The goddess in "Goddess of Fortune" is a beautiful and holy fairy, gentle and refined, noble in manners and beautiful and moving. King Xiang of Chu (said Song Yu) pursued the goddess hard. However, the goddess is so noble that it can only be intimate, not blasphemous. "Leave without love" makes the king of Chu feel deeply moved, and also shows her beauty, nobility and mystery.
Previously, Gao wrote down the primitive religious myth that the goddess had intercourse with the former king of Chu to promote the grain harvest, population reproduction and the country's prosperity. The goddess' refusal to have intercourse with the dreamer in Goddess Fu is the profound meaning of this poem.
On the one hand, the goddess' lamentation and sadness when she faced King Xiang of Chu (talking about Song Yu) and her complicated mentality of unwilling to abandon reflected the ancient people's cognition of chastity. At the same time, the witch's behavior not only contained negative emotions of mourning for her misfortune, but also included anxiety and sadness about the present situation and future of Chu. It can be seen that "Gao Tang Fu" and "Goddess" euphemistically criticized the fatuity, incompetence and inaction of King Xiang of Chu, aiming at expressing his sentimental feelings of worrying about the country and the people when he was injured, warning King Xiang of Province with a sense of hardship, and persuading him to follow the example of the former king of Chu, "think about everything, think about everything, and help Chu with all his efforts."
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Goddess fu followed Gao. The belated return of Gao's pen seems to evoke the memory of King Xiang of Chu, but only in Goddess Fu did this invisible and lingering beauty finally emerge in the author's pen. However, the author did not let her meet the long-awaited King Xiang of Chu, but appeared vaguely in his courtier Song Yu's Dream, which was quite intriguing.
This preface tells the story of Song Yu's meeting with the goddess. Writing with a pen is particularly confusing. First, Song Yu's trance-like expression disturbed the arrival of the goddess and disturbed people's minds before falling asleep. Then the goddess appeared, and there was a vague feeling of deja vu. After writing Song Yu's dream, it reappears vividly. This section describes the changes of the text and shows the author's wonderful pen.
Because of the different versions of this preface, "Wang" and "Yu" are wrong, which has been controversial since the Song Dynasty, whether it is Song Yu or dreaming of meeting the goddess. For the time being, according to Hu Kejia's Different Texts in Qing Dynasty, it is determined that Song Yumeng met the goddess.
The preface is to the effect that Song Yu traveled with King Xiang of Chu, told the story of the Goddess of Wushan to King Xiang of Chu, and wrote a poem "Gao Tang Mi" for him. Song Yu really dreamed of the goddess that night. The next day, he described the image of the dream goddess to King Xiang of Chu. King Xiang of Chu asked Song Yu to describe the dream scene in the form of Fu, and Song Yuzhao did. Like Gao, the preface of this article is also wonderful. It describes Song Yu's dream scene, saying, "After dusk, I am happy, and I am disturbed one after another when I am happy. He doesn't know what he means, but his eyes seem to be happy. " This is like the "sixth sense" that people joke about today. Song Yu described the shape of the goddess to the king of Chu, saying: "It has existed from the beginning, and it shines like a roof beam at the beginning of the day;" It is also relatively low-level, and the moon is bright. In an instant, beauty was born. Xiye is like China. It is as warm as jade. Five colors go hand in hand, you can't shape them. Look closely and catch people's eyes. "Here highlights the spiritual temperament of the goddess. She is so radiant and thrilling. What she acts on people is not only the obsession with vision, but the tremor of the whole soul. Then King Chu described the costume and figure of the goddess, and said, "If it is beautifully decorated, then Luo Wan's article is radiant, beautiful and colorful. Embroidered clothes are embroidered, neither short nor long. Suddenly, my face changed. If Youlong takes Yun Xiang. "It is not only vividly described here. Moreover, the syntax is scattered, the rhyme is clear and fast, and it has a musical beauty to read. Among them, the sentences such as "At dawn, the house beams are bright", "If the moon is bright, the lights are brilliant", "Luo Wanwen's pen is unique" and "If Youlong rides Yun Xiang" are novel in form, and are called "the ancestor of the last seven words". "
