Zheng Feng: Contents of the Guofeng in the Book of Songs. In the 22nd year of King Xuan of Zhou (86 BC), his younger brother You was granted the title of Duke of Zheng. Zhengdi is Huaxian in Shaanxi today. You was Duke Huan of Zheng. When the Quanrong attacked the Western Zhou Dynasty, he was killed at the same time as King You of Zhou. His son Duke Wu of Zheng and King Ping Dongyu annexed the territories of Guo and Hui, followed the old name, and named the new capital Xinzheng (now Xinzheng City, Henan Province). The ruling area of Zheng State in the Spring and Autumn Period roughly included Zhengzhou, Xingyang, Dengfeng, and Xinzheng in Henan today. "Zheng Feng" is the poem of this area. Zheng State bordered the capital of the Eastern Zhou Dynasty, was located in the Central Plains, and had a relatively developed culture. During the Spring and Autumn Period, the people created a new tune with local color, which was passionate and lively, lyrical and delicate, and was undoubtedly an improvement compared to the slow and solemn "Ya Yue". Therefore, the famous person Ji Zha at that time could not help but praise it: "How beautiful, and how delicate it is!" Confucius blamed "Zheng music for being lewd" and wanted to "release Zheng music" because he was afraid that the "exciting and lively" new music of Zheng would replace the official music of the Zhou Dynasty. Most of the "Zheng Feng" are love poems. Although this is related to the fact that Zheng had the Qin River and the Wei River, which were convenient for men and women to visit and gather, it is more closely related to the customs and habits of Zheng. From the poem "Zhen Wei", it can be seen that the Shangsi Festival in Zheng was actually a festival for young men and women to talk about love. It is precisely because Zheng retained some ancient customs of free communication between men and women that it also influenced people's thinking. For example, in the fourth year of Zheng Ligong (697 BC), Yong Ji, the daughter of Zheng minister Ji Zhong, asked her mother: "Who is closer to you, a father or a husband?" Her mother replied: "There can only be one father, but any man can be a husband." A woman from a noble family actually used such blasphemous words to educate her daughter. It is even more imaginable what the concept of men and women of the general people in Zheng was. Knowing this, it is easy to understand the bold love poems in Zheng Feng. Of course, from the perspective of the songs sung by the people of Zheng, there are probably no shortage of poems that reflect their own hard work and resentment. Moreover, Zheng is a natural barrier of "Tiger Passage", which is a place that must be fought for by military strategists. The ancients once pointed out that "there are no more wars in the Spring and Autumn Period than Zheng", but the suffering brought to the people by frequent wars is not seen in "Zheng Feng". This may be the result of the editor's exclusion. "Zheng Feng" has a total of 21 poems. Including: "Black Clothes General Zhong Zi Shu Yu Tian Da Shu Yu Tian Qing Ren Lamb Fur Follow the Main Road Woman Says Chicken Crows There is a Woman with a Cart Mountain There is Fu Su Fu Xi Cun Tong Qi Shang Feng Dongmen Zhi Feng Zi Jin Yang Zhi Shui Out of the East Gate Wild There are Creepers Qin Wei Zheng Feng Various Poems 1 Among the "Book of Songs and National Winds", the most preserved poems are from Wei State, and there are 39 poems in "Bei Feng", "Yong Feng" and "Wei Feng". However, if we classify the fifteen national styles, Zheng Feng is the one with the most poems, with a total of 21 works. Wei State was the old land of the Shang Dynasty. The prosperity of Wei poetry was undoubtedly the result of its immersion in the Shang culture. So, does the prosperity of Zheng poetry have the same reason? The answer should be yes. We know that from a geographical point of view, Zheng State is located in the central area of the Shang culture, and it is self-evident that it is deeply immersed in the Shang culture. Therefore, the customs and folkways of Zheng and Wei also show