The sense of life embodied in Qu Yuan's works is mainly manifested in two aspects. On the one hand, there is the sense of urgency of time and the cold sense of death in which time flies and beauty is late. In the face of the changing seasons of nature, which can trigger the human ****common sense of time and life consciousness, the ancient Chinese literati have been expressing the feeling of the beauty's sunset for a long time, and there has been no lack of people. But there is no one like Qu Yuan as the face of time flies and produce urgent and even fear of feelings.
Second, the patriotic spirit of Qu Yuan's literary works on the influence of later generations
Qu Yuan as a great patriot, patriotic poet for later generations. His deep and persistent patriotic fervor, adherence to ideals in political struggles, his willingness to die rather than give in, his pursuit of truth, and his spirit of boldly criticizing the reality have modeled the writers of later generations. There are many verses in Li Sao that express Qu Yuan's patriotic heart.
Jia Yi was banished to Changsha in early Han Dynasty after failing in his political struggle. When he passed by Miluo River, he felt that he had similar encounters with Qu Yuan and wrote a very sorrowful "Hanging Qu Yuan Fugue", which was a tribute to Qu Yuan on the one hand and cited him as a confidant on the other; on the one hand, he learned from Qu Yuan's spirit of creativity, and boldly exposed and scorned the dark reality of the society which was unable to distinguish between right and wrong.
Si Ma Qian, a great historian and writer, admired Qu Yuan even more, and wrote a biography of him in the Records of the Grand Historian, correctly recognizing his position in history.
He said: Yu read "Li Sao", "Heavenly Questions", "Invocation of the Soul" and "Mourning Ying", and grieved for his will. I was in Changsha when I saw Qu Yuan sinking into the abyss, and I couldn't help but weep and want to see him.
The Historical Records is a work of historical prose, which embodies the author's ideals, the author's feelings of love and hatred, and the pursuit of truth, which is precisely the inheritance of the great literary spirit of Qu Yuan.
After the two Han dynasties, the spirit of Qu Yuan was further developed in many writers. Li Bai, the great poet of the Tang Dynasty, admired Qu Yuan very much, and his spirit of defiance of the rich and powerful and resistance to reality was the inheritance and development of Qu Yuan's spirit.
In addition, Chinese poets and writers throughout the ages have always written generous and passionate patriotic poems when faced with national oppression. There were also many writers who, in dark political times, insisted on their ideals and struggles, did not hide their love and hatred, and even sacrificed their lives in political struggles, adding luster to the history of ancient Chinese literature. This great spirit can all trace its source in Qu Yuan.
Third, the romantic approach
Qu Yuan's romantic approach has had a profound impact on later generations of literary creation. In particular, Li Bai, the great romantic poet of the Tang Dynasty in China, consciously studied the positive romanticism of Qu Yuan's creative approach, Li Bai's poetry, but also a large number of Luo Zhi myths and legends, historical figures, the sun and the moon and the wind and clouds into the poem, which constitutes a picture of the magnificent and majestic.
Fourth, the creation of a new poetic style -- the tao style and a new style of poetry
For the works of Ch'u Ch'iu, not only does it have some ready-made five-word or seven-word sentences, but also lies in the fact that in addition to the two-word rhythm of the dun, a large number of three-word rhythms have been created and used. The emergence of the three-character dun rhythm is an opportunity for the four-character poem to be transformed into five or seven-character lines.
It can be said, therefore, that the Chu Rhetoric is the earliest poetic work that breaks the four-character stanzas, and in its uneven variety of stanzas, it includes the embryonic molds of the five- and seven-character poems, which give endless inspiration to the descendants. In addition, the Chu Rhetoric created a new style of poetry.
This form of poetry is freer and more varied than that of the Book of Songs, both in its syntax and structure, and is therefore able to shape artistic images and express complex and intense feelings more effectively.
As far as syntax is concerned, Chu Shi is mainly in miscellaneous language, breaking away from the traditional four-character syntax. In terms of language description, the Chu Rhetoric is good at rendering and describing, and the words are rich and rich, attaching great importance to the beauty of the external form, which created the conditions for the creation of the fugue literature in the Han Dynasty.
