The Artistic Style of Qu Yuan's Works

What is the artistic style of Qu Yuan's works? The Book of Songs emphasizes its realism and is divided into three parts: elegance and praise. Through the use of sex, it reflects the life of working people, the love between men and women and the resistance to oppression.

Chu Ci lies in its romanticism and rebellious spirit, and Qu Yuan's Li Sao created a lyric hero who was concerned about the country and the people. Qu Yuan was the first poet with great achievements in ancient China. His 25 works were included in Songs of the South, including Li Sao, Nine Songs, Nine Chapters, Evocation, Tian Wen, Buju and Fisherman. These poems expose the corruption and evil of the ruling clique, and show the author's progressive political ideal, sincere feelings of loving the motherland and unyielding spirit of struggle. Qu Yuan's poems use a lot of myths and legends, with unique conception, rich imagination, gorgeous style and romantic spirit. On the basis of studying folk songs, Qu Yuan created and developed The Songs of Chu, which enriched the forms of expression of poetry and greatly promoted the development of ancient poetry.

Qu Yuan's influence on later generations has two aspects: first, his profound patriotic feelings and active and tenacious struggle spirit give spiritual encouragement to all those who pursue light and insist on justice; Second, the conscious use of romantic creative methods, the uneven and flexible genre of Songs of the South and the expressive techniques of "attaching affection to things" and "borrowing irony from things" greatly influenced the later prose and poetry creation. After Qu Yuan, China's poetry began a new era from collective singing to individual independent writing. As the first collection of poems written by China, The Songs of the South has an important influence on the determination of the mentality of later literati and the form of fu. Its magnificent and splendid articles, like an eternal spiritual vein, have penetrated for more than a thousand years and surged in the hearts of generations of literati. Jia Yi, who has never met a gifted scholar, Sima Qian, who wrote books in anger, Tao Yuanming, who struggled with rice without bending over, Li Bai, who is independent from the world, Cao Xueqin, who depicts various social situations, and Guo Moruo, who is modern, are all infiltrated by the spirit of Qu Yuan's works. Li Bai once recited a poem: "Qu Ping's words hang the sun and the moon, and the king of Chu is empty."

As the first poet with romantic achievements, Qu Yuan wrote 27 works in his life, among which Li Sao best represents Qu Yuan's creative style. It is the longest lyric poem in ancient China, which expresses the author's political ideal and has the nature of self-preface. When describing his own life, the author does not state events in a boring way, but pictographs and materializes. For example, when the author talks about his own good qualities in his poems, he writes, "I am beyond the river, and I am grateful", "I am eager to face Mulan, and I am eager to stay in the mainland in the evening", and takes the virtues of Gracilaria, Pi Zhi and Aquamarine as examples. When writing adultery, "mixed with pepper and fungus, it's just a matter of taking care of my husband!" Use pepper and fungus to describe it; "Only the grass and trees are scattered, and I am afraid that the beauty will be late." Chinese refers to a monarch with beautiful women; "I am not only nine of Zilan, but also a hundred-acre tree." He said that in order to realize his political ideal, he trained a large number of talents. "Although it is withered, it is harmless and sorrowful." This vivid narrative technique is much more vivid than a single narrative, and the description of life events is also romantic.

Expressing the pursuit of the ideal world is the greatest feature of romanticism, and the author's strong feelings and rich imagination are reflected in it. The spirit of seeking up and down in Li Sao can impress readers most. After failing in real life, the poet began to confess to Zhong Hua, and began a new search from top to bottom, writing in his poem; "Qiu take heron, wind sign. The dynasty began in Cangwu Xi and reached the county boundary in the evening. If you want to stay less energetic, it will be dusk. I told xi that he should be cautious and look forward to it, but don't push it. Rummanmanqi Xiu Yuan Xi, I will search up and down.

After drinking too much, the horses in the salty pond always rest on hibiscus flowers. When the wood breaks, blow the sun and chat with the sheep. Wang Shu was the pioneer before, and Fei Lian was the subordinate after. Emperor Luan warned Yu first, but told Yu not to eat it. I let the wind birds soar, followed by day and night. Gone with the wind left Xi, and the handsome Yun Ni went to the royal family. Disputes are always intermittent, and every bit is inseparable. I ordered the emperor to open and close. Lean on it and look forward to it. It stops when it's warm, and it slows down. The world is difficult to distinguish between the turbid world, so it is beautiful and jealous. "The following then write" looking for a woman "failed. Here, the author applies mythical figures to his works. He drank horses in Xianchi, rode with Fusang, Wang Shu and Fei Lian, and rode with the phoenix, phoenix and phoenix birds, wandering between heaven and earth. In this magical fantasy picture, the author "seeks up and down", which is the embodiment of the author's loyalty to the national government and running for the king of Chu.

