Jian Jia's original text, translation and appreciation 1
Jian Jia
Selected from "The Book of Songs·Qin Feng"
Jian Jia is pale and 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.
The reeds are green at first, and the white dew condenses into frost. The sweetheart I fall in love with is on the other side of the water. Looking for her along the winding river, the journey is difficult and long.
Traveling back from it, you will find yourself in the middle of the water. The jianjia is luxuriant, and the white dew is still shining. The so-called beauty is on the water.
I looked for her against the current, as if I were walking in the middle of the water. The reeds are new and lush, and the white dew has not yet dried. The sweetheart I love is on the other side of the water.
Follow it back, but the road is blocked and you can advance. If you travel back from it, you will feel like you are swimming in the water. The jianjia is collected, and the white dew has not stopped.
Going against the winding river to find her, the journey is difficult and steep. I went up the current to find him/her, He/she seems to be on the small sandbank in the water. The reeds are bright when they first grow, and the white dew is not yet over.
The so-called beauty is in the river. 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.
The sweetheart I fall in love with is on the other side of the water. Looking for her along the winding river, the road is difficult and tortuous. Looking for him/her against the current, He/she seems to be on the sandbank in the water.
Appreciation
"Jian Jia" is selected from "The Book of Songs Qin Feng", which belongs to the style of the fifteenth country. It is a love poem that aims to express the poet's thoughts and feelings of longing for the beauty in the autumn water but never seeing him again. .
The poet came to a large river with reeds on a late autumn morning to visit his beloved, but that person made people feel uncertain and elusive. So he searched and searched, from the dawn when "the dew was as white as frost" to the noon when "the dew was still white", and the noon when "the dew was still white", he ran around by the autumn water with reeds, and wandered for several hours. Through this kind of visit, he searched and searched. The description of the process not only expresses the poet's deep love for the "beautiful woman", but also expresses his anxious and confused mood. The autumn water that separates the poet and the beautiful woman described in the poem is not only a scene before his eyes, but also obviously has a different meaning. If it is only separated by a water, then he can reach the other shore and see the beautiful woman, not to mention the poet's pursuit. It's so persistent and passionate. Therefore, I think this autumn water actually symbolizes a kind of social resistance. It is this kind of resistance that isolates the Cowherd and the Weaver Girl on both sides of the Milky Way, making them "full of water and speechless."
There are three chapters in the poem, and the first two sentences of each chapter describe the scene. , to point out the season and set off the atmosphere; the last six sentences describe the feeling of not being able to pursue the "beautiful person". The whole poem revolves around three times, singing back and forth, with a sad and moving mood and a hazy and profound artistic conception. In the poem, the words "cangcang", "luxuriant" and "caicai" are used not only to cheer up the "beauty", but also to highlight the lyrical protagonist. Regarding the "Yiren", the poet knows the place, but he is not sure where he is. He wants to follow the wrong path, so he "travels back" and "travels" back and forth, hoping to meet the "Yiren" once. It is natural and logical to use "Jianjia" to stir up excitement and lead to the pursuit of "beautiful people". Although the poet is full of enthusiasm to "travel back" and "travel back", and is not afraid of "the road is long and long", "jumps ahead" and "gets to the right", the result is elusive. The emptiness and melancholy caused by the poet's pursuit of his lover but not seeing her are indescribable, and the poet's emotions become more prominent and rich when set off by the bleak autumn scene. It is precisely the emotions that arise from the scenery, the scenes that arise from each other, and the ideas that come into being. The clear and ethereal late autumn scenery and the confused and confused thoughts of cherishing people are seamlessly connected, which constitute the artistic realm of the whole poem, giving people a true, natural and hazy feeling. Blurred beauty.
In addition, this poem repeats refrains in structure. The first three chapters of the whole poem have the same sentence structure and the same number of words, except that synonyms or synonyms are used in a few places, such as "qiqi" and "caicai" are placed in the position of "cangcang", and "weixi" is used. "Weiji" and "Weiji" are used to replace "Weishuang" respectively. This not only achieves three sighs in one song, fully expresses the poet's feelings, but also makes the poem's writing rich in variety without the sense of repetition and sluggishness.
"Jian Jia" is one of the fifteen wind poems, and can be said to be the representative of "wind" poems. Reading it, the beauty of language, structure and thought of "The Book of Songs" can be seen. Jian Jia's original text, translation and appreciation 2
Jian Jia's original text:
Jian Jia is green, and the white dew is frost. The so-called Yiren is on the side of the water. If you follow it, the road is blocked and long. Traveling back from it, Wan is in the middle of the water.
The leaves are luxuriant, and the white dew is still there. 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 travel back from it, you will feel like you are swimming in the water. (One of Qi Qi’s works: Desolate)
The jasmine is picked, and the white dew is not gone. 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.
