Appreciation of Li Sao's works

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, because Qu Yuan's political ideal and reform practice violated the vested interests of decadent aristocratic groups, they suffered heavy persecution and blows, and slanders were everywhere. King Chu also listened to rumors, alienated and exiled 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. As a result, Qu Yuan began the course of pursuing his ideal, "The road is long and Xiu Yuan is Xi, Xiu Yuan is Xi, and I will 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. 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 "concealing beauty and calling it evil", being jealous of the wind, hating evil as hatred, being a traitor, 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. Poets have established the ideal of loyalty to the country since childhood, and have cultivated their own virtues and talents 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. The irregular sentence pattern in Lisao absorbs the language characteristics of Chu folk songs, breaks the four-sentence pattern in The Book of Songs, lengthens the sentence pattern and expands 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. 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 patchwork, such as "riding the eight dragons, holding the cloud flag as a snake" and "holding the tears like a glow, touching 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" plays an extremely important role in Qu Yuan's works, and it is also 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 distinctive 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. Li Sao has an important influence on the development of China literature. After the Han Dynasty, later scholars worshipped Qu Yuan. The reason seems to be attributed to Qu Yuan's persistent and maverick integrity and his spirit of daring to uphold the truth and resist the dark rule in adversity. What happened to Qu Yuan was generally experienced by upright literati in feudal China. Therefore, Qu Yuan's spirit can be widely recognized. Jia Yi of the Western Han Dynasty was jealous of his talent, so he moved to Changsha and wrote Qu Yuan Fu, which was written by Qu Yuan himself. Sima Qian encouraged himself with "moral integrity, meritorious service, and making a statement", and "devoted himself to his duties and welcomed the Lord" ("Reporting Ren Shu 'an"), but he was jailed. Sima Qian drew great spiritual strength from the story of Qu Yuan's exile and writing Li Sao, and completed the compilation of Historical Records. Zhong Rong in Liang Dynasty said in Shi Pin that Li Ling's poems originated from Chu Ci. There are many sorrows and joys, and there are people who complain. " Tao Yuanming's "Fu for those who have never met": "No.1 has the sigh of' returning home safely', and San Lv has the sorrow of' gone'." Although I hold Qionglan, who is clear and clean? ""I feel that there is no philosopher's spouse, and my tears are on the waves. "I have always regarded Qu Yuan's purpose as my code of conduct. Li Bai, a poet in the Tang Dynasty, declared heroically: "Qu Ping's Ci and Fu hung the sun and the moon, and the king of Chu was empty. "Many of Li Bai's works, like Qu Yuan's Li Sao, often weave a lot of myths and legends, the sun, the moon, the stars and historical figures, forming a magnificent picture with symbolic significance. Du Fu's spirit of worrying about the country and the people is also related to Qu Yuan's "worrying about Li Yuan in poor years and sighing hot in his intestines" ("Singing 500 words from Beijing to Fengxian"). He said in "The Play is the Six Poems": "Today people love the ancients, and clear words and beautiful sentences must be neighbors. I secretly climbed Qusong to drive, afraid to follow in the footsteps of Qi Liang. "I advocate not only learning the literary talent of Qu Yuan's works, but also learning the ideological content of Qu Yuan's works. Especially at the critical juncture of foreign invasion and national demise, patriots often encourage themselves with Qu Yuan's integrity. Liu Kezhuang, a poet in the Southern Song Dynasty, wrote poems to praise Qu Yuan's patriotic spirit and expressed his firm belief that he would never surrender to the enemy. He said in Qu Yuan: "Mi Zhu was captured by Lu and ran away. I can't say Li Sao with a ritual vessel. "

In the history of modern literature, there are more writers influenced by Qu Yuan's spirit. Lu Xun's Outline of the History of China Literature said: "In the Warring States Period ... in rhyme, Qu Yuan originated in Chu and was demoted, which was Li Sao. Escape is a great speech and an outstanding life. Later generations were surprised by their literary talent and imitated the original works of Chu Ci in succession, so they called it' Chu Ci'. Compared with poetry, it is long, its thought is wonderful, its writing is beautiful, its purpose is clear, it comes from the heart, and it doesn't follow the rules. Therefore, the post-Confucianism's obedience to poets is either embarrassing or tight, but its influence on later articles is more than 300. " Around the May 4th Movement, Lu Xun tried to explore the direction of the Chinese nation. When he published Wandering on 1926, he quoted the poem Lisao as an inscription in front of the book: "In the morning, I will be in the county garden 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. The road is long, Xiu Yuan, and I will go up and down. " It shows that Qu Yuan's tireless pursuit of truth has a great influence on Lu Xun. It can be said that where there is the misfortune of literati, there is the persistence of moral integrity, and there is Qu Yuan's heroism. Qu Yuan's spirit is not only a home to precipitate the painful hearts of literati in past dynasties, but also a stone to sharpen the loyalty and integrity of people with lofty ideals.

