Libro dei Canti

BookFormationProcess

Originofthename

Il Libro dei Cantici è stato trasformato in un libro nel bel mezzo del Periodo delle Primavere e degli Autunni. Originariamente era chiamato "La Poesia".

SimaQian ha anche registrato questo nome, come: "I trecento pezzi di" Poesie "sono stati probabilmente composti da saggi virtuosi".

Poiché ci sono 311 poesie registrate nella versione successiva, sono chiamate "Trecento Poesie" per la comodità della narrazione.

De generatione

"TheBookofSongs"isthefirstcollectionofpoemsinChina.TheearliestrecordisintheearlyyearsoftheWesternZhouDynasty,andthelatestworksareintheSpringandAutumnPeriod,spanningaboutfiveorsix.century.TheproductionareaiscenteredontheYellowRiverBasin,southtothenorthbankoftheYangtzeRiver,anddistributedinShaanxi,Gansu,Shanxi,Shandong,Hebei,Henan,Anhui,Hubeiandotherplaces.

Accordingtoexpertsinthehistoryofscriptures,theworksin"TheBookofSongs"wereproducedaftertheZhouWuWangdestroyedtheShang(1066BC).

"SongofZhou"wastheearliestintheera.ItwasproducedintheearlyyearsoftheWesternZhouDynasty.Itisaworkofaristocraticliterati.Itismainlycomposedofancestraltemplemusicandodetogods,andpartofitdescribesagriculturalproduction.

"Daya"isaproductoftheprosperousperiodoftheZhouDynastyandtheonlyepicinancientChina.Regardingthecreationtimeoftheeighteenarticlesof"Daya",variousopinionsdiffer:ZhengXuanbelievesthat"WenWangZhiShi"isapoemfromthetimesofWenWangandWuWang.ItisthepoetryofZhouGongandChengWang.ZhuXibelievesthat:"ZhengDaya"...itwasdecidedbyZhouGongwhenitwasproduced."Buttheyallbelievedthat"ZhengDaya"wasapoemintheearlyyearsoftheWesternZhouDynasty.

"Xiaoya"cameintobeingaftermovingtotheeastinthelateryearsoftheWesternZhouDynasty.

Ambo "SongofLu" et "SongofShang" producti sunt post ZhouDynastymovedeast(770BC).

Creator

Accordingtolegend,intheZhouDynasty,therewasanofficialforcollectingpoems.Everyspring,heshakesMuduotogodeepintothefolktocollectfolksongs,andhearrangesandsubmitsworksthatreflectthejoysandsufferingsofthepeople.TheTaishi(theofficialinchargeofmusic)composesmusicandsingsittoZhouTianziasareferenceforgovernance.TheworksofthesefolkauthorswithoutrecordednamesoccupymostoftheBookofSongs,suchastheFifteenKingdomsStyle.

TheworksofaristocraticliteratiintheZhouDynastyconstituteanotherpartoftheBookofSongs."Shangshu"recordsthat"Binfeng·Owl"waswrittenbyZhouGongdan.In2008,the"Qiye"inabatchofbambooslipsfromtheWarringStatesPeriod(TsinghuaBambooSlips),whichwerecollectedbyTsinghuaUniversityinTibet,describedKingWuandotherscelebratinghisvictoryanddrinkingafterdefeatingtheStateofLebanon.The"Cricket"intheBookofSongsTangFengiscloselyrelated.

Creativebackground

TheancestralhomeoftheZhouDynasty,Zhouyuanissuitableforagriculture.Thepoemssuchas"Shengmin","GongLiu"and"MianmianMelon"in"Daya"allindicatethatZhouisRelyingonagriculturetoflourish,thedevelopmentofagriculturepromotessocialprogress.Zhoubecametheco-lordoftheworldafterKingWudefeatedhim.Thefamilypatriarchalsystem,land,slaveprivateownershipandtheruleofnoblelordsbecamethesocio-politicalcharacteristicsofthishistoricalperiod.

TheWesternZhouDynastyreplacedYinandShang,exceptforShangandZhou'styrannicalandinnocent,itwasmainlyrelatedtotheimplementationoftheslaveryeconomicsystem.AfterthefoundingoftheWesternZhouDynasty,inordertoeasethesharpcontradictionbetweenproductionrelationsandproductivity,easetheclassstruggle,andturnslaveryintoserfdom,asWangGuoweisaidin"TheTheoryofYinandShangSystem":DuringtheYinandZhouDynasties...thethreemajorchangesbetweentheYinandZhouDynastiesareself-explanatory,buttheriseandfallofafamilyandthetransferofcapitals.Fromtheinside,theoldsystemisabolishedandthenewsystemisprosperous,andtheoldcultureAbolishmentandnewcultureprosper..."

IntheWesternZhouDynasty,comparedwiththeYinandShangDynasties,duetothetremendouschangesintheeconomicsystem,thesocietyhasmadealeapofprogressinspiritualcivilization.Theappearanceofthe"BookofSongs"asarepresentativeofliteratureistheeraTheinevitableproductofprogress,whichinturnpromotesthecivilizationandprogressofsociety.

InheritingHistory

Itissaidthatthereareasmanyas3000poemshandeddownduringtheSpringandAutumnPeriod,andlateronly311areleft(ofwhichtherearesixShengpoemsbutnopoems).AfterConfuciuscompiledtheBookofSongs,theearliestheirclearlyrecordedwasZixia,oneofthe"TenPhilosophersofConfucius"andoneofthe72sages.Hehadthestrongestunderstandingofpoetry,sohepassedonpoetry.

IntheearlyHanDynasty,thepoetShenPeigongfromLu,YuangushengfromQiandHanYingfromYan,collectivelycalledthethreepoems.QipoemsdiedintheWeiDynasty,LupoemsdiedintheWesternJinDynasty,andHanpoemswerestillcirculatingintheTangDynasty,andnowonly10volumesareleft.TheBookofSongscirculatingnowadaysistheMaopoempreachedbyMaoGong.

Breves

Onthewhole,"TheBookofSongs"isanimagereflectionofthelifeofChinesesocietyduringthefivehundredyearsoftheZhouDynasty’sprosperityanddecline.Amongthemareodestoancestors’entrepreneurship.Musicsacrificinggodsandghosts;therearealsobanquetsbetweenthenoblesandthegrievancesofunevenworkandrest;therearemoremovingchaptersreflectinglabor,hunting,andalargenumberoflove,marriage,andsocialcustoms.

"Liber Canticorum" currently has305 partes (inadditionto6 partes cum nopoemis,311 partes in totum), dividitur in tres partes: "Feng", "Ya" et "Canticum".

"Wind"comesfromfolksongsfromallovertheworld.Itistheessenceof"TheBookofSongs".Itsingsaboutlove,laborandotherbeautifulthings.Italsohasthegrievancesoflovinghomeland,thinkingaboutpeople,andopposingoppressionandbullying.Unlikeanger,itisoftenrepeatedinarepetitiveway.Thechaptersinapoemareoftendifferentinonlyafewwords,showingthecharacteristicsoffolksongs.

"Ya"isdividedinto"Daya"and"Xiaoya",anditismostlythepoemsofthenoblestoprayforgoodharvestandpraisetheancestors.Theauthorof"Daya"wasanaristocraticliterati,buthewasdissatisfiedwithrealpolitics.Inadditiontobanquetmusic,sacrificialmusicandepic,healsowrotesomesatiricalpoemsreflectingthewishesofthepeople.Therearealsosomefolksongsin"Xiaoya".

"Ode" est apoems of ancestraltemplessacrificia. Poema "Ya" et "Ode" magni sunt momenti ad inquirendam historiam, religionem et societatem.

Has tres partes "Ode" habet 40 articulos, "Ya" habet 106 articulos ("Xiaoya" habet articulos sine poematibus, praetermissis), et "Ventus" habet numerosissimos, Atotalof CLX articulos, totos CCCV articulos. Veteres scripserunt tot numero et trecenta carmina.

WindChapter

"Ventus" includunt folksongs ab 15 locis, including hodie'Shaanxi,Shanxi,Henan,Hebei,Shandongandothera loca, maxime quae folksungs a YellowRiverBasin.Mostofthepolished folssings dicuntur "quindecim regna", cum 160 fragmentis, quae in core ventorum rum oras".

Thestylesofthefifteencountriesare:Zhounan11,Zhaonan14,Bei(bèi)wind19,yōng(yōng)wind10,Weifeng10,Wangfeng10,ZhengFeng21,QiFeng11,WeiFeng7,TangFeng12,QinFeng10,ChenFeng10,Hinoki4(Hinois"郐"kuài),CaoFeng4,Bin(bīn)7winds.ZhouNanzhong's"Guanju"and"Taoyao",WeiFengzhong's"CuttingTan"and"Suoshu",QinFengzhong's"Jianjia"andsoonareallwell-knownmasterpieces.

YaPian

"Ya"isZhouThereare105songsnearthecapitalofthedynasty.

"Ya"isthemusictuneofZhouWanggui."Daya"mainlypraisestheachievementsofZhouroyalfamilyancestorsandevenKingWuandKingXuan.SomepoemsalsoreflectthetyrannyandchaosofKingLiandKingYouandtheirrulingcrisis.

Most of the works of Daya, weremadein the earlyperiodof the westernZhouDynasty. The oldXunYa sreus, quae est recta vox poetica." The PrefacetoPoetria": "Elegantis persona, justitia, theabolitio et prosperitas imperii.

