BC 1 12 was formally established in the period of Emperor Wu of the Western Han Dynasty. Its duty is to collect folk songs or literati's poems for music, so as to prepare for the court's performance at sacrifices or banquets. The poems it collected were later called "Yuefu Poetry" or "Yuefu Poetry" for short.
Yuefu introduction
It was formally established in 1 12 BC during the reign of Emperor Wu of the Western Han Dynasty, collecting and sorting out Han folk music, arranging, adapting and creating music, singing and playing, etc. Han Yuefu refers to the poems adopted by Yuefu organs in Han Dynasty. These poems were originally circulated among the people and preserved through Yuefu. The Han Dynasty was called "Song Poetry" and the Wei and Jin Dynasties was called "Yuefu" or "Han Yuefu". Poems written by later scholars imitating this form are also called "Yuefu Poems".
Yuefu is an official position established by Emperor Wu of the Han Dynasty. Its duty is to collect folk songs or literati's poems for music, so as to prepare for the court's performance at sacrifices or banquets. The poems it collected were later called "Yuefu Poetry" or "Yuefu Poetry" for short. It is a new poetic style after The Book of Songs and Songs of the South.
Han Yuefu is another great collection of ancient folk songs after The Book of Songs. Different from The Book of Songs, it created a new style of poetic realism. Women's works play an important role in the folk songs of Han Yuefu. It uses popular language to construct works close to life, from miscellaneous words to five words, depicts characters in detail with narrative writing, shapes distinctive characters, completes the story, highlights ideological connotation and pays attention to describing typical details, which opens up a new stage in the development of narrative poetry, which is an important stage in the development of five-word poetry in the history of Chinese poetry. Han Yuefu has a very high position in the history of literature, which can keep pace with The Book of Songs and Songs of the South.
Mo Shang Sang and Peacock Flying Southeast are both folk songs of Han Yuefu, which is the longest narrative poem in ancient China. Peacock Flying Southeast and Mulan Poetry are both called "Yuefu Shuangbi". Peacock Flying Southeast in the Han Dynasty, Mulan Poetry in the Northern Dynasty, and Wei Zhuang's Ode to Fu Qin in the Tang Dynasty are also called "Three Wonders of Yuefu". In addition, the phrase "Young people don't work hard, but the old people are sad" in the long song line is also a famous sentence that has been passed down through the ages.
The expansion and development of Yuefu in the Western Han Dynasty was in the period of Emperor Wu of Han Dynasty. The Book of Rites and Music in Han Dynasty said: "By the time Emperor Wu of Han Dynasty decided on the ceremony of rural sacrifice, ... was a Yuefu, which collected poems and recited at night, and was entrusted by Zhao, Dai, Qin and Chu. I thought that Lu Lv, the main commander, led dozens of people to write poems and poems. On the first day of the first month of the first month, we used Ganquan to worship the hills and let 70 children sing songs, which surprised the temple. During the period of Emperor Wu of Han Dynasty, the function of Yuefu was further strengthened. Yuefu not only organized literati to create songs and poems for the court, but also collected ballads from all over the country. Many folk songs are sung in Yuefu and handed down. The Yuefu poems created by literati are no longer limited to Song Like's banquet in Anshifang, but also sung during the festival, and the status of Yuefu poems is obviously improved. According to "Han Shu Guan Bai Gong Qing Biao", when Emperor Wu of the Han Dynasty was in power, the Yuefu Order consisted of three officials. According to the History of Rites and Music in Han Dynasty, by the end of Emperor Wu of Han Dynasty, Yuefu had more than 800 employees and became a large-scale music institution. More than 100 years from Emperor Wu of the Han Dynasty to Emperor Cheng was the heyday of Yuefu. Emperor Ai ascended the throne, ordered the dismissal of Yuefu officials, greatly reduced Yuefu personnel, and placed the rest under the jurisdiction of the order. Since then, there has been no Yuefu organizational system in the Han Dynasty.
The organ in charge of music in the Eastern Han Dynasty also belonged to two systems. One is Taiyue Music Department, and the chief executive is Taiyue Order, which is equivalent to Taiyue Order in the Western Han Dynasty and belongs to Tai Changqing. One is the propaganda department of Huangmen, in charge of Cheng Hualing, belonging to Shaofu. The name of Huang Men's advocacy has existed since the Western Han Dynasty, and it has a very close relationship with Yuefu. In the Eastern Han Dynasty, the Huangmen Propaganda Department, which was in charge of Cheng Hualing, provided songs for the ministers who enjoyed the banquet, which actually played the role of Yuefu in the Western Han Dynasty. Yuefu poems in the Eastern Han Dynasty were mainly sung by Huangmen Propaganda Department, so they were preserved.
