(The myths and legends of Zhuangzi, the outstanding contribution of Qu Song's Ci and Fu, the fusion and diffusion of Chu silk and Chu culture to the myths and legends of the Yangtze River valley) Chu people have been integrated with the country for more than 60 years, occupying 5,000 miles. Its border is west to Bazhi (now west of Fuling, Sichuan) and east to wuyue. From the lower section of the upper reaches of the Yangtze River (Chongqing) to the estuary of the lower reaches of the Yangtze River, it is covered by Chu culture-this does not include an "enclave" left by Chu culture in the upper reaches because of "Miao Zhuang's entry into Yunnan" (now Kunming, Yunnan Province). It can be said that the study of myths and legends in Chu literature is to focus on the main part of the legends in the Yangtze River valley in the pre-Qin period. There is no doubt that Chu culture is a master of myths and legends in the Yangtze River valley in the pre-Qin period. The ancient records of Chu culture preserved a large number of myths and legends in the ancient Yangtze River basin and its surrounding areas (including the Yellow River basin). It can be said that the Warring States period was the golden age when Chu myths and legends were loaded into literature classics, while the Han Dynasty was the peak time when the myths and legends in the Yangtze River valley were loaded into literature classics. Then, taking Zhuangzi, Songs of the South, Southern Silk, Classic of Mountains and Seas, Huainanzi, Wu Yue Chun Qiu and Huayang Guozhi as examples, the ancient myths and legends in the Yangtze River valley are introduced in a scanning way. The Unique Charm of the Myths and Legends in Zhuangzi (Part One) The contents of the Myths and Legends in Zhuangzi There are 33 articles in Zhuangzi, of which about 1/3 contains myths and legends. For example, carefree travel, health care master, happiness, Xu Wugui, Wang Rang, great master, emperor, again, heaven and earth, heaven, autumn water, stealing feet and so on. According to the content, it can be divided into two categories: one is the myths and legends in the Yangtze River valley, such as the Chu people's crazy encounter with Yu (the master of health), Zhuangzi's "drumming" (joy), Ying people's chalk nose (Xu Wugui) and Wang Zishuo's (martial biography) avoiding the position (. The other category is myths and legends outside the Yangtze River valley (not excluding those that have flowed into the Yangtze River valley), such as "Digging seven holes for chaos" (the Emperor), "Shooting an ancient temple on the mountain" (wandering around), "Looking at the ocean and sighing" (autumn water), "The Yellow Emperor lost Zhu Xuan" (Heaven and Earth "and" Heaven and Earth ". In addition, Zhuangzi also mentions some gods, clan ancestors and historical figures, such as the Queen Mother of the West, Kampo (the God of Kunlun Mountain), Feng Yi, Shouwu, Wei Yan, Fu, Zhuan Xu, Shun, Yu and Peng Zu. (II) Characteristics of Myths and Legends in Zhuangzi Throughout the pre-Qin documents and classics in the Yangtze River valley, there are different numbers of myths and legends recorded, and their * * * nature is eclectic, but Zhuangzi is the only one with unique charm. Generally speaking, there are two points: 1. Legends are not just myths. Judging from the examples listed above, the number of legends included in Zhuangzi is obviously more than that of myths. For example, the only myth is the change of Kunpeng (happy travel), the chaos of the seven wonders (the emperor), and the mountain gods who are ashamed to shoot. Most of these myths are non-Yangtze works. This is caused by two reasons: First, the book Zhuangzi is mainly based on reasoning, and myths and legends are only used to prove the "proposition". Therefore, these materials do not insist on "originality", sometimes for demonstration, and even do not rule out the possibility of some legends fictional plots (details). Secondly, Zhuangzi was born in China, and later went to Chu, where he was exposed to many myths and legends of the Central Plains. So Zhuangzi quoted many northern myths and materials. This situation has changed in legends-there are quite a lot of legendary materials in the Yangtze River basin. 