1. Lisao develops the art of lyric poetry, and takes shaping the poet's self-image as the main artistic goal of poetry.
In other words, the image of the lyric hero in the poem is the author's self-image. Most of the works in The Book of Songs are lyric poems, which laid the foundation of China's lyric poems and cultivated the lyrical artistic tradition of China's classical poems. The Book of Songs, especially the folk songs in The Book of Songs, are mostly created collectively. They often express their feelings on the spot, and they create simple characters in specific situations. Li Sao is different. It shapes the poet's self-image in a huge space, so it can comprehensively and completely reflect the poet's own personality, hobbies, ideals, pursuits and struggles. As we know, there are few historical materials about Qu Yuan handed down, and the image of the poet we know today, even his life, is mainly based on the study of his works, first of all, Li Sao, in terms of specific methods:
1, the poet is good at using the surrounding atmosphere to contrast the image of the lyric hero, making it more vivid and prominent:
For example, this poem reads:
Only the husband is happy, and the road is dangerous. I'm afraid of the loss of the court! Suddenly ran to Xi, and the heel of the former king. If you don't check Yu's feelings, you will be angry when you trust me. Gu Yu knew it was painful, but he couldn't give up. It means that nine days is right, and the husband is only spiritual! At dusk, because I was in the middle of the road, I changed direction. At first, I talked to Yu Chengyan, and I regretted having him. It is not difficult for me to leave my husband, and it is difficult to quantify my practice.
In fact, this section describes three images: the poet, party member and Quan (or practice, referring to the King of Chu). The poet not only writes "Yu" (I, the poet himself) to run for the future of the country, but also is not afraid of getting into trouble because of integrity, and positively shapes the patriotic image of the lyric hero, and puts this image in an environment where party member steals music, the king of Chu trusts and is capricious, so that another example is:
Everyone is greedy and eager to seek. In Qiang, I forgive myself for judging others, and I envy each other. That's not what I'm worried about. Old Ran Ran came, and he was afraid that his name would not be established. Drinking Mulan in the morning reveals water, and eating autumn chrysanthemum in the evening reveals British autumn. ..... the orchid root is knotted and penetrated into the core. Change the bacteria to nurture and cherish, and ask for the fault of Hu Sheng. I'm not asking the secular to obey my Buddhism.
Drinking flowers and embellishing herbs and fine wood symbolize and contrast the poet's noble character cultivation and noble moral pursuit. But at the beginning, the poet revealed the social reality that everyone was pursuing fame and fortune and was greedy and jealous of talents. In this social atmosphere, the poet's character and morality become more vulgar, showing the image of a poet who is "I am alone when the world is turbid, and everyone is drunk and I am alone" (Fisherman)
2. Poets are also good at portraying characters in fierce conflicts. In the first part of Li Sao, the poet mainly created two kinds of characters: one is the poet himself, who is noble and upright, with beautiful ideals, tenacious fighting spirit and strong patriotism. The other is the king of Chu and his henchmen, who are ignorant, vulgar, greedy and selfish, forming a party for personal gain and jealous of talents. Qu Yuan described the contradictions and struggles of these two opposing figures in a colorful and vivid way, so that good and evil, beauty and ugliness were clearly shown. What is more commendable is that the poet also expresses the contradictions and conflicts in the characters' personalities through visual language. After Qu Yuan failed in the real struggle, many contradictions appeared in his thoughts. Should he continue to stick to his ideals and morality, or should he retire and remain rational? Should he stay in Chu or seek harmony with Chu? The poet once said: "It is counterproductive to regret not keeping the Tao and delay the opportunity. Back in the car and back on the road, the trip is not far away. " There is a great intention of getting lost. This shows that the poet's thoughts have indeed wavered. In addition, he also put forward some sincere criticisms and suggestions to himself under the guise of the fictional character Nu Wa, asking him not to maintain his "independence" when the whole world is United for selfish purposes. The implication is that it is better to follow the custom. But the poet's thought is contradictory, and his statement to Zhong Hua denies his daughter's opinion. Looking back at history, he realized: "Look forward and backward, look at the people's plan." What's wrong with my husband? What's wrong with him? Finally, in this conflict, the idea of pursuing "righteousness" and "goodness" won, so the poet began to explore the pursuit of "righteousness" and "goodness" as symbols of knocking on the emperor and seeking widowhood.
