Introduction
This article is excerpted from Xiangshui (6th series), originally titled Qu Yuan: Chuzhong Poetry Confucianism, by Ou Lijuan, a professor at the Department of Chinese of National Taiwan University.
Founded in 2013, Xiangshui Magazine aims to "explore the humanistic history of Hunan and expound the humanistic spirit of Hunan", which is both ideological, readable and appreciative.
The "Hunan Humanities Series" "Xiangshui" (the sixth series), focusing on the upper reaches of the blue ink - the Miluo River, focusing on Qu Yuan, "Chu Ci" and the context of the Miluo River Basin, invited Han Shaogong, Zhang Wei, Wang Yuewen, Li Yuanluo, Liang Zhenhua, Zhao Kuifu, Wu Guangping well-known scholars and writers to write articles, showing the ancient and modern style of the Miluo River as a cultural river.
Xiangshui (6th series), published by Yuelu Book Society
Qu Yuan: Chu zhong shiru
Text | Ou Lijuan
The modern poet Zheng Shuyu once cried out with great admiration:
Who passed down the profession of the poet and hung a lamp in the twilight?
In this image of the distant illusion, the poet is the lantern bearer who reaches out and lights the flame when the night is about to fall, they are not afraid of darkness, they are not afraid of chaos, they have their own hearts like stars and moons, pointing out the truth and direction for the world. As for these two questions of modern poets, if the history of Chinese literature has passed down the first pioneer of the poet industry, the answer should be: Qu Yuan.
The same is the "root literature" of the nation, which has become the source of the cultural bloodline, the "Book of Poetry" is a collective creation, while the "Chu Ci" from the creation, laying, and expansion, all rely on the hands of Qu Yuan, pouring all his efforts into the endless fountain of this vein, not only inheriting the poetic spirit of the "Book of Poetry", but also further opening up the country of poetry. Such a high talent and great power was praised by Liu Xun's "Wenxin Carved Dragon": "Qi to the ancient, words to cut the present, amazing, difficult and able to do." "The comers are incomparable, they can only be discussed with the "Book of Poetry", and from then on, the wind and the commotion are shared, and as far as one person is concerned, it can be called a powerful person."
"Classical Masterpieces Popularization Library" Chu Ci, published by Yuelu Book Club
Who is this person to ask? And why? And what kind of style is it, and can it only be called "romantic"?
The birth of the giant spirit
In addition to the innate endowment of no one to explore, the growth environment constitutes another key influence, which can be called second nature. Qu Yuan, a unique giant spirit, is also like all living beings, no matter how excellent the innate genetic genes are, there are still plastic molds that depend on the environment to take shape, just like Cao Xueqin, who created "Dream of the Red Chamber", he had the insight that only in the "house of the prince and the rich", those who are gifted with "good and evil" can become "love obsession species" such as Jia Baoyu, which is completely in line with the research results of modern personality theory on human nature.
"Dream of the Red Chamber" (accessible edition of famous artists' performances and readings), published by Yuelu Book Society
It is in a concrete and specific growth environment, what you see, hear, think and feel, as well as all kinds of inexplicable human interactions, the connection between things and me, many conscious or unconscious complex factors intertwined and interpenetrated, in the small universe of each mind, mysterious operation, indispensable, can constitute a specific individual, so that it can not be copied, especially the great soul. In terms of the natural environment alone, Liu Xun, the greatest literary critic in Chinese history, pointed out in "Wenxin Carved Dragon Search": "If it is a mountain forest and a high soil, the Aofu of Shiwensi ,...... How can Qu Ping discern the wind and the love of the turmoil, or is it also the help of the country? ”
As for what help is Jiangshan? First of all, we can imagine a puzzle: if you embed the image of Qu Yuan on the Loess Plateau and the Huanghuai Plain with deep water and thick soil, it is admittedly a bit out of place and difficult to coordinate, just as the rhyme of the "Book of Poetry" is balanced, stable, simple and gentle in a neat four-character poem, and Qu Yuan's ups and downs and vague leaps can only be extended and swayed in the Chu wind of Jiangnan.
