The Book of Songs and National Style
Husband's service is far away, and the length of service is difficult to measure. I don't know where it is. The chickens have entered the nest, the sun is setting, and sheep and cattle are descending the hillside. My husband is serving in the distance. How can I think of him?
My husband hates the service from afar every day. I don't know when we can get together. Chickens are on the shelves, the sun is gradually setting, and cattle and sheep are going home from the mountain. Husband is serving in the distance, I hope it's not hungry!
Vernacular translation
The husband served in a distant place, and the length of service could not be calculated. I don't know where he went. Chickens have entered the nest, the sun has set, and cattle and sheep have flocked down the hillside. My husband is serving in a far away place. How can I not think of him?
My husband served in a distant place, hating every day and hating every month. I don't know when to get together. Chickens have been put on the shelves, the sun is gradually setting, and cattle and sheep go home from the mountain. My husband is serving in a distant place. I hope he is not hungry!
Assistant Minister Feng Wang is a poem in The Book of Songs, the first poetry collection in ancient China. This is a poem about a wife who misses her husband who served abroad. This poem consists of two chapters, each with eight sentences. From the daily life, the chicken went into the cage, the sheep went home, and the husband hasn't come back yet. Writing that his wife misses her husband who served abroad, the language is really simple, and the deep yearning for her husband for thousands of years is very touching. The whole poem consists of two chapters, with few changes. At the beginning of each chapter, the heroine speaks her inner monologue in simple language; Then the poem vaguely depicts a picture of the countryside at night, expressing the heroine's disappointed hopes and expectations; Finally, this expectation turned into a concern and wish for her husband.
This is a very simple poem. These two chapters are very important with only a few changes. At the beginning of each chapter, the heroine speaks her inner monologue in simple language. Pay a little attention to the sentence "I don't know its date" (in the second chapter, the sentence "within a few days and months" also means this, and many people interpret it as a long time and inaccurate). The most annoying thing when relatives come back is the uncertain return date. It seems that there is hope every day, and the result is disappointment every day. If you just go out for a long time but the return date is determined, you won't be so annoying. It is under this kind of psychology that the heroine sighed, "What a pity": When will she come back?
The next part has a natural humor. The poem no longer describes the sadness or even anger of the wife who misses her husband, but faintly depicts a dusk scene in the countryside: in the afterglow of the sunset, chickens return to their nests, and cattle and sheep slowly come down from the hillside outside the village. The brushwork here seems completely unpretentious, not even an adjective. Unlike later scholars, they always want to portray it with depth and vigilance, so I'm afraid readers won't pay attention. However, this picture is very touching because it is emotional. The reader seems to see the woman staring at chickens, cows and sheep, staring at the winding path leading to the distance outside the village. She is touching the readers. After that, readers obviously felt that the heroine's melancholy was much stronger. If you try to put the middle sentence "chickens live in the nest, the sun is setting, and the cattle and sheep come down" directly after the last two sentences "chickens live in the nest", the feeling will be completely different. There is the rhythm problem of lyric expression here-the rhythm is too fast, there is no ups and downs, and the lyric effect can't come out; At the same time, the painting itself has its own special flavor.
People familiar with rural life often see such night scenes. The days of farming are hard, but when dusk comes, everything is peaceful, quiet and beautiful. Cattle, sheep and poultry returned to the pen, smoke curled up, lights danced enthusiastically, and farmers and their wives and children chatted about idle topics. At dusk, meekness appeared on the earth that had never been seen during the day, and farmers gathered around them with what they cherished in life. This is the most common and interesting moment in ancient farming society. However, in this poem, the wife's husband is still far away, and the defect of her life is the strongest at this moment, so she looks forward to it with such disappointment.
The two chapters of this poem are almost completely repeated, which is the most commonly used means of folk songs-using overlapping chapters and sentences to promote lyrical feelings. But the last sentence of the second chapter, which is also the last sentence of the whole poem, is completely changed. It turns the wife's expectation into a concern and wish for her husband: he just won't come back. I hope he's not hungry and thirsty outside. This is also the most common sentence, but the feelings contained in it are so kind and profound.
This is an ancient ballad, which uses unpretentious language to directly hit the most sensitive place in people's hearts. Its natural beauty is difficult for later generations to copy.
Feng Wei Mugua
The Book of Songs and National Style
You give me papaya. I'll pay for Joan. Not to thank you, always cherish your feelings.
