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Qu Yuan is the first great poet and writer in the history of China literature. He Qifang said: "Qu Yuan's previous poems were still created by the masses, and Qu Yuan was later created by specialized writers." "In the history of China literature, it ended an old era and opened a new era."
Sima Qian spoke highly of Qu Yuan's personality in Li Sao in Biography of Qu Jia. He said: "It is not bad to push this ambition, although it is glory with the sun and the moon." When Sima Qian wrote Historical Records, he often used Qu Yuan's spirit to spur himself. Wang Yi spoke highly of Qu Yuan's creation in the preface to the Songs of the South: "The so-called Jin Xiangyu and chinese odyssey, whose names are extremely unknown, will never be published." Li Bai's "Yong Jiang": "Qu Ping's Ci Fu hangs the sun and the moon, and the king of Chu is empty." Du Fu's "Play is a Six-quatrain": "Today's people love the ancients, and clear words and beautiful sentences must be neighbors. I secretly climbed Qusong to drive, afraid to follow in the footsteps of Qi Liang. " Su Shi: "If I can't achieve what I want in the end, Qu Zi is the only one." Lu Xun's Outline of China Literature History: "Yi Weixiang's Ci is an outstanding life." "It even influenced more than 300 later articles."
First, vivid personalized lyricism.
Qu Yuan's works are all lyric poems, full of strong feelings and showing distinctive personality. Li Sao, in particular, not only makes readers feel the author's strong feelings of grief and indignation, but also seems to see the author's own distinct image. This is inseparable from the author's good at personalized lyricism through narration. In Qu Yuan's works, there are extremely rich narrative elements, fictional events and bizarre plots, and wonderful descriptions of characters' activities, dialogues and contradictions. Through these, the author not only fully expressed his strong thoughts and feelings, but also successfully created a vivid image of the lyric hero. The rich and profound social content and strong thoughts and feelings of grief and indignation in the works are expressed or strengthened by shaping the lyric hero of himself.
Qu Yuan's practice was once denounced by Ban Gu as "scholar's self-esteem". Ban Gu's criticism is wrong. Because, first of all, the author's personality is great and perfect. He puts himself in the whirlpool center of the real struggle, making his destiny closely related to the destiny of the country and the people, and sharing weal and woe with * * *. His thoughts and feelings are closely related to the people, and he is not a people-centered person. Through the perfect image of the lyric hero, we can learn about Qu Yuan's noble quality and great personality, which is the poet's persistent belief and tenacious pursuit of progressive ideals, unyielding resistance and fierce attack on decadent forces, lofty concern and infinite love for the motherland. But also can appreciate the profound realistic content in the works, which is a broad picture of Chu's political situation and political struggle.
It is an unprecedented great achievement to create a distinctive and personalized lyric hero image in lyric poetry. It pushed the development of China's poetry to a new peak on the basis of The Book of Songs. From then on, the names of great poets appeared in the history of China literature, and poems with poet's personality appeared.
Second, the creative method of positive romanticism.
The profound realistic content of Qu Yuan's works is mostly expressed through positive romanticism. In this way, Qu Yuan became an outstanding romantic writer and opened up the source of China's romantic poetry.
Qu Yuan exerted his extremely rich imagination in his works, and used a lot of fairy tales and historical legends to organize the plots and characters in fairy tales into his own poems. He also invented many magnificent and colorful images, which constituted a magical realm, in order to serve the thoughts, characters and feelings of expressing lyric images and portray his complex, passionate and sad state of mind. As mentioned earlier, Qu Yuan is good at expressing emotions through narration, but Qu Yuan's narration is different from the realism in The Book of Songs, such as Lisao, which is based on fantasy and fiction. The author arranges many scenes in real life and his inner complex emotions in the realm of imagination and illusion, such as the blame of vanilla beauty, Zilan and Nvhuan, the statement of Zhong Hua, the top-down search, the persuasion of spiritual atmosphere and the four directions. It also broke the limitation of time and space and listed many legends. Therefore, Guo Moruo said: "As a poet, Qu Yuan's imagination is unique in the history of China literature." Qu Yuan's rich imagination of positive romanticism adds color and emotional appeal to his works, which makes his works have a strong aesthetic feeling.
Liu Xie's Wen Xin Diao Long Debate Sao: ... I am angry with the past and surprised at the present, so it is difficult to reconcile. Qu Yuan's works get such high praise, which is inseparable from his positive romantic creation method.
Notice the difference between it and the negative romanticism in Zhuangzi.
Third, give full play to the metaphor technique.
Qu Yuan's works inherited the tradition of "Bi Xing" in The Book of Songs. Wang Yi said: "The words in Li Sao are based on poetry and comparison. Therefore, good birds and strange grass are worthy of loyalty, bad birds and smelly things are worthy of comparison, spiritual beauty is worthy of being a gentleman, Fu Fei is worthy of being a virtuous minister, dragon couples are worthy of being a gentleman, and floating clouds and neon are counted as villains. " Although this statement is somewhat stuck (the last three sentences were ridiculed by Zhu), it is still meaningful in terms of the comparison of Qu Yuan's works. Liu Xie also said: "Keelung is a metaphor of a gentleman, a metaphor of evil, and more than the meaning of xing." The use of metaphor is indeed a major feature of Qu Yuan's works.