Chu Si also highlights the romantic spirituality, which is mainly manifested in the passion and exuberance of feelings, the pursuit of ideals, and the emergence of the image of the lyrical protagonist, the fantasy of imagination, etc., which creates a majestic and magnificent picture through fantasy, myth, and so on.
Fifth, the Dragon Boat Festival
According to the Records of the Grand Historian, "Qu Yuan Jia Sheng Lianzhuan", Qu Yuan (about 339 BC - about 278 BC), the end of the Warring States period, Danyang, Chu (present-day Zigui, Yichang, Hubei Province) people, was a minister of King Huai of Chu in the Spring and Autumn Period. His name was Ping (平), and his initials were Yuan (原), but his surname was actually Mi (芈), not Qu (屈).
Legend has it that Qu Yuan advocated for the promotion of the virtuous and the capable, the enrichment of the country and the strengthening of the army, and the alliance of Qi with Qin, which was strongly opposed by the aristocrat Zilan and others, so Qu Yuan was slandered and dismissed from his post, driven out of the capital city, and exiled to the Yuan and Xiang valleys.
While in exile, he wrote the poems "Li Sao", "Heavenly Question", and "Nine Songs", which were written with concern for the country and the people. In 278 B.C., the Qin army broke through the capital of Chu, Qu Yuan saw his country being invaded, and his heart was like a knife, but he could not bear to give up his country, so on the 5th of May, after writing his final work "Huai Sha", he threw himself into the Miluo River and killed himself, composing a magnificent movement of patriotism with his own life.
Qu Yuan cast the river, the local people heard immediately rowing boats to rescue ....... In order to send condolences, people swing boat above the river, and then gradually developed into a dragon boat race.
The people are afraid of the fish in the river to eat his body, they have to go home to bring the rice ball into the river, so as to avoid the fish and shrimp spoiled Qu Yuan's body, and later became the custom of eating rice dumplings.
Expanded information:
The Influence of the Chu Rhetoric on Later Generations
The Yangtze River basin, like the Yellow River basin, nurtured an ancient culture at an early age. After the rise of the Chu people, they became the representatives of this regional culture. As late as the Yin and Shang dynasties, the Chu people already had relations with the northern regimes; at the beginning of the Western Zhou Dynasty, it was said that Xiong Xiong had "served the King of Wen", and later Xiong Jie was sealed by the King of Chenggong in Chu ("Historical Records of the Chu Family").
This should be interpreted as a recognition by the Zhou dynasty of the actual control of the Jianghan region by the Chu people. By the Spring and Autumn Period, the Chu state had grown rapidly and annexed many states of all sizes in the middle reaches of the Yangtze River, becoming a force powerful enough to rival the entire Central Plains.
King Zhuang of Chu was one of the Five Hegemons of the Spring and Autumn Period, and at one time he had the ambition to take the Central Plains to the north. During the Warring States period, Chu went on to destroy Wu and Yue, and its power reached Hanzhong in the west and the sea in the east, making it the largest and most populous of all the Warring States states.
At one time, there was a saying that "the emperor of the Qin Dynasty, the king of the Chu Dynasty", meaning that the Qin and the Chu Dynasty were the most likely to unify the country. In the end, Chu was destroyed by Qin. But the anti-Qin uprising in Chu became the main force in the overthrow of the Qin dynasty.
The establishment of the Han dynasty can be regarded as the victory of the Chu people in a sense. The unification of Qin and Han culminated in the fusion of the cultures of the north and the south, and the formation of the great "Han race.
The Chu people, in the course of their development, continued to interact with the culture of the central plains. During the Spring and Autumn and Warring States Periods, the major cultural texts of the north, such as the Poetry, the Book, the Rites, and the Music, also became the object of study for the aristocracy of the Chu state.
The Zuozhuan records many examples of Chu people reciting or quoting the Book of Poetry. But on the other hand, the Chu culture has always maintained its own strong identity, which is significantly different from the culture of the Central Plains, and thus the Chu people have long been regarded as barbaric foreigners by the Central Plains countries.
And the Chu people themselves, in their reluctance to recognize the authority of the Zhou royal family, often called themselves, "I am barbaric."
Summary of the above, it should be said that: to the Spring and Autumn and Warring States period, Chu culture and the culture of the Central Plains, in fact, each has its own characteristics, each has its own strengths. If only in the field of art, the achievements of Chu culture is high. Literature is an aspect of art in the broadest sense.
