What kind of myth is there in the Lord Luo? How did she change her appearance in the literary works?

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Speaking of Luoshen, what does everyone think of? The following is a brief introduction to this man’s historical deeds.

In fact, Luo God is just a figure in ancient Chinese mythology, known as the goddess of Luo water. In the pre Qin mythology, Luoshen was the spouse of Hebo, the God of the Yellow River, and the water god in charge of Luohe River. In the middle ages, many scholars put the God of Luo in their works, which enriched the image of the God of Luo and became the object of many men’s feelings. For example, the Luoshen Fu written by Cao Zhi is a literary work that regards Luoshen as its ideal object. In the following dynasties, the original appearance of Luo God was gradually split, and the literary significance of such a mythical figure was also magnified a lot.

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There was a woman who was the goddess in the hearts of the ancients. A group of scholars led by Qu Yuan, Sima Xiangru and Cao Zhi all fell in love with her. They wrote poems and ode for her to express their love and admiration, and the excellent ones have been handed down through the ages. This woman is Mi Fei, also known as the goddess of Luoshui. Who is this God of Luo? What kind of story? How did she change her appearance in the works of these literati?

Luoshen was originally called “Mi Fei”. This name comes from Quyuan’s Tianwen: “the emperor descended on Yi Yi and reformed Xia people. Hu shot his husband, he Bo, and his wife, Luo Bin?” It means “the emperor of heaven sent down Yi Yi to harm Xia people. Why did he shoot Hebo and marry concubine Luochuan?” He Bo was the God of the Yellow River, and Mi Fei was his wife, who was occupied by Yi Yi, a poor monarch of the Xia Dynasty. At the beginning of the myth of Mi Fei, the image of Mi Fei was a spouse God who was surly, proud, beautiful, rude and indulgent.

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Quyuan’s “songs of Chu” is the beginning of the theme of love between man and God. Luoshen first appeared as the goddess pursued by the poet: “I asked Feng long to ride the clouds and seek the place of Mi Fei. Xie Peihua concluded with his words, and I asked him to be diligent and reasonable. Disputes always come and go, but it is difficult for him to move. He returns to the poor rock at night, and washes his hair in the morning. He protects juemei with pride, and entertains himself with pleasure every day. Although he believes in beauty but is rude, he disobeys it and changes his pursuit.”

In Quyuan’s poem, Mi Fei has a more specific personality and is rejected by the author because of her beauty and rudeness. Later, the literary Ci and Fu of the Han Dynasty inherited Qu Yuan’s Lisao and depicted the image of Mi Fei, the goddess of Luo, plump and lifelike, and gradually produced a very strong secular trend. For example, in the “Huainanzi ยท zhuzhenxun”, it says, “my concubine is a concubine, and my wife is a weaver girl. Between heaven and earth, why should I keep her ambition?” Sima Xiangru once loved Mi Fei. His Mi Fei is a beautiful woman with outstanding color skills in reality. Although concubine MI in Huainan Zi is still a spouse God, the object of her marriage has become a real person and her status has declined to concubine. Mi Fei in Zhang Heng’s works has become the embodiment of passion to test the author’s moral cultivation.

In the middle ages, Cao Zhi’s “Ode to the goddess of Luo” was the first to describe the image of Mi Fei, both in terms of popularity and influence on later literature. “It is as gentle as a dragon. It is as glorious as a chrysanthemum in autumn and as beautiful as a pine in spring. It is as bright as the moon covered by light clouds, and as floating as the snow flowing back from the wind. Looking at it from a distance, it is as bright as the sun rising in the morning. Looking at it from a distance, it is as bright as the sun rising in the morning. Looking at it from a distance, it is as bright as a Fu, and other waves appear.” Cao Zhi created an image of Luoshen with strong personality. His love for God can be said to be full of twists and turns.

The meaning of Luoshen Fu changed in the Tang Dynasty after Li Shanzhu’s selected works spread. The God of Luo in Fu combines Zhen’s life experience. The love between God and man that the emperor and the God of Luo met accidentally in Fu has become the intersection of the spirits of Cao Zhi and Zhen in the form of “fulfilling their old wishes”. This fusion was widely spread in later generations as Li shancai included it in the annotation of selected works.

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Since the Tang Dynasty, the legend of Cao Zhi and Zhen Fei has basically replaced Mi Fei’s ontological myth and created a pattern of romantic encounters among literati. The story in Pei Chuan’s legend is one example: when Xiao Kuang, a Buddhist priest of Taihe, traveled east from Luo and rested at the Shuangmei Pavilion at night, Luo Shen, who was moved by his music, appeared in front of him and took the initiative to mention her emotional meeting with Cao Zhi. Luo Shen appreciated Xiao Kuang’s elegant melody. When he left, he let the cat out of the bag and said that he had strange bones and strange faces. She would help him secretly. Disclaimer: the above content originates from the Internet, and the copyright belongs to the original author. Please inform us if your original copyright is infringed, and we will delete the relevant content as soon as possible.

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