Poems in The Book of Songs generally take four sentences as typical sentence patterns, with two-second rhythm in each sentence. There are many typical sentence patterns in Chu Ci, such as five sentences and six sentences, among which the rhythm of three three is often three two. Four simple words, short sentences and uncomfortable tone; Seven words are vague, and the text is complicated (poems by Ming and Hu Yinglin). Qu Yuan's works are neither four words nor seven words, but free poems with flexible sentences, which are the focus of literary quality. The rhythm of writing has its own unique beauty. Compared with The Book of Songs, the general trend of its language rhythm is uneven. For example:
When you turn white, you think it is black, but when you go up, you think it is down.
The Phoenix Emperor is at @ Xi, and the chicken is dancing.
Just like jade, do it again.
Husband is just the meanness of the party. Qiang people don't know what I'm hiding!
-"Huai Sha"
From the five-sentence structure of one or two sentences to the four-sentence structure of three or four sentences, the sentence structure ranges from five or six sentences (four words in the first sentence and five words in the last sentence) to seven or eight words in the last two sentences. By increasing or decreasing the number of words in a sentence, the rhythm is intentionally fluctuating. Another example is:
The stone wrasse is shallow, and the dragon is graceful.
If you are unfaithful, you will complain for a long time, and if you don't believe it, you will not be idle.
-"Xiang Jun"
The first two sentences are all five words, with dual structure and neat symmetry. The last two sentences increase the number of words, and the sentence with dual ratio is changed into a sentence with prose culture, which makes the length and structure of the sentence change obviously and produces the rhythmic effect of alternating priorities.
Qu Fu often reverses the word order to enhance its sense of color, and also achieves the artistic effect of strengthening intonation and syllables.
1) I have both inner beauty and repair ability.
(2) If I am not as good as me, I am afraid that my age is not with me.
(3) kneel down and apply g to express meaning, which Geng Wu has.
-see "Li Sao" above.
4 Beauty should be repaired, and Wu Peiyi should take a boat.
-"Xiang Jun"
(5) Restrain one's ambition and be cautious, which is the charm of Gao Chi.
⑥ Phoenix spreads its wings and soars.
-see "Li Sao"
The first four cases of adjectives as adverbials are not placed before verb predicates, but mentioned at the beginning of sentences, emphasizing the state of action; In the latter two cases, adverbial reduplicated words are placed at the end of the sentence as complements, connected by Chinese characters, and focus on action characteristics. In rhythm, the former is compact and the latter is slow, which are two forms of expression of the diversified rhythm of Qu Yuan's works.
Xi's personality plays an important role in the language achievement of Qu Yuan's works. The word Xi is widely used in the Book of Songs, with 236 cases of * * *, which is usually used at the end of sentences. Such as clever smile and beautiful eyes, are commonly used sentence patterns in the Book of Songs, and their usage is relatively simple. For Qu Yuan, the word "Xi" is not only widely used, but also has strict regularity. The list is as follows:
Title and position of words
Li Sao wailed, and the last sentence ended with the same words.
Cherish the beauty of reciting thinking, cherish the past, and there is no confusion at the end of the last sentence.
Reflections on Huai Sha's involvement in rivers
The last sentence is at the end of the next sentence.
Nine songs (several sentences) about rivers are used in both the upper and lower sentences.
At the end of the next sentence in Ode to Oranges
Evocation is a special article. The word Xi is used in the six preface sentences and "Random Thoughts", which is used at the end of the previous sentence and is equivalent to "Li Sao". There is no word Xi in the text, except that the soul returns and repeats ten times, so it is widely used. According to Wen Yiduo's textual research, returning to the room is inconsistent with the previous paragraphs and should be the return of the soul. In this way, Xi's sentence is eleven cases, and the usage of Xi words also presents a regular method.
As can be seen from the table, there are several situations in which the word Xi is used in Qu Yuan's works:
(1) Use the word "Xi" in two sentences, and the word "Xi" appears at the end of odd-numbered sentences. This format has the largest number of sentences, including the main body of Li Sao, mourning for the past, Xi Yong, Si, Xi Past, Si and Shejiang.
(2) Use the word "Xi" in two sentences, and the word "Xi" appears at the end of even-numbered sentences. This category includes the disorderly words in Ode to Orange, Random Thoughts, Huai Sha and Shejiang.
(3) The upper and lower sentences are used together and appear in sentences, such as eleven articles in Nine Songs and several sentences in Shejiang Style.
(4) Repeated use at intervals, including only one article "Evocation".
It can be seen that the use of Xi characters in Qu Yuan's works has both unity and diversity. It is more flexible and regular in artistic expression than the Book of Songs. The use of the word Xi has played a great role in regulating the rhythm of poetry. If two sentences use the word "Yi Xi" and appear at the end of odd-numbered sentences, it will form a rhythm form of first slowing down and then rushing; However, when two sentences are used in one sentence and appear at the end of even sentences, they have the rhythm characteristics of slowing down and rushing forward. As for "evocation", it is precisely to avoid stagnation and change the rhythm by repeatedly using Xi at intervals.
In Qu Yuan's works, the word "Xi" is equivalent to "oh" in modern Chinese. Guo Moruo and Wen Yiduo believe that "Oh" is the original sound of "Xi". The silk book Laozi (1973) unearthed from Mawangdui Han Tomb in Changsha is generally written, which proves that the inference of Guo and Wen is correct. In this case, the role of Xi Zi in Qu Yuan's works is mainly to lengthen syllables and adjust the rhythm, thus enhancing the musical beauty of poetic language.