诗歌文集 》 楚辭 Songs 》
楚辭捲第一
屈原 Qu Yuan
“楚辭”又稱“楚詞”，是戰國時代的偉大詩人屈原創造的一種詩體。作品運用楚地（今兩湖一帶）的文學樣式、方言聲韻，敘寫楚地的山川人物、歷史風情，具有濃厚的地方特色。漢代時，劉嚮把屈原的作品及宋玉等人“承襲屈賦”的作品編輯成集，名為《楚辭》。並成為繼《詩經》以後，對我國文學具有深遠影響的一部詩歌總集。
楚辭，其本義是指楚地的言辭，後來逐漸固定為兩種含義：一是詩歌的體裁，一是詩歌總集的名稱（在一定程度上也代表了楚國文學）。從詩歌體裁來說，它是戰國後期以屈原為代表的詩人，在楚國民歌基礎上開創的一種新詩體。從總集名稱來說，它是西漢劉嚮在前人基礎上輯錄的一部“楚辭”體的詩歌總集，收入戰國楚人屈原、宋玉的作品以及漢代賈誼、淮南小山、莊忌、東方朔、王褒、劉嚮諸人的仿騷作品。
“楚辭”之名首見於《史記·張湯傳》。可見至遲在漢代前期已有這一名稱。其本義，當是泛指楚地的歌辭，以後纔成為專稱，指以戰國時楚國屈原的創作為代表的新詩體。這種詩體具有濃厚的地域文化色彩，如宋人黃伯思所說，“皆書楚語，作楚聲，紀楚地，名楚物”（《東觀餘論》）。西漢末，劉嚮輯錄屈原、宋玉的作品，及漢代人模仿這種詩體的作品，書名即題作《楚辭》。這是《詩經》以後，我國古代又一部具有深遠影響的詩歌總集。另外，由於屈原的《離騷》是楚辭的代表作，所以楚辭又被稱為“騷”或“騷體”。漢代人還普遍把楚辭稱為“賦”。《史記》中已說屈原“作《懷沙》之賦”《漢書·藝文志》中也列有“屈原賦”、“宋玉賦”等名目。
在漢代，楚辭也被稱為辭或辭賦。西漢末年，劉嚮將屈原、宋玉的作品以及漢代淮南小山、東方朔、王褒、劉嚮等人承襲模仿屈原、宋玉的作品共16篇輯錄成集，定名為《楚辭》。楚辭遂又成為詩歌總集的名稱。由於屈原的《離騷》是《楚辭》的代表作，故楚辭又稱為騷或騷體。
浪漫主義詩歌總集
《楚辭》作為我國第一部浪漫主義詩歌總集，由於詩歌的形式是在楚國民歌的基礎上加工形成，篇中又大量引用楚地的風土物産和方言詞彙，所以叫“楚辭”。《楚辭》主要是屈原的作品，其代表作是《離騷》，後人因此又稱“楚辭”為“騷體”。西漢末年，，劉嚮搜集屈原、宋玉等人的作品，輯錄成集。《楚辭》對後世文學影響深遠，不僅開啓了後來的賦體，而且影響歷代散文創作，是我國積極浪漫主義詩歌創作的源頭。
《楚辭》是我國第一部浪漫主義詩歌總集楚辭的主要作者是屈原。他創作了《離騷》《九歌》《九章》《天問》等不朽作品。在屈原的影響下，楚國又産生了宋玉、唐勒，景差等楚辭作者。現存的《楚辭》總集中，主要是屈原及宋玉的作品；唐勒、景差的作品大都未能流傳下來。
楚辭的特徵，宋代黃伯思在《校定楚辭序》中概括說：“蓋屈宋諸騷，皆書楚語，作楚聲，記楚地，名楚物，顧可謂之‘楚辭’。”這一說法是正確的。除此而外，《楚辭》中屈、宋作品所涉及的歷史傳說、神話故事、風俗習尚以及所使用的藝術手段、濃郁的抒情風格，無不帶有鮮明楚文化色彩。這是楚辭的基本特徵，它們是與中原文化交相輝映的楚文化的重要組成部分。
楚國文學總集
西漢劉嚮輯，東漢王逸章句。原收楚人屈原、宋玉及漢代淮南小山、東方朔、王褒、劉嚮等人的辭賦共十六篇，後王逸增入己作《九思》，成十七篇。該書以屈原的作品為主，其中《離騷》、《九歌》、《天問》等篇保存了較多的歷史資料和神話傳說，可供治史者參考。屈原（約前339～約前278），名平。初任楚懷王左徒、三閭大夫。因主張彰明法度，舉賢授能，聯齊抗秦，受懷王稚子子蘭及靳尚等人譖毀而革職。頃襄王時，屈原被放逐，他無力輓救楚之危亡，又無法實現政治理想，遂投汨羅江而死。《離騷》是屈原的代表作。這篇宏偉的政治抒情詩表現了作者的進步理想，為實現理想而進行的不懈鬥爭，和鬥爭中所遇到的挫折及自己的苦悶。屈原常常徵引歷史以抒發情懷，從中尋找經驗教訓，“上述唐、虞、三後之製，下序桀、紂、羿、澆之敗，冀君覺悟，反於正道而還己也。”其中有些地方可以和史書互相參證補充，例如《離騷》雲：“啓九辯與九歌兮，夏康娛以自縱。不顧難以圖後兮，五子用失乎傢巷。羿淫遊以佚畋兮，又好射天封狐。固亂流其鮮終兮，浞又貪夫厥傢。澆身被服強圉兮，縱欲而不忍。日康娛以自忘兮，厥首用夫顛隕。夏桀之常違兮，乃遂焉而逢殃。”此段所述夏代歷史相當完整，可與《左傳》互相參看，而補《史記·夏本紀》不言羿、浞之事的疏漏。此外，從《離騷》中關於羲和、望舒、飛廉、豐隆、宓妃的記述，也可窺見上古神話傳說的一斑；而“攝提貞於孟陬兮，唯庚寅吾以降”，則是考證古代天文歷法的資料。
《九歌》本為古代樂歌，相傳是夏啓從天上偷來的。屈原在民間祀神樂歌基礎上創作的《九歌》，襲用了古代樂歌的名稱，共十一篇。其中保存了關于云神、山神、湘水神、河神、太陽神等的神話故事，是研究上古民俗和楚文化的珍貴資料。
《天問》是一首長詩，它對自然宇宙和社會歷史提出的一百七十多個問題中，保存了許多神話傳說和古史資料。例如，關於鯀、禹治水的傳說所提出的一係列問題，就涉及鯀和鴟龜的關係，禹和鯀治水方法的不同，禹治水時曾得應竜之助，禹娶塗山氏女等細節；關於後羿的傳說所提的問題又涉及後羿射日，射河伯而妻雒嬪，被寒浞殺害等細節。關於商之始祖契，以及自契至湯的歷史，文獻資料十分缺乏。《天問》透露了許多關於這段歷史的重要綫索，其中涉及契、王季、王亥、王恆、上甲微等殷人先公先王的內容，尤為寶貴。
詩史地位
楚辭是在楚國民歌的基礎上經過加工、提煉而發展起來的，有着濃郁的地方特色。由於地理、語言環境的差異，楚國一帶自古就有它獨特的地方音樂，古稱南風、南音；也有它獨特的土風歌謠，如《說苑》中記載的《楚人歌》、《越人歌》、《滄浪歌》；更重要的是楚國有悠久的歷史，楚地巫風盛行，楚人以歌舞娛神，使神話大量保存，詩歌音樂迅速發展，使楚地民歌中充滿了原始的宗教氣氛。所有這些影響使得楚辭具有楚國特有的音調音韻，同時具有深厚的浪漫主義色彩和濃厚的巫文化色彩。可以說，楚辭的産生是和楚國地方民歌以及楚地文化傳統的熏陶分不開的。
同時，楚辭又是南方楚國文化和北方中原文化相結合的産物。春秋戰國以後，一嚮被稱為荊蠻的楚國日益強大。它在問鼎中原、爭霸諸侯的過程中與北方各國頻繁接觸，促進了南北文化的廣泛交流，楚國也受到北方中原文化的深刻影響。正是這種南北文化的匯合，孕育了屈原這樣偉大的詩人和《楚辭》這樣異彩紛呈的偉大詩篇。
