The Book of Songs is divided into three categories: Feng, Ya, and Song according to different musical tunes.

Wind. It is local music from different regions. "Wind" poems are folk songs collected from 15 regions including Zhounan, Zhaonan, Bei, Yong, Wei, Wang, Zheng, Qi, Wei, Tang, Qin, Chen, Hui, Cao and Bin. ***160 articles. Most of them are folk songs.

Elegance. It is the music of the areas directly under the Zhou Dynasty, which is the so-called formal music. "Ya" poems are songs for palace banquets or court meetings. According to different music, they are divided into 31 poems in "Daya", 74 poems in "Xiaoya" and 105 poems in "Xiaoya". Except for a small number of folk songs in "Xiaoya", most of them are works by aristocratic literati.

Ode. They are dance songs and lyrics used in ancestral temple rituals, mostly praising the ancestors' achievements. The "Song" poems are divided into 31 "Zhou Songs", 4 "Lu Songs", 5 "Shang Songs", and 40 *** poems. All are works by aristocratic literati. From a time perspective, "Song of Zhou" and most of "Daya" should have been produced in the early Western Zhou Dynasty; a small part of "Daya" and most of "Xiaoya" should have been produced in the late Western Zhou Dynasty to the eastward movement; "Guofeng" Most of them and "Songs of Lu" and "Songs of Shang" should have been produced in the Spring and Autumn Period. From the perspective of ideological and artistic value, three poems are not as good as two elegances, and two elegances are not as good as fifteen national styles.

Fu Bixing

A summary of ancient Chinese poetry expression methods. It is summarized based on the creative experience of "The Book of Songs". The earliest record can be found in "Zhou Li·Chunguan": "The master...taught six poems: Feng, Fu, Bi, Xing, Ya and Ya. "Ode." Later, "Preface to Mao's Poems" also called "Six Poems" "Six Meanings": "There are six meanings in poetry: one is wind, the other is fu, and the third is comparison. ,

The fourth is Xing, the fifth is Ya, and the sixth is Song. "Kong Yingda's "Mao Shi Zhengyi" of the Tang Dynasty explains: "Feng, Ya, and Song are the ones." Variations of "Shi"; Fu, Bi, and Xing are different words from "Shi"... Fu, Bi, and Xing are used in "Shi". Feng, Ya, and Song are the formation of "Poetry". These three things are used to achieve these three things, so they are called "Feng, Ya, and Song" together. /p>

About the classification of the content of "The Book of Songs"; "Fu, Bi and Xing" refer to its

expression methods.

After the theory of "Fu, Bi and Xing" was put forward, many scholars in the past dynasties have conducted research and discussion for more than two thousand years since the Han Dynasty, but in the specific understanding

There have always been various divergent opinions on understanding and explanation.

The interpretation of "Fu, Bi, Xing" in the Han Dynasty The interpretation of "Fu, Bi, Xing" in the Han Dynasty

The most representative ones who had a great influence on later generations were Zheng Zhong and Zheng Xuan

Two families. Zheng Zhong said: "Those who compare, use analogies to things...those who thrive, rely on things."

(Quoted from "Mao Shi Zhengyi") He combined the technique of "comparison" with the external world< /p>

To connect objects and images, it is believed that "bi" is a metaphor for comparing one thing to another in rhetoric

A metaphorical technique, "xing" means "rising", that is, relying on "plants, trees and birds" A method of "seeing what the beast sees

meaning". Although the discussion is relatively simple, generally speaking, it captures the characteristics of the artistic thinking and expression technique of "Bixing". Zheng Xuan's explanation

is different. He believes: "The words of Fu directly explain the good and evil of today's politics and religion."

Bi, seeing today's mistakes, dare not criticize them. Use analogies to express them. See the beauty of the present. If you are dissatisfied with flattery, use metaphors to persuade them. "(Quoted from "Mao Shi Zhengyi"). Here, except that the characteristic of "Fu" is that the expression method is elaborative and relatively realistic

, other explanations are related to politics, education, and beauty

It seems that this regards a certain expression technique as the characteristic of a certain style of writing, which is far-fetched. The interpretations of the Book of Songs

in "Mao Zhuan" and "Zheng Jian" often leave the artistic image in the straightforward poems to seek

the relationship between monarchs, ministers, fathers and sons. "Small words of great meaning", such as describing the love poem "Guan Ju"

as expressing "the concubine's talk about the virtues of a gentleman", etc., and this kind of "Fu,

Comparison, Xing" The precise misinterpretation is directly related.

