Kniha písní

BookFormationProcess

Původ jména

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

SimaQian také zaznamenala toto jméno, například: "Tři sta kusů" Básní "pravděpodobně vytvořili ctnostní mudrci."

Protože je v pozdější verzi nahráno 311 básní, nazývají se „Tři sta básní“ kvůli pohodlí vyprávění. Z tohoto důvodu byla přejmenována na „Kniha písní“ byla „Poezie“, „Kniha“, „Rituál“ a „ChunYi“, „Kniha“.

Doba generace

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

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

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

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

"Xiaoya"cameintobeingaftermovingtotheeastinthelateryearsoftheWesternZhouDynasty.

"SongofLu" a "SongofShang" byly vyrobeny po mniovědě Zhou Dynasty (770 př.nl).

Tvůrce

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.

Kreativní pozadí

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

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

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

InheritingHistory

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

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

Stručný úvod

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

"Kniha písní" má v současné době 305 kusů (kromě 6 kusů bez básní, celkem 311 kusů), rozdělených na tři části: "Feng", "Ya" a "Song".

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

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

"Óda" je báseň obětí rodových chrámů. Básně "Ya" a "Óda" mají velkou hodnotu pro zkoumání rané historie, náboženství a společnosti.

Výše uvedené tři části "Ode" má 40 článků, "Ya" má 105 článků ("Xiaoya" má 6 článků bez básní, nepočítám se) a "Wind" má největší počet, celkem 160 článků, celkem je 305 článků.

WindChapter

"Vítr" zahrnuje lidové písně z 15 míst, včetně dnešních Shaanxi, Shanxi, Henan, Hebei, Shandong a dalších míst, z nichž většinu tvoří lidové písně z povodí Žluté řeky. Většina z leštěných lidových písní se nazývá "Pětnáct království" a "Wrum", které obsahuje 160 "hlavních dechových skladeb"

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

YaPian

"Ya"isZhouThereare105songsnearthecapitalofthedynasty.

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

Většina děl "Day" byla vyrobena v raném období dynastie Western Zhou. Starý XunYa je spravedlivý, který je správným hlasem poezie."Předmluva k poezii":"Elegantní osoba, spravedlnost, zrušení a prosperita královy "další vlády" a "vlády Xiao".

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

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

Xiaoya

Daya

OdetoChapterh3>

V "Ódě" je 40 kapitol.

Pro výklad"Ódy" to bylo poprvé viděno v "Předmluvě Poezie":"Óda, popis ctností Spojených států a bohů s jeho úspěchem." řekl KongYingdain"MaoShiZhengyi":Slovo "RongYe"je vynecháno pod"Zhu"Xongzhi'Shier."

Podle výkladu RuanYuanova "JingShiJi·ShiSong" "Rong" znamená taneční vzhled,"DescriptionofMeiShengDe"je pohyb, který chválí "ShengDe".Například "Song of Zhou·Weiqing"je jako píseň věnovaná "Kingele"Face:Wen."

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

Modernscholarsalsothinkthat"Ode"isthejoyofsacrificialancestorsintheancestraltemple,andpartofitisdancemusic.

Mezi mistrovská díla této hry patří především „Chrám dynastie Qing“, „Život Vikinga“, „Hehe“ a brzy.

SongofZhou

LuSong

PíseňSong

MainNote

Ocenění práce

Realismus

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

Šest významů Knihy písní

KnihaPísněje rozdělena na tři části:Feng,EleganceandSong."Wind"jehudba knížat;"Ya"jehudbazongzhouoblasti;"Píseň"jehudba z rodového chrámu.Pokud jde o"Daya"a"Xiaoya"ga"Gau,Gau,Daya"a"Xiaoya"by se"měla"rozdělit" Kniha písní "je shrnuta jako "Fu, Bi, Xing", společně s "Vítr, Elegance a Píseň" se nazývá "Šest významů".

"Šest Významů Básní"je"Předmluva k Básním"("Předmluva k MaoBásním")Bylo poprvé navrženo, aby tato formulace byla založena na starém rčení "Mistr...vyučováníŠest Básní:Znázornění-třídy ni,SayingFu,SayingHi,Say"

KongYingda vysvětlil v "MaoShiZhengyi":"Vítr,elegantní,andeulogizovaný,varianta"Poezie";Fu,Bi,XingWho,"Poezie",jiná slova hledat....Fu,Bi,andXing jsou použity v "Básni";Feng,Elegance,andSongare". Tři věci se používají k dosažení všech tří věcí, takže se jim říká „spravedlnost“.

