Jianjia (jiān jiā): reed.
Cangcang: lush appearance
Yiren: that person. Refers to the person you love.
Fang: Side, that is, one side.
Suhui (sù huí): to go upstream. One said they walked upstream along the curved waterway.
From: to follow, here refers to pursuit and exploration.
Hang: danger; ruggedness.
Travel: to go down the river. One thing is to walk upstream along the straight-flowing waterway.
Wan: as if, as if.
Qiqi: lush appearance.
Xi: dry.
Mei: the junction of water and grass , that is, the shore.
尻(jī): to rise high, to ascend to a high place.
Di(chí): to high ground in the water
Caicai: numerous
Has: Stopped.
涘(sì): Waterside.
Right: Turn right, the road is curved.
< p>沚(zhǐ): A small beach in the water, slightly larger than Di. The reeds are dense and green, and the crystal dew turns into frost. The good man in my heart is standing by the river bank. I went upstream to find her, but the way was difficult and long. I went down the river to find him/her, and he seemed to be in the middle of the water.The reeds are lush and dense, and the crystal dew has not yet dried. The good man in my heart is standing by the river. I went upstream to find her, but the road was difficult and difficult to climb. I went down the river to look for her, and he seemed to be on the beach in the water.
The reeds are uprooted, and the crystal dewdrops are like tears. The good man in my heart is standing by the river. I went upstream to find her, but the way was as hard and dangerous as a rope. Going down the river to look for her, I seem to be on the islet in the water. The connotation and meaning of the poem
On the surface, it seems that this is a poem that expresses the love between men and women. The blending of scenes and touching scenes not only clearly describe the objective scenery the protagonist sees at this time, but also imply what he sees. The mood and feelings at this time are consistent with the poet's desolate state of mind trapped in melancholy and troubled thoughts. In other words, it is through such a cool autumn scene that the poet's melancholy state of mind is exaggerated and expressed concretely. Wang Fuzhi's "Jiang Zhai Poetry Talk" said: "Scenery is related to feelings, and it is related to feelings. Although scenes can be divided into hearts and objects. And scenery produces feelings, feelings produce scenery, the touch of sadness and joy, the welcome of prosperity and languor, mutual exchange. "Hide His House", this poem combines the unique scenery of late autumn with the euphemistic and melancholy lovesickness of the characters, thus exaggerating the atmosphere of the whole poem and creating a confusing and blended artistic conception. In addition, the poem "Jianjia" combines the real situation with imagination and fantasy, using the method of mutually reinforcing the virtual and the real, and using the ambiguity and haziness of the image to enhance the appeal of the lyrical writing. "The so-called beauty is on the other side of the water." This was his first hallucination. He clearly saw a figure on the other side, but he couldn't reach her no matter how hard he walked. "In the middle of the water", this was his second hallucination. Suddenly, he felt that the person he loved appeared in front of him again on the small island surrounded by flowing water, but he could not swim to her side no matter how hard he swam. That beautiful figure is sometimes "on the side of the water", sometimes "in the middle of the water"; sometimes on the shore, sometimes on the high ground. It is really like being in a fantasy or a dream, but the protagonist firmly believes that it is real and pursues her at all costs and hardships. This vividly and profoundly describes the psychological state of an infatuated person and his strong feelings for the one he loves. The vagueness and confusion of this image give the whole poem a hazy beauty and an endless artistic appeal.
"Jian Jia" belongs to Qin Feng. During the reign of King Xiao of Zhou, Feizi, the ancestor of Qin, was granted the title of Qin Gu (now Tianshui, Gansu). When King Ping moved eastward, Qin Xianggong received a large fiefdom west of Qishan due to his meritorious service in sending troops to escort him. Later, Qin gradually moved eastward, with its capital in Yong (now Xingping, Shaanxi). The Qin region includes the area from Guanzhong in Shaanxi to southeastern Gansu. Qin Feng's ten chapters are mostly folk songs from this area during the Eastern Zhou Dynasty.
