What is the ancient wind of

1. ("The Classic of Poetry") is the first general collection of poems in the history of Chinese literature, in which *** contains (305) poems written during the five to six hundred years from the early Western Zhou Dynasty to the middle of the Spring and Autumn Period.

2. In the history of Chinese literature, (Guo Feng), which represents the Classic of Poetry, and (Li Sao), which represents the Book of Chu Rhetoric, are often called "Feng" and "Sao" together.

3. The works of Du Fu, a poet of the Tang Dynasty, are rich in social content, strong political tendency, and lofty patriotic spirit, and have been called "History of Poetry" in the history of literature.

4. Bai Juyi, a poet of the Middle Tang Dynasty, vigorously advocated and wrote the "new music" of "only songs of the people's illnesses", and Yuan Zhen and other initiators of the ("new music movement") was the first theoretical and theoretical movement in the history of China. He and Yuan Zhen initiated the "New Lefu Movement", which was the first theoretical and practical realist poetry movement in China's history.

5. Mr. Lu Xun, in his book Outline of the History of Chinese Literature, praised Qu Yuan's poem "Li Sao" as "an outstanding piece of poetry" and "the influence of which on later writings was even more than three hundred pieces". The "300 Psalms" here refers to the book (The Book of Psalms).

6. Inheriting the spirit of Qu's "Sao", the Han Dynasty rhetorician (Jia Yi) created the "Hanging Qu Yuan Fugu" and "Roc Bird Fugu", which were praised by the later generation as "Sao people's moods, which are still seen in this world".

7. The poet Cao Zhi's poetic works such as "White Horse" and the lyrical work "Luoshen Fu" have a more prominent romantic tendency.

8. "Si Wu Yi" is (Confucius') assessment of the ideological content of the 300 Poems, and he also summarized the political and religious functions of the Classic as "Xing, Guan, Qun, and Grievance".

9. Among the four schools of poetry, namely, Lu, Qi, Han, and Mao, which practiced the Classic of Poetry during the Han Dynasty, Lu poetry was the earliest and most influential, and its founder was a man from Lu (Shen Pei). The founder of Qi poetry was a man from Qi (Yuanguo), who adopted the doctrine of yin and yang and the five elements and used poetry to explain the Book of Changes and the legal calendar. The founder of Han poetry was a native of Yan (Han Ying). Mao Poetry was created by a man from Lu (Mao Hen) and a man from Zhao (Mao Jan), and was characterized by the use of poetry to discuss history. Of the four schools of poetry, those known as the "Three Schools of Modern Chinese" or the "Three Schools of Poetry" are (Lu Poetry), (Qi Poetry), and (Han Poetry).

10. At the end of the Eastern Han Dynasty, the book (Mao Shi Chuan Jian) by Zheng Xuan, a master of scripture, was a masterpiece of the study of modern and ancient scripture, and it was mainly an annotation for Mao's Poetry of the Old Testament. Since then, the three schools of poetry have gradually declined.

11. In the Tang Dynasty, Kong Yinda presided over the writing of the 70-volume ("Justice of Mao Poetry"), a collection of pre-Tang and Han studies, which was the official standard for the Tang Dynasty's imperial examinations, and a landmark work in the history of the study of Poetry and Poetry, after the "Mao Biography" and the "Zheng Notes".

12. Zhu Xi's ("诗集传") of the Southern Song Dynasty is an important achievement in the study of the Poetry Scriptures in the Song Dynasty.

13. The so-called "six poems" is from the "Zhou Li? The Spring Officials? The so-called "six poems" is from the "Zhou Ritual: The Spring Officials", which refers to the "Winds", "Elegance", "Ode", "Fugue", "Comparison", and "Xing".

14. The saying "four beginnings" comes from Sima Qian's "Records of the Grand Historian", in which he refers to the "four beginnings" as the "four beginnings" of the "four beginnings". Confucius Family", he took ("Guan Ju") as the beginning of the national wind, ("Deer Song") as the beginning of the small elegance, ("Wen Wang") as the beginning of the large elegance, ("Qing Temple") as the beginning of the ode.

