"The Book of Songs·Guo Feng·Qin Feng"
The jianjia is green and the white dew is frost. The so-called beauty is on the water side. If you follow it back, the road will be long and blocked. Traveling back from it, Wan is in the middle of the water.
The leaves are luxuriant, and the white dew is still shining. The so-called beauty is on the water. If you follow it back, the road will be blocked and you will be able to advance. If you go back and swim from it, you will feel like you are swimming in the water.
The jianjia is collected, and the white dew has not stopped. The so-called beauty is in the river of water. Follow it back, but the road is blocked and to the right. If you go back and swim from it, you will be swimming in the water.
Notes
Jianjia (jiān jiā): Jian, Di, like reed. Jia, reed.
Cang Cang: dark green.
For: condensed into.
The so-called: said, here refers to what is missed. Yiren: This person or that person. Refers to the person the poet is longing for.
On the water side: on the other side of the river.
Su Huí (sù huí) means following the river upstream to find her. Backtrack, go upstream. From, to pursue, to pursue.
Obstruction: Dangerous obstacles, difficult to walk.
Go back and swim down the river to find her. You, Liu, refers to a straight-flowing waterway.
Wan in the middle of the water: (that person) seems to be in the middle of the river. Wan, as if, as if.
Bleak: lush appearance. Now written as "Qiqi", it has the same meaning as "Caicai" below.
晞(xī): dry.
Mei (méi): The place where water and grass meet, referring to the shore.
Ji (jī): rise, high.
Di (chí): a small island or island in the water.
Caicai: lush and bright appearance.
Hai: stop, here it means "dry, become dry".
涘 (sì): waterside.
Right: roundabout.
沚(zhǐ): Beach in the water.
[Edit this paragraph] Today's translation
The reeds on the riverside are green and green,
The white dew in late autumn condenses into frost.
The person I thought about day and night was on the other side of the river.
Go upstream in search of him,
The road is difficult and long.
Go down the river and look for it,
It seems that you are in the middle of the water.
The reeds are lush along the river,
The early morning dew has not yet dried.
The person I dream about is on the other side of the river.
Go upstream in search of him or her,
The road is difficult and difficult to climb.
Go down the river and look for it,
It seems that you are right in the middle of the sandbar.
The reeds along the river are more luxuriant,
The white dew still lingers in the early morning.
The person I am pursuing so hard is just on the other side of the river.
Go upstream in search of him/her, But the road is difficult to follow, and the road is difficult to follow.
Go down the river and look for it,
You seem to be on a sandbank in the water.
[Edit this paragraph] Brief comment
"No one in ancient times has written about lovesickness like "Jian Jia"."
The so-called lovesickness is Wang. You can't find it, you can't ask for it; you can't get it even if you work hard for it. So the subtle feelings and thoughts linger in the words. I have heard a string song, and the strings have stopped, but the sound lingers in my ears; now when I read "Jian Jia", the writing has stopped, but the emotion remains.
Jianjia is a reed, a floating thing, swaying with the wind, but stops at its roots, if it floats, if it stops, if it is there, if it is not there. My thoughts are endless, wandering in a trance, and worrying about my roots. The root is love. Lovesickness is nothing better than this. Exposed as a thing, it dies instantly. Buddhism says: All conditioned dharmas are like bubbles in a dream. It is like dew or electricity, so it should be viewed as such; emotions are things, illusory and unformed. Zhuangzi said: Happiness produces deficiency and steams into bacteria. One reason. Frost is the condensation of dew. Earthy air and body fluids arise from the ground, and if they are thin and cold, they will form frost. If you look for a beautiful woman but can't get it, your love for her will become more intense and your love will become stronger. Therefore, it is called "Weixi" and "Weiji". Even though we can't get it, our love won't dissipate, so we will suffer from it in the end. The pain of not being able to seek, the pain of parting from love! This lovesickness is the most painful!
Love is the so-called lover. However, on the water side, I don't know where it is. There is a poem by Jia Changjiang that goes: "Only in this mountain, I don't know where the clouds are." If you like it, you must look for it, so even though you don't know where it is, you still wade through the water and follow it. It is said to be "traveling back" or "traveling back", which means searching up and down. Moreover, the road is dangerous and winding, and the search is very difficult. But in the end, "neither place can be seen in the vast distance", and what I pursue is nothing more than phantom clouds and mist, water, moon and mirror flowers, and I can't find it in the end.
