Hanguang Translation The trees in Nanshan are big and tall,
Don’t rest under the trees for shade.
There is a wandering girl on the Han River,
I want to pursue the impossible.
The Han River is surging and wide,
It is impossible to cross it.
The river is long and long,
It is impossible to cross it by raft.
Firewood and grass grow in tangled clumps,
Use a knife to cut the thorns.
The girl is about to get married,
Feed her horse quickly.
The Han River is surging and wide,
It is impossible to cross it.
The river is long and long,
It is impossible to cross it by raft.
Firewood grows in clumps,
Use a knife to cut the wormwood.
The girl is about to get married,
Feed the foal quickly.
The Han River is surging and wide,
It is impossible to cross it.
The river is long and long,
It is impossible to cross it by raft.
This is a love poem. The lyrical protagonist is a young woodcutter. He fell in love with a beautiful girl, but he never got what he wanted. Tangled with emotions and unable to escape, facing the vast river, he sang this moving poem and poured out his melancholy.
As for the purpose of this article, the statement in the "Preface to Mao's Poems" that he praised King Wen as "extremely virtuous" is not sufficient. The "Selected Works" annotated the "Preface to Han Poems" as saying: ""Han Guang", "Speaking of (joying) people." The Qing Dynasty Chen Qiyuan's "Mao Shi Ji Gu Bian" further elaborates: "If you say (joy), you must seek it, but you can't ask for it only if you can meet it. Yue Mu said it is the best explanation of the poem's purpose." And the grasp of the poetic environment is concise and precise. "There are wandering women in the Han Dynasty, it is impossible to think about them", which is the central verse that embodies the purpose of the poem; "The Han Dynasty is so vast that it is impossible to think about it; the river is eternal, it is impossible to think about it", repeated three times, repeatedly expressing the lyrical protagonist's love for the water. The "wandering girl" on one side looks beyond the horizon and yearns for the hard-to-find sentimentality. Lu Qi and Han Sanjia's poem interpreted "Wandering Girl" as the goddess of the Han River, and she later had many followers. This gives the poem a layer of love between humans and gods. However, the "Book of Songs" is generally implemented in real life. The "Fifteen Kingdoms" are all folk songs that sing secular emotions. Therefore, there seems to be no need to connect this poem with myths and legends. Judging from the external structure, "Han Guang" has three chapters. The first chapter is independent and the last two chapters are overlapping chants. They seem to be no different from other folk songs with repeated chapters and overlapping verses in the "Book of Songs". However, from the perspective of artistic conception, the three chapters are connected layer by layer and have their own poetic internal logic. It can be analyzed into two. First of all, the rising sentences in the three chapters of the poem vividly hint at the labor process of felling wood and mowing wages for the young woodcutter, who is the lyrical protagonist. Fang Yurun once wrote: "In the first chapter, it is said that the trees are rising, which is the land for collecting firewood; the second is about mowing Chu, which is the front of the title; the third chapter is about mowing bean, which is the rest of the work of collecting firewood" ("Original Book of Songs"). From this, Fang summarized the purpose of the poem "Han Guang" as "Qiao Qian Sings", denying the essence of the love poem, which is still clumsy; however, the line "rising" hints at the process of collecting wood, which is both textual and consistent. labor experience. Secondly, from the perspective of structural form, the first chapter seems to be independent of the second and third chapters; and from the perspective of emotional expression, the previous and later parts are closely connected, delicately conveying the complex twists and turns of the lyrical protagonist from hope to disappointment, from fantasy to disillusionment. emotional journey. Only with hope and pursuit can there be disappointment and loss; but the poem does not make it clear here, leaving readers with an unspoken understanding of the young man's deep affection for pursuing love. The poem begins with disappointment and hopelessness. The first chapter has eight sentences, the fourth of which is "cannot", which expresses the hopelessness of pursuit vividly and irreversibly. Generally speaking, the first sentence is regarded as arousing; if you change the reading and put "There are wandering women in Han Dynasty, you can't think about it" in the first place, then "There are trees in the south, you can't stop thinking about them" can be regarded as metaphors, together with " "The Han Dynasty is so vast that it is impossible to think about it" and "The river is eternal and it is impossible to think about it", forming a set of powerful metaphors; the infinite feeling of despair that is beyond the reach of the vision is also expressed more strongly. I loved and pursued you so hard back then, but I can't even look forward to it today. But the heart was unwilling and the emotion was hard to shake off, so the realm of reality turned into the realm of fantasy. Chapters 2 and 3 repeatedly describe the fantasy of infatuation: One day when a "wandering girl" comes to marry me, she first feeds the horse; when a "wandering girl" comes to marry me one day, she feeds the horse and pulls the cart. But an illusion is an illusion after all. Once you open your eyes to reality, you will fall deeper into the abyss of disillusionment. He is still infatuated and persistent, but the rendition of "Han Guang" and "Jiang Yong" in chapters two and three is like a long song to cry after the illusion is shattered. Compared with the first song, it really feels like a man is sad and can't bear to listen. In short, the poems are relatively independent before and after, but the emotional clues are clearly identifiable.
