Listen to the words of the soul.
-I admire the artistic technique of The Book of Songs.
Poetry is a static carrier. Because readers endow it with exquisite explanations, it has smart, charming and poetic thinking. Yang's writing is plain, but it contains deep feelings and profound philosophy in short words, such as a clean stream flowing between the lines and flowing into the reader's heart.
Although it has experienced the baptism of wind and rain for more than two thousand years, the Book of Songs still has youthful light and shadow. "Poetry can't express ambition", and every researcher has his own different interpretation, so let's approach the beauty of the Book of Songs and feel her breath and pulse.
( 1)
The "elegance and vulgarity" called by the ancients as "six meanings" is used to analyze the poetic category of The Book of Songs. It is generally understood that "ode to elegance" is the classification of themes, and "a trip to Fu Bi" is the classification of artistic techniques.
Generally speaking, "national style" uses metaphor, and "elegance" uses fu method. The use of xing technique makes The Book of Songs have touching artistic charm.
Fu: Zhu said, "Fu, tell me what happened." This is an artistic technique of direct narration and repeated exposition (that is, direct narration and repeated narration). For example, if a person can't look directly at the audience, you can say: You are ugly, you are really ugly, you are ugly, you are ugly, ugly, ugly as hell, why are you so ugly, you ugly bastard!
② Comparison: Zhu Yue said, "Compared with people, one thing is compared with another." This is an artistic technique of analogical narrative description. If you still say that a person is ugly, it will be more euphemistic if you use the method of "comparison": "You are a person with characteristics, just like Aunt Pig."
(3) Xing: Zhu said: "Xing, talk about other things first, so that the words can be sung." This is a way to express the description object by describing other things first. What is described first here is often not necessarily related to the object described, but it generally plays a role in rendering the atmosphere. For example, "the east is red, the sun rises, and there is a Mao Zedong in China", and "it rains in the sky and flows on the ground, and the couple do not hold grudges when they fight".
(2)
The Book of Songs mainly uses rhymes in four-character poems and parallel sentences, but it is also rich in varieties, including two characters, three characters, five characters, six characters, seven characters and eight characters, which are flexible and diverse. In composition, it has the characteristics of repeated sentences and repeated singing, and uses a lot of reduplicated words, disyllabic words and rhymes, which strengthens the vividness and musicality of the language.
1, the poetic language form in The Book of Songs is mainly four words and one sentence, which rhymes every other sentence, such as:
Management bureau
Guan Guan Luo Qiu, in Hezhou,
A beautiful and virtuous woman is a good spouse of a gentleman.
……
This pure four-character poem with four words and one sentence has a harmonious sentence structure, smooth rhythm, catchy reading and full of neat beauty.
2. In The Book of Songs, there are also some poems mainly composed of four characters with other sentence patterns, such as:
Jia Jian
The Millennium is frost,
The so-called Iraqis are on the water side.
Go back and follow it, it's a long way,
Swim back from it, in the middle of the water
……
This language form, changing order, staggered sentences, sonorous rhythm and great musical beauty.
3. Reduplication, reduplication and reduplication are widely used in The Book of Songs. In many poems, only a few keywords are different from each other, and the rest of the sentences are exactly the same. This technique is one of the most remarkable features of The Book of Songs. For example:
Nan Zhou Ye Yi.
Make good use of it, make good use of it.
Picking and picking, there are fine words.
……
This technology has two advantages:
This repetitive singing method can not only highlight the characteristics of things, express delicate thoughts and feelings, but also form a kind of repetitive melody, which is wonderful and makes people sing and sigh.
② Easy to sing and remember. No matter how many stanzas a poem has, you only need to remember the first stanza, and then remember a few key words of other stanzas, and the whole poem can be easily done.
Reading the Book of Songs will bring us closer to the souls of the ancients, and let us listen to and feel the spiritual discourse that transcends the Millennium.
