Historical Changes of Hsihe

Xihe's social role in that era was not only to worship the sun god, it also shouldered the observation of the sun and moon, "to master the four seasons" of the astronomical calendar task, "Arts and Letters Classical Gathering," five volumes, cited the "Corpse," said: "The calendar maker, Xihe son. Shiben - for the chapter" also said: "Xihe made account of the day", Song Zhongzhi note: "account for its type of degree to also." Zhang Shu note: "account for the sun, account for the length of the sundial scene." That is, the use of sundials and other simple equipment for the measurement of the shadow of the sun, according to such materials, some scholars say that Xihe is China's oldest astronomer or management of astronomical officials. Shangshu - yao dian" also said: "yao nai order xi and, qinruo wu tian, calendar like the sun, moon and stars, respect to teach people time." Kong's biography said: Hsi, and the world in charge of heaven and earth and the four times of the official, since Tang Yu to three generations, the world of work. Here, although Hsi and divided into Hsi, and the two, some scholars believe that this is a myth of historicization of the practice, regardless of the rationality of this practice, it is worthwhile to affirm that it is for the people to set up another image of Hsi and the calendar officer. Xihe was developed from the classical imagery of God to an official position in the Han Dynasty (in the first year of the Beginning of the Kingdom, i.e., 8 A.D., Wang Mang changed the name of Dasnong to Xihe), and the myth was detached from its literary parent and applied to politics. It shows that the spread of myths in the Han Dynasty generated a new cultural form, which took place on the basis of identification with the myths of Shangzhi. On the one hand, new cultural pursuits stimulated the Han people's interest in myths, such as "the stream of yin and yang family covers the officials of Xihe, honoring HaoTian, in order to grant the people the time also." On the other hand, the "resurrection" of Hsi Ho's official position in the Han Dynasty was inseparable from its profound cultural background and social reasons, and this screwing with the myth of Shang Zhanyuan prompted the change of Hsi Ho's imagery.

There are three reasons for the change of Hsi Ho's image, one is that after the Han Dynasty, with the awakening of the overall consciousness of people, the gods tend to be secularized, and Hsi Ho's image has evolved and been applied to a variety of literary styles since then; the second is that the growth of the spirit of the nation has caused the literary consciousness to evolve in the conflict of cultures and the change of the times; and the third is that the growth of individuality breaks through the myths of the inherent attributes belonging to the collective. As a result of the interweaving of collective consciousness and individuality, Hsihe imagery began to shine in the Bacchus Garden of poetry, or Hsihe imagery became an important link in the history of the development of poetry, which inherited the archetypes and the spirit of the ancient myths, and created a new theme, thus making Hsihe imagery even more splendid.