This clearly shows that the fantasy realm is a reflection of reality, and it also makes the poet's pursuit stronger. The greatest feature of romanticism is that it is divorced from the real world and describes the fantasy world, which is a reflection of the real world. In Li Sao, the phoenix is flying, the dragon is bridging, and the jade is driving. If the wood can brush the sun, the ostrich will be the center, Wang Shu will fly lotus back and forth, and the phoenix will fly up and down. Everything is moving according to the author's wishes under his wisdom, creating a magical realm, and suddenly showing the lyric hero as a cloud.

Romantic works often use exaggeration to highlight the characteristics of the object of description. In Li Sao, there are not many ways to exaggerate or exaggerate things themselves, but they can well express the essential characteristics of things. He said: "I am still kind-hearted, although I have died nine times without regret." People can't die nine times, but the poet exaggerates with "nine deaths without regrets" to show his unchanging heart for goodness and highlight the poet's unshakable belief. Exaggeration in Li Sao is often used to describe some symbolic things repeatedly. For example, in order to show the poet's noble character, the poet wears fragrant flowers and herbs, but these varieties of fragrant flowers and herbs are exaggerated, saying that he "rooted with wood"? Hey, Xue Lizhi's falling into the core. Jiaojungui, Yixian, Suohusheng? {? {","lotus thought clothes, lotus thought petticoats. ..... high in danger, while Pei is far from the land. "This repeated exaggeration highlights the poet's noble moral quality.

When we point out the romanticism in Li Sao, we should clarify again that Qu Yuan's romanticism is based on real life. It exposes the darkness and filth of reality, reveals the struggle between truth, goodness, beauty and falsehood, evil and ugliness, shows the prospect of light overcoming darkness without whitewashing, and arouses people's yearning for light and beauty and rebellion against dark reality. Therefore, Qu Yuan's romantic spirit is positive and healthy, which has cultivated the noble and pure character of our people and the fine tradition of patriotism.

To sum up, we can see that the main feature of romanticism in Qu Yuan's works is charming fantasy, which appears in a large number of his works and becomes the main tool for Qu Yuan to express his patriotic feelings, anger and other ambivalence. In these fantasies, metaphor, suggestion, exaggeration and other artistic expressions are used to make this fantasy world more colorful and concretize the feelings expressed.

The story of Qu Yuan, a patriotic celebrity, and the introduction of related works.

Qu Yuan's period was just the eve of China's imminent reunification. "Qin Huang is horizontal, Chu Wang is vertical." Qu was born in a famous family, good at dealing with chaos and rhetoric, and was highly valued in his early years. He was a doctor of Zuotu. In order to realize the great cause of Chu's reunification, he actively assisted in political reform and insisted on uniting Qi to fight against Qin, which made Chu once become rich and powerful. However, due to the sharp contradiction between Qu Yuan and the decadent aristocratic group of Chu State in internal affairs and diplomacy, as well as the jealousy of Shangguan Doctor and others, Qu Yuan was later framed by the clique and alienated by Chu Huaiwang, and was finally expelled from Du Ying and moved to the Northern Han Dynasty. In the twenty-first year of Xiang Wang, General Qin attacked Ying Du in vain, and after several ups and downs, Qu Yuan couldn't bear it. He threw himself into the Miluo River and sacrificed his political ideal. During his exile for more than 20 years, Qu Yuan has been concerned about the fate of Chu, and has written poems such as Li Sao, Tian Wen, Evocation of Soul and Mourning, expressing his position and determination not to go along with the dark and decadent forces.

Among them, the high school texts Biography of Qu Yuan, Li Sao and Madam Xiang all talk about Qu Yuan.