Thereare74articlesin"Ya",whichwerecreatedintheearlytolastyearsoftheWesternZhouDynasty,mostlyduringtheperiodofLi,Xuan,andYouwangintheWesternZhouDynasty.Someofthepoemsin"Xiaoya"aresimilarto"Guofeng",themostprominentofwhichareworksaboutwarandlabor.

Daya'sworksmainlyinclude"WenWang","JuanA"and"MinLao",XiaoYa's"DeerMing","PluckingWei","Sigan"andsoon.

Xiaoya

Daya

OdetoChapterh3>

Sunt 40 capitula "Ode".

Prointerpretatio "Ode", prius visa est "Praefatio Poetica": "Ode, descriptio virtutum Unitarum Civitatum, et Deos sine successu". Dixit Kong Yingdain "MaoShiZhengyi": Verbum "RongYe" omissum est sub "Song Zhe".

Secundum interpretationem RuanYuan's "JingShiJi·ShiSong", Rong" apparentiae "Descriptio MeiShengDe" est motus motus laudantis "ShengDe". Praesens exemplum "SongofZhou· Weiqing" praedicatum est, regi praedicanti.

ZhengXuan's"MaoShiZhuan"said:"Theelephantdanceswhentheelephantisusedasasoldier."Thedanceofassassination.”ItistoexpresstheplotandactionsofZhouWenwang'smilitarycampaignagainstassassinationintheformofdance,whichcanprovethattherearenotonlysongsbutalsodanceswhenofferingsacrificestotheancestraltemple.Features.

Modernscholarsalsothinkthat"Ode"isthejoyofsacrificialancestorsintheancestraltemple,andpartofitisdancemusic.

Themasterpieces of theodemainly include "The Templeofthe QingDynasty", "The LifeofViking", "Hehe" and mox.

SongofZhou

LuSong

SongSong

MainNote

Appreciationofworks

Realismus

TheBookofSongspaysattentiontorealityandexpressesthetruefeelingstriggeredbyreallifeThiscreativeattitudegivesitastrongandprofoundartisticcharmandisthefirstmilestoneofChineserealistliterature."TheBookofSongs·Guofeng"isthesourceofChineserealistpoetry.In"July",youcanseethelivesofslavesstainedwithbloodandtears.In"Fattan",youcanfeeltheawakeningoftheclassconsciousnessoftheexploitedandtheangryslaves.Therulingclasswhoearnednothingfornothingbravelyraisedtherighteousquestion:"Ifyoudon’tharvest,youwon’tbeabletotakethreehundreddollars?Ifyoudon’tguardorhunt,therearecountybadgersinHuzhan’scourt?"Somepoemsalsodescribetheruleoflaborers.Classesfightdirectlyinordertoobtaintherighttosurvive.Inthisregard,"SuoMouse"hasthepowertoshakepeople'shearts.

TheSixMeaningsofTheBookofSongs

. The BookofSongs"Summarizedas "Fu,Bi,Xing", simul cum "Vente, Elegantia, et Canticum", dicitur "SixMeanings".

"TheSixMeanings of Poems" isthe "PrefacetoPoems" ("PrefacetoMaoPoems")Prima proposuit hanc formulam esse fundatam esse sententiam "TheMaster... docens in libris sex.

KongYingda explicatur "MaoShiZhengyi": "Ventus, elegans, et laudatus, avaris" The Poetry";Fu,Bi,XingQui,ThePoetriam", thediferent words ear. Fu,Bi, and Xingareusedin "Poem"; Haec tria possunt facere, et dicuntur iustitia.

Fere consideratur ventum, elegantiam, et cantare classificationem et contentum poematum; Fu, Bi, et Xingare expressionem rationem poeticae. Inter quos, ventum, elegantiam, et sonare in diversam musicam, Fu, Biand Xingare distingui secundum expressionem technicam.

TheuseofFu,Bi,andXingisnotonlyanimportantsymboloftheartisticcharacteristicsofTheBookofSongs,butalsoabasictechniqueforthecreationofancientChinesepoetry.AboutFuandBiThemeaningof"Xing"and"Xing"canbesaidinmanyways.Inshort,Fuisstraightforwardnarrative,thatis,thepoetexpresseshisthoughts,feelingsandrelatedthingsinastraightforwardmanner.Comparisonisananalogy,comparedwithotherthings,thepoethastheabilityoremotion,Borrowingathingasametaphor.Xingistotouchthingsandcreatewords,objectivethingstriggerthepoet’semotionsandcausethepoettosing,somostofthemareatthebeginningofpoetry.ThethreemethodsofFu,Bi,andXingareoftenusedinpoetrycreation.Theuseofeachothertogethercreatestheartisticimageofpoetryandexpressesthepoet’semotions.

Primo, comparatio similitudinis.

ZhuXi’s"PoetryCollectionBiography"said:"Comparison,Comparedwiththisthing."Thisisamajorrhetoricaltechniquethatisstilloftenusedtoday,includingmetaphorsandsymbols.Metaphorscanvisualizedescriptions.Forexample,"WeiFeng·ShuoRen"wroteZhuangJiang'sbeautywithaseriesofmetaphors:"Handsarelikecatkins,"Theskinislikefat,thecollarislikeagrub,theteetharelikearhinoceros,andtheeyebrowsoftheworm.Qiaoxiaoqianxi,beautifuleyeslookforwardtoXi."Becausethereareaseriesofmetaphorsbeforeandafter,sothefinishingtouchesattheendcanmaketheimagevividonpaper.

Parablescanalsohighlightthecharacteristicsofthings.Becausemetaphorsarebasedontheoveralldifference,andComparingthingswithacertainaspectincommon,thesimilaritiesbetweenthevehiclebodyandtheontologyareoftenquiteprominent.Therefore,inthemetaphor,thereisoftenanexaggeration.Asfarasthelevelofdevelopmentisconcerned,thedifferencebetweenthebodyandthevehicleisquitebig;however,intermsofgettingsomethingfornothing,theyarecompletelythesame,sothismetaphorisactuallyanexaggeration.

Becausethevehiclehasacquiredacertainemotionalmeaninginpeople'slong-termsociallife,andhasacertainsymbolicmeaningtoacertainextent,itcanexpressdifferentfeelingsaccordingtotheconnectionwithdifferentvehicles,suchas"Shuoshu","Xiangshu",etc.The"BookofSongs"isusedinmanyplaces,andtheapplicationisalsoveryflexibleandextensive.Forexample,"Weifeng·Mang":"Themulberryhasnotfallen,itsleavesareworuuo"."Sangzhi"Whenitfalls,itisyellowandfalling. Theformeris usus est ad eandem figuram forma, et hac uteris tometaphoro in mutationibus affectionum.

"BeiFeng·Jianxi":"Thebridle similis coetus est, et duo similes sunt."

"TangFeng·JiaoLiao":"Eritalitas JiaoLiao, fanmultiplicationis ing. Hissonis Huge et sine amicis".Amultitude rerum usui similitudinum est;

"WangFeng·Militarias": "Thecenterisas ebrius", "Thecenterissimiles wallow".

Duo sunt puncta "bi" inthe "BookofSongs" that should bepaidspecialattentionto:

Oneisasymbol.Thetechniqueismoresubtle,butitisoftenusedasametaphorfrommanyaspects.Themethodof"CongYu"issometimesthesameastoday's"referringtothesangandcursingtheHuai".Forexample,"XiaoyaDadong":"LiketheWeaverGirl."SevenXiangsalldaylong.AlthoughQixiangisnotanewspaper.Suibipullsthebull,nottoservethebox.ThereisQimingintheeastandChangGunginthewest.Therearefullofstunneddays,carryingoutthetrip.ThereareskipsinWeinan,soyoucan'twinnowing.Weibeihasafight,soyoucan'tmixwinesyrup.Weinanhasaskip,whichcarriesitstongue.ThereisafightinWeibei,andtheopeningofthewesternhandle."Inthefirsthalf,aseriesofmetaphorswereusedtoillustratetheangerofthepeopleoftheEasternprincesagainstthearistocracyoftheWesternZhoudynastyforstealinghighpositionsandunsatisfiedpeople(allnamesbutnorealthings).Dongren’scriticism.Infact,itusessymbolictechniques.

Anotherrhetorictechniquethatusessynesthesiaatthesametime.Thatistosay,themetaphorbreaksthewaythingsareheard,spoken,andtouched.Theboundaryofthemountain.Forexample:

"Xiaoya·Jienanshan":"JiebiNanshan,Weishiyanyan.HeheShiYin,MinJuErzhan."TheheightofamountainisametaphorfortheprominenceandimportanceofShiYin'sstatus,andtheheightofconcreteobjectsisametaphorforthemagnificenceofabstractstatus.

"XiaoyaTianbao":"Liketheeternityofthemoon,likethesunRise.SuchasthelongevityofNanshan,itwillnevercollapse.Liketheluxuriantpinesandcypresses,allareorinherited."Theeternityofthehills,theconstantrivers,thegrowthofthesunandthemoon,andthelushnessofthepineandcypressescanbecomparedtothelimitlessnessofJunFuzuo.

"Beifeng·Gufeng":"Learningthewindofthevalley,usingtheraintorain,Thereisnoneedtobeangryifyouareofonemind."Thewindinthevalleyisametaphorforpeople’sanger,andthenaturalphenomenonisametaphorforthechangesinhumanemotions.Itistheratioofsynesthesia.

