The language of The Book of Songs not only has the beauty of music, but also has a good effect in ideographic and rhetoric.
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.
For example, in "Fuju", the action of picking Fuju is broken down, which is expressed by six verbs: "Pick, start looking; Yes, there are. " "Hey, pick it up; Hey, take your son. " "canthus, stored with clothes, holding.
It can be stored with clothes and put in the belt. "(Zhu's Biography of Poetry, Volume 1) The six verbs vividly describe the picture of picking beautiful places.
Figures of speech commonly used in later generations can be found in the Book of Songs: exaggeration, such as "He Guang, who is called, never use a knife" (Feng Wei He Guang); Contradictions, such as "women are unhappy, scholars do their best" ("Feng Wei protects himself").
The language form of The Book of Songs is vivid and colorful, which can often achieve "twice the result with half the effort" and "full of emotion" [13].
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, such as, zhi, zhi, die, Hu, er, yi and ye, are used in national customs. These modal particles have also appeared in Ya and Ode, but they are not as numerous and varied as those in National Custom.
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, written by nobles, which embodies the dignity of "Elegant Music". "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 close to the spoken language at that time.