This paper attempts to link the poet's association with the style of The Book of Songs to examine the internal principle of Bi Xing, and holds that Bi Xing, as the two most basic ways of conception in The Book of Songs, is related to the thinking mode of ancestors and the special structure of four fonts. Through the comprehensive analysis of the relationship between Xing sentence and Ying sentence, this paper points out that although Shi Mao's traditional poetic interpretation and Wen Yiduo's argot theory have their own rationality, they are both lost in attachment, which confuses the difference between Bi Xing and Bi Xing. Xing's association basically belongs to the simple and intuitive level of feeling, experience and logic. The basic characteristics of the four-character poem determine that the corresponding structure of chapters and sentences commonly used by Bi Xing is most conducive to strengthening its sense of rhythm, so its relationship with Bi Xing is closer than that of all kinds of poems in later generations.
Bixing in The Book of Songs has been an old topic for thousands of years. From the Han and Wei Dynasties to the late Qing Dynasty, there were numerous discussions about the definition of Bi Xing, among which the definitions of Liu Xie and Zhu have always been recognized by the academic circles because they generally contain people's basic understanding. However, there is no clear statement about the practice of practice in each section of the Book of Songs. Since Mao Chuan and Zheng Xuan in the Han Dynasty, Kong in the Tang Dynasty, Zhu in the Song Dynasty, Yao Jiheng and Fang Yurun in the Qing Dynasty, the interpretation of the contents of the Book of Songs has experienced many major changes and repetitions. The revolution of ancient literature research in the last century began with the interpretation of the Book of Songs. People gradually realize that the national style and some elegant and popular poems in the Book of Songs are folk songs, so the understanding of antithesis has changed accordingly. In recent years, some scholars at home and abroad have studied the Book of Songs from the perspectives of human culturology, folklore, religion and archaeology with reference to Mr. Wen Yiduo's unique insights. In addition to people's traditional understanding of metaphor in The Book of Songs, it also opens up a new horizon of the theory of argot. Although there are still many differences among those who hold this new view in the specific chapter of The Book of Songs, with the deepening of research, scholars have begun to explore the occurrence principle of Bi Xing from the perspectives of primitive religious consciousness and symbolic thinking mode, and put forward many enlightening opinions. The question this paper tries to explain is: Why is Bi Xing widely used as a basic expression in China's earliest four-character poems? In other words, as the two major features of The Book of Songs, is there an inevitable relationship between Siyan and Bixing?
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In the complicated explanation of Bi Xing since ancient times, there has always been a train of thought interspersed intermittently to explore the internal mechanism of Bi Xing. For example, Liu Xie first distinguished the two from the perspective of attaching importance to Bixing and rejuvenating feelings, and thought about the relationship between Bixing and Bixing from the perspective of "metaphor is in sound, square is in appearance, imitation is in heart, and Bixing is useless". The first part explains Bi Xing's creative principles in theory. Su Zhe's On Poetry tries to explain that the appearance of xing is the trigger of the situation at that time from the psychology of xing. Zheng Qiao's "Six Classics on the Olympics, Reading Poetry Reform" said that "what you see is what you feel, and you don't seek a plan" (4), and the effect is similar. In the first half of the last century, represented by Gu Jiegang, it was argued that the rise of the prosperous times had nothing to do with words, but only the beginning of rhyme. Zhu Ziqing pointed out that the rise of the prosperous times was because the psychology of early people was relatively simple and there was only emotional connection. Liu Dabai agrees with this statement. Xu said more clearly: "Comparison is the natural result of the relationship between theme and objective things, and it is arranged by rationality in emotional reflection." "Xing is introduced by the direct activities of feelings. ..... Unlike Bi, the two are connected by the same road, but are directly connected and polluted by feelings. ⑦ They noticed that the differences between Bixing and Bixing were discussed from the level of emotion and thinking. As Mr. Zhao Zhiyang said: "Compared with previous formal discussions, this psychological and sensory exploration of the origin of Xing Poetry seems to have gained an opportunity and found its true colors." Unfortunately, today these gentlemen have no more specific and in-depth argument. In recent years, some works on the causes of Bi Xing have further developed these viewpoints, but they all focus on theoretical explanation. The argumentation methods adopted are generally examples, but they are not strong enough in empirical