The Book of Songs has a lofty position and far-reaching influence in the history of China literature, which has laid a fine tradition of China's poetry and thus formed the national characteristics of China's poetry art.
First, realism and traditional spirit.
The Book of Songs is based on real social life, without fantasy and grotesque, and there are few supernatural myths. Sacrifice, feasting and farming described are the products of social economy, etiquette and music culture in Zhou Dynasty. The description of the current situation, war corvee, marriage and love shows the political situation, social life, customs and people's feelings of the Zhou Dynasty. This "hungry people sing about their food, and laborers sing about their affairs."
Second, the tradition of lyric poetry
Since the Book of Songs, lyric poetry has become one of the main forms of poetry.
Thirdly, elegance and literary innovation.
The enthusiasm for reality, strong political and moral consciousness and sincere and positive attitude towards life in The Book of Songs were inherited and carried forward by Qu Yuan, and were summarized as the spirit of elegance by later generations.
Later poets often advocate the spirit of elegance to carry out literary innovation. Chen Ziang lamented Qi Liang's "elegance", while Li Bai lamented that "elegance is not long enough, who can fail me?" Du Fu is "unconventional and elegant", Bai Juyi called Zhang Ji "elegance is better than fashion and never tasted empty talk", and many outstanding poets in the Tang Dynasty inherited the spirit of elegance. Moreover, this spirit extended from Lu You in the Song Dynasty to Huang Zunxian in the late Qing Dynasty.
Fourth, Fu Bixing's example.
The expression of "Fu, Bi and Xing" in The Book of Songs has been inherited and developed in the creation of ancient poetry, which has become an important feature of China's ancient poetry. The Book of Songs also proves the artistic creativity of working people with vivid facts. The overlapping forms and accurate, vivid and beautiful language of folk songs in The Book of Songs have been widely absorbed and used by later poets and writers. The Book of Songs, with its profound social content and beautiful artistic form, attracts the attention and reference of later scholars to folk songs. The flexible and diverse poetic forms and vivid and rich language of The Book of Songs have also had an important influence on various genres of literature in later generations. During the Wei and Jin Dynasties, Cao Cao, Ji Kang and others all studied the Book of Songs and wrote four-character poems. The rhymes of Fu, Fu, Prose and Ming in the history of literature are also related to The Book of Songs.
The birth of The Book of Songs (including its generation, collection and compilation) first created a new style in the history of China's poetry-four-character style. Before the Book of Songs, although poetry was born, it did not have its own fixed style, and it was still in oral form, generally dominated by two words; It was in The Book of Songs era that China's poetry really laid its own creative pattern and formed a relatively stable style. That is to say, the real start of China's poetry began in The Book of Songs era.
The Book of Songs not only created the first tangible historical stage in the history of China's poetry-four-character poems, but also influenced the poetry creation of later generations: First, the five-character poems, seven-character poems, especially five-character poems, were breakthroughs and expansions based on them; Second, even in the era of May 7th, there are still many four-character poems written by authors, which follow the form of The Book of Songs.
In terms of the rhythm of poetry, The Book of Songs has also set a precedent for later poetry, especially in the rhyming form and voice of poetry, which provides a paradigm and model for later poetry and has important value and significance in the history of poetry creation.
More importantly, The Book of Songs created the artistic style of portrait in its creation-it vividly portrayed and expressed the characteristics of things, people and society with its simple, true and vivid language, artistically reproduced the essence of society, and provided a model and reference paradigm for later literary creation (especially poetry creation). Specifically, The Book of Songs painted a vivid picture of social history for that time and later generations, truly reflected the face of ancient society, eulogized the industriousness and courage of ancient people, lashed the meanness of the ruling class, and left a three-dimensional and figurative picture of history for later generations. It is a rich and vivid ancient encyclopedia.
Extraterritorial influence
Hanshu records that during the Western Han Dynasty, many aristocratic children from western countries came to Chang 'an to study China culture. 1959- 1979 Among the documents unearthed in Turpan in Xinjiang, there is a remnant of Shi Mao, Jian Zheng and Xiaoya, which proved to be a relic of the 5th century. The old and new books of the Tang Dynasty also recorded that many Persians learned Chinese through the economic and cultural exchanges between China, West Asia and Rome along the Silk Road. Jing Jing, the author of "Chinese Monument" established in the second year of Tang Jianzhong (78 1), is Syrian. He quoted twenty or thirty places in the inscription, which proves that the Book of Songs has a long history from the Silk Road.
