The artistic characteristics of "The Book of Songs"
As one of the main sources of Chinese literature, the "Book of Songs" has always been respected by scholars of all ages and has become a cultural gene after more than two thousand years. , integrated into the blood of Chinese civilization. The Book of Songs focuses on reality and expresses real emotions triggered by real life, and has a strong and profound artistic charm. Whether in terms of form, language skills, or artistic image and expression techniques, they all show the great artistic achievements of my country's earliest poetic works.
(1) Techniques of Fu, Comparison, and Xing
Fu is a direct narrative, that is, the poet expresses his thoughts, feelings and related things in a straightforward manner. For example, "July" describes the farmer's life during the twelve months of the year, using the Fu method. Fu is a basic expression technique and the foundation.
Comparison is a metaphor, comparing another thing to this thing. The poet has the ability or emotion to use an object as a metaphor. Among them, the whole poem is a metaphorical poem that uses imitative techniques to express emotions, such as "Bin Feng? Owl", "Wei Feng? Shuo Shu", "Xiaoya? Crane Ming", which are unique; the comparison in "The Book of Songs" There are various techniques, including simile, metaphor, metonymy, metaphor, etc. A simile is a metaphor in which there is both "that thing" and "this thing", and there is a related word between the two, such as the word "", which serves as a symbol of metaphor. For example, "Qin Feng Xiaorong": "The words of a gentleman are as warm as jade." "Xiaoya Changdi": "The wife is so harmonious, like a drum, a harp, a harp." ?So Kong Yingda said: ?Any words like this are all compared to words?. Metaphor means "that thing" and "this thing" have no related words like "such". For example, in "Wei Feng? Meng", the doves are whining and there is no food for mulberries. When I come to complain about my daughter, I have no time to hang out with scholars. Metaphor means only saying "that thing", not "this thing". For example, in "Wei Feng Meng", the mulberry trees have fallen, and they will turn yellow and die. Self-defeating, poor at the age of three? A metaphor is to use a series of "that thing" to compare a "this thing". For example, "Xiaoya Tianbao" is like a mountain, like a mountain, like a hill, like a mausoleum, like a river. It is like a river. It will increase. It uses five metaphors in a row to describe the prosperity of a career. In "Daya Ban", the mediocre people of heaven are like Xun and Chi, Zhang and Gui, and fetching and carrying. Six metaphors are given in a row to describe how God helps the people. In short, the large number of metaphors used in "The Book of Songs" shows that the poet has rich associations and imagination, and can express his thoughts and feelings in concrete and vivid poetic language.
"Xing" refers to touching things and inspiring words. Objective things trigger the poet's feelings and cause him to sing, so most of them are at the origin of poetry. The use of "Xing" is relatively complicated. Some only play a role in regulating rhythm and emotion at the beginning. The content of the Xing sentence and the following is not obvious. For example, Chapter 2 of "Xiaoya Yuanyang": "The Yuanyang is in Liang, and its left wing is restrained. A gentleman will be blessed for thousands of years." The Xing sentence and the blessing words in the following two sentences are just to coordinate the phonology at the beginning of the poem. Some stories are meant to arouse emotion, and the preface must be connected in some sense with the following. This connection may be manifested in the fact that the preface can metaphor what follows, or that the preface can exaggerate the atmosphere and set off the following, or both, forming an indispensable part of the artistic realm of poetry. Such as "Zheng Feng? There are creepers in the wild" and "Zhou Nan? Guan Sui". The artistic taste and artistic charm of "Xing" mainly lie in its ability to create vivid images, clear pictures, blended scenes, natural, euphemistic, and profound artistic conception for poems by touching scenes, having feelings for things, setting scenes according to emotions, and borrowing objects according to events. Bi and Xing are both ways of expressing emotions through indirect images. Later generations often called Bi Xing together to refer to the creative techniques in the Book of Songs that embody thoughts and feelings in images through association and imagination.
