This poem was once thought to satirize Qin Xianggong's failure to consolidate his country with Zhou Li (Jian Zheng's Preface to Shi Mao) or regret that a wise man who longed for seclusion could not get it (Yao Jiheng's General Introduction to the Book of Songs and Fang Yurun's Primitive Book of Songs). However, unlike most of the poems in the Book of Songs, there is no specific time and scene in Jianjia, and even the gender of "Yiren" is difficult to determine. Therefore, the above references lack evidence and are unconvincing. Annotators of the Book of Songs in past dynasties often sought deeper and lost further. The interpretation of Jia Jian should also be contemporary-most modern scholars regard it as a love poem.
Poetic emptiness brings trouble to interpretation, but it also expands the space of tolerance. "On the Water Side" is a symbol of admiration, and Qian Zhongshu has made a detailed statement in "Pipe Cone Compilation"; "Going back", "going back" and "it's a long way to Xiu Yuan" are just symbols of the difficulty and uncertainty of repeated pursuit.
Works that explore the profound experience of life can always get constant responses in later generations: "the thought of building a fine family" and "building a fine family with people" have become cherished expressions in old letters; Cao Zhi's Ode to Luoshen and Li Shangyin's Untitled are also responses to the theme of Jia Jian. Comparing them with each other can make readers better understand the poem and its author, "but I feel the harmonious heartbeat of the sacred unicorn."