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【Chanting】
No. 56
Chanting | Qu Yuan: Only the zero of grass and trees, the fear of beauty 8
Qu Yuan's "Leaving the Sorrow" is the pioneering work and peak of Chinese literary romanticism, the source of Chinese literary romanticism, and the masterpiece of romanticism that has been immortal for thousands of years.
I often have an inexplicable Zen joy for this, and I read it and recite it, and I rejoice in silence. He is also often sad about this, lamenting that those who can read the whole text of it are afraid that there is not one of them; those who can read the whole text are afraid of not having one of them; those who can write their whole text are afraid of not having one of them; those who can recite their entire text are afraid that there is not one of them; those who can recite their entire text are afraid that there is not one of them; and those who can read and write are afraid that there is not one of them. Woe to you!
Qu Yuan's "Leaving sorrow" is recited in full, very good, but there are small flaws in pronunciation and broken sentences, but the flaws do not hide the jade.
There are many who spread false rumors. I now correct the phonetic version to entertain myself, even happy also!
What exactly is the correct pronunciation? How should I break a sentence? If this article can solve the puzzle, it is also very happy!
- Caption
【Original Phonetic Version】
"Away from lí sāo"
Qu qū original yuán
Paragraph 8
Ling línɡ氛fēn both jì告ɡào Yuyú to yǐ jijí zhan zhān 兮 xī,历 lì吉jí日rìhuhū吾wú will jiānɡ行 xínɡ.
Fold zhé qiong qiónɡ branch zhī to yǐ for wéi shame xiū xiū xiī, jing jīnɡ qiong qiónɡ爢mí to yǐ for wéi 粻zhānɡ.
For wéi Yuyú driving jià fly fēi dragon lónɡ 兮 xī, zazá yao yáo elephant xiànɡ with yǐ for wéi car chē.
Why hé away lí heart xīn zhī can kě with tónɡ 兮xī? I wú will jiānɡ遠yuǎn died shì with yǐ from zì shu shū.
邅zhān吾wú 道dào夫 fúkunkūnlun lún 兮xī, 路 lù修 xiū遠yuǎn to yǐ 周 zhōu stream liú.
Yang yánɡ 云yún 霓ní之 zhī晻ǎn 蔼ǎi 兮xī,鸣mínɡ玉yù鸾luán之 zhī啾jiū 啾jiū。
朝 zhāo发 fā 轫rèn于yú 天tiān津jīn 兮xī,夕xī余yú至 zhìhuhū 西xī極jí.
Feng fènɡ Emperor huánɡ wing yì its qí chengchénɡ flag qí 兮 xī, 高ɡāo 翱áo翔 xiánɡ zhī wing yì wing yì.
Kuhū Wu wú line xínɡ this cǐ stream liú sand shā 兮 xī, obey zūn 赤chì water shuǐ and ér rong rónɡ and yǔ.
麾huī 蛟jiāo龙 lónɡ使shǐ 梁liánɡ津jīn 兮xī,Zhao zhào 西xī皇huánɡ使shǐ wading shèyuyú.
Road lù repair xiū yuanyuǎn to yǐ duoduō difficult jiān 兮 xī, tengténɡ zhong zhònɡ che chē make shǐ path jìnɡ to be dài.
路 lù不bù 周zhōu 以yǐ左zuǒ轉zhuǎn 兮xī, referring to zhǐ 西xī海hǎi 以yǐ為 wéi period qī.
屯tún 余yú車chē its qí thousand qiān ride shèng 兮xī,Qiqí 玉yù轪dài and ér and bìnɡ chichí.
Driving jià eight bā dragon lónɡ zhī 婉 wǎn 婉 wǎn 兮xī, zai zài cloud yún flag qí zhī commission wēi snake yí.
Or yì Zhi zhì and ér 弭mǐ節jié 兮xī, 神 shén 高ɡāo Chichí zhī 邈miǎo 邈miǎo。
Play zòu "Nine Jiǔ Song ɡē" and ér Dance wǔ "Shao Sháo" 兮 xī, chat liáo fake jiǎ day rì to yǐ媮yúle lè.
陟zhì升 shēnɡ皇huánɡ之 zhīHehè drama xì 兮xī,忽hū 臨 lín 睨nì夫 fú Old Jiù Township Xiānɡ。
Servant púfu fú tragic bēi Yu yúma mǎ Huaihuái 兮 xī, curled up quán bureau qū Gu ɡù and ér not bù line xínɡ.