Below I have compiled some information about the Book of Songs for you. I wonder if it will help you. In fact, it would be good for me to sum up and add some of my own analysis.
The Book of Songs is China's first collection of poems, which contains 305 poems from the early years of the Western Zhou Dynasty to the middle of the Spring and Autumn Period. The Book of Songs is divided into three parts: Feng (160), Ya (105) and Fu (40). Are all named after music. "Wind" means tone. The ancients called Shaanxi Opera, Feng Wei and Zheng Opera, just like Shaanxi Opera, Shanxi Opera, Henan Opera and Elegant Opera. People in the Zhou Dynasty called Zheng Yayue, just as people in the Qing Dynasty called Kunqu Opera Ya Bu, with the meaning of honorific title. Xiaoya can be divided in chronological order. Ode is a musical song used for offering sacrifices to ancestral temples.
wind and rain
The wind is sad, the rain is sad,
The crow outside the window is urgent.
Seeing you in the storm,
Why not relax and be happy?
The wind is raining, the rain is raining,
The cock crowed around the window.
Seeing you in the storm,
How can heart disease not disappear completely?
The storm shocked the world,
The cock crows outside the window.
Seeing you in the storm,
How can I not be happy?
Make an appreciative comment
This is a masterpiece of ups and downs. On a "stormy, crowing" morning, when the pregnant woman "saw a gentleman", her joy was beyond words. It's hard to describe, just sing three sighs about Long song. The three chapters are repeated, and the poems are simple. The dialectics of art lies in simplicity and richness. Judging from the poetic art and theme, The Tempest has rich artistic implications.
The meaning of the present includes the past and the future. In the choice of situation, the poem did not write endless lovesickness before writing, nor did it write the reunion after meeting and laughing, but re-emphasized the feeling of being overjoyed when "seeing". And this moment is the most meaningful moment. Through this woman's indescribable joy, readers can not only see her mood of "willing to talk about blogs and take the first illness" during the day, but also "sleepy at night if there are hidden worries" before she "meets"; I can also imagine the happiness between husband and wife after "meeting", such as "meeting customs again, laughing and laughing" and "meeting women and teasing each other" The process of winning more with less and accumulating in an instant is very clever.
Sad scene Syaraku, double its feelings. The first two sentences of each chapter are inspired by wind and rain and cock crow. These exciting sentences not only have scenery, but also redraw a cold and gloomy background where chickens crow everywhere. It's the easiest time to evoke feelings of parting. Sentences for scenery are indeed the language of writing feelings. Tired of wind and rain and sleepless nights; The thought of crowing among sheep and worrying about people's unrest; The cock crows on time, and the expected person doesn't come, which can be described as a perfect fit. However, at this almost desperate moment, pregnant women unexpectedly "saw" their long-lost lover; The sudden joy and joy can be imagined. At this time, the chicken crow in the biting wind and rain seems to be the chicken crow in the warm spring rain. As Wang Fuzhi said, "Write mourning with joy, mourn Syaraku, and be twice as sad and happy" ("Dongzhai Poetry"). This technique is not only found in Xiaoya Cai Wei, but also commonly used by poets in The Book of Songs.