Through Wang Fuzhi's "Chu Ci Tongshi Preamble", the so-called "Chu, Ze Guoye." At the intersection of Nanyuan and Xiang, it is also the country of The Mountain. Stacking waves and expansiveness, with the swing of distant feelings, and forced to slash the ghost of the dragon, so there is no end to the push, and the sky is full of hair. The strange atmosphere of the country and the mountains cannot be hidden. On the one hand, the water and soil and the other, the ethnic groups that grew up here are unique in their own way, forming a distinct cultural imprint, and Song HuangBosi's "Treatise on the Yu of The Eastern View" briefly pointed out that the characteristics of Qu Yuan's works were: "All books are Chu language, Chu sound, Ji Chu land, and the name Chu wu." "And the orchids, cocoons, tsuens, medicines, hui, ruo, zhi, and so on that chu di nurtured, that is, Chu Wuye. The allegory of mountains and rivers is that it can be seen everywhere, and it penetrates into life bit by bit in daily life, how can it not be imperceptibly between breathing and vision, penetrating into the depths of the heart and turning into bone and blood?
The Complete Book of Funayama, published by Yuelu Books
The sparkling dewdrops of the treetops, the dappled shadows of the vines and roses, the faint fragrance of the herbs, the mysterious sounds from the mountain passes, and the unpredictable changes in the sky, will not leave a beautiful cosmic feeling on the young mind? There is no clear line between surreality and reality, and you can cross and fly anywhere at any time, not only to observe daily life, but also to gaze at infinity! With the Chu language of "some, only, qiang, slander, trampling, discord, and 侘", as well as the Chu sound of "sudden setbacks and tragedies, or rhymes or no", it also flows out of the end of the pen the majestic of the yellow spring, which is the most enchanting charm for "Leaving the Troubles" and other articles.
The qualities of the nobility
Of course, although one side of the water and soil is the other side, not all the people on this side will become Qu Yuan. The reason why Qu Yuan is Qu Yuan is more dependent on his unique personal characteristics and encounters. Obviously, Qu Yuan was knowledgeable, ambitious, far-sighted, and beyond the average scribe, which was also closely related to his identity or profession.
The opening chapter of "Leaving sorrow" is cloudy: "Emperor Gaoyang's Miao descendants are Xi, and emperors are considered to be Boyong." Regency is in Meng Qixi, but Gengyin Wu surrenders. Emperor Yu Yu was initially xi, and ZhaoXi Yu was named after Jia. The name Yu Yue Zheng Ze Xi, the word Yu Yue Lingjun. I have both this inner beauty and heavy cultivation ability. "This period of history, the positioning of the self in the clan inheritance, is not only a reflection of the general concept of attaching importance to blood, but also a kind of class belonging and noble lineage of precious pride.
According to the research of scholars, Qu Yuan served as the three lu doctors of the Chu kingdom, should have a special status of wizards, priests and the like, modern people often mistakenly think that it is a kind of religious superstition of freaks and even deceivers, but in fact, as Song Zhaolin pointed out, shamans are not only the hosts of witchcraft and witchcraft activities, but also the preservation, dissemination and collation of scientific and cultural knowledge at that time, especially in astronomy, medicine, writing, literature, history, music, dance, painting and other aspects, can be said to be the spiritual leader who explained the world at that time. It was a wise man or intellectual of prehistoric times. So, how do this type of cultural helmsman be cultivated? Western scholar Arthur Waley's study of the Nine Songs points out that from the examples of Wu Xian and Wu Xian's father and son in the Yin Dynasty, it is slightly inferred that family inheritance may be an important way. It is no wonder that Qu Yuan attaches so much importance to family genealogy, and the inheritance of the destiny-like spiritual culture is the most critical.
And this type of person with a priestly function, in addition to mastering a huge and profound professional knowledge, even has a special psychic physique, can be out of the mind, communicate with ghosts and spirits without hindrance, and play a role in the sacrifice ceremony to communicate between the two worlds and the unity of heaven and man, so Qu Yuan's beautiful money of love between man and god should also be a religious reflection. Moreover, Qu Yuan's rendering of various fantasy experiences of the long journey is probably not only the use of imagination, but also the truthful depiction of the out-of-body flight of the soul, which can be inferred that Qu Yuan's priesthood belongs to Shamanism. According to Mircea Eliade' research, shamanic powers come from a variety of sources, including God-given, family lineage, dream gods, guidance from elders, experiences of spiritual madness ("ecstasy" or "trance"), and so on.
