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

SimaQian myös nauhoitti tämän nimen, kuten:"Kolmesataa kappaletta"Runoja"ovat luultavasti tehty hyveellisillä sanoilla."

Koska myöhemmässä versiossa on nauhoitettu 311 runoa, niitä kutsuttiin "Three Hundred Poems"-kerronnan helpottamiseksi. Sen vuoksi, miksi se nimettiin uudelleen "The BookofSongs", keisariWuoftheHanDynasty käytti "runoutta","Kirjaa","Yqi"ja"luokkaa"

Sukupolven aika

"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.

Sekä "SongofLu" että "SongofShang" tuotettiin ZhouDynastymovedeastin (770 eKr.) jälkeen.

Luoja

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.

Luova tausta

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.

Periytyshistoria

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

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

Lyhyt johdanto

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

"Laulukirjassa" on tällä hetkellä 305 kappaletta (6 kappaletta, joissa ei ole runoja, yhteensä 311 kappaletta), jaettu kolmeen osaan: "Feng", "Ya" ja "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".

"Oodi" on esi-isien temppeliuhriruno. "Ya" ja "Oodi" ovat suuri arvo varhaishistorian, uskonnon ja yhteiskunnan tutkimiseen.

Kolmen yläosan kolmessa osassa"Ode"on40artikkelia,"Ya"on105artikkelia("Xiaoya"on6artikkeliailman runoja,lukuun ottamatta),ja"Windillä"on eniten,yhteensä160artikkelia,yhteensä305artikkelia.

Tuuli luku

"Wind"sisältää kansanlauluja 15 paikasta,mukaan lukien nykypäivänShaanxi,Shanxi,Henan,Hebei,Shandongandotherplaces,joista suurin osa kappaleista on peräisin YellowRiverBasinista.Useimmat kiillotetuista kansanlauluista on nimeltään"FifteenKingdomshe"conten1

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.

Suurin osa"Dayan"teoksista tehtiin Länsi-Zhou-dynastian alkukaudella. VanhaXunYisvanhurskas,joka on oikea runouden ääni."The Prefaceto Poetry":"Eleganttipersoona,vanhurskaus,kuninkaanmaan lakkauttaminen ja vauraus".

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>

"Oodissa" on 40 lukua.

"Oodin" tulkintaa varten se nähtiin ensimmäisen kerran"The Prefaceof Poetryssa":"Oodi,Yhdysvaltojen hyveen kuvaus ja menestyneet jumalat."sanoiKongYingdain"MaoShiZhengyi":Theword"RongYe"isomtedunder"SongYe.

RuanYuanin "JingShiJi·ShiSong"-tulkinnan mukaan "Rong" tarkoittaa tanssin ulkonäköä"DescriptionofMeiShengDe"on tanssiliikettä, joka ylistää "ShengDe".Esimerkiksi"SongofZhou·Weiqing"on omistettuSongofWen-kuninkaalle.

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

Modernscholarsalsothinkthat"Ode"isthejoyofsacrificialancestorsintheancestraltemple,andpartofitisdancemusic.

Teoksen mestariteoksia ovat pääasiassa "The TempleoftheQingDynasty", "The LifeofViking", "Hehe" ja pian.

SongofZhou

LuSong

Song Song

MainNote

Teosten arvostus

Realismi

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.

Laulukirjan kuusi merkitystä

Laulukirja on jaettu kolmeen osaan:Feng,EleganceandSong."Wind"isthemusictuneoftheprinces;"Ya"isthemusicoftheZongzhouarea;"Song"isthemusicoftheancestraltemple.Asfor"Daya"ja"Xiaoya"on ns. The Bookof Songs" on tiivistetty nimellä "Fu, Bi, Xing", yhdessä "Wind, Elegance, and Song" kanssa, sitä kutsutaan nimellä "SixMeanings".

"The SixMeaningsof Poems"isthe"Prefaceto Poems"("PrefacetoMaoPoems")Ensin ehdotettiin, että tämä muotoilu perustui "The Master...teachingtheSix Poems" -sanomiseen:SayingFeng,SayingFu,SayingFeng.

KongYingdaexplainedin"MaoShiZhengyi":"Tuuli,elegantti,andeulogized,"The Poetry";Fu,Bi,XingWho"The Poetry"muunnelma,eri sanatsear... Kolmea käytetään näiden kolmen asian saavuttamiseen, joten niitä molempia kutsutaan "vanhurskaudeksi".

Yleisesti sitä pidetään tuulena, eleganssina ja lauluna runojen luokituksen ja sisällön muodostajana; Fu, Bi ja Xing ovat runonilmaisumenetelmiä. Niiden joukossa tuuli, eleganssi ja laulu, joka on jaettu eri musiikkiin, Fu,BiandXingaquenique-ilmaisutekniikkaa.

