Generally speaking, Li Sao, Tian Wen and Jiu Ge can be regarded as the representatives of three types of Qu Yuan's works. Nine Chapters, Travel Far, Buju, Fisherman, Evocation of Soul and Great Tactics can be grouped with Lisao in content and style, and most of them are well documented and meaningful, focusing on expressing the author's inner feelings. Li Sao is a magnificent poem that Qu Yuan has cast with his own ideal, experience, pain, enthusiasm and even his whole life, which shines with distinct personality brilliance and is the focus of all Qu Yuan's creations. Tian Wen is a poem written by Qu Yuan based on myths and legends, which focuses on the author's academic attainments and his views on history and nature. Nine Songs is a music for worshipping the gods in Chu State, which was processed and polished by Qu Yuan. It is full of life breath in the expression of characters' feelings and the description of environmental atmosphere. However, it is the expression of generations or gods, not the author's self-lyric, which shows more traces of the literary tradition of southern Chu. Li Sao and Jiu Ge constitute the basic style of Qu Yuan's works.
Qu Yuan's works are closely related to myths. Many illusory contents are developed from myths. Qu Yuan is also a poet who pays attention to reality. His works reflect various contradictions in the real society, especially revealing the dark politics of Chu.
The style of Qu Yuan's works is obviously different from the Book of Songs. This is related to the difference in folk customs between the Yangtze River Basin and the Yellow River Basin. At that time, the north had already entered the patriarchal society, while Chu still had the legacy of clan society, which was tough and lively, and was not restrained by etiquette. Therefore, it is so straightforward to express men's and women's feelings and patriotism, and the materials used are so rich that everything can run into the bottom of the pen. Writing about people's love with gods, writing about crazy people, writing about ancient historical legends, and writing about traveling with gods and ghosts, all gods have ordinary human nature among the people, and gods are just people beyond ordinary people. They make the works look bright, full of emotion and unrestrained. Such works show different characteristics from northern literature.
From the institutional point of view, Qu Yuan's previous poems, whether the Book of Songs or southern folk songs, were mostly short stories, while Qu Yuan developed into a voluminous system. Li Sao alone has more than 2,4 words. In terms of expression techniques, Qu Yuan skillfully combined Fu, Bi and Xing, and used the Bi Xing technique of "vanilla beauty" in a large number to vividly show abstract morality, consciousness and complex realistic relations.
In terms of language form, Qu Yuan's works have broken through the four-sentence pattern in The Book of Songs, with five, six, seven, eight and nine characters in each sentence, three characters and cross sentences, and the syntax is uneven level, which is flexible and changeable. The word "Xi" and empty word such as "Zhi", "Yu", "Hu" and "Er" are often used at the end of sentences to coordinate syllables, resulting in ups and downs, singing and sighing. In a word, his works have great creativity from content to form.
Qu Yuan's works had a greater influence after the Chu people established Guanzhong, the capital of the Han Dynasty. With the continuous learning and development of "Chu Ci", the literature in the north gradually became Chu. The new five-and seven-character poems are all related to Chu Sao. Fu writers in Han Dynasty are all influenced by Chu Ci. After Han Dynasty, "Shao Sao" works have been written in all dynasties. Authors often use Qu Yuan's poems to express their own obstacles, and even use Qu Yuan's experiences as metaphors, which is the direct development of Qu Yuan's literature. In addition, poems, songs, words, songs, dramas, Qin ci, Daqu, scripts, etc. with Qu Yuan's life story as the theme, such as Qu Yuan's portrait, Nine Songs, Jiu Wen Tu, etc., are also difficult to count. Therefore, Lu Xun called Qu Yuan's works "outstanding" and "its influence on later articles was even more than' 3'" (Outline of Chinese Literature History).
detailed introduction:
Li Sao
Nine Chapters
Nine Songs
Tian Wen
Evocation
Buju
Introduction:
Li Sao is Qu Yuan's most magnificent poem, and it is his self-narration. The whole poem has 373 sentences and 2477 words. The poem sharply criticized the darkness and corruption of the fatuous royal family, expressed infinite loyalty to the motherland and the people, and at the same time showed the sorrow and anguish that his political ideal could not be realized.
Nine Songs is a set of sacrificial songs based on Chu folk sacrificial songs when Qu Yuan was exiled in the south of the Yangtze River. There are 11 poems in Nine Songs, which are dedicated to 11 kinds of gods. Among them:
The East Emperor Taiyi is dedicated to the most noble god.
The King in the Cloud is dedicated to the cloud god.
Xiang Jun and Mrs Xiang are dedicated to the water god of Xiang.
Priestess of Death sacrifices to the male god who dominates human life.
Little Commander sacrifices to the goddess who dominates the lives of young children.
Dong Jun is a sacrifice to the sun god.
Hebo is a sacrifice to the God of the Yellow River.
Shan Gui is dedicated to the goddess in the mountains.
National Mourning mourns and praises the soldiers who died for the State of Chu
Ritual Soul is a sacred song of Nine Songs, that is, the sacrifice is completed.
Nine Chapters is a group of lyric poems written by Qu Yuan, with one ***9 articles. That is, Xi Yong, She Jiang, Mourning, Thinking, Huai Sha, Si Mei Ren, Xi Past, Ode to Orange and Sad Return to the Air. Mourning is the most profound expression of Qu Yuan's patriotism. Nine Chapters and Li Sao are one type of works, the difference is that Li Sao is a comprehensive self-narrative of Qu Yuan's life, while Nine Chapters is a concrete record of his life and a manifestation of his mood. Nine Chapters is the most valuable material for studying Qu Yuan's life and thoughts.
"Tian Wen" is a rare article in the history of Chinese literature. It begins with the word "day", and the author puts forward more than 17 questions about heaven, earth, gods and people in one breath, which clearly shows the author's exploration of the root of things and indomitable fighting spirit. The whole poem has 374 sentences and 1553 words, which is the second long poem in Qu Yuan's works.
Evocation is a superstitious activity in ancient China. In Chu State during the Warring States Period, this witchcraft religious activity was extremely popular. After Chu Huaiwang died in Qin, Qu Yuan wrote this poem with artistic characteristics by using folk customs and artistic forms. In his poem, he made a thrilling, miserable and horrible description of the heaven, the earth and all directions, telling his soul not to go anywhere, and to return to his own motherland as soon as possible. Qu Yuan recruited the soul of Huai Wang, but actually recruited the soul of Chu, because Qu Yuan linked the fate of Huai Wang to Chu. Evocation occupies an important position in the history of Chinese literature, regardless of its ideological content or artistic technique.