many similar characteristics. "Records of the Grand Historian: Biographies of Merchants" says that "the customs of Zheng and Wei are similar to those of Zhao", and when recording the customs of Zhao and Zhongshan, it says: "There are still the remnants of King Zhou's lewd land in Shaqiu, and the folk customs are urgent and depend on opportunities for food. The men gather together to play, singing sad and passionate songs, and when they get up, they follow each other to beat swords, and when they rest, they dig graves to make crafts, and have many beautiful things, and become prostitutes. The women play drums and harps, wear sandals, and flirt with the rich and powerful, enter the harem, and visit the princes." "Book of Han: Geography" records the customs of the two countries and says: "King You was defeated and Duke Huan died. His son Duke Wu moved east with King Ping and finally settled in the land of Guo and Hui, with Luo on the right and Shu on the left, and ate from Qin and Wei. The land is rugged and dangerous, and people live in the mountains and draw water in the valleys. Men and women gather together quickly, so their customs are lewd." "The land of Wei has the barriers of Sangjian and Pu Shang, and men and women also gather together quickly, and there are sounds and colors there, so it is commonly known as the music of Zheng and Wei." In the Spring and Autumn Period and the Warring States Period, "the music of Zheng and Wei" was a synonym for the emerging music. Wei Wenhou said in the Book of Rites and Book of Music: "When I listen to ancient music with my crown on, I am afraid of falling asleep. When I listen to the music of Zheng and Wei, I never feel tired. I dare to ask, why is the ancient music like that? Why is the new music like this?" From the name "Zheng Wei music", we can infer that Zheng music and Wei music are based on the same cultural soil, and thus present the same basic cultural attributes. On the other hand, when "Zheng Wei music" was widely used as a synonym for emerging music after the Spring and Autumn Period, Confucius used the name "Zheng sound" to refer to the emerging music at that time. He said: "In the time of Xia, we rode in the chariot of Yin, wore the crown of Zhou, and danced to the music of Shao. We let go of Zheng music and stay away from flatterers. Zheng music is lewd and flatterers are dangerous." [i] He also said: "I hate the purple that takes away the red, and I hate the Zheng music that disturbs the elegant music." [ii] Later, the name "Zheng sound" coexisted with the names "Zheng Wei music". The Book of Han, Rituals and Music, states: "(During the reign of Emperor Cheng) Zheng music was particularly popular. The famous Huangmen singers such as Bing Qiang and Jing Wu were rich and famous in the world. The noble relatives of the Five Marquises, Dingling, and Fuping, were too extravagant and profligate, and even competed with the ruler for female musicians." From this, we can see that, like "Zheng and Wei music", "Zheng music" was also used as a synonym for new music. Why did "Zheng music" become a synonym for emerging music alone? In addition to the above reasons, this is closely related to the active merchants of Zheng State, the prosperity of the commercial economy, and the development of urban culture brought about by it. In the Spring and Autumn Period, the development of agriculture and handicrafts promoted the prosperity of commerce. Qi State, which had established a business tradition since its founding, had frequent commercial exchanges with Jin and Chu. However, among all the vassal states, the social status of merchants in Zheng State was unmatched by other countries. This is reflected quite prominently in a passage from Zichan to Han Xuanzi in the 16th year of Zhaogong in Zuo Zhuan: "In the past, my ancestor Duke Huan and the merchants all came from Zhou. They lived together in Yongci and killed this place with mugwort, cut off the weeds and wild herbs, and lived together. They swore an oath to show their trust. They said: You will not betray me, I will not force