诗歌文集 》 楚辞 Songs 》
楚辞卷第一
屈原 Qu Yuan
“楚辞”又称“楚词”，是战国时代的伟大诗人屈原创造的一种诗体。作品运用楚地（今两湖一带）的文学样式、方言声韵，叙写楚地的山川人物、历史风情，具有浓厚的地方特色。汉代时，刘向把屈原的作品及宋玉等人“承袭屈赋”的作品编辑成集，名为《楚辞》。并成为继《诗经》以后，对我国文学具有深远影响的一部诗歌总集。
楚辞，其本义是指楚地的言辞，后来逐渐固定为两种含义：一是诗歌的体裁，一是诗歌总集的名称（在一定程度上也代表了楚国文学）。从诗歌体裁来说，它是战国后期以屈原为代表的诗人，在楚国民歌基础上开创的一种新诗体。从总集名称来说，它是西汉刘向在前人基础上辑录的一部“楚辞”体的诗歌总集，收入战国楚人屈原、宋玉的作品以及汉代贾谊、淮南小山、庄忌、东方朔、王褒、刘向诸人的仿骚作品。
“楚辞”之名首见于《史记·张汤传》。可见至迟在汉代前期已有这一名称。其本义，当是泛指楚地的歌辞，以后才成为专称，指以战国时楚国屈原的创作为代表的新诗体。这种诗体具有浓厚的地域文化色彩，如宋人黄伯思所说，“皆书楚语，作楚声，纪楚地，名楚物”（《东观余论》）。西汉末，刘向辑录屈原、宋玉的作品，及汉代人模仿这种诗体的作品，书名即题作《楚辞》。这是《诗经》以后，我国古代又一部具有深远影响的诗歌总集。另外，由于屈原的《离骚》是楚辞的代表作，所以楚辞又被称为“骚”或“骚体”。汉代人还普遍把楚辞称为“赋”。《史记》中已说屈原“作《怀沙》之赋”《汉书·艺文志》中也列有“屈原赋”、“宋玉赋”等名目。
在汉代，楚辞也被称为辞或辞赋。西汉末年，刘向将屈原、宋玉的作品以及汉代淮南小山、东方朔、王褒、刘向等人承袭模仿屈原、宋玉的作品共16篇辑录成集，定名为《楚辞》。楚辞遂又成为诗歌总集的名称。由于屈原的《离骚》是《楚辞》的代表作，故楚辞又称为骚或骚体。
浪漫主义诗歌总集
《楚辞》作为我国第一部浪漫主义诗歌总集，由于诗歌的形式是在楚国民歌的基础上加工形成，篇中又大量引用楚地的风土物产和方言词汇，所以叫“楚辞”。《楚辞》主要是屈原的作品，其代表作是《离骚》，后人因此又称“楚辞”为“骚体”。西汉末年，，刘向搜集屈原、宋玉等人的作品，辑录成集。《楚辞》对后世文学影响深远，不仅开启了后来的赋体，而且影响历代散文创作，是我国积极浪漫主义诗歌创作的源头。
《楚辞》是我国第一部浪漫主义诗歌总集楚辞的主要作者是屈原。他创作了《离骚》《九歌》《九章》《天问》等不朽作品。在屈原的影响下，楚国又产生了宋玉、唐勒，景差等楚辞作者。现存的《楚辞》总集中，主要是屈原及宋玉的作品；唐勒、景差的作品大都未能流传下来。
楚辞的特征，宋代黄伯思在《校定楚辞序》中概括说：“盖屈宋诸骚，皆书楚语，作楚声，记楚地，名楚物，顾可谓之‘楚辞’。”这一说法是正确的。除此而外，《楚辞》中屈、宋作品所涉及的历史传说、神话故事、风俗习尚以及所使用的艺术手段、浓郁的抒情风格，无不带有鲜明楚文化色彩。这是楚辞的基本特征，它们是与中原文化交相辉映的楚文化的重要组成部分。
楚国文学总集
西汉刘向辑，东汉王逸章句。原收楚人屈原、宋玉及汉代淮南小山、东方朔、王褒、刘向等人的辞赋共十六篇，后王逸增入己作《九思》，成十七篇。该书以屈原的作品为主，其中《离骚》、《九歌》、《天问》等篇保存了较多的历史资料和神话传说，可供治史者参考。屈原（约前339～约前278），名平。初任楚怀王左徒、三闾大夫。因主张彰明法度，举贤授能，联齐抗秦，受怀王稚子子兰及靳尚等人谮毁而革职。顷襄王时，屈原被放逐，他无力挽救楚之危亡，又无法实现政治理想，遂投汨罗江而死。《离骚》是屈原的代表作。这篇宏伟的政治抒情诗表现了作者的进步理想，为实现理想而进行的不懈斗争，和斗争中所遇到的挫折及自己的苦闷。屈原常常征引历史以抒发情怀，从中寻找经验教训，“上述唐、虞、三后之制，下序桀、纣、羿、浇之败，冀君觉悟，反于正道而还己也。”