How many poems were included in China's earliest collection of poems, The Book of Songs?

The Book of Songs is the earliest collection of poems in China, including 305 poems from the Western Zhou Dynasty to the Spring and Autumn Period, which was called "Three Hundred Poems" in ancient times. The Book of Songs is China's first collection of poems, which contains 305 poems from the early years of the Western Zhou Dynasty to the middle of the Spring and Autumn Period. The Book of Songs is divided into three parts: Feng (160), Ya (105) and Fu (40). Are all named after music. "Wind" means tone. The ancients called Shaanxi Opera, Feng Wei and Zheng Opera, just like Shaanxi Opera, Shanxi Opera, Henan Opera and Elegant Opera. People in the Zhou Dynasty called Zheng Yayue, just as people in the Qing Dynasty called Kunqu Opera Ya Bu, with the meaning of honorific title. Xiaoya can be divided in chronological order. "Ode" is a kind of music song used for ancestral temple sacrifice. The Book of Songs, formerly known as The Book of Songs, was regarded as a classic by Confucianism in the Han Dynasty. The Book of Songs is divided into three parts: style, elegance and ode. Feng includes,, Feng Li, Feng Li,, Zheng Feng,,, tang style, Qin Feng, Martin and Feng Li. Elegance includes 3 articles of Elegance1and 74 articles of Xiaoya. Ode includes thirty-one Zhou Song, five Shang Odes and four Truffles. These poems, in terms of their original nature, are the lyrics of songs. "Mozi Meng Gong" said: "There are 300 poems, 300 string poems, 300 song poems and 300 dance poems." It means that there are more than 300 poems, all of which can be recited, played with musical instruments, sung and accompanied by dances. "Historical Records Confucius Family" also said: "Three hundred and fifty poems were written by Confucius, in order to combine Shao, Wu, elegance and praise. "Although these statements may have yet to be verified, there is no doubt that the Book of Songs has a close relationship with music and dance in ancient times. The division of wind, elegance and fu is based on the difference of music. " Wind "is a kind of music with local color, compared with Wang Ji, a region directly ruled by Zhou Dynasty.". The Tenth Five-Year Plan "National Wind" is a folk song in the Tenth Five-Year Plan. Its region, except Jiang, Han and Rushui, originated in the Yellow River Basin from Shaanxi to Shandong. Elegance is the joy of "Ji Wang", and Zhou people in this area call it "summer." Elegance and chivalry were commonly used in ancient times. Elegance also means "positive". At that time, Ji Wang's music was regarded as a positive tone-a model music. There are different opinions about the difference between "Elegance" and "Xiaoya", and their musical characteristics and applicable occasions are also different. Fu is a kind of music specially used for offering sacrifices to ancestral temples. "Preface to Mao Poetry" said: "The description of the beauty and virtue of the eulogists tells the gods of their success. "This is the meaning and use of ode. Wang Guowei said: "Praise is slower than elegance. "This is the characteristic of his music. The composition of the authors of The Book of Songs is very complicated, and their geographical sources are also very extensive. In addition to the music songs produced by music officials in the Zhou Dynasty and presented by officials and scholars, there are many folk songs that were originally circulated among the people. There are different opinions about how these folk songs came to the court. Some scholars in the Han Dynasty believed that the Zhou Dynasty sent special poets to collect folk songs and understand the advantages and disadvantages of politics and customs. There is another saying: these folk songs are collected by musicians all over the world. Musicians are officials and experts in charge of music. They compose poems as their profession and collect folk songs to enrich lyrics and tunes. The pleasure of princes is dedicated to the emperor, and these folk songs are gathered in the court. These statements all have some truth. Music songs collected from various periods and regions are generally considered to be preserved in the music officer of the Zhou royal family-Taishi. They obviously processed, eliminated and modified those works with different faces. Therefore, the existing language forms of The Book of Songs are basically four-character, and the rhyme system and rhyme rules are basically the same. Some sets of sentences (such as Son of Another Family and Wang Shimi) have appeared in works of different times and places. In ancient times, the transportation was inconvenient and the language was different. The ballads of various times and regions could not have happened if they were not processed. It can be considered that the official production of music songs and the collection and arrangement of folk music songs are one of the cultural undertakings of the Zhou Dynasty, and they were constantly carried out in the era of the Book of Songs. " Historical Records Confucius Family said that there were more than 3,000 poems, which were abridged and selected by Confucius and became the final version of more than 300 poems seen by later generations. This record has been widely questioned. A poem quoted in pre-Qin literature is generally within the scope of the existing Book of Songs, and there are few so-called "escape poems" beyond it. If Confucius had more than 3,000 poems before, this would not have happened. Moreover, in the Analects of Confucius, Confucius repeatedly mentioned "three hundred poems" (Kevin·Z, Lutz, etc. ), which proves that