The Book of Songs is divided into three parts: style, elegance and ode. Feng includes,, Feng Li, Feng Li,, Zheng Feng,,, tang style, Qin Feng, Martin and Feng Li. Elegance includes 3 articles of Elegance1and 74 articles of Xiaoya. Ode includes thirty-one Zhou Song, five Shang Odes and four Truffles.
These poems, in terms of their original nature, are the lyrics of songs. Mozi Meng Gong said, "There are 300 ode poems, 300 string poems, 300 song poems and 300 dance poems." It means that there are more than 300 poems, all of which can be recited, played with musical instruments, sung and accompanied by dances. "Historical Records Confucius Family" also said: "Three hundred and fifty poems were written by Confucius, in order to combine Shao, Wu, elegance and praise." Although these statements are still possible to be discussed, there is no doubt that the Book of Songs was closely related to music and dance in ancient times. The division of style, elegance and fu is based on the difference of music. "Wind" is music with local color relative to the "Wang Ji" directly ruled by the Zhou Dynasty. The Tenth Five-Year Plan "National Wind" is a folk song in the Tenth Five-Year Plan. Its region, except Jiang, Han and Rushui, originated in the Yellow River Basin from Shaanxi to Shandong. Elegance is the joy of "Ji Wang", and Zhou people in this area call it "Xia". "Ya" and "Xia" were commonly used in ancient times. Elegance also means "positive". At that time, Ji Wang's music was regarded as a positive tone-a model music. There are different opinions about the difference between "Elegance" and "Xiaoya", and their musical characteristics and applicable occasions are also different. Ode is a kind of music dedicated to offering sacrifices to ancestral temples. "Preface to Mao Poetry" said: "The description of the beauty and virtue of the eulogists tells the gods of their merits. "This is the meaning and use of ode. Wang Guowei said: "Praise is slower than elegance. "This is the characteristic of his music.
The composition of the authors of The Book of Songs is very complicated, and their geographical sources are also very extensive. In addition to the music songs produced by music officials in the Zhou Dynasty and presented by officials and scholars, there are many folk songs that were originally circulated among the people. There are different opinions about how these folk songs came to the court. Some scholars in the Han Dynasty believed that the Zhou Dynasty sent special poets to collect folk songs and understand the advantages and disadvantages of politics and customs. There is another saying: these folk songs are collected by musicians all over the world. Musicians are officials and experts in charge of music. They compose poems as their profession and collect folk songs to enrich lyrics and tunes. The pleasure of princes is dedicated to the emperor, and these folk songs are gathered in the court. These statements all have some truth.
Music songs collected from various periods and regions are generally considered to be preserved in the music officer of the Zhou royal family-Taishi. They obviously processed, eliminated and modified those works with different faces. Therefore, the existing language forms of The Book of Songs are basically four-character, and the rhyme system and rhyme rules are basically the same. Some sets of sentences (such as Son of Another Family and Wang Shimi) have appeared in works of different times and places. In ancient times, the transportation was inconvenient and the language was different. The ballads of various times and regions could not have happened if they were not processed. It can be considered that the official production of music songs and the collection and arrangement of folk music songs are one of the cultural undertakings of the Zhou Dynasty, and they were continuously carried out in the era of The Book of Songs.
Historical Records Confucius Family said that there were more than 3,000 poems, which were deleted and selected by Confucius and became the final version of more than 300 poems seen by later generations. This record has been widely questioned. A poem quoted in pre-Qin literature is generally within the scope of the existing Book of Songs, and there are few so-called "escape poems" beyond it. If Confucius had more than 3,000 poems before, this would not have happened. Moreover, in the Analects of Confucius, Confucius repeatedly mentioned "three hundred poems" (Kevin·Z, Lutz, etc. ), which proves that Confucius has seen more than 300 poems, which is similar to what he sees now. Most importantly, The Book of Songs was compiled before Confucius was born, about the sixth century BC. It's just that Confucius did put a lot of effort into the Book of Songs. Confucius said in the Analects of Confucius: "I went back to Shandong, and then I was happy and elegant." That's what the historical records quoted earlier said. This shows that in the era of Confucius, the music of The Book of Songs has been lost and disordered, and Confucius revised it to make it conform to the original state of ancient music. He also used the Book of Songs to educate students, often discussing the Book of Songs with them and playing songs and dances (see The Analects of Confucius and Mo Zi Fei Ru). All these have played an important role in the spread of The Book of Songs.
