It is generally believed that Mrs. Xiang is the goddess of women, while Xiang Jun is the goddess of men and spouses. Xiangshui is the largest river in Chu. This pair of gods and Mrs. Xiang reflects the primitive people's idea of worshipping natural gods and the concept of "love between god and man" Chu's folk literature and art have a strong religious flavor, and the altar is actually a "theater" or "literary world". Take Mrs. Hexiang as an example: when people offer sacrifices to her, female singers or worshippers play the role of greeting; When offering sacrifices to Mrs. Xiang, male singers or admirers play the role of welcoming Mrs. Xiang and express their deep feelings. They take God as the object and place their simple and sincere love for the world. At the same time, it also embodies the harmony between Chu people and nature. Because of the flesh-and-blood relationship between Xiang Shui in southern Chu and Chu people, Chu people have placed deep love on Xiang Shui, regarded Xiang Shui as a river of love and happiness, and then described it personally. The image of God also shows the story of joys and sorrows like people, and the God in people's minds is also specifically covered with the shadow of historical legends. Xiang Jun and Mrs Xiang are based on the legends of Shun and his second concubines (E Huang and Nv Ying). In this way, the image of God is not only richer and more vivid, but also closer to people in real life emotionally, full of human feelings.
Nine Songs of Mrs. Xiang is one of the eleven songs of Chu, a poem dedicated to the goddess of Xiang water, and a companion to Nine Songs of Xiang Jun..
Although the title of the poem is "Mrs. Xiang", the hero in the poem is Xiang Jun, and the theme of this poem is mainly to describe the life and death of the two lovers, who never meet each other. Works always take waiting for someone to come as a clue, expressing deep resentment to each other in frustration, but the love between them is consistent. The whole poem is sung by the actor of the male god, expressing the arrival of the appointment, but not seeing Mrs. Xiang's melancholy and confusion.
If these two songs are put together, then the story written in this "Mrs. Xiang" happened when Mrs. Xiang was waiting for the arrival of Xiang Jun, leaving Xiangpu in the north and turning to Dongting. Therefore, when Xiang Jun, who arrived that night, arrived at Zhu Bei, the appointment place, it was naturally difficult to meet his sweetheart. The work was written from this, which closely cooperated with the plot of Xiang Army.
The first sentence "Di Zi reduced to Xi Zhu Bei" is quite puzzling. "Di Zi" has always been interpreted as the daughter of Heaven Emperor, and later as the second daughter of Yao, but there is no doubt that it refers to the goddess of Xiang Shui. Generally speaking, this sentence means that Di Zi came to Zhu Bei, that is, from Xiang Jun's "Xi Zhu Bei"; However, this is inconsistent with what Xiang Jun wanted her to come but didn't see. Therefore, some people interpret this sentence as an invitation to you (see Zhan Antai's Qu Yuan), which makes the meaning more fluent.
In the first paragraph of this poem, I lingered on the bank of Dongting Lake for a long time, longing for the arrival of Mrs. Xiang with sincere expectation. This is a very intriguing picture of the environment and atmosphere: the cool autumn wind keeps blowing, the waves in Dongting Lake ripple, and the leaves fall on the shore. I can't see the Iraqi people kowtowing to you. I boarded the plane for a while and arranged the furnishings for a while, but it backfired. Until dusk, Mrs. Xiang didn't come. Compared with the abnormal phenomenon of "what is the bird in the apple and what is the bird in the tree", this situation highlights the disappointment and confusion that fills the hearts of the characters, which is meaningless. Among them, "the autumn wind is falling, and the waves in the cave are under the leaves" is a famous sentence about scenery, which is very effective in rendering the atmosphere and artistic conception, so it won the appreciation of later poets.
On this basis, the second paragraph further deepened the desire for you. It is a typical artistic technique of pre-Qin poetry to use the grass beside the water to raise the silent yearning for Iraqis and to use the slowly flowing water to hint at the passage of time in the distance. Its advantage lies in the combination of characters and scenes, which is very infectious. The following elk eating the atrium and dumplings staying by the water are two abnormal phenomena, which are also metaphorical compared with the description of birds and nets in front, and are contrary to the desire to emphasize love again without seeing it. And then like Mrs. Xiang. In the anxiety of waiting, he rode from morning till night, and the result was slightly different from that of Mrs. Xiang: in the eager search, he suddenly had an illusion, heard the call of a beautiful woman and left with her. Therefore, the works have the following most imaginative and romantic brushstrokes.
The third paragraph is purely a scene of seeing Mrs. Xiang in your fantasy. This is a dazzling magical world: courtyards built in the middle of the water are all decorated with exotic flowers and fragrant wood. Its colorful colors and rich fragrance are unparalleled. Here, more than ten kinds of plants, such as lotus, sun, pepper, laurel, orchid, magnolia flower, medicinal materials, Ficus pumila, Hui, Zhi and so on, are listed in one breath, showing the splendor of the venue. Its purpose is to set off and reflect the joy and happiness in the hearts of characters with colorful external environment. Therefore, when the gods of Jiuyi Mountain came to take your lover, he suddenly realized that he woke up from this dreamlike beauty and fell into the pain of lovesickness again.