15. The "Four Poems" theory, also known as the "Two Souths Independence" theory, was first advocated by Su Zhe of the Northern Song Dynasty, who proposed in his book Poetry Collection Biography that the Classic of Poetry should be divided into the four categories of "Winds," "Elegance," "Ode" and "Souths," meaning that the Two Souths should be divided from the Classic of Poetry into the four categories of "Winds," "Elegance" and "Souths. That is, the two Nans should be separated from the Book of Poetry? The second south should be independent from the "National Winds" and be listed in a separate category. The "Ernan" here refers to the "Zhounan" and "Zhaonan".

16. Kong Yingda of the Tang Dynasty proposed in the Justice of Mao Poetry that the "six meanings" of "wind", "elegance" and "ode" refer to the content of poems and the three meanings of "fugue", "bi" and "xing" refer to the methods of expression of poems.

17. The Book of Poetry we see today is organized according to the style of wind, elegance, and ode, which includes fifteen national winds, two elegance (i.e., (Daya) and (Xiaoya)), and three ode (i.e., (Ode to the Zhou), (Ode to the Lu), and (Ode to the Shang)).

18. Zhu Xi of the Song Dynasty, in his Poetry Collection Biography, pointed out that of the three, Feng, Ya, and Ode, (Feng) was the work of songs in the lanes and alleys, while (Ya) and (Ode) were the words of the imperial court's suburb-temple music and songs.

19. The concept of "epic" was first proposed by Aristotle in his masterpiece of literary theory ("Poetics"), in which he categorized the literary works of his time into epics, lyrics, and plays.

20. At present, there is a consensus in the academic community that the Book of Songs? Daya" has preserved the five major epic poems of the Zhou nation, which are ("Shengmin"), ("Gongliu"), ("Mian"), ("Huangyi"), and ("Daming").

21. "The Book of Songs? The poem ("Gong Liu") in "Daya" recounts the history of the Zhou people's great migration from Tai to Bin, led by the Zhou chief Gong Liu. Each chapter of the poem starts with the first line ("Duk Gong Liu"), which expresses the Zhou people's love and praise for Gong Liu.

22. Considered one of the five major epic poems in the Book of Songs, the poem Shengmin recounts the birth of the founder of the Zhou Dynasty (Houji) and his invention of agriculture, settlement in Taiji, and initiation of sacrificial rites, and portrays a half-human, half-godlike hero through such details as being born without calamity and abandoning one's life without dying.

23. The Zhou people had experienced five large-scale migrations, the most important of which was the migration of the Zhou people from Bin land to the Zhou Plain under Qishan Mountain under the leadership of Gugong Danfu, the history of which is recorded in the epic poem of the Zhou people ("Mian").

24. "The Seventh Month" is a most typical poem of agricultural life, which belongs to the (Bin Feng) of the fifteen national winds, and was written about the beginning of the Western Zhou Dynasty, when the area had not yet been invaded by the long-snout tribe.

25. "In July in the field, in August in the house, in September in the household, in October the crickets enter under my bed" is a line from a poem in the Book of Songs ("Bin Feng?"), which is the most typical poem of agricultural life. In the poem, the migration of crickets is used to indicate the drop of temperature and the change of seasons, which vividly conveys the rustic flavor of agricultural life.

26. The poem "The Book of Songs? The poem "Deer Song" in "Xiao Ya" is a famous poem about swallowing food. The poem starts with the phrase "Yo Yo Deer Song, Eating Apples in the Wild", which sets a harmonious and cheerful tone for the whole poem with the help of natural objects.

27. The poem "The Beginning of the Feast of the Guests" in the Xiao Ya (小雅), in the order of the development of the activities of the banquet, describes the changes in the demeanor of the participants in the different stages of the banquet. In the poem, "I was drunk and stopped, and I was shouting and clamoring. The lines "messing up my fruits and fruits, dancing repeatedly" portray a group of extravagant and scandalous drunkards.

