The opening report of Fu Bixing's graduation thesis in The Book of Songs? xslcl@ 126.com

From the Xing style marked by Mao Zhuan, we can also see a syntactically related Xing style. Impromptu sentences and applied sentences use some words together, and the sentence patterns are exactly the same. Scholars in Qing dynasty have noticed the characteristics of this style. For example, nonsense dishes are based on "taking their roots" and "observing their roots". 28。 Yao Jiheng even thinks that this is an obvious feature of sports development, saying that "no general car" started with "general car" and "worrying about everything" and became a disease, so it was banned. It can be seen that the words' nothing' and' solipsism' are used together from top to bottom. If he has many articles, this is the most obvious one. "29. These views are taken from the text of The Book of Songs and deserve our attention. Syntactic relationship is determined by the special style of four-character case.

Syntactically, there is not necessarily a meaningful connection between sentences and sentence text, which is mainly composed of words such as "neng", "can't", "no" and "you", but in fact there is a simple logical reference between sentences. For example, in Hanguang, Nan Zhou, it is impossible to swim in the Hanshui River and rest in the trees. Several unrelated behaviors just take care of each other on the point that they can't achieve their goals. People who take land as their source are tired of "Philip Burkart people", but they are forbidden to do so. The word "nothing" is used from top to bottom, which corresponds to "arrogance" and "arrogance". Just like A Big Car Without a General, it not only shows the logical correspondence between them syntactically, but also goes deep into an unspeakable psychology, subtly showing the feeling of inner uneasiness. The pool in the East Gate of Chen Feng is used to promote Ji Shu's Singing with People. Hemp can remind people to perform their female duties. Although there is a vague connection between the two behaviors, the focus is still on the logic of "energy". Chen man's marriage is promoted by eating fish, which of course comes from the association between fish and housewives, but the two words "bi" are used in both the upper and lower sentences, and the emphasis is similar logic. Qianfeng Fake: "How about Fake? The axe is not gram; How about finding a wife? Media is not allowed. " It is also a top-down sentence pattern of "How" and "Bandit … No". It can be seen that the logical similarity between the two is that success in doing things must rely on tools or intermediaries. There are many descendants in The Wall.

It is believed that the comparison between Mao Chuanbiao and Xing is due to the combination of "can't" and "also". Feng Wang Sheep Fat Water publicizes "My son won't defend me" with "no salary" and "no salary". Because salary is related to marriage, it can also be understood as arousing the spouse's thoughts, and Water in the Positive Wind and Yang causes distrust between brothers, so it can be seen that the focus of these two poems is not the moral of salary, but the comparison of syntactic and logical factors. The word "boy boy" in Qin Feng Without Clothes belongs to this category.

There is also a relationship, although these parts of speech are not literally used to express affirmation, negation or warning, but they still show the same referential relationship from top to bottom in internal logic. For example, the most common phrase in The Book of Songs is "There is a mountain ... There is a mountain ...", but the content of the sentence often has nothing to do with it, only with the syntactic logic of "you". For example, in "Tang-style Shushan", the word "you" is used to point out the relationship between the upper and lower factors. But more often, only the word "you" is seen in the sentence, but not in the sentence. The following actually means "you". "There are hazelnuts on the mountain and tombs on the mountain" preaches the "beauty" of the west in Gaoxi; Zheng Feng Shan Fu Su, Shan Fu Su and Ji You Hua were also excited by Zi Zi, but they just skipped this layer and directly expressed their disappointment at not seeing Zi Zi. The rest are like Chapter 4 of Qin Feng Neighborhood, Morning Wind in Qin Feng and April in Xiaoya. The three chapters of the Biography of Daya all begin with "going to flow" to get water, and the water is "OK?" In fact, it means that "Mr. Brother" can be "people's parents". Zhu Yue said, "When the water is full of autumn, the prince of Wu will not be an official." Gai said, "There is plenty of water and water. Isn't there something wrong with the prince of Wu?" ? This is also a prosperous unity. "30 shows that he also saw the metaphysical characteristics of this logical connection." Ji was marked as Xing by Mao Chuanbiao, which was regarded as a metaphor of a saint, so later generations directly regarded it as Bi Xing. In fact, this poem does not explain the meaning of comparison, and it is not necessarily a metaphor for sages. There can be many associations. The whole poem has two chapters, nine sentences and four layers, and its meaning is irrelevant. However, it is also related to the inherent logic that things from other places can be moved here: cranes in osawa can spread to the wilderness; Fish in the abyss can come to Zhou Zhu; Can it be born under the sandalwood tree in the garden? Wood; Stones from other mountains can grind jade. The last layer is the response to the first three sentences, which is a metaphor in itself.

