Author: Guo Moruo
1, the background of Qu Yuan's creation.
Qu Yuan wrote it in 1942+ October. After the outbreak of the Pacific War, the Japanese invaders stepped up their aggression against China and concentrated their main forces on large-scale "mopping up" the anti-Japanese base areas. Chiang Kai-shek, on the other hand, stepped up his anti-* * and separatist activities, resulting in the "Southern Anhui Incident" of 194 1 and 1. At the same time, in the Kuomintang-controlled areas, producers and anti-Japanese progressives were massacred. The whole Kuomintang area has become a suffocating tin can.
Facing the dark reality, all progressives in China are angry. Guo Moruo used historical drama as a spear, borrowed the past from the present, and created the historical drama Qu Yuan, consciously "reviving the anger of Qu Yuan's era". And said: "I intend to use the era of Qu Yuan to symbolize our era."
2. The contradiction and theme of Qu Yuan.
The contradictions and conflicts in Qu Yuan are mainly manifested in the sharp contradictions and struggles between the patriotic political line of uniting Qi Kang, represented by Qu Yuan, and the reactionary line of falling to Qin and betraying the country, represented by Shanxi merchants. This is the essence of ideological conflict and conflict in the whole drama. On this basis, the struggle against persecution and persecution is formed, which constitutes the action line running through the whole play.
The theme drama launched this life-and-death struggle between light and darkness, justice and evil, which showed the noble quality of Qu Yuan, an ancient patriotic poet and politician, and made the whole drama full of lofty tragic spirit and majestic righteousness. It angrily exposed and lashed out at those ghosts who betrayed the country for glory, were ignorant, and framed loyalty, shouting "We only have thunder, only lightning, only storms" and "Destroy, destroy, destroy everything sleeping in the dark arms!" The strongest voice of the times.
3. The personality characteristics and significance of Qu Yuan's image.
Qu Yuan was a great poet and politician in the Warring States Period. His lofty patriotism and selfless fighting spirit are his personality characteristics. He loves the motherland and people, and sincerely hopes that Chu will become strong and realize the great cause of reunifying China.
The image of Qu Yuan is a great patriotic image. He is the ideal of the people, the embodiment of light and justice, and the soul of the Chinese nation. His noble political sentiments and ideals, tenacious will to struggle, strong integrity and character have saturated the great and long-standing historical spirit of our nation, showing the infinite strength of the nation, and also showing the author's strong revolutionary style of love, hate and fighting.
4. Analysis of the image of ChanJuan.
Chan Juan is Qu Yuan's maid, a pure, lovely and naive girl. She is humble and eager to learn, and deeply understands the righteousness. She loves Qu Yuan, admires Qu Yuan's moral character, obeys Qu Yuan's instruction to be a man, "live and die aboveboard", and has the spirit of not being afraid of powerful people and daring to struggle.
Shan Juan is an ideal figure made up by the author. The author portrays her as "the soul of poetry", "the messenger of light" and "the symbol of moral beauty". She is "the symbol of Qu Yuan's Ci and Fu". Her unyielding power and wealth, her thunderous fighting spirit and patriotic feelings are just like Qu Yuan. Her ideological and moral character is the inheritance and activation of Qu Yuan's spirit. The end of the play symbolizes that Chanjuan's spirit won eternal life in the baptism of fire.
5. Qu Yuan's characterization characteristics.
The creation of Qu Yuan's image is one of the characteristics of Qu Yuan's romantic poetry and drama. As a historical drama, characterization mainly focuses on the spiritual character of the characters, which, in Guo Moruo's words, means "crashing to look like". The author does not stick to the historical truth of the characters, but abandons the trivial details of their lives and idealizes them. Inadvertently pursuing the versatility and complexity of the characters magnifies a certain aspect of the characters' personality and makes it stand out very strongly. In shaping the image of Qu Yuan, he boldly emphasized his historical spirit of integrity, evil and courage to fight against the dark forces. Gave him a lightning personality. The image of Shan Juan is the complement and contrast of Qu Yuan's image, and it is a highly idealized image.