Paragraph 9
Chaotic luàn 曰yuē: 已ǐ矣哉 zāi!
Kingdom ɡuó no wú people rén Mo mò I wǒ zhi zhī 兮 xī, and yòu He hé Huai huái huhu
Both jì Momò foot zú and yǔ for wéi beauty měi zheng zhènɡ 兮 xī, I wú will jiānɡ from cónɡ Peng péng xian xián zhī so suǒ ju jū!
【Appreciation】
Song Qi, a famous historian and lyricist of the Song Dynasty, said: "'Leaving Sorrow' is the ancestor of the word endowment, and posterity is for it, such as the square can not be increased, and the circle cannot be over-regulated." That is to say, "Leaving Sorrow" not only opened up a vast field of literature, but also a model that can never be achieved in terms of Chinese poetry.
The Departure from Sorrow was written in the two or three years after Qu Yuan was exiled in the twenty-fourth and fifth years of the reign of King Huai of Chu (305 and 304 BC). In the sixteenth year, King Huai drafted a constitutional decree, advocated changing the law, and advocated the alliance against Qin, but was framed by internal and external opposition forces and went to the post of leftist. Later, after the Chu state was defeated by Qin at Danyang and Lantian, Qu Yuan was summoned back to the imperial court and appointed as an envoy to the state of Qi. In the twenty-fourth year of the marriage of Qin and Chu, in the twenty-fifth year of Qin Chu's alliance with Huang Thorn, Qin returned the land of Shangyong in the Chu state, and Qu Yuan was released to Northern Han.
"Leaving sorrow" was written by Qu Yuan after he visited the temple of the first king and the ancestral hall of the Gongqing in Yanyin. The poem begins with a recounting of Chu's distant ancestors and Qu's Taizu, and at the end of the poem, it is said that "lining the old hometown" and cannot bear to leave, and in the middle, it is written that the plots such as spiritual divination and WuXian séance are related to this specific creative environment.
"Departure" is a passionate political lyric poem, an artistic masterpiece that combines realism and romanticism. Some of the fragments in the poem reflect the historical facts of the time, such as "Chu and Yu Chengyan". Regret having him. ...... The Number of Wounded Spirits". That is, it refers to the several repetitions of King Huai in political diplomacy and attitude toward Qu Yuan. However, the expression completely adopts the method of romanticism: not only the use of mythological and legendary materials, but also a large number of Bixing techniques, with flowers, plants, birds and flowers to pin affection, Liu Shipei's "Miscellaneous Papers" said "with feelings as the inside, with things as the surface, depression and resentment.". The metaphorical symbols used by the poet are based on the background of traditional culture, so they always give people a sense of exhaustion and endless meaning.
Because of the poet's incomparable sorrow and irrepressible passion, the whole poem is like the rushing of a great river, vast and unruly. However, careful play, whether it is the poetic conception or the external structure, reflects the poet's extraordinary artistic ingenuity.
Conceptually, the poem writes about two worlds: the real world and the surreal world composed of the celestial realm, the gods, the ancient characters, and the personified sun, moon, wind, thunder, luan wind, and birds and finches. This surreal unreal world is a complement to the representation of the real world. In the human world, there is no king, and in the heavenly realm, there is no heavenly emperor; in the human world, "all people are competing for greed", they cannot find comrades, and they have achieved nothing in seeking a daughter in heaven.
This is somewhat similar to the role of hades in the "Xi Fangping" section of the "Liaozhai Zhiyi". It's just that the protagonist in "Xi Fangping" is changed from a person to a ghost to another world, while in "Leaving the Troubles", he is free to travel between heaven and earth. This idea is more suitable for expressing the passion of lyric poetry that changes rapidly. The poet envisions the celestial realm in the sky and above the legendary sacred mountain Kunlun, which is consistent with the general consciousness and archetypal myth formed from primitive society, so it seems very natural, more mythical than the treatment of death, dreams, and immortality in later literary works to another world, without the flavor of religious superstition.