The Chu Rhetoric, which we are going to discuss, is not only an oddball blossoming on the soil of Chu culture, but also represents the brilliant achievements of Chu culture. The general characteristics of Chu culture and especially Chu art, such as a strong sense of individuality, intense and turbulent emotions, and fantastical and magnificent forms of expression, are also presented in Chu Rhetoric.
In addition to the factors of Chu culture itself, some other factors also played a role in the form of Chu rhetoric. As mentioned earlier, after the Spring and Autumn period, the nobles of Chu were already quite familiar with the Book of Songs, which became part of their cultural literacy.
Qu Yuan's Ode to the Tangerine in the Nine Chapters, which is written in quatrains and uses the word "Ruoxi" at the end of every other sentence, can be regarded as an infiltration of the Poetry Classic style into the style of the Chu Rhetoric. During the Warring States period, the Zonghengjia (纵横家) were very active as they traveled and lobbied.
They "wanted to play with their lips and kisses, so they competed to make beautiful speeches in order to move the people", "the aftermath of the flow, gradually spread to the literary world, the complicated speeches and phrases, which are no longer contained in the simple style of the Poetry." --Lu Xun, "Outline of the History of Chinese Literature" in this section of the discussion, correctly pointed out the Warring States Zonghengzhongjia ornate and expansive rhetoric on the formation of the "Chu Rhetoric" influence.
Chu Rhetoric is a product of Chu culture, specifically, and inseparable from the creation of the great poet Qu Yuan.
Baidu Encyclopedia - Qu Yuan
Baidu Encyclopedia - Chu Rhetoric
Baidu Encyclopedia - Dragon Boat Festival
Edited on 2019-06-08
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Shortly describe the influence of Qu Yuan on later generations?
Qu Yuan's Li Sao is the first and longest lyrical poem in the history of Chinese literature, with more than 370 lines and more than one hundred and twenty-four hundred words in ****. The first half of the poem is the poet's life emotion, the second half of the poem describes a series of illusions such as God traveling to heaven in a mythological way. The whole poem runs through the ideal to resist the reality of the romanticism spirit degree, the myth, imagination, history and nature and kneaded together, to incense ask grass, beauty and so on one after another than the feelings of the poets, imagination rich and peculiar, the scene back to the bewilderment, constituting a wondrous and gorgeous picture, expressing the poet's exploration of the road to the future, "the road is long and the road is far away, I will answer the up and down and seek." If "The Book of Songs" opened up the trend of realism and stepped into the vast field of Chinese literature with steady steps, then "Chu Rhetoric" represented by Qu Yuan created the literary tradition of Romanticism and personalized writing method, and flitted between the lofty mountains and steep hills of Chinese literature with an ethereal figure.
5Likes-22Views2019-05-14
The influence of Qu Yuan on later literature
Qu Yuan is the first great patriotic poet in the history of China, the founder of Chinese Romantic literature, and is known as the "Ancestor of Chinese Poetry" and the "Ancestor of Rhetoric". He is known as "the ancestor of Chinese poetry" and "the ancestor of rhetoric". He was the founder and representative author of "Chu Rhetoric" and opened up the tradition of "Vanilla Beauty". The emergence of Qu Yuan marked the entry of Chinese poetry into a new era from collective singing to individual originality. His major works include Li Sao, Nine Songs, Nine Chapters, and Heavenly Questions. His "Chushu" is the source of Chinese Romantic Literature, and together with the "Classic of Poetry", it is called the "Wind and Sao", which has had a profound influence on the poetry of later generations. Qu Yuan's works had an even greater impact after the establishment of the Han Dynasty and its capital at Guanzhong, and the "Chu Rhetoric" continued to spread and develop, and the literature of the north gradually became Chuized. The emerging poems in five or seven lines were all related to Chusuo. The writers of the Han Dynasty were all influenced by "Chu rhetoric", and after the Han Dynasty, "Shao Sao" works were written throughout the generations, and the authors often used Qu Yuan's poems to express the block in their chests, and even used his encounters as a metaphor for themselves, which was a direct development of Qu Yuan's literature. In addition, Qu Yuan's life story as the theme of poetry, songs, lyrics, songs, drama, qin rhetoric, opera, drama, etc., and painting art such as Qu Yuan like, "Nine Songs", "Heavenly Questioning", etc., is also difficult to count. That is why Lu Xun said that Qu Yuan's works were "outstanding in the world" and that "his influence on later writings was even greater than that of the 300 Psalms" (Lu Xun, "Outline of the History of Chinese Literature"). The famous poet Guo Moruo once wrote a play called "Ode to Thunder and Lightning" to commemorate his deeds. As a great poet, Qu Yuan's emergence not only marked the entry of Chinese poetry into a new era from collective singing to individual originality, but also his pioneering of a new poetic style, Chu Rhetoric, which broke through the expressive form of the Book of Poetry and greatly enriched the expressive power of poetry, opening up a new world of poetic creation in ancient China. The later generations also called "Chu Rhetoric" and "Classic of Poetry" together as "Feng and Sao". "Wind and Sao are the source of the two fine traditions of realism and romanticism in the history of Chinese poetry. At the same time, Chu Rhetoric, represented by Qu Yuan, also influenced the formation of Han Fu.
