Divinity And Poetry

In the literary circle of new period, Chi Zijian is a peculiar writer. While most woman writers focus on the city life, she has been always concentrating on villages,rivers,moutains and forests, which conveys her review on the natural and harmonious living pictures and deep awe for the natural divinity. Her reflection of traditonal culture and modern civilization, concern about the weak woodland nations and her tranquil and rational writing attitude compose her unique writing characteristics, which thereby attracts a number of readers and critics. Over all, the comments are mainly on Chi's novels. In terms of the commenting contents, the research on the northeastern folklores and the folk connotation in her novels is not so thorough that a further analysis and exploitation will be processed in this paper.In this paper, it trys to explore northeastern Ewenki people's poetic living pictures from Mrs. Chi Zijian's novels, especially in terms of Ewenki folklores, its connotation and the end of Ewenki poetic lives to interprete the individual characteristics and cultural values in her novels. Folklores, as the folk customs, is the cultural lives created, inherited and enjoyed by masses of people of one country or nation. Ewenki folklores are so different from all other nations that they live together in the Great Xing'an Mountain and have characteristic folklores of their own nation, which differ from those of Han ethnic group and bocome the cultural foundation of Mrs. Chi's writing. On her beloved cultural lands, taking the folklores as the carrier and walking around the historical edge, she keeps a close eye on the Ewenki's social and historical developing tracks in the industrial civilized age and express her views and thinks in the writing with her unique literary style of strong localism and bright regional features.In the first chapter of this paper, the author analyzes the various and complicated folklores in the novel The Right Bank of Ergun River. All those become customs to be inherited belong to folklores, from human beings'social production to lives, materials to spirits, mental attitudes to verbal behaviours. The three aspects, namely the physical, social and spiritual folklores are completely and fully reflected by Mrs. Chi. In this novel, the Ewenki people in the northeastern China live on foraging and hunting. As mountain people, their basic living model is wearing the fur clothing made of animal furs and having animal meats as their staple food. Besides, the detailed description of life etiquette and wedding and funeral customs also praises the northern honest and kind human nature and primitive folklores on the black land.In the second chapter, the author gives us an analysis of Shaman culture, the spiritual foundation of Ewenki's poetic lives. In Mrs. Chi's The Right Bank of Ergun River, Ewenki's belief of Shaman culture is the spiritual drive of Ewenki's poetic lives, the spiritual support of Ewenki's existence, the foundation of the Ewenki's whole folk cultural system. And the most representative ethnic culture that penetrates into their lives. Therefor, the folk images Shaman, Shaman clothing, sacrifices and sorcerer's dance full of ethnic characteristics greatly exceed the oroginal meanings and functions, and then possess rich aesthetic and artistic connotations. The frequent use of these folk images makes Mrs. Chi's novel show incredible sentiment and bear distinct localism and ethnic characteristics.The third chapter reveals the deep connotation of folk images. In Mrs. Chi's writings, with its particular regional and bright ethnic characteristics, Shaman culture demonstrates a ecologicaland moral value of brightness, nature and utility through the spiritual world in which the God creats the world and all things have spirits. Meanwhile, the folk images of Chi Zijian are not only a simple representation of those in the lives, but also her eulogization to the nature. In The Right Bank of Ergun River, the nature is both the Ewenki's living stage and the main part of their harmonious lives and the testimony of ethnic history. In the beautiful northeast China, Ewenki people harmoniously live in the hug of nature and the harmony among people is just embodied in their production and life. Chi Zijian's immersion in the vigorous folk customs and feeling of the unsophisticated flavour of life from the native land compose her strong adoration. Eveyr thing of the hometown can fascinate her longing for the land.In the forth chapter, the author explores the end of Ewenki's poetic habitat. With their unique religion, rich ethnic characteristic living model, passion for freedom and awe for the nature, the Ewenki people are isolated from modern civilization and realize the harmonious coexistence among the human, God and nature, which make their habitat a rare heavenly place. However, their harmony of man with nature is finally spoiled by whatsocalled human civilization. The Ewenki hunting culture presents a sharply breaking tendency because of the radical change of the natural and social environment, gradual loss of the environmental basement that the traditional cultural continuation needed, widely spread of modern civilization and full development of cunltural exchange. The change from moving to settling thoroughly break the previous balanced, symbiotic and mutural relationship between the Ewenki hunting culture and environment.