28. "The Book of Songs? A poem in the Xiao Ya ("The Sixth Month") describes the victory of Yin Jifu, a minister of King Xuan of the Zhou Dynasty, who fought against the long-snout tribe in the north, and the poem is full of the pride of the main nation.

29. The poem "The Book of Songs? The poem "Jianghan" in the "Daya" celebrates the achievements of Zhaogong Hu, who was ordered by King Xuan to pacify Huaiyi and open up the southern border.

30. "In the past I went. The willows are still standing. Now I'm thinking of the rain and snow falling. The road is late, and I am thirsty and hungry. My heart is sad, and no one knows my sorrow", this is the poem "Xiao Ya" ("Cai Wei") of the Book of Songs. Xiaoya ("Caiwei"), which expresses the soldier's nostalgia for his hometown and his sorrow for his own situation.

31. "Qin Feng? Clothesless" is the "Poetry" in the most reflective of the common enemy, against foreign invasion of the fighting spirit of the poem, the poem said: "is not said to be clothesless? (with the son of the same robe). The king is in the process of raising his division and repairing my gaols and spears, (to share the same hatred with his son)."

32. "Chickens roost in the roost. The day's sunset, the sheep and cattle down" is the title of a poem in the Book of Songs. Wang Feng ("The Gentleman in the Service"), these lines paint a typical picture of farm life at dusk.

33. "The king's affairs are covered with sprinkled potatoes, and he cannot art the grain of cereals and millet. The "Long Cang Tian" is a poem from the Book of Songs. This is a line from "Tang Feng" ("Bustard's Feather"), a poem that expresses the resentment of those who serve in the army against the heavy corvée service.

34． ("The Masses") in the "Daya" is an outstanding poem of political praise, which uses the words "The ancient teachings are the style, the honor is the color, the care is taken. The poem praises the beauty of the character of Zhong Shanfu, the most important minister of the royal family.

35. The idiom of "irredeemable" is from the poem "The Book of Songs" (《诗经》). The idiom of "irredeemable" comes from the poem ("The Board") in the Book of Songs, "Daya". This poem is said to have been written by a senior minister, Fan Bo, to admonish King Li of Zhou. The idiom of "to give orders by ear" is from the poem "Shijing" ("The Book of Songs"). The idiom of "lifting the ear to the face" comes from the poem "Daya" ("Suppressing") in the Book of Songs, which reads, "The bandit commands the face and lifts the ear.

36. (The Crossing of October) is a representative satirical poem in the Xiao Ya, which says, "The sun and the moon tell of the evils, and they do not use their actions," arguing that eclipses of the sun and the moon are caused by the perverse actions of the fugitive rulers and sycophants.

37. "Zheng Feng" in the ("River River") a poem describes the festival, men and women meet in the spring of the joyful scene, which "Weishi and women, Yi its banter, gift of a spoon of medicine," write men and women to give each other, the love of a long time.

38. "One day's absence is like three autumns" is a poem from the Classic of Poetry. Wang Feng ("Cai Ge"), which expresses the lingering and deep love between men and women.

39. "The so-called Iren, in the water side" is "Poetry? Qin Feng" ("reed") in the sentence, the poem expresses because of the intention of the unattainable and produce the disappointment and sadness.

40. "My fair lady, (gentleman's good marquise)" is a famous line in the love poems of the "Classic of Poetry", which is from the "Zhounan" ("Guan Ju").

41. "Wei Feng" ("硕人") is a famous poem in the Book of Songs. Wei Feng ("Shuo Ren") describes an aristocratic woman, saying: "Hands like catkins, skin like solid fat. The collar is like a grub, the teeth are like a rhinoceros, and the head is like a square gourd. A smile and beautiful eyes", using a series of metaphors to portray the image of a beautiful woman vividly.

42. The first chapter of Zhou Nan? The first chapter of "The Peach is Young" reads, "(The Peach is Young), burning with its splendor. The son of the peach is returned to his family, and it is suitable for his house and family", praising the new bride for her beautiful appearance and her ability to bring more happiness to her family.