The three techniques of Fu, Bi and Xing are often used interchangeably in poetry, which together create the artistic image of the poem and express the poet's emotions. The works in the "Book of Songs" that use the techniques of fu, comparison, and elaboration most skillfully have reached the artistic realm of blending scenes and harmonizing things and myself, and have directly inspired the creation of artistic conceptions of poetry in later generations. For example, "Qin Feng? Jian Jia" was written with a fu method after the poem was written. It integrates the desolate autumn scenery with sentimental emotions, forming a melancholy and thought-provoking artistic realm.
(2) Sentence structure and composition
The basic sentence structure of "The Book of Songs" is four words, sometimes mixed with two to eight words. However, the proportion of miscellaneous words in sentence patterns is very low, and only a few poems are mainly miscellaneous words, such as "Fa Tan". With the four-character sentence as the backbone, it can be inferred that the musical melody used to sing the Book of Songs at that time was relatively stable and simple.
The Book of Songs often adopts the form of repeated chapters and overlapping words, with only a few changes in meaning and literal words, creating the effect of singing three sighs in one sentence. This is a characteristic of ballads, which can be used to strengthen the expression of emotions, so it is most commonly used in the folk songs of "Guofeng" and "Xiaoya", "Ode" and "Daya", and the political poems of "Xiaoya" Almost none. For example, "Zhou Nan? Fu Tong":
Pick and choose Fu Tong, and pick it up with thin words. There are many things to pick and choose, but there are few words to say. Picking up the thorns and picking them up with thin words. Picking up the thorns and saying nothing about it. Pick and choose the flowers, and talk about them lightly. Picking up all kinds of things, and picking them up in thin words.
In three chapters, only six verbs are changed to describe the entire process of picking wormwood. The complex structure and various wordings divide the different aspects of the story into three chapters. The three chapters complement each other and form a whole in meaning. It is very graceful. The repeated characters in the Book of Songs are also called tautology.
"Ding Ding", "Ding Ding" and "Crying Birds" ("Xiaoya, "Ding Ding") are used to imitate the sounds of "Ding Ding" and "Crying Birds". There are many double-voice rhymes in "The Book of Songs". Double-voice rhymes such as "Zanza", "Zhengyue", "Lilie", etc.; double-voice rhymes such as "Wei She", "Chai Chi", "Three Threads", "Qi Chi", etc., and some double-voice rhymes are also used. Used on the first or third word of a poem or the second or fourth word of a poem. Such as: "Wan Xi Huan Xi" ("Qi Feng Fu Tian"), "Ru Qie Ru Shu" ("Wei Feng Qi Ao"), "Pao Zhi Burning" ("Xiao Ya Hu Ye"), etc.
There are various rhyming methods in "The Book of Songs". The common one is that only one rhyme part is used in a chapter, every other sentence rhymes, and the rhyme is on the even sentence. This is the most common rhyming method in later generations of Chinese poetry. . There are also rhymes in sentences that are not common in later poetry. There are also poems in the "Book of Songs" that do not have one rhyme to the end, and there are also poems that have two or more rhymes, and there are even a very few poems that are without rhyme.
(3) Different language styles of Feng, Ya and Song
The Book of Songs is divided into three categories according to Feng, Ya and Song. Poems were originally music and songs, but because Ancient music has been lost, and future generations are no longer able to understand the musical characteristics of Feng, Ya and Song. Wind is the melody of music, and national style is the melody of each region. Guo means region or territory. The 160 chapters on the styles of the Fifteen Kingdoms include Zhou Nan, Zhao Nan, Bei Feng, Wan Feng, Wei Feng, Wang Feng, Zheng Feng, Qi Feng, Wei Feng, Tang Feng, Qin Feng, Chen Feng, Hui Feng, Cao Feng, Bin Feng . ?Ya? means Zheng, referring to the royal music, which is divided into Daya and Xiaoya. Thirty-one chapters of Daya are works of the Western Zhou Dynasty, and 74 chapters of Xiaoya are works of the Western Zhou Dynasty. Except for a few chapters, which may be works of the Eastern Zhou Dynasty, the rest are works of the late Western Zhou Dynasty. Songs are the music used in ancestral temple rituals. Many of them are dance music, and the music may be relatively soothing.