Because the logical correspondence between Xing's sentence and the corresponding sentence is obvious, the same words and syntax can better highlight this sense of correspondence, while four sentences rely on the insertion of function words to form a two-second rhythm, with two and a half sentences in one line. The so-called upper and lower sentences (whole sentences) are actually two lines composed of four and a half sentences. In addition to keywords such as "no" and "can", there are usually many repeated function words in the upper and lower lines. Therefore, the four-character case is a typical feature of strengthening rhythm with sentence order, which can be fully reflected in this kind of style .31. Although Wuyan's metaphor has the same literal meaning and sentence pattern in the upper and lower sentences, it is not widely used. Wuyan doesn't need to use function words and lines to form a sentence pattern. Even if the upper and lower sentences use the same literal meaning and sentence pattern, they do not have the sense of rhythm of repetition in four words. Du Fu's masterpiece "Going Out of the Fortress" can be said to be a flexible application of the Book of Songs, which is based on syntax and logic. However, in a four-line five-character poem, when two different sentence patterns stimulate each other and there are no function words to set off, the sense of rhythm is not as strong and distinct as that of a four-character poem. From this point of view, this style can also be said to be formed under the special requirements of four fonts in poetry.

There are still a few popular styles marked by Mao Chuan. According to the modern interpretation of the Book of Songs, there are more such forms, far more than 20 marked by Mao Gong. It is difficult to distinguish between this kind of xing and fu, because both can be regarded as part of lyric writing. We can also look at this problem from the special style of four fonts. Siyan is suitable for lyricism, not for narration. Even narration should be based on situational narration and lyrical praise, giving full play to the specialty of four-character style and forming a distinct sense of rhythm. Four fonts are generally based on four sentences, two lines and one chapter. The most common is that the first two and a half sentences are based on scenes or events or metaphors, and the last two and a half sentences are turned into telling the truth. As Zhu said: "Modification is a persistent thing." From the above article, let's take the facts as the standard. The "33" poet pretended to speak and led the previous sentence to the next sentence greatly. "Both the upper sentence and the lower sentence refer to the whole sentence consisting of two and a half sentences. The beginning of the upper sentence is empty and the lower sentence is real. This is the general system of the basic units of the body. And a four-character poem is composed of more than two such basic units. The national style is relatively simple, mostly just the repetition of two or three basic units, while Xiaoya and Daya are mostly long. Elegance is rarely used, but many articles in Xiaoya are the extension and expansion of national style, so the structure is more complicated. But even if a chapter is extended to six or eight sentences or seven or nine sentences, it still maintains the basic structure that the first sentence is empty and the last few sentences are real. This kind of program requires an orderly correspondence between the upper and lower sentence patterns, which is just complementary to the four fonts, and is especially suitable for overlapping and overlapping of multiple chapters. Therefore, the number of popular genres accounts for almost half of the Book of Songs (Zhu, Yao Jiheng and Mao Gong have their own similarities and differences, but in addition to 1 16 marked by Mao Gong, more than 30 popular genres have been added). This system of promoting style determines that when the scene rises immediately, the imaginative writing of the above sentence can only take a certain feature or point of a thing that can most impress the poet and describe it in the simplest language. The imaginary sentences in some poems are very refined, which plays a finishing role in the things or feelings recited in the real sentences. For example, the imaginary sentence in Zheng Fengye Grass only describes the dew on the grass, which sets off the environment where men and women meet and the "young" temperament of beauty. " Xiaoya Zhan Lu "wrote that the morning sun dries the dew, which is the drink at night.