Theratiosin in libro canticorum diversae sunt, et pleraeque in textu. Sententiae comparationis, quarum aliquae sunt totum carmen, habent comparationem rationis, ut "Suoshu".

Secundo, quia a poemate inchoatur.

ZhuXi scriptor "Poetica" dixit: "Prosperus, primo loqui de aliis rebus inordinatis causat verba decantata." Initium et principium. Duae sunt res:

First,theaffectiontouchestheobjectandthesongissent(thatis,thebeginningiswithathingthatisinharmonywiththecontentoftheperformance).

2.Usesomethingtocreaterhyme.

Fromtheperspectiveoftheoriginofliterature,Xingisacharacteristicofearlypoetry;fromthelevelofpoetryauthor,itisacharacteristicoffolksongs;Intermsofcreativemethods,itisacharacteristicoforalliterature.MostoftheworksusingtheXingtechniqueareinthe"Guofeng".AftertheHanDynasty,althoughthe"BookofSongs"wasregardedasaclassic,theBixingmethodwasmentionedtoahighposition,Butasin"TheBookofSongs:NationalStyle",XingCiwithpurerhymeisnotseeninthecreationofliterati;andXing,writtenfromthingsthattriggeremotions,isverysimilartothewayoffu.

ZhuXiTheinterpretationoftheconceptsofFu,Bi,andXingisveryclear,buthemarkedeachchapterofthe"BookofSongs"onebyone,andthetypeandinterpretationofthepoemrevealedcontradictions.Forexample,"Guanju":"GuanGuanJujiu,inthecontinentoftheriver.Afairlady,agentlemanissogood."ZhuBiao:"XingYe.""Butwhenheexplainedthischapterindetail,hesaid:"Jujiu,aWangJu,...isbornwithafixedcouplebutnotchaotic ,andoftenswimstogetherbutnotwitheachother,so"MaoZhuan"thinksthatitissincerebutdifferent.,"TheLegendoftheFierceGirl"thinksthatpeoplehaven'tseenthemliveandcompete.Coveritsnature."WhenItalkedaboutthewholechapter,hesaid:"TheJujiuwhospeaksabouttheotherpassisthesameandunitesonHezhou.Isn'tthisslenderladythebeautyofagentleman?ItisalsodifferentfromthekindnessandrespectfulnessofJujiu'saffection."Ithasbecomea"comparison"again.

Aliud exemplum "Taoyao": "Taoyaoyaobums floret, et domus sonis, et conveniens familiae suae. Sana signata "XingYe", sed cum explanat, dixit: "ZhouLi, in medio germine, viri et viri congredientur, sed inviti sunt".

Inthisway,theboundariesoffu,bi,andxingaremessedupagain.AmoresuitabledivisionisthatallthosewhoarerelatedtothedescriptionofthesituationatthetimeshouldbeattributedtoFu,suchas"JuanEr","XiLi","JiaJia"and"July";allmetaphorsandsymbolicmeaningsshouldbecompared,suchas"GuanJu","TaoYao","GuFeng"and"WuYi";Xingistheonlythingthatcannotbeconnectedwiththeoriginalmeaningofthepoem,suchas" YellowBird", "PluckingWei", etc.

Xingincludesthesituationof"singingwhentouchedbythings",whichreferstopeople'slivesExperiencesaredifferent.Everyone’sexperienceswillhaveallkindsofaccidentalsituations.Somethingsareindifferenttotheaverageperson,butforaspecificperson,itmayevokememoriesofoldexperiencesandarouseIamdeeplymoved.

3.Fu.

"Poetica" inquit "Fu people, honestum esse decet."

Theso-called"straightforward"heremeansthatyoudonotuseXingwordsasaquotation,donotusecomparisontechniques,anddonotrequiredetaileddescriptionsanddescriptions.Therefore,itcanbesaid:Xing,comparisonandallotherexpressionsMeanscanbeincludedinthescopeof"Fu".Asameansofwriting,itincludesawiderange.Asfarasthe"BookofSongs"isconcerned,itincludesnarration,description,association,suspense,dialogue,psychologicaldepiction,andsoon.Thewholepoemsof"July "and"Shengmin"useFu,bothinthenarrationoftheplotoftheabandonedchildrenorthedescriptionofthesacrificialscene,areextremelyvivid.Thetwopoems"Dongshan"and"PluckingWei"arethefirstexceptfor"Dongshan".Thechapter"Thesquirrel,thescorpion,isinthewild",alsousesFu.Butthesetwopoemsdescribethemoodofthecampaignandrecruitpeople,whichcanbedescribedasvividandvivid:"Ihavegoneinthepast,YangliuYiyi.TodayIcometothink,rainandsnowFeiFei."Thisisthemostexcellentscenerypoem Ergo "Liber canticorum" non solum refertur ad narrationem, non solum quae dicta directiva sunt, sed etiam super- bleve velinlyricalscenery descriptionis.

"TheBookofSongs"isalsooftenreflectedinsomesimplenarratives.Forexample,"BeiFeng·JingNv"wroteaboutawomanaskingherboyfriendtomeetinthecityatnight,buttheyoungmanarrivedatthedateontime,buthedidnotseehimThegirl,can'twaittocome,canneithershout,norfinditbyherself.Shedoesn'tknowwhattodoand"scratchesherheadandhesitates."Afterawhile,thegirlsuddenlyranoutofthedark,makingtheyoungmanextremelyhappy.Thegirlinthepoemwroteaboutit.Thehiddendetailscanbeunderstoodasajoke,orasatestofthedegreeoflovefortheyoungman.Itisfullofthetasteoflifeandshowsthenobleandpurelove.Thedetailsofthegifttubearealsothesame.Amongthem,itisincomparable.It’salsouninteresting,butveryvivid.

Therearealsocharactersinthe"BookofSongs"thatexpressemotionsandnarrationthroughthedialogueofcharacters.Forexample,"ZhengFeng·QinLi",whichshowsmenandwomenwhentheplumbingblossomsinMarchAsceneofyoungpeopleplayingjokesbythewater.Therearenointerestingwordsormetaphorsthroughoutthearticle,butitdepictsafolkpaintingfullofjoy.Thesecondchapterof"Dongshan"writesaboutwhatmightappearinhisimaginaryhomeInfact,thefirsthalfofChapter4assumesthathiswifemaymissherselfathome.

Someofthepoemsinthe"BookofSongs"thatarepurelyfumedhavealsocreatedaveryprofoundartisticconception."MuLi"""TheGentlemanatService"and"Jianjia"alluseFu,withneitherprosperouswordsnormetaphors.However,thestronglyricalflavor,theprofoundartisticconception,andthetouchingsentimentmakelaterpoemsseldomcomparable.Thepoet'sdescriptionofsceneryisnotaspecialdescription.Itisbroughtoutfromthelyric;andthesentimentresidesinthescenery.

PredecessorsusedFu,Bi,andXingtosummarizetheexpressiontechniquesofthe"BookofSongs",whichisveryrefined.Butforthe"Fu"ofthe"BookofSongs"Insufficientattentionhasbeenpaidtothisexpressionmethod,andtherelationshipbetweenXingandFuandBihasnotbeenclearlydistinguished.Then,BiandXingareregardedasthemainmanifestationsofthecharacteristicsofpoetry.Thisisthe"BiXing"inthe"BookofSongs"Itisconfusedwiththe"BiXing"oflatergenerations.Infact,thestudyofFuinthe"BookofSongs"shouldbeanimportantaspectoftheartistictechniqueofthe"BookofSongs",whichisthesameastheevolutionoftheconceptof"BiXing"inthehistoryofancientliterarytheory.Theyaretwodifferentthings.

Theapplicationof"Xing"in"TheBookofSongs"ismorecomplicated,andsomeonlyplayaroleinregulatingrhythmandarousingemotionsatthebeginning,andtheconnectionbetweentheXingsentenceandthefollowingcontentisnotobvious.Forexample,"Xiaoya·MandarinDuck":"Themandarinduckisinthebeam,guardingitsleftwing,andagentlemanforthousandsofyearsissuitableforhisrevenge."Xingsentenceandtheblessingsofthefollowingtwosentenceshavenomeaningconnection."XiaoyaBaihua"riseswiththesamesentence,butexpressesthefeelingofresentment:"Themandarinduckisinthebeam,andtheleftwingisrestrained.Thesonofunscrupulous,twoorthreevirtues."Thishasnothingtodowiththeoriginalmeaning.Itonlyharmonizesthephonologyatthebeginningofthepoemandcausestheriseofthefollowing.ItisthesimplerkindofXingsentencesinthe"BookofSongs".MoreXingsentencesinthe"BookofSongs"haveasubtleandsubtleinnermeaningtothefollowing.Relations.Eithertohighlighttheatmosphereoftheenvironment,ortoattachtothecentralthemeofthesymbol,whichconstitutesanindispensablepartoftheartisticrealmofpoetry.Forexample,"ZhouNan·TaoYao"isprosperouswith"TaoZhiYaoYao,scorchingitsblossoms",lushpeachbranches,gorgeousThepeachblossomscomplementeachotherwiththebride’syouthfulbeautyandthelivelyandfestivewedding.Thepeachtreesareblooming("scorchingitsblossoms"),sturdy("theyareactually"),andluxuriantly("itsleaves").Itcanbeunderstoodasagoodwishforthebridetohavemanychildrenandaprosperousfamilyaftergettingmarried.Thepoettouchesthings,andthesentenceandthechantedwordsareinheritedthroughartisticassociation,whichisasymbolicsuggestion."TheBookofSongs"ManyimagesofZhongXingaresuchimagesthatcontainmetaphorsandcauseassociations.BiandXingarebothwaysofexpressingfeelingsinindirectimages.LatergenerationsareoftencollectivelycalledBiXing,whichisusedtorefertothe"BookofSongs"throughassociationsandimaginations.Acreativetechniquethatembodiesthoughtsandfeelingsinimages.