The music songs in The Book of Songs were originally used as part of various ceremonies to entertain and express views on social and political issues. But in the end, The Book of Songs has become a cultural textbook widely used in aristocratic education, and learning the Book of Songs has become a necessary cultural accomplishment for aristocratic people. On the one hand, this kind of education has the function of beautifying language, especially in diplomatic occasions, it is often necessary to quote poems from the Book of Songs to express meaning in twists and turns. This is called "Fu Shi Yan Zhi", and its specific situation is recorded in Zuo Zhuan. The Analects of Confucius recorded Confucius' words: "If you don't learn poetry, you have nothing to say." "Reciting 300 Poems, teaching them as politics, is unattainable; Let it be everywhere, but not exclusive. Even if there are many, do you still think? " It can be seen how important it is to learn the Book of Songs for the upper class and those who are ready to enter the upper class. On the other hand, the education of The Book of Songs also has political and moral significance. The Book of Rites quoted Confucius as saying that after "poetry teaching", people can be "gentle and sincere". The Analects of Confucius recorded the words of Confucius, saying that learning poetry can "serve the monarch from afar and the father from the monarch", that is, learning to serve the monarch and the elders. According to Confucius' opinion (which should also be the opinion of ordinary people in the upper class at that time), "there are 300 poems. In a word, it says: the thought is innocent. " This means that all the works in the Book of Songs (or at least on the whole) are in line with the moral principles recognized by the society at that time. Otherwise, it cannot be used for "education".
There are two points worth noting here: first, from what Confucius said, people's views on the Book of Songs at that time were quite broad. Many poems that condemn the dark rule and express the love between men and women can still be considered "innocent" as long as they do not exceed a certain limit, that is, legitimate emotional expression. Second, despite this, the Book of Songs is not a simple collection of poems after all. It is not only the cultural accumulation of the Zhou Dynasty, but also the object of daily chanting by the nobles. Therefore, although there are many folk songs in it, I'm afraid it can't contain the content that directly conflicts with the socially recognized political and moral principles.
All Confucian classics, including The Book of Songs, were burned in the Qin Dynasty. However, because the Book of Songs is easy to remember and familiar to scholars, it spread in the Han Dynasty. There are four schools of * * * who taught the Book of Songs in the early Han Dynasty, namely, Qi Zhiyuan's drums, Lu Pei, Yan Zhiyi's Han Ying, Zhao Zhimao Heng, and Qi's, Lu's and four schools for short (the first two schools are named after the country, while the last two schools are named after the family). The Confucian Classics of Qi, Lu and Han schools are officially recognized schools, and Mao's poems belong to the Confucian Classics of Ancient Chinese, which is a folk school. However, after the Eastern Han Dynasty, Mao's poems became increasingly prosperous and gained official recognition. The first three schools gradually declined, and in the Southern Song Dynasty, they were completely lost. The Book of Songs that we saw today is a biography of the Mao School.
2. The content of the Book of Songs
There are not many poems in The Book of Songs that can determine the specific writing age. Generally speaking, Fu and Ya came into being earlier, basically in the Western Zhou Dynasty. The national wind was produced in the early and middle spring and autumn period, except for Fufeng and Ernan. As far as the nature of poetry is concerned, "elegance" and "ode" are basically music songs written for specific purposes and used in specific occasions, while "national style" is mostly folk songs. It is only a part of Xiaoya, similar to the national style. But it must be pointed out that the "folk songs" we are talking about here are just a general term; Its characteristics are just the opposite of the above-mentioned "elegance" and "ode". It is an ordinary lyric song created by an unknown author and circulated in society. The identity of most folk song writers is not easy to explore. If the identity of the narrator in the poem is regarded as the identity of the author, it includes not only laborers and soldiers, but also a considerable number of people belonging to the "scholar" and "scholar" classes. At that time, "scholar" belonged to the lowest nobility, and "scholar" was a general term for nobility. In addition, there are many unidentified people. Therefore, it can only be roughly said that this kind of folk song is a kind of social mass work.
