How to understand the inheritance and development of "Chu Ci" from "The Book of Songs". If the Book of Songs is the representative of the culture of the northern Central Plains in the pre-Qin period and marks the highest achievement of literature in the Yellow River Basin, then the Songs of Chu, created by Qu Yuan, is the representative of the southern Chu culture in the pre-Qin period and marks the literature of the Jianghuai River Basin. the highest achievement. The Book of Songs and the Songs of Chu created the representative literary traditions of realism and romanticism in the thousands of years of Chinese literary history. They are like stars shining in the ancient literary night sky, shining from the north to the south, shining brightly for thousands of years. Although "The Book of Songs" and "Chu Ci" represent different literary styles in different periods, different regions, and different styles, they are inextricably linked. ?①
1. Similarity in theme expression?
The inheritance of the literary spirit of "The Book of Songs" in "Chu Ci" is mainly reflected in the spirit of "resentment" and the awareness of worry. Some of the "Guo Feng" works in "The Book of Songs" and some works in "Daya" and "Xiaoya" are full of the spirit of exposing and criticizing ungrateful kings and sycophants, tyrannical politics, and dark society. Some poets from the aristocratic class, out of a strong sense of political responsibility and mission, "emotionally expressed in words" expressed their angry feelings and eager desire for wise kings and wise ministers. This type of poetry was mainly produced in the three periods when society was darkest: King Li, King You, and the early years of the Eastern Zhou Dynasty. For example, "Ban", "Dang Yang", "Minlao", etc. in "Daya"; "Turn of October", "First Month", "Looking Up", etc. in "Xiaoya" are all representative works in this regard. In addition, due to the darkness of society, the licentiousness and cruelty of the ruling class, and the unjust governance, many middle- and lower-class people of the ruling class who came from aristocrats are deeply worried about the future of the country and their personal destiny. Poems such as "My heart is worried", "Mom Sentences such as "Knowing my sorrow", as well as words such as "worry", "grievance", "sad", "sad", "bitter", "miserable" and other words full of sorrow and sorrow appear everywhere. ?
The spirit of "resentment" and the awareness of "sorrow" in "The Book of Songs" are more fully reflected in "Chu Ci". Among them, there are sharp criticisms of the moral depravity of the ruling class, such as "Li Sao": "Everyone competes to advance in greed", "They are never tired of seeking", "Everyone is jealous due to their own interests", "Suddenly galloping in pursuit" . There are also exposures to the dark politics of treachery and sycophancy, and the ignorance of the wise and the foolish. For example, "Shejiang" says: "The phoenixes and phoenixes are far away; the sparrows and black magpies are in their nests in the halls and altars; the lush Xinyi are in the thin forest of dead trees; The smell and smell are combined, and the fragrance cannot be thin." There is also the courage to resent and hate the supreme ruler, such as "The spirit of resentment is so powerful that it ultimately fails to understand the hearts of the people." This fearless critical spirit that dares to point the finger directly at the supreme ruler is deeper than the "Book of Songs"?
In addition, the "Book of Songs" is mainly about labor. The themes are generally about farming, conquest, love, labor, etc. Although there are satirical works, the poems are gentle, honest, simple and bright. The authors of "Chu Ci" are a group of aristocrats represented by Qu Yuan. Literati, they lived in an era when the Qin Dynasty was rising day by day and finally swallowed up the six kingdoms. They were worried about the fate of Chu State, criticized the dark politics, were sad about the people's difficult life, hated the evil and evil in power, and were worried about the fate of Chu State. The resentment that one's own ambitions cannot be fulfilled constitutes the theme of the creation of "Chu Ci". From this point of view, the combat nature of the theme of "Chu Ci" is greatly enhanced compared with that of "The Book of Songs"
2. Inheritance and development in artistic form?
The use of language From a formal point of view, Chu Ci directly inherited the four-character style of the Book of Songs, but it also developed and replaced it with uneven Scattered, more flexible and free sentence patterns, such as "Heavenly Questions", "Ode to Oranges", "Calling Souls", etc.? ② As far back as the early Zhou Dynasty, folk songs in Rushui, Jianghan, such as "Han Guang" and "Han Guang" in the "Book of Songs". "Jiang Yousi" and other chapters were all produced in the Chu Kingdom. At that time, many people in the Chu Kingdom's monarchs and ministers could also quote the "Book of Songs". "Zuo Zhuan" also records the Chu people composing poems, such as in the twelfth year of Xuangong Chu Zi cited "Zhou Song·Shi Mai"; Cheng Gong's second year quoted "Daya·Wen Wang" and so on. It can be seen that "The Book of Songs" was widely familiar to Chu people in the Spring and Autumn Period. Therefore, "Ju" in the "Chu Ci" works. It is not difficult to understand that the use of language in "Song" and "Tianwen" is exactly the same as that in "The Book of Songs"?
