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1. The water god sacrificial ceremony creates a confusing artistic conception
The god’s image described in "Mrs. Xiang" The love story, time, place, environment, characters, behavior, plot, everything presents a hazy, uncertain, vague, and non-existent state, which makes the whole artistic conception confusing and unreal. The reason for this is probably because the basic structure, links, and atmosphere of the story were derived from the water god sacrificial ceremony at that time.
According to expert research, in ancient times, worshiping gods of mountains and rivers mainly used the methods of "looking at sacrifices" and "tracing sacrifices". God is invisible and cannot appear on the scene. We can only assume that he is somewhere somewhere, and then "look at it and sacrifice it" or "chase it and sacrifice it." The protagonist of the sacrifice is the wizard, and all ritual activities are performed and directed by the wizard or some kind of role played by them. "Mrs. Xiang", which was rewritten by Qu Yuan, retains this basic framework. Since the wizard turns into Lord Xiang, the whole process evolves into a love story about Lord Xiang pursuing Mrs. Xiang.
The witchcraft and blessing culture in the ancient Chu region was prosperous, and the sacrificial rituals were quite grand. There is a basic program for tracking and worshiping water gods, which roughly includes four steps: descending from the gods, welcoming the gods, paying attention, and sending the gods off. In "Mrs. Hunan", the traces of these four links are still clearly visible. The first line of the poem points out that Mrs. Xiang "descended" to the island in the north, which is obviously the epitome of the trance session. The second paragraph repeatedly describes the behavior and psychological activities of Lord Xiang as he gazes and pursues Mrs. Xiang, which is undoubtedly a romantic interpretation of the god-welcoming activity. The third paragraph lays out the scene of arranging the new house to welcome guests, and the sense of attention is very obvious. The attention stage is also called entertaining the gods (God can only bless more when he is happy). The beauty of the objects in the poem and the cheerful mood are also the embodiment of "entertaining". The last paragraph is about writing a farewell scene to God. Throwing personal clothes into the river was a custom at that time to convey sincerity to the gods during sacrifices. It was also appropriate for Qu Yuan to use it to express the sincerity of love. In short, Qu Yuan interprets the love story based on the illusory sacrifice to gods, and the scene becomes complicated and confusing accordingly.
The scene of the sacrificial ceremony is quite lively, with music, singing, dancing, speaking and performances usually interlaced. Songs and dances include solo singing and dancing, duet singing and dancing, group singing and group dancing, etc. There must have been various differences in the lyrics of sacrificial songs at that time, but it is no longer possible to verify them now. As far as "Mrs. Xiang" is concerned, some people think that lines such as "My eyes are dim and I am worried", "I miss the master but I dare not speak", "Donating my sleeves to the river", etc. seem to be expressions of the feelings of the Xiangjun played by the wizard. It is sung solo, and the two lines "? Xi Autumn Wind" and the four lines "Where are the birds", "Where are the birds", "Where are the birds", and "Where are the dragons", etc., should be a chorus that exaggerates the emotion and atmosphere. This is based on modern personal speculation, which may seem reasonable, but cannot be relied upon. From this we can realize that as long as we lack a specific and in-depth understanding of ancient sacrificial rituals, it is impossible to make definite conclusions about the paragraph level of poems such as "Mrs. Xiang".
The confusing artistic conception is an aesthetic feature of art that should be affirmed, because it is always connected with the richness of poetry and the aesthetic curiosity of readers.
2. The construction craftsmanship of being complex but not chaotic, and being many but capable of being integrated into one
The artistic conception space of "Mrs. Xiang" is quite rich and profound. On the whole, it includes four major aspects: the water god sacrificial ceremony, the god's love life, real life situations and Qu Yuan's emotional sustenance; as for the image of Xiangjun, there are several levels such as behavior, psychology, emotion and desire; and All of this is a process of constant movement and change. How can we condense these many aspects and levels into a harmonious and unified problem that is complex but not chaotic, many but capable of one? This is the ingenuity of the overall construction of "Mrs. Xiang". This ingenuity is mainly reflected in the following three points.
