The Book of Songs? Zheng Feng? Original text and appreciation of amethyst
original text
Green and green, leisurely in my heart. Even if I don't go, I'd rather not send a message.
Green and purple. I've been thinking about it for a long time. If I never visit you, can't you take the initiative?
Pick Xi up to Xi ⑤, at the gate of Xi ⑤. A day without seeing your face seems as long as March!
To annotate ...
Zi: The woman in the poem refers to her lover. Collar. Or read it? Hey? , which is the belt of Yu Pei.
2 calm: worried.
③ Better not: Why not? Heir: Shi Wen quoted Han Shi? Hey? , send also. ? Sound? Of information.
4 Pei: refers to the ribbon.
5 instead: the appearance of contact lenses.
⑥ City Que: The closed buildings on both sides of the city gate are places where men and women meet.
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Because Confucius once said? Poetry is 300. In short, thinking is innocent? (The Analects of Confucius), the scholar put every poem in the Book of Songs on it? Naively think? The aperture of spirit makes The Book of Songs a Confucian moral textbook. For example, what do you think of Ji Zi and Preface to Shi Mao? If the school is abolished, how can it not be repaired in troubled times? . Kong Shu further explained:? When Zheng Guo failed to repair the school, scholars dispersed one after another, either going or staying. Therefore, people who stay in Chen Qi hate the words of those who leave, so as to stab the abolition of the school. These three chapters are all Chen's words of blaming him for leaving. ? But we really can't see anything in the poem. School garbage? Signs. Zhu pointed out: this is also an obscene poem. ? (Biography of Poems) Obviously, this is a sentence of mutual affection between men and women, which corrects the previous misinterpretation.
This poem is about a woman waiting for her lover on the tower. The whole poem consists of three chapters, using flashback technique. The first two chapters are based on? Me? The tone of self-reported pregnancy. ? Qingqing hippo chef? ,? Qing Pei? , is a pair of clothes representing lovers. The other person's clothes left such a deep impression on her that she couldn't forget it. I can imagine her longing for love. Now I can't go to the appointment because I am blocked, so I have to wait for my lover to pick me up. I can see through the autumn water, but I can't see a shadow. My deep love can't help but turn into melancholy and bitterness: even if I didn't go to see you, why can't you send a message? Even if I didn't come to you, why couldn't you come on your own initiative? The third chapter points out the location, and writes that she was upset by waiting for her lover to come, and walked back and forth, feeling that although she had not seen each other for only one day, it seemed as long as three months.
Close to Wu Kaisheng Cloud:? Old comment: The first two chapters are wonderful and touching. The last chapter is tone sandhi. ? (The Meaning of Poetry Will Pass) Although it tells the beauty of the composition of this poem, it has not been well understood. The whole poem is less than 50 words, but the heroine's anxiety when waiting for her lover seems to be on the verge. This artistic effect is achieved because the poet used a lot of psychological descriptions in his creation. The performance of this woman's movements in the poem is just to use? Pick? 、? Da? The word "two words" is mainly used to describe her psychological activities. For example, there are no complaints about lovers in the first two chapters. What about the last chapter? Haven't seen you for a day, like March? Monologue Two complaints, with? Longitudinal me? With what? Zi Ning? For example, there is no lack of reserve in the eager feeling, which gives birth to infinite imagination. It can be said that less words mean more. At the end, the inner loneliness, through exaggerated rhetoric skills, causes the contrast between subjective time and objective time, thus vividly showing its strong emotional psychology, which can be said to be amazing because of exaggeration and modification. Psychological description techniques developed incisively and vividly in the later literary world, and this poem is the first to trace the source. So Qian Zhongshu pointed out:? Amethyst cloud:? Even if I don't go, I'd rather not send a message than come. Blame yourself and expect others. It was described in later novels. ?
The Book of Songs? Zheng Feng? Ji Zi's Artistic Features
The Book of Songs? Zheng Feng? Jpua 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 just the Book of Songs? Zheng Feng? The important symbol of Ji Zi's artistic features also opened 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 touching things to stimulate words, and objective things trigger poets' emotions and cause poets to sing, so it is often at the beginning of poems. 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, in which comparison is used, or fu is used after arousing. Zheng Feng? This is very common in amethyst. Fu can narrate and express emotion. Bixing is used to express skills and feelings. In Fu, Bixing and Xing, Fu is the foundation.