The language of "The Book of Songs" not only has musical beauty, but also has very good effects in expression and rhetoric. From the large number of nouns and the specific and accurate description of actions in the Book of Songs, we can see that the poet has a full understanding of objective things, specific and meticulous observation, and the ability to control language. In short, the language form of "The Book of Songs" is vivid and colorful. However, Ya, Song and Guofeng are different in language style. Most chapters of Ya and Song use strict four-character sentences, with very few stray words, and there are more stray words in the national style. In Xiaoya and Guofeng, the use of repeated chapters and refrains is more common, but in Daya and Song, it is less common. Many modal particles are used in national style. Such as? Xi?,? Zhi?,? Zhi?,? Si?,? Hu?,? Er?,? Ye?,? Ye?, etc. These modal particles also appear in Ya and Song, but they are not as good as Guofeng There are many of them and they are full of variety. The wonderful use of modal particles in Guofeng enhances the image and vividness of the poem and achieves a vivid state. The differences in language styles between Ya, Song and Guofeng reflect the changes in the society of the times and also reflect the differences in creative themes. Most of Ya and Song are works from the Western Zhou Dynasty, written by nobles, reflecting the majesty and elegance of "Yale". Most of Guofeng are works from the Spring and Autumn Period, many of which were collected from the folk, and more embody the free and unrestrained style of Xinsheng. , which is closer to the spoken language at that time.
"Fengya" was established by later generations of poets in terms of ideological content, while Bixing provided a model for future generations of writers to learn from in terms of artistic expression techniques. The Book of Songs also had a profound and extensive influence on the genre structure, language arts and other aspects of later generations of Chinese poetry. The four-character poem creations of Cao Cao, Ji Kang, Tao Yuanming and others directly inherited the four-character sentence pattern of the Book of Songs. Therefore, "The Book of Songs" has had a profound and profound impact on the development of literature in our country for two thousand years. It is also an ancient historical material of great literary and historical value.
The artistic achievements of "The Book of Songs"
The "Book of Songs" is a foundational work that occupies an extremely important position in the history of Chinese literature. As a collection of music and songs, it has different authors. Different regions have different contents and artistic styles. In summary, his artistic achievements are mainly reflected in the following four aspects:
(1) Strong realism spirit. Most of the poems in the Book of Songs are portrayals of life in a slave-owning society. The authors have a profound knowledge and understanding of social life, and can express it through perfect artistic images, expressing their direct feelings about real life. For example, "July" uses a straightforward narrative to show a true picture of the miserable life of ancient serfs. The poem not only briefly describes the entire labor process of a year, but also profoundly and powerfully exposes social injustice through sharp contrasts and expresses the people's resentment towards the ruling class. "Cutting Sandalwood" and "Shuo Mouse" show the consciousness and resistance of slaves under the oppression of hardship, exploitation and oppression; "A Gentleman in Service" and "Dongshan" reflect the pain caused by war and corvee to the people; "Monster" and "Bo Zhou" ", revealing the joys and sorrows of love and marriage. These poems not only profoundly reflected social life, but also grasped and revealed some essential contradictions in social life at that time with amazing artistic summary power. Through specific descriptions of real life, they truly and vividly reflected the social outlook at that time and expressed the ideals and aspirations of the people.
(2) Fu Bixing is the most prominent method of artistic expression in the Book of Songs. Together with Feng Ya Ode, they are called the "six meanings" of poetry. In particular, Bi and Xing are artistic rules summarized by the ancients when they studied the Book of Songs. The ancients generally believed that Fu Bixing was a method of expression. Song of Fengya is the body, which expresses the content and system. Let’s talk about the artistic effects of the three artistic expression methods of “Fu Bixing”. "Fu" is a method of laying out a direct narrative.
