Originality and Appreciation of The Book of Songs Jia Xu
The Book of Songs
The Millennium is frost. The so-called Iraqis are on the water side.
Tracing back and forth, the road is blocked and long. Swim back from it, in the middle of the water
This is sad and sad, and the Millennium is not a sunrise. The so-called Iraqis are in the water.
Tracing back and forth from it, the road is blocked and broken. Swim back from the inside and swim in the water.
Jia Cai, peace and prosperity have not passed. The so-called Iraqis are in the water.
Go back and follow, the road is blocked and turn right. Swim back from the inside and swim in the water.
Introduction of works
The Book of Songs is the earliest collection of poems in China, and * * * contains 305 poems of the Zhou Dynasty. Originally called "Poetry" or "Poetry 300", Confucian scholars in the Han Dynasty began to call "The Book of Songs". The existing Book of Songs was handed down by Mao Heng in the Han Dynasty, so it is also called Mao Shi.
Jian Jia is an article in The Book of Songs Qin Feng. This is a love song for my lover. The object that the author yearns for is out of reach, and there are thousands of difficulties and dangers in the middle, so the poet lingers and can't restrain infinite melancholy.
This poem has been praised by all previous dynasties as a good poem with deep feelings and deep feelings. This poem consists of three chapters, each with eight sentences. The first two sentences describe the scenery, and the last six sentences describe things lyrically. As the beginning of the poem, landscape sentences such as "Wan Jian Cang" are written with gorgeous and noble frost, which sets off the passionate pursuit and pure love of the lyric hero. At the same time, they also have the function of landscape narration, which is an indispensable part of the whole poem, because this is what the protagonist sees and feels. The author also relates the deep affection of people who miss him to the description of Qiu Shui. Autumn water is deep, which seems to be the deep affection between lovers; Shui Yue is the right person in her eyes. Autumn waters affect feelings. On the water side, it is the deep feeling in a specific environment and the unique feeling of spoony people.
This poem takes the form of a heavy chapter, singing and sighing. Poets are full of emotions, and unless they recite them repeatedly, they can't express their unattainable feelings and deepen their lyricism. Due to the change of individual words in repetition, the process from condensation to frost, to melting into water and gradually drying up in the Millennium is written, which shows the passage of time. In the course of this period of time, the poet is searching up and down, wandering, looking forward, and the overlapping of rules and regulations is also showing the deepening of emotions step by step.
To annotate ...
Jiān jiā: reed.
Pale: lush and dark.
Iraqi: That man.
Fang: The other side is just one side.
Backwater: upstream.
From: pursuing, exploring.
Resistance: danger and resistance; Strong and durable.
Upstream: downstream.
Wan: It seems, it seems.
Sad: same, lush.
Sunrise: Fuck.
Mae: the junction of water and grass, that is, the shore.
Jump (jí): Get up high and climb high.
Chí: A small sandbar in the water.
Mining: numerous occurrences.
Has: stopped.
By the water.
Right: Turn right and the road will bend.
Zh(zhǐ): Small beach in water, slightly larger than the beach.
translate
The reeds are dense and gloomy, and the dew is crystal clear and frosty. The good man in my heart is standing by the river. It's too long to find her upstream. Look for her downstream, as if in the middle of the water.
The reeds are lush and dense, and the crystal dew is still wet. The good man in my heart is standing by the river. Going upstream to find her, the road is rugged and difficult to climb. Go down the river to find her, as if on a beach.
The reeds take root piece by piece, glittering and translucent like dew and tears. The good man in my heart is standing by the river. Sail against the current to find her, and the journey is dangerous. Go down to the river to find her, as if she were in the water.
Make an appreciative comment
[Writing background]
Sword Armor is selected from The Book of Songs, National Style and Qin Feng, which is a folk song that originated in Qin about 2,500 years ago.
