Three
From the Xing style marked in Mao's biography, we can also see a type of Xing style whose syntax is related to Xing. The impromptu sentences and corresponding sentences use certain words. , and the sentence structure is exactly the same. Scholars in the Qing Dynasty have noticed the characteristics of this type of Xing style. For example, Hu Chenggong said that "Xiaoya Caishu" is based on "'Caiqi' and 'Guanqi'."28 Yao Jiheng even believed that this was an obvious feature of confirming the Xing style, saying in "Wu Jiang Cart" "With 'Jiang Cart', the dust rises, and 'thinking about all kinds of worries' makes one sick, so he should avoid it. Observe that the upper and lower parts can be used together. 'Nothing' You can see the words "Zi Zi" and "Zi Zi". If there are many chapters like this, this one is the most clear one." 29 These views are all extracted from the text of The Book of Songs and deserve attention. The syntax of syntax is determined by the special style of four-character style.
The syntax is related to the Xing style of Xing. There is not necessarily a meaningful connection between the object of the Xing sentence and the corresponding sentence. The main words are "can", "can't", "no", "no", "You" and other words are used to point out the syntactic relationship between them, but in fact there is a simple logical correspondence between the xing sentence and the corresponding sentence. For example, "Zhou Nan Han Guang" uses the "unswimmable" and "unsquare" of the Han River, and the "unable to rest" of the trees to express the "unable to seek" of the swimming women. The only point between several unrelated behaviors is that they fail to achieve their goals. Take care of each other. "Qi Feng·Fu Tian" uses the word "Tian Fu Tian" to express the meaning of "missing people far away" and worrying about it. It also uses the word "wu" both up and down, and uses the word "arrogant" and "violent". correspond. Like "The Cart Without Generals", it not only shows the logical relationship between the two through syntax, but also goes deep into an unexplainable psychology, subtly expressing the feeling of inner turmoil as messy as overgrown grass. "Chen Feng·Dongmen's Pond" uses the pond as "can retting hemp" and "can sing songs with her". Hemp can remind people of a woman's duty to make hemp. Although there is a vague difference between the two ways of behavior. Contact, but the focus is still on the logic of "can". In "Chen Feng·Hengmen", the idea of ??marrying a wife by eating fish is certainly derived from the association between fish and the family, but the words "Qiqi" and "bi" are used in the upper and lower sentences, and the focus is still on the similar logic. "Bin Feng·Fake": "What about Fake? Banditry can't be defeated by ax; How about marrying a wife? Banditry can't be done by matchmaker." The sentence structure of "how" and "bandit...no" are used in the same way, which shows that the logic of the two is the same. The point is that success must rely on tools or intermediaries. "Qiang Youci" has many descendants
thinking that it is a comparison, and Mao Chuanbiao is a popular one. This should be because the words "ke" and "ye" are used in the same way up and down. "Wang Feng·Yang Zhishui" uses "not to waste salary" to promote "the son will not join me in garrison", which is also based on "no". Because salary is related to marriage, it can also be understood as causing longing for the spouse, but "Zheng Feng·Yang Zhishui" uses it to promote distrust between brothers. It can be seen that the focus of these two poems is not on the meaning of "salary", but on the meaning of "salary". Causal contrast in syntactic logic. "Qin Feng·Wu Yi" the upper and lower sentences "Yu Zi Tong" are related to each other, which also falls into this category.
