(Quoted from Mao Shi Zheng Yi) He linked the technique of "Bi Xing" with the external images, and thought that "Bi Xing" was a rhetorical figure of speech, and "Xing" was a technique of "starting from the beginning", that is, relying on "plants, birds and animals to see the meaning". Although the discussion is simple, it generally captures the characteristics of artistic thinking and expression of "Bi Xing". Zheng Xuan's explanation is different. He believes: "Fu's words are spread, directly spreading the good and evil of today's politics and religion. Comparison, seeing today's loss, dare not criticize, take analogy. Xing, seeing the beauty of today, is too flattering, and persuade it with kindness. " (Justice in Mao's Poems)
Here, apart from saying that the characteristic of "Fu" is that the expression method is more realistic, other explanations are related to politics, education and aesthetics, which makes some expression methods become the characteristics of a specific style, which is inevitably far-fetched. The interpretation of The Book of Songs by Mao Zhuan and Jian Zheng often leaves the artistic image to seek the "great sense" of the monarch, the minister and the son. For example, the love poem Guan Ju is said to show the virtue that "the empresses say that they are happy gentlemen". This misinterpretation of "Fu, Bi and Xing" led Kong to disagree with Zheng Xuan's proposal. (Mao Shi is just) But Zheng Xuan's view that "Bi Xing" is the height of aesthetic irony is enlightening to the theory of "Bi Xing" advocated by Bai Juyi in Tang Dynasty. During the Wei, Jin, Southern and Northern Dynasties, the representatives who discussed "Fu, Bi and Xing" were mainly Zhiyu, Liu Xie and Zhong Rong. Zhiyu inherited Zheng Zhong's point of view and said, "The giver is also called Chen; Compared with others, the metaphor is also; Excited people have feelings. " (Selected Works, Volume 56) He also sharply criticized that Han Fu was not "based on emotion" but "based on form" and made full use of its luxury. The expression of "Fu" has been widely used and developed in the creative practice of Han Fu, forming a unique style, which is on the one hand; On the other hand, it also caused a considerable number of descriptions of the beauty of the court and the prosperity of hunting in Han Fu, so that they lacked profound and meaningful ideological content. Zhiyu's criticism of Han Fu hit the nail on the head. Because a large number of figurative words are used in Han Fu, it is easy to make people mistakenly think that Fu is closely related to ratio and seems to have nothing to do with Xing. Therefore, when talking about Han Fu, Liu Xie called it "Japanese comparison, forgetting the prosperity of the moon, learning small and abandoning the big", and the result was "comparing the body" and "ruining the interest"
In fact, the "comparison" mentioned here is the "comparison" in Fu. Because of this, and because China's ancient lyric poetry is far more developed than narrative poetry, people sometimes use "Bi Xing" instead of "Fu" to summarize the "three meanings" of poetry. Scholars in Song Dynasty made a thorough study of "Fu, Bi and Xing". Ouyang Xiu's Original Meaning of Poetry and Zheng Qiao's Argument on Poetry both criticized the incisive interpretation of poetry by China Confucianism. Particularly noteworthy are Li and Zhu, whose explanations of "Fu, Bi and Xing" have a great influence on later generations. Li believes: "Narrating things is endowed by expressions, and those who are full of feelings are also; Seeking the ratio of things is expression, and those who attach things to feelings are also; Touching things with emotion is called prosperity, and those who have feelings are also. " (Quoted from Hu Yin's Non-Harmony Sparse) He explained "Fu, Bi and Xing" from the perspectives of "describing things", "seeking things" and "touching things" respectively. The so-called "narration" is not only "putting facts", but also must be combined with "romance" to show the author's emotion and objective image incisively and vividly. This is a great progress compared with the traditional explanation, and it is more in line with the requirements of poetry creation for the expression of "Fu", thus having a positive impact on the study of "Fu" in later generations. In a few ancient narrative poems, there are also such examples. Such as 1745-word narrative poem Peacock Flying Southeast, the first two sentences begin with "Xing", and the whole story uses "Fu", which is vivid and superb, just as it is said: "The idea of watertight is repeated, and the Chinese language of more than a dozen people is mixed. (Origin of Ancient Poems) Later poems such as Mulan Poem in the Northern Dynasty, Shi Quguan by Du Fu, Selling Charcoal Weng by Bai Juyi, etc. all showed similar characteristics with the method of "Fu". The so-called "seeking things", that is, asking for and choosing objects to express feelings, is not only a matter of using metaphors to express the author's deep feelings. Such a "comparison" method will naturally have artistic appeal and will not become a pile of figurative rhetoric like Han Fu. The so-called "touching things", that is, the impulse to touch foreign things, arouses the author's subjective feelings, that is, what Mei said is "excited by things, excited by things" and "cynicism and evil thoughts are sent to plants and insects" ("Answering Han Sanzi's Poems on Six Jade Rus in China and North Korea"), which is inspired by foreign things to arouse feelings and soak emotions, and is placed in the described images. Obviously, Li's exposition on "Fu, Bi and Xing" has further developed than many of his previous explanations. His arguments were later quoted by Wang Yinglin in the Southern Song Dynasty, Wang Shizhen in the Ming Dynasty, Yang Shen's Poems of Sheng 'an, etc., and the opinions of later