China's earliest poems. It collected 305 poems in about 500 years from the early Western Zhou Dynasty to the mid-Spring and Autumn Period. The pre-Qin dynasty was called "Poetry", or the integer was called "Poetry 300". In the Western Han Dynasty, it was honored as a Confucian classic, formerly known as The Book of Songs, which has been in use ever since.
There are two opinions about the compilation of The Book of Songs in Han Dynasty: ① The theory that pedestrians pick poems. "History of Art and Literature Granted by Han Dynasty" contains: "In ancient times, officials collected poems, respected customs, knew gains and losses, and taught themselves to be correct." The rhyme system, rhythm and poetic style of 305 articles in The Book of Songs are basically the same, but they cover a long time and a wide area. In the case of inconvenient transportation and different languages in ancient times, it is unthinkable to produce such a collection of poems without purposeful collection and arrangement. So the poetry anthology is credible. ② Confucius' theory of deleting poems. "Historical Records of Confucius' Family" contains: "There are more than 3,000 ancient poems, and Confucius has neglected them, and what he has taken can be applied to propriety and righteousness ... 350 poems are all sung by Confucius. "Confucius in the Tang Dynasty, Zhu in the Song Dynasty, Zhu Yizun in the Ming Dynasty and Wei Yuan in the Qing Dynasty were all skeptical. The Book of Songs was written in the 6th century BC, before Confucius was born. In 544 BC, Ji Zha, the son of Wu, went to the State of Lu to watch music. The preface of the wind music poems played by Lu was basically the same as that of the Book of Songs today, indicating that there were poems at that time, while Confucius was only 8 years old. Therefore, modern scholars generally believe that the theory of deleting poems is not credible. But according to what Confucius said in The Analects of Confucius: "I will go back to Shandong and be happy, elegant and eulogizing where I belong. "It can be seen that Confucius really likes this poem. It was only at the end of the Spring and Autumn Period that new voices rose and ancient music was lost. Only songs and poems in "Poems 300" were handed down and became the collection of poems seen today.
Style classification The Book of Songs records all the lyrics that once entered music. The styles of The Book of Songs are classified according to the nature of music, which can be divided into three categories: wind, elegance and ode. ① wind. It is local music from different regions. The poem "Feng" is a folk ballad collected from 15 regions, including China, Yi, Yan, Wei, Wang, Zheng, Qi, Wei, Tang, Qin, Chen, Qi, Cao and Yi. *** 160 articles. Mostly folk songs. 2 elegance. It is the music of the area directly under the jurisdiction of the Zhou Dynasty, that is, the so-called Zheng Sheng Ya Yue. The poem "Ya" is a musical song at a court banquet or meeting. According to different music, it can be divided into "Elegance" 3 1 song, "Xiaoya" 74, * * * 105. Except for a few Xiaoya folk songs, most of them are works of noble literati. 3 ode. It is a dance music for ancestral temple sacrifice, and the content is mostly to praise the achievements of ancestors. The ode is divided into 3/kloc-0 poems by Zhou Song, 4 poems by truffles, 5 poems by Shang Dynasty and 40 poems by * *. They are all works of noble literati. In terms of time, Song of Zhou and Ya were mostly produced in the early years of the Western Zhou Dynasty. A small part of "Elegance" and most of "Xiaoya" were produced from the late Western Zhou Dynasty to the eastward movement. Most of Guofeng, Truffle and Shangsong were produced in the Spring and Autumn Period. In terms of ideological and artistic value, three praises are not as good as two elegance, and two elegance is not as good as fifteen national styles.
The ideological content of The Book of Songs fully shows the social life of China in the Zhou Dynasty, and truly reflects the historical features of the slave society in China from prosperity to decline. Some of these poems, such as Gong Liu, Mian, Huang Yi, Daming, etc. In Daya, the origin, development and establishment of Zhou tribes from the birth to the demise of Hou Ji were recorded.