I miss you so much, like a shadow in front of you, I reach out to touch it, but it is out of reach. The sentence "Wan in the middle of the water" is like the sound of a broken string, sonorous and long. Every time I read this, I can't help but feel happy, sigh, resent, and cry!
[Edit this paragraph] Writing background
"Jian Jia" is selected from "The Book of Songs? Guo Feng? Qin Feng". It is a folk song that was produced in Qin about 2,500 years ago.
There have always been differences of opinion regarding the content of this poem. To sum up, there are mainly three theories: one is the theory of "thorning Duke Xiang". "Preface to Mao's Poems" says: "Jianjia is also a thorn in Xiang Gong. If you fail to use the Zhou rites, you will not be able to consolidate your country."
"Su Dongtian, a modern man, analyzed the meaning in "The Book of Songs" and said: "The so-called Yiren (that wise man) 'on the side of the water' is a metaphor for the ritual system of the Zhou Dynasty. If one goes against the Zhou rites and governs the country, then the way will be "impeded and long", "queried", and "queried to the right", which means that it is impassable and cannot be cured. If you obey the Zhou rites, then you will be "in the middle of the water" or "in the middle of the water". "Water in the water" means that there is hope for governing the country." The second is the saying of "recruiting talents." Yao Jiheng's "General Theory of the Book of Songs" and Fang Yurun's "The Original Book of Songs" both say that this is a poem to recruit talents, and "Yiren" means "virtuous talents": "A wise man lives in seclusion by the waterside, but others admire him and want to see him." Or: " It is not the way to seek for seclusion, and the recluse will be avoided." The third is the theory of "love". Modern people such as Lan Juyou, Yang Renzhi, Fan Shuyun, Gao Ting, Lu Huiwen, etc. all hold the theory of "Love Song". As Lu Huiwen said: "This is a love song. Because the sweetheart he pursues is elusive, the poet is in trouble. Saying that the river is blocking it is an implicit metaphor."
Because of the ability of this poem There is no way to verify it, and it is difficult to trust the name "Yiren" in the poem. Therefore, it is difficult to make a final conclusion on the above three theories. Here, let us first interpret it as a love poem.
"Jian Jia" belongs to Qin Feng. During the reign of King Xiao of Zhou, Feizi, the ancestor of Qin, was granted the title of Qin Gu (now Tianshui, Gansu). When King Ping moved eastward, Qin Xianggong received a large fiefdom west of Qishan due to his meritorious service in sending troops to escort him. Later, Qin gradually moved eastward, with its capital in Yong (now Xingping, Shaanxi). The Qin Dynasty included the area from Guanzhong in Shaanxi Province to southeastern Gansu Province. Qin Feng's ten chapters are mostly folk songs from this area during the Eastern Zhou Dynasty.
[Edit this paragraph] Hierarchical structure
This poem has three overlapping chapters, and each chapter can be divided into four levels:
The first two sentences start with Jian Jia Xing, shows a picture of autumn colors on the river: late autumn morning, the autumn water is dense, the reeds are green, the dew is full, and the crystal is like frost. This realm is slightly desolate and pathos in the midst of purity and loneliness. Therefore, it plays a very good role in rendering the atmosphere and contrasting the mood of the persistent pursuit and elusive love described in the poem.
The third and fourth sentences show the central image of the poem: the lyrical protagonist is wandering by the river, staring and pursuing the "beau" on the other side of the river. This "beauty" is the one he misses day and night. "Being on the side of the water" means isolation and impassability, which means the pursuit is difficult, creating a realm that is elusive and out of reach. Although the lyrical protagonist sees through the autumn water and pursues it persistently, "the beautiful woman" is all elusive and blocked. It is difficult to see, so the poem is full of helplessness and emptiness and melancholy.