《楚辭》在中國詩史上占有重要的地位。它的出現，打破了《詩經》以後兩三個世紀的沉寂而在詩壇上大放異彩。後人也因此將《詩經》與《楚辭》並稱為風、騷。風指十五國風，代表《詩經》，充滿着現實主義精神；騷指《離騷》，代表《楚辭》，充滿着浪漫主義氣息。風、騷成為中國古典詩歌現實主義和浪漫主義的創作的兩大流派。
註本是東漢王逸的《楚辭章句》。《四庫全書總目》說：「初，劉嚮裒集屈原《離騷》、《九歌》、《天問》、《九章》……而各為之註。」但劉嚮編定的《楚辭》16捲原本已佚。《楚辭章句》即以劉嚮《楚辭》為底本，它除了對楚辭做了較完整的訓釋之外，還提供了有關原本的情況。在《楚辭章句》的基礎上，南宋洪興祖又作了《楚辭補註》。此後，南宋朱熹著有《楚辭集註》，清初王夫之撰有《楚辭通釋》，清代蔣驥有《山帶閣註楚辭》，等等。他們根據己見，作了許多輯集、考訂和註釋、評論工作。
楚辭目錄
離騷 九歌 天問 九章 遠遊 卜居 漁父 九辯 招魂 大招 惜誓 招隱士 七諫 哀時命 九懷 九嘆 九思
九歌： 東皇太一 東君 雲中君 湘君 湘夫人 大司命 少司命 河伯 山鬼 國殤 禮魂
九章： 惜誦 涉江 哀郢 抽思 懷沙 思美人 惜往日 橘頌 悲回風
七諫： 初放 陳江 怨世 怨思 自悲 哀命 謬諫 亂曰
九懷： 匡機 通路 危俊 昭世 尊嘉 蓄英 思忠 陶壅 株昭 亂曰
九嘆： 逢紛 離世 怨思 遠逝 惜賢 憂苦 愍命 思古 遠遊
九思： 逢尤 怨上 疾世 憫上 遭厄 悼亂 傷時 哀歲 守志 亂曰
楚文化和楚辭的形成
長江流域同黃河流域一樣，很早就孕育着古老的文化。楚民族興起以後，成為這一地域文化的代表。至遲在殷商時期，楚人已經同北方政權發生關係；至西周初，據說鬻熊曾“子事文王”，後來熊繹又被成王封於楚（《史記·楚世傢》）。這應該理解為周王朝對楚人實際控製江漢地區的承認。至春秋時代，楚國迅速發展壯大，兼併了長江中遊許多大小邦國，成為足以與整個中原相抗衡的力量。楚莊王為春秋五霸之一，一度有北取中原之志。戰國時期，楚進而吞滅吳越，其勢力西抵漢中，東臨大海，在戰國諸雄中，版圖最大，人口最多。一度有“橫則秦帝，縱則楚王”的說法，意謂秦、楚二國，最具統一全國的可能。最後楚為秦所滅。但楚地的反秦起義，又成為推翻秦王朝的主要力量。漢王朝的建立，從某種意義上可以認為是楚人的勝利。秦、漢大一統，最終完成了南北文化的融匯，也由此形成了偉大的 “漢族”。
楚民族在其發展過程中，不斷與中原文化進行交流。春秋戰國時代，北方的主要文化典籍，如《詩》、《書》、《禮》、《樂》等，也已成為楚國貴族誦習的對象。《左傳》記楚人賦誦或引用《詩經》的例子，就有好多起。但另一方面，楚文化始終保持着自身強烈的特徵，與中原文化有顯著區別，因而楚人長期被中原國傢看作野蠻的異族。《小雅·采芑》記敘周宣王南徵楚國之事，說：“蠢爾蠻荊，大邦為讎。”並把 “蠻荊”與北方的玁狁並列。《魯頌·閟宮》又把楚人與北方戎狄並列，同作為應予嚴懲的對象：“戎狄是膺，荊舒是懲。”
而楚人自己，在不願承認周王室權威的時候，也往往自稱：“我蠻夷也。”（見《史記·楚世傢》）
一般認為楚文化比中原文化落後，這樣說不完全對。楚文化的興起也許比中原文化遲，但到了春秋戰國時代，楚文化的落後，主要衹是表現在國傢制度不夠成熟，尤其是用於維護統治秩序、等級關係的政治與倫理思想遠不及北方文化完密。——所以楚人需要引進有關的學說和典籍。與此相應，原始宗教——巫教的盛行，也可以看作楚文化落後的表現。但在其他方面，楚文化不一定落後，甚至有許多地方遠遠超過中原文化。理解這一點，對於理解楚辭十分重要。
首先應該註意到，南方的經濟條件較北方具有一定的優越性。《漢書·地理志》說，楚地“有江漢川澤山林之饒；江南地廣，或火耕水耨，民食魚稻，以漁獵山伐為業，果蓏蠃蛤，食物常足”。由於謀生較為容易，就可能有較多的人力脫離單純維持生存的活動，投入更高級更復雜的物質生産。所以至少在春秋以後，楚國的財力物力，已經明顯超過北方國傢。《左傳》記重耳奔楚，對成王說：“子女玉帛，則君有之；羽毛齒革，則君地生焉。其波及晉國者，君之餘也。”已可窺見一二。據歷史記載，楚是春秋戰國時擁有黃金很多的國傢。從近年地下考古發掘來看，戰國時代楚國的青銅器，足以代表先秦青銅器冶鑄的最高水平。至於楚地漆器、絲織品之精美，那是北方根本無法比擬的。屈原《招魂》中描繪楚國宮廷內極其奢華的享樂景象，當然也須有雄厚的物質基礎。同樣因為在南方謀生比較容易，途徑也多，不需要組成強大的集體力量以剋服自然，維護生存，所以楚國也沒有形成像北方國傢那樣的嚴密的宗法政治制度。據《韓非子》說，楚國的貴族也一直擁有比較獨立的勢力。這對於楚國同北方國傢的對抗也許是不利的。但另一方面，在這樣的生活環境中，個人受集體的壓抑較少，個體意識相應就比較強烈。一直到漢代，楚人性格的桀驁不馴，仍是舉世聞名。《史記》、《漢書》中，可以找到不少例子。
豐富的物質條件，較少壓抑而顯得活躍的生活情感，造成了楚國藝術的高度發展，這是楚文化明顯超過中原文化的一個方面。在中原文化中，藝術，包括音樂、舞蹈、歌麯，主要被理解為“禮”的組成部分，被當作調節群體生活、實現一定倫理目的的手段。因而，中庸平和被視為藝術的極緻。而楚國的藝術，無論娛神娛人，仍然都是在註重審美愉悅的方向上發展，充分展示出人們情感的活躍性。楚地出土的各種器物和絲織品，不僅製作精細，而且往往繪有豔麗華美、奇幻飛動的圖案。《招魂》、《九歌》所描繪的音樂舞蹈，也顯示出熱烈動蕩、詭譎奇麗的氣氛。舊楚地、今湖北隨縣出土的一套具備五個半八度的編鐘，被中外專門傢譽為“世界奇跡”，實際證明了楚國音樂及歌舞的發達。而北方的正統音樂，通常是限製在一個八度的音域範圍內的。
綜上所述，應該說：以春秋戰國時代而論，楚文化與中原文化，實是各有特點，各有所長。如果單就藝術領域而言，楚文化的成就為高。文學是廣義的藝術的一個方面。我們所要論述的楚辭，既是楚文化土壤上開出的奇葩，又代表了楚文化的輝煌成就。楚文化尤其楚國藝術的一般特點，如較強的個體意識，激烈動蕩的情感，奇幻而華麗的表現形式等等，也都呈現於楚辭中。
楚辭的形成，從直接的因素來說，首先同楚地的歌謠有密切關係。如前所述，楚是一個音樂舞蹈發達的地方。現在從《楚辭》等書還可以看到衆多楚地樂麯的名目，如《涉江》、《采菱》、《勞商》、《九辯》、《九歌》、《薤露》、《陽春》、《白雪》等。現存的歌辭，較早的有《孟子》中記錄的《孺子歌》，據說是孔子遊楚時聽當地小孩所唱：