19Likes-2,896Views2018-05-23
Qu Yuan's Influence on the Literature of Later Generations
Qu Yuan is the first great patriotic poet in the history of China, the founder of Chinese Romanticism, and is known as the "Ancestor of Chinese Poetry", He is known as the "Ancestor of Chinese Poetry" and "Ancestor of Rhetoric". He was the founder and representative author of "Chu Rhetoric" and opened up the tradition of "Vanilla Beauty". The emergence of Qu Yuan marked the entry of Chinese poetry into a new era from collective singing to individual originality. His major works include Li Sao, Nine Songs, Nine Chapters, and Heavenly Questions. His "Chushu" is the source of Chinese Romantic Literature, and together with the "Classic of Poetry", it is called the "Wind and Sao", which has had a profound influence on the poetry of later generations. Qu Yuan's works had an even greater impact after the establishment of the Han Dynasty and its capital at Guanzhong, and the "Chu Rhetoric" continued to spread and develop, and the literature of the north gradually became Chuized. The emerging poems in five or seven lines were all related to Chusuo. The writers of the Han Dynasty were all influenced by "Chu rhetoric", and after the Han Dynasty, "Shao Sao" works were written throughout the generations, and the authors often used Qu Yuan's poems to express the block in their chests, and even used his encounters as a metaphor for themselves, which was a direct development of Qu Yuan's literature. In addition, Qu Yuan's life story as the theme of poetry, songs, lyrics, songs, drama, qin rhetoric, opera, drama, etc., and painting art such as Qu Yuan like, "Nine Songs", "Heavenly Questioning", etc., is also difficult to count. That is why Lu Xun said that Qu Yuan's works were "outstanding in the world" and that "his influence on later writings was even greater than that of the 300 Psalms" (Lu Xun, "Outline of the History of Chinese Literature"). The famous poet Guo Moruo once wrote a play called "Ode to Thunder and Lightning" to commemorate his deeds. As a great poet, Qu Yuan's emergence not only marked the entry of Chinese poetry into a new era from collective singing to individual originality, but also his pioneering of a new poetic style, Chu Rhetoric, which broke through the expressive form of the Book of Poetry and greatly enriched the expressive power of poetry, opening up a new world of poetic creation in ancient China. The later generations also called "Chu Rhetoric" and "Classic of Poetry" together as "Feng and Sao". "Wind and Sao are the source of the two fine traditions of realism and romanticism in the history of Chinese poetry. At the same time, the Chu Rhetoric represented by Qu Yuan also influenced the formation of Han Fu.
