"The Six Meanings of Poetry" was first put forward in Preface to Mao Poetry, which is based on the old saying that "a master ... teaches six poems: Yue Feng, Yuefu, Lebi, Lexing, Leya and Song Yue", which highly summarizes the classification and expression of works in The Book of Songs.
Confucius explained in Justice of Mao Poetry: "Style, elegance and praise are variations of poetry; Fu, Bi and Xing are different words in The Poem. ..... The Book of Songs uses Fu, Bi and Xing; Style, elegance and praise are the formation of this poem. Use those three things to achieve these three things, so it is called' righteousness'. "
It is generally believed that style, elegance and ode are the classification and content theme of poetry; Fu, Bi and Xing are the expressive methods of poetry. Among them, style, elegance and praise are divided according to the different music, while fu, bi and xing are divided according to the means of expression.
The application of Fu, Bi and Xing is an important symbol of the artistic features of The Book of Songs, and it is also the basic technique of China's ancient poetry creation. There have always been many arguments about the meaning of Fu, Bi and Xing. In short, what Fu Shuo meant was the truth, that is, the poet expressed his thoughts, feelings and related things in a straightforward way. Comparison is a kind of analogy. Comparing one thing with another, the poet has skill or emotion and uses one thing as a metaphor. Xing is touching things to stimulate words, and objective things trigger poets' emotions and cause poets to sing, so it is often at the beginning of poems. In poetry creation, Fu, Bi and Xing are often used together to shape the artistic image of poetry and express the poet's feelings.
First, comparison is a metaphor.
Zhu's Biography of Poems said: "If you compare this thing with another thing." This is a major rhetorical device, which is still frequently used today, including metaphor and symbol. Metaphor can visualize descriptions. For example, Feng Weishuoren used a series of metaphors to describe the beauty of Zhuang Jiang: "Soft hands, firm skin, collar like salamander, teeth like rhinoceros, and a cicada's head like a moth's eyebrow. Smile and look forward to it. " Because there are a series of metaphors before and after, the last sentence can make its image leap from the page.
Metaphor can also highlight the characteristics of things. Because metaphors are generally different, and on the one hand, compared with things of the same sex, the similarity between vehicle and ontology is often quite prominent. Therefore, in metaphor, it is often exaggerated. For example, in Shuo Shu, there are considerable differences between ontology and vehicle in terms of their morphology, biological category and development level; But in terms of getting something for nothing, it is completely consistent, so this metaphor is actually an exaggerated performance.
Moreover, because vehicles have gained certain emotional significance in people's long-term social life and have certain symbolic significance to a certain extent, we can express different feelings according to the connection with different vehicles, such as Shuowen and Shangshu. Metaphors are used in many places in The Book of Songs, and they are also flexible and extensive. For example, "Feng Weimeng": "The mulberry has not fallen, and Ye Mao". As soon as the mulberry falls, it will fall yellow. The former is used to describe the form, while the latter is used to describe the change of feelings.
Generally speaking, metaphors are form, color, luster, sound, smell, action, feeling and situation.
Gao ··Xi: "Hold hands like a ball, and dance with both hands." Compared with the form;
"Tang-style pepper chat": "Pepper chat is real and prosperous. His son is huge. " Metaphor human beings have a variety of rich things;
Feng Wang Miller: "The center is drunk" and "The center is like a swallow". Use feeling as a metaphor for feeling;
There are two points of "Bi" in The Book of Songs that need special attention:
One is a symbol. The technique is subtle, but it is often compared in many ways, that is, the method of "cluster metaphor" is sometimes the same as today's "pointing fingers at mulberry and cursing trees". Such as "Xiaoya Dadong": "You are a weaver girl. Seven times a day. Even if the weaver girl is busy, she can't knit a stripe well. The morning glory is shiny, and the cart can't be pulled to load the box. Venus is called Venus in the East and Chang Gung in the West. Biba star bends long and the net is on the road. The dustpan star is in the south, so you can't winnow the chaff. There is also a ladle, which can't be used to scoop wine. The dustpan star is in the south, with a big tongue. There is a bucket in the north of Weibei, and the west handle has no cover. " In the first half, a series of metaphors were used to illustrate the anger of the people of the Eastern vassal States against the nobles of the Western Zhou Dynasty who stole high positions and showed no sympathy for the people (all nominal things). At the end, the tongue was smashed with a dustpan and the bucket was opened for the north to take, pointing out that westerners exploited the orientals. It's actually symbolic.
The other is to use synaesthesia at the same time. In other words, metaphor breaks the boundaries between listening, speaking and touching. For example:
"Xiaoya Festival Nanshan": "Festival Nanshan is a rock. Hehe, Teacher Yin, the people have a vision. " The height of mountains symbolizes the prominence and importance of Yin Shi's position, and the height of concrete objects symbolizes the prominence of abstract position.