滄浪之水清兮，可以濯我纓；滄浪之水濁兮，可以濯我足。
還有劉嚮《說苑》所載《越人歌》，據說是楚人翻譯的越國舟子的唱辭：
今夕何夕兮，搴舟中流。今日何日兮，得與王子同舟。蒙羞被好兮，不訾詬恥。心幾煩而不絶兮，得知王子。山有木兮木有枝，心悅君兮君不知。
這種歌謠到秦漢時還十分流行。如劉邦有《大風歌》，項羽有《垓下歌》。它的體式與中原歌謠不同，不是整齊的四言體，每句可長可短，在句尾或句中多用語氣詞“兮”字。這些也成為楚辭的顯著特徵。
但值得註意的是，楚辭雖脫胎於楚地歌謠，卻已發生了重大變化。漢人稱楚辭為賦，取義是“不歌而誦謂之賦”①（《漢書·藝文志》）。屈原的作品，除《九歌》外，《離騷》、《招魂》、《天問》，都是長篇巨製；《九章》較之《詩經》而言，也長得多。它們顯然不適宜歌唱，不應當作歌麯來看待。同時，這種“不歌而誦”的“賦”，卻又不是像散文那樣的讀法，據古籍記載，需要用一種特別的聲調來誦讀。這大約類似於古希臘史詩的“吟唱”形式。歌謠總是篇幅短小而語言簡樸的，楚辭正是擺脫了歌謠的形式，才能使用繁麗的文辭，容納復雜的內涵，表現豐富的思想情感。順帶說，現代人為了區別楚辭與漢賦，不主張稱楚辭為“賦”，這不無道理，卻不能說漢人這樣稱呼有何過錯。因為本來是先有“屈賦”而後有“漢賦”的。
漢人又有“賦者，古詩之流也”一說（見班固《兩都賦序》），當是為了攀附儒傢經典，兼考慮到賦的鋪張特徵。
楚地盛行的巫教，又滲透了楚辭，使之具有濃厚的神話色彩。據史書記載，當中原文化巫教色彩早已明顯消退以後，在南楚，直至戰國，君臣上下仍然“信巫覡，重淫祠”（《漢書·地理志》）。楚懷王曾“隆祭禮，事鬼神”，並且企圖靠鬼神之助以退秦師（見《漢書·郊祀志》）。民間的巫風更為盛行。《漢書·地理志》及王逸《楚辭章句》等，都言及楚人信巫而好祠，“其祠必作歌樂，鼓舞以樂諸神”的風俗。可見在屈原的時代，楚人還沉浸在一片充滿奇異想象和熾熱情感的神話世界中。生活於這一文化氛圍中的屈原，不僅創作出祭神的組詩——《九歌》，和根據民間招魂詞寫作的《招魂》，而且在表述自身情感時，也大量運用神話材料，馳騁想象，上天入地，飄遊六合九州，給人以神秘的感受。甚至《離騷》這篇代表作的構架，由“卜名”、“陳辭”、“先戒”、“神遊”，到“問卜”、“降神”，都藉用了民間巫術的方式。
除了楚文化本身的因素，其他一些因素對楚辭的形式也起了一定作用。如前所述，春秋以後，楚國貴族對《詩經》已經相當熟悉，這成為他們的文化素養的一部分。屈原《九章》中的《橘頌》全用四言句，又在隔句的句尾用“兮”字，可以視為《詩經》體式對《楚辭》體式的滲透。在戰國時代，縱橫傢奔走遊說，十分活躍。他們“欲以唇吻奏功，遂競為美辭，以動人主”，“餘波流衍，漸及文苑，繁辭華句，固已非《詩》之樸質之體式所能載矣。”——魯迅《漢文學史綱要》中的這一節論述，正確地指出了戰國縱橫傢華麗鋪張的文辭對《楚辭》形成的影響。
當然，“不有屈原，豈見《離騷》”（《文心雕竜·辨騷》）。
楚辭是楚文化的産物，具體說來，又離不開偉大詩人屈原的創造。
[代表人物]
《楚辭》的代表人物屈原（前340？－前278年），是中國文學史上最早出現的愛國詩人。 在《楚辭》初本的16捲中，屈原的作品占絶大部分，共收他的詩作820餘篇。包括《離騷》、《九歌》（11篇）、《天嚮》、《九章》（9篇）、《遠遊》、《卜居》、《漁父》、《招魂》等。其它8捲是，宋玉的《九辯》，景差的《大招》，及漢代賈誼的《惜誓》、淮南小山的《招隱士》、東方朔的《七諫》，嚴忌的《哀時命》、王褒的《九懷》、劉嚮的《九嘆》等。南宋朱熹在些基礎上編為《楚辭集註》，增入賈誼的《鵬鳥賦》、《吊屈原賦》兩篇；刪去《七諫》、《九懷》、《九嘆》等作品，朱熹認為這些作品缺乏真實的思想感情。他並把屈原的作品劃為“離騷類”，把其它作品劃為“續離騷類”，按原篇章次序編為8捲。 屈原的作品大致可分兩類：一類是《離騷》《九章》等在流放生活中寫的政治抒懷詩；一類是以《九歌》為代表的祭歌和反映詩人世界觀、人生觀的《天問》。 屈原的代表作《離騷》，是我國古代最長的一篇浪漫主義抒懷詩，也是 “楚辭”的代表作品。由此，世人稱“楚辭”為“騷體詩”，並與《詩經》並稱“詩騷”。《離騷》是詩人在遭第二次流放中，滿懷“信而見疑、忠而被謗”的委屈，凝聚憂憤、感慨於筆端寫成的。這首近2500字的長詩，敘述了詩人的身世和志嚮，通過表現詩人一生不懈的鬥爭和决心以身殉志的悲劇，反映了楚國統治階層中正直與邪惡兩種勢力的尖銳鬥爭，暴露了楚國的黑暗現實和政治危機，表達了他為國為民而戰鬥不屈，“九死而不悔”的精神。
內容梗概
《楚辭》中的《離騷》、《九歌》、《九章》、《天問》和《招魂》等共23篇，是屈原的作品（此外，還有宋玉等人的作品），絶大多數是楚辭體的詩，是我們現在所看到的《楚辭》的代表作。屈原的作品主要是以楚國的民間文學為基礎，結合自己的生活經歷和從政遭遇而寫出。簡述《九歌》藝術表現的特點。
一．屈原在《九歌》中既寫出了神的靈異，更寫出了神的“人性”，神性和人性統一在一起。如《湘君》、《湘夫人》，表現湘水之神相互愛慕追求卻終於不遇的波折變化的心境。抒寫神與神之間、神與人之間的戀愛故事，使祭神歌麯帶有儂儂的人間情味。二．敘寫神靈的活動和神靈的情感，描繪神靈的環境和氣氛，是一種清新幽眇的境界。
簡述《招魂》的藝術特色。
一． 結構精密完美。依據方位和事物層層鋪敘渲染的表現方式。二． 長於鋪排描摹，例如它寫四方的恐怖，羅列衆多可怕的事物，還描繪出它們可怕的形象。
試敘楚辭産生的相關要素。
一．與楚聲、楚歌有直接聯繫。楚辭即使不能歌唱，也要用“楚聲”來誦讀。楚辭的許多詩篇都有“亂”辭，它們都是樂麯的組成部分，更表明楚詞與楚樂有親密關係。二．楚辭的産生與楚國民間“巫歌”關係密切。宗教的歌舞，對楚辭有幾個方面的直接影響：1．《九歌》就是在民間祭神樂歌的基礎上加工而成的。2．祭神儀式中，巫師裝扮成不同的神祗，載歌載舞，就像戲劇一樣。這樣神秘浪漫而具有故事性的歌舞，對楚辭的構思和表現都有影響。如《離騷》寫惡鹹降神。3．民間祭神巫歌，富有神奇的想象或幻想，孕育着豐富的神話故事，這些都成為楚辭的養料和特徵。如《九歌》中的神鬼，《離騷》中的天界。
三． 楚辭中充滿着楚地風物的描寫，使用着道地的楚地方言等。 四． 楚辭是在南北文化交流的新的時代環境下，誕生於楚國的地域特色鮮明的新詩體。