Therefore, later Kong Ying

did not agree with Zheng Xuan’s statement that “Bixing” belongs to “Mei Ci” and pointed out:

“In fact, there are Bixing people in both Mei Ci. "("Mao Shi Zhengyi") However, Zheng Xuan raised "Bixing" to the height of beautiful satire and regarded it as a metaphor for Chen Zi'ang, Bai Juyi and others in the Tang Dynasty. The theory of "Mei Ci Bixing" mentioned is enlightening

Discussion of the Wei, Jin, Southern and Northern Dynasties During the Wei, Jin, Southern and Northern Dynasties, "Fu" was discussed.

The representative figures of "Bi and Xing" mainly include Zhi Yu, Liu Xie and Zhong Rong. Zhi Yuji

Inherited Zheng Zhong's point of view and believed: "The person who writes is also called the presenter; A metaphor is a metaphor

a word of analogy; a word of inspiration is a word of feeling." (Volume 5 of "Yi Wen Lei Ju"

16) He also wrote about Han Fu. "Fu" put forward sharp criticism for not "taking the feelings first" but "taking the situation as the basis" and doing his best to be extravagant and beautiful. The expressive techniques have been widely used and developed in the creative practice of Han Fu

, resulting in the formation of a unique style. This is on the one hand; but on the other hand

This also resulted in a considerable number of Han Fu being devoted to describing the beauty of palaces, the prosperity of fields and hunting, etc., resulting in the lack of profound and meaningful ideological content

Zhi Yu's criticism of Han Fu is right to the point. Because Han Fu uses a lot of figurative rhetoric, it is easy for people to mistake "Fu" and "Bi".

It has a close connection and seems to have nothing to do with "Xing", so when Liu Xie talked about Han Dynasty

he said that "the daily use is more than that, the moon forgets Xing, and the small things are studied and the big things are abandoned. ", the result is

"Bi Ti Yun Ge" and "Xing Yi destroyed" ("Wen Xin Diao Long·Bixing").

In fact, what is said here is " "Bi" is the "Bi" in "Fu". Because of this reason, and also because ancient Chinese lyric poetry is far more developed than narrative poetry, people sometimes omit "Fu" " And label "Bixing" and summarize it with "Bixing"

The "three meanings" of poetry.

Liu Xie's discussion of "Bixing" was once reviewed by "The Biography of Mao " and "Zheng Jian"

It is far-fetched to talk about the influence of poetry. For example, he said ""Guan Ju" is different, so after

Fei Fangde; 'Corpse Dove' ( Refers to "Zhaonan Magpie Nest" Zhenyi, so Mrs. Xiang

Yi" ("Wenxin Diaolong·Bixing") and so on. But at the same time, he inherited Zheng

Public opinion, and further development, it is believed that: "The one who compares is attached; the one who is excited

is the one who rises. The one who attaches to the reason refers to things by categories, and the one who arouses emotion uses the slightest suggestion. . To arouse emotions

The reason is to establish the body, and to attach the reason to the proportion." He also believes that the requirement of "bi" is to "write things to attach meaning, and express words to express." "Things". This summarizes the characteristics of "Bixing"

as an artistic thinking and expression technique. He also pointed out that "the poet Bixing,

touches things and has a comprehensive view." That is to say, it is believed that the thinking and techniques of "Bixing" must be based on the observation and feelings of external things. These opinions are all very

desirable.

After Liu Xie, Zhong Rong's discussion of "Fu, Bi and Xing" has more new content

. He said: "The text has been exhausted but there is more than enough meaning, which is Xing; metaphors for things

Aspirations are comparisons; writing about things directly, fables about things are also Fu." Emphasis on "Xing"

The characteristic is that "the text is exhausted but the meaning is more than enough", it should have a poetic flavor or "flavor"

("Preface to Poems"), thus integrating the special touching role of art with art

p>

This is an obvious progress and a breakthrough in the traditional thinking performance characteristics. It is precisely because of this that some people who adhered to traditional concepts later not only refused to recognize Zhong Rong's contribution, but also criticized it. For example, they said that he "explained Bixing is also very good with exegesis" (Huang Kan's "Wen Xing Diao Long"

Notes"); "The explanation is unclear" (Li Jinxi's "Rhetoric·Bixing"

article》), etc. It is particularly worth noting that Zhong Rong also correctly pointed out that "Fu,

Bi, Xing" and "three meanings" each have their own characteristics and strengths and cannot be separated

Treat and use. He said: "If you use it exclusively to express your feelings, the problem lies in the depth of meaning, and if the meaning is deep, the words will be awkward.

