What are the artistic achievements of Yuefu folk songs in Han Dynasty?

The Art of Yuefu Folk Songs in Han Dynasty and Nineteen Ancient Poems I. Artistic Achievements of Yuefu Folk Songs in Han Dynasty

Second, the artistic achievements of Nineteen Ancient Poems, a representative work of literati poetry in Han Dynasty.

Three. An Analysis of Nineteen Ancient Poems

First, the artistic achievements of Yuefu folk songs in Han Dynasty

1, Han Yuefu folk songs inherited and carried forward the realistic spirit of the folk songs in The Book of Songs, and pushed realism to a new stage. Yuefu folk songs in the Han Dynasty, like the folk songs in The Book of Songs, faithfully recorded the social reality of the Han Dynasty. It can be said that the Yuefu folk songs reflected in the Book of Songs are all manifested, while the themes that are not or less touched in the Book of Songs have made new development. For example, the exposure of the inner life of the exploiting class family. After a brief encounter, the chickens and dogs ascended to heaven, and a narrow trip to Chang 'an revealed their luxurious and dissolute life. The Orphan's Journey and Song of the King of Huainan reveal that the brothers in the ruling class family are cannibalistic, which is a rare theme in the folk songs of The Book of Songs. Even for works with the same theme, the folk songs of Han Yuefu have made new explorations in ideological depth. In the folk songs of The Book of Songs, the poems of abandoning wives are often practical, only condemning the ruthlessness and change of men, and rarely touching the social reasons such as the ethics of the exploiting classes. The poems on the abandonment of wives in the folk songs of Yuefu in Han Dynasty not only point to men's own fickle feelings and feelings, but also point to 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 clan system and the concept of family status, and embodies a stronger spirit of realism. Some themes and themes of Han Yuefu folk songs have been repeatedly imitated by later scholars. From Jian 'an to Six Dynasties, a large number of quasi-Yuefu appeared. Li Bai, a great poet in the Tang Dynasty, wrote almost all the ancient poems about Yuefu. Du Fu brought forth the old and created the new, that is, famous works, and wrote poems such as Three Officials, Three Farewells, One Car Shop and Two Roads. 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 poems in China's classical poems.

China's narrative poems germinated in The Book of Songs and matured in the folk songs of Han Yuefu. In The Book of Songs, works called Zhou epic such as Daming, Huan, Emperor Wu of the Han Dynasty, Sheng Min and Gong Liu are called narrative poems. Although there are many vivid descriptions, on the whole, there is still a lack of complete plots and detailed descriptions. 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. Only Meng has a relatively complete story, which can be said to be a narrative poem that has begun to take shape. However, in narrative, the direct expression of subjective feelings still accounts for a considerable proportion, rather than objective narrative to express subjective feelings. Therefore, we say that narrative poetry is still in the primary stage in the folk songs of The Book of Songs. If the folk songs in The Book of Songs mark the maturity of China's lyric poetry, then the symbol of the maturity of narrative poetry is the folk songs of Han Yuefu. Although there are lyric poems in Han Yuefu folk songs, such as elegies, ancient songs and ballads with white heads, etc. Narrative poetry occupies a prominent position.

Han Yuefu was originally a "fate", so there are many narratives in his works. Generally speaking, narrative situations are 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, and the latter can be represented by peacocks flying southeast. But in either case, * * * is characterized by a more detailed narrative and a more complete plot. Pulling weeds up the mountain is a question and answer that an "old friend" came back from pulling weeds up the mountain and met an "old husband". But it points out the time, place, people, and people's activities and words. The plot is complete and the characters are vivid, which shows the superb narrative skills. As for Peacock Flying Southeast, its length, narration and characters are unparalleled in ancient narrative poems. Wang Shizhen's "Art Garden" said: "Peacock Flying Southeast" is good in quality, chaotic and harmonious, picturesque in narrative and full of stories. "It affirmed its achievements as a narrative poem. As the basic way of narration, folk songs in Han Yuefu are characterized by not using or using less the author's narrative language, but by the words and dialogues of the characters in the story. Journey to the East Gate, Journey to Women's Diseases, Mulberry on the Stranger, Peacock Flying Southeast, Flower Picking on the Mountain, Around the East Suburb, etc. Both rely mainly on dialogue to unfold stories and plots. Although the fifteenth conscription is basically the narrative language of the author, there is a dialogue between veterans and passers-by. An orphan's trip can be regarded as an orphan's complaint. The advantage of this is that it can make the language vivid and changeable, and avoid the possible stagnation when it is completely narrated by a third party.