There is also a kind of correlation. Although there are no upper and lower sentences that use these word types to express affirmation, negation or admonishment literally, the same upper and lower anaphora relationship is still shown in the internal logic. For example, the most common sentences in "The Book of Songs" are "Mountain You...Xi You...". The content of the corresponding sentence often has nothing to do with it, but only depends on the syntax and logic of "you". For example, in "Tang Feng·Shan You Shu", "The mountain has a pivot, Xi has an elm" and "The son has clothes", the causal relationship between the upper and lower parts is highlighted with the word "you". But more often than not, the word "you" is only found in Xing sentences and not in corresponding sentences. The word "Xing" below actually means "you". "Bei Feng·Jianxi" "There are hazelnuts in the mountains, and there are lotuses in the Xi". What is prosperous is that "the West" has "beautiful people"; I also have "Zidu" in my heart, but I just skipped this level and directly expressed the disappointment of not seeing Zidu. This is true for the rest, such as the fourth chapter of "Qin Feng·Che Lin", "Qin Feng·Morning Wind", and "Xiaoya·April". The three chapters of "Daya·Zhuo" all start with the idea of ??going to "Xingluo" to fetch water. The water is "ok?" parents". Zhu Xi said: "'If the water is rich and there are Qiu, wouldn't King Wu not be an official?' Gai said: If the water is rich and there are Qiu, wouldn't King Wu be in trouble? This is also the result of the unity." 30 This shows that he also saw this kind of logical causality. Xingti characteristics. "Xiaoya·Heming" Mao Chuan Biao Weixing, thought it was a metaphor for Yongxian, so later generations directly regarded it as a comparison. In fact, this poem does not explain the metaphorical meaning, nor is it necessarily a metaphor for Yongxian. It can have many associations. The two chapters of the whole poem each have nine sentences and four levels of imagery, with unrelated meanings. But there are also layers of internal logic that allow things from elsewhere to be moved here: the crane's cry in the swamp can be heard in the wilderness; the fish in the abyss can come to Zhouzhu; the sandalwood tree in the garden can give birth to a baby. ?Wood; stones from other mountains can be used to polish jade. The last layer is the echo of the first three layers of sentences, which is itself a metaphor.
Since the logical correspondence between the Xing sentence and the corresponding sentence of Xiang Yin Xing is relatively obvious, using the same words and syntax in the upper and lower sentences can further highlight this sense of correspondence, and the four-character sentence pattern The composition relies on the use of empty words to form a two-two rhythm, two half-sentences per line. The so-called upper and lower sentences (whole sentences) are actually four half-sentences made up of upper and lower lines. In the upper and lower lines, there are only "no" and "ke". In addition to keywords, there are usually multiple repetitions of empty words, so the relevant sentence and the corresponding sentence use the same sentence pattern, and the rhythm is particularly distinctive. Therefore, the typical feature of the four-character style using sentence order to enhance the sense of rhythm can be most fully reflected in this type of style31.
Although there are some Bixings of Wuyan that use the same literal words and sentence patterns in the upper and lower sentences, they are not commonly used. Wuyan does not need to use empty words and lining words to form sentence patterns. Even if the upper and lower sentences use the same literal words and sentence patterns, there is no four-character Bixing. That rhythm of four sentences and two lines repeated. Du Fu's famous work "Out of the Fortress" "Strengthen the bow to draw the strength" can be said to make full use of the "Book of Songs" technique that relies on syntax and logic. However, in a four-line five-character poem, two different sentence patterns are used to complement each other, and there are no empty words to set off the rhythm. The rhythm is not as strong and distinct as the four-character poem. From this point of view, this type of style can also be said to be formed in response to the special requirements of four-character poetic style.