If you read "Chu Ci" carefully, you will also find that there are many uses of "Chu Ci". For example, Mr. Jiang Liangfu said when discussing the relationship between "The Songs of Chu" and "The Book of Songs" that "Li Sao", "Yuanyou", and "Sad Return to the Wind" all have the words "The servant is sad for Yu Ma". In fact, the phrase "huaixi" is derived from the two sentences "my horse is barren and my servant is in pain" in "The Book of Songs·Juan'er". The poet "uses the word 'servant' the same as 'horse'" To represent the author's subjective wishes and pin his emotions on the servants and horses, this is something from the Book of Songs. "? ③ In addition, like "Miao Yi", "Huang Kao", "Hui Feng", "Piao Feng", "Zhan Lu", "Yi Yue", "Gang Mang", "Hidden Worry", " Words such as "Tula" and "Youyou" are directly taken from the "Book of Songs". ④ Another example is that in Song Yu's "Nine Bian", "I admire the poet's legacy, and my wish is based on a vegetarian meal." " Among them, the classic "vegetarian meal" comes from "The gentleman is here, and he does not eat vegetarian food" in "The Book of Songs Wei Feng Fa Tan".
"The "poets" among them naturally refer to the authors of "Three Hundred Poems". Song Yu can so skillfully quote allusions from "The Book of Songs" in his works, which shows that he has learned and mastered the "Book of Songs" very deeply. Qu Yuan and Song Yu were contemporaries, and the relationship between them was very close, which coincided with the fact that Qu Yuan studied the Book of Songs, as can be seen from the use of the above language forms, words, and allusions. , it is not a problem that the creation of "Chu Ci" was influenced by "The Book of Songs"
3. The expression techniques of "The Book of Songs" are in the same line?
The expression techniques of "The Book of Songs" and "Preface to Mao's Poems". "" is summarized into three types: Fu, Bi and Xing. Zhu Xi of the Southern Song Dynasty explained in "The Biography of Poems": "Fu refers to stating the matter directly; Bi refers to comparing this thing with other things; Xing refers to comparing it with other things. Preface other things to elicit the words to be chanted. "The Songs of Chu not only inherited the expression techniques of citing metaphors and metaphors in the Book of Songs, but also carried them forward, not only using words and sentences, but also developing them into the layout and planning of chapters." ⑤ The "Book of Songs" Most of the bixings are relatively simple, and the things used to evoke and metaphor are still independent objects; however, the bixings of "Chu Ci" are integrated with the content expressed, and have a symbolic nature, as mentioned above in "Shejiang" In "The Book of Songs", the unique costumes are used to symbolize the noble character of the poet. As for the layout and planning, the "Bixing" in "The Book of Songs" is often just a fragment of a poem, with only a few words; "Chu Ci" is in general. The content of the chapter is expressed systematically and one by one, and the use of metaphors is used throughout. For example, in "Li Sao", the poet compares himself to a woman. From this point of view, the relationship between men and women is compared to the relationship between monarch and ministers, and the relationship between women is compared to the relationship between men and women. The use of comparisons between jealousy and beauty, comparison between the relationship between the emperor and his ministers, and comparison between the rules and regulations of the country make the whole poem vivid and colorful. Wang Yi, a native of the Eastern Han Dynasty, once made a penetrating discussion in "Chu Ci Zhangju": The text of "Li Sao" is based on "Poetry" and uses analogies. Therefore, good birds and herbs are used to match loyalty; evil birds and smelly things are used to compare. To slander a treacherous person; to be a spiritual beauty, to be compared to the king; to be a lost concubine, to be a virtuous minister; to be a dragon, a dragon, a phoenix, to entrust a gentleman; to be a villain in the wind and clouds?
In addition, Qu Song Dynasty. Sao used bold imagination and peculiar exaggeration to create one extremely romantic ideal realm after another, achieving the perfect unity of content and form. This made "Chu Ci" not only beautiful in diction and sublime in artistic conception, but also created a new era in China. The pioneer of romantic poetry, Qu Yuan will always stand in the history of Chinese poetry as a monument of romantic poetry.
4. What is the unique mythological system?
Research in anthropological culture shows that myths sprouted and originated from totem myths in the totem culture of the middle and late Paleolithic Age, and formally emerged, developed and prospered in the Neolithic Age, which is roughly equivalent to dating back to the Xia Dynasty to the Fuxi era. At that time, the north and south of my country were basically a unified mythological system. This situation continued without change until the Yin Dynasty. After the destruction of the Yin Dynasty by the Shang Dynasty, with the acceleration of the civilization process in the areas ruled by the Zhou people in northern my country, the "rationality" was emphasized. With the rapid development of "culture", the original concepts and culture of the Yin people who attached great importance to destiny, ghosts, gods and witchcraft and superstition began to shake. As a result, myths also declined, and could only exist in "historical places" as a solidified cultural history material. There are many such mythological materials preserved in some classics, such as "The Classic of Mountains and Seas", "Zuo Zhuan", "Guoyu", "Zhuangzi" and "Lu Shi Chunqiu". "The Emperor Wu Minxin" in "Daya·Shengmin" and "The Black Bird of Destiny descended and gave birth to Shang" in "Ode to Shang·Xuanniao" can still be regarded as myths and legends about the birth of the ancestors of Zhou people and merchants?