Obecně se považuje za vítr, eleganci a za klasifikaci a obsah básní; Fu, Bi a Xing jsou vyjadřovacími metodami poezie. Mezi ně se vítr, elegance a jednotlivé druhy hudby, Fu, Bi a Xing dělí podle vyjadřovacích technik.

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.

Za prvé, srovnání je ametafora.

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. První se používá jako metafora pro formu a druhá se používá pro změnu pocitů.

"BeiFeng·Jianxi": "Uzda je jako skupina a dvě jsou jako přidržování." Porovnání formy s formou;

"TangFeng·JiaoLiao":"Skutečnost JiaoLiao, násobení fanoušků a stoupání. Hisson je velký a bez přátel". Množství věcí se používá jako metafora pro vícenásobné životy lidí;

"WangFeng·Military":"Thecenterisas opilý","Thecenterislikeaswall."Pocit je jako pocit;

V "Knize písní" jsou dva body "bi", kterým je třeba věnovat zvláštní pozornost:

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

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

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

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

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

Poměry v "Knize písní" jsou rozmanité a většina z nich je v textu. Srovnávací věty, z nichž některé jsou celá báseň, mají srovnávací význam, jako "Suoshu".

Za druhé, Xingpoužívá jiné věci jako začátek básně.

ZhuXi's "Bookof Poetry" řekl: "Prosperující člověk, nejprve si promluvte o jiných věcech, než aby bylo slovo zvěstováno." Začátek a začátek. Existují dvě situace:

First,theaffectiontouchestheobjectandthesongissent(thatis,thebeginningiswithathingthatisinharmonywiththecontentoftheperformance).

2. Použijte něco k vytvoření rýmy.

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.

Dalším příkladem je"Taoyao".

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

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

3.Fu.

"Kniha poezie" říká: "Lidé, měli by zůstat neomalení."

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 .Proto "Kniha písní" neodkazuje pouze na vyprávění, nikoli pouze na takzvanou "přímou prezentaci", ale také na vysoceúrovňový lyrický popis scenérie.

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

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

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

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

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

Opakování kapitol

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", jsou dvojkapitoly a opakující se věty. V předposlední a třetí větě ze tří kapitol "ne já s", "ne já s" a "Není to moje chyba".

Therepetitionofwordsin"TheBookofSongs·Guofeng"isalsocalledtautology.,Thesoundofbirdsong."Inthepast,Ihavegone,YangliuYiyi.TodayIcometothink,rainandsnowFeiFei."With"yiyi"and"feifei",itislikewillowandsnow.Therearetoomanyexamplesofthiskind.Liketautology,double-tonerhymealsomakespoemssungorchanted,thechaptersaresoothingandmelodious,andthelanguagehasmusicalbeauty.In"TheBookofSongs· Guofeng "existuje mnoho použití opakujících se rýmů s dvojitým tónem, jako jsou "rozložené", "aktivně", "XianMian", "LiLie" a brzy, a dvoutónové rýmy, jako je "WeiSnake", "Chachi","Připravte"a""QiChi"a brzy jsou použity dvojtónové -znaky seřazené po dvou znacích po čtyřech znacích inverze. Například "RuqieRuxi"("Weifeng·Qiao"),"Yuanjuyanchu"(""BeiFeng·Drumming"),"WanXiSuiXi"("QiFeng·Futian") atd..

Jazykový styl

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"), protiklad je jako "jiný dům povede k jinému domu a smrt povede ke stejnému bodu" ("WangWind·BigChe") a brzy.

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

Therearetunes

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

MingDynasty'sgreatmusicianZhuZaiyu's"YelüQuanshu"said:"Ofthethreehundredchaptersof"TheBookofSongs",thirty-oneofthemostelegantonesareallpalacetunes.Xiaoya'sseventy-fourarticlesarealltuned.Thirty-onearticlesin"SongofZhou"andfourarticlesin"SongofLu"areallfeathers.Theonehundredandsixtychaptersofthefifteenth"Guofeng"areallcornertunes.Thefivechaptersof"OdetoShang"arealldiscussed."ThisrelationshipbetweenpoetryandmusichasbeenpartiallyconfirmedintheShanghaiMuseumBambooSlip "Caifeng Repertoire". Pan MaChengyuvěří, že:Část skladby.Výraz každé skladbyXiang lze určit podle této kategorie jako v "Knize písní" a stručný popis písně je populární hudba v Chu."

Akademický výzkum

HistoricalTextualResearch

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

1.Před obdobím Qin.

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

Za druhé, sinologické období (z HantoTangu).

