Translation and Understanding of Mountain Ghosts in The Book of Songs

1. Originally seen in Qu Yuan's Nine Songs. Described an extremely elegant beauty image, also known as the goddess in the mountain (see below for details).

2. Mountain God. Historical Records of Qin Shihuang: "Shan Gui doesn't know about the one-year-old thing." Fan Xun in the Northern Qi Dynasty wrote "Countermeasures for Cultivating Scholars in Five Years of Natural Forest Protection": "Shan Gui is effective, and Poseidon receives the invitation." Qi's poem "Linchuan Gongyou Tianchi" says: "If a guest comes to a prophet, he will be rewarded." Act II of Qu Yuan by Guo Moruo: "The ninth person is Shan Gui, female, with blue face and cassia twig in his hand."

3. Mountain God. The legendary one-legged monster. Ji Zheng in the Southern Song Dynasty wrote "Yongjia County Records": "There is a Shan Gui in Angu County, which looks like a foot. If you cut it a foot long, the woodcutter will steal it. Not afraid of people, people dare not commit crimes, and crimes are unfavorable. I like to take crabs from the mountains. " Tang Du Fu's poem "Eighteen Households in Taizhou follow the Huai River" says: "It's only one foot long, and the viper is as long as a tree." Hong Shi's "Qing Dynasty Shanzhai Visiting Two Scholars with Maoming Qu" says: "The sound of books leaves home, the sound of insects is silent, and it travels at night. Fish heads are used to peeping at the door, and it's not surprising to see them. "

4. Generally refers to ghosts in the mountains. Tang Du Fu's poem "Rewarding Judge Xue Twelve" says: "Knowing when you are sick, knowing the terrain is agriculture." "Seven Signs of the Cloud" Volume 79: "Shan Gui is crying in the forest, and the lonely soul is in the realm." Yuan Sadula's poem "Crossing Juyongguan" says: "The grassroots bones are abandoned, and the cold rain and evil wind mourn for Shan Gui." [Edit this paragraph] Chu Ci Shan Gui

Author: Qu Yuan

Source: Nine Songs

If someone is a mountain, he will be taken away by Li Xi with a female radish; Laughing is awkward and decent, and children are eager to be kind and gentle;

Take the red leopard from the text, and the Xinyi car will be noble; Being brought to Du Heng by Shi Lan Xi, I lost my mind;

The rest of the place can't see the sky, and the road can't be immune;

Table independence and Yamanoe, cloud full capacity; It's dark, foggy, the east wind is falling, and the gods are raining;

Stay in practice and forget to return, and give it to me when you are old;

Take "Three Shows in the Mountain" as an example, Shi Lei Schiller Gorman; Complaining that my son forgot to return it, you think I can't be idle;

People in the mountains are fragrant with Du Ruoxiang and drink pine and cypress in Yanquan; You think I am suspicious;

Thunder fills the rain, apes sing at night; The wind is rustling and the wood is rustling. I miss my son and I am worried.

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It's as if someone crossed the deep mountain canyon, dressed in Ficus pumila and wrapped a radish around his waist. Looking forward to it, smiling, gentle and lovely, charming. Driving a red leopard, following civets, taking Xinyi as a car, and decorating the national flag with osmanthus. Wear Shi Lan Du Heng to fold flowers and chat about sending lovesickness.

Deep in the bamboo forest, it was dark and the road was steep, so I came late alone. Standing alone on the top of the mountain, the sea of clouds is boundless and floating. The mountain is dark, the day is like night, the east wind dances wildly, and it rains. I was infatuated with you and forgot to go home. Beauty fades, how can we stay in the flower season forever?

I collect long-lived Ganoderma lucidum in the mountains. The rock is Lei Lei, and kudzu vine is wrapped around it. Complaining that you forgot to go home, but you thought I didn't have time to come. People in the mountains are as clean as Du Ruo, drinking rocks and pine and cypress on their heads. (I'm thinking about my son, thinking to myself,) Do you want me to be true or false? Thunder is rolling, drizzling, apes are singing and the night is heavy. The wind is rustling and the trees are rustling. I miss my son and feel sad alone.

The image of Shan Gui

Shan Gui used Shan Gui's inner monologue to create a beautiful, frank and infatuated girl image. The plot of the whole poem is simple: the heroine and her lover agreed to meet at a place one day, and although the journey was difficult, she arrived happily, but her lover did not arrive as scheduled; When the storm came, she waited for her lover and forgot to go home, but her lover didn't come at last; It was getting late, and when she returned to her residence, she felt sad and sad in the storm and the singing of apes.