The characteristic of its writing style is that it is "straightforward" without adding metaphors, describing the content to be expressed in a hierarchical manner, giving people a clear and complete impression. For example, in "July", the poet described the serfs' one-year labor process in terms of categories and parallelisms from spring to winter according to the changes in seasons and phenology. He directly complained about their sufferings and laid out everything, which comprehensively reflected the production and life of the serfs. True appearance. This technique of expression mostly reflects the overall aspect of a poem. Its reflection of social life can give people a sense of wholeness, with both depth and generality. ?Comparison? means metaphor and comparison. It uses figurative things to make metaphors, making the metaphorical things vivid, giving people a sense of reality and image, and enhancing the appeal of the poem. For example, "Shuo Ren" in "Wei Feng" uses six metaphors to describe the beauty of Shuo Ren's hands, skin, collar, teeth, head and eyebrows, and vividly praises the appearance and demeanor of Zhuang Jiang, the wife of Wei Zhuang. , leaving a distinct and profound impression on readers. The expression method of comparison captures the essential characteristics of things and the internal connections between things, similar characteristics or identical attributes, depicts the spirit with form, and resorts to abstract things into images, thereby deepening the theme. "Xing" means to support things to make people happy. It is something that relies on nature. Start with the beginning, and then use associations to elicit the way the poet expresses his inner feelings. Exciting sentences are usually placed at the beginning of a poem or a chapter of poetry. The method of "Xing" is used in "The Book of Songs", and sometimes it plays the role of symbol, association, and comparison. For example, "Zhou Nan Guan Ju" uses the harmonious singing of Ju birds to evoke the association of male and female courtship in the following text; "Zhou Nan Guan Ju" begins with "Peach of Peach". Yaoyao, burning its flowers? Two sentences, with the gorgeous peach blossoms in full bloom, symbolizing the radiant beauty of the married girl. Sometimes it creates artistic conception and sets off the atmosphere. For example, the two sentences at the beginning of "Qin Feng? Jianjia": "Jiangjia is green and white dew is frost", depict a desolate and cold artistic conception, and exaggerate a strong atmosphere to express sadness and disappointment. . Sometimes it plays a role in coordinating rhythm. For example, the two sentences at the beginning of "Qin Feng? Yellow Bird" - "crossing the yellow bird, ending at the thorn" - have nothing to do with the following accusation of the sacrificial burial system. It only plays a role in coordinating rhythm. A good rise, using scenes to express emotions, and blending scenes can lead readers into the artistic conception of the poem. Most of the Fu Bixing in the 300 poems are used in combination.
(3) Overlapping is a striking feature of the three hundred chapters of the poem. Fudu is also called fudu or repeated chapters and sentences, that is, the words and sentences in each chapter are basically the same, with only a few words changed in the middle, and chanted repeatedly. Its function is to deepen the impression, exaggerate the atmosphere, deepen the theme of the poem, enhance the musicality and rhythm of the poem, and enable the emotions to be expressed to the fullest. For example, in "Cutting Sandalwood", the three chapters of the whole poem are in the form of repeated chapters. The replaced words in the poem play a role in expressing the theme of the poem in depth: ?Cutting Sandalwood? Cutting Spokes? Cutting Wheels?, showing that the slaves are capable. Endless work: "Three hundred silks", "Three hundred clothes", "Three hundred silks" and "Xianjiang", "County special", "County quail", reveal the cruel exploitation of slave owners: "Hu Qihuo", showing the slaves The Lord is extremely angry. Each chapter ends with "vegetarian meal", "vegetarian meal", "vegetarian meal", "vegetarian meal", showing great irony to the rulers. The above-mentioned techniques are used in the poem to reveal and satirize the labor scenes, deepen the theme, strengthen the power of accusation, highlight the lyrical image of the workers, and make the form of the poem neat and perfect, making it easy to sing and remember.
(4) Four-character sentence structure and rich, vivid, and vivid language. The basic sentence pattern in "The Book of Songs" is four characters and one sentence, but there are also many poems that break the four-character pattern, and are mixed with two, three, five, six, seven or eight characters in the four characters, showing the beauty of unevenness in the neatness. The Book of Songs is a linguistic treasure house of poetry, with rich and colorful vocabulary and vivid and accurate wording. The Book of Songs also makes extensive use of double-tone characters, overlapping rhyme characters and overlapping characters, which not only enriches the vocabulary, but also describes scenery and simulates sounds, making the poems richer in image beauty and phonological beauty.