Refine the meaning of words step by step. The structure of the poem is simple, and three chapters overlap; The poet's description of the scenery in Yi Ci shows people's different feelings delicately. Sorrow is a woman's icy feeling; When it rains, you can hear the sudden rain at night; Like the darkness of night, it also shows the scene in front of us visually. Yao Jiheng's General Theory of the Book of Songs has made an accurate analysis of the exquisiteness of the scenery written in Yi Ci: "'Ruhui' writes its brightness. Only when it is clear is it called' as dark'. The fashion of "sadness" and "rain" is gloomy only when the weather is gloomy. At the same time, this poem expresses the movement of tense and the gradual development of modality. Regarding the progressive tense, Yao said that "Hehe" is the harmony of many voices. At first, the voice was very small, but many people felt it. Glue', simultaneous high also. After 3 days, it will be dawn, and it will last forever. There is also a saying among the people that "the cock crows three times and it will dawn"; The overlapping of the three chapters of The Storm may be based on this customary law. With the development of tense, pregnant women's mentality of "seeing a gentleman" has gradually improved. "Neither cloud nor Hu is foreign", with a rhetorical question and a warm tone, said that his mood is great; "Clouds can't cover up", which is a disease of accumulated thoughts. The more so, the deeper the tone; In the last chapter, "Hu Yun doesn't like it", the joy is hard to hide, even loudly. The weather changed from darkness in the night to darkness in the morning, the cock crow changed from low voice to high voice, and the emotional change changed from first sight to conviction and shouting. Fang Yurun said: "This poet is good at lyricism and lyricism on the spot, so he is unique in the future." (The Book of Songs Primitive Man) That's what it's called.
Symbolic image, a poem can explain many things. The poem Storm aims at "reunion of husband and wife" or "meeting lovers". It is more reasonable to talk about it in the context of poetry. However, the theory of "thinking of the monarch in troubled times" put forward by Confucian scholars in Han Dynasty had a positive impact on later generations. "Preface to Mao Poetry" says: "Wind and rain, thinking of a gentleman. In troubled times, a gentleman does not change his mind. " Jian Zheng declared: "Monkey, Yu Junzi, although living in troubled times, will not change his frugality. ..... chickens don't stop screaming because they are gloomy. " In this way, "wind and rain" symbolizes troubled times, "cock crow" symbolizes that a gentleman will not change his mind, and "gentleman" has changed from "husband" to a noble and chaste gentleman. Although this is an affiliated meeting, it also has its written basis. Because "gentleman" can be applied to respectable, lovely and amiable people in the era of The Book of Songs, and its meaning is uncertain. Therefore, understanding the image of Fu prose as the symbolic image of Bi prose may lead to the association of "thinking in troubled times"; It is also in line with the aesthetic law to understand the "stormy" natural scenery as a sinister life situation or a turbulent social environment. Therefore, many scholars and gentlemen in later generations often encourage themselves to "cry endlessly" regardless of "ups and downs". In the Southern Dynasties, Emperor Jianwen of Liang said in the preface to the Xuanbi: "Liang Zhengshi, Lan Ling Xiaogang, did what he did immediately, which is often the case. The wind and rain are like rain, and the chickens are like singing. " Guo Moruo wrote in The Return of the Starry Sky during the ebb tide of the May 4th Movement: "The wanderer has returned, and in this stormy morning, the wanderer has returned!" From the perspective of modern reception aesthetics, this aesthetic re-creation based on this article is beyond reproach; And Mao's "incidental meeting" can also be said to be a "creative misunderstanding".
The Artistic Features of The Book of Songs
Fu, Bi and Xing have different language styles.
The Book of Songs pays attention to reality and expresses the true feelings caused by real life. This creative attitude makes it have a strong and profound artistic charm. No matter in form and genre, language skills, artistic image and expression techniques, it shows the great artistic achievements of the earliest poetry works in China.
The application of Fu, Bi and Xing is not only an important symbol of the artistic features of The Book of Songs, but also opens the basic techniques of China's ancient poetry creation. There have always been many arguments about the meaning of Fu, Bi and Xing. In short, what Fu Shuo meant was the truth, that is, the poet expressed his thoughts, feelings and related things in a straightforward way. Comparison is a kind of analogy. Comparing one thing with another, the poet has skill or emotion and uses one thing as a metaphor. Xing is a word that touches things, and the observation of things triggers the poet's emotions and causes the poet to sing, so it is often at the beginning of the poem. Fu, Bi and Xing are often used interchangeably in poetry creation. * * * created the artistic image of poetry and expressed the poet's feelings. Fu is widely used to describe things and express feelings. For example, "July" describes the life of farmers for twelve months a year, that is, using the Fu method. Fu is a basic technique of expression, and it is very common to use Bi Xing in Fu, or to use Fu after arousing. Fu can narrate and express emotion. Bixing is used to express skills and feelings. In Fu, Bixing and Xing, Fu is the foundation.