其中有些地方可以和史书互相参证补充，例如《离骚》云：“启九辩与九歌兮，夏康娱以自纵。不顾难以图后兮，五子用失乎家巷。羿淫游以佚畋兮，又好射天封狐。固乱流其鲜终兮，浞又贪夫厥家。浇身被服强圉兮，纵欲而不忍。日康娱以自忘兮，厥首用夫颠陨。夏桀之常违兮，乃遂焉而逢殃。”此段所述夏代历史相当完整，可与《左传》互相参看，而补《史记·夏本纪》不言羿、浞之事的疏漏。此外，从《离骚》中关于羲和、望舒、飞廉、丰隆、宓妃的记述，也可窥见上古神话传说的一斑；而“摄提贞于孟陬兮，唯庚寅吾以降”，则是考证古代天文历法的资料。
《九歌》本为古代乐歌，相传是夏启从天上偷来的。屈原在民间祀神乐歌基础上创作的《九歌》，袭用了古代乐歌的名称，共十一篇。其中保存了关于云神、山神、湘水神、河神、太阳神等的神话故事，是研究上古民俗和楚文化的珍贵资料。
《天问》是一首长诗，它对自然宇宙和社会历史提出的一百七十多个问题中，保存了许多神话传说和古史资料。例如，关于鲧、禹治水的传说所提出的一系列问题，就涉及鲧和鸱龟的关系，禹和鲧治水方法的不同，禹治水时曾得应龙之助，禹娶涂山氏女等细节；关于后羿的传说所提的问题又涉及后羿射日，射河伯而妻雒嫔，被寒浞杀害等细节。关于商之始祖契，以及自契至汤的历史，文献资料十分缺乏。《天问》透露了许多关于这段历史的重要线索，其中涉及契、王季、王亥、王恒、上甲微等殷人先公先王的内容，尤为宝贵。
诗史地位
楚辞是在楚国民歌的基础上经过加工、提炼而发展起来的，有着浓郁的地方特色。由于地理、语言环境的差异，楚国一带自古就有它独特的地方音乐，古称南风、南音；也有它独特的土风歌谣，如《说苑》中记载的《楚人歌》、《越人歌》、《沧浪歌》；更重要的是楚国有悠久的历史，楚地巫风盛行，楚人以歌舞娱神，使神话大量保存，诗歌音乐迅速发展，使楚地民歌中充满了原始的宗教气氛。所有这些影响使得楚辞具有楚国特有的音调音韵，同时具有深厚的浪漫主义色彩和浓厚的巫文化色彩。可以说，楚辞的产生是和楚国地方民歌以及楚地文化传统的熏陶分不开的。
同时，楚辞又是南方楚国文化和北方中原文化相结合的产物。春秋战国以后，一向被称为荆蛮的楚国日益强大。它在问鼎中原、争霸诸侯的过程中与北方各国频繁接触，促进了南北文化的广泛交流，楚国也受到北方中原文化的深刻影响。正是这种南北文化的汇合，孕育了屈原这样伟大的诗人和《楚辞》这样异彩纷呈的伟大诗篇。
《楚辞》在中国诗史上占有重要的地位。它的出现，打破了《诗经》以后两三个世纪的沉寂而在诗坛上大放异彩。后人也因此将《诗经》与《楚辞》并称为风、骚。风指十五国风，代表《诗经》，充满着现实主义精神；骚指《离骚》，代表《楚辞》，充满着浪漫主义气息。风、骚成为中国古典诗歌现实主义和浪漫主义的创作的两大流派。
注本是东汉王逸的《楚辞章句》。《四库全书总目》说：「初，刘向裒集屈原《离骚》、《九歌》、《天问》、《九章》……而各为之注。」但刘向编定的《楚辞》16卷原本已佚。《楚辞章句》即以刘向《楚辞》为底本，它除了对楚辞做了较完整的训释之外，还提供了有关原本的情况。在《楚辞章句》的基础上，南宋洪兴祖又作了《楚辞补注》。此后，南宋朱熹著有《楚辞集注》，清初王夫之撰有《楚辞通释》，清代蒋骥有《山带阁注楚辞》，等等。他们根据己见，作了许多辑集、考订和注释、评论工作。
楚辞目录
离骚 九歌 天问 九章 远游 卜居 渔父 九辩 招魂 大招 惜誓 招隐士 七谏 哀时命 九怀 九叹 九思
九歌： 东皇太一 东君 云中君 湘君 湘夫人 大司命 少司命 河伯 山鬼 国殇 礼魂
九章： 惜诵 涉江 哀郢 抽思 怀沙 思美人 惜往日 橘颂 悲回风
七谏： 初放 陈江 怨世 怨思 自悲 哀命 谬谏 乱曰
九怀： 匡机 通路 危俊 昭世 尊嘉 蓄英 思忠 陶壅 株昭 乱曰