Generally speaking, the folk songs of Han Yuefu, as narrative poems, belong to the mature period of complete plot, vivid characters, clear narrative and orderly.

3. Linguistic features of the folk songs of 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-sentence pattern in The Book of Songs, and even presented the form of miscellaneous language. A variety of sentence patterns such as Dongmenxing, Gubenxing and Fu Bing Xing are 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! All right! I'm too late to go! In the quatrains, the sentence patterns fluctuate greatly, which is a direct record of people's spoken English. It is worth noting that although there are irregular sentence patterns in Han Yuefu, there are also neat sentence patterns, such as Sang, Joining the Army in the Tenth Five-Year Plan, Peacock flying southeast and so on. There is also a song "Jiangnan", which is full of five words and eight sentences:

Lotus can be picked in Jiangnan, so there is no lotus leaf. Fish are frolicking among the lotus leaves. Fish hits the lotus leaf east, fish hits the lotus leaf west, fish hits the lotus leaf south, and fish hits the lotus leaf north.

This poem is written entirely in spoken language, with vivid description and lively atmosphere. The next four sentences "fishing between lotus leaves", one sentence after another, are the ancient simplicity of Han Yuefu language. The advantage of this poem is that the main part of the poem is full of lively and lovely fish, but it is also full of happy feelings of lotus pickers. Jason Wu's "An Interpretation of Yuefu Ancient Poems" said: "Cover the beautiful scenery in the morning and you can swim in time." Miscellaneous, long and short sentences are interlaced, which retains the natural and accurate characteristics of spoken English at that time; In five words, the sentences are neat, vivid, expressive and musical. Generally speaking, the early Yuefu folk songs mostly appeared in the form of miscellaneous words, and the five-character poems were mostly later works, which shows that the five-character poems were gradually bred in Yuefu folk songs. 4. The use of allegorical style in Han Yuefu.

Another outstanding feature of Yuefu folk songs is the use of fables. There are several allegorical poems in Han Yuefu, which are quite strange and romantic. Irony 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. This form has been used a lot in Han Yuefu. In the folk songs of Han Yuefu, birds, fish and insects are all written as poems as the theme of allegorical poems. For example, Luoziban, WuSheng and Yan Ge Parade all use birds as metaphors, butterflies and birds as metaphors, and fish as metaphors. Some express the miserable experience of working people, and some express love, but the peculiar form and content have achieved peculiar artistic effects. Let's see what a good song can do:

Two hundred mandarin ducks came from the northwest. Fifteen, fifteen, make a list. Both the wife and the pawn are sick and can't go with each other. Looking back five miles, wandering six miles. "I want to take you, but I can't open my mouth. I'm going to find you, so how can the hairiness be destroyed? " Joy makes people meet new friends, and sorrow makes people part. I don't even know when I cry. "Read well to leave you, gas knot can't talk. Each pays attention to self-love, but it is difficult to return from afar. I should leave my room empty and close the door. 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 singing, and have nothing to do with the original poem. The front is full of birds' metaphors for the tragedy of "separation" between husband and wife in the world. This tragedy that husband and wife can't care for each other is a true portrayal of the society forcing the working people to go bankrupt at that time. It is a strange idea to write about people by relying on the experience of birds. These poems about birds, insects or fish are not only strange in conception, but also vivid in description. The butterfly was caught by the swallow and fed to Xiaoyan. Before eating, Xiaoyan shook her head and flapped 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 voice of mourning is touching. These are allegories of the persecution of working people. There are two other poems that are allegorical, but they all use trees as metaphors, namely Ge Yanxing (Nanshan Wei Shi) and Zhang Yuxing, which are also works with strange imagination. Almost all of these works reveal the social reality, but they all show the imaginative romantic style in Han Yuefu in the form of fables.

