Analysis:
In Fu, Bi and Xing, the interpretation of Fu is relatively simple. "Wen Xin Diao Long Shi Fu": "Those who give it are paved. Write essays, write things and write ambitions. " Liu Xie's statement is based on Zheng Xuanlai. This concept is easy to understand. As we all know, the famous works "Vatan" and "July" are both "Fu". Because of the significance of "handed down from generation to generation", the "Fu" in Li Sao Fu and Han Fu has evolved.
The traditional explanations of "Bi" and "Xing" are complicated, but they all come from the statements of Zheng Zhong and Zheng Xuan, the great scholars named Zheng in the Eastern Han Dynasty. In the note of Master of Rites, Zheng said:
For example, compare with things. Monkey, leave things to things.
Zheng Xuan said:
Comparison, seeing today's loss, dare not criticize, take analogy. Xing, seeing the beauty of today, is too flattering, and advises it with kindness.
Obviously, Zheng Xuan's explanation is a misunderstanding of Confucius' theory of "prosperity, outlook, group and resentment", and it is also an old habit of * * * trying to explain the classics far-fetched, dragging everything to politics, and theory and practice fighting each other. For example, in Wang Feng Yang Shui, Zheng Xuan said it was "Xing", which was a metaphor for "political and religious urgency", and its kindness was not as good as that of the people. Regardless of whether the poem itself can be explained in this way, according to Zheng Xuan's understanding, this is obviously a "comparison" of "seeing the loss of today's people and not daring to condemn it". How can it become "xing"? However, Zheng Xuan's contradictory views have far-reaching influence. Even Liu Xie, a creative theorist, failed to get out of the rut. There is a special article in Wen Xin Diao Long called Bi Xing, which talks about the skills of Bi Xing. At the beginning, Bi Xing was defined and said, "Bi Xing is invisible. ..... So than, attached also; Xing, also ",seems to agree with Zheng Zhong's opinion, but then a turn," angry than animals to denounce words, xing ring pi to irony (persuasion) ",singing is still the old tune of Zheng Xuan. After Liu Xie, various explanations emerged one after another, but most of them were superficial and missed the point. It was not until Zhu's Biography of Poetry that a more realistic definition was compared and developed:
Compare, compare this thing with another. Monkey, say something else first so that the lyrics can be sung.
These two explanations not only completely put aside Zheng Xuan, but also are more thorough and vivid than Zheng Zhong. Some viewpoints in this article are based on Zhu's explanation.
Comparison is a metaphor. Metaphor is a common phenomenon of thinking activity, which exists in literary works at all times and all over the world. Things have a variety of attributes, and some similarities in different attributes are linked in thinking, which makes the unspeakable situation vivid and the abstract things vivid. The methods of metaphor in The Book of Songs are quite diverse, and some experts divide them into simile, metaphor, metonymy, metaphor, antithesis and detailed metaphor. This classification may be meaningful in rhetoric, but it is not necessary to be so rigid in actual appreciation and analysis. Generally speaking, there are two kinds of comparisons in The Book of Songs. The first is comparison, such as Feng Wei Storytelling and Huan Feng Owl, in which rats are compared to exploiters and owls to * * *. There are not many such works, similar to allegorical poems. Needless to say. What I want to talk about is the second situation, which is an individual and partial metaphor. Generally speaking, words such as "Ru", "Ruo", "Jude" or negative "bandits" are often added in front of this metaphor. Obviously, comparison is being used here. In terms of skills, it can be considered that this is a manifestation that the skills of metaphor are still in the primary stage. However, it is worth our attention that the metaphors used by poets are often appropriate and novel, such as Feng Wei's talking about people, which is often praised. This poem describes the great beauty lady Zhuang Jiang:
Soft, fat skin, lead salamander, tooth rhinoceros, cicada's head flying moth eyebrow. Smile and expect.
The same description is white and tender, and it is natural to use four common things in life together. This series of metaphors has a far-reaching influence on the literary creation of later generations, and almost becomes a cover for describing beauty. The Song of Eternal Sorrow warms and smoothes the cream crystal of her skin, and the beauty of moths refuses to let others. The beauty of fat and moths has also become synonymous with skin and women. Most of the writing methods about beauty in Chu Ci developed from here. Literature and art are valuable because of innovation. The novel Ode to Lust has the saying that "the eyebrows are like emerald feathers, the muscles are like snow, the waist is like a plain bundle, and the teeth are like shells", which not only follows the old expression method of the Book of Songs, but also has no fresh metaphor, so no one remembers it. However, "increasing one point is too long and reducing one point is too short. Pink painting is too white, Zhu painting is too red "has become a famous fragment, which has developed into another cover for the beauty of writing." It is because Song Yu wrote the beauty of The Master's Son from a new angle. Her figure and appearance are the standards and models of all beautiful women. Even a little increase or decrease will become "over" or "under". The same meaning is summed up as "neither short nor long" in "Goddess of Fortune", which lacks a sense of image. Later, it was Cao Zhi's Ode to Luoshen. Although the morning glow is like the rising sun, ⑦ and If it burns like English, water will burst out, what is even more exciting is that if it is as breathtaking and graceful as Youlong, if it is light in Yun Zheyue, if the wind returns to snow, it also uses "ratio" to describe the lightness and elegance of Luoshen Lingbo, which has changed from writing to writing. These excellent famous sentences can explain the relationship between inheritance and development in literary creation. The master mentioned above is the most prominent example of adding the words "if" and "if" in front of the vehicle, and one end can be used to summarize the rest. Other metaphors, from the poet's conception and expression, are deeper and higher than Shuo Ren's, such as Xiaoya Dadong: "Where there is Han, there is light in prison." You are a weaver girl, making seven bags all day. ""Although I made seven bags, they were not newspapers. Give him a cow, not a suitcase ","Weinan has a dustpan and can't be dusted; There is a bucket in the north of Wei River, so you can't lick the wine pulp. "The Milky Way in the sky is like a mirror, but it can't see the shadow; Vega moved her position seven times a night, but she couldn't weave a texture. Altair is so bright, but you can't drive; The dustpan star cannot lift the valley; Douxing can't take the wine slurry at will: none of these metaphors are clearly marked with the words "such as" and "if", which means that the metaphor is true and the subject is empty, which is what Kong said. Such a wild imagination, high sensitivity, thinking ability and image expression ability appeared in the era nearly 3,000 years ago, and we can't help but be surprised and admired. Like Shuo Ren, this skill of Dadong has opened up a unique road for future generations, but most of it is attributed to Sean. A breakthrough is the conclusion of Ke Xi by Jia Dao, a poet in the middle Tang Dynasty: "Although there is silk in the sideburns, it is difficult to weave cold clothes. "Using silk to compare white hair doesn't seem to be humble. But when I turn it over, I think of "Unbearable Cold Clothes" from the car, using the same kind of metaphor, but the content is new, feeling the aging and poverty of life, which may be compared to an old bottle filled with new wine.