The Book of Songs? Zheng Feng? This comparison is also widely used in amethyst, which is easy to understand. Among them, the figurative poems in Beijing, such as The Wind is Slight, The Mouse of Feng Weishuo and The Heming of Xiao Ya, are unique. And a part of a poem uses contrast, which is even more vivid. Feng Wei's Talking about Man depicts the magnificent Zhuang Jiang with a series of metaphors. The hands are soft, the skin is solidified, the collar is like a salamander, the teeth are like rhinoceros, and the cicada's head is like a moth eyebrow. ? The beauty's fingers, skin, neck, teeth, forehead and eyebrows are more detailed than those of tender white grass buds, frozen oil, longicorn beetles, neat white roe deer, broad-fronted worms and silkworm moths. ? Smile and expect? Two sentences of dynamic description make this beautiful scene vivid. "Calling Ye Nan to death" is not a local metaphor, but? Is there a woman like jade? In contrast, people will associate the beauty and gentleness of girls with the whiteness and gentleness of jewelry. Use concrete actions and things to compare unspeakable emotions and unique things, in the Book of Songs? Zheng Feng? This is also common in amethyst. ? Is the center drunk? 、? The center is suffocating? ("Feng Wang Xiao Xiao"), to? Drunk? 、? Choke? Metaphor is indescribable anxiety; ? Smart words? ("Xiaoya's Clever Words")? Is it so sweet? (Gu Feng)? Smart words? 、? Gan? These indescribable forms are shown in concrete images? Spring? 、? Hey? . 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 concrete poetic language and reproduce colorful images.
The Book of Songs? Zheng Feng? In zizi? Xing? The application of "Xing Sentence" is more complicated, and some of them only play the role of regulating rhythm and arousing emotions on the switch, and the connection between Xing Sentence and the following is not obvious. Such as Xiaoya Yuanyang: Yuanyang is in the beam, slapping 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. "Hundred Flowers in Xiaoya" starts with the same sentence, but expresses the feelings of resentment: Yuanyang snuggles in the weir, and its beak reaches into the left wing. This man has no conscience and three are disgusting. ? This has nothing to do with the original intention, but with the rhyme of the first poem, which aroused the following interest. Is it the Book of Songs? Zheng Feng? A simple sentence by Zi Jin. 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 ambient atmosphere or attach a symbolic central theme. "Zheng You Weeds" writes that lovers are in the countryside? Meet each other late? ：
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"? Peach flies away and burns its glory? Qi Xing, lush peach branches and gorgeous peach blossoms are in harmony with the bride's youthful beauty and the lively and festive wedding. And peach blossoms (? Burn its glory? ), strong (? Really? ), Wang (? Is it Ye Zhenzhen? ), it can also be understood as the bride's good wish to have a full house of children and grandchildren and a happy family after marriage. 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. The Book of Songs? Zheng Feng? A lot of interest in amethyst is this kind of visual and associative picture. Bixing is an indirect way to express feelings. Later generations often refer to Bixing together as The Book of Songs? Zheng Feng? In Amethyst, thoughts and feelings are integrated into images through association and imagination.
The Book of Songs? Zheng Feng? The works with the most skillful techniques of fu, bi and xing have reached the artistic realm of blending scenes, things and me, which has direct inspiration for the creation of poetic artistic conception in later generations, such as Qin Bamboo Slips;
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 It is sad and sad, and the Millennium is not 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 chuan? Zhu's Biography of Poetry is regarded as Fu. In fact, the two are not contradictory. It was described by Fu after Xing. Dewdrops of reeds by the river condensed into frost, which touched the poet's thoughts? Yiren? Love, and the subtle changes in the scenery in the three chapters not only point out the poet's pursuit? Yiren? Render three riverside pictures in late autumn morning at the time and place. As time goes by, the poet's homesickness becomes more and more urgent. Yiren? Mood. 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 Book of Songs? Zheng Feng? The sentence pattern of Zi Jin is mainly four characters, four independent sentences, and two to eight characters. Two beats and four sentences have a strong sense of rhythm, which constitutes the Book of Songs? Zheng Feng? The basic unit of amethyst's neat rhythm. The four-character sentence has a clear rhythm and is slightly shorter, while the rhyme of the complex sentence and the double tone seems to go back and forth, and the rhythm is slow. The Book of Songs? Zheng Feng? The repeated chapters and sentences in Zi Jin are not only convenient for repeated singing around the same melody, but also have good effects in meaning expression and rhetoric.