Repetitionofchapters

Thesentencestructureof"TheBookofSongs"ismainlyfourcharacters,andthefoursentencesareindependentofchapters,andtherearemixedinbetween.Two-charactertoeight-charactersentences.Thefour-charactersentenceswithtwobeatshaveastrongsenseofrhythmandarethebasicunitthatconstitutestheneatrhythmofthe"BookofSongs".Therhythmofthefour-charactersentencesisclearandslightlyshort,andthedouble-characterrepetitivesentencesanddouble-tonerepetitivereadingItappearstobereciprocatingandtherhythmisrelaxedandslow.Therepeatedstructureofthe"BookofSongs"notonlyfacilitatesrepeatedsingingaroundthesamemelody,butalsohasagoodeffectintheexpressionofmeaningandrhetoric.

Manyofthedoublechaptersinthe"BookofSongs"overlapthesamepoeminthewholepiece,andonlyafewwordsarechangedtoexpresstheprogressofactionsorchangesinemotions.Forexample,onlychangeinthethreechaptersof"ZhouNan·FengLi"ThesixverbsdescribetheentireprocessofpickingFenju.ThestructureofthecomplexloopandtheflexibleanddiversewordingputthedifferentlinksofpickingFenjuintothreechapters.Thethreechapterscomplementeachother,inasenseItformsawhole,singthreesighs,gracefulandverygraceful.FangYurun's"OriginalBookofSongs"rollsout:"Readerstrytocalmdown,chantthispoem,hearthewomenoftheTianfamily,threesandfives,embroiderwild,windandsunintheplainInLizhong,thegroupsongsareansweredeachother,theremainingsoundsarecurledup,ifitisfarornear,ifitisintermittent,Idon'tknowhowtheemotionscanshiftandthegodsareopen.Thenthispoemdoesnothavetobeinterpretedindetailandisself-contained."

Inadditiontotheoverlapofthesamepoem,thereisalsoachapterinthe"BookofSongs",whichhastwooverlappingchapters.Thechapterisastackofchapters,andthelasttwochaptersareastackofchapters;orinanarticle,therearebothdoublechaptersandnon-doublechapters,suchasthefourchaptersof"ZhouNan·JuanEr",thefirstchapterisnotoverlapped,andthelastthreechaptersareDoublechapters.

Someoftherepetitionsof"TheBookofSongs"usethesameverseindifferentchapters.Forexample,thefourchaptersof"BinFengDongshan"alluse"IamDongshan,melancholy."IamfromtheEast,andIamfromtheEast,andIamfromtheEast.Thethreechaptersof"ZhouNan·Hanguang"allendwith"thevastnessoftheHan,theimpossibilityofswimming,theeternalnessoftheriver,theimpossibilityofthinking".Someareinthesamepoem,overlapping.Thesameorsimilarverses,suchas" Zhaonan·JiangYoubang, utrumque capitulum et petitivae sententiae. In penultima et tertia sententia trium capitulorum, non cum", non cum" et "non culpa".

Therepetitionofwordsin"TheBookofSongs·Guofeng"isalsocalledtautology.,Thesoundofbirdsong."Inthepast,Ihavegone,YangliuYiyi.TodayIcometothink,rainandsnowFeiFei."With"yiyi"and"feifei",itislikewillowandsnow.Therearetoomanyexamplesofthiskind.Liketautology,double-tonerhymealsomakespoemssungorchanted,thechaptersaresoothingandmelodious,andthelanguagehasmusicalbeauty.In"TheBookofSongs· Guofeng "aremanyus duplicatus tonere petitiverhymes, ut commoti, active", XianMian, Lilie, et mox, et duplices tonerhymessuchas, WeiSnake, Chachi, Para" et "QiChi" et mox, et duplices tonerhymessuchas. -charactersortwo-characteres quattuor-characteres inverses.Forexample, "RuqieRuxi" ("Weifeng·Qiao"), "Yuanjuyanchu" (""BeiFeng·Drumming"), "WanXiSuiXi" ("QiFeng·Futian"), etc.

Languagestyle

Thelanguageof"TheBookofSongs"notonlyhasmusicalbeauty,Anditalsohasagoodeffectinideologyandrhetoric.

Inthe"BookofSongs"era,Chinesehasabundantvocabularyandrhetoricalmeans,whichprovidesgoodconditionsforpoetstocreate."TheBookofSongs"Alargenumberofnounsshowthatthepoethasafullunderstandingofobjectivethings.Thespecificandaccuratedescriptionofactionsinthe"BookofSongs"showsthepoet'sspecificandmeticulousobservationandabilitytocontrollanguage.Forexample,"FengJu"willadoptFenJuTheactionisbrokendownandexpressedbysixverbs:"Topick,toaskforit;tohaveit,togetit.""Pickup,pickup;pickup,taketheson." "Zhu,holdontohisclothesforstorageofclothes."襭,tostoreitinclothing,butalsotoputitinthebelt."(ZhuXi's"BookofPoetry"Volume1)Thesixverbsvividlyportraythesceneofpicking芣莒.Therhetoricaldevicescommonlyusedinlatergenerationscanalmostbefoundinthe"BookofSongs":exaggerationsuchas"WhoisHeguang,ZengNottolerateswords"("Weifeng·Heguang"),forexample,"womenarenothappy,butscholarsdotheirbest" ("Weifeng·Mang"), antithesis similis "differentis domum ad diversum ducet domum, et mors ad idem punctum" ("WangWind·BigChe") et mox.

Thelanguageformof"TheBookofSongs"isvividandcolorful,anditcanoftenbe"morewithless"and"fullofemotionandbeauty".Butelegant,eulogyandnationalcustomsTherearedifferencesinlanguagestyles.MostchaptersofYaandSonguserigorousfour-charactersentences,withfewmiscellaneoussentences,andtherearemoremiscellaneoussentencesinGuofeng.InXiaoyaandGuofeng,repetitivesentencesareusedmorefrequently.ItisrelativelyrareinDayaandSong.Manymodalparticlessuchas"xi","zhi","stop","thought","hu","and","矣","ye"areusedinthenationalstyle.ThesemodalparticleshavealsoappearedinYaandOde,buttheyarenotasnumerousandvariedasinthenationalstyle.Themagicaluseofthemodalparticlesinthenationalstylehasenhancedtheimageandvividnessofthepoemsandreachedthestateofvividness.ThedifferentcharacteristicsofYa,SongandGuofenginlanguagereflectthechangesofthetimesandsociety,andalsoreflectthedifferenceintheidentityofthesubjectofcreation.YaandSongduoareworksoftheWesternZhouDynasty,fromthehandsofthearistocracy,andreflectthe"Ya""Yue"isprestigious,mostofthenationalstyleistheworksoftheSpringandAutumnperiod,andmanyofthemarecollectedfromthefolk,whichmorereflectsthefreeandunrestrainednewvoice,whichisclosertothespokenlanguageofthetime.

Therearetunes

Poetryandmusicarecloselyrelated.Therearetunesinthethreehundredpoems.Theoriginalmainpurposeofthemusicandsongsinthe"BookofSongs"isasapartofvariousceremonies,entertainment,andexpressingViewsonsocialandpoliticalissues.

MingDynasty'sgreatmusicianZhuZaiyu's"YelüQuanshu"said:"Ofthethreehundredchaptersof"TheBookofSongs",thirty-oneofthemostelegantonesareallpalacetunes.Xiaoya'sseventy-fourarticlesarealltuned.Thirty-onearticlesin"SongofZhou"andfourarticlesin"SongofLu"areallfeathers.Theonehundredandsixtychaptersofthefifteenth"Guofeng"areallcornertunes.Thefivechaptersof"OdetoShang"arealldiscussed."ThisrelationshipbetweenpoetryandmusichasbeenpartiallyconfirmedintheShanghaiMuseumBambooSlip "CaifengRepertoire".Mr.MaChengyuanbelieves that: Partofthetrack. TheaccentofeachsongXiangecanbedeterminedaccording to this categoria, asin the "Liber canticorum", et brevis descriptionis soni thepopularmusicinChu."

AcademicResearch

HistoricalTextualResearch

ThedevelopmentofChina’s"BookofSongs"beganintheSpringandAutumnPeriod.Therewerethreeimportantstages,namely,HanandTangConfucianClassics,andSongYuanyili,QingDynastytextualresearch.

1.Pre-Qinperiod.

IntheSpringandAutumnPeriod,threehundredarticleswerefirstspread,appliedandedited.ConfuciusfoundedtheConfucianpoetryteaching.Histheoryofpoetryteaching,AswellasthemethodologyproposedbyMenciusduringtheWarringStatesPeriodandtheconceptofConfucianliterature(academicculture)foundedbyXunzi,theylaidthetheoreticalfoundationforthestudyoftheBookofSongsinlatergenerations.

Secundo, periodus Sinology (fromHantoTang).

