Who wrote Qu Yuan?

Author: Guo Moruo

1. The background of Qu Yuan's creation.

Qu Yuan was written in January 1942. After the outbreak of the Pacific War, the Japanese aggressors stepped up their aggression against China and concentrated their main forces on large-scale "mopping up" the anti-Japanese base areas. Chiang Kai-shek stepped up his opposition to * * * and engaged in separatism. In January 1941, he created the "Southern Anhui Incident" that shocked China and foreign countries. At the same time, in the Kuomintang-controlled areas, the * * * producers and anti-Japanese progressives were slaughtered. The whole Kuomintang area became a suffocating tin can.

Facing the dark reality, all the progressive people in China feel angry. Guo Moruo took the historical drama as a spear, borrowed the past and compared the present, and created the historical drama Qu Yuan, consciously "reviving the anger of the times in Qu Yuan's era". And said: "I intend to use the era of Qu Yuan to symbolize our era."

2. Conflicts and themes in Qu Yuan.

The contradiction and conflict in Qu Yuan is mainly manifested in the sharp contradiction and struggle between the patriotic political line of uniting Qi against Qin Wei, represented by Qu Yuan, and the reactionary line of falling to Qin and betraying the country, represented by Jin Shang, who went south. This is the nature of ideological conflict and conflict in the whole play. On this basis, the struggle against persecution and persecution is formed, which constitutes the action line running through the whole play.

The theme play launches this desperate battle between light and darkness, justice and evil, highlighting the noble qualities of Qu Yuan, an ancient patriotic poet and politician, and making the whole play full of lofty tragic spirit and majestic righteousness. It angrily exposed and lashed out at the ghosts who betrayed the country and sought glory, were ignorant, and framed Zhongliang, shouting "We only have thunder, only lightning, only storms" and "Destroy, destroy, destroy everything that sleeps 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, indomitable will to struggle, strong and fierce integrity and character, imbued with the great and long-standing historical spirit of our nation, showed the infinite strength of the nation, and also showed the author's strong revolutionary style of love and hate and fighting.

4. A brief analysis of Chan Juan's image.

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, follows Qu Yuan's instruction to be a man, "live bright and die aboveboard", and has the spirit of not being afraid of powerful people and daring to struggle.

Chan Juan is an ideal figure made up by the author. The author created 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's. 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. Characteristics of characterization in Qu Yuan.

The characterization of Qu Yuan is one of the characteristics of the romantic poetic drama of Qu Yuan. As a historical drama, the characterization mainly focuses on the spiritual character of the characters, which, in Guo Moruo's words, is "seeking likeness in a crash". The author does not stick to the historical truth of the characters, but abandons the trivial details of their lives and idealizes them. Pursue the versatility and complexity of the characters unintentionally, but enlarge a certain aspect of the characters' personality and make it stand out very strongly. When shaping the image of Qu Yuan, he boldly emphasized his historical spirit of integrity, hatred of evil and courage to fight against the dark forces. Gave him the character of lightning. Chan Juan's image is the complement and contrast of Qu Yuan's image, and it is a highly idealized image.

While pushing the ideal figure to be praised to the peak, the author also relegates the negative figure he wants to condemn to the abyss. Zheng Xiu's image after the South is almost the epitome of all such bad women throughout the ages, and she is as vicious as a poisonous snake. It can be seen that the description of the characters in Qu Yuan has an extremely strong color. The author dares to slash 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 plot structure of Qu Yuan.

The plot structure of Qu Yuan is the second characteristic of the romantic poetic drama of Qu Yuan. The plot of the play is simple and the structure is concentrated. The author puts aside various complicated experiences of Qu Yuan's life, grasps the events of persecution and anti-persecution struggle of Qu Yuan by the capitulators headed by Nan Hou, and completes 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 the characters, show their hearts and express their feelings. This is the characteristic of poetic drama in plot handling.

7. Features of dramatic language in Qu Yuan.

The dramatic language of Qu Yuan is the third characteristic of the romantic poetic drama of Qu Yuan. According to the requirements of poetic drama, the language of Qu Yuan has poetic artistic conception, poetic rhythm and poetic charm. Lyrics and folk songs are interspersed from time to time in the play to enhance the atmosphere and contrast the characters. The script introduces many poems of Qu Yuan, such as Ode to an Orange and Nine Songs, etc., and runs through the whole play with Ode to an Orange. Ode to Thunder and Electricity is an excellent prose poem, which is magnificent and the essence of the poem. The lyric language in the play pays attention to the combination with the stage environment. Praise citrus reticulata in the orange garden; Calling for wind and rain, thunder and lightning in the Taiyi Temple of the East Emperor, and scolding the wooden stalks of the earth, so that the whole play forms a poetic atmosphere and artistic conception with mixed scenes. Most of the languages in the play are poetic spoken language and rhythmic prose. Qu Yuan is a play close to poetic drama.