The Book of Songs? Zheng Feng? Many heavy chapters in Zi Jin overlap in the same poem, and only a few words are changed to show the progress of action or the change of emotion. Only six verbs are changed in the three chapters to describe the whole process of picking chrysanthemums. The round structure and flexible words put the different links of the collection into three chapters, which complement each other and form a whole in meaning, singing and sighing, which is very graceful. Fang Yurun's Primitive Book of Songs has a cloud:? Readers try to calm down and recite this poem, listening to the women of the Tian family, in the 3355 s, in the plain embroidery field, the wind is beautiful, the songs are answered, and the sounds are lingering. If they are far away, they are intermittent. I wonder why their feelings are moving and why their spirit is broad. Then there is no need to be detailed and complacent about this poem. ?
Apart from the overlap of the same poem, The Book of Songs? Zheng Feng? Ji Zi also has an article with two overlapping chapters, such as Zheng Fengfeng's Four Chapters, which consists of two overlapping chapters, the first two chapters are one and the last two chapters are one; Or in an article, there are both heavy chapters and heavy chapters, such as the four chapters of Nan Zhou Juan Er, where the first chapter does not overlap and the last three chapters are heavy chapters.
The Book of Songs? Zheng Feng? Some overlapping sentences in Zi Jin use the same poem in different chapters. For example, overlapping sentences are used in all four chapters in Fufeng Dongshan? I'm in Dongshan and I'm not coming back. I come from the east, zero rain? Nan Zhou hanbitsoft begins with all three chapters? Han Zhikuo, incredible; The length of Jiang is incredible. The ending. Some are in the same chapter, overlapping the same or similar poems, such as "Zhao Nan? Jiang Yousi is both a heavy chapter and a tautology. The three chapters overlap in the penultimate sentence and the third sentence respectively? No, I know, okay? 、? No, me and? 、? No, it's me, okay? .
The Book of Songs? Zheng Feng? The overlap of amethyst is also called tautology. ? Logging Ding Ding, birds singing? (Xiaoya Journal), with? Tintin? 、? Hey? Imitate logging and birdsong. ? Recalling the original exploration, the wind in Yang Liuyi was blowing in the wind; Now back on the road, snowflakes are flying everywhere. The road is muddy and difficult to walk, and people are thirsty and hungry. ? With what? Yiyi? 、? Feifei? The state of willows 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. In The Book of Songs, there are many double rhymes, such as? Uneven? 、? Passion? 、? Hey? 、? Li Lie? Wait, rhyme? What did you do wrong? 、? Difference pool? 、? Plan ahead? 、? Live late? Wait, there are some two-syllable rhymes used in the words of a poem. Like what? What's the point? (Feng Wei Olympic Games), Burn it? (leaves),? Where do you live? (Peak Drum),? Hey hey? (Qi Feng Fu Tian) and so on.
The Book of Songs? Zheng Feng? Zi Jin rhymes in various ways. It is common that a chapter rhymes with only one rhyme part, with alternate sentences and even sentences, which is the most common rhyming way in later Chinese 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 use more than two rhymes, and even some poems have no rhyme.
The Book of Songs? Zheng Feng? Amethyst language not only has musical beauty, but also has good effects in ideographic and rhetorical aspects. 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. Such as "ju", will it be adopted? The action of ju is broken down and expressed by six verbs:? Mining, beginning to ask for it; Yes, there are. ? Hey, pick up; Stroke, take your son. ? Store it with clothes and eat it. When it is between the belts, put it in the clothes. ? Six verbs vividly describe the scene of picking chrysanthemums. The rhetorical devices commonly used in later generations can be found in the Book of Songs: exaggeration? Who said that the river is wide and no knives are allowed? (Feng Wei and Guang), right? Like what? Women are unhappy, too. What do literati do? ("Feng Wei for self-protection"), double as? So different rooms died at the same point? (Feng Wang Cart) and so on.
In short, The Book of Songs? Zheng Feng? Amethyst has a vivid and colorful language form and can be used frequently. Less is more? 、? Love is clear? (Wen Xin Diao Long looks for it). 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 customs, such as? Hey? 、? What? 、? Stop? 、? Think? 、? Huh? 、? And then what? 、? Hey? 、? What else? And so on, these modal particles have also appeared in Ya and Ode, but they are not as varied as those in National Customs. 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, and it was written by nobles, which embodies? Yala? "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 closer to the spoken language at that time.
In short, Fu, Bi and Xing are the rules of sentence patterns, mainly four characters, with different language styles of elegance and praise.