On the far-reaching influence of Li Sao in the history of China literature

Li Sao is the representative work of Qu Yuan, and it is an autobiographical lyric poem. The whole poem has more than 370 sentences and nearly 2,500 words. The word "Li Sao" has had several explanations since ancient times. Sima Qian thought it meant suffering. He said in Historical Records Biography of Qu Yuan and Biography of Jia Sheng: "Those who leave Sao are still worried." Ban Gu of Han Dynasty also said in Preface to Zan Li Sao: "Parting is still a shame and a kind of sorrow. I know that I am worried as a speech. " Wang Yi explained it as the sadness of parting, and the Preface of the Songs of Chu Lisao said: "Leave, never leave; Sao, sorrow; Meridian and diameter also; Say that you have exiled yourself and left, you are still worried about it, and you still follow the path and advise you with the wind. " These two kinds have great influence in history. After all, the age difference between Sima Qian and Qu Yuan is not far. There are many words "leaving you" or "leaving sorrow" in Chu Ci, and "leaving" cannot be interpreted as "leaving", so Sima Qian's statement is the most credible. It is generally believed that Li Sao was written when Qu Yuan left Du Ying for Hanbei. Historical Records Biography of Qu Yuan and Jia Sheng said that Qu Yuan was alienated by Wang Huai because of Shangguan doctor Jin Shangzhi. "Qu Ping's illness, not clever enough, flattery, evil songs harm the public, Fang Zhengzhi can't stand it, because of its sad Zen and write" Li Sao ". He also believes that Li Sao was written when Chu Huaiwang alienated Qu Yuan.

Li Sao reflects Qu Yuan's indignation at the dark and decadent politics of Chu, his sorrow that he loves the country and is willing to work for it, and his sorrow that he has been treated unfairly. The whole poem is full of sentimental feelings, and his anguish and sadness are ruthlessly repeated by generate, thus forming the characteristics of poetry in form. At first glance, there seems to be no distinction between arts and sciences, but it is actually a reflection of the development law of his thoughts and feelings. Li Sao can be roughly divided into two parts. The first part, from the beginning to "I can punish my heart", first describes my family life, thinking that I was born in a famous family and was born in a beautiful day, so I have "inner beauty". He persisted in self-cultivation tirelessly, hoping to guide the king, prosper the country and realize the ideal of "American politics", but he was wronged because of the slander of "party member" and the king's vacillation. Under the sharp conflict between ideal and reality, Qu Yuan said that "although he has not changed his body, there is still room for punishment", which shows his unshakable sentiment. The second half is wonderful. After telling Zhong Hua (Shun) his grievances, Qu Yuan began to "float up and down" and "float for women", but these actions ended in failure. The last flight, because I miss my country, I can't miss it anymore. These symbolic actions show Qu Yuan's difficult choice of where to go in his depression and hesitation, and highlight Qu Yuan's deep love for the country.

It is generally believed that the theme of Li Sao is patriotism and loyalty to the monarch. Sima Qian said, "Although I let you go, I care about Chu because I have a king in my heart and I don't forget to repay you. ...... three-in-one article. " (Historical Records Biography of Qu Yuan and Jia Sheng) In the first part of Li Sao, there are many poems that "care for the monarch", such as "only the grass and trees are scattered for fear that the beauty will die" and "it is said that the nine days are righteous and the husband is zork." Some metaphors about love and marriage are used in the poem, such as "If you talk for a long time, the Qiang people will change lanes." At first, I talked to Yu Chengyan and regretted having him. "This kind of disharmony between men and women is a metaphor for the gap between the monarch and his subjects. According to China's traditional ethical habits, the sadness of abandoning a wife is based on loyalty to her husband. Therefore, these poems can be interpreted as loyalty to Qu Yuan. The monarch is a symbol of the country to a certain extent, and only through the monarch can we realize our ideal of rejuvenating the country. Therefore, Qu Yuan's loyalty to the monarch is part of his patriotic thought. Qu Yuan's patriotism is linked with family feelings. For example, his deep affection for his ancestors is an expression of clan feelings. Qu Yuan's patriotic feelings are more manifested in his concern for the reality of Chu State. Qu Yuan, starting from the hope that Chu would be rich and strong, repeatedly urged the king of Chu to learn from the sages of the previous generation and learn from the lessons of the kings of past dynasties who were dissolute and misled the country, instead of focusing only on the immediate enjoyment and ignoring the serious consequences. For example, "Initiate nine debates and nine songs, and entertain yourself", as well as the following sentence, which lists the fate of "overturning" because of "entertaining yourself" and warns the king of Chu. He is also full of hatred for those treacherous villains who have entered the country by mistake. " Pepper is only used to take a breath, and it is also intentional. What should I do if I do it and then go into business? "The ignorance of monarchs and ministers put the situation of Chu in jeopardy. Worrying about the fate of Zongguo is a serious critical spirit, which is very cherished in Lisao.