Xiaoya Tianbao: "The moon remains unchanged, but the sun rises. Nanshan's life is long, so it will not collapse. As lush as pine and cypress, there is nothing to lose. " Take the eternity of mountains, the endless rivers, the long sun, pines and cypresses as a metaphor for infinite blessings.
"High Wind": "Learning, rain and yin are one, so it is not appropriate to get angry." The wind in the valley is a metaphor for people's anger, and natural phenomena are a metaphor for people's emotional changes. This is the ratio of synaesthesia.
The metaphors in The Book of Songs are various, most of which are sentences with metaphors, and some of them contain metaphors, such as Shuo.
Secondly, Xing is the beginning of poetry based on other things.
Zhu's Biography of Poems said: "If you are interested, say something else first to arouse the words you are reciting." Xing is the fuse and the beginning. Include two situations:
First, love to touch things and sing (that is, start with something that is coordinated with the performance content).
Second, rhyme with something.
From the whole process of literary origin, xing is the characteristic of early poetry; From the perspective of poetry writers, it is the characteristic of folk songs; For example, from the way of creation, it is the characteristic of oral literature. Most of the works using Xing technique have national style. After the Han Dynasty, although the Book of Songs was regarded as a classic, the method of comparing prosperity was mentioned in a high position, but simple rhyming words and national customs like the Book of Songs were rare in literati's creation. And judging from the things that trigger emotions, Xing is very close to Fu.
Zhu explained the concepts of Fu, Bi and Xing very clearly, but he marked every chapter of The Book of Songs one by one, which showed contradictions in the types he said and the interpretation of this poem. For example, "Guanju": "Guanju dove is in Hezhou. My fair lady, a gentleman is good. " Zhu Biao: "Xingya." However, when he explained this chapter in detail, he said: "A pigeon, a Wang Ju, ... is born with a fixed couple who don't mess around and occasionally swim together without conflict, so" Biography of Mao "thinks loyalty is different, and" Biography of the Fierce Woman "thinks that people have never seen him ride a horse. Cover its nature. " When talking about the whole chapter, the cloud said: "If you say that you are close to a dove, you will sing in Hezhou." Isn't this my fair lady the beauty of a gentleman? It is different to say that harmony and happiness are respect and affection. "It has become a" than ".
Another example is "Yao Tao": "Peach wants to die, burning its splendor, and its son returns, so it is suitable to live in its home." He also marked it as "starry night", but explained: "Zhou Li and Zhong Chun brought men and women together, but the gorgeous peaches were also the time for marriage." It has become a "blessing".
In this way, the boundaries of Fu, Bi and Xing are confused again. A more appropriate division is that everything related to the scene description at that time should be attributed to Fu, such as Juan Er, Jia Jian and July; All metaphors and symbolic meanings should be compared, such as Guan Ju, Yao Tao, Gu Feng and Wu Yi. Only those things that can't be related to the original meaning of the poem are xing, such as yellow birds and picking flowers.
Xing includes the situation of "touching things and singing", which means that because people's life experiences are different, everyone's experiences will have various accidental situations. Some things are irrelevant to ordinary people, but for a specific person, they may evoke memories of old experiences and cause deep feelings.
Third, Fu.
"Biography of Poetry" said: "The giver should tell the truth about Chen Qi."
The so-called "outspoken" here means that we don't use words to guide or compare, not that we don't want to describe it in detail. Therefore, it can be said that all other means of expression except Xing and Bi can be included in the category of "Fu". As a means of writing, it covers a wide range. As far as The Book of Songs is concerned, it includes narration, description, association, suspense, dialogue and psychological depiction. Fu is used in both July and Sheng Min, and the descriptions of abandoned children and sacrificial scenes are very vivid. Except for the first chapter of Dongshan, which says that "flies fly in mulberry fields", both poems of Dongshan and Picking Wei use fu method. However, these two poems can be described as incisively and vividly: "I have been to Yangliuyiyi." Today I think of it, it's raining. "This is the best landscape poem. Therefore, the fu method of The Book of Songs not only refers to narration, but also refers to the so-called "straight things", and it has reached a high level in lyrical scenery writing.
Fu is often reflected in some simple narratives in The Book of Songs. For example, in A Quiet Girl, a woman made an appointment with her boyfriend to meet in the corner of the city at night. The young man arrived at the meeting place on time, but he didn't see the girl. If he doesn't come, he can't shout out, he can't find it himself, and he doesn't know what to do. After a while, the girl suddenly ran out of the darkness, which made the young man very happy. The little details hidden by the girl in the poem can be understood as a joke or a test of the young man's love, full of interest in life and showing noble and pure love. The details of the gift tube are the same. Among them, unparalleled, tasteless, but very vivid.