There have always been different interpretations of this nostalgic poem. Some people think that the author is longing for his lover, and the main theme of the poem is about love; some say that the poet used his friends to satirize Qin Xianggong's inability to treat virtuous officials, which caused the virtuous men to live in seclusion and refuse to come out to serve as officials; others say that the author is a hermit, and this poem is a work of clear ambition. . When we carefully examine the meaning of the poem, we find that the love affair between a man and a woman is not clearly shown in the poem, and it is difficult to determine whether the "beau" is a man or a woman. It is even more unfounded to say that it is a satirical poem. Therefore, we only regard "Yiren" as a person whom the author admires and loves, regardless of whether he is a man or a woman.
The two sentences "Jianjia is green and white dew is frost" point out the time and environment from the object image and color. The dense reeds growing by the river are green in color, the crystal clear dew drops have condensed into thick white frost, the slight autumn wind brings a chilling chill, and the vast autumn water brings a chilling chill. . In the specific time and space of this desolate and ethereal late autumn morning, the poet sometimes stood quietly, sometimes wandered, sometimes looked up, and sometimes frowned in thought. His anxious expression and restless mood appeared in front of us from time to time. It turned out that he was yearning for a friend. The two sentences "The so-called beauty is on the other side of the water" explain the object of the poet's admiration and the location of the beauty. It shows that the poet is eager to see and see through the autumn water, and keeps looking and seeking. "Yiren" refers to a person who has a close relationship with the poet, is respected and loved by the poet, and has never been forgotten by the poet. The word "so-called" shows that "Yiren" is often mentioned and talked about constantly, but he is on the other side of the long river.
"On the side of the water", the tone is affirmative, indicating that the poet is convinced of his existence and is confident to pursue him, but the river is isolated and it is not easy to meet. "If you follow it upstream, the road is long and blocked; if you follow it upstream, you will feel like you are in the middle of the water." Walking upstream along the riverside path, the road is difficult and long, and it is difficult to reach even if it takes a long time; if you go straight When you cross the river, you can see the vast autumn water in front of you, even though it's not far away. Although the poet is standing by the river, his confused and confused mind has already started to fly, and the image of being intoxicated and obsessed with seeing the beautiful woman is vividly visible. The wonder of poetry is just as Fang Yurun said: "Play with its words, although it may be expected but not within reach. Taste its meaning, actually seek it and not far away, think about it and you will arrive." ("The Original Book of Songs")
Only a few words have been changed in the second and third chapters of the poem, but the content is basically the same as the first chapter. But it embodies the musical characteristics of poetry chanting, enhances the melodious and harmonious beauty of the rhythm, and makes the emotions expressed more and more intense. "Cang Cang" in the first chapter, "Desolate" in the second chapter, and "Cai Cai" in the last chapter describe the color of the reeds from pale green to desolate blue to white, rendering the desolate atmosphere of late autumn more and more intense. It highlights that the poet's environment at that time was very cold and his mood was very lonely. The transformation of white dew into "frost", "weixi" and "weiji" depicts the gradual change of morning dew into frost and then into autumn water. It vividly depicts the trajectory of time development and illustrates the poet's dawn. Then we came to the riverside and stayed there until the sun rose in the east. Just imagine how anxious and melancholy he must feel when he wanders alone in the cold and lonely wilderness for a long time, facing the vast autumn water, waiting for no one to see or find anyone! When describing the beauty's location, because of the "square" and "mei" The change of the three words "涘" and "涘" truly depicts the activities and psychological image of the Yiren waiting for the poet on the other side and the poet's desire to meet the Yiren. Such writing greatly broadens the artistic conception of the poem. In addition, the changes of "Chang", "Jiu", "You" and "Yang", "Di" and "沚" also describe his difficulties in finding his lover and his mood in wanting to see his friends from different roads and directions. An urgent situation. If you connect and taste the changing groups of words used in the three-chapter poem, you can better appreciate the meaningful and honest meaning of the poem.
The beginning of each chapter of the poem adopts a style of writing inspired by the poem. Through the description and admiration of the real scene in front of you, the painting creates an ethereal artistic conception that envelopes the entire article. The poet grasped the unique characteristics of autumn colors, and did not hesitate to use thick ink and heavy colors to repeatedly depict and exaggerate the lonely and sad atmosphere of late autumn, so as to express the poet's feeling of loss and enthusiasm for his friends. Just as "Human Words" said: "The poem "Jianjia" is the most profound." It has the characteristics of "I see things with my own eyes, and the old things all have my color" and "The words are also refreshing; the scenery is described It must also be open to people's ears and eyes; the words come out of the mouth without any pretense."