The last paragraph is not only the same as the end of Xiang Jun, but also the same sentence pattern. In desperation, as emotional as Mrs. Xiang, she abandoned the other party's gift on the riverbank, but the apparent rejection could not restrain her inner love. He finally recovered his calm, and planned to finish the psychological process of falling in love with acacia through patient waiting and expectation. He picked fragrant Du Ruo from Tingzhou and prepared to give it to Mrs. Xiang in the distance.
From the perspective of emotional structure, this poem echoes "horizon of expectation" with "calling way". Since "Mrs. Xiang" is a hymn, it is bound to pray for the gods to come by summoning. The whole poem starts with calling for the arrival of Mrs. Xiang and looks forward to it throughout. The first half of the poem is mainly about the expectation of thinking of Mrs. Xiang to you. Experienced emotional fluctuations such as sadness, regret, regret and trance. These are all emotional fluctuations caused by disappointment with expectations. In the second half of the poem, I was overjoyed to learn that Mrs. Xiang was going to keep an appointment, and was busy preparing for the wedding with the expectation of meeting by chance and not meeting again. At the end of the poem, Mrs. Xiang appeared, and the purpose of calling was achieved, echoing the previous series of expected descriptions. In fact, the description in the second half is only the fantasy realm of the Xiang army, and this fantasy is also due to the eager expectation for it. The whole poem describes the process of expectation, including beginning, contradiction, development, climax, low tide and calm. The line of consciousness is clearly visible.
This poem also has a double structure corresponding to light and shade. The performance of the protagonist's emotions is bright and dark, and the combination of light and dark. Lyric objects can be real or symbolic. When describing the real situation, the hero's emotions are superficial, with clear meaning, clear reference, bright language, vivid emotional color, ups and downs, clear strength and weakness, all in a transparent state. For example, in the second half of the poem, the scenes of building houses and halls, decorating new houses, decorating facades and welcoming guests are all superficial, that is, they are clearly written. From "building a house in water" to "thinning stones and leaving fragrance", it is from the outside to the inside, from big to small; From "building Lotus House" to "building incense door", it is from the inside out. The lines are clear, the facts are clear, and the emotional catharsis is exposed, which is a way to show your breasts. Heartfelt, unrestrained, not so reserved, the flow of emotions is synchronized with external forms.
From the deep structure, this poem also has the expression of situational emotion. The scenery is not what it used to be, such as "Why Birds", "Why Pounds", "Why Elk" and "Why jiaozi". Or emotional scenery, such as autumn wind, autumn water and autumn leaves. The flow of emotion is more subtle, subtle and deep, such as the undercurrent of the sea floor, which is not easy to be found. So it needs to be understood through surface images.
This double-layer structure, light and shade correspond and complement each other, forming a realm of scene blending. The advantage of this structure is that it can increase the capacity of emotion and make the expression of emotion three-dimensional.
In addition, the objects described and the language used in the whole poem are Chu-style, with distinctive local characteristics of Chu. Shui Yuan, Xiangshui, Lishui, Dongting Lake, Radix Angelicae Dahuricae, Ficus pumila, Polygonum multiflorum, Flos Magnoliae, Guangxi, Hui, Holland, elk, birds, white jade and other natural landscapes, animals and plants, minerals, as well as folk customs, myths and legends, unique romantic colors and religious atmosphere in that place. The buildings and furnishings envisaged in the poem are very distinctive, all based on the natural environment, social customs and cultural and psychological structure of Chu, otherwise it is impossible to make such an assumption. Language also has the characteristics of Chu culture. A large number of dialect proverbs are used in Chu Ci, and Mrs. Xiang is no exception, such as "Fu" (verb), "Mei" and "Fu" (noun). The most prominent thing is the extensive use of the word "Xi"-every sentence in the whole poem has a word "Xi". This modal particle is equivalent to the word "ah" today. Its function is to adjust syllables, increase the turning and jumping of meaning and tone, and enhance the expressive force of language. "Mrs. Xiang" is mainly based on dialects, with five or seven words. The sentence pattern is flexible. This kind of "Sao Style" poem is a new free poem after The Book of Songs, and it is a great innovation in the development history of ancient poetry in China.
In a word, "Xiang Jun" and "Mrs. Xiang" are two tragedies caused by the wrong date time, but together they are a comedy that is congenial. They are said to be tragedies because both parties to the appointment missed the meeting time, and each other was unable to extricate themselves because of the disappearance of acacia, and their hearts and feelings suffered for a long time; They are comedies because men and women really love each other and love each other deeply. Although they have experienced some setbacks, they have not given up their pursuit and expectation, so it is only a matter of time before the happy ending appears. When they finally meet each other after patiently and calmly waiting for each other, the misunderstanding and troubles caused by coming first will inevitably disappear in an instant, and they will be greeted by the joy and happiness that Xiang Jun felt in his illusion.
These two works describe women's love and men's lovesickness from different angles, but the lyrical meaning is equally lingering; In addition, the works absorbed the straightforward lyric way of folk love songs and used the traditional contrast method to further enhance its artistic appeal. Therefore, this kind of passionate, bold, sincere and persistent love, although wrapped in the shell of religious ceremonies and with a strong core of life, has released endless energy for a long time, so that readers and writers of all ages can constantly gain great motivation and pursue their ideals and love without fear of difficulties. This can be best confirmed by the history of countless works influenced by it in later generations.