In the Book of Songs, there are also people who express their feelings and narratives through dialogue. For example, "Zheng Yan" shows young men and women joking by the water when Bloom was heated in March. There are no words and metaphors throughout, but a folk picture full of joy.
Fu also includes narration, association and suspense. For example, Guifeng Dongshan wrote in the third time that "there is bitter gourd in the chestnut salary", which led to "self-elimination, in this three years"; The fourth chapter also undertakes the "Bitter Melon" (the thing of marriage), connecting it with the wedding scene as a foil or contrast to the reality to be faced.
Missing may not exist, but the poet imagines it to express the poet's mood. For example, the second chapter of Dongshan is about what he imagined might happen at home, and the first half of the fourth chapter is about the assumption that his wife might miss herself at home. So did Nan Zhou Juan El and Feng Wei Su Yong.
In the Book of Songs, some poems that only use the fu method also create a far-reaching artistic conception. Li Shu, Shi Zhong Gentleman and Jia Jian all use fu method, without words or metaphors. The poems of later generations are lyrical, far-reaching and touching, which can hardly be compared with them. The poet's scenery is not specially described, but brought out from lyricism; Love is in the scenery.
Predecessors used fu, bi and xing to summarize the expression of The Book of Songs, which is very accurate. However, the expression of "Fu" in The Book of Songs has not been paid enough attention, and the relationship between Fu and Bi has not been clearly defined. Then, Bixing is regarded as the main embodiment of poetic characteristics. This is why "Bi Xing" in The Book of Songs is confused with "Bi Xing" in later generations. In fact, the research on the fu method of The Book of Songs should be an important aspect of discussing the artistic techniques of The Book of Songs, which is different from discussing the evolution of the concept of "Bi Xing" in the history of ancient literary theory.
The application of "Xing" in The Book of Songs is complicated, and some of them only play the role of regulating rhythm and arousing emotions at the beginning, and the connection between Xing sentences and the following paragraphs is not obvious. Such as "Xiaoya Yuanyang": "Yuanyang is in the beam, hitting its left wing, and a gentleman will be happy for a thousand years." Xing sentence has no meaningful connection with the blessing words in the following two sentences. Xiaoya Baihua begins with the same sentence, but expresses resentment: "Yuanyang is in the beam, patting its left wing." The son is unscrupulous, and his virtue is two or three. "This has nothing to do with the original intention, but coordinates the rhyme of the first poem, causing the following rise, which is a relatively simple sentence in the Book of Songs. There are many sentences in The Book of Songs, which are euphemistic and obscure and related to the following. It is an indispensable part of the artistic realm of poetry to set off the ambient atmosphere or attach a symbolic central theme. For example, "Nan Zhou Yao Tao" begins with "Peach Yao Yao, burning its glory". The lush peach branches and gorgeous peach blossoms are in harmony with the bride's youth and beauty and the excitement of the wedding. Peach blossom ("burning its glory"), bear fruit ("solid") and flourish ("its Ye Zhenzhen"), which can also be understood as the bride's beautiful wish of having many children and grandchildren and a happy family. Poets get excited as soon as they touch things, and the sentences and words they sing are connected through artistic association, which is a symbolic relationship. In The Book of Songs, many images are vivid and memorable. Bixing is an indirect way to express feelings. Later generations often refer to Bixing as Bixing, which refers to the creative technique of expressing thoughts and feelings in the Book of Songs through association and imagination. The sentence pattern of The Book of Songs is mainly four words, four sentences are independent chapters, and there are two to eight words in the middle. The two-beat four-sentence has a strong sense of rhythm and is the basic unit that constitutes the neat rhythm of the Book of Songs. Four-sentence rhythm is clear and short, while complex sentence and double-tone rhyme seem to be reciprocating, and the rhythm is relaxed and slow. The repetitive structure of repeated chapters and sentences in The Book of Songs is not only convenient for repeated singing around the same melody, but also has a good effect on meaning expression and rhetoric.
Many repeated chapters in The Book of Songs are all overlapped by the same chapter, and only a few words are changed to express the process of action or the change of mood. For example, Nan Zhou's Secret only changed six verbs in three chapters, describing the whole process of picking tangerines. The structure of repeated circulation and flexible use of words puts the different links of picking lotus seeds in three chapters, which complement each other and form a whole in meaning, singing and sighing, which is very graceful. Fang Yurun's "The Book of Songs Primitive Man" has a saying: "The reader tries to calm down and recite this poem, and suddenly listens to the Tian family woman. Plain embroidery field, sunny, group songs answer, lingering sound. If it is far away, if it is broken, I don't know why it is moving and why it is so bleak. Then this poem need not be detailed and complacent. "
In addition to overlapping chapters, there is also an article in the Book of Songs, which has two overlapping chapters, such as Zheng Fengfeng, which consists of four chapters, the first two chapters are one chapter and the last two chapters are one chapter; Or in an article, there are both heavy chapters and heavy chapters, such as the four chapters of Nan Zhou Juan Er, the first chapter does not overlap, and the last three chapters are heavy chapters.