以上種種，說明楚辭確乎是楚文化的産物，帶有濃厚的地域色彩。
試論楚辭的文體特點。
一． 從詩風言，鋪排誇飾，想象豐富，是楚辭的共同特徵。如《離騷》充滿奇幻不拘的想象，抒發真情層進反覆。
二． 從體式言，楚辭較之《詩經》，篇幅極大增長，句式也有四言為主變為長短不拘，參差錯落。
三． 就語言說，楚辭多用楚語楚聲，楚地的方言詞語大量涌現，另外，“兮”字、“些”字作為虛詞嘆語成為楚辭的一個鮮明標志。
試論《離騷》的思想內容。
一．“美政”理想和深沉的愛國情感。屈原嚮往“前聖”治國君明臣賢、君臣和諧的境界，提出“舉賢而授能兮，循繩墨而不頗”的具體治國方略。二．追求理想九死不悔的堅韌品和疾惡如仇的批判精神。貴族大臣群起而攻，迫害屈原，但屈原仁不放棄他的政治理想而苦苦追求，《離騷》寫他上天入地，尋求出路，就是他追求理想實現的形象描繪。批判精神在於他堅定不移地追求光明理想的同時，也直接揭批黑暗、指斥姦佞。
試論《離騷》的主要藝術特點。
一．濃烈的激情和奇幻的想象。《離騷》前半回顧往事，追憶身世、理想和遭遇，基本是寫實，但那些比興手法鋪敘誇飾自己的美好品質的詩句，已具有奇異想象的特色；後半寫對未來道路的探索，則更是火一樣的濃烈激情、忠貞深沉的愛國情感，通過奔騰飄逸、上天入地的想象淋漓盡致地噴發出來。二．潔純美、獨立不屈的抒情主人公形象。高貴的出身，崇高的理想，峻潔純美、獨立不屈的人格，及其異常濃烈的情感，構成了抒情主人公超凡脫俗的完美想象，具有象徵意味，表現了這篇抒情長詩的精神實質。 三．比興手法的拓展。它把《詩經》片段的比興發展成為長篇詩歌中比興的連續使用，還把《詩經》那種喻象、喻體各自獨立的單純比喻合二為一。在《詩經》基礎上拓展的寄情於物、托物抒情的表現手法，形成了我國文學中著名的香草美人的托喻手法的傳統，影響深遠。 四．結構特點。全詩都圍繞着，詩人忠貞不渝的故國情感和追求崇高理想九死不悔的精神來謀篇佈局的。前半部分回顧歷史，實寫，後半部分對理想之實現的探索，虛寫。 五．形式和語言特色。既采用了民歌形式，也汲取了散文的筆法，成為一種句式長短不拘、韻句散語相間的新的文學表現形式。《離騷》後半表現詩人的思想活動，往往設為主客問答，鋪排描寫。語言豐富多彩、雙聲疊韻比比皆是。
試論《九辯》的藝術特色極其與《離騷》思想、藝術上的異同。
一．《九辯》的思想境界不及《離騷》儘管它也有自標高潔的詠嘆和批判、揭露政局的黑暗，但是缺少屈原那種激切的情思和追求理想九死不悔的精神。面對不平際遇，他采取退守保身的態度，甚至感恩阿諛之嫌。
二．表現看，《九辯》不失為楚辭中一篇精品。A．長於鋪排描摹，並在描繪中創造較為圓融的意境。如開頭那段廣為傳涌的文字，渲染秋氣之肅殺肅瑟，草木衰落、山空水瘦，天高氣清的空闊凄疏之景等。詩人的際遇悲傷之感，被肅殺凄涼的秋景烘托得更加深切濃重。B． 細緻入微的刻畫描寫。寫落木之枝萎葉衰，從葉片到枝幹，由形態到色彩，都刻畫得細微真切。C．《九辯》的造語用詞也很可稱道。韻散相間，長短不拘，參差有緻
楚辭捲第一
離騷經
(屈原)
離騷經者。屈原之所作也。屈原與楚同姓。仕於懷王。為三閭大夫。三閭之職。掌王族三姓。曰昭屈原景。屈原序其譜屬。率其賢良以厲國士。入則與王圖議政事。决定嫌疑。出則監察群下。應對諸侯。謀行職修。王甚珍之。同列大夫上官靳尚。妒害其能。共譖毀之。
王乃疏屈原。屈原執履忠貞。而被讒邪。憂心煩亂。不知所愬。乃作離騷經。離。別也。騷。愁也。經。徑也。言已放逐離別。中心愁思。猶依道徑以風諫君也。故上述唐虞三後之製。下序乘紂羿澆之敗。冀君覺悟。
反於正道而還已也。是時秦昭王使張儀譎詐懷王。令絶齊交。又使誘楚。請與俱會武關。逐脅與俱歸。拘留不遣。卒客死於秦。其子襄王。復用讒言。遷屈原於江南。原放在草野。復作九章。援天引聖。以自證明。終不見省。不忍以清白久居濁世。逐赴汩淵。自沉而死。離騷之文。依詩取興。引類譬諭。故善鳥香草。以配忠貞。惡禽臭物。以比讒佞。靈修美人。以媲於君。宓妃佚女。以譬賢臣。虯竜鸞鳳。以托君子。飄風雲霓。以為小人。其詞溫而雅。其義皎而朗。凡百君子。莫不慕其清高。嘉其文采。哀其不遇。而愍其志焉。
帝高陽之苗裔兮。朕皇考曰伯庸。
攝提貞於孟陬兮。惟庚寅吾以降。
皇覽揆餘初度兮。肇錫餘以嘉名。
名余曰正則兮。字余曰靈均。
紛吾既有此內美兮。又重之以修能。
扈江離與闢芷兮。紉秋蘭以為佩。
汩餘若將不及兮。恐年歲之不吾與。
朝搴阰之木蘭兮。夕攬洲之宿莽。
日月忽其不淹兮。春與秋其代序。
惟草木之零落兮。恐美人之遲暮。
不撫壯而棄穢兮。何不改此度。
乘騏驥以馳騁兮。來吾道夫先路。
昔三後之純粹兮。固衆芳之所在。
雜申椒與菌桂兮。豈維紉夫蕙茞。
彼堯舜之耿介兮。既遵道而得路。
何桀紂之猖披兮。夫唯捷徑以窘步。
惟夫黨人之偷樂兮。路幽昧以險隘。
豈餘身之憚殃兮。恐皇輿之敗績。
忽奔走以先後兮。及前王之踵武。
荃不察餘之中情兮。反信讒而幾齌怒。
餘固知謇謇之為患兮。忍而不能捨也。
指九天以為正兮。夫唯靈修之故也。
曰黃昏以為期兮。羌中道而改路。
初既與餘成言兮。後悔遁而有他。
餘既不難夫離別兮。傷靈修之數化。
餘既滋蘭之九畹兮。又樹蕙之百畝。
畦留夷與揭車兮。雜杜衡與芳芷。
冀枝葉之峻茂兮。願俟時乎吾將刈。
雖萎絶其亦何傷兮。哀衆芳之蕪穢。
衆皆競進以貪婪兮。憑不猒乎求索。
羌內恕己以量人兮。各興心而嫉妒。
忽馳騖以追逐兮。非餘心之所急。
老冉冉其將至兮。恐修名之不立。
朝飲木蘭之墜露兮。夕餐秋菊之落英。
苟餘情其信姱以練要兮。長顑頷亦何傷。
攬木根以結茞兮。貫薜荔之落蕊。
矯菌桂以紉蕙兮。索鬍繩之纚纚。
謇吾法夫前修兮。非世俗之所服。
雖不周於今之人兮。願依彭鹹之遺則。
長太息以掩涕兮。哀民生之多艱。
餘雖好修姱以鞿羈兮。謇朝誶而夕替。
既替餘以蕙纕兮。又申之以攬茞。
亦餘心之所善兮。雖九死其猶未悔。
怨靈修之浩蕩兮。終不察夫民心。
衆女嫉餘之蛾眉兮。謠諑謂餘以善淫。
固時俗之工巧兮。偭規矩而改錯。
背繩墨以追麯兮。競周容以為度。
忳鬱邑餘侘傺兮。吾獨窮睏乎此時也。
寧溘死以流亡兮。餘不忍為此態也。
鷙烏之不群兮。自前世而固然。
何方圜之能周兮。夫孰異道而相安。
屈心而抑志兮。忍尤而攘詬。
伏清白以死直兮。固前聖之所厚。
悔相道之不察兮。延伫乎吾將反。
回朕車以復路兮。及行迷之未遠。
步餘馬於蘭臯兮。馳椒丘且焉止息。