Guo Moruo (1892–1978), a native of Leshan, Sichuan, is 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 at the beginning of the 2th century and finally appeared, and also a prophetic poet in New China. The poetry collection Goddess was published in 1921, which reflected the unity of the needs of the times and the poet's creative personality. Another collection of works, Starry Sky, Qianmao and Restoration; Not to mention the trilogy "The Wrong Road", "Purgatory" and "The Cross"; Screenplays include Zhuo Wenjun, Nie, Wang Zhaojun, Tiger Symbol, Gao Jianli, Southern Crown Grass, Peacock Gallbladder, Cai Wenji and Qu Yuan.

To appreciate the excerpts of Qu Yuan, we can focus on two aspects: one is 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 thunder and lightning"

when Guo Moruo wrote the historical drama Qu Yuan, it was in January 1942, and War of Resistance against Japanese Aggression was at an impasse. The author said: "All the progressive people in China feel angry, so I revived the anger of the times to Qu Yuan's era. In other words, I borrowed Qu Yuan's era to symbolize our current dynasty." The author's goal is to lash out at the dark rule of the Kuomintang reactionaries, express the anger in people's hearts, 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 Lei Dian" mainly lie in the following three points:

First, in historical dramas, the monologue "Ode to Lei Dian" has a seamless structure and rich contents. It includes two levels: from "wind! Roar "to" Destroy the darkness that contains all evils "is Qu Yuan's shout and praise of wind, thunder and electricity, with bright praise and yearning. Compared with the dark and gloomy universe of "heavier than iron" and "firmer than iron", he has to worry about the future and destiny of his motherland. So he eagerly 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 unlimited "freedom" and "brilliant and dazzling" light. He turned "electricity", the cosmic sword, into his "sword in his heart". The second layer is from "burn your East Emperor Taiyi" to the end of the article. In this layer, Qu Yuan refers to cursing the fatuous and decadent authorities angrily by denouncing the idols of ghosts and gods. The reason why Qu Yuan shouted that he wanted to "burn, burn, burn" all the "wooden stalks" and all the evil darkness was because they were just "the father and mother who produced darkness", "they were completely false" and "only knew how to fool people". In a word, they are a symbol of violent, treacherous and cowardly Machamp God. Qu Yuan developed from the previous prayer for natural forces to the conviction of human power, which showed his incomparable enthusiasm for fighting.

The content in "Ode to Thunder and Electricity" is entirely Guo Moruo's talk. In a certain sense, Qu Yuan is Guo Moruo himself. Guo Moruo expressed his love for the people and his confidence in the strength of the people through Qu Yuan's mouth. Express your burning passion to destroy evil forces; Express the pursuit of a bright future.

Secondly, Guo Moruo used romanticism to make bold fiction, exaggeration and imagination, trying to ruin all darkness and decay by the great power of nature, which was "thunderous".

thirdly, Guo Moruo often uses the rhetorical method of personification and calling in "Ode to Thunder and Electricity": "Wind! You roar! Roar! " "You wind, you thunder, you electricity" "electricity! You are the sharpest sword in the universe! " And other statements, expressing the poet's hope for great natural forces. And "You Dongjun, what Dongjun are you" expresses the angry reprimand to the evil god, which is fully expressed in the tone of loving and hating 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. This feature of "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 the modern history of China, leaving a rich legacy and far-reaching influence in a wide range of academic fields, such as literature, history and ancient philology. In the same vein as his steadfast learning and cultivation, Guo Moruo has also made brilliant achievements in calligraphy art and occupies an important position in the history of modern calligraphy.

Guo Moruo's exploration and practice in calligraphy art lasted more than 7 years. The calligraphy of young Guo Moruo was recognized by the society, which began in the year of 1911. Ten years later, his famous collection of poems, Goddess, and other works came out, which made his style appear in front of a wider audience. In the late 192s, Guo Moruo lived in Japan, started with inscriptions on bones and tortoise shells, argued the history with characters, borrowed the history to learn from the present, became familiar with the evolution of Chinese characters and calligraphy, and established a scientific model for the study of ancient Chinese characters. In 1937, when he returned to China for the Anti-Japanese War, in the midst of national crisis, his poetry creation was often combined with calligraphy, and calligraphy and calligraphy contained profound cultural heritage and national spirit of constant self-improvement. After the founding of New China, Guo Moruo engaged in more abundant calligraphy creation after heavy state affairs. He is generous, well-informed, and has left countless inscriptions on Mo Bao for historical sites, industrial and mining schools, as well as friends from all walks of life and at home and abroad. His calligraphy works are so numerous and influential that few of them are as good as others.