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The"Poems"intheearlyHanDynastybecamethe"jing".ThefourschoolsofLu,Qi,HanandMaoreflectedthestrugglebetweenthemodernclassicsandtheancientclassicswithinSinology.BasedonMao'spoems,ZhengXuanalsoadoptedthethreeschools.The"MaoShiZhuanJian",whichrealizedthefusionofmodernandancienttexts,wasthefirstmilestoneinthestudyof"TheBookofSongs."Therewerefourschoolsthattaughtthe"BookofSongs"intheearlyHanDynasty,thatis,fourschools:QiZhiyuanGusheng,LuShenPei,YanZhiHanYing,ZhaoZhiMaoHeng,MaoChang,abbreviatedasQiShi,LuShi,HanShi,MaoShi(thefirsttwotakethenameofthecountry,andthelasttwotakethesurname).ThreepoemsofQi,LuandHanHewasestablishedasadoctorintheWesternHanDynastyandbecameanofficialschool.Although"MaoShi"cameoutlateandwasnotestablishedasanofficialschoolintheWesternHanDynasty,itwaswidelytaughtamongthepeopleandeventuallyoverwhelmedthethreepoemsandbecamepopularintheworld.Later,thethreepoemsdiedandlost.The"BookofSongs"seeninmoderntimesisthe"MaoShi"transcript.

However,thesefouracademiccentersaretaughtinthe"Shi"studiesintheearlyHanDynasty,andtheyarebynomeanslimitedtoQi,Han,Lu,Thefourancestorsofthe"Poems"ofMao'sfourschools.The"HanShu·TheBiographyofScholars"said:"HanXing...Yan"Poetry",YuLuZeShenPeiGong,YuQiYuanGuSheng,YanZeHanTaiFu."ThisisonlytosaythatthenumberofpeoplefromShen,Yuan et Hanare domini, qui emerunt in Lu, Qi, et Yan. His "Poetica" studia solum formarunt proprias notas, et nocleri visio- rum actionum. Tantum in tantum post politicas vires intervenit, disseminationem "Poeticae" indisciplinatis indisciplinatis studiis habere, et in- tionem factorum "poetica" tionem facere.

Wei,Jin,SouthernandNorthernDynastiesAtthattime,SinologyinternallydevelopedintothestrugglebetweenZhengxueWangxueandNanxueBeixue.BeixuebasicallyinheritedthestudyofZhangjuintheHanDynasty,whileNanxueinheritedthestyleofstudyofConfucianismbasedonmysterysincetheWeiandJinDynasties.Eachhasitsownteacherandeachhasitsownfoundation.Thesituationnotonlycausedideologicalconfusionandtheoreticaldivergence,butalsocausedthecountrytolackaunifiedstandardintheimperialexamination.

IntheearlyTangDynasty,theConfucianismstillcontinuedtherelationshipbetweentheteacherandthestudentsincetheSouthernandNorthernDynasties.Thesituationof"theteachersaidmanyschools"isobviouslynotcompatiblewiththerequirementsofunifyingthinkingintheearlyTangDynasty.Theunificationofthenorthandsouthclassicsandthestyleofstudyhasbecomeapoliticalandideologicalunificationofthetoppriority.KongYingda's"MaoShiZhengyi"hascompletedallschoolsofSinology.Unificationhasbecomethesecondmilestoneinthestudyof"TheBookofSongs".

3.Songxueperiod(SongtoMing).

SongpeoplereformedConfucianismtosolvethecontradictionsinthelaterfeudalsocietyandgaverisetofreedomTheresearchandempiricalspeculativestyleofstudyhascriticizedandinterpretedtheSinologyof"TheBookofSongs",whichoverwhelmedthestudyofSinology.ZhuXi's"ShiJiZhuan"isacomprehensiveworkonthestudyof"TheBookofSongs".ItisbasedonNeo-ConfucianismandfocusesonTheresearchresultsofSongpeople'sexegesisandtextualresearch,andpreliminaryattentiontotheliterarycharacteristicsofTheBookofSongs,arethethirdmilestoneinthestudyofTheBookofSongs.

YuanandMingarethecontinuationofSongstudies.TheBiographyhasanauthoritativepositionthatmustbeobeyedforhundredsofyears.TheSongDynastyisrigidandempty.ItwasonlyinthelateMingDynastythatsomeachievementsweremadeinthephonologyandthetextualresearchofthe"BookofSongs".Therearealsosomecommentsonthe"BookofSongs"."Literaryresearch.

Four.TheNewSinologyPeriod(QingDynasty).

ThepeopleofQingDynastyadvocatedtherevivalofSinology,whichwasbasedontheliberationofrestoringtheancientsandrequestedtobreakawayfromtheshacklesofSong-MingNeo-Confucianism.QingDynastyThebookinterpreting"TheBookofSongs"isabookof"SongxueHanxue".Afterstruggle,SinologyoverwhelmedSongxue.ThepoliticalpressureduringtheQianjiaandJiaperiodproducedaschooloftextualresearchbasedonancienttextsandclassics.Thefamousthingshaveundergoneextensivetextualresearch.ThesocialcrisisafterDaoandXianDynastygavebirthtothemodernliteratureschool.Theycollectedandstudiedthreepoetryandtheories,andpromotedsocialreformismthroughmicro-speakingandgreatmeaning.NewSinologyalsolaunchedmodernliteratureandancientliterature.BeyondthestrugglesofSongxue,Sinology,andmodernandancientQingessays,thereareindependentthinkingschoolsofYaoJiheng,CuiShu,andFangYurun.

ModernStudies

Asanimportantturningpointinthehistoryof"TheBookofSongs",thestudyof"TheBookofSongs"inthefirsthalfofthe20thcenturyisuniquefromthestudyofthe"BookofSongs"beforeandafter.The1920sand1930sareaspecialhistoricalperiod,Socialtransformation,culturalchange,academictransformation,everythingisinastateofmixingtheoldandthenew,andbecomingmoreandmorenew.AsearlyastheMayFourthMovement"Intheolddemocraticrevolutionperiod,thedemocraticrevolutionariesrepresentedbyLuXunusedrevolutionarydemocraticideastostudythe"BookofSongs."

Intheresearchfield of The BookofSongs, therearetraditional-stylescholarssuchasZhangTaiyan,WuKaisheng,LinYiguang,etc.,tam novi stili scholares qui acceperunt moderneducationem, studuerunt Chinese et Western, et altum comprehensivam habent., Tales HuShi, WenYiduo, WenYiduo.

Intermsofresearchresults,traditionalscholars,underthedominanceofConfucianismthought,continuethetraditionalstudyofcommentaryandcommentary,andhaveachievedcertainachievements,basedonWuKaisheng’s"Shiyihuitong"andLinYiguang's""TheBookofSongs"asarepresentative.AlthoughitisthecontinuationofthestudyofConfucianclassics,therearequiteaccommodatingactions.Theseactionscoincidewiththeresearchprinciplesofthemodern"BookofSongs"andareamanifestationofthenewandoldresearchsituation.

TheacademicachievementsofmodernscholarsundertheguidanceofmodernresearchconceptsunderthenewresearchmodelarethemainstreamoftheresearchontheBookofSongsduringthisperiod,andrepresentthelevelthattheresearchontheBookofSongscanreachatthattime.HuShiisthepioneerofmodern"BookofSongs"research,GuJiegang's"PositionintheSpringandAutumnPeriodandWarringStatesPeriod",ZhuZiqing's"FuBixing",ZhuDongrun's"ShiXinLunFaFan",WenYiduo's"SongsandPoems"Theworksofothermodernscholarsfarsurpassthetraditional"Poetry"studieswiththeirsystematic,organized,andmeticulouscharacteristics.ThemostrepresentativeoneisWenYiduo.Heputforwardmanynovelinsightsinhisrichworksof"TheBookofSongs",combiningthemethodsoffolklore,literaryanalysisandmethodsoftextualresearchtorevealthecontentsofthe"BookofSongs"andArtistic,andfoundedthenewexegeticalstudyof"TheBookofSongs".

Thestudyof"TheBookofSongs"intheRepublicofChinawasinaspecialperiodofthealternationofoldandnewacademicparadigms,whichdeterminedthatitsacademicthinkingmusthaveanabsoluteandone-sidedside.TheeagernesstooverthrowthetraditionalresearchmodeloftheBookofSongsandopenupanewsituationinthestudyofthe"BookofSongs"hasmadethisgenerationofscholarspaymoreattentiontothevariousdeficienciesofthetraditional"BookofSongs"research,especiallyrejectingtheorthodoxviewsofthe"BookofSongs".Thiskindofcognitionhasadistinctiveepochalcolorandhasitsspecifichistoricalvalueandsignificance,butitsflawsanddeficienciesarebeyonddoubt.Ifthingsgoonlikethis,itwillinevitablyleadtohistoricalnihilismandhindertheobjective,fairnessandcontinuationofresearch.

GuoMoruoisthecreatorofthecurrenttranslationof"TheBookofSongs"andproposedascientificresearchsystemthatappliesthe"BookofSongs"tothestudyofancienthistory.The"ResearchonAncientChineseSociety"publishedin1930madeextensiveuseofhistoricaldocumentssuchas"Poems","Books","Yi",andoracleboneinscriptionsandbronzeinscriptionstobegintoexploretheancientChinesesocialpatterns.The"TenCriticisms"and"TheBronzeAge"publishedin1945furtherdevelopedtheearlierviewpointsandrevisedsomeoftheargumentstoestablishexactlythedoctrineontheslavesocietyoftheWesternZhouDynasty.Thetwobooksgenerallyquotedthe"BookofSongs"asargumentation."TheAgeofSlavery"publishedin1952collectedresearchpapersafterthefoundingofthePeople’sRepublicofChina.Manyarticlesinthebookdiscussedthe"BookofSongs",especially"DiscussionsonZhouDynastySociety"and"ABriefTalkontheBookofSongs".Makeacomprehensiveevaluationofthevalueofhistoricaldataandliterature.