進不入以離尤兮。退將復修吾初服。
製芰荷以為衣兮。集芙蓉以為裳。
不吾知其亦已兮。苟餘情其信芳。
高餘冠之岌岌兮。長餘佩之陸離。
芳與澤其雜糅兮。唯昭質其猶未虧。
忽反顧以遊目兮。將往觀乎四荒。
佩繽紛其繁飾兮。芳菲菲其彌章。
民生各有所樂兮。餘獨好修以為常。
雖體解吾猶未變兮。豈餘心之可懲。
女嬃之嬋媛兮。申申其詈予。
曰鯀婞直以亡身兮。終然夭乎羽之野。
汝何博謇而好修兮。紛獨有此姱節。
薋菉葹以盈室兮。判獨離而不服。
衆不可戶說兮。孰雲察餘之中情。
世並舉而好朋兮。夫何煢獨而不予聽。
依前聖以節中兮。喟憑心而歷茲。
濟沅湘以南徵兮。就重華而敶詞。
啓九辯與九歌兮。夏康娛以自縱。
不顧難以圖後兮。五子用失乎傢巷。
羿淫遊以佚畋兮。又好射夫封狐。
固亂流其鮮終兮。浞又貪夫厥傢。
澆身被服強圉兮。縱欲而不忍。
日康娛而自忘兮。厥首用夫顛隕。
夏桀之常違兮。乃遂焉而逢殃。
後辛之菹醢兮。殷宗用而不長。
湯禹儼而祇敬兮。周論道而莫差。
舉賢而授能兮。循繩墨而不頗。
皇天無私阿兮。覽民德焉錯輔。
夫維聖哲以茂行兮。苟得用此下土。
瞻前而顧後兮。相觀民之計極。
夫孰非義而可用兮。孰非善而可服。
阽餘身而危死兮。覽餘初其猶未悔。
不量鑿而正枘兮。固前修以菹醢。
曾歔欷餘鬱邑兮。哀朕時之不當。
攬茹蕙以掩涕兮。沾餘襟之浪浪。
跪敷裧以陳辭兮。耿吾既得此中正。
駟玉虯以乘鷖兮。溘埃風餘上徵。
朝發軔於蒼梧兮。夕餘至乎縣圃。
欲少留此靈瑣兮。日忽忽其將暮。
吾令義和弭節兮。望崦嵫而勿迫。
路曼曼其修遠兮。吾將上下而求索。
飲餘馬於鹹池兮。總餘轡乎扶桑。
折若木以拂日兮。聊逍遙以相羊。
前望舒使先驅兮。後飛廉使奔屬。
鸞皇為餘先戒兮。雷師告餘以未具。
吾令鳳鳥飛騰兮。繼之以日夜。
飄風屯其相離兮。帥雲霓而來禦。
紛總總其離合兮。斑陸離其上下。
吾令帝閽開關兮。倚閶闔而望予。
時曖曖其將罷兮。結幽蘭而延伫。
世混濁而不分兮。好蔽美而嫉妒。
朝吾將濟於白水兮。登閬風而紲馬。
忽反顧以流涕兮。哀高丘之無女。
溘吾遊此春宮兮。折瓊枝以繼佩。
及榮華之未落兮。相下女之可詒。
吾令豐隆乘雲兮。求宓妃之所在。
解佩纕以結言兮。吾令蹇修以為理。
紛總總其離合兮。忽緯繣其難遷。
夕歸次於窮石兮。朝濯發乎洧盤。
保厥美以驕傲兮。日康娛以淫遊。
雖信美而無禮兮。來違棄而改求。
覽相觀於四極兮。周流乎天餘乃下。
望瑤臺之偃蹇兮。見有娀之佚女。
吾令鴆為媒兮。鴆告餘以不好。
雄鳩之鳴逝兮。餘猶惡其佻巧。
心猶豫而狐疑兮。欲自適而不可。
鳳皇既受詒兮。恐高辛之先我。
欲遠集而無所止兮。聊浮遊以逍遙。
及少康之未傢兮。留有虞之二姚。
理弱而媒拙兮。恐導言之不固。
世混濁而嫉賢兮。好蔽美而稱惡。
閨中既以邃遠兮。哲王又不寤。
懷朕情而不發兮。餘焉能忍與此終古。
索藑茅以筳篿兮。命靈氛為餘占之。
曰兩美其必合兮。孰信修而慕之。
思九州之博大兮。豈唯是其有女。
曰勉遠逝而無狐疑兮。孰求美而釋女。
何所獨無芳草兮。爾何懷乎故宇。
世幽昧以昡曜兮。孰雲察餘之善惡。
民好惡其不同兮。惟此黨人其獨異。
戶服艾以盈要兮。謂幽蘭其不可佩。
覽察草木其猶未得兮。豈珵美之能當。
蘇糞壤以充幃兮。謂申椒其不芳。
欲從靈氛之吉占兮。心猶豫而狐疑。
巫鹹將夕降兮。懷椒糈而要之。
百神翳其備降兮。九疑繽其並迎。
皇剡剡其揚靈兮。告餘以吉故。
日勉升降以上下兮。求矩矱之所同。
湯禹嚴而求合兮。摯咎繇而能調。
苟中情其好修兮。又何必用夫行媒。
說操築於傳岩兮。武丁用而不疑。
呂望之鼓刀兮。遭周文而得舉。
寧戚之謳歌兮。齊桓聞以該輔。
及年歲之未宴兮。時亦猶其未央。
恐鵜鴃之先鳴兮。使夫百草為之不芳。
何瓊佩之偃蹇兮。衆薆然而蔽之。
帷此黨人之不諒兮。恐嫉妒而折之。
時繽紛其變易兮。又何可以淹留。
蘭芷變而不芳兮。荃蕙化而為茅。
何昔日之芳草兮。今直為此蕭艾也。
豈其有他故兮。莫好修之害也。
餘以蘭為何恃兮。羌無實而容長。
委厥美以從俗兮。苟得列乎衆芳。
椒專佞以慢慆兮。樧又欲充夫佩幃。
既幹進而務入兮。又何芳之能祇。
固時俗之流從兮。又孰能無變化。
覽椒蘭其若茲兮。又況揭車與江離。
惟茲佩之可貴兮。委厥美而歷茲。
芳菲菲而難虧兮。芬至今猶未沫。
和調度以自娛兮。聊浮遊而求女。
及餘飾之方壯兮。周流觀乎上下。
靈氛既告餘以吉占兮。歷吉日乎吾將行。
折瓊枝以為羞兮。精瓊爢以為粻。
為餘駕飛竜兮。雜瑤象以為車。
何離心之可同兮。吾將遠逝以自疏。
邅吾道夫昆侖兮。路修遠以周流。
揚雲霓之暗藹兮。鳴玉鸞之啾啾。
朝發軔於天津兮。夕餘至乎西極。
鳳皇翼其承旗兮。高翺翔之翼翼。
忽吾行此流沙兮。遵赤水而容與。
麾蛟竜使梁津兮。詔西皇使涉予。
路修遠以多艱兮。騰衆車使徑待。
路不周以左轉兮。指西海以為期。
屯餘車其千乘兮。齊玉軑而並馳。
駕八竜之婉婉兮。載雲旗之委蛇。
抑志而弭節兮。神高馳之邈邈。
奏九歌而舞韶兮。聊假日以偷樂。
陟升皇之赫戲兮。忽臨睨夫舊鄉。
僕夫悲餘馬懷兮。蜷扃顧而不行。
亂曰。已矣哉。
國無人莫我知兮。又何懷乎故都。
既莫足與為美政兮。吾將從彭鹹之所居。
"Songs of the South," also known as "Chu Ci" is the great poet Qu Yuan, the Warring States period to create a verse. The use of Chu works (now lakes area) of the literary style, dialect, rhyme, Narrations Chu mountains figures, historical style, with strong local characteristics. Han Dynasty, the Liu Xiang to Qu Yuan and Song Yu, who works "inherit Qu Yuan," edited into a _set_ of works, called "Songs of the South." And become the "Book of Songs" after the far-reaching impact on China of a literary poetry collection.
