1. Love poems are a true portrayal of the culture of choosing a spouse in the Western Zhou Dynasty.
Regarding the love and marriage between men and women, there are relevant records in the Book of Rites: "Men and women don't pay for each other" and "no media, no name." These all reflect the color of autocratic marriage and love culture. In The Book of Songs, there are many poems about this kind of autocratic mate selection, among which The Book of Songs? National wind? Hurricane? The white boat is the most typical.
? White week, by the river. I am arrogant and I am a real judge. Death cannot defeat it. Mom is also a god! Don't forgive people!
? Pan-white week, on the other side of the river. You are really arrogant. The arrow of death is fading. Mom is also a god! Don't forgive people!
A woman's pursuit of what she loves is blocked by her mother. She rebelled against her parents' orders, fought for marital autonomy, and entrusted her faithful love to her mother. From the artistic form, this poem expresses women's sincere love for men in a realistic way, from "to be arrogant and realistic." "Being bold and smart is really important to me." It can be seen that women's love for men is deep and sincere. From the perspective of "death can't defeat it", we can see women's persistence in this relationship, show women's pursuit of freedom and love and their resistance to authoritarian oppression, show women's dissatisfaction with their mother's tyranny in mate selection from the ideological content, and also reflect the autocratic culture of mate selection in the Western Zhou culture at that time.
Of course, the marriage and love in the Western Zhou Dynasty was not completely autocratic, and the freedom to choose a spouse also accounted for a large part. There are naturally many poems about free choice of spouse in The Book of Songs, such as Meng and Qin Yi. "When robbers came to trade silk, they came to me." This shows that men and women are harmonious.
? "Wei and his daughter, Qi Yi teased each other and gave them a spoonful of medicine." On the other hand, they showed the scene of men and women going out to play and giving gifts to each other. There is also a record of this kind of free love in the Book of Rites: "On the day of mid-spring, men and women will meet, so they are also embarrassed." There is also a description of the encounter between men and women in the plucking of geese:
? There are dead birds in the wild, but white grass can cover them. A woman fell in love with spring, and Ji seduced her.
? There is a park in the forest and a dead deer in the wild. White grass is pure, and there are women like jade.
? Comfortable and detached, uncomfortable if you don't feel it, barking if you don't make it.
? In ancient times, no one married a woman and no one married a gentleman. "A woman falls in love with spring and a lucky man seduces her" reflects the scene of unmarried men and women falling in love. The artistic form of "Bi" shows the beauty of women as jade, and men are willing to cherish and cherish her sense of hardship, which shows the pursuit of freedom, love and passion of young men and women in the Western Zhou Dynasty.
? In a word, we can find two ways to choose a spouse from the Book of Songs, one is that the parties actively seek and the other is that the parties passively accept. Generally speaking, Zhou Wenhua's way of choosing a spouse is that freedom and autocracy coexist, and each region has its own advantages and differences.
2. Marriage poems are the testimony of wedding culture in the Western Zhou Dynasty.
Six kinds of wedding ceremonies recorded in the Book of Rites are also recorded in the Book of Songs, such as "accepting gifts, asking names, being lucky, accepting gifts, inviting a day and welcoming relatives". For example, Meng used narrative language to express the wedding culture in the Western Zhou Dynasty.
For example, "When I was robbed, my son didn't have good media." It's the profile of that talent. The man asked the matchmaker to go to the woman's house to act as matchmaker, and after success, he sent a goose gift to enter into an engagement with the woman. In the article, the man didn't ask the matchmaker to propose to the woman at first. It can also be seen that Zhou people attached importance to the matchmaker, parents' life, matchmaker's words and matchmaker's marriage, so the man ended in failure at first, so he was dissatisfied, and the woman understood this situation very well.
So he said, "I will have no anger in autumn." In the end, both men and women successfully concluded an engagement, that is, the recruitment work was successfully completed. Next, "Boole, uh, the body is blameless." It embodies the etiquette of asking names and birthdays of men and women to judge good or bad luck, and embodies the knowledge of divination culture in Zhou Dynasty.
From "come by car and bribe me to move." It can be understood here that men marry women with bride price and women marry men with dowry. A few words reflect the wedding ceremony culture of cashing in and making money to welcome guests, and can also be used as the material to truly reflect Zhou Wenhua to some extent.
To sum up, The Book of Songs is an indispensable product of Zhou Culture, which also promoted the spread of Zhou Culture. Love poems are also very valuable for reflecting the love and marriage culture of the Western Zhou Dynasty at that time. They are the products of the Western Zhou Dynasty's spouse-choosing culture and wedding culture, and express their thoughts through different artistic forms, thus consolidating Zhou Wenhua's position.