Han Yuefu is divided into:
1, symphony: it is mainly a music song used by noble literati for sacrifice, which is gorgeous and elegant.
2, advocating lyrics: also known as piccolo cymbals, the lyrics were written later and the content was complicated. Mainly folk creation.
3. Harmony songs: Music is folk music collected from all over the country, and most of the songs are "street talk". Among them, there are many masterpieces, which are the essence of Han Yuefu.
4. Miscellaneous songs: Among them, many tunes are unknown. Because there is no classification, it is a category of its own. There are some excellent folk songs in it.
Content introduction
When describing the poems of Yuefu in the Western Han Dynasty, Hanshu wrote: "Since filial piety, Liwu Yuefu has adopted many ballads, so there are generations, Qin and Chu styles." They are all sad and happy, and they are all caused by something. "The two Yuefu poems in the Han Dynasty are both creative themes, and they are all highly targeted. It is the specific events in daily life that inspire the enthusiasm and inspiration of Yuefu poets. Yuefu poems also show sensitive issues that people are generally concerned about, telling the bitterness and joy, love and hate, and attitudes towards life and death of that era.
The authors of Yuefu poems in the two Han dynasties came from different classes, and the poet's brushwork penetrated into all levels of social life. Therefore, the disparity between the rich and the poor and the inequality between the sufferings and joys of social members are fully reflected in the poems. In Xianghe's songs, the trip to the East Gate, the trip to gynecological diseases and the trip to orphans all show the sufferings of ordinary people and are groans and shouts from the lowest level of society. Some families "don't have a bucket of rice in the pond and nothing to hang clothes on the shelf", forcing men and men to draw swords and take the road of resistance. ("East Gate Tour") Some women have been sick for many years and entrusted their children to their husbands when they were dying; After the death of the sick woman, the husband had to beg along the street, and the orphan cried for his mother at home. ("Gynecological Diseases") Others wrote that orphans were abused by brothers and sisters and tasted the bitterness of the world. These works reveal the economic poverty and hardships of ordinary people in a bold way, and also show their mental pain and emotional suffering through their dialogues, actions and inner monologues.
After making the final choice, the protagonist in the East Gate Story has to give up the love of husband and wife and the affection of children. The dialogue between husband and wife is the scene where you are going. The dying will of a sick woman in a woman's illness is bitter, and the guilt and sadness of her husband's inability to raise orphans also permeate between the lines. As for the orphans in The Orphan's Walk, they have the idea that life is worse than death because they can't stand inhuman treatment, and they have completely lost confidence in their fate since they were young. When expressing the sufferings of ordinary people, Yuefu poems in the two Han dynasties took into account the hunger and cold of material life and the serious trauma of spiritual and emotional world. What is particularly commendable is that the author of the poem has deep sympathy for these poor people who are struggling to die, and tells the unfortunate experiences of the lower classes with compassion.
These three poems included in Xianghe's lyrics are completely different from the three works such as Walking to the East Gate, showing a completely different scene from the suffering world and bringing people into another world. The basic content of these three poems is the same, and they are all about rich people; There are also many repetitions in the words used in the three poems, which originally came from the same mother. Like a tour guide, the author of Meet introduced people to the assistant minister's house twice. The first time I saw gold as the door and white jade as the hall, I sprinkled it on the hall and made a name for it. The osmanthus trees in the atrium are very spectacular. The second time I saw them, they spent their honeymoon together, they were humming, two women were knitting cotton, and the little woman was tuning the musical instrument. This poem not only plays up the master's wealth, but also points out his distinguished status: "Two or three brothers, neutron is assistant minister." This is a wealthy family with extraordinary value. Gold is the door and white jade is the hall, which is a symbol of a rich prince, not a general wealth, but a great wealth. The assistant minister is the imperial palace guard or the servant of the emperor, and he is a trusted confidant minister of the emperor. His special position is not comparable to that of ordinary court officials. "Cockcrow" and "Chang 'an has a narrow line" make the prominent position of the performance object more full, or the cloud says: "Four or five brothers are all assistants" or the cloud says: "The eldest son has two thousand stones, and the neutron is filial. "The boy has no official position and is dressed in Luoyang." The rich man in the poem is not just a resident official, but several brothers are officials at the same time; The official position is not limited to the assistant minister with a salary of 400 stone, but the official with a rank of 2,000 stone.
