Книга на песните

Процес на формиране на книги

Произход на името

TheBookofSongswasmadeintoabookinthemiddleoftheSpringandAutumnPeriod.Itwasoriginallycalled"ThePoetry".Confuciusmentionedthistermmanytimes,suchas:"The"Poetry"isthreehundred,inaword,saying:'Thinkingwithoutevil'"."Recitethe"Poetry"forthreehundred,andteachittobepolitical,butitisnotgood;ifitisusedinthefourdirections,itcannotbespecificallyright.Eventhoughtherearemany,itisalsoridiculed?"

Сима Циан също е записал това име, като например: „Тристотинте части от „Поеми“ вероятно са направени от добродетелни мъдреци“.

Тъй като има 311 стихотворения, записани в по-късната версия, те ги нарекоха „Триста стихотворения“ за удобство на разказа. Причината, поради която беше преименувана на „Книгата на песните“, беше, че императорът Wuof theHanDynasty използва „Поезия“, „Книга“, „Ритуал“, „Yi“ и „Chunqiu“ като пет класики.

Генерационно време

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

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

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

"Дая"isaproductoftheprosperousperiodoftheZhouDynastyandtheonlyepicinancientChina.Regardingthecreationtimeoftheeighteenarticlesof"Дая",variousopinionsdiffer:ZhengXuanbelievesthat"WenWangZhiShi"isapoemfromthetimesofWenWangandWuWang.ItisthepoetryofZhouGongandChengWang.ZhuXibelievesthat:"ZhengДая"...itwasdecidedbyZhouGongwhenitwasproduced."Buttheyallbelievedthat"ZhengДая"wasapoemintheearlyyearsoftheWesternZhouDynasty.

"Сяоя"cameintobeingaftermovingtotheeastinthelateryearsoftheWesternZhouDynasty.

И „SongofLu“, и „SongofShang“ са произведени след преместването на династията Джоу на изток (770 пр.н.е.).

Създател

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.

Творчески фон

TheancestralhomeoftheZhouDynasty,Zhouyuanissuitableforagriculture.Thepoemssuchas"Shengmin","GongLiu"and"MianmianMelon"in"Дая"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.

Кратко въведение

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

„Книгата на песните“ в момента има 305 части (в допълнение към 6 части без стихотворения, общо 311 части), разделени на три части: „Feng“, „Ya“ и „Song“.

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

"Ya"isdividedinto"Дая"and"Сяоя",anditismostlythepoemsofthenoblestoprayforgoodharvestandpraisetheancestors.Theauthorof"Дая"wasanaristocraticliterati,buthewasdissatisfiedwithrealpolitics.Inadditiontobanquetmusic,sacrificialmusicandepic,healsowrotesomesatiricalpoemsreflectingthewishesofthepeople.Therearealsosomefolksongsin"Сяоя".

„Ода“ е поема за жертвоприношения в родови храмове. Поемата в „Я“ и „Ода“ са от голяма стойност за изследване на ранната история, религията и обществото.

Горните три части, „Ode“ има 40 статии, „Ya“ има 105 статии („Сяоя“ има 6 статии без стихотворения, без да се броят), а „Вятър“ има най-големия брой, общо 160 статии, общо 305 статии.

WindChapter

„Вятърът“ включва народни песни от 15 места, включително днешните Шанси, Шанси, Хенан, Хъбей, Шандун и други места, повечето от които са народни песни от басейна на Жълтата река.

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."Дая"mainlypraisestheachievementsofZhouroyalfamilyancestorsandevenKingWuandKingXuan.SomepoemsalsoreflectthetyrannyandchaosofKingLiandKingYouandtheirrulingcrisis.

Повечето от произведенията на "Дая" са направени в ранния период на династията Западна Джоу. Старият Xun Ya е праведен, което е праведен глас на поезия.

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

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

Сяоя

Дая

OdetoChapterh3>

В „Ода“ има 40 глави.

За тълкуването на "Ода" беше видяно за първи път в "Предговорът на поезията": "Ода, описанието на добродетелите на Съединените щати и боговете с успеха му." каза KongYingdain "MaoShiZhengyi": Думата "RongYe" е изпусната под "SongZhe". "ShiJininZhuan" на ZhuXi каза: "Songchararecomer" и "Rong"

Според тълкуването на „JingShiJi·ShiSong“ на RuanYuan, „Rong“ означава танцувална външност, „Описанието на MeiShengDe“ е танцово движение, което възхвалява „ShengDe“. Например „СонгофДжоу·Weiqing“ е песен, посветена на краля на Уен. Малък предговор“ казва: „Играйте на танца на слоновете“.