Yuefu folk songs in Han Dynasty are the fruitful results of folk literature creation in the history of China poetry since the folk songs in The Book of Songs, which have a far-reaching influence on later generations. First of all, the spirit of realism influenced later poets. They intend to write ancient Yuefu, which mostly reflects the social reality and is the inheritance of folk song spirit by Han Yuefu. In 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 the Book of Songs and the folk songs of Han Yuefu. Secondly, the narrative skills and techniques shown in Han Yuefu's narrative poems also influenced the creation of narrative poems in later generations. Shen Deqian said that the narrative poems of "Three Officials" and "Three Farewells" in Du Fu's poems were "transported by Li Shen, an ancient Yuefu" (Collection of Tang Poems, Volume 2). Bai Juyi and Yuan Zhen advocated that "songs and poems work together" (Bai Juyi's Nine Books with Yuan Dynasty), which also inherited the realistic spirit of "feeling sadness and joy, starting from things" in Han Yuefu. In addition, the influence of the form of Han Yuefu on the poetry creation of later 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, a representative work of literati poetry in Han Dynasty.

The so-called ancient poems refer to Nineteen Ancient Poems. The name of Nineteen Ancient Poems was first found in Xiao Tong's Selected Works. During the Jin and Southern and Northern Dynasties, some unnamed ancient poems were called "ancient poems". When Xiao Tong compiled Selected Works, he chose 19 ancient poems and compiled them together, entitled Nineteen Ancient Poems.

It is generally believed that Nineteen Ancient Poems was written at the end of the Eastern Han Dynasty, at the time of Huan and Ling. According to the ideological content and feelings of this poem, its authors should be some literati living in the middle and lower classes of society. In a word, Nineteen Ancient Poems is not an overnight work. It is the work of some middle and lower-class literati in the late Eastern Han Dynasty, and of course a few may be folk songs or folk songs rewritten. This can be seen from its frequent use 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: "Look at his well-structured prose, which is straight but not wild, and tactfully attached, which is the highest of five words." Zhong Rong said: "Wenwenmei means sorrow." Thrilling, it can be said that it is almost a word! "Some comments here (on Poetry), especially those of the ancients, all acknowledge their achievements. It really pushed lyric poetry to a new height in the history of China literature.

1, nineteen ancient poems are 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 vivid, concrete and vivid artistic pictures. Specifically, artistic conception is the close combination of the picture described by the author and the thoughts and feelings to be expressed, the perfect blend of emotion and scenery, and an artistic effect that can soak people's hearts.

Nineteen Ancient Poems is a beautiful lyric poem with a blend of scenes. The first eight sentences of the poem "Bright Moon with Night Lights" seem to be pure scenery, but the poet provides readers with a series of images, such as bright moon, promoting weaving, stars, white dew, weeds, cicadas and mysterious birds, which outline a sad and lonely artistic conception in late autumn. "Sudden seasonal change" is a subjective feeling, whose function is to integrate scenery and emotion, and naturally turn to resentment against "classmates" and sad expression of injury and frustration. "Talking in the car" is an example of scene blending:

Get back in the car and drive. It's a long walk. Looking around, the east wind shakes the grass. What happens for no reason? How can we not get old quickly? The ups and downs are different, and it is not early to stand up. Life is not a stone, how can we live longer? Elections are materialized, and honor is precious. The first four sentences are about spring scenery, with the east wind and a hundred herbs. This is a scene where the east wind blows hard, hundreds of herbs flourish and everything is renewed. However, the poet used several words full of melancholy-"leisurely", "long road", "boundless" and "tottering" to write a thriving and sad spring scene. Just reading these four sentences, we can also realize the decadence, emptiness and loneliness of the wanderer driving home. The scenery of "the east wind shakes a hundred herbs" naturally causes the sigh that "something happens for no reason, and you can't grow old quickly", the regret that "ups and downs are different, and you don't live long" and the sadness that "life is not a stone". These four sentences can really be said to be the swan song of writing scenery.