This poem, which has been recited endlessly, has an obvious influence on later generations. Let’s take a look at a description in Song Yu’s “Nine Bian”: “What a sad autumn! The grass and trees are swaying and decaying; I feel as if I’m traveling far away; I’m climbing a mountain and facing the water to see off the return; the sky is desolate. The air is high and clear; the silence is low and the water is clear; the desolation increases and the people are in the cold." Here, through the description of the autumn weather and the falling vegetation, a chilling atmosphere is created and the poet expresses his feelings. A sad and miserable mood. This may be influenced by the poems of "Jian Jia", from which we can get a glimpse of the inheritance and development clues of "Chu Ci" on "The Book of Songs". The origin of "There is a tall building in the northwest" in "Nineteen Ancient Poems", the writing method of expressing interest in the poem and using scenery to express emotion, also follows the writing style of the poem "Jian Jia". Later, Cao Pi transformed this poem into a poem: "The autumn wind is bleak, the weather is cool, and the grass and trees are shaking and the dew turns to frost." It can be seen that the poem "Jianjia" plays an important role in the history of ancient poetry.
(Selected from "Treasure House of Chinese Literature Appreciation", Shaanxi People's Education Press, 1995 edition)
It is so imaginative and beautiful - I read "Qin Feng Jian Jia"
"Jian Jia" is a famous lyrical poem among the three hundred. It is unique in "Qin Feng" and is very different from other Qin poems and is in no way similar to it. In the Qin State, a war-loving and martial state, it is truly a wonder that there are such exquisite, intricate and pathos works. The text of the work is very simple:
The jianjia is green and the white dew is like frost. The so-called beauty is on the water side. If you follow it back, the road will be long and blocked. Traveling back from it, Wan is in the middle of the water.
It is so repetitive that in the three chapters before and after, only a few words have been changed. The content of the poem is also extremely simple, writing about the so-called "eternal" themes in ancient and modern times, both at home and abroad, such as the love between men and women. And only one specific scene is selected: on such a late autumn morning, a lover is wandering back and forth on the bank of the dew-white river, fascinated, anxiously seeking the lover he or she misses, that's all. However, the aesthetic feeling that the work gives people is very rich, so rich that "we just feel that we are still tired of reading it a hundred times" ("History of Chinese Poetry").
Let’s talk about implicit beauty first. Using a little to express a lot, and constructing a very broad space for imagination and appreciation with extremely economical words, this is a major advantage of this poem. The work is not directly lyrical, nor does it describe how the lover misses his sweetheart, but only describes his (her) actions of searching for his lover, which is quite similar to the "leisurely, leisurely, tossing and turning" sentiment of "Guan Ju".
However, the protagonist's passionate feelings and anxiety in pursuing his lover, as well as his or her infatuated obsession, deep lovesickness and pain of disappointment, are all vivid and implicit through the action of seeking and the continuous and hurried process of searching left and right. manifested. One moment "travel back to follow it", and another moment "travel back to follow it", who knows how many repetitions there will be? Chen Qiyuan said: "If you tell me, you must seek it, but if you can see it but not seek it, then you will be more satisfied with it." "("Ancient Chapters of Mao's Poems") However, "the joy of admiration is the best", but if it can be seen that it cannot be obtained, the disappointment and despair will be even worse.
Although the work does not deliberately depict the images of the two parties in love, it very implicitly outlines the image characteristics of the giver and the receiver through the emotional direction shown by the protagonist's pursuit of actions. Against the background of clear water, "Yiren" is noble, making people feel respectable, amiable and lovely. Otherwise, how could he (she) have such a magnet-like attraction, attract the pursuer so strongly, and make the pursuer fascinated! And this lover's pursuer and admirer miss her sincerely, The person who seeks love is not afraid of dangers and obstacles, and is perseverant. He is a person who passionately yearns for love and pursues it persistently, and is unswervingly loyal.
