The main expression methods of Fu, Bi and Xing in the Book of Songs are also the main expression methods of ancient Chinese poetry. The first person to put forward this statement was "Zhou Li·Chun Guan". Later, "Preface to Mao's Poems" inherited this view. In terms of formulation, they all confuse three content styles (Feng, Ya, Song) and three expression methods (Fu, Bi, Xing). They are collectively called Six Poems or Six Meanings, and their concepts are relatively vague. Until the Tang Dynasty, Kong Yingda's "Mao Shi Zhengyi" said: "Feng, Ya, and Song are different styles of poetry; Fu, Bi, and Xing are different styles of poetry. Those with different sizes are combined into six meanings, Fu, Bi, and Xing. Bi and Xing are the uses of poetry, and Feng, Ya, and Song are the formation of poetry. These three things are used to achieve these three things, so they are called the same meaning and have no separate chapters." This is why the three bodies and the three methods are combined. To distinguish them more accurately, this view continues to be used. There are no more than two explanations for Fu, Bi and Xing. One explanation is that Fu, Bi, Xing are closely connected with political enlightenment, beauty, satire and admonishment. The first person to make this explanation was Zheng Xuan of the Han Dynasty. The positive significance of this interpretation is that it has a direct enlightening effect on the theory of beauty and beauty advocated by Chen Ziang, Bai Juyi and others in the Tang Dynasty; the negative impact is that it led many later poetry commentators to stray from the artistic image to one-sidedly pursue poetry. The so-called small words mean great things. Another explanation is to interpret Fu, Bi, and Xing as pure artistic thinking and expression techniques. The first person to make this explanation was Zheng Zhong in the Han Dynasty. He regarded "Bi" as a metaphor in rhetoric and "Xing" as a metaphor in rhetoric. It is regarded as a method of asking "plants, trees, birds and animals to see the meaning". This interpretation was inherited by many scholars in later generations, such as Zhi Yu in the Jin Dynasty, Li Zhongmeng and Zhu Xi in the Song Dynasty, etc. Their statements more accurately summarized the basic characteristics of Fu, Bi and Xing as expression techniques. The induction and research of Fu, Bi and Xing are of great significance in the development of ancient Chinese poetry theory and poetry creation. It not only makes the theoretical understanding of poetic artistic thinking and expression methods increasingly profound and perfect, but also promotes the increasingly rich and perfect poetry in creation, and plays a positive role in promoting the development of ancient poetry. Specifically: intertextuality is one of the unique rhetorical figures in ancient Chinese. It is in two or several parallel phrases or sentences with the same or similar structure. The words in the corresponding positions complement each other, penetrate each other, and imply each other. rhetorical techniques. The use of intertext can enrich the content of the article and make the expression of the article more profound. There are many example sentences using intertext in middle school Chinese textbooks. To accurately understand these sentences, you must first understand the basic knowledge about intertext. The common forms of intertextuality are as follows, which are explained separately with the example sentences in the textbook: 1. Intertextuality in this sentence: It means that some words in the same sentence echo each other and make sense together. For example: "The master dismounted and the guest was on the boat, and he raised his wine to drink without the orchestra. ("Pipa Xing")" In the previous sentence, "host" and "guest" are complementary, which means that the host and the guest dismounted and boarded the boat together. 2. Couplet intertextuality: refers to the fact that the upper and lower sentences imply words for each other, setting off each other and echoing the textual meaning. For example: "The general died in a hundred battles, and the strong man returned after ten years. ("Mulan Poetry")" The words "general" and "strong man" in the sentence are complementary, which means that the general and the strong man returned after ten years of fighting; "The sword is held in the left hand" The "left hand" and the "right hand" in "The Peacock Flying Southeast" are complementary, which means that one hand holds the knife and ruler and the other hand holds the silk ribbon; ("The Peacock Flies Southeast") "Chao" and "Wan" are intertextual, which means that the embroidered skirt and single-piece shirt are made in one day; "Pine and cypress are planted on the east and west, and sycamores are planted on the left and right." "East and West" and "left and right" in "Flying to the Southeast" complement each other, which means that pines, cypresses and sycamores are planted in all directions; "Avoid tigers in the morning and long snakes in the evening" ("The Road to Shu is Difficult"). "Complementary," meaning that we have to avoid tigers and snakes all the time; "Qin is bright and the moon is clear at Han, and the people who have marched thousands of miles have not yet returned ("Crossing the Wall")" in the first sentence of "Qin" and "Han". Complementarity means that the bright moon of the Qin and Han Dynasties shines on the passes of the Qin and Han Dynasties. 3. Parallel intertextuality: refers to the words in three or more sentences that complement each other and make sense together. For example: "Buy horses in the east market, buy saddles in the west market, buy bridles in the south market, and buy long whips in the north market. ("Mulan Poems")" There are four words "East City", "West City", "South City" and "North City" Complementing each other means going to the southeast, northwest and other markets to buy horses, saddles, bridles and long whips. 4. Chapter-to-chapter intertextuality: refers to taking the complete meaning apart and putting it into each chapter. When understanding, the contents of each chapter should be referenced to each other and complement each other. This kind of usage is more common in the "Book of Songs", such as: "Kankan cuts the tanxi -; Kankan cuts the spokes -; Kankan cuts the wheel -. ("The Book of Songs·Wei Feng·Fatan") In "cut Tan", "cut the spokes" and "cut the wheels", they complement each other, which means cutting down the wood used to build the car. Intertextual rhetorical devices do not belong to the eight common rhetorical devices, but they are often used in middle school Chinese textbooks. Therefore, understanding the form and function of intertextual rhetoric will be of great help to us to better understand the text. Fu is a basic technique of ancient poetry that is also known as Bixing. Fu Chen, one is to lay out the story. Arrangement is the abbreviation of layout and arrangement. In longer poems, presentation and parallelism are often used together. Arrangement refers to a series of closely related landscape objects, events, characters, and character behaviors in a certain order, forming a group of sentences with basically the same structure and basically the same tone. It can be written vividly and delicately, it can also concentrate and strengthen the momentum of speech, and it can also exaggerate a certain environment, atmosphere and emotion.
In Fu style, especially the rich and gorgeous Han Fu, fu method is widely used. Han Yuefu and some five-character poems of the Han Dynasty also influenced each other with Han Fu, and combined elaboration and parallelism to complement each other. Bifu and bixing are three traditional techniques in my country. Bifu is the most basic technique and the most commonly used. Generally speaking, the metaphorical things used for comparison are more vivid, concrete, clear and familiar to people than the ontological things being compared, making it easier for people to associate and imagine. Xingxing, first mention other things to trigger the words to be chanted. In terms of characteristics, there are two situations: direct rise and rise, and rise and rise with ratio; in terms of usage, there are two forms: rise and rise at the beginning of the chapter and rise and conclude.