Elk Wu, Tang;
Green leaves are in full bloom, and Fang Feifei attacks;
Why is Sun sad when his wife has her beautiful son?
Qiu Lan is green, with green leaves and purple stems;
A dazzling array of women, suddenly alone with Yu;
Without saying anything, leave without hesitation and take the return air to carry the cloud flag;
Sadness, parting, happiness, new friends;
Lotus wears clothes, you come and I go;
When you stay in the suburbs of Xidi, you must be absent-minded;
With my mother, I bathe in the salty pool, and my mother is the daughter of the sun;
Looking at beauty and looking forward to the future, the breeze is awkward and beautiful.
Kong Gai Xi Cui Jing, boarded the comet for nine days;
The long sword holds the youth's love, and Sun takes the sole responsibility for the people's righteousness.
Jiuge ShaoSiming is one of Qu Yuan's suites Jiuge, a companion piece of Jiuge Priestess of Death, and a musical song of Chu people to sacrifice ShaoSiming. Shao Siming is the god in charge of children's lives (in fact, it is the god of fertility). On the one hand, this poem and Nine Songs Priestess of Death show the spiritual world of the characters by confessing and pouring out their hearts, on the other hand, they depict the characters through what they see in each other's eyes. The way to express the praise of the other party not only changes the angle, but also combines the inside and outside to make each other interesting. Every lyric in the poem is both "he" and "I", which is gorgeous and has a long lasting appeal by combining lyric and description.
This article is a duet between Shao Siming (Shao Siming's spiritual son) and the wizard (in Priestess of Death's tone). At the end, it says "Sun Yi should be righteous for the people", and the last paragraph is the lyrics of the wizard. Then, the first sentence (there is a sentence "Why is Sun so sad") will also be sung by the wizard. Judging from the lyrics, the second, third and fourth paragraphs are for Shao Siming, and the fifth and sixth paragraphs are also sung by the wizard in Priestess of Death's accent.
Because this aria is connected with the last one, Shao Siming and Priestess of Death were present, so there was no more words to worship God, but the relationship between the host and the guest in this one was opposite to that in the last one. In the second half of the last article, the witch sang in the tone of a young master, so at the beginning of the article, the wizard sang a song praising the young master in the tone of Priestess of Death. As far as emotional acceptance is concerned, Shao Siming, his predecessor, has shown many sad emotions, so he said at the beginning of the article, "My wife has her own beauty, so why should Sun be sad?"
Compared with the Book of Songs, the rhythm of this poem has experienced greater ups and downs and changes, and it is also more sonorous and moving. At the same time, the use of modal particle "Xi" in the sentence structure of Songs of the South is also brilliant. Mr. Jin Kaicheng once speculated: "If the number of words at both ends of' Xi' is small, the pronunciation of these words will be long and close to singing; On the other hand, if there are many words at both ends, the pronunciation of these words must be short and close to chanting, which forms the unique artistic effect of Chu songs. The antithesis of poetry is typical, such as "without saying anything, without saying anything", "taking the return air, raising the cloud flag" and "parting with sorrow, knowing each other with joy". They are full of love and words, which can fully mobilize people's * * *.
As far as form is concerned, these poems are completely in line with China's traditional singing rhythm, and they are all made into antithetical sentences according to the level of pronunciation and the false teaching of meaning. This kind of neat antithesis comes down in one continuous line with the development track of the previous generation of southern poetry.
In the past, the customs from Yuanjiang to Xiangjiang in southern Chu believed in ghosts and gods and worshipped sacrifices. Its sacrificial process includes singing, dancing and drumming to worship the gods. Qu Yuan wandered in these areas, recording and creating sacrificial ceremonies, songs and dances and words sung by villagers at that time. This is the speech made by the wizard at that time to offer sacrifices to the goddess, which is juxtaposed with the companion piece "Nine Songs Priestess of Death" to express the admiration of men and women.