you to trade, and no one will rob me. If you have the advantage of buying treasures and bribes, I will not let you know. Relying on this oath, we can protect each other until now." The Zheng royal family swore an oath to protect each other, which shows the strong status and power of the merchants in Zheng. The three events about merchants recorded in Zuo Zhuan all came from Zheng, and the Zheng merchant Xian Gao negotiated with the Qin army in the name of the King of Zheng and made them withdraw, which more concentratedly reflected the important role played by the merchants in Zheng in social life. The merchants in Zheng "came from Zhou", and the ancestors of these merchants "from Zhou" were the remnants of the Shang Dynasty who were moved to Chengzhou in the early Western Zhou Dynasty. The Book of Shangshu Jiugao states: "Your sister and heir are your arms and legs. You are good at cultivating millet and rice. You work hard to serve your father and elders. You start to pull carts and oxen, travel far to do business, and use filial piety to support your parents." From this, we can see that "cultivating millet and rice" and "pulling carts and oxen, and traveling far to do business" were social activities that the remnants of the Shang Dynasty were allowed to engage in after the Zhou people defeated the Shang Dynasty. After losing their land, business became the main means of livelihood for the remnants of the Shang Dynasty, and thus "merchant" became a synonym for businessmen. [iii] Although the merchants who lost their land and political rights had a low status, as a special social group, they were still able to inherit the tradition of the Shang Dynasty culture that emphasized voice and maintain their relative independence in terms of cultural attributes. This should be an important reason why the vocal culture of Zheng, where merchants had a special status, was relatively developed. In addition to the influence of the above-mentioned cultural inheritance, the development of Zheng's vocal culture was closely related to the prosperity of Zheng's commerce. We know that the degree of development of the commodity economy itself is a sign of whether the culture is prosperous. The economic center of a country is often also the cultural center. The history of human social development shows that the prosperity of culture is often most directly manifested through people's preference and pursuit of material enjoyment such as music, sex, and pleasure. The rise of new music is often the most direct manifestation of the prosperity of a city or region's economy. Jinling during the Southern and Northern Dynasties and Yangzhou during the Sui and Tang Dynasties provided examples in this regard. Therefore, when the merchants of Zheng State formed an alliance with politicians and obtained political protection, it was an indisputable fact that the commercial economy of Zheng State prospered. As a condition and result of free trade, various types of "markets" ("si") also provided opportunities and places for people to interact freely. The "Dongmen" that appeared in "Zheng Feng" was the main gate of Dongguo where citizens and handicraft workshops gathered [iv]. The development of commercial trade and the rich commercial culture of Zheng State jointly promoted the development of Zheng State's music culture. As a result, the emerging music of Zheng State became the most developed among the vassal states. "Men and women gather together, and music and beauty arise, so their customs are lewd." The development of vocal culture not only provides conditions for the large-scale collection of works in "Zheng Feng", but also becomes an important reason why "Zheng Sheng" can refer to "new music and noisy music." "Men and women gather together, and music and beauty arise" is not only the reason for the prosperity of Zheng Sheng, but also creates the basic style of the content of "Zheng Feng". Among the 21 works in "Zheng Feng", except for a few poems such as "Black Clothes", "Qingren", and "Lao Qiu", most of them are songs of love between men and women. As