While the author pushes the ideal person who is praised to the peak, he also demotes the villain he wants to condemn to the abyss. Zheng Xiu's post-South image is almost the epitome of all such bad women throughout the ages. She is as vicious as a poisonous snake. It can be seen that Qu Yuan's description of characters has a very strong color. The author dares to cut off all branches and vines in order to highlight the main spiritual characteristics of the characters, unlike realism, which pays attention to the truth of details.
6. Characteristics of Qu Yuan's plot structure.
The plot structure of Qu Yuan is the second feature of Qu Yuan's romantic poetic drama. The plot section is simple and the structure is concentrated. The author put aside all kinds of complicated experiences of Qu Yuan's life, seized the persecution and anti-persecution struggle of Qu Yuan by the capitulators headed by Nan Hou, and completed the quality description of Qu Yuan's life in one day, with many suspense, ups and downs and strong concentration. In a certain period of time, the plot is simple, which can leave more "gaps" for the author to portray characters, show his heart and express his feelings. This is the characteristic of poetic drama in plot handling.
7. Features of Qu Yuan's dramatic language.
Qu Yuan's dramatic language is the third feature of Qu Yuan's romantic poetry and drama. According to the requirements of poetic drama, Qu Yuan's language has poetic artistic conception, rhythm and charm. Lyrics and folk songs are interspersed from time to time in the play to set off the atmosphere and the characters. The script introduces many poems of Qu Yuan, such as Ode to an Orange and Nine Songs. And "Ode to Orange" runs through the whole play. Ode to Thunder and Electricity is an excellent prose poem, which is magnificent and the essence of poetry. The lyric language in the play pays attention to the combination with the stage environment. Praise the oranges in the orange orchard; In the Taiyi Hall of the East Emperor, it is raining, thundering and thundering, and the wooden stalks of the earth are all powerful, which makes the whole drama form a poetic atmosphere and artistic conception of blending scenes. The language in the play is mostly poetic spoken language and rhythmic prose. Qu Yuan is a drama close to poetic drama.
Guo Moruo (1892–1978), a native of Leshan, Sichuan, is enough to represent a poet and historical playwright of an era in the history of modern literature. He is a Moro poet who was eagerly called by Lu Xun in the early 20th century and finally appeared, and also a prophet poet in New China. The poetry collection Goddess was published in 192 1, which embodies the unity of the needs of the times and the poet's creative personality. Another collection of works, Starry Sky, Thousand Cats and Restoration; Not to mention the trilogy of Lost, Purgatory and Cross; Screenwriters include Zhuo Wenjun, Nie, Wang Zhaojun, Hu Fu, Gao Jianli, Nan Guancao, Peacock Gallbladder, and Qu Yuan.
Appreciation of Qu Yuan's Excerpts can be understood from two aspects: first, Guo Moruo's motivation to create historical dramas; Second, look at Guo Moruo's "assimilation of things and me" from the artistic technique of Ode to Thunderstorm.
When Guo Moruo wrote the historical drama Qu Yuan, it happened in June of 1942, and War of Resistance against Japanese Aggression was in a stalemate. The author said: "All progressive people in China are angry, so I resurrect the anger of the times to Qu Yuan's era. In other words, I borrowed the era of Qu Yuan to symbolize our current dynasty. " The author's goal is to lash out at the dark rule of Kuomintang reactionaries, express people's anger, and use Qu Yuan's tragedy to launch a sharp and fierce struggle between light and darkness, justice and evil, treason and patriotism, so as to satirize the present.
