What are the status of "wind", "elegance" and "ode" in The Book of Songs?

The Book of Songs compiles collective examples, elegance, praise and biography.

The Book of Songs is the first collection of poems in China, formerly known as Poems, or 300 Poems, with 30 five-character poems and 6 Sheng poems. This book mainly collects works from the early Zhou Dynasty to the mid-Spring and Autumn Period for more than 500 years. It was finally compiled into a book, about the 6th century BC. The production area is equivalent to Shaanxi, Shanxi, Henan, Hebei, Shandong and northern Hubei. The authors include people from all walks of life, from aristocrats to civilians, and most of them are hopeless. The time is so long, the region is so wide, and the author is so complicated. Obviously, this book was written after purposeful collection and arrangement. The compilation of The Book of Songs is not clearly recorded in the ancient books of the pre-Qin period. The widely influential theories of "offering poems" and "deleting poems" in history have revealed some news about the source and compilation of the works of The Book of Songs. In the Zhou Dynasty, it was recorded in historical records that public officials and officials gave poems and Chen poems as praise or satire. There are many such works in The Book of Songs. People in the Han dynasty believed that the Zhou Dynasty set up officials to collect poems from the people and present them to the court to understand the people's feelings. Whether this statement is accurate is quite controversial. Officials offer poems, each with his own creation, and there may not be no anthology. Although it is uncertain whether the Zhou Dynasty adopted the system of collecting poems, it is difficult for folk poems to gather in Wang Ting without the participation of musicians from the Zhou Dynasty and various vassal countries. Therefore, it can be said that the Book of Songs contains poems presented by officials and scholars, folk poems collected from various places, and music songs from religious banquets preserved by music officials in the Zhou Dynasty. Compile these works into a book, which Han people think was edited by Confucius. In fact, as early as the Confucius era, there were 300 Poems similar to the Book of Songs. Confucius once worked for "poetry" for pleasure, and he may even have processed and arranged the content and words of "poetry". But it is not credible to say that the Book of Songs was compiled by him. Today, we have no way of knowing who compiled and edited The Book of Songs. Perhaps the music officials in the Zhou Dynasty played a very important role in the compilation of The Book of Songs. The poems presented by officials and scholars, as well as the collected folk poems, were finally concentrated in the hands of the music officials of the dynasty. There must be a lot of poems in charge of music officials, and some of them can be compiled as scripts for singing and teaching poems.

The Book of Songs is divided into three categories according to style, elegance and ode. Poetry was originally a musical song, but due to the loss of ancient music, future generations have been unable to understand the musical characteristics of style, elegance and praise. The wind is a musical tune, and the national wind is a musical tune in various regions. Countries refer to regions and territories. The 15-nation Wind 160 articles include Nan Zhou, Zhao Nan, Qifeng, Zhu Feng, Feng Wei, Feng Wang, Zheng Feng, Qifeng, Wei Feng, tang style, Qin Feng, Martin, Qifeng, Cao Feng and Zhuifeng. Money is a place name, Wang refers to Luoyang, the capital of the Eastern Zhou Dynasty, and the rest are the names of princes. The Fifteen Kingdoms is the local folk music in these areas. In the national style, Qi's works are all works of the Western Zhou Dynasty, except for a few works originating from the Western Zhou Dynasty, most of them are works of the Eastern Zhou Dynasty. "Elegance" means that the imperial court is happy, and the music tune of Wang Ji in the Western Zhou Dynasty. Elegance is divided into elegance and indecency. Daya 3 1 is a work of the Western Zhou Dynasty, most of which were written in the early Western Zhou Dynasty and a few in the late Western Zhou Dynasty. Xiaoya ***74. Except for a few articles that may be works of the Eastern Zhou Dynasty, the rest are works of the late Western Zhou Dynasty. The author of "Elegance" is mainly an upper-class aristocrat; The author of Xiaoya is not only an upper-class aristocrat, but also a lower-class aristocrat and a person with low status. Ode is the joy of ancestral temple sacrifice, many of which are dance music, and the music may be more soothing. Zhou Song (3 1) is a poem in the early years of the Western Zhou Dynasty. Different from other poems, Zhou Song is not composed of several chapters, and each chapter has only one chapter. Lu Xigong's Four Truffles, which originated in the mid-Spring and Autumn Period, are all works praising the beauty of Lu Xigong. Pan Shui and Lv Gong are almost elegant poems, while Lu You and Lv Lu are close to the national style. It can be seen that Fu has evolved. There are five Odes to Shang Dynasty, which are about the works in the middle and late Yin Dynasty. From the content, it can be divided into two categories: Na, Ancestors and Xuanniao are obviously sacrificial songs, mainly writing songs and dances to entertain gods and praise ancestors. "Long Hair" and "Yanwu" have no strong sense of sacrifice, which may be a kind of mourning poems, mainly writing historical legends and myths of Shang tribes. The first three chapters are divided into chapters, and the last two chapters are divided into chapters. The style is close to "elegance", and the publication time may be later than the first three books.