support. The author believes that the explanation of the principle of contrast should be based on the comprehensive analysis of the comparison of 300 Poems, especially the comparison of "Xing Style". Mao Zhuan is the first annotation to mark Bi Xing style, and it is also the basis for later scholars to define Bi Xing. Therefore, it is the first step to study the stylistic standards of Mao Zhuan. Based on Mao Gong's understanding of xingyi characters, this paper investigates the emotional and thinking relationship between xingyi characters and xingyi characters, and analyzes them one by one in Mao Chuan's works. It is pointed out that Mao Gong's judgment of formal beauty is based on the sensory connection between sound and form, the logical connection between the essence and cause of things, and the logical relationship between syntax. Since then, the styles marked by scholars in past dynasties have different understandings of the content, but they still take Mao Gong's basic standards as the standard. It can be seen that Bi Xing can not be simply distinguished from the psychological level of reason and emotion, nor can it be separated from formal factors. However, the concept of Bi Xing mentioned by Shi Mao School is intertwined with the dependency of Confucianism. Then, in the case of many new interpretations of The Book of Songs, how to explore the internal principle of Bi Xing by integrating psychological feelings and creative forms? The author still chooses to focus on the relationship between metaphor and metaphor, sentence-making and sentence-responding, because this is an angle that can take into account the poet's association mode and expression form.
Although many standard lines of Mao CCBA are close to metaphor and even far-fetched, there are many problems of confusion and omission, but later generations know that the basic characteristics of lines are related to the connection between lines and sentences. Scholars' explanations of various concepts of Xing also come from this. However, due to the great differences in the understanding of the text, various schools did not solve the specific problems that are difficult to distinguish between comparison and xing, fu and xing when analyzing their works, which led to many controversies. Of course, if we follow the theory of "tone" and "prosperity" which originated in Zheng Qiao and prevailed in the ancient history debate school, there is no need to discuss these issues, because this school basically advocates that prosperity has nothing to do with literature. But this statement is too simple and absolute after all, and there is no way to explain all the text contents of the Book of Songs. Therefore, this paper mainly adopts the text explanation recognized by most contemporary scholars, and also absorbs the reasonable explanation in argot theory.
Although Xing is the focus of Bi Xing's problem, it is beneficial to first examine the association mode of Bi Xing and see the connection and difference between them in comparison with Xing. Syntactically, the relationship between figurative images and figurative meanings in The Book of Songs is different from that between evocative sentences and responsive sentences. Basically, the first two sentences in each chapter are evocative, while the last two sentences should be responsive, but the expressions are different. This point has been discussed before, and there is no need to resign. From Liu Xie to modern scholars, it is emphasized that the essence of comparison is attached to rationality, that is, there is a rational connection between metaphor and metaphor. In fact, in the connection between image and meaning, there are two ways of association between comparison and xing from the sound and image state and the logic of things. It's just that the analogy relationship between figurative image and figurative meaning is relatively certain, and the way of association is to extract some similarities between them for analogy. The most common idea is to figuratively compare things with abstract ideas, such as Liu Xie's Taking the Wisdom of Both, Drawing inferences from others, Teaching a Fool to Draw inferences from others, taking "not like can teach", "It takes perseverance to sweep the local records" and so on. In addition, such as "Xiaoya Xiang Bo", Luo Zhi was slandered by Kimbe; Xiao Ya Heming compares other people's experiences to "stones from other mountains can attack jade". Shuo Shuo found that the essence of Shuo's behavior is similar to that of the person who regained it. In Tianbao, Xiaoya, "the moon remains unchanged, the sun rises, the longevity of Nanshan, and the luxury of pine and cypress", celebrating people's longevity and prosperity with the eternity of the sun, the moon, the mountains and the pines. This persistence really needs to be refined through simple rational thinking. There is also a comparison of summing up daily life experience. For example, Xiaoya Xiaoman's "Dare not attack the tiger, dare not rely on the river" and "Treading on thin ice with fear" are all experiences of "distress" in life; Xiaoya teaches that "promoting wood without teaching is like painting", which means that it is unnecessary to do things, and it is also a rational understanding of accumulated experience.