Time and background of drunkenness. This kind of imaginary sentence and real sentence actually belong to the same scene, but because the whole poem is the basic combination of repeating imaginary sentences and real sentences in two or three chapters, and at the same time changing the situation in each chapter slightly to change the rhyme, it has become a typical style in form. Mao chuan's goal. Li Shui, Li Feng, Beifeng, Zhou, Zheng Feng, Chen Chu, and cars? Sigan, Sweet Millet Flower, Millet Seedling and Picking Green also belong to this category. Because many of the above sentences are obviously the background descriptions of the next sentence, they are regarded as fu by later generations.

Many times, because the image of the previous sentence is too simple, we can't see the relationship between it and the next sentence. This situation can easily be judged as a star. Because it is generally believed that there is not necessarily a clear relationship between the image of xing and the sentence. For example, the first three sentences of Zhao Nanxing Road are about walking in the dew at night, which is difficult to understand. You can't see what this has to do with the contents of the latter two chapters in which women accuse each other of suing themselves, so Mao Chuan is interested. Zhu believes that these three sentences actually describe the man's disobedience, thus causing the following disputes, which should be done by Fu. The difference lies in whether the understanding of these three sentences is virtual or real. The imaginary sentence in Qin Feng's yellow bird says that the yellow bird stops at the spine, which seems to have nothing to do with the martyrdom of Sanliang. In fact, the crow of the yellow bird on the thorn tree is probably taken from the real scene. The petite yellow bird, with its lively life, contrasts with the scene where Qiang Sanliang was forced to death, which deeply touched the poet and made him happy. Xiaoya's Thorn Folding, Crossing, Nantai and Du are all similar to this. Therefore, the predecessors judged whether the beginning of this kind of scene was prosperous or not, mainly based on two points: first, whether the relationship between the previous sentence and the next sentence was from virtual to real; The second is whether the repeated chapter begins with the same repetition in the previous sentence.

The complex relationship between this kind of fu is the most prominent. Because of its rich content, part of Xiaoya needs to describe more scenes, bigger scenes and longer processes, but it can't break through the basic expression of four words, so it divides a complete scene into basic units, one of which becomes a chapter and is combined into a poem. A little simpler, such as "Xiaoya I Go My Way", the three chapters of the poem are all about the protagonist walking alone in the wild, seeing lush trees and picking wild vegetables. You should write down the resentment of being abandoned and lament the misfortune of marriage. No matter the actions of the protagonist or the plants taken, there is no analogical meaning or even emotional connection with the real sentence content. But when the three chapters are put together, it is a complete scene of an abandoned wife lamenting her fate while picking wild vegetables, just like the scene in "Rolling Ears" where she misses her husband while picking up a roll. There are four chapters in Xiaoya He Huang Cao. In the first two chapters, the grass is yellow and the grass is mysterious, and in the last two chapters, there is no tiger in the wilderness, and the hidden grass hides the fox. If the imaginary sentences and the real sentences in the four chapters are connected into chapters respectively, we will find that the imaginary sentences are all about the scenery of vilen seen by the recruiters in the wilderness, and the real sentences are all about the sufferings of the recruiters running around and not having a rest, just like the five-character poems of later generations. It is only because of the four fonts that the complete scene is divided into four basic units. In addition, in the first two chapters, "why ... why not do it" is used together, which turns Fu into Xing. More complicated poems, such as Hundred Flowers, are generally ignored by Zhou Youwang after he applied for the World Heritage. Chapter 8 What are the empty sentences such as Imperata, Kanmao, Sangxin and Yuliang? There are Yuanyang and so on. Most of them are related to marriage, and the real sentences are "sons" of yearning and resentment, so they can also be regarded as the absorption and synthesis of the comparison between Xiaoya and national customs. But if we look at the description of white clouds, the water soaked in rice fields, the drums and bells coming from outside the palace, and the gravel on the road, we can form a clear picture. It can be seen that when the protagonist sees all kinds of scenery in the countryside outside the palace, he is infinitely sad, and those scenes related to love and marriage can touch the poet most, so he tries his best to package them into poems, thus forming a mixed structure of poems and poems. "Little Brother" is similar to this. The first five chapters of the eight chapters are all about the scenery in front of us, and some of them are related to the mood: the leisure of Western jackdaw's return to fly in the west is to fight against his anxiety, Sang Zi is to fight against his nostalgia for his parents, he is happy when he sees the pool, and the deer call each other to fight against his loneliness; However, some scenes are not directly related to the artistic conception written in the next sentence, such as the lush grass on the surrounding roads, the chirping of cicadas on willow trees, reeds in clear water pools and so on. It can be seen that all the scenes, even the rabbits and the dead people in the street used for common prosperity in Chapter 6, were seen by the poet alone on the surrounding roads. "April" is also an exclamation of service in the south, but the time span is longer, and all the scenery that can contain mood is selected as far as possible, and the rest of the scenery description becomes the so-called meaningless interest. The chapters of Xiaowan seem to be in disorder, but together, we can see that the background is that the author sees birds such as pigeons, Lingling and mulberry tigers catching insects and pecking at them in the fields, and people picking bean sprouts and unearthed insects in the fields, so they take what they think is fun as fun. The overall mood of the poem is anxiety and trembling, but the feelings expressed in each chapter involve many aspects such as missing parents, poverty and illness, hard work, criticism and confusion, and even educating future generations. Because of the complexity of thought, it is not easy to see that its empty sentences are all taken from the immediate scene.