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

Modernscholarsalsothinkthat"Ode"isthejoyofsacrificialancestorsintheancestraltemple,andpartofitisdancemusic.

Шедьоврите на theode включват главно "The TempleoftheCingDynasty", "TheLifeofViking","Hehe"и скоро.

СонгофДжоу

LuSong

SongSong

Основна бележка

Оценяване на произведенията

Реализъм

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.

Шестте значения на Книгата на песните

TheBookofSongsisdividedintothreeparts:Feng,EleganceandSong."Wind"isthemusictuneoftheprinces;"Ya"isthemusicoftheZongzhouarea;"Song"isthemusicoftheancestraltemple.Asfor"Дая"and"Сяоя"shouldbedividedintomusic,"Broadandquiet,easytobelieve,Yige"Дая";frugalandcourteous,Yige"Сяоя".Theartistictechniqueof"TheBookofSongs"isSummarizedas"Fu,Bi,Xing",togetherwith"Wind,Elegance,andSong",itiscalled"SixMeanings".

„Шестте значения на стихотворенията“ е „Предговорът към стихотворенията“ („Предговорът към MaoPoems“) Първо беше предложено, че тази формулировка се основава на старата поговорка на „Майсторът...преподавайки Шестте стихотворения: SayingFeng, SayingFu, SayingBi, SayingHing, SayingElegance, SayingSong“в Zhouli.

KongYingda обясни в „MaoShiZhengyi“: „Вятър, елегантен, и възхвален, вариант на „Поезията“; Fu, Bi, XingWho, „Поезията“, различните думи се режат.... Fu, Bi и Xing се използват в „Поема“; Feng, Elegance и Songa са формирането на „Поема“. Трите неща се използват за постигане на тези три неща, така че и двете се наричат ​​„праведност“.

Като цяло се смята, че вятърът, елегантността и песента са класификацията и съдържанието на стихотворенията; Фу, Би и Син са методите на изразяване на поезията. Сред тях вятърът, елегантността и песента са разделени на различна музика, Фу, Би и Син са разделени според техниките на изразяване.

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.

Първо, сравнението е метафора.

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. Първият използва като метафора за формата, а вторият използва за метафора промяната на чувствата.

"BeiFeng·Jianxi": "Юздата е като група, а двамата са като помощник." Сравняване на формата с формата;

„TangFeng·JiaoLiao“: „Реалността на JiaoLiao, размножаване и издигане на феновете. Той е огромен и без приятели“.

"WangFeng·Military": "Центърът е пиян", "Центърът е като поглъщане." Чувството е метафора за чувството;

Има две точки от "би" в "Книгата на песните", на които трябва да се обърне специално внимание:

Oneisasymbol.Thetechniqueismoresubtle,butitisoftenusedasametaphorfrommanyaspects.Themethodof"CongYu"issometimesthesameastoday's"referringtothesangandcursingtheHuai".Forexample,"СяояDadong":"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:

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

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

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

Съотношенията в „Книгата на песните“ са разнообразни и повечето от тях са в текста. Изреченията за сравнение, някои от които отговарят на цялото стихотворение, имат сравнително значение, като „Суошу“.

Второ, Xing използва други неща като началото на поемата.

„Книгата на поезията“ на ZhuXi казва: „Проспериращият човек първо говори за други неща, за да накара думите да бъдат скандирани.“ Началото и началото. Има две ситуации:

First,theaffectiontouchestheobjectandthesongissent(thatis,thebeginningiswithathingthatisinharmonywiththecontentoftheperformance).

2.Използва нещо за създаване на рима.

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.

Друг пример е "Таояо": "Таояоя изгаря цветята си и домът на сина и е подходящ за семейството му. Лекува като "XingYe", но когато той обясни редактирането, той каза: "ДжоуЛи, в средата на пролетта, мъже и жени ще се срещнат, но цветовете на прасковите са красиви и бракът също е верен." fu Hasbecom

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

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

3.Фу.

В "Книгата на поезията" се казва: "Хората, те трябва да бъдат честни и откровени."

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 .Следователно "Книгата на песните" не се отнася само за разказ, а не само за така нареченото "директно представяне", но също така достига като превъзходно и лирично описание на пейзажа.