At first, the works in The Book of Songs were mainly used for ceremony, satire and entertainment. They are an important part of the ritual and music culture in the Zhou Dynasty and an important tool for enlightenment. After it was edited into a book, it was widely used in various occasions, such as sacrificial ceremonies, court engagements, banquets and so on. It played an important role in political and diplomatic activities at that time. Zuo Zhuan recorded a large number of examples of governors, princes and ministers expressing their heartfelt wishes. They take "poetry" as a reward, as special envoys, and express their feelings with poetry. It is very common to quote "poetry" to satirize, admonish and comment on lyricism, and it is also common for a hundred schools of thought to quote poetry in his works. The "poem" sentences they quoted are often taken out of context. "Poetry" has practical value in social real life and is widely valued by people. Confucius attached great importance to "poetry" and taught his disciples with it, expounding the important significance and social function of learning "poetry" in many aspects. After the Qin fire, The Book of Songs was preserved by word of mouth and easy to remember, which was widely circulated in the Han Dynasty. Three poems of Lu, Qi and Han appeared in this paper. Sanshi became a doctor and became an official school in the Western Han Dynasty. Lu's poems came from Shen Pei, Qi's poems came from Yuangu, Qi's poems came from Han Ying and Yan's poems, and the poems of the three schools flourished for a while. Shi Mao, an ancient prose written by Shandong Maoheng and Zhao Maoji, came out late. Although the Western Han Dynasty was not established as a scholar, it was widely read among the people and eventually prevailed over the three poems. Later, three poems died one after another. This Book of Songs is Mao Shi. The spread of the Book of Songs by Han Confucianism made the Book of Songs learned, and of course it was misinterpreted and attached. However, the tradition of teaching poetry and the system of telling poetry formed in the Han Dynasty had a far-reaching impact not only on the study of The Book of Songs, but also on the development of ancient literature in China.

Section two: The content of The Book of Songs.

Ode to Ancestors and the Realistic Spirit of Zhou's Epic Farming and The Book of Songs

The works in The Book of Songs have a wide range of contents, which profoundly reflect all aspects of social life during the Yin and Zhou Dynasties, especially from the early Western Zhou Dynasty to the mid-Spring and Autumn Period. The Book of Songs can be said to be a huge picture, including politics, economy, military affairs, culture, social conditions and folk customs. At that time, everything was vividly displayed.