The use of metaphors in The Book of Songs is also extensive and easy to understand. Among them, The Wind and the Owl, Feng Wei Shuo Shu, Xiaoya heming and other figurative poems in Beijing are unique. And a part of a poem uses contrast, which is even more vivid. Feng Wei's Talking about People depicts the beauty of Zhuang Jiang, using a series of metaphors: "Soft hands, firm skin, collar like a salamander, teeth like a rhinoceros, and a cicada's head like a moth eyebrow." The beauty's fingers, skin, neck, teeth, forehead and eyebrows are detailed compared with tender white grass buds, frozen oil, long white longicorn larvae, neat white roe deer, broad-fronted worms and silkworm moths. "Smile and look forward to your beautiful eyes", two dynamic descriptions, make this beautiful picture alive again. "There is a leaf death in Zhao Nan" is not a partial metaphor, but a metaphor of "there is a woman like jade", which makes people associate the beauty and gentleness of a girl with the whiteness and gentleness of jade. It is also common to use specific actions and things in the Book of Songs to compare unspeakable emotions and unique things. "The center is drunk" and "the center is choked" (Wang Li), while "drunk" and "choked" are used to describe indescribable worries; Words (words), sweet words (wind), sweet words, sweet words and other indescribable modality are shown in the concrete images of spring and sweetness. In a word, a large number of metaphors in The Book of Songs show that poets have rich association and imagination, and can express their thoughts and feelings in specific poetic language, thus presenting colorful images.
The application of "Xing" in The Book of Songs is complicated, and some of them only play the role of regulating rhythm and arousing emotions intermittently, but the connection between Xing sentences and the following paragraphs is not obvious. Such as "Xiaoya Yuanyang": "Yuanyang is in the beam, hitting its left wing, and a gentleman will be happy for a thousand years." Xing sentence has no meaningful connection with the blessing words in the following two sentences. Xiaoya Baihua begins with the same sentence, but expresses resentment: "Yuanyang is in the beam, patting its left wing." The son is unscrupulous, and his virtue is two or three. "This has nothing to do with the original intention, but coordinates the rhyme of the first poem, causing the following rise, which is a relatively simple one in the Book of Songs. There are many sentences in The Book of Songs, which are euphemistic and obscure and related to the following. It is an indispensable part of the artistic realm of poetry to set off the surrounding atmosphere or attach a symbolic central theme. " Zheng Feng's "Wild Creep" describes the "encounter" of lovers in the country;
There are creeping weeds in the wild and no dew. A beautiful woman is walking on the road, very beautiful. It's perfect for me to meet a real coincidence.
A delicate and charming girl is as fresh and lovely as green grass dripping with dew. The green and interesting scenery and the joy of meeting the poet just complement each other. Another example is "Nan Zhou Yao Tao", which begins with "Plum and Yao Yao, sparkling". The lush peach branches and gorgeous peach blossoms are in harmony with the bride's youthful beauty and lively wedding celebrations. Peach blossom ("burning its glory"), bear fruit ("solid") and flourish ("its Ye Zhenzhen"), which can also be understood as the bride's beautiful wish of having many children and grandchildren and a happy family. Poets get excited as soon as they touch things, and the sentences and words they sing are connected through artistic association, which is a symbolic relationship. In The Book of Songs, many images are vivid and memorable. Bixing is an indirect way to express feelings. Later generations often refer to Bixing as Bixing, which refers to the creative technique of expressing thoughts and feelings in the Book of Songs through association and imagination.
The most ingenious works in The Book of Songs, such as Qin Bamboo Slips, have reached the artistic realm of blending scenes, things and me, which has a direct inspiration for the creation of poetic artistic conception in later generations.