2. Myths and fables are one of the effective ways to assist argumentative writing. It can make readers accept the author's point of view imperceptibly and put arguments in the image narration. Zhuangzi is the most successful example of using fable skills. In Zhuangzi, it is a "harmonious blend of materials and viewpoints"-that is, the fable of myths and legends in Zhuangzi. Myth is the product of human childhood thinking, while fable is born out of myth-but directly developed from metaphor. Fable is one of the descendants of myths and legends. Fables and myths and legends need "association" (sometimes fantasy). At this point, fables and myths and legends are interlinked. Second, the outstanding contribution of Qu Song's Ci and Fu to the preservation of ancient myths and legends (last part) To study the ancient myths and legends in the Yangtze River valley, we must look to Qu Song's Ci and Fu, the literary classic of Chu in the pre-Qin period, a magnificent masterpiece in China's literary history. Because it is a rich collector of ancient myths and legends in the Yangtze River valley, it is a huge pearl in the treasure house of China myths and legends. (1) The mythical content seen in Qu Song's Ci and Fu is 1. Li Sao: (1) Mythical figures: He, Wang Shu, concubines,,, Red Dragon, Queen Mother of the West, Goddess of Jiuke and. (2) Mythical and legendary place names: Hangpu, Geng, Xianchi, Kunlun, Tianjin, Xiji, Liusha and Cangwu. ⑶ Divine objects: Luan Huang, Phoenix Bird and Ruomu. ⑷ Psychic: Five Immortals, Lingqi and Pengxian. 5. Historical legends: Levin, Yao, Houyi, Han Zhuo, Shui, Shun, Gun, Yu, Sanhou (Yu, Tang, or Xiong Yi, Ruoao, Chimao), Shao Kang, You Yu Er Yao. 2. Nine Songs: The gods in the nine songs are: Emperor Taiyi, Yun Zhongjun, Xiang Jun, Lady Xiang, Shao Siming, Hebo, Guo Mourning (the ghost of the fallen soldiers). Except the Eastern Emperor Taiyi and Hebo, they are all unique gods in the Yangtze River Valley (Chu State). Ten poems in "Nine Songs" "are all movements of offering sacrifices to gods, which directly describe the gods, reflect the mythological system of three gods in the minds of Chu people, and show the social life and customs of respecting, entertaining and praying for gods". (Cai Jingquan's History of Chu Literature, Chinese Version, Chapter 2, Section 3, Zhuangzi and Qu Yuan's Ci and Fu to Song Yu, Hubei Education Press 1 August 19961Edition) 3. Tian Wen: The whole poem * * * raised more than 70 questions, "Since ancient times, (the quotation is the same as above) 4. The big move of evocation: (1) Spirit: God. ⑵ Psychic: Wuyang. (3) Disaster: ten days. (4) Mythical place name: Tanggu. 5. Strange and strange: a thousand giants, Candle dragon, hydra, serpent, elephant red ant, tiger and leopard guarding Tianmen, hydra, pig head god, Tubo (cow, body and tiger have three eyes). " Zhao Da and Evocation are all witchcraft and witchcraft, which vividly depict the strange and grotesque mythological world of "the four corners of heaven and earth". (ibid.) 5. Travel far: (1) Mythical figures: Yu Er, Xunxing, Red Dragon, Fengbo, Ru Shou, Xidi, Wenchang, Fairy, Rain Master, Lei Gong, Fu Fei, E Huang Nvying, Hai Ruo, Feng Yi and Qian Yi. (2) Mythical and legendary place names: Danqiu and Tiancheng. ⑶ Sacred objects: Phoenix, Xuanwu and Luan Bird. (4) Psychic: Xiangling. 5. Immortals: Pinus densiflora, Han Zhong and Wang Qiao. [6] Historical legends: Tai Hao, Huangdi, Zhuan Xu, Levin, Fu Shuo, Yan Di and Zhu Rong. "Journey" describes the protagonist wandering in the vast heaven and meeting with the Six Gods, which outlines the face of the "imperial clan" myth more comprehensively and reflects the situation after the myth is gathered and integrated more intensively. (Cai Jingquan's History of Chu Literature, Hubei Education Press, August 1996 edition 1, 145 pages) 6. The story of Gao, Fu and Wushan Goddess: Song Yu's Gao and Fu will be Yao Ji, the daughter of Emperor Yan of the Three Gorges of Chu. Song Fu shines with the light of Yao Ji's myths and legends, and Yao Ji's myths and legends have been spread through the ages with Song Fu, which has spawned a large number of myths and legends in the Three Gorges area. (2) The mythological feature of Qu Song's Ci and Fu is 1. Category: (1) Mythical figures: God of Heaven, Emperor Taiyi, Qian Yi, Ru Shou, Emperor of the Western Heaven, Wenchang, Fu Fei, Hebo, Feng Yi, Hai Ruo, Feather Man (gods) and Xunxing. ⑵ The unique gods in the Yangtze River Valley (Chu): male gods: Shao Siming,,, He, Wang Shu, Fei Lian (), Shile (Leigong), Hong Long, YunZhongjun and Chang Di. Goddess: Wushan Goddess, Jiuqi Goddess, Lady Xiang (,) and. (3) Mythical and legendary place names: Kunlun, Hangpu, Tanggu, Xianchi, Geng, Xiji, Liusha, Danqiu, Tianjin and Cangwu. (4) Divine objects: Phoenix (phoenix, phoenix bird, phoenix bird), Ruomu and Xuanwu. 5. Strange: 1000 giants, Candle dragon, hydra, serpent, elephant red ant, hydra, pig's head looking straight, Tubo (three-eyed bull). [6] Psychic: Peng Xian, Wu Yang, Wu Xian, Lingqi, Xiang Ling. (7) Immortals: Akamatsu, Han Zhong and Wang Qiao. (8) Historical legends: Huangdi, Zhuan Xu, Zhu Rong, Li Jue, Yao, Hou Yi, Han Zhuo, Shui, Shun, Gun, Yu, Sanhou (Yu, Tang, Wen Wang or Xiong Yi, Ruoao and Mao), Shao Kang and You. (9) Disaster: ten days. ⑽ National mourning: (Soul of fallen soldiers). 