an eternal theme of literature, "love" itself will not mark the era in which it is located, which is the main reason why it is difficult for us to divide it into different periods based on the content of love songs. However, for the textual research of this article, a very favorable condition is that the preface of "Shi Xu" "using the affairs of a country as the basis of a person" also preserves the era when these works were collected and compiled when preaching politics. Therefore, relying on the first preface of "Mao Shi" and collecting various materials to prove its theory is the basic idea of this article to divide the works of "Guo Feng". Before examining the time of the work "Zheng Feng", it is necessary to give a brief summary of the history of Zheng State in the early Spring and Autumn Period. In the last years of the Western Zhou Dynasty, Duke Huan of Zheng sent his children to Guo and Hui, and Duke Wu of Zheng finally took them and established the state in Zheng. In 742 BC, Duke Wu of Zheng died, and his son Duke Zhuang succeeded him. Duke Zhuang succeeded Duke Wu as the minister of King Ping and took charge of the king's politics. After King Huan of Zhou succeeded to the throne, Zhou and Zheng became enemies. In May of the eleventh year of Duke Huan of Lu (701 BC), Duke Zhuang of Zheng died. The crown prince Hu of Zheng succeeded to the throne and became Duke Zhao. In September of the same year, the people of Song lured Ji Zhong to establish Duke Li, and Duke Zhao of Zheng Hu fled to Wei. In the fifteenth year of Duke Huan of Lu, Duke Zhao of Zheng returned to Zheng, and Duke Li of Zheng fled to Cai and later lived in Li. In the sixteenth year of Duke Huan of Lu, Gao Qumi killed Duke Zhao of Zheng and established Prince Wei. In the 18th year of Duke Huan (694 BC), the people of Qi killed Zi Wei in Shouzhi, and Zheng Ji Zhong rebelled against Zheng Zi Yi in Chen and established him. In the 14th year of Duke Zhuang of Lu (680 BC), Duke Li of Zheng entered from Li, and the rebellion of the five princes of Zheng was settled. Eight years later (672 BC), Duke Li died and his son Duke Wen succeeded him. When Duke Wen succeeded him, the hegemony of Qi Huan had already been established. After that, Jin and Chu rose to power, and Zheng was able to survive by maneuvering among the big countries. After the Warring States Period, it was finally destroyed by Han. According to the "Preface to the Book of Poetry", most of the works in "Zheng Feng" appeared in the 100 years between Duke Zhuang of Zheng and Duke Wen of Zheng, especially in the 20 years when the princes fought for the throne. Here, according to the order of time, the verifiable ones are described as follows. "Shu Yu Tian" and "Da Shu Yu Tian" should have been written before Duke Zhuang of Zheng defeated Duan in Yan. "Shu Yu Tian" says: "Shu Yu Tian, there is no one living in the alley. Is there no one living there? Not as good as Shu, really handsome and kind." It praises the "Shu"'s boldness and excellence in a side-by-side way. "Da Shu Yu Tian" says: "Shu Yu Tian, riding a horse, holding the reins like a group, the two horses are dancing, Shu is in the bush, the fire is fierce, the tiger is fierce, and he is presented to the public office." It describes the hunting scene in a direct way, which is a positive and realistic description. These two poems are mutually complementary, and they are composed of the same theme. The protagonist "Shu" in the poem should be the same person. According to "Zuo Zhuan Yin Gong San Nian", the maternal brother of Zheng Zhuanggong was named Shu Duan. Later, because he was granted a fief in Beijing, he was also called "Jingcheng Da Shu". Therefore, most poets think that the "Shu" in these two poems is Zheng Shu Duan, while those who hold different opinions think that Shu Duan rebelled against Zheng State and should not have such praise. However, the Spring and Autumn Annals of the First Year of Duke Yin says, "Duke Zheng defeated Duan in Yan." The Zuo Zhuan explains, "Duan was not a younger brother, so he was not mentioned as a