Cultural exchanges between China and Indo-China Peninsula and India-Pakistan subcontinent also began in the Han Dynasty. Emperor Wu conquered South Vietnam and divided it into nine counties, which promoted the enlightenment of the Han Dynasty. As the first of the Five Classics, The Book of Songs is bound to enter. During the long exchanges in ancient times, countries in these areas all had people familiar with Sinology. In Viet Nam, according to historical records, The Book of Songs was taken as the test content in the 10th Li Dynasty, and Xiaoya Qing Fei was taken as the topic in the 12th Li Dynasty. All scholars are familiar with The Book of Songs. Since 12 century, many versions of ancient Vietnamese documents have appeared. Poems and allusions in The Book of Songs are widely quoted in Vietnamese poems and literary stories, which has influenced the development of Vietnamese literature. Some idioms are preserved in modern Vietnamese.
During the Wei, Jin, Southern and Northern Dynasties, China's Five Classics were introduced into Korea. At that time, Baekje, Silla and Korea on the Korean peninsula were separated. According to "Southern History", in the seventh year of Datong in the Southern Dynasty (54 1), the envoys of Baekje Dynasty invited Liang to send doctors to teach and sent scholars to visit. In 765, Silla Dynasty stipulated that Shi Mao was one of the required books for officials. In 958, the Korean dynasty implemented the imperial examination system, and The Book of Songs was designated as an examination subject for scholars. Teaching The Book of Songs has been a trend in North Korea for centuries. By the 6th century A.D./KLOC-,Xu Mu, a North Korean scholar, had made an in-depth study of China's Confucian classics, still retaining his theory of "poetry" and fully implementing Confucius' thought of teaching poetry. /kloc-The compilation and publication of the first Korean book "Yan Yong in the Clear Autumn" in the early 8th century opened up a broad road for the creation of modern Korean poetry, and its preface clearly stated that its compilation was based on Confucius' thoughts and experience in compiling the Book of Songs. The Book of Songs is taught by the Chinese Department of 67 universities in South Korea, among which 34 universities offer the required or optional course "The Book of Songs".
During the Tang Dynasty, Japan sent envoys of the Tang Dynasty to study in Chang 'an. Later, China scholars gave lectures in Japan, which promoted the development of Japanese feudal culture. The first Japanese translation appeared in the 9th century. Since then, selection, complete translation and censorship have never stopped. The annotation, interpretation and translation of China's classics have become the academic atmosphere for centuries, which has made the Book of Songs widely circulated. The development of Japanese poetry is closely related to the Book of Songs, and the poetic style, content and style of the harmony songs are deeply influenced by the Book of Songs. —946) is almost a copy of Preface to Mao Poetry, and Tiancheng's translation is evaluated as faithful and elegant, which is welcomed by researchers and literary lovers. Japanese contemporary scholars established the Japanese Book of Songs Society in 1970s, and published The Book of Songs Research magazine.
The spread of The Book of Songs in Europe began in16th century, and was translated and introduced to European readers by missionaries in China. /kloc-Since the beginning of the 9th century, sinology in Europe with France as the center has been heating up, and the translation of The Book of Songs has shown a prosperous scene. All major European languages have been completely translated, and they tend to be elegant and accurate. There has always been a debate between prosody school and prosody school about prosody translation or prosody translation. Wei Li's translation can be regarded as a typical example of the pursuit of elegance in western translation, and the original can be translated into beautiful lyrics. In order to reflect the ideological and artistic quality of the original, disrupt the system of the original and the order of the works, the book of songs, as a representative of China's poetry, is reclassified according to the content, and the appendix also compares it with European poetry. Gao Benhan's translation can be regarded as a typical pursuit of "faithfulness". He is a linguist, devoted to exegetics, dialects, ancient rhymes and textual research of ancient documents. These two versions have been influenced in the West for decades.