TheliteraryresearchofTheBookofSongsinthe20thcenturyhascompletelysurpassedthetraditionalresearchmodelofsingleexegesis,interpretation,perceptionandappreciation.Itissignificantintermsofconceptsandmethods,aswellasindepthandbreadth.Breakthrough.Modernliteraryinterpretationbasedonmasteringtheessentialcharacteristicsanddevelopmentlawsofliterature,payingattentiontothecombinationofpositivism,perceptionandtheory,intheunityofthecontentoftheworkandthehistoricalenvironment,imageandknowledge,formandcontent,feelingsandthoughtsCarryoutanalysistoexplorethedeepconnotationthroughthesurfaceofthework,andobserveitfromthethinkingandculturalspiritofthetimes;inart,payattentiontosummarizingthemethodsofshapingtheartisticimageandcreatingtheartisticconceptionofpoetry,revealingthepersonality,stylecharacteristicsandcharacteristicsofartisticcreation.Specificmeansofexpressionanditsinfluenceonthedevelopmentofliterature.

Fromtheoutlineofthedevelopmentabove,itcanbeseenthattheresearchontheBookofSongsformorethantwothousandyearshasmainlyfocusedonfouraspects:

1.Aboutthenature of the Book of Songs,Tempus,edendi,ratio,docendi genus,andrerum investigatio genus;

2.Researchonthe contentandartformofeacharticle;

3.Researchonthehistoricalmaterials;

Four.Textualresearchontext,phonologia,exegesis,objecta celebria, et investigatio investigationis materias ut collatio et emendatio.

Investigationes

OnFebruary3,2019,thepreliminaryinterpretationofthebambooslipsunearthedfromthetombofLiuHe,theHaihunHou,wascompleted.Therearemorethan1,200bambooslipsintheHaihunsimplifiedbook"TheBookofSongs".Thecontentofthebriefessaysisdividedintochaptersandpoems.Youcansee"ThreeHundredandFive"BooksofSongs","Songs","ThirtyPiecesofDaya","OneHundredandSixtyPiecesof"Guo",etc.Theamountofcontent.ItisworthnotingthatthetotalnumberofchaptersintheHaiyunsimplifiedbook"TheBookofSongs"isrecordedas" FanqianSeventy-Sexte Capita" (Caput 1076), quod longe abest a currente 1142 capite. Inventio de Haiyun simplicissima versione "Liber Canticorum" non modo praevidet versionem antiquam "Liber Canticorum" cum charactere hodierno, sed etiam praevidet posse videri in naso "Lushi".

Valueinfluence

Socialfunction

Thecompilationof"TheBookofSongs"itselfwasintheSpringandAutumnPeriod,infact,itwasmainlyforapplication:

First,asatextbookforlearningmusicandchantingpoems;second,asaritualsongforfeastsandsacrifices;third,asatoolforquotationindiplomaticoccasionsorinresponsetospeech,expressingmeaningwithexpressions.

DiplomaticexchangesthroughpoemswereveryextensiveduringtheSpringandAutumnPeriod,whichmadethe"BookofSongs"averyimportanttoolatthattime.TherearemanyrecordsaboutthisaspectinZuoZhuan,somewhowrotepoemstoridiculetheotherparty("TheTwenty-seventhYearofXianggong"),thosewhodidnotunderstandthemeaningoftheotherparty'spoemandwereridiculed("TheTwentyYearsofZhaogong"),Itisdifficultforasmallcountrytoaskforassistancefromabigcountry("WenGongThirteenYears")andsoon.Thesequotationsofthe"Poem",oradmonition,orcomment,oranalysis,orexpression,eachhasitsownrole,butthereisonethingincommon,thatis,allthepoemscitedare"takenoutofcontext"-whicheverisOneortwowithoutregardtothemeaningofthewholearticle.Thisphenomenoncanbecalleda"generaltrend"intheSpringandAutumnPeriod.Thatistosay,thefunctionof"BookofSongs"atthattimewasnotinitself,butin"compositionofpoemsandambitions".Ifyouwanttosaywhatyouwant,youwillquotewhatpoems.Thepoemservesthewill.Itdoesnotcarewhattheoriginalmeaningofthepoemis,butwhetherthecontentofthequotecanexplainthestatedwill.Thisistheactualapplicationof"TheBookofSongs"intheSpringandAutumnPeriod,butitsliteraryfunctionhasbeenmisinterpreted.

Anotheraspectofthefunctionperformanceofwritingpoetryandexpressingaspirationsisinlinewiththeliteraryfunctionof"TheBookofSongs".Itisareal"poemexpressingaspirations"-reflectingandexpressingtheunderstandingoftheroleofliteratureandsocialsignificance.ItistheembryonicformofChineseliterarycriticismintheearlystage.Forexample,"Xiaoya·JieNanshan":"MyfathermakesarecitationtoinvestigateWangYu"."DayaMinlao":"Wangwantsajadegirl,istousegreatadvice"andsoon.Poetryauthorshaverealizedthepurposeandattitudeoftheirpoems,expresstheirthoughtsandfeelingswithpoems,expresstheirattitudestowardssocietyandlife,soastoachievethepurposeofsinging,admiring,admonishing,andsatirizing.Thisisthetruemeaningofcomposingpoemsandexpressingambitions,anditisalsomakingpoemsexpressingambitionstrulyfittheliteraryfunctionof"TheBookofSongs"anditsliterarycriticism.

Anotheraspectofthesocialfunctionof"TheBookofSongs"isthatsociety(includingscholar-officialsandimperialrulers)usesittopromoteandimplementself-cultivation,governingthecountryandthestate-thisisthepurposeofthecompilationof"TheBookofSongs"First,itisalsothecontentadvocatedandpreachedbysomescholar-officialsatthetimewhenthe"BookofSongs"wasproducedandafterwards.

Confuciusattachesgreatimportancetothe"BookofSongs"andhasrepeatedlyadmonishedhisdisciplesandsonstolearn"TheBookofSongs".Confuciusbelieved:"ThePoetrycanprosper,observe,group,andcomplain."("Yanghuo")Thisisahighlygeneralized"Xing,View,Group,andResentment"madebyConfuciustothe"BookofSongs".Thatiswhyhebelievesthatthe"BookofSongs"willhaveagreatersocialfunction.Confucius'theoryof "Xing, Videre, Grouping, et Indignitas" declaravit functionem socialem "Liber Canticorum".

TheValueofTheBookofSongs

History andFolkloreValue

Fromtheperspectiveofhistoricalvalue,theBookofSongsactuallyfullyreflectstheWesternZhou,ThehistoryoftheSpringandAutumnPeriodrecordsthehistoricaldevelopmentandactualconditionsfromtheWesternZhouDynastytotheSpringandAutumnPeriodinanall-round,multi-faceted,andmulti-anglemanner.Literature,art,etc.Whenthehistorybooksoflaterhistoriansdescribethesituationofthishistoricalstage,aconsiderablepartofitisbasedontherecordsofthe"BookofSongs".Epicpoemssuchas"Shengmin"in"Daya"wereoriginallyodestoancestors.Theyareancestralpoems.TheyrecordthehistoryofZhouZi’smatriarchalclansocietyfromthelateperiodofZhouZi’smatriarchalclansocietytoZhou’sdestructionofShangandthefoundingofthecountry,praisingHouJi,GongLiuandTaiWang,WangJi,WenWang,WuWangandsoon.Thehistoricalvalueofthesepoemsisobvious.TheyrecordthehistoricalprocessoftheformationanddevelopmentoftheZhouclan,thedestructionoftheShangandtheestablishmentoftheZhouunifiedworld,thegreatmigration,thegreatwarandotherimportanthistoricalconditionsduringthishistoricaldevelopment,andthereflectionoftheZhouThepolitical,economic,folklore,militaryandotheraspectsoftheclanhaveleftprecioushistoricalmaterialsforfuturegenerations.Althoughthesehistoricalmaterialsaremixedwithmythologicalcontent,thereisnodenyingthattheyhavecrediblehistoricalfacts.

Thefolkvalueof"TheBookofSongs"isalsoobvious,includingmanyaspectssuchaslove,marriage,andsacrifice.Forexample,"BeiFeng·QuietGirl"wroteaboutthelovebetweenaristocraticyoungmenandwomen;"BeiFeng·EndWind"isaballadofmenandwomenflirtingandcursing;one.ThesepoemsreflectingvariousmarriagesituationsfromdifferentsidesandanglescomprehensivelyreflectthefolkcustomconditionsofvariousplacesintheSpringandAutumnPeriodoftheWesternZhouDynasty.TheyaregoodmaterialsforunderstandingthehistoryofmarriageinancientChina,andtheycanalsounderstandthedifferentattitudesofancientmenandwomentomarriage.Andtheconceptofmarriage.