At the same time, the poem only talks about the difficulty of seeking and the elusive beauty "Wan Zai", and then it ends abruptly, and the following will not be mentioned again. So what will happen to this suitor leaves room for the reader's imagination. Maybe he (she) is still continuing his or her passionate pursuit, because the less you can pursue something in the world, the more valuable you feel it is, and the more interested and urgent you are in pursuing it. Maybe it’s because I’m heartbroken and hopeless. Maybe it’s an indescribable feeling, a feeling of “continuing to cut and sort things out”. But what exactly it is, the author did not say. This is what is called "the words are exhausted but the meaning is endless" or "the words contain endless meanings".
Let’s talk about the beauty of artistic conception. Carefully read the words in the poem, in the golden autumn season, at dawn, the reed flowers turn white, the clear dew turns to frost, the autumn wind rustles, the reeds undulate, the vast autumn water is clear and clear, the water is full of mist, the air is mist, the winding river, the water The small island is just in front of my eyes. At this time, an infatuated lover is wandering by the water, passionately and eagerly pursuing the lover in his heart. The lover seems to be on one side of the water, but the water is full and the river is blocked. The "beautiful woman" is out of reach, so he or she wanders back and forth, ecstatic and indescribable inner pain. "The beauty is there, but there is no trace of it", but her figure flashes and sways in front of our eyes from time to time, sometimes far and sometimes near, sometimes disappearing, sometimes disappearing, flickering uncertainly. This situation made the suitor want to find a way out, and he couldn't stop. When I read it, I felt that the mood was sad, the realm was profound, and the meaning was endless. If you taste it more deeply and recite it repeatedly, you will find that the artistic conception of the poem presents a multi-overlapping and interactive structure, showing rich and gorgeous colors.
In the first level, the poet pursues the subjective emotions of his lover who are dreamy, intoxicated, and in a trance, which are integrated with the misty and misty scenery of the autumn morning. It seems that this confused smoke, water and morning mist are the transformation of the poet's intoxicated dream at this time. The scenes are intertwined and inseparable.
Secondly, the poet's endless affection for pursuing his lover is integrated with the looming state of "the lover is still there, but she can't be found without a trace". If it is not "WanZi", the poet will no longer pursue it. It is precisely because there is always a misty shadow flickering in front of his eyes that it constantly draws the poet's passionate feelings and refuses to give up.
Thirdly, the poet's urgent and anxious mood of searching left and right is completely integrated with the realm of "hopeful but unattainable". The rush of "traveling back" and "traveling back" are all due to the anxious mood of the pursuer. And this kind of anxiety is complementary to the situation that is elusive but unattainable, visible but unattainable. Emotions are born from circumstances, and circumstances carry emotions. It has the flavor of "Vega by the river, Morning Cowherd by the river, not able to cross Qingqian, facing each other relatively far away" (Meng Jiao's "Ancient Farewell").
In the fourth level, the protagonist's melancholy and frustrated mood in pursuit of Asuka is completely integrated with the bleak scene of late autumn. Since ancient times, "Autumn scenery is so chilling and sad". The poet's frustration, troubles and pain in pursuit of failure blend with the desolation of autumn frost, autumn wind and autumn scenery. The desolate autumn scenery at this time is exactly the poet's miserable mood. The expression and externalization.
In the fifth level, the noble and charming spiritual temperament of the "Yiren" is highlighted by the scenery of white sky and clear autumn water, and is integrated with the external environment that contrasts him (her).
It is this open structure with multiple overlapping artistic conceptions that makes this romantic work a masterpiece of poetry with great tension, profound meaning, and colorfulness, giving readers a richer experience. space for imagination, development and creation.
Again, let’s talk about hazy beauty. Although the work seems to only describe the poet's longing, pursuit, disappointment and melancholy for the person he likes, it is not a direct description, using detailed descriptions in the style of gongbi, but using curved brushwork to create a long-distance outline of the Italian style. Distance creates a sense of beauty, such as Han Yu's poem "The light rain on the street is as moist as crisp, the color of grass looks far away but not close", Du Mu's "Jiangnan Spring" "Thousands of miles of orioles sing green and red, water villages and mountains Guo wine flag wind. Four hundred and eighty temples in the Southern Dynasties, how many The depictions of "The Tower in the Misty Rain" are excellent examples of the beauty produced by distance. However, this kind of beauty is bound to become blurry, hazy, unclear or even uncertain due to the distance. It is a kind of hazy beauty. It is precisely because of the spatial distance or psychological distance that the whole poem "Jianjia" is written in a confusing and hazy way, showing a mysterious and hazy beauty in the vague image.