First, the original copy

King Chu Ping refuses to listen to his illness, flatters him to hide his knowledge, and evil songs do harm to all. Fang Zhengzhi couldn't stand it, so he wrote Li Sao, with sadness and meditation. People who are "Li Sao" still have a lingering fear. The husband of heaven, beginning of life; Parents are the foundation of people. If you are poor, you will carry your roots, so you will be very tired. The illness was terrible, so I did not hesitate to call my parents. It is a pity that Qu Ping went straight on the right path, exhausted his loyalty and wisdom, and served the monarch. Believe and see doubt, be loyal and slander, can you have no complaints? Qu Ping's work Li Sao is self-reproach. Said Di Ku, the next Qi Huan, soup, martial arts, stab the world. The morality of the Ming Dynasty is broad and respected, and it is consistent to control chaos. His words are implicit, his ambition is clean, and his actions are mean. As the saying goes, a small article has a big meaning, and it has a far-reaching impact. Its ambition is pure, so it is called fragrant; It is cheap, so it is not allowed to die. From discharging mud, cicada sloughing in filth and removing floating dust, it is not loved by the world, and it is turbid without me. Push this ambition, although it is as glorious as the sun and the moon. -Biography of Qu Yuan

Second, the material evaluation

In Qu Yuan's poem "Involved in the River", he wrote: "I traveled all over Yaoyuan with heavy porcelain, climbed Kunlun Mountain and ate jade. Be with heaven and earth, and be with the sun and the moon in Guang Qi. " This is what Qu Yuan wrote angrily when he was trapped by traitors and exiled by the king of Chu. Just as Sima Qian said, "If you believe and see doubt, if you are loyal and slander, how can you have no complaints?" So I wrote a song "Li Sao" to vent my anger. Qu Yuan's nobleness lies in his persistent adherence to his integrity no matter what kind of blows and flattery he suffered, so Sima Qian praised: "Pushing this ambition is also a glory for the sun and the moon."

III. Applicable topics

Applicable to "shoulders", "position and value", "I want to hold your hand", "affection and cognition of things", "responsibility", "ideal", "persistence" and so on.

Appreciation of Qu Yuan's Li Sao

Content thinking

Li Sao can be divided into two parts, namely, from Miao of Emperor Levin to How Can I Punish My Heart, which is the first part; The second half is from "my wife is uncomfortable" to "I live in Peng Xian's house".

The first part describes Qu Yuan's review of his past life experience. Describe Qu Yuan's birth name when he was born in an aristocratic family with the same surname as the King of Chu. Describe that he wanted to teach himself virtue and exercise his talents since he was a child, and wanted to serve the State of Chu. Describe his ideal of inspiring and guiding the king of Chu to "follow the footsteps of the former king" to make Chu rich and strong, and his struggle to assist the king of Chu in political reform; However, Qu Yuan's political ideal and reform practice violated the vested interests of decadent aristocratic groups, which led to their heavy persecution and blow. X slanders were flying all over the sky, and the king of Chu also listened to rumors and alienated Qu Yuan. At this time, the talents carefully cultivated by Qu Yuan to realize his ideals also deteriorated, making Qu Yuan's situation extremely isolated. In this case, Qu Yuan saw that his ideal could not be realized, "how difficult people's lives are", and the motherland fell into a precarious situation of "the road is long and Xiu Yuan is full of dangers", which made Qu Yuan, who loves the country and loves the people, fall into extreme pain; Qu Yuan angrily exposed the capricious, disloyal and incompetent behavior of the King of Chu. At the same time, it exposed the evils of corrupt aristocratic groups, such as greed and jealousy, stealing peace, breaking the law and practicing favoritism, which led to the peril of the motherland; Described Qu Yuan's fighting spirit of not giving in to reactionary forces.

The second half mainly describes Qu Yuan's exploration and pursuit of the future road and truth. First of all, the woman advised him to accept the lessons of history, not to "rush to repair", to be wise and protect himself; However, through the statement of Zhong Hua, Qu Yuan analyzed the historical facts from ancient times to the present and denied the hint of Nu Wa. So Qu Yuan began the course of pursuing his ideal. "The road is long, but it's Xiu Yuan, so I'll go up and down.". First of all, he knocked on "Tianhao", but he was given a cold shoulder. Then, the poet looked for Yao, the daughter of Yi, and Yao, the second daughter of Yu, in order to reach the Heaven Emperor, but none of them succeeded, symbolically indicating that the king of Chu was hopeless. So Qu Yuan went to the gods for divination, and the gods advised him to travel abroad. The poet hesitated and went to Hsien Wu for advice. Hsien Wu advised him to stay in Chu for a period of time until he became a wise king. In the contradictory suggestions, the poet analyzed the domestic political situation and felt that he could not stay in the dark and hopeless Chu State for a long time, so he decided to travel far away from Chu State. However, the idea of traveling far away contradicts Qu Yuan's patriotic feelings, so when he ascended to heaven to travel far away, he suddenly saw the land of Chu, saying that "the servant is more sad than Ma Huaixi, but he is helpless", which vividly denied the way to leave Chu. Finally, the poet decided to "live in Peng Xian's home" to pay homage to his ideal of "beautiful politics" by dying.