1 Likes-458 Views2019-08-27
Briefly describe Qu Yuan's influence on later generations? - Find answers, come to Ask A Question
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The Influence of Qu Yuan's Spirit on Later Literati
Qu Yuan's Spirit Dazzles the Sun and the Moon Periodic Background Repeatedly Framed, Unrewarded, and Unfulfilled Qu Yuan's life spanned the periods of King Huai of Chu, King Huai of Chu, and King Haixiang, with his main activities taking place during the King Huai of Chu. This period was on the eve of China's unification. "The horizontal is the Emperor of Qin, the vertical is the King of Chu." Because of his aristocratic background, his knowledge of governance, and his skill in rhetoric, Qu Yuan was highly favored by King Huai of Chu in his early years, and he was ranked as the left disciple and the dafu of Sanlu. In order to realize the unification of the state of Chu, Qu Yuan actively assisted King Huai to change the law to make it stronger internally, and firmly advocated to unite Qi and fight against Qin externally, which shook the situation of all the vassals. However, due to the sharp contradiction between Qu Yuan and the corrupt aristocratic group of Chu on internal and external affairs, Qu Yuan was framed by a group of petty criminals and alienated by King Huai of Chu due to the jealousy of Shangguan Dafu and others. In the fifteenth year of King Huai's reign (304), Zhang Yi traveled from Qin to Chu and bribed Jin Shang, Zilan and Zheng Sleeve to act as traitors. At the same time, he deceived King Huai with the offer of 600 miles of land, which led to the break of diplomatic relations between Qi and Chu. After being cheated, King Huai was infuriated and sent troops to Qin twice, but both times were defeated. Qu Yuan was then ordered to send a mission to Qi to restore the old friendship between Qi and Chu. In the meantime, Zhang Yi once again traveled from Qin to Chu to break up the alliance between Qi and Chu, which failed to succeed. In the twenty-fourth year of King Huai's reign, the alliance of Qin and Chu was finalized, and Chu was put into Qin's embrace. Qu Yuan was expelled from Ying and went to the north of Han. In the 30th year of King Huai, Qu Yuan returned to Ying. In the same year, Qin asked King Huai to meet with him at Wuguan, and he was detained by Qin and eventually died in Qin. After King Hixiang took over the throne, he continued to implement the policy of surrender, and Qu Yuan was once again expelled from Ying, and exiled to the south of the Yangtze River, where he was displaced between the waters of Yuan and Xiang. In the twenty-first year of King Haixiang's reign (278 B.C.), the Qin general Bai Qi attacked Ying, and Qu Yuan, overwhelmed by grief and indignation, sunk himself into the Miluo River, sacrificing his life for his political ideals. Biography Worry about the country and the people Patriotism and love for the people Qu Yuan's works include Li Sao (离骚), Tian Wen (天问), Jiu Ge (九歌), Jiu Zhang (九章), and Zha Sheng (招魂), all of which amount to 23 pieces. Among them, Li Sao is Qu Yuan's masterpiece and the longest romanticized political lyric poem in the history of ancient Chinese literature. The "Heavenly Questions" is a rare and peculiar poem, which asks 172 questions to the heavens in a row, covering many fields such as astronomy, geography, literature, philosophy, etc. It shows the poet's bold skepticism of traditional concepts and scientific spirit of pursuing the truth. The Nine Songs is a set of music and songs for the gods based on folk ritual songs, in which a large number of images of gods are created, mostly love songs between humans and gods. Qu Yuan's works are the actual record of his struggle against the corrupt Chu aristocracy by adhering to the ideal of "beautiful government". His ideal of "beautiful government" is manifested in his works, that is, "to raise the virtuous and authorize the capable, to follow the rules and not to be quite" ("Li Sao"). The so-called "selecting the virtuous and conferring the capable" means selecting the truly talented people to govern the country regardless of their rank, opposing the Shih Ching Shih Lu (世卿世禄), and restricting the monopoly of the old aristocrats over the positions of power. He also cited the historical deeds of Fu Shu, a slave, Lu Wang, a butcher, and Ning Qi, a merchant, as examples to illustrate the rationality of selecting talents regardless of their status. Qu Yuan's ideal of "beautiful government" reflects his sharp confrontation with the corrupt aristocracy of Chu, and expresses his progressive demand for the elimination of bad government, the ultimate goal of which is to save the motherland from perishing and put Chu on the road of wealth and strength. Related to this, Qu Yuan's works also profoundly exposed the darkness of Chu politics, the decadence of the Chu aristocratic group and the mediocrity of the king, and showed his spirit of struggle to adhere to the ideals of "beautiful government" and the spirit of "not regretting even though he died nine deaths". At the same time, it shows his determination to devote himself to the motherland and to love the country and the people. Although Qu Yuan was slandered and even exiled, he always thought of the rise and fall of the motherland and the sufferings of the people, and hoped that the king of Chu would repent, strive for strength and become a rising lord. He knew that loyalty and uprightness would lead to trouble, but he always "tolerated but could not give up"; he knew that he was facing many dangers, and in the era of "Chu material Jin use", he could go to other countries to seek a way out, but he always refused to leave the state of Chu step by step. This shows his infinite loyalty to his motherland and his personality and