Original text:
The Book of Songs
The Book of Songs is pale and the Millennium is frost. The so-called Iraqis are on the water side.
if you follow it, the road will be blocked and long. Swim back from it, in the middle of the water.
Jian Jian is growing, and the white dew is still fresh. The so-called Iraqis are in the water.
if you go back and follow it, the road will be blocked and broken. Swim back from it and swim in the water.
the dew is not yet in the harvest. The so-called Iraqis are in the water.
if you go back and follow it, the road is blocked and right. Swim back from it and swim in the water.
Note
[ Edit this paragraph ]
jiān jiā: Ji, Di, like a reed. A reed.
Cang: a lush appearance.
is: condensed.
So-called: thinking. Iraqi people: this person or that person. It refers to the person that the poet misses and pursues.
on the water side: on the other side of the river.
go back to it: it means to go upstream along the river to find her. Upstream, upstream. Follow, chase and pursue.
resistance: dangerous and difficult to walk.
swim upstream from it: go upstream along the DC river to find her. Swim, flow, refers to the channel of direct current.
in the middle of the water: (the man) seems to be in the middle of the river. Wan, as if, as if.
sad: lush appearance. Now write "cymbals"
I (xΘ): fuck.
Mae (méi): The place where water and grass meet refers to the shore.
jump (jΙ): climb, rise.
chí: a small continent or highland in the water.
mining: lush and vivid appearance.
it means "dry, dry" here.
Ji (s √): by the water.
right: turn right, which means (the road) bends.
zhi (zhǐ): a small piece of land in the water.
Jia Jian is a folk song of Qin State. It is a love poem, written in the psychology and feelings of an infatuated person in love. It is very real, tortuous and moving. "Jia Jian" is the collective name of reed and reed, both of which are born by the water. "Jian Jian Cang, White Dew is Frost" describes a cool scenery of autumn reeds, vast white dew and thick frost, which secretly reflects the hero's mood at this moment. "The so-called Iraqi people are on the water side", Zhu Xi's Biography of Poetry: "Iraqi people are still the same." Here, it refers to the hero's lover who misses him so much. At present, autumn scenery was originally silent, with long autumn waters and nothing, but because of his worrying thoughts, he seemed to see the right person far away on the other side of the water, so he wanted to pursue her in order to get together. "Going back and forth, the road is blocked and long", the protagonist swims up along the river bank to find the trace of the right person, but there are many obstacles on the road, which is difficult to walk and tortuous and far away. "Follow it and swim in the middle of the water." Then swim in the water to find her, but no matter how the protagonist swims, she can't reach her. She seems to be in the middle of the water forever, just beyond my reach. These words are about the protagonist's illusion. There is always a blurred figure floating in front of her eyes, which seems true or false. No matter whether she is traveling on land or in water, she can't get close to her, as if she is turning around the center of the circle. So he wandered around the water's edge, feeling uneasy. This clearly outlines a hazy artistic conception, describes an obsessive mood, and casts a confused and sentimental mood on the whole poem. The following two chapters only change a few words and sing repeatedly. "Not", not dry. The junction of "Mae" aquatic plants is also the shore. "jump", rise. "Right", tortuous. "Gou" and "Zhi" refer to the highlands and small Zhu in the water.
Hierarchical structure
This poem has three overlapping chapters, and each chapter can be divided into four levels:
The first two sentences are based on a picture of autumn colors on the river: late autumn morning; The autumn water is Miao Miao, the reeds are green, the dew is ying ying, and the crystal is like frost. This realm is slightly sad and sad in the emptiness and loneliness, so it plays a good role in rendering the atmosphere and setting off the mood for the persistent pursuit and elusive love expressed in the poem.
The third and fourth sentences show the central image of the poem: the lyric hero strolls by the river, gazing at the "Yiren" on the other side of the river. This "Iraqi" is the one he misses day and night. "On the water side" is isolated, which means that the pursuit is difficult, resulting in an unattainable realm. Although the lyrical hero yearns for autumn water and pursues it persistently, the "Iraqi" is ethereal and difficult to reach, so the poem is full of helpless mood and empty feelings.