The background presented by the poet is vast, majestic, and magnificent. The beauty, grandeur and sorrow of its artistic conception are unprecedented. In particular, the poet uses the image of the dragon horse as a tool from the human world to the celestial realm, from the celestial realm to the human world. In the Shang Shu Zhonghou ( Shang Shu Zhonghou ) , it is said that Emperor Yao succeeded to the throne , " Dragon Horse Armor " . One of the archetypes of the animal dragon in ancient Chinese legends was the deified horse. The Zhou Li says that "a horse is more than eight feet is a dragon", and the Lü's Spring and Autumn says "the beauty of the horse, the horse of the green dragon, and the ride of the wind". In the human world, it is a horse, and as soon as it rises into the air, it is a dragon. Originally, it was only the difference between the ground and the high sky, but due to the suggestive effect of the change of the divine horse, the high sky became the celestial realm. The poet uses his own plot changes from earth to heaven and from heaven to earth to form a big opening in the internal structure of this long poem. The plot of the fragments written in the poem is only used as a carrier of emotion, using externalized ideas to struggle and emotional changes. However, these plots are very effective in avoiding the drawbacks of long lyric poems tending to be empty.
From the external structure, the whole poem is divided into three parts and one ceremonial speech.
The first part, from the beginning to "Although I have not changed my understanding, I can be punished."
He recounts his life and reviews the poet's mental journey of constantly improving himself for the lofty political ideals of reality, constantly struggling with the environment, and his emotional changes after his disastrous failure. This is a true outpouring of his thoughts at a time of greatest turmoil.
The second part ranges from "The Daughter-in-law's Concubine is jealous, and Shen Shen is her concubine" to "Cherishing the love without being shy, Yu Yan can endure this for the rest of the ages".
It is written that the female concubine's accusations against him show that even his relatives do not understand him, and his loneliness is unparalleled. This leads to the plot of Xiang Chonghua's statement. This is a transition from the real society to the fantasy world. Chonghua is an ancient sage who has been dead for more than a thousand years, so it seems "virtual" to confess to him; but the poet also imagines that it is the place where he is buried, so it is somewhat "real". Then there is the parade through the heavens. Entering the Heavenly Palace but unable to do so, he asked for a daughter up and down, showing the poet's tenacious spirit of political struggle and continuous pursuit.
The third part ranges from "Suo Xue Mao with a feast" to "The servant is sad and sad, and he is curled up and does not work".
It shows the poet's ideological struggle on the issue of leaving and staying, and shows his deep feelings for the motherland, which is sad to read!
A small section at the end is a courtesy. "If it is not enough to serve the united states, I will live from the place of Pengham." Although there are not many words, it shows that the poet's patriotism is linked to his ideal of american politics.
This is the finishing touch after the climax of the whole poem, which is used to close the whole poem, further deepen the theme of the poem, and make the rushing emotions expressed in the poem, such as the yangtze river, show a more clear flow direction.
The first part of the poem shows the poet's environment and his own journey in a manner close to realism. The latter two parts take the reader into a state of fantasy with colorful and eerie descriptions. It often shows an incomparably vast and magical scene. If only the first part, although it cannot but be said to be a masterpiece full of blood and tears, cannot yet become an immortal work of romanticism; and if there are only the last two parts and no first part, then the political ideology of the poem will be thinner, and the expression of its theme will not be as subtle and clear as it is now, both hazy and profound.
"Leaving the Riot" creates a tall lyrical protagonist image for us.
First of all, he has outstanding external image characteristics. "The precariousness of the high Yu crown, the land of the long Yu Pei, and the long jaw are also hurtful", many of Qu Yuan's portraits can be recognized at a glance even if the word "Qu Yuan" is not written, because they are based on this characteristic description in the poem.
Second, he has a distinct ideological character.
First, he was a progressive political reformer who advocated the rule of law: following the ropes without being quite. Advocate the empowerment of the wise.
Second, he advocated beautiful government, attaching importance to the interests of the people and the role of the people: the emperor was selfless and selfless, and the people's morality was wrong. Oppose the absurdity and tyranny of the rulers and the pursuit of self-interest by their courtiers.
Third, he pursues the truth and is strong and indomitable: he is good in his heart, and although he dies nine times, he still has no regrets; although he understands that I have not changed, he can punish what is left of his heart. This image is a concentrated embodiment of the spirit of the Chinese nation, and for more than two thousand years, it has given countless benevolent people a demonstration of character and behavior, and also given them strength.
The language of "Leaving the Troubles" is exquisite.
First, a great deal of figurative symbolism is used. For example, using the metaphor of picking vanilla to strengthen one's self-cultivation, wearing a vanilla metaphor to maintain cleanliness, etc. But the poet's means of expression are much more clever than the general metaphors. For example, "making a lotus is thought to be a garment, and a set of hibiscus is thought to be a garment." I don't know that he is also dead, but he still loves his faith. The "fang" in the fourth sentence naturally comes from "lotus and hibiscus", which is to take care of the first two sentences, but it is used to describe "love". Therefore, although words such as "such as, like, and if" are not used, nor are they explained, they are self-explanatory.