younger brother; he was like a second lord, so he was said to have defeated him. He was called Duke Zheng to criticize his failure to teach, and it was called Zheng Zhi. He did not mention that he fled, because it was difficult to do so." Yang Bojun's note says, "If this is written that Duan fled to Gong, it would seem that Shu Duan was the only one who was blamed; in fact, Duke Zhuang was also guilty, and if he was said to have fled, it would be difficult to write about it, so it was said that it was difficult to do so." The Lu historian did not blame Shu Duan alone, and Shu Duan was a brave and talented man. Before he rebelled against Zheng, Duke Zhuang treated him with respect and favor because of his mother, so it was natural for the people of Zheng to write poems praising him. "The Uncle in the Field" "The tiger was beaten and presented to the public" not only shows Shu's bravery, but also makes clear the close relationship between "Uncle" and Duke Zheng. The ancient saying that "Uncle" was Shu Duan was well-founded. The Preface to the Book of Songs says: "Shu Duan in the Field" is a satire on Duke Zhuang. "Da Shu Duan in the Field" is a satire on Duke Zhuang." According to Zuo Zhuan, Shu Duan's rebellion was actually caused by Duke Zhuang's instigation. The person who prefaced the poem regarded Shu Duan's poem as "satire on Duke Zhuang", which is the same as the Spring and Autumn Annals. "Jiang Zhongzi". The poem says: "Jiang Zhongzi, please do not cross my village, do not break my cypress tree. How dare I love him? I am afraid of my parents. Zhong can be cherished, and the words of parents can also be feared." The Preface to the Mao Shi says: "Jiang Zhongzi" is a satire on Duke Zhuang. He was unable to overcome his mother and harmed his younger brother. His younger brother Shu Duan went astray and the Duke did not control him. Ji Zhong advised him but the Duke did not listen. His small intolerance led to great chaos." Mao Zhuan says: "Zhongzi is Ji Zhong." The view that "Zhongzi" in the poem is Ji Zhong, the counselor of Duke Zhuang of Zheng, is not acceptable. The poem is a woman's refusal to her lover, but the words in the preface are still worth taking. From the perspective of the grammatical characteristics of the poem, "Jiang Zhongzi" is quite similar to the poems that appeared in the late Western Zhou Dynasty and the early Spring and Autumn Period. For example, the poem says "How dare I love him, I am afraid of my parents", while "Xiaoya Mianman" says "How dare I be afraid of going, I am afraid of not being able to reach the limit"; this poem says "Zhong can be cherished" and "also can be feared", while "Binfeng Dongshan" has "Not to be feared, Yi can be cherished". And the word "will" in the poem "Jiang Zhongzi, do not exceed my village" is a word that expresses the meaning of wishing, according to Mao Zhuan: "will, please." In the Book of Songs, the word "will" is used in this way in "Xiaoya Zhengyue" "Zai Shuer Zai, Jiang Bo Zhu Yu", "Wei Feng Mang" "Jiang Zi Wu Nu", "Zheng Shu Yu Tian" "Jiang Shu Wu Niu", etc. In addition, this poem comes after "Black Clothes" which "praises Duke Wu" and before "Shu Yu Tian" and "Da Shu Yu Tian" which "criticize Duke Zhuang". The "Book of Poetry" believes that it is "criticizing Duke Zhuang", and its time period is acceptable. According to the "Book of Poetry", there are five works related to Zheng Hu in "Zheng Feng": "You Nu Tong Che", "Shan You Fu Su", "Xi Xi", "Cun Tong", and "Yang Zhi Shui". The prefaces of the first four of them say "criticizing Hu", and the preface of the last one says "pitying the lack of ministers". From Zheng Hu's refusal to marry Qi and Ji Zhong's advice that "the king has many concubines, and the son has no great help", as well as Zheng Hu's being expelled by Ji Zhong after ascending the throne and being killed by Gao Qumi after returning to the throne, we know that "pitying the lack of ministers" also refers to Zheng Hu. The "Mao Shi" continues the preface to the first preface and explains that "the gentleman pitied Hu's lack of loyal ministers