The lyricism and scene blending of Nineteen Ancient Poems are very different from some landscape poems of later generations (such as some poems by Xie Lingyun), such as lyricism, reasoning, writing from the scene and so on.

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, The Distant Altair: The Distant Altair, the Hehan Girl. Skillful hands, make a loom. There is no chapter all day, and tears are pouring down. What's the difference between a clear river and a shallow one? Between water and water, there are no words.

Although the whole poem expresses the lovesickness of a wandering woman, it uses metaphors such as sky, earth, morning glory and weaver girl. Metaphor itself has a subtle and tortuous artistic effect, and poets attach great importance to conception and conception when describing the tragedies of cows and women. The poem focuses on the sadness of two kinds of emotional separation, but for the Hehan who separated them, it repeatedly points out that they are "shallow", "how many differences" and "separated by water", as if the difficulty of their separation is not difficult to overcome. In fact, this implies that it is not only the "shallow" He Han that separates them, but also other reasons. Readers can also associate the "Hehan" in the sky with the "Hehan" in the world. Cows and girls 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, which makes readers feel beyond imagination. In addition, Lin Linnian Mu Yun mainly expresses euphemistic feelings in a tortuous structure. Miss Fu, who writes about women's thinking, is suspected of "leaving Lop Nur" because of her eagerness to think and her deep love. He stayed awake because of thinking, and finally "dreamed of seeing glory" and wrote it into his dream from reality. The description in the dream is also extremely tortuous, not only writing the joy of getting married, but also writing the moment of meeting, and finally writing the sadness of finding a dream. It twists and turns to express endless yearning for women. It's really euphemistic and subtle, with endless aftertaste. 3. Nineteen ancient poems are good at depicting characters.

Nineteen ancient poems are also particularly good at shaping images. It is not a narrative poem, but the characters are extremely vivid. Sometimes there are only a few simple strokes, but the characters are lifelike. Far Morning Altar mainly describes the image of Weaver Girl. First of all, I wrote about the delicate hands of the weaver girl, and the sound of the machine was like a tear. Finally, "there is nothing to say between water and water", which vividly shows this image. We seem to see a beautiful young woman on the other side of the river. Grass by the Green River describes the thinking female image most prominently:

Grass by the green river and willow in the dark garden. Yingying is a woman upstairs with eyes as bright as windows. E-E's pink makeup makes her hands delicate. She used to be a housewife, but now she is a slut. If you don't come back, you can't stay alone in an empty bed.

The four sentences in Yingying try their best to write the beauty of this woman's face and the rich spring smoke environment in which she lives. The finishing touch is "It's hard to be alone in an empty bed", which vividly describes the mood and state of mind of the characters, and fits the identity of a woman who used to be a housewife and is now a slut. The image is extremely vivid. 4. The language is naturally mixed and has a long charm.

"Nineteen Ancient Poems" is naturally a mixture of languages, and there is no trace of carving. "Four Styles of Poetry Talk" says that "if a scholar speaks homely words to his friends", although it explains the plain and natural phenomenon of its language, it does not fundamentally find out its language characteristics. Its linguistic feature is to express true feelings in natural language. Language is certainly an advantage, but the key is to be able to truly express your feelings. This is the beauty of language in Nineteen Ancient Poems! The following sentences are very common family expressions:

A guest from afar brought me a letter. The letter first said that he often missed me, and then said that he had been separated for a long time. Put a book in your sleeve, and the three-year-old word will never die ("Meng Donghan")

Few people go, and those who come are close. Looking straight outside Guo's door, I saw the mountains. The ancient tomb plows the fields, and the cypress trees destroy the wages. I hate many poplars in Taiwan, and I am worried about killing people. ("Going to Japan and Sparing")

Seeking immortality by eating is mostly caused by medicine. Why don't you drink some wine and wear tens of thousands of sous? (Heading for the East Gate) This kind of spoken language makes readers feel cordial, and these seemingly plain languages are saturated with deep affection, which makes readers feel more real. Wang Guowei said in Shi Shuo Xin Yu that "he was born less than 100 years ago" and in Nineteen Ancient Poems that "he drove to the East Gate" was "not separated by such feelings". We understand "non-separation" because we can express our deep feelings in a very plain and natural language. In fact, almost all the articles in Nineteen Ancient Poems are so "uninterrupted".