Isn't this description related to Qu Yuan? The reason why he solemnly laid out his family lineage and named it at the beginning was to explain his special identity. The "spirit" character of "Yu Yu Lingjun" is vaguely corresponding to the supernatural spiritual attributes, as for the "inner beauty" of "The Inner Beauty of the Inner Beauty", or the innate Gift of God, as well as the bloodline inheritance of the family lineage; and the "Cultivation Ability" of "Emphasizing cultivation ability" should be the professional training of relevant knowledge and technology in the process of growing up. The reason why he can travel far and summon souls is because of this, and the spiritual madness displayed when he travels far away and summons souls is not the source of the psychedelic charm in his chapters?
Of course, Qu Yuan is not just an excellent and competent wizard, his "inner beauty" and "cultivation ability" contain a high degree of moral quality, the so-called "people's livelihood has its own happiness, Yu Du is good to cultivate for granted", "good cultivation" is a hobby of personality cultivation, which is the internal tone on which he builds himself. Su Xuelin's "Chu Ci Xinyi" has counted that the "Good Repair" is used five times in the "Departure from sorrow" alone, in addition to words that are compounded with the word "Repair", such as Xiu Neng, Xiu Ming, Qian Xiu, Xin Xiu, Xiu Jie, Yi Xiu, Xiu Chu Fu, and the newly cast word "Spiritual Cultivation", which is seen in the eleventh and also appears in other chapters. It can be seen that Qu Yuan is a magnificent gentleman who is clean and self-righteous, self-motivated, and that outstanding personality can serve as the true spiritual teacher of the entire country and lead the pace of progress, so in "Leaving the Troubles", Yin Yin appealed: "Ride on the Qi Ji to gallop and come to wu Daofu to lead the way!" ”
It is precisely this kind of lofty ideal orientation that is the key to the birth of works such as "Leaving the Troubles".
Portrait of the soul
It is true that Qu Yuan is self-loving and self-confident, and he clearly understands his preciousness, so he insists on not discounting it: when he is suppressed and excluded, he arouses strong righteous indignation, often accusing the mediocrity of the world's ordinary people. so-called:
The women were jealous of Yu's moths, and the rumors said that Yu was good at adultery.
The world is muddy and not divided, so that it is beautiful and jealous.
The world is turbid and jealous, and it is good to hide beauty and call evil.
So clean and unstained, so beautiful and virtuous, so good at all, that in the "Departure from sorrow", the word "beauty" alone appears twelve times, and does not include all the descriptions of beauty in it. Qu Yuan also took good care of such a self, so that he was lonely, and Ban Gu of the Eastern Han Dynasty called it "Lu Cai Yang Himself", once he fell in love with the world and suffered setbacks, how could he not complain and be angry, so Yuan Hongdao of the Ming Dynasty pointed out that he was "strong and straight, steep and exposed", and objectively saw Qu Yuan's side.
Indeed, the entire poem of "Leaving Sorrows" is as many as three hundred and seventy-seven sentences, vividly expressing personal feelings, according to Wang Hailong's observation, which uses six different self-proclaimed pronouns, including give, I, 朕, zhi (self-proclaimed in the third person), Yu, I, etc., appearing a total of eighty-eight times, the word "Yu" alone appears fifty times, and the word "wu" appears twenty-six times, and the phenomenon of self-assertion is extremely distinct. It can be said that these chapters are Qu Yuan's personal confessions, so there is me everywhere between the lines. Many people regard "Leaving Sorrow" as the beginning of Chinese lyric poetry, and Qu Yuan as a representative of the romantic school because they see a distinctive mark on his own.
However, Qu Yuan's self is incomparably pure, there is no selfishness of ordinary people, and there is even no social dependence that individual existence must have, Qu Yuan turned out to be born, as if it were so complete, it had nothing to do with the earthly world, in his pen, there was no human affairs, fireworks, only a pure ice heart. Precisely speaking, what we see is not Qu Yuan as a person, but his spiritual activity, and the reflection in his works is pure spiritual brilliance, and there is no atmosphere of life and dust.