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.

Ensinnäkin vertausmetafora.

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. Edistä käytettiin samana muodon metafora,jamyöhästäkäytetääntunteenmuutosta.

"BeiFeng·Jianxi":"Suitset ovat kuin ryhmä, ja he ovat kuin tanssi."

"TangFeng·JiaoLiao":"JiaoLiaon todellisuus,fanien moninkertaistuminen ja nouseva. Hänen suuri ja ilman ystäviä". Useita asioita käytetään samana vertauskuvana ihmisten moninkertaisuudelle;

"WangFeng·Military":"Keskus on humalainen","Keskusessa kuin pääskynen."Tunne on tunteen metafora;

"Laulukirjassa" on kaksi "bi"kohtaa, joihin tulisi kiinnittää erityistä huomiota:

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.

"Laulukirjan" käsitteet ovat monimuotoisia ja suurin osa tekstissä. Vertailulauseilla,joillakin koko runosta on vertaileva merkitys, kuten "Suoshu".

Toiseksi Xing käyttää muita asioita runon alussa.

ZhuXin "Runokirja" sanoi:"Vauras ihminen, puhuu ensin muista asioista, jotta sanat voidaan huutaa."Alku ja alku. On olemassa kaksi tilannetta:

First,theaffectiontouchestheobjectandthesongissent(thatis,thebeginningiswithathingthatisinharmonywiththecontentoftheperformance).

2.Käytä jotainhymin luomiseen.

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.

Toinen esimerkki on"Taoyao":"Taoyaoyaopolttaa kukkia,japoikaa,jasopii perheelleen.Parantui myös "XingYe",mutta kun hän selitti sen, sanoi:"ZhouLi,keskellä kevättä,miehet ja naiset tapaavat,muttapahansa.

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

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

3. Fu.

"Runokirjassa" sanotaan: "Fupeople, heidän pitäisi olla rehellisiä ja tylyjä."

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 .Siksi "Bookof Songs" ei viittaa vain selostukseen, ei vain niin kutsuttuun "suoraan esitykseen", mutta se on erittäin korkeatasoinen sanoituksellisessa maisemassa.

"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.

Lukujen toisto

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",ovat molemmat kaksoislukuja ja toistuvia lauseita. Kolmen luvun toiseksi viimeisessä ja kolmannessa virkkeessä"notmewith","notmewith"ja"It'snotmy fault".

Therepetitionofwordsin"TheBookofSongs·Guofeng"isalsocalledtautology.,Thesoundofbirdsong."Inthepast,Ihavegone,YangliuYiyi.TodayIcometothink,rainandsnowFeiFei."With"yiyi"and"feifei",itislikewillowandsnow.Therearetoomanyexamplesofthiskind.Liketautology,double-tonerhymealsomakespoemssungorchanted,thechaptersaresoothingandmelodious,andthelanguagehasmusicalbeauty.In"TheBookofSongs· Guofeng"on monta käyttöä kaksisävyisillehymeille, kuten "porrastettu", "aktiivisesti", "XianMian", "LiLie" andsoon,ja tuplasävyhyme, kuten "WeiSnake", "Chachi", "Prepare" ja""QiChi" ja pian, ja jokseenkin monta kertaa käytetty sana -merkkiä tai neljän merkin käänteistä.Esimerkki"RuqieRuxi"("Weifeng·Qiao"),"Yuanjuyanchu"("BeiFeng·Dumming"),"WanXiSuiXi"("QiFeng·Futian") jne.

Kielityyli

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"), vastakohta on kuin "eritalomuuttuu eri taloon,ja kuolema tulee samaan pisteeseen"("WangWind·BigChe")ja pian.

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.

Siellä on sävelmiä

Poetryandmusicarecloselyrelated.Siellä on sävelmiäinthethreehundredpoems.Theoriginalmainpurposeofthemusicandsongsinthe"BookofSongs"isasapartofvariousceremonies,entertainment,andexpressingViewsonsocialandpoliticalissues.

MingDynasty'sgreatmusicianZhuZaiyu's"YelüQuanshu"said:"Ofthethreehundredchaptersof"TheBookofSongs",thirty-oneofthemostelegantonesareallpalacetunes.Xiaoya'sseventy-fourarticlesarealltuned.Thirty-onearticlesin"SongofZhou"andfourarticlesin"SongofLu"areallfeathers.Theonehundredandsixtychaptersofthefifteenth"Guofeng"areallcornertunes.Thefivechaptersof"OdetoShang"arealldiscussed."ThisrelationshipbetweenpoetryandmusichasbeenpartiallyconfirmedintheShanghaiMuseumBambooSlip "CaifengRepertoire".Mr.MaChengyuan uskoo, että:Osa kappaleesta.SongXiangen painotus voidaan määrittää tämän luokan "Laulukirjan" ja kappaleen lyhyen kuvauksen mukaanChu-suositun musiikin mukaan.

