How to evaluate Qu Yuan's Li Sao from a literary perspective?

1. Li Sao created a pure and tall lyric hero. Before the appearance of Chu Ci, China's poems were basically created by the masses. We know that most of the Book of Songs belongs to folk songs, which was created by an anonymous person through word of mouth. Generally speaking, the earliest folk songs are relatively simple in content, short in sentence patterns and length. Although it is a collective creation, some of it shines with the author's personality. However, there is no one who, like Qu Yuan, used his ideals, experiences, pains and enthusiasm to imprint his life on his works with an unusually distinctive personality. Li Sao created a pure and tall lyrical hero image and showed us a statue of a great poet full of patriotic passion, lofty political ideal and noble personality. In this way, the poet Qu Yuan himself became a great artistic image in the history of China literature. Becoming a typical immortal patriotic poet has infinite appeal to future generations. In this sense, Qu Yuan is the first great poet in the history of China literature, and his works are of epoch-making significance in the history of China literature. Before Qu Yuan appeared, China's poems basically belonged to the folk song era. Only after the appearance of Qu Yuan did poets appear in the history of China literature, and poems reflecting the poet's personality appeared.

Li Sao is a positive romantic work. It absorbed and developed the active romantic spirit created orally by the ancient people in China-ancient mythology. Romanticism, as a creative method, is characterized by not describing the reality truthfully, but expressing the author's passion, the strong pursuit of ideals and the spirit of resistance to reality due to the stimulation of reality. According to the text structure, the first half focuses on describing the poet's own life experience and experience. We can see four groups of contradictory forms. The first group, the contradiction between "inner beauty" and "cultivating energy" and "the sun and the moon are not drowned suddenly, and the spring and autumn have their order", shows his eager pursuit of life. The second group, the last three groups, Yao Shun's Pure, Geng Jie and Jie. This shows his political ideal. The poet's life pursuit, political desire, political purpose of "fearing the defeat of the imperial court" and "following the footsteps of the former king" and the palace political environment of "stealing the joy of the party" and "crossing the narrow path" formed a deep third group of contradictions. Through this opposition, it shows that the poet ignores himself and "strives for the national destiny". Then, it forms a deeper contradiction with the suffering of "ignoring the truth" and "being angry because of unbelief". In the progressive structure of contradiction and conflict, this contradiction is more acute and profound. We saw the poet sublimate his life experiences and feelings into irreconcilable struggles between good and evil, beauty and ugliness, light and darkness, and used some novel metaphors.

In the second half of Li Sao, the poet wrote a profound inner world in the form of fantasy and fiction. In the poem, the description of heaven and earth, the twists and turns of hope and disappointment are used to vent his anguish, to show the darkness and coldness of the poet's surroundings and to show the poet's outstanding spirit of struggle. In this part, he also deliberately draws rich images from myths and legends and organizes them through his own imaginative power. It constitutes a steady stream of vivid plots and beautiful pictures. That is, the mythical imagination is used to express the pursuit of truth by the soul of a depressed person. After addressing Zhong Hua, because he felt Zhong Hua's affirmation, he searched up and down and ran around:

The dynasty began in Cangwu and went to Huxian in the evening. If you want to stay less energetic, every day is dusk. I want to keep my festival, looking forward to it but not pressing it; Lu Manman's Xiu Yuan Xi, I will pursue it from beginning to end. In Xianchi Xi, I will drink more than horses, and the rest will be tied to hibiscus. I will be happy to talk about sheep. May Shu be the pioneer before, and Fei Lian be the subordinate after; Emperor Luan warned Yu first, but told Yu not to eat it. I make the wind birds soar, followed by day and night; Gone with the wind, separated, handsome Yun Ni came to the court. Disputes are always separated from each other.

We see that there are many mythical people and things here. How to compare (Sun God), Wang Shu (Moon God), Fei Lian (), Red Dragon (), Phoenix,) and so on. People and things in this myth are all driven by the poet's freedom. In addition, there are some mythical place names. The so-called county garden (Kunlun Mountain in ancient mythology has a garden hanging in the air, called. This is the place where he imagined he had been. This kind of imagination is bold and rich, which is rare in ancient and modern times. It is particularly noteworthy that the poet used a lot of ancient myths and legends, but he was not bound by the original stories. Unlike some later works that quoted myths, he just used them as allusions. Moreover, the gods and fetishes among the gods are taken as living images to participate in the poet's activities of traveling in the sky. This shows that the poet wrote the original myth into a new plot through some free imagination processing, which made such myths and legends obey the new lyric theme he wanted to express and become a part of the poetic mood. This technique of expression undoubtedly makes fantasy more free. For example, in the last paragraph, he wrote that a phoenix flew into the sky. It can be said that the cars and horses are noisy all the way. When crossing the Kunlun Mountains and quicksand, referring to the West Sea, he suddenly stopped over Chu and couldn't bear to leave, so he pushed the whole poem to a climax, effectively expressing the poet's patriotic thoughts and sentiments.

I am Dolphin Xi, and the road leading to Xiu Yuan flows around, singing the praises of Yun Ni's love and sadness, and whispering the chirp of Yuluan. Depart from Tianjin Xi in the morning and go to the West Pole in the evening; The wings of the Phoenix Emperor are the wings that carry heavy loads and fly high. Suddenly, I walked on this quicksand, accommodating myself to Chishui, urging the dragon to make Liang Jinxi, and petitioning the Western Emperor to intervene. The road to Xiu Yuan is difficult, and the road is left, referring to the West Sea. The rest of the car was thousand times, Chyi Yu soft chi, driving the twists and turns.

This passage strongly expresses the poet's patriotic thoughts and beliefs. If he doesn't use myth to transform and conceive mythical materials, it will be difficult to realize.

Gorky once pointed out that there are actually two kinds of so-called literary romanticism, one is negative romanticism and the other is positive romanticism. Negative romanticism is characterized by distorting and whitewashing reality with fantasy, fiction and even mysticism, leading people to compromise with unreasonable things in reality, or leading people to escape from reality. Although positive romanticism is also full of fantasy, exaggeration and strangeness, its content still truly reflects reality, guides people to correctly understand reality, and especially arouses people's resistance to unreasonable things in reality. This poem is an example of positive romanticism, the ancestor of positive romanticism in China literature, and it is very precious.

Thirdly, there is also great creation in the form and language of poetry. The form of Lisao was written by drawing lessons from the folk songs of southern Chu, but it also absorbed the new prose style that flourished at that time. It breaks the four-character form of The Book of Songs, lengthens the poem and expands its structure, which not only increases its content, but also enhances its expressive force. It describes the fact, expresses it in loneliness, and even describes fantasy.

In addition, judging from the language of poetry, the word "Xi" is the most commonly used word in poetry. The ancient sound of "Xi" is "ha", which is an exclamation. "Xi" was a common spoken word in folk songs at that time, especially in Chu folk songs. This not only enhances the lyrical atmosphere in poetry, but also greatly enhances the sense of rhythm and musical beauty of poetry.

Mr. Lu Xun once commented on Qu Yuan's Li Sao in the Outline of China Literature History, saying that Li Sao was "an inspiring and magnificent speech and an outstanding life". In addition, "compared with poetry, its words are long, its thoughts are absurd, its words are beautiful, its purpose is clear, and it does not conform to the law from the heart." .......................................................................