Short folk poems. Including lyrical folk songs and ballads. The term "ballad" was first seen in "The Book of Songs, There Are Peach in the Garden": "My heart is worried, so I sing and sing." There are two main explanations for the difference between songs and ballads: "Songs with music are called songs, and songs without music are called ballads" ("Mao Shi Gu Xun Zhuan") and "Songs with chapters are called songs, and songs without chapters are called ballads" ("Han Shi Zhang Ju"). Generally speaking, songs are accompanied by music and are restricted by the score, and the lyrics have a corresponding grammatical structure and rhythm, which is generally slow. Ballads are not accompanied by music, have no fixed tune, and are chanted in a freer format. The rhythm is generally tighter. Ancient people often used songs and ballads together, collectively referred to as "ballads", abbreviated as "folk ballads" and "folk songs". Folk songs originated from the material activities that humans use to maintain their survival, especially production labor. It is the earliest oral creation form in human society. The creation of early folk songs is often inseparable from music. Some are even integrated with dance music. Later folk songs are still closely related to music, such as the overlapping of lyrics, which are characteristics formed because of singing. There are many kinds of folk songs, and there are various classifications due to different classification standards. Starting from the content and combining with some special functions, they can be roughly divided into five categories: labor songs, ritual songs, current affairs songs, life songs, and love songs. Because of the different service objects, there is also a category of children's songs. Labor songs can be divided into narrow and broad senses. In a narrow sense, they specifically refer to the songs with strong sound rhythms that match the labor movements and the function of directly promoting labor as their basic characteristics. In a broad sense, they include songs sung during labor, such as grassland pastoral songs and tea picking songs. Some of the latter songs also match the labor movements, and singing can generally play a certain role in inspiring and regulating emotions for labor, but there is no obvious strong sound rhythm that matches the labor movements. In a broad sense, labor songs can sometimes be classified as life songs. Ritual songs are chanted and sung along with folk ceremonies such as praying for the year, celebrating festivals, congratulating, warding off disasters, worshiping ancestors, and mourning, as well as daily customary activities such as welcoming relatives and seeing off friends. There are roughly three categories: trick songs, ritual songs, and custom songs. Magic songs are folk songs and spells that are believed to have magical effects, such as "The sky is great, the earth is great, there is a crying Yelang in my home. A gentleman passing by chants three times and sleeps until dawn." Ritual songs are songs that are chanted in conjunction with festival celebrations and other sacrificial ceremonies. The main content is to worship gods and pray for blessings and good harvests. For example, songs sung to worship the Kitchen God and pray for blessings and to worship the Dragon God for rain. Customary songs are used in weddings, births, birthdays, funerals, house construction and other red and white weddings and occasions such as welcoming guests, such as tent spreading songs, crying songs, house building songs, toasting songs, etc. This is the part of ritual songs that has the largest number of superstitious colors and higher literary value. The main content of political songs reflects the people's understanding and attitude towards certain political events and figures. It has a very high documentary value. Many political songs in ancient China appeared in the form of nursery rhymes, and their written records are mostly found in the "Five Elements Records" in the history books of various dynasties. Political ballads can be roughly divided into three categories: ballads that expose and satirize rulers. The largest number of such works is ballads that praise honest and patriotic officials. Ballads of peasant uprisings throughout the ages. These ballads reflect the awakening of peasants most fully and have the strongest political color. Life songs reflect the general social family life and daily labor life of the people, especially the lives of peasants and women. Songs about peasant life reflect the inhuman life of the vast majority of peasants in the old society and expose the cruel exploitation and greedy and stingy nature of landlords. The widely circulated "December Farmhand Song" reflects the sharp contradiction between farmhands and landlords in a relatively concentrated manner. Most of the women's life songs come from the mouths of women in the folk. Women's life songs reflect the tragic experiences of women from childhood when they are discriminated against at birth to marriage when they are bought and sold like goods, from the life of a young daughter-in-law who is devastated by 1 to the life of a life without happiness after becoming