Chapter 6 Qu Yuanwu
There is no dispute that Qu Yuan died for his country.
His persistent pursuit of American politics made him want to die.He is aesthetic, life, art, politics, can not tolerate the slightest flaw.He was intense all his life.But he can stay in the intense, take the intense as the norm, and unfold his dazzling richness.It is almost impossible to enter the experience of his life: who can have a pair of Qu Yuan's eyes?He is a witch, a ghost, a god, plants, trees, fish, insects, rain, snow, thunder and lightning, a walker in heaven, a patroller in rivers and lakes, and a questioner in the universe... The integration of heaven and earth in primitive religion is manifested in Qu Yuan in works. "Chu Ci" is roughly a whole, and it is difficult to imagine entering this "whole".This is not to say that the words are difficult to understand.From Wang Yi of the Eastern Han Dynasty, Zhu Xi of the Southern Song Dynasty to modern and contemporary collections of annotations and comments, it is relatively easy to grasp the literal meaning of "Songs of Chu". "Songs of Chu" contains works by Song Yu, Jing Chai and others following Qu Yuan.
In the early Han Dynasty, Jia Yi mourned Qu Yuan because of his political dissatisfaction.Sima Qian praised Qu Yuan's works, and his inner impulse was similar to that of Jia Yi.The image of Qu Yuan as a frustrated courtier is highlighted in Sima Qian's description.Prominence means: Qu Yuan's "this" image is easy to grasp.And it is easy to grasp that: the love-hate relationship between the literati and the king started with Qu Yuan, and the successors continued.It is the endless gaze of the successor that makes Qu Yuan Qu Yuan.
On the level of "beauty", due to the lack of primitive religious experience in Chu, Qu Yuan's figure in the middle of the text appears to be wandering and ethereal.Misty wandering itself is also beautiful.
Chu Ci is closely related to Chu Sheng, Chu Yue, Chu Wu, and Chu Customs, and those who can recite Chu Ci in Chu Sheng are said to have disappeared in the Tang Dynasty.
For more than 2,300 years, Qu Yuan's figure has been both clear and vague, fixed and ethereal.Qu Yuan is in various poses and with different expressions.He lives in the elastic space of Chinese.His works are multidimensional and have multiple orientations.
Qu Yuan cannot be exhausted.Reading Qu Yuan means unlimited growth.
"Li Sao", "Heavenly Questions", "Nine Songs", "Nine Chapters", etc. The reading experiences evoked by these chapters are very different. "Nine Songs" was originally a folk song for offering sacrifices to gods in the southern part of Chu State. It was refined by Qu Yuan into a lyric poem, a love song between man and god. "The Lord of Xiang", "Mrs. Xiang", "Mountain Ghost", "East Lord", "The Lord of the Clouds", "Shao Si Ming"...all of them are extremely beautiful chapters.
"Tun will come out of the east, shine on my threshold and Fusang. Caress the remaining horses and drive them away, and the night is bright and bright..." This is the image of the sun god Dongjun.
"Autumn orchids are green, green leaves are purple stems. The hall is full of beauties, and Yu Xi meets alone. When you enter, you don't say anything, and when you go out, you don't say goodbye. When you ride the returning wind, you carry the cloud flag. There is no sorrow, no sorrow, parting, no joy, no joy. We know each other..." This is the image of Si Ming, the virginal goddess of Si Ai Ai.Mucheng: Shao Siming and Qu Yuan, who appeared as a witch in the shrine, exchanged eyebrows.
The original beauty of "Chu Ci" can be found everywhere.
This article is full of leaks.
"Chu Ci" is the crystallization of southern culture.It is the fruit of northern culture: Fifteen national styles, but no "Chu style".In other words, "Chu Ci" is a product of the Yangtze River Basin and the Yellow River Basin.The two were called "Feng Sao" in the Han Dynasty, just like the Yangtze River and the Yellow River jointly nourished the children of China and gave birth to the Chinese civilization that lasted for hundreds of generations.
