An Overview of the Development of China's Ancient Poetry

(1) China's poems in the pre-Qin period were produced before the invention of writing, and gradually formed and developed in people's labor, singing and dancing. Poetry originated from ballads, which were only sung orally in ancient times, without written records. The original poems are basically not recorded. The song "Breaking Bamboo, Continuing Bamboo, Flying Soil and Chasing it" in Wu Yue Chun Qiu and Gou Jian's Conspiracy Biography is considered to be a relatively primitive hunting song, but this is just a guess. The development of pre-Qin poetry has gone through a long process from oral to written, from folk to court, from collective singing to poet creation. 1. The Book of Songs The Zhou Dynasty set up a special poetry collector for the ritual and music system to collect ballads from all over the country during the Spring and Autumn Period; Nobles wrote and presented poems for the purpose of ancestor worship, feasting, sending troops, hunting and allegory. , and composed poems around the 6th century BC. Poetry anthology is the earliest poetry anthology in China. There are 305 * * * poems (there are also 6 poems with topics and no content, which are called sheng poems), so it is also called "300 poems". Since the Han Dynasty, it has been regarded as a classic by Confucianism, so it is called the Book of Songs. Mao Heng in Han Dynasty annotated The Book of Songs, so it was also called Mao Shi. Most of the authors of the poems in The Book of Songs cannot be verified. The poems recorded in The Book of Songs have a long time span, covering more than 500 years of social life from the early Western Zhou Dynasty (BC 1 1 century) to the mid-Spring and Autumn Period (6th century BC), covering a wide area, from the north of the Yellow River to Jianghan Valley. In the Han Dynasty, there were poems by Lu, Qi and Han, which were written by scholars, followed by Shi Mao. After the popularity, three poets, Qi, Lu and Han, passed away one after another. Many people have interpreted the Book of Songs in the past dynasties, such as Zhuxi's Biography of Poetry in the Song Dynasty, Wang Fuzhi's The Book of Songs in the Qing Dynasty, Ma's Notes on Mao's Poems and Wang Xianxuan's Poems. The Book of Songs is divided into three parts: style, elegance and ode. "Wind" is also called "national wind", and a group of * * has 15, which is called the fifteen-country wind. It is a folk song from all over the country. "Wind" is the general term for music. 15 group is not music from 15 countries, but music from more than ten regions. The national wind includes 160 music songs of,, Yi, Wei, Wang, Zheng, Qi, Wei, Tang, Qin, Qian, Chen and Cao. The national wind was a popular local song at that time, with local color. In terms of content, most of them are folk songs. The authors are mostly folk singers, but there are also some nobles. This part of literature has the highest achievements, including praising love, labor and other beautiful things, complaining and angry about homesickness, thinking about people, and opposing oppression and bullying. Ya *** 105, divided into Ya 3 1 and 74 articles, mostly for noble sacrifice poems, praying for a good year and praising Zude. "Elegant" means "positive", and this kind of music is regarded as "positive tone", which is intended to show the difference from music in other places. Xiaoya also has some folk songs. Ode is a poem dedicated to the ancestral temple. It is a piece of music in which nobles worship ghosts and gods in temples and praise the merits of rulers. Dance should be accompanied when playing. It is divided into Zhou Song, Truffles and Ode to Shang, with 40 articles in total. Among them, Song of Zhou (3 1 piece) is considered to be a work of the Western Zhou Dynasty, mostly written before King Zhao of Zhou. 4 pieces of Truffles, probably works by Lu Xigong; Shang Fu is considered to be the work of Song State before the Spring and Autumn Period. The poems in Ya and Ode are of great value to our study of early history, religion and society. Regarding the classification of poems in The Book of Songs, there is a saying of "four beginnings and six meanings". "Four Beginnings" refers to four top poems: Feng, Elegance, Ode. "Six meanings" refers to "wind, elegance, praise, fu, comparison and glory". "Fu, Bi and Xing" are the expressions in The Book of Songs. Fu is a thing, describing the process of one thing. "Bi" is a metaphor, using one thing as a metaphor for another. "Xing" is the association from one thing to another. Confucius once summarized the purpose of the Book of Songs as "innocent thoughts" and educated his disciples and children to read the Book of Songs as their standard of speech and action. Among the pre-Qin philosophers, many people quoted The Book of Songs, such as Mencius, Xunzi, Mozi, Zhuangzi and Han Feizi. Quote the sentences in the Book of Songs to enhance your persuasiveness. Later, The Book of Songs was regarded as a classic by Confucianism and became one of the Six Classics (including Poetry, Calligraphy, Rites, Yue, Yi, Spring and Autumn) and Five Classics (without Yue). 