Nineteen Ancient Poems is a five-character poem with high artistic achievements written by the first batch of people in the history of China literature. Its appearance indicates that China's five-character poems have entered a mature stage. Since then, the five-character poetic style has officially entered the poetic world and gradually occupied a dominant position. It was not until the Tang Dynasty that its position was replaced by the seven-character poem style, but it was still regarded as the two main poetic styles of China's classical poetry together with the seven-character poem.

Three. An Analysis of Nineteen Ancient Poems

The following is an analysis of the poem "Walk and Repeat" in Nineteen Ancient Poems, hoping that students can learn how to analyze literary works. As for the concrete analysis of the works, students can have different views.

One is "line by line"

The name of Nineteen Ancient Poems was first found in Xiao Tong's Selected Works. During the Jin, Southern and Northern Dynasties, some unknown ancient poems handed down were collectively called "ancient poems". When Xiao Tong compiled Selected Works, he chose 19 ancient poems and compiled them together, entitled Nineteen Ancient Poems. The author of Nineteen Ancient Poems has different views from the times since ancient times. At present, most literary historians believe that these poems were written in the period of Emperor Huan and Emperor Ling in the Eastern Han Dynasty, and the authors were middle and lower intellectuals and literati at that time. Nineteen Ancient Poems mainly shows the sadness of these scribes when they were injured, the pain of leaving acacia and the sigh of impermanence in life.

The article Travel Again is the first article in Nineteen Songs. This poem is written in a tone of thinking about women and describes women's deep affection for their husbands. The whole poem consists of sixteen sentences, divided into four layers.

The first two sentences come straight to the point, explaining the causes of lovesickness parting in this poem, both of which come from the husband's long journey and the husband and wife's parting. "Doing what you want to do" means that the husband does what he wants to do, and he doesn't stop doing it, eventually separating the husband and wife. "Parting" comes from "Chu Ci? "Little secretary student" means "where will you go", that is, where will you go. The sentence "Xing Xing" not only means that the space is drifting away, but also lays the groundwork for the following sentence "Xiangxing". It also contains the meaning of the passage of time, and also lays the groundwork for the following sentence "I miss you", which can be described as killing two birds with one stone. "We are far away from Wan Li, each at the end of the day" are the first two sentences of the prophecy. It is precisely because of the "line and line" that we are far away from Wan Li and there are people everywhere. The first sentence is the cause, the last three sentences are the result, and the cause and effect are clearly explained.

The following four sentences, "It's a long way to go, but it's Xiu Yuan Xi", are about the lovesickness of her husband. Four sentences begin with husband and wife. The first two sentences are about thinking about the woman herself. "Road" sentence with "poem? Qin Feng? The phrase "the road is blocked and long" in Jiaxu expresses Sifu's pain that he can't follow her husband. "Resist and grow" may not only refer to the far-reaching danger of the road, but also include the barrier of social unrest in the late Eastern Han Dynasty. In this case, "Is it safe to meet?" What's more, her husband is still "walking again". How can she not complain about this situation? This sentence "Huma" is addressed to her husband, and it is a complaint of a homesick woman. Mr. Zhu Ziqing said that "I hope the wanderer will not forget his hometown", but the hope contained resentment, which was just a euphemism to pave the way for the resentment in the accusation of "floating clouds".

Therefore, the DPRK side said: "Suddenly, the sentence' Hu Ma' was inserted vertically and horizontally, which caused a strange policeman and took a reflection of' Wandering Gone forever'. This is not just a slap in the face." Not only that, the sentence "Huma" inherits the last sentence in the article, "You can know when you meet", which fully expresses its meaning. It is a link between the preceding and the following, so it is indeed a "shocking alarm."