The theme of the whole poem, that is, through the description of the poet's lifelong struggle for lofty ideals, strongly expresses his anguish and contradictory feelings of being killed, shows his spirit of dedication to the country, deep patriotism and sympathy for the people, and shows the poet's indomitable struggle spirit of bravely pursuing truth and light and upholding justice and ideals. At the same time, it also profoundly exposed the decadent and dark nature of the Chu aristocratic group headed by Chu Jun, and criticized their crimes of reversing right and wrong, running a private party, harming talents and doing evil for the country.

Character image

In Li Sao, Qu Yuan successfully created the first lyrical protagonist with full image and distinct personality in the history of China literature, which embodied Qu Yuan's great thoughts and lofty personality.

First of all, this is the image of an outstanding politician. He has a clear idea of "American politics", which is consistent with Qu Yuan's political proposition of reforming bad politics and uniting with Qin State. Its ultimate goal is to "follow the heel of the former king" and carry forward the achievements of the "three kings" who flourished for a while in history. That is, Chu unified the world and let the people live and work in peace and contentment. The essence of the thought of "beautiful politics" is to consolidate the rule of the king of Chu, which is full of the color of Confucian good governance and embodies the requirements of Confucian "people-oriented thought" Qu Yuan not only has the ideal of beautiful politics, but also has specific methods to realize it. One of the most important ones is that "the monarch has wisdom and the minister has virtue." Only with a good monarch and a virtuous minister loyal to the monarch can the harmony between monarch and minister be successful. Therefore, I praised "Tang Yu's strictness and peace, and he can complain and adjust." He strongly advocated the selection of talents, praised the ancient sages for "rewarding talents", and praised "Cao Cao was founded on Fu Yanxi, and Wu Ding definitely used it." Today, Lv Wang's drum knife was praised by Zhou Wen. Ning Qi's eulogy was awkward and Qi Huan heard it. At the same time, he also advocated abandoning small groups, which is also an important guarantee for realizing "American politics." "It is out of this idea that he tried to expose a group of small evils in his poems. He also advocated "following the rope without being equal" and emphasized the rule of law. He fought for it all his life, which fully showed the statesmanship of this image.

This image also reflects the poet's courage to fight against the dark and decadent forces. The poet clearly knows that Chu Tingqun's unfortunate fate and the poet's own misfortune are all caused by Chu Tingqun's childhood. The poet was extremely disgusted with this, so he spared no effort to expose and attack it repeatedly, reprimanding them for "covering up beauty and calling it evil", being insatiable, jealous, being friends with others, drifting with the tide and reversing black and white. The poet also exposed Chu Jun's fault, saying that he was capricious, absurd and confused, partial to treacherous court officials, alienated from loyalty and did not distinguish between good and evil, which made the poet's ideal of "beautiful politics" empty. It shows the poet's brave struggle spirit with the dark forces.

This image is also a beautiful image in pursuit of light and truth, which embodies the great spirit of the poet in upholding justice. He firmly believes in truth and justice. Although "the road is long and its Xiu Yuan is Xi, and its Xiu Yuan is Xi", he always "seeks up and down". He knows very well that his noble character and lofty ideal of transcending vulgarity are "different from today's people", which leads to "rumors" and all kinds of persecution. In this case, even close people advised him to follow the crowd and not to "learn from others." But the poet said many times in his poems that he must never go with the flow. Never waver in the face of attacks and persecution, stand tall and unyielding. In the poem, Qu Yuan describes that he failed in three times to ask for a wife, but he still made unremitting efforts to explore the truth and seek like-minded people. This spirit of pursuing and loving light and truth is the source of strength for his lifelong struggle. This spirit has a far-reaching impact on future generations.