The whole poem is intertwined with fantasy and reality, full of romanticism.

The author created a beautiful image of Shan Gui through the combination of man and God.

She wore Ficus pumila, Laura, Shi Lan and Du Heng, and rode in a Mulan car pulled by a red leopard.

There is a flag made of cassia twig in the car, followed by a patterned cat. ...

Its clothing, food, shelter and transportation all have strong divinity and wildness, which is suitable for Shan Gui's position.

However, Shan Gui's appearance, posture and emotional changes are all manifestations of normal people.

She lamented that youth could not last forever, and looked forward to the early arrival of her lover. If she doesn't come, she will be sad and lonely.

This image creation of the unity of god and man is a consistent method in Qu Yuan's poems.

Appreciate:

Shan Gui is from the ninth song of Nine Songs. "Nine Songs" is a group of music songs for offering sacrifices to gods. It is said that it was revised by [Qu Yuan] on the basis of folk music songs for offering sacrifices to gods. There are many chapters describing the love life of ghosts and gods in Nine Songs, such as, Mrs. Xiang, Shao Siming and so on. Shan Gui, the so-called mountain god, is still called Shan Gui, because he was not officially conferred by the Emperor of Heaven.

Shan Gui used the inner monologue of [Shan Gui] to create a beautiful, frank and infatuated girl image. The plot of the whole poem is simple: the heroine and her lover agreed to meet at a place one day, and although the journey was difficult, she arrived happily, but her lover did not arrive as scheduled; When the storm came, she waited for her lover and forgot to go home, but her lover didn't come at last; It was getting late, and when she returned to her residence, she felt sad and sad in the storm and the singing of apes.

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The first part of this poem mainly depicts the beauty of [Shan Gui] from various aspects. The word "if someone" accurately conveys the sense that [Shan Gui] gives people a sense of wandering and wandering. Shan Gui's costumes, such as "Raised by Li Xi", "Xinyiche meets your flag in the west" and "Raised by Shi Lan Xi Du Heng", not only vividly depict Shan Gui's image as the biological daughter of the mountain god and the forest god, but also imply the beauty of her appearance and soul, which is also the embodiment of Qu Yuan's skill of derby grass. "It's embarrassing and funny. My son likes to be gentle." [Shan Gui] These two sudden boasting are like an actor's first appearance on the stage, and its beautiful image makes readers shine. It is worth noting that Shan Gui's appearance is not described in detail here, but the beauty of her expression is praised through her lover's mouth. This can't help but remind people of the description of the beauty of Shuo in the Book of Songs: "Soft hands, coagulated skin, collar like dragonfly, teeth like rhinoceros, head nodding, eyebrows smiling, eyes looking forward." The first few words are ugly. This poem in Shan Gui has the same effect, what's more, it was written by Shan Gui's lover! It seems that we can see that [Shan Gui] is filled with joy when he thinks of his lover's praise on the way to the appointment, and he is even more eager to see his lover at this time. In order to meet her lover, she also specially prepared a gift: "I am so happy that I can't forget it."

The second part describes Shan Gui anxiously waiting for her lover at the appointed place, showing her gentle and spoony character. The sky changed and it began to rain. Because I haven't met my lover, [Shan Gui] doesn't want to go home. The sentence "Be careful when you are old" describes the psychology of women in ancient and modern times: the only thing that can make them feel gratified and relieved is their lover's appreciation and love for the passage of time that always threatens their youthful appearance; What if my lover is not around? Naturally, the face is dim and has no luster. This psychological description makes the image of [Shan Gui] more ordinary and makes people feel that she is kind and lovely. Similar expressions are also common in later poems, such as "walking and walking again" in Nineteen Ancient Poems, which says that "thinking about the monarch makes people old and the years are getting late". In the long wait, [Shan Gui] couldn't help wondering why he didn't come for the appointment. "I can't be idle when you miss me" is not only an excuse for your lover, but also a self-forgiveness sentence.

In the third part, I wrote that my lover didn't come, and Shan Gui began to wonder. With the complete disillusionment of hope, [Shan Gui] can't help feeling resentful towards his lover. "People in the mountains are fragrant in Du Ruo, drinking pine and cypress in rock springs" to praise the beauty and nobility of [Shan Gui]; "You think I'm suspicious" comes from "You think I can't be idle". At this time, [Shan Gui's patience has reached the extreme, and she can't help but think the worst; It was dark, thunder rumbled, it rained heavily, apes screamed, and the wind rustled in the Woods. All these make [Shan Gui] feel lonely and desolate. How can she not complain? "Thinking about you will only make me sad in vain!"