43. "The mulberry has not yet fallen, its leaves Woruo as", "mulberry fall, its yellow and fall" is the "Poetry? Wei Feng" ("rogue") a poem in the sentence, the poem used the mulberry leaves withered to imply the woman's old age and color.

44. Mrs. Xu Mu, one of the few authors whose names have been left in the works of the Book of Songs, is preserved in the poem "Shijing? Her poem ("Jaichi"), preserved in the "Yong Feng" (The Winds of Yong), expresses her sorrow for the fall of her native state, Wei, and also condemns and criticizes the great doctor of Xu, who prevented her from returning to her country to offer condolences.

45. The essence of poetry was summarized by the Zhou Dynasty as "Poetry speaks of the will", which was first mentioned in a dialogue between Shun and Kui in the Shangshu ("Classic of Shun").

46. The earliest surviving copy of Chu Ci is that of Wang Yi of the Eastern Han Dynasty, who indicated in his "Narrative" that the base text was Liu Xiang's compilation.

47. The lines "There is wood in the mountains, and there are branches in the trees; the heart is pleased with the king, and the king does not know it" in the song "Song of the Nine Songs" by Qu Yuan (Lady Xiang) were written in a poem by Qu Yuan (Song of the Nine Songs). In the poem "Lady Xiang" ("湘夫人")，"the poem "沅有芷兮醴有兰，思公子兮未敢言 "two lines of the poem are based on.

48. In a long poem (Li Sao), the poet Qu Yuan used the phrase "Although I have not changed my mind, can I not be punished for it" to express his determination to stick to his ideals and maintain his noble character.

49. Qu Yuan's long poem ("Heaven's Question") is a unique historical poem, which expresses the poet's strong sense of worry about the future of Chu through the questioning of all things in the universe as well as the history of the rise and fall of the Xia, Shang, and Zhou and the current situation of the Chu state.

50. "The road is long, and I will go up and down to seek" is a famous line in the poem of Qu Yuan ("Li Sao").

51. Qu Yuan's collection of short lyric poems "Nine Chapters" *** (nine) works, including "Cherishing Recitation", ("Wading in the River"), ("Mourning Ying"), "Drawing Thoughts", "Wyetha", "Thinking of Beauty", "Cherishing the Past", ("Ode to a Tangerine"), and "Sorrowful Returning Winds".

52. ("Regretting the Past") is Qu Yuan's last words, the poem concludes: "I would rather swiftly die in exile, fearing disaster again," indicating the poet's sadness in dying to his will.

53. ("Ode to the Tangerine") is a poem written by Qu Yuan in his early days. The poem uses anthropomorphism to praise the character of the tangerine tree, which is "unchanging in its orders" and "selfless in its virtues", and takes it as its teacher's model.

54. "Birds fly back to their hometowns, foxes will die in the first hill" is Qu Yuan's ("Mourning Ying") a poem in the sentence, the poem was made in Chu, after the fall of the capital,, expressing the poet's sadness at the destruction of the country and the patriotic feelings to the end of his life.

55. Qu Yuan's short lyrical poems, "Nine Chapters" (Shibu Jiang), which recounts Qu Yuan's miserable experience of being exiled to the south of the Yangtze River in his later years, begins with the words: "I am good at this strange dress, and I am old but not decrepit," expressing the poet's unswerving dedication to his ideals.

56. Qu Yuan's lyrical poem "The Nine Songs "*** is divided into (eleven) parts, namely, "Donghuang Taiyi", "Yunzhongjun", ("Xiangjun"), ("Xiangfuwufu"), "Dasimian", ("Shaoximian"), "Dongjun", "Hebe", ("Mountain Ghosts"), ("National Ghosts") and "Ritual Souls".

57. In Qu Yuan's "Nine Songs" ("National Gothic"), "Although the head is away, the heart will not be punished," and "The soul is resolute and strong for the ghosts," which praises the courage and strength of the generals who sacrificed their lives for the country, and is full of generous and tragic heroism.