Sacrificial activities prevailed in ancient times, and many ethnic groups produced sacrificial songs that praised gods and ancestors and prayed for disaster relief. China also paid special attention to sacrifice in ancient times, believing that "the great event of a country lies in respecting peace and glory" (Zuo Zhuan became a public figure for thirteen years). Most of the sacrificial poems preserved in Ya and San Ode mainly worship ancestors, or describe the history of the tribe's occurrence and development, or praise the virtues of the princes of the previous dynasty. In short, they are works praising virtue. But these works also have their historical and literary values. For example, Sheng Min, Gong Liu, Mian, Yi Di and Daming, which are regarded as Zhou epics, praised the achievements of Hou Ji, Gong Liu, Wang Ji and others and reflected the history of the founding of the Western Zhou Dynasty. "Sheng Min" describes the miraculous birth of ancestor Hou Ji and his contribution to agriculture. In Gongliu, Gong Liu led Zhou people to migrate from Tai (now Shaanxi martial arts) to Jin (now Binxian and Xunyi in Shaanxi) and began to settle down, which is of great significance in the history of Zhou tribe development. In Mianxian County, Duke Zhou and his father led the Zhou tribe to move from Sui to Qi (now Qishan County, Shaanxi Province) again, demarcated land boundaries, ditched and ridged, established lawsuits and ancestral temples, established battlements, started businesses and founded the country, and told the story of King Wen. "Yi Di" first wrote the virtues of Wang Tai and Wang Ji, and then wrote the victory of Wang Wen's cutting worship and cutting secret. "Daming" first narrates that Ji Wang married Tairen and gave birth to King Wen, who married a senior and gave birth to King Wu, and then wrote that King Wu was fighting in Konoha. From "Sheng Min" to "Daming", the historical process of Zhou people from birth to gradual strength, and finally the elimination of merchants and the establishment of a unified dynasty was fully demonstrated. The five epics reflect the great achievements of Zhou people in conquering nature, the transformation of social system from primitive commune to slave country, and the struggle to overthrow merchant rule, which is a historical portrayal of their growth and development. Therefore, they are obviously different from the later temple literature. For example, The Stranger describes the magical experience when Hou Ji was born:

Jue gave birth to the people and became Wei Jiangyuan. What about strangers? Sacrifice is a blessing, and there are no children. The emperor believed and knew. It carries the earthquake, fertility and education, as well as Hou Ji.

On the birthday of the moon, my husband is as good as him, not bad, and harmless. God is restless, can't worship, have a son.

The alley where the baby was born is the word Phillips of cattle and sheep; The flat forest that was born will be cut down; Newborn ice is covered with birds. The bird left, but Hou Ji spoke loudly. The truth is true, and the voice carries the word.

The myth of "following the emperor's footsteps to have children" is actually a reflection of the matriarchal society, and only Anemarrhena does not know the father. There are many reasons why Jiang Yuan gave up. This description makes the birth of Hou Ji full of myth and naive temperament of human childhood. He was born with a feeling of heaven, and suffered all kinds of hardships at birth. In the last five chapters, Hou Ji knew how to cultivate five grains, made great achievements in agriculture, and founded the sacrificial ceremony. The whole poem not only vividly describes the life story of Hou Ji, the ancestor of Zhou Dynasty, but also reflects the historical background of matriarchal society entering paternal society. Other eulogies of ancestor worship also reflect the historical picture of Yin and Zhou Dynasties and people's religious concept of ancestor worship from different aspects, which are the products of specific historical background, philosophical thought, ethics and aesthetics.

China has a long history of agriculture, and agricultural planting activities started very early. Yangshao culture and Longshan culture in the late Neolithic period marked the initial development of agriculture. Zhou people linked their ancestors with the invention of agriculture, which shows the position of agriculture in Zhou people's social and economic life. In the era of The Book of Songs, agricultural production has occupied an important position. The works in The Book of Songs are not only branded with agricultural civilization in moral concepts and aesthetic tastes, but also produce some agricultural poems that directly describe agricultural production and life and related political and religious activities.