九叹： 逢纷 离世 怨思 远逝 惜贤 忧苦 愍命 思古 远游
九思： 逢尤 怨上 疾世 悯上 遭厄 悼乱 伤时 哀岁 守志 乱曰
楚文化和楚辞的形成
长江流域同黄河流域一样，很早就孕育着古老的文化。楚民族兴起以后，成为这一地域文化的代表。至迟在殷商时期，楚人已经同北方政权发生关系；至西周初，据说鬻熊曾“子事文王”，后来熊绎又被成王封于楚（《史记·楚世家》）。这应该理解为周王朝对楚人实际控制江汉地区的承认。至春秋时代，楚国迅速发展壮大，兼并了长江中游许多大小邦国，成为足以与整个中原相抗衡的力量。楚庄王为春秋五霸之一，一度有北取中原之志。战国时期，楚进而吞灭吴越，其势力西抵汉中，东临大海，在战国诸雄中，版图最大，人口最多。一度有“横则秦帝，纵则楚王”的说法，意谓秦、楚二国，最具统一全国的可能。最后楚为秦所灭。但楚地的反秦起义，又成为推翻秦王朝的主要力量。汉王朝的建立，从某种意义上可以认为是楚人的胜利。秦、汉大一统，最终完成了南北文化的融汇，也由此形成了伟大的 “汉族”。
楚民族在其发展过程中，不断与中原文化进行交流。春秋战国时代，北方的主要文化典籍，如《诗》、《书》、《礼》、《乐》等，也已成为楚国贵族诵习的对象。《左传》记楚人赋诵或引用《诗经》的例子，就有好多起。但另一方面，楚文化始终保持着自身强烈的特征，与中原文化有显著区别，因而楚人长期被中原国家看作野蛮的异族。《小雅·采芑》记叙周宣王南征楚国之事，说：“蠢尔蛮荆，大邦为雠。”并把 “蛮荆”与北方的玁狁并列。《鲁颂·閟宫》又把楚人与北方戎狄并列，同作为应予严惩的对象：“戎狄是膺，荆舒是惩。”
而楚人自己，在不愿承认周王室权威的时候，也往往自称：“我蛮夷也。”（见《史记·楚世家》）
一般认为楚文化比中原文化落后，这样说不完全对。楚文化的兴起也许比中原文化迟，但到了春秋战国时代，楚文化的落后，主要只是表现在国家制度不够成熟，尤其是用于维护统治秩序、等级关系的政治与伦理思想远不及北方文化完密。——所以楚人需要引进有关的学说和典籍。与此相应，原始宗教——巫教的盛行，也可以看作楚文化落后的表现。但在其他方面，楚文化不一定落后，甚至有许多地方远远超过中原文化。理解这一点，对于理解楚辞十分重要。
首先应该注意到，南方的经济条件较北方具有一定的优越性。《汉书·地理志》说，楚地“有江汉川泽山林之饶；江南地广，或火耕水耨，民食鱼稻，以渔猎山伐为业，果蓏蠃蛤，食物常足”。由于谋生较为容易，就可能有较多的人力脱离单纯维持生存的活动，投入更高级更复杂的物质生产。所以至少在春秋以后，楚国的财力物力，已经明显超过北方国家。《左传》记重耳奔楚，对成王说：“子女玉帛，则君有之；羽毛齿革，则君地生焉。其波及晋国者，君之余也。”已可窥见一二。据历史记载，楚是春秋战国时拥有黄金很多的国家。从近年地下考古发掘来看，战国时代楚国的青铜器，足以代表先秦青铜器冶铸的最高水平。至于楚地漆器、丝织品之精美，那是北方根本无法比拟的。屈原《招魂》中描绘楚国宫廷内极其奢华的享乐景象，当然也须有雄厚的物质基础。同样因为在南方谋生比较容易，途径也多，不需要组成强大的集体力量以克服自然，维护生存，所以楚国也没有形成像北方国家那样的严密的宗法政治制度。据《韩非子》说，楚国的贵族也一直拥有比较独立的势力。这对于楚国同北方国家的对抗也许是不利的。但另一方面，在这样的生活环境中，个人受集体的压抑较少，个体意识相应就比较强烈。一直到汉代，楚人性格的桀骜不驯，仍是举世闻名。《史记》、《汉书》中，可以找到不少例子。