If you only use Fu style, the problem is that the mind is floating. If the mind is floating, the writing will become loose and flow.

The writing will never stop, and it will be unorganized and unorganized. Therefore, he requested to take the best of the three: "Hong Si's three meanings, use them as appropriate, dry them with wind power, moisten them with elixir color, and use them to taste." It is infinite, and those who hear it are moved. This is the ultimate poem. " ("Poetry

Preface" believes that a truly good poem cannot only use "Bixing" to make it "deep in meaning" and obscure, nor can it only use "Fu". "The method leads to "shallow meaning" and tiredness.

Only by taking the strengths of the three and using them as appropriate, can we move people and "make the taste

endless." Zhong Rong This view is undoubtedly correct. To write poetry clearly and understand it for readers, it is essential to use the technique of "fu". To express emotions, gallop imagination, impress readers, and be intriguing, it is indispensable to use Zhong Rong's "Hongsi Three Meanings". The views of "Use it as appropriate" and "The text is exhausted but the meaning is more than enough" are in line with the artistic rules of poetry creation and have a great influence on the poetry theory of future generations.

Discussion in the Tang and Song Dynasties The discussion of "Bixing" by critics in the Tang Dynasty

has a new development, that is, it is not only regarded as a technique of expression, but also given

This is related to Zheng Xuan's statement. However, Zheng Xuan used political and religious edicts to explain the "comparison" in a far-fetched way. p>The original meaning of "Xing" and the chapter of "The Book of Songs"; the Tang Dynasty people used the concept of "Bixing"

to express their creative ideas, emphasizing that poetry should use beautiful irony

The role of edicts, there is no question of being far-fetched. Liu Xie and Zhong Rong's discussion

The discussion of "Bixing" sometimes also involves content, such as Liu Xie's "Poetry"

< p>The assassination of Taoism is the cause of death, so the prosperity of justice is destroyed" ("Wen Xin Diao Long·Bixing"), what Zhong Rong

said is "the prosperity is not surprising" and "the entrustment to Qingyuan" ("The Enlightenment of Qingyuan") "Shipin" volume), etc.

Critics in the Tang Dynasty went further and called "Bixing" "Xingji", such as Chen

Zi'ang criticized Qi and Liang's poetic style as " The beauty competes with the complex, and the prosperity is sent to the capital." ("Xiuzhu

Preface", Yuan Zhen criticized the early Tang Dynasty for "the Shen and Song Dynasties did not preserve the prosperity" ("Reciting Poems

< p>Send to Lotte Book"), and think that his poems are "slightly saved by Xing Ji" ("Jin Shi

Zhuang"), etc. The so-called "Xing Ji" is also "Bi Xing".

He also said: "Husband's poems can be compared to Xing's poems, but not written by Hao?" ("Preface to "Happy (Jia) Horses"

Drunken Songs When Encountered in the Army") Yin □ also criticized Qi Liang Shifeng said: "The principles are not enough, and the words are often more than enough. They are all very exciting, but they are noble and light." (Preface to "Heyue Yingling Collection") " "Bixing", that is, "Xingji". It can be seen that people in the Tang Dynasty

mostly focused on "Bixing" from the perspective of beauty, satire and satire. Liu Zongyuan clearly pointed out: "To promote allegory, it is because of comparison." ("Preface to the Collection of Yang Pingshi") Bai Juyi even used "beauty to stimulate comparison" as a phrase

< p>To use it, such as: "Anything that is comfortable and feels, and is about beauty and excitement...

It is called an allegorical poem. " ("Yu Yuan Jiu Shu") They labeled "Xing Ji" or

"Bixing", emphasizing that poetry must have social content and play a social role, which is very important for poetry. It played a positive role in promoting the healthy development of Tang poetry.

Scholars in the Song Dynasty conducted relatively in-depth research on "Fu, Bi and Xing" in "The Original Meaning of Poetry". Li Zhongmeng and Zhu Xi were particularly noteworthy in their "Poetry Analysis". The interpretation of "Fu, Bi, Xing" had a great influence on later generations

Li Zhongmeng believed: "The description of things is called Fu by romance, and the emotions are exhausted. Also; when you look for things to express feelings, you will express the ratio, and you will feel attached to things; when you touch things, you will feel emotions to express your excitement, and when things are emotional, you will feel them. " (Quoted by Hu Yin's "Fei Ran Ji·Li Shu Yi") He explained it from the perspectives of "narrating things", "finding things" and "touching things". "Fu, Bi, Xing".