Among the Xing styles marked by Mao Zedong, there are also a few Xing styles that refer to the immediate situation. According to the modern interpretation of the Book of Songs, there are many more such Xing styles, far more than the twenty or so marked by Mao Gong. head. It is difficult to distinguish this type of Xing from Fu, because both can be regarded as components of lyrical writing. To examine this issue, we can also look at the special style of Siyan style. The four-character style is suitable for expressing emotions but not for narrative. Even if the narrative is narrated, it should mainly focus on scene narration and lyrical praise, in order to give full play to the strengths of the four-character style and form a distinct sense of rhythm32. The basic unit of four-character style is generally four sentences, two lines, and one chapter. The most common ones are that the first two and a half sentences are based on scenes or things or metaphors, and the last two and a half sentences turn into the actual meaning. As Zhu Xi said: "Gaixing is a story about one thing and another. When the upper part rises, the lower part will continue to talk about the real thing." 33 "The poet fakes things to create his words, and he leads the previous sentence into the next sentence." 34 The previous sentence The lower sentence refers to the whole sentence composed of two half-sentences. The upper sentence is fictitious and the lower sentence is real. This is the general system of each basic unit of Xingti. A four-character poem is composed of two or more such basic units. "Guofeng" is relatively simple, mostly just the repetition of two or three basic units, while "Xiaoya" and "Daya" mostly have long chapters. "Daya" rarely uses xing, while "Xiaoya" has many chapters that are extensions and expansions of national style, and the structure is relatively complex. But even if a chapter is lengthened to six or eight sentences or seven or nine sentences, it still maintains the basic structure of the first sentence being empty and the next few being substantive. This formula of empty top and solid bottom requires the neat correspondence of upper and lower sentences, which complements the four-character style, and is especially suitable for overlapping and duplication of multiple chapters. Therefore, there are many Xingti poems, accounting for almost half of the "Book of Songs" (the Xingti poems marked by Zhu Xi, Yao Jiheng and Mao Gong have similarities and differences, but in addition to the 116 poems marked by Mao Gong, more than 30 Xingti poems were added). This system of Xingti determines that when the situation arises immediately, the virtual writing in the previous sentence can only take a certain feature of an object or a certain point of a scene that has the most prominent impression on the poet, and describe it in the simplest language. The imagery of some of the imaginary sentences in some poems is very concise, which plays a key role in the things or feelings chanted by the real sentences. For example, the fictitious sentence in "Zheng Feng·There is a Mane Grass in the Wilds" only writes about the dew on the grass, and the environment where men and women meet as well as the "beauty" are mentioned. The "qingyang" temperament is highlighted. "Xiaoya Zhanlu" writes that the morning sun dries the dew, which points out the time and background of night drinking
returning drunk. This kind of virtual sentences and real sentences are actually part of the same scene, but because the whole poem repeats this basic combination of virtual sentences and real sentences in two or three chapters, at the same time, the virtual sentences describing the dew situation are slightly changed in each chapter. In order to change the rhyme, it became a typical Xing style in form. The subject of Mao's biography. "Beifeng·Spring Water", "Beifeng, North Wind", "Wind·Cypress Boat", "Zheng Feng·Wind and Rain", "Chen Feng·Moonrise", "Che?", "Sigan" and "Tiaozhihua" of "Xiaoya" "" Millet Miao" and "Picking Green" also fall into this category. Because many of the upper sentences are obviously background descriptions of the lower sentences, they are regarded as fu styles by later generations.
In many cases, because the description of events and scenes in the previous sentence is too simple, the connection between it and the following sentence cannot be seen. This situation is easier to judge as Xingti. Because it is generally believed that there is not necessarily a clear relationship between the image of Xing and the corresponding sentence. For example, the first three sentences of "Zhaonan·Xinglu" describe walking on dew all day and night, which is very difficult to understand. It is hard to see how it has anything to do with the content of the following two chapters where the woman accuses the other party of suing her, so Mao Chuan was very happy. Zhu Xi believes that these three sentences actually describe the man's unruly behavior, which caused the dispute below, and should be a poem. The difference lies in whether the understanding of these three sentences is virtual writing or real writing. The fictional sentence in "Qin Feng·Yellow Bird" states that the yellow bird stops at the thorns, which seems to have nothing to do with the burial of Sanliang. In fact, the yellow bird singing in the thorn tree is probably a fragment taken from the real scene. The petite yellow bird, with its lively life, formed a contrast with the scene of the strong Sanliang being forced to die, which deeply touched the poet, so he took pleasure in it. "Jingjing Zheer", "Polygonium", "Nanshan Youtai" and "Du" in "Xiaoya" are similar to this. Therefore, the predecessors judged whether the beginning of this kind of instant scene is Xing, mainly based on two points: first, whether there is a virtual versus real relationship between the previous sentence and the next sentence; second, whether the repeated chapters start with the same previous sentence. Repeat the beginning.