Translation:
Translation The reeds by the river are green, and the deep autumn dew turns into frost. Where is the person you want? Just on the other side of the river. I went up the current to find her, but the road was difficult and long. Follow the water to find her, as if in the middle of the water. The reeds along the river are dense and numerous, and the dew has not dried in the early morning. Where is the person you want? Just over the river bank. I went up the current to find her, but the road was difficult and difficult to climb. Follow the water to find her, and she seems to be on the beach in the water. The reeds along the river are thick and the dew in the morning is not all collected. Where is the person you want? Just over there by the water.
I went upstream to find her, but the road was difficult and difficult. Following the water to find her, she seemed to be on the islet in the water.
Notes
1. Jian (jiān): reed without spikes. 譭(jiā): newly born reed. Cang Cang: bright, lush appearance. Hereinafter, "Qiqi" and "Caicai" have the same meaning.
2. Cang Cang: lush appearance
3. For: condensed into.
4. The so-called: what is said refers to what is missed.
5. Yiren: That person refers to the object of longing.
6. One side: that side.
7. Tracing back: going upstream. Hereinafter, "traveling back" refers to traveling downstream. It is said that "Hui" refers to a curved waterway, and "You" refers to a straight waterway.
8. From: pursuit.
9. Obstacle: danger, (road) difficult to walk.
10. Wan: Wanran, as if.
11. 晞(xī): dry.
12. Mae: The place where water and grass meet, that is, the shore.
13. Ji (jī): high ground in the water.
14. Di (chí): beach in the water
15. 涘 (sì): waterside.
16. Right: circuitous.
17. 沚(zhǐ): Beach in the water.
Appreciation:
The Qin Dynasty in the Eastern Zhou Dynasty was roughly equivalent to most of Shaanxi and eastern Gansu today. The land was "close to the Rong and Di". Such an environment forced the Qin people to "practice war preparation and improve their strength" ("Hanshu Geography"), and their emotions were also passionate and rough. The ten poems preserved in "Qin Feng" are mostly about battles, hunting, mourning and sarcasm. The sad and lingering sentiments like "Jian Jia" and "Morning Wind" are more like Zheng Weizhi's style. "White dew turns to frost" in the poem conveys to readers that it is already late autumn in the sequence, and the day has dawned, because there are still frost flowers condensed by night dew on the reed leaves. On such a late autumn morning, the poet came to the river in order to pursue the longing person, and what appeared in front of him was the vast reeds, showing loneliness and loneliness. What the poet had been looking forward to Where is the man? All I know is that it's on the other side of the river. But is this a deterministic existence? From what follows, this is not the case. It is impossible to know whether the poet simply does not know where the girl lives, or whether the girl is like the "beautiful lady from the south" who "traveled eastward to the north bank of the Yangtze River and stayed in Xiaoxiangjun at night" (Cao Zhi's "Seven Miscellaneous Poems" No. 4). This perhaps hopeless but tempting pursuit unfolds under the poet's feet and pen. Understanding "migratory" and "traveling" as going upstream and downstream, or along a curved waterway or along a straight waterway, will not affect the understanding of poetry. In Bai Juyi's "Song of Everlasting Regret", after Yang Guifei died in Maweipo, Xuanzong stayed alone with the lamp and couldn't sleep in the cold quilt. After the Taoist priest Hongdu Ke "went up to the poor green and fell to the yellow spring", he still found "neither place was seen". , but finally found Yang Guifei, who had become an immortal, on the "illusory" overseas fairy mountain, and met again on the Chinese Valentine's Day. In "Jian Jia", after the poet searched hard up and down, the beautiful woman seemed to be in the middle of the river, surrounded by waves, but still inaccessible. In "Zhou Nan Han Guang", the poet was also unable to seek the "Wandering Girl" because the Han River was too wide to cross. Chen Qiyuan said: "If you say (please), you must seek her, but if you can only see it but cannot seek it, then it will be beneficial to admire it." To." (Appendix of Mao Shiji's Ancient Collection) "It can be seen but cannot be sought." It is elusive but out of reach, which deepens the degree of longing. The word "Wan" in the poem indicates that Yiren's figure is vague and ethereal. Perhaps it is basically an illusion born of the poet's obsessed state of mind. The following two chapters are only slightly modified from the text of the first chapter. This repeated chapter chanting with only slight modifications to the text is a commonly used technique in the Book of Songs. Specific to this poem, these changes are all in the rhyme - the first chapter "Cang, Shuang, Fang, Chang, Yang" belongs to the yang rhyme, and the second chapter "Qi, Xi, Mei, Ji, Di" belongs to the fat-weihe rhyme. Rhyme, the rhyme of the three chapters "Cai, Ji, Huan, You, Zhuo" - thus forming the effect that the internal rhythm of each chapter is harmonious and the rhythm between chapters is uneven, giving people the feeling of: change and inclusiveness Stable. At the same time, this change also resulted in a back-and-forth advancement of semantics. For example, "white dew is frost", "white dew is not yet Xi", "white dew is not over" - the dew at night condenses into frost flowers, the frost flowers melt into dew due to the rise in temperature, and the dew evaporates under the sunlight - indicating the time continuation. This poem was once thought to be used to ridicule Qin Xianggong for not being able to use Zhou rites to consolidate his country ("Preface to Mao's Poems", Zheng Jian), or to regret that he could not attract wise men who lived in seclusion (Yao Jiheng, "General Theory of the Book of Songs", Fang Yurun, "The Original Book of Songs") ).
