Interpretation of Qu Yuan

A detailed explanation of Qu Yuan's Li Sao

Li Sao also has high artistic attainments and unique style. Can be divided into the following aspects:

1. Li Sao created a pure and tall lyric hero. Before the appearance of Chu Ci, China's poems were basically created by the masses. We know that most of The Book of Songs belongs to folk songs and is an anonymous work. After word of mouth, it was created collectively. Generally speaking, the earliest folk songs are relatively simple in content, short in sentence patterns and length. Because it is a collective creation, although there are also works that shine with the author's personality, no one, like Qu Yuan, has left the whole life with an unusually distinctive personality brand on his works with his own ideals, experiences, pains and enthusiasm. Li Sao created a pure and tall lyric hero and showed us a statue of a great poet full of patriotic passion, lofty political ideal and noble personality. In this way, the poet Qu Yuan himself has become a great artistic image in the history of China literature, a typical immortal patriotic poet, with infinite appeal to later generations. It is in this sense that we say that Qu Yuan is the first great poet in the history of China literature, and his works are of epoch-making significance in the history of China literature. Before Qu Yuan appeared, China's poems basically belonged to the folk song era. Only after the appearance of Qu Yuan did poets appear in the history of China literature, and poems which concentrated on the poet's personality appeared.

2. Li Sao is a positive and romantic work. It absorbed and developed the positive romantic spirit of ancient China people's oral creation-ancient mythology. Romanticism, as a creative method, is not characterized by describing reality truthfully, but by expressing the author's passion, the strong pursuit of ideals and the rebellious spirit inspired by reality. From the perspective of text structure, the first half focuses on describing the poet's own life experience and experience. We can see four groups of contradictory forms. The first group, "inner beauty", "cultivating energy" and "the sun and the moon suddenly do not drown, and the spring and autumn take their place." The contradiction of the passage of time shows his eager pursuit of life. In the second group, after three articles, Yao Shun's "purity" contradicts Jie and Zhou's "beauty, ugliness, goodness and evil", which shows his political ideal. However, the poet's life pursuit, political desire, political purpose of "fearing the defeat of the imperial court" and "following the footsteps of the former king", and the palace political environment of "stealing the party's joy" and "taking narrow roads to avoid danger" formed a profound third group of contradictions. Through this opposition, it highlights the poet's sincere heart and ardent hope for the country's destiny regardless of himself, and constitutes a deeper contradiction with the suffering of "ignoring the truth" and "being angry because of betrayal", which is more acute and profound in the progressive structure of layers of contradictions and conflicts. We saw the poet sublimate his life experience and feelings into irreconcilable struggles between good and evil, beauty and ugliness, and light and darkness. With some novel metaphors and exaggerated descriptions, he showed the sublime difference between good and beauty, the despicable difference between evil and ugliness, and the irreconcilable difference between light and darkness, thus showing the whole picture of an era, enlightening people's understanding, giving people correct love and hate, and inspiring people's hearts to be beautiful from good.

In the second half of Li Sao, the poet wrote a profound inner world in the form of fantasy and fiction. The description of heaven and earth, the twists and turns of hope and disappointment in the poem fully reveal the inner depression, show the darkness and cold of the poet's surrounding environment, and show the poet's outstanding spirit of struggle. In this part, I also deliberately draw rich images from myths and legends, and organize them together through my own imagination, which constitutes a steady stream of vivid plots and beautiful pictures. That is, to express the pursuit of truth in the soul of a depressed patient with mythical imagination. After addressing Zhong Hua, because he felt Zhong Hua's affirmation, he searched up and down and ran around:

The dynasty began in Cangwu and went to Huxian in the evening. If you want to stay less energetic, the day will suddenly turn into dusk. I am cautious in my life, and I look forward to it; Rummanmanqi Xiu Yuan Xi, I will search up and down. After drinking the rest of the horses in the salty pond, the rest is always tied to the hibiscus flowers. If it is broken, it will take a slap in the face and the sheep will be easy to talk. 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.