The second half has three meanings. The first is to describe the appearance and modality of the goddess. At the beginning of the work, it is generally said that she is "unparalleled in image and beautiful." Lack of procedures; Xi Shi hides his face and is colorless. "Then, she said how beautiful her face, eyes, eyebrows, lips, figure and so on are. Although this description took a lot of time, it was actually motionless. The second layer describes that the goddess wanted to get close to the king of Chu, but for some reason, perhaps the "self-restraint with courtesy" produced by the "sages" was suddenly occupied again. The work said: "Looking at the curtain, if the waves flow, the sky will be blue. "Strive to long sleeve, stand up, restless. Very quiet, very quiet, very intimate and not annoying. Time tolerance and micro-motion, ambition can not be achieved. The meaning seems to be near and far. If it is the future, it will be repeated. If you have any free time, please be careful and be willing to do your best. I'm so clean and aboveboard, it's hard for me to be a pawn. Chen Jia's words are clouds to clouds, and his fragrance is like orchids. The essence of handover is to come and go, and the heart is happy. God is lonely and unmarried, and the soul is in a daze for no reason. I don't know what this is, but I lament. I am angry and self-sustaining, unable to commit crimes. " The psychological modality of this goddess is described very carefully and vividly. She thought, What are you doing with the King of Chu? Isn't it just to fall in love with him? However, after the meeting, when the two men were emotionally connected, loved each other and killed each other, and could not control themselves, the goddess suddenly changed her mind. She "lamented" and even gave a thin frown. She wanted to keep herself "pure and bright" and her dignity was inviolable, so she broke up as badly as Cui Yingying invited Zhang Sheng to a private meeting for the first time in The West Chamber. But the goddess loves the king of Chu after all. Although she didn't share a bed with the king of Chu, her heart was unreservedly given to the king of Chu, so their parting was extremely painful. The work is described as follows: "So I shook my ornaments, sang jade, adjusted my clothes and gathered my face. Auntie, I appointed a teacher. If you don't pick up your love, you will leave. It is not pleasant to delay the introduction. It seems to have passed, if at the beginning. Eyes slightly stunned, wonderful. Ambition, unforgettable. " This is the third meaning of the second half. Ruthless parting doesn't matter, emotional parting is painful, what's more, there will be no reason for the separation between immortals and mortals. "The earth lasts forever, and the sky lasts forever; One day both will end, and this endless sadness will last forever "is a lifelong regret."
The second half is made up of Sao-style sentences and four-sentence sentences, and the words are concise and smooth. For example, "how can you say it when it is awkward?" The appearance is rich and graceful, and the buds are moist. Eyes bright and beautiful, beautiful and considerable. Mei Lianjuan is a moth with lips like Dan. "This is very different from the extravagant scenery and rhetoric in the later period.
Preface and Fu both describe the dreams of Song Yu and Goddess, which seem to be repetitive, but in fact each has its own emphasis. The description of the dialogue in the preface focuses on the impression given to Song Yu at the beginning of the fairy tale, and the beauty lies in writing from the imaginary place. The talented Song Yu even fell into a state of gaffe and inarticulate because of the appearance of the goddess, which effectively set off the shocking beauty of the goddess and gave readers extraordinary aesthetic feeling. The ode part focuses on the exquisite description of the goddess' appearance and modality. Portrait sketch pays special attention to its vitality and vivid expression. The static description is followed by a dynamic psychological biography, which shows that the goddess is beautiful and affectionate, but clean and honest, and it is difficult to be indecent. It seems to show the world that her heart has already been delivered to the late king who slept in the underworld. At the end of the ode, there is a sentimental and reluctant glance at the goddess, which makes people feel sad and thoughtful.
Hundreds of years later, Cao Zhi, an outstanding figure in Jian 'an, was inspired by this gift, and created the image of Luoshen with the same beautiful expression with exquisite colored pens, so that Wushan Goddess had a beautiful goddess and sister in the northern country far from eternal glory.