Chen Qiyuan's "Ancient Collection of Mao Shi Ji" summarizes the poetic realm of "Han Guang" as "visible but not sought". This is the so-called "situation of yearning" in Western romanticism, which means that the object of desire is far away and on the other side. It can be seen with the eyes but cannot be touched with the body. It can always be yearned for but can never be reached. realm. "Qin Feng Jian Jia" is also an excellent work depicting the "situation of admiration". Compared with "Han Guang", it appears to be an ethereal symbol and a concrete and realistic one. There are no specific events or scenes in the whole "Jianjia", and it is difficult to identify whether the owner is male or female. The poet deliberately exaggerates a mood of pursuing longing but elusive and elusive.
"Han Guang" is relatively more concrete and realistic, with specific characters: the woodcutter and the wandering girl; there are detailed emotional processes: hope, disappointment, fantasy, and disillusionment; even the subjective illusion of "the son returns" and The descriptions of the natural scenery in "Han Guang Jiang Yong" are all specific. Wang Shizhen believes that "Han Guang" is the beginning of Chinese landscape literature. One of the few poems in the "Book of Songs" that "describes landscapes" ("Poem Talk in Dai Jing Tang"), it is not for nothing. Of course, ethereal symbols can provide a broad space for imagination, but concrete realism is not easy to transcend aesthetically. Qian Zhongshu's "Guan Zhui Bian" discusses the archetypal artistic conception of "admiration situation". In the Book of Songs, "Qin Feng·Jianjia" is the main one, and "Zhou Nan·Han Guang" is the supplement. The reason may be that this. ?
Another. Wen Yiduo's "The Book of Songs New Meanings" and "The Book of Songs Tongyi A", citing "Shuowen" and so on, prove that "salary" is "straw fuel", not "wooden fuel". Record this to prepare for the exam. In this case, the "Chu" and "蒌" of "Xin" can be used to make horses or horses.
Rufen Translation
Walk along the Ru River embankment and cut down the branches of catalpa.
I haven’t seen my husband yet, and I feel as worried as if I were hungry in the early morning.
Walk along the Ruhe River embankment and cut down the remaining branches of catalpa.
I finally met my husband, please don’t abandon me again.
The tail of the bream is red, indicating that royal affairs are urgent.
Although things are urgent, who will feed the parents if they are poor?
The wife encourages her husband who has fled home.
Walking along the Rushui River and cutting branches from the trees, I felt hungry without seeing my man. Walk along the Rushui River, cut off the remaining branches of the trees, and when you see my man, don’t stay away from me.
Looking at the bright red fish tail, I remembered the plight of the royal family. Although the royal family has been burned, the parents are still close at hand.
As for the theme of this poem, the "Preface to Mao's Poems" thinks that it is to praise "King Wen's transformation has spread to the country of Ru Tomb, and women can teach their gentlemen to encourage them to be righteous"; Liu Xiang of the Han Dynasty "The Biography of Lienv" further echoes his statement, stating that this was actually written by the wife of "Doctor Zhou Nan". She was afraid that her husband would be "relaxed in the king's affairs", so she "said that the country was in many difficulties, but she did it reluctantly, without condemning or leaving her parents worried." "also. "Han Shi Zhang Ju" believes that this is a work of a woman "taking advantage of her parents to face the worries of hunger and cold" and to persuade her husband to "for this reason be an official". Obviously, it does not have the meaning of "supporting the husband" in praising "King Wen's transformation". Most modern people do not follow the theory of Mao and Han, but interpret it as a work of a wife returning from a long service. The author thinks it is closer to the poetic meaning.