The following four sentences are two parallel sentences. The two levels are descriptions of two different situations on the side of the water, where hope and difficulty are the same. "The journey back is long and difficult." This is a description of the dilemma when pursuing against the current: endless difficulties and obstacles, and the journey. It is endless, indicating that it is ultimately unreachable. "Swim along it, and you are still in the middle of the water." This describes the illusion of pursuing along the current: the journey is smooth everywhere, and the beauty is always there, but in the end it is not possible to go against the current. Following the flow, one can see the persistence. Either it is difficult to reach, or the illusion is difficult to reach, and in the end, the feeling of sadness becomes deeper. At this point, the elusive and unattainable situation of the beautiful woman is concretely and fully demonstrated. /p>
There are three chapters in the poem, and only a few words are changed in each chapter. This not only exerts the artistic effect of repeated chapters and repeated chants, but also has the effect of continuously advancing the poetic meaning. "White dew is frost" to "white dew is not over" and then "white dew is not over", this is the passage of time, symbolizing the length of time the lyrical protagonist has been looking for; from "on the side of the water" to "on the bank of the water", Then to "In the water", from "Wan in the middle of the water", to "Wan in the water", and then to "Wan in the water", this is a change of location, symbolizing the beauty's elusiveness and elusiveness; from "Wan in the water" "The road is blocked and long", to "The road is blocked and yet it reaches the right", and then to "The road is blocked and right" repeatedly exaggerate the difficulty of the pursuit process to highlight the perseverance of the lyrical protagonist. Repeated chapters and repeated sentences, advancing layer by layer, are common expression methods in folk songs in the Book of Songs. The poem also cleverly uses words such as "cangcang" and ", desolate" to make the whole text have both sound and emotion.
[Edit this paragraph] Content review
If the "love" in the poem is identified as a lover or lover, then this poem expresses the lyrical protagonist's persistence in beautiful love The melancholy of pursuit and failure. The spirit is valuable and the feelings are sincere, but the results are slim and the situation is sad.
However, the most valuable and evocative thing about this poem is not the pursuit and loss of the lyrical protagonist, but the "beyond the water" created by him-a hopeless and elusive thing. This artistic conception of universal significance. Good poetry can create artistic conception. Artistic conception is a pattern and a structure, which has the ability to contain all heterogeneous things with similar patterns and similar structures. The structure of "On the Water Side" is: pursuer - river - beautiful person. Since the "Yiren" in the poem has no specific reference, and the meaning of the river lies in the barrier, all kinds of pursuits that are difficult to achieve due to obstruction in the world can have isomorphic excitement and sympathetic resonance here. .
From this point of view, we might as well understand the poetic meaning of "Jianjia" as a symbol, and regard "On the Water Side" as an artistic model that expresses all the difficult and difficult situations in social life. .
The "beauties" here can be talents, friends, lovers, achievements, ideals, futures, or even blessed places, holy places, and fairy worlds; the "rivers" here can be mountains, deep chasms, patriarchal clans, Ethical ethics can also be 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 Jianjia as a way to persuade people to follow Zhou rites, recruit talents, and cherish people. Today, people regard it as a love poem, and some even regard it as an ancestor worship ceremony for the water god of ancient people. I am afraid there is some truth to it. , it seems inappropriate to stick to one and reject the others, because they are all included in the symbolic meaning of "on the side of the water".
Naturally, when we are in a situation similar to "On the Water Side", what we should appreciate is its determined pursuit, not its pessimism and disappointment.