For example, Qu Yuan only talked about his father, but it was not so much a biographical presentation of family ethics as a lineage of spiritual undertakings. In addition, did Qu Yuan get married and have children? How did he relate to his friends? The answers to these questions were blank, except for the kings and villains he had encountered. But the king is a distant illusion, in essence, a hanging thought under the barrier of thousands of mountains and rivers; although the villain is obstructing everywhere, it is only some abstract negative base point, if it must be used to highlight his purity, Qu Yuan is really dismissive, so there is a complete lack of evil forms and traces.
As for family and friends? Regardless of whether Confucius had a wife and a son, which has lasted for more than seventy generations, and is still surrounded by seventy-two disciples inheriting the mantle, the relationship and dialogue between teachers and students are rich and wonderful, there is warmth, there is severity, there is the joy and happiness of sharing the leisure of spring water, there is also the awe-inspiring support of life and death, in the "Analects", the Master of Wanshi depicts a shining ethical territory.
"Popularization Library of Classical Masterpieces", "Analects", published by Yuelu Book Society
Even in the case of Zhuangzi, a contemporary and from the same hometown, he has a wife revealed in the passage "Drums and Pots and Songs", she is "living with people, the eldest son is old", she is a life partner who raises children together, and the husband and wife are white-headed and old; there is also Hao liang's friend Huishi, who is both a rival of competition and a friend of exchanges, who not only went to mourn Zhuangzi's wife and funeral, but also launched an army to hunt down Zhuangzi. It can be seen that this idle and detached thinker often reveals traces of breaking free from the human world, giving people a glimpse of the axe chisel hidden under the water of the dragonfly: it turns out that before reaching the "getaway", Zhuangzi first fell into the "human world"! Even when he was going back and forth, he expressed his horror and compassion for blindness and ignorance through the parent-child fable of "a powerful man, who gives birth to his son in the middle of the night, who takes fire and looks at him, and who is afraid of his own likeness".
However, Qu Yuan was purely independent of spiritual exchanges, and there was no level of life, and even the clothes he wore on his body were "The river is far away from the zhizhi, and the sewing Qiulan thinks it is pei" and "the making of the lotus is thought to be clothed, and the set of hibiscus is thought to be clothed.". Where is this "human" shape? The flesh and blood are fused into a crystal fragrant spring flower vanilla, leaving only the pure aesthetic image and the pure sacred space.
Not only that, but from Qu Yuan's works, we can't see age, or even gender! When Yin Yin made a loud call to the king, such affectionate and difficult to give up, like the thinking wife of the husband and the king in the moonlight, day by day, no wonder some scholars compared qu Yuanhuai's depression and unhappiness to "political lost love". And this noble man who has been in a state of lost love all his life, who bears the pain of vertebrae and bone erosion all the time, always struggles hard, refuses to compromise, is unwilling to give up, and only on the eve of the final choice to stay away from the world, he shows signs of exhaustion. In the "Fisher Father", it is said: "Qu Yuan is both released, swimming in the river pond, walking on the banks of the Yinze, the color is haggard, describing the dry mallet." But even at this moment, he still sighed that "the whole world is cloudy and I am alone, everyone is drunk and I am awake", unwilling to be covered with the dust of the world with the whiteness of Haohao, and finally chooses to end his life with 100% cleanliness, and death has achieved complete crystallization.
No wonder Sima Qian, with the vision of a historian, concluded in the "History of Qu Yuan Jia Sheng Lie": "His zhi is pure, so he is called Wufang; his deeds are incorruptible, so he is not tolerated in death." In the mud of the dredging, the cicadas decay in the turbidity, so that the floating dust is not the dirt of the world, and the mud is not muddy. Push this Shiya, although it competes with the sun and the moon for glory. Qu Yuan was a piece of light, flying higher than the Roc Bird, beyond the cloud of ninety thousand miles in the sky, and from the perspective of the human world, he could only look up to an ethereal spirit.
"Full Text, Full Annotation and Full Translation" (All Nine Volumes), published by Yuelu Book Company
The Confucian gene under the cloak of romance
It is worth noting that for the first time in history, the person who was compared to the sun and the moon was Qu Yuan. In contrast, Confucius is certainly the general source of cultural orthodoxy, and later it was compared to the heavens and the sun, so-called: "The heavens do not give birth to Zhongni, and the ages are like long nights." And one after the other, Qu Yuan shone first, and it cannot but be said that it is a great crown. It must be said that Sima Qian's metaphor of the sun and the moon shows his outstanding judgment as the greatest historian, accurately grasping that Qu Yuan's soul root actually comes from Confucian blood.