This is actually revealed in the first chapter of the poem. "Follow your tomb and cut down its branches" - On the high embankment of Ru River, there is a miserable woman, holding an ax in hand to chop down the branches of catalpa tree. Collecting wood and cutting fuel, which should have been a man's job, is now shouldered by his wife who is still at home. Readers can't help but ask: Where on earth is her husband? How could he bear to let his wife work herself to death with an axe? The two sentences "I have never seen a gentleman, I am as scared as I am hungry", which vaguely answers the reason: It turns out that her husband has been away on military service for a long time. If not the wife, who can shoulder the burden of making a living? "Scare" "It means worry, and "regulating hunger" means not eating in the morning. Full of sorrow is compared to "hunger". Naturally, only people who are suffering from hunger can truly feel it. Then, the wife who moved to "Ru Tomb" must have endured hunger and came here to cut firewood. This is the meaning of the tattoo. "Chao Hung" has another meaning. In the pre-Qin period, it was often used as a lingo for male love and female love. Now that her husband is on active duty all year round, how can his poor wife ever enjoy the slightest favor and care? This is the situation of the heroine shown in the first chapter: she is helpless, hungry, and weak in the early morning He collects firewood and cuts firewood. When the desolate autumn wind blows her clothes fluttering, and when the melancholy sighs of "I haven't seen a gentleman, I feel as if I'm hungry" are heard from the embankment, can you not hear it and make your nose sore?
Part 2 In chapter two, the poem takes an unexpected turn. The two sentences "Observe your grave and cut down its branches" should not be regarded as simple repetitions: "脄" refers to the new branches that grow after the trees are cut down. Doesn't it point to the heroine's fatigue and waiting, autumn turns to spring Another year has passed? The sorrow and sorrow continue in the long years. The expectation may have turned into despair. At this moment, I unexpectedly discovered the return of the "gentleman"! So the two sentences "When I see a gentleman, I will not abandon him." Lines of poetry flowed out in response to the heroine's sudden cheers. However, the emotions they contain seem to be far richer and more complex than "cheers": my husband who has been away for a long time has finally returned. After all, he misses me, loves me and has not abandoned me. This is the surge of joy and joy in the sadness. I am happy; but will my husband go out again when he returns? Will he leave me at home and go away? These doubts and conjectures will inevitably arise in the joy; but this time, my husband can no longer go out. How could you abandon your poor wife again? This is another affectionate warning issued in joy and doubt. It is difficult to describe all these things in one sentence, but they are all encompassed by the four words "Don't abandon me" - the description of complex emotions in "Guo Feng" is so simple and graceful!
The heroine’s doubts are not unnecessary. The first two sentences of the third chapter, in the tone of a hesitant husband, mercilessly announce that he has to abandon his family and serve in a distant place: Just like a tired bream swimming with its red tail, when the dynasty is in trouble and urgent matters, In autumn, how could her husband delay and miss home? The vivid metaphor made the situation of her husband's long-distance service so embarrassing. While the poor wife was overjoyed, she soon fell into despair.
Of course, the desperate wife did not give up her last struggle: "Even though they are in ruins, my parents are still alive!" This was the sad question she asked her husband in desperation. Even though the love between husband and wife in the family has been destroyed by ruthless corvée; but what about the parents who are on the verge of starvation, do you not care about their life and death?
The whole poem ends abruptly with a sad question. What answer can Zhengfu give to this question? This question actually runs through the entire history of ancient times: when harsh government orders and heavy corvee endanger the survival of every family, forcing the people who support the "world" to a desperate situation of "like destruction" and "like soup" At that time, history was often full of such questions. The question raised in "Zhou Nan·Ru Tomb" after several sorrows, joys and despairs has turned into the endless silence of the husband in the concluding sentence.
But the readers clearly heard the huge echo from history shortly thereafter: that was the collapse of the Western Zhou Dynasty... (Pan Xiaolong)