a mother-in-law. In a large number of bitter love songs, there is often a longing for a happy life. In modern ballads after the rise of capitalism, the strong voice of the times often bursts out. According to some scholars, love songs probably first emerged during the alternation period between dual marriage and monogamy with husbands living together. They are the most numerous and popular folk songs, and they occupy a very important position in the love life of the working people of all dynasties, especially the ethnic minorities. They can be roughly divided into the following categories: songs that express mutual love and express the standards for choosing a lover, such as "Silk Thread Pulls the Bridge Sister Dare to Cross" and "Gold and Silver Are Not the Wishful Man". Songs that express the feeling of parting and missing, such as "Paint You on the Eyes" and "Mold You into One Person". Songs that express the steadfast love that will never be separated, such as "Willing to Be Beaten Rather than Lose My Man" and "Hand in Hand After Leaving the Yamen". Songs of resentment that warn and criticize, such as: "Learn to be red like amaranth until old, don't learn to be black like pepper" and "My little sister is confused". Although there are many songs like "Home Flowers Are Not as Fragrant as Wild Flowers", they often express the yearning and pursuit of a happy life for people who are deprived of a normal love life. The term children's song was not widely used in China until after the May Fourth Movement. In ancient times, they were called "Ruzi Songs" and "Children's Ballads". Children's songs can be divided into narrow and broad meanings. In a narrow sense, they refer specifically to songs created by children themselves and taught by adults, but the content is in line with children's physiological and psychological characteristics and understanding ability. In a broad sense, they also include songs taught by mothers and grandmothers that reflect the life and emotions of adults, especially women, in the old society, but are sung by children. The so-called "children's songs" with the nature of current affairs are generally not real children's songs. Children's songs can be roughly divided into three categories according to their functions: game songs, teaching songs, tongue twisters for training language skills, etc. In China, not only do folk songs of different ethnic groups and regions often have different forms, but even in the same ethnic group and region, there are often multiple styles. In terms of sentence pattern, for example, in addition to the seven-word body, Han folk songs also have three, four, five, six, eight words or as many as more than ten words in one sentence. Naxi folk songs and Miao ancient songs are almost all five-word sentences. Shui nationality songs are mostly special compound sentences with three words in the first and four words in the last. In terms of paragraph structure, four sentences are the most common. Five sentences are popular in southern Shaanxi, western Hubei, and parts of Hunan, Anhui, Sichuan and other provinces. There are two-line songs in each song, such as the Xintianyou in northern Shaanxi, the mountain climbing songs in Inner Mongolia, and the mountain songs of the Zhuang nationality in northwestern Shanxi. The "Lu" style songs of the Tibetan nationality are mostly composed of three to five sentences, and three chapters form a song, and the sentences are required to correspond to each other. The "Xie" style songs are mostly composed of four sentences, and there are also six or eight sentences in a song. All the folk songs of the Lisu nationality are sung in two sentences, and the upper and lower sentences are required to be parallel. The lyrics of the minor tunes circulated in various parts of the Han nationality have different styles, such as the four-section style of the four-season tune, the five-section style of the five-gaze tune, the ten-section style of the ten-send style, and the twelve-month tune. The three schools of the "Hua'er" in the northwest, Hehuang, Tao, Min, and Longzhong, have different formats. There are also many folk songs of various ethnic groups with unfixed number of sentences and chapters. In terms of rhyme, most of the Han folk songs have a rhyme at the end, and the rhyme of one, two, four, and five sentences in a song is used. The rhyme of each sentence in a song is two sentences, and each sentence has a rhyme. Mongolian folk songs are alliterative. In most folk songs with four lines in one chapter and two chapters in one song, each line is required to rhyme. There are also rhymes in waist rhymes, waist and foot rhymes, head and foot rhymes, or waist and tail rhymes in folk songs of various ethnic groups. The Zhuang nationality's "Lejiaohuan" and the "Hua'er" of the northwestern ethnic groups have special rhyming methods. In terms of expression techniques, metaphor, exaggeration, overlap, and homophony are often used in folk songs. Homophonic cryptic language is often used in songs that expose and criticize current affairs. Puns are used more in love songs. Personification techniques are more common in children's songs. The Naxi nationality's