The identity of the lyrical protagonist is ambiguous. It is impossible to know whether he is a man or a woman. His cultural background and personality are even more unclear. The face of the "Yiren" is blurry, and not to mention the portrait, not even a rough outline can be seen. Its noble, respectable, lovely, and fascinating beauty comes from the fiery and persistent emotional direction of the pursuer. , or reflected by the clear dew and autumn water. The spatial location of "Yiren" is also very vague. "On the side of the water" is just a freehand brushwork in the style of traditional Chinese painting. The mist is confusing. Where is the person? "Wanzai" is a wandering word, which is difficult to determine. The poet stood with his head raised by the river, staring at the "side" of the water through the mist and reeds. The place where the beautiful woman lives gives people the feeling of seeing flowers in the mist, looming, hazy and ethereal. Is it the eyes or the heart? It's hard to say "see", it's indeed difficult to actually point to and elusive. As for the pursuer's feelings and mentality, the work does not mention a word. We say that his (her) passionate love, persistent pursuit, melancholy and disappointment in pursuit of non-attachment, etc. are all our readers' perceptions and analysis. In fact, the work itself does not give a clear explanation, it seems vague and is left to the readers to understand on their own.
The most elusive thing is the ambiguity of the theme. What is the theme of "Jianjia"? Is it a realistic depiction of the love between young men and women? Is there really such a man or woman wandering around the Weibian River on a late autumn morning, fascinated, pursuing a phantom? So, Is it writing a dream? Perhaps it is about a young man pursuing his lover, thinking about it day and night, "so leisurely, tossing and turning" and then enters the dream, and writes a poem when he wakes up. It may also be the mentality of "the beautiful person is there but can be found without a trace" that is common in writing about life with images. People often have this experience in life. Someone or something seems to be there, but when they look for it, they are nowhere to be seen. When I'm not looking for it, I always feel that it (it) is still there. It may also be a way of describing a philosophy of life that is “out of reach”. There are many things in life that are out of reach, including love, career, official life, and ideals and longings for activities. This is our discussion of poetry today, so we might as well interpret it from many aspects. As for the opinions of the ancients, we are even more surprised.
The "Small Preface to the Poetry" said: "Jianjia stabbed Duke Xiang. If he failed to use Zhou rites, he would not be able to consolidate his country." "Shi Shen" said: "The lower reaches of Gai are Luo Jing. If a scholar is in the Zhou Dynasty, it is as if he is in the middle of the water and cannot be reached. The upper reaches of the river are Miwei. If a scholar is in the Qin Dynasty, the road is long and difficult. "It is believed that the main purpose of this poem is to seek a hermit. In short, due to the ambiguity of the theme, sages and sages have different opinions on the theme of the poem and cannot agree on one. Originally "poetry has no clear interpretation", this vagueness makes it even more different. But it is precisely this kind of haziness, ambiguity, and ambiguity that is consistent with the poet's samadhi. Ming Xie Zhen pointed out in "Siming Poetry Talk": "It is not suitable to be realistic when writing poetry. For example, when you look into the distance when you are walking in the morning, you will see the beautiful scenery of the green mountains, which is vaguely lovely." The changes in the haze are difficult to describe, and it is no longer a wonder. It is just a few rocks and trees. The beauty lies in the vagueness, and the artistry is revealed. "Ye Xie of the Qing Dynasty had a vague poetry theory: "The beauty of poetry is. The implication is boundless, the thought is subtle, it is placed between the wordable and the unspeakable, and its reference is in the incomprehensible and incomprehensible meeting; the words are here but the meaning is there, the clues are lost and the image is lost, the discussion is exhausted and the thinking is exhausted, leading to People are in a state of trance in the desert, so they are at peace." ("Original Poetry") It can be seen that the ancients have long been fascinated by the hazy beauty in poetry, and their insights are very insightful and original. However, in this vague and uncertain purpose of the poem, there is still something certain. The feeling of "deep desire and willingness to see" is certain, the meaning of persistent pursuit is certain, and the pursuit of not giving up even if you don't get it is also certain. This serves as a guide for the reader's imagination and re-creation.
