Lan: Yunyang witch culture in the root of Chu ci

? Yunyang Witch Culture in The Songs of Chu Seeking Roots (Ⅱ)

Lanshanqing

? Academics have always believed that witch culture is an important aspect of Chu culture and the leading culture in Chu spiritual culture. Exploring Chu culture, it is found that Yunyang is the birthplace of Chu culture enlightenment, which enlightens Chu people's pots and pans and also enlightens Da Chu's songs and dances. The birth of Chu Ci is closely related to Feng Yun's blood relationship. Of course, this is thanks to Qu Yuan, a great talented poet, who walked into Yunyang, ate the grass of Yunyang witchcraft, squeezed out the milk of Chu Ci, and made witchcraft that could not go to the temple become a sacred ode, moving from material to metaphysics, boarding the hall of Chinese civilization spirit and giving the world the highest pleasure.

? Qu Yuan's works retain the magical power of Yunyang witchcraft culture and the ideal of realizing spiritual freedom with the help of divinity. The characters in his works, such as Shun, Descendants and Guns, are equivalent to the images of Zeus, Apollo, Latis and other gods and people in Greek mythology, with extraordinary strength and personalized heroism. Qu Yuan has a special liking for absurd stories in witchcraft culture. At that time, Yunyang had a form of folk sacrifice to dispose of corpses, and there was a rural trick. From the 16 mythological images in his 28 works, it can be found in the Turn of Darkness sung by Yunyang, and other witchcraft stories also involve such people, places, animals, birds and wonders. Such as Tiandi, Yihe, Honglong, Shile, Xiangshui God, Jiuyi God and other nihilistic gods. , historical heroes, Zhong Hua, Hou Yi, Tang Yu, Gao Xin, etc. Han Cong, Wang Qiao, Yu Ren, Chang Ren, Tu Bo and other miraculous figures. There are also magical places like Cangwu and Tianjin.

? The best embodiment of Qu Yuan's influence on Yunyang witchcraft culture is his work Zhao Da, which is a sacrifice made by Qu Yuan for Chu Huaiwang who died in Qin State, which is no different from Yunyang people's custom of evoking souls. He tried his best to render all kinds of dangers and strange things in all directions, setting off the beauty of Chu's former residence. Finally, he praised Chu for its meritocracy, clear politics and strong national strength, so as to lure Chu Huaiwang's soul back to Chu. The whole poem is concise, mellow and elegant. Especially when writing scenes, images, and narratives, they are extravagant in layers, large in sections, symmetrical and neat, showing the development and transformation from words to fu, and potentially mothers are eager to recall the lost souls of their children. Nine Songs is a unique set of worship songs created by poet Qu Yuan by borrowing witchcraft customs and witchcraft songs. Compared with Zhao Da, evocation imitates the evocation form of Yunyang people more directly. The description of the up and down direction in the poem is full of strange myths, and the materials, forms, sentence patterns and language kisses of the poem are deeply branded with witchcraft. Nine Songs created a series of mythical figures, such as Mrs. Xiang and so on, which were also reflected in the Legend of Yunyang. These goddesses are all human and humane. "I hope my husband looks forward to the future, who will think about it?" What's the difference between this and a thinking woman who expects you to return? "Laughing is awkward and decent, and children are eager to be kind and gentle." What's the difference between this and that young woman who loves spring? But after all, they are gods, not people, who can "make Yuanxiang quiet and make the river flow safely." It is this similarity between man and god that shows us a romantic feeling different from the Central Plains. Without the fertile soil of Yunyang ancient civilization, it is hard for us to imagine that Qu Yuan could write such wonderful poems.