58. "Green clouds and white clothes, long vectors and wolves" is a line from a poem by Qu Yuan ("Dongjun"), which contains the spirit of heroism.

59. "The Nine Songs? The two lines of "Sadness is not sadness of parting, (joy is not joyfulness of knowing each other)" in "The Nine Songs" describe the sadness of parting, and have been recognized by later generations as "the ancestor of the ancient love language".

60. The ancients praised the "Nine Songs? Xiangfu", "curling up in the autumn wind, (Dongting waves and wooden leaves)" is a wonderful line of scenery, "Yuan has dahuric acid and Li has orchids, (thinking of the son of a man and not dare to speak)" is a wonderful line of love, both of them are born of each other to form a kind of scene blending of the mood.

61. "If there are people in the mountains, they will be in the Ficus and the female roses" is a description of the goddess of the mountains in the poem ("Ghosts of the Mountains"), which is full of the flavor of the mountains and the forests.

62. "Ernan" in "Ernan's Independent Sayings" refers to ("Zhounan" and "Zhaonan").

Second, noun explanation

Wind and Sao tradition of "Poetry Classic" and "Chu Rhetoric" are respectively the brilliant crystallization of the pre-Qin period of the northern Central Plains culture and the southern Chu culture, each of them with its own ideas, outstanding artistic achievements and distinctive features, become China's two major paradigms of classical poetry, the two banners. Therefore, in the history of Chinese literature, "Feng" and "Sao" are often referred to together, "Feng" refers to the "National Winds", which represents the "Classic of Poetry"; "Sao" refers to the "Li Sao", which represents the "Li Sao". Wind" refers to the "National Wind", which represents the "Classic of Poetry"; "Sao" refers to "Li Sao", which represents the "Chu Rhetoric". Later poets, generally speaking, either mainly accepted the influence of the Book of Poetry, or mainly accepted the influence of the Chu Rhetoric, so that poetic creation continued to advance along the two paths opened up by the Book of Poetry and the Chu Rhetoric. Therefore, the development and formation of the two different traditions of poetry in China, customarily known as "poetry", "Sao" tradition, also known as "wind", The two different traditions of poetry are customarily referred to as the "poetry" and the "sao" tradition, also known as the "wind" and "sao" tradition.

Dedication of Poetry is one of the main sources of the works of the Book of Songs. In the pre-Qin period, there was a system of dedicating poems to the public officials and scholars, and the main purpose of dedicating poems was to use poems for satirical admonition or praise, and to express the evaluation of politics, and the "Classic of Poetry? The main purpose of dedicating poems was to use them to express political criticism or praise, and the political poems in the Da Ya, Xiao Ya, and Guofeng may have been collected through this channel.

Collecting poems is also one of the main claims about the origin of the works of the Book of Songs. The system of collecting poems is not clearly recorded in the ancient Qin texts, but this system should have existed, because in ancient times, when the language barrier and transportation were inconvenient, it was only through this kind of purposeful collection that the folk songs in the Guofeng and Xiaoya, which were all over the Yellow River and Yangtze River Basin, could be brought together in the court of the king. Those who carried out the collection of the poems would have been the music officials of the Zhou dynasty as well as of the vassal states.

The theory that Confucius deleted the poems is an important theory about the editing of the Book of Songs. This claim is very influential, but the textbook argues that there are already many strong arguments proving that Confucius did not delete poems, although he contributed greatly to the perfection, dissemination, and preservation of the Book of Poetry. The final editor of the Book of Poetry was a music official of the Zhou Dynasty.

The so-called "Four Families of Poetry" refers to the four families of poets from Qi, Lu, Han and Mao who practiced the Book of Poetry during the Han Dynasty. The founder of Lu Poetry was Lu Shen Pei, the founder of Qi Poetry was Qi Yuan Gu, and the founder of Han Poetry was Yan Han Ying. The Lu, Qi, and Han schools of poetry were the three schools of modern literature and classicism, and were therefore also known as the "Three Schools of Modern Literature" or the "Three Schools of Poetry". Mao Poetry came out later, and its founders were Mao Heng of Lu and Mao Jan of Zhao, the only ancient scripture among the four schools of poetry.