Because of the different nature of poetry, the content of its description is also different. Below, we select several important types to introduce.
The poem Ode is mainly Ode to Zhou, which is a sacrificial poem of the Zhou royal family, and it was produced in the early Western Zhou Dynasty. In addition to simply praising the merits of ancestors, some people pray for God in spring and summer or thank God in autumn and winter, which reflects the social characteristics and agricultural production of Zhou people in the early Western Zhou Dynasty. For example, the harvest year sings that there are many crops, many crops, and high, trillion, and crops. For the sake of wine, for the sake of ancestors, for the sake of everyone. On the harvest day, people happily and actively offer sacrifices to their ancestors, hoping that they will give them more blessings. Xixi describes the situation of large-scale farming: Xixi becomes king, which not only shows falsehood, but also attracts agriculture and spreads hundreds of valleys. Officials push your si, on the 30-mile field. Closely cooperate with your farming, ten thousand people are yoked together, forming five thousand pairs. In the vast fields, thousands of farmers work at the same time. What a spectacular scene! At the same time, we also think that in this powerful collective activity, the value of individual existence is easily ignored and obliterated. This is the price that must be paid at that specific historical stage and economic conditions.
The five poems "Daya", "Sheng Min", "Gong Liu", "Mian", "Huang Yi" and "Daming" are a set of epics of the Zhou Dynasty, describing the history from Hou Ji, the ancestor of the Zhou Dynasty, to Wu Wang, the ancestor of the Zhou Dynasty. Its age is also roughly in the early Western Zhou Dynasty. Sheng Min tells that Hou Ji's mother, Jiang Yuan, prayed to God for a child, and later followed God's footsteps to get pregnant and gave birth to Hou Ji. Hou Ji was afraid of raising him and abandoned him, but Hou Ji survived: "The alley where the baby was born is the word of cattle and sheep. The flat forest planted at birth was cut down. Newborn ice is covered with birds. The bird left, but Hou Ji spoke loudly. This is really embarrassing and screaming. " This description shows the myth of Hou Ji. Hou Ji invented agriculture when he grew up, and the crops he planted were very lush. Later, he became a family in Youtai (now southwest of Shaanxi Wugong), laying the foundation of Zhou people, and he himself became the ancestor of Zhou people and the god of agriculture. This poem, full of myths and legends, reflects the emergence and historical concept of the Zhou nationality and the social characteristics of building the country by agriculture. Gong Liu describes the history of Hou Ji's great-grandson Gong Liu who led the tribe to migrate from Youyao to Iraq (now Xunyi County and Binxian County in Shaanxi Province) and opened up wasteland to build houses in Iraq. Among them, when Zhou people first came to live in the land under the leadership of Gong Liu, the scene was: "The wilderness of the capital is everywhere, traveling in the city, speaking at the right time, speaking at the right time." The scene of singing and laughing is very vivid. Compared with strangers, Gong Liu is no longer a mythical figure, but a historical figure. Mian tells the story of Gong Liu's tenth grandson, his grandfather and Gu's father, who moved from his nanny to Qixia (now Qishan, Shaanxi Province) until he was appointed. In it, he wrote that Gu's father moved from his nanny to Qixia, married a ginger girl, built a house in Qixia, engaged in agricultural production, overhauled the ancestral temple palace, appointed officials, and then established the country. The narrative is clear and the structure is rigorous, reaching a fairly high level. Among them, when writing architectural scenes, many onomatopoeia words are used, which are very atmospheric: "Harmony, harmony, board building, front cutting, all obstacles are flourishing, and drums are victorious." The sound of filling, dumping, tamping and cutting the soil covered the huge drums. The above three epics narrate the history of Zhou people before the appearance of Zhou Wenwang, which may have been written by historians and musicians in the early Western Zhou Dynasty using folklore. In addition, from the narration of Taibo and Wang Ji to the criticism, Zhou's founding history was recorded, and Daming was probably written by historians and musicians from the narration of its birth to the criticism.
