How did The Book of Songs become a "classic"?

the art of Han Yuefu folk songs and Nineteen Ancient Poems 1. The artistic achievements of Han Yuefu folk songs

2. The artistic achievements of Nineteen Ancient Poems, a representative work of Han literati poems

3. An analysis of Nineteen Ancient Poems

1. The artistic achievements of Han Yuefu folk songs have inherited and carried forward the Book of Songs. Like the folk songs in The Book of Songs, the folk songs of Yuefu in Han Dynasty faithfully recorded the social reality in Han Dynasty. It can be said that Yuefu folk songs reflected in the Book of Songs are all manifested, while the theme that is not or less touched in the Book of Songs has made a new development. For example, the exposure of the inner life of the exploiting class family. Meet each other, crow, and a narrow and oblique trip in Chang 'an reveal their extravagant and dissolute lives. The Orphan's Journey and the Song of the King of Huainan reveal that the brothers in the ruling class family are cannibalistic, which are rare themes in the folk songs of The Book of Songs. Even works with the same theme, the folk songs of Han Yuefu have also made new explorations in ideological depth. In the folk songs of The Book of Songs, the poems of abandoning wives are often practical, condemning only the ruthlessness and changes of men, and rarely touching the social reasons such as the ethics of the exploiting classes. The poems of abandoning wives in the folk songs of Han Yuefu not only point at the fickle feelings and fickle thoughts of men themselves, but also point at the social factors that caused this tragedy, thus strengthening the ideological and social significance of the works. Like Peacock Flying Southeast, it criticizes the feudal patriarchal system and the concept of family status, and embodies a stronger realistic spirit. Some topics and themes of Han Yuefu folk songs have been repeatedly imitated by later scholars. From the Jian 'an period to the Six Dynasties, a large number of quasi-Yuefu appeared. Li Bai, a great poet in the Tang Dynasty, almost wrote all the ancient topics of Yuefu, and Du Fu brought forth the new ones, that is, famous articles, and wrote poems such as Three Officials, Three Farewells, A Car Shop and two for the road. Bai Juyi and others launched the "New Yuefu" movement. This makes realism a continuous tradition.

2. The second achievement of Han Yuefu marks the maturity of narrative poetry in Chinese classical poetry.

China's narrative poems germinated in The Book of Songs, but they matured into the narrative poems of the folk songs of Han Yuefu. In The Book of Songs, Daming, Huan, Huang Yi, Shengmin, Gong Liu and other works called Zhou epics are called narrative poems. Although there are many vivid descriptions, on the whole, there is still a lack of complete plots and detailed narratives. As for the works in the folk songs of The Book of Songs, few of them can be seriously called narrative poems. Some works with certain narrative content generally lack a story with a beginning and an end, and only Meng has a relatively complete story, which can be said to be a narrative poem that has begun to take shape. However, in narration, the direct expression of subjective feelings still accounts for a considerable proportion, rather than expressing subjective feelings mainly by objective narration. Therefore, we say that narrative poetry is still in its infancy in the folk songs of The Book of Songs. If the folk songs in The Book of Songs mark the maturity of lyric poetry in China, then the symbol of the maturity of narrative poetry is the folk songs of Han Yuefu. Although there are lyric poems in the folk songs of Han Yuefu, such as Elegy, Ancient Songs, Ballad of the White Head, etc., narrative poems occupy a prominent position.