It is a four-character style, and "Chu Ci" is mainly five-character, six-character, and seven-character styles. The form is free and unrestrained, and the phonology is unique and beautiful.
It is a folk song, fresh and simple. "Songs of Chu" is a personal artistic creation, with complex images and powerful artistic conception, and the huge conflict in the poet's heart is laid out on paper.
He Qifang said: "There are also many excellent and moving works in the novel, but there is no one like Qu Yuan who uses his ideals, encounters, pains, passions and even his entire life to imprint an unusually distinctive personality in his works."
The beginning poet writes poems with life.The verses erupt with the impulse of life.
Judging from Qu Yuan's works, although he lived and died in the south, he highly recognized the history and culture of the Central Plains, and he did not have the mentality of "a small country with few people".At that time, the state of Chu was called "Nanman" and "Jingman" by the northerners.Quzi of Yuanxiang and Zhuangzi of Huaishui made great contributions to the spread of southern culture to the north.Lao Tzu's thoughts also spread from south to north.
The state of Chu perished, but the sound of Chu resounded throughout the land of China.
This historical phenomenon is quite metaphorical.Swords and guns can conquer the land, but they can't do anything to the culture; the chariots of the strong countries gallop thousands of miles, but the culture of the weak countries quietly counterattacks and drives straight in;
During the Spring and Autumn Period and the Warring States Period, there were many attacks in the north, while the south was relatively peaceful.The long life and rich culture in the south are isomorphic, and the power of flexibility is strong but invisible.
The north is masculine, and the south is feminine.
This may hide the mystery of China's special human geography.
The image of Qu Yuan revealed in the works is surrounded by flowers and herbs.His lingering confession also reveals a certain kind of tenderness.There are many men in Jingchu like this.Chu people are also tough, and after the fall of Chu, they became stronger and more unyielding.Characters like Xiang Yu who "strengthen the mountain and overwhelm the world" were born from the shameful memory of the Chu State: "Although Chu has three households, if Qin dies, Chu must die."
Xiang Yu is a power type, Qu Yuan is a culture type.Xiang Yu set fire to the Efang Palace, but Qu Yuan made the southern life implication and aesthetic atmosphere firmly rooted in the north.
Judging from the long-term trajectory of historical development, the disadvantage of swords and guns is the advantage of culture.Swords and guns must rust, and culture must shine.Perhaps it is the radiance of culture that rusts the swords and guns in storage.The flexible power of culture is towards the diversity of life and aesthetics.In other words, the essential power of culture is maintained by the diversity of life, and it almost instinctively rejects swords and guns.The demise of the Southern Tang Dynasty and the demise of the Northern Song Dynasty are typical examples.
The Han Dynasty "unified the world", and the Han people who lived a stable life were threatened by the Huns.The struggle and integration between the Han nationality and the ethnic minorities lasted for thousands of years.In a sense, this is also a serious opposition between life and guns.Modern political wisdom guards life with swords and guns.In ancient politics, this wisdom is still in the process of taking shape.Imperial power was both a driving force and a hindrance to its formation.
This is a big topic in Chinese history, and this article is limited to a few conjectures.
The "life situation" of ancient China is closely related to farming civilization...
The richness of Qu Yuan is determined by life in the south.The combination of heaven, earth, people, gods and witches in Qu Yuan was unimaginable in the Central Plains of the Warring States Period.The frequent wars in the Central Plains have made the idea of "controlling chaos" the mainstream thought. Confucius "blame the gods without speaking indiscriminately", which has a deep meaning: he is committed to shrinking the sky of value and making room for the unimpeded exercise of monarchy in the world.Qu Principle expands the space of "coexistence of man and god".The mythology of the Central Plains in the Spring and Autumn Period was also very developed, and many of them were involved in Qu Yuan's works.Qu Yuan's vision is the coexistence of man and god at the intersection of north and south.Pantheism, pan-shamanism, makes his brush touches full of magic.