Indeed, "infinity" can be said to be the basic core of Qu Yuan's inner world, and coupled with the various fantasies and fantasies that he exudes, on the surface, it is easy to be similar to the play of the romantic spirit. For example, the English literary critic T. Hume E. Hulme, describing the Romantics' attitude towards the life of the universe, once said: "The Romantics think that man is infinite, so he must always chant infinite things." Isn't this the endless space-time of Qu Yuan's pen, which can stretch to the beginning of the universe and ask heavenly questions, or travel far beyond the boundaries of reality? The American literary critic Irving Babbit declared: "Romantic imagination is imagination that does not have an ethical center as its home, that is, imagination that is crazy in the field of absurdity." This also seems to be in line with Qu Yuan's love of man and god that transcends ethical taboos, as well as the surreal spiritual experience of flying into the earth, full of the strange and strange humor of the mythical kingdom without restraint. As for the British critic W. Pate Pater) simply summed up the clouds: "The elements of the romantic spirit are the curiosity and the love of beauty", and the basic style of chapters such as "Leaving the Troubles" in a word. In this way, the characteristics of Chu culture are clearly visible.
However, in terms of Chudi's romantic style alone, it is generally called Zhuang and Qu, but in fact, the personality traits of the two are completely different. Miao Yu once used these two people as representatives to distinguish between two different basic personality traits of the ancient Chinese, one is "in and out", the other is "going back and not returning", Zhuangzi is deep in love and beyond affection, so the achievement of his leisure with deep weight is called "in and out"; and Qu Yuan is always devoted, unwilling to extricate himself, and finally martyred with his body, so Yun "goes and does not return". This kind of "going back and not returning" attachment is generally easy to understand as Li Shangyin's romanticism, the so-called "deep understanding of being in love" and "spring silkworms to the end of the dead silk, wax torch into gray tears began to dry", at first glance, the attachment that wraps up all his life and lets go all the time is indeed consistent.
However, the loss of a millimeter is a thousand miles, and the "Wenxin Carved Dragon" says that Qu Yuan's love for "Qi Jing and hurting feelings" is actually not Li Shangyin's personal private love, which has no calculation of gain and loss, and is also very different from his own emotional likes and dislikes. In essence, Qu Yuan's love is not an extension of the ego, but a measure of the big self, so his "going and not returning" is not a trap of powerlessness to get rid of, or a passion-driven difficulty in self-control, which is essentially closer to the Confucian bow and exhaustion, and then die. Leaving aside the fact that "Leaving the Riot" has repeatedly set a benchmark for value, claiming:
Pi Yao Shun's Geng Jie Xi obeyed the Tao and got the way.
He Jie's rampantness is rampant, and the husband only takes shortcuts to embarrassment.
This moral criterion is perfectly consistent with Confucianism, as far as the Departure from sorrow says:
Lu ManQi repaired far away, and I will go up and down and seek.
He is also good in his heart, and although he has died nine times, he still has no regrets.
And with Confucius's "the creation of the second will be so, the turbulence will be so" a few times! It can be seen that "romance" is only the appearance of external packaging, and the person who truly constitutes Qu Yuan's inner roots is actually derived from Confucius's persistence in the pursuit of ideals. And such a personality is destined to persevere, and it has nothing to do with Zhuangzi's "sitting and forgetting".
This is the reason why Sima Qian compared Qu Yuan to Confucius's insight. Tai Shi Gong compared the two in a very unique way, and in the Han Dynasty, where Confucianism and Chu were exuded, it was indispensable to be dexterous and wonderful. Consider the "Taishi Gongyue" at the end of the "History of Qu Yuan's Biography of Jia Sheng", which is Sima Qian's historical judgment of Qu Yuan as a historian:
Yu read "Leaving sorrow", "Heavenly Question", "Summoning Souls", "Mourning", and mourning Qizhi. Suitable for Changsha, Guan Quyuan was immersed in the abyss, and he did not hesitate to weep, and wanted to see him as a person.