While mythology is declining in the Central Plains region ruled by the Zhou people in northern my country, mythology in the Chu region in southern my country is still very prosperous, and it still maintains the ancient simplicity of the original Xia and Shang mythology The original ancient myth form, primitive religions such as witchcraft and superstition are popular among the people, and have become an important part of folk customs and spiritual and cultural life. Wang Yi's "Nine Songs Preface to Chapters and Sentences of Chu Ci" points out: "In the past, in the southern city of Ying in the Chu Kingdom, in the direction of Yuan and Xiang, the people believed in ghosts and liked to worship in temples. In their temples, they would compose songs and music to encourage the gods." This fully illustrates that. This article describes the prevalence of witchcraft among the people of Chu. And places where strong witchcraft superstition and primitive religious beliefs are prevalent happen to be the best soil for myths to survive. On the other hand, the special mountain geography and climate environment of the Three Gorges of the Yangtze River and Yuanxiang in Chu State may produce some new local myths and legends. Combined with the ancient myths from the north, they constitute a richer mythological world of Southern Chu. ?⑥But from the overall system relationship, they still belong to the mythological system of the northern, central and plain Chinese culture. This is based on the myths in Qu Yuan's "Li Sao", "Tian Wen", "Nine Songs" and "Calling Souls" and the Northern Central Plains' "Shan Hai Jing", "Zuo Zhuan", "Guo Yu", "Lu Shi Chun Qiu" and "The Book of Songs" This can be proved by the fact that the myths in works such as "Zhuangzi" and "Zhuangzi" are basically consistent. ?
To sum up, the Book of Songs was mainly produced in the Central Plains region of the Yellow River Basin and belongs to northern literature. Since the Spring and Autumn Period, Chu State has formed a unique local culture of Chu State in the long-term independent development process. , its religion, art, customs, habits, etc. all have their own characteristics.
At the same time, Chu culture had frequent contact with northern countries, absorbed the culture of the Central Plains, and nourished its own culture. This cultural tradition of the convergence of the north and the south is an important foundation for the emergence and development of "Chu Ci". ?⑦So it is not difficult for us to understand why "Chu Ci" and "The Book of Songs" are inextricably linked but also have completely different styles. However, it is worth noting that "The Songs of Chu", as a "rising novel", has profound cultural heritage, changeable language forms, romantic artistic styles and other artistic aesthetic characteristics. It is not only the "Book of Songs" that has its source. However, with the changes and development of the times, it has also been nourished by the milk of other cultures in the Central Plains (the prose of various scholars in the Warring States Period and indigenous culture, "Chu Songs", "Witch Songs" and "Chu Sounds"). In this cultural background, "Chu Ci" stands out with its inherent elements of Jingchu culture and elements of foreign cultures such as Central Plains culture. Therefore, the primitive religions, folk customs and myths such as sacrifices and witchcraft, as well as magical romanticism shown in "Chu Ci" can only be reasonably explained if they are connected with Jingchu culture. 2. Briefly analyze the uniqueness of the dramatic structure of Lao She's play "Teahouse". The dramatic structure of "Teahouse" is unique and is called "picture scroll play". Its structure is called the "portrait exhibition style" dramatic structure. The work does not have a complete plot clue or conflicts throughout, but uses the activities of many characters to drive the development of the plot.
The three scenes of "Teahouse" respectively select three scenes of social life after the "1898 Reform", the period of Beiyang warlord rule, and the period of Kuomintang rule after the Anti-Japanese War. In these three scenes, on the one hand, they depict the customs of Peking. On the other hand, the three old-era communists all showed the characteristics of political chaos, indiscriminate right and wrong, evil people gaining power, and people's livelihood. The dark forces are spreading more and more, and the entire society is showing a continuous decline. Through various characters who come in and out of the teahouse, the author presents a bloody and trembling picture to readers and audiences: eunuchs want to buy young girls as wives, farmers cannot make a living and have to sell their children, gangsters and spies are rampant in the countryside , an upright person will go to jail for just one word... This shows that the society in the late Qing Dynasty was not only reactionary, dark, but also decadent.
There are more than 30 characters appearing in the second act of "Teahouse", and nearly 20 people have lines. However, there is no obvious priority among these characters. Each person has few lines. In the teahouse Flash by, each talking about their own things. The activities of the characters in the play are all taken from a cross section of them in the teahouse. These countless pictures are organized to form a scroll painting, which gradually unfolds as the plot unfolds. Let’s look at the plot again. There is no unified plot in this scene. Although there are many characters, their relationships are not complicated. Everyone's story is single, and the connections between characters are basically single-line and small-scale. The whole one-act play is composed of small plots and short stories that take place in the teahouse, and it unfolds flatly.
Mr. Lao She not only described the society at that time through a place with a complex flow of people, such as a teahouse, but also successfully created many characters. Through their words and deeds in the teahouse, he reflected the darkness of the society at that time and people's thoughts. of decay.