The integration of man and god is towards the divinity and poetry of man, the richness of life and the richness of humanity.Divinity does not suppress human nature, but the combination of theocracy and monarchy suppresses human nature.Divinity is vague, but theocracy is certain.
It can be seen that Qu Yuan and Confucius have obvious complementary space.
Since the Qin and Han Dynasties, Chinese literati have looked up to Qu Yuan.There is a reason for these thousands of years of looking up, which is in line with the "law of sufficient reason".Qu Yuan is the beginning interpreter of the richness of human beings.Wang Yi said: "Qu Yuan's words are sincere and profound! Since the end of time, people who are famous for Confucianism and erudition have created Ci and Fu. They have to draw up their appearance and their ancestors' norms."
"Wen Xin Diao Long. Bian Sao" explained in detail: "So when he narrates love and resentment, he is depressed and easy to feel; when he talks about separation, he is sad and difficult to think about; when he talks about mountains and rivers, he follows the sound to get the appearance; When you meet at the time, you will wear the text. It is a piece of Jia chasing the wind to enter the beauty, and Ma Yang is strange along the slope. The poets in his clothes and quilts are not from the same generation."
Literati are susceptible, and literati complain, the source lies in Qu Yuan.Susceptibility means: enhance sensibility, feel the heaven, earth, man and god, and generate perception from feeling.Sensation and knowledge are connected together, and intellect (rationality) does not kill sensibility.Because Qu Yuan's eyes stretched across the sky and the earth, and his height was so high, the perceptual area he drew enveloped the literati of later generations, and from the literati, it spread to the scholars, and then affected the whole nation.To complain means: to have a deep grudge and to dwell in it.Where does the deep resentment come from?It comes from ideals, integrity, and talents.These three make it possible to dwell firmly in resentment.Only when people face pain can they have a "residence", otherwise, the pain will go away, the complaint will disappear, and the principle will become a compromise.This psychological model has been directly linked to Confucianism, and it has been passed down from generation to generation in China and has a profound influence.Excellent literati are almost all tough guys, who don't bow to fate and don't make deals with principles.He suffers and resents, but he can take root in the pain and resentment and make it last in writing.Qu Yuan is the earliest and most classic example.Deep resentment blooms colorful flowers of words, and the flower of words is the flower of life.
By the way: Qu Yuan's works are not "a combination of romanticism and realism".There is no such union, because Qu Yuan was not divided.Segmentation is a modern invention.
The history is full of mud and sand, and there are variations of sensitivity and complaints. For example, Zhu Xi criticized Yang Xiong's imitation of Chuci's works as "no disease, but strong moaning".Moaning without illness and flattering horses intentionally are two common problems of Han Fu.Qu Yuan's brilliance weakened in the Han Dynasty.He lay down in the Han Li books under the distorted gaze of the Han Fu authors, and jumped up again in the Tang and Song Dynasties...
The country complex and national complex of the ancient southern heroes are better than those in the north.Xiang Yu's return to his hometown, and he would rather die than cross Jiangdong, is another major case after Qu Yuan.Why did Qu Yuan throw himself into the river?Because he is from Chu.Chu's history of nearly a thousand years has cultivated his national complex.This complex includes the conscious, subconscious, and collective subconscious.The countries in the Central Plains have been in war for a long time, separated and united, and the national consciousness is weak. It is common for strategists to go to Qin Muchu.Confucius, Mencius, and Han Feizi all regarded states as states. Mr. Ma Maoyuan, a scholar of "Chu Ci", has a monograph on this.