Xianghui tune uses a lot of homophony and personifies objects throughout the whole text, such as using bees, flowers, fish, and water to compare the love between men and women. The style of folk songs varies according to different regions and ethnic groups. Dai folk songs are bright and Hezhe folk songs are rough. Han folk songs in the north are mostly bold and unrestrained, while those in the south are generally more graceful. However, as southern folk songs, Wu songs are more delicate than Chu songs. Different ethnic groups or regions have their own characteristics despite being flowers. The content, form, creation and circulation of folk songs are in the process of development and change. In the new era, many red ballads and new folk songs have emerged, reflecting the revolutionary struggle and the new life of the people under the leadership of the Chinese Communist Party. Among them, the new political ballads are mainly odes, but while praising the times and the people, they also expose and criticize all reactionary things and criticize the shortcomings and mistakes of leaders and the masses. The new life songs have changed the past sad and resentful tone, and are full of the pride and happiness of the people being the masters of their own country. The style is high and light, and the content is often integrated with the praise of the party, the army and the people's regime. Many works of new love songs combine love with revolutionary war, production, labor, learning, science and culture, and express the new realm of thoughts and feelings of young men and women in the new era. There is a significant increase in educational works in new children's songs. Some ancient ritual songs and labor songs are gradually disappearing under the new social living conditions. The form of folk songs changes relatively slowly and has relative stability. Therefore, although some new changes can be seen in the form of modern new folk songs, the style, sentence pattern and rhyme methods of ancient traditional folk songs are still used today. Folk songs are a kind of oral creation of the people, full of vitality, and their excellent works have high artistic value. They are rooted in the soil of people's lives and have relatively direct multiple practical functions. They closely accompany the historical progress of the people, reflect the social outlook and people's psychology in different periods, and have important cognitive value. Folk songs occupy a very important position in the history of Chinese literature. It is one of the creative sources of the ancestor of poetry and literature, writers and poets. Most of the genres of Chinese four-character poems, five-character poems, seven-character poems, and lyrics and songs originated from the folk. Chuci and ancient folk songs, Jian'an literature, Yuefu of the Han Dynasty, Tang Dynasty poetry, ballads of the Six Dynasties, Yuan Dynasty dramas, and folk lyrics and songs since the Five Dynasties all have a profound origin relationship. Contemporary writers learning folk songs is one of the ways to promote the popularization and nationalization of socialist literature. The girl came to watch the dragon lantern at the first watch, and her sister-in-law made her a beautiful face. Let down her black hair and comb her hair into a dragon and phoenix head. The big red jacket is pieced with a white silk skirt. The double-breasted cloak is light and delicate, and the three-inch golden lotus is divided on the left and right. Mom, don't marry your daughter to Pingyang. Pingyang has three ridges and four oceans. The front door is filled with white water. The back door opens with a big cat dragging a pig. Go home to see your mother. A good mother will spank you, but a bad mother will slap you three times. Don't blame your parents or your mother, just blame the matchmaker for having a bad stomach. An eighteen-year-old lady marries a one-year-old man. She feeds him during the day and diapers him at night. She also has to hold him up to look at his naked body. Calling him a husband makes people laugh, but calling him a son is unreasonable. In the first month, she cuts bamboo, and in the second month, she buys grain. In the third month, she catches fish, and in the fourth month, she catches black-scaled pomfret. In the fifth month, there are heavy waters, and in the sixth month, it is difficult to set the net. In the seventh month, there are winds and waters, and in the eighth month, the net is empty. On the ninth day of the ninth month, the monk catches a bucket of snails. On the tenth day of the tenth month, the boss unties the net and sells it. A greedy woman doesn't work at home, she is greedy and lazy and laughs. She refuses to sweep the floor in front of the hall, and mops the dust on the table with her hands. When guests come, she is slow to serve half a bowl of dust and half a bowl of tea. During the day, I go from one house to another, and at night, I light a lamp to spin cotton yarn. In three years, I spin goose egg ramie, and in four years, I spin turnip yarn. Turnip yarn, turnip yarn, mice drag it away as their tails. (No pictures yet, welcome to provide.) (No pictures yet, welcome to provide.)