Manypoemsdescribingthesacrificialscenesorscenesinthe"BookofSongs",aswellasthecarolsdirectlydescribingthesacrificialritesoftheancestraltemple,haveleftfolk-custommaterialsrelatedtosacrificialritesforlatergenerations.Forexample,"BeiFeng·JianXi"writes"WanDances"andthemovementsanddancestylesofactorswhodance"WanDances",tellingpeoplethespecificconditionsofdancessimilartowitchdancesusedforancestraltempleworshiporimperialcourt.Moreandmoreformalpoemsthatrecordthecontentofritualsaremainlyconcentratedinthepoem"Ode".Forexample,"TianZuo"recordsthatChengWangofferedsacrificestoQishan,and"HaoTianHasSuccess"wasthesongwhenJiaoTianofferedsacrificestoheavenandearth.ThesepoemsfullydemonstratedthedevotionanddevotionofZhoupeopletoancestors,ancestors,gods,heavenandearth.Theyusedtheformofsacrificialchantsandchantsandprayers,reflectingthepeople'sgoodwishesfortheemperorandancestorsatthattimeandthefeelingofreverenceforheavenandfate.Itreflectsthepeople'smentalityandfolkcustomsinancienttimes,anditisavaluablefolkcustommaterial.

Thecultureofritualmusicandothervalues

OneofthedistinctivefeaturesoftheZhouDynastyculturehasproducedritualmusicthatisdifferentfromthepredecessorsandhasaprofoundimpactonthefuturegenerations.culture.Amongthem,theritualisafusionofthethoughtsandsystemsoftheZhouDynasty,andthemusichasaninstructivefunction."TheBookofSongs"reflectsandexpressestheritualandmusiccultureoftheZhouDynastytoaconsiderableextent,andhasbecomeoneofthevaluabledocumentsforpreservingZhourituals.

Forexample,"Xiaoya"'s"NanshanThereisJiayu"and"NanshanThereisaTerrace",areallYanfeastmusic,theyareYanleguests,orministersandworkerswishtheemperor;and"LiaoXiao"ItisthesongofthekingofYanyuan.ItcanbeseenfromthisthattheZhouDynastyhasadoptedagood-neighborlyandfriendlyetiquettepolicyfortheneighboringcountries,whichreflectstheextensiveapplicationofritualandmusicintheZhouDynasty.Anotherexampleis"XiaoyaTongBow",whichdescribedtheemperor'sbestowingofbowsonmeritoriousprinces,indicatingthatsincethebeginningoftheweek,theemperorofZhouhadtogivebowsandarrowstotheprinceswhocontributedtothecountry,andevenawardedthemintheformofaceremony.Incontrast,"Xiaoya·Luming"ismorerepresentative,andthispoemistheworkofthekingfeastingontheguests."TheritualofZhougongsystemwaslistedinthepoemofShenggewith"DeerMing"."ZhuXieventhoughtitwaswritteninthepoem"TheGeneralMusicofSwallowsandFeasts"."),De("DeyinKongzhao"),thusshowingthat"thewayofZhougong'smusicisthekingofsongandwriting,whichisthelawoflatergenerations."

Inadditiontalias of Yantai, culturae contenta in ritum et musicreflectedin "Liber canticorum" etiam includunt: "Zhaonan·Muyu" describet "ritum quaerendi" offield venandi, "Xiaoya·Chegong" "Xiaoya· Canticorum" etiam includere: "Zhaonan·Muyu" apud Zhaonan·Muyu" describit" ritum quaerendi "exeundo insundo;" Xiaoya·Chegong""Xiaoya·canticum" etiam includunt: "Zhaonan·Muyu" uenit"; etc.describeofferingsacrificestoancestors,offeringsacrificestoGod,Sifang,Houtu,Xiannong,etc.Thegods;"SongofZhou"containsmanyarticlesaboutsacrificingtothekingofliteratureandheavenandearth,whichcanbeusedtounderstandthesacrificialrites;"Xiaoya·MandarinDuck"extolsthenewlymarriednoblegentlemen,"Xiaoya·ZhanpiLuojing"showsthereviewofZhouWanghui'sprincessixMilitary,youcanlearnaboutweddings,militarysalutesandsoon.

Traditionalinfluence

The"BookofSongs"hasaloftypositionandfar-reachinginfluenceinthehistoryofChineseliterature.IthasestablishedthefinetraditionofChinesepoetry,andthenationalcharacteristicsofChinesepoetryartarederivedfromthisbeginningform.

1.Thespiritandtraditionofrealism

TheBookofSongsisbasedonthereallifeofthesociety.Thereisnoillusionandweirdness.Thereareveryfewsupernaturalmyths.TheproductofthesocialeconomyandritualmusiccultureoftheZhouDynasty,thenarrativesofcurrentpolitics,customs,warsandcorvee,marriageandloveshowthepoliticalsituation,sociallife,customsandcustomsoftheZhouDynasty.Thespiritualtraditionof"Thematter"hasbeeninheritedandcarriedforwardfromgenerationtogeneration.

Secundo, LyricPoetryTradition .

From the "Libra canticorum", lyrica poesis facta est ex illis formas poeticas.

Tres, elegantiae et literariae innovationes

Theenthusiasmofpayingattentiontoreality,strongpoliticalandmoralawareness,andsincereandpositiveattitudetowardslifeinTheBookofSongswereinheritedandcarriedforwardbyQuYuan.Latergenerationssummeditupasthe"FengYa"spirit.

Thepoetsoflatergenerationsoftenadvocatedthespiritof"eleganceandelegance"tocarryoutliteraryinnovation.ChenZiangsighedthat"theeleganceofeleganceisnotdone"betweenQiandLiang,andLiBaisighedthat"dayahasn'tbeendoneforalongtime,butwhoismyfailure."DuFuisevenmore"disregardingpseudo-typesandprosperouselegance".,AswellasmanyoutstandingpoetsintheTangDynasty,allinheritedthespiritof"FengYa".AndthiskindofspiritextendedfromLuYouintheSongDynastytoHuangZunxianinthelateQingDynastyinthecreationafterTang.

Four.ThemodelofFuBixing

Theexpressiontechniqueof"fu,bi,xing"in"TheBookofSongs"hasbeeninheritedanddevelopedinthecreationofancientpoetry,becomingChinaAnimportantfeatureofancientpoetry."TheBookofSongs"alsoprovestheartisticcreativityoftheworkingpeoplewithclearfacts.Therepeatedformsofthe"BookofSongs"folksongs,accurate,image,andbeautifullanguagehavebeenabsorbedandusedbylaterpoetsandwriters."TheBookofSongs",withitsprofoundsocialcontentandbeautifulartisticform,attractslatergenerationsofliteratitopayattentiontoandlearnfromfolksongs.Theflexibleanddiversepoetryformsandvividandrichlanguageof"TheBookofSongs"alsoexertedanimportantinfluenceonvarioustypesofliteratureinlatergenerations.DuringtheWeiandJinDynasties,CaoCao,JiKangandothersallstudied"TheBookofSongs"andwrotefour-characterpoems.Theversesinliteraryhistory,suchasfu,ode,admonition,andinscription,arealsorelatedtothe"BookofSongs".

Thebirthof"TheBookofSongs"(includingproduction,collectionandcompilation)firstlycreatedanewstyleinthehistoryofChinesepoetry-Siyanstyleintheformofpoetrygenre.Beforethe"BookofSongs",althoughpoetryhadbeenborn,itdidnothaveitsownfixedstyle,anditwasstillinoralform,usuallywithtwowords.Bythetimeof"BookofSongs",Chinesepoetrybegantoreallyestablishitsowncreativepattern.Formedarelativelystablestyle,thatistosay,therealstartofChinesepoetrybeganintheeraof"BookofSongs".

The"BookofSongs"notonlycreatedthefirsttangiblehistoricalstageinthehistoryofChinesepoetry-four-characterpoems,butalsothisstyleofinfluencehasspreadtothepoetrycreationofsubsequentgenerations:one,thefiveorseven-characterpoemsofsubsequentgenerations,Especiallythefive-characterpoem,isabreakthroughandexpansiononitsfoundation;second,eveninthefive-characterera,therearestillmanyfour-characterpoemswrittenbyauthors,followingtheformofthe"BookofSongs".

Fromtheperspectiveoftherhythmandrhythmofpoetry,the"BookofSongs"alsosetaprecedentforlatergenerationsofpoetry,especiallyintherhymingformandrhymepartofpoetry,andprovidedaparadigmandmodelforlatergenerationsofpoetry.Thisisinpoetry.Ithasimportantvalueandsignificanceinthehistoryofcreation.

Moreimportantly,thecreationof"TheBookofSongs"firstopenedtheartisticstyleofphoto-withitssimple,trueandvividlanguage,itvividlyportraysandexpressesthecharacteristicsofthings,peopleandsociety.Artisticallyreproducestheessenceofsociety,andprovidesamodelandreferenceparadigmforartisticportraitureforlatergenerationsofliterarycreation(especiallypoetrycreation).Specifically,the"BookofSongs"drewascrollofsocialandhistoricalpicturesforthetimeandlatergenerations.Ittrulyreflectstheappearanceofsocietyintheancienttimes.Iteulogizesthediligenceandbraveryofthepeopleintheancienttimes,andsmashesthedespicabilityandshamelessnessoftherulingclass.Itisarichandvividencyclopediaofancienttimesthathasleftathree-dimensional,concretehistoricalpicturescrollforlatergenerations.