As can be seen from the above poem examples, because the purpose of Xiaoya is not to describe scenery and scenes, but to arouse lyricism, it is not arranged according to the distance of scenery, but to pick up images related to artistic conception at will, thus forming a mixed composition, and there is not necessarily clear logic between chapters. Compared with Xiaoya Jiri, we can see the mutual restriction between the four fonts and Bixing. "Auspicious Day" describes the process and scene of a day's hunting from beginning to end, which is rare in the Book of Songs and can be said to be the whole prose. In order to describe the process in sequence, no comparison is needed. Only the first two chapters of the poem use the word "auspicious day" at the beginning, and the last chapter uses two similar sentences. The meaning of the whole poem is connected smoothly, but there is no clear-cut sentence order in each chapter, which shows that some typical four-character programs are inevitably lost without using metaphor. On the other hand, even if the whole poem is set in a complete process or scene, as long as the syntax of the previous sentence is empty, the next sentence is real, or related to interest, it can be transformed into interest. In this case, the meaning connection between the "line" sentence and the "should" sentence is often uncertain, which forms the phenomenon that intentional lines and unintentional lines are mixed together. Therefore, the prosperity and fu of the scene are often relative, and there is no need to make a hard definition and distinction.

Although the characteristics of the four-character font and the early people's associative way of looking at things often split the complete scenery into metaphorical forms, which limited the expressive force of the four-character font in describing scenery and things, it also made the four-character font have artistic effects that other poetic styles did not have. First of all, because sentences can only point out one of the most important features that arouse interest in the environment, their vivid and concise scenery can often reach an extremely subtle and vivid state. For example, "Sword of Qin Feng" describes the melancholy of pursuing "Iraqis" by the water in the clear autumn. The pursuit process of the Iraqi people, which seems unreal and unreal, is tortuous and trance-like. Against the background of green reeds and frost and white dew, it can more influence Xiaosa's ethereal reverie. Summon Nan Xiaoxing, Zheng Feng Storm, tang style Ge Sheng and Chen Feng Yue Chu all have similar finishing touches, which are worth a thousand words. Secondly, as an empty sentence, Bi Xing changes slightly in the repetition of many chapters, which is often needed by the rhyme changes of Guo Feng. Xiaoya made conscious use of this advantage, so it can show the transformation of time and space on a large span. For example, the first three chapters start with "Wei Yeting", "Soft Stop" and "Just Stop" respectively. Judging from the birth, growth and hardening of Wei, the passage of time has aroused the "worry" of soldiers who have been defending for a long time, which has increased the tension of the four words. April is the same in Xiaoya. Thirdly, the four-character figurative body connected by multiple chapters will cause all kinds of complex emotions because of the different figurative images of each chapter, and there is not necessarily a clear and smooth connection between the chapters, forming a four-character long and intermittent composition. Xiaoya Dadong is a typical work that consciously uses Bi Xing and the four-character case to express complex content. It is not only rigorous in structure, but also novel in conception, which breaks through the messy long structure of Xiao Ge, Bai Hua and Xiao Wan. The first chapter takes food as the sky, "Really?" There are thorns and spears, and the seventh chapter, Wei Nan You Ji and Wei Bei You Dou, echo each other in the form of taking images. "Zhou Dao