In the early Zhou Dynasty, the rulers attached great importance to agricultural production. At the beginning of a year's farming activities, a grand ceremony will be held to pray for a bumper harvest from God. The emperor personally led his ministers, doctors and agricultural officials to the symbolic ploughing field of the Zhou Emperor. After the autumn harvest, a grand ceremony will be held to thank the gods for their gifts. The works in The Book of Songs, such as The Minister, The West, The Harvest Year, Zai Heng, Liang Zhen, etc., are all sacrificial songs when plowing, praying for the valley in spring and summer, and offering sacrifices in autumn and winter. For example, "Zhou Song Harvest Year" is a musical song sung when offering sacrifices to ancestors after the autumn harvest. The poem describes the scene of agricultural harvest in the early Zhou Dynasty: "There are many harvests in good years, and there are high harvests, trillions and hundreds of thousands." In Records and Xi Xi, the grand labor scenes of "a thousand United clouds" and "a thousand United dimensions" were written. This kind of works in The Book of Songs truly records the religious activities and customs related to agricultural production in Zhou Dynasty, and reflects the mode and scale of production, the prosperity of agricultural economy and the development level of productive forces in the early Zhou Dynasty. Works such as July, which directly reflect the agricultural production and life of Zhou people, are the best agricultural poems in the Book of Songs, both in content and art. This poem is the longest among Feng's poems, with 8 chapters, 88 sentences and 380 words. This paper describes the hard work process of farmers for one year and their living conditions. They farm, raise silkworms, spin, dye silkworms, make wine, hunt, cut ice and build palaces. Most of the fruits of their labor belong to the nobility. They have no clothes and no brown, work hard, burn rotten wood, live in humble houses, fill holes in the ground, smoke rats, plug cracks in windows, paint doors, and keep out the cold in severe winter. The whole poem takes the season as the order, conforms to the seasonality of farming activities, combines customs, scenery and farmers' lives, and comprehensively, profoundly and vividly reflects the living conditions of farmers in the Western Zhou Dynasty. Poetry objectively reflects the disparity between farmers' life and aristocratic life, and expresses sadness and dissatisfaction in the straightforward description of agricultural production and farmers' life at that time. After a thousand years, readers can not only understand the agricultural production and farmers' living conditions at that time, but also truly feel their misfortune and pain.

There are also Yan Yan's poems in The Book of Songs, which mainly reflect the joy and harmony of the upper class. For example, "Xiaoya Luming Literature" is the poem of the guests at the emperor's banquet, and later it was also used for the guests at the aristocratic banquet. The first chapter cloud:

A herd of deer, yo, ate mugwort in Ye Yuan. I have a group of good guests, playing the piano and playing the piano. A blowing sheng reed, a basket of gifts. People are very kind to me, just like showing me the way.

Such parties and banquets are lively and peaceful. Ministers praised the king of Zhou and made suggestions on the favorable strategy of governing the country. In the upper class of the Zhou Dynasty, banquets were common, and Yan Yan's poems were a real counterattack against this social life. The Zhou Dynasty was a patriarchal society dominated by farming, and the clan relationship was an important link to maintain the society. Most of the princes and ministers in the Zhou Dynasty were children or in-laws. The Zhou rulers attached great importance to consanguinity and used this patriarchal relationship to strengthen their rule. Yan Yan has a political purpose, not just for pleasure. In these feasts, the way of kissing and the meaning of patriarchal clan system are brought into play. Many other works in The Book of Songs also show a strong patriarchal concept and blood relationship.

The ceremony in the banquet embodies the rules of ceremony and people's inner moral demeanor. Yan Yan's poems praise the orderly and harmonious relationship between the host and the guest; However, it is negative for banquets that cannot be self-controlled and immoral. Rites and music culture is an important part of Zhou culture, and The Book of Songs is the carrier of Zhou culture to a great extent. Yan Yan's poems reflect some aspects of the ritual and music culture in the Zhou Dynasty in the form of literature. Poems such as Sacrifice and Xiang Yan not only directly reflect the prosperity of rites and music in Zhou Dynasty, but also the cultural spirit of rites and music permeates other poems. For example, some works in the Book of Songs praise the talents and virtues of the aristocratic class, praise the gentle, polite and noble-minded gentlemen, and criticize those who have lost their virtues and violated the etiquette of animals: "People who look like mice are rude. If people are rude, Hu will not die? " ("Feng Feng Xiang Mouse")