In addition to these epics in Daya in the early Western Zhou Dynasty, there are also some epic narrative poems in Xiaoya in the late Western Zhou Dynasty, such as Zhou Xuanwang's expedition to South China recorded in Driving, Zhou Xuanwang's expedition to Xu Yi recorded in Changwu, Cai Mao and Liu. If these poems are sorted out in an orderly way, we can sort out the history before and during the Western Zhou Dynasty. As narrative works, these epics have the advantage of simplicity and order. However, because its writing purpose is mainly to describe historical facts (including legends regarded as historical facts) and praise ancestors, it pays little attention to the story and characters. Moreover, there are not many narrative poems in The Book of Songs, mainly the above ones. It can be seen that since The Book of Songs, China's poems have shown a tendency of paying little attention to narrative poems.
From the late Western Zhou Dynasty to the eastward movement of Pingdong, the Rong nationality invaded, the princes merged and the ruling order was destroyed, which led to social unrest. In this period, there were many works critical of politics in Daya and Xiaoya's poems, all of which were written by literati. This is probably what the ancient book said, "Gong Qing as for scholars to offer poems" ("Mandarin Zhou Yu"). In this kind of poems, some authors criticized the chaos and injustice of the internal order of the ruling class. For example, "Zhan Ang" said: "People have soil fields, while women have them; When people have people, women take them away. This should be innocent, and the woman will take it back. He should be guilty and women should be happy. " "Beishan" said: "Either Yan Yan survives in the interests or tries her best to serve the country; Or in bed, or in the team; Or I don't know the calling number, or I'm miserable; Or sacrifice the later period to suppress Yang, or Zhang; Or drink, or fear; Either get in the wind or do nothing. " From here, we can see that social relations were undergoing drastic changes at that time, and some people had ups and downs; Some people work hard for the "kingly business" but get nothing, while others do nothing but enjoy the honor. The poet, on the other hand, stands on the old position of "justice" and hopes to correct this inevitable confusion. More political criticism poems express the author's extreme anxiety about difficult and dangerous current events and his strong dissatisfaction with his ruling group, including the supreme ruler. For example, The Turn of October, according to Preface to Mao Poetry, is the work of Doctor Stab. The poet gave the ruler a serious warning from the disaster that people thought was serious at that time. It says: Ye Ye gets an electric shock, but he is restless. Hundreds of rivers boil and mountains collapse. The high shore is a valley, and the deep valley is a mausoleum. Don't punish those who mourn today! This is a huge scene of chaos and disaster. To the poet's pain, people at that time did not stop him, but still lived a leisurely life. At the same time, however, the author dare not openly confront his own group with pride and fearlessness. Instead, he is cautious and full of fear of his own situation, fearing that he will not see everyone: he dare not complain for help. Innocent, innocent, arrogant This is not an isolated example. Another example is "The First Month", and the author is also very dissatisfied with state affairs. "This is a fact, Hu Ran is complete!" Its meaning is as Zheng Xuan said: "Why is it evil when you are here?" But at the same time, he was extremely afraid: "It is said that the sky is too high to lose; They all say that the ground is thick and they dare not hesitate. " Another example is that there is no correct rain. The author is worried about the critical situation of "no retreat, no hunger" and "Zhou Zong's extinction, no end to crime", and "the three doctors are unwilling to stay up all night; With the attitude of monarch and minister, he was very disgusted, but at the same time he said in fear: "Wei is an official, and it is dangerous." "The cloud can't be used, offending the emperor; It is also a cloud that can make you complain about your friends. " Being an official is so dangerous and difficult, afraid of offending the emperor and making enemies with friends! This is because poets try their best to avoid direct conflicts with their groups, or they always feel threatened by group strength. It seems to be a contradiction that poets strongly express their concern for the fate of the country and people's lives, but criticize others for their lack of such concern. But on the other hand, this concern is essentially the concern for the stability of the ruling order, which is the correct position and moral principle recognized by the whole ruling group (whether it can be done or not). What they criticize is the deviation from this position and principle. When they find (or think) that most people have deviated from this position and principle, they feel confused, angry and afraid, but they never dare to publicize their pure personal attitude and put themselves in a position of confrontation or even break with the group. The above examples, as well as other similar poems in Ya, can be said to have created the tradition of China's political poems. The feelings of worrying about the country and the people expressed in the poems always stand on the "correct" moral standpoint, and are recognized by the society. They can only criticize and avoid publicizing their personal attitudes, which has a far-reaching impact on later political poems.