The Millennium is frost. The so-called Iraqis are on the water side. Tracing back and forth, the road is blocked and long. Swim back from it, in the middle of the water
Sadly, the Millennium is still there. The so-called Iraqis are in the water. Tracing back and forth from it, the road is blocked and broken. Swim back from the inside and swim in the water.
Jia Cai, peace and prosperity have not passed. The so-called Iraqis are in the water. Go back and follow, the road is blocked and turn right. Swim back from the inside and swim in the water.
Mao Zhuan is regarded as Xing, while Zhu Xi's Shi Zhuan is regarded as Fu. In fact, the two are not contradictory, but they are described after Xing. The dew of reeds by the river condensed into frost, which touched the poet's yearning for the Iraqi people. The subtle changes in the scenery in the three chapters not only indicate the time and place for the poet to pursue the Iraqi people, but also render three riverside pictures in the late autumn morning, setting off the poet's more and more urgent yearning for the Iraqi people as time goes by. In the narrative, the poet repeatedly lamented the sad mood that the right person could not expect, find or get because of the river barrier, and the sad autumn scenery and the sad mood merged into one, forming a lonely and intriguing artistic realm.
The sentence pattern of The Book of Songs is mainly four words, four sentences are independent chapters, and there are two to eight words in the middle. The two-beat four-sentence has a strong sense of rhythm and is the basic unit that constitutes the neat rhythm of the Book of Songs. The four-character sentence has a clear rhythm and is slightly shorter, while the complex sentence and the double-tone rhyme are repetitive and the rhythm is slow and slow. The repetitive structure of repeated chapters and sentences in The Book of Songs is not only convenient for repeated singing around the same melody, but also has a good effect on the expression of meaning and rhetoric.
Many repeated chapters in The Book of Songs are all overlapped by the same chapter, and only a few words are changed to express the process of action or the change of mood. Such as Nan Zhou's Secret Instrument:
Take coix seed and pick it in thin words. Picking and collecting glutinous rice is a short story.
Pick and choose, make a short statement. Pick and collect the silk, and smooth the fine print.
Pick and choose, talk thin. Pick and choose, talk thin.
Only six verbs have been changed in the three chapters, describing the whole process of picking chrysanthemums. The repeated circulation structure and flexible and diverse words put the different links of picking lotus seeds in three chapters, which complement each other and form a whole in sense, singing and sighing, which is very graceful. Fang Yurun's "The Book of Songs Primitive Man" has a saying: "The reader tries to calm down and recite this poem, and suddenly listens to the Tian family woman. Plain embroidery field, sunny, group songs answer, lingering sound. If it is far away, if it is broken, I don't know why it is moving and why it is so bleak. Then this poem need not be detailed and complacent. "
In addition to overlapping chapters, there is also an article in the Book of Songs, which has two overlapping chapters, such as Zheng Fengfeng, which consists of four chapters, the first two chapters are one chapter and the last two chapters are one chapter; Or in an article, there are both heavy chapters and heavy chapters, such as the four chapters of Nan Zhou Juan Er, the first chapter does not overlap, and the last three chapters are heavy chapters.
Some overlapping sentences in The Book of Songs use the same poem in different chapters. For example, the four chapters of Dongshan use "I'm afraid of Dongshan, I won't go back." I'm from the east, and it's raining heavily. The three chapters of Nan Zhou Hanguang all end with "Han, you can't swim and think, Jiang Yongyi, you can't think". Some of them use the same or similar poems in the same chapter, such as Zhao Nan Jiang Yousi, which is both a heavy chapter and a refrain. In the penultimate sentence and the third sentence of the third chapter, the words "without me", "without me and" without me "are repeatedly used.