Confucius' big vision made him have to downplay his Lu complex.However, the country tends to be unified, and the weak national consciousness is not feasible for the ideology of Confucianism. Who will fill this gap?It is Qu Yuan.This is not to say that Qu Yuan took the initiative to fill this vacancy.It was the literati and Confucians of the Han, Tang and Song dynasties who "embedded" Qu Yuan into the gap in history.Here, there is a complementary space for Confucius and Qu Yuan.The state of Chu was enlarged as "China".
Qu Yuan's love for the motherland is also "historic" and has moved China for more than two thousand years, and he did not force it personally. "Ode to Orange" says: "The empress is a beautiful tree, and the tangerines are obeyed. If you are ordered not to move, you will be born in the southern country. It is difficult to move deep, but you will be more ambitious. The green leaves are lush and colorful...You are young and have aspirations. Strange... Bingde is selfless, towering..."
The joy of patriotism is beyond words.This masterpiece written by Qu Yuan when he was young is the simplest and most moving poem among the poems about loving the motherland: moving because of its simplicity.She shines with the original brilliance of patriotism.To love so deeply, to take away his love is to take away his life.Without such patriotism, there would be no "Li Sao".The motherland, the King of Chu, and the living world where humans and gods coexist in the land of Jingchu are closely intertwined.Qu Yuan's patriotism comes first and he loves the king later, patriotism is the premise and cause.This "cause and effect relationship" is relatively clear.King Huai of Chu died, but Qu Yuan did not throw himself into the river.He sank in Miluo only in the year when Yingdu was destroyed.
To understand Qu Yuan's suicide, this is a traceable clue.
Qu Yuan's language art and performance art haunt Chinese literati of later generations.
The "structural contradiction" between American political idealists and kings and dignitaries originated from Qu Yuan.Throughout the feudal era, this origin of Qu Yuan was of great significance.
Maybe he went to the extreme of life, so that the later successors can stand firm in the suffering of life.Sima Qian, Ji Kang, Du Fu, Li Yu, Su Shi, Li Qingzhao, Cao Xueqin... are all suffering and laughing proudly in their lives.
In 1953, Qu Yuan was designated as one of the world's four major cultural celebrities by the United Nations.
The Dragon Boat Festival, one of the three major traditional festivals in China, originated from Qu Yuan.It is no accident that such a large country has left a festival for all the people to participate in for Qu Zi for more than two thousand years.Not long after he threw himself into the river, the custom of throwing zongzi into the river gradually took shape in the land of Jingchu. The motivation of the common people was simple and touching: don't let the fishes touch his body.Throw the zongzi to the fish, and he will be safe, sleeping at the bottom of the river, or coexisting with the waves of the Miluo River, flowing into the Yangtze River, and nourishing the vast land on both sides.Every year on May 5th, rice dumplings fall into the river like raindrops.Later, the whole of China became a habit. People missed him by eating rice dumplings and rowing dragon boats...
The Dragon Boat Festival is formed naturally among the people, not appointed by any emperor.This also shows that for thousands of years, the wishes and strength of the "little people" can gather into a torrent that no one can stop.
He is loyal to the king, but he is not foolish and loyal. His sentences of blaming the king abound.
But the husband and party members are happy to steal, and the road is dark and dangerous.
How can I be afraid of disaster, afraid of the emperor's failure!
——It is very dangerous for villains to form cliques for personal gain.Am I afraid of hurting myself?No, I am worried that the country will not be the country, and the king's car will be overturned because of the party members leading astray!
Qu Yuan also wrote in "Li Sao":
At the beginning, I talked to Yu Cheng, and regretted running away and having him.
It's not difficult for me to part with my husband, it hurts the number of spiritual cultivation.
——I said it well at the beginning, but I regretted it later.It is not a difficult thing for me to leave my country, but I feel sad because you are capricious, king!
In Qu Yuan's poems, "spiritual cultivation" and "beauty" often refer to King Huai of Chu. "Digitalization" means repeated changes.