Akateeminen tutkimus

Historiallinen tekstitutkimus

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

1. Pre-Qin-jakso.

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

Toiseksi sinologiajakso (HantoTangista).

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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 ,andHanaremasterswhohavemergedinLu,Qi,andYan.Hänen"runous"-tutkimuksensa ovatmuodostaneet vain alueellisia piirteitä,eikä ole selkeää toimintojen jakautumista.Vain sen jälkeen, kun poliittiset voimat puuttuivat asiaan.

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

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

3.Songxueperiod (SongtoMing).

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

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

Four.TheNewSinologyPeriod(QingDynasty).

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

Modern Studies

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

Laulukirjan tutkimusalalla on perinteisiä vanhan tyylin tutkijoita, kuten ZhangTaiyan, WuKaisheng, LinYiguang jne., samoin kuin uusien tyylien tutkijoita, jotka ovat saaneet modernin koulutuksen, ovat opiskelleet kiinaa ja länsimaita, ja heillä on korkealaatuisia,kattavia.

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.Tietoja laulukirjan luonteesta, ajasta, editoinnista, järjestelmästä, opetusgenrestä ja tutkimusgenrestä;

2.Tutkimuskuvan sisällön ja taiteen muodossa;

3.Historiallisten materiaalien tutkimus;

Neljä.Tekstitutkimusteksti,fonologia,eksegeesi,kuuluisat objektit ja tutkimusmateriaalien,kuten kokoaminen ja editointi.

Tutkimuslöydökset

OnFebruary3,2019,thepreliminaryinterpretationofthebambooslipsunearthedfromthetombofLiuHe,theHaihunHou,wascompleted.Therearemorethan1,200bambooslipsintheHaihunsimplifiedbook"TheBookofSongs".Thecontentofthebriefessaysisdividedintochaptersandpoems.Youcansee"ThreeHundredandFive"BooksofSongs","Songs","ThirtyPiecesofDaya","OneHundredandSixtyPiecesof"Guo",etc.Theamountofcontent.ItisworthnotingthatthetotalnumberofchaptersintheHaiyunsimplifiedbook"TheBookofSongs"isrecordedas" FanqianSeventy-SixChapters"(Chapter1076),joka on kaukana nykyisestä

Arvovaikutus

Sosiaalinen toiminta

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" selvensi"The BookofSongs" -kirjan sosiaalista toimintaa. Se ei ainoastaan ​​osoita "The BookofSongs" -kirjan kirjallisia ominaisuuksia — tartuttaa ihmisiä kuvilla, laukaisee lukijoiden mielikuvituksen ja assosiaatiot sekä myös yhteiskuntaelämän ja yhteiskunnallisten vaikutusten kanssa.

Laulukirjan arvo

Historia ja kansanperinteen arvo

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.

Rituaalimusiikin kulttuuri ja muut arvot

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.

Perinteinen vaikutus

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

1.Realismiin henki ja perinne

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

Toiseksi, Lyric PoetryTradition

"Laulukirjasta" sanoituksesta on tullut yksi runouden tärkeimmistä tiedoista.

Kolme, eleganssi ja kirjallinen innovaatio

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

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

Neljä.FuBixingin malli

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.

Ekstraterritoriaalinen vaikutus

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.

Historiallinen arviointi

Konfutse: "Kolmesataa runoa, sanat, ajattelu viattomana." "Jos et opi runoutta, et osaa puhua."

Mencius: "Laulaa hänen runojaan, lukee hänen kirjojaan, en tiedä, onko hän henkilö? Keskusteletko elämästä."

Xunzi: "Se alkaa laulamisesta ja päättyy rituaaliseen lukemiseen."

SimaQian:""Rituaalia"käytetään festivaaliihmisille,"Yue"käytetään harmonian luomiseksi,"Kirjaa"käytetään ilmaisemaan asioita,"Runousta"käytetään ilmaisemaan merkitys,"Yi"käytetään moraalin muuttamiseen ja "ChunQiua"käytetään moraaliseen oikeudenmukaisuuteen.Kääntää kaoottisen maailmanpoikkeuksen,muutosta"muutosta"

DongZhongshu: "Se, mitä olen kuullut"runoudesta, ei ole puhelias, helppo ottaa huomioon, keväällä ja syksyllä ei ole hyviä sanoja, muutoksesta vanhurskauteen ja ihmisten palvelemiseksi.""

HeXiu: "Miehillä ja naisilla on katkeruutta, joten he pitävät huolta toisistaan, he ovat nälkäisiä ruoasta".

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。”