? Li Sao is a political lyric poem that describes his political experience and patriotic feelings, but the conception and structure of the poem are very strange, much like the pattern of Yunyang's corpse-waiting song. There is an opening preface, an intermediate statement and an ending part. The whole "Lisao" is like a complete "Song of the Wake", and the three parades in the poem are like wizards' performances. As a lyric hero, the poet's self-image has deliberately shaped himself into a divinity different from ordinary people from the beginning, which is mythical. In the poem, he is said to be a descendant of Levin, the legendary emperor Zhuan Xu, and his name is "Ling Jun". In order to show the purity of body and mind, he wears Li Jiang and Pi Zhi as clothes and Qiu Lan as accessories. Drink dew in the morning and eat at night; Walking in Malangao and galloping on Pepper Mountain, especially in his poems, he addressed Zhong Hua, twice asked fortune tellers (aura, witchcraft and salt) for divination, and wandered into the ground, which made people feel the supernatural power of the poet flying freely in Yu Xiang. He not only absorbed the contents of folk myths and stories, but also directly dealt with wizards and asked them to help him with his work and realize his ideal wishes. The whole poem is written in the form of witch-hunting activities. The arts and sciences are ups and downs, the techniques are laid out, and the structure is magnificent.

? Tian Wen, a long poem, consists of 172 questions, including the exploration of the universe, the review and questioning of national history, the investigation of good and evil, and the adoption of a large number of mythological materials, which makes this long poem an important document for the study of ancient myths in China. The special form of Tian Wen is related to the popular form of "divination" in Yunyang, which evolved from the language of questions asked during divination. From the above investigation, we can see that without Yunyang's witchcraft and myth, some important features of the art form of Chu Ci would no longer exist. The theory of consciousness in Regret for the Dead can reach the deepest level, and its literariness presents the dimension of "nothing". However, the main structure and spatial image it presents are probably still the wandering mode of lonely souls in the witchcraft space. From the perspective of "mental journey", the position of sad return air is between Li Sao and Tian Wen, and the relationship between consciousness and space is also between Li Sao's view of separation and Yuan You's view of unity.

? Of course, Qu Yuan was not a believer in witchcraft or religion. The poet painted a series of images of divine light flying, but the keynote was their depression and sadness, not their magical power. Please look at the poet's description of Xiangjiang God's sadness that he can't be together because he loves each other. The goddess "Shan Gui" is sad because she is full of frustration; "Hebo" is troubled because he can't be with "beauty" for a long time; Priestess of Death and Shao Siming are sad because they ran away from home and "divorced from life"; Even the mighty Sun God and Feiyun God, when the poets absorbed and wrote the stories of these gods, they were "depressed" and "long-lasting" because of "climbing high and looking far" and "not meeting their talents", which was obviously due to another mentality rather than religious worship. In Li Sao, the poet wrote "knocking on the emperor" and demanding "losing a woman", but he treated the just man coldly, which is regrettable. It was written about Bu Ling's atmosphere, which occupied the word Wu Xian, but the result did not conform to his original patriotic intention, so he abandoned Bu Wu's advice in action. Tian Wen adopted some form of divination, but it showed the critical spirit of doubt and rationality. Evocation takes the form of evocation words in witchcraft, but it obviously has other sustenance. From all these, we can see that the myths, witchcraft, prayer and other religious activities in Qu Yuan's Chu Ci works are only the materials for his literary creation, but only as literary expressions. In order to pour out their patriotic feelings and express their pursuit of beautiful things and ideals, especially their psychological pain and twists and turns, they also absorbed the deification of the land and some religious activities that entrusted their grief, thus making the works of Chu Ci full of passion and imagination. Due to the influence of ancient customs, the emotional logic of traditional documentaries has been disrupted, showing the super-logical structure and gorgeous color of lyric narrative, which makes the "innocent" literature in the Central Plains represented by "poetry" strongly challenged. Heaven and earth make a wicked poet, and one person takes the stage to overwhelm everyone. As the saying goes, "Fu Quzi wrote the sincerity of loyalty and love with poor ambition, creating a Sao style. Or it is the meaning of ghosts and gods, or it is strange. " Chu Ci originated from Qu Yuan, who absorbed Yunyang witchcraft literature with original spirit and reformed it, making it get rid of religion completely, turning decay into magic, and becoming a new literature and poem with grand genre, strong personality and romantic spirit.