The so-called "narrating things" is not only a matter of "laying out the story", but also must be combined with "romance" to express the author's emotions and objective objects. It is vivid and lifelike. This

is a big step forward than the traditional interpretation, and is more in line with the requirements for the expression technique

of "Fu" in poetry creation. /p>

’s research has had a positive impact. There are also such examples in the few ancient narrative poems.

For example, the 1,745-word narrative poem "The Peacock Flying East

South", in addition to the first two sentences using "The peacock flies southeast, wandering five miles away"

the word "Xing", through The whole chapter is written in the style of "Fu", and the narration is vivid and superb. Just as Shen Deqian said: "It is dripping, repeated, and miscellaneous. It describes more than ten people." Chinese, each with its own sound and appearance, isn't it the work of chemical engineering?" ("The Source of Ancient Poems") Later, it was like "Mulan Poems" in the Northern Dynasty and Du Fu's "Stones"

"Hao Li", Bai Juyi's "Charcoal Seller", etc., also use the "Fu" method and show similar characteristics. The so-called "asking for things", that is, asking for and selecting objects to express feelings

is not only a matter of using metaphors for rhetoric, but also requires

to express the author's deep feelings in metaphors. . This kind of "comparison" method will naturally have artistic appeal, and will not become a pile-up of various metaphorical words like Han Fu. The so-called "touching things" refers to the impulse of the author's subjective emotions caused by contact with foreign objects. This is what Mei Yaochen said "because of things." "To communicate", "cynical and evil thoughts are lodged in grass, trees and insects"

("Reply to the poems presented by the three sons of Han, Hua Han, Wuzhi, Guohan and Liuyu, Rujian"), from outside

Things are inspired by emotions, and emotions are infiltrated and placed in the described objects.

Obviously, Li Zhongmeng's explanation of "Fu, Bi and Xing" has further developed compared with many of his previous explanations. These arguments of his were later published by Wang Yinglin of the Southern Song Dynasty's "Jiwen of Kunxue", Wang Shizhen's "Yiyuanmaoyan" of the Ming Dynasty, and Yang Shen's "Sheng'an Poetry Talk" " etc. have been repeatedly cited, and most of the opinions and interpretations of later generations are extensions and developments of his views, with few new breakthroughs.

Zhu Xi's explanation of "Fu, Bi, Xing" is: "Fu, Bi, Xing" is: "Fu is a person who expresses his

things and speaks straightforwardly"; "Bi is a comparison with other things. "This thing is also"; "Those who are excited

preface other things to trigger the words to be chanted." ("Collected Poems") This is the same as what Huang Che said. The author of "composition" elaborates the story; the "comparison" describes the story; the "note of excitation" refers to the inspiration of the story" (see "Poet's Jade Chip"), which are basically the same. Although Zhu Xi explained the basic characteristics of "Fu, Bi and Xing" as expression techniques

more accurately, his summary is not as suitable for literature as Li Zhongmeng's explanation

The reality of creation. The reason why his statement had a great influence in later generations is mainly because his thoughts and theories were vigorously advocated by the rulers in the late feudal society. Although Zhu Xi also criticized some of the pedantic arguments of Han Confucians in interpreting the Book of Songs, he himself also had pedantic views on poetry that were subtle and meaningful. For example, he wrote in "Collected Poems" A poem annotating "Guan Ju" in "Biography" says: "Xing

Ye." "King Wen of the Zhou Dynasty was born with saintly virtues, and he was worthy of the saintess Si.

When the people in the palace first arrived, they saw that he had the virtue of leisure and tranquility, so they wrote this poem.

The doves in Guanran were singing in harmony with each other on the river island. That's right; this graceful lady is not a good match for a gentleman. She talks about being harmonious and respectful, just like a dove's affection is sincere but different. In the future, the meaning of all the words that are interesting will be expressed in this way." To analyze the meaning of "Xing" in "Guanyong" like this is obviously influenced by the far-fetched explanation of poetry in "Preface to Poems", "Mao Zhuan" and "Zheng Jian".

And he did not notice the indispensable interaction of "three meanings" in creation like Zhong Rong did.

