Name Jiuge·Lihun
The Warring States Period
Author Qu Yuan
Genre Poetry
Nine Songs· The soul of the ceremony
The ritual is complete and the drums are played ①,
The ballet dance is performed ②,
The young girl advocates the appearance and appearance ③.
Spring orchids and autumn flowers bloom,
Eternal and everlasting.
Notes
① Chengli: Refers to the completion of the sacrificial ceremony. Huigu: drumming quickly and intensively.
②Ba (pā lay): Tong "pa", flower. Generation: interaction, replacement.
③姱(kuākua): Beautiful. Advocate: Same as "sing". Tolerance and: soothing.
The woman sang with ease and ease.
In spring, they offer orchids, and in autumn, they offer chrysanthemums.
This will continue until the end of time.
This chapter is commonly used in the previous ten chapters to offer sacrifices to various gods. Since the gods offered include gods of heaven and earth as well as human beings and ghosts, it is not called "ritual gods" but "ritual souls".
The understanding of this article has always been quite different from the title to the content. Wang Yi's "Chapter of Chu Ci" says: "The nine (ten) gods are worshiped in the temple. They all fast first to complete their worship, and then they sing and make music and beat the drums quickly to express the gods' will." Chen Zizhan, a modern man, thinks that "this For example, "Rite Soul" was written for the purpose of worshiping the ten gods and then singing and making music to entertain the gods. It was not written for the purpose of worshiping any one god. Wang Yuan of the Ming Dynasty's "Explanation of the Collection of Chu Ci" and Zhang Zhang's "Qu Ziguan" of the Qing Dynasty declared that this chapter was "a mess of the first ten poems". Wang Fuzhi of the Qing Dynasty's "General Interpretation of Chu Ci" also believes: "This chapter is common to the first ten sacrificial rituals, and it is unparalleled throughout the ages, so it is also a song to send off the gods." Wu Shishang of the Qing Dynasty "Chu Ci Shu" and Wang Bangcai's "Nine Songs and Notes" , Wang Kaiyun's "Explanation of Chu Ci" also holds the same view, and currently the academic community generally agrees with this theory. Jiang Liangfu's "Commentary Notes to Qu Fu" also interprets "Li" as "sacrifice" and "hun" as "the god of Qi, which is the original name of the gods, so it can be summarized as nine (ten) gods." "The nine sacrificial rituals are closed and combined." The witches perform music and dance, forming an ensemble in the music,... to inform all the gods." It can be said.
The psalm vividly depicts a warm and solemn scene of celebrating the festival with concise words. At the beginning, it was pointed out that it was "Chengli" to connect it with each chapter of "Nine Songs". After the ceremony was completed, intensive drum beats sounded, and the flowers were passed to each other while dancing alternately. The beautiful girl sang, her voice was gentle and leisurely. This is a brief but enthusiastic scene of entertaining the gods when the sacrifice to the gods is finished. In spring, they offer orchids and in autumn, they offer chrysanthemums. How people hope that a beautiful life can be like this month after month and year after year. Therefore, from spring to autumn, people use seasonal flowers to express their good wishes to the gods, and make offerings to the gods forever, expressing people's sincerity in worshiping and serving gods.
In the drum sound of "Chengli", readers seem to see "raising the drums and beating the drums" in "Donghuang Taiyi", "playing the drums with the harp" in "Dongjun", and "playing the drums with the harp" in "The National Monument". "The scenes of "supporting the jade tree and beating the drums" are solemn, graceful or tragic. Facing the dazzling flower-passing dance, readers will undoubtedly think of the words "Ling Yan and beautiful clothes, the whole hall is full of flowers" in "Donghuang Taiyi", and "Linglian and curled up" in "Yun Zhongjun" "Stay here, the death is clear, but it is still young", the colorful dance of the gods and witches in "East King", "The wind is flying over the green past, and the poems are dancing." The singing scene of the "young girl" naturally has an overlapping image of the "slow and slow rhythm of the song, the Chen Yu and the loud voice" in "Donghuang Taiyi", and the "sorrowful song in the wind" in "Shao Siming"; The attitude of "Rong Yu" is so outstanding, doesn't it also seem to be the figure of the Xiangshui concubine in "The King of Xiang" and "Mrs. The "everlasting" "Spring Orchid and Autumn Chrysanthemum" is a eulogy for the vitality symbolized by green plants. "Hui Yao", "Lan Jie", "Guijiu", "Pepper pulp", "Lan Tang", "Gui Zhou", "Xili Bai (foil)", "Hui Silk", "Sunradi", "Lan "Jing", "Gui Chu", "Lan Chen", "He Gai", "Sunbi", "Zitan", "Guidong", "Lan Hu", "Xinyi Mei", "pharmacy", "Hui" ", "Lotus Yi", "Hui Dai", "Xinyi Che", "Guiqi", "Du Ruo", "Hibiscus", "Bai Xie", "Ping", "Zan", "Shilan", "Du" Heng", "Shu Ma", "Yaohua", "Miwu", "Nvluo", "Youhuang", "Pine and Cypress", the living objects and living environment of the gods in "Nine Songs" are full of various fragrant plants. Depressed and angry, it highlights the longing for beautiful things and the praise of endless life. In this sense, "Spring orchids and autumn chrysanthemums will last forever and last forever" can be used as the main theme of "Nine Songs" to worship gods and pray for blessings.
This poem is the shortest in "Nine Songs" and is almost close to the "wind" poem in the poem. However, in several words, Liao Liao describes the scene of a grand gathering in such an exciting and magnificent way. With the fierce drumbeats and dance steps, the gods' happiness is conveyed by playing the game of vanilla (this achieves the purpose of Qi God's wish).
The two lines at the end of the poem, "Spring orchids and autumn chrysanthemums, everlasting and eternal," complete the overall layout of the poem; the vanilla beauty is used as a metaphor for the peaceful world; the vanilla beauty is used as a connecting line throughout all the poems (except "National Sorrow"). This vanilla is both the staff (form) of the score and each note (content) on the score. This macro concept is unprecedented. By sending a message to God, the poet showed his unswerving determination to serve the country.