2. "Songs of the South" During the Warring States Period, Qu Yuan wrote poems with "Songs of the South", which marked a higher development stage of China's poetry from folk collective singing to independent creation of poets. "The Sao of Qu and Song Dynasties is written in Chu language, which is a Chu sound, a Chu land, and a Chu object, so it can be described as Chu Ci." This new poem with distinctive Chu culture color, which was created by the poet, pushed China's poetry forward a big step. The pre-Qin works collected in Chu Ci were written by two poets, Qu Yuan and Song Yu. Poets' works are generally richer in thought, more delicate in emotion and more exquisite in art than folk simple singing because of their personal talent, high cultural accomplishment and inheritance of artistic heritage. Qu Yuan and Song Yu's works, "If you express your feelings and grievances, you will be depressed and susceptible; Leaving home will be embarrassing and difficult to conceive; On the landscape, you can get its appearance by following the sound; Speaking of seasonal climate, you can see it from the text "(Liu Xie's Wen Xin Diao Long | Distinguishing Sao). Qu yuan, in particular, took the meaning of classics and made his own big words. His works are large in scale and magnificent in style, which are the product of the positive results of the integration of North and South cultures. Qu Yuan's Sao poems are typical works of romanticism. The passionate pursuit of ideals, the explosive self-dialogue of love and hate, and the childlike heart of the motherland are all contained in bold and unrestrained words and grand structures. The poet boldly galloped his imagination, fused myths and legends, historical stories, natural phenomena and his own experiences, and created an unprecedented magical and magnificent fantasy world. Qu Yuan's works have an outstanding and unique personality. The formation of this romantic feature is inseparable from the cultural tradition of Chu State. Witchcraft prevailed in Chu, and the court and folk sacrifices made witches "make songs, have fun, and entertain the gods with inspiration". This kind of music with primitive religious flavor is naturally a hotbed of romantic masterpieces. For example, "Nine Songs", its predecessor is a folk song offering sacrifices to gods in Yuanxiang area. From the realism of The Book of Songs to the romanticism of Qu Yuan is a milestone in the development of China's poetry. Qu Yuan's Sao-style poems arouse interest and use metaphors to compare interest, which inherits and develops the tradition of comparing interest in The Book of Songs. The metaphor in The Book of Songs is relatively simple, while the metaphor in The Songs of the South is symbolic and often becomes an image system. The comparison of vanilla beauty in Li Sao is an example. Chu Yuan is a mountainous country in Zexiang, during which there are many waves and mountains. The strangeness of these mountains and rivers is enough to shake the soul and urge good words. Sao-style poems break through the fixed format of the four-character poems in the Book of Songs, with long and flexible sentence patterns, rigorous chapter amplification and beautiful and appropriate words, which is a great liberation of the poetic style after the Book of Songs. In the pre-Qin period, The Book of Songs and The Songs of the South were juxtaposed, which were two lofty coordinates of realism and romanticism in the history of China's poetry. However, Sao-style poetry has broken through the fixed format of four-character poems in The Book of Songs, with long and flexible sentence patterns, enlarged and rigorous chapters, gorgeous and appropriate poems, which is a great liberation of poetic style after The Book of Songs. Some people say that China's poems in past dynasties are "different from his ancestors", which shows its influence on later poems. …………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………