The sentence "phase difference" is the third level. The first two sentences are copied from the Song of Ancient Yuefu and become a sentence "The distance from home is getting farther and farther, and the clothes are getting slower and slower", but the meaning is clearer with a slight change. The former sentence is mainly from the perspective of space, or it is connected with the sentence "Go again". The last sentence implies that people are getting thinner by symbolic means, slowing down is the result, and people are getting thinner because of it. The words and results are obvious, and the tone is euphemistic and implicit. If all the above are tactful and implicit complaints, then the sentence "floating clouds" is full of resentment and anger. "Cloud" and "daytime" are metaphors. In ancient times, the sun was often used to refer to the monarch, and the relationship between husband and wife and the relationship between monarch and minister was interchangeable in literary works. The "daytime" used to refer to the monarch can refer to the husband. And "floating clouds" refers to the objective scene that confuses her husband ("daytime"). It is this kind of "floating clouds" that makes "daytime" (husband) "disregard resistance". If you think about a woman's feelings, this "floating cloud" should be regarded as a metaphor for a person who loves her husband outside. The predecessors said that the so-called "faint monarch" and "faint minister" in this poem can be dismissed.

"Ignoring rebellion" means not wanting to go back, not wanting to go home. What made him not want to go home? As long as you think of a woman, the first thing she thinks of is, of course, another love. In this way, the anger in these two sentences is inevitable. Semantic inheritance "Huma" two sentences of resentment without anger, emotion further, from resentment to anger.

The four sentences of "missing you" are the fourth level, and then go back and write about yourself. "Thinking of your husband makes you old" inherits the sentence of "clothes and belts", but the sentence of "clothes and belts" only means that you are getting thinner day by day, and the sentence of "thinking of your husband" has a wider meaning, from thin to gaunt. The sentence "years" is a combination of "walking" and "thinking about your husband", which not only reminds you of the feeling of time passing, but also strengthens the sigh that "thinking about your husband" is no longer young: time flies, years are dying, youth is no longer there, face is fading, and husband does not return. How can you be ashamed? The ancients said, "You can be romantic without saying a word" (Si Kongtu's poem), and these two sentences are enough. There are many differences in the interpretation of the sentence "give up donation". One is that this is the wish of a thoughtful woman for her husband, and poetry? Feng Wei? The last two sentences of "a gentleman in service" mean "a gentleman in service is not hungry or thirsty". Another view is that this is a thoughtful woman's comforting words. She is telling herself: Stop talking about him and try adding a few more meals! Judging from the above sentences of "dressing in clothes" and "thinking of a gentleman" and the resentment of thinking of a woman, it is better to comfort yourself, which is in line with the development logic of thinking of a woman's feelings in the poem!

She complained about her husband's "separation" from herself, and then complained about the "resistance and length" of the road. Third, the husband is not as good as "Huma" and "Bird", and fourth, he is "reckless" because of "floating clouds", making himself thin and old. So from resentment to anger, it is easy to have feelings of self-pity and masturbation. So the two sentences are tied together to make a knot, self-forgiveness and self-love. The implication is implicit and the sentiment is endless; The pen changes its meaning, and its meaning is endless.

Commenting on Nineteen Ancient Poems, Liu Xie, a great critic, said: "Look at his structural prose, which is straight but not wild, and tactfully attached to things, which is the highest in five words." ("Wen Xin Diao Long? "Ming Poetry") "Straight but not wild" means that its language is straightforward and simple, and rich in literary talent; "Tactful attachment" means that it grasps the meaning of things, which is more appropriate than xing, euphemistically worded and deliberately endless; "Mourning for the Past, Chun Qing" means sadness and melancholy, and the lyricism is natural without affectation. The song "Do what you want, do what you want" deserves such an evaluation. In addition, the language of this poem is quite repetitive in meaning, and what is repeated is only "missing the monarch". Returning to consolidation is the true nature of folk songs. As far as this poem is concerned, it is the need of lyricism. Without such repetition, we can't do our best, which is not only the embodiment of the true colors of folk songs.

(From the ancient poetry network, the original address is http://www.gushiwen.org/GuShiWen_b0ca192973.aspx)