The Book of Songs is China's first collection of poems, formerly known as Poems, or 300 Poems. * * * * 305 poems, 6 poems without words. This book mainly collects works from the early Zhou Dynasty to the mid-Spring and Autumn Period for more than 500 years. The works in The Book of Songs reflect all aspects of life, have profound and rich cultural accumulation, and show the great achievements of China's ancient poetry at first.
As one of the main sources of China literature, The Book of Songs has always been highly praised by scholars. After more than 2,000 years, it has become a cultural gene, which has been integrated into the blood of Chinese civilization. The Book of Songs is based on reality, which expresses the real feelings caused by real life and has 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.
On the Artistic Features of The Book of Songs
Second, the' Book of Songs' artistic features
(1) Fu Bixing technique
Fu Shuo's truth is that the poet expresses his thoughts and feelings and related things in a straightforward way. For example, "July" describes the life of farmers for twelve months a year, that is, using the Fu method. Fu is a basic expression and foundation.
Bixing means, for example, comparing one thing with another, and the poet has the ability or emotion to use one thing as a metaphor. Among them, the whole poem expresses feelings in a metaphorical way, such as "Qi Feng?" Hey, "Feng Wei? Storytelling, Xiaoya? Heming is unique; In The Book of Songs, there are various methods of metaphor, such as simile, metaphor, metonymy and metaphor. Simile means that there are both "other things" and "this thing" in the "Bi" sentence, and there is a related word "Ru" between them as a metaphor symbol. Such as "Qin Feng Xiaorong": "A gentleman is as warm as jade." Xiaoya Long Beach: "A wife is like a harp." Therefore, Kong Dui said, "All words are better than words". There is no "such as" between "that thing" and "this thing" Such as "Feng Wei for self-protection", "There is no mulberry in the nest. I'm a woman, so I have nothing to worry about. Metaphor only says "that thing", not "this thing". Such as "Feng Wei for Self-protection" and "Mulberry has fallen, and it is yellow and extinct. Self-pity, poor three years old. " Metaphor uses a series of "other things" to compare a "this thing". For example, "Xiaoya Tianbao" is like a mountain like a hill, like a hill like a mausoleum, like a Sichuan side, so it must be increased ",and five metaphors are given to describe the prosperity of the cause. In Daya Ban, there are six metaphors, which mean that Heaven helps the people. In a word, the extensive use of metaphors in The Book of Songs shows that poets have rich associative power and imagination, and can express their thoughts and feelings in specific poetic language.
Xing is a touching thing to promote Ci, while objective things set off the poet's feelings and cause the poet to sing, so it is mostly at the beginning of the poem. The application of "xing" is complicated, and some of them only play a role in regulating the rhythm and mood of Astragalus at the beginning, and the connection between the lines and the following sentences is not obvious. For example, "Xiaoya? Yuanyang said for the second time, "Yuanyang is on the beam, slapping its left wing. Gentleman Pierer Millennium. " Xing's greeting and the following two sentences only coordinate the rhyme of the first poem. Some "interests" should not only be emotional, but also have some connection with the following. This kind of connection, either manifested in that what was said in front can be a metaphor for the below, or that what was said in front can render the atmosphere and set off the below, or both, constitutes an indispensable part of the artistic realm of poetry. For example, "Zheng Feng? There are creeping weeds in the field, and Nan Zhou is related to spikes. The artistic taste and charm of "Xing" mainly lies in that it often creates vivid images, vivid pictures, natural euphemisms and profound artistic conception for poetry by touching the scene or setting the scene according to the situation. 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.
In poetry, Fu, Bi and Xing are often used alternately, and * * * shapes the artistic image of poetry and expresses the poet's feelings. In The Book of Songs, Fu, Bi and Xing are the most skillfully used works, which have reached the artistic realm of blending scenes, things and me, and have a direct enlightening effect on the creation of poetic artistic conception in later generations. For example, "Qin Feng? Jia Xu, with the narration of Fu, combines the sad autumn scenery with the sentimental artistic conception, forming a lonely and intriguing artistic realm.