The artistic features of Ode to Thunder and Electricity mainly lie in the following three points:
First, in the historical drama, the monologue Ode to Thunder is seamless in structure and rich in content. It includes two levels: from "wind! Roar "to" eliminate the darkness containing all evil "is Qu Yuan's cry and praise for wind, thunder and electricity, with distinct praise and yearning. Compared with the dark and gloomy universe that is "heavier than iron" and "firmer than iron", he has to worry about the future and destiny of his motherland. So he urgently called and prayed for the great "artists" in the universe, such as roaring wind, shining electricity and exploding thunder, to change the power of reality, and the dark world "exploded" and "split", thus creating a world without conspiracy, filth and selfishness and welcoming infinite "freedom" and "brilliant and dazzling" light. He turned the sword of the universe "electricity" into his "sword of the heart". The second layer is from "Burn Your Eastern Emperor Taiyi" to the end of the article. In this layer, Qu Yuan refers to angrily cursing the fatuous and corrupt authorities by denouncing ghosts and gods idols. Qu Yuan shouted to "burn, burn, burn" all the "wooden stalks" and all the evil darkness, because they are just "parents who produce darkness", "they are completely fake" and "only know how to fool people". In a word, they are symbols of the violent, treacherous and cowardly God Machamp. Qu Yuan developed from his previous prayer for natural forces to his belief in human strength, showing his incomparable fighting enthusiasm.
The content in Ode to Thunder is entirely Guo Moruo's style. In a sense, Qu Yuan is Guo Moruo himself. Guo Moruo expressed his love for the people and confidence in the strength of the people through Qu Yuan. Express your burning passion to destroy evil forces; Express the pursuit of a better future.
Secondly, Guo Moruo used romanticism to make bold fiction, exaggeration and imagination, trying to destroy all darkness and decay with the great power of nature, which was "thunderous".
Third, Guo Moruo often uses the rhetorical methods of personification and summoning in Ode to Thunder and Electricity: "Wind! You shout! Hey! " "You wind, you thunder, you electricity" "electricity! You are the sharpest sword in the universe! " And other sentences express the poet's hope for great natural forces. And "You Dong Jun, What Are You Dong Jun" expresses the angry reprimand to the evil god, which is fully manifested in the mixed tone of love and hate for death.
From the artistic features of Shang Dynasty, we can clearly see that Guo Moruo's strong subjective desire of the author is expressed in Qu Yuan, a historical figure. Whether politically or ideologically, Qu Yuan is the embodiment of the poet Guo Moruo and his spokesman. The characteristic of this "assimilation of things and me" is Guo Moruo's personality and humanity of "ruling the country and leveling the world" when he created the play.
Guo Moruo is an outstanding cultural great man in China's modern history, leaving a rich legacy and far-reaching influence in a wide range of academic fields, such as literature, history and ancient philology. Guo Moruo has also made brilliant achievements in the art of calligraphy and occupies an important position in the history of modern calligraphy.
Guo Moruo's exploration and practice in calligraphy art lasted for more than 70 years. Young Guo Moruo's calligraphy has been recognized by the society since 19 1 1 year. 10 years later, his famous poetry collection Goddess and other works came out, which made his book style appear in front of a wider audience. In the late 1920s, Guo Moruo lived in Japan. Starting from Oracle Bone Inscriptions, he argued the history with characters and used history as a mirror, became familiar with the evolution of Chinese characters and calligraphy, and established a scientific model for the study of ancient Chinese characters. 1937 When returning to China for the Anti-Japanese War, poetry creation was often combined with calligraphy, which contained profound cultural heritage and national spirit of self-improvement. After the founding of New China, Guo Moruo engaged in more abundant calligraphy creation after heavy state affairs. He was generous and well-informed, leaving countless inscriptions on Mo Bao for places of interest, industrial and mining schools and friends from all walks of life at home and abroad. His calligraphy works are so numerous and influential that few people can compare with others.
In his study book, Guo Moruo regards "going back to the front and going back to the flat" as the key to writing eight characters. His calligraphy style not only attaches importance to learning from others, but also dares to innovate, showing bold creative spirit and distinctive characteristics of the times, and is praised as "Guo style" by the world. Guo Moruo is good at cursive writing, with refreshing and free brushwork, flexible operation and endless charm; Although his regular script works are not well preserved, they are particularly skillful and fluent, with both form and spirit.