The folk songs (including some similar works) in "National Wind" reflect much wider life content and stronger life flavor than elegant and ode from the upper class. In the Tenth Five-Year Plan, "Guo Feng" was the earliest. Among them, July is an extremely old agricultural poem, which is generally believed to have originated in the early years of the Western Zhou Dynasty. Different from the agricultural poems in Zhou Zuoren's Song, it describes the farmers' working life all year round in a long space, and records the agricultural knowledge and production experience at that time, like recording the songs of the lunar calendar. The author of the poem is like a slave owner, or as some scholars say, he is the parent of a slave owner's family, leading a group of farmers and their wives and children to work for the "public" and "childe". Either way, his own identity is also a slave, but his status is slightly higher. Therefore, the poem not only laments the farmer's hard work, but also regards it as the farmer's duty, and enthusiastically praises "Gong" and "Childe". The value of this poem lies in its faithful and meticulous description of the social situation of clan slavery transformed from clan commune. From the poem, we can see that farmers should not only farm and harvest in the fields, but also plant mulberry and sericulture, spin hemp and weave silk, and even practice martial arts and hunt animals; In the slack season, you have to go to the castle to repair the house. Even in the cold winter, you have to dig ice cubes and hide them in the cellar for the "male" and "female" to enjoy in summer. All the year round, round and round. What are they eating? "Eat depressed in June, enjoy sunflower glutinous rice in July, and peel dates in August"; Eat melons in July, break the pot in August, and uncle in September. -Probably bitter vegetables, wild fruits, gourds and pockmarked seeds. All good things belong to the owner. "Private talk will be given to the public", the big wild boar is "public", and the small one is yours; "I am Zhu Kongyang, dressing for my son", weaving beautiful scarlet material to make clothes for my son; The Virgin also belongs to the "son": "Late in spring, Qi Qi was adopted. The woman is sad, just like her son! " Only in the new year, "Gong" will slaughter lambs and gather farmers. So everyone "goes to court and calls it a person who has no boundaries!" "Gong" and "Gongzi" not only enjoyed the fruits of farmers' labor, but also drove them to shout long live for themselves. This poem is not only valuable information in sociology, history and agriculture, but also the origin of literary history of later Tian Jia's poems.
There are also many poems of political criticism and moral criticism in Guo Feng. Some of these poems are aimed at specific characters and events, while others are of universal significance. Generally speaking, most of these poems reflect the dissatisfaction of the middle and lower classes with the upper rulers. Such as the famous "cutting sandalwood": cutting sandalwood in Kan Kan, the river is dry. The river is clear and blue. No crops, no crops, no crops, no crops. Don't hunt, don't hunt, is the court of Hu Zhan going to hang? He is a gentleman, he is not a vegetarian! In the past, many people interpreted this poem as a rebuke to the exploiters for getting something for nothing, which is probably inaccurate. It should be pointed out that in the era of the Book of Songs, the so-called "gentlemen work hard, villains work hard" (Zuo Zhuan) and "those who work hard govern the people and those who work hard govern the people" (Mencius) are well-founded in the general understanding of society. It is a question in itself whether the slaves who were severely enslaved materially and spiritually can clearly deny this principle recognized by the society at that time; Even if some people realized and showed such poems, they could not be accommodated by the princes and music palaces of the Zhou Dynasty, and they became the objects of daily reciting and learning by aristocratic children. The preface to Mao Shi explains this poem, which means "stabbing greed". It should be correct to be greedy in the office and eat for free. In other words, the poet still thinks that "gentleman" is in his place and should do something, and "free eating" becomes a shameless "vegetarian"-free eating. The last sentence "He is a gentleman, but he is not a vegetarian" is an ironic brushwork. In fact, it is common for "gentlemen" to be vegetarian. Using their declared principles to iron out their behavior, this poem is already very profound, and there is no need to exaggerate it, which is out of the original intention. "Sweet Mouse" is a similar work: a sweet mouse has skin, but a man has no tools. What is immortality without instrument! Rats have teeth, but people never stop. There is no end to people and no end to death! Rats have bodies, but people are rude. If you are rude, Hu will not die! "Etiquette" is a code of conduct formulated by the rulers themselves, and members of the ruling class indulge in dissolute life, which often destroys this code, so the poet gave them a sharp curse. But at the same time, we should also see that the reason why this poem is so sharp and intense is because the author first stands in the position of maintaining "etiquette", which is also recognized as the "correct" starting point by the society, whether it is true or not. Another example is Shuo, which is also a profound political satire. In this poem, the ruler is compared to an insatiable rat. I feel that I can't stand the heavy pressure of these guys and want to escape to a "paradise". Judging from the sentences such as "I have nothing to eat" in the poem, the author owns his own land property, and his identity may be a lower-class aristocrat or other freemen. This opinion against excessive exploitation is also willing to be recognized by wise rulers and is considered to be worthy of vigilance.