Reduplication in The Book of Songs is also called tautology. "Timber Ding Ding, birds singing" (Logging in Xiaoya), using "Ding Ding" and "melody" to imitate the sounds of logging and birds singing. "I left yesterday, willow, a.. I think about it today, it's raining. " With "Yiyi" and "Rain", it looks like willow trees and snow. Examples of this kind are too numerous to mention. Like tautology, double phonology also makes the text soothing and melodious when poetry is sung or recited, and the language has musical beauty. There are many rhyming feet in The Book of Songs, such as Uneven, Warm, Naimian and Li Lie. There are also some disyllabic rhymes used in one word, three words or two words. For example, If You Take Measures (Feng Wei's Seven Aos), The Burned Musketeers (Michelle Ye, Xiaoya), He Lives in an Awkward Place (Peak and Drumming), Wanxi (Qi Xi
There are various rhyming ways in The Book of Songs. It is common that a chapter only uses one rhyme part, rhymes every other sentence, and rhymes on even sentences. This is the most common rhyme in China's later poems. There are also rhymes that are not common in later poems. There are also some poems in The Book of Songs that have no rhyme at the end, some poems use more than two rhymes, and even some poems have no rhyme.
The language of The Book of Songs not only has the beauty of music, but also has a good effect in ideographic and rhetoric. In the era of The Book of Songs, Chinese has been rich in vocabulary and figures of speech, which provides good conditions for the poet's creation. The abundant nouns in The Book of Songs show that the poet has a full understanding of objective things. The concrete and accurate description of movements in The Book of Songs shows the poet's meticulous observation and mastery of language. For example, in "Fuju", the action of picking Fuju is broken down, which is expressed by six verbs: "Pick, start looking; Yes, you do. " "Hey, pick it up; Hey, take your son. " "canthus, stored with clothes, holding. Hey, store it with clothes and put it in your belt. " These six verbs vividly depict a beautiful picture. Figures of speech commonly used in later generations can be found in the Book of Songs: hyperbole, such as "He Guang, never use a knife" ("Feng Wei He Guang"); Contradictions, such as "women are unhappy, scholars do their best" ("Feng Wei protects himself").
In a word, the language form of The Book of Songs is vivid and colorful, and it can often achieve "twice the result with half the effort" and "moving thousands of emotions" (Wen Xin Diao Long Seeking). However, elegance, ode and national style are different in language style. Most of the chapters in Ya and Song adopt a strict four-character style, with few miscellaneous words, but many national miscellaneous words. In "Xiaoya" and "National Style", repeated chapters and sentences are often used, but they are rare in the aspect of appealing to both refined and popular tastes. There are also many modal particles in Ode to Ya, such as ",","Zhi", "Zhi", "Si", "Hu", "Er", "Yi" and "Ye", but they are not as diverse as those in Guofeng. The wonderful use of modal particles in national style has enhanced the vividness and vividness of poetry and reached a vivid situation. The different linguistic features of elegance, praise and national style reflect the changes of the times and society, as well as the differences in the identity of the creative subject. "Ode to Ya" is mostly a work of the Western Zhou Dynasty, written by nobles, which embodies the dignity of "Elegant Music". "National Custom" is mostly works in the Spring and Autumn Period, mostly collected from the people, which more embodies the freedom and boldness of the new voice and is close to the spoken language at that time.
The artistic features/system/artistic achievements/writing skills of The Book of Songs;
The artistic features/system/artistic achievements/writing skills of The Book of Songs;
The Book of Songs is the first collection of poems in China, which contains the poems of the folk and even the aristocratic class in the Zhou Dynasty, with diverse styles and different techniques. Generally speaking, the following artistic features are common:
From the perspective of sentence structure, The Book of Songs is mainly composed of four sentences, and there are also various sentences with different lengths from two characters to eight characters. Sentences are flexible but not monotonous, producing various tones and giving people fresh aesthetic feeling.