and good men, and finally died." This is correct. In terms of the poems themselves, the “洵美且” style in “有女同车” is also seen in “叔于田”, and “美孟姜” is seen in “鄘风桑中”; “山有，隰有” in “山有傅苏” is a set phrase in poems from the late Western Zhou Dynasty and early Spring and Autumn Period, and the name “Zidu” is seen in “左传陰公十一年”, which refers to the Zheng official Gongsun Yan. Yang Bojun said: “I suspect Gongsun Yan is the Zidu mentioned in “山有傅苏” in “诗郑风山有傅”, “I don’t see Zidu, but I see 狂且”, who is beautiful and favored by Duke Zhuang.” The “Zidu” in “诗” is not necessarily the “Zidu” in “左传”, but Zidu is beautiful, so it is not wrong to use his name as a synonym for a beautiful man. “叔兮伯兮” in “萚兮” is also seen in “北风旄丘”. “惟子之故” in “巧童” is also seen in “唐风羔衣”. The "Zhongxian brothers" in "Yangzhishui" is similar to the "Zhongyuan brothers" in "Wangfeng Geju". There is also a "Yangzhishui" in "Wangfeng" and "Zhengfeng", both of which were written in the late period of King Ping of Zhou. Through the horizontal comparison of the above language sentence patterns, it can be seen that the above poems and the language of poems that can be identified as the early Spring and Autumn Period show the same or similar characteristics. "Shixu" believes that "刺忽", and now according to its view, the era of the creation of these poems is determined to be the time of Zheng Zhuang and Li. In addition, the poem "Qian Shang" says "You don't think about me, is there no one else? The madness of the mad boy is also!" The "Is there no" style can be found in "Wei Feng Bo Xi", "Zheng Feng Shu Yu Tian", "Tang Feng Di Du", and "Tang Feng Gao Qiu". The name "mad boy" is also similar to "cunning boy" and "crazy and" in the two poems "Shan You Fu Su" and "Cunning Boy". In addition, in the "Book of Songs", the poems "Qian Shang" and "Cunning Boy" are arranged in sequence. The appearance of these poems should be similar to the poems in "Jiao Tong", also in the era of Duke Zhuang and Duke Li of Zheng. In addition to this group of "criticizing" works, there is also a group of "criticizing chaos" and "sympathizing with chaos" in "Zheng Feng", which are: "Feng", "Dongmen Zhi Yan", "Feng Yu", "Zi Jin", "Chu Qi Dong Men", "Ye You Man Cao", and "Zhen Wei". Among them, the first preface directly mentions "criticizing chaos" in "Feng", "Dongmen Zhi Yan", and "Zhen Wei", and the one that mentions "sympathizing with chaos" in "Chu Qi Dong Men". The first preface does not mention "turbulent times" but continues to mention it in "Feng Yu" and "Zi Jin". The chaotic times of Zheng refer to the period from the death of Duke Zhuang of Zheng to the establishment of Duke Li of Zheng, which is about 20 years, that is, the time when "the princes quarreled five times and the wars never stopped" as mentioned in "Chu Qi Dong Men Xu". The content of this group of poems itself has no direct connection with current politics, and most of them express the joy and resentment of love and longing. Both in terms of content and style, it is very similar to the "Ci Hu" poems, showing a strong folk flavor. From the perspective of the language and sentence structure of the poems, "Feng" says "Your abundance", "Qi Feng Huan" says "Your return" and "Your prosperity", "Chen Feng Wan Qiu" says "Your drifting"; and "Shu Xi Bo Xi" is also seen in "萚兮" and "Bei Feng Mao Qiu". "How could you not think of me" in "Dongmen Zhi Yan" is also seen in "Wei Feng Zhugan", "Wang Feng Da Che" and "Hui Feng Gao Qiu", and the "Dongmen" and "Ru Ru" are the same as those in "Chu Qi Dongmen"; "Ji Jian Jun Zi" in "Feng Yu" is often seen in poems in the late Western Zhou Dynasty and the early Eastern Zhou Dynasty, and "Yun Hu" and "Yun He" have the same sentence structure, and "Yun He" is commonly seen in poems in the late Western Zhou Dynasty and the early Spring and Autumn Period. The "悠悠我思" in "Zi Jin" is also seen in "Zhongfeng of Bei Feng" and "Xiongzhi". The "兮兮" style with the same sentence pattern as "挑兮达兮" includes "疏兮尾兮" in "Maoqiu of Bei Feng", "宽兮绰兮" in "Qi Feng Qi'ao", "婉兮娈兮" in "Futian of Qi Feng", and "萋兮霏兮" in "Xiaoya Xiangbo". The "清扬婉兮" in "野有蔓草" is also seen in "Qi Feng Yijia". The "洵且" style in "Zhinwei" is also seen in "Shu Yutian", "有女同车", "静女" in "Bei Feng Jingnu". In addition, the men and women in "Zhinwei" met by holding "蕑", and "Mao Zhuan" said: "蕑 is orchid." "Yu Lan" Volume 30 quoted "Han Shi" and said: "蕑 is orchid. At this time of prosperity, the men and women held orchids to purify themselves.1 According to the custom of Zheng State, on the day of Shangsi in March, the two rivers are used to summon souls and continue spirits, and to eliminate bad luck, so the poet is willing to go and see it with those he likes." From the poem, for the men and women, holding orchids has another symbolic meaning besides "purifying bad luck". "Shi Ji Zheng Shi Jia" records that in the 24th year of Zheng Wengong, Yan Ji dreamed that the sky gave her orchids, and Wengong favored her and gave birth to a son named Lan. This can be proved by the fact that Yan Ji dreamed of orchids because of the folk songs at that time that "men and women" held orchids and met, so she used it to metaphorically describe Wengong. In summary, this group of "criticizing chaos" and "sympathizing with chaos" should have been produced during the reigns of Zheng Li and Zheng Wen. "Qingren" should have been written during the reign of Duke Wen of Zheng. "Mao Shi Xu" says: "Qingren" satirizes Duke Wen. Gao Ke was greedy and ignored his lord. Duke Wen hated him and wanted to keep him away, but he could not. He sent Gao Ke to lead the army to resist the Di in the end. The army was deployed and soared on the river. After a long time, it was not summoned. The army dispersed and returned, and Gao Ke fled to Chen. The prince always disliked Gao Ke for not promoting him with courtesy and Duke Wen dismissing him without justice. This was the root cause of the country's danger and the destruction of the army, so he wrote this poem." "Spring and Autumn Min Gong 2nd Year" says: "In the twelfth month, the Di entered Wei. Zheng abandoned its army." "Zuo Zhuan" says: "The people of Zheng hated Gao Ke, so they sent the army to camp on the river. After a long time, it was not summoned. The army was defeated and returned, and Gao Ke fled to Chen. The people of Zheng wrote "Qingren" for him." Yang Bojun's "Spring and Autumn Zuo Zhuan Notes" says: "Qing is the name of a town in Zheng. Gao Ke and his army are suspected to be from Qing, so the poem says so." The poem "Qingren is in Peng" "Mao Zhuan" says: "Qing is a town. Peng, On the river of Wei, it is the suburb of Zheng. "Shuijing Yushui Zhu" says: "Qushui flows east again, and Qingchi water flows into it. Qingchi water flows out of the southwest plain of Qingyang Pavilion, flows northeast through the south of Qingyang Pavilion, and flows eastward to Qingren City. The "Book of Songs" says 'Qingren is in Peng', so Du Yu's "Spring and Autumn Interpretation of Land" says: 'There is Qingyang Pavilion in Zhongmou County. 'That's it. "Wang Xianqian's "Shi Sanjia Yi Jishu" says: "Peng is the name of a place on the river. "Zuo Ai 25th Year Biography" says: 'At first, Wei people eliminated Xia Ding family and gave it to Pengfeng Mi Zi with its treasury. 'Mi Zixia was given food and collection in Peng and was a Pengfeng person. Wei is a town and borders Zheng, so Ke led his troops here to prevent Di from crossing the river. "From the descriptions of the poem "Two spears are heavy and flying on the river", "Two spears are heavy and flying on the river", "Left and right, the central army is ready" and other sentences, we can know that this poem was written before his army was defeated. After the army was defeated and returned, Gao Ke fled to Chen, so the people of Zheng wrote this poem to satirize Duke Wen and others. The poem was probably written around the 13th year of Duke Wen of Zheng (660 BC). "Lamb Fur" was probably written between the time of the Five Princes Rebellion and the time of Duke Wen. The poem says: "Lamb fur is wet, he is truly upright and a marquis. That son of his will, he will not change his life. Lamb fur is decorated