Some poems such as Feng Wei's Storytelling and Feng Wei's Altar vividly reveal the parasitic nature of slave owners' greed for nothing, sing the voice of people's resistance and yearning for an ideal life, and show the awakening of slaves during the collapse of slavery. Some poems, such as He, Dongshan by Huan Feng, Yu Yu in the prosperous Tang Dynasty, Cai Wei, etc. Write about her husband's homesickness and sorrow for the war; Feng Wang Gentleman in Service and Feng Wei Bo Xi show inviting homesickness. From different angles, it reflects the endless pain and disaster brought to the people by the unreasonable military service system and war corvee in the Western Zhou Dynasty. Some poems, such as "Nan Zhou Cricket", completely describe the labor process of women collecting plantain seeds; The Wind in July describes the working life of slaves all the year round. There are no sheep in Xiaoya, which reflects the herding life of slaves.
There are also many poems that show the love life of young men and women, such as "Qin Feng and" which shows the fantastic pursuit between men and women; "Zheng Yan" and "Peak Woman" show the banter between men and women; Wang Fengcai's songs show the painful lovesickness between men and women. "Feng Wei Papaya" and "Zhao Nan Zhuomeiyou" show the mutual gift between men and women; Yan Feng Bai Zhou and General Zhong Zi of Zheng Feng reflected the sufferings brought by parents' interference and public opinion to young men and women. Another example is "Gu Feng and Gu Feng" and "Feng Wei for Self-protection", which also express the sadness of abandoning his wife and angrily condemn the man's ingratitude, reflecting the tragic fate of women in class society.
Artistic achievements and their influence "Master Zhou Li Chun Guan" says: "The master taught six poems: Yue Feng, Yuefu, Yuebi, Lexing, Leya and Yuesong." The six poems in Preface to Mao Poetry have six meanings. Among them, style, elegance and praise refer to the classification of styles; Fu, Bi and Xing are in the way of expression. Regarding Fu, Bi and Xing, Zhu made a more exact explanation in the Song Dynasty's Biography of Poetry: "The giver, the doer, speaks frankly; Compare this thing with another thing; When you are excited, just say something else that will make you say something. " For example, The Wind in July and Feng Wei for Mang are both poems: the former describes all the working life of slaves in spring ploughing, mulberry picking, textile, field hunting, wine making, storage and preparation for winter, showing class opposition and slaves' grief and indignation; The latter flashbacks the tragic experience of the abandoned wife and the self-protection from love to marriage until being abandoned by self-protection, showing the sadness and determination of the abandoned wife. Another example is Feng Wei's Storytelling and Gaofeng Xintai, both of which are concrete: the former compares the exploiters to greedy rats; The latter compared the immoral and shameless Wei to a big toad; Both of them contain great irony. Another example is Guan Ju and Fa Tan, both of which are popular styles: the former is popular with the "Guan" cry of a bird and a pigeon, which reminds people of the love between men and women; The latter began with the "Kan Kan" logging sound of slaves, and was linked with the unearned gains of the slave owners. In the Book of Songs, fu, bi and xing are often used alternately, including fu and bi, bi and xing, and xing and bi. For example, "Feng Wei killed himself" is a fu style, but the poem "Mulberries have not fallen, their leaves are lush, and there is no mulberry to eat" is obviously "thriving and comparing". Another example is "Feng Wei Tells People", which describes the beauty of Zhuang Jiang in great detail, but in it, it is "soft, skin is coagulated, teeth are like rhinoceros, and a cicada's head is beautiful", vividly showing the natural beauty of Zhuang Jiang, which is obviously "giving comparison". The successful application of fu, bi and xing techniques is an important reason for the strong local flavor of folk songs in The Book of Songs.
The Book of Songs is mainly composed of four words and miscellaneous words. Structurally, the form of repeated chapters and sentences is often adopted to enhance the lyrical effect. Only a few words are changed in each chapter, but it can receive tortuous and changeable artistic effects. In language, we often use disyllabic rhymes, reduplications and conjunctions to describe things and imitate sounds, which is poor. "Less is always more, and the situation is very clear." In addition, some rhymes in The Book of Songs, some rhymes in every other sentence, some rhymes at the end, and some rhymes in the middle. The rhyming rules of modern poetry are almost all in the Book of Songs.
The Book of Songs is the glorious starting point of China's realistic literature. Because of its rich content and high ideological and artistic achievements, it occupies an important position in the cultural history of China and even the world. It initiated the excellent tradition of China's poetry and exerted an indelible influence on later literature. The influence of The Book of Songs has transcended the national boundaries of China and spread to the whole world. Japan, South Korea, Vietnam and other countries introduced the Chinese version of The Book of Songs very early. Since18th century, French, German, English and Russian versions have appeared.