Prosodically, The Book of Songs is free in rhyme, harmonious and natural. The rhyming methods are not immutable, and the basic methods include rhyming every other sentence, rhyming sentence by sentence, rhyming even and odd sentences and so on. (+example)
From the point of view of composition, "Three Hundred Songs" adopts overlapping composition, which is called overlapping composition. The words in each chapter are basically the same, only a few words are changed and songs are sung over and over again. There are many ways of overlapping, which can be arranged flexibly according to the needs of the content. In repeated singing, the content is gradually deepened, the feelings are enhanced, and a beautiful artistic conception is produced. (+example)
In terms of language use, poetry makes good use of reduplicated words, which helps to describe it more carefully and deeply. In addition, double tones and overlapping rhymes are often used in poetry to enhance the musical beauty and images of poetry, such as the appearance of birds and willows, uneven double tones and graceful rhymes. The use of various auxiliary words makes the formal rhythm of poetry more aesthetic and makes the emotion of poetry more real and powerful. (+example)
The expression of The Book of Songs is summarized by predecessors as Fu, Bi and Xing. (See the descriptions of the above three technologies. For other examples and effects, please refer to Appreciation of the Works of the Book of Songs)
Most importantly, the folk songs in The Book of Songs show sincere feelings, describe the joys and sorrows of daily life, and have a simple and natural style. This feature, which comes from life and has true feelings, has been regarded as a model by writers of all ages and is called the spirit of realism.
The influence of The Book of Songs on later literature;
1 Establishment of realistic artistic tradition
Most of the excellent works in The Book of Songs come from the people. They express people's sincere feelings and reflect the reality of life. This feature is regarded as the proper feature of literary works by later writers. It can be said that The Book of Songs has set the direction for later literature, that is, it reflects reality, cares about people's livelihood, and hopes that literary works will benefit the world and achieve the effect of improving society. Later literature, such as Han Yuefu and Tang XinlYuefu poems, followed the path of the Book of Songs. If you deviate from this direction, you will be criticized. If the formalism tendency of the Six Dynasties made people dissatisfied, the Tang people would re-emphasize the spirit of the Book of Songs to correct it.
2 Pay attention to the literary tradition of folk songs/the tradition of simple and natural style.
Secondly, due to the achievements of folk songs in The Book of Songs, the tradition of attaching importance to folk literature was established from the very beginning, prompting writers to learn from folk works. Qu Yuan absorbed the nutrients of the folk songs of Chu Ci, and the Tang people borrowed from the folk songs of the Southern Dynasties and became quatrains. Ci, submission to the people and entering the world of literati all show their influence.
3 the establishment of poetry system
The Book of Songs laid the basic form of poetry in later generations. The five-character poems, seven-character poems and miscellaneous poems of later generations were all conceived in the Book of Songs. And its rhyme law, especially the rhyme of two sentences, is the mainstream of later poetry rhyme.
4 the prototype of poetic expression
The artistic expression of The Book of Songs provides a good reference for later poetry creation. In particular, the use of figurative techniques has been developed and enriched by later poets.
5 Influence on Fu
Since Mao's Preface to Poetry, it is generally believed that the author of the Book of Songs should use poetry to "satirize" and make the feelings of the lower class reach the upper level. Later writers took this as their writing principle. Fu writers in Han Dynasty consciously inherited this spirit and regarded it as the spiritual core of this style. This style, which mainly describes the scenery directly, also clearly shows that it is necessary to inherit the traces of "Fu" in the Book of Songs.
6 Influence on the style of stele, inscription and praise.
Besides Fu, there are rhymes such as ode, praise, tablet, obituary and inscription. Generally, the four-sentence pattern is used, which comes from the sentence pattern of the Book of Songs.
