Although The Book of Songs has a few epic narratives, it is mainly a lyric work. Feng Weimeng is a kind of narrative poem, which also serves for lyricism and cannot be simply called narrative poem. The Book of Songs can be said to be mainly a collection of lyric poems, which produced so many lyric poems with such a high level more than 2,500 years ago, which is rare in the literature of all countries in the world. From the Book of Songs, it shows the national literature characteristics of China's lyric poems. Since then, China's poetry has advanced along the road of expressing feelings and aspirations opened up by The Book of Songs, and lyric poetry has become the main form of China's poetry.
The enthusiasm of paying attention to reality, strong political and moral consciousness and sincere and positive attitude towards life shown in The Book of Songs were summarized as the spirit of elegance by later generations, which directly influenced the creation of later poets.
In The Book of Songs, the lyrical anger with the individual as the main body was inherited by Qu Yuan. "The national wind is lewd but not lewd, and Xiaoya complains but not disorderly. If "Li Sao" is! " (Biography of Qu Yuan in Historical Records) The works of worry and indignation in Li Sao and Nine Chapters are both national tradition and magnanimity. The characteristics of Yuefu poems in Han Dynasty and the generous voice of Jian 'an poets are the direct inheritance of this spirit. Later poets often advocate the spirit of elegance to carry out literary innovation. Chen Ziang lamented that Qi Liang was "gentle and gentle, and didn't do anything proper" (Preface to Eastern History of Zhu Embroidery). His thought of poetry innovation is to correct the long-standing decadent atmosphere in the poetry world with the profound reality of elegance and serious and lofty ideological content and the simple, natural, vigorous and clear creative style. Not only Chen Ziang, but also many outstanding poets in the Tang Dynasty inherited the fine tradition of elegance. Li Bai lamented that "if you don't do it for a long time, who will bear me" (the first part of "Ancient Style"); Du Fu's poems are called "the history of poetry" because of their extensive themes and profound reflection of social reality. Bai Juyi said, "elegance is better than prosperity, and you don't taste empty words" (Reading Ancient Yuefu). In fact, Bai Juyi and the new Yuefu school showed a tendency to pay attention to real life, interfere in politics and care about the sufferings of the people, all of which embodied the spirit of elegance. Moreover, this spirit was used by many people in poetry creation after the Tang Dynasty, from Song Luyou to Huang Zunxian in the late Qing Dynasty.
If "elegance" was established by later poets in ideological content, then Bi Xing provided a model for later writers in artistic expression. The figurative technique created in The Book of Songs has become a unique national cultural tradition in China's ancient poems through the development of later generations. The Book of Songs only serves as the beginning of poetry to coordinate rhyme and arouse artistic conception, which is still reflected in later poems. And there are a lot of figurative interests, which are widely inherited by later poets. Bixing has become a fixed word, which refers to the image thinking of poetry or the artistic expression of something entrusted. The Book of Songs touches people with things, expresses feelings with feelings, and uses the metaphor of image thinking to create a distinctive artistic image and form an artistic realm of scene blending, which is of great significance to the development of China's poetry. Images and artistic conception in later poems are of great significance to the development of China's poems. Images and artistic conception in later poems can be found in The Book of Songs. In the folk songs of later generations and the works of literati imitating folk songs, many of them begin with sentences. There are many examples of folk songs in Han Yuefu, including 19 ancient poems. The creation of many literati in Wei and Jin Dynasties is obviously an inheritance of the method of The Book of Songs. However, it is a higher stage of the development of The Book of Songs that the combination of Xing Sentences and Yong Wu Ci forms poetic artistic conception.
The Book of Songs has its sustenance, and Qu Yuan has greatly developed its expressive methods of sustenance in the metaphor of Chu Ci. At the same time, there are not necessarily metaphors in the Book of Songs. After learning the Book of Songs, it is often used as a tool for political preaching. Therefore, sometimes "Bi Xing", like "Ya", is regarded as the target to publicize the reality and ideology of poetry. However, many poets also followed Qu Yuan's skills of beauty, fragrance and grass, and wrote many works containing happiness. The use of Bi Xing has formed the artistic characteristics of China's ancient poems with implicit implication and endless charm.
The Book of Songs also had a far-reaching influence on the genre structure and language art of China's poems in later generations. The four-character poems written by Cao Cao, Ji Kang and Tao Yuanming directly inherited the four-character sentence pattern in the Book of Songs. Other sentence patterns in The Book of Songs were only single sentences at that time, which were later interpreted and then turned into articles. At the same time, four dialect sentences such as admonition, inscription, chant and praise, as well as four or six sentences in ci fu and parallel prose, can also be traced back to the Book of Songs. In a word, The Book of Songs has been imprisoned for thousands of years, which is worthy of being the glorious starting point of China's ancient poetry.