The following four sentences are two levels in parallel, which are descriptions of two different scenarios on the water side. "Going back to it, the road is blocked and long" is the dilemma when describing the pursuit of countercurrent: the difficulties and obstacles are endless, the journey is endless, and the sign can't be reached. "Follow it and swim in the middle of the water" is the illusion of tracing downstream: the journey is smooth everywhere, and Iraqis are always there, but they can't get close at last. Both upstream and downstream, pursuing in every way, the meaning of persistence 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 disappointment. At this point, the situation that Iraqis can't dream of has been shown concretely and fully.
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 and singing three sighs, but also plays a role in continuously promoting poetry. From "The White Dew is Frost" to "The White Dew is at the end" and then to "The White Dew is at the end", this is the passage of time, symbolizing the long time for the lyric hero to gaze and pursue; From "being on the water side" to "being in the water", to "being in the water", from "being in the middle of the water", to "being in the water" and then to "being in the water", this is a change of place, which symbolizes the elusive Iraqi people. From "road resistance and long" to "road resistance and breakthrough" and then to "road resistance and right", it is to repeatedly render the difficulty of the pursuit process to highlight the indomitable spirit of the lyric hero. It is a common expression of folk songs in the Book of Songs to repeat chapters and sentences and promote them layer by layer.
content review
if the "Iraqi people" in the poem are identified as lovers, then this poem shows the lyrical hero's persistent pursuit of beautiful love and his melancholy mood. Spirit is precious, feelings are sincere, but the result is slim and the situation is sad.
however, the most valuable and fascinating thing in this poem is not the pursuit and loss of the lyric hero, but his creation of "being on the water side", which is the artistic conception with 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 similar structures. The structure of "on the water side" is: pursuers-rivers-Iraqis. Because the "Iraqi" 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 sympathetic here.
from this point of view, we might as well understand the poetry of Jia Jian as a symbol, and regard "on the water side" as an artistic paradigm to express all the difficult situations in social life. The "Iraqis" here can be talents, friends, lovers, achievements, ideals, prospects, and even blessed land, sacred land and celestial world; The "river" here can be high mountains and deep ravines, patriarchal clan system and ethical code, or any other obstacles that may be encountered in real life. As long as there is pursuit, obstruction and loss, it is the world of its reappearance and expression. In this way, the ancients interpreted "Jia Jian" as persuading people to follow the rites of rites, recruit talents, and cherish people. Today, people regard it as a love poem, and even some people regard it as a ritual of offering sacrifices to the water gods of ancient people. I am afraid there is some truth. It seems that it is not appropriate to stick to one and reject the others, because they are all contained in the symbolic meaning of "on the water side".
naturally, when we are in a situation similar to "on the other side of the water", we should appreciate its keen pursuit, not its pessimism and disappointment.
artistic features
Jia Jian is one of the best chapters in the Book of Songs. Its main characteristics are embodied in three closely related aspects: the fact is blurred, the image is ethereal and the whole symbol.
First, the blurring of facts
Generally speaking, the creation of lyric poetry is based on the feelings of specific things, so there are always some real personnel scenes in its artistic conception. However, the author of "Jia Jian" seems to deliberately blur all the main events in it. Who is the seeker? What did he pursue? We don't know; What is the identity of the pursued "Iraqi"? Why is he so hard to get? We do not know; Even if they are male or female, it is impossible to confirm. In particular, "Iraqi" has no voice, appearance or physical appearance. For a while, he is in the upper reaches of the river, the lower reaches of the river, the middle of the water, and the grass by the water. He is erratic and elusive, which makes people doubt whether he really exists. Undoubtedly, the pursuit of characters, events and contents has become illusory and hazy due to the vagueness of pursuers, especially those who are forced to seek. However, it is precisely because of this fact that the artistic conception of poetry is so ethereal and symbolic.
second, the ethereal image
in fact, the scene described in the poem is not the real person, but a mental image. This kind of mental image is not a memory of a real thing that I have experienced, but a typical psychological situation that is synthesized, condensed and blurred by many similar events and feelings. The biggest feature of this psychological situation is that it is not sticky, ethereal and rich.