Through this image, the poet also describes the waves of his own thoughts and feelings. The poet described himself as a clean, beautiful, fragrant, charming and strange superman, covered with fragrant flowers and jewels, symbolizing his pure and noble inner beauty. The most touching expression of Qu Yuan's inner beauty is his strong and sincere patriotism. Since childhood, the poet has established the ideal of serving the country faithfully, and cultivated his own virtue and talent for this purpose. His motherland was "hidden" by party member, and he felt sorry for it. He has repeatedly declared that he is "afraid of the loss of the imperial court" and he is worried about the future of the motherland. He was persecuted by small groups and left the political arena, but he always cared about the future and destiny of the country. Although he felt pain for his unfortunate fate, he was more concerned about the country and the king. He always cared about the king and never forgot Chu. Under the historical conditions at that time, Qu Yuan might become a senior official in other countries with his outstanding talents, but he denied all thoughts of traveling to Chu, which was very vivid and sincerely showed Qu Yuan's strong patriotism.

Uneven sentence form

Lisao absorbed the linguistic features of Chu folk songs, broke the four-character sentence pattern of The Book of Songs, lengthened the sentence pattern and expanded the capacity of poetry. Qu Yuan not only adopted the flexible syntax of folk songs, but also absorbed the syntax of prose in the Warring States period, and used "long road" and "long gas" in his works, thus creating a mixed sentence pattern with distinct rhythm and uneven levels. There are many "reasonable words" in Lisao, that is, the duality of cleverness and cleverness: "Drinking Mulan dew in the morning, eating autumn chrysanthemum in the evening to show the autumn in England", "making lotus flowers as clothes and picking hibiscus as clothes"; There are also some "things are different", that is, the allusions used in the upper and lower sentences are relative: "Lv Wang's drum knife is very awkward, and Zhou Wen won. Ning Qi' s eulogy was very noisy and Qi Huan heard it. " However, such sentences are only a few in Qu Yuan's works, and the sentences that are uneven are absolutely dominant. Judging from the rhythm effect, The Book of Songs tends to be neat and symmetrical, while Qu Yuan's works tend to be uneven. Generally speaking, the poems in The Book of Songs take four sentences as typical sentence patterns, and the two-second rhythm is in the sentence; The typical sentence in Li Sao is five or six sentences, and the rhythm in the sentence is often three or three sentences. "Four words are simple, the sentence is short, and the tone is uncomfortable; Seven words are floating, and the text is complicated. " Li Sao is neither four words nor seven words, but a free style, with flexible sentence patterns, and its language rhythm has its own unique beauty. The cross-use of five sentences, six sentences, seven sentences and nine sentences, through the increase or decrease of the number of words, intentionally causes the ups and downs of language rhythm, forming the unique beauty of language rhythm in Li Sao.

Interlaced sentence structure

The difference between Li Sao and The Book of Songs is that when the upper and lower sentences are likely to form duality, Li Sao consciously changes the structural form of words, making them have the beauty of dispersion, such as "riding the eight dragons, holding the cloud flag as a snake" and "holding it like a glow to hide tears and touch the waves". "Wanwan" and "Weishe" are reduplicated words as opposed to conjunctions, while "Yan Li" and "Langlang" are phrases as opposed to reduplicated words, and the corresponding words or phrases change in structure to change the language form, thus forming the rhythm change of the poetic language. The usage of "Hu" and "Yu" in Li Sao can well explain Qu Yuan's intentional pursuit of scattered. In the grammar of Lisao, whenever the preposition "Yu" and "Hu" are used together in two sentences, it is necessary to use "Yu" in the first sentence, "Hu" in the second sentence, "The morning begins in Cangwu, and the evening comes to the county garden", "Drinking horses rests in Xianchi, and the rest is always in Fusang", and "The evening comes next".

Li Sao uses a lot of disyllabic words with real meaning, and uses a lot of conjunctions: Geng Jie, Huan Huan, Ran Ran, Yu Yi, Wei Bao, Feifei, Bian Xi, Xiaoyao, Xiangyang, Liu Zhou, Chaochao, and so on. Disyllabic, overlapping rhymes, overlapping words and mixed words greatly enrich the rhythm and tonal beauty of poetry.