generations were mostly the extension and development of his views, with few new breakthroughs. Zhu's explanation of "Fu, Bi and Xing" is: "Fu is also for those who tell the truth"; "compare, compare this thing with another thing"; "Monkey, let the lyrics be sung first." (Biography of the Book of Songs) This is the same as what Huang Che said: "The giver arranges his affairs; Comparator, primer linkage; Xing, because things feel hair "(see" Poet Jade Chip "), basically the same. Although Zhu accurately explained the basic characteristics of "Fu, Bi and Xing" as a means of expression, his generalization was not as good as Li's explanation, which was more in line with the reality of literary creation. His statement had a great influence on later generations, mainly because his thoughts and theories were strongly advocated by the rulers in the late feudal society. Although Zhu also criticized some pedantic opinions in the Book of Songs of Han Confucianism, he also had pedantic opinions about his own poems. For example, in the Biography of Poetry, he commented on the poem Guanju and said, "Starry night." "King Zhou Zhiwen was born with holiness and thoughts of sainthood. From beginning to end, people in the palace saw that he had the virtue of leisure and chastity and pretended to be a poem. You say you are free, and you are integrated with Hezhou; Isn't this my fair lady a gentleman? To say harmony and happiness is respect, and to say sincerity and difference is also different. After all the words, it means to put (□) this cloud. " This analysis of the meaning of "Xing" in Guanju is obviously influenced by far-fetched associations in Preface to Poetry, Biography of Mao and Jian Zheng. And like Zhong Rong, he didn't notice the indispensable interaction between these three meanings in his creation. He often simply classifies a poem as "Ye Fu", "Bi Ye" and "Starry Night", and even decomposes "Songs of the South" in this way. As a result, he couldn't help but criticize and attracted ridicule from later generations. For example, Chen Tingzhuo said in "White Jade Zhai Thorn": "There are 300 wind poems ..... Later generations speculated that they were in the name of comparison, xing and fu, but the meaning of the poems turned gloomy. The son "Chu Ci" is also divided into chapters and juxtaposed with Xing Fu, which is particularly meaningless. "
It should be pointed out that this practice of discussing the so-called meanings of monarchs, ministers, fathers and sons, and couples outside the image without the specific artistic image of poetry is still relatively common after the Song Dynasty. Huang Tingjian once sharply criticized the phenomenon of explaining Du Fu's poems in the Song Dynasty: "Those who like to cut through, abandon their main idea, and take those who meet nymphs, plants, insects and fish, thinking that everything is entrusted." For example, if there is a code word in the world, I will entrust the poem of Zi Mei to the ground. " ("Daya Gallery") In the Southern Song Dynasty, Hu Zai's "Tiaoxi Fishing Hidden in Conghua" also recorded many things in this respect. Not only poems, but also words. For example, there were some problems in the theory of Changzhou Ci School in Qing Dynasty, and some viewpoints of Zhou Ji's theory of Ci were refuted by Wang Guowei. The rulers of the Qing dynasty even took over this method of attaching importance to piercing holes and vigorously built literary inquisitions more than once, which caused extremely bad consequences. The research on Fu Bixing in the Ming and Qing Dynasties is represented by Li Mengyang in the Ming Dynasty and Zhou Ji in the Qing Dynasty. Li Mengyang, the leader of the first seven sons of the Ming Dynasty, once quoted: "Poetry has six meanings and is more important than xing. Scholars are much more straightforward than students. What is this? It's too much to work hard on words out of a little affection. The road is stupid and the husband is solid, and there is no text. It is because it is awkward, groaning, chanting, walking, singing, eating, and singing. This is no different from that. It is nothing more than its feeling, and it is enough to see righteousness. " (Preface to Poetry) At that time, when poems lacking true feelings were popular, although Li Mengyang also advocated archaism, he also pointed out that "Bi Xing" came from true feelings and true poems were among the people. He advocated that orthodox poetry should learn from folk songs, which is correct. In the Qing Dynasty, Zhou Ji applied "Bi Xing" to the theory of Ci, and put forward the famous conclusion that "if you don't enter, you won't enter, and if you leave, you won't be expert" (On Miscellaneous Notes of Jiecunzhai Ci). The application of artistic thinking and expression means "competition" in creation. Poetry writing can not be without sustenance, nor can it be pursued deliberately, otherwise it will affect the appeal of the work. This opinion is also quite incisive. In addition, as Wang Fuzhi said, "Xing intentionally or unintentionally, Bi can't be carved" (□ Zhai Shi Hua), emphasizing the natural use of Bi Xing; Chen Qiyuan said, "Therefore, it is necessary to learn poor physical fitness and make Chinese characters flourish" (Shi Mao Ji Gu's Discrimination), emphasizing the importance of extensive life accumulation for the application of "Bi Xing"; Shen Xianglong believes that "Xing" means "borrowing scenery to express feelings" and "Bi" means "borrowing things to express ideas", which requires that "Bi Xing is connected" (Ci theory) and combines "Bi Xing" with feelings and scenery in artistic description. However, most of these discussions are sporadic, lacking particularly noteworthy views. As far as monographic research works are concerned, Chen Ling's The Book of Songs has some merits compared with Xing Jian's and Yao Jiheng's The Book of Songs.