But there are also many comparisons, only the association of appearance and feeling, and there is no reasonable arrangement. In addition to Liu Xie's "Ma as snow" and "Two clothes as dance", Feng Weishuo's Man is typical, with the emphasis on "Soft hands, skin as fat, collar as dragonfly, teeth as rhinoceros, and a cicada's head as a moth's eyebrow". In Xiaoya's thoughts, "Like wings, like spines, like birds, like leather? Si Fei "and other metaphors to describe the palace is the same. "Nan Zhou Keep" is a metaphor for the prosperity of the descendants of locusts, which is also a similar national association. Most of the wonderful metaphors in The Book of Songs lie in the contrast of feelings. For example, Liu Xie said that "you can write a number to make a phone call" is full of imitations, and "you can't wash clothes to imitate troubles" imitates troubles. Xiaoya Green Fly is a metaphor for filthy feelings such as gossip. Some metaphors also have comic exaggeration effect, such as Xiaoya Xiang Bo Nanji's big mouth and Xiaoya's beautiful rhetoric, which shows that the poet is very sensitive to sound and shape.
From the above typical examples of poetic metaphor, the principle of metaphor is that the poet wants to explain a meaning or describe a feeling, and then materialize it with some characteristics of metaphor. From this point of view, it is very accurate for Liu Xie to use "attached" and "cut" to illustrate the relationship between metaphor and meaning. Therefore, concreteness itself is an image with definite morphological attributes, and the concrete meaning given to readers is also a clear concept. Because metaphor is a comparison of meaning, not necessarily what you see and hear in front of you, regardless of time.
Judging from the theme of Mao Gong An, except for the obvious attachment and immediate appearance, the associative way and proportion of Xing Sentence and Ying Sentence are basically the same in terms of sound, appearance and logic, which is the main reason why they are difficult to distinguish. For example, according to the modern interpretation of the Book of Songs, the relationship between sentences is actually in these aspects. Therefore, many banks can adopt the "bank ratio" standard of Zhu, Yan Jidao, Yao Jiheng and others, which can better illustrate its nature of comparison. The association of Xing focuses more on the subtle care of psychological feelings, rather than making this feeling definite and concrete with concrete images, which is an important difference between Xing and Bi. We might as well quote several common emotional sentences in the Book of Songs to examine this point:
1, and the feeling of youth and prosperity, the sentence of taking pictures, flowers are the most. Such as "Nan Zhou Yao Tao" and "Zhao Nan He Bi? Yi is a beautiful feeling that the bride should marry in her prime with rich and bright flowers; With the gradual decline of plums, With Plums has enhanced the sense of urgency that women will be in their prime; The graceful mulberry leaves in Feng Weimeng and Xiaoya Sanchi remind people of the delicious youth like tender mulberry. In Morning Wind Zebei, the yearning for beauty originated from Qingpu and Lotus. In the novel "There is a Monsoon", graceful and gentle girls are innocent, and they are all associated with women in their prime. In contrast, the sentence "Shun Hua" in Zheng Feng has a lesbian car directly compares hibiscus flowers to women, and the way of association is the same as Xing. Although the characteristics of hibiscus flowers bloom early and wither late enrich the connotation of metaphor itself, it is limited to the freshness of women's faces; The above sentences contain richer associations and feelings about women's looks and charm, and even youth. If there is a metaphor for the prosperity of women with flowers, there is no direct comparison between the other prosperity. For example, the tall and lush mugwort in "Xiaoya, Beijing, Zhejiang and Hubei" may be seen in the dating environment, but it also makes people vaguely feel the youthful charm of a gentleman; In addition, all kinds of prosperous personnel situations can be promoted with bright and prosperous