Three Schools of Modern Languages (Sanjia Poetry)

Among the four schools of poetry of Qi, Lu, Han and Mao, which studied the Book of Songs during the Han Dynasty, Lu, Qi, Han and Mao were the only ancient school of literature, and they were also known as "Three Schools of Modern Languages" or "Three Schools of Poetry" because of the doctorate they had established during the Han Dynasty and became an official school. The founder of Lu Poetry was Lu Shen Pei, the founder of Qi Poetry was Qi Yuan Gu, and the founder of Han Poetry was Yan Han Ying.

Six meanings said "six meanings" said originated from the "preface to the Mao Poetry", "preface to the Mao Poetry" due to the "Zhouli" "six poems" said: "so the poem has six meanings, not: a said wind, two said fugue, three said than, four said the rise of the five said elegant, six said Ode." Mao Shi Preface" is the same as the "Zhouli", but the "six poems" is called "six righteousness".

The "four beginnings" of the poem comes from Sima Qian's "Records of the Grand Historian" (史记), which reads, "Confucius' family" (孔子世家). Confucius family": "Guan Ju" of the chaos as the "wind" began, "deer" for the "small elegant" began, "King Wen" for the "Daya" began, "Qing Temple" for the "Ode" began. These four beginnings refer to the beginnings of the Wind, the Lesser Grace, the Greater Grace, and the Ode.

The theory of the independence of the two southern states is also known as the theory of the four poems. Su Zhe of the Northern Song Dynasty advocated the "independence of the two Souths" in his "Poetry Collection Biography," arguing that the Poetry Scriptures should be divided into four categories: "Wind," "Elegance," "Ode," and "South," which means that the "Zhou Nan" and the "Zhaonan" should be independent from the "National Winds," and be listed in a separate category. The textbook argues that it is difficult to substantiate the "independent theory of the two nans".

Feng Ya SongFeng, Ya, Song are three styles of music used in the rituals of the temple, the court, and daily life, and then three poetic styles are formed from the three kinds of music. Wind, the original meaning is musical tone. The so-called state winds are the local music of the areas ruled by the vassal states. Ya (雅), which means positive. It is also referred to as Ya music, which is the proper music of the court. Ode, is a dance music used for clan and temple rituals.

The "Seven Months" of Binfeng? July" is the most typical poem of agricultural life in the "Book of Songs", which was written at the beginning of the Western Zhou Dynasty when the land of Bin had not yet fallen. July" is not a work of the moment, its embryo came out of the hands of Western Zhou serfs, and its finalization was completed in the Spring and Autumn period of the Zhou dynasty's music officials, so that the "July" not only retains the historical original appearance of the agricultural production and life in the early Western Zhou period, but also has the artistic characteristics of the Spring and Autumn period. July is the longest of the wind poems, with 88 lines and 380 words. It is also one of the more prominent of the "Three Hundred Pieces" in terms of art.

The poems of Yansheng (燕飨) are poems directly reflecting the ceremonial activities of the Jia Li (嘉禮) and Yansheng (燕) ceremonies, so they are also known as ceremonial poems or poems of feasting and drinking. According to the different ceremonial contents they reflect, they can be categorized into poems of entertaining ceremony, poems of swallowing ceremony, and poems of drinking ceremony.

The satirical poets were the authors of the poems of admonition and satirical criticism in the Book of Songs. These authors were the best members of the Zhou aristocracy, with good cultural education, a strong sense of social responsibility and political participation, as well as a sense of concern for the country and the people, and a conscious awareness of observing etiquette and cultivating morality.

Fu Bixing "Fugue, Bixing and Xing" are three terms used by the ancients when talking about the Book of Songs, and later on, they were used as the terms of the artistic methods of the Book of Songs. To put it plainly, "fu" means to state directly, "bi" means to use similes, and "xing" means to borrow things to make a statement.

