First of all, the opening sentences of the three chapters of the whole poem vividly imply the labor process of the young woodcutter, who, as a lyric hero, cuts firewood for reward. Therefore, Fang summarized the theme of Han Guang as "Jiang Gan Qiao Sang" and denied the essence of his love poems, which was still pedantic. But the rising sentence implies the process of collecting firewood, which has both written basis and labor experience.
Secondly, from the structural form, the first chapter seems to be independent of the second and third chapters; From the perspective of emotional expression, the front and back parts are closely connected, which skillfully conveys the tortuous and complicated emotional course of the lyric hero from hope to disappointment and from fantasy to disillusionment. Where there is hope and pursuit, there will be disappointment and loss; However, the poem doesn't say anything here, it makes readers understand the young people's desire for love. The poem begins with disappointment and hopelessness. In the first chapter, there are eight sentences and four words "impossible", which express the hopelessness of pursuit vividly and irreversibly. Generally, the first sentence is regarded as fun; If we interpret it in another way and put "Korea has a wandering girl, so it can't think" in the first place, then "there are trees in the south, so it can't think" can be regarded as a metaphor, which, together with "Korea is too broad to swim and think" and "Jiang is too long to think", constitutes a set of powerful metaphors; The feeling of unattainable infinite disappointment is also stronger. What the loved ones pursued in those days is hard to achieve today. But my heart is unwilling, and my feelings are hard to pull away, so I turned from reality to fantasy. The third and third chapters repeatedly describe the dreamland of infatuation: one day, a "wandering girl" wants to marry me and feed the horse first; The "little girl" will marry me one day, feed the pony and pull the cart. But dreamland is dreamland after all. Once you open your eyes and face the reality, you will fall deeper into the abyss of disillusionment. He is still infatuated, but the duet of "Han Guang" and "Jiang Yong" in the second and third chapters is already Long song who wants to cry after disillusionment. Compared with the first song, it is really a man's sorrow. In short, the poems before and after are relatively independent, but the emotional clues are clear and identifiable. The lyric hero is a young woodcutter. He loves a beautiful girl, but he never gets what he wants. He can't get rid of his emotions. Facing the vast river, he sang this touching poem and poured out his melancholy.
Chen Qiyuan's Discrimination of Shi Mao and Ji Gu summarized Han Guang's poetic scene as "visible but impossible". This is also the so-called "longing situation" of western romanticism, which shows that the object you are eager to pursue is far away, and on the other side, you can look at your heart but can't touch your body. It is a realm that you can always yearn for but never reach. Feng Jia San in Qin Dynasty is also a masterpiece depicting "homesickness". Compared with Hanbitsoft, it is an ethereal symbol and a concrete realism. There are no specific events and scenes in the whole novel, so it is difficult to know whether the protagonist is male or female. The poet deliberately exaggerated a vague and elusive emotion of pursuing yearning. Han Guang is much more concrete and realistic, with concrete characters: a woodcutter and a wandering girl; The emotional course of exquisite emblem: hope and disappointment to fantasy and disillusionment; Even the subjective dreamland of "My son returns home" and the description of natural scenery of "Hanguang Jiangyong" are concrete. Not for no reason. Of course, ethereal symbols can provide a broad imagination space, but concrete realism cannot easily surpass aesthetics. Perhaps this is the reason why Qian Zhongshu talks about the prototype artistic conception of "longing for the situation" in Guanzubian. In The Book of Songs, Qin is dominant, supplemented by Han Guang. [Ming] Ling Mengchu's "Wings of Poetry": Looking at women and knowing that they are unattainable, you can't swim and swim naturally. You have to wait and see, you have to know the significance of making a statement.
[Qing] Chen Qiyuan's "Discrimination between Shi Mao and Ji Gu": "The husband's words (Yue) must be sought, but the meeting cannot be sought, and the monthly words are beneficial."
[Qing] Wang Shizhen's Poems in Class: Han Guang is the beginning of China's landscape literature, and it is also one of the few poems in The Book of Songs that "describe landscapes".