Where did Chuci develop the artistic achievements of The Book of Songs?

If The Book of Songs is the representative of the northern Central Plains culture in the pre-Qin period and marks the highest achievement of literature in the Yellow River basin, then Qu Yuan's Songs of Chu is the representative of the southern Chu culture in the pre-Qin period and marks the highest achievement of literature in the Jianghuai basin. The Book of Songs and Songs of the South have created the representative realistic and romantic literary traditions in the history of China literature for thousands of years, just like the shining stars in the night sky of ancient literature, shining north and south, shining through the ages. Although The Book of Songs and Songs of the South represent different literary styles in different periods, regions and styles, they are inextricably linked.

First, the similarity of theme expression.

The inheritance of the literary spirit of The Book of Songs by Songs of the South is mainly manifested in the spirit of "resentment" and the sense of hardship. Some "national style" works in The Book of Songs and some works in The Scholars and Xiaoya are full of the spirit of exposing and criticizing the bad king, tyrannical politics and dark society. Some poets from the aristocratic class, out of a strong sense of political responsibility and mission, "speak from the middle" and express their resentment and urgent desire for wise ministers. This kind of poets came into being in the darkest period of society: Li Wang, Wang You and the early years of the Eastern Zhou Dynasty. Such as "board", "swing" and "people's labor" in Daya; The Turn of October, The First Month and Xiaoya's Visit to the Temple are all representative works in this respect. In addition, due to the darkness of society, the debauchery and cruelty of the ruling class, and the lack of governance, many middle and lower class people with aristocratic backgrounds are deeply worried about the future of the country and the fate of individuals. There are also sentences such as "I am sad", "I don't know how to grieve", "I am sad" and "I am sad".

The spirit of "resentment" and "worry" in The Book of Songs is more fully reflected in The Songs of the South. Among them, there are sharp criticisms of the moral degeneration of the ruling class, such as Li Sao, which says: "Everyone strives for greed", "They are tired of seeking", "They are jealous of each other's interests" and "They chase each other". There are also revelations about the treachery of those in power and the dark politics that the wise and fools do not distinguish. For example, there is a cloud in "Involved in the River": "Love birds and phoenixes, the sky is far away; Swallows and blackbirds, nests and altars; Xinyi, Shen Lu, with dry forests and sparse forests; Shame and resist it, not thin. " There are people who dare to complain and hate the supreme ruler. For example, "Li Sao" said that "the spirit of resentment is mighty, regardless of the hearts of the husband and the people." "Xiao Ting didn't notice Yu's affection, but she was treacherous and furious. This fearless critical spirit, which dares to point the finger directly at the supreme ruler, is more profound than the Book of Songs. ?

In addition, The Book of Songs is mainly created by working people, so the themes are farming, conquest, love, labor and so on. Although there are satirical works, his poetic style is gentle and sincere, simple and lively. The authors of Chu Ci are a group of noble literati represented by Qu Yuan. They live in an era when the strong Qin Dynasty is rising day by day and eventually devours the six countries. The theme of "Songs of Chu" is the worry about the fate of Chu, the attack on dark politics, the sorrow for the people's hard life, the hatred for evil deeds and the resentment against their own ambitions. From this perspective,

Second, the inheritance and development of art forms.

In terms of language use, Songs of the South directly inherited the four-character structure of the Book of Songs, but developed it and replaced it with more flexible and free sentence patterns such as Tian Wen, Ode to Orange and Evocation. ? (2) Jianghan Rushui folk songs as far back as the early Zhou Dynasty, such as Han Guang and Jiang Yousi in The Book of Songs, were all produced in Chu. At that time, many people in Chu also quoted the Book of Songs, and Zuo Zhuan also recorded Chu people's poems, such as Zhou Song Shi Mai, which was quoted in the twelfth year. In the second year of his reign, he re-quoted Daya Wang Wen and so on. It can be seen that The Book of Songs was widely known by Chu people in the Spring and Autumn Period. Therefore, it is not difficult to understand that the works of Chu Ci, such as Ode to Orange and Tian Wen, are exactly the same as the Book of Songs in language use. ?

A close reading of Songs of the South will also reveal that the poems in The Book of Songs are used in many places. For example, when talking about the relationship between The Songs of the South and The Book of Songs, Mr. Jiang Liangfu said that there was a sentence behind Li Sao, Yuan You and Regret for the Past: "My servant grieves for my horse". In fact, it is adapted from the words "My horse is barren and my servant is miserable" in the Book of Songs. The poet "expresses the author's subjective desire with the words" servant "and" horse ",and places his feelings on the servant and horse, which is something in the Book of Songs." ? In addition, such words as Miao, imperial examination, returning air, drifting wind, enthusiasm, recklessness, trouble, tea and leisurely in the Book of Songs are all taken directly from the Book of Songs. ? (4) Another example is Song Yu's "Nine Debates", "I admire the poet's legacy, and I am willing to follow a vegetarian diet." Among them, the classic of "vegetarian meal" comes from the book of songs on Feng Weifa, which says, "He is a gentleman, but he is not a vegetarian." And "poet" naturally refers to the author of "Three Hundred Poems". Song Yu Can quoted allusions from The Book of Songs so skillfully in his works, which showed that he had learned and mastered the Book of Songs to a high degree. Qu Yuan and Song Yu are contemporaries and have a close relationship, which just proves the fact that Qu Yuan studied the Book of Songs. From the use of the above language forms, words and allusions, it can be seen that it is not a problem that the creation of Chu Ci is influenced by the Book of Songs.

Third, the expression techniques come down in one continuous line.

