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 has three parts: style, elegance and vulgarity, and praise. Among them, the wind includes 15 national winds and 60 poems/kloc-0; Ya is divided into "Ya" and "Ya", with 105 poems; There are 40 Odes to Zhou, Lu and Shang.
"National Style" is the essence of The Book of Songs and a bright pearl in the treasure house of ancient literature and art in China. The folk songs of Zhou Dynasty in "National Style" reflect the real life of working people with colorful pictures, express their unfair treatment in the situation of exploitation and oppression and their belief in striving for a better life, and are the source of China's realistic poems. In July, we saw the bloody life of slaves, and in Getan, we realized the awakening of the class consciousness of the exploited. Disgruntled slaves boldly asked parasites and vampires who got something for nothing: "If you don't get enough, you can't get enough." If you don't raise or hunt, is there a county badger in Huzhan Pavilion? "Some poems also describe the workers' direct struggle with the ruling class in order to obtain the right to life. In this regard, Shuo has a shocking power. There are some poems in the "national style" that reflect the great pain brought to the people by the military corvee, such as Yin, Bo and Serviceman, which are the representative works of this kind of poems. There are also many love poems of "national style". It is an important theme of this kind of love poems to reflect the great pain brought to women by unreasonable marriage and express the yearning and pursuit of young men and women for a happy marriage. Meng and Meng show us such a picture of life. And Bai Zhou also has a distinct and strong sense of resistance. Love songs with healthy and optimistic tone (such as Quiet Girl and Papaya) add a sense of harmony and joy to love poems. All these are true expressions of the thoughts and feelings of the working people.
There are also many ballads satirizing and lashing the ruling class in National Wind, such as Xintai, Nanshan and Zhu Lin.
The realistic creative method of describing things in simple language and reflecting social reality with simple life paintings well embodies the "national style" and becomes its remarkable artistic feature. In terms of image-building, Guofeng also has realistic artistic characteristics. The author can express his emotions and describe the protagonist's actions and personality characteristics through his inner feelings. The "national style" is mostly four words and one sentence in form, which rhymes with other sentences, but it is not the same. It often breaks through the four-character grid and uses two-character, three-character, five-character, seven-character or eight-character sentences. For example, Vatan is a poem with miscellaneous words. These poems, which are full of changes with the fluctuation of emotions, have clear rhythm and a sense of music. The language of "national wind" is accurate, beautiful and vivid. Accurate and proper use of disyllables, rhymes and words adds artistic charm. The artistic techniques of fu, bi and xing greatly enhance the expressive force of "national style"
Poetry and Fu are both music songs used by the ruling class on specific occasions. They can't be compared with the "national style" with realistic spirit and people's nature in ideological content, but because they more or less reflect some aspects of social life, they also have certain social significance and cognitive value.
The Book of Songs is the glorious starting point of China literature and the symbol of the early development of China literature. His realistic spirit of "hungry people sing about their food and laborers sing about their things" has the greatest influence on later literature. The Book of Songs occupies a very high position in the cultural history of China and even the world.