This poem uses images of water, reeds, frost, dew and other images to create a hazy, fresh and mysterious artistic conception. The morning mist enveloped everything, and the crystal dewdrops had condensed into frost. A shy girl walked slowly. The image of water in the poem represents women and reflects their beauty, while the thin mist is like a veil covering the girl. She appeared at the water's edge for a while, and then appeared on the Water Continent for a while. I couldn't find it, and my anxious and helpless mood was as itchy as crawling ants, and as painful as a knife twisting. As we often say, "distance creates beauty", this beauty becomes hazy, fuzzy, and unclear due to distance. The identity, face, and spatial location of the protagonist and the lover are all vague, giving people a sense of seeing flowers in the fog, looming, and hazy. Jianjia, white dew, Yiren and autumn water are becoming more and more elusive, forming a hazy and elegant watercolor painting. The beginning of each chapter of the poem adopts the style of writing inspired by the poem. Through the description and admiration of the real scene in front of you, the painting creates an ethereal artistic conception that envelopes the entire article. The poet grasped the unique characteristics of autumn colors, and did not hesitate to use thick ink and heavy colors to repeatedly depict and exaggerate the lonely and sad atmosphere of late autumn, so as to express the poet's feeling of loss and enthusiasm for his friends. The first two sentences of each chapter of the poem are inspired by the autumn scene and lead to the main text. It not only highlights the season and time, but also exaggerates the desolate atmosphere of the pale sky and white dew, heightens the melancholy mood of the characters, and achieves an artistic realm of blending emotions with scenery and blending scenes. The images of "Jianjia", "Water" and "Yiren" complement each other and are integrated into one. The things used as inspiration and the objects to be depicted form a complete artistic world. The beginning of the poem describes the scene of reeds growing by the water in autumn. This is exactly "supporting the image to clarify the meaning" and has the function of "arousing emotion". Because of the thick reeds and the reflection of the skylight and water, it will inevitably show a state of confusion, which from one side shows the state of "hazy love" in the heart of the protagonist of the poem. Wang Fuzhi's "Jiang Zhai Poetry Talk" said: "Scenery is related to feelings, and it is related to feelings. Although scenes can be divided into hearts and objects. And scenery produces feelings, feelings produce scenery, the touch of sadness and joy, the welcome of prosperity and languor, mutual exchange. "Hide his house", the poem "Jianjia" combines the unique scenery of late autumn with the euphemistic and melancholy lovesickness of the characters, thus exaggerating the atmosphere of the whole poem and creating a confusing and blended artistic conception, which is exactly what " All scenery words are love words”. In short, the rich beauty of the poem "Jian Jia" deserves our attention and serious discussion, whether from the perspective of appreciation or creation.
[Edit this paragraph] Artistic features
"Jian Jia" is one of the best chapters in the Book of Songs. Its main characteristics are concentrated in three closely related aspects: blurring of facts, ethereal imagery, and overall symbolism.
1. The blurring of facts
Generally speaking, the creation of lyric poetry is inspired by the feeling of specific things, so in its artistic conception, you can always see some Real personnel scenes. However, the author of (Mengmeng) seems to have deliberately blurred out the main characters and events in it. Who is the seeker? What is he searching for? We don’t know; what is the identity of the “beau” being pursued? Why is he so hard to get? We don't know either; so much so that we can't even confirm whether they are male or female. Especially "Yiren" has no voice, appearance or appearance. Sometimes he is in the upper reaches of the river, sometimes in the lower reaches of the river, sometimes in the middle of the water, and sometimes in the grass beside the water. He is erratic, coming and going indistinctly, which makes people doubt whether he really exists. physical presence. Undoubtedly, due to the virtualization of the pursuer, especially the pursued, the entire pursuit of characters, events, and content becomes illusory; however, it is precisely because of the virtualization and shadowing of this fact that the artistic conception of the poem It seems so ethereal and symbolic.
2. The etherealness of the image
In fact, the scenes described in the poem are not the actual people and events in the eyes, but a kind of mentality. This kind of mental image is not a memory of a real thing that has been experienced, but a typical psychological situation that is synthesized, condensed and virtualized by many similar events and similar feelings. The biggest characteristic of this psychological situation is that it is neither sticky nor sluggish, and is ethereal and multi-aggregated. "Beyond the Water" is an artistic expression of this ethereal psychological situation. Here, due to the virtualization of the pursuer and the pursued, the river, the dangerous road, and even the upstream and downstream pursuit routes, as well as various locations such as the "middle of the water" where the beautiful woman is located, are also unrecognizable. It has become a virtual symbolic image. Neither of them can be studied in detail about time, place, river, mountain or water. Otherwise, it would be contradictory for Yiren to be both upstream and downstream of the river. It would also be a question why the two people did not cross the river.
The success of "Jianjia" lies in the fact that the poet accurately captured people's mental images and created a psychological situation that resembles a flower but is not a flower, and is ethereal, so that the artistic conception of the poem is presented as a symbol of integrity.
