Keywords: the artistic technique "The Book of Songs"
Fu, Bi and Xing are three artistic expressions in The Book of Songs, which are unique and have great influence on later generations. The earliest reference to "Fu, Pen and Xing" is "Zhou Li-Chun Guan": "The Taishi teaches six poems, namely, Japanese style, Japanese Fu, Japanese pen, Japanese prosperity, Japanese elegance and Japanese ode, based on Liu De, with six laws as the sound." The "six poems" here refer to six melodic music songs. The preface to Mao's poems in Han Dynasty renamed "Six Poems" as "Six Meanings". Later generations regarded "Fu, Bi and Xing" as three typical expressions of The Book of Songs * 1.
First, the concept of Fu Bixing in The Book of Songs and its evolution.
Fu, Bi and Xing are commonly used in The Book of Songs.
(1) Expression of "Fu": The original meaning of Fu is tribute, and "Fu was born as the son of heaven". When a vassal pays tribute to the emperor, he must make a list, which must be comprehensive and clear before the emperor can accept it according to the list. Tribute objects are used for sacrifice, and they must be arranged one by one in front of the gods. Later, the arrangement of this substance gradually transformed into the arrangement of language and words. Since then, "Fu" has become a language expression, expressing people and things, emotions and foreign objects in a "direct way". Zheng Xuan interpreted "Fu" as "paving the way" and "telling the truth" in the master's Six Poems. Confucius, a scholar in the Tang Dynasty, believed that "poetry is straight" and "poetry is straight, and if it is not metaphorical, it is endowed with words".
(2) Expression of "Bi": "Bi" refers to metaphor, analogy, metonymy, exaggeration, etc. This is not a simple metaphor, but covers a wide range, as Zhu said.
(3) the expression of "Xing": "Xing" is what Zhu said, that is, "Xing, talk about other things first, give a speech and sing". "Xing" means "Qi", which is the token of family affection, sustenance and association. Its function is implicit and profound, and it is inexhaustible. Some emotions are easily exhausted if expressed directly. Entrusting emotions in images will make readers unconsciously infected from images, which will have endless effects.
Second, the application and types of Fu Bixing in The Book of Songs
<1> and < fu > are the meanings of < laying out >, which are statements and narratives.
From The Book of Songs Feng Wei Bo Xi
Boxi Xi, the country of Xi. Bo was also the first king. At the beginning of the poem, a woman proudly describes her husband. "Bo" was originally the first among the brothers, that is, the boss. Here it is used as a wife's address to her husband, with a sense of intimacy in the tone. This husband is proud of: first, he is a national hero, and at the same time, because he is very brave, he acts as the pioneer of the king (thus, he is regarded as a warrior of the aristocratic class). The source of pride, I'm afraid, is mainly in the latter point. If Bo is tall and brave, but he winces when the war happens, his wife has nothing to boast about publicly. In fact, the glory known by ordinary people, that is, the glory recognized by society, individuals do not have much ability to make independent judgments in this respect.
"Er", "Fu" and "Bi" are the most basic expressions in all poems, while "Xing" is a unique expression in The Book of Songs and even China's poems. The original meaning of the word "Xing" is "Qi". The word "xing" in The Book of Songs is interpreted by Zhu as "talking about other things first, so as to stimulate what is sung", that is, paving the way for what is sung by other things. It is often used at the beginning of a poem or a chapter. About the most primitive "xing" is just a beginning, which has nothing to do with the following, but shows drift and association for no reason.
Just like "coming from my uncle's east, my head is like a canopy." Without ointment, who is suitable for it? "The second chapter writes that since her husband entered the war, his wife stopped dressing herself at home, leaving her hair-the most decorative part of a woman's body-messy like grass. This later became the most typical expression of China's ancient love poems, such as "From the monarch, the mirror is dark" (Xu Gan's Room Thinking), "Combing my hair all day long" (Liu Yong's Ding Feng), "Combing my hair inadvertently" (Li Qingzhao's "Recalling the Xiao on the Phoenix Tower"), and so on. This is a temporary destruction of a woman's beauty, which shows that she is closed to the opposite sex, that is, loyal to her husband. However, as a soldier's wife, this move has a further meaning. In ancient times, women were not allowed to go to war, so the wife's loyalty to her husband who joined the army actually indirectly showed her loyalty to the country-this is not only an individual behavior, but also a group-the requirements of the country. Suppose a soldier risks his life to fight in the front, while his wife dresses up in the rear all day, even if there is no illegal act, he can't feel at ease. This is not only dangerous to the family, but also extremely unfavorable to the country. Therefore, the society especially needs to encourage military wives to show complete loyalty to their husbands. No matter who wrote this poem (it may be a woman's self-report or someone else's plan), it meets the above requirements. Later, Du Fu wrote in Divorce that a bride told her husband who joined the army that she would "never do anything again" and "a gentleman should wash red makeup" so that he could feel at ease in the war, which is in line with this article.
Poetry must have true feelings, otherwise it will not impress people; However, the poet's feelings are not freely expressed and are often restricted by social concepts. Take "Bo Xi" for example. If you blindly write that your wife is proud of her husband's service to the country, it will make people feel unnatural-at least inhuman; On the other hand, if we blindly write about the wife's desire for her husband, and even have an aversion to war (in fact, it is by no means impossible), it does not meet the requirements of the society at that time. So in the end, it became like this: the strong feelings for relatives, after a sense of responsibility, became gentle, with deep pain and sadness, but no fierce resentment. Because the social background involved in this poem has existed for a long time in the history of China, its emotional expression has become a model of similar poems in later generations.
In terms of artistic conception, the whole poem adopts fu method, which is narrative and lyrical. Following the word "miss" closely, the yearning for women first changed from boasting to arousing the yearning for her husband, then from missing her husband who was careless to having a headache because of missing her husband, and then from having a headache to suffering from heart disease because of missing her husband, thus showing an ups and downs trend. The description is meticulous step by step, the feelings are deepened layer by layer, the plot is promoted layer by layer, and the inner conflict and conflict of the protagonist are constantly escalating, which not only has a clear context, but also conforms to the psychological logic of the characters, so that the characters have full spiritual connotation. At the same time, the poem is uneven and full of dialectical color.
Regarding the theme of this article, the preface of Shi Mao explains: "It is also a thorn. It is said that the gentleman's service is the forerunner of the king, and it is outdated (the same as "Return"). " Ideal politics should not make China people work too hard and ruin their family life. In fact, the so-called "thorn" in the poem is unfounded, but the Confucian political ideal expressed by the author is exactly in line with the heroine's wish in the poem.