What is "national wind"?

"National Style" is the essence of The Book of Songs and a bright pearl in the treasure house of ancient literature and art in China. The folk songs of Zhou Dynasty in "National Style" reflect the real life of working people with colorful pictures, express their unfair treatment in the situation of exploitation and oppression and their belief in striving for a better life, and are the source of China's realistic poems. In July, we saw the bloody life of slaves, and in Getan, we realized the awakening of the class consciousness of the exploited. Disgruntled slaves boldly asked parasites and vampires who got something for nothing: "If you don't get enough, you can't get enough." If you don't raise or hunt, is there a county badger in Huzhan Pavilion? "Some poems also describe the workers' direct struggle with the ruling class in order to obtain the right to life. In this regard, Shuo has a shocking power. There are some poems in the "national style" that reflect the great pain brought to the people by the military corvee, such as Yin, Bo and Serviceman, which are the representative works of this kind of poems. There are also many love poems of "national style". It is an important theme of this kind of love poems to reflect the great pain brought to women by unreasonable marriage and express the yearning and pursuit of young men and women for a happy marriage. Meng and Meng show us such a picture of life. And Bai Zhou also has a distinct and strong sense of resistance. Love songs with healthy and optimistic tone (such as Quiet Girl and Papaya) add a sense of harmony and joy to love poems. All these are true expressions of the thoughts and feelings of the working people.

There are also many ballads satirizing and lashing the ruling class in National Wind, such as Xintai, Nanshan and Zhu Lin.

The realistic creative method of describing things in simple language and reflecting social reality with simple life paintings well embodies the "national style" and becomes its remarkable artistic feature. In terms of image-building, Guofeng also has realistic artistic characteristics. The author can express his emotions and describe the protagonist's actions and personality characteristics through his inner feelings. The "national style" is mostly four words and one sentence in form, which rhymes with other sentences, but it is not the same. It often breaks through the four-character grid and uses two-character, three-character, five-character, seven-character or eight-character sentences. For example, Vatan is a poem with miscellaneous words. These poems, which are full of changes with the fluctuation of emotions, have clear rhythm and a sense of music. The language of "national wind" is accurate, beautiful and vivid. Accurate and proper use of disyllables, rhymes and words adds artistic charm. The artistic techniques of fu, bi and xing greatly enhance the expressive force of "national style"

In the areas where the national wind is distributed, "Nan Zhou" is the southern country ruled by the Duke of Zhou, and "Zhao Nan" is the southern country ruled by Zhao Gong, with Shaanxi (now Shaanxi County, Henan Province) as the dividing line and "Nan Zhou" in the east, generally reaching the northern part of Hubei from Luoyang to the south. Its west is "Zhao Nan", roughly from the south of Shaanxi to the northwest of Hubei. For other 13 national systems, La, □, Wei, Wang, Zheng, Qi and Chen are in the northern, western, central and southeastern parts of Henan, while Qin and Sui are in the central and northwestern parts of Shaanxi. It can be seen that the "national wind" has a very wide area, including Shaanxi, Henan, Shandong, Shanxi and Hubei, and it is mostly concentrated in Henan. The local customs and habits are reflected in the poems. For example, Zheng and Wei are located in the Central Plains, where business travelers gather, men and women are interlinked, and there are fewer constraints. Sang Tian made many noises and thanked him. There are ***2 1 Zheng poetry, and love songs account for the majority. Wei Shi has 10 songs, many of which involve love and marriage. For another example, Qin took it from the emperor calmly, and they often fought each other. Articles such as Si □ and Xiao Rong describe the prosperity of chariots and horses, while No Clothes describes the common enemy of soldiers and reflects the martial style of Qin State. Another example is the prevalence of witchcraft in Chen Guo, which is vividly described in Wan Qiu and East Gate. Therefore, The Book of Songs is also quoted in History of Han Geography to illustrate local customs.

The time of the emergence of national style is based on the skills of stabbing a certain gentleman and a certain public in various preface of The Book of Songs. Most of them are not credible, but some materials are reliable, so it can be determined that the poem "Guo Feng" is generally a work from the early Western Zhou Dynasty to the mid-Spring and Autumn Period.

