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Asians studies,

Introduction
The Chinese history has it origin in the northern region where it find reference to dynastic ruler and sage – kings of antiquity. Chinese mythology found a fertile land for settlement in Yangtze, the southern area. Unlike the northern region the residents were able to live relatively ease, to involve in dreams of the supernatural and the romantic. This gave rise to the Chinese literature of metric songs that was different from the classic of poetry regarding their romantic’s spirit and lyrics nature. Songs of the south is sentimental, self- conscious and evokes supernatural spirits as well as outwardly.
The greater solo voice of Li Sao was Chu Yuan. His Encountering the Sorrow is the most primitive narrative poem to survive. Chu was a supporter of the ruling house of the territory of Chu. He was an excellent diplomatic but his competency was shadowed by the jealous of his colleagues in the ruling house. His first deportation occasioned numerous brilliant lyrics songs: Outpouring of sorrow, Inquiry into Cosmos and Encountering Sorrow. There were other songs he composed in different banishments (Minford, 2000).
Typically, Li sao is allegoric and yet anagogic. It dual, the tristesse and quest. The latter reflects the poet’s sorrow, resentments and complaints against the wicked society the through the malicious misrepresentation has disjointed him with the Fair One he serves. The quest, itineraria describes the journeys of the poet in search of mate, perhaps a legendary beauty or goddess, it end where the spiritual deities triumphs over anguished nostalgia and resentful despair.
The songs of the south begins declaring the divine heritage through Chuan Hsu, or Kao Yang, the greater grandson of the North Soveriegn God who monitor the Estrangement of the world from heaven. The oracular name ‘Divine Balance’ and ’True Examplar’ are justified by the declaration. The poet highlight his cultivate virtues innate, and claims he is in ‘fearful pursuit’. The problem arises when reconciling the seasonal cycle and diurnal with which the actor clearly highlights, to the humans’ lifetime longer cycle, particularly the ephemerality of love and youth.
Using the direct quotation, the actor next recalls his motivation of the Fair One to trail him. He cites for instance the legendary kings who also trailed a righteous path and maintained their beauty and peace .Chu speech is a disappointment, the fair one remain inconstant, the actor is exiled. Pessimistically, he declares how ‘loyalty bring disaster’, but hi involves heaven to witness his permanent loyalty.
After interaction with Goddess of Matchmaking, Nu Hsu, he fails to change the course of the poet, she argues that the result of persistence is passing away, and tries to introduce compromise between the actor and the erudite world. In response, the poet appeals to Shun, as result of the inventory the state of the dynasty, he ends the go in heaven does not recognize partiality, and can only allow the good virtual embellishment. The poet therefore decides to maintain to live in isolation and his separation from the gods. The end of tristia is confirmed by confirmation of the signal. The poet prepare for the journey to the spirit (Minford, 2000).
The second part begins with the author journey to the celestial in cosmos highland, Kun Lun. The mountain is the residence of pure blessedness and the entry to the heavens. The poet takes the journey to the hanging gardens. The spirit of immorality may command the rain, the winds and the lesser gods. The progress of the poet is monitored by the senior attendants of the Lu Wu, Nine heavens.
During the night the he mend the torn garments and passes through the white water. The pure water from the Lake of Purity, the dwelling of the superior god, His Wang Mu. Wanderer polishes the heavens and the quad quarter of the earth prior to look the jade tower where the legendary beauty, Chien Ti is restricted by his father (Minford, 2000). The wanderer despairs his present situation by lamenting the inaccessibility of their daughters and the sage kings.
The poet consults Ling Fen and hunt for the sacred stalks for consolation. A propitious oracle id divined “Beauty is always confined to find it mate.” Following the motivation of the diviner the poet seek to renew the criticism of the world. He consults the chief of the Shaman ancestor, Wu Hsien. After evaluation Wu responds to the poet in an oracle form (Minford, 2000).
The lyrics of poetry are written as part of the religious performance, lack of indication and direction of the actor supposed to be singing or whether some of the lines represent the lines of a chorus, deduce many uncertainties in the construction of the Shamanic drama performance.. Conclusion
Historically Chinese believe that man and cosmos relate mutually, it’s this relationship that beautiful flowers, evergreen stalks and sweet-scented blossoms to acquire the sacred capability to give purity, perfection and divinity. The vegetable appreciation symbolism is a shamanic practices from ‘The nine Songs,’ Chui Ko. Human nature are the important dispositions and behaviors of human, while human society is group of individuals involved with each other through insistent relations.

Reference
Minford, John, and Joseph S. M. Lau. Classical Chinese Literature: An Anthology of Translations. , 2000. Print.