Guo Moruo takes "turning back to the front, turning back into the flat" as the key to writing eight characters. His calligraphy style not only attaches importance to learning from teachers, but also is innovative, showing bold creative spirit and vivid characteristics of the times, and is praised as "Guo Style" by the world. Guo Moruo is good at cursive writing, his brushwork is refreshing and free and easy, his operation is flexible and his charm is endless; Although his regular script works have not been preserved much, they are particularly skillful, fluent and both in form and spirit.

Guo Moruo is another great scholar in Sichuan after Su Shi, and his calligraphy achievements are comparable to Dongpo's, which is of great importance to the world. Dongpo's calligraphy has always been valued by the calligraphy circle, and it is the representative of the Song Dynasty's style of advocating calligraphy. Guo Moruo's calligraphy, which came out of Song Sijia, has a Song Sijia flavor in both pen and structure, but it has a prominent personality. Su Dongpo's calligraphy was once regarded as "stone crushing toad" by Huanggu, but its horizontal trend has a history in the history of calligraphy, which is completely different from Huanggu's calligraphy. As Mr. Qin Xiaokan pointed out: "There are two kinds of words in the Han and Tang Dynasties: horizontal and vertical. "It's not necessary to be sick if you are yellow and horizontal." 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. When Guo Moruo was in Chongqing during the Anti-Japanese War, he wrote a large number of calligraphy works. At the same time, he and Ma Heng, Chang Renxia and others conducted a trial excavation of the Han tomb in Jiangbei, and found bricks with the word "Fugui", which contributed to the protection of cultural relics. As 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 field of literature, art and calligraphy 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 on bronze, and the results are fruitful. By the 196s, Guo Moruo and Gao Ershi had a great discussion on the authenticity of Lanting, which, in any sense, greatly promoted the in-depth study of calligraphy and brought about the development of calligraphy during the "Cultural Revolution". These achievements, especially several papers in Lanting's later debates, undoubtedly fully reflect his profound academic education. In his calligraphy, Guo Moruo, who has come through the ups and downs of his life, fully shows his style as a great scholar and a great writer: every work, whether it is a long masterpiece or a short note, is very affirmative and decisive with his pen, without hesitation; Most of the writing content is self-made poetry, no matter the old style or the new style, it is full of the flavor of the times; He has studied and explored classical calligraphy extensively and deeply, 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 their poverty years, but he has a strong personality from the beginning. He does not regard himself as a slave to his ancestors, but turns others into his own use, which is unique.

A brief introduction to the poet Qu Yuan

At the end of the Warring States Period, an outstanding politician and patriotic poet was born in Chu State. His name was Ping, the original word, and he was a descendant of Qu Xian, the son of Chu Wuwang Xiong Tong. He was born in Danyang (now Zigui, Hubei Province).

Qu Yuan experienced three periods in his life, including Chu Weiwang, Chu Huaiwang and Qing Xiang Wang, and mainly lived in Chu Huaiwang. This period was the eve of China's imminent reunification. Xian was well-versed in rhetoric, so he was deeply prized by Chu Huaiwang in his early years. He was a leftist and a doctor of San Lv. In order to realize the great cause of Chu's reunification, Qu Yuan actively assisted Huai Wang's political reform at home, and insisted on uniting with Qi to fight against Qin, which made Chu once become a state where the country was rich and the army was strong, and the princes were awesome. However, due to the sharp contradiction between Qu Yuan and the decadent aristocratic group of Chu in internal affairs and diplomacy, and the jealousy of Shangguan Doctor and others, Qu Yuan was later framed by a small group of people and alienated by Chu Huaiwang.

In the fifteenth year of Huai Wang (34 BC), Zhang Yi went from Qin to Chu, and bought Jin Shang, Zi Lan and Zheng Xiu as spies with a large sum of money. At the same time, he tricked Huai Wang into breaking diplomatic relations with Qi. Huai Wang became angry after being deceived and sent troops to Qin twice, both of which were disastrous. So Qu Yuan was ordered to send an envoy to Qi to rebuild.