The poems of the Three Gorges have a history of thousands of years, which is of great historical value. Through these poems, we can see the historical picture of the Three Gorges for thousands of years. This situation, in which a region is the main body and continuous creation lasts for more than 1000 years, has been visited by writers and poets in past dynasties, which is really rare in the history of Chinese and foreign poetry.
As a wonderful flower in the Three Gorges culture, the Three Gorges poetry culture is extensive and profound, which not only has extremely high historical value, but also has extremely high cultural value.
Second, the characteristics of the Three Gorges poetry culture
(A) the landscape world, fresh and beautiful
Landscape acts on the world of poetry, first of all, its own "quality". This "quality" defines the object itself. The "quality" of the Three Gorges is characterized by grandeur, magnificence, beauty, winding and mystery, as well as the momentum and strength presented by these "qualities". Its natural characteristics of "Wan Ren on the top, thousands of feet water on the bottom, between two cliffs, alternating width and width, and a reed" determine its difference from other mountains, other waters and even other "gorges". This difference has a qualitative stipulation. At the same time, we should also note that the landscape world of the Three Gorges is not a unique existence, but a "gorge" world formed by it. That is, the mountains are high into the sky, and the water is surging, interacting and bringing out the best in each other, thus forming a kind of beauty. In addition, the clouds, waterfalls, springs and mourning apes attached to it make the Three Gorges a unique aesthetic object. All these acts on the aesthetic subject, thus forming the unique aesthetic style of the Three Gorges poetry landscape world.
From this, we can see the unique character of the Three Gorges ancient poem "Landscape World": First, its image composition is often a multiple overlapping ecology. This * * * ecology refers to mountain water, mountain water; Second, it means that its landscape often conforms to the connection of the Three Gorges. As far as the first point is concerned, landscape is the characteristic of ordinary landscape poetry, but the uniqueness of Three Gorges poetry lies in that it is taken from the unique aesthetic object of Three Gorges. This paper compares Wang Wei's "Looking at the Hanshui River" with "This river runs through the heavens and the earth, with and without mountain colors" and Du Fu's "Two Cliffs in Qutang". Although they are all close to mountains and rivers, the difference between them is obvious. The second point refers to the superposition of this image, which is often composed of another image outside the landscape. Roughly divided, Qutang Gorge takes more dangerous rocks, Wuxia takes more apes and Xiling Gorge takes more dangerous beaches. This multiple superposition not only makes the image composition of the landscape world of the Three Gorges poems different from other landscape poems, but also shows unique aesthetic differences within them. The second is the uniqueness of the aesthetic characteristics of the landscape world of the Three Gorges poetry, that is, its grandeur. This feature is the aesthetic personality of Three Gorges poetry. It is neither as fresh as Xie Lingyun's "Spring grass grows in a pond and willow turns into a songbird", nor as clear as Wang Wei's "Moonlight in a pine forest and crystal stone in a stream", nor as magnificent as Yuan Hongdao's "A sea of clouds running, sand and stones moving". Its image is that the mountains are stacked, and the Gao Jiang Canyon is "the ground and the roots of the mountain are split, and the river comes from the moon cave". This magnificent landscape structure is not the aesthetic feature that ordinary landscape poems can have. Its uniqueness still comes from the particularity of the Three Gorges. At the same time, this magnificent "landscape world" shows the momentum and strength of the Three Gorges landscape. The struggle between rivers and mountains is a contest of strength. The locked high pressure of the mountains and the indomitable courage of the river make the Three Gorges tortuous and thrilling. But "Kuimen cannot be closed, and the water faces east." As a result, rivers and mountains contend and rivers rush out. This "landscape world" embodied in the works allows us to appreciate its strength, momentum and grandeur, but also feel the indomitable character of the Three Gorges landscape and the humanistic spirit of "I will go up and down if I die."