On the question of whether to go abroad, contradictions and conflicts are also sharp and fierce. The poet designed Wu Xian's spiritual atmosphere and words to express his fierce inner struggle. The spiritual atmosphere told him that the reality of Chu was chaotic and dark, and there was no distinction between good and evil. It's better to go to the countryside. Wu Xian said that he would stay in Chu and seek harmony. The poet carefully examined the two opinions and confirmed that there was nothing he could do in the realistic environment of Chu, so he listened to the spiritual atmosphere and began to wander in the West Sea for a period of time. However, when I caught a glimpse of my old country in fugue, I was sad and happy, and finally "curled up and declined", leaving Chuk to succumb to the psychology of going to the old country, and his patriotic thought won the final victory. It is through this series of contradictions and struggles that the poet completed the complete image and character description of the lyric hero, making it one of the most brilliant typical images in ancient China literature. This great creation of Qu Yuan has developed the art of lyric poetry to the peak, which is of epoch-making significance.
2. Li Sao is an outstanding positive romantic work.
Qu Yuan is an emotional poet, passionate and full of fantasy, which makes his works have a strong romantic color. Li Sao is a great masterpiece of positive romanticism. With its passionate feelings and fantastic fantasies, it has been constructed into a fantastic and magical work of art, which is "unparalleled in the world" ("Wen Xin Diao Long Bian Sao") and has excited the hearts of millions of readers for thousands of years.
Li Sao is an excellent positive romantic work, full of romantic sentiment in artistic expression. In the history of China literature, romanticism originated from ancient myths and legends. Although some works in The Book of Songs are romantic, they are mainly realistic. In the era of Qu Yuan, Zhuang Zhou and Qu Yuan, the two most outstanding great romantics in the history of China literature, finally came into being. Zhuangzi is an essayist with the temperament of a poet, and his masterpiece "Wandering around" is a masterpiece of romantic literature. Qu is a great positive romantic poet. His romantic spirit is the most concentrated in Li Sao.
The romantic expression of Li Sao is mainly reflected in the following points:
1. First of all, the poet does not objectively describe the reality, but fully mobilizes his creative ability of thinking in images, giving vivid images to the described objects, that is to say, visualizing them.
Li Sao is a political lyric poem with autobiographical content of the author's life. But the poet does not objectively describe his life story, but visualizes his own thoughts, ideals, struggles and other facts. What is active in poetry is not a boring list of facts, but a vivid description. For example, when talking about the poet's "inner beauty" and "focusing on cultivating ability", he used the words "Zhuo Chao admires" and "admires". He said that in order to realize his political ideal, he trained a large number of talents, and when these talents later deteriorated from the secular world, he visualized these activities and phenomena as "orchids with nine flowers" and "trees with a hundred acres of benefits", planting foreigners, solving cars, and so on. He had hoped that these herbs would flourish, but they were withered and dirty. This vivid description is of course much more vivid than the purely objective fact description, which makes the autobiographical life description with a romantic color. 2. The greatest feature of romanticism is to express the passionate pursuit of the ideal world, which always reflects the author's passionate feelings and rich imagination.
What excites readers most in Li Sao is the author's spirit of searching up and down. After the failure in the real world, the poet fantasized about Zhong Hua's statement and began to knock on the emperor's pavilion, begging for a woman who slipped. The poem wrote:
I want to use the wind. The dynasty began in Cangwu Xi and reached the county boundary in the evening. If you want to stay less energetic, it will be dusk. I told xi that he should be cautious and look forward to it, but don't push it. Rummanmanqi Xiu Yuan Xi, I will search up and down.
After drinking too much, the horses in the salty pond always rest on hibiscus flowers. When the wood breaks, blow the sun and chat with the sheep. Wang Shu was the pioneer before, and Fei Lian was the subordinate after. Emperor Luan warned Yu first, but told Yu not to eat it. I let the phoenix fly, followed by day and night. Gone with the wind left Xi, and the handsome Yun Ni went to the royal family. Disputes are always intermittent, and every bit is inseparable. I ordered the emperor to turn it on and off, leaning against it and looking forward to it. It stops when it's warm, and it slows down. The world is difficult to distinguish between the turbid world, so it is beautiful and jealous.
The next step is to find a failed, widowed daughter and the second Yao. Here, the author drives the characters and things in myths and legends to the pen to serve himself. He drinks horses in Xianchi and is in charge of Fusang. Wang Shu is the forerunner and Fei Lian is the successor. Luan Huang and Schleswig waited on him and drove him away. In this fantastic picture, the author's pursuit of up and down is the embodiment of his spirit of "taking the road first for the king of Chu" and "running in order" in reality. Moreover, the poet's fearless failure in the process of seeking fully shows his persistent spirit of ideals and is full of warm feelings. In this passage, the poet not only focuses on the process of pursuit, but also tells in perceptual language:
"The world is turbid and inseparable, so it is beautiful and jealous."