Chu, Chu its original meaning refers to the words, then gradually fixed in two meanings: First, the genre of poetry, one collection of poems in the name (and to some extent, also on behalf of the state of Chu literature.) From the poetry genre, it is represented by the late Warring States to the poet Qu Yuan in the Chu Guomin songs created on the basis of a new Poetry. From the total _set_ name, it is the basis of the Western Han Liu Xiang in the previous one featuring the "Songs of the South" the body of the poetry collection, revenue Warring States Chu Yuan, Song Yu's work, and Han Yi, Huainan hill, Zhuang Ji , Dongfang Shuo, Wang Bao, Liu Xiang Morohito imitation show works.
In the Han Dynasty, also known as speech or Chu Fu. Western Han Dynasty, Liu Xiang to Qu Yuan, Song Yu, and Han Huainan hill work, Dongfang Shuo, Wang Bao, Liu Xiang, who inherited the imitation of Qu Yuan, Song Yu's works were compiled into a _set_ of 16, known as "Songs of the South." Chu Suiyou the name of a collection of poems. Since Qu Yuan's "Lament" is "Songs of the South" masterpiece, it is also known as Chu Sao Sao, or.
Romantic Poetry Collection
"Songs of the South" as China's first romantic poetry collection, poetry in the form of the song in the Chu Guomin formed the basis of processing, but also a large number of papers cited in the climate and natural resources and Chu dialect vocabulary, so called "Songs of the South" . "Songs of the South" is mainly the works of Qu Yuan, whose masterpiece is the "Lament", later is also called "Songs of the South" to "Sao." Western Han Dynasty,, Liu Xiang collect Qu Yuan, Song Yu, who works, compiled into a _set_. "Chu Ci" far-reaching impact on later literature, not only opened later Fu, and prose of history, is the creation of a positive source of romantic poetry.
"Songs of the South" is the first romantic poetry collection is the main author of Chu Yuan. He created the "Lament", "Nine Songs" "Nine," "Heaven" and other immortal works. Under the influence of Qu Yuan, Chu has generated Yu, Donlar, King of Chu of the poor. The existing "Chu" total concentration, mainly the works of Qu Yuan and Song Yu; Donlar, King works most of the poor not passed down.
Chu characteristics, Song Huang Bosi in the "Calibration Chu sequence," In summary: "cover all Sao Qu and Song, Chu language books are for Chu sound, recorded Chu, Chu things were, Gu can be described as the 'Songs' . "This statement is correct. Besides, "Chu Ci" Qu, Song works involved in the historical legends, myths, customs, Customs and the use of artistic means, rich lyrical style, all with a distinctive color of Chu culture. This is the basic characteristics of Songs, which are illuminated and the Central Plains culture, an important part of Chu culture.
Chu Literature Collection
Series Han Liu Xiang, Han Wang Yi Chapters. The original collection Chu Yuan, Song Yu and Han Huainan hill, Dongfang Shuo, Wang Bao, Liu Xiang Fu and others a total of sixteen, after the entry has been made by Wang Yi "Nine thinking", as seventeen. The book in the works of Qu Yuan, of which "Lament," "Nine Songs," "Heaven" and other articles of historical data preserved and more myths and legends, history of reference for governance. Qu Yuan (about 278 before the 339 ~ about before), were flat. Beginning left only grandson, Sam Lo doctor. Advocated exposing the result of the testimonies, the virtuous empowerment, Qi Gang Qin, vanilla and little children by huai Jin Shang et al traduce destroyed and dismissed. Hectare entered, the Qu Yuan was banished, he was unable to save Chu peril, and could not achieve a political ideal, then vote Miluo River died. "Lament" is a masterpiece of Qu Yuan. Political Lyrics in this magnificent performance of the ideal of progress, in order to achieve the ideal and the tireless struggle, and struggles and _set_backs encountered in their distress. Qu Yuan to express feelings is often cited by the history and find the lessons learned, "the Don, runs the risk of the system after three, the next sequence, Jie, Zhou, Yi, cast of lost, Ji-jun awareness, anti in the right way and also with yourself." Which history books in some places can be added to each other reference cards, such as "Lament," says: "Debate with Nine Nine Kai Xi, Xiakang longitudinal self-entertainment. despite the difficult figure after the fortune, five children with a loss of almost Wenjiaxiang. kinky tour to Yi Yi Tin Xi, and good shooting day closure Fox. Solid end the fresh turbulence Xi, Zhuo greedy husband Jue home. pouring body linen strong prince Yu Xi, lust and the bear. day of recreational self-forgetting Xi, Jue Britain's first meteorite with a husband . The often illegal Xi Xia Jie, Yan and every calamity is then. "Xia described in this section is very complete history, with" Zuo Zhuan "see each other, and make" Records of the summer of the Millennium, "speaks Yi, Zhuo of things omissions. In addition, from the "Li Sao" and on Xi, Wang Shu, Fei Lian, Hong Leong, Mi Fei's account can also be seen a glimpse of ancient myths and legends; and "Photo provided Zou Xi Chen on Mon, CD GY Wu dynasty" , is the research of ancient astronomy and calendar information.
"Nine Songs" This is the ancient songs, the legendary XIA Qi stolen from the sky. Folk Ritual Songs of Qu Yuan in the creation of the basis of "Nine Songs", Xi Yong names of ancient songs, a total of eleven. God save them on the cloud, mountain, Xiang God, the river god, the sun god myths, etc., is the study of ancient Chu culture, folklore and valuable information.
Historic Status
Meanwhile, Chu Chu and the South and the North Central Plains culture and cultural product of the combination. After the Spring and Autumn has always been known as Jing Man, the increasingly powerful state of Chu. Its aspirations to the Central Plains, the process of hegemony princes frequent contact with the Northern countries, and promote a wide range of North-South cultural exchanges, Chu has also been a profound impact on the North Central Plains culture. It is this confluence of cultures north and south, gave birth to this great poet Qu Yuan and the "Songs of the South" This colorful great poems.
"Songs of Chu" in Chinese poetry played an important role. It appears, breaking the "Book of Songs" after two or three centuries of silence in poetry shine. Future generations will therefore "The Book of Songs" and "Songs of the South" and called the Wind, show. Fifteen wind means the wind, on behalf of "The Book of Songs", full of realism; show that "Lament", on behalf of "Songs of the South", full of romantic atmosphere. Wind, show a classical Chinese poetry of realism and romanticism of the creation of two schools.