丰富的物质条件，较少压抑而显得活跃的生活情感，造成了楚国艺术的高度发展，这是楚文化明显超过中原文化的一个方面。在中原文化中，艺术，包括音乐、舞蹈、歌曲，主要被理解为“礼”的组成部分，被当作调节群体生活、实现一定伦理目的的手段。因而，中庸平和被视为艺术的极致。而楚国的艺术，无论娱神娱人，仍然都是在注重审美愉悦的方向上发展，充分展示出人们情感的活跃性。楚地出土的各种器物和丝织品，不仅制作精细，而且往往绘有艳丽华美、奇幻飞动的图案。《招魂》、《九歌》所描绘的音乐舞蹈，也显示出热烈动荡、诡谲奇丽的气氛。旧楚地、今湖北随县出土的一套具备五个半八度的编钟，被中外专门家誉为“世界奇迹”，实际证明了楚国音乐及歌舞的发达。而北方的正统音乐，通常是限制在一个八度的音域范围内的。
综上所述，应该说：以春秋战国时代而论，楚文化与中原文化，实是各有特点，各有所长。如果单就艺术领域而言，楚文化的成就为高。文学是广义的艺术的一个方面。我们所要论述的楚辞，既是楚文化土壤上开出的奇葩，又代表了楚文化的辉煌成就。楚文化尤其楚国艺术的一般特点，如较强的个体意识，激烈动荡的情感，奇幻而华丽的表现形式等等，也都呈现于楚辞中。
楚辞的形成，从直接的因素来说，首先同楚地的歌谣有密切关系。如前所述，楚是一个音乐舞蹈发达的地方。现在从《楚辞》等书还可以看到众多楚地乐曲的名目，如《涉江》、《采菱》、《劳商》、《九辩》、《九歌》、《薤露》、《阳春》、《白雪》等。现存的歌辞，较早的有《孟子》中记录的《孺子歌》，据说是孔子游楚时听当地小孩所唱：
沧浪之水清兮，可以濯我缨；沧浪之水浊兮，可以濯我足。
还有刘向《说苑》所载《越人歌》，据说是楚人翻译的越国舟子的唱辞：
今夕何夕兮，搴舟中流。今日何日兮，得与王子同舟。蒙羞被好兮，不訾诟耻。心几烦而不绝兮，得知王子。山有木兮木有枝，心悦君兮君不知。
这种歌谣到秦汉时还十分流行。如刘邦有《大风歌》，项羽有《垓下歌》。它的体式与中原歌谣不同，不是整齐的四言体，每句可长可短，在句尾或句中多用语气词“兮”字。这些也成为楚辞的显著特征。
但值得注意的是，楚辞虽脱胎于楚地歌谣，却已发生了重大变化。汉人称楚辞为赋，取义是“不歌而诵谓之赋”①（《汉书·艺文志》）。屈原的作品，除《九歌》外，《离骚》、《招魂》、《天问》，都是长篇巨制；《九章》较之《诗经》而言，也长得多。它们显然不适宜歌唱，不应当作歌曲来看待。同时，这种“不歌而诵”的“赋”，却又不是像散文那样的读法，据古籍记载，需要用一种特别的声调来诵读。这大约类似于古希腊史诗的“吟唱”形式。歌谣总是篇幅短小而语言简朴的，楚辞正是摆脱了歌谣的形式，才能使用繁丽的文辞，容纳复杂的内涵，表现丰富的思想情感。顺带说，现代人为了区别楚辞与汉赋，不主张称楚辞为“赋”，这不无道理，却不能说汉人这样称呼有何过错。因为本来是先有“屈赋”而后有“汉赋”的。
汉人又有“赋者，古诗之流也”一说（见班固《两都赋序》），当是为了攀附儒家经典，兼考虑到赋的铺张特征。
楚地盛行的巫教，又渗透了楚辞，使之具有浓厚的神话色彩。据史书记载，当中原文化巫教色彩早已明显消退以后，在南楚，直至战国，君臣上下仍然“信巫觋，重淫祠”（《汉书·地理志》）。楚怀王曾“隆祭礼，事鬼神”，并且企图靠鬼神之助以退秦师（见《汉书·郊祀志》）。民间的巫风更为盛行。《汉书·地理志》及王逸《楚辞章句》等，都言及楚人信巫而好祠，“其祠必作歌乐，鼓舞以乐诸神”的风俗。可见在屈原的时代，楚人还沉浸在一片充满奇异想象和炽热情感的神话世界中。生活于这一文化氛围中的屈原，不仅创作出祭神的组诗——《九歌》，和根据民间招魂词写作的《招魂》，而且在表述自身情感时，也大量运用神话材料，驰骋想象，上天入地，飘游六合九州，给人以神秘的感受。甚至《离骚》这篇代表作的构架，由“卜名”、“陈辞”、“先戒”、“神游”，到“问卜”、“降神”，都借用了民间巫术的方式。
除了楚文化本身的因素，其他一些因素对楚辞的形式也起了一定作用。如前所述，春秋以后，楚国贵族对《诗经》已经相当熟悉，这成为他们的文化素养的一部分。屈原《九章》中的《橘颂》全用四言句，又在隔句的句尾用“兮”字，可以视为《诗经》体式对《楚辞》体式的渗透。在战国时代，纵横家奔走游说，十分活跃。他们“欲以唇吻奏功，遂竞为美辞，以动人主”，“余波流衍，渐及文苑，繁辞华句，固已非《诗》之朴质之体式所能载矣。”——鲁迅《汉文学史纲要》中的这一节论述，正确地指出了战国纵横家华丽铺张的文辞对《楚辞》形成的影响。
