "moral integrity, meritorious service, and making a statement" and "devoted himself to his job, courting relatives and flattering the Lord" ("Reporting Ren An Shu"), but he was imprisoned. Sima Qian drew great spiritual strength from the story of "Qu Yuan exiled and wrote Li Sao" and completed the compilation of Historical Records. Zhong Rong's Poems in the Liang Dynasty said that Li Ling's poems originated from Chu Ci. There are many sorrows, and there are people who complain. " Tao Yuanming's "Fu for those who feel that they are not met": "Yi Hao has a sigh of' returning home safely', while San Lv mourns' already gone'. "Although I hold the orchid with Joan in my arms, who is bright and clean?" "I feel that there is no spouse of a philosopher, and tears are poured on the waves." I always regard Qu Yuan's purport as my code of conduct. Li Bai, a poet in the Tang Dynasty, declared heroically: "Qu Ping's ci and fu hang the sun and the moon, and the king of Chu's terrace is empty." Many of Li Bai's works, like Qu Yuan's Li Sao, often weave a lot of myths and legends, the sun and the moon and historical figures to form magnificent pictures with symbolic significance. Du Fu's spirit of worrying about the country and the people is also related to Qu Yuan's "Worrying about Li Yuan in the poor years and sighing about the heat in the intestines" ("Going to Fengxian County from Beijing to chant 5 words"). He said in "The play is six quatrains": "Today's people love the ancients, and clear words and beautiful sentences must be neighbors. I secretly climbed Qu Song to drive, fearing that I would follow in the footsteps of Qi Liang. " It is claimed that we should not only learn the literary talent of Qu Yuan's works, but also learn the ideological content of Qu Yuan's works. Especially at the critical juncture of foreign invasion and national ruin, patriots often encourage themselves with Qu Yuan's integrity. Liu Kezhuang, a poet in the Southern Song Dynasty, wrote poems praising Qu Yuan's patriotism and expressing his firm belief that he would never surrender to the enemy. In the poem Qu Yuan, he said: "The surname of Mi was captured by Lu, and Chen An escaped. I can't hold the sacrificial vessel and talk about Li Sao. "
In the history of modern literature, more writers are influenced by Qu Yuan's spirit. Lu Xun's Outline of the History of Chinese Literature says: "In the Warring States Period ... in rhyme, Qu Yuan originated in Chu and was exiled, so it was written as Li Sao. Escape is a great speech, and it is outstanding for a lifetime. Later generations were surprised by their literary talent, and they followed suit with the original Chu production, so they called it' Chu Ci'. Compared with the poem, it is very long, its thinking is fantastic, its writing is beautiful, its purpose is clear, and from the heart, it does not follow the rules. Therefore, the post-Confucianism's obedience to the poets was either embarrassing or tight, but its influence on later articles was even more than 3. " Before and after the May 4th Movement, Lu Xun struggled to explore the direction of the Chinese nation. When he published Wandering in 1926, he quoted the poem Lisao as an inscription in front of the book: "The dynasty began in Cangwu Xi, and the evening went to Huxian Park. If you want to leave this spirit less, it will be dusk. I told xi he to be cautious, and look forward to it, but don't push it. The road is long and Xiu Yuan is awkward, and I will search up and down. " It shows the great influence of Qu Yuan's tireless pursuit of truth on Lu Xun. It can be said that where there is a scholar's misfortune, where there is the persistence of moral integrity, there is Qu Yuan's heroic spirit. Qu Yuan's spirit is not only a home to settle the painful hearts of literati in past dynasties, but also a stone to sharpen the loyalty and integrity of people with lofty ideals.