The two poems "Meeting" and "There is a Narrow Slant Line in Chang 'an" were written by the author in an appreciative style, while the poem "Cockcrow" warned the rich and powerful not to run amok, so as not to violate the criminal law, and contained elements of exhortation and criticism. The above three poems show the atmosphere of a wealthy family, which is of exemplary significance to China's ancient literary creation. Later, many similar works were based on this. Gold is the door and white jade is the hall. In A Dream of Red Mansions, it evolved into Jia Fu's "White Jade as a Golden Horse". As for the paragraphs in which three women weave cotton drums and musical instruments, they are divided separately and named as "Glory of Three Women", which frequently appears in ancient Yuefu poems, becoming a symbol of a wealthy family and accumulating into a symbol with specific significance.
Yuefu poems, which show the sufferings of ordinary people and reflect the luxury of a wealthy family, are included in the harmony songs, forming two contrasting pictures. One side is hungry and cold, struggling on the death line; On the one hand, it is luxury, and I don't know if there is sadness in the world. On the one hand, even his wife and children can't live, on the other hand, there are many wives and concubines and many waterfowl. These two groups of Yuefu poems were originally arranged together with great contingency, and their objective effect was to guide readers through heaven and hell and appreciate the bipolar world of disparity between the rich and the poor and uneven bitterness and happiness.
Yuefu poems in Han Dynasty also directly expressed the love and hate between men and women. Love and marriage works occupy a large proportion in the poems of Yuefu in the two Han Dynasties. Most of these poems are written by folk or lower-class literati. Therefore, when expressing love and hate in love and marriage, they all seem bold and bold. Advocating the worship of evil in the lyrics is one of the songs 18, which is a woman's self-oath: "worship of evil! I want to know you, I want to live a long life. " There are no graves in the mountains, rivers are endless, winter thunder shakes summer rain and snow, and heaven and earth are in harmony, so I dare to say goodbye to you. "This poem uses strange words and has a unique style. First, I swear to God that I will be my partner for life. Then he even listed five rare and extremely abnormal natural phenomena to express his unswerving commitment to love, each of which would not appear under normal circumstances, let alone five at the same time.
Therefore, the works greatly enhance the intensity of lyricism, and the inner feelings are like volcanic eruptions, such as surging rivers, and no force can stop them. The women in Yuefu poems in the two Han dynasties are sincere and enthusiastic about their lovers. However, once you find that the other person has moved on and changed his mind halfway, you will turn love into hate and break up with him decisively without hesitation. Another cymbal song, Thinking, reflects the change and performance of unmarried women from love to hate. The lover the heroine misses is far away in Hainan, and she has prepared a pair of precious "pearl tortoiseshell, which she wants to give to each other". Hearing that the other party had second thoughts, she resolutely ruined the gift, "tearing things to ruin it", "When the wind blows up its ashes", she resolutely said, "From now on, don't miss each other." She loves her passionately and hates her guts. Her choice is painful, but also firm and resolute.
Peacock Flying Southeast is about another kind of love-hate relationship. The hero and heroine of this poem, Jiao Zhongqing and Liu Lanzhi, are a loving couple. There is only love between them, not hate. Their marriage broke up due to external forces. Jiao Mu doesn't like Lan Zhi, so she has to go back to her family. Brother Liu forced her to remarry, and the satrap forced her to get married. After Liu Lanzhi and Jiao Zhongqing broke up, they got to know each other better and their love became stronger and stronger. In the end, both of them committed suicide to resist the arranged marriage, and also expressed their undying love. When the author of Peacock Flying Southeast describes this marriage tragedy, the hero and heroine love what they love and hate what they hate, and the tendency is very obvious.
There are also two Yuefu poems in the Han Dynasty, such as Sang Helang. In these two works, men and women have no emotional foundation at all and are strangers. The man tried to impose his will on the woman by virtue of power. Then, there appeared a scene in which Qin Luofu deftly refused to be nice to Jun and Hu Ji. The authors of these two poems also have a clear distinction between love and hate. They fully affirmed and highly praised Qin Luofu and Hu Ji, and mocked the lecherous emissary and Jin Wuzi.