The embodiment of xihe imagery in literary works was first seen in the Ch'u poem, "I make xihe mijiexi" and "xihe's not yet raised, if huahu what light?" Hong Xingzu in the supplementary note: "the day ride car driving with six dragons, Xihe Royal." Hsihe made his debut in creative literature. Although the creation of Hsihe's imagery in the Chu Rhetoric temporarily displaces Hsihe from the mythological archetype, he pours his own emotions into the design of this characterization, and Qu Yuan's personal will impregnates the entire poem. Qu Yuan compares himself to the sun god, he gives orders to the gods, walks the road of the sun god, sits in the car of the sun god, and lets Hsi Ho drive for himself, so Hsi Ho has become the emotional carrier for him to express his great ambition, Hsi Ho imagery and the poet's personality form a cross-reference to the poet's personal subjective aspirations expressed in the best way possible from the aesthetic side of the art, the imagery of Hsi Ho he picked up the public's acceptance. Therefore, in the later literary works, "The Record of the First Learning", Volume 1, cites "Huainanzi - Tianwenxun": "I stop Xihe, I rest six chi dragons, which is called the hanging car." Hsihe also appeared again as the image of the sun emperor, the sun riding on the car driven by six dragons, traveled to the moment of rest at dusk, began to enter the night, giving people an association, from this new change in Hsihe's imagery, it is not difficult to see that it has gradually become a collection of contemporaneous writers' creations, poets use Hsihe's expression of time imagery of their own similes and self-metaphors, not only expresses the passage of time and the personal sense of time and sentiment, but also records the poet's Therefore, it is said that the combination of time imagery about Hsi heralds a new aspect, changing the tone of the old myths and ushering in the arrival of a new era. In the collection of zhuzi, the literati have a special preference for the time imagery created by Hsi. At the same time the many recurrences of Hsi Ho's imagery indicate that there is an important symbolic underpinning behind Hsi Ho, the god of time and the god of character merged into one, constituting a meaningful link between time and the poet's emotions, so that Will Wright says:-"The imagery of light is then extraordinarily suited to represent the main symbol of the state of the mind's intent." For example, in Cao Zijian's "Festival Tour Fugue", "Contemplating Xihe's endeavor, complaining about Yao Ling's lack of light. Remembering that life is not eternal, it is like a frosty spring day." The Great Summer Fugue, "The Yan Di is in charge of the festival, Zhu Rong is in charge of the party; Xi He presses the bridle, and the South Sparrow dances in the balance." "The sad wind is sounding on my side, and Xihe has passed away without leaving me." In "A Book with Wu Jishong," "I wish to suppress the heads of the six dragons, and to hold the bridle of Xihe." Li He's "Drinking with the King of Qin": "Hsihe knocked at the sound of the sun and glass, and the ashes flew out of the ancient and modern world." In "Drinking Wine for the Sage," "Hsihe rides the six bridles, and the night of the book is never idle." In these poetic system, xihe refers to the imagery in the lamentation of the passage of time, expressed the poet's unrecognized talent, empty sense of the years trampled on and triggered by the elegance and sadness of the heart rhyme, by the xihe and the combination of different verbs for people to set up a group of time flies away from the mood. Hsi Ho's Fen Xun, Hsi Ho's Pressing the bridle, Hsi Ho's Passing away without staying, all depict the desperate feeling that time is no longer. Through an idealized mythological character, the conversion of different verbs, Hsi Ho is branched out from the mythological archetype and organically connected with the poet's purpose of creation, and what is to be expressed stays at the lamentation of time, which is precisely the development from the metaphorical function of the Sun and the Royal, and therefore it can be said that "the projection of the poet's autonomy in the myth." Another example is Xie Overlook's "Poem on Scattering Benefits with Ji Senjun's Clothing," "And residing in Xihe's power, I can make Changqing lie down." Yang Jiong's "The Fugue of the Bowls" "Xihe plays at dawn, and Taijian looks on." Li Bai's "Roc Fugue": "Pangu opens the sky and looks straight at it, Xihe leans on the sun and sighs in the evening." In "Ming Tang Fugue", "Then make Xuan Yuan sketch the map, Xihe practice the sun." "Changgexing" "Xihe without stopping whip, fame not early" and so on, the metaphorical phenomenon of Xihe and time to express a more humane words, in Cao Zhi poetry imagery on the basis of a new play, and sketched out a new picture, Xihe's leaning on the sun by sighing of anthropomorphism, but also with her commonly used props to depict such as week with ten "Qingdu "Xihe whips the white sun and returns to her car to rest on Fusang." Wu Lai "occasional reading lv Guo Zhi Fude fill the daluojia mountain map" "xihe woman help Zhu wheel, morning cock crowing day view standing." He Jingming's "Car Remote" "Xihe resides on its wheel, and you can see the sun at any time." Ouyang Xiu's "Hating Mosquitoes" "Xihe drives the sun car, and does not turn the hub at noon." Meng Jiao's "Feelings": "Xihe is on its wheel, and the four seas are lending their afterglow." Du Fu's "Two Cliffs of Qutang": "Xihe is near in winter, and I am afraid that the sun car will turn over." In "Climbing the Ci'en Temple Pagoda with the Duke", "Xihe whips the sun, and Shao Wu travels in the fall." The time of the flying speed past the performance of more visualization. Xihe's sun car, the Zhu wheel of the sun car, and the magical flying dragons all evolved into props for Xihe's sun control, presenting a more perfected mood, Xihe became the god of time, and she is the controller of time. "This primitive myth of the replacement of deformation, so that the original cultural implications continue to cool, change into a new form of art," after the poet's ingenious processing, after a natural and easy metaphorical transformation, Hsi and this imagery into a mark of the poet's psychological state, this vivid metaphor is not a description of the situation, but the poet's internal emotional support, Hsi and this imagery is a symbol of the poet's psychological state. This vivid metaphor is not a description of the situation, but the poet's inner emotional support, Xixihe imagery of intensive, intensive appearance, reflecting the poet's search, wandering history of the mind, drenched in the poet's true feelings.