In Li Sao, Qu Yuan sighed with emotion: "I will live in Peng Xianjia, since I am not satisfied with taking politics as beauty." This means that you will sacrifice your life for your ideal of "American politics". Of course, his ideal of "beautiful politics" cannot be fully expressed in a lyric poem, but we can still know some main contents from Li Sao. This is the virtuous minister of Mingjun * * * prospering the country. First of all, you can enjoy the country only if you have noble moral character. "Li Sao" said: "God is selfless, and I don't see anything wrong with people's morality. Husband is just a saint and philosopher, and he has to use it in the ground. " Secondly, we should choose the virtuous and appoint the competent, and dismiss the treacherous court official. In the poem, Shang Tang's Yu Xia is praised for "cultivating talents and giving them talents, but not being equal", and Fu Shuo, Lv Wang, Ning Qi, Bai Xixi, Yi Yin and other humble examples are cited to satirize the king of Chu. In addition, Li Sao's criticism of reality is: "the work of setting customs, ingenuity, and regulation." Chasing songs with rope ink and fighting for weeks. " The so-called "rules" and "rope ink" show that Qu Yuan attaches importance to system and law, and the cultivation of statutes is also one of the contents of his American Politics. In a word, compared with the reality of Chu, Qu Yuan's ideal of "beautiful politics" is more progressive and conforms to the historical development trend. Of course, Qu Yuan's obsession with "the combination of two beauties" and economic harmony is also related to his own sense of life experience. Historical Records Biography of Qu Yuan and Jia Sheng said: "Qu Ping went straight to the right path, exhausted loyalty and wisdom to serve the monarch, and was poor in the world. Believe and see doubt, be loyal and slander, can you have no complaints? " The distrust of the king of Chu and the alienation of ministers led to discord between the monarch and the minister, which was the crux of Qu Yuan's tragic life. Therefore, in his poems, he repeatedly chanted the sages and ministers, which was actually a sharp criticism of Chu's real politics, a deep lament for his unfortunate life experience, and full of grief and indignation.

Li Sao has created a glorious image of a loyal and noble lyric hero for us.

I'll leave you if I can't get in. If you retreat, you will resume your first service. Making lotus is making clothes, and picking hibiscus is making clothes. I don't know. It's embarrassing. I feel like I believe it. High risk is at stake, and Pei is far away. Fang and Ze were mixed, but they didn't lose. ..... wearing colorful ornaments, numerous, fragrant and fragrant. People's livelihood has its own joy, and I am used to it. Although my body has not changed, how can I punish my heart!

From these herbs and decorations, we can see that it has self-motivated and independent personality. "The road is full of Xiu Yuan, I want to search up and down." The persistent pursuit of ideals is the external expression of his personality. Enthusiasm for exploration and anxiety about unfinished business are all caused by cherishing limited time. "If I am not as good as me, I am afraid that my age is not with me." "I am as early as magnolia and as late as savage." The bad political environment made Qu Yuan fall into an extremely difficult situation, but he defended his ideal with sincerity all his life: "Gu Yu knows that cheating is troublesome, but he can't give up." "I am also kind. Although I died nine times, I still have no regrets! " It is under this strong self-confidence and fearless spirit that Qu Yuan can launch a sharp criticism on the King of Chu and the corrupt courtiers: "The mighty spirit of complaining about others' practice will never look at the hearts of her husband." "Only party member steals music, and the road is dangerous." The image of Qu Yuan is very prominent in Li Sao. His arrogant personality and unyielding fighting spirit inspired countless literati in later generations and became an important symbol of our national spirit.