with leopards, he is strong and powerful. That son of his will, the state's chief justice. Lamb fur is elegant, three heroes are brilliant. That son of his will, the state's magnanimous! "The Preface to the Book of Poetry" says: "It satirizes the court. It talks about the gentlemen of ancient times, and uses the style of the court." Judging from the content of the poem, this is a poem of praise, but there is no specific reference to the object of praise from the Preface to the Book of Poetry. It was not until the Ming Dynasty that He Kai's "The Book of Poetry" was attributed to Shu Zhan, a senior official of Duke Wen of Zheng, and many people followed it. For example, Wei Yuan’s Shi Gu Wei supports his view by saying, “During the time of Duke Wen, three wise men were in power, the so-called ‘three brilliant men’. When Duke Wen betrayed Qi and joined Chu, Confucius advised him. When Duke Wen was disrespectful to Chong Er, Confucius advised him. They were the so-called ‘state’s chief justice’. He was almost killed by slander in Qi and boiled in Jin, which is also called ‘sacrificing his life to remain loyal’.” However, starting with Wang Guowei’s Book II on Idioms in Poetry and Calligraphy with Friends,[v] in-depth research on bronze inscriptions led to a reinterpretation of the term “sacrificing one’s life”. Based on the inscriptions on the Ke Ding and Mao Gong Ding, he proposed that “sacrificing one’s life is the same as sacrificing one’s life”. Lin Yiguang's "Comprehensive Explanation of the Book of Songs" further stated: "The word 'she' in bronze inscriptions is often interpreted as giving, and 'sheming' means granting life, which is also the meaning of 'giving life'. The "Yi Gou Gua Xiang Zhuan" says: 'There is a meteorite from the sky, will, no, it is to give life.' No is a phonological auxiliary, and 'sheming' is also to give life, so it is an image of a meteorite from the sky. The interpretation of 'sheming' in this poem should also follow the inscription on the tripod and the "Yi Zhuan"." Based on this, "Sheming Buyi" has nothing to do with the incident of Shu Zhan being cooked in Jin. Ji Xusheng's article "New Evidence of the Ancient Meaning of 'Bi Qi Zhi Zi' in the Book of Songs" gave a completely new interpretation of the theme of this poem. He said: The "Bi Qi Zhi Zi" in this poem does not sound like the tone of the Zheng people praising the wise men of their own dynasty, but rather a bit like praising people who are relatively far away from the Zheng people. Because if the Zheng people want to praise the wise men of their own court, it seems that they should use the "I" sentence pattern such as "Zheng my handsome men" and "Mi Mi Wo Wang" instead of the more distant "Bi" sentence pattern. Therefore, we believe that the "彼其之子" in this poem should be interpreted as "那(其、己、纪)氏之子". The whole poem is a lament by the people of Zheng that there were no loyal and upright ministers in the current dynasty (according to Zheng's annotation, it refers to the time of Duke Zhuang of Zheng), so the poet sang the praises of a wise minister of a clan to satirize the current dynasty. Ji's interpretation is indeed more in line with the meaning of the poem and is consistent with the content of "Shi Xu", but it is a bit far-fetched to link the poem to the reign of Duke Zhuang of Zheng based on Zheng's annotation. Zheng's annotation says: "Since Duke Zhuang of Zheng, the wise have been neglected, and there are no loyal and upright ministers in the court, so I satirize them." From the historical events of Zheng, after Duke Zhuang of Zheng died, the ruling minister Ji Zhong expelled Duke Zhao and established Duke Li, which led to the five princes fighting and the civil strife lasted for more than 20 years. After Duke Wen of Zheng succeeded to the throne, Gao Ke "loved profit and ignored his monarch", and Duke Wen "retired without following the Tao", which was satirized by "Qingren". The so-called "satire of the court" in "Shi Xu" and the so-called "since Duke Zhuang" in Zheng's annotation are all referring to this. Combined with the h