The expressive techniques of The Book of Songs can be summarized into three types in Preface: Fu, Bi and Xing. In the Southern Song Dynasty, Zhu explained in his Biography of Poetry: "The giver speaks frankly; Compare this thing with another thing; When you are excited, just say something else that will make you say something. " The Songs of the South not only inherited the expressive techniques of metaphor and metaphor in the Book of Songs, but also spread widely, not only in the choice of words and sentences, but also in the layout of articles. ? ⑤ The Book of Songs is more simple than Xing, and the things used for metaphor are still independent objects; The metaphor and content of Songs of the South are integrated and symbolic. As mentioned earlier, in Shejiang, the strangeness of costumes symbolizes the poet's noble character. As for the layout, Bi Xing in The Book of Songs is often just a fragment of a poem with few words. Chuci presents its contents in a systematic and one-by-one comparison way, and the comparison method runs through. For example, in Li Sao, the poet compares himself to a woman, from which he draws the conclusion that the relationship between men and women is better than that between monarch and ministers, that many women envy it better than ministers, that marriage is better than that between monarch and ministers, that governing the country depends on driving horses, and that rules are better than that of the country. The use of metaphor makes the whole poem vivid and colorful. In this regard, Wang Yi, a native of the Eastern Han Dynasty, once had an incisive exposition in The Songs of the South: The text of Li Sao is based on poetry, and it is better than others. Therefore, good birds and wonderful grass are worthy of loyalty; Compare bad birds with smelly things; Spiritual beauty, in order to compare with jun; Fu Fei's wife is a good example; Yi Long is monogamous to be a gentleman; Floating clouds are neon, thinking of villains.

In addition, Qu Song poets created one romantic ideal realm after another with bold imagination and peculiar exaggeration, and achieved the perfect unity of content and form, which made Chu Ci not only beautiful in words and artistic conception, but also created the first romantic style of China's poetry. Qu Yuan, as a monument of romantic poetry school, will always stand in the history of China's poetry.

Fourth, the common myth system.

The study of human culturology shows that the myth originated from the totem myth in the totem culture in the middle and late paleolithic age, but it was in the Neolithic age that it officially came into being, developed and prospered. In China, it is equivalent to dating back to the Fu era from the Xia Dynasty. At that time, the north and south of China were basically a unified myth system, and this situation remained unchanged until the Yin Dynasty. After the destruction of Yin in Shang Dynasty, with the acceleration of civilization and the rapid development of "rational culture" in Northern Zhou Dynasty, the original concept and culture of Yin people that attached importance to destiny, ghosts and gods and witchcraft superstition began to shake there. As a result, the myth has also declined, but it exists in some ancient books as a solidified material of cultural history. Such as Shan Hai Jing, Zuo Zhuan, Mandarin, Zhuangzi, Shilu Chunqiu and so on, there are many such mythological materials. Although there are not many sacred words preserved in the Book of Songs, among them, "Walking in the Emperor's Heart" in Daya Sheng Min and "Dark Birds Born by Destiny" in Shang Xuanniao can still be regarded as myths and legends about the birth of Zhou people and merchant ancestors.

Just as the myths in the Central Plains, which were ruled by Zhou people in the north, were gradually declining, the myths in Chu areas in the south were still very prosperous, and the primitive myths of Xia and Shang dynasties remained ancient and simple. The primitive religions such as witchcraft and superstition prevailed among the people and became an important part of folk customs and spiritual and cultural life. Wang Yi's "Preface to Nine Songs of Chu" pointed out: "In the past, Southern Chu was in the direction of Yuan and Xiang, and believed in ghosts and loved to worship shrines. Its temple will make songs and music to inspire the gods. " This fully shows the prevalence of folk witchcraft in Chu State. The place where witchcraft and superstition are strong and primitive religious beliefs prevail is just the best soil for myth to survive. On the other hand, the special geographical and climatic environment of the Three Gorges of the Yangtze River and the hometown of Chu may produce some new local myths and legends, which are combined with ancient myths from the north to form a richer mythological world of southern Chu. ? ⑥ But judging from the overall systematic relationship, they still belong to the mythological system of Chinese culture in the northern Central Plains. The myths in Qu Yuan's Li Sao, Tian Wen, Jiu Ge and Evocation are basically the same as those in Shan Hai Jing, Zuo Zhuan, Guoyu, Lv Chunqiu, The Book of Songs and Zhuangzi in the northern Central Plains, which can prove that.

To sum up, The Book of Songs is mainly produced in the Central Plains of the Yellow River Basin and belongs to northern literature. Since the Spring and Autumn Period, Chu has formed a unique local culture in the long-term independent development process, with its own characteristics in religion, art and customs. At the same time, Chu culture frequently contacts with northern countries, absorbs the culture of the Central Plains and nourishes its ancient culture. This cultural tradition of north-south intersection is an important foundation for the emergence and development of "Chu Ci". ? ⑦ Therefore, it is not difficult for us to understand why The Songs of the South and The Book of Songs are inextricably linked and have different styles. However, it is worth noting that, as a "fantastic prose", The Songs of the South, with its profound cultural background, changeable language forms, romantic artistic style and other artistic aesthetic features, is not only the source of the Book of Songs, but also has been imbued with the milk of other cultures in the Central Plains with the changes and development of the times (the essays of philosophers in the Warring States and indigenous cultures, The Songs of the South, Witch Songs and The Songs of the South). Under such a cultural background, Chu Ci stands out from other foreign cultural factors such as Jingchu culture and Central Plains culture. Therefore, primitive religions, folk customs and myths such as sacrifice and witchcraft, as well as magical romanticism. Only when it is related to Jingchu culture can the emotions expressed in Chu Ci be reasonably explained.