Qu Yuan's artistic creation opened up the source of China's literary romanticism and had a far-reaching influence on later generations' literary creation. "Feng" represented by The Book of Songs and "Sao" represented by Chuci formed the cornerstone of China's ancient literature and the two highest standards of classical poetry. After the Han and Wei Dynasties, Qu Yuan's masterpiece Li Sao was generally called Chu Ci, and Guo Pu's Notes on Mountains and Seas quoted Tian Wen and Yuan You, both of which were called Li Sao. Liu Xie's "Wen Xin Diao Long" has an article "Distinguishing Sao", which includes all the works of Chu Ci. The Selected Works of Zhaoming compiled by Xiao Tong in the Liang Dynasty is classified as Sao, including Li Sao, Nine Songs, One Chapter of Nine, Buju, Nine Arguments, Evocation of Soul and Solitude of Hermit. Zhu Xi's Collected Notes on Songs of the South is called Li Sao from Volume 1 to Volume 5, including Li Sao, Jiu Ge, Tian Wen, Jiu Zhang, Yuan You, Bu Ju and Fisherman. Continued Lisao includes Nine Arguments, Evocation of Soul, Great Tactics, Xi Shi, Fu of Hanging Qu Yuan, Fu of Pengniao, Mourning the Time and Calling a Hermit. Other books, such as Li Sao's Grass and Trees Sparse by Wu Renjie in Ming Dynasty, Sao Yuan by Zeng in Ming Dynasty, Qi Yu of Chu Sao by Zhang Zhixiang in Ming Dynasty, and Drinking Sao by He Kuan in Qing Dynasty, are all about all Chu Ci. Li Sao has become synonymous with Chu Ci, and "Sao Ren" has also become synonymous with poets. Wang Yi's Chapters and Sentences of Chu Ci: "Qu Yuan's Ci is far-reaching. Since the end, the famous scholars of Confucianism and Boda have been writing ci-fu, and they all want their appearance, model their ancestors, and steal their flowers and algae. The so-called golden phase and jade are unparalleled in the world, and their names are extremely neglected, and they will never be published. " Liu Xie's Wen Xin Diao Long: "Without Qu Yuan, can you see Li Sao?" Only when you are surprised can you escape from the wind, and your ambition is high. The mountains and rivers are endless, and the reason is practical. The golden phase is jade-like, and it is gorgeous. " "Since the" Nine Huai ",I have been stalking; However, Qu Song can't catch up with Yi Bu. Therefore, if he complains about his feelings, he will be depressed and susceptible; If you leave home, it will be quick and difficult to conceive; On the landscape, you can get the appearance by following the sound; Say season and climate, you can see it in the text. It is amazing that gold and Jia follow the wind and make people beautiful, and horses and young people follow the waves. Its clothing is a poet, not a generation. Therefore, those who are highly talented win their praises, those who are skillful hunt their brilliant words, those who satirize their mountains and rivers, and those who are childlike pick up their herbs. If you can rely on poetry to lean on elegance, hang on to control Chu articles, think strangely without losing its truth, and play with China without falling into reality, then you can drive your words, cough and spit, and you will no longer beg for the spirit in Changqing and spoil Ziyuan. " Pu Songling talked about ghosts, gods and flowers, which was greatly influenced by Qu Yuan. He said in "A Tale from a Lonely Studio": "Wearing a radish with a plum makes San Lv feel coquettish; Ghosts and monsters, long-clawed lang sings and becomes a addiction. Self-proclaimed nature, do not choose good sounds, there is a reason. The fire of autumn fireflies is loose, and the charm wins glory; Drive away the dust of wild horses, and you will laugh at each other. It is not Gan Bao, but Ya loves to search for God; Love is like Huangzhou, and it is gratifying to talk about ghosts. " His staunch embrace, unyielding resentment and romantic expression are similar to Qu Yuan's.
The brilliant achievements of Qu Yuan's works in thought and art have provided a valuable cultural heritage for all mankind, and he has also won the glorious title of world cultural giant. In 1953, Qu Yuan, as a poet, together with Polish astronomer Copernicus, French writer rabelais, Cuban writer and national movement leader José Martí, became one of the world's four cultural celebrities called by the World Peace Council. His works spread to Japan in the 7th century BC, and to Europe in the 19th century, and have been translated into English, French, German, Russian and other languages.