The widespread use of the word "Xi"

The word "Xi" occupies an extremely important position in Qu Yuan's works and is widely used in Li Sao. The word "Xi" is not unique to Songs of the South, and it was used earlier and more widely in northern literature. In the Fifteen Kingdoms, the word "Xi" appeared in all fourteen kingdoms except Qin Feng, with as many as 236 times. The word "Xi" in The Book of Songs is usually used at the end of a sentence, such as "Qiao Xiao Qian Xi" and "Mei Mu Pan Xi", which is a typical sentence pattern of the word "Xi"; There are also sentences used in sentences, such as "wide and wide" and "wide and vague", but such usage is relatively rare. In Qu Yuan's works, the word "Xi" is used in a wider range and has strict regularity. Although it is not the specialty of Qu Yuan's works, its unique and creative use makes it a prominent feature of the language form of Qu Yuan's works and an epoch-making creation of Qu Yuan. From Lisao, the word "Xi" is used in two sentences at the end of odd-numbered sentences, which has a great regulating effect on the rhythm of poetry. "Xi" was originally an auxiliary word of language. Xu Shen said, "Xi, the language is also recorded", and Duan Yucai said, "The language is here, but the sense of existence is less, similar to" zai, between words ". Judging from the usage of Qu Yuan's works, "Xi" is an modal particle, and if translated into modern Chinese, it is equivalent to the modal particle "ha". Guo Moruo and Wen Yiduo believe that "ha" is the original sound of the word "xi". 1973 Laozi, a silk book unearthed from Mawangdui Han Tomb in Changsha, is written as "ha" in all the "xi" in this edition, which proves that the inference of Mr. Guo and Mr. Wen is well-founded. The function of the word "Xi" is mainly to strengthen emotion, prolong syllables, adjust rhythm and enhance the musical beauty of poetic language.

Artistic feature

Deeply rooted in reality, expecting positive romanticism.

China's realistic and romantic literature has a long history. Realism comes from The Book of Songs, and romanticism comes from The Songs of the South. Romanticism in Li Sao is manifested in two aspects. The first is a strong romantic spirit. Li Sao shows the author's lofty patriotic ideal and indomitable spirit of struggle to realize this ideal. He earnestly hoped that Chu could implement the "beautiful policy" of giving clear laws and rewarding talents, and reproduce the prosperous times in his mind, such as the Tang Dynasty and the Three Emperors. Therefore, I strongly praise: "Pi Yaoshun's Geng Jiexi, because of the Tao, gets the Tao", "Tang Yu Yan only respects, and Zhou talks about the Tao without being bad", "inheriting the past and the future, and consolidating the place of all the incense. For the sake of his ideal, he persevered, searched up and down, and died without regret. The second is a lot of romantic techniques. The author puts on the wings of fantasy and gallops to his heart's content, which is fully expressed in the second and third paragraphs of the poem. As mentioned in the last section, the poet fantasizes about soaring in space, starting from Cangwu Mountain in the south in the morning and arriving at the hanging garden on Kunlun Mountain in the northwest at night. He feeds horses in the salty pool where the sun bathes and always walks under the hibiscus tree where the sun rises. Moon God, Fengshen, Schleswig-Holstein, Phoenix Bird, Gone with the Wind, Yun Ni, a large group of gods crowding round. In the "Journey to the West" section, he wrote that he drove Feilong and Yu Mingluan from Tianjinwei, across Kunlun, Chishui and quicksand to the West Sea. The imagination is rich and strange, the realm is blurred, and the scene is magnificent.

Application of Bixing Technique

Lisao inherits and develops the tradition of competing in the Book of Songs. Its concrete manifestations are: in breadth, more metaphors are used to form a huge metaphor system; In depth, it pays more attention to the internal relationship between "this thing" and "that thing" in metaphor than the Book of Songs. As a metaphor, things are unified and symbolic with the content expressed in the whole article. Such as "beauty" in the poem, "numerous fragrance" for the immortals, "pepper, cinnamon, hui and red" for the immortals, and "spring" for herbs. The combination of metaphor and expression makes the meaning and scenery in the poem symbolic.

Application of contrast technology

In his poems, Qu Yuan compared the arrogance of ancient Geng Jie, a sage of Yao and Shun, a rebellious tyrant and the embarrassment of Fu Cha, in order to persuade the King of Chu to take the right road to governing the country. In sharp contrast to "I am afraid of my age" and "I am afraid that my husband will steal happiness", my enthusiasm for the country is in sharp contrast to the meanness of stealing peace.

A narrative that tells a story with lyrics.

Lyrics generally have no stories. Li Sao is a long political lyric poem, which expresses his loyalty and resentment. However, in the first part of the poem, the facts of a person's family background, birth and exile are described, and in the latter two parts, a series of dreams are fabricated, such as a girl, a speech in Shun, a visit to the imperial concubine, divination, witchcraft and divination, and westward travel, which make this lyric poem have the elements of story plot. As if at the end of one's tether, it is a new scene in the blink of an eye, with ups and downs, which makes narrative poetry and lyric poetry merge into one furnace.