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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 ,a Hanaremistři, kteří se objevili v Lu, Qi a Yanovi.Jeho "poezie"studia vytvořila pouze regionální charakteristiky a neexistuje jednoznačné rozdělení akcí.Pouze poté, co zasáhly politické síly, se šíření "Poezie"zastavilo"změny"poezie"pokusu"pokusu"pokusu "pokusu".

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.

Čtyři. Nové Sinologické Období (Dynastie Čching).

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

Moderní studia

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

Ve výzkumném poli Knihy písní jsou tradiční učenci starých stylů, jako jsou ZhangTaiyan, WuKaisheng, LinYiguang atd., a také učenci nových stylů, kteří získali moderní vzdělání, studovali čínštinu a západ a mají vysokou komplexní.vysokou kvalitu, Y.

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.O podstatě knihy písní,čas,střih,systém,výukový žánr a výzkumný žánr;

2.Výzkumobsahuauměleckéforměčlánku;

3.Výzkum historických materiálů;

Čtyři. Textový výzkum na textu, fonologii, exegezi, slavných předmětech a výzkum výzkumných materiálů, jako je shromažďování a úpravy.

Výsledky výzkumu

OnFebruary3,2019,thepreliminaryinterpretationofthebambooslipsunearthedfromthetombofLiuHe,theHaihunHou,wascompleted.Therearemorethan1,200bambooslipsintheHaihunsimplifiedbook"TheBookofSongs".Thecontentofthebriefessaysisdividedintochaptersandpoems.Youcansee"ThreeHundredandFive"BooksofSongs","Songs","ThirtyPiecesofDaya","OneHundredandSixtyPiecesof"Guo",etc.Theamountofcontent.ItisworthnotingthatthetotalnumberofchaptersintheHaiyunsimplifiedbook"TheBookofSongs"isrecordedas" FanqianSedmdesát šest kapitol" (kapitola 1076), což je daleko od současné 1142kapitoly. Objev Haiy nezjednodušené verze "Knihy písní" neposkytuje pouze starodávnou verzi "Knihy písní" s většinou postav, které lze vidět dnes, ale také "možné"

Hodnotový vliv

Sociální funkce

Thecompilationof"TheBookofSongs"itselfwasintheSpringandAutumnPeriod,infact,itwasmainlyforapplication:

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

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

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

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

Confuciusattachesgreatimportancetothe"BookofSongs"andhasrepeatedlyadmonishedhisdisciplesandsonstolearn"TheBookofSongs".Confuciusbelieved:"ThePoetrycanprosper,observe,group,andcomplain."("Yanghuo")Thisisahighlygeneralized"Xing,View,Group,andResentment"madebyConfuciustothe"BookofSongs".Thatiswhyhebelievesthatthe"BookofSongs"willhaveagreatersocialfunction.Confucius'theoryof „Xing, Viewing, Grouping, and Resentment“ objasnil sociální funkci „Knihy písní“. Nepoukazuje pouze na literární charakteristiku „Knihy písní“ – infikování lidí obrázky, spouštění fantazie čtenářů a asociací, a také v linii se společností a praktickou společností.

The ValueofTheBookofSongs

Historie a Folklorní hodnota

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

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

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

Kultura rituální hudby a další hodnoty

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

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

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

Tradiční vliv

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

1.Duch a tradice realismu

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

Za druhé, LyricPoetryTradice

Z „Knihy písní“ se lyrická poezie stala jednou z hlavních informací o poezii.

Tři, elegance a literární inovace

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

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

Čtyři. Model FuBixingu

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.

Extrateritoriální vliv

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

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

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

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

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

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

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

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

Historická evaluace

Konfucius: "Tři sta básní, slovem, myšlení je nevinné." "Pokud se neučíte poezii, nemůžete mluvit."

Mencius: "Zpívám básněm, čtu jeho knihy, nevím, jestli je to člověk? To se diskutuje o životě."

Xunzi: "Začíná to zpíváním a končí rituálním čtením."

SimaQian:""Rituál" se používá pro festivalové lidi,"Yue"se používá k vytvoření harmonie,"Kniha" se používá k vyjádření věcí,"Poezie" se používá k vyjádření významu,"Yi"se používá k transformaci morálky a "ChunQiu" se používá k mravní spravedlnosti.

DongZhongshu: "To, co jsem slyšel o 'poezii, je výmluvné, snadno vysvětlitelné, jaro a podzim nemá žádná dobrá slova, od změny ke spravedlnosti a slouží lidem."

HeXiu: "Muži a ženy mají odpor, takže se o sobě navzájem baví, dělníci o věcech mluví, hladoví po jídle."

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。”