will to "compete with the sun and the moon". Qu Yuan is one of the most admired and loved poets in Chinese history, and in 1953, he was listed as one of the world's "Four Great Cultural Celebrities", and was solemnly honored by the World Peace Council and people all over the world. Qu Yuan's Works A Romantic Poet with Far-Reaching Influence on Chinese Poetry Qu Yuan's Li Sao is the first and longest lyric poem in the history of Chinese literature, with more than 370 lines and 2,400 words. The first half of the poem is about the poet's feelings in life, and the second half describes a series of fantasies, such as traveling to heaven, in a mythological manner. The whole poem runs through the spirit of romanticism with the ideal to resist the reality, kneading the myth, imagination, history and nature together, sending the poet's feelings with the vanilla, beauty and other one after another, rich and peculiar imagery, the scene is bewildering, constituting a wondrous and splendid picture, expressing the poet's exploration of the future road, "The road is long and the road is far. ". If "The Book of Songs" started the trend of realism and stepped into the vast field of Chinese literature with steady steps, then "Chu Rhetoric" represented by Qu Yuan created the literary tradition of romanticism and personalized writing method, and flitted between the lofty mountains and steep hills of Chinese literature with an ethereal figure. Chu Rhetoric was a new poetic style after the Book of Songs, which broke the style of the four-character poem, absorbed the folk ballad form, and created a new and flexible genre, which had a profound influence on the later generations. In terms of Qu Yuan's identity in the society at that time, he was a politician, not a "poet" in the general sense; but in terms of his great creative achievements, he was the first great poet in the history of Chinese literature. There are many beautiful and touching works in the Book of Songs, but it is basically a mass and collective creation, with little expression of individuality. Qu Yuan's creations, however, were marked with his ideals, encounters, and sufferings, and the passion of his whole life was marked with a distinctive individuality. This marked a new era in the creation of Chinese classical literature. Qu Yuan was a poet of noble character. He cared for his country and his people, and is still highly regarded as a staunch patriot to this day. As a martyr to his ideals, he has inspired posterity; and his way of being in the world has been cited by later generations of upright men of letters as a model to be emulated. Qu Yuan's writings express strong and stirring emotions in his unrestrained style of writing. Qu Yuan's praise of his own personality is frank and capricious, and truly revealing; his singing of the love of the gods is passionate and full of passion; and his glorification of the sacrifice of the martyrs is impassioned and generous, and sad and heroic ....... In short, compared with the Poetry of the Book of Songs, which is generally more restrained and appears to be gentle and implicit in the expression of emotions, Qu Yuan's creative work shows to a considerable extent the liberation of emotions, which creates a brand-new need to be rich in vitality and powerful infectious force. Qu Yuan could not be satisfied with the prosaic writing techniques, but borrowed a lot of mythological materials from the Chu region, and used the fantasies of the Ch'i to make the poetic realm expand greatly, showing the characteristics of the grandeur of the grandiose. This opened up a new path for the creation of classical Chinese poetry. Later generations of poets with strong personalities and emotions, such as Li Bai and Li He. All of them were greatly inspired by it. In terms of poetic form, Qu Yuan broke the system of the Poetry Classic, which was based on neat four-character lines and was short and simple, and created the "Sao Style Poetry", which could be either long or short, and was grand in length and rich in complex connotations, which was of great significance as well. The emergence of Qu Yuan not only marked the entry of Chinese poetry into a new era from collective singing to individual originality, but also created a new poetic form, Chu Rhetoric, which broke through the expressive form of the Book of Songs, greatly enriched the expressive power of poetry, and opened up a new world of poetic creation in ancient China. The later generations also called "Chu Rhetoric" and "The Book of Songs" together as "Wind and Sao". "Wind and Sao are the source of the two fine traditions of realism and romanticism in the history of Chinese poetry. At the same time, the Chu Rhetoric represented by Qu Yuan also influenced the formation of Han Fu. Zigui - the poet's hometown Zigui is the hometown of Qu Yuan, the great poet of China's old Warring States period, located in the northern bank of the Yangtze River in the foothills of the Woliu Mountain, surrounded by walls, resembling a tilted gourd, with a strong classical architectural style. Therefore, it is called "Gourd City". And because of the city walls are made of stone stacked and formed, also known as "stone city". The Han Dynasty began to set up the county, the Tang Dynasty had set up the state of zigui, the Republic of China in the first year of the state county, the Republic of China three years to zigui county, has been used to this day. Legend has it that the name of Zigui County came from Qu Yuan. Qu Yuan had a sister, Qu Yuan was exiled before, she had specially rushed back to comfort his brother, its feelings and scenes, touching. In order to show respect to this virtuous sister, the descendants changed the name of the county to "sister return" and then evolved into the present "zigui".