On the Artistic Features of The Book of Songs
(2) Sentence patterns and composition
The basic sentence pattern of The Book of Songs is four words, sometimes ranging from two to eight words. The proportion of miscellaneous sentences is very low, and only a few poems are mainly miscellaneous, such as Vatan. Based on the four sentences, it can be inferred that the musical melody of singing the Book of Songs at that time was relatively stable and simple.
The Book of Songs often adopts the form of overlapping words, with only a few changes in word meaning and literal meaning, resulting in the effect of singing and sighing. This is a feature of folk songs, which can strengthen the expression of feelings. Therefore, it is most commonly used in folk songs such as "National Wind" and "Xiaoya", but rarely appears in political poems such as "Ode to Ya" and "Xiaoya". For example, "Nan Zhou? Goose flies:
Pick slugs, pick them with fine words. Pick slugs, fine print.
Select slugs and make a short comment. Pick slugs and smooth them with fine print.
Pick slugs and talk about them. Pick slugs, pick from fine print.
Only six verbs have been changed in the three chapters, describing the whole process of picking up slugs. The structure of the stack, a variety of words, put the different links of picking up slugs in three chapters, complement each other, and form a whole in the sense, singing and sighing, which is very graceful. Reduplication in The Book of Songs is also called tautology. "Timber Ding Ding, birds sing" ("Xiaoya? Logging), there are "Tintin" and "Tintin", which imitate the sound of logging and birdsong. There are many disyllabic rhymes in The Book of Songs, such as "Uneven", "Enthusiasm" and "Li Lie". Some disyllabic rhymes are used in the first word, the third word or the fourth word of the second word. Such as "Wan Bi" ("? Just field ")," such as cutting such as measures "("Feng Wei? Joe), Burning Guns (? Leaves ") and so on.
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 to the end, some poems have more than two rhymes, and even some poems have no rhyme.
(3) The different language styles of wind, elegance and ode.
The Book of Songs is divided into three categories according to style, elegance and ode. Poetry was originally a musical song, but due to the loss of ancient music, future generations can no longer understand its musical characteristics of style, elegance and praise. Wind is the tune of music, and national wind is the tune of music in every region. Countries refer to regions and territories. The 15-nation Wind 160 articles include Nan Zhou, Zhao Nan, Qifeng, Zhu Feng, Feng Wei, Feng Wang, Zheng Feng, Qifeng, Wei Feng, tang style, Qin Feng, Martin, Qifeng, Cao Feng and Zhuifeng. "Elegance" means that the imperial court is happy, which can be divided into elegance and indecency. Daya 3 1 is a work of the Western Zhou Dynasty, while Xiaoya 74 * * * is a work of the late Western Zhou Dynasty, except for a few works of the Eastern Zhou Dynasty. Ode is the joy of ancestral temple sacrifice, many of which are dance music, and the music may be more soothing.
The language of The Book of Songs not only has the beauty of music, but also has a good effect in ideographic and rhetoric. From the abundant nouns and accurate action descriptions in The Book of Songs, we can see that the poet has a full understanding of objective things and the ability to observe and control language carefully. In a word, the language form of The Book of Songs is vivid and colorful. 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. Many modal particles are used in national style. Such as "Zhi", "Zhi", "Si", "Hu", "Er", "Yi" and "Ye", these modal particles also appear in Ode to Ya, but they are not as diverse as those in National Customs. The clever use of modal particles in the wind has enhanced the vividness and vividness of poetry and reached a vivid situation. The differences in elegance, ode and national style reflect the changes of the times and society, and also reflect the differences in creative themes. "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.
On the Artistic Features of The Book of Songs
"Elegance" was established by later poets in ideological content, and Bi Xing provided a model for later writers in artistic expression. 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. Therefore, The Book of Songs has had a far-reaching impact on the literary development in China for two thousand years, and it is also an ancient historical material with great literary and historical value.