The time symbolism of Hsihe imagery has become the object of the poets' concentrated depiction, and the repeated appearance of time imagery in the works reflects the poet's heart, a literature-specific emotions and aesthetic interests. The recurrence of time imagery in the works reflects a specific literary emotion and aesthetic interest of the poets. Hsihe has also become a classic imagery symbol reflecting the unique emotions of Chinese poets, which flashes in the poems of Zhandian at all times. This classic imagery is not an infinite repetition of meaninglessness; on the one hand, it utilizes people's feelings for traditional art forms to evoke past artistic experiences, and on the other hand, it creates new artistic realms in different time and space. This kind of imagery expresses the feelings of helplessness and despondency when life is disappointing, and the existence of this kind of imagery has a certain spatial form, which is placed in what kind of time and space coordinates. All reflect the poet's specific state of mind, Xihe and time imagery intentionally intertwined, expressing the complexity of the poet's indescribable emotions.

The replacement and transformation of the primitive myth of Hsi and the dynamic change of Hsi and the imagery have enriched the cultural connotation of poetry and made Chinese poetry go in the direction of idealization. Hsi and in the original culture under the influence of the poet's mysterious, reasonable thinking stereotypes, or both, communication between the author's mind and the cultural and psychological source of that far-occupied, in the later works of mythological thinking as a deep support, to mythological imagery, mythological structure and mythological plot as the main means of creation, through the awakening of the poet's individuality consciousness and the artistic reprocessing, Hsi and the image not only has the typical mythological qualities Through the awakening of the poet's individual consciousness and artistic reprocessing, Hsi Ho imagery not only has typical mythological qualities, but also makes the collective creation in this context have **** the same psychological experience and emotional height, and the continuous evolution of the archetypal myths is also a historical inevitability. The Confucianization of the myth of Xihe may have other causes. In early Chinese myths, women held an important place, as in the case of Xiwangmu and Nuwa. In matrilineal societies, women dominated population production, so the first people to create myths would naturally be branded with female fertility worship, and Xihe appeared in myths as a woman. When the matrilineal clan collapsed, material production replaced population production and gradually took over, men gradually stepped into the center of the power structure. In a patriarchal society, the male power in control of the cultural canon could not tolerate women's supremacy, so it is reasonable to change the exclusive status of women in early myths. There are two ways in which the patriarchal class tends to demonstrate its power. One is to make the goddesses subordinate to male power. For example, Nuwa was the originator of the creation of mankind, but in later times, the male hierarchy took the three emperors as the originators and subordinated Nuwa to Fuxi's wife. At the beginning of the myth, Hsi Ho was the goddess of the sun, who rode a dragon chariot through the sky. Later, Hsi Ho evolved from a sun goddess to the "wife of Emperor Jun", in order to realize the purpose of de-powering the female godhead. Later, Hsi Ho and Di Jun gave birth to the sun, which gave rise to a new sun god. In the matrilineal clans, the heirs knew only their mother, not their father. When the production of population gave way to the production of materials, men gradually realized the social status brought by their own physical strength, and their own value was recognized.

Male power in the myth of the goddess, naturally, will make Xihe for the wife of Emperor Jun intentionally correct. Even so, the dominant male culture does not seem to be able to accept that the female Hsi Ho is the god of the sun, and has such a prominent role as a god. Since there are honored God, there should be a special driver to show the honor, so, Xihe further evolved into the driving hand of the sun god. At this point, the sun goddess Xihe evolved into the wife of Emperor Jun and the day of the Royal. Secondly, the gender of the early mythological female deities was changed to make them as masculine as possible. Nuwa was changed to male by Zhao Yi of the Qing Dynasty, and Xihe was also re-gendered by the Shangshu.