(B) the human world, including emotion
If the "landscape world" of Three Gorges poetry must have some aesthetic characteristics, then the "humanistic world" of Three Gorges poetry is unique. The Three Gorges has a long history and the Three Gorges culture has a long history. When the history of this land passed through Changyang people and entered "Daxi culture", the characteristics of the Three Gorges culture began to take shape. This has been proved in archaeology. Chu culture and Ba culture collide and merge here, and the Three Gorges landscape has cultivated the unique humanistic spirit and unique cultural atmosphere of Ba Chu nationality. If we dissect the "humanistic world" of Three Gorges poetry, we will see the construction and presentation of this humanistic spirit and cultural atmosphere. Generally speaking, the "humanistic world" of Three Gorges poetry consists of the following series. That is, Dayu's water control series, cultural celebrity series and Wushan Goddess series. In this series, there is a dual state: the world of literati and the world of folk. The literati world is mainly the dream of the goddess Wang Xiang, while the folk world is Yao Ji Zuo Yu's water control. Although the two worlds are interlinked in a sense, they still show great differences. There is also the Three Gorges folk song Zhuzhi Ci series. These four series have many related cultural factors. For example, in Dayu's series of water control, Niu Zuoyu talks nonsense, which constitutes the main image of Huangniuxia's poems. At the same time, these four series are intersected and related. For example, Dayu's water control series is closely related to the folk world of Wushan Goddess series. Starting from these humanistic series, it constitutes the unique cultural character of Three Gorges poetry. Therefore, the Three Gorges poetry, in addition to the image world constructed by mountains and rivers, can also feel the world of works composed of human landscapes. As far as its independent character is concerned, it even transcends the landscape itself. For example, in the series of Wushan Goddess, as far as the image world created by literati is concerned, "Sex and Rain" and "Gaotang" have long been the motif of ancient poets, and they are unique argot in China literature, and they no longer belong to the Three Gorges culture. This can also be said to be an important contribution of the Three Gorges culture to the great culture of the Chinese nation. As far as the series of cultural celebrities are concerned, regardless of their original world, Qu Yuan and Song Yu are already a cultural phenomenon and a cultural spirit, which are reflected in many poems. Du Fu's Decline: I have a profound understanding of Song Yu's sadness may be a vivid example. Song Yu occupies a very important position in the world of ancient poetry in the Three Gorges. The world of "Wushan Yu Yun" and "Goddess of Gaotang" created by his two poems "Gaotang" and "Goddess of Gaotang" has long been of universal significance, and he himself has been objectified in many poems. In addition to Du Fu's "Leaving Sorrow" and "Learning from My Teacher", we also have the white "Gao Qiu Ji Song Yu, Remembering the Present and Remembering the Past"; Li Shangyin's "There are millions of famous people in Taiwan Province, but Song Yu is good at talent" and "After the prosperous Tang Dynasty, Chu Yu was doubtful" aroused the sympathy of Song Yu's life experience. Qu Yuan is even more so. Not only do many poems construct the image world through Qu Zi and remembering Qu Zi, but also a series of cultural traditions related to Qu Yuan, such as dragon boat racing and eating zongzi, have become an important factor in the "humanistic world" of Three Gorges poetry. Compared with Qu Yuan and Song Yu, Zhao Jun entered the world of works as a humanistic factor, which can be said to have more diversity of meanings. People seem more willing to choose this object, and she is more like a "wine glass" in the hands of a poet. Zhao Jun's tragic and weak female image can stimulate the sense of loss and migration of literati and officialdom, and also trigger the lonely feelings and life experiences of the emigrant poets. "How many flowers are there in the palace? I don't know if I don't marry Khan Jun. Isn't there a strong implication outside the poem? Zhi Zhu Ci is a must. If Rainy Wushan is a great contribution of Three Gorges literati to China culture, then Zhi Zhu Ci is an outstanding contribution of Three Gorges people to China culture. This unique folk song in the Three Gorges area has a long history of occurrence and development in the Three Gorges area. Although it is inseparable, it is "full of strange thoughts and sounds" (in Liu Yuxi's words). The strong vitality and expressive force of this kind of folk song, which is transformed from witch songs to gods' sacrifices, cannot but attract the attention of literati, so it is introduced into the aesthetic field for creation. We can see that in the Tang Dynasty, poets such as Gu Kuang, Bai Juyi, Liu Yuxi and Li She imitated and chanted folk customs, which spread to the whole country, forming an important series of China's poetry genre, and also cultivated a poetic spirit that was different from expressing personal will and dedicated to singing local customs. It is an out-and-out product of the Three Gorges culture. Even among the numerous Three Gorges poems, it has its own series. If we examine the "humanistic world" of the works from the perspective of connection, we will find that it is often in the middle, that is, between the "landscape world" and the "spiritual world". On the one hand, it is closely related to the Three Gorges landscape, which gave birth to the Three Gorges landscape. On the other hand, it entered the poet's aesthetic vision and was recognized and selected by the aesthetic subject. Although landscape as an object can directly sympathize with the aesthetic subject, it often causes pure pleasure and sadness. Compared with complex subjective emotions, these are often insufficient and difficult to describe. The "humanistic world" may play the role of emotional correspondence and transformation, thus plucking the strings deep in the subject's heart. We can take Wushan's poems as an example. Except for a few poems that simply describe "the world of mountains and rivers", the world composition of many works can draw a clear track: the subjective mentality of the goddess Wang Xiang. As an intermediate image, "sex and rain" just connects the subject and object of aesthetics.