Stacked Chanting, also known as "stacked chanting," is an important feature of the art form of the Book of Songs. This style was originally developed to facilitate singing, memorization and recitation. Because of this, a tune or even the same phrase is constantly used in the repetition, sometimes with just one or two word changes. This also formed a major feature of the structure and language of the Book of Songs. According to statistics, this form of repetition accounts for more than half of the 305 poems in the Book of Songs, and is mostly concentrated in the parts of the "State Wind" and the "Small Elegance".

FengYa is an important principle in Chinese poetry creation and criticism, and it is a theoretical sublimation of the tradition of Chinese poetic creation formed since the Book of Songs. In this context, "style and elegance" does not refer to the genre of "style and elegance", but to the artistic creation embodied in the "style" and "elegance" of the Book of Songs. Rather, it refers to the spirit of artistic creation embodied in the "winds" and "elegance" of the Book of Songs, i.e., the noble significance and seriousness of poetic creation. Its influence on the creativity of later generations of Chinese literati is particularly obvious.

Bixing "Bixing" is an important principle in Chinese poetry creation and criticism, and it is a theoretical sublimation of the tradition of Chinese poetic creation formed since the Poetry Classic by later generations. Here, "Bixing" does not only refer to the general "sending feelings to objects" and "blending of scenes", but it also has to achieve the "irony of objects" and "comparing and contrasting". "The purpose of this article is to show that the Chinese government is not only interested in the subject matter of the article, but is also interested in the subject matter of the article, as well.

The "Chu Rhetoric Chapter and Verse" is compiled by Wang Yi in the Eastern Han Dynasty with Liu Xiang Ben as the base text, which is the earliest complete annotated version of the "Chu Rhetoric". When Wang Yi added the notes based on Liu Xiang's text, he also added the "Nine Thoughts" written by Wang Yi himself, so the whole text became the seventeen-volume text that is passed down today.

Chu Rhetoric "Chu Rhetoric" is a new type of poetry which is more personalized, full of passion and imagination than the works of "Poetry and Classic", with a grand structure, novel and flexible syntax, and it was produced in the south of the Yangtze River Basin, Chu. Qu Yuan is the founder and representative writer of Chu Rhetoric, and the founder of the Chu Rhetoric style of poetry.

Tianwen (Heaven's Question) is a grand-scale, magnificent, emotional and rational epic poem written by the poet Qu Yuan. The poem is composed of more than three hundred and fifty lines and more than one thousand five hundred words, all written in the form of interrogative sentences. The content of the poem starts from the beginning of the ancient world and the universe, with a mixture of myths and legends, and the rise and fall of the past dynasties, which is a grand and exquisite overview of the ancient times. It has been praised as "the most wonderful work of all time". The main theme of the poem is to learn from the past and to criticize the king of Chu.

The Nine Chapters is a collection of short lyrical poems by the poet Qu Yuan, which includes nine pieces of work: Cherishing the Recitation, Wading in the River, Mourning Ying, Drawing Thoughts, Huai Sha, Thinking of Beauty, Cherishing the Past, Ode to a Tangerine, and Sadness for the Winds of Return. The works in the Nine Chapters show the poet's life experience and thoughts and feelings at each stage of his life, which is a testimony to the poet's life experience.

"Nine Songs" "Nine Songs" is the poet Qu Yuan draws on the folk mythology of Chu, and the use of folk songs written in the form of a group of fresh imagery, beautiful language and rich in the spirit of patriotism of the lyric poetry. The Nine Songs*** has eleven pieces, the titles and order of which are: "East Emperor Taiyi", "Lord of the Clouds", "Xiangjun", "Lady Xiangjun", "Dasimian", "Shaozimian", "Dongjun", "Hebo", "Mountain Ghosts", "Gotham of the Nation", "Soul of the Ceremony".

Three, short answer (part)

1. Song Dynasty poet Wang Yucheng wrote a poem saying, "I pity that the poet's path has been replaced by the day, and who can collect the wind and the sass", what does "wind and the sass" refer to here? The first is that the first is the "Sheng Sao" (风骚) and the second is the "Sao Sao" (风骚).