Artistic feature
The biggest and most basic artistic feature of Han Yuefu is narrative. This feature is determined by the content of its "accidental things". Although we can already see some works with narrative elements in the Book of Songs, such as Meng and Meng. But it is still expressed through the protagonist's talk, and it is still in the form of lyricism, lacking complete characters and plots, and lacking a centralized description of a central event. However, in the folk songs of Han Yuefu, there are works whose stories are told by a third party, and there are characters with certain characters and complete plots, such as Sang Shang and Walking East, especially Peacock Flying Southeast, which we will describe in the next section. The story and drama of poetry are greatly enhanced than the works in The Book of Songs. Therefore, in the history of China literature, the folk songs of Han Yuefu marked a new and more mature stage of narrative poetry development. Its high artistry is mainly manifested in:
Show a character's character through his words and deeds. Some adopt the form of dialogue, such as the dialogue between Luo Fu and the emissary in Mo Shang Sang, and the dialogue between the wife and her husband in East Gate, all of which can show different characters such as wit, courage and kindness. The dialogue between "Going Up the Mountain to Collect Wu" and "Traveling" was also very successful. Compared with the "national style" in the Book of Songs, it is easier to see this new feature of the folk songs of Han Yuefu. In addition to dialogue, some people also use monologues, often using the first person, so that the characters can talk to the readers directly, such as A Walk of Orphans, Poems with Bald Heads and Evil. Han Yuefu folk songs can also pay attention to the characterization of characters' movements and details. For example, Ge Yanxing is suspected of writing "Fu" as "Xie Kexi Beilang"; "Woman's Disease" wrote the maternal love of a dying woman with "tears don't know what to do"; Mulberry on the Stranger describes the different expressions of old people and teenagers when they see Luo Fu. A Journey to Orphans highlights the suffering of orphans with a series of stories such as students immediately turning back the tape and rectifying the situation. Because of the vivid characters, people can hear their voices and meet their people.
The language is simple, natural and full of emotion. The language of folk songs in Han Yuefu is generally colloquial, but it is also full of feelings and people's love and hate. Even narrative poetry is a combination of narrative and lyric, so it has a strong appeal. Therefore, Lin Ying said: "The songs of Han Yuefu are refined, not polished; However, the quality is good, shallow and deep, near and far, and the world is talented and invincible! " The first volume of poetry illustrates the characteristics of this language. On the one hand, the folk songs of Han Yuefu are mostly about the people themselves, and the author of the poem is often the hero in the poem; On the other hand, because the author and the characters he describes have the same fate and life experience, narrative and lyricism naturally blend together to achieve "shallow and profound". An orphan's journey is a good example:
Orphans are born, orphans are born, and life is bitter! When parents are away, take a hard car and drive a horse. My parents have left, and my brother and sister-in-law ordered me to go. Jiujiang in the south and Qi and Lu in the east. When the twelfth lunar month comes, I dare not say anything. The head is covered with lice and the face is covered with dust. Big Brother says "cook"! Sister-in-law said "Look at the horse"! When I went to the high school to fetch your royal highness's hall, the orphan cried like rain, which made me go to the hall to fetch water at dusk. If the hand is wrong, there is no fi in the first step. There are many thorns in the cream. Pull out the tribulus, in the intestines, want to be sad. Tears are falling, and the tears are heavy. There is no recovery in winter, and there is no light clothing in summer. Life is not satisfactory, it is better to go underground before it is too late! Spring is pneumatic, and the grass has sprouted. Raise silkworms in March and plant melons in June. It will be a melon car, and it will go home. When the melon car overturned, few people helped me, and many people vomited melon. "I am willing to pay my brother and sister-in-law. I am strict, but I am eager to go home alone. I should make plans for my school. " Luan Yue: I don't want to send a ruler book, so I stay with my underground parents: elder brother and sister-in-law can't last long!
Song Changbai's "On Liu Ting's Poems" said: "Although the two poems written by sick women and orphans are not correct, their feelings and circumstances are familiar, and their verbal intentions are vivid. Every time I look at them, I feel very prickly. " Later sages tried their best to describe this kind of topic, which was like chewing wax, but they could not but shed tears and grieve for it. "This statement is quite right, and it has not wronged the" late sage ",but he has not pointed out that this is a matter of life experience. Walking for Orphans doesn't make an empty cry about orphans' pain, but pays attention to concrete description, which is also a noteworthy feature.