This complex relationship between Xing and Fu is most prominent in "Xiaoya". Due to the rich content, part of "Xiaoya" needs to describe more scenery, larger scenes and longer processes, but it cannot break through the basic expression program of four characters, so it divides a complete scene into virtual sentences. The basic unit of sentences is composed of sentences, one unit becomes a chapter, and the combination becomes a poem. A simpler one is like "Xiaoya: I Walk in the Wild": in the three chapters of the poem, the protagonist walks alone in the wilderness, sees lush acanthus trees, picks wild vegetables, and expresses the resentment of being abandoned and laments the misfortune of marriage. Neither the actions of the protagonist nor the plants taken have any analogical meaning or even sensory connection with the content of the actual sentence.
But the three chapters taken together are a complete scene of an abandoned woman lamenting her fate while picking wild vegetables, which is the same as the scene in "Juan Er" in which the missing woman misses her husband while picking wild vegetables. "Xiaoya·Why the Grass Is Not Yellow" has four chapters. In the first two chapters, the virtual sentences write about the yellow grass and the mysterious grass. In the last two chapters, the virtual sentences write about "neither a tiger nor a tiger" in the wilderness and the fox hidden in the grass. If you connect the imaginary sentences and the real sentences in the four chapters into a chapter, you will find that the fictitious sentences are all about the scenery of the wilderness that Zhengfu saw in the wilderness, and the real sentences are all lamenting the hardships of Zhengfu running around without rest, and the five words and deeds of future generations. There is no difference in the service poems. It is only because of the four-character style that the complete scene is divided into four basic units with the upper sentence empty and the lower sentence real; plus the syntax of "Why...not" used in the first two chapters to express Xing, it turns Fu into Xing. . More complex ones such as "Bai Hua" are generally said to be a poem of resentment by Empress Shen who was deposed by King You of Zhou Dynasty. The fictitious sentences in the eight chapters use the images of Imperata, Sugago, mulberry, ? on the fish beam, and mandarin ducks, etc. Most of them are related to marriage, and the real sentences are all about missing and resenting the "son", so it can also be read The work is the absorption and synthesis of the comparison method of "Guofeng" in "Xiaoya". However, if we combine it with the descriptions of the white clouds "showing the grass", the pond water soaking the rice fields, the bells and drums outside the palace, the flat stones on the road, etc., we can form a clear picture of far and near. It can be seen that The protagonist saw various scenes in the countryside outside the palace and was infinitely sad. Those scenes related to marriage and love touched the poet the most, so he tried his best to include them in the poem, thus forming the structure of this poem that is a mixture of poetry and poetry. "Xiao Bian" is similar. The first five of the eight chapters are shot directly, and some are related to mood: the leisurely return of the jackdaws reflects on one's own restlessness, Sang Zizi reflects on one's nostalgia for his parents, and seeing a pool of water And he feels like he is helpless in the water, the deer are in herds and the pheasants are calling, which reflects his loneliness; but there are also some scenes that are not directly related to the mood written in the next sentence, such as the lush grass on the road, the chirping of cicadas in the willows, and the singing of cicadas in the clear pool. Reeds, etc., it can be seen that all the sceneries, even the rabbits used to make love and the dead people on the road in Chapter 6, were all seen by the poet while walking alone on the road. "April" is also a lament about the military campaign in the south, but the time span is larger. Everything in the scenery that can express the mood is selected as much as possible, and the description of the remaining scenery becomes the so-called meaningless story. The chapters of "Xiaowan" seem to be connected in an irregular manner, but when connected, it can also be seen that the background is that the author was in the fields and saw doves, ridges, mulberries and other birds catching insects and pecking grains, and people were in the fields. When picking bean seedlings or worms being unearthed, I take pleasure in the things I feel about them. The overall mood of the poem is one of panic and trembling, but the emotions expressed in each chapter involve missing parents, being poor and sick, working hard, criticizing confusion, and even educating future generations. Due to the complexity of the thoughts, it is not easy to see. The empty sentences are all based on the scene in front of you.