The first is to carefully set up a specific situation that is rare to encounter. It is said in the poem that Mrs. Xiang once summoned Lord Xiang to "pass away with him". This appointment plot definitely did not exist in the sacrificial ceremony where the god being sacrificed could not appear. Therefore, it can only be regarded as Qu Yuan's order. An intentional assumption made to highlight the theme of love. Obviously, it was precisely because of this assumption that the situation suddenly changed when Xiang Jun went to the appointment as scheduled, which caused his sudden change of mood to pour cold water on him to extinguish the fire of excitement, and also started a series of urgent pursuits for him. Behavioral gates. It can be seen from this that it is stated at the beginning of the work: Mrs. Xiang landed in "Beizhu", which can only be seen across the water, instead of the dating place where Mr. Xiang is, just to let the story plot and the character's mood enter this issue as soon as they come up. The specific scene of the unexpected encounter is to gather the love life of Xiangjun and Mrs. Xiang into this specific scene. It is to condense the long and persistent love of Xiangjun in the short period of time after the unexpected encounter. The pursuit, in a word, is that the author wants to complete everything he wants to describe and express in a specific hypothetical situation. Such careful conception undoubtedly has the artistic effect of making the plot more concentrated and compact, and making the plot stronger and richer.
The second is to describe psychological activities in series with behaviors. How can we condense Jun Xiang's love behavior into a specific situation that is difficult to meet when the date is due? The author captured Xiangjun's rapidly changing psychological activities at that time. This rapidly changing psychological activity is not only the motivation for Xiangjun's various behaviors, but also the clues used by the author to connect these behaviors in sequence.
When the King of Xiang saw "the emperor's son descended to Beizhu", his first reaction was to climb high and look forward to it and wait patiently, so he behaved like "climb to the white sky and look forward to the sunset"; when night fell, he Realizing that the hope was lost, he began to worry about the situation of "Why are the birds flying in the middle, and why are the scorpions hanging on the trees?", and naturally moved from the loss in front of me to recalling the various opportunities in the past, and then I had the feeling of "why?" He felt infinite regret for missing the opportunity before he dared to say it; in his regret, his heart flew to the Yuanjiang River and Lishui River where Mrs. Xiang often haunted, so he had a "deserted and distant look", and in the distant look he rose again There was a glimmer of hope, so he decisively took the pursuit action of "I am riding in the morning, my horse is coming to Jianggao, and I am coming to the west in the evening?"; in the pursuit, there seemed to be no hope, which made him have the idea of ??"hearing a beautiful lady come to call me" The hallucination, so following the imaginary idea of ??"the sky will fly away", he walked into the virtual space where he decorated a new house and married a bride, and vented the beautiful ideals that had been accumulated in his heart; when his feelings were vented, his mood became more stable. Yu Pingping, so he has the broad-minded attitude of Xiangjun at the end of the poem, "Talk about leisurely and carefree". This is the general process of the interaction between psychological activities and character behavior throughout the poem. Because psychological activities are not limited by time and space, its tentacles can freely shuttle between the current scene and past memories, and can freely travel between real encounters and ideal realms, thus making the entire artistic conception of the poem beyond expectations. The image that is hard to meet is outside, and it falls into the ring that is hard to meet. It can be opened and closed, it can be released and closed naturally, and it can be opened and closed freely.
The third is to take the flow of emotion as the inner lifeblood of the whole poem. Generally speaking, the surface of the artistic conception of poetry is a series of scenery and people, and the inside is the psychological activities that promote the transformation of scenery and people. Parallel with the psychological activities is an ups and downs of emotional process. There are roughly six main links in the flow and changes of the inner emotions in "Mrs. Hunan"; the starting point is missing the appointment and seeing Mrs. Hunan landing somewhere else, and sadness suddenly arises; the second is the failure to wait, the mentality is extremely lost, and the mood is very upset; the third is looking back. The past, the painful feeling of missed opportunities, the regret in the heart; the fourth is repeated pursuit, no trace, misunderstandings, and the mind is inevitably in a trance; the fifth is extreme pain and reversal. Daydreams arise in a trance, with brilliant ideals and excitement; the ending is a helpless state of mind after the passion is vented, and a new round of greater impulse seems to be gestating in the temporary calm on the surface. The continuous development of these six links is a process that is both ups and downs and conforms to the laws of emotional development. Emotion is the driving force for poetry creation, the expression content of poetry, and the lifeblood of poetry's internal structure. "Poetry is about love", the word "yuan" is the most important.
3. Three examples of expressing emotions by borrowing scenes
Expressing emotions by borrowing scenes is the most important lyrical method in ancient Chinese poetry. This tradition was established by the "Book of Songs" and "Chu Ci". In this regard, "Mrs. Xiang" provides three examples, which are very distinctive and have a great influence on later generations, which is worthy of note.