The emotional clues of this poem are clear, and accordingly, the poet is good at setting off and rendering the heroine's emotional changes with the help of scenery description, which is particularly obvious in the second and third sections. In the second season, seeing that my lover didn't arrive as scheduled, [Shan Gui] cast a shadow over his happy mood, and the weather was also "flickering, and the east wind was raining"; In the third season, when the lover finally didn't arrive, [Shan Gui] was infinitely sad, and the wind and rain became more violent, mixed with the groans of apes.

This is a song dedicated to Shan Gui. There is a legend of Wushan Goddess in Chu mythology, and this article may describe the image of the goddess spread in the early days. She can only appear at night, without the dignity of God, which is different from other gods worshipped in Jiuge. The whole song is the confession of a witch who plays Shan Gui.

Before reading this poem, we should pay attention to two points: First, is Shan Gui a goddess or a male god? According to the records in Guoyu and Zuozhuan, the writers of Chu Ci before the Song and Yuan Dynasties regarded Shan Gui as a "monster of wood and stone" and a "ghost", but regarded him as a male mountain monster. However, painters in Yuan and Ming Dynasties painted a graceful and touching goddess according to the descriptions in their poems. Gu Chengtian's Notes on Nine Songs in Qing Dynasty first advocated Shan Gui as the "Goddess of Wushan", which was later elaborated by You Guoen and Guo Moruo. The view that "Shan Gui" should be regarded as "female ghost" or "goddess" is widely accepted. The appreciation of this article is based on this theory, and I think it is closer to the image of Shan Gui described in the poem [note 1]. After Su put forward the theory that "the love between man and god" was expressed in Nine Songs, researchers mostly explained the poem by the lovelorn relationship with childe, but the author thought it was inappropriate. According to the ritual customs of the pre-Qin and Han dynasties, wizards must dress themselves up like gods in appearance and clothes, so that gods are willing to "possess" and be sacrificed [Note 2]. However, because this mountain belongs to the "God of Mountains and Rivers", the ancients adopted the way of "offering sacrifices from afar", so Shan Gui did not come to the sacrifice site. According to this feature, this poem uses a witch dressed as Shan Gui to express the world's yearning for God's sincere greetings and blessings. "Jun", "childe" and "spirituality" in the poem all refer to Shan Gui; The first person such as "Yu", "I" and "Yu" refers to the witch who went into the mountains to meet God. Explaining these two points, readers may taste a kind of cultural connotation and charm different from the theory of "love between man and god" for this lively and moving poem.

You see, at the beginning of this poem, a witch dressed as Shan Gui is walking happily among the mountains to meet the gods. From the poet's exquisite description of the wizard's costume, we can know how beautiful Shan Gui is in the legend of Chu people. "People are like mountains" is a telephoto lens. The poet's next word "if" is like her swaying figure in the mountains, giving people a feeling of ethereal magic when she writes. When the camera zooms in, there is a girl dressed in Ficus pumila, a rich woman, fresh and fresh, which is the unique style of the mountain god! At the moment, her eyes flow slightly, which contains deep affection; Smile, white teeth, rosy lips, let your smile shine! "Laughing is awkward and appropriate, and the focus is only on describing its eyes and smile, but it is lighter and more vivid than" The Book of Songs Feng Wei Shuo Ren ". Witch dressed like this, intended to attract the gods, and then came a sentence "Zi (referring to the gods) yearns for kindness and gentleness"-I am so beautiful that I envy you to death: the tone is also designed according to the legendary character, and the opening is undisguised boasting and self-praise, revealing a lively and hearty attitude. This is a portrait of Shan Gui through the witch's dress and tone, which should be said to be extremely exquisite. However, the poet still felt that the atmosphere was a little deserted, so he pushed the camera away and tried to render her driver's entourage: "Take the red leopard into the raccoon, and tie the nobles with the Xinyi car ..." This is really a grand and cheerful trip to meet the gods! Flaming leopards, colorful flowers and raccoons, as well as nib-shaped flowers and fragrant cassia twig, are all used by the poet as chariots to meet the witches of the gods, which not only suits the environment and identity of the gods she met, but also sets off the atmosphere in which she burned flowers and walked cheerfully, which is particularly cheerful and warm.