当然，“不有屈原，岂见《离骚》”（《文心雕龙·辨骚》）。
楚辞是楚文化的产物，具体说来，又离不开伟大诗人屈原的创造。
[代表人物]
《楚辞》的代表人物屈原（前340？－前278年），是中国文学史上最早出现的爱国诗人。 在《楚辞》初本的16卷中，屈原的作品占绝大部分，共收他的诗作8卷20余篇。包括《离骚》、《九歌》（11篇）、《天向》、《九章》（9篇）、《远游》、《卜居》、《渔父》、《招魂》等。其它8卷是，宋玉的《九辩》，景差的《大招》，及汉代贾谊的《惜誓》、淮南小山的《招隐士》、东方朔的《七谏》，严忌的《哀时命》、王褒的《九怀》、刘向的《九叹》等。南宋朱熹在些基础上编为《楚辞集注》，增入贾谊的《鹏鸟赋》、《吊屈原赋》两篇；删去《七谏》、《九怀》、《九叹》等作品，朱熹认为这些作品缺乏真实的思想感情。他并把屈原的作品划为“离骚类”，把其它作品划为“续离骚类”，按原篇章次序编为8卷。 屈原的作品大致可分两类：一类是《离骚》《九章》等在流放生活中写的政治抒怀诗；一类是以《九歌》为代表的祭歌和反映诗人世界观、人生观的《天问》。 屈原的代表作《离骚》，是我国古代最长的一篇浪漫主义抒怀诗，也是 “楚辞”的代表作品。由此，世人称“楚辞”为“骚体诗”，并与《诗经》并称“诗骚”。《离骚》是诗人在遭第二次流放中，满怀“信而见疑、忠而被谤”的委屈，凝聚忧愤、感慨于笔端写成的。这首近2500字的长诗，叙述了诗人的身世和志向，通过表现诗人一生不懈的斗争和决心以身殉志的悲剧，反映了楚国统治阶层中正直与邪恶两种势力的尖锐斗争，暴露了楚国的黑暗现实和政治危机，表达了他为国为民而战斗不屈，“九死而不悔”的精神。
内容梗概
《楚辞》中的《离骚》、《九歌》、《九章》、《天问》和《招魂》等共23篇，是屈原的作品（此外，还有宋玉等人的作品），绝大多数是楚辞体的诗，是我们现在所看到的《楚辞》的代表作。屈原的作品主要是以楚国的民间文学为基础，结合自己的生活经历和从政遭遇而写出。简述《九歌》艺术表现的特点。
一．屈原在《九歌》中既写出了神的灵异，更写出了神的“人性”，神性和人性统一在一起。如《湘君》、《湘夫人》，表现湘水之神相互爱慕追求却终于不遇的波折变化的心境。抒写神与神之间、神与人之间的恋爱故事，使祭神歌曲带有侬侬的人间情味。二．叙写神灵的活动和神灵的情感，描绘神灵的环境和气氛，是一种清新幽眇的境界。
简述《招魂》的艺术特色。
一． 结构精密完美。依据方位和事物层层铺叙渲染的表现方式。二． 长于铺排描摹，例如它写四方的恐怖，罗列众多可怕的事物，还描绘出它们可怕的形象。
试叙楚辞产生的相关要素。
一．与楚声、楚歌有直接联系。楚辞即使不能歌唱，也要用“楚声”来诵读。楚辞的许多诗篇都有“乱”辞，它们都是乐曲的组成部分，更表明楚词与楚乐有亲密关系。二．楚辞的产生与楚国民间“巫歌”关系密切。宗教的歌舞，对楚辞有几个方面的直接影响：1．《九歌》就是在民间祭神乐歌的基础上加工而成的。2．祭神仪式中，巫师装扮成不同的神祗，载歌载舞，就像戏剧一样。这样神秘浪漫而具有故事性的歌舞，对楚辞的构思和表现都有影响。如《离骚》写恶咸降神。3．民间祭神巫歌，富有神奇的想象或幻想，孕育着丰富的神话故事，这些都成为楚辞的养料和特征。如《九歌》中的神鬼，《离骚》中的天界。
三． 楚辞中充满着楚地风物的描写，使用着道地的楚地方言等。 四． 楚辞是在南北文化交流的新的时代环境下，诞生于楚国的地域特色鲜明的新诗体。
以上种种，说明楚辞确乎是楚文化的产物，带有浓厚的地域色彩。
试论楚辞的文体特点。