images, such as Xiaoya Long Beach, which promotes brotherhood with bright flowers in Tang Di; "Xiaoya Shangshang Zhehua" rose with the scene of flowers and lush foliage, and the sage assisted the gentleman's grand occasion; In Husang Xiaoya, the bright feathers of bluebirds make gentlemen happy, which is a blessing from God. "Feng Weiqiao" uses two kinds of plants to promote a perfect gentleman: King Chu and Xu Xu, who are lush by the water. At the foot of Daya Mountain, dense hazel trees and eucalyptus trees on the mountain promote the happiness of gentlemen. The images of these sentences can't be clearly and specifically compared with the people they are interested in, but only the coordination or correlation of feelings or atmosphere. Corresponding to this is the sense of decline: what is the relationship between the scene of Cao Feng's weeds and wormwood soaking in the spring water and the poet's sigh for Zhou Jing? Although it can be inferred from the previous chapter that "the four countries have kings", it cannot be said that this scene is a clear metaphor for the specific meaning of people's difficulties, but the sense of personnel decline is naturally caused by the desolation of vilen's scene, just like this. And "Daya Sang Rou": "Go to Sang Rou and wait for ten days. Compared with "picking willows and smashing the people here", the latter metaphor is very clear, obviously comparing the sufferings of the people with the picking of sparse mulberry. Of course, there are also examples in the Book of Songs that take prosperity as a contrast, such as "Constant Flowers", which use blooming golden flowers to revive inner sadness. Although the technique has changed, it is a comparison of psychological feelings, not a real comparison.
2. Stars in harmony with emotions and temperament: This image is more like the wind. For example, the "violent" and "hazy" strokes in The Last Wind and the "gloomy" sky are related to the rhyme needs of each chapter, but they can also be related to the mania of thinkers and the gloomy mood of sleepless people. Although there are different interpretations of "harmony but difference" (Mao Jie) and "violence" (Yao Jie), Gu Feng, which brings rainy weather, is an atmosphere where couples get along. The warm south wind in Li Feng Kai Feng makes people feel the warmth of maternal love. The north wind mixed with rain and snow in The North Wind highlights the bleak mood of people fleeing together. The third chapter of Xiaoya Gu Feng is about the violence of the wind from small to large, destroying vegetation, echoing the gradual process of emotion from anxiety to fear to resentment. The last chapter of Xiao Ya Guo E's "Fierce South Mountain" and Xiao Ya's "Fierce Winter" in April set off their own difficult situation and self-evident grief. Perhaps the weather changes expressed by storms or wind and rain are the most likely to arouse people's feelings, which is also quite common in later poems. Mao Gong's "The Call of the Southern Grasshopper" is marked as Xing Style. Judging from the jumping and following of the grass insects, it is obvious that Dr. Qing's wife followed her husband, which is a kind of attachment. Therefore, later generations think that Fu is only a feeling of spring and autumn season changes (Ouyang Xiu, Zhu, Yao Jiheng, etc. ). However, from the fifth chapter of Xiaoya's Driving, this poem has also been used to preach that "I am worried when I don't see a gentleman, but I will fall when I see a gentleman". I am afraid that in addition to expressing the season, it can also be associated with the subtle mood of jumping when I want to see a gentleman.
3. Association caused by continuity and attachment: for example, the long kudzu vine spreading on the mound in Li Qiu and the continuous kudzu vine along the river in Feng Wang are reminiscent of "uncles and brothers" who are connected by the same root after all; In Xiaoya Nanyou Jiayu, sugar-coated haws are wrapped around Polygonum cuspidatum, and the subject and object are connected; In "Xiaoya's moths", sweet gourd and female Luo are entangled, attached to the two brothers; In Daya, the continuous situation of Guafu clan is endless.
