First of all, The Book of Songs established the tradition of elegance in the history of China literature. The so-called "elegance" not only refers to the poetic content that is persistent in life and based on reality, but also refers to the euphemistic, gentle and sincere poetic style. Sima Qian said: "The national wind is immoral but not immoral, and Xiaoya complains but not chaotic." ("Historical Records? 6? 1 Biographies of Qu Yuan and Jia Sheng) explains the content of The Book of Songs, lyrical and vivid, and the mental state of being persistent but not excessively addicted to emotions. It encourages poets to make active use of the world, "feeling sad and happy, causing things", and opposes indulging in the absolute personal world. This is consistent with the ethical style advocated by Confucianism, so it is regarded as a classic by Confucianism and deeply infects the poetic concepts and feelings of later scholars. Under the influence of The Book of Songs, poetry has largely become the main way for China traditional literati to express their political attitudes and social feelings. This is what Confucius said: "Poetry can be complicated, can be observed, can be grouped and can be resentful" (The Analects of Confucius? 6? 1 Yang Huo). This makes China traditional literati become poets in essence, and poetry becomes an indispensable part of literati's life, which greatly promotes the development of poetry and makes poetry pay deep attention to real life. Influenced by the spirit of seeking truth from facts in The Book of Songs, later scholars often consciously resist the personal interests and formalism in poetry in theory and practice. Since the Tang Dynasty, there have been poetry innovation movements with the aim of "elegance" in all previous dynasties, which have had great social influence. "Elegance" has become the highest standard for evaluating poetry in traditional culture. For example, Li Bai and Du Fu, the two greatest poets in the history of ancient literature in China, both expressed their yearning for elegance. Li Bai said, "Who will fail me if I don't behave gracefully for a long time? "Du Fu said," Without cutting the virtual body, it is close to elegance "(the sixth part of" Drama is the six quatrains "). Moreover, Du Fu is called the greatest poet, in the eyes of the ancients, because his poems most typically embody the poetic ideal of elegance.
Secondly, "Bi Xing", as the most prominent artistic means in The Book of Songs, has a great influence on China's poetic skills. The poet pursues the realm of "words are in the eyes and ears, feelings are in the table of eight shortages", thus expanding the realm of poetry in many ways. In addition, "Bixing" is also integrated with sustenance, and it is called "Jixing" and has been given a special meaning. "Good luck" refers not only to rhetoric or artistic techniques, but also to the allegorical connotation of realistic politics contained in these artistic techniques. Poetry that blindly pursues poetic skills and ignores the ideological content of poetry will be criticized. For example, Chen Ziang in the Tang Dynasty said, "Poems between Qi and Liang Dynasties are gorgeous and complicated, but they are absolutely vulgar" (Preface to Bamboo Slips of Dong Zuoshi). "Bi Xing" requires and encourages poets to have a conscious sense of political criticism and express their political attitude through euphemism and generosity. Similarly, when understanding poetry, readers are also required to understand the political implications contained in poetry through analogy with images. This method of comparison and sustenance has greatly influenced China's traditional poetic thinking, especially in political lyric poetry and poetic theory.
Thirdly, the system and rhetorical devices of The Book of Songs were also inherited and developed by later poets. During the formation of The Book of Songs, the system of poetry collection was adopted many times in later generations. For example, in the Han Dynasty, Yuefu institutions were set up to collect and produce "songs and poems" with music and homophonic sounds, which were used for court rituals and music and also for observing folk customs. Yuefu poems in the Han Dynasty were preserved under this system, and of course the spirit of facing reality in folk songs was also preserved. The New Yuefu Movement of the Tang Dynasty poets at least expressed their trust and expectation for this ideal system. The four fonts in The Book of Songs are no longer dominant in later poems, but they have developed to a certain extent in Jiaozhi Temple in the early Han Dynasty and in the poems of many poets such as Cao Cao, Ji Kang and Eastern Jin Dynasty. In particular, Cao Cao endowed the four-character poem with new life with simple and elegant language and generous and sad feelings. Cao Cao often quotes the Book of Songs into sentences in his poems, which shows his intention to learn and inherit the Book of Songs. Others, such as rhyming forms and rhetorical devices, we can often see traces of the Book of Songs from later poems.