Since "the rest of the place can't see the sky", the plot has been full of twists and turns, and the poem has fallen from the peak of joy. The witch full of joy, just because the mountain is high and the road is dangerous, failed to receive the girl from Shan Gui (this is of course conceived according to the custom of "watching sacrifices", and the gods are not at the scene)! She was annoyed and sad, and at the same time, with a glimmer of hope, she began to look for it in the mountains. The poem vividly shows the witch's search process and her subtle psychology with changing pictures: she suddenly climbed to the top of the mountain to overlook the depths of the jungle, but the dissolved mountain fog obscured her anxious vision; She suddenly walked in the dark forest, but the old trees were dense and dark as night; The wind and showers in the mountains seemed to be urged by God, but Miss Shan Gui just didn't show up. People offered sacrifices to Shan Ling to pray for her blessing. Since I can't see the gods, who else can make me (the world represented by witches) young forever? In order to alleviate the sense of loss after years, she ate Ganoderma lucidum ("Sanxiu") in the mountains in order to prolong her life. These descriptions, although written about the wizard's idea of looking for gods, just express the aspirations and disappointments of the world. The poet also showed the wizard's psychology of meeting the gods skillfully: "complaining about the son's melancholy and forgetting to return" is clearly a sorrow for the gods; "You miss me, I can't be idle", but in an instant, the resentment disappeared completely. Instead, I went to defend Miss Shan Gui's absence. "Mountain people are happy" is literally similar to the beginning of "Zi Muyu is graceful and restrained". It seems that he is still boasting and boasting, but here, he vaguely reveals the self-pity and self-pity of the gods. "You think I'm suspicious", and it is obviously the wizard himself who has thoughts and doubts about Shan Gui's absence; But when I spoke, I said it was a god. The protagonist's psychology shown in these poems is complex and subtle.

At the end of the poem, it is a foregone conclusion that the gods are gone, and there is a sad voice in the poem. The phrase "Rain hides in the rain" interweaves thunder and ape's cry with the sound of wind and rain, showing an extremely bleak night view of the mountain forest. The poet seems to have used the method of contrast here: the more he exaggerates the thunder and the ape's cry at night, the more he can see the depth and silence of the forest where Shan Gui lives. It is in this boundless silence that the poet's pen collection suddenly uttered a plaintive cry: "I miss my son!" " This is a cry of pain from the heart of the witch who met God-she drove a red leopard with flowers and came along the winding mountain in such joy; At this point, I left in the wind and rain with a lot of sadness and sorrow, and finally disappeared in the thunder and the cry of apes. Generally speaking, the ancients "take sorrow as beauty", and it is expected that immortals will also like sorrow. The more sorrowful life is shown in the sacrifice, the more it can attract the mercy and care of the gods. I wonder if the girl in Shan Gui will be excited when she hears this sacrifice song, and give the world the blessing she wants?

To annotate ...

(1) with this poem "take three beauties out of the mountain", Yu should not pay attention to it, but conclude that Yushan is Wushan and the goddess of Wushan. In fact, this kind of sentence pattern exists in this poem, such as "How can the clouds endure", "Xi" and "two" may also be very important. Then "jade" doesn't need to be pronounced "jade (witch)". This Shan Gui is a female mountain god in folklore, but there is no evidence that she must be the "Wushan Goddess".

(2) Records of the Historical Records of Guan Chan recorded that the Qi people said little: "Shang (referring to Emperor Wu) wants and supernatural powers, and the palace and costumes (that is, the environment and costumes) are not like gods, and gods are absent." People in Jingchu welcome the "Zi Gu" God, but also "shape it (Zi Gu's appearance) to welcome it" (the story of Jingchu Chunqiu). All these prove the characteristics of witchcraft to meet the gods and descend to the gods.

Brief introduction of the author

Qu Yuan (about 339 BC ~ 278 BC). During the Warring States Period, he was a poet and politician of Chu State, the founder and representative author of Songs of Chu. In this century, he was selected as a world cultural celebrity and widely commemorated. According to Liu Xiang and Liu Xin's collation and Wang Yi's annotation, there are 25 works of Qu Yuan, namely Li Sao 1, Tian Wen 1, Jiu Ge1,Nine Chapters 9 and Travel Far. According to Sima Qian in Biography of Qu Yuan in Historical Records, there are 1 evocation. Some scholars believe that Zhao Da is also the work of Qu Yuan. However, some people suspect that the chapters behind Journey and some chapters in Nine Chapters were not written by Qu Yuan. In terms of language form, Qu Yuan's works have broken through the four-sentence pattern in The Book of Songs, with each sentence ranging from five, six, seven, eight and nine characters, as well as three sentences and cross sentences. Grammar is uneven and flexible. The word "Xi" and function words such as "Zhi", "Yu", "Hu" and "Er" are often used at the end of sentences to coordinate syllables and produce cadence, singing and sighing effects. In a word, his works are very creative from content to form.