The Songs of Chu
A form of poetry created by Chu people represented by Qu Yuan in China during the Warring States Period. The name of Chu Ci was first seen in Sima Qian's Historical Records and Biographies of Cool Officials in the early years of the Western Han Dynasty. In the Han Dynasty, Chu Ci was also called Ci or Ci Fu. At the end of the Western Han Dynasty, Liu Xiang collected 16 works by Qu Yuan, Song Yu and Huainan Xiaoshan, Dong Fangshuo, Wang Bo and Liu Xiang in the Han Dynasty, and named them "Songs of the South". Chuci became the name of poetry collection again. Qu Yuan's Li Sao is a masterpiece of Chu Ci, so Chu Ci is also called Sao Style or Sao Style.
Shadow of Chu Ci (Jiading six-year edition in Southern Song Dynasty)
Chu ci is developed on the basis of Chu folk songs through processing and refining, and has strong local characteristics. Due to the differences in geography and language environment, Chu has its own unique local music since ancient times, which was called Nanfeng and Nanyin in ancient times. There are also unique folk songs, such as the songs of Chu people, Yue people and Canglang waves recorded in Shuo Yuan. More importantly, Chu has a long history, witchcraft prevails, Chu people entertain gods with songs and dances, so that myths are preserved in large quantities and poetry and music develop rapidly, which makes Chu folk songs full of primitive religious atmosphere. All these influences make Chu Ci have the unique rhyme of Chu State, and at the same time, it has a deep romantic color and a strong witchcraft culture. It can be said that the emergence of Chu Ci is inseparable from the influence of Chu folk songs and cultural traditions.
At the same time, Chu Ci is the product of the combination of southern Chu culture and northern Central Plains culture. After the Spring and Autumn Period and the Warring States Period, the State of Chu, always called Man Jing, became stronger and stronger. In the process of seizing the Central Plains and the hegemony of vassals, frequent contacts with northern countries promoted extensive exchanges between the North and the South, and Chu was also deeply influenced by the culture of the Central Plains in the north. It is this intersection of North and South cultures that gave birth to such a great poet as Qu Yuan and such colorful great poems as Chu Ci.
Songs of the South occupies an important position in the history of China's poetry. Its appearance broke the silence of The Book of Songs for two or three centuries, and made it shine brilliantly in the poetry circle. Therefore, later generations called "The Book of Songs" and "Songs of the South" coquettish. Wind refers to the style of fifteen countries, represents the book of songs, and is full of realism spirit; Sao refers to Li Sao, representing Chu Ci, full of romanticism. Feng and Sao became two schools of realism and romanticism in China's classical poetry.
The earliest extant annotation of Chu Ci is Wang Yi's Chapters and Sentences of Chu Ci in the Eastern Han Dynasty. The catalogue of Sikuquanshu says: "Liu Xianghuo first collected Qu Yuan's Li Sao, Tian Wen, Tian Wen and Nine Chapters ... and everyone took notes." The volume 16 of Chu Ci compiled by Liu Xiang was originally lost. The chapters and sentences of the Songs of the South are all based on Liu Xiang's Songs of the South, which not only gives a complete explanation of the Songs of the South, but also provides original materials. On the basis of the chapters and sentences in The Songs of the South Song Dynasty, Hong Xingzu made supplementary comments on The Songs of the South. Since then, Zhu in the Southern Song Dynasty wrote A Collection of Notes on Chu Ci, Wang Fuzhi in the early Qing Dynasty wrote An Interpretation of Chu Ci, Jiang Ji in the Qing Dynasty wrote A Collection of Notes on Shanting Chu Ci, and so on. According to their own opinions, they have done a lot of compilation, reading, annotation and comments.
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The Book of Songs and Songs of the South are two treasures of China's pre-Qin poetry, one is the source of realism and the other is the source of romanticism.
On the inheritance relationship between the two. According to the principle of "knowing people and discussing the world", this paper investigates the relationship between Chu and the representative writers of "Songs of the South" and the culture of the Central Plains, and recites the text, which shows that "Songs of the South" is influenced by "The Book of Songs" and inherits the tradition of "The Book of Songs".