(3) Historical world, memory and admiration
What is most closely related to the "humanistic world" is the "historical world" of the works. This is because the "humanistic world" itself is historic, and the "historical world" cannot but contain humanistic content. Its composition also includes "Three Gorges Landscape History", "Humanities History", "Political History" and "War History". It goes without saying that the ancient landscape history itself is the aesthetic object that poets are interested in. The history of the humanities has been described above. The Three Gorges area was once a battleground for military strategists because of its steep mountains and convenient water transportation. Qin Lei, Liang Suo and Sui Chuan interpreted the history of blood and fire in the Three Gorges. Specifically, the "historical world" of the Three Gorges Poems is mainly composed of four series: Gongsun proclaimed himself emperor, Bai Di entrusted an orphan, Zhuge array and Shipai defense. As far as categories are concerned, they are either political or military; As far as identity is concerned, he is either an emperor, a Zaifu or a general. In nature, it is either orthodox, trespassing, separatist regime or defending the country. Due to the different qualities of these aesthetic objects, the composition of the "historical world" level of poetry has different emphases and different corresponding relationships with the emotions of aesthetic subjects. Generally speaking, it is a mockery of Gongsun Sheng, a sigh of Liu Bei and a admiration of Zhuge. Moreover, because of the historicity of the aesthetic object, the world of the work itself has a sense of desolation.
(4) spiritual world, cultivate temperament
The purpose of poetry and the ultimate intention of the poet are not how to describe these objects. They want to use this as a carrier and component to construct the ultimate world of their poems-"spiritual world". Therefore, in the four levels of the Three Gorges poetry world, the "spiritual world" is in the central or ultimate position. The world of mountains, rivers, humanities and history, because of its own qualitative stipulation, shows great constancy and identity in the poems of the Three Gorges. In other words, it is more sexual. But the aesthetic individual is unique and individual. Everyone is unique, and every soul is a universe. Therefore, the "spiritual world" displayed in the Three Gorges poetry is the most abundant, diverse and unique. The unique geographical conditions of the Yangtze River make it an extremely important passage in the past. No matter from Sichuan to Sichuan, the Three Gorges is the only place to pass. These people are either from the north, or from the south, or because of being demoted, or because of being an official or being demoted, which alone is enough to constitute the difference in aesthetic mentality. Coupled with their different academic qualifications, temperament and endowment, this difference is even more obvious. Therefore, they will have different considerations on the angle and position of aesthetic objects and the material way of aesthetic image construction, thus forming a "spiritual world" with different styles of Three Gorges poetry, which takes sadness as joy, strong or weak, and has various forms. Different aesthetic individuals have different "spiritual worlds", that is, the same aesthetic individual has different aesthetic mentality in different periods, as Liu Xie said: "To dedicate the New Year to spring, happy feelings are smooth; Xia Meng, Yu Tao's heart is cohesive; The sky is clear and gloomy; The snow is boundless, and I am deeply worried. There are things in the s, and there are things in it; Love moves with things, and words are sent with feelings. " ("Wen Xin Diao Long? More importantly, the object chosen by the poet is used to express his feelings. The relationship with the object depends on the aesthetic mentality and is subordinate to the aesthetic needs. Let's look at Li Bai. When he was depressed, he felt the twists and turns of the Three Gorges: "The scalpers in the Three Dynasties were too late. It doesn't feel like silk to chop and change. "When he was happy, he felt the kindness of the river:" And the water brought you the feeling of home, pulling your boat for 300 miles "; Very brisk: "Go back to Jiangling thousands of miles a day. "So, it is also an ape, and Li Bai's poem is still" the apes on both sides of the strait can't stop crying, and the canoe has passed