It is worth noting that the praise at the end of the "Confucius Family" is almost the same:
Yu read Kong's book and wanted to see him as a human being. Shi Lu, Guan Zhongni Temple Car Costume Ceremony, the sentient beings to practice the time to worship their home, Yu Qihui can not go to the clouds.
These two paragraphs are exactly the same! First, Sima Qian's descendants all aroused infinite yearning through reading the works of the two men, and initiated further spiritual connection. Second, the great historians who intended to "investigate the time of heaven and man" also went to their places to pay their respects, entered the most important sacred places in the lives of the two people, and received the invisible baptism of their spirits, one was Changsha, where Qu Yuan was absolutely purified, and the other was the Lu kingdom where Confucius carried forward the bells and drums of liturgical music. Third, not only reading his books and returning to his place, but ultimately arousing the admiration of "wanting to see him as a human being". The only difference is that he has more of a strong affection for Qu Yuan's "sorrow for his aspirations" and "not yet a taste of weeping", and more immersion in Confucius for Confucius, "only those who cannot go back", and the depth is even greater.
In this regard, is it not the result that the writer and the thinker have different paths but have the same destination, and are highly praised and compared with each other by historians, is it not due to the fact that both sides share the same core of high character? That revered personality that can't help but arise spontaneously is a great power that allows people to maintain a certain height of the soul and not fall more and more! It can be seen that Sima Qian, with his historian's insight, has long made a conclusive conclusion about the Confucian bloodline in Qu Yuan's bones. Therefore, to be precise, Qu Yuan was actually a romantic Confucian believer, and the same height as Confucius was the key to Qu Yuan's ability to hang a lamp in the dusk.
However, although the bright and high hanging as high as the sun and the moon is enough to shine through the ages, when it is lit up, it is destined to bear the treatment of rejection, exclusion and even exile. Zhuangzi has gained a keen insight into the tragedy of Confucius, as the Da Sheng states:
Imabari knows to be frightened, self-cultivation is to be clear, and it is obvious that the sun and the moon are revealed.
Isn't it the extreme light that provokes the fools to fight back? It makes ignorance impossible to hide, filth can not hide, so that it is even more dancing, paradoxically creating a black hole around the sun and moon, and in turn swallowing up the light source! This is Zhuangzi's insight, but also Zhuangzi's pity, but also Zhuangzi's respect for Confucius. What about Qu Yuan, who also has the light of the sun and the moon? Confucius walked the human world and persisted all his life, but he fell into a state of helplessness all his life, did not he also predict Qu Yuan's fate? After all, Qu Yuan, a giant spirit loaded in the body of a mortal, could not avoid encountering the dark entanglement of human nature in the crowd, and it was difficult to send affection, and it was easier to be hurt by right and wrong.
Qu Yuan, who was walking alone, could not settle down at the moment, so he took a step back and took the flying imagination as a liberation of reality, after all, he was an excellent witch spirit, and through the professional skills of the family, he launched a soul ascension journey, which was a kind of spiritual leap, even if trapped in the here and now, he could still fly the universe. Paul Demiéville summed up the various meanings of the word "you" in early texts: "you" can refer to a trip to the mountains, but also to the shamanic skyline flight, and the sense of freedom obtained by the Taoist priest changing his body to a mysterious high altitude.
This is qu Yuan's only way out, and it is also his way to regain his dignity!
Unfortunately, after all, any form is deeply constrained by gravity, can not fly eternally, must return to the dust, and then continue to struggle in the air; and when the upper poor and blue fall into the Yellow Spring, they certainly absorb the freedom of self-liberation, but at the same time they imply a huge wandering in the blank. Under the more complete loss suffered in the wider world, Qu Yuan was even more unconfigured, and the hardship and solemnity in it were slightly reduced to Confucius?
Confucius was struck by the qilin's broken feet, and finally wept and lamented the desolation of "Hu Wei Hu Lai Zhao", so that the despair of "Spring and Autumn" stopped writing, and the fire of life was extinguished. In the same way, after experiencing vicissitudes and suffering hardships, Qu Yuan finally became haggard and withered, wandering on the edge of the river and asking the sky aggressively, painstakingly seeking answers that had no response, and then throwing himself into the river and burying himself in the belly of the fish.
