The Content and Artistic Achievements of Li Sao.

A Brief Introduction of Qu's Ethan Sao

The title of Chu ci. Qu Yuan's masterpiece. More than 370 sentences with 2400 words are the longest lyric poems in ancient China. Wang Yi's Chapters of Songs of the South are titled Lisao Jing, and Hong Xingzu in the Song Dynasty pointed out in the Supplement to Songs of the South: "Later generations used their words to describe and respected them as classics." Some people also refer to it as "Li Sao Fu" or "Sao". From the Han Dynasty to the Southern and Northern Dynasties, Li Sao was often cited as the general name of all Qu Yuan's works. In the history of literature, it is often called "Feng" and "Sao". "Feng" is used to summarize the Book of Songs and "Sao" is used to summarize the Songs of the South.

There are different opinions about the meaning of the title of Li Sao in ancient and modern times. Sima Qian interpreted it as "worrying" in Historical Records and Biographies of Qu Yuan. Ban Gu interprets it as "righteous sorrow" in the preface to Li Sao Zan. Wang Yi interpreted it as "Don't worry" in The Songs of the South. Later generations have different opinions. According to the notes of Fu, Lao Shang and Wang Yi, modern scholars believe that Lao Shang and Li Sao are disyllabic words, and Li Sao means Lao Shang.

Regarding the writing age of Li Sao, Sima Qian said in the preface to Historical Records Taishi Gong: "Qu Yuan was demoted and wrote Li Sao." This is considered to be after exile. Now people have different opinions about it, some say it was done after being dismissed, some say it was done after being released, some say it was done at the end of the year or at the beginning of Wang Xiang's life, and some say it was done at the beginning of Wang Xiang's life. So far, there is no conclusion.

As for the reasons for the creation of Li Sao, Sima Qian quoted Qu Yuan, a Historical Records, and Biographies of Li Sao by Liu An, saying: "Qu Ping's sick king was not listening, flattering and concealing the truth, and evil songs were harmful to everyone, so Fang Zhengzhi could not tolerate them, so he wrote Li Sao with sadness and Zen; He also said: "Qu Yuan went straight on the right path, exhausted loyalty and wisdom to serve the monarch and made the world poor. Believe and see doubt, be loyal and slander, can you have no complaints? Qu Ping's work "Li Sao" is self-blaming. " Qu Yuan's "sadness" and resentment are closely related to the political reality of Chu State. Li Sao is a political lyric poem written by him according to the political reality of Chu State and his own grievances. Because of its twists and turns, it describes the poet's life experience, thoughts and circumstances, so some people regard it as an image record of Qu Yuan's life course and call it the poet's autobiography.

Li Sao, as a masterpiece, is extremely rich in ideological content. As for its content level, there have always been various ways to divide it. Generally speaking, the front part of the poem starts with his own life experience, quality, cultivation and ambition, and traces back to his experience of being left out in the cold when he assisted the king of Chu in political reform, indicating his political attitude of never colluding with others and his firm belief of "nine deaths without regrets"; In the middle part, Zhong Hua summed up the experience and lessons of the rise and fall in history through her own suggestions and statements, expounded the political proposition of "invigorating talents and empowering people", led to the fantasy realm of wandering around the world and "seeking up and down", and showed her persistent pursuit of ideals; In the last part, I turned to the spiritual atmosphere of divination, witchcraft and divination, and put forward the requirements for the way out, which reflected the ideological contradiction between going to the countryside and nostalgia for my hometown. In the process of rising and traveling, I finally couldn't bear to leave my motherland and finally decided to die for my ideal.

