Priestess of Death and Shao Siming both showed the meaning of love. After mankind entered the patriarchal society, except for a few gods left over from primitive society (such as Nu Wa and Queen Mother of the West) and gods directly related to women (such as sending off sons and goddesses), all the others were men. Therefore, according to nature, Priestess of Death is a male god. The heroic spirit of Priestess of Death's lyrics in the poem is remarkable, and it is shocking to all sides, which also proves that it is a male god. The youngest son's life is a goddess (see next section for details). Chen Qing Li Ben's Essentials of Qu Ci said: "Xiang Jun and Xiang Fu have been handed down from generation to generation in two chapters, which are actually one. This article "Priestess of Death" and "Shao Siming" are in sequence, so the body of joint biography is also. " Priestess of Death and Shao Siming should be a couple. They love each other. In the eyes of Confucian scholars and etiquette officials, God is solemn and sacred, while the general public can only imagine God according to their own lives. Therefore, Zhu's Dialectics of Chu Ci said: "There is no sacrifice song in the temple of Chu custom, but it is heard." However, in the meantime, if you use Yin witchcraft to subdue Yang ghosts, or use Yang to collect Yin ghosts, your words will be ridiculous. "The Collection of Notes explains the cloud in the chapter Xiang Jun:" This chapter covers the man's words, so his feelings are particularly tortuous. "The duet in" Priestess of Death "is a duet between the son of Priestess of Death's spirit and a witch who entertains the gods. The witch expressed her feelings in a tone of almost no command, but the gods were not possessed at that time (this is only in terms of people's minds).
The four sentences in the first part of this poem are sung by a wizard who plays Priestess of Death. It calls itself "I", which is in step with the third paragraph "I am in harmony with Jun", so the third paragraph should also be sung. If the other person in this sentence is called "Jun", then the second paragraph (with "Jun Gui Xiang Xi" below) should also be sung. At the same time, in these sections, "Disputes are always in Kyushu, why should Yao Xi give alms" and "Flying high and flat, conquering Yin and Yang by taking advantage of clear skies" are also consistent with the spirit of Priestess of Death in the first section. At the same time, the fourth paragraph says that "one yin and one yang, many people don't know what I am doing", which can only come from Priestess of Death's mouth. Call yourself "I", "Yu" and "Yu" easily, which embodies the consciousness of monopolizing power and being the only one. The next three sections, The Sparse the Sparse, fully show your nostalgia for Priestess of Death, infinite worries and completely different emotions from the first four sections. These three passages were sung by the witch in a low voice.
This poem shows Priestess of Death's unparalleled style. He wants to go to the world, not just to open heaven, but to "open heaven"; He took the dragon as a horse and the cloud as a car, ordered the whirlwind to move forward, and let the rainstorm clarify the vast universe, which seemed to dominate everything. Priestess of Death's position in the Heavenly Palace may not be very high, but for the world, it holds everyone's life and death and has great power. Therefore, even if the change of the Heavenly Palace comes to the end, he can put on the greatest ostentation and extravagance and show the greatest majesty. Although the Eastern Emperor Taiyi was supreme, the sacrifice of the Chu people was in vain. Nominally, it is to respect the East Emperor Taiyi, but in fact it is to welcome God, the earth and ghosts. People imagine, create and treat God according to real life. Priestess of Death's strong spirit is self-evident.
For the description of Priestess of Death, his dress, driving, spirit, duties and actions are all written. Especially, it shows the inner world of a god who is in charge of human life and death with the first-person technique, from which we can see the projection of the long autocratic society in ancient China. As a lyric hero, even if he is not very cute, he has typical significance. In fact, he can accept the sacrifice and come to the world, which still embodies an idea of attaching importance to the people and being close to the people; As a law enforcer, you should also be masculine.
In the last three quarters, witches expressed their nostalgia for Priestess of Death in a less commanding tone. If you weren't a god, you wouldn't say "running away from home". The bitterness of parting and the sadness you can't get rid of also reflect the general psychological state of women in a patriarchal society to some extent. "If you break marijuana and Hua Yao, you will leave home with your legacy." Why break marijuana? Wen Yiduo's "Interpretation of Nine Songs" said: "Gai Ma Shu is a code word, and sparse words in flowers and plants imply that it will be scattered." Smell it or say it. But the main reason for breaking hemp is that after the hemp stalk is broken, the skin is still attached, so "breaking hemp" means breaking silk. Later, "Hua Yao dare not fold" in Xie Lingyun's poems "Crossing the Ridge from the West with Golden Bamboo Sword", "Unable to Express My Heart" and "Looking at the Guest in the South Building" are all reflected here, showing the sadness that can't be seen for a while after a long separation. So, it means that although we are separated, our thoughts about each other are endless.
The word "Lapras" means that Priestess of Death left the altar. Clouds are cars and dragons are horses. As the saying goes, "the cloud follows the dragon and the wind follows the tiger", which is consistent with the image of Priestess of Death at the beginning of the poem. God will leave, so the witch shows her feelings of love in a tone of less life. Parting is inevitable. I just wish I could meet you as sincerely as I did tonight. You, Priestess of Death, dominate people's life. People's life has long been fixed, but who can control the joys and sorrows between heaven and earth? Here is a question that has never been answered by countless male and female lovers for thousands of years. This poem truly embodies the most profound content of human emotional experience.