"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,"Сяоя·MandarinDuck":"Themandarinduckisinthebeam,guardingitsleftwing,andagentlemanforthousandsofyearsissuitableforhisrevenge."Xingsentenceandtheblessingsofthefollowingtwosentenceshavenomeaningconnection."СяояBaihua"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.

Повторение на глави

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", са двойни глави и повтарящи се изречения. В предпоследното и третото изречение от трите глави, "не аз", "не аз с" и "Не съм виновен".

Therepetitionofwordsin"TheBookofSongs·Guofeng"isalsocalledtautology.,Thesoundofbirdsong."Inthepast,Ihavegone,YangliuYiyi.TodayIcometothink,rainandsnowFeiFei."With"yiyi"and"feifei",itislikewillowandsnow.Therearetoomanyexamplesofthiskind.Liketautology,double-tonerhymealsomakespoemssungorchanted,thechaptersaresoothingandmelodious,andthelanguagehasmusicalbeauty.In"TheBookofSongs· Guofeng"има много употреби на двутонни повтарящи се хими, като "разположен", "активно", "XianMian", "LiLie"и скоро,и двойни тонери като "WeiSnake","Chachi","Prepare"и"QiChi"и скоро,а някои двойни тонери се използват с една дума три -charactersortwo-characterfour-charactersinverses. Например, "RuqieRuxi" ("Weifeng·Qiao"), "Yuanjuyanchu" ("BeiFeng·Drumming"), "WanXiSuiXi" ("QiFeng·Futian") и др.

Езиков стил

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"), антитезата като "друга къща ще доведе до друга къща и смъртта ще доведе до същата точка" ("WangWind·BigChe") и скоро.

Thelanguageformof"TheBookofSongs"isvividandcolorful,anditcanoftenbe"morewithless"and"fullofemotionandbeauty".Butelegant,eulogyandnationalcustomsTherearedifferencesinlanguagestyles.MostchaptersofYaandSonguserigorousfour-charactersentences,withfewmiscellaneoussentences,andtherearemoremiscellaneoussentencesinGuofeng.InСяояandGuofeng,repetitivesentencesareusedmorefrequently.ItisrelativelyrareinДаяandSong.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.Сяоя'sseventy-fourarticlesarealltuned.Thirty-onearticlesin"СонгофДжоу"andfourarticlesin"SongofLu"areallfeathers.Theonehundredandsixtychaptersofthefifteenth"Guofeng"areallcornertunes.Thefivechaptersof"OdetoShang"arealldiscussed."ThisrelationshipbetweenpoetryandmusichasbeenpartiallyconfirmedintheShanghaiMuseumBambooSlip"CaifengRepertoire".Mr.MaChengyuanbelievesthat:Partofthetrack.TheaccentofeachsongXiangecanbedeterminedaccordingtothiscategory,asinthe"BookofSongs",andthebriefdescriptionofthesongisthepopularmusicinChu.”

AcademicResearch

Исторически текстови изследвания

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

1.Пред-Кинпериод.

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

Второ, периодът на синологията (от HantoTang).

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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 ,и Ханаремайстори, които са се появили в Лу, Ци и Ян. Неговите изследвания на „Поезия“ са формирали само регионални характеристики и няма ясно разделение на действията. Едва след намесата на политически сили разпространението на „Поезията“ се промени от безпорядък в подредено състояние.

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.

Четири. Новият синологичен период (династия Цин).

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

Модерни изследвания

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

В полето за изследване на Книгата на песните има учени от традиционен стар стил като ZhangTaiyan, WuKaisheng, LinYiguang и др., както и учени от нов стил, които са получили модерно образование, изучавали са китайски и западен език и имат високо всеобхватно качество, като HuShi, 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.Относно естеството наКнигата с песни,време,редактиране,система,обучаващ жанр и изследователски жанр;

2. Изследване на съдържанието и изкуството на всяка статия;

3.Проучване на исторически материали;

Четири. Текстово изследване на текст, фонология, екзегеза, известни обекти и изследване на изследователски материали като събиране и редактиране.

