The Book of Songs is the first collection of poems in the history of China literature. It consists of 305 poems, each of which has a preface to introduce its content and significance. The first book Guanju has a general preface besides a small preface, which is the first poetic monograph in ancient China.
Zheng Xuan, a Confucian scholar in the Eastern Han Dynasty, wrote "Notes" for Mao Zhuan, while Confucius wrote "Justice in Shi Mao" in the Tang Dynasty.
There are four schools of Chinese poetry and Mao's poetry, which are called the four schools of poetry. The last three schools are Lu (biography of Shen Peigong), Qi (biography of Yuan Gusheng) and Han Shi (biography of Han Ying). These three schools, also known as the three schools of poetry, all adopted modern prose and were established in the learning museum of the Western Han Dynasty. The research of this school is called modern text classics. However, after Mao's poems came into being, they gradually replaced the status of the three schools, and the three schools were gradually lost. Because Shi Mao used classical Chinese, the study of this subject is called the study of classical Chinese classics. In the Tang Dynasty, Mao Zhuan and Jian Zheng became the officially recognized annotation basis of The Book of Songs, which was highly praised by later generations.
The influence of Mao's poems on The Book of Songs was spread through Mao's poems. As the first collection of poems in the history of China literature, The Book of Songs has 305 poems, which were edited by Confucius and taught by his disciples. The legend was compiled by the son of "Montana" in the literature department (this story was told after the preface and studied with * * *), and then it became popular and spread all over the world. Undeniably, The Book of Songs has a great influence on the ideology and culture of the Chinese nation, and Mao Heng and Achyranthes bidentata have played a vital role in its spread to this day.
Lu Ji's "Grass, Trees, Insects and Fish Sparse" is described as follows: Confucius deleted this poem, and then passed it on to his disciples, who made a preface, that is, a preface about it, and then passed the Book of Songs on to Zeng Shen of Lu, and later on to Li Ke of Wei, and Li Ke passed it on to Meng Zhongzi of Lu, who passed it on to Gen Mouzi, and Gen Mouzi passed it on to Zhao. At that time, people called Mao Heng a big hairy male and Scapharca subcrenata a little hairy male. If these accounts are reliable, it should be Mao Heng, not Zhao, who inherited the Book of Songs. Confucius' Mao Shi Zheng Yi also agrees that Mao Heng is the author of the biography of The Book of Songs, but says that Mao Shi originated from Xiao Maogong. Therefore, the biography of Zhang Qian, the satrap of Hejian, written in Records of Gyeonggi is wrong.
When we read the Analects of Confucius, we didn't talk about the ceremony of husband and wife. Confucius told Apollo to study the Book of Songs, so that "big fish" students could learn the ways of the world when they were young. As an important classic textbook of Confucianism, The Book of Songs has unique political and religious functions. The Book of Songs is based on sound, and sound is written as sound. The voice of ruling the world is peaceful, enjoyable and political. The voice of troubled times is angry, and its politics is good; The voice of national subjugation grieves, and its people are trapped. Therefore, gain and loss, movement and the world, feeling and ghosts and gods are close to poetry. The former king learned from the husband and wife, became filial, virtuous, beautiful and civilized, and changed customs.