Han Yuefu was originally "originated from something", so there are many narratives in the works. Generally speaking, the narrative situation can be divided into two categories, one is to intercept a scene narrative in life, and the other is to tell a complete story. The former can be represented by picking weeds on the mountain, while the latter can be represented by Peacock Flying Southeast. But in either case, * * * is characterized by a more detailed narrative and a more complete plot. "Going up the mountain to pick weeds" is about a question and answer when the "old friend" meets the "old husband" when he returns from picking weeds up the mountain. But it points out the time, place, people, as well as the activities and words of the people. The plot is complete, and the image of the characters is vivid, which shows the high skill of narrative. As for Peacock Flying Southeast, its length, numerous narratives and numerous characters are unparalleled in ancient narrative poems. Wang Shizhen's "Yiyuan" said: "Peacock Flying Southeast" is qualitative but not vulgar, chaotic and can be integrated, picturesque in narrative, and full of stories. " It affirms its achievements as a narrative poem. As the basic way of narration, the characteristics of folk songs in Han Yuefu are that the narrative language of the author is not used or used less, but the story is developed by the words and dialogues of the characters in the story. Journey to the East Gate, Journey to Women's Sickness, Mulberry on the Stranger, Peacock Flying Southeast, Picking Wildflowers on the Mountain, Dong Jiaorao, etc. all rely on dialogue to develop stories and plots. Although the Fifteenth Military Recruitment is basically the author's narrative language, there is a dialogue between veterans and passers-by. An orphan's trip can be regarded as an orphan's accusation. The advantage of this is that it can make the language vivid and varied, and avoid the stagnation that may occur when it is completely narrated by a third party.

Generally speaking, as a narrative poem, the folk songs of Han Yuefu belong to a mature period with complete story, vivid characters, clear narrative and orderly order.

3. Linguistic features of folk songs in Han Yuefu.

Han Yuefu folk songs also have their own characteristics in language and sentence patterns. The language of Han Yuefu completely broke through the four-character sentence pattern in The Book of Songs, and even presented the form of miscellaneous words. Various sentence patterns such as Dongmenxing, Orphan Xing and Fubing Xing were mixed in one poem, including one, two, three, four, five, six, seven, eight and nine. This is mainly because Yuefu folk songs come from the people and retain a lot of folk spoken language. For example, there is "Duh! Ok! I'm too late to go! In the four consecutive sentences, the sentence pattern fluctuates greatly, which is a direct record of people's spoken language. It is worth noting that although there are irregular sentence patterns in Han Yuefu, there are also neat sentence patterns, such as Mo Shang Sang, Joining the Army in the Tenth Five-Year Plan and Peacock Flying Southeast. There is also a poem "Jiangnan", which is full of five words and eight sentences:

Lotus can be picked in Jiangnan, and He Tiantian with lotus leaves. Fish play between lotus leaves. Fish plays lotus leaf east, fish plays lotus leaf west, fish plays lotus leaf south and fish plays lotus leaf north.

This poem is written entirely in spoken language, with vivid description and lively atmosphere. The following four sentences, "Fish playing between lotus leaves", are laid one after another, which is the simplicity of Gu Zhuo in Han Yuefu's language. The advantage of this poem is that the main part of the poem is full of lively and lovely fish, but it is full of happy feelings of lotus pickers. Wu Jing's "A Solution to the Ancient Poems of Yuefu" said: "Cover the beautiful scenery in the morning, and you can swim in time." Miscellaneous, long and short sentences are staggered, retaining the characteristics of naturalness and truthfulness of spoken language at that time; Five words, neat sentences, vivid images, expressive and musical. Generally speaking, the early Yuefu folk songs are mostly in the form of miscellaneous words, while the five-character poems are mostly late works, which shows that the new poetic style of five-character poems was gradually bred in Yuefu folk songs. 4. The application of allegorical style in Han Yuefu

Another prominent feature of Yuefu folk songs is the application of allegorical style. There are several fable poems in the Han Yuefu, which are quite strange and romantic. Allegory poems are occasionally used in the folk songs of The Book of Songs, but only in a few works. Like "hurricane?" Owl, can be said to be the earliest bird poem. By the time I arrived at the Han Yuefu, this form had been used more. In the folk songs of Han Yuefu, birds, fish and insects are all written into poems as the theme of allegorical poems. For example, Luoziban, Wusheng and Yan Ge You Hang all use birds as metaphors, Butterfly and bird as metaphors, and fish as metaphors. Some show the miserable experience of working people, and some show love, but the peculiar form and content have achieved peculiar artistic effects. Let's watch