Confucius has seen more than 300 poems, which is similar to what he sees now. Most importantly, The Book of Songs was compiled before Confucius was born, about the sixth century BC. It's just that Confucius did put a lot of effort into the Book of Songs. Confucius said in the Analects of Confucius: "I went back to Shandong, and then I was happy and elegant." "The words in the historical records quoted above also say so. This shows that in the era of Confucius, the music of The Book of Songs has been lost and disordered, and Confucius revised it to make it conform to the original state of ancient music. He also used the Book of Songs to educate students, often discussing the Book of Songs with them and playing songs and dances (see The Analects of Confucius and Mo Zi Fei Ru). All these have played an important role in the spread of The Book of Songs. The music songs in The Book of Songs were originally used as part of various ceremonies to entertain and express views on social and political issues. But in the end, The Book of Songs has become a cultural textbook widely used in aristocratic education, and learning the Book of Songs has become a necessary cultural accomplishment for aristocratic people. On the one hand, this kind of education has the function of beautifying language, especially in diplomatic occasions, it is often necessary to quote poems from the Book of Songs to express meaning in twists and turns. This is called "Fu Shi Yan Zhi", and its specific situation is recorded in Zuo Zhuan. The Analects of Confucius recorded Confucius' words: "If you don't learn poetry, you have nothing to say." "Reciting 300 Poems, teaching them as politics, is unattainable; Let it be everywhere, but not exclusive. Even if there are many, do you still think? " It can be seen how important it is to learn the Book of Songs for the upper class and those who are ready to enter the upper class. On the other hand, the education of The Book of Songs also has political and moral significance. Confucius was quoted in Interpretation of the Book of Rites as saying that after "poetry teaching", people can be "gentle, respectful and frugal". The Analects of Confucius recorded the words of Confucius, saying that learning poetry can "serve the monarch from afar and the father from the monarch", that is, learning to serve the monarch and the elders. According to Confucius' opinion (which should also be the opinion of ordinary people in the upper class at that time), "there are 300 poems. In a word, it says: the thought is innocent. " This means that all the works in the Book of Songs (or at least on the whole) are in line with the moral principles recognized by the society at that time. Otherwise, it cannot be used for "education". There are two points worth noting here: first, from what Confucius said, people's views on the Book of Songs at that time were quite broad. Many poems that condemn the dark rule and express the love between men and women can still be considered "innocent" as long as they do not exceed a certain limit, that is, legitimate emotional expression. Second, despite this, the Book of Songs is not a simple collection of poems after all. It is not only the cultural accumulation of the Zhou Dynasty, but also the object of daily chanting by the nobles. Therefore, although there are many folk songs in it, I'm afraid it can't contain the content that directly conflicts with the socially recognized political and moral principles. All Confucian classics, including The Book of Songs, were burned in the Qin Dynasty. However, because the Book of Songs is easy to remember and familiar to scholars, it spread in the Han Dynasty. There are four schools of * * * who taught the Book of Songs in the early Han Dynasty, namely, Qi Zhiyuan's drums, Lu Pei, Yan Zhiyi's Han Ying, Zhao Zhimao Heng, and Qi's, Lu's and four schools for short (the first two schools are named after the country, while the last two schools are named after the family). The Confucian Classics of Qi, Lu and Han schools are officially recognized schools, and Mao's poems belong to the Confucian Classics of Ancient Chinese, which is a folk school. However, after the Eastern Han Dynasty, Mao's poems became increasingly prosperous and gained official recognition. The first three schools gradually declined, and in the Southern Song Dynasty, they were completely lost. The Book of Songs that we saw today is a biography of the Mao School. There are not many poems in The Book of Songs that can determine the specific writing age. Generally speaking, Fu and Ya came into being earlier, basically in the Western Zhou Dynasty. The national wind was produced in the early and middle spring and autumn period, except for Fufeng and Ernan. As far as the nature of poetry is concerned, "elegance" and "ode" are basically music songs written for specific purposes and used in specific occasions, while "national style" is mostly folk songs. It is only a part of Xiaoya, similar to the national style. But it must be pointed out that the "folk songs" we are talking about here are just a general term; Its characteristics are just the opposite of the above-mentioned "elegance" and "ode". It is an ordinary lyric song created by an unknown author and circulated in society. The identity of most folk song writers is not easy to explore. If the identity of the narrator in the poem is regarded as the identity of the author, it includes not only laborers and soldiers, but also a considerable number of people belonging to the "scholar" and "scholar" classes. At that time, "scholar" belonged to the lowest nobility, and "scholar" was a general