"The world is turbid and jealous of the virtuous, and the beauty is called evil for good. In the boudoir, I am far away, and the king of philosophy is not jealous. I don't care about my skin, but I can stand death. "
This makes the poet's pursuit more passionate and angry, and clearly shows that the realm of fantasy is a reflection of reality. The characteristic of romanticism is to walk out of reality and describe the realm of fantasy, but the realm of fantasy is only a reflection of the real society. Qu Yuan's fantasy is based on social reality and is an image reflection of the fantasized real society. Knocking on the emperor's inattention immediately reminds us of the reality that Qu Yuan is "indifferent to others' feelings" and "resentful and alienated from Qu Ping", and the complacent image of those "emperors" is also a portrayal of party member, whom the king of Chu prized. Following Zhan Ji's spiritual atmosphere, the poet's fugue of "instructing the West Sea for a period of time" not only truly reflects the fierce conflict in the poet's heart about whether to stay or not, but also ends with "a trip to his hometown" and "mourning for horses", which shows Qu Yuan's realistic feelings of patriotism to the fullest. The descriptions of these fantasies are profound and profound, and their feelings are magnificent, bringing people into endless magical changing scenes. We are attracted, moved and sighed; He was also inspired by the poet's lofty ideals, noble qualities, passionate pursuit and indomitable spirit of struggle, as if his mind had been broadened, his soul purified and his spirit sublimated. This is the artistic effect of Qu Yuan's romantic expression. In Qu Yuan's works, almost all the myths he can collect have been mobilized. Moreover, these mythical characters are not poets trying to brag and dazzle readers, but borrowed to express the intense contradictions and struggles in the poet's heart. They are vivid images that serve the unified theme. In Lisao, the jade phoenix sings, the phoenix spreads its wings and flies, the dragon bridges the bridge, the jade autumn drives, if wood can paint the sun, the ostrich can be the media, Wang Shu and Fei Lian run back and forth, and Feng Chu flies up and down. Everything in the poet's pen moves one after another according to the author's unified rhythm and command, and is written as a magical changing realm.
3. Bold but true exaggeration:
Romantic works often use exaggeration to highlight the characteristics of the object of description. In Li Sao, there are not many things that exaggerate or shrink things themselves, but they can well express the essential characteristics of things. He said: "My heart is still kind. Even if I die nine times, I still have no regrets." People can't die nine times, but the poet exaggerates with "nine deaths without regrets" to show his unchanging heart for goodness and highlight the poet's unshakable belief. Exaggeration in Li Sao is often used to describe some symbolic things repeatedly. For example, in the poem, in order to express the poet's high fragrance, he wears fragrant flowers and herbs to express it, but exaggerates the types of fragrant flowers and herbs, saying that he "tied the roots of wood and penetrated Betty's heart" to correct the bacteria in Gui, which is the Yi Xi written by Hui Xi and Hu Sheng, "Dressed with hibiscus, clothed with hibiscus". ..... high in danger, while Pei is far from the land. "This repeated exaggeration highlights the poet's noble moral quality.
While pointing out the romanticism in Li Sao, we should also understand that Qu Yuan's romanticism is based on real life. It reveals the darkness and filth of reality, reveals the struggle between truth, goodness and beauty and falsehood, and shows the prospect that light will surely overcome darkness and truth, goodness and beauty will surely overcome falsehood, ugliness and ugliness. So instead of whitewashing reality, it arouses people's yearning for light and beauty and rebellion against dark reality. Therefore, the romanticism in Li Sao is positive and healthy, and it has cultivated the noble character of our people and the fine tradition of patriotism. Third, the third artistic achievement of Li Sao is to develop the artistic tradition of Bi Xing and make it reach a new height.
