A romantic system marked by "vanilla beauty", how to evaluate the literary achievements of Li Sao?

It is clear at the beginning that "vanilla beauty" is a literary term with its own direction and label in China ancient literature, and Qu principle is the pioneer of the image of "vanilla beauty".

The image of "vanilla beauty" is widely used in Chu Ci. Whether it is the majestic Lisao, the mysterious Nine Songs or the passionate Nine Chapters, there are a lot of images of "vanilla beauty" dotted in colorful scrolls.

Among them, the image of "vanilla beauty" in Li Sao has the highest frequency. The image of "vanilla beauty" is a perfect interpretation of Chu Ci, which entrusted Qu Yuan's pursuit of lofty personality, created a romantic system in which beauty vanilla and "good intentions" were combined, and became a valuable asset in the long river of China ancient literature. And "vanilla" and "beauty" are two independent and related images in Li Sao.

Let's take a look at the image of "vanilla" in Li Sao. The opening of Li Sao is Qu Yuan's account of his life, telling his noble birth and good quality, and at the same time paying attention to the cultivation of the day after tomorrow.

Qu Yuan said in Li Sao: "When Hu Jiang left, Qiu Lan thought she could be admired." Qu Yuan put Li Jiang and Fructus Aurantii on his body and hung Qiu Lan beside him. Li Jiang, Fructus Aurantii and Qiulan are all fragrant medicinal materials, which frequently appear in Lisao, and there are many kinds, far more than these four kinds.

Why did Qu Yuan put special emphasis on wearing and planting herbs? It is considered elegant to wear vanilla to make the whole body smell of vegetation; It is also a courtesy for courtiers to wear vanilla to greet the king. It was replaced by incense in later generations. This echoes the origin, quality and accomplishment mentioned by Qu Yuan in his last article. Of course, as a typical image, "vanilla" has a deeper meaning.

The "vanilla" in Li Sao is used to refer to noble morality and simple taste. Qu Yuan placed his good wishes in the image of "vanilla" and expressed his strict demands on himself. He used the decoration of his body to set off the purity and beauty of his soul, giving people a warm and elegant romantic aesthetic experience.

Having finished the image of "vanilla" in Li Sao, let's look at the image of "beauty" in Li Sao. The image of "beauty" in Li Sao has two metaphorical meanings: one refers to the monarch and the other refers to Qu Yuan himself.

Compared with "vanilla", the image of "beauty" shows Qu Yuan's personal feelings more consciously or unconsciously. For example, "the sun and the moon are suddenly hidden, and the spring and autumn have their own order; However, the grass and trees are scattered, fearing that the beauty will be late. " It is regrettable and sad that the beauty came late and Zhu Yan resigned from the mirror.

Qu Yuan lamented that time flies and the years are getting old. He went from being congenial to Wang Huai, admiring each other, to being suspected because of slanders, which made him wander around and unable to pay for his ambition. Qu Yuan used beauty to describe the poet's present situation, and his feelings of self-injury were beyond words.

In Li Sao, "beauty" is also used to refer to the king. Li Sao is full of magnificent imagination, introduces fairy tales, and combines romantic imagination with sincere lyric with unconstrained brushwork. Comparing the king to the mythical goddess, and using the metaphor of "seeking a woman" to refer to seeking the king, he expressed his desire to seek a wise monarch.

Whether describing the monarch with beauty or describing himself, Qu Yuan compared the relationship between monarch and minister to courtship, attraction or betrayal and infidelity between men and women, which could not be said to be subtle.

Li Sao is a long lyric poem, and the first feeling is the beauty of its wording and sentences. Images of plants, birds and animals are widely used in the poem, especially "vanilla", which vividly shapes the image of "beauty" dressed in vanilla and elegant manners. These images give people a beautiful feeling.

Vanilla and beauty, their external performance is calm, harmonious and unified. Qu Yuan painted a quiet and magnificent picture. He didn't criticize and accuse in a fierce tone, but poured out the pain of heartbreak implicitly and resentfully by describing beautiful images.

The image of "vanilla beauty" echoes with deep and strong emotions, and the collision between beauty and sublimity is memorable, which is the aesthetic value of Li Sao.

The image of "vanilla beauty" perfectly interprets the clean and fragrant soul of Chu Ci, entrusts Qu Yuan's pursuit of lofty personality, and creates a romantic system in which beauty vanilla and "beautiful mind" are integrated, leaving a deep impression in the history of literature and having a far-reaching influence on later literature.

The poetry of Han Dynasty directly inherited the tradition of "vanilla beauty" expressing emotion and ambition, expressing love and hate. For example, "Jiangnan can pick lotus" in the folk song "Jiangnan" of Han Yuefu leads to a happy and comfortable feeling with lotus. At the end of the Eastern Han Dynasty, the five-character poem "Picking Hibiscus on the River" by literati used hibiscus and orchids to symbolize the sacredness of love and the nobleness of their own character, creating an elegant, pure and unsatisfied lyrical atmosphere.

During the Wei and Jin Dynasties, Cao Zhi used the image of "vanilla beauty" more flexibly in his poems. Cao Zhi is frequently used in the process of literary creation. The image of "vanilla beauty" shows the ease and satisfaction of life and reflects the gap between reality and ideal. With the change of life situation, Cao Zhi uses "vanilla beauty" as a metaphor in more poems to express the feelings of loss and hesitation caused by lack of talent and ambition.

Cao Zhi created a beautiful goddess image in his most famous masterpiece "Ode to Luoshen". The beauty of Luo Shen made the poet fall in love at first sight, but because man and God can't achieve the same result, they showed the impact of pursuing ideals and facing reality.

In addition to Cao Zhi's poems, the image of "vanilla beauty" can be seen everywhere in the literary works of the Six Dynasties. For example, in poems chanting for the bosom, the loyal character of a gentleman is described by fragrant grass as jade, or the lofty ambition and hard work of a soldier is symbolized by beauty; For example, in the poems about immortals, the illusory world surrounded by vanilla beauty masks the poet's inner anxiety and throbbing; In love poems, unforgettable love is used to set off the sadness of not meeting talented people, and traveling far to find women is used to pin the sadness that the dream of meeting the monarch and the minister cannot be realized.

The image of "vanilla beauty" has been enriched and developed in the literature of the Six Dynasties. At the same time, the expansion of images promoted the development of literary themes and creation, and also promoted the literary works of that period to have both formal beauty and implicit beauty.

The image of "vanilla beauty" embellishes the magnificent world of Tang poetry and Song poetry, enriches the connotation of poetry and adds artistic charm to poetry. The fragrance of vanilla and the charm of beauty decorate the colorful world of Tang poetry and Song poetry, and entrust the frustrated literati with their hope and pursuit of life in the dark living situation.

The significance of vanilla beauty in poetry and songs lies in that it can not only enhance the aesthetic significance of literary works, but also tell people that beauty is everywhere and eternal.

Because of this, "vanilla beauty" has won the pursuit of later scholars, can stand the test of time and the precipitation of history, and has enduring artistic charm.

The image of "vanilla beauty" lasts for a long time and exudes moving brilliance. There are countless literary works that use the image of "vanilla beauty" to enrich the connotation of works, shape characters and vent their inner feelings. In the process of inheritance and development, the image of "vanilla beauty" has also been injected with fresh blood by scholars of past dynasties, and the ideological connotation of "vanilla beauty" has been continuously sublimated.