There have always been different opinions about the content of this poem. To sum up, there are three main arguments: one is the theory of "stabbing Xianggong". "Preface to Poetry" said: "Jia Xu, the thorn is also male. If Zhou Li cannot be used, the country cannot be consolidated. " Su, a modern man, explained this meaning in the Book of Songs: "The so-called sage on the water side is a metaphor for the ritual system of the Zhou Dynasty. If you run the country against the rites in the Book of Rites, then "the Tao will be long if it is blocked", "the Tao will be broken" and "the Tao will be right", that is, it cannot be done and cannot be cured. If you follow Zhou Zhili, it will be in the water and in the water. " "Water swimming" means that there is hope for governing the country. "The second is" recruiting talents ". Yao Jiheng's General Theory of the Book of Songs and Yurun's Primitive Book of Songs all say that poetry appeals to sages, and "Yiren" means "talented people": "sages live in seclusion on the waterfront, but people yearn for it." Or, saying, "You don't follow the path of seeking seclusion, and hermits avoid it." The third is the theory of "love". Today, Lan Juyou, Fan, Gao Ting, Lu Huiwen and others all hold "love songs". For example, Lu Huiwen said: "This is a love song, and the poet is in trouble because the lover he is pursuing is out of reach. It is an implicit metaphor to say that the river is impassable. "
Because the skill of this poem cannot be verified, and the reference to "Iraqis" in the poem is also difficult to win the trust, it is difficult to draw a conclusion on the above three theories. Here, let's take it as a love poem.
Jia Jian belongs to Qin Feng. When Wang Xiaoshi was in Zhou Dynasty, Fei Zi, the ancestor of Qin State, was sealed in Qin Valley (now Tianshui, Gansu). When Wang Ping moved eastward, Qin Xianggong was escorted by troops and got a large fief in the west of Qishan. Later, Qin gradually moved eastward, all in Yong (now Xingping, Shaanxi). The Qin area includes the area from Guanzhong of Shaanxi to southeastern Gansu. Qin Feng * * * ten articles, mostly folk songs in the Eastern Zhou Dynasty.
[hierarchy]
This poem has three overlapping chapters, and each chapter can be divided into four levels:
The first two sentences show a picture of the autumn river: in the early morning of late autumn, autumn water is dense, reeds are green, dewdrops are bright and crystal clear as frost. This state is slightly sad in emptiness and loneliness, so it plays a good role in rendering the atmosphere and setting off the artistic conception of the persistent pursuit and elusive love expressed in the poem.
Three or four sentences tell the central image of the poem: the lyric hero strolls by the river and stares at the "Iraqi people" on the other side of the river. This "Iraqi" is the one he misses day and night. "Being on the water side" is isolated from the world, which means to pursue difficulties and produce an unattainable realm. Although the lyric hero is eager to see through the autumn water and pursue it persistently, "Iraqis" are full of fog. It's hard to see, so there are helpless feelings and empty and melancholy feelings in the poem.
The following four sentences are two levels of juxtaposition, describing two different scenes on the water side. "Going back and forth among them, the road is blocked and long" is a description of the dilemma in counter-current pursuit: endless difficulties and obstacles, endless journey, and inaccessible signposts. "Swim downstream in the middle of the water" is the illusion of tracing downstream: the journey is smooth everywhere, the Iraqis are always there, but in the end they can't get close. There are both upstream and downstream, and the significance of pursuing and persisting can be seen; Either the dilemma is difficult to reach, or the illusion is difficult to approach. After all, it is impossible, and the deeper the feelings of fear. At this point, the situation that Iraqis never dreamed of has been concretely and fully demonstrated.