term for nobility. In addition, there are many unidentified people. Therefore, it can only be roughly said that this kind of folk song is a kind of social mass work. Because of the different nature of poetry, the content of its description is also different. Below, we select several important types to introduce. The poem Ode is mainly Ode to Zhou, which is a sacrificial poem of the Zhou royal family, and it was produced in the early Western Zhou Dynasty. In addition to simply praising the merits of ancestors, some people pray for God in spring and summer or thank God in autumn and winter, which reflects the social characteristics and agricultural production of Zhou people in the early Western Zhou Dynasty. For example, the harvest year sings that there are many crops, many crops, and high, trillion, and crops. For the sake of wine, for the sake of ancestors, for the sake of everyone. On the harvest day, people happily and actively offer sacrifices to their ancestors, hoping that they will give them more blessings. Xixi describes the situation of large-scale farming: Xixi becomes king, which not only shows falsehood, but also attracts agriculture and spreads hundreds of valleys. Officials push your si, on the 30-mile field. Closely cooperate with your farming, ten thousand people are yoked together, forming five thousand pairs. In the vast fields, thousands of farmers work at the same time. What a spectacular scene! At the same time, we also think that in this powerful collective activity, the value of individual existence is easily ignored and obliterated. This is the price that must be paid at that specific historical stage and economic conditions. The five poems "Daya", "Sheng Min", "Gong Liu", "Mian", "Huang Yi" and "Daming" are a set of epics of the Zhou Dynasty, describing the history from Hou Ji, the ancestor of the Zhou Dynasty, to Wu Wang, the ancestor of the Zhou Dynasty. Its age is also roughly in the early Western Zhou Dynasty. Sheng Min tells that Hou Ji's mother, Jiang Yuan, prayed to God for a child, and later followed God's footsteps to get pregnant and gave birth to Hou Ji. Hou Ji was afraid of raising him and abandoned him, but Hou Ji survived: "The alley where the baby was born is the word of cattle and sheep. The flat forest planted at birth was cut down. Newborn ice is covered with birds. The bird left, but Hou Ji spoke loudly. This is really embarrassing and screaming. " This description shows the myth of Hou Ji. Hou Ji invented agriculture when he grew up, and the crops he planted were very lush. Later, he became a family in Youtai (now southwest of Shaanxi Wugong), laying the foundation of Zhou people, and he himself became the ancestor of Zhou people and the god of agriculture. This poem, full of myths and legends, reflects the emergence and historical concept of the Zhou nationality and the social characteristics of building the country by agriculture. Gong Liu describes the history of Hou Ji's great-grandson Gong Liu who led the tribe to migrate from Youyao to Iraq (now Xunyi County and Binxian County in Shaanxi Province) and opened up wasteland to build houses in Iraq. Among them, when Zhou people first came to live in the land under the leadership of Gong Liu, the scene was: "The wilderness of the capital is everywhere, traveling in the city, speaking at the right time, speaking at the right time." The scene of singing and laughing is very vivid. Compared with strangers, Gong Liu is no longer a mythical figure, but a historical figure. Mian tells the story of Gong Liu's tenth grandson, his grandfather and Gu's father, who moved from his nanny to Qixia (now Qishan, Shaanxi Province) until he was appointed. In it, he wrote that Gu's father moved from his nanny to Qixia, married a ginger girl, built a house in Qixia, engaged in agricultural production, overhauled the ancestral temple palace, appointed officials, and then established the country. The narrative is clear and the structure is rigorous, reaching a fairly high level. Among them, when writing architectural scenes, many onomatopoeia words are used, which are very atmospheric: "Harmony, harmony, board building, front cutting, all obstacles are flourishing, and drums are victorious." The sound of filling, dumping, tamping and cutting the soil covered the huge drums. The above three epics narrate the history of Zhou people before the appearance of Zhou Wenwang, which may have been written by historians and musicians in the early Western Zhou Dynasty using folklore. In addition, from the narration of Taibo and Wang Ji to the criticism, Zhou's founding history was recorded, and Daming was probably written by historians and musicians from the narration of its birth to the criticism. In addition to these epics in Daya in the early Western Zhou Dynasty, there are also some epic narrative poems in Xiaoya in the late Western Zhou Dynasty, such as Zhou Xuanwang's expedition to South China recorded in Driving, Zhou Xuanwang's expedition to Xu Yi recorded in Changwu, Cai Mao and Liu. If these poems are sorted out in an orderly way, we can sort out the history before and during the Western Zhou Dynasty. As narrative works, these epics have the advantage of simplicity and order. However, because its writing purpose is mainly to describe historical facts (including legends regarded as historical facts) and praise ancestors, it pays little attention to plots and characters. Moreover, there are not many narrative poems in The Book of Songs, mainly the above ones. It can be seen that since The Book of Songs, China's poems have shown a tendency of paying little attention to narrative poems.