4, the rise of loneliness: "Tang Feng You Du" and "Tang Feng You Du" are both images of a pear tree, the former is a lonely man without a brother's sigh, while the latter wants to travel with a gentleman, "Xiaoya You Du" is also full of leaves and pears, but laments that her husband is outside. The images in the three poems are the same, but their forms and meanings are different. It can be seen that Xing's image has no clear metaphorical meaning, but the loneliness of the three poems is the same. It can also be seen that the interests of similar images can cause different similar feelings of the object.
In addition to the above categories, there are many styles of expressing other feelings in The Book of Songs. For example, Feng Wei Crane thrives on Crane's delicate branches and leaves, taking care of the boy's sense of weakness; The dryness of Leonurus japonicus in Friends of Feng Wang in the Middle Ages is similar to the haggard appearance of abandoned wives. There are more great bustard feathers than trees in Tang Style Great Bustard Feathers, and the "big head" flying up and down in Four Eyes of Xiaoya gives people a sense of insecurity, which can be promoted to a servant who can't rest in military affairs, because the sense of insecurity is the same. Both Zhu and Yao think that "No General Car" is a popular work. The heavy feeling of driving a car and the dusty feeling of inviting dust have aroused people's real experience of heavy feeling and nausea, and they feel particularly keen.
From the above analysis, we can see that there is a great difference between sentence-making and form-meaning in the clarity or subtlety of sensory connection, which is clearer and more appropriate.
Often close to proportion. However, whether it is clear or implicit, it does not seek to accurately state a meaning or representation, but expresses a feeling and emotion that is difficult to describe simply through the indirect sentence-meaning connection between sentences, which can cause richer associations. The feelings of the same kind can be expressed by different images, and the same image can also have different meanings, that is to say, a certain feeling does not necessarily have a fixed and clear image corresponding to it. This may be related to the fact that Xing's image mostly comes from what you see. Comparison is taking pictures, with infinite additional meaning and definite meaning. This is the connection and difference of Bi Xing in lyricism. At present, there is a popular view in the study of the Book of Songs that the "images" in the Book of Songs are mostly symbolic, which is related to the argot theory to be discussed below. However, the above examples show that many images in the Book of Songs have no fixed meaning correspondence with the sense of interest (so-called conceptual content), so the essence and symbol of interest are different.
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There is also an association of stars, which is mainly based on daily life experience. This association is closely related to the living environment and customs. Many common images are interpreted as argot by contemporary scholars. Such as fish, wages, foxes, pheasants, geese, and even wind and rain, kudzu root and so on. Almost all of them are related to marriage and reproduction. Argot does exist among the people, and the custom of describing gender relations with argot can still be seen occasionally in contemporary rural areas. The argot theory has also formed a theory from explaining the symbolic meaning of fish to sex. The relationship between fish and marriage has long been noticed by Mao Chuan. His interpretation of "Feng Weizhu" is: "Catch fish by fishing, like a woman waiting for a gift to get married." 12 However, it was not until Wen Yiduo's works, such as Talking about Fish, The Book of Songs and The Book of Changes, that later Mao poetry scholars gave full play to this point. Appeared, and then put forward that "fish in the Book of Changes is mostly a symbol of sex, and ancient men and women used fish as a metaphor" in connection with the textual research of the hexagrams in the Book of Changes. Since 1980s, some argot works at home and abroad have further developed Wen Yiduo's theory, "to explore the depth of Zhou poets' observation and association". The goal is correct, and many explanations are reasonable, which can really make some previously unknown works meaningful. However, we often go too far and fall into another misunderstanding. Therefore, it is necessary to analyze it to understand its reasonable composition.