"Classic Library of Traditional Chinese Studies", "Spring and Autumn Left Biography", published by Yuelu Book Society
In fact, anyone can feel that giving up everything in the world, including power, wealth, and even dignity, is definitely not an easy task to be a complete loser. Qu Yuan was not a blindly paranoid person, how could he not know the price he would have to pay once he embarked on such a path? It was only after all kinds of harsh tests that Qu Yuan finally determined that his path was not chosen, but a fate that could not be escaped, and it was really not a no-do, but a no-no, but no, for the sake of demotion, to go astray and turn to the Kangzhuang Avenue. Compared with the world's easy "Lan Zhi change without fang, Tsuen Hui turns into Mao." He used to be a herb, and now it has been xiao Aiye", but Qu Yuan couldn't do it, so he said: "The birds of the past are not flocked, and it is true since the past life." "That's an innate destiny."
Qu Yuan, under the talent and disposition and the "good repair" of the day after tomorrow, fully shouldered this fate and never hesitated. It was only under the long journey that Qu Yuan was extremely tired and miserable, too tired and desperate, even if he met such a Zhuangzi-like wise man as the fisherman father, he provided him with "the water of the waves is clear, you can be mao wu miao; the water of the waves is muddy, you can be mao wu foot", this way of responding to the passage of the world, but it only makes his decision to sacrifice his life to the ideal more clear and firm. Or we can take a symbolic perspective and regard the "Fisher Father" as Qu Yuan's self-debate and even self-struggle, through the dialogue between the two characters who have split off, in order to clarify the stirring and chaotic thoughts, and one free Qu Yuan wants to persuade the other persistent Qu Yuan to contrast two completely different personality traits and ways of dealing with the world.
Finally, Qu Yuan saw himself more clearly, after all, he was not Zhuangzi produced by the same side of the water and soil, but Confucius in the distance. Although he wrote about his care for the king, it was like a lingering and pitiful lover's words, but in fact, in his bones, he was a Confucian gentleman who bowed down and died, and he did not have the open-mindedness and detachment of zhuangzi in his hometown. Therefore, Qu Yuan was conceived from the maternal womb of Chu culture, but it is not limited to Chu culture, and the metaphor of the sun and moon speaks more about Qu Yuan's transcendence and eternity.
Return of the Soul: The Modern Summoning of souls
Qingshan is not old, for whom is the white head?
More than two thousand years ago, Qu Yuan was born, in his living life, he was completely sincere, two sleeves of fresh wind, looking around no one, standing in the eight directions of heaven and earth Yin Yin yin call, but like facing the black hole without echo, only wandering haggard by the Xiangshui River, in the vast void carved out of the question mark without answers. Fortunately, the heroic spirit did not die, and the afterglow was eventually repeated in many pure hearts in the future generations, and Qu Yuan gained eternal life as a result.
But the world that caused the tragedy of Qu Yuan and Confucius did not disappear, tenaciously passed down from generation to generation, the upside down of "the yellow bell was destroyed, the tile kettle thundered" was still reversed, and the Qing Dynasty poet Huang Zhong did not also sigh: "Nine out of ten people are white-eyed, and none of them are useless students." "But even the students no longer exist when they are injured? Xiangshui is leisurely, whether Qu Zi can return with his soul is not determined by the soul-summoning heart of my generation? Even if the heroic soul returns, will there be a hometown of "Le Mo Le Xi New Acquaintance" that can be settled, or will it once again suffer the loss of "Sorrow and Sorrow and Separation", or even repeat the mistakes of the Qilin folding its feet, in vain to increase the desolate sigh of "Hu Wei Hu Lai Zhao"?
The Xiang River comes from one side of the water and soil, but the vein flows into the Yangtze River, merges into a grander tide, and then runs into the vast and endless ocean, and becomes one with the world, in the same way, Qu Yuan was conceived and born in the jingchu land of the Warring States period, but it transcended here and became a model of the entire national spirit and even the common heritage of human civilization. The sky proves that noble character and profound culture are the dignity of human beings and the achievements of civilization, and only by trying to transcend the gravity of human nature and instinct can we approach the eternal North Star.
END