Free and diverse forms include three words, four words, five words, six words and miscellaneous words, among which the most commonly used are emerging miscellaneous words and five-word poems. Yuefu folk songs in Han dynasty have no fixed rules and syntax, and their length is arbitrary, which is scattered among the people. Because the Han Dynasty followed the pre-Qin period, although a few still used the ancient four fonts of The Book of Songs, such as crossing the river with Wu Gong and doing good deeds, most of them appeared in a new genre. From now on, it can be called new style poetry. There are two main types of this new style: one is miscellaneous style. Miscellaneous words such as "decline" have appeared in the Book of Songs, but the number is small and the change is not great. Only when the folk songs in Han Yuefu are greatly developed can there be different sentence patterns and words, including whole and scattered sentences, from one word to two words to eight or nine words or even cross sentences, which are flexible and changeable. For example, "It's better to go underground early" in The Orphan's Journey. And "Eighteen cymbals" are all miscellaneous words, and they are unique. The other is the five-character style, which is very neat in form. This is a new creation of Han Yuefu folk songs. Before that, there was no complete five-character poem, but Han Yuefu wrote perfect long five-character poems such as Peacock Flying Southeast, Mulberry on the Stranger, Evil and Joining the Army on the 15th. Judging from the two existing works, Autumn Record and Haoli, there should be a complete seven-character style in the folk songs of Han Yuefu, but we can't see it anymore. There is no doubt that rich and diverse forms help to express complex ideological content.
Romantic color. Most of the folk songs in Han Yuefu are accurate descriptions of realism, but some works are romanticized to varying degrees and use romanticism. Such as the lyric poem "Regret for the Past", the passion like flash floods and high exaggeration are all manifestations of romanticism. In the folk songs of Han Yuefu, the author not only makes the dead appear, such as Battle of the South of the City, but also makes the crow's soul attractive to people, such as Wusheng, and even makes rotten fish cry and write letters, such as Dead Fish Crossing the River and Crying;
When will you regret when a dead fish cries across the river? Be careful when writing books and learning from each other.
All these rich and peculiar fantasies show the romantic features of the works. Li's evaluation of "Eighteen Poems of Han Fu" is as follows: "Its wonderful sentence-making and strange conception are not the same as those of Chu Sao. Curiosity is whimsical and ingenious. " Actually, it's not just the song of cymbals.
Especially noteworthy is "Shang Mo Sang". There is an obvious combination of realism and romanticism from spirit to performance. Qin Luofu, the hero of the poem, is not only a realistic figure from life, but also an ideal image with the democratic spirit of despising power and resisting violence. She embodies the people's good wishes and noble qualities. . When Monkey saw Luo Fu, he brushed the mustache. "。 When the teenager saw Luo Fu, he took off his hat and hung his head. The tiller forgets to plow, and the hoe forgets to hoe. "I came back complaining and angry, but I sat watching Luo Fu. The poet pretended to rest, stared and sighed, and brushed his beard through the "walker"; "Teenager" took off his hat, tidied up his towel, and tried to tease Luo Fu, hoping to make a cicada's head girl. Those who "plow" and "hoe" by the mulberry forest forget their work; And so on humorous exaggerated description, side contrast, focus on rendering the moving beauty of Luo Fu. This kind of profile description and harmony is wonderful. On the one hand, it adds comedy and optimism to poetry and makes the narrative scene and atmosphere extremely active. More importantly, in this way, we can express our instinctive yearning for beauty from the virtual point of view and with the help of humanity who loves beauty, but we can achieve its "romance" without Luo Fu's appearance. People have different views on the standard of beauty, but the poet's writing avoids this "difficult problem" and shows absolute idealized perfection that cannot be described from nothingness. Obviously, without the organic combination of realism and romanticism, without the mutual penetration of realistic accurate description and romantic exaggeration and fiction, it is impossible to create the outstanding image of Luo Fu. Although this combination is spontaneous and natural, it is still worth learning as a creative experience.