2. The characteristics of Chu myths and legends: First, while accepting the northern myth system, it also retains the traditional myths of the Yangtze River valley (Chu), and the two have been integrated. The immortal system in Nine Songs is an excellent example. Secondly, the status of goddess and water god is very prominent. For example, the goddesses are Goddess of Wushan, Goddess of 1997, Lady Xiang (,),, and so on. Water gods include Xiang Lady (E Huang), Hebo, Feng Yi and, and rain-related (Lei Gong) and (Yu Shi). Third, there are obvious traces of totem worship. Among them, the most obvious trace is Phoenix, and there are many nicknames (or similar nicknames), such as Phoenix (Luan Emperor, Luan Bird, Phoenix Bird). Other spirits worshipped are Ruomu and Xuanwu. Fourth, witchcraft is strong and hobbies are weird. Its performance is that wizards (psychics) occupy a place in myths and legends, such as Peng Xian, Wu Yang, Wu Xian, Lingqi and Xiang Ling, which appear many times in Qu Yuan's works, and their "deeds" are praised from time to time. The cultural result of powerful witchcraft is a hobby for mysterious and strange phenomena (including gods). It is Shan Hai Jing that pushes it to the extreme. Qu Yuan also inherited this tradition. In Qu Yuan's poems, there are some strange monsters, such as a thousand giants, Candle dragon, hydra, snakes, such as red ants, tigers and leopards guarding Tianmen, hydra and Tubo. This hobby later became a habit and was passed down from generation to generation. Another powerful result of witchcraft is the combination with Taoism, which gave birth to Taoism. The inside story is the cultivation consciousness caused by the wizard's channeling. Therefore, in Chu myths and legends, there are legends of red pine nuts, Han Zhong, Wang Qiao and other immortals. Fifthly, the legends of Chu and the Central Plains have been merged, and they are basically merged on the premise of retaining their respective traditional legends. 3. Evaluation: Mr. Cai Jingquan once summed up the characteristics of Chu mythology in the pre-Qin period, that is, "simplicity, integrity and systematicness, independence and comprehensiveness, gain and creativity" (see Cai Jingquan's History of Chu Literature). Legends of the same period inherited these characteristics and added a "fusion". Strictly speaking, the myths and legends of the pre-Qin period (whether written or oral) that we can see now can only be regarded as "copies" of the myths and legends of that period. In the process of "imitation", whether intentionally or unintentionally, there will be "omission" and "enhancement" phenomena. This is very necessary to study the variation of myths and legends, but it is very unfavorable to compare their rheological characteristics-because it makes us lack a specimen (model) for comparative study. Therefore, only the cultural relics of the pre-Qin period can be regarded as the "primitive" specimens (templates) we need. Chu silk books are "original specimens" for studying myths and legends in the Yangtze River basin (mainly in the middle reaches). "Chu silk book" refers to the silk book unearthed from the Chu tomb of Warring States in Changsha, Hunan Province before the founding of the People's Republic of China. Its full text is about 900 words, and scholars divide it into three parts: A, B and C. The first chapter mainly records the myths and legends about the creation of heaven and earth, the formation of four seasons and the domination of gods. The first chapter can be divided into three sections: The first section is about the chaos of the universe "MengMeng ink ink ink ink" during the world flood. It was Fuxi and Nu Wa who gave birth to four children. They ruled the world with their posts and guarded all directions, "thinking they were old". The second paragraph says 1000 years later, because Kyushu is uneven, the mountains are tilted and the seasons are chaotic. So, "Emperor Yan ordered Zhu Rong to surrender", "drink for three days" and "drink for four poles", and the emperor came out to restore the normal operation of the sun and the moon. In the third paragraph, it is said that * * * work is pushed for ten days, which is divided into day and night, morning and evening. Comparing these contents with the related contents recorded by later generations and passed down from mouth to mouth, the rheological characteristics of such myths and legends are not obvious! The fusion and diffusion of the four Chu cultures to the myths and legends of the Yangtze River valley (last time) Chu myths and legends can become the master of the myths and legends of the Yangtze River valley in the pre-Qin period because they have formed their own cultural advantages on the basis of absorbing the myths and legends of the surrounding areas-unparalleled in quantity and quality at that time. (1) Chu culture is like a dry sponge to the surrounding myths and legends, absorbing the "elements" of the surrounding myths and legends and building its own "building" of myths and legends, which can be strongly proved by Zhuangzi and Qu Fu. Zhuangzi lived at the junction of Chu culture and Central Plains culture, so his works accepted more myths and legends of