A, fu, than, xing technique:
The application of Fu, Bi and Xing is not only an important symbol of the artistic features of The Book of Songs, but also opens 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.
In poetry creation, Fu, Bi and Xing are often used together to shape the artistic image of poetry and express the poet's feelings.
The application of "Xing" in The Book of Songs is complicated, and some of them only play the role of regulating rhythm and arousing emotions at the beginning, and the connection between Xing sentences and the following paragraphs is not obvious. Such as "Xiaoya Yuanyang": "Yuanyang is in the beam, hitting 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.
Xiaoya Baihua begins with the same sentence, but expresses resentment: "Yuanyang is in the beam, patting its left wing." The son is unscrupulous, and his virtue is two or three. "This has nothing to do with the original intention, but coordinates the rhyme of the first poem, causing the following rise, which is a relatively simple sentence in the Book of Songs.
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 Fengye Creep" is a charming girl, as fresh and lovely as 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", which begins with "Plum and Yao Yao, sparkling". The lush peach branches and gorgeous peach blossoms are in harmony with the bride's youthful beauty and lively wedding celebrations. Peach blossom ("burning its glory"), bear fruit ("solid") and flourish ("its Ye Zhenzhen"), which can also be understood as the bride's beautiful wish of having many children and grandchildren and a happy family.
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. In The Book of Songs, many images are vivid and memorable. Bixing is an indirect way to express feelings. Later generations often refer to Bixing as Bixing, which refers to the creative technique of expressing thoughts and feelings in the Book of Songs through association and imagination.
Among the works in The Book of Songs, the techniques of fu, bi and xing are used most skillfully, reaching the artistic realm of blending scenes, things and me, which has a direct inspiration for the creation of poetic artistic conception in later generations, such as Qin Jian, in which the subtle changes of scenery are written in three chapters, which not only points out the poet's pursuit? "Iraqis?" The time and place rendered three riverside pictures in late autumn morning, which set off the poet's more and more urgent feeling of thinking about "Iraqis" as time went by.
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.
Second, repeat chapters and sentences:
The sentence pattern of The Book of Songs is mainly four words, four sentences are independent chapters, and there are two to eight words in the middle. The two-beat four-sentence has a strong sense of rhythm and is the basic unit that constitutes the neat rhythm of the Book of Songs. Four-sentence rhythm is clear and short, while complex sentence and double-tone rhyme seem to be reciprocating, and the rhythm is relaxed and slow.
The repetitive structure of repeated chapters and sentences in The Book of Songs is not only convenient for repeated singing around the same melody, but also has a good effect on meaning expression and rhetoric. Many repeated chapters in The Book of Songs are all overlapped by the same chapter, and only a few words are changed to express the process of action or the change of mood.
For example, Nan Zhou's Secret only changed six verbs in three chapters, describing the whole process of picking tangerines. The structure and spirit of multi-fold ring? Live a variety of languages, adopt? Hey? The different links of Yi are divided into three chapters, which complement each other, caring, singing and sighing form a whole, which is very graceful.
Fang Yurun's "The Book of Songs Primitive Man" has a saying: "The reader tries to calm down and recite this poem, and suddenly listens to the Tian family woman. Plain embroidery field, sunny, group songs answer, lingering sound. If it is far away, if it is broken, I don't know why it is moving and why it is so bleak. Then this poem need not be detailed and complacent. "
Some overlapping sentences in The Book of Songs use the same poem in different chapters. For example, the four chapters of Dongshan use "I'm afraid of Dongshan, I won't go back." I'm from the east, and it's raining heavily. The three chapters of Nan Zhou Hanguang all end with "Han, you can't swim and think, Jiang Yongyi, you can't think".
Have a plenty of in the same chapter, overlapping the same or similar poems, such as "Zhao Nan Jiang Yousi", is not only a heavy chapter, but also a refrain. In the penultimate sentence and the third sentence of the third chapter, the words "without me", "without me and" without me "are repeatedly used.