Finally, there is also the beauty of music. The poem has many overlapping verses, and the meaning is divided into three folds. The rhyme is first sounded and then muted, first raised and then suppressed. .
In short, the rich beauty of the poem "Jianjia" is worthy of our attention and serious discussion, whether from the perspective of appreciation or creation. "Jian Jia" is one of the best chapters in the Book of Songs. Its main characteristics are concentrated in three closely related aspects: blurring of facts, ethereal imagery, and overall symbolism.
1. The blurring of facts
Generally speaking, the creation of lyric poetry is inspired by the feeling of specific things, so in its artistic conception, you can always see some Real personnel scenes. However, the author of "Jianjia" seems to have deliberately blurred out the main characters and events in it. Who is the pursuer? Why is he pursuing? We don’t know; what is the identity of the “beloved” being pursued? Why is he so difficult to get? We don’t know either; so much so that we can’t even confirm whether they are male or female. Especially "Yiren" has no voice, appearance or appearance. Sometimes he is in the upper reaches of the river, sometimes in the lower reaches of the river, sometimes in the middle of the water, and sometimes in the grass beside the water. He is erratic, coming and going indistinctly, which makes people doubt whether he really exists. physical presence. Undoubtedly, due to the blurring of the pursuer, especially the forced seeker, the entire pursuit of characters, events, and content becomes illusive and hazy; however, it is precisely because of the blurring and hazyness of this fact that the artistic conception of the poem is It seems so ethereal and symbolic.
2. The etherealness of the image
In fact, the scene described in the poem is not the actual people and events that exist in the eyes, but a mental image.
This kind of mental image is not a memory of a real thing that has been experienced, but a typical psychological situation that is synthesized, condensed and virtualized by many similar events and similar feelings. The biggest characteristic of this psychological situation is that it is neither sticky nor sluggish, and is ethereal and multi-aggregated. "Beyond the Water" is an artistic expression of this ethereal psychological situation. Here, due to the virtualization of the pursuer and the forced seeker, the river, the dangerous road, and even the upstream and downstream pursuit routes, as well as the "middle of the water" where the beauty is, and other places that seem to be real scenery, are also missing. All have become virtual symbolic images. Neither of them can be studied deeply about when, where, what mountains and rivers. Otherwise, it would be contradictory if the Yi people were both upstream and downstream of the river. It would also be a question why the two people did not cross the river. The success of "Jianjia" lies in the fact that the poet accurately captured people's mental images and created a psychological situation that resembles a flower but is not a flower, and is ethereal, so that the artistic conception of the poem is presented as a symbol of integrity.
3. The overall symbol of the artistic conception
The symbol of the poem "Jianjia" is not the symbolic rhetoric or technique used in a certain word or sentence, but the overall symbol of the artistic conception. "Being on the side of the water" and facing difficulties is a common situation in life. The dilemma of "traveling back and following it, the road is long and blocked" and the illusion of "traveling back and following it and wandering in the middle of the water" are also common in life. Situation; people may often be baptized by the complete emotional flow from the excitement of pursuit, to the trouble of being blocked, to the melancholy of loss. They may also often be impacted by the pain of fighting against the current or the joy of going downstream; readers can From here, it can be associated with the situation of love and the experience of arousing love. It can also be associated with the situation of ideals, career, future and many aspects of life, and it can also evoke many aspects of life experience. The overall symbol of artistic conception makes "Jian Jia" truly have an inexhaustible philosophical meaning of life. Wang Guowei once compared this poem with Manshu's "Butterfly Loves Flowers" "Last night the west wind withered the green trees, I went up to the tall building alone, looking at the end of the world", thinking that it "regained the charm of the people", which was obviously focused on its artistic conception. The symbolic meaning of life. The blurring of facts, the emptiness of images, and the overall symbolism of artistic conception are three aspects of a problem.
From the blurring of facts to ethereal imagery, and then to overall symbolism, this is roughly the process of constructing the artistic conception of symbolic poetry