In the early years of the Western Zhou Dynasty, his works included The Wind and the Broken Axe. "Preface" said: "Zhou Gongmei, Dr. Zhou hated the Four Kingdoms." The three chapters in the poem are all about the Duke of Zhou's eastward expedition, which took place in the early years of Zhou Chengwang (about 1 140 BC). This poem should be regarded as the earliest national style work. Illustrations of the Song Edition of "Checking Books, Drawing Notes and Correcting Mao Poems"

At the beginning of the Eastern Zhou Dynasty, his works included Zhao Nanhe's Pen Meaning. There is a line in the poem "the grandson of the son of the Duke of Qi". Zhu's Poem Biography refers to "or theory", which means "September 19" and "Qi Hou" refers to "xianggong" philosophers. It can be seen that this poem was written in the year. In addition, "Feng Wei Tells People" is also an early work of the Eastern Zhou Dynasty. "Preface" said: "Jiang Ye." "Zuo Zhuan lived in seclusion for three years" contains: "Wei Zhuanggong married the minister's sister in Qidong Palace, named Zhuang Jiang, beautiful and childless, and endowed with great benevolence." There is a sentence in the poem "The son of Qi Huangong, the wife of Wei Gong, and the younger sister of the East Palace", which proves that Xiao Xu's theory is credible.

In the mid-Spring and Autumn Period, he wrote The Yellow Bird in Qin Feng. "Preface" said: "I mourn the three good." "Zuo Gong Six Years" contains: "Qin Bo was good at dying, and his third son, Zhong Xing and □ Hu were all good for Qin. The people of China mourned it and gave it a "yellow bird." These records are consistent with the contents of the poem, so this poem was written by Qin people to mourn Sanliang after Qin Mugong's death (62 BC1year), which is undoubtedly reasonable. In addition, Lin is also a work in the mid-Spring and Autumn Period. "Preface" says: "Pricking the spirit is also." Chen Linggong was killed for fornication, which was recorded in Zuo Zhuan and Gong Xuan in nine or ten years, and in Historical Records Chen Shijia. This poem is considered to be Feng's last poem ten years ago (599 BC).

Most of the works of "National Style" are collective creations of working people and are the essence of The Book of Songs. Its main contents are as follows:

(1) Express the people's desire to resist exploitation and oppression and their pain and aversion to labor and military service. For example, July in Qi Feng describes the exploitation and oppression of serfs, and their hard work and miserable life all year round. Chopping Tan revealed the unreasonable phenomenon in the society at that time, and questioned and protested those who got something for nothing. Feng Wei Storytelling reflects the working people's resistance to the exploiting classes and their yearning for a free and happy life. Tang Tiyu wrote the people's cries of pain under heavy corvee. Dongshan describes the ruined countryside after the war, reveals the misery and pain brought by the war, and expresses the people's desire for peace and working life. Feng Wang gentlemen in service expressed their anger and dissatisfaction with military service and corvee from the perspective of conscripts' families.

(2) The eulogy of labor. For example, "Nan Zhou" is a song sung by women in twos and threes to collect plantain seeds, which expresses the cheerful mood of women when they work. "Between Ten Mu" sings the joy of picking mulberry girls when they work and the happy mood after they work.

(3) show patriotism and expose the ugly behavior of the ruling class. For example, "Qin Feng without Clothes" reflects the soldiers' lofty sentiments of defending their homeland, joining the army generously, uniting against aggression and sharing weal and woe. Zai Feng Pool shows Mrs. Xu Mu's lofty patriotic spirit of saving the nation from extinction. Chen Fengzhu Lin also exposed Chen Linggong's debauchery and shamelessness, while The Wind and the Mouse mercilessly flogged the ruler.

④ Love songs expressing love and poems reflecting the fate of women's marriage. For example, Nan Zhou Guan Ju wrote that a young man boldly and frankly expressed his love for a beautiful girl. Zhao Nan Zhuomeiyou describes a woman's eagerness for love for fear that her youth will soon pass away. She is bold, provocative and sincere. "Quiet Girl" is about a young man and a young woman tryst, full of life interest.

The artistic feature of Guo Feng is that many poems come from social reality and directly express the true feelings of life without whitewashing. In the method of expression, Fu, Bi and Xing are used. For example, July, Zheng, Shuo, Gaofeng Xintai, Guanju, Qin and so on. Poets vividly depict characters by describing their inner activities or setting off scenery. For example, Gaofeng Jingnv, Nan Zhou Yao Tao, Zheng Feng, Yue Nv Ji Ming, Feng Weishuoren, etc. They all depict vivid characters with outstanding personality and touching artistic charm. The vocabulary of many chapters in Guofeng comes from the spoken language of the masses, which is accurate, vivid, distinctive and expressive.

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