Songs List
Sao Nine Buju Fisherman Heaven IX excursion Evocation attracts the nine argued swear Hermits seven remonstrance cherish sorrow sigh when ordered nine nine nine pregnant thinking
Nine Songs: East Huangtai a cloud Dongjun Jun Xiang Jun Xiang Fu Bo NPC Siming Siming Mountain Ghost little soul of the War Ceremony
IX: Xi River of Sorrow chanting pumping Sihuaishasi beauty Xi Ying Ju Song sad old days return air
Seven remonstrance: Chen Jiang blame the early release from the sad life thinking the world complain admonished Samuel said chaos
Nine pregnant: Jun Zhao Wei Kuang machine access storage Buddha Ka Ying Sizhong said Tao Yongzhuzhaoluan
Nine sigh: Every divergent thinking there anymore unfortunately passed away resentment Min Yin sorrows life's deep excursion
Nine thinking: Every blame on the disease, especially the children of Benjamin on the world when Zaoe Mourning Mourning injured chaos chaos-year-old said Shouzhi
Formation of Culture and Chu Chu
Yellow River Basin with the Yangtze River as long ago gave birth to the ancient culture. After the national rise of Chu, a representative of the local culture. Later than the Shang Dynasty, Chu had a relationship with the northern regime; to the early Western Zhou Dynasty, is said to vend Bear had "sub-something King Wen" Later, they were as Yi Xiong Wang Feng in the Chu ("Chu family Historical Records"). It should be understood as the actual control of Chu Zhou Dynasty Jianghan region recognition. To the Spring and Autumn Period, Chu rapid development and expansion, mergers and the size of the Yangtze River in many nations, becoming enough to compete with the power of the Central Plains. Chuzhuang Wang is one of the Spring and Autumn Five Hegemons, once there take the Central Plains of the North blog. Warring States Period, Chu Yue and then swallowed, the forces of the West arrived in Hanzhong, east of the sea, all males in the Warring States, the territory's largest and most populous. Was a "cross the Qin Emperor, the king of longitudinal," saying, meaning Qin, Chu Erguo, the most likely of National Unification. Finally, the eradication of Qin Chu. But of Chu Fan Qin uprising, has become a major force to overthrow the Qin Dynasty. The establishment of the Han Dynasty, in a sense can be thought of Chu's victory. Qin, Han unification, and ultimately complete fusion of cultures north and south, has thus formed a great "Han."
And Chu himself, unwilling to acknowledge the authority of weeks, when the royal family, often claimed: "I have barbarians." (See "Records of the Chu family")
Chu culture than is generally believed that the Central Plains and cultural backwardness, not saying that absolutely right. Chu culture perhaps more than the Central Plains culture, the rise of late, but in the Spring and Autumn Period, Chu cultural backwardness, it is mainly manifested in the state system is not mature enough, especially for the maintenance of rule of order and hierarchy is far from the political and ethical thought and culture in North End secret. - So need to introduce the theory of Chu and books. Correspondingly, the original religion - the popularity of shamanism, but also can be seen as lagging behind the performance of Chu culture. But in other areas, not necessarily behind the Chu culture, and even far more than in many parts of the Central Plains culture. Understand this is very important for understanding the Chu.
Should first be noted that economic conditions in the South than the North has certain advantages. "Geography" said Chu, "there are mountains of Jiang Han Chuanze Rao; south to Canton, or fire, water, hoe farming, people eat fish rice, fishing and hunting mountain cutting for the industry, the fruit Luo win clams, food often enough . " Youyu easier to make a living, it may have more manpower from the Danchun subsistence activities, inputs more complex the more advanced material production. So at least in the spring and later, Chu's financial and material resources have been significantly more than the North. "Zuo Zhuan" Ben Chu Kee Chong Er, right into the king said: "The children of instruments of peace, the king has the; feathers, leather gear, to grow wherever the king. Its spread to Jin who is also the king of Yu." Has to get a glimpse or two . According to historical records, the Warring States Chu is a lot of countries have gold. In recent years, archaeological excavations from the underground point of view, the Warring States period Chu bronzes, enough to represent the highest level of pre-Qin bronze smelting. As for the Chu lacquer ware, silk of the fine, and that the North can not be compared. Qu Yuan's "Evocation," Chu portrayed in a very luxurious pleasure palace scene, of course, must have a strong material foundation. The same as living in the south easier way too much, do not need to form a powerful collective force to overcome nature, to maintain life, so there is no formation of Chu as tight as the northern countries of the patriarchal political system. According to "Han Fei Zi," said Chu aristocrats always have a more independent force. This is Chu confrontation with the North may be a disadvantage. On the other hand, in this environment, individuals less suppressed by the collective and individual consciousness of corresponding to strong. Until the Han Dynasty, Chu rebellious character is still renowned. "Historical Records", "Han", you can find many examples.
In conclusion, it should be said: The terms of the Warring States period, Chu culture and the Central Plains culture is indeed different characteristics, strengths. If the arts alone, the Chu culture is high achievement. Literature is one aspect of the art general. We have to be discussed in Chu, Chu culture is both out of the wonderful work the soil, and they represent the achievements of Chu culture. Chu Chu culture, especially the general characteristics of the art, such as a strong individual consciousness, intense emotional turmoil, fantasy and ornate forms, etc., are also present in the Songs of the South.
Chu formation factor from the direct, first of all closely related with the songs of Chu. As mentioned earlier, developed Chu is a place where music and dance. Now from the "Songs" and other books can also see the names of many music Chu, such as "She Jiang", "Cailing", "labor-business", "Nine Debate", "Nine Songs", "Xie Lu," " spring, "" Snow "and so on. Songs in the existing, earlier the "Mencius" recorded "children songs", is said to Confucius, Chu Yu local children singing to hear:
Zhen Qing Xi, I wash my tassels; Kaleidoscope cloud Come, I wash my feet.
There are Liu Xiang, "said Court," contained in the "Song of Yue People", is said to be translated Yue Chu Sing Mariner's speech:
Jinxi He Xi Xi, 搴 boat mid-stream. Come what day today, have the same boat with the Prince. Shame is a good fortune, not Zi sense of shame shame. Come a few heart trouble and not absolute, that the prince. Shan Xi wood with wooden sticks, Jun Xi Yue Jun heart I do not know.
This very popular songs to the Qin dynasty Shihai. If Liu has "wind song" Xiang Yu as "Gaixia song." Its songs of different style and the Central Plains, the body is not neat four words, each sentence can be short and long end of the sentence or sentence in the multi-modal "Xi". These have become a significant feature of Chu.
Han has "Odes, ancient poems are," said one (see Ban Gu "two Du Fu Xu"), when the Confucian classics in order to cling to, and taking into account the characteristics of Fu extravagant.
Chu popular shamanism, but also penetrate the Ci, so that it has a strong mythic. According to historical records, when the Central Plains culture, shamanism has long been obvious color faded after the Chu in the south until the Warring States, monarch and his subjects are still down, "the letter Witchcraft, heavy prostitution Temple" ("Geography"). Grandson had been "Long rituals, things supernatural," and attempt to return the help by the spirits of Qin (see "Han Zhi Jiao Si"). More prevalent the witchcraft of the private sector. "Geography" and Wang Yi "guo", etc., the good witch Speaking Chu Renxin Temple, "The temple will sing, music, music inspired by the gods," the custom. This shows that in the era of Qu Yuan, Chu still immersed in the field of a singular imagination and the intense emotion of the myth of the world. Living in this cultural atmosphere of the Yuan, not only created a ritual of poems - "Nine Songs", and writing according to the word folk, "Evocation" and express their feelings in, they make extensive use of mythological material, galloping imagination, heaven into the earth, wandering Luhe Kyushu, gives a mysterious feel. Even the "Li Sao" This masterpiece of architecture, from the "Bu name", "submit", "first ring", "fugue" to "divination", "seance", are borrowed folk magic way.