There are three chapters in the whole poem, and only a few words are changed in each chapter, which not only plays the artistic effect of repeating chapters and sentences, chanting repeatedly, singing three times and sighing three times, but also plays the role of constantly promoting poetry. From "The White Dew is Frost" to "The White Dew is Not Wet" and then to "The White Dew is Not Already", this is the passage of time, symbolizing the long-term gaze and pursuit of the lyric hero; From "on the water side" to "on the water side", then to "on the water side", from "in the middle of the water", to "on the water side" and then to "on the water side", this is a change of location and symbolizes the elusive Iraqi people. From "the road is blocked and long" to "the road is blocked and broken" and then to "the road is blocked and right", it is the repeated rendering of the difficulties in the pursuit process that highlights the indomitable spirit of the lyric hero. Repeating chapter by chapter and advancing layer by layer is a common form of folk songs in The Book of Songs. The poem also skillfully uses "Cang Cang", "Sorrow" and "Cai Cai" to make the whole text vivid and affectionate.
[Content review]
If the "Iraqi people" in the poem are regarded as lovers and lovers, then this poem shows the melancholy mood of the lyric hero's persistent pursuit of beautiful love. The spirit is precious and the feelings are sincere, but the result is slim and the situation is sad.
But the most valuable and striking thing about this poem is not the pursuit and loss of the lyric hero, but the artistic conception of "being on the water side" created by him, which has universal significance. Good poetry can create artistic conception. Artistic conception is a pattern and a structure, which has the performance of containing all heterogeneous things with similar patterns and structures. The structure of On the Water is: chasing troops-rivers-Iraqis. Because the "Iraqi people" in the poem has no specific reference, and the meaning of the river lies in the barrier, all the pursuits that are difficult to achieve because of being blocked in the world can be isomorphic and resonate here.
From this point of view, we might as well understand the poetry of the novel as a symbol and take On the Water as an artistic paradigm to express all the difficulties in social life. The "Iraqis" here can be talents, friends and lovers, achievements, ideal prospects, and even blessed land, holy land and heaven; The "river" here can be high mountains and deep valleys, patriarchal clan system and ethics, or any other obstacles that may be encountered in real life. As long as there are pursuits, obstacles and disappointments, it is the world that it reproduces and expresses. In this way, the ancients interpreted it as persuading people to follow the etiquette, accepting talents and caring for others. Today, people regard it as a love poem, and some even regard it as a ritual of ancestor worship by the ancient water god. I'm afraid there is some truth. It seems inappropriate to stick to one family and exclude others, because they are all included in the symbolic meaning of "on the water side"
Naturally, when we are in a situation similar to "on the water side", we should appreciate its keen pursuit, not its pessimistic disappointment.
This poem creates a hazy, fresh and mysterious artistic conception with images such as water, reed, frost and dew. The morning mist covers everything, and the crystal dew has condensed into frost. A shy girl walked slowly. The water image in the poem represents women and embodies the beauty of women, and the thin mist is like a veil covered by a girl. She appeared at the water's edge, and then on the land of water. I can't find it, and my anxious and helpless mood itches like an ant crawling and hurts like a knife cutting. As we often say, "distance produces beauty", this kind of beauty becomes hazy, fuzzy and unclear because of distance. The identities, faces and spatial positions of the protagonist and the Iraqi people are vague, giving people a vague, looming and hazy feeling. Sword armor, white dew, Iraqi people and autumn water are becoming more and more elusive, forming a hazy and elegant watercolor painting. At the beginning of each chapter of the poem, the brushwork of seeing interest in fu is adopted. Through the description and admiration of the real scene in front of me, I drew an ethereal artistic conception that enveloped the whole article. The poet grasps the uniqueness of autumn colors, and repeatedly depicts and renders the empty and sad atmosphere in late autumn, so as to express the poet's disappointment but ardent yearning for his friends. The first two sentences of each chapter are inspired by autumn scenery, which leads to the text. It not only points out the season and time, but also renders the desolate atmosphere, which sets off the melancholy mood of the characters and reaches the artistic situation of blending scenes. The three images of "Jiaxu", "Water" and "Arbitrary" complement each other and blend into one, and the things for fun and the things described constitute a complete artistic world. At the beginning, the scene of reeds growing by the water in autumn is exactly "expressing meaning with images" and has the role of "passion" Because of the reed, and under the reflection of the sky and water, it is bound to present a state of confusion, showing the realm of "hazy love" in the hero's heart from one side. Wang Fuzhi's "Jiang Zhai Shi Hua" said: "Those who care about the current situation are also self-interested and beneficial to others. Although the scene is divided into heart and object. Scenery gives birth to emotions, emotions give birth to scenery, touch sadness and joy, welcome honor and disgrace, and hide in each other's homes. " The poem "Jin Jia" is to combine the unique scenery in late autumn with the euphemistic and melancholy lovesickness of the characters, thus rendering the atmosphere of the whole poem and creating an artistic conception of "scenery and words are in love". In a word, the rich aesthetic feeling of Jiaxu is worthy of our attention and serious discussion, both from the perspective of appreciation and creation.