一． 从诗风言，铺排夸饰，想象丰富，是楚辞的共同特征。如《离骚》充满奇幻不拘的想象，抒发真情层进反覆。
二． 从体式言，楚辞较之《诗经》，篇幅极大增长，句式也有四言为主变为长短不拘，参差错落。
三． 就语言说，楚辞多用楚语楚声，楚地的方言词语大量涌现，另外，“兮”字、“些”字作为虚词叹语成为楚辞的一个鲜明标志。
试论《离骚》的思想内容。
一．“美政”理想和深沉的爱国情感。屈原向往“前圣”治国君明臣贤、君臣和谐的境界，提出“举贤而授能兮，循绳墨而不颇”的具体治国方略。二．追求理想九死不悔的坚韧品和疾恶如仇的批判精神。贵族大臣群起而攻，迫害屈原，但屈原仁不放弃他的政治理想而苦苦追求，《离骚》写他上天入地，寻求出路，就是他追求理想实现的形象描绘。批判精神在于他坚定不移地追求光明理想的同时，也直接揭批黑暗、指斥奸佞。
试论《离骚》的主要艺术特点。
一．浓烈的激情和奇幻的想象。《离骚》前半回顾往事，追忆身世、理想和遭遇，基本是写实，但那些比兴手法铺叙夸饰自己的美好品质的诗句，已具有奇异想象的特色；后半写对未来道路的探索，则更是火一样的浓烈激情、忠贞深沉的爱国情感，通过奔腾飘逸、上天入地的想象淋漓尽致地喷发出来。二．洁纯美、独立不屈的抒情主人公形象。高贵的出身，崇高的理想，峻洁纯美、独立不屈的人格，及其异常浓烈的情感，构成了抒情主人公超凡脱俗的完美想象，具有象征意味，表现了这篇抒情长诗的精神实质。 三．比兴手法的拓展。它把《诗经》片段的比兴发展成为长篇诗歌中比兴的连续使用，还把《诗经》那种喻象、喻体各自独立的单纯比喻合二为一。在《诗经》基础上拓展的寄情于物、托物抒情的表现手法，形成了我国文学中著名的香草美人的托喻手法的传统，影响深远。 四．结构特点。全诗都围绕着，诗人忠贞不渝的故国情感和追求崇高理想九死不悔的精神来谋篇布局的。前半部分回顾历史，实写，后半部分对理想之实现的探索，虚写。 五．形式和语言特色。既采用了民歌形式，也汲取了散文的笔法，成为一种句式长短不拘、韵句散语相间的新的文学表现形式。《离骚》后半表现诗人的思想活动，往往设为主客问答，铺排描写。语言丰富多彩、双声叠韵比比皆是。
试论《九辩》的艺术特色极其与《离骚》思想、艺术上的异同。
一．《九辩》的思想境界不及《离骚》尽管它也有自标高洁的咏叹和批判、揭露政局的黑暗，但是缺少屈原那种激切的情思和追求理想九死不悔的精神。面对不平际遇，他采取退守保身的态度，甚至感恩阿谀之嫌。
二．表现看，《九辩》不失为楚辞中一篇精品。A．长于铺排描摹，并在描绘中创造较为圆融的意境。如开头那段广为传涌的文字，渲染秋气之肃杀肃瑟，草木衰落、山空水瘦，天高气清的空阔凄疏之景等。诗人的际遇悲伤之感，被肃杀凄凉的秋景烘托得更加深切浓重。B． 细致入微的刻画描写。写落木之枝萎叶衰，从叶片到枝干，由形态到色彩，都刻画得细微真切。C．《九辩》的造语用词也很可称道。韵散相间，长短不拘，参差有致
楚辞卷第一
离骚经
(屈原)
离骚经者。屈原之所作也。屈原与楚同姓。仕于怀王。为三闾大夫。三闾之职。掌王族三姓。曰昭屈原景。屈原序其谱属。率其贤良以厉国士。入则与王图议政事。决定嫌疑。出则监察群下。应对诸侯。谋行职修。王甚珍之。同列大夫上官靳尚。妒害其能。共谮毁之。
王乃疏屈原。屈原执履忠贞。而被谗邪。忧心烦乱。不知所愬。乃作离骚经。离。别也。骚。愁也。经。径也。言已放逐离别。中心愁思。犹依道径以风谏君也。故上述唐虞三后之制。下序乘纣羿浇之败。冀君觉悟。
反于正道而还已也。是时秦昭王使张仪谲诈怀王。令绝齐交。又使诱楚。请与俱会武关。逐胁与俱归。拘留不遣。卒客死于秦。其子襄王。复用谗言。迁屈原于江南。原放在草野。复作九章。援天引圣。以自证明。终不见省。不忍以清白久居浊世。逐赴汩渊。自沉而死。离骚之文。依诗取兴。引类譬谕。故善鸟香草。以配忠贞。恶禽臭物。以比谗佞。灵修美人。以媲于君。宓妃佚女。以譬贤臣。虬龙鸾凤。以托君子。飘风云霓。以为小人。其词温而雅。其义皎而朗。凡百君子。莫不慕其清高。嘉其文采。哀其不遇。而愍其志焉。