Bixing is well used in the ballads of The Book of Songs, but it is often simple and simple, and in many cases it can be clearly distinguished. Li Sao is different, and its metaphor is more complex and extensive. Wang Yi's Preface to Lisao said: "The text of Lisao is based on poetry, and it is metaphorical. Therefore, good birds and wonderful grass are worthy of loyalty; Bad birds are compared with smelly things; Practice, beauty is close to the monarch; Fu Fei and his wife are good examples; Xiang Silong, husband and wife should trust the gentleman; Gone with the wind, Yun Ni thought it was a villain. " Although he knows that the specific content of Bi Xing in Li Sao remains to be discussed, he has pointed out that the technique of Bi Xing in Li Sao is complex and extensive. It is difficult for us to point out what "xing" is in Li Sao. Even by comparison, this poem does not give us a clear hint that something is better than something. Zhu said in the Preface to Li Sao Jing, a Collection of Songs of Chu: "Poetry is more abundant than prose, and prose is less abundant than prose." However, in the annotation of Lisao Jing, he said a lot of things such as,, Fu, Ye, but he didn't mention where Xing was. It's really hard to find a clear interest in Li Sao. Later generations also have different views on some comparisons of Zhu. For example, he stayed abroad in "Yuzilan Wine Xi, Another Hundred Mu Tree" and exposed his car. Du Heng and local chronicles were mixed. "Gambling cloud:" Bi Ye. ..... planted many kinds of incense, cultivated benevolence and righteousness, decorated themselves with self-purification, and worked tirelessly in the morning and evening. "At present, most of us don't agree with Zhu, that is, planting incense is a metaphor for' doing righteousness', but a metaphor for attracting talents. This shows that the metaphor in Li Sao is much more complicated than that in The Book of Songs. In fact, Bixing in Lisao is no longer Bixing in The Book of Songs, but has been given a new meaning as a unified term. Liu Xie said: "Jilong is a metaphor of a gentleman and an evil metaphor, which is greater than the meaning of Xing. "("Wen Xin Diao Long Bian Sao ") and said:" Chu Xiang believed it, but he was brave and made Sao according to the Book of Songs, which was both ironic and fun. "Bixing (Wen Xin Diao Long) Although Bixing here is developed from Bixing in the Book of Songs, it focuses on the content of metaphor, including symbolic meaning, and this Bixing often refers to the role of satirizing politics. This can be proved by Bai Juyi's understanding of the so-called "Bi Xing". He said that Li Bai's poems were "seeking elegance and happiness, and there are ten things", while Du Fu had thirty or forty poems, including Xin 'an officials, Shi Haoguan officials and Tongguan officials, which satirized current politics. He said that Zhang Ji's poems are "more elegant than fashion, but never empty", and the cited examples are also a chapter that satirizes the monarch and exhorts the world. This understanding of metaphor is more directly based on the metaphor of Chu Ci. The metaphor in Li Sao is not as simple as that in The Book of Songs. Basically, it doesn't have "hands as soft as skin, collars as dragonflies, teeth as rhinoceros, nodding" ("Feng Wei said people") or "I am full of bandits, but I can't turn around; My heart is full of bandits, so I can't roll it up. Metaphors like "white boat" are more symbolic. It does not use the compared things to shape the image of the compared things, but directly shapes the compared things themselves to make them have vivid images. This is a feature of metaphor in Li Sao. In addition, in Lisao, a large number of herbs, fragrant flowers, smelly birds and evil things are used as comparative materials, but this is not for "knowing more about the names of birds and animals" (The Analects of Yang Huo), but for its own system. All good and kind things are used to symbolize (or metaphorically) good things; Instead, it is used to symbolize (or metaphor) ugly things. Herbs and flowers are compared to sages or noble qualities, while rotten birds and evil things are compared to bad people, bad things and bad qualities. Lan, Zhi, Hui, Che Jie and Mao, Xiao and Ai have their own division of labor, and they are never confused. In this way, these things themselves have a strong emotional color, and the symbolic meaning is more obvious.
Fourth, the superb language art of Li Sao.
Finally, talk about the language art of Li Sao.
1. The beauty of rhythm and phonology in Li Sao;
On the basis of southern folk songs, Qu Yuan created a new poetic style-Chuci. Its language and sentence patterns are characterized by different sentence lengths and uneven levels, and more Xi characters are used. According to historical records, some Chu songs, such as Ren Yue Song and Canglang Song, can be sung. Li Sao may not be able to sing at that time, but because this genre itself has a certain relationship with folk songs, it also has beautiful rhythm and tone, which means it has musical beauty. It is said that reading Chu Ci needs a special kind of Chu sound to be nice. "Chuci" of course refers to the dialect of Chu. "Biography of Zhu Han Maichen" said that Zhu Maichen "said Chu Ku in the Spring and Autumn Period, and the emperor said it very well". The so-called "saying Chu Ci" means reciting Chu Ci, which is trusted by the emperor. But why is reading Chu Ci so popular with the emperor? Can't ordinary people read Chu Ci? Of course not. This shows that Zhu Maichen has a special tone when reading Chu Ci. Maichen came from Wu, which belonged to Chu during the Warring States Period, so it can also be called Chu. Therefore, he read Chu Ci in Chu's voice. Although others can read Chu Ci, they can't use it, so Mai Chen is favored. This kind of "Chu sound" is a unique rhythm tone based on Chu language and poetry, which is very pleasant to read.