Fish is indeed the most common image in The Book of Songs. Many of them are related to the family life of the couple. According to argot theory, every sentence that uses fish is a kind of association of husband and wife's sexual life, and fish-related "cloud and water are also symbols of sex" 15. "The methods used are also divided into several levels: fish is the anonymous name of lovers, cooking fish is a metaphor for acacia, and fishing is a metaphor for courtship. Then expand the filling, all fishing rods, fishing rods, birds and animals that eat fish and so on. , but also given the nature of argot, changeable use skills, and so on. Fish also has another meaning symbolizing good harvest, and it is also because fish has "endless and powerful fecundity". Therefore, "when talking about this fish, we should associate it with harvest, reproduction, reproduction, marriage and mate selection", which is considered to be the "primitive way of thinking" and "mysterious religious concept" of early people 17. As far as the symbolic metaphor essence of argot is concerned, the relationship between image acquisition and symbolic meaning is direct and fixed. The most commonly used argot and pun is Yuefu folk songs in the Southern Dynasties. Between metaphor and metaphor, or between one word and another word, only the direct analogy relationship of sound or nature is taken. As the oldest folk song, The Book of Songs should be analogized directly if argot is used. There are indeed many works in the Book of Songs that take fish as the image and are directly related to the meaning of courtship, such as Fen and He Bi? " "Yi" and "Hengmen" directly mean marriage or courtship. However, if the rest of the poems are explained by the symbolic meaning of fish, they are not so direct, and many of them have to go around in circles, such as Guan Guan Dui (Guan Ju), Storks Singing in the Ridge (Dongshan) and Yuanyang on the beam, patting its left wing (Xiaoya). It is not as good as a pair of pigeons to think about waterfowl fishing for courtship. Say "nine? Fish and trout "("1997 ") is married and doesn't want to explain the contents of the article. "Who can cook fish? "Pot of water" is the feeling of wanting to return to the West. Although it contains thoughts about his wife, it is understood as "cooking fish or eating fish is a metaphor for lovesickness or knotting" 18. This analogy and association can only give people vulgar sensory stimulation, and there is no poetry and beauty at all. As for the mermaid, the mermaid in the south, there is no sheep flower and money. If it is related to the concept of bumper harvest, it makes sense. If it is further related to the reproduction of future generations, it is too far from the text.
If we adjust the thinking of argot theory and start from the living environment and daily experience of early people, these common sentences may be closer to the original intention of the poem. Judging from the associative way of body expression in the first part of this paper, no matter whether the connection between body and response is clear or vague, the sensory connection between image and meaning is always direct, without tortuous extension or indirect association. The same should be true of images obtained from the most common things in daily life, such as fish. Judging from the living conditions reflected in the Book of Songs, although there were many descriptions about farming at that time, gathering, fishing and hunting still occupied a considerable proportion in the lives of early people. The richness of plants described in The Book of Songs is far beyond the comparison of later poems, and it is a natural reflection of the collection and life in the poem. There are also many chapters about fish and water in The Book of Songs, which shows that the living environment of early people at that time was water, or the tribes from Wang Ji to the Central Plains in the Zhou Dynasty lived by the river. The rivers mentioned in the Book of Songs alone include abundant water, lacquered water, meandering water, Luoshui, Huaishui, Jianghan, Shuijing, Panshui, Qishui, Qinshui and Xu Shui. , and articles such as Daya, Wang Wenyou, Gongliu and Mian. Both write that the ancestors of the Zhou Dynasty led the tribe to move to a new place. It can be seen that living by water is the minimum condition for early people to live. Therefore, almost all the scenes written in the Book of Songs revolve around these streams, which gave birth to the custom of being a baby. Men and women on both sides of the strait can't fall in love and get married without water, even if they abandon their wives and go home. It is natural that many love songs are based on water. Fishery has also become one of