1935 Mr. Wen Yiduo wrote an analysis of the legend of Gaotang Goddess. He believes that the witch is the ancestor of Chu people, just like Nu Wa and others in the northern Central Plains. Wushan goddess is in charge of sex and rain, and is also an elf who benefits the agricultural society. At the same time, the Wushan Goddess is also in charge of the affairs of men and women, just as the flower god brought Du Liniang and Liu Mengmei together and helped them meet happily in the peony. This was originally a sacred, lofty and extremely human image in primitive society. However, when it spread to feudal society, especially in the writings of literati bound by feudal ethics, the original image of Wushan Goddess gradually changed. In other words, as far as the goddess in this article is concerned, she actually pays attention to "chastity and brightness". In the end, she completely restrained her inner impulse, violated her personal will and swallowed the bitter fruit of life, which was in line with the "first king" teaching of "love, only propriety and righteousness". This is purely the self-expression of Song Yu's consciousness. Sure enough, this has been praised by later generations. In the Qing Dynasty, He Chao said, "If you don't commit a crime, you should be polite, so the nausea of wandering is also suppressed." The love between men and women was a natural thing, but it was regarded as "evil" in feudal society. Therefore, The Witch and the works describing the Witch have also been vilified as "obscenity".
However, human nature cannot be stifled by any feudal ethics. As long as there are men and women, there will be love, and the goddess Wushan will be loved and revered by people. The towering image of Wushan Goddess in the Three Gorges has attracted passers-by from ancient times to the present. The legend of Wushan Goddess is spread all over China and foreign countries, and it is well-known and changing with each passing day. There are countless literary works, poems, songs and novels about the goddess of the Tang Dynasty. Works such as Cao Zhi's "Ode to Luoshen" are written in imitation of "Ode to Luoshen". In these places, readers can realize that Song Yu's Gao and Goddess Fu have great vitality and great influence on later generations. Liu Xie said in Wen Xin Diao Long Shi Fu: "Talking about it is really lewd." It seems a little derogatory This is in contrast to the utilitarianism of Qu Yuan's works. From the perspective of literary development and artistic aesthetics, Song Yu's "witty remarks" and "lewd music" are indispensable and should be strongly advocated.
The issue of supplementary version dispute. As mentioned earlier, some words in Goddess Fu have been controversial since the Song Dynasty. For example, Sleeping at Night and Selected Works are called Night Travel of the King of Chu, and most of the literati in past dynasties made the king of Chu dream of meeting the goddess because of the selected works. In fact, there are many unreasonable places in the anthology of Goddess Fu. First of all, look at Gao. Song Yu told a story to the king of Chu here. The king of Chu was happy and asked Song Yu to give him another "Fu". But in "The Goddess", it became a dream of the King of Chu. The king of Chu told Song Yu a dream, and then asked Song Yu to give him a "fu". The structure of these two works is inconsistent. Let's look at the writing in "The Goddess". The king of Chu described Song Yu's image as a goddess, saying that "Mao is beautiful, so everything is ready", and then said that "sexual harmony is appropriate, the order is modest, and the heart is adjusted", and then said "If this is prosperous, try to give it to me." "The two paragraphs are connected by' looking at the moon', and there are problems in content and logic. So people think that this is caused by corruption in the reproduction and circulation of works. The word "Wang" in the Preface to Goddess Fu should be "jade" in four sentences: Wang Xizhi, the beauty of full moon and full moon. The word "jade" in the three sentences "Tomorrow is a white jade", "Jade says its dream is like this" and "Jade says its shape is like this" should all be "king". In this way, it became Song Yu's dream, and Song Yu told a dream to the king of Chu. The king of Chu was very happy after hearing this, so he asked Song Yu to give him another "Fu". In this way, all contradictions will be solved. This statement can be established. However, because this work has been circulated for a long time, the story of the goddess Wang Hui of Chu Xiang has been widely circulated orally and recorded in simplified books. I'm afraid today can only be left for textual research and circulation.