The Book of Songs is the earliest collection of poems in China. Fu, Bi and Xing are three expressive techniques summarized by the ancients according to the works in The Book of Songs. In the past, when discussing the characteristics of poetry creation, Bi Xing was often used as a synonym for the image thinking of poetry creation, but there was no mention of "Fu". Even if collateral theory is timely, it is often considered as "a matter directly related to Chen Qi", which seems to be not an artistic method worthy of attention in poetry, and even considered as a way to get rid of or ignore thinking in images. I think this explanation and viewpoint is not accurate enough, which is debatable. There are many theorists about Bi Xing, and now I want to discuss "Fu" as one of the traditional poetic expressions.
People first put forward the concepts of Fu, Bi and Xing: "Master ... taught six poems: Yue Feng, Yuefu, Lebi, Lexing, Leya and Song Yue." Later, Zheng Xuan, a Confucian scholar in the Han Dynasty, explained the concepts of Fu, Bi and Xing earlier in the Preface to Poetry written by the Han people, which had great influence: "The direct biography of Fu reveals the good and evil of today's politics and religion; Than, see today's loss, dare not denounce, take metaphor; Xing, seeing the beauty of today, is too flattering, and advises it with kindness. Judging from these words, although Zheng also thinks that Fu, Bi and Xing are three different ways of expressing poetry, they are limited by the prejudice of Confucian scholars and think that the main difference among them lies in the division of labor in the use of "poetry teaching". In his view, compared with harmony and prosperity, one is used to complain and the other is used to praise beauty, both of which have implicit characteristics; Fu, on the other hand, seems to be "both good and evil" and is characterized by "straightness", that is, straightforwardness. Obviously, the focus of Zheng Xuan's words is to explain the different applications of poetry in politics and religion, rather than the characteristics of artistic methods. It was Zhu in the Song Dynasty who really interpreted it as an artistic technique and had a great influence. His explanation is: "He who tells the truth is the one who tells the truth about Chen Qi. Compare, compare this thing with another. If you are excited, you will say something else first to arouse the words you are reciting. " He followed Zheng's theory, but developed and revised it. Regardless of comparison and prosperity, from the interpretation of "fu", Zheng's explanation can be understood as directly preaching the so-called good and evil; Zhu's explanation not only focuses on the means of expression, but also adds the word "its matter", that is to say, "Fu" as a means of expression has to lay out specific things and specific things. He also thinks that "Fu" is "outspoken", but it is obviously relative to the latter two.
Zhu's statement is an important revision of Zhengxuan, which is more in line with the reality of poetry expression in The Book of Songs and is more conducive to explaining the artistic characteristics of poetry in The Book of Songs. Of course, Zhu's statement also inherited some previous explorations. For example, Liu Xie in the Qi and Liang Dynasties not only wrote Bi Xing Pian in Wen Xin Diao Long, but also talked about Fu, Bi and Xing in his interpretation of Fu Pian (this paper mainly discusses the "Fu" style that arose in the Han Dynasty): "Poetry has six meanings, and the second is Fu. Givers, stores, stores, articles, and objects. " "Paving writing" means paving writing words and literary talent; "Writing with things" is to express the author's thoughts and wishes by writing concrete things. Zhong Rong's "Preface to Poetry" said: "The text has been exhausted and the meaning is more than enough, and it is also full; Because things are metaphorical, they are better than others; Straight books, fable writing, and fu also. " Zhi Shu is relative to Bi Xing, but it is not an abstract exposition, but a description of specific things. "Fable writing" is to express the ideas in words and images. The above can be explained, before Zhu; Literary critics in the Six Dynasties corrected their interpretation of "Fu" (including Bixing, of course) which was different from that of Han people, and Zhu's theory of "handling" came from this. It is worth noting that Hu Yin, who was almost contemporary with Zhu at the end of the Northern Song Dynasty, once quoted an incisive sentence in a letter: "A poet must distinguish his meaning. Such as Fu, Bi and Xing, there are many ancient and modern theorists, but Li from Henan is the most important. It is said that the narrative of things is endowed with words and feelings, and feelings are everything; Seeking things is the ratio of pleading, and affection is attached to things; Touching things to arouse feelings is called interest and things.