9Likes-1,007Views2017-03-29
Analyze the artistic characteristics of Qu Yuan's Li Sao in the context of the work and its influence on later generations?
"Li Sao" has extremely high artistic achievements, which are discussed in several aspects below. First, Li Sao develops the art of lyric poetry, and takes the shaping of the poet's self-image as the main artistic goal of the poem In other words, the image of the lyrical protagonist in the poem is the author's self-image. Most of the works in the Book of Songs are lyrical poems, which laid the foundation of lyrical poetry in China and cultivated the artistic tradition that classical poems in China are mainly lyrical. However, most of the works in the Classic of Poetry, especially the folk songs in the Classic of Poetry, are collective compositions, which often touch the scene, improvise and express emotions, and what they portray is the character image in a particular situation, which is relatively simple. The Li Sao is different, for it is a huge piece of writing that shapes the poet's self-image, and therefore it has the potential to fully and completely reflect the poet's own character, hobbies, ideals, pursuits, and struggles. We know that the Qu Yuan's historical data survived less, we know today the poet's image, and even his life, mainly based on the study of his works, first of all, "Li Sao" in the specific method: 1, the poet is good at using the surrounding environment to accentuate the image of the lyrical protagonist, make it more distinctive and prominent: for example, in the poem wrote: "But the party's stealing pleasure Ruoxi, the road is hidden and dangerous. The path is obscure and dangerous. I am not afraid of the calamity of my body, I am afraid of the defeat of the royal carriage! Suddenly, we run to and fro, and the former king's heel. The sign does not recognize Yu's middle feelings, but believes in slander and fragmentary anger. I am aware of the danger of the謇謇兮, but I can't give it up. It is only for the reason of spiritual cultivation that we point to the nine heavens as the right thing to do! It is said that the twilight will last for a certain period of time, and that the Qiang Zhongdao will change its path. The first both with the Yu into words Ruoxi, regret to hide and have other. It is not difficult for me to part with you, but I am saddened by the counting of the Spiritual Exercises. In this stanza, there are actually three images: the poet, the party members, and Tsuen (or Lingxiu, referring to the king of Chu). The poet not only writes that "Yu" (I, in fact, the poet's ego) runs for the future of the country and is not afraid of getting into trouble because of his uprightness, thus positively portraying the lyrical protagonist as a patriot, but he also puts this image in the context of the party's secret pleasures, the king's faith and slander, and the capricious environment of the king of Chu. Moreover, this image is put in the environment of party members' sneaking, the king of Chu's slandering and capriciousness, so that the environment can set off the poet's patriotism and make it more prominent and distinctive. Another example is: All of us compete with greed, but we are not tired of seeking. The Qiang Nei forgives himself and measures others, but each is jealous of the other. The old man is going to be here soon. When the old man is about to die, I am afraid that he will not be able to establish a name for himself. Drinking the dew of the magnolia at dawn and eating the fallen flowers of the chrysanthemum at night. ...... Take the roots of wood to tie connections like precious metals, and the fallen stamens of the Perry Lai. The fungus laurel to sew and the cymbidium Ruoxi, the rope of kerchief. I'm not a worldly person, and I'm not a worldly person. Drinking dew and eating flowers and wearing herbs and trees are used to symbolize and compare the poet's noble character and moral pursuit. However, the poet first exposed the social reality at that time in the beginning that everyone was chasing fame and fortune, being greedy and envious of the virtuous and capable, and under this social atmosphere, the poet's character and morality appeared to be even more out of the commonplace and demonstrated that "the world is all turbid and I am alone clear, and everyone is drunk and I am alone awake". The poet's character and morality appear to be more out of the ordinary in this social climate, demonstrating the poet's image character of "all the world is turbid, I am only clear, all the people are drunk, I am only awake" (The Fisherman). 