Yan Yan's poems originated in the early years of the Western Zhou Dynasty and reflected the prosperity, harmony and harmony of the society in the early Zhou Dynasty. After the middle of the Western Zhou Dynasty, especially at the end of the Western Zhou Dynasty, the Zhou Dynasty declined, the dynasty was scattered, the society was turbulent and the politics was dark. There are a lot of bitter poems that reflect the chaos and criticize the current politics. The poems of complaining about stabbing are mainly preserved in Erya and national customs, such as the elegance of Min Lao, Ban Ban, Dang, Sang Rou, Zhan Ang, Jienan Mountain, the first month, the turn of October, the meaningless rain, etc. Feng Wei's Cutting Tan, His Storytelling, Gao Feng's New Terrace, His Metric Wall, His Watching the Mouse, Qi Feng's Nanshan and Chen Feng's Zhu Lin are all national traditions, or satire can be obtained for nothing. These works, called "changing wind" and "changing elegance" by later generations, are the products of political decay and social darkness. Under the background of the decline of the Zhou Dynasty, the collapse of rites, the lack of politics and religion, the abolition of human relations and the harsh criminal law, officials, nobles, doctors and people from all walks of life lamented the troubled times, worried about the country and the people, criticized the shortcomings of current politics and society with poems, and lamented the life experience. Most of the hate poems in Asia and China have their own high status and social status, such as Min Lao and Party. There is an old saying "Mu Gong Jin Jian", an old saying "KATTO was stabbed to death", and "Sang Rou" was written by Dr. Rui. In the irony of the ruling minister, the author was deeply worried about the social reality and the fate of the Zhou Dynasty, and spoke to the rulers with poems in order to play a role in remonstrating. For example, the first chapter of "Dang" directly condemns, and the other seven chapters are satirized in the tone of Tuoba Wenwang's reprimanding Yin, using the ancient to satirize the present, accusing autocracy, amassing exploitation, advocating generosity, abusing power, and making decrees impermanent; He warned King Li that Yin Jian was in the summer, and the subjugation of the country was a mirror of Yin and He, indicating that the subjugation of the Yin and Zhou Dynasties was also a mirror of King Li. The poems of resentment in The Scholars criticize state affairs and are angry, but the satire is restrained and full of hints. The poet tried to turn the tide when the country's future was bleak, but he was full of helpless sadness about the situation of deep accumulation of disadvantages and fixed decline.

Zhong complained that the author of the poem was not as elegant as elegance. Although they are also members of the ruling class, they are in a lower or even suppressed position in the hierarchical society. Therefore, Xiao Ya's poems of hatred and stabbing not only denounced the political darkness, but also lamented the decline of the Zhou Dynasty's national fortune, his concern for the country and the people, and his own experiences. For example, "Nanshan Festival" was written by my father, satirizing Zhou Wang's use of Taishiyin, so that the world was in chaos. Tai Shiyin was in charge of state affairs, but because of poor politics and unfair handling of affairs, he did not go to state affairs in person, but entrusted state affairs to marriage, bullied the monarch and despised the people, and had nothing to fear, which caused widespread indignation and resentment, frequent disasters and boiling public resentment, but he still failed to observe it. The content of this poem is to blame Yin, but at the end of this chapter, it says, "My father recited it for investigation. This is an exciting thing, it involves one million countries. " Its ironic direction lies in the reclusive king. The poet associated Tai Shiyin's chaotic politics with the king's ignorance. The first month was written by frustrated officials, exposing the political decay at that time, the cruelty of the rulers, hating heaven and earth, turning a blind eye to the flood of villains in the imperial court and the people in danger and despair, and mourning the demise of the Zhou Dynasty. The Turn of October is a lyrical narrative work of dynasty officials after the solar eclipse and the earthquake, satirizing the aristocratic ruling class for disturbing the political affairs, leading to repeated disasters, people suffering, the country's luck running out, and lamenting that they are innocent and persecuted and destroyed, and are in a helpless situation. The Rain of Meaninglessness was written by an important official of the imperial court, satirizing the foolish and headstrong king, who failed to be loyal and sought self-protection. For example, in the second and fourth chapters, when there were natural and man-made disasters, the third division and the governor did not try their best, and the officials refused to give advice for fear of sin, but they were slandered as diligent. Therefore, the poet was very indignant and deeply regretted. Xiaoya also has some poems, which directly pour out resentment and curses against villains. For example, "Xiang Bo" is a work expressing anger after the temple man Mencius was abolished. The poet wrote angrily: "Take each other and throw the tiger back to the mountain. Tigers don't eat, there are Beitou; There is no north, and there is nothing to vote for. " Life is in trouble because of persecution. So I feel my life experience in poetry and tell the injustice of the world. For example, "Beishan" was written by a scholar, expressing his injustice and indignation at being oppressed by etiquette. The fourth, fifth and sixth chapters use 12 comparative sentences beginning with the word "or" to expose the uneven distribution of servants and the situation and status of scholars at that time. These poems in "Xiaoya" are the same as some poems in "Elegance", but they focus more on the lucky treacherous court official, with more fierce words and more resentment.