"On the water side" is the artistic manifestation of this ethereal psychological situation. Here, due to the blurring of pursuers and forced seekers, the rivers and roads that seem to be real scenery, as well as the upstream and downstream pursuit routes, as well as the "water center" where Yiren is located, have also become virtual symbolic images. We can't delve into when and where they are, and what water they have in He Shan. Otherwise, the Iraqis are contradictory both in the upper and lower reaches of the river, and it becomes a problem why even two people don't cross the river. The success of "Jia Jian" lies in the poet's accurate grasp of people's mental image, creating a psychological situation that looks like a flower but not a flower, which makes the artistic conception of the poem present as a holistic symbol.
Third, the overall symbol of artistic conception
The symbol of the poem "Jia Jian" is not the use of symbolic figures of speech or techniques in a certain word or sentence, but the overall symbol of artistic conception. "Being on the water side" is a common situation in life, so is the dilemma of "going back to it, but the road is long" and the illusion of "going back to it and being in the middle of the water". 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, and they may often be affected by the emotional impact of how painful it is to fight against the current or how happy it is to go downstream; Readers can think of the situation of love and the experience of arousing love from here, and also think of the situation of ideals, careers and future and arouse many life experiences from here. The overall symbol of artistic conception makes "Jia Jian" really have an inexhaustible philosophy of life. Wang Guowei once compared this poem with Manshu's "Die Lian Hua" "Last night, the west wind withered the green trees, climbed the tall building alone, and looked at the end of the world", and thought that it was "restored to the wind and human feelings", which was obviously a symbolic meaning 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 empty image, and then to the overall symbol, this is roughly the process of constructing the artistic conception of symbolic poetry.
The three chapters of this poem are all inspired by autumn scenery, who is sad on the shore of autumn water. The so-called "Jian Jian Cang, the white dew is frost", "Jian Jian, the white dew is not sad" and "Jian Jian Cai, the white dew is not yet" describe one. In other words, the poet's sad state of mind is also enhanced by such a cool autumn scene, and the image is concrete. Wang Fuzhi's "Jiang Zhai Shi Hua" said: "Those who care about the situation are self-interested, and they are self-interested. Although the scene is divided into mind and matter. And the scenery gives birth to feelings, feelings give birth to scenery, the touch of sorrow and joy, the welcoming of glory and strain, and hiding each other's homes. "This poem is to combine the unique scenery of late autumn with the euphemistic and melancholy acacia feelings of the characters, thus rendering the atmosphere of the whole poem and creating an artistic conception that is full of fans and scenes. In addition, the poem "Jia Jian" combines the real situation with imagination and fantasy in one ambition, and strengthens the appeal of lyric writing by means of the mutual growth of reality and reality and the fuzziness and obscurity of images. "The so-called Iraqi people are on the other side of the water" was his first illusion. He clearly saw a figure on the other side, but he couldn't get to her side. "Wan in the middle of the water" was his second illusion. Suddenly, he felt that his loved one appeared on the island surrounded by flowing water in front, but he couldn't swim to her side. That beautiful image is "on the water side" for a while and "in the middle of the water" for a while; One moment on the shore, the other on the highland. It's like being in a fantasy, in a dream, but the protagonist firmly believes that this is true and spares no effort and hardship to pursue her. This is a vivid and profound description of the psychopath of an infatuated person and his strong feelings for his loved ones. The ambiguity and confusion of this image make the whole poem have a hazy aesthetic feeling and give birth to an artistic appeal with endless charm.