帝高阳之苗裔兮。朕皇考曰伯庸。
摄提贞于孟陬兮。惟庚寅吾以降。
皇览揆余初度兮。肇锡余以嘉名。
名余曰正则兮。字余曰灵均。
纷吾既有此内美兮。又重之以修能。
扈江离与辟芷兮。纫秋兰以为佩。
汩余若将不及兮。恐年岁之不吾与。
朝搴阰之木兰兮。夕揽洲之宿莽。
日月忽其不淹兮。春与秋其代序。
惟草木之零落兮。恐美人之迟暮。
不抚壮而弃秽兮。何不改此度。
乘骐骥以驰骋兮。来吾道夫先路。
昔三后之纯粹兮。固众芳之所在。
杂申椒与菌桂兮。岂维纫夫蕙茞。
彼尧舜之耿介兮。既遵道而得路。
何桀纣之猖披兮。夫唯捷径以窘步。
惟夫党人之偷乐兮。路幽昧以险隘。
岂余身之惮殃兮。恐皇舆之败绩。
忽奔走以先后兮。及前王之踵武。
荃不察余之中情兮。反信谗而几齌怒。
余固知謇謇之为患兮。忍而不能舍也。
指九天以为正兮。夫唯灵修之故也。
曰黄昏以为期兮。羌中道而改路。
初既与余成言兮。后悔遁而有他。
余既不难夫离别兮。伤灵修之数化。
余既滋兰之九畹兮。又树蕙之百亩。
畦留夷与揭车兮。杂杜衡与芳芷。
冀枝叶之峻茂兮。愿俟时乎吾将刈。
虽萎绝其亦何伤兮。哀众芳之芜秽。
众皆竞进以贪婪兮。凭不猒乎求索。
羌内恕己以量人兮。各兴心而嫉妒。
忽驰骛以追逐兮。非余心之所急。
老冉冉其将至兮。恐修名之不立。
朝饮木兰之坠露兮。夕餐秋菊之落英。
苟余情其信姱以练要兮。长顑颔亦何伤。
揽木根以结茞兮。贯薜荔之落蕊。
矫菌桂以纫蕙兮。索胡绳之纚纚。
謇吾法夫前修兮。非世俗之所服。
虽不周于今之人兮。愿依彭咸之遗则。
长太息以掩涕兮。哀民生之多艰。
余虽好修姱以鞿羁兮。謇朝谇而夕替。
既替余以蕙纕兮。又申之以揽茞。
亦余心之所善兮。虽九死其犹未悔。
怨灵修之浩荡兮。终不察夫民心。
众女嫉余之蛾眉兮。谣诼谓余以善淫。
固时俗之工巧兮。偭规矩而改错。
背绳墨以追曲兮。竞周容以为度。
忳郁邑余侘傺兮。吾独穷困乎此时也。
宁溘死以流亡兮。余不忍为此态也。
鸷乌之不群兮。自前世而固然。
何方圜之能周兮。夫孰异道而相安。
屈心而抑志兮。忍尤而攘诟。
伏清白以死直兮。固前圣之所厚。
悔相道之不察兮。延伫乎吾将反。
回朕车以复路兮。及行迷之未远。
步余马于兰皋兮。驰椒丘且焉止息。
进不入以离尤兮。退将复修吾初服。
制芰荷以为衣兮。集芙蓉以为裳。
不吾知其亦已兮。苟余情其信芳。
高余冠之岌岌兮。长余佩之陆离。
芳与泽其杂糅兮。唯昭质其犹未亏。
忽反顾以游目兮。将往观乎四荒。
佩缤纷其繁饰兮。芳菲菲其弥章。
民生各有所乐兮。余独好修以为常。
虽体解吾犹未变兮。岂余心之可惩。
女嬃之婵媛兮。申申其詈予。
曰鲧婞直以亡身兮。终然夭乎羽之野。
汝何博謇而好修兮。纷独有此姱节。
薋菉葹以盈室兮。判独离而不服。
众不可户说兮。孰云察余之中情。
世并举而好朋兮。夫何茕独而不予听。
依前圣以节中兮。喟凭心而历兹。
济沅湘以南征兮。就重华而敶词。
启九辩与九歌兮。夏康娱以自纵。
不顾难以图后兮。五子用失乎家巷。
羿淫游以佚畋兮。又好射夫封狐。
固乱流其鲜终兮。浞又贪夫厥家。
浇身被服强圉兮。纵欲而不忍。
日康娱而自忘兮。厥首用夫颠陨。
夏桀之常违兮。乃遂焉而逢殃。
后辛之菹醢兮。殷宗用而不长。
汤禹俨而祇敬兮。周论道而莫差。
举贤而授能兮。循绳墨而不颇。
皇天无私阿兮。览民德焉错辅。
夫维圣哲以茂行兮。苟得用此下土。
瞻前而顾后兮。相观民之计极。
夫孰非义而可用兮。孰非善而可服。
阽余身而危死兮。览余初其犹未悔。
不量凿而正枘兮。固前修以菹醢。
曾歔欷余郁邑兮。哀朕时之不当。
揽茹蕙以掩涕兮。沾余襟之浪浪。
跪敷衽以陈辞兮。耿吾既得此中正。
驷玉虬以乘鹥兮。溘埃风余上征。
朝发轫于苍梧兮。夕余至乎县圃。
欲少留此灵琐兮。日忽忽其将暮。
