Four points are made in this article : 1) The technique hsing 興 has no direct connection with the Confucisn statement , “Poetry can stir up human emotions”(Shih k’e i hsing 詩可以興). 2) From the poem “Lin chih chih” 麟之趾 , one can see that the technique hsing involves not only phonological patterns but also the intrinsic meaning of the poem . Although words of pure rhythmical patterns do exist , they are not restricted to the hsing verses ; the pi 比 and the fu 賦 verses also have them . 3) It has been known since Chih Yu 摯虞(d. 311) that while the pi involves the human intellect , the hsing is derived from emotions . Since emotions operate instinctively , they tend to make free associations . As a result , the hsing verses may refer to scenes in the past as well as the present . 4) The hsing is unique to the Shih ching 詩經 , therefore the Mao exegesis of the Shih ching emphasizes the hsing technique , while the pi technique derives its name from its nature as distinct from that of the hsing . The hsing verses mark the beginning of a poem and are always used to start a stanza . The opening lines of a poem are sufficient for us to judge whether its main technique is fu , pi , or hsing . If used in the middle of a stanza , the hsing verses must coincide with the change of rhyme , a marker technically equal to the beginning of a anew stanza . It is meaningless to talk about the hsing verses at the end of a stanza , and such a term would be contradictory to the semantic implications of the hsing .