Изследвания

OnFebruary3,2019,thepreliminaryinterpretationofthebambooslipsunearthedfromthetombofLiuHe,theHaihunHou,wascompleted.Therearemorethan1,200bambooslipsintheHaihunsimplifiedbook"TheBookofSongs".Thecontentofthebriefessaysisdividedintochaptersandpoems.Youcansee"ThreeHundredandFive"BooksofSongs","Songs","ThirtyPiecesofДая","OneHundredandSixtyPiecesof"Guo",etc.Theamountofcontent.ItisworthnotingthatthetotalnumberofchaptersintheHaiyunsimplifiedbook"TheBookofSongs"isrecordedas"FanqianSeventy-SixChapters"(Chapter1076),whichisfarfromthecurrent1142chapter.ThediscoveryoftheHaiyunsimplifiedversionof"TheBookofSongs"notonlyprovidestheancientversionof"TheBookofSongs"withthemostcharactersseentoday,butalsoprovidesthepossibleappearanceofthe"Lushi"intheHanDynasty.

Стойностно влияние

Социална функция

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,"Сяоя·JieNanshan":"MyfathermakesarecitationtoinvestigateWangYu"."ДаяMinlao":"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, Viewing, Grouping, and Resentment“ изяснява социалната функция на „Книгата на песните“. То не само посочва литературните характеристики на „Книгата на песните“ — заразяване на хората с образи, задействане на въображението и асоциациите на читателите, а също и в съответствие с обществото и обществото. Животът е постигнал практически ефекти.

Стойността на Книгата на песните

История и фолклорна стойност

Fromtheperspectiveofhistoricalvalue,theBookofSongsactuallyfullyreflectstheWesternZhou,ThehistoryoftheSpringandAutumnPeriodrecordsthehistoricaldevelopmentandactualconditionsfromtheWesternZhouDynastytotheSpringandAutumnPeriodinanall-round,multi-faceted,andmulti-anglemanner.Literature,art,etc.Whenthehistorybooksoflaterhistoriansdescribethesituationofthishistoricalstage,aconsiderablepartofitisbasedontherecordsofthe"BookofSongs".Epicpoemssuchas"Shengmin"in"Дая"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.

Културата на ритуалната музика и други ценности

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

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

InadditiontotheritualsofYantai,theculturalcontentsofritualsandmusicreflectedin"TheBookofSongs"alsoinclude:"Zhaonan·Muyu"describesthe"ritualsofspringsearch"offieldhuntinginspring;"Сяоя·Chegong""Сяоя·AuspiciousDay"describesKingZhouXuan'smeetingwiththeprincestohuntinthefields;"Сяоя·Chuci","Сяоя·Futian","Сяоя·Datian"etc.describeofferingsacrificestoancestors,offeringsacrificestoGod,Sifang,Houtu,Xiannong,etc.Thegods;"СонгофДжоу"containsmanyarticlesaboutsacrificingtothekingofliteratureandheavenandearth,whichcanbeusedtounderstandthesacrificialrites;"Сяоя·MandarinDuck"extolsthenewlymarriednoblegentlemen,"Сяоя·ZhanpiLuojing"showsthereviewofZhouWanghui'sprincessixMilitary,youcanlearnaboutweddings,militarysalutesandsoon.

Традиционно влияние

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

1.Духът и традицията на реализма

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

Второ, LyricPoetryTradition

От „Книгата на песните“ лирическата поезия се превърна в една от основните форми на поезия.

Три, елегантност и литературна иновация

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

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

Четири.Моделът на FuBixing

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.

Екстериториално влияние

The"BookofHan"recordsthatintheWesternHanDynasty,thechildrenofnoblesfromvariouscountriesintheWesternRegionscametoChang'antolearnHanculture.TheTurfanuneartheddocumentsthatwerecontinuouslyexcavatedinXinjiangfrom1959to1979include"Thefragmentof"MaoShizhengJianСяоя"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"Сяоя·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.

Историческа оценка

Конфуций: "Тристотин стихотворения, без думи, мисленето е невинно." "Ако не научиш поезия, не можеш да говориш."

Менциус: „Пеейки стиховете му, четейки книгите му, не познавам кой е човек? Той обсъжда неговия живот.“

Xunzi: "Започва с пеене и завършва с ритуално четене."

SimaQian: „„Ритуал“ се използва за празнични хора, „Yue“ се използва за създаване на хармония, „Книга“ се използва за изразяване на неща, „Поезия“ се използва за изразяване на смисъл, „Yi“ се използва за трансформиране на морала и „ChunQiu“ се използва за морална праведност.

DongZhongshu: „Това, което чух за поезията, не е красноречиво, лесно за отчет, пролетта и есента, няма добри думи, от промяната до праведността, и е готова да служи на хората.“

HeXiu: „Мъжете и жените изпитват негодувание, така че пеят за друг, работниците пеят за неща, гладните за храна“.

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。”