A pair of hundred mandarin fish came from the northwest. Fifteen, fifteen, make a list. Wife and pawn are ill, so they can't go with each other. Look back five miles, and wander six miles. "I want to take you, but I can't open my mouth. I want to go to you, how can the hair feather destroy it? " Joy makes new acquaintance, and sorrow makes parting. I don't know it when I cry. "Read to leave you, gas knot can't speak. Each pays attention to self-love, but it is difficult to return it from a long distance. I should keep my room empty and close it behind closed doors. If life meets life, the dead will die. " Have fun today, and live forever. The last two sentences are idioms in Yuefu, which were added when the music was sung, and have nothing to do with the original poem. The front is full of bird words to compare the tragedy of "separation" between husband and wife in the world. This kind of tragedy that husband and wife can't care for each other is a true portrayal of the society forcing the working people to ruin their lives at that time. It is a strange idea to write about people by relying on the experiences of birds. These poems about birds, insects or fish are not only strange in conception, but also vivid in description. The butterfly is caught by swallows and fed to Xiaoyan. Before eating, Xiaoyan shook her head and fluttered her wings when she saw the butterfly. The pheasant was caught by Wang Sun, and the old pheasant chased around the car and shouted "pheasant" repeatedly. The sound of mourning was touching. These are allegorization of the persecution of working people. There are two other poems that are allegorical, but they use trees as metaphors, namely "Yan Ge Xing" ("Nan Shan Shi Wei") and "Yu Zhang Xing", which are also works with strange imagination. Almost all of these works reveal social reality, but they are in the form of fables, showing the romantic style with rich imagination in Han Yuefu.

The folk songs of Han Yuefu are a fruitful achievement of folk literature creation in the history of Chinese poetry since the folk songs of The Book of Songs, which has a great influence on future generations. First of all, the spirit of realism has influenced future generations of poets. They plan to write ancient Yuefu, most of which can reflect the social reality, which is the inheritance of the spirit of folk songs in Han Yuefu. By the Tang Dynasty, the realistic spirit shown by the creation of great poets such as Du Fu and Bai Juyi was also the inheritance and development of the realistic tradition of folk songs in The Book of Songs and Han Yuefu. Secondly, the narrative skills and techniques shown in the narrative poems of Han Yuefu also influenced the creation of narrative poems of future generations. Shen Deqian said that the narrative poems of "Three Officials" and "Three Farewells" in Du Fu's poems were "transported by the ancient Yuefu Shenli" (Collection of Tang Poems, Volume 2). Bai Juyi and Yuan Zhen advocated that "songs and poems should be written together for things" (Bai Juyi's Nine Books with Yuan Dynasty), which also inherited the realistic spirit of "feeling sad and happy, arising from things" in Han Yuefu. In addition, the influence of the form of Han Yuefu on the poetry creation of future generations is manifested in the creation of five-character poems, because five-character poems actually originated from the folk songs of Han Yuefu.

second, the artistic achievements of Nineteen Ancient Poems, the representative work of literati poems in Han Dynasty

By ancient poems, I mean Nineteen Ancient Poems. The name of Nineteen Ancient Poems was first seen in Xiao Tong's Selected Works. In the Jin Dynasty and the Southern and Northern Dynasties, people called some unnamed ancient poems "ancient poems". When Xiao Tong compiled Selected Works, he chose 19 ancient poems and compiled them together, entitled Nineteen Ancient Poems.

Now it is generally believed that Nineteen Ancient Poems were written in the late Eastern Han Dynasty. According to the ideological content and feelings of the poem, its authors should be some literati living in the middle and lower classes of society. In a word, Nineteen Ancient Poems is not a one-time work. It is the work of some middle and lower-class literati in the late Eastern Han Dynasty, and of course, a few of them may also be folk songs or rewritten by folk songs. This can be seen from its frequent application of Yuefu folk songs.