There are also some works with the same nature as "Er Ya" in national style, but they are different from "Er Ya"' s feelings of being overthrown by Zhou Zong, failing in Japanese politics, and being full of grief and indignation at the chaos in the world, but they expose and ridicule the rulers bitterly. For example, "Cutting Tan" is very angry with those who get something for nothing, and asks: "If you don't plant crops, you will get 300 tons of grain." No hunting, no hunting, is Hu Zhaner's court hanging? "Exposed the essence of the exploiter. Feng Wei Storytelling compares the ruler to a big mouse. Their greed and incompetence plunged the people into despair. In order to get rid of this desperate situation, people have to flee to other places. Some satirical poems about specific people and events in national customs directly expose the shameless and ugly behavior of rulers. For example, Chen Fengzhu Lin satirizes Chen Linggong's adultery with The Last Month Of Summer, the wife of Xia Yushu, a doctor of Chen. This poem was not written from the front, but said that Chen Linggong visited The Last Month Of Summer's son to close the city of Zhulin. He stopped in Zhu Lin and had breakfast in Zhu Lin, saying that he didn't mean to find Xia Zhengshu. What is said here is what is said there, which satirizes Chen Linggong's shameful antics.

Some war poems in The Book of Songs describe the martial arts of emperors and generals from the front, showing a strong sense of pride and optimism. Jianghan and Changwu are in their prime, Chu Che, June and Cai Mao are in Xiaoya. , mostly reflect the Wang Xuan period of martial arts. Write Jianghan announced the king's order, summoned the tiger to lead the troops to crusade against Huaiyi, and soon Huaiyi was pacified and the troops moved back to North Korea. Then he ordered the tiger to come and gave him land, hairpin, Zhu and so on. It is a custom in Zhao Gong to call tigers, so please remember. "Changwu" is about the power of Xuanwang ordering general Nanzhong to conquer Xu, which is praised by the anthology. For example, in the seventh chapter, it is written that Julian Waghann's rapid progress is unstoppable, and through a series of metaphors, the image of Julian Waghann's prestige and masculinity is concretely expressed. Another example is "June in Xiaoya", when Yin Jifu was ordered by Wang Xuan to make a northern expedition against armadillos and won. In addition, Qin Feng's Xiao Rong has no clothes and so on. It is also a war poem showing unity, * * * resisting foreign aggression, high morale and optimistic mood. This kind of war poem, written in the Book of Songs, praises the war in a positive way, and does not pay attention to describing the battle scenes directly and concretely, but shows the military strength in the collection. For example, Xiaoya Caiju wrote that the minister Fang Shu attacked Man Jing, which highlighted the strength of the army led by Fang Shu and was full of military capabilities, strict orders and credible rewards and punishments. He is a brilliant man. If his orders are certain, he once went to the Northern Expedition to show off his strength. Man Jing was very scared, so he came to ask for help. The war poems in The Book of Songs emphasize the moral influence and the shock of military power, but do not specifically describe the killing and fighting on the battlefield. It embodies the political ideal of respecting morality, attaching importance to moral education and conquering the enemy without fighting, showing a different style from ancient war poems of other nations in the world.