is like a rock, straight as a arrow" leads to the second chapter "Look at your son, walk around other weeks", which shows the only way for Zhou people to plunder the orientals. The second chapter begins with weaving, the third chapter begins with transporting firewood, and the fourth chapter writes that Zhou people are well dressed, which is in contrast with the second chapter. The fifth chapter compares the diet and clothing of Zhou people and Dong people again in this chapter, which is a repetition of the previous four chapters. Then turn to the second half and chapters 6 and 7 to describe the astronomical phenomena. The idea of this turning point is unnatural, just to draw a series of metaphors: Weaver Girl can't be a newspaper, Petunia can't be a box, the sky is blue as a rabbit net, invivo can't raise chaff, and the Big Dipper can't scoop wine pulp. Not only that, "open your tongue and eat; "Hit the West, but if you want to take something from the East" 35, it skillfully uses the names of the stars in the sky to sum up the injustice that the food and clothing of the orientals were taken away by the westerners. Generally speaking, the first half of the poem actually describes the suffering of orientals who are exploited and enslaved, while the second half satirizes westerners from imaginary places with metaphors. Take care of the front and back from a distance, such as "it will pass one day", the shape of Beidou and the beginning of "barbed"; Beidou wine pulp and the wine pulp in chapter 5; Vega and the second chapter, grapefruit; Petunia service box and chapter 3 are related in appearance or material. But the meaning of each chapter is intermittent, and the turning point of chapter 5 itself is particularly sudden. The continuity of the pulse depends on the correspondence and repetition of the contrast between the first half and the second half of the actual writing, as well as the contrast and echo between the chapters, so the composition is intermittent and full of changes. The key to the artistic effect of Cao Cao's Short Songs is to master the characteristics of Xiaoya, which is divided into chapters by comparison, and the ideas in each chapter are relatively free to turn. Cao Zhi's White Horse Going to Wang Biao is five words, but it also uses "Xiaoya" in a long journey, taking the scene of the day as a metaphor and combining several chapters as the basic unit. It is divided into seven chapters, which vividly expresses his hardships and sorrows on his way back to Dong Fan. They all got the creative principles of The Book of Songs and grasped the unique performance characteristics of Siyan.

To sum up, as long as the original meaning of the text is respected when interpreting the Book of Songs, several main ways of associating the Book of Songs are simple and intuitive. "Comparison" is based on the purpose of explaining the meaning of things, looking for similar objects to make appropriate analogies. Even if the meaning of comparison is not said, there is always a clear association between image and meaning. "Xing" is triggered by the image in front of us, which arouses the feeling of things. The semantic relationship between Xing sentence and Ying sentence is explicit or implicit, which can cause rich associations, but both belong to the level of feeling, experience and simple logic. On the other hand, any explanation that deliberately seeks the tortuous connection between the sentence and the sentence is bound to get stuck in the side meeting. Therefore, it can be seen that the connection between xing sentence and ying sentence is not necessarily clear, which is Mao Gong's achievement. Exaggerating and using this feature to attach politics and religion is its limitation. The argot theory tries to explore the depth of ancestors' association, but it fixes the association of Bi Xing on the way of symbolic comparison, which confuses the difference between the association of poetry and images and loses the aesthetic feeling and charm of Xing.