After these corrections, the Sun God and the Sun God's Harness became two completely different godheads. Since the sun god could not be female, a new male sun god was created, and this god was the Dongjun of the Nine Songs. At this point, the Sun God, who dominates the earth with light and justice and brings hope to the earth, became a completely male symbol.

The transformation and evolution of the myth of Hsi Ho shows that early Chinese myths have progressed to a patriarchal society, and are now on their way to extinction. In the patriarchal clan society, the first people continued to the upper occupation of women's myths for intentional modification and embellishment, in order to serve the hierarchical ethics and values of the male-dominated society, which may be for the lack of myths in China's historical motivation. There are obvious differences between Chinese myths and the contemporaneous myths of ancient Greece, which could still produce many male myths in a patriarchal society, chiseling out the rich source of Western culture and literary imagination, while Chinese literature, in the process of Confucianization, rationalization and historicization, has gradually broken the wings of the most energetic imagination of literature, which is inevitably one of the major defects of Chinese literature. The sun and the moon are the two celestial bodies that have the closest relationship with human beings, except for the earth where human beings live. They have long been the objects of human nature worship.

The Classic of Mountains and Seas - The Great Desert West: A woman is bathing for the moon. Chang Xi, the wife of Di Jun, gave birth to twelve moons, and this is how she started to bathe the moon. Since Chang Xi, the wife of Emperor Jun, was the mother of twelve moons, there is no doubt that she would be the Moon God. Chang Xi, Hao Yi Xing, "Mountain and Sea Classic Paper Speech", "and Xi He when it is one person." Xihe is found in the "Great Desert South Scripture", from the scriptures, Xihe is the mother of ten suns, naturally, should be the sun god. But from the Guo note, Xihe is only the main god of the sun and moon. That is, Xihe and Changxi are regarded as one person.

If we look at the difference, Hsi Ho and Chang Hsi are the gods of the sun and the moon in the canonical records, so of course they should be regarded as two people. If the same from the main, Xihe and Changxi from the meaning of the word, in fact, is the word of the differentiation, as a person, it is not impossible. Such as Mr. Wu Qichang that: "Hsi and Chang Xi, but also the same person's name, the same story of change." From the world, many peoples in the early days have had the same word to refer to the phenomenon of the sun and the moon, see the French scholar Claude Lévi-Strauss, Structural Anthropology. The reason for this use of the same word to refer to the sun and the moon is that, in the eyes of the first peoples, they were both sources of light and of equal importance, and so they were often compared to each other. This is especially evident in the records of ancient Chinese texts. The Yi - Li Yun: "The sun and the moon are separated from the sky." Leaving means to be attached, to be attached. Yi - Departmental Rhetoric on the" also said: "County (hanging) elephant with the bright, no greater than the sun and the moon." It can be seen that the sun and the moon are the most obvious things in heaven and earth. The following is from the Departmental Rhetoric: "When the sun goes, the moon comes; when the moon goes, the sun comes; when the sun and the moon push each other, brightness is born." The sun and the moon became the thin spring of light between heaven and earth. "Things that have the same shape but different places are given one word." Thus the ancients used the same word to refer to the sun and the moon.

Similarly, it is believed that the sun and the moon were once referred to by the same word in ancient China. Mr. Mao Dun's "Mythological Studies" said, "The primitive people's conception of the sun and the moon had one characteristic, namely, that the sun and the moon gods were the essence of the sun and the moon, and that there was not another essence of the sun and the moon apart from the sun and the moon gods." It is more accurate to say that the ancients used to use the same word to refer to the sun god and the moon god. Judging from the fact that the husband of both the sun god, Xihe, and the moon god, Changxi, was Di Jun, it seems to have been revealed that they were once one and the same person. Since mankind was the first to enter a matrilineal clan society, accordingly, the first great gods were all female without exception. Therefore, Di Jun was merely a male spouse imposed on them. The fact that Xihe and Changxi share the same male spouse god may indicate that they were originally one god.