The villain is capricious, "the number of hurting spiritual cultivation", doesn't it mean that King Huai of Chu and the villain are on the same level?So later some people criticized him from the standpoint of a king. For example, Ban Gu said that he "shows his talents and promotes himself" and "responsible to the king".Yan Zhitui even accused Qu Yuan of "showing off a tyrant".What they imply is that even if the supreme ruler is at fault, he should not be blamed, let alone exposed to the world.
The last two sentences of "Li Sao": "Since there is no such thing as a beautiful government, I will live in Peng Xian's place!"——Since good politics cannot conspire with the king, well, I will follow Peng Xian and go to the Looking for my home in the river...
It is worth noting that when Qu Yuan wrote these sentences, he was in his prime.In other words, he was already prepared to die, including the way of death.Jingchuduo river wetland, he and water are close, intimate.The people who commemorate him deeply understand him and keep the fish and shrimp in the water away from him.
Reading Qu Yuan's poems, it is not difficult to find that the culture at that time was already very developed.The cultures of the North and the South show a trend of blending, and poets, philosophers, and strategists strengthen this trend from different directions.The Seven Kingdoms are fighting for the hegemony, and they fight for a while, and get better again for a while.In terms of time, reconciliation is always more than war.From the beginning of the Warring States period to Qin's destruction of the six kingdoms, it took nearly two hundred years.Between countries, contacts are multifaceted, including cultural exchanges from official to non-governmental.Even in order to study the enemy, it is necessary to find out the culture of the other party. Otherwise, those thousands of strategists and debaters have been traveling around for many years. Where did their extensive knowledge and their ability to know themselves and the enemy come from?
It is quite interesting that competition for hegemony promotes cultural exchanges.
Qu Yuan's poems benefited from many, as well as folk songs passed down from generation to generation in Chu State.Confucius said: "Three hundred poems, summed up in one sentence, thinking is innocent." Siwuxie means that men and women miss each other, but they can be pure and innocent.
Even Qu Yuan's grievances are not lacking in the figure of beauties and the smell of vanilla, not to mention works such as "Mountain Ghost", "The Lord of Xiang" and "Mrs. Xiang".The tone is brisk, the picture is beautiful, and the emotion and appearance are vivid on the paper.The sentence patterns are eclectic, long and short. The famous "Xi" character is either in the middle of the sentence or at the end of the sentence, like an elf, like a little tadpole, swimming around, full of fun.Take the opening sentences of "Nine Songs. Mountain Ghost" as an example:
If someone is like the mountain, he will wear a stalk and bring a girl.
Both look at and laugh at, Zi Muyu is good at slimming.
The mountain ghost is a female deity, and this is her way of describing her beautiful and deeply affectionate lover. The word "Xi" in "Li Sao" is at the end of the sentence, and this poem is placed in the middle. The form is born from the content, and it is very comfortable to read.In just four sentences, men and women, including their clothing, expressions, figures, environment, and feelings, all came out.He does not use generalizations, but rendering and contrast, the corresponding analogy.
The nine poems in "Nine Songs" are all to be sung by wizards or witches.The witch culture in Chu State is particularly developed.
Poets often appear as women, probably because men in Chu at that time had a different gender consciousness than men today.Poet gender shifts are easy.There are many stories about witches and goddesses.
The sentence pattern of "Li Sao" is uneven, with great emotional ups and downs, and the intersection of lyricism and narrative. "Tian Wen" changed into a four-character poem, because he asked questions like a cannonball, which was rapid and coherent. "Nine Songs" praises the love between man and God with seven words, which are lively and agile. , "Huaisha", "Ai Ying" and other articles are very eclectic... Mr. You Guoen pointed out: This is a great liberation of poetry.