Chung Shan Man "; When or "how long is the moonlight?" "I can't bear to listen, but I'm still alone." Although the world of Li Bai's works is not limited to the Three Gorges, the world of these works can only show the landscape, humanity and history of the Three Gorges. His emotions are either happy or sad, but the "characteristics" of different objects in the Three Gorges can correspond one by one, which can make his emotional projection get results and the world of his works is formed. The image that constitutes the work is the result of the interaction between the Three Gorges and Li Bai's spiritual world, which is undoubtedly unique and diverse. The diversity, richness and uniqueness of the "spiritual world" are obtained under the comprehensive action of these main factors. From another point of view, the aesthetic object of the humanistic history of the Three Gorges landscape has a great reaction to the aesthetic subject. It can even form or change the aesthetic characteristics of a writer's work world. This may be what Liu Xie called "the mountain village is rich, and it is an Austrian mansion with practical literary thoughts". As far as the history of Tang and Song poetry is concerned, the creation and style of some great writers are directly the result of the "Three Gorges Gang". Such as Du Fu. After the Anshi Rebellion, he was exiled to Kuizhou. In just over two years, he actually wrote more than 420 poems, accounting for almost one-third of Du Fu's existing poems, which became the most brilliant period of his creation. The scenery of Ling Du is a classic picture. There are no scenic spots such as red, white, salt, Qutang, Bai Di and Gaotang fish maw eight arrays, and there is no hardship of life for sailors, fishermen and farmers in Kuifu. Du Fu's creative themes are so extensive and energetic. As the predecessors said, "Shaoling poems exhale from Shushan water, and Shaoling poems exhale from Shushan water" (quoted from Du Fu's Detailed Interpretation of Poems). This interdependent and functional form well illustrates the aesthetic relationship between subject and object. Many of Du Fu's famous works, such as General, Eight Poems of Autumn Prosperity, Eight Mourning Poems, Bai Di and Eight Arrays of Mountaineering, were sung in the Three Gorges. His poetry style has also become gloomy, desolate and dignified because of the bleak atmosphere of Wushan Kuixia, which has become the most representative style feature of Du Fu's poetry. Another example is Ouyang Xiu, who was demoted to Yiling in his prime because of one thing. The magnificent scenery of the Three Gorges diluted his unhappiness in prison, and the customs of Yiling also made him feel novel. He was intoxicated by the scenery of Xiling, which was the best in the world. "Sometimes I take wine to explore secluded places, and I am often poor." "I am chasing customs and playing for years, and I don't think Wan Li will stay in the world." The magnificent natural scenery and brave humanistic spirit of the Three Gorges not only aroused his poetic interest, but also forged his personality. "Don't take the wheat straw in season, just look at the green onions with frost and snow." It can be said that most of Ouyang Xiu's masterpieces were written in this period. Such as Huangniuxia Temple, Xialaoxi, Huangxi Sleepover, Spring West Lake Farewell to Cao Ge, Play Answering Yuan Zhen, etc. The literati spirit of the Three Gorges culture has made him absorb spiritual nutrition, and his future career success is inseparable from being demoted to the Three Gorges. Therefore, it is not unreasonable for the Qing people to say that "Luling's career began with Yiling, and its horizon initially grew from experience". It is the unique landscape temperament, humanistic spirit and historical origin of the Three Gorges that formed his most exquisite work world and created his most essential personality spirit. Kou Zhun, who became the magistrate of Badong County at the age of 20, later gave orders to the whole country. Is there no edification of the Three Gorges culture? And Liu Yuxi's folk songs can make great achievements and become the representative style of his poems, isn't it because of the cultivation and edification of the humanistic spirit of the Three Gorges? It can even be said that without the Three Gorges Zhi Zhu Ci, there would be no fresh and natural folk song world of Liu Yuxi.
Several characteristics of the Three Gorges poetry culture are interrelated and form a complete whole.