The name Chang Xi is actually a reversal of Xi He. The name Hsi He is a part of the Song, and Chang Xi is a part of the Yang, which rhymes with "through and through". Bamboo Book Chronicle: "Yang A", Note: "A and A." He turned to Yang, Judah and turned to Chang, and for the song and Yang through the turn. To the sun god xihe inverted name chang xi refers to the moon god, may mean that xihe initially refers to both the sun and the moon god, that is, Guo Pu note: "xihe cover the beginning of heaven and earth, the master of the sun and the moon also". Because in the literature, the positive and negative often refer to the same. Such as the "Classic of Mountains and Seas - the Great Desert North" "without the following", the same scripture and as "following no". The Hai Nei Jing, "Du Guang Zhi Ye", and the Hai Nei Xi Jing, "Guang Du Zhi Ye" in Guo's note. Shawen - Wushita - Yabu: "Yabu, Yimou made yabu in the beginning of the ancient world." In the Hai Nei Jing, Guo quotes the Shiben: "Mouyi made yagi." In addition, the Eastern Scripture of the Great Desert: "There is the country of the female and the mother of the moon." Hao Shuo: "The female and the moon mother is the genus of Xihe Changyi." Accordingly, Mr. Li Pingxin "oracle bone and gold stone text kaojie" that: "female and called the moon mother, undoubtedly is xihe", "xihe is actually the god of the sun and moon god". The Classic of Mountains and Seas - the Great Desert South Classic: "Beyond the Southeast Sea, between the sweet water, there is the country of Xihe. There is a woman named Xihe, who bathes in the Gan Yuan on square days. Hsihe, the wife of Emperor Jun, was born ten days." Guo Pu note: "Xiho cover the beginning of heaven and earth, the main sun and moon. It is also the reason that "(return to the Zang) Kai Divination" said: "the empty mulberry pale, the eight poles of the both Zhang, there is the Fu Xihe, is the master of the sun and the moon, the job in and out, for the darkness and light. Also said: 'look up to the sky, a bright and obscure, there is the officer of the Xihe, in order to master the four seasons, its later generations then this country. They made the sun and moon and took charge of them, and bathed and ran them in the sweet water, so that they could go in and out of Yanggu and Yuyuan, and the so-called world would not fail in their duties."

"Chu Rhetoric Supplement", Volume 1, "Li Sao Jing - Wang Yi Preface": "I want to stay in this spirit of Zuo Ruoxi, and the day is going to be late. I will make Xihe repress the festival and look at ?'? Gansu without pressing. Eastern Han Dynasty - Wang Yi's note: "Xihe, the day is also imperial." Song Hong Xingzu's supplementary note: "Yu Shinan quoted the Huainanzi as saying: 'I have stopped Xihe, I have rested on six chi dragons, and I have called it a suspended vehicle.' Note: 'The sun rides in the car, driven by six dragons, Xihe is in charge of it, the sun reaches here and is thinned in Yu Yuan, Xihe reaches here and returns.'"

The Primer, Volume 1, cites "Huainanzi - astronomy training": "I stop Xihe, I rest six chi dragons, it is called the suspension of the car." The original note: "The sun rides in a car, driven by six dragons, and Hsihe is in charge of it."

Shangshu - Yao Dian: "was appointed Xihe, Qin Ruohao Heaven, the calendar like the sun, moon and stars, and respectfully authorize people time."

The Book of the Later Han Dynasty (后汉书-崔駰传)："Atmosphere Nei Yu to cross the harsh Ruoxi, Xixi and suddenly to submerge in the sunshine." Li Xian's note: "Xihe, the day."

"Han Shu - Wang Mang biography": "renamed Dasnong said Hsihe, after more Nayan."

"Later Han Shu - Lu Gong biography": "Grandfather Kuang, Wang Mang when for Xiho, have the right to count, the number is said to be wise."

"Holding Park Zi - Appointments": "The day competition Xihe of the end of the scene, the evening shine Wangshu of the rest of the Yao."