Nineteen Ancient Poems has a very high artistic achievement, which is almost recognized by ancient and modern scholars. Liu Xie said: "Looking at his structured prose, it is straight but not wild, tactfully attached to things, and it is the crown of five words." Zhong Rong said: "Wen Wen is beautiful, meaning sad and far away." Thrilling, it can be said that it is almost a word! " Some comments (on "Shi Pin") here, especially those of the ancients, all admit their achievements. It does push lyric poetry to a new height in the history of Chinese literature.

1. Nineteen Ancient Poems is very good at shaping beautiful and moving artistic conception.

The so-called artistic conception means that the author naturally expresses his thoughts and feelings through a vivid, concrete and vivid artistic picture. Specifically, the artistic conception means the close combination of the picture described by the author and the thoughts and emotions to be expressed, the perfect blend of feelings and scenes, and an artistic effect that can soak people's hearts.

Nineteen Ancient Poems is a beautiful lyric poem with mixed scenes. The first eight sentences of the poem "Bright Moon with Night Light" seem to be pure scenery, but the poet provides readers with a series of images, which are bright moon, promoting weaving, stars, white dew, weeds, cicadas and mysterious birds, and are outlined as a sad and lonely artistic conception in late autumn. "The season suddenly changes" is a subjective feeling, whose function is to make the scenery and emotions integrated, and naturally turn to the resentment of "classmates" and the sad expression of being hurt and frustrated. "Enter the car and talk about it" is an example of blending scenes:

Enter the car and talk about it, and talk about it for a long time. Looking around, the east wind shakes the grass. How can you not get old quickly when you encounter something for no reason? Ups and downs are different, and it is not early to stand up. Life is not a stone, how can you live longer? The election is materialized, and the honor is precious. The first four sentences are about the spring scenery, with the east wind and the hundred herbs. This is the scene of the east wind blowing vigorously, the hundred herbs flourishing and the Vientiane renewing. However, the poet used several words full of melancholy mood-"leisurely", "long road", "boundless" and "shaking" to write a thriving spring scene full of sadness. Just reading these four sentences, we can also appreciate the decadent emptiness and loneliness of the wanderer who drove home. Naturally, the scenery of "the east wind shakes a hundred herbs" caused the sigh that "you can't get old quickly when you meet something for no reason", the regret that "ups and downs are different, and you can't live long" and the sorrow that "life is not a stone." These four sentences can really be said to be the swan song of writing scenery.

Nineteen Ancient Poems is lyrical and mixed with scenes, which is vastly different from some landscape poems of later generations (such as some poems by Xie Lingyun), which are lyrical after writing scenes, reasoning and writing scenes separately.

2. The achievement of lyric art in Nineteen Ancient Poems is also reflected in the euphemistic and tortuous expression.

The achievement of lyric art in Nineteen Ancient Poems is also reflected in the euphemistic and tortuous expression. This euphemistic expression can cause endless artistic effects. For example, "Far away Altair": Far away Altair, Jiaojiao River Han female. Fine hands, make a loom. All day long, there is no chapter, and tears are like rain. The river is clear and shallow, how much difference does it make? Between the water and the water, the pulse is speechless.

Although the whole poem expresses the lovesickness of a wandering woman, it uses metaphors, such as the sky, the human world, and the Petunia and the Weaver Maid. Metaphor itself has a faint and tortuous artistic effect, and poets pay great attention to conception and conception when describing the tragedies of cows and women. The poem focuses on the sadness of the separation of two feelings, but for the Hehan who separates them, it repeatedly points out that they are "clear and shallow", "how many differences are there" and "a water between them", as if the difficulty of their separation is not difficult to overcome. In fact, this implies that it is not just the "clear and shallow" Hehan who separates them, but also other reasons. Readers can also think of the "Hehan" on earth from the "Hehan" in the sky, and cows and women still meet at the annual magpie bridge, which is even more difficult to compare with the "Hehan" in the sky. The poet hides many feelings outside the words, so that readers can get beyond their imagination. In addition, "Lin Lin nian yun mu" mainly expresses euphemistic feelings in the twists and turns of structure. The miss husband who writes about thinking about women is suspicious because of his eagerness to think and his deep love, and he is sleepless because of thinking.