"Wind" refers to the "National Wind", on behalf of the "Book of Songs"; "Sao" of the "Li Sao", on behalf of the "Chu Rhetoric". Later poets, generally speaking, either mainly accepted the influence of the Book of Poetry, or mainly accepted the influence of the Chu Rhetoric, so that poetic creation along the two paths opened by the Book of Poetry and the Chu Rhetoric continue to move forward.

Historically, it was the music folk songs of the two Han dynasties that directly inherited and developed the fine tradition of the Book of Songs. On the basis of the compositions of the Book of Songs, it developed the narrative-oriented creative features and raised the art of narrative poetry to a new stage of maturity. For example, the long narrative poem "Southeast Flight of the Peacock", which was written without words, was regarded as "the first long poem in the ancient world" by later generations. In the Tang Dynasty, poets such as Chen Zi'ang inherited the "style of elegance and simplicity" and produced great realist poets such as Du Fu and Bai Juyi.

The torch of positive romanticism ignited by Qu Yuan was also passed down from one generation to the next, forming another major literary trend that was different from the traditional face of "wind". Such as the Han Dynasty rhetorician Jia Yi's & lt; & lt; hanging Qu Yuan Fu 〉〉; Cao Zhi in the Jian'an era; the Tang Dynasty poet Li Bai, "the pen down shocked the wind and rain, poetry into a sob ghosts and gods", creative inheritance and development of the Qu "Sao" tradition; Yuan, Ming and Qing Dynasty positive spirit of Romanticism, in particular, the novelists carry forward the spirit. The novelists carry forward the spirit of positive romanticism in the Yuan, Ming and Qing dynasties.

2. What are the characteristics of the spirit of realism of the Book of Songs in terms of content and art of expression?

(1) The main features of the spirit of realism of the Book of Songs in terms of content are: facing the reality, describing the reality, exposing the reality and criticizing the reality. For example, "Bin Feng? July, for example, describes in detail the heavy labor of the serfs throughout the year and their sufferings of "no clothes, no brown" and "picking tea and simaroubaceae". The "Wei Feng? The author's attitude and voice against exploitation and oppression is expressed in the poem <

(2) The main feature of the spirit of realism of the Book of Songs in the art of expression is that it is good at using simple style, concise language, and skillful simile to create real, natural and vivid images and depict intimate and touching pictures of life, so as to express the feelings and reflect the reality. For example, "Xiao Ya? Caiwei" is a masterpiece of lyricism and realism. Its last chapter of lyricism, landscape, narrative into one, a soldier who will return from the war to mourn the flow of time, the road is difficult to express the thoughts of a long and sincere, so that the taste of the infinite, the smell of the heart, feel the pain of the war brought to the people.

3. Try to take "Li Sao" as a representative to explain the romanticism of Qu Yuan's works.

The characteristics of romanticism in Qu Yuan's works are as follows:

Firstly, he expresses the ideal of progress and tirelessly pursues the ideal of progress. Based on the real life of the poet, who had his ideals shattered and was exiled, Li Sao depicts the poet's pursuit, persistence and dedication to the ideal of progress, as well as the poet's revolt against the real world with rich fantasies and intense emotions.

Secondly, the poem adopts rich mythological materials and constitutes a strange plot and realm through free fantasy. The poem "Li Sao", from "Ji Yuan Xiang to the southern expedition, on the heavy China and Chen speech", after the full portrayal of the poet's activities in the world, God travels to heaven, the words appear a series of many mythological characters and gods, but also a multitude of spiritual things, all of which are revolving around the poet's behavior, centering on the poet! The poet as the center of the organization of a "road Manman its cultivation far away, I will go up and down and seek" the magnificent picture.

Thirdly, the poet is good at utilizing and developing the picaresque technique of folk songs to symbolize his struggle with the dark forces of Chu as a struggle between truth, goodness, and beauty on the one hand, and falsehood, evil, and ugliness on the other. This feature is especially prominent in the first part of Li Sao.