The most striking thing about Li Sao is its two images: beauty and vanilla. The image of beauty is generally interpreted as a metaphor, or as a monarch, or as a self. The former is like "only the grass and trees are scattered, and the beauty is afraid of death", while the latter is like "many women are jealous of Yu Mei, so they say that Yu Hao is lewd". It can be said that Qu Yuan expressed his feelings to a great extent by writing stories about his abandonment of his wife, so the whole poem is sentimental and touching. The metaphor of husband and wife is vivid, deeply related to the situation at that time, and in line with China's traditional thinking habits. As early as the development of the concept of Yin-Yang and Five Elements in the Spring and Autumn Period of the Western Zhou Dynasty, husband, minister and woman were placed in the same position, which may have influenced Qu Yuan's creation. Li Sao is full of all kinds of herbs as decoration to support and enrich the beautiful image. At the same time, vanilla image, as an independent symbol, refers to the nobility of morality and personality on the one hand; On the other hand, it is opposite to evil grass and symbolizes both sides of political struggle. In a word, the image of vanilla beauty in Li Sao constitutes a complex and ingenious symbolic metaphor system, which makes this poem meaningful and lifelike.

"Li Sao" is an excellent description of self-seeking. The first death, after many gods, was finally banned by the emperor. The second time I passed away, I couldn't bear to leave because I witnessed my old country. The understanding of these two plots, according to the "spiritual atmosphere", means that Qu Yuan tried to leave Chu to find another place to realize his ideal, but he was unable to make it because he was homesick. These two distant deaths have magnificent scenes. Try to look at the description of this paragraph:

The dynasty began in Cangwu Xi and ended in Huxian Garden in the evening. If you want to stay less energetic, it will be dusk. I ordered Xihe to keep quiet, expecting but not demanding. Rummanmanqi Xiu Yuan Xi, I will search up and down. After drinking too much, the horses in the salty pond always rest on hibiscus flowers. When the wood breaks, blow the sun and chat with the sheep. 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 phoenix fly, 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. I ordered the emperor to turn it on and off, leaning against it and looking forward to it. It stops when it's warm, and it slows down. The world is difficult to distinguish between the turbid world, so it is beautiful and jealous.

Under the support of these sacred images, Qu Yuan is so calm and free, and his stalwart personality is more brilliant. It shows the persistence of one's own beliefs and the contempt for the secular. Therefore, these two distant deaths are both a symbol and a reflection of Qu Yuan's image. Liu Zhou's part about begging from women has been read the most. Judging from the whole poem Li Sao, what Qu Yuan felt was that the king was fatuous and the courtiers were in power. In fact, Qu Yuan was rejected by both the fatuous monarch and the courtiers. It is also in this desperate situation that Qu Yuan began the process of "searching up and down". After failing to ask for a woman, Lingqi encouraged him to look elsewhere with "two beauties must be in harmony". The failure to propose to women again and again is the projection of Qu Yuan's realistic experience in his poems. Therefore, the pursuit of women in the poem should symbolize the yearning for a wise monarch and a virtuous minister, and also show that although Qu Yuan was desperate, he did not give up his unremitting pursuit of his political ideal.

As a poetic symbol, "vanilla beauty" is the creation of Qu Yuan, but they are closely related to the local culture of Chu. "Nine Songs" is a witchcraft sacrifice song, which reflects the cultural custom of "believing in witchcraft and attaching importance to lewdness" in Chu in Hanshu Yiwenzhi. The basic plot of "Nine Songs" is "the love between man and god", and the success of sacrifice is often symbolized by the success of the love between man and god. The difficulty of the handover between man and god makes "Nine Songs" full of tragic colors; As an ornament for offering sacrifices or pleasing each other, vanilla is a symbol of pursuing love on the surface, but its core implies various religious situations; Since "Nine Songs" describes the things between man and god, it naturally assumes a lot of soaring plots to drive dragons and flies away. Qu Yuan is obviously familiar with the folk sacrificial culture in Chu, and the mature literary images in these folk cultures will inevitably have an impact on his creation. The most intriguing "looking for a woman" in Li Sao is quite similar to the plot of the love between man and god in Nine Songs. As for the details of vanilla and whirlwind, it is also very similar to Jiuge. These primitive literary images in Chu folk culture are not only used by Qu Yuan to describe reality, but also help Qu Yuan to enter the situation of ancient mythology or primitive religion, and realize the transcendence of reality through the experience of freedom and passion in the depths of history and human hearts.