As another Sichuan scholar after Su Shi, Guo Moruo's calligraphy achievements are comparable to Dongpo, which is very important to the world. Dongpo's calligraphy has always been valued by the calligraphy circle and is the representative of advocating calligraphy in Song Dynasty. Guo Moruo's calligraphy, which originated in Song Sijia, has Song Sijia flavor in both pen and structure, but its personality is outstanding. Su Dongpo's calligraphy was once regarded as a "stone toad" by Huang Gu, but its horizontal trend has a history in the history of calligraphy, which is completely different from Huang Gu's calligraphy. As Mr. Qin Xiaokan pointed out: "There are two kinds of characters in Han and Tang Dynasties: horizontal and vertical." There is no need for Huang Heng to get sick. "Mr. Sha Menghai summed it up with" oblique tight knot "and" horizontal wide knot ". Guo Moruo's calligraphy and Dongpo's calligraphy belong to the category of horizontal painting and wide knot. During the Anti-Japanese War, when Guo Moruo was in Chongqing, he wrote a lot of calligraphy works. At the same time, he, Chang and others tried to excavate the Han tomb in Jiangbei, and found bricks with words, which contributed to the protection of cultural relics. Because he was then the director of the Third Hall of the Political Department of the Kuomintang and the director of the Cultural Work Committee, he United a large number of people in the literary and calligraphy circles and made contributions to the prosperity of literature and art. Guo Moruo's calligraphy research can be calculated from his research on Oracle bones and inscriptions, and the results are fruitful. In 1960s, Guo Moruo and Gao Ershi launched a great discussion about the authenticity of Lanting, which in any sense greatly promoted the deepening of calligraphy research and brought about the development of calligraphy during the Cultural Revolution. These achievements, especially several argumentative papers in Lan Ting's later period, undoubtedly fully reflected his profound academic education. Guo Moruo, who has gone through the ups and downs of life, fully shows his demeanor as a great scholar and writer in his calligraphy: every work, whether it is a long masterpiece or a short note, is very sure and decisive with a pen without hesitation; Most of the writing content is self-created poems, both old and new, full of the flavor of the times; He made extensive and in-depth research and exploration on classical calligraphy, and won the charm of Su Dongpo and Yan Zhenqing. Guo Moruo's study of calligraphy is different from that of ordinary people who specialize in one family in poor times, but he has a strong personality from the beginning. He does not regard himself as the slave of his ancestors, but uses others for his own use, which is unique.
Brief introduction of poet Qu Yuan
Chu was an outstanding politician and patriotic poet at the end of the Warring States Period. His name is Ping, the word Ziyuan, and he is a descendant of Qu Xian, the son of Xiong Tong, from Danyang (now Zigui, Hubei).
Qu Yuan experienced three periods in his life: Chu Weiwang, Chu Huaiwang and King Xiang of Qing Dynasty, and his main activities were in the period of Chu Huaiwang. This period is the eve of China's imminent reunification. "Qin Shihuang is horizontal, and the king of Chu is vertical." Qu Yuan was born in a noble family and was good at dealing with chaos, so he was favored by Chu Huaiwang in his early years and was a leftist. In order to realize the great cause of reunifying Chu, Dr. San Lv actively assisted Chu Huaiwang in reforming the country. At one time, there was a situation in Chu that the country was rich and the people were strong, and the princes were hard to hope for. However, due to the sharp contradiction between Qu Yuan and the decadent aristocratic group of Chu State in internal affairs and diplomacy, and the jealousy of Shangguan doctor and others, Qu Yuan was later framed by a group of little people and alienated by Chu Huaiwang.
In the 15th year of Wang Huai (the first 304 years), Zhang Yi paid off Shanxi merchants, Zilan and Zheng Xiu as spies with a large sum of money. At the same time, he tricked Wang Huai into breaking off diplomatic relations. After being cheated, he became angry from embarrassment and sent troops to Qin twice, both of which were defeated. So Qu Yuan was ordered to send troops to Qi State to rebuild the good relationship between Qi and Chu. Here, Zhang Yi once again went from Qin to Chu.