We see that there are many mythical people and things here. How to compare (Sun God), Wang Shu (Moon God), Fei Lian (), Red Dragon (), Phoenix,) and so on. People and things in this myth are all driven by the poet's freedom. In addition, there are some mythical place names, such as the so-called county garden (there is a garden hanging in the air in Kunlun Mountain in ancient mythology, called "county garden"), Kong Yi, Xianchi, Tianjin Ferry (referring to Tianhe Ferry) and Zhou Zhou, which he once imagined. This bold and rich imagination is rare in ancient and modern times. It is particularly noteworthy that poets make extensive use of ancient myths and legends, but they are not bound by the original stories. Unlike some later works, they only use myths as allusions. He not only took those stories as allusions, but also took the gods and sacred objects in the gods as living images and participated in the activities of poets visiting immortals. This shows that the poet wrote the original myths into new plots through some free imagination processing, which made these myths and legends obey the new lyric theme he wanted to express and become a part of the poetic mood. This technique of expression undoubtedly makes fantasy more free. For example, in the last paragraph, it can be said that he flew into the sky with a phoenix. This is a noisy ride. Turning to Kunlun, crossing quicksand, referring to the West Sea, suddenly stopped above Chu, and could not bear to leave, so the whole poem was pushed to a climax, which effectively showed the poet's patriotic thoughts and sentiments.

I'm Dolphin Xi, the road of Xiu Yuan flows around, the sorrow of Yun Ni rises, and the flowers of jade bloom. The dynasty began in Tianjin and went to the west pole in the evening; The wings of the phoenix are the wings that carry heavy loads and fly high. Suddenly, I walked in the quicksand, obeyed Chishui, persuaded Xiaolong to be Liang Jinxi, and summoned Xidi to get involved. How difficult is it to get to Xiu Yuan? Let all the cars wait for you. Turn left when the road is bad and point to the West Sea for a while. The rest of the chariots rode a thousand times, and Chyi Yu rode softly, driving the music of the Eight Dragons, holding the cloud flag like a snake. Restrain one's ambition and celebrate the festival, which is the charm of Gao Chi: playing nine songs and dancing, talking about holidays and having fun with her. I was promoted to emperor and suddenly came to my late husband's hometown. My courtiers felt sorry for Ma Huaixi, but I couldn't.

This passage strongly expresses the poet's patriotic thought and belief. If we don't rely on myth, it will be difficult to realize the transformation and conception of myth materials.

Gorky once pointed out that there are actually two kinds of so-called romanticism in literature, one is negative romanticism and the other is positive romanticism. Negative romanticism is characterized by distorting and whitewashing reality with fantasy, fiction and even mysticism, guiding people to compromise with unreasonable things in reality, or guiding people to escape from reality. Although positive romanticism is also full of fantasy, exaggeration and strangeness, it still truly reflects the reality in content, guides people to correctly understand the reality, and especially arouses people's resistance to unreasonable things in reality. This poem is an example of positive romanticism, the ancestor of positive romanticism in China literature, and it is very precious.

Thirdly, there is also great creation in the form and language of poetry. The form of Lisao was written by absorbing and drawing lessons from the folk songs of southern Chu, but it also absorbed the new prose style prevailing at that time. It breaks the four-character form of The Book of Songs, lengthens the poem and expands its structure, which not only increases its content, but also enhances its expressive force. The narrative of facts, the expression of loneliness and even the description of fantasy are intertwined, magnificent, perfect and vivid.

In addition, judging from the language of poetry, a large number of dialects and spoken languages are used in poetry, and the word "Xi" is the most commonly used. The ancient sound of the word "Xi" is "ha", which is an interjection. "Xi" was a common spoken word in folk songs at that time, especially in Chu folk songs. This not only enhances the lyrical atmosphere of chanting in the poem, but also greatly enhances the rhythm and musical beauty of the poem. The whole poem is gorgeous in literary talent and rich in metaphors. Every part of the poem is beautiful and moving, and together it is a grand, harmonious and perfect art hall, which gives people a very strong artistic appeal.

Mr. Lu Xun once commented on Qu Yuan's Li Sao in the Outline of China Literature History, saying that Li Sao was "an inspiring and magnificent speech and an outstanding life". In addition: "Compared with" Poetry ",its writing is very long, its thinking is very unreal, its writing is beautiful, its purpose is clear, it comes from the heart and does not follow the rules. ..... its influence on later articles even exceeds 300. " It shows that the influence of Lisao in history is greater than that of The Book of Songs. It can be seen that Lu Xun highly affirmed Li Sao's outstanding achievements in thought and art and its important position in the history of literature.