Secondly, the use of many names of fragrant flowers and herbs to symbolically express political, ideological and more abstract concepts, not only makes the work subtle, longer than the charm, but also intuitively increases the color beauty of the work. Since Qu Yuan, the "vanilla beauty" has become a symbol of noble personality, such as Liu Zongyuan's "fluttering wind and turbid water, dense rain obliquely invading the lily wall" and so on.
Again, the whole poem is divided into four sentences, and each section is composed of two consecutive upper and lower sentences connected by the word "兮", plus a fixed rhyme of even sentences, so that the whole poem has been in a looping melody, with a strong sense of rhythm.
Finally, the rhetorical techniques of duality are used, such as "Xi gui is inferior to the poor stone xi, and the chao mao fa is in the dish"; "Su dung soil is filled with the mound, which is shen pepper and its fang"; "Wei Zi Pei is precious, wei Wei mei and Li Zi", etc., the word "Xi" is removed, and the work of duality is no different from the Tang and Song dynasty poetry.
"Leaving trouble" is a chapter written by the author when he suffers from unfair encounters. The indignant words in the poem write the sorrow of the people's livelihood and the darkness of society, and he is empty-hearted, and he has repeatedly been frustrated on the road of pursuing ideals, but he still issues the cry of "although he died nine times, he still has no regrets"! I don't regret it, for the ideals and beliefs in my heart, others are jealous of me and harm me, and they can't crush me! Looking back at the banks of the Miluo River a thousand years ago, you can also see the tenacious back of this great poet. The spirit he left behind, engraved on the inscription of history, is immortal.
Wang Yi's "Chu Ci Zhang Sentence" says: The so-called "text of the "Departure from sorrow" is based on poetry, and the analogy is quoted, so the good bird vanilla is matched with loyalty, the evil bird stink is compared to the slander, the spiritual beauty is comparable to the jun, and the concubine is the concubine and the daughter are the sages." That's what this artistic feature is about. Moreover, the metaphor in it does not only stay on the analogy of individual things, but also reflects in the conception of the entire image system, so it contains the symbolism of the whole.
In terms of language form, "Departure from Sorrow" breaks through the pattern of the "Book of Poetry" with four-character sentences, each sentence is five, six, seven, eight, and nine words, and there are also three-word sentences and cross sentences, with jagged syntax and flexible and changeable; the end of the sentence is "兮"; the sentence is often accompanied by the imaginary words such as "zhi, yu, hu, fu, and", which are used to coordinate syllables, and there are also full sentences that do not use virtual words. This new form of poetic expression laid the foundation for the tumultuous literature that arose after the Book of Poetry.
In "Leaving the Troubles", duality is used more. According to statistics, the entire pair of sentences is more than 100 sentences; and there have been intricate pairs, such as "the work of the fixed times and customs is skillful, and the Burmese rules are corrected; the back rope ink is chased by the curve, and the competition is tolerant." ”
In a sentence, it is often used to double voices with double sounds, and overlapping rhymes with overlapping rhymes, the former such as "Yuyi and Li Xi", the latter such as "chatting with the sheep" and so on. This has formed the characteristics of the verses of "Leaving the Troubles" to be neat in the staggered and neat, and rich in change in the neatness. The rhythm is harmonious to read, the tone is depressed, and it has a kind of rhyme that rises and falls, singing and sighing.
The "Departure from Sorrow" makes extensive use of Chudi dialect vocabulary, such as "汩, 搴, 莽, Feng, 羌, 诼, 傺, 阊阖", etc., and often prefixes the words with a strong southern national mood and local characteristics.
The use of adjectives in the poem is also very appropriate and innovative, such as writing about the appearance of clouds churning, "precarious" metaphorically towering over the crown, and "flying" like a dragon swimming, all of which can be described as following the sound and looking, and the song is wonderful.
The high achievements of "Leaving Sorrow" in art are perfectly combined with its rich and profound ideological content, making it a masterpiece in the history of Chinese literature that shines through the ages, and has had a profound impact on future generations.
Lu Xun's "Outline of the History of Chinese Literature" praised it as "Yi Xiang Wei Zhi, Outstanding I".
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