Bixing is the most natural expression of human poetry, and the folk songs of any era are longer than Bixing. In The Book of Songs, Bi Xing appears as two basic ways of conception, and its application is extensive and comprehensive.

The richness of elephants is unmatched by folk songs of any time later. This is because primitive people's feelings and thinking about life mainly rely on the accumulation of keen feelings and experience, and this basic way of association is the most suitable for Bixing. As the earliest poetic style, the basic characteristics of Four-character Poetry determine that the corresponding structure of chapters and sentences commonly used in Bixing can strengthen the sense of rhythm of Four-character Poetry and fully embody the poetic advantages of Four-character Poetry. Therefore, Bi Xing and the four-character style are complementary, and the use of Bi Xing is different from that of various poetic styles in later generations. Metaphor is more used in rhetoric in later generations, and it is not necessary to deal with the situational relationship in the five-seven-word poems in a multi-layer form. The original meaning of "Xing" is moving and moving, and it has added new connotation after the rise of landscape poetry. As a general term, "Bi Xing" has become a concept of "strength of character" in the poetry innovation in the Tang Dynasty, and has been transformed into a more rational and conscious expression. The relationship between Bi Xing and poetry style is no longer inevitable. This is why China's earliest four-character poems are so closely combined with Bi Xing.

(1) Zhao Zhiyang summarized the various explanations of "Xing" from the Han Dynasty to the 1970s into three categories: the theory of righteousness, the theory of singing and the theory of ascension. See the Book of Songs, page 13 1, Taiwan Province Fengcheng Publishing House, 1975.

2 Wen Xin Diao Long is better than Xing. Zhou Annotation, People's Literature Publishing House, 198 1 edition.

(3) Su Zhe explains "Xing" in "On Poetry" and thinks that "if you still say what you mean, what does it mean?" When this time is gone and unknown, its class can be inferred, but not explained. " See Su Luan's Volume 5, which is made up of four parts.

④ On the Six Olympic Classics by Zheng Qiao, photocopied by the complete works of Gusku in Wen Yuan, Taiwan Province Commercial Press, 1983 edition.

⑤ Zhu Ziqing said in the article "On Xing Poetry": "Because the psychology of early people was relatively simple, they did not attach importance to the connection of thoughts, but attached importance to the connection of feelings, so the first sentences were often irrelevant in the sense, that is, there was no logical connection, but they were related in phonology." See the third volume of Ancient History. Park club 193 1 edition.

Liu Dabai's Six Meanings says, "Xing means from the beginning, by fitting the poet's eyes, ears, nose, tongue, body and mind? "color, sound and fragrance touch the method", "sometimes it is naturally related to the poet himself, and it has never been mixed by the poet's emotions or thoughts." See the second volume of ancient history.

⑦ See Xu's Interpretation of Bixing in Poetry-Rebuilding the Appreciation Foundation of China's Poetry, which is included in China Literature Essays, page 98, 100, Taiwan Province Student Publishing House, 1982.

Today is the same as ①, page 129. In addition, inspired by Mr. Wen Yiduo's "argot" theory, Mr. Zhao discussed how some "images" in the Book of Songs developed from religious concepts to habitual associations in poetic artistic thinking, starting with the investigation of primitive religious worship of human beings. This theory has a great influence, but it is a pity that there are not enough examples, and it is not based on the statistical classification of all the "images" in the Book of Songs (see its Sex). Since the 1990s, there have been more and more articles on the origin of Bi Xing and its thinking genesis, which has become a new trend for further study of Bi Xing. These thoughts are all influenced by Wen Yiduo to some extent. There is no list here. Pet-name ruby11Read my essay "Analysis of Mao Gong's Personalized Style" and get ready to go.

Attending 28 Hu's Notes on Mao's Poetry, Huangshan Bookstore, 1999, p. 995. Page 1 165.