2, Chu dialect into poetry:
Chu dialect entering poetry is another language feature of Lisao. The use of Chu dialect is not only the expression of the author's love for Chu dialect, but also the need of the local characteristics of Chu ci, which is an important part of the new poetic style of Chu ci. The so-called "Chuci" means that "Chuci" is one of the characteristics of this new poetic style. However, the use of dialects is not indiscriminate, but the poet has screened according to the needs of his works. Except for a few verbs and nouns, most of the dialects in Lisao are modal particles that can express feelings best. Qu Yuan is the Chu language spoken by Chu people, and Li Sao is an emotional lyric poem. For Qu Yuan, it is naturally the most convenient and handy to express his thoughts and feelings with Chu dialect modal particles that are good at expressing feelings. What would it look like if all the modal particles belonging to Chu dialect in Li Sao were removed or replaced with other modal particles?
3. The language of Li Sao is gorgeous and has certain duality;
The gorgeous language and a certain degree of duality in Li Sao are also a major feature of its language. Liu Xie said that "Li Sao" is "stunning and gorgeous, and it is difficult to match it", "golden phase and jade style, gorgeous and overflowing" and people who study Qu Yuan are "good at hunting exotic words", all of which show that the language of "Li Sao" is gorgeous. The poet wrote a lot of fragrant flowers and herbs in his poems, which brought rich and colorful elements to the language and well expressed the noble quality and lofty ideal of the poet beyond vulgarity. The language of Li Sao is basically uneven, but some sentences are also neatly arranged. For example:
"I am not only the nine orchids, but also a hundred acres of tree sticks; I stayed in the country and found this car, which mixed Du Heng and local chronicles. "
"Drink Mulan dew early and eat autumn chrysanthemum late."
"Making lotus is thought to be clothes, and picking hibiscus is thought to be clothes."
"It's better to drink a horse in the salty pool than to drink a hibiscus."
The above examples are all antithetical sentences. Dualistic sentences have always existed in the Book of Songs, but they are mostly obtained by accident. The comparison of the duality of order in Li Sao is out of the poet's original intention. By investigating the number of antithetical sentences in Li Sao and other works of Qu Yuan, we can understand the poet's pursuit of the beauty of language. Moreover, if we use Liu Xie's exposition of the so-called "right words" and "business" in Li Sao, there are also "right words" and "business" The so-called "dialogue", he said, is "dual sentences are also function words", that is, two sentences are juxtaposed without allusions. Accordingly, the above quotations can all be called correct. The so-called "things are right", he said that "everyone takes exams", that is, not only sentences are juxtaposed, but also allusions are used. "Li Sao" also has:
Lv Wang drum knife xi, by Zhou Wen. Ning Qi's eulogy was Xi, and Qi Huan smelled it.
Two examples (allusions) illustrate a truth, which is true. Liu Xie said: "what is right is beauty, and what is important is exquisiteness;" The first thing to do is to do it right. " The dialogues in Lisao above basically meet the requirements. Moreover, the antithesis in Li Sao has reached a higher level. Duality is a beautiful form formed by using the characteristics of Chinese characters, and it is often used in China's ci-fu, parallel prose and poetry. Qu Yuan made a pioneering contribution in this respect.
In a word, Li Sao is a political lyric poem with high ideological and artistic quality, and it has become a masterpiece of the perfect combination of ideological and artistic forms in the history of China literature.
Qu Yuan's influence and position in literary creation are mainly manifested in: creating personalized literature; It promoted the formation and development of patriotic literature; Created a new poetry genre; It established the fine tradition of China's romantic poetry; Put forward the tragic theory of "expressing feelings with anger"; It forms the basis of the development of China's landscape literature.
Qu Yuan was the first poet with great achievements in ancient China. His 25 works were included in Songs of the South, including Li Sao, Nine Songs, Nine Chapters, Evocation, Tian Wen, Buju and Fisherman. These poems expose the corruption and evil of the ruling clique, and show the author's progressive political ideal, sincere feelings of loving the motherland and unyielding spirit of struggle. Qu Yuan's poems use a lot of myths and legends, with unique conception, rich imagination, gorgeous style and romantic spirit. On the basis of studying folk songs, Qu Yuan created and developed The Songs of Chu, which enriched the forms of expression of poetry and greatly promoted the development of ancient poetry. Qu Yuan's influence on later generations has two aspects: first, his profound patriotic feelings and active and tenacious struggle spirit give spiritual encouragement to all those who pursue light and insist on justice; Second, the conscious use of romantic creative methods, the uneven and flexible genre of Songs of the South and the expressive techniques of "attaching affection to things" and "borrowing irony from things" greatly influenced the later prose and poetry creation.