The first part of Li Sao, as a recollection of the past, focuses on describing reality; As a search for the future, the latter two films focus on galloping imagination and finally end up returning to reality. Through this description, the poem created a lyrical hero with lofty character, reflected the poet's political ideal and patriotic feelings of "beautiful politics" and rejuvenating Chu, showed the poet's noble integrity and fighting spirit of hating evil, and mercilessly exposed and rebuked the corrupt politics and dark forces of Chu. Sima Qian commented on Li Sao, saying: "Although Qu Yuan was exiled, he was concerned about Chu and the kings, and he was obsessed with his wishes, hoping that one of the kings would realize and one of the customs would change. Saving the country and rejuvenating the country, but want to repeat the old trick. In an article, there are three ambitions. " Quoting Liu An's Biography of Li Sao, he said: "The national style is lewd but not lewd, resentful but not chaotic, and Li Sao is like this, which can be said to be both! Said Di Ku, the next JiHuan, Tang Wu, in order to 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; His behavior is cheap and he can't die. Cicadas in the mud slough in filth and are not polluted by floating dust. No one chews mud without me. Pushing this ambition is also the glory of the sun and the moon. " (Biography of Qu Yuan in Historical Records) basically tells the spiritual essence and immortal value of Li Sao as a political lyric poem.

Li Sao is a magnificent poem written by Qu Yuan with his ideal, experience, pain and enthusiasm, which makes his life shine with the poet's distinctive personality, which is the first time in the history of China literature. The creation of Li Sao is rooted in reality and full of fantasy. Ancient myths and legends are widely used in poems. Realistic figures, historical figures and mythical figures are intertwined through extremely rich imagination and association, and the earth and the kingdom of heaven, the world and the dreamland, the past and the present are intertwined, forming a magnificent, strange and colorful fantasy world, which has produced strong artistic charm. The metaphor of "vanilla beauty" is widely used in poems, which vividly shows abstract consciousness and complex realistic relationship. The so-called "Li Sao" is based on poems and analogies with paintings, so good birds and exotic herbs are matched with loyalty, bad birds and smelly things are matched with arrogance, beautiful women are matched with princes, and Fu Fei's daughters are matched with good ministers "(Wang Yi's" Songs of the South "), which is the artistic feature. Moreover, metaphor not only stays in the analogy of individual things, but also embodies in the conception of the whole image system, thus containing the overall symbolic significance. In terms of language form, Lisao broke through the four-sentence pattern in the Book of Songs, with five, six, seven, eight and nine words in each sentence, three sentences crossed, and the syntactic level was uneven and flexible. The word "Xi" is used at the end of every sentence. Function words such as "Zhi", "Yu", "Hu", "Fu" and "Er" are often used in sentences to coordinate syllables, and some sentences do not need function words. This new form of poetic expression laid a solid foundation for the rise of Sao-style literature after The Book of Songs. Commonly used duality in Li Sao. According to statistics, the whole article has more than 100 sentences; And there have been complicated pairs, such as "the custom-making work is clever and the rules are correct;" Chasing Song with rope ink and fighting for victory. "In a word, two tones are often matched with two tones, and the rhyme is matched with the rhyme. The former is like "With Seats", while the latter is like "Chatting with Sheep". This has formed the characteristics of "Li Sao" poems, which are scattered and orderly. When reading, the rhythm is harmonious, the tone is rhythmic, there is a kind of ups and downs, singing and sighing. At the same time, Lisao uses a lot of Chu dialect words, such as gurgling, reeling, mang, wind, Qiang, wandering, wandering and winding. And often put pictophonetic characters at the beginning of sentences. The use of adjectives in the poem is also very appropriate and innovative. For example, Zongzong describes Yun Ni's tumbling appearance, "precarious situation" refers to the trend of high crown and towering, and "winding" dragon swimming state, all of which can be described as sound and appearance, and the music is wonderful. The perfect combination of Li Sao's high artistic achievement and its rich and profound ideological content makes it a wonderful work in the history of China literature and has a far-reaching influence on later generations. Mr. Lu Xun once praised it as "an excellent speech" (an outline of China's literary history) and gave a high evaluation. The painting Li Sao is a symbol of the Qing Dynasty.