Compared with The Book of Songs, Qu Yuan's works also have new features in form. The form of The Book of Songs is neat, unified and heavy, while Qu Yuan's works are fresh, vivid, free and of different lengths. This form is based on the study of folk literature. Before Qu Yuan, the sentence patterns of popular folk songs in Chu were uneven, and the word "Xi" was used in the sentence or at the end of the sentence, such as Shuo Yuan Shan Shuo. There is a direct relationship between Li Sao and Tian Wen. Obviously, the study of Li Sao draws lessons from the formal characteristics of Chu Ci. Not only that, Lisao also absorbed a large number of Chu dialects. Huang's preface to Yi Sao says, "Qu and Song Sao wrote Chu language and made Chu sounds." He also cited "Zhu, Cai, Qiang, Zhu, Bian, Fan, Ci and Ci" as examples of Chu language, and "Frustrated and tragic, or rhyme or no" as examples of Chu sound. There are many Chu dialects in Lisao. Qu Yuan used these Chu dialects to enhance the vividness and vividness of this poem. At the same time, the various ways of using auXiliary words such as "xi" have also contributed to the changes of sentence patterns. These sentence patterns, coupled with euphemistic and light-hearted voices, are very suitable for the expression of various emotions and tones. Chu dialect also gives Li Sao a strong local color and adds flavor to life.

Qu Fu's artistic achievements also have a great influence on later generations. Lu Xun's Outline of the History of China Literature says that Qu Yuan's works are "outstanding and magnificent" and "there are even more than 300 works that have influenced later generations." Compared with The Book of Songs, The Songs of Chu reached a new artistic height, nurtured generations of writers, and had a far-reaching and extensive influence in the history of China literature.

First of all, Chuci created a new style of poetry, which is more free and changeable in sentence pattern and structure than the Book of Songs, so it can more effectively shape artistic images and express complex and intense feelings. As far as sentence patterns are concerned, Chuci is dominated by miscellaneous words, rich in words, and attaches importance to the aesthetic feeling of external forms, which creates conditions for the emergence of Fu literature in Han Dynasty.

Secondly, Chu Ci shows the romantic spirit. This romantic spirit is mainly manifested in warm feelings, the pursuit of ideals, the prominence of the lyric hero image, fantasy imagination and so on. Another romantic feature of Chu Ci is that it creates magnificent scenes through fantasy and myth. The spectacular celestial patrol in Li Sao, with Wang Shu as the pioneer and Fei Lian as the subordinate, has an extremely bold and strange imagination, which makes Qu Yuan's self-image look lofty, noble and exciting. Due to various reasons, China ancient myths are rarely handed down from generation to generation, and Chu Ci, especially Tian Wen's Chu Ci, is a relatively concentrated place for China to preserve mythological materials. There are many myths or mythical images in Li Sao, Jiu Ge and Evocation, which make the poems show ethereal, fantastic and magical aesthetic characteristics and have a great influence on later poets such as Li Bai and Li He.

Thirdly, the symbolism of Chu Ci has a great influence on the literary creation of later generations. The typical symbolic image in Chu Ci can be summarized as the beauty of vanilla, which is the inheritance and development of metaphor in The Book of Songs, with richer connotation and more artistic charm. As Wang Yi said, "Good birds and strange grass match loyalty; Compare bad birds with smelly things; Spiritual beauty, in order to compare with jun; Fu Fei's wife is a good example; Yi Long is monogamous to be a gentleman; The clouds are neon, I thought it was a villain. " It has become a common creative technique in the history of China literature. The image of vanilla beauty in Chu Ci is related to a deep tradition of witch worship, which contains some primitive religious emotional experiences, such as the difficulty of the handover between man and god and the tragic spirit of the nine songs. Because of Qu Yuan's outstanding creative ability, the image of vanilla beauty is combined with Qu Yuan's life experience, personality spirit and emotional experience, making it more real and rich, winning the recognition of later scholars and forming a long-standing literary tradition of vanilla beauty. For example, Zhang Heng's Four Sorrow Poems helped Qu Yuan compare a gentleman to a beauty, while Cao Zhi's Ode to Luoshen "felt Song Yu's concern for the goddess of Chu, so he wrote a poem." Li He's poems are mostly vanilla beauties, such as Su Xiaoxiao's tomb. Pu Songling, who has never met in his life, wrote Strange Tales from a Lonely Studio to render the flower demon and said, "If you know me, you are in the black forest!" (Introduction to Strange Tales from a Lonely Studio) is obviously influenced by the tradition of vanilla beauty in Chu Ci.