In the thirty years of Wang Huai, Qu Yuan returned to Ying Du. In the same year, Qin made an appointment with the military attache and was detained by Qin. Finally died in the state of Qin. After Wang Xiang ascended the throne, he continued to implement the policy of surrender. Qu Yuan was expelled again and exiled to Jiangnan, wandering between Yuan and Xiang. In the 21st year (278 BC), the state of Qin conquered Baicheng.
Qu Yuan's works include Li Sao, Tian Wen, Nine Songs (1 1), Nine Chapters (9) and Evocation, with a total of 23 articles. In addition, whether Buju and Fisherman were written by Qu Yuan is still controversial in academic circles. It put forward 172 questions to the sky with questions, involving astronomy, geography, literature, philosophy and many other fields, which showed the poet's bold suspicion of traditional ideas and the scientific spirit of pursuing truth. Nine Songs is a set of music songs for offering sacrifices to gods based on folk songs. A large number of images of gods are created in the poems, most of which are love songs between man and god.
Qu Yuan's works record his persistence in the ideal of "beautiful politics" and his struggle against the decadent aristocratic groups in Chu. His ideal of "beautiful politics" is shown in his works, that is, "to cultivate talents and empower them, but not to be fully satisfied with them" (Li Sao). The so-called "cultivating talents and appointing talents" is to select truly talented people to govern the country and oppose the nobility and inferiority in the world. It shows that it is reasonable to select talents regardless of their status. The so-called "obeying the law without being fully satisfied" means perfecting the statutes, that is, the laws are not expensive and limiting the privileges of the old nobles. Qu Yuan's ideal of "beautiful politics" reflects his sharp opposition to the decadent aristocratic groups in Chu and expresses his progressive demand of getting rid of bad politics, with the ultimate goal of saving the motherland from peril and making Chu rich and strong. Related to this, Qu Yuan's works also profoundly reveal Chu. At the same time, he showed his determination to care about the country and people, love the country and devote himself to the motherland. Although Qu Yuan was exiled or even exiled, he always thought about the rise and fall of the motherland and the sufferings of the people, and hoped that the King of Chu would repent and turn over a new leaf, work hard and be the master of rejuvenation. He knows that loyalty to honesty and frankness will lead to disaster, but he always "bears it". Knowing that he faced many dangers, he could have gone to other countries to find a way out in the era of "using Chu materials", but he refused to leave Chu, which showed his infinite loyalty to the motherland and his personality and will to "win glory with the sun and the moon".
Qu Yuan is the first great patriotic poet in the history of China literature. He is an outstanding representative of romantic poets. As an outstanding politician and patriot, Qu Yuan's spirit of loving the motherland and the people, persisting in the truth and treating death as death, and his lofty personality of "glory for the sun and the moon" have inspired and nurtured countless Chinese sons and daughters for thousands of years, especially when the country and the nation are in danger. As a great poet, this spirit is even more obvious. It not only marks that China's poetry has entered a new era from collective singing to individual originality, but also his new poetic style, Chu Ci, has broken through the expression form of The Book of Songs, greatly enriched the expressive force of poetry and opened up a new world for China's ancient poetry creation. Later generations also called Chu Ci and The Book of Songs "wind and coquettish". Feng Sao is a poem by China.
In the history of China, Qu Yuan was the most admired and loved poet by the people. According to the continuity of Sui Shu and geographical harmony, Qu Yuan threw himself into the river on the fifth day of the fifth lunar month. The custom of making zongzi on the Dragon Boat Festival on the fifth day of the fifth lunar month in China originated from people's commemoration of Qu Yuan. From 1938 to 1953, Qu Yuan was also listed as one of the "Four Cultural Celebrities" in the world and was well received.