Of course, "do not have Qu Yuan, Qi see" Lament, "" ("Wenxindiaolong Lisao").
Chu Chu is a product of culture, specifically, can not do without the creation of the great poet Qu Yuan.
[Representatives]
"Songs of the South," the representative figure of Qu Yuan (formerly 340? - 278 years before), first appeared in Chinese literature in the history of the patriotic poet. In "Songs of the South" in the beginning of the 16-volume, accounted for most of the works of Qu Yuan, a total of 8-volume collection of his poems more than 20 articles. Including "Lament," "Nine Songs" (11), "days to", "IX" (9), "excursion", "Buju", "Fisherman", "Evocation" and so on. Volume 8 other is Song Yu's "Nine Debate", King bad the "big move", and Han Jia Yi's "pity oath", Huainan hill "Hermits", Dongfang Shuo's "seven Remonstrance", Yan stir " When sad life, "Wang Bao's" Nine pregnant, "Liu Xiang's" Nine sighed, "and so on. Southern Song Dynasty, Zhu Xi those compiled on the basis of "Songs of the South Annotations", increasing into the Jia Yi's "When the bird fu" and "hanging Qu Yuan Fu," two; deleting "seven Remonstrance", "Nine pregnant" and "Nine sighed," and other works Zhu Xi that these works lack the true thoughts and feelings. He also designated as the works of Qu Yuan, "Li Sao class", the other works to "continued Sao class", according to the original chapter in the order of numbered as Volume 8. Qu Yuan's works can be divided into two categories: one is the "Lament," "Nine" and wrote in political exile in the poetry and poetry; one category is "Nine Songs" as the representative poet festival songs and reflect the world, life The "Heaven." Qu Yuan's masterpiece "Lament" is one of the longest ancient romantic poems and poetry, is "Songs of the South," the representative works. As a result, the world called "Songs of the South" to "Sao Poetry" and the "Book of Songs" and that "the Book of Songs." "Lament" is a poet, was the second time in exile, full of "the letter and see the suspect, loyalty was slander," the grievance, the combination of Anger, written with emotion in his writings. This is the first poem of nearly 2500 words, describing the poet's life experience and aspirations, through the unremitting struggle of performance poets life and determination to put their lives the tragedy of martyrdom blog, reflecting the state of Chu in the integrity of the ruling class and the evil forces of the sharp struggle of two, Chu exposed the dark reality and the political crisis, expressed his unyielding fight for the nation and the people, to "die without regret" spirit.
Synopsis
"Songs of the South" in the "Lament," "Nine Songs", "Nine", "Heaven" and "Evocation" and a total of 23 chapters, the works of Qu Yuan (In addition, the works of Song Yu and others), the vast majority of the body of the poems of Chu, is that we now see, "Chu Ci" masterpiece. Chu Yuan's works are mainly based on folk literature, combined with their own life experience and political experience and write. Description "Nine Songs" features artistic expression.
One. Qu Yuan, "Nine Songs" written in both the supernatural God, but God wrote "human" unity of divinity and humanity together. Such as "Xiang Jun", "Xiang Fu Man", the performance of mutual love Xiang pursuit of God has finally met the twists and turns do not change the state of mind. Writing between God and God, the love between God and man the story of the ritual songs of the world flavors with Lennon Lennon. II. The activities of gods and spirits Narrations emotion, depicting the gods of the environment and atmosphere, is a fresh quiet subtle realm.
Description "Evocation" art features.
One. Structural precision perfect. Layers of narration based on location and things rendering expression. II. Longer than the layout of tracing, for example, write it on the Quartet of terror, a list of many terrible things, but they depict the horrible image.
Songs on the relative test elements of Syria.
III. Chu Chu is full of description of scenery, the use of the genuine dialects such Chu. IV. Chu is the new era of North-South cultural environment, Chu was born in the new Poetry distinctive regional characteristics.
Above, that Chu Chu is indeed a product of culture, with strong regional characteristics.
On the Style of Chu.
One. Words from the poetry, the layout of hyperbole, imaginative, is a common feature of Chu. Such as "Lament" is full of fantastic imagination informal, to express the layer into the truth over and over again.
II. From the style statement, Chu than "Book of Songs", the size of a substantial increase, the sentence has four words into the length of the main informal, scattered mixed.
III. To the language that the language of Chu Chu Chu multi-sound, Chu dialect words in large numbers, addition, "Xi", "more" word as a function word sigh language to become a striking symbol of Chu.
On the "Li Sao" ideological content.
One. "U.S. government" ideals and deep patriotic feelings. Qu Yuan's desire, "the former St." rule of the Ming Jun Chen Yin, monarch of the realm of harmony, that "the virtuous and the empowerment Come, follow Shengmo not quite" specific governing strategy. II. Nine refuses to regret pursuing the ideal of tough materials and abhorrence of evil in the critical spirit. Minister Qunqiergong nobility, persecuted Qu Yuan, Qu Yuan Ren, but do not give up his pursuit of political ideals and hard, "Li Sao" to write his heaven into the earth, seeking a way out, that he realized the pursuit of the ideal image portrayed. Critical spirit is his unswerving pursuit of the ideal light, but also directly expose the darkness to denounce crafty and fawning.
On the "Li Sao" The main artistic characteristics.
One. Strong passion and fantasy of the imagination. "Lament" Looking back the first half, recalling the life experience, vision and experience, is basically realistic, but those elaborate hyperbole than metaphor poem their own good qualities, has the characteristics of singular imagination; the latter half of the road for the future exploration of writing, even is the same as the strong fire of passion, loyalty deep patriotic feelings flowing through the Pentium, the imagination of heaven and earth erupted vividly. II. Pure clean, independent and unyielding lyrical hero image. Noble birth, noble ideals, Jun Jie pure, independent indomitable personality, and abnormal intense emotions, constitute the perfect lyric protagonist imagine a sight to behold, with symbolic significance, showing the essence of this lyric. III. Expansion than the metaphor. It is the "Book of Songs" fragments become lengthy Xing Xing poetry of continuous use, also "The Book of Songs" as the kind of metaphor, Metaphor separate simple metaphor combined. In the "Book of Songs," based on the development of focussed on the matter, child care, and lyrical performance practices, formed a well-known literature in the beauty care herbs traditional figurative techniques, far-reaching. IV. Structural characteristics. The poem revolves around the poet faithful to the homeland and the pursuit of high ideals of emotional refuses to regret the spirit of nine rules and layout of the. Recalling the first part of the history of real writing, the latter part of the realization of the ideals of exploration, virtual write. Five. Form and language features. Both the use of folk forms, but also learned the technique of writing prose, into a sentence length of the informal, casual language sentences rhyme and white of a new literary forms. "Lament," the latter half of the performance of activities of the poet's thoughts, questions and answers are often subjective and objective _set_, the layout of description. Language colorful, two-tone stacked rhyme abound.
Of "the September debate," the artistic characteristics of extremely "Lament" thinking, artistic differences.
One. "Nine debate" less than the ideological realm of "Li Sao" although it also has the chant from the noble and critical standard, exposing the darkness of political, but the mind sees the lack of Qu Yuan and the pursuit of that ideal of impassioned refuses to regret the spirit of the nine. The face of injustice of fortune, he retreated to preserve one's attitude, or even suspected of flattery Thanksgiving.
II. Performance, "Nine Debate" Songs of the South may well be a fine. A. Longer than the layout of tracing, and create more harmony in portraying the mood. If at the beginning of that period of widespread transmission Chung text, rendering the chill autumn air Joseph Su, vegetation decline, thin mountain air, water, sky and clean air of the thinning of the King Kongkuo desolate and so on. Sense of the poet's sad fate was bleak autumn chill even more deeply strong contrast. B. Characterization of nuanced description. Fall on the branches withered leaves to write bad, from the leaves to the branches, from the shape to the color, subtle portrait of both real. C. "Nine Debate" phrase-making word is also laudable. Yun bulk phase, the length of informal, has caused mixed
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