He often simply classified a poem as "Fu". "Ye",

"Bi Ye" or "Xing Ye", and even the "Chu Ci" was decomposed in this way. ridicule. For example, Chen Tingzhuo said in "Bai

Yuzhai Cihua": "Three hundred romantic poems... later generations forcefully speculate on things, which are based on the names of Bi, Xing and Fu. , and the meaning of the poem is obscure. Zi Zhuzi also divided it into chapters by Bi, Xing and Fu, which is particularly meaningless. "

It should be pointed out that this is unnecessary. This practice of leaving the specific artistic image of poetry to explore other than the image of the so-called emperor and ministers, father and son, and husband and wife was still relatively common in the Song Dynasty and after the Song Dynasty. Huang Tingjian once made a sharp criticism of the interpretation of Du's poems in the Song Dynasty: "Those who like to dig and chisel will abandon their main purpose and take their inspiration from the forest and spring they meet." People, plants, trees, insects, and fish all seem to have something to support them. Just like those who talk about things in the world, Zi Mei’s poems are based on the earth."

("Dayatang") "Ji") in the "Tiaoxi Yuyincong Hua" written by Hu Zai in the Southern Song Dynasty, there are also many records in this regard. Not only poetry, but also lyrics. For example, the Changzhou School's Ci theory in the Qing Dynasty had this problem, and some of Zhou Ji's views on Ci were criticized by Wang Guowei. The rulers of the Qing Dynasty even took over this

method of thorough comparison and thoughtful consideration, and created literary inquisition more than once,

which resulted in extremely bad consequences.

Research on "Fu, Bi, Xing" during the Ming and Qing Dynasties

Research on "Fu, Bi, Xing" during the Ming and Qing Dynasties is worth noting: 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 Wang Shuwu as saying: "Poetry has six meanings, and BiXing is the most important. The husband, the scholar, has fewer BiXing and more straightforwardness. Why? Out of love

He works in many words. He is a foolish man who has no writing.

□ also means moaning and chanting. Walking while sitting and singing, eating and sighing, singing one and another

There is no comparison, no excitement, no more than emotion, this is enough to understand the meaning."

< p>("Preface to the Collected Poems") At that time, poems lacking true feelings were generally popular

Although Li Mengyang also advocated archaism, he also pointed out that "comparison" "Coming from true feelings, true poetry lies in the folk. It is correct to advocate that orthodox poetry should learn from folk songs. Zhou Ji in the Qing Dynasty applied "Bixing"

in his theory of Ci, and put forward the famous argument that "nothing can come in unless you put it in, and nothing can come out if you put it in it" ("Introduction") "Cunzhai Lunci Miscellaneous Works"). "Sustenance" means "Bixing"

The application of artistic thinking and expression techniques in creation. Poetry writing can neither

be without sustenance nor deliberately pursue sustenance, otherwise it will affect

the appeal of the work. This opinion is also quite insightful. In addition, as Wang Euzhi said, "Xing exists intentionally or unintentionally, and comparison cannot be carved" ("Poem Talk"), emphasizing "Bixing" The application of physics should be natural and complete; what Chen Qiyuan

said, "It is necessary to study physics thoroughly before you can talk about it" ("Mao Shiji Gubian"),

emphasis on the broad and profound The importance of life accumulation for the application of "Bi Xing"; Shen Xianglong believes that "Xing" means "borrowing scenery to attract one's emotions", and "Bi" means "borrowing things" to express emotions

"Its meaning" requires "bihxing and mutual presentation" ("Essays on Ci"), which combines "bixing" with the emotions and scenes in artistic description. However, most of these discussions are sporadic and lack insights worthy of special attention. In terms of specialized research works, Chen Han's "Shi Bi Xing Jian" and Yao Jiheng's "Shi Jing Tong Lun" are more promising.

In short, the research on "Fu, Bi and Xing", in addition to the negative impact of thoroughly explaining poetry

, its positive significance is: through long-term research and discussion, < /p>

Not only recognize the respective characteristics

of these artistic expression methods with national characteristics, their interaction and influence in literary creation; but also recognize

Extensive life experience, sincere emotions, visual expressions, etc. are of great importance to them

and the unexpected rich poetic flavor creates a strong sense of beauty in readers

importance, in this way, the theoretical understanding of artistic thinking and expression methods of "Fu, Bi, Xing"

has become increasingly profound and perfect, and its expression in creation and applications become increasingly rich and perfect. These understandings of the laws of creation have greatly enriched ancient Chinese literary theory.