12 Notes on Thirteen Classics, Justice of Mao Poetry, Peking University Publishing House, 1999.

13 Minutes Poetry of Spring, Fish, Water and Wind, Hong Kong Pacific (Yonghang) Offset Printing Co., Ltd. 1992, p. 192. 14 For example, Sun Zuoyun explained the last chapter of Rufen, thinking that "the red tail of anchovy" refers to a physiological phenomenon of fish during mating, and "the demise of the royal family" refers to a lively scene of social temples. See The Book of Songs: A Social Study of Zhou Dynasty, Zhonghua Book Company, 1979.

15 18 Wen Yiduo's Talking about Fish, see Wen Yiduo's Complete Works, page 1 17- 138, Ming Kai Bookstore, 1947.

16 17 20 27 image analysis of famous objects in Li Xiang's The Book of Songs (also known as the application series of concrete objects in the new edition of The Book of Songs), p. 1-3. Taipei wanjuanlou book co., ltd. 1999 edition.

19 for example, Hu Cheng explained the poem "Han Guang" and said: "The people who marry in the poem are all out of salary analysis, such as the salary ban in Qi Nanshan and the cut in Xiaoya Car. Words such as' wrong salary' and' cutting Chu' all start from marriage, and' cutting horse' and' cutting pony' mean a kiss, as do the so-called' husband and wife car' and' three weeks'. " (the same as ⑩ page 52) Interpretation of "Is the wild dead?" He also said: "Today's marriage tests often involve firewood. For example, Hanguang has the theory of "salary reduction" and Nanshan has the theory of "salary analysis". "Cutting Ke" in The Wind is synonymous with marrying, and Xiaoya's "cutting Er" is "analyzing tussah". Although it seems that people who analyze salaries are different, and people who get married are also different, people who steal ancient ideas are rude or have already paid for them. Make grass, collect horses and pay torches "(see the same page 1 1). Interpretation of "Car?" The article also said: "Many people use salary analysis to describe marriage" (the same as ⑩ 1 144).

2 1 Wen Yiduo's view of sexual desire in The Book of Songs, see Wen Yiduo's Study of The Book of Songs, 18, 14, Bashu Publishing House, 2002. The article even says that fish is "similar to vulva". Such concrete association and analogy are not only excessive, but also inconsistent with poetry.

23 Zhu Zhu's "Zhuzi Folklore" Volume 66 "Yi Er", Zhonghua Book Company1986Edition.

24 Zhang Xuecheng's Literature, History and Summer, proofread by Ye Ying, Zhonghua Book Company 1983.

25 Zhao Peilin "The Origin of Xing", p. 75.

Since 1980s, many scholars have discussed the relationship between poetry and Yi in The Book of Songs. But most of them focus on the same way of thinking, and this article cannot list them one by one. In addition, argot poems are based on Zhuan Zhuan, Xiangzhuan in Zhouyi and even Jiaoshi Yilin in Wangmang period, which is unscientific. Although the author of Xunyang Lane is uncertain, it is recognized by the philosophical circles that it was born in the Warring States period, which cannot prove that it is similar to the concept of Zhou people in the Book of Songs. Therefore, the author only takes this article as an argument.

29 Yao Jiheng's General Theory of the Book of Songs 1 1, Zhonghua Book Company 1958 Gu Jiegang School-based.

30Volume 3Zhuzi School Volume 80Poetry 1.

3 1 32 For the discussion on the "sentence order" of four fonts, please refer to my book "The Formation of Four Typefaces and Its Relationship with Cifu" (China Social Sciences), No.6, 2002.

34 "The Inheritance of Poetry" Volume 2, see Xu Gan Studies, etc. Tong Jing Jie (17), p. 9984, Taiwan Province Datong Bookstore 1969.

35 Ouyang Xiu's Original Meaning of Poetry (Volume 8), a photocopy of Wen Yuan Gus's Ku Quanshu. See chapter 6 of my book A Study of the Pastoral School, Liaoning University Press, 1993.