Extraterritorialinfluence

The"BookofHan"recordsthatintheWesternHanDynasty,thechildrenofnoblesfromvariouscountriesintheWesternRegionscametoChang'antolearnHanculture.TheTurfanuneartheddocumentsthatwerecontinuouslyexcavatedinXinjiangfrom1959to1979include"Thefragmentof"MaoShizhengJianXiaoya"isconfirmedtobearelicofthe5thcentury.Thenewandold"BooksofTang"alsorecordedthatthroughtheSilkRoad,ChinahadeconomicandculturalexchangeswithWestAsiaandRome,andmanyPersianshadscholarsfromtheHanDynasty.JingJing,theauthorofthe"DaqinNestorianPopularChineseMonument"inthesecondyearofTangJianzhong(781),wasaSyrian.Hequoted20or30"BooksofSongs"intheinscriptions,whichprovesthatthe"BooksofSongs"spreadhistoryfromtheSilkRoad.Quitealongtime.

TheculturalexchangesbetweenChinaandtheIndo-ChinesePeninsulaandtheIndia-PakistansubcontinentalsobeganintheHanDynasty.EmperorWuoftheHanDynastyconqueredNanyue,dividedtheninecounties,andpromotedtheeducationoftheHanDynasty.AsthefirstoftheFiveClassics,the"BookofSongs"isboundtoenter.Inthelongexchangesinancienttimes,thecountriesintheseregionshavepeoplewhoareproficientinSinology.AccordingtohistoricalrecordsinVietnam:TheTenthEmperoroftheLiDynastytook"TheBookofSongs"asthecontentoftheexamination,andthe12thLiDynasty'sexaminationwastitledwiththesentenceof"Xiaoya·BlueFly",andallscholarswerefamiliarwiththe"BookofSongs".Sincethe12thcentury,therehavebeenmanytranslationsofancientVietnameseliterature.Theversesandallusionsofthe"BookofSongs"arewidelyquotedinVietnamesepoemsandliterarystories,whichhaveaffectedthedevelopmentofVietnameseliterature.SomeidiomshavebeenpreservedinthemodernVietnameselanguage.

DuringtheWei,Jin,SouthernandNorthernDynasties,theFiveClassicsofChinawereintroducedtoKorea.Atthattime,thethreekingdomsofBaekje,Silla,andGoryeowereseparatedontheKoreanPeninsula.AccordingtotheSouthernHistory,intheseventhyearofLiangDatongintheSouthernDynasty(541),theBaekjedynastysentanenvoytotheLiangDynastytosendadoctorwhotaughtthe"MaoShi".ScholarLuXuwent.TheSillaDynastystipulated"MaoShi"in765asoneoftheofficialreadings.TheKoreandynastyimplementedtheimperialexaminationsystemin958anddesignated"TheBookofSongs"asthesubjectofthescholarexamination.Lectureson"TheBookofSongs"haveformedatrendinNorthKoreaforcenturies.Bythe16thcentury,XuMu,ascholaroftheUniversityofKorea,studiedChineseclassics,andnowhestillpreserveshis"Poetry"theory,whichfullyimplementsConfucius'thoughtsofpoetryeducation.Intheearly18thcentury,NorthKorea’sfirstShitiaoCollection"QingqiuYongyan"wascompiledandpublished,whichopenedupabroadpathforthecreationofmodernNorthKoreanpoetry,anditsprefaceisclear:itscompilationisbasedonthethoughtandexperienceofConfucius'compilationof"TheBookofSongs".TheChineseDepartmentof67universitiesinSouthKoreateaches"TheBookofSongs",34ofwhichofferacompulsoryoroptionalcourseof"TheBookofSongs".

IntheTangDynasty,JapansentenvoysfromtheTangDynastytoChang'antostudy.Inthefuture,ChinesescholarscontinuedtogivelecturesinJapan,whichpromotedthedevelopmentofJapanesefeudalculture.ThefirstJapanesetranslationappearedinthe9thcentury,andsubsequentselectedtranslations,fulltranslations,andreviewshavenotbeeninterrupted.Translation,annotations,explanations,andreprintingofChineseclassicshavebecometheacademicatmosphereforcenturies,andthe"BookofSongs"hasbeenwidelycirculated.ThedevelopmentofJapanesepoetryiscloselyrelatedtothe"BookofSongs".Thestyle,contentandstyleofJapanesepoetryaredeeplyinfluencedbythe"BookofSongs".AreprintofthePreface,MakotoMegada’stranslationwasevaluatedasfaithful,expressive,andelegant,andwaswelcomedbyresearchersandliterarylovers.ContemporaryJapanesescholarsestablishedtheJapaneseBookofSongsSocietyinthe1970sandpublishedthejournal"ResearchonBookofSongs".

Thespreadof"TheBookofSongs"inEuropebeganinthe16thcentury.ItwastranslatedandintroducedtoEuropeanreadersbymissionarieswhocametoChina.Sincethebeginningofthe19thcentury,EuropeansinologycenteredonFrancehasbeenwarmingup,andthetranslationandintroductionof"TheBookofSongs"hasshownaprosperousscene.TherearefulltranslationsinmajorEuropeanlanguages,andtheytendtobeelegantandprecise.Regardingprosetranslationorrhymingtranslation,therehasbeenadisputebetweentheprosodyschoolandtheprosetranslationschool.WeiLi’stranslationcanbeusedasamodelofthepursuitof"elegance"inWesterntranslation.Theoriginaltextistranslatedintobeautifullyricpoetry.Inordertoreflecttheoriginalthoughtandartistry,disrupttheoriginalsystemandorderofworks,re-categorizethecontentaccordingtotheappendix.TheBookofSongs,asarepresentativeofChinesepoetry,comparesresearchwithEuropeanpoetry.GaoBenhan'stranslationcanbeusedasamodelforthepursuitof"faith".Heisalinguist,andhehasdevotedhimselftoexegesis,dialects,ancientrhymes,andtextualresearchofancientdocuments.ThesetwotranslationshavehaddecadesofinfluenceintheWest.

ThetranslationandintroductionofTheBookofSongsbeganinNorthAmericaintheearlytwentiethcentury.Alargenumberofsingletranslationsarescatteredinjournalsandvariousanthologies.Importanttranslationsincludetheselectedtranslationof"ThePoemsofConfucius"(1954),thefulltranslationofJ·R·HightowerandthefulltranslationofWenaughton.Pound'sEnglishtranslationhasarousedheateddiscussions,andheespeciallypraisedtheChineseclassicalpoetrywith"TheBookofSongs"asitssourcetoAmericanreaders.

Therewereoriginally15translationsofTheBookofSongs(selectedtranslationsandfulltranslations)intheTsaristRussiaperiod.HeisanexpertinancientChineseliteratureandanacademicianoftheAcademyofSciences.AcademicianWangXili,AcademicianShitujin,andAcademicianFederinTongxunhavethemostinfluence.

Poland,CzechRepublic,Romania,HungaryalsoallhavetranslationsofTheBookofSongs.Withthechangesintheworld'spoliticalstructure,somecountriesandregionswithsloweconomicandculturaldevelopmenthavedevelopedrapidlyafterindependence.Singapore,Malaysia,andtheIndia-Pakistansubcontinentareallspreadingthe"BookofSongs."TheVietnameseAcademyofSocialScienceslistedthefulltranslationof"TheBookofSongs"inVietnameseasanationalproject,andthefulltranslationofMongolianisabouttobecompleted."TheBookofSongs"isbeingspreadaroundtheworldindozensoflanguages,andtherearechaptersonthe"BookofSongs"inthe"HistoryofWorldLiterature"textbooksinvariouscountries.TheBookofSongsisahotspotinSinologyintheworld.

Historicalevaluation

Confucius: "Tres poemata, in verbo, innocentem esse putes."

Mencius: "Singingto his poems, reading his books, I don't know if he isa person? Itistodiscusshis life."

Xunzi: "Incipit cantare et desinit cum lectione."

SimaQian: "Rituale" usurpatur ad festivitatem, Yue" usurpatur in harmonia, liber" dicitur in exprimendis, "Poetica" usurpatur ad exprimendum, "Yi" dicitur ad transformitatem, et "ChunQiu" usurpatur ad tomoram rectitudinem.

DongZhongshu: "Quid auditum de poetis notum est, facile ad rationem, oriatur, oriatur, non habet bona verba, ex mutatione rectitudinis, et de servo populo."

HeXiu: "Menandri sunt inuidia, de se invicem, laborantes circa res, esurientes circa cibum".

ZhuXi:"Theso-calledstyleofpoemsismostlyfromtheworksofLixiangballads.Theso-calledmaleandfemalephasesandchantsarealsothosewhoexpresstheirlove."ZhuXiclearlystatedforthefirsttimethatthe"BookofSongs"isLixiangsongs(folksongs)said;thesecondislewdpoems.特别是在谈及“郑风”时，他认为“郑风”十有八九都是淫诗。

梁启超：“现存先秦古籍，真赝杂糅，几乎无一书无问题，其真金美玉，字字可信者，《诗经》其首也。”

胡适：“《诗经》并不是一部经典，确实是一部古代歌谣的总集”。

鲁迅：“（《诗经》是）中国最古的诗选”，“以性质言，风者，闾巷之情诗；雅者，朝廷之乐歌；颂者，宗庙之乐歌也。”

比奥（M·EdouardBiot）：“（《诗经》是）东亚传给我们的最出色的风俗画之一，也是一部真实性无可争辩的文献。”

费德林：“《诗经》是中国古代的一部独具一格的百科全书。”