2. The poet is also good at putting the characters in the fierce contradictions and conflicts to shape. In the first part of Li Sao, the poet mainly portrays two types of characters: one is the poet himself, who is noble and incorruptible, with beautiful ideals, tenacious spirit of struggle and strong patriotic spirit. The other type is the king of Chu and his party, who are ignorant and vulgar, greedy and selfish, and who have formed a party of self-interest and cynicism against the wise and capable. Qu Yuan depicts the conflicts and struggles of these two opposing characters in a colorful, vivid and delicate way, so that good and evil, beauty and ugliness are distinctly expressed. What is more valuable is that the poet also shows the inner contradictions and conflicts of the characters through figurative language. After the failure of Qu Yuan's struggle in reality, many contradictions arose in his mind, whether to continue to adhere to his ideals and integrity, or to draw back and retreat, and to save himself whether to continue to stay in Ch'u or to go to Ch'u to seek for cooperation? The poet once said: "I regret that I did not pay attention to the way of Xiang Dao, and I am going to rebel against it. Back to my car to resume the road Ruoxi, and traveling lost not far." The meaning of the lost to know the way back. This shows that the poet's thoughts were indeed shaken. And he made use of the fictional character of the female destroyer to make some sincere criticism and advice to himself, that he did not have to be in the world of parties and selfishness, but also to maintain their own "all alone", the implication is that it is better to follow the common people. However, the poet's thoughts are contradictory, and he negates the mistress's orders by making a statement to Chonghua, and by reviewing history, he realizes: "Looking forward and backward, I am looking at the people's plans. Who is not righteous and available, and who is not good and convincing?" Finally, in this conflict of contradictions, the idea of pursuing "righteousness" and "goodness" won the victory, so the poet began to knock on the door of the emperor to seek the anonymous woman symbolizing the pursuit of "righteousness" and "goodness". The poet began to knock on the door of the emperor to seek the anonymous woman, symbolizing the pursuit of "righteousness" and "goodness". On the question of whether to go to the country or not, the contradiction and conflict are also sharp and intense. The poet designs the words of Lingxiang and Wuhan to express his inner struggle. Spirit tells him that the reality of Chu is dark and chaotic, and that there is no distinction between good and evil, so it is better to go to Chu. Wuxian said that he should stay in Chu to seek for cooperation. The poet carefully evaluated the two opinions and confirmed that the reality of Chu was really inaccessible, so he listened to the words of Lingxiang and began to "point to the West China Sea for a period of time" to travel to the gods. But when he glimpsed his homeland, he was saddened by the sadness of the servant, and finally "curled up in the Bureau of Gu but not", and stayed in Chu overcame the mentality of going to the country, and the idea of patriotism won the final victory. It is through this series of contradictory struggles that the poet accomplished the complete image and characterization of the lyrical protagonist, making it one of the most glorious and typical images in ancient Chinese literature. Qu Yuan's great creation, the art of lyric poetry to the summit of the apex, with epoch-making significance. Second, "Li Sao" is an outstanding positive romanticism Qu Yuan is an extremely emotional poet, passionate and rich in fantasy, which makes his work with a strong romanticism. Li Sao" is a great masterpiece of positive romanticism, which is structured with passionate and unrestrained feelings and strange and wonderful fantasies into a piece of light and strange, magical and fantastic, "gold and jade, unmatched in a hundred generations" (Wenxin Diao Long - Discussing the Sao), a fine art, which has thrilled millions of readers over the past thousand years. Li Sao is an outstanding work of positive romanticism, which is full of romanticism in the method of artistic expression. In the history of Chinese literature, romanticism originated from the myths and legends of ancient times. Although some of the works in the Book of Poetry are colored with romanticism, they are basically realism-oriented. By the time of Qu Yuan, the final