As mentioned earlier, some of Xiaoya's poems are similar to "National Style", the most prominent of which is about war and labor. We will introduce this kind of poetry together with the poems with the same theme in national style. Such as Picking Wei, Wandering Du, Why the Grass Is Not Yellow, Broken Axe, The East Mountain of Turtle Peak, pass the parcel and Bo. Different from the epics about martial arts, most of these poems express their experiences and thoughts from the perspective of ordinary soldiers, which show their weariness of war and their yearning for their hometown, and they are very kind to read. Among them, Dongshan describes the complex feelings of soldiers who have been away for many years on their way home. At the beginning of each chapter, he sang: "I'm worried about Dongshan, and I can't come back." I come from the east, where it is rainy. "He has been to Dongshan for a long time and is on his way home now. It was raining in Mao Mao, which set off his sad mood. One moment he thought of the joy of restoring civilian life, and another moment he thought that his hometown might be deserted, and perhaps he was greeted by a dilapidated scene: "If you win, you will also benefit from it." "Evie is in the room, but she is at home. The March Deer Farm is sparkling. " However, even so, he still feels that his hometown is good: "Don't be afraid, Yi Kehuai!" " After a while, I remembered my wife who was waiting to return: "The stork sang in the yard and the woman sighed in the room. ..... I haven't seen myself for three years. " Then I remembered how beautiful my wife was when she first married herself. I haven't seen her for three years. I wonder how she is now: "What is her new Kong Jia?" The whole poem is a psychological description of soldiers on their way home, vivid and true, reflecting the people's nostalgia and yearning for a peaceful life. This poem also has a certain influence on later poems. For example, in the folk song "The Fifteenth Conscription" written by Han Yuefu, a veteran returned from the army only to find that his hometown was in ruins and his relatives had passed away. His idea may have been inspired by this poem. Xiaoya's "Picking Wei" shows the distress of the soldiers who took part in the war against armadillos in the Zhou Dynasty. He can't go home to rest: "It's the armadillo. I don't want to live in this house, so I'm embarrassed. " "The king's business is a waste of time. Worried, I can't do it. " All I want to do all day is go home as soon as possible. However, watching the days go by, there is no hope of going home, and a person is sad. "Return at dusk", "Return at heart" and "Return at sunset". I finally look forward to the day when I go home. On the way home, there were many snowflakes floating in the sky. His body was hungry and thirsty, and his heart was full of sadness: "I went there, and the willows said goodbye." Now think about it, it's raining again. " The road is muddy, hungry and thirsty. I feel sad in my heart. I don't know that I am sad. "It was spring when he went to be a soldier, and the willows were swaying in the wind, as if to send him, but as if to keep him; It was winter when he returned to his hometown, and it was snowing and frosting, which seemed to show welcome and indifference. These four sentences have been highly praised by later generations of scholars, such as Xie Xuan in Jin Dynasty, who considered them the best poems in The Book of Songs (see Shi Shuo Xin Yu Literature). The custom of sending willows to people who travel far seems to have originated from this poem, because this poem combines willows with people who travel far for the first time, giving people the impression that willows leave people. It should be noted that such works in The Book of Songs cannot simply be called "anti-war poems". Because although this poem expresses boredom with military life and nostalgia for peaceful family life, it does not directly express opposition to the war and reprimand those who claim to serve. The mood in the poem is mainly sadness, and there is almost no anger. This is because, from a collective point of view, joining the army is an obligation that individuals must fulfill, even if it hinders the personal happiness of soldiers, there is nothing they can do. This feature can be seen more clearly in Feng Wei Bo Xi: Bo Xi is clumsy and the country is stubborn. Bo was also the first king. Being an uncle is like flying. Is there any ointment? Who is suitable for it? It's raining, it's raining and the sun is shining. I am willing to talk, I am willing to take the first disease. How to get the grass, say the back of the tree. I am willing to think about it, which makes me feel very uncomfortable. This poem was written in a feminine tone. She is proud of her husband, because he is the "leader of the country" and can be the "forerunner of the king", and she is miserable because of her husband's departure and the destruction of family life. The emotion expressed by the poet is restrained and true.