It can be seen from the above poem examples: Since the purpose of "Xiaoya" is not to describe the scenery and scenes, but to arouse lyricism, it is not arranged according to the distance of the scenery, but randomly picked out. The objects and images related to the mood are taken, thus forming a complicated and complicated composition, and there may not necessarily be a clear logic between the chapters. If compared with "Xiaoya Jiri", we can see the mutual restraint of Siyan style and Bixing. "Auspicious Day" describes the process and scenes of a day of hunting from beginning to end. It is rare in the Book of Songs and can be said to be a complete poem. In order to describe this process sequentially without using any analogy, only the first two chapters of the poem use the word "auspicious day" in the first two words, and the last chapter uses two lines of similar sentence patterns. The sentences and meanings of the whole poem are connected very smoothly, but each chapter does not form a rhythmic sentence sequence, which shows that some typical four-character patterns are inevitably lost when bixing is not used. But looking at it on the other hand, in the Xing style of immediate event and scene, even if the whole poem is based on a complete process or scene, as long as the upper sentence is false and the lower sentence is true, or the syntax of the sentence is false, or the syntax of the sentence is Xing, it can be changed into Xing. In this case, the meaning connection between the xing sentence and the corresponding sentence is often not certain, which results in the phenomenon of intentional xing and unintentional xing being mixed together. Therefore, the Xing and Fu of immediate situations are often relative, and there is no need to make rigid definitions and distinctions.
Although the characteristics of the four-character style and the associative way of observing objects of the early people often caused complete scenes to be split into bixing forms, which limited the expressiveness of the four-character style in describing scenes and events, it also The four-character poem produces an artistic effect that other poetry styles do not have. First of all, since an interesting sentence can only point out one of the most important features of the environment that arouses interest, the bright and concise nature of its situation can often achieve an extremely implicit and expressive state. For example, "Qin Feng Jian Jia" describes the melancholy of searching for a "beau" by the waterside in Qingqiu and not being able to find it. The beauty seems virtual and real, and the twists and turns of the pursuit are blurry. The green reeds and the frosty white dew set off the feeling, which is even more vivid. Affected Xiao Sa Piaomiao's reverie. "Zhaonan · Xiaoxing", "Zheng Feng · Wind and Rain", "Tang Feng · Ge Sheng", "Chen Feng · Moonrise" and other interesting sentences and scenes have similar finishing effects, which are better than countless pens and inks. Secondly, Bixing, as the last sentence written in a virtual form, has been slightly changed in the repetition of many chapters. In "Guofeng", it is often due to the need to change the rhyme. "Xiaoya" consciously takes advantage of this advantage and can express the transformation of time and space on a large scale. For example, the first three chapters of "Xiaoya Picking Wei" start with "Wei also stops", "soft stops" and "hard stops" respectively. The passage of time is seen from the birth, growth and hardening of Wei, and the rise of warriors for a long time. The "worry" of not returning increases the tension of the four-character performance. The same goes for "Xiaoya·April".
Thirdly, a four-character bixing style with multiple chapters connected can cause various complex emotions due to the different imagery of each chapter. There may not necessarily be a clear and smooth ideological connection between the chapters, which results in a four-character long novel. Intermittent and traceless organization. "Xiaoya·Dadong" is a model work that consciously uses Bixing and four-character styles to express complex content. It is not only tightly organized, but also novel in composition, breaking through "Xiao Bian", "Bai Hua" and "Xiao Wan" and other similar works. The long structure of the preface. The first chapter is about eating. "There are? Gui Xi, there are thorns and daggers" echoes with the seventh chapter "There are Ji in the south of Wei" and "There are buckets in the north of Wei" in terms of the appearance and nature of the imagery; "Zhou Daoru" "The hammer is as straight as an arrow" leads to the second chapter "Young master, go to the Zhou Dynasty", showing the road that the Zhou people must take to plunder the Easterners. The second chapter begins with weaving, the third chapter begins with transporting firewood, the fourth chapter describes the Zhou people's bright clothes, which echoes the contrast with the second chapter; the fifth chapter again compares the diet, food, and diet of the Zhou people and the Eastern people in this chapter. Clothing is a repetition of the first four chapters. Then it turns to the description of celestial phenomena in the second half and chapters 6 and 7. The idea of ????this turning point is not natural, just to lead to a series of metaphors: the Weaver Girl cannot be a newspaper, the morning glory cannot be packed in a box, the Tianbi star is like a rabbit