[Artistic features]
Jianjia is one of the best chapters in The Book of Songs. Its main features are embodied in three closely related aspects: the fuzziness of facts, the emptiness of images and the symbolism of the whole.
First of all, the fact is vague.
Generally speaking, the creation of lyric poetry stems from the feeling of specific things, so there are always some real personnel scenes in its artistic conception. But the author of Jiaxu seems to have deliberately blurred all the main events in it. Who is the seeker? What is he after? We don't know; What is the identity of the hunted "Iraqi"? Why is it so hard to get? We don't know; Even if it is male or female, it is impossible to confirm. "Iraqis", in particular, have no voice, no appearance and no appearance. In the upper reaches of the river for a while, in the lower reaches of the river for a while, in the middle of the water for a while, and in the grass beside the water for a while. They are erratic and come and go, which makes people wonder if they really exist. Undoubtedly, because the pursuer, especially the pursued, is vague, the whole pursuit of characters, events and contents becomes illusory and hazy; But it is precisely because of this fact that the artistic conception of poetry is so ethereal and full of images.
Second, the ethereal image
In fact, the scene described in the poem is not a real person, but a psychological image. This psychological image is not the memory of a real thing I have experienced, but a typical psychological situation which is synthesized, condensed and blurred by many similar events and feelings. The biggest feature of this psychological situation is that it is not sticky or greasy, and it is ethereal and rich. On the Water is the artistic expression of this ethereal psychological situation. Here, the "water center" where Yiren is located has also become a virtual symbolic image because of the ambiguity between the pursuer and the pursued, the seemingly real scenic river road and the pursuit route of the upstream and downstream. We can't find out when and where they are and what water they have in He Shan. Otherwise, Iraqis are contradictory in the upper and lower reaches of the river. Why even two people don't cross the river becomes a problem. The success of Jia Xu lies in the poet's accurate grasp of people's psychological images, which creates a psychological situation that looks like flowers, making the artistic conception of the poem present as a symbol of integrity.
Third, the overall symbol of artistic conception
The symbol of poetry is not the use of symbolic figures of speech or skills in a word or sentence, but the overall symbol of artistic conception. "Being on the water side" is a common situation in life. The dilemma of "going back and forth in the middle, but the road is blocked and long" and the illusion of "going back and forth in the middle of the water" are also common situations in life. People may often be baptized by a complete emotional flow, from the excitement of pursuing, to the troubles of being blocked, and then to the disappointment of being lost, they are often affected by how painful it is to go upstream or how happy it is to go downstream; Readers can think of the situation of love and the experience of calling for love together, as well as the ideal, career, future situation and various experiences of calling for life together. The overall symbol of artistic conception makes Jia Xu really have an inexhaustible philosophy of life. Wang Guowei once compared this poem with Yan Shu's "Butterfly Lovers", "Last night, the west wind tuned the trees, climbed the stairs alone, and looked at the horizon", and thought that they were "the most popular", which was obviously the symbolic significance of life focusing on its artistic conception.
The vagueness of facts, the emptiness of images and the overall symbol of artistic conception are three aspects of a problem. From the fact to the virtual image, and then to the overall symbol, this is roughly the process of constructing the artistic conception of symbolic poetry.