Qu Yuan's artistic creation opened the source of romanticism in China's literature and had a far-reaching influence on the creation of later literati. "Feng" represented by The Book of Songs and "Sao" represented by Chu Ci constitute the cornerstone of China's ancient literature and the two highest standards of classical poetry. After the Han and Wei Dynasties, Qu Yuan's masterpiece Li Sao was generally called Chu Ci, and Guo Pu's Shan Hai Jing quoted Tian Wen and Yuan You, both of which were called Li Sao. Liu Xie's "Wen Xin Diao Long" has an article "Distinguishing Sao", which contains all the works of Chu Ci. The Selected Works of Zhaoming compiled by Xiao Tong, a native of Liang Dynasty, is classified as a Sao style, including Li Sao, Jiu Ge, Jiu Zhang Yi, Bu Ju, Jiu Bian, Evocation and Seclusion. The first to fifth volumes of Zhu's Notes on Songs of the South are called Li Sao, including Li Sao, Jiu Ge, Tian Wen, Jiu Zhang, Yuan You, Buju and Fisherman. The sequel to Lisao includes Nine Arguments, Evocation, Great Ideas, Poems of Xi, Ode to Diaoqu Yuan, Ode to Pengniao, Mourning for Time and Ode to Seclusion. Others, such as Li Sao Cao Shu written by Wu in Ming Dynasty, Li Sao Yuan written by Zeng in Ming Dynasty, Adventures of Chu Sao in Ming Dynasty and Drinking Sao written by He Kuan in Qing Dynasty, are all about Chu Ci. Li Sao has become synonymous with Chu Ci, and "Sao Ren" has also become synonymous with poets. Wang Yi's Chapters of Chu Ci: "Qu Yuan's Ci is far-reaching. Since the end of last year, famous scholars of Confucianism and Boda have written ci and fu, trying to imitate their appearance, imitate their ancestors, take their essence and steal their flowers and algae. The so-called Jin Xiangyu, chinese odyssey, whose name is extremely neglected, will never be announced. " Liu Xie's Wen Xin Diao Long: "Without Qu Yuan, how can Li See be coquettish?" If you take it by surprise, you can escape the wind and aim high. The mountains and rivers are endless, and the truth is practical. Metallography is like jade, gorgeous and incomparable. ""I've been watching since Jiuhuai; However, Qu Song can't catch up. Therefore, when he complains about his feelings, he will be depressed and easily influenced; If you leave home, it will be soon and it will be difficult to get pregnant; On the landscape, you can get its appearance by following the sound; Speaking of seasons and climate, you can see it in the text. It's amazing that Jin and Jia make people beautiful with the wind, and horses and teenagers drift with the tide. His clothing is a poet, not a generation. Therefore, those who are talented get their praise, those who are clever hunt for their colorful words, those who satirize their mountains and rivers get their interest, and those who are still childlike pick up their grass. If you can rely on poetry to lean on elegance, control Chu articles, think strangely without losing its truth, and play showily without falling into reality, you can drive away his words, cough them up, stop begging for the spirit in Changqing and spoil Ziyuan. "Pu Songling talks about ghosts and flowers and is greatly influenced by Qu Yuan. He said in Strange Tales from a Lonely Studio: "A radish and a plum make San Lv feel coquettish;" Ghosts and ghosts, Long Claw Lang is addicted to singing. There is a reason for boasting of nature and not choosing a good voice. The fire of autumn fireflies is exhausted, and charm wins glory; Drive away the dust of wild horses and you will laugh at each other. Not Gan Bao, but Ya Ai Sou Shen; Love is like Huangzhou, talking about ghosts. "His firm embrace, unyielding resentment and romantic expression are very similar to Qu Yuan.

The brilliant achievements of Qu Yuan's works in thought and art have provided valuable cultural heritage for all mankind, and he has won the glorious title of world cultural giant. 1953, as a poet, Qu Yuan, together with Polish astronomer Copernicus, French writer rabelais, Cuban writer and national movement leader Jose Marti, became one of the four world cultural celebrities named by the World Peace Council. His works spread to Japan in the 7th century BC, and began to spread to Europe in the19th century. Now, there are many translators from English, French, German, Russian and other languages. Liu Han' an's Biography of Li Sao: cicadas slough in the mud, but they are not loved by the world outside the floating dust, and those who chew mud have no self. Push this ambition, although it is as glorious as the sun and the moon.

Wang Hanyi's Preface to Lisao Classics: The text of Lisao is based on poetry, which leads to comparison. His words are gentle and elegant, and their meaning is bright.

Xie's "Wen Xin Diao Sao" in the Southern Dynasties, the fifth song: from the elegant sound to sleep, from the strange pen, it is wonderful to leave Sao.

Liu Qingxi's Outline of Art and Fu: extremely open, extremely closed and extremely restrained changes, some of which remain unchanged.