Some overlapping sentences in The Book of Songs use the same poem in different chapters. For example, the four chapters of Dongshan use "I'm afraid of Dongshan, I won't go back." I'm from the east, and it's raining heavily. The three chapters of Nan Zhou Hanguang all end with "Han, you can't swim and think, Jiang Yongyi, you can't think". Have a plenty of in the same chapter, overlapping the same or similar poems, such as "Zhao Nan Jiang Yousi", is not only a heavy chapter, but also a refrain. In the penultimate sentence and the third sentence of the third chapter, the words "without me", "without me and" without me "are repeatedly used.
Overlapping in The Book of Songs and National Style is also called tautology. "Tintin logs and birds sing", in which "Tintin" and "Tintin" imitate the sounds of logging and birds singing. "I left yesterday, willow, a.. I think about it today, it's raining. " With "Yiyi" and "Rain", it looks like willow trees and snow. Examples of this kind are too numerous to mention. Like tautology, double phonology also makes the text soothing and melodious when poetry is sung or recited, and the language has musical beauty. There are many disyllabic rhymes in The Book of Songs, such as "Staggered", "Enthusiasm", "Mianmian" and "Li Lie", and some disyllabic rhymes are used in the poems. Such as Like a Measure (Feng Wei's Seven Aos), Living in Chu (High Wind Drum), Wan Xi Bi (Feng Qi Tian Fu) and so on. The language of The Book of Songs not only has the beauty of music, but also has a good effect in ideographic and rhetoric.
In the era of The Book of Songs, Chinese has been rich in vocabulary and figures of speech, which provides good conditions for the poet's creation. The abundant nouns in The Book of Songs show that the poet has a full understanding of objective things. The concrete and accurate description of movements in The Book of Songs shows the poet's meticulous observation and mastery of language. For example, in "Fuju", the action of picking Fuju is broken down, which is expressed by six verbs: "Pick, start looking; Yes, there are. " "Hey, pick it up; Hey, take your son. " "canthus, stored with clothes, holding. Hey, store it with clothes and put it in your belt. " These six verbs vividly describe the picture of picking beautiful places. Figures of speech commonly used in later generations can be found in the Book of Songs: exaggeration, such as "He Guang, who is called, never use a knife" (Feng Wei He Guang); Contradictions, such as "women are unhappy, scholars do their best" ("Feng Wei protects himself").
The language form of The Book of Songs is vivid and colorful, which can often achieve "twice the result with half the effort" and "a thousand emotions". However, elegance, ode and national style are different in language style. Most of the chapters in Ya and Song adopt a strict four-character style, with few miscellaneous words, but many national miscellaneous words. In "Xiaoya" and "National Style", repeated chapters and sentences are often used, but they are rare in the aspect of appealing to both refined and popular tastes. Many modal particles, such as, zhi, zhi, die, Hu, er, yi and ye, are used in national customs. These modal particles have also appeared in Ya and Ode, but they are not as numerous and varied as those in National Custom. The wonderful use of modal particles in national style has enhanced the vividness and vividness of poetry and reached a vivid situation. The different linguistic features of elegance, praise and national style reflect the changes of the times and society, as well as the differences in the identity of the creative subject. "Ode to Ya" is mostly a work of the Western Zhou Dynasty, written by nobles, which embodies the dignity of "Elegant Music". "National Custom" is mostly works in the Spring and Autumn Period, mostly collected from the people, which more embodies the freedom and boldness of the new voice and is close to the spoken language at that time. Poetry is closely related to music, and 300 poems have tunes. The music songs in The Book of Songs were originally used as part of various ceremonies to entertain and express their views on social and political issues.
Zhu Zaiyu, a great musician in the Ming Dynasty, said in Quanle: "There are 300 books in The Book of Songs, and 31 of them are elegant, all of which are in Gongdiao. Xiaoya's seventy-four articles are all calls. Thirty-one Zhou Song works and four truffles all have feathers. 15 "national wind" 160 articles, all angular. The five articles of "Shang Song" are all business tunes. " This relationship between poetry and music has been partially confirmed in Shanghai bamboo slips "Collection of Songs". Mr. Ma Chengyuan thinks: "Short prose is a part of many tracks in the collected materials compiled by music officials according to the order of five tones and different kinds of music." When you string a song, you can set the tone according to this category. For example, the Book of Songs and bamboo slips are about music popular in Chu. "