Zhou people created agricultural civilization, and Zhou people loved the peaceful and stable agricultural living environment. Therefore, more war poems show weariness of war and yearning for peace, full of sadness. For example, "Xiaoya Cai Wei" was given to soldiers who went to the battlefield on their way home. The northern armadillos invaded the Zhou Dynasty, and the soldiers went out to defend the country. The author's crying that "the shame of being alone is a ghost" shows that he hates ghosts, not Zhou Tianzi. The poet is full of anger at the invaders, and his poems are full of agitation to defeat the invaders, but at the same time he is tired of not returning for a long time and fighting for a long time, and he is infinitely sad about his own suffering. Such as the end of Zhang Yun:

Recalling the original exploration, the wind in Yang Liuyi was blowing in the wind; Now back on the road, snowflakes are flying everywhere. The road is muddy and difficult to walk, and people are thirsty and hungry. The journey was delayed, carrying thirst and hunger, and I felt sad and didn't know I was sad.

The feeling of parting when I left home in those years and the feeling of sadness when I came back today are all vividly shown. If Cai Wei is still a contradiction between hating the enemy and homesickness, Dongshan reflects the war-weariness of foot soldiers. Soldiers who have been in the war for three years have mixed feelings on their way home, thinking about the situation in their hometown and how they feel when they get home. "I" was requisitioned for a long time, and now I finally took off my military uniform and put on casual clothes, and I don't want to March and fight any more. On my way home, I saw the desolate scene after the war. The countryside was deserted, turtles and spiders were circling the house, elk were wandering and fireflies were flashing. But this scene is not terrible. What is more painful is that my wife lives alone in the house, looking forward to the return of "I". I think, when I first got married, I was beaming and lively, and meeting again after a long separation may be even better than the wedding. Here, there are both happy yearning for reunion with relatives after returning to China and worries about the uncertain future. The whole poem combines reality with the poet's imagination and memory, and describes the psychological activities of "I" such as excitement, sadness, joy and anxiety in a very delicate way. The poet's weariness of war and longing for a peaceful life are fully reflected.

If there are several exciting works in war poems besides the feeling of homesickness for war, then the corvee poems in The Book of Songs are completely tired of the grief and indignation of the corvee. Whether doctors serve the emperor or officials, or the lower people serve the monarch, they all show strong dissatisfaction from the soldiers. The first chapter Tang-style bustard feather:

In, gather in the bud. The king is too busy to be an artist. What about his parents? What happened to the sky?

Because of the "king's business", the countryside is barren, and people are not allowed to farm to support their parents. People are boiling and crying to the sky, revealing the suffering brought by heavy corvee to the people.

The war corvee poems in The Book of Songs not only describe the sufferings of the undertaker of the war and corvee in the recruitment, but also write an elegy of thinking about the separation of his wife and children under the background of the war and corvee. Such as "Feng Wei Bo Xi", that is, writing a woman suffering from missing her husband far away, the second chapter says:

From the east of Bo, my head is like a flying canopy. Is there any ointment? Who is suitable for it?

What's the point of dressing up when women are pleasing themselves and their loved ones are not in sight? Frank and simple wrote the homesickness and sadness of homesick women. Mr. Feng Wang in the Service also expresses his dissatisfaction with service politics in the tone of thinking about women. At dusk, cattle, sheep and other livestock go home on time, but their husbands can't come back, which means that the scene is full of affection, and the endless lovesickness and sadness of homesick women pervades the pastoral scenery.

The war corvee poems in The Book of Songs are rich in content and complex in emotional orientation. Whether praising the meritorious military service, describing the military power, or being tired of fighting and missing Chang Zaixin's head, there are many echoes in the history of later generations' poems.

Poems reflecting marriage and love life occupy a large proportion in The Book of Songs, which are not only abundant in quantity, but also rich in content, including love songs reflecting the love between men and women, marriage and family poems reflecting wedding scenes and family life, and abandoned wives poems expressing the pain brought to women by unfortunate marriage. These works are mainly concentrated in the "national style" part, which is an important part of the Book of Songs and the most exciting and moving chapter.