the most important livelihoods of early humans. Since the Neolithic Age, many fish patterns have appeared in a large number of pottery unearthed in ancient times, which is also the reason. "Zhou Songqian" praised many kinds of fish in lacquer water and muddy water, "to reward sacrifices and attract scenic blessings". Fish and sheep not only become the most commonly used sacrifices to seek happiness, but also reflect a better life. It can be seen from Yuli and Nanjiayu that Zhou people yearn for a happy life with fish and wine. "Xiaoya has no sheep" also said: "Adults occupy it, many people are full of fish, and they are rich and wealthy, and their families are surrounded." Fish is a sign of a good year, and a good year can make families prosper. In Guan Zi Xiao Wen, the handmaid guessed that Ning Qi's poem "Wide water breeds fish, and there is no room at home, but I live in peace" means "desire for room". Fang Note: "Everyone gets a spouse and lives in his room" just shows that even if the relationship between fish and water is used to describe courtship, the foothold of justice is also "living in his room". Xiaoya Caiqing wrote that thoughtful women miss their husbands who are away from home: "Your son is at the inauguration ceremony, his son is fishing, and he is talking about ropes. What is the fishing dimension? Wei Yu and Yu Yu, Wei Yu and Yu Yu, a very detailed audience. " The main idea is obviously that I hope my husband can sing with his wife and live a stable and prosperous fishing and hunting life together. If interpreted as the argot of looking forward to sexual life, it will not only fail to see the depth of its association, but also lose the innocent and simple meaning in the poem. Therefore, it is not so much a "mysterious concept" of reproduction as a basic desire to own a house and live and work in peace and contentment. So you can not only get married, but also find a husband who misses his family, his wife and entertain guests. In this way, we can explain the poem that begins with fish more directly. Fish algae with fish as the theme is also a humorous concern between the happiness view that fish depends on algae and Wang's happiness view in Haojiang. This kind of happiness reflected by fish shows that fish has accumulated into an image closely related to stable home life in people's daily life wishes and experiences.
The argot says that there is still a salary for sexual relations. Hu et al., a scholar of Mao poetry in Qing Dynasty, found the relationship between salary and marriage in The Book of Songs 19, but it was not confirmed by literature. Later, Wen Yiduo quoted Zhuangzi's "Candle Pay" to explain the custom and etiquette of using candles in ancient weddings, such as "holding a candle in front of a horse", and expounded the relationship between salary and weddings. He also quoted Guo Dongyou from the ancient Yuefu "White-headed Song" to explain the image of "salary" in Jianghan, Rufen and Dongshan, which also helped to understand the meaning of poetry more thoroughly. But this theory is widely used in all the explanations of "salary", which is far-fetched. For example, the poem "Tai Feng Kai Feng" and "Xiaoya Dadong" are linked together, and this poem is obviously about a mother raising a child, which is said to be caused by the divorce of husband and wife. The third chapter of "Dadong" only laments the fatigue of "fearing others" and has nothing to do with marriage. In this paper, the poem "Water in the Positive Wind and Yang" laments that "brothers are fresh at last, and they respect each other like guests", so don't believe that people are alienated. However, due to the "symbolic meaning" of wages, it is also interpreted as husband-wife relationship. In addition, although some poems have the literal meaning of no salary, all the trees that can be used as firewood have also been extended to the symbolic meaning of salary, which is the same as the idea of talking about fish. In fact, the theory of Hu and Wen just shows that most poems related to marriage are based on salary, which is precisely because of the accumulation of life experience of wedding. In Qifeng, it thrives on salary and cold spring; Just because wages and spring are related to the hard life of my mother to fetch water and firewood every day. In addition, courtship is very common in rural areas in spring, and reeds for weddings must be made of fiber plants such as goose, hemp and bamboo. Because Hwa-Sung Do is related to hemp women workers, it is often used to pursue "Ji Shu's" poems, which are bitter and bitter, and can be used to float after hard work. Naturally, "the economy is deeply involved" (. These are the experiences of daily life, which can cause direct association.