Qiu Lu and Hao Li are popular funeral songs in the Han Dynasty, and the songs sung during the funeral are all included in the harmony songs. The whole poem of Lu Lu badminton is as follows: "Lu Lu badminton, easy?" "The dew of the Ming dynasty fell again. When will people return when they die? " This poem thinks that life is too short to be dew on the grass. When dew dries up, it can be rebuilt naturally, but people only have one life. Death makes life go away and disappear forever. "Artemisia argyi" makes death even more miserable: "Whose home is Artemisia argyi? There is no virtue and stupidity in gathering souls. " No matter how the ghost urges, his life will be wasted. "This poem treats people's death with theistic ideas, writes about the painful feelings when facing death, and treats the irresistible fact that the soul belongs to mugwort with a helpless attitude. Normal death will still cause such great sorrow, and the great pain caused by sudden death is even more difficult to tell. The song "The Battle of the South" shows the mourning for the fallen soldiers. The scene after the soldiers died was: "The water depth is exciting, and Puwei is invisible. "Owl rode in battle, Xu wandered and sang." The author tried his best to render the desolation and misery after the battlefield became a graveyard, which was a gloomy picture that was almost dead. What is particularly unbearable is that "the wild dies without burying the black." No one is buried outside the city, and crows peck at them at will. Nothing is more painful than this in life. Although the dead in the poem pretended to be brave, the destruction of life by war was vividly displayed. When describing the sadness of death, the above-mentioned poems show cherish and nostalgia for life, alienation and rejection of death, and write death as an inevitable cruel event imposed on others.
The Yuefu poems in the Han Dynasty also expressed a strong desire to be happy in life and hate in death. How to transcend the finiteness of individual life is an important topic that the ancients pondered hard. Yuefu poems in the Han Dynasty made a deeper exploration in this respect than previous literary works, which fully showed the desire of the creative subject to enjoy life and hate death.
Evil death and happy life are linked, and they are two sides of the same problem. The two Yuefu poems in Han Dynasty frankly conveyed people's aversion to death, and at the same time pinned their desire for a happy life on the gap with the gods in an illusory form. The suburban sacrificial song "In and Out of the Sun" is related to the individual life span of people through the rise and fall of the sun. The sun goes east and west every day, day after day, year after year, and it will never end. But people's individual life is limited, born outside and dead inside. When they enter, they complete the course of life, which is in sharp contrast with the sun, which keeps coming in and out. Therefore, the author boldly imagines that the sun runs in another world, where the time coordinates of the four seasons are different from the world, so the sun becomes an eternal existence. The poet is looking forward to roaming in the kingdom of heaven on six dragons, hoping that something will descend from the sky and carry him into the world where the sun runs. Yan Ge, included in the lyrics of Zage, painted an ideal picture of entering the kingdom of heaven. The poet fantasizes that he is heading for the night, coming to the fairyland of the gods and becoming a VIP there. Immortals from all walks of life are busy for his arrival. Hebo, Qinglong White Tiger, South Fighting the Arctic, and Chang 'e Weaving Girl are all very attentive. Even the cool breeze and the hanging stars are singing and dancing, serving the poet enthusiastically. This poem shows the ultimate happiness of reaching the other side of the world beyond the limited life of an individual, and injects life into many celestial bodies. Let the gods and poets get together. Similar poems include Long Songs and Dong Escape, but the hometown of immortality in these two poems is not the kingdom of heaven, but the fairy mountain, which relies on magical medicine to prolong life.
When expressing the illusion of immortality, the Yuefu poems in the two Han Dynasties sometimes wrote that the gods came to the world and lived in the same world as the creative subject. The poems "Practicing Time" and "Grandpa Flower" of the suburban sacrificial songs are all from the sky, and the immortals in the song "Shang Ling" are all from the water. When describing the arrival of the gods, Yuefu poets give full play to their imagination and portray them in great detail. Through the orderly exposition of spiritual journey, hearse, spiritual arrival, spiritual arrival, spiritual sitting and spiritual stay, Time for Practice shows the process and grace of the gods getting closer to themselves and the joy they can give them. Grandpa Hua is very similar to Lian Tian in writing. In Shang Ling, the immortals are laurel trees as boats, moss as sassafras, and Mulan as? Zhai, the gold is interlaced, and it looks extraordinary. On the surface, these works describe the gods coming into the world and approaching the creative subject. In fact, they imply that the poet will gain eternal life with the help of the power of the gods and will soon become a member of the immortal world.
The Yuefu poems of the Han Dynasty put man and God on the same level, whether it is about the soaring of the body to the celestial realm or the arrival of the gods on earth. God is no longer detached from the creative subject, and people walk with God and get close to each other. Through the immortality and secularization of human beings, the Yuefu poems in the two Han dynasties expressed the author's ideal of communicating between heaven and man.
The Yuefu poems in the two Han dynasties are deeply influenced by the Book of Songs when they express the joys and sorrows of the world and the love and hate in the relationship between men and women, and have national style and elegant charm. When expressing the desire to live well and die badly, he mainly inherited the tradition of Chu Sheng, which is the legacy of Zhuang Sao.