Central Plains, but were less favored. In contrast, Qu Fu's attitude towards myths and legends in all directions is more common. In Qu Yuan's works, Taiyi in Dongyi, Hebo and Huangdi in the north, Bashu in the west and even myths and legends beyond are all welcome, and "welcome" ── including monsters with ferocious faces in all directions, is equally treated. This has been confirmed in all kinds of strange monster evocation and big moves. (II) Spreading of Chu Myths and Legends to the Surrounding Areas In terms of time, "Chu Myths and Legends" have three meanings: namely, Chu Myths and Legends that refer to "pre-Chu", "Chu" and "post-Chu" respectively. In terms of space, there is also a difference between "dominating Jianghan" (the capital of Jinan) and "swallowing wuyue". This paper only introduces the spread and infiltration of Chu myths and legends in the upper and lower reaches of the Yangtze River. As for the spread of Chu myths and legends to the north, it is carried out in the second section of this chapter. 1. The spread of Chu myths and legends to the upper reaches of the Yangtze River is directly caused by population flow and migration, and cultural exchange and radiation are another way of spreading myths and legends. In the Yangtze River basin, the radiation and spread of Chu myths and legends to the upper reaches have different dominant ways in different periods: (1) In the process of the country's continuous development and expansion (including its expansion to the southwest), Chu and Chu myths and legends also flow to the southwest. The existence of the myths and legends of Yunxian and Nuwa in the southwest ethnic groups is the result of this movement. According to documents such as Biography of the King of Shu, Records of Huayang and Records of Shu, Du Yu, an enlightened family, was the 12th emperor of Shu, who made great contributions to the civilization of Shu, and was the spirit of Chu turtle who entered Shu. "Hua Yang Guo Zhi Shu Zhi" said: "There was a Ming emperor who set up a ancestral hall and called it' Jing' with wine." It can be seen that Chu culture spread deeply and widely in Sichuan because of Ming Di, and Chu myths and legends prevailed in Sichuan for a long time because of Ming Di. At the end of the Warring States period, the generals of the Qin Dynasty took office in vain, and the Chu Palace moved eastward, while a large number of ordinary people retreated to the southwest, virtually bringing Chu myths and legends to the migration place. It's just that these refugees don't go upstream like Zhuang Jian. (2) The Chu army traced back to Historical Records Biography of Southwest Yi: "At the beginning, the general Zhuang Bian sent troops along the river, slightly to the west of Ba, Shu and Guizhou. Miao Zhuang, so Miao also. Riding to Dianchi Lake, 300 miles away, next to the flat, fat and forgiving thousands of miles, must belong to Chu. If you want to return, attack Chuba and Yuzhong counties, the road will be impassable. Because of the return, you will rely on its king. " There are similar written records in Hanshu Biography of Southwest Yue Dynasty. "Biography of Nan Man and Southwest Yi": "At the beginning, Chu Qing helped the king and sent Zhuang Hao to attack Yelang. The army arrived in Lan and the ship landed to fight. Kill Yelang and stay in Dianchi Lake. " Some people say that Zhuang Hao is Zhuang Biao, or that he is the man who stole Chu Ying. No matter who Zhuang Ting is, it is an indisputable historical fact that the Chu people explored the southwest and sent troops to Yunnan to be king. So far, the living habits and dialects of the Han nationality in Kunming, Yunnan have many similarities with those in Chongqing and Hubei in the middle and upper reaches of the Yangtze River. (3) Radiation of Chu culture After the Spring and Autumn Period, Chu culture reached its peak, and its influence on the southwest of the upper reaches of the Yangtze River increased day by day, such as bronze casting, silk weaving and batik technology. Its myths and legends also spread to this area with the spread of Chu culture to the west. Limited to space, I won't go into details here. 2. The infiltration of Chu myths and legends into the lower reaches of the Yangtze River. When the spatial development direction of Chu people was blocked to the north, it naturally turned to the east. The Chu people first destroyed "Han Yang Zhu Ji", then pointed the finger at the east and annexed the small countries in the middle and lower reaches of the Yangtze River until they finally possessed the land of wuyue. After hundreds of years, this process has formed the infiltration and expansion of Chu culture to the east (the lower reaches of the Yangtze River). Chu myths and legends also penetrated and covered the downstream areas. The legend of "Yu Boya meets Zhong Ziqi" originated in the middle reaches of the Yangtze River and later took root in Zhenjiang, Jiangsu.