net, the Nanji star cannot winnow chaff, and the Big Dipper cannot scoop wine slurry. Not only that, "If you open your tongue with a dustpan, it will be eaten; if you fight against the west, it will be taken from the east." 35 This is a coincidence of using the name of the star in the sky to summarize that the food and clothing of the Easterners have been taken away by the Westerners. It’s not a smooth walk. Generally speaking, the first half of the poem realistically describes the suffering of the Easterners being plundered and enslaved, while the second half uses metaphors to satirize the Westerners from a virtual point of view. There are echoes between the front and back, such as "The end of the sky", the shape of the Beidou and the "thorn dagger" at the beginning; Beidou scooping up wine syrup and the wine syrup in Chapter 5; Vega and the pomelo in Chapter 2; Morning glory box and Chapter 3 Car-loaded salary has a descriptive or logical relationship. However, the meanings of each chapter are intermittent and intermittent, and the turning point in Chapter 5 itself is particularly sudden. The continuity of the meaning relies on the correspondence and repetition of the actual writing in the first half and the bixing in the second half, as well as the comparison between chapters and the echoes from beginning to end, so the composition is Intermittent and varied. The key to why Cao Cao's "Dan Ge Xing" has the artistic effect of twists and turns and discontinuities is that he has mastered the characteristics of "Xiaoya" that uses Bixing to divide chapters, and each chapter's ideas can turn more freely. Although Cao Zhi's "Giving the White Horse to Wang Biao" is five-character, it also uses "Xiaoya" to take the scene of the day as a metaphor during a long campaign, and connect multiple chapters with basic units of virtuality at the top and reality at the bottom. The structure is divided into seven chapters, which vividly describes his hardships and sorrow and indignation on the road back to Dongfan. They all understood the creative principles of the Book of Songs and grasped the unique expressive characteristics of the Four Characters.
To sum up, as long as the original meaning of the text is respected when interpreting "The Book of Songs", the main ways of association in the "Book of Songs" are simple and intuitive. "Comparison" starts from the purpose of explaining the meaning of things, looking for similar objects to make appropriate analogies. Even if the meaning of comparison is not stated, there is always a clear association point between the image and the meaning. "Xing" is triggered by the objects in front of us and arouses emotion about things. The relationship between the sentence meaning and the corresponding sentence may be clear or vague, which can arouse rich associations, but they all belong to the level of feeling, experience and simple logic. Looking back at Mao Gong's Xing style from this point of view, any interpretation that deliberately looks for a tortuous connection between the Xing sentence and the corresponding sentence will definitely fall into the trap of conjecture. It can be seen that Mao Gong saw that the connection between the xing sentence and the corresponding sentence is not necessarily clear, which is his merit; but exaggerating and using this feature to attach to politics and religion is his limitation. The theory of argot strives to explore the depth of early people's associations and has made some achievements, but it fixes the association of Bixing on the way of thinking of symbolic comparison, and confuses the difference between poetry and Yixiang association methods, and loses the beauty and charm of "Xing" .
Bixing is the most natural way for human beings to create poetry, and folk songs of any era are better than Bixing. However, in the Book of Songs, Bixing appears as two basic ways of conceiving. Its extensive use and richness of imagery are unmatched by folk songs of any subsequent era. This is because the early people's feelings and thoughts about life mainly relied on their keen senses and accumulation of experience. This basic way of association is the most suitable for Bixing. As the earliest poetic style to appear, the Si-yan style determines that the basic characteristics of its style determine that the corresponding structure of chapters and sentences commonly used in Bixing can strengthen the rhythm of the Si-yan style and fully embody the advantages of the poetic style of the Si-yan style. Therefore, Bixing and Si-yan poetry There is a mutually reinforcing relationship between the language styles, which is different from the nature of the use of various poetry styles in later generations. Metaphors are more often used in rhetoric in later poems. Five or seven-character poems do not need to use the upper and lower reality to deal with situational relationships. The original meaning of "Xing", which originally meant Xingfa and moved people, was also added after the rise of landscape poetry. A new connotation 36. "Bixing" as a collective term has become a concept that embodies the "character" in the poetry innovation of the Tang Dynasty, and has been transformed into a more rational and conscious expression technique used consciously. The relationship between Bixing and poetic style is no longer inevitable. This is why the earliest four-character poem in China is so closely integrated with Bixing.
