. The styles of The Book of Songs are classified according to the nature of music, which can be divided into three categories: wind, elegance and ode. ① wind. It is local music in different regions, mostly folk songs. The poem "Feng" is a folk ballad collected from 15 regions, including China, Yi, Yan, Wei, Wang, Zheng, Qi, Wei, Tang, Qin, Chen, Qi, Cao and Yi. Total 160 articles. Mostly folk songs. 2 elegance. That is to say, the music of the imperial court is the music of the area directly under the jurisdiction of the Zhou Dynasty, and most of it is the works of nobles, which is called elegant music. The poem Ya is a musical song for a palace banquet or a court meeting. According to the different music, it is divided into "Daya" 3 1 song and "Xiaoya" 74 songs, with a total of 105 songs. Except for a few Xiaoya folk songs, most of them are works of noble literati. 3 ode. They are music songs and epics sacrificed in ancestral halls, and most of them praise the achievements of ancestors. Ode is divided into three poems by Zhou Songshi1,four poems by truffles and five poems by Shang Dynasty, with a total of 40 poems. They are all works of noble literati. In terms of time, Song of Zhou and Ya were mostly produced in the early years of the Western Zhou Dynasty. A small part of "Elegance" and most of "Xiaoya" were produced from the late Western Zhou Dynasty to the eastward movement. Most of Guofeng, Truffle and Shangsong were produced in the Spring and Autumn Period. In terms of ideological and artistic value, three praises are not as good as two elegance, and two elegance is not as good as fifteen national styles.

The ideological content of The Book of Songs fully shows the social life of China in the Zhou Dynasty, and truly reflects the historical features of the slave society in China from prosperity to decline. Some of these poems, such as, Gong Liu, Mian, Huang Yi, Daming, etc. In Daya, the origin, development and establishment of Zhou tribes from the birth to the demise of Hou Ji were recorded.

Some poems such as Feng Wei's Storytelling and Feng Wei's Altar vividly reveal the parasitic nature of slave owners' greed for nothing, sing the voice of people's resistance and yearning for an ideal life, and show the awakening of slaves during the collapse of slavery. Some poems, such as He, Dongshan by Huan Feng, Yu Yu in the prosperous Tang Dynasty, Cai Wei, etc. Write about her husband's homesickness and sorrow for the war; Feng Wang Gentleman in Service and Feng Wei Bo Xi show inviting homesickness. From different angles, it reflects the endless pain and disaster brought to the people by the unreasonable military service system and war corvee in the Western Zhou Dynasty. Some poems, such as "Nan Zhou Cricket", completely describe the labor process of women collecting plantain seeds; The Wind in July describes the working life of slaves all the year round. There are no sheep in Xiaoya, which reflects the herding life of slaves.

There are also many poems that show the love life of young men and women, such as "Qin Feng and" which shows the fantastic pursuit between men and women; "Zheng Yan" and "Peak Woman" show the banter between men and women; Wang Fengcai's songs show the painful lovesickness between men and women. "Feng Wei Papaya" and "Zhao Nan Zhuomeiyou" show the mutual gift between men and women; Yan Feng Bai Zhou and General Zhong Zi of Zheng Feng reflected the sufferings brought by parents' interference and public opinion to young men and women. Another example is "Gu Feng and Gu Feng" and "Feng Wei for Self-protection", which also express the sadness of abandoning his wife and angrily condemn the man's ingratitude, reflecting the tragic fate of women in class society.

Artistic achievements and their influence "Master Zhou Li Chun Guan" says: "The master taught six poems: Yue Feng, Yuefu, Yuebi, Lexing, Leya and Yuesong." The six poems in Preface to Mao Poetry have six meanings. Among them, style, elegance and praise refer to the classification of styles; Fu, Bi and Xing are in the way of expression. Regarding Fu, Bi and Xing, Zhu made a more exact explanation in the Song Dynasty's Biography of Poetry: "The giver, the doer, speaks frankly; Compare this thing with another thing; When you are excited, just say something else that will make you say something. " For example, The Wind in July and Feng Wei for Mang are both poems: the former describes all the working life of slaves in spring ploughing, mulberry picking, textile, field hunting, wine making, storage and preparation for winter, showing class opposition and slaves' grief and indignation; The latter flashbacks the tragic experience of the abandoned wife and the self-protection from love to marriage until being abandoned by self-protection, showing the sadness and determination of the abandoned wife. Another example is Feng Wei's Storytelling and Gaofeng Xintai, both of which are concrete: the former compares the exploiters to greedy rats; The latter compared the immoral and shameless Wei to a big toad; Both contain great irony. Another example is Guan Ju and Fa Tan, both of which are popular styles: the former is popular with the "Guan" cry of a bird and a pigeon, which reminds people of the love between men and women; The latter began with the "Kan Kan" logging sound of slaves, and was linked with the unearned gains of the slave owners. In the Book of Songs, fu, bi and xing are often used alternately, including fu and bi, bi and xing, and xing and bi. For example, "Feng Wei killed himself" is a fu style, but the poem "Mulberries have not fallen, their leaves are lush, and there is no mulberry to eat" is obviously "thriving and comparing". Another example is "Feng Wei Tells People", which describes the beauty of Zhuang Jiang in great detail, but in it, it is "soft, skin is coagulated, teeth are like rhinoceros, and a cicada's head is beautiful", vividly showing the natural beauty of Zhuang Jiang, which is obviously "giving comparison". The successful application of fu, bi and xing techniques is an important reason for the strong local flavor of folk songs in The Book of Songs.