1. Integrating emotions into the scenery and dyeing emotions with the scenery
"The autumn wind blows, and the waves in the Dongting are under the leaves of the trees." This is a way of blending emotions into the scenery and dyeing emotions with the scenery. Technique. First of all, this sentence closely follows the previous sentence and uses the lyrical "touching method": the word "sorrow" in the previous sentence "My eyes are dim and I am worried" points out the emotional tone, and the second sentence describes the scenery, borrowing the autumn wind, water waves, and fallen leaves. Exaggerate, spread, and intensify this melancholy. Top and bottom dye, the scene blends seamlessly. Secondly, the autumn wind, water waves, and fallen leaves are typical sceneries, which can produce the same frequency vibration and isomorphic resonance of emotions and scenery in many aspects: the autumn wind blows, the water ripples, like the "Xiang Jun" who did not meet on an appointment. "Heartbeats" are rising and falling; the autumn wind brings coldness, and the water waves are cool, just like a basin of cold water poured on the head of the hurried Xiangjun; the leaves wither and fall one after another, it seems that the despair of the Xiangjun is constantly falling. Again, the autumn wind stirs the water, sweeps the fallen leaves, the water waves drift the fallen leaves, and the fallen leaves follow the water waves. The three are integrated and interlocked. Everything exudes the sad mood of decay, decline, and passing. Isn't it a portrayal of Xiangjun's situation and mood at that time? ? There are many ways to blend scenes. Touching the scene with emotion and dyeing the scene with emotion are the most commonly used ones. The sentence "The autumn wind blows under the leaves of the trees in the Dongting" is often used together with the sentence "Sad autumn is the air, the grass and trees are swaying and decaying" in Song Yu's "Nine Bian", as a way to express the sadness of the autumn scenery. The originator is widely praised.
2. Landscaping is created based on emotions, symbolizing meaning
The four sentences "birds and birds are coming together? Why are the bamboos hanging on the trees?" and "why do elk eat in the courtyard? Why are the dragons descending from the water?" are because of the four sentences. Emotional landscape and symbolic meaning. Birds do not sit on trees but gather in aquatic plants. Fishing nets do not hang in the water but hang on trees. Elks do not sit on the grass but run into the courtyard. Dragons do not dive into the water but climb to the water's edge. These are not real. A scene, but an abnormal scene of illusion. This is Mr. Xiang's self-comparison of his embarrassing situation when he could not wait for Mrs. Xiang and became increasingly depressed. On the other hand, the appearance of this abnormal scene in his mind and the occurrence of this self-comparison mentality fully reflected the extent of Xiangjun's depression at that time. This kind of description of scenery does not integrate emotions into real scenery, nor dye feelings with scenery, but achieves the purpose of expression through symbols, metaphors, and suggestions. It has distinctive characteristics and is very expressive, but it can generally only be used in certain specific situations. under circumstances. In the Han Dynasty Yuefu's "Shangxie", "There are no mausoleums in the mountains, the rivers are exhausted, winter thunders tremble, summer rains and snows, the heaven and the earth come together" are all impossible illusions. They are used as oaths to express undying feelings until death. The effect is Very good, and a good example of making good use of emotional landscaping and symbolic expression.
3． Strive to lay out the beautiful scene
The poem uses a strenuously laid out method to describe the illusory scene of building a house in the water and preparing to get married. In the fourteen sentences, Hegai, Sunbi, Zitan, Fangjiao, Guidong, Lan?, Xinyi Mei, Pharmacy, Xuliwei, Hui?, Baiyuzhen, Shi Lanfang, Zhifei, Du Hengliao, etc. are laid out in one breath. Seventeen or eight of the most beautiful things, such as Baicao Garden and Fangxin Gate, are meticulously described, colorful, rich in imagination, gorgeous in language, and filled with infinite yearning for true love and happy ideals. This splendid fantasy arises out of the hopeless state of mind. It seems abrupt, but in fact it is inevitable. The more something you should have got is suddenly lost, the more beautiful you feel the lost thing is. Frustration of ideals will cause mental pain, but mental pain will also prompt you to pursue your ideals more persistently. What is difficult to obtain in reality depends on imagination, and imagination can transform what is originally expected into something more wonderful. This is the logic of emotion, the dialectics of the soul. Layout is a commonly used method for style text, and it also strengthens and renders functions. Due to space limitations, lyrical poetry is rarely used. "Mrs. Hunan" is used to promote the illusory and romantic ideal state, which is just right and appropriate.