You want to send me a peach, and I want to give it back to Qiong Yao. Not to thank you, always cherish your feelings.
You give me wood, and I'll take Joan Jiu in return. Not to thank you, always cherish your feelings.
Vernacular translation
You give me papaya, and I give it to Joan in return. Not just thanking, but cherishing feelings and being friends forever.
You give me Mu Tao, and I will give Qiong Yao in return. Not just thanking, but cherishing feelings and being friends forever.
You give me Muli, and I'll take Joan Jiu in return. Not just thanking, but cherishing feelings and being friends forever.
Phoenix Papaya is a poem in The Book of Songs, the first collection of poems in ancient China. The whole poem consists of three chapters, each with four sentences. There is a lot of controversy about the theme of this poem. After textual research and interpretation by Han people, Song people, Qing people and even today's scholars, there are seven sayings about this poem in the history of literature, such as "Beauty Qi Huangong", "Men and women give each other a gift and answer each other", "Courtiers give each other a gift and answer each other", "Satire gives each other a bribe" and "Express the meaning of reciprocity". In art, the sentences of the whole poem have a high degree of overlap and repetition, and have a strong musicality. However, the uneven sentence patterns have caused ups and downs, achieving the effect of both sound and emotion, with a strong folk song color.
There is a saying in Daya called "Give me a peach and return the plum", and later "Give me a peach and return the plum" became an idiom, meaning to give the other person a reply and return the gift. Comparatively speaking, although Feng Wei's Papaya also has the idiom "Give a papaya (peach, plum) and return it to Qiong (Yao, Jiu)" (for example, Song Youmao's Poems of the Tang Dynasty recorded that "Give a tree to Qiong, and it will be righteous"), Feng Wei's Papaya is more widely read and is the most widely read in the Book of Songs.
Due to different opinions on the theme of this poem, papaya, as a literary image, has been endowed with many different symbolic meanings. Among them, "courtiers are loyal to the monarch", "affection is more precious than jade" and "courtesy is lighter than affection" have gradually become the mainstream connotation of the image of "papaya".
Feng Wei's Papaya is a poem with distinctive features in terms of text and sentence structure. First of all, there is no typical sentence pattern in The Book of Songs-four sentences. It is not impossible to use four words (using four words will become "give me papaya (peach, plum) and give me Joan (Yao, Jiu); Bandits think that reporting is always good, but the author intentionally or unintentionally uses this sentence pattern to create a kind of ups and downs charm, and it is easy to achieve the effect of sound and emotion when singing. Secondly, statements have a very high degree of coincidence and overlap. Don't say that the last two sentences in each chapter are exactly the same, even the first two sentences are only one word apart, and although the meanings of the three words "Qionggui", "Qiongyao" and "Qiongjiu" are slightly different, papaya ","Mutao "and" Li Mu "belong to the same plant according to Li Shizhen's Compendium of Materia Medica, and the differences between them are roughly the same as oranges, tangerines and tangerines. These three chapters are basically repetitive, and such a high degree of repetition is not much in the whole Book of Songs. The format looks like the music of Three Chapters of Yangguan written by Wang Weishi in Tang Dynasty, which is naturally determined by the duality of music and literature in The Book of Songs.
"You give me the fruit, and I will give you the jade", which is different from "returning peaches to plums". The value of returned things is far greater than that of donated things, which embodies a noble feeling of human beings (including love and friendship). This kind of emotion focuses on soul-to-heart, which is a spiritual fit. Therefore, the returned things and their value are actually symbolic here, showing the treasure of others for their family, so there is a saying that "bandits repay you." The deep meaning of "Give me papaya (peach and plum) and repay my gratitude with Qiong Cong (Yao Jiu)" is: Although you give me papaya (peach and plum), your affection is more expensive than Qiong Cong (Yao Jiu); I cannot thank you enough for your kindness. It is inappropriate to take things that have been basically abstracted, such as papaya and Qiong Yao, too seriously. In fact, the author is too broad-minded to measure the thickness at all. What he wants to express is that cherishing and understanding the feelings of others is the noblest affection. From this point of view, after the Han Dynasty, Zhang Heng's Four Sorrow Poems, "Beauty gave me Jin Cuodao, how can I still get England and Qiong Yao", although it said "return the jade with gold". It has the same meaning as "throwing wood at Joan".