But Qu Yuan's metaphor is different from the Book of Songs. He developed the figurative technique in The Book of Songs, which is unique: (1) Qu Yuan's figurative technique is symbolic. Instead of describing and explaining another thing with one thing, he replaced another thing with one thing, such as replacing people with plants, replacing the relationship between men and women with the relationship between monarch and minister, and so on. (2) Qu Yuan's metaphor is not a single thing, nor a fragment, but a series of metaphors to form a system, through which his feelings are expressed. Sima Qian's Biography of Qu Family: "Although the prose is small, it refers to a big one, and it has a far-reaching impact." That's it. This is an expression of "attaching affection to things" and "borrowing irony". In this way, Qu Yuan's metaphor and symbolism creatively increase the expressive force of poetry, making his works look colorful, lively and more appealing.
Fourth, the gorgeous language with Chu local characteristics.
The language of Qu Yuan's works is the language of gorgeous and beautiful writers. His most successful point is that he absorbed many vital languages of the previous generation and incorporated many dialects and sayings of Chu, which made his works have strong national and local characteristics and formed the only poetic style named after place names in the history of China literature-Chu Ci. Song and Huang's Preface to the Correction of Chu Ci said: "Qu and Song were written in Chu language, which made Chu sound, recorded Chu land, and named Chu things, which can be described as Chu Ci. If there is, only, Qiang,,,, dispute, Chu language also; Tragic and frustrated, or rhyme or no, Chu Sheng also; Yuan, Xiang, Jiang, Li, Xiu Men, Xia Shou and Chu Ye; Orchids, cockroaches, cockroaches, medicines, cockroaches, cockroaches, cockroaches, things of Chu. "
In addition, some languages have been added, such as "Birds of prey don't live in groups", "Quantity is correct" (Lisao), "Blowing while punishing hot soup (cutting cold dishes)" and "Ten-fold arms become medicine" (Xi Yin).
Qu Yuan's language has also formed a catchy unique rhythm and wonderful tone. In the Sui Dynasty, monks before Daoism could still recite Chu Ci with Chu Yin, but it was lost in the Song Dynasty. In Paris, Mr. Jiang Liangfu copied a copy of Qian Gongchu's Ci, which is also called "reading only by sound, comparing tones". What we can see today is mainly its unique sentence pattern and the use of some special auXiliary words such as "some", "xi" and "only".
Fifth, the creation and breakthrough of poetic form.
In Qu Yuan's expectation, although the sentences in The Book of Songs are uneven in length, they are mainly four words, and the length is relatively short. On the basis of The Book of Songs, Qu Yuan absorbed the form and rhythm of folk literature, mainly Chu folk songs, and created a new lyric poem-Chu Ci, also known as Sao Poetry. In sentence structure, from the original four-character short sentences to the uneven six-seven-character long sentences, the language structure is also special, which enriches the syllable beauty and expressive force of the poem; From the perspective of space, it has developed from a thin and short lyric chapter to a long lyric chapter with rich plots, which has expanded the capacity of the poem and made it more suitable for expressing complex social life and rich thoughts and feelings. Although these changes are the historical necessity of the development of literature, they are inseparable from Qu Yuan's great creation (Without Qu Yuan, Li See Sao).
Guo Moruo once spoke highly of Qu Yuan's historical contribution: "Later, almost all the changes in poetry were attempted by Qu Yuan alone. In any case, this project is caused by Qu Yuan's genius. I think the important reason why Qu Yuan achieved this project is that he used natural ballads. He used the natural rhythm of ballad style to break the four fonts of Taige style. It is no exaggeration to give Qu Yuan an honorific title. He is the greatest revolutionary vernacular poet. "
In addition, the complete and magnificent structure of Qu Yuan's works, the style of questioning and answering between subject and object, etc., also influenced the literature of later generations, especially the great fu of Han Dynasty, and achieved great success.
Sima Qian spoke highly of Qu Yuan's personality in Li Sao in Biography of Qu Jia. He said: "It is not bad to push this ambition, although it is glory with the sun and the moon." When Sima Qian wrote Historical Records, he often used Qu Yuan's spirit to spur himself. Wang Yi spoke highly of Qu Yuan's creation in the preface to the Songs of the South: "The so-called Jin Xiangyu and chinese odyssey, whose names are extremely unknown, will never be published." Li Bai's "Yong Jiang": "Qu Ping's Ci Fu hangs the sun and the moon, and the king of Chu is empty." Du Fu's "Play is a Six-quatrain": "Today's people love the ancients, and clear words and beautiful sentences must be neighbors. I secretly climbed Qusong to drive, afraid to follow in the footsteps of Qi Liang. " Su Shi: "If I can't achieve what I want in the end, Qu Zi is the only one." Lu Xun's Outline of China Literature History: "Yi Weixiang's Ci is an outstanding life." "It even influenced more than 300 later articles."