Among the national styles, the most concentrated poems are about love and marriage. In the era of The Book of Songs, the restrictions on the communication between men and women in some areas were not as severe as those in later generations. From this, we can see the scenes of free trysts and love between boys and girls in these poems, such as "Calling Naman with Death": there are dead birds in the wild, covered by white grass, and women fall in love with spring, which is lured by good luck. There is a park in the forest and a dead deer in the wild. White grass is pure, and there are women like jade. "I feel very comfortable and detached, and I don't feel embarrassed or scream." A hunting man lured a "jade girl" in the forest. The woman advised the man not to be reckless and not to disturb the dog, showing a subtle psychology of joy and fear. Another example is "The Quiet Girl in the Wind": Quiet girl, I am in the corner of the city. Deliberately hiding for me to find, scratching my head. The quiet girl looks good. Give me a tong tube. Red has a bright red color. Love it is really a bright color. This country exploits me, Meili Yi and is rare. It is not as beautiful as weeds, and beauty gives people deep affection. A pair of lovers met in the corner of the city, but when the man arrived, the woman deliberately hid, so anxious that the man "squatted" down, and the woman came out and gave him a "Tong Guan"-it is not clear what it is now, but the meaning of a token of love, and the man can't help but be surprised by this "Tong Guan". But after all, the social contract system is gradually tightening, and lovers' actions should be restrained. "General Zheng Feng" wrote: If you are a general, you will never surpass me and lose my tree! How dare you love and fear my parents? Zhong kehuai, the words of parents, is also awesome! Neutron is her beloved lover. But she didn't dare to meet him casually, and she didn't allow him to climb trees and walls. Just because parents are awesome, in the latter two overlapping chapters, "brothers" are awesome and "talkative" is awesome. With so many "awesome" forces, what can couples do? So we see a lot of love poems in "National Wind", which sing about the lost and sentimental love that can be met but not sought. In the eyes of future generations, this may be a subtle artistic expression, but on that day, I am afraid it is mainly a natural expression of suppressed emotions. Bright moon, outstanding people, Shu Yao corrected me, which made me feel sad! ("Chen Chu") White dew 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 There are trees in the south, so don't think much. There are women on the Han River who want to pursue the impossible. The Hanshui River is so vast that it is impossible to cross it. The river is so long that it is impossible to take a raft. (Nan Zhou Han Guang) The artistic style of all poems is not formed for no reason. Bright and warm style must be the product of emotional freedom; Implicit expression is always the result of emotional depression. This is especially true in the early stage of literary development, that is, when people have not consciously pursued diverse artistic styles.
There are many poems describing the love life of husband and wife in Guo Feng. Just like in "Ge Sheng in Tang Dynasty", my late husband's wife said, "Summer, winter nights, after being a hundred years old, return to my hometown." Her experience is sympathetic. But there are also men who are eager to abandon their wives. In that era when women had no status, the fate of being abandoned by their wives was even more tragic. Meng in harmony in Tai Feng are two of the most famous poems about divorcing a wife. "Gu Feng" is a sad cry of a kind and weak woman, which tells how she worked hard to manage the housework for her husband and struggled through the poor days. Her family is well, people are old, and her husband has a new love and kicked himself out. When you leave your in-laws' house, how can you leave it, because Zach has been recalling the past. This poem describes a typical virtuous and patient China woman. Self-protection tells a woman's painful experience from falling in love with someone to getting married and being abandoned. Everything is written in turn, and the context is very clear. First of all, there is a person smiling.