吾令义和弭节兮。望崦嵫而勿迫。
路曼曼其修远兮。吾将上下而求索。
饮余马于咸池兮。总余辔乎扶桑。
折若木以拂日兮。聊逍遥以相羊。
前望舒使先驱兮。后飞廉使奔属。
鸾皇为余先戒兮。雷师告余以未具。
吾令凤鸟飞腾兮。继之以日夜。
飘风屯其相离兮。帅云霓而来御。
纷总总其离合兮。斑陆离其上下。
吾令帝阍开关兮。倚阊阖而望予。
时暧暧其将罢兮。结幽兰而延伫。
世混浊而不分兮。好蔽美而嫉妒。
朝吾将济于白水兮。登阆风而绁马。
忽反顾以流涕兮。哀高丘之无女。
溘吾游此春宫兮。折琼枝以继佩。
及荣华之未落兮。相下女之可诒。
吾令丰隆乘云兮。求宓妃之所在。
解佩纕以结言兮。吾令蹇修以为理。
纷总总其离合兮。忽纬繣其难迁。
夕归次于穷石兮。朝濯发乎洧盘。
保厥美以骄傲兮。日康娱以淫游。
虽信美而无礼兮。来违弃而改求。
览相观于四极兮。周流乎天余乃下。
望瑶台之偃蹇兮。见有娀之佚女。
吾令鸩为媒兮。鸩告余以不好。
雄鸠之鸣逝兮。余犹恶其佻巧。
心犹豫而狐疑兮。欲自适而不可。
凤皇既受诒兮。恐高辛之先我。
欲远集而无所止兮。聊浮游以逍遥。
及少康之未家兮。留有虞之二姚。
理弱而媒拙兮。恐导言之不固。
世混浊而嫉贤兮。好蔽美而称恶。
闺中既以邃远兮。哲王又不寤。
怀朕情而不发兮。余焉能忍与此终古。
索藑茅以筳篿兮。命灵氛为余占之。
曰两美其必合兮。孰信修而慕之。
思九州之博大兮。岂唯是其有女。
曰勉远逝而无狐疑兮。孰求美而释女。
何所独无芳草兮。尔何怀乎故宇。
世幽昧以昡曜兮。孰云察余之善恶。
民好恶其不同兮。惟此党人其独异。
户服艾以盈要兮。谓幽兰其不可佩。
览察草木其犹未得兮。岂珵美之能当。
苏粪壤以充帏兮。谓申椒其不芳。
欲从灵氛之吉占兮。心犹豫而狐疑。
巫咸将夕降兮。怀椒糈而要之。
百神翳其备降兮。九疑缤其并迎。
皇剡剡其扬灵兮。告余以吉故。
日勉升降以上下兮。求矩矱之所同。
汤禹严而求合兮。挚咎繇而能调。
苟中情其好修兮。又何必用夫行媒。
说操筑于传岩兮。武丁用而不疑。
吕望之鼓刀兮。遭周文而得举。
宁戚之讴歌兮。齐桓闻以该辅。
及年岁之未宴兮。时亦犹其未央。
恐鹈鴃之先鸣兮。使夫百草为之不芳。
何琼佩之偃蹇兮。众薆然而蔽之。
帷此党人之不谅兮。恐嫉妒而折之。
时缤纷其变易兮。又何可以淹留。
兰芷变而不芳兮。荃蕙化而为茅。
何昔日之芳草兮。今直为此萧艾也。
岂其有他故兮。莫好修之害也。
余以兰为何恃兮。羌无实而容长。
委厥美以从俗兮。苟得列乎众芳。
椒专佞以慢慆兮。樧又欲充夫佩帏。
既干进而务入兮。又何芳之能祇。
固时俗之流从兮。又孰能无变化。
览椒兰其若兹兮。又况揭车与江离。
惟兹佩之可贵兮。委厥美而历兹。
芳菲菲而难亏兮。芬至今犹未沫。
和调度以自娱兮。聊浮游而求女。
及余饰之方壮兮。周流观乎上下。
灵氛既告余以吉占兮。历吉日乎吾将行。
折琼枝以为羞兮。精琼爢以为粻。
为余驾飞龙兮。杂瑶象以为车。
何离心之可同兮。吾将远逝以自疏。
邅吾道夫昆仑兮。路修远以周流。
扬云霓之暗蔼兮。鸣玉鸾之啾啾。
朝发轫于天津兮。夕余至乎西极。
凤皇翼其承旗兮。高翱翔之翼翼。
忽吾行此流沙兮。遵赤水而容与。
麾蛟龙使梁津兮。诏西皇使涉予。
路修远以多艰兮。腾众车使径待。
路不周以左转兮。指西海以为期。
屯余车其千乘兮。齐玉轪而并驰。
驾八龙之婉婉兮。载云旗之委蛇。
抑志而弭节兮。神高驰之邈邈。
奏九歌而舞韶兮。聊假日以偷乐。
陟升皇之赫戏兮。忽临睨夫旧乡。
仆夫悲余马怀兮。蜷扃顾而不行。
乱曰。已矣哉。
国无人莫我知兮。又何怀乎故都。
既莫足与为美政兮。吾将从彭咸之所居。
"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
请欣赏:
请给我换一个看看！ 拜托，快把噪音停掉！我读累了，想听点音乐或者请来支歌曲！
|
|
|