The Book of Songs is mainly composed of four words and miscellaneous words. Structurally, the form of repeated chapters and sentences is often adopted to enhance the lyrical effect. Only a few words are changed in each chapter, but it can receive tortuous and changeable artistic effects. In language, we often use disyllabic rhymes, reduplications and conjunctions to describe things and imitate sounds, which is poor. "Less is always more, and the situation is very clear." In addition, some rhymes in The Book of Songs, some rhymes in every other sentence, some rhymes at the end, and some rhymes in the middle. The rhyming rules of modern poetry are almost all in the Book of Songs.

The Book of Songs is the glorious starting point of China's realistic literature. Because of its rich content and high ideological and artistic achievements, it occupies an important position in the cultural history of China and even the world. It initiated the excellent tradition of China's poetry and exerted an indelible influence on later literature. The influence of The Book of Songs has transcended the national boundaries of China and spread to the whole world. Japan, South Korea, Vietnam and other countries introduced the Chinese version of The Book of Songs very early. Since18th century, French, German, English and Russian versions have appeared. The music songs in The Book of Songs were originally used as part of various ceremonies to entertain and express views on social and political issues. But in the end, The Book of Songs has become a cultural textbook widely used in aristocratic education, and learning the Book of Songs has become a necessary cultural accomplishment for aristocratic people. On the one hand, this kind of education has the function of beautifying language, especially in diplomatic occasions, it is often necessary to quote poems from the Book of Songs to express meaning in twists and turns. This is called "Fu Shi Yan Zhi", and its specific situation is recorded in Zuo Zhuan. The Analects of Confucius recorded Confucius' words: "If you don't learn poetry, you have nothing to say." "Reciting 300 Poems, teaching them as politics, is unattainable; Let it be everywhere, but not exclusive. Even if there are many, do you still think? " It can be seen how important it is to learn the Book of Songs for the upper class and those who are ready to enter the upper class. On the other hand, the education of The Book of Songs also has political and moral significance. Interpretation of the Book of Rites quoted Confucius as saying that after "poetry teaching", people can be "gentle and sincere". The Analects of Confucius recorded the words of Confucius, saying that learning poetry can "serve the monarch from afar and the father from the monarch", that is, learning to serve the monarch and the elders. According to Confucius' opinion (which should also be the opinion of ordinary people in the upper class at that time), "there are 300 poems. In a word, it says: the thought is innocent. " This means that all the works in the Book of Songs (or at least on the whole) are in line with the moral principles recognized by the society at that time. Otherwise, it cannot be used for "education".

There are two points worth noting here: first, according to Confucius' theory, people's views on the Book of Songs at that time were quite broad. Many poems that condemn the dark rule and express the love between men and women can still be considered "innocent" as long as they do not exceed a certain limit, that is, legitimate emotional expression. Second, despite this, the Book of Songs is not a simple collection of poems after all. It is not only the cultural accumulation of the Zhou Dynasty, but also the object of daily chanting by the nobles. Therefore, although there are many folk songs in it, I'm afraid it can't contain the content that directly conflicts with the socially recognized political and moral principles.

All Confucian classics, including The Book of Songs, were burned in the Qin Dynasty. However, because the Book of Songs is easy to remember and familiar to scholars, it spread in the Han Dynasty. In the early Han Dynasty, there were four schools that taught the Book of Songs, namely Qi Zhiyuan's drums, Lu Pei, Yan and Zhao Zhimao's harmony, which were collectively called Qi Shi, Lu Shi and He (the first two were named after the country, while the last two were named after the family). The Confucian Classics of Qi, Lu and Han schools are officially recognized schools, and Mao's poems belong to the Confucian Classics of Ancient Chinese, which is a folk school. However, after the Eastern Han Dynasty, Mao's poems became increasingly prosperous and gained official recognition. The first three schools gradually declined, and in the Southern Song Dynasty, they were completely lost. The Book of Songs that we saw today is a biography of the Mao School.