Great liberation is great development.Qu Yuan's spiritual spurt automatically disintegrates the poetic form that hinders this spurt.He was exiled three times in his life, and the total may have been more than 20 years. He staggered and traveled all over Jingchu, talking with gods and witches, plants, trees, fish, insects, birds and beasts, and his poetic concept and syntax were all "walked".Exile the poet.Dianpei wrote Huazhang.The pioneers pioneered in this way: the free jet of spirit seeks free expression.Form is content.Han Yu's "Preface to Sending Pangu" said: "Chu is a great country. Its death is also called by Qu Yuan." Death.He expresses the state of Chu with the sound of Chu, and the state of Chu has been reborn under his pen. "Tragedy is to destroy something of value for others to see." This destruction is also a reconstruction, bringing out the value of the destroyed thing to future generations.Qu Yuan expressed the south, but covered the north, sang the Central Plains with his clear and clear voice, and integrated the Central Plains.This was culturally ground breaking.The pioneers attract latecomers, but the pioneers are difficult to imitate.Song Yu has followed Qu Yuan's footsteps, and has become like Dong Shi imitating.Han Fu such as Dongfang Shuo's "Seven Remonstrances", Wang Bao's "Nine Cups", Liu Xiang's "Nine Sighs", and Wang Yi's "Nine Thoughts" have obvious traces of imitation.Numerous imitations prove the inimitability of talented poets.Qu Yuan is like a giant mixer standing between heaven and earth, with thunder, lightning and lightning as energy sources.Han Fu is to Chuci what the sound of frogs is to thunder, and what the light of fireflies is to lightning.The combination of Ci and Fu is the saying of the literati in the Han Dynasty.However, the contribution of Han fu writers is the wide dissemination of Chu Ci: Qu Yuan was written countless times by Han officials.
The Tang Dynasty ushered in the great liberation of poetic forms: Li Bai's ancient style poems, Du Fu's metrical poems, and five-character long poems all emerged suddenly, and the two peaks confronted each other.This shows that the top art is full of surprises, and it is only by surprise that it can emerge.Li Bai and Du Fu looked at Qu Yuan and got his charm, but he became a great master in his own life experience and aesthetic observation.The so-called creative inheritance, but the trajectory of this inheritance is complicated and confusing, and it has kept its mystery to us so far.After Li Du, followers imitated, tried to surpass, and queued up again... The "cumulative effect" of literature and art is obvious.
Some of Qu Yuan's inadvertent lyrical syntax has spread into today's written and spoken language, such as "眉眇眇", "Sorrow quietly", "Pian Mingming", which reminds people of today's "Quiet", "Rain", "cool".
Qu Yuan's works influenced Han Fu, and even Tang poetry and Song Ci. His free and unrestrained works are like excellent modern poetry.I think this has a lot to do with folk songs, the essence of which is also in folk songs.Folk songs, folk songs, and folk customs are all good things that have grown slowly over hundreds of years and thousands of years. The literati of the past dynasties have refined them, so there are many excellent works.But once the emperor intervened and the officials were ordered to dictate, the vibrant art would be doomed to decline, and artists would become tools of the feudal rulers.
The love between men and women in Qu Yuan's life is missing in the history books.
When Guo Moruo wrote about Qu Yuan, he put two women beside him, portrayed the beauty of Chanjuan, and portrayed the seductiveness of Zheng Xiu. Lenovo.
Liu An, King of Huainan in the era of Emperor Wu of the Han Dynasty, said in "Li Sao Biography": ""Guofeng" is lustful but not lewd, and "Xiaoya" complains but not chaos. Like "Li Sao", there are both."
This explanation was once quoted by Sima Qian, who cherishes ink like gold.The source of things is actually between lust and complaints.
In Qu Yuan's time, thought was active, emotion was unrestrained, art was free, the world was open, gods were kind, and nature was integrated.
There is no record that King Huai of Chu and King Qingxiang of Chu searched for evidence of "committing chaos" in Qu Yuan's poems.
There was Jia Yi more than a hundred years after Qu Yuan;
In more than a hundred years, there was the great Sima Qian...
On March 3, 2008, it was changed to Wangyan Zhai in Meishan