3. The overall symbol of the artistic conception
The symbol of poetry is not the symbolic rhetoric or technique used in a certain word or sentence, but the overall symbol of the artistic conception. "Being on the side of the water" and facing difficulties are common situations in life. The dilemma of "wandering back and forth, but the road is long" and the illusion of "wandering back and forth, wandering in the middle of the water" are also common in life. Circumstances; people may often get excited from the pursuit. From the troubles of being blocked to the melancholy of loss, this complete emotional flow is baptized. It is more likely that they are often hit by the pain of fighting against the current or the joy of going down the current. From here, readers can think of the situation of love and the emotions that arouse love. Experience can also be associated with ideals, career, future situations in many aspects and evoke many aspects of life experience. The overall symbol of artistic conception makes Shan Ye) truly have an inexhaustible philosophical meaning of life. Wang Guowei once compared this poem with Yan Shu's "Die Lian Hua" "Last night the west wind brought green trees, I went up to the tall building alone, looking at the end of the world", thinking that both of them are "the most charming and charming", which is obviously focused on it. The artistic conception and symbolic meaning of life.
The blurring of facts, the emptiness of images, and the overall symbolism of artistic conception are three aspects of a problem. From the blurring of facts to ethereal imagery, and then to overall symbolism, this is roughly the process of constructing the artistic conception of symbolic poetry.
[Edit this paragraph] Reference materials
Strange people and strange places make people want to be immortal. (Comments on the Book of Songs by Zhongxing in the Ming Dynasty)
This is a poem in which a wise man lives in seclusion by the waterside, while others admire him and miss him. "On the water's journey", this sentence is complete, and the two imitations of "suihang" and "suyou" are added again, so it is written as a deep desire to see. So I added "wan'lao" to the next word "zai", and then I felt that my eyes were about to fly, and the pen of the human spirit. (Qing Dynasty? Yao Jiheng's "General Theory of the Book of Songs")
Play with the word "so-called" carefully , It is difficult to tell people what you want, and "by the water" is also an imaginary word. If there is a certain way, it can be reached by people. Why can't the poet's purpose be far away and stubborn? The pursuit of restraint is far away. (Qing Dynasty, Huang Zhongsong's "Poetry Questions")
The three chapters have only one meaning, and the rhyme has changed. In fact, the first chapter has become a masterpiece in poetry. Three folds, the so-called three sighs in one song, the best ones often have lingering sounds (Qing Dynasty? Fang Yurun (original version of the Book of Songs))
The poetic scene is quite symbolic and contains a mysterious meaning. (Chen Zizhan's "The Book of Songs Direct Interpretation") )
"The so-called Yiren is on one side of the water. If you wander along it, the road is long and blocked; if you wander along it, you will be in the middle of the water." Curtain: "It is difficult to get to one side." Press ( Han Guang): "There are wandering girls in the Han Dynasty, which cannot be thought of; the Han Dynasty is so vast that it cannot be thought of; the river is eternal, and it cannot be thought of." Chen Qiyuan (Mao Shiji Ancient Edition? Appendix) said: "If you are happy, you must seek it." However, if you can only see it but cannot ask for it, then the joy of admiration will be the best. "The two poems are all about the so-called admiration (Pension 11 Shant) situation in Western romanticism. The ancient Roman poet Huan Gil once said: "Looking at the other side. "Stretch out your hands and yearn for it." Later generations of understanding people thought that the good path was hard to come by, and the desire was not fulfilled. The ancient German folk song said that good things have many obstacles, and every blessing is blocked in the deep water. Dante's "Divine Comedy" reduces the meaning of the poem and lets the beauty cross the river. Laughing, three steps away, is like blocking the sea. A modern poet said: "Happiness grows on the other side of the river."
"... (edited by Qian Zhongshu Xi Zhui)
Related idioms: Qiushui Yiren
reed
YOU and reed, beside the river
I wander here, had to linger
I should meet U, without cumber
only watching her in there.
She with Dew, along the river
I seek the source, away, away
I should meet her but the danger
with her shadow without fere
She in the reed, among the river
I loiter to reach, had to delay
I should meet her without brook
but mere staring U still there
(The sky is completely dark)