Li Sao is Qu Yuan's representative work and a magnificent political lyric poem. It has extremely high attainments and unique style in art. Its artistic characteristics and achievements mainly include the following aspects: (1) Creation that creates a distinctive personality for literati. Before the emergence of Chu Ci, Chinese poetry was basically a group creation. Generally speaking, their content was relatively simple and their sentence structure was relatively simple. It is also relatively short in length, especially because it is a mass creation, so there is still a lack of works that fully reflect the poet's character. He Qifang once commented in the article "Qu Yuan and His Works": "There are also many beautiful and moving works in the Book of Songs. It cannot be said that those works do not shine with the author's personality, but like Qu Yuan, who used his ideals to encounter , but there is no one whose pain, passion, and even his entire life have marked his works with an extremely distinctive personality." After Qu Yuan appeared, the name of a great poet appeared in the history of Chinese literature, and there was no one who concentrated on the poet's entire thought. Poems of emotion and personality. Qu Yuan's "Li Sao" creates the image of a pure and tall lyrical protagonist. Through this personalized poem, we see the image of a solemn and great poet full of patriotic passion, lofty political ideals and noble personality. (2) Romantic creative style "Li Sao" is a work of active romanticism. It absorbs and develops the positive romantic spirit of ancient people's oral creations - ancient myths. Romanticism, as a creative method, does not describe reality as it is, but rather expresses the author's passion spurred by the stimulation of social reality, the author's strong pursuit of ideals and his rebellious spirit against reality. . Qu Yuan's great work "Li Sao" has such remarkable characteristics. The first half of "Li Sao" focuses on the poet's description of his own experiences and encounters, but Moisture's expression method is not completely realistic, but sublimates his own life experiences and feelings into a kind of good and evil, beauty and ugliness. The irreconcilable struggle between light and darkness uses novel metaphors and exaggerated descriptions to express the sublimity of goodness and beauty, the despicability and sordidness of evil and ugliness, and the incompatibility between light and darkness, thus presenting the entire face of an era and inspiring Human understanding gives people the correct love and hate and inspires the human soul. In the second half, the poet completely adopts the form of fantasy and fictitious artistic conception to write about his profound inner world. The poem describes the world and the earth, and the repeated circling of hope and disappointment, fully revealing the poet's depression, showing the darkness and coldness of the humid surrounding environment, and showing the outstanding fighting spirit. In this part, the poet specially draws rich images from myths and legends, and organizes them together through unrestrained imagination, forming an endless stream of vivid plots and beautiful pictures. In the poet's writing, Xihe (Sun God), Wangshu (Moon God), Feilian (Fengbo), Fenglong (Thunder Master), as well as phoenix and flying dragon are all available to him to drive freely; Tianjin and Buzhou are all places he visited. His imagination is so bold and rich that it is rare in ancient and modern times. What is particularly noteworthy is that when the poet used these ancient myths and legends, he was not bound by the original stories. Instead, he used some free imagination to compose the original myths into new plots and make them subordinate to a new theme. , becoming part of the poet's overall artistic conception of expressing his thoughts and feelings. This method of expression undoubtedly makes fantasy more free. For example, in the last paragraph of the poem, it is written that he drove Luanhuang and Fengniao, and the carriages and horses were noisy all the way; when he turned to Kunlun, passed through the quicksand, and pointed to the four seas, he suddenly stopped over the Chu Kingdom and couldn't bear to leave, pushing the whole poem to a climax, powerful It perfectly expresses the poet's patriotic thoughts and sentiments. Such artistic effects would be difficult to achieve without resorting to mythology and reshaping and reimagining mythological materials. (3) Developed the metaphorical technique of "The Book of Songs" The main characteristics of the artistic conception and expression of ancient Chinese poetry are the so-called "touching objects to evoke emotions" and "asking for objects to express emotions". In short, they are expressing emotions through borrowing objects. This technique and characteristics have been discovered by predecessors when studying the Book of Songs, and they were summarized as "Bixing". Qu Principle made important developments on it. First of all, it begins to blend and integrate things and myself, emotions and scenes, expanding the artistic conception and expressive power of poetry. Therefore, comparison in Qu Yuan's works is no longer simply comparing something to something, or touching an object to stimulate excitement, but more about combining certain characteristics of objects with people's thoughts, feelings, personality and ideals. , integrated into one, making things symbolic and giving emotions more specific attachment and sustenance. Bi and Xing in "Li Sao" are fictional and imaginary in terms of the image itself, but in terms of the content, thoughts and feelings expressed, they are completely realistic. This pioneered the expression techniques of "expressing feelings on the scene" and "expressing one's ambition through objects" in later generations, which had a great influence on ancient Chinese literature, especially poetry creation. (4) Poetry form and language The form of "Li Sao" absorbed and drew lessons from the folk songs of the Chu region in the south. However, it absorbed the writing style of the new style prose that was booming at that time, breaking the four-character format of the "Book of Songs". Lengthening the verses and expanding the structure not only increase the content but also enhance the expressive power.
It uses a large number of spoken dialects in the poem. The most commonly used "xi" is a spoken word that often appeared in folk poetry at that time, especially in Chu folk songs. This word not only enhances the lyrical atmosphere of the poem, but also enhances the lyrical atmosphere of the poem. It also greatly enhances the rhythm and musical beauty of the poem