① Zhao Zhiyang summarized various explanations of "Xing" from the Han Dynasty to the 1970s into three categories: the theory of justice, the theory of singing and singing, and the theory of rising momentum. See page 131 of his "A Comprehensive Review of Fu Bixing in the Book of Songs", published by Maple City Press in Taiwan in 1975.
② "Wen Xin Diao Long·Bixing". Annotated by Zhou Zhenfu, People's Literature Publishing House, 1981 edition.
③Su Che’s "Poetry Theory" explains "Xing" and believes that "it is still said that its meaning is cloudy, does it touch something? It is gone and cannot be known, so its kind can be inferred. But it cannot be explained.
"See "Su Zheji·Luancheng Yingzhao Jiji Volume 5", a four-part series.
④ Zheng Qiao's "Six Classics Mystery", photocopy of Wenyuange Sikuquanshu, Taiwan Commercial Press 1983
⑤Zhu Ziqing said in the article "Opinions on Xing Shi": "Because the early people had a simple psychology and did not pay attention to the connection of thoughts but the connection of feelings, so the sentences and the following sentences often have meanings. Not belonging to each other means that there is no theoretical connection, but they are related phonologically (rhyme-wise). "See the third volume of "Ancient History". Pushe 1931 edition.
⑥Liu Dabai's "Six Meanings" said that "Xing is to start a head, through the eyes, ears, nose, tongue, body and mind of the poet." Color, sound, fragrance, touch, and law start from the beginning. "Sometimes it is naturally related to the poet himself, and is not mixed with it through the poet's emotions or thoughts." See the second volume of "Ancient History".
< p>⑦ See Xu Fuguan's "Bixing of Interpretation of Poetry - Reestablishing the Foundation for Appreciation of Chinese Poetry", included in "Collection of Chinese Literature", pages 98 and 100, Taiwan Student Book Company, 1982 edition.⑧Same as ①, page 129. In addition, Mr. Zhao Peilin was inspired by Mr. Wen Yiduo’s theory of “cryptic words” and started by examining the primitive religious worship of mankind to explore how certain “images” in the Book of Songs developed from religious concepts. This theory has a great influence on habitual associations in poetic artistic thinking, but unfortunately there are insufficient examples and the statistical classification of all "Xingxiang" in "The Book of Songs" is not used as the basis for the argument (see "The Origin of Xing", Chinese Social Sciences Press, 1987 edition). Since the 1990s, there have been an increasing number of articles studying the origins of Bixing and the origin of his thinking, which has become a new trend in the study of Bixing. These thoughts are more or less influenced by Wen Yiduo. They are not listed here one by one. ⑨ 11 See my article "Analysis of "Mao Gong's Unique Style"", to be published
⑩ 28 Hu Chenggong, "Postscript of Mao's Poems", Huangshan Publishing House, 1999 edition. 995 pages. Page 1165.
12 "Commentaries on the Thirteen Classics: Mao's Poems on Justice", Peking University Press, 1999
13 22. "Spring, Fish, Water and "Bixing of Fengshi", Hong Kong Pacific (Winghang) Offset Printing Co., Ltd., 1992, page 192. 14 For example, Sun Zuoyun interpreted the last chapter of "Rufen" and believed that the "red tail of bream" refers to the fish during mating. A physiological phenomenon, "the royal family is like ruined" refers to the lively scene of a certain shrine. See "The Book of Songs and Research on Zhou Dynasty Society", Zhonghua Book Company, 1979 edition.