The love poems in The Book of Songs widely reflect the happiness, joy and frustration of men and women's love life in that era, and are full of frank and sincere feelings. Zhou Nanguan is about men's love for women. The first three chapters show an aristocratic youth's pursuit of a lady and his painful mood of "welcome". In the last two chapters, I imagined that if I could be with her, I would be a "friend of harps and harps" and "the joy of bells and drums". This kind of love developed into two of a kind, and there was a secret tryst, such as the description of a tryst between a man and a woman in "Jingnv at the Peak":

This quiet girl is so cute that she will come to the corner of my town. Deliberately hiding for me to find, scratching my head.

The quiet girl looks good. Give me a tong tube. Red has a bright red color. Love it is really a bright color.

This country exploits me, Meili Yi and is rare. It is not as beautiful as weeds, and beauty gives people deep affection.

A man was waiting for his lover in a corner of the city, and he was so impatient that he scratched his head. My lover came and gave him a gift, a tube and a hairpin. He fondled the motorcycle, not because the gift was special, but because it was given by a beautiful woman. The hero's feelings are delicate and sincere. Zheng Feng Jin Zi is about a woman's longing for a man. The woman waited for her lover at the gate, but never came, so she wandered alone. The chanting of "I don't see you for a day, it's like three autumn days" makes the suffering of lovesickness look like telling and deep lingering. This obsession with love, in "Zheng Feng out of the East Gate", is directly said by men:

Strolling through the east gate of the city is as beautiful as a cloud. Although there are many clouds, I think of people. I love the green scarf, so I love it.

Although there were many beautiful women outside the East Gate, the poet was not tempted, but he still remembered the woman he loved in plain clothes.

It is precisely because the lyric hero in The Book of Songs is so passionate and persistent about love that once love encounters setbacks, it feels particularly painful. In the era of the Book of Songs, although the love between men and women was not so tightly bound by feudal ethics as in later generations, it was already "if you marry, you must sue your parents" and "if you marry, you must not be a bandit" (Feng Qinan Mountain). Sometimes the pursuit of freedom of marriage will be interfered by parents. For example, "Bai Fengzhou" is an oath written by a woman when her parents interfered with her request for marital autonomy: "You should be careful and judge me. Death cannot defeat it. Mother is also a genius, and she doesn't forgive people. " This woman stubbornly pursues the freedom of marriage and love, preferring to die in the form of double suicide, calling for mother and heaven, showing the extreme pain when love is blocked and the strong desire for independent marriage.

The poems in The Book of Songs, which reflect marriage and family life of husband and wife, are not as rich as love poems, but they are also very distinctive. For example, in Nan Zhou Yao Tao, the poet thinks of the bride's youth and beauty from the delicate peach branches and bright peach blossoms, and wishes her to be good at handling family affairs after marriage. And "Zheng Feng, the crow" wrote a beautiful and happy life between a couple. The poem expresses the feelings of mutual vigilance, mutual respect and mutual understanding between husband and wife, hoping to grow old together.

But not all couples are so gentle and considerate. In a patriarchal society where men and women are unequal, the happiness of marriage is often just a beautiful wish of women. There are many lamentations in The Book of Songs that express the unfortunate marriage. In the novel Li Yi, the woman who "cares about her heart and gets what she needs" lost her position because of my concubine's love. There is nothing to say, she can only suffer in pain. This kind of poetry reflects the fate of unfortunate women who still maintain the form of marriage and the name of husband and wife and fall out of favor and claustrophobia. The other kind shows the tragic ending that the wife and daughter were abandoned by her husband's family after the marriage broke up, and expresses the resentment of the abandoned wife. Feng Weimeng and Gao Feng are the representative works of the abandoned wives' poems in The Book of Songs, which are full of accusations, resentments and censures against ungrateful people. When a woman in Gu Feng first came to her husband's house, her family was very poor. After hard work, she gradually became rich. However, her husband changed his mind, married someone else and even drove him away. Self-protection describes the process from love, marriage to abandonment in the tone of an ordinary woman. The whole narrative and lyric are integrated into one, and the event process is skillfully integrated with the feelings of abandoning a wife. In the heroine's remorse narration about her love, marriage and the experience of being abused and abandoned after marriage, she shows a strong, self-loving and decisive character.