15 18 Wen Yiduo's "Shuo." "Fish", see pages 117-138 of "The Complete Works of Wen Yiduo", Kaiming Bookstore 1947 edition
16 17 20 27 Li Xiang's "Analysis of the Imagery of Famous Objects in the Book of Songs" (also known as "New Edition of the Application Series of Specific Famous Objects in the Book of Songs". ") Pages 1-3. Taipei Wanjuanlou Book Co., Ltd. 1999 edition
19 For example, Hu Chenggong said in his poem "Han Guang": "The person who marries a wife always uses the word 'salary'. Qixing, such as "Qinan Mountain", "Xiaoya Che", "Shuxin" in "Chou", and "Fake" in "Binfeng" are all the same. These words, "Cao Xin" and "Qi Chu", have originated from marriage, and "Mao Ma" and "Mao Ju" are intended to be used as a courtesy to welcome one's son-in-law. The so-called "royal woman's chariot" and "royal wheel" are used to greet the son-in-law. Three weeks' yes. "(Page 52 of the same page 10) The interpretation of "Is There Death in the Wild?" also said: "Today's examination of marriage often involves fuel wood. For example, Han Guang has the phrase "cutting salary", Nanshan has the phrase "analyze salary", Binfeng's "cute" is the same as marrying a wife, and Xiaoya's "gou'er" is used as "analyze". Although this seems to mean that those who separate the salary are separated from the same, and those who marry the wife are connected with the differences to become the same, but it steals the meaning of the ancient ones in the evening ceremony or originally had the gift of salary and cud. Use fodder to cover the horse, and use fuel for torches" (same as ⑩, page 11). The chapter "Che?" also says: "In poems, there are many people who use the analysis of salary as a metaphor for marriage" (same as ⑩, page 1144) .
21 Wen Yiduo's "View of Sexual Desire in the Book of Songs", see pages 18 and 14 of "Wen Yiduo Academic Notes: Research on the Book of Songs", 2002 edition of Bashu Publishing House. This article even mentions Yuji. "Similar to the female vagina", such specific associations and analogies are not only excessive, but also inconsistent with the poetic meaning.
23 Zhu Xi's "Zhu Zi Yu Lei" Volume 66 "Yi Er", Zhonghua Book Company 1986. Annual edition.
24 Zhang Xuecheng's "General Meanings of Literature and History·Yi Jiaoxia", edited by Ye Ying, Zhonghua Book Company, 1983.
25 Zhao Peilin's "The Origin of Xing", page 75.
26 Regarding the relationship between poetry and Yi, many "Book of Songs" scholars have discussed it since the 1980s, but most of them focus on the same way of thinking. This article cannot list them all. Commentary on poetry often cites "Tuan Zhuan" and "Xiang Zhuan" in the "Book of Changes" and even "Jiao Shi Yi Lin" from Wang Mang's period as evidence, and is mixed with many subjective speculations and assumptions, which is unscientific. Although the author of "Yang" "Xiang" cannot be determined, it is generally accepted by the philosophical community that it was produced in the Warring States Period, and it cannot be proved that it is similar to the concepts of Zhou people in the "Book of Songs" period. Therefore, the author only uses this article to demonstrate the hexagrams and lines. < /p>
29 Volume 11 of Yao Jiheng's "General Theory of the Book of Songs", edited by Gu Jiegang in 1958.
30 33 Volume 80 of "Zhu Ziyu Lei"
< p>31 32 For a discussion of the "sentence order" of the four-character style, see my article "On the Formation of the Four-Character Style and Its Relationship with Ci Fu", (Chinese Social Sciences) Issue 6, 2002.34 Volume 2 of "The Legend of Poetry", see page 9984 of "Tongzhitang Jingjie" (17) compiled by Xu Qianxue and others, published by Datong Book Company in Taiwan in 1969.
35 Volume 8 of Ouyang Xiu's "Original Meaning of Poetry", a photocopy of Wenyuange Sikuquanshu. 36 See Chapter 6 of my book "Research on the Idyllic School of Landscape Poetry", Liaoning University Press, 1993 edition.