However, unlike most poems in the Book of Songs, which tend to be more specific in content, this poem does not have specific events or scenes, and it is even difficult to specify the gender of the "love". The above two understandings may have been well-founded at the beginning, but these bases either did not survive or were not convincing enough, so their conclusions are also doubtful. The commentators of the past dynasties of "The Book of Songs" often sought the deeper and deeper, but got the opposite result of missing further. Moreover, "all history is contemporary history" (see British philosopher and historian Collingwood's "The Concept of History"), and the interpretation of the text is also contemporary.
Most modern scholars regard it as a love poem, which first begins with the sound of green grass, and then describes a man's pursuit of the one he likes. Where is the person he is pursuing? In the dense bushes, it seems invisible, appearing and disappearing. This poem uses repeated chapters to express suspense. "Cangcang", "Qiqi" and "Caicai" have similar meanings; Bailu "Weishuang", "Weixi" and "Weiji" have similar contents. In short, the important chapters of this poem are neat and simple, and the reading rhythm is lively and pleasant. The poetic emptiness brings troubles to interpretation, but it also expands the inclusive space of its connotation. When readers touch the things hidden behind the described objects, they will feel that the objects in this poem are not just used by the poet to simply sing, but also contain certain symbolic meanings. "On one side of the water" is a symbol of admiration, which has been explained in detail in Qian Zhongshu's "Guan Zhui Bian". "Retroiting", "traveling", "the road is long and blocked", and "waving in the middle of the water" are just symbols of the difficulty and uncertainty of repeated pursuits and pursuits. The poet searched high and low, but although the beautiful woman was vaguely visible, she was still out of reach. In "The Romance of the West Chamber", Yingying cannot marry Zhang Sheng due to her mother's restraint in Pujiu Temple. She laments that "people separated by flowers are far away and the world is close." The poet in "Jianjia" feels the same way. The poet's pursuit seems to be successful, but in the end it is still a mirror image. There is a story in ancient Greek mythology about King Tantalus who was punished for his sins by bragging about himself--suffering from eternal thirst and hunger. He was standing in a large lake. The water was as deep as his chin. There were fruit trees growing on the shore of the lake, and loads of fruits hung above his head. However, when he was thirsty and lowered his head to drink water, the lake water receded; when he was hungry and reached out to pick fruits, the branches swayed, and the clear spring and good fruits were always within his reach. The proximity of the goal makes failure more painful and regrettable. The most unacceptable failure is the failure that is only one step away from success. Works that explore the profound experience of life always receive continuous responses from future generations. "Jian Jia Zhi Si" (provincially known as "Jia Si") and "Jian Jia Yi Ren" have become nostalgic clichés in old letters. Cao Zhi's "Luo Shen Fu" and Li Shangyin's "Untitled" poem are also responses to the theme expressed in "Jian Jia". A romance novel by contemporary Taiwanese popular novelist Qiong Yao is called "On the Water Side", and the theme song of the TV series of the same name was adapted from this poem.
The blurring of facts:
Generally speaking, the creation of lyric poems is inspired by the feeling of specific things, so some reality can always be seen in its artistic conception. 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. The emotions expressed in the work: A man chasing a "beau" failed to find his "beau" after three pursuits. This shows that the so-called "beau" is just an elusive dream and virtual reality. But the dream-chasing man did not give up, but pursued his dream up and down, regardless of difficulties and obstacles.
The ethereal image:
In fact, the scene described in the poem is not the actual people and events that exist in the eyes, but a mental image. 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 deeply about the time, place, river, mountain and water. Otherwise, it would be contradictory if the Yi people were 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 grasped 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 holistic symbol. Jian Jia's original text, translation and appreciation 3
Original text:
Jian Jia
Pre-Qin: Anonymous
Jian Jia is pale and white dew is like 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 there. 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 picked, and the white dew is not over. 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.
Translation:
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 large reeds are green, and the morning dew turns to frost. The sweetheart I miss. Just standing on the other side of the river. I went upstream to pursue her (him). The road to pursue her (him) was difficult and long. I looked for him/her down the river, and he seemed to be in the middle of the river.
The leaves are luxuriant, and the white dew is still there. 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 travel back from it, you will feel like you are swimming in the water.
A vast expanse of reeds is desolate, and the early morning dew has not yet dried. The person I have been dreaming about, she (he) is on the other side of the river. I went upstream to pursue him/her, but the way was very bumpy and difficult. I looked for him/her down the river, He or she seemed to be on a islet in the water.
The jianjia is picked, and the white dew is not over. 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.
The reeds along the river are lush and continuous, and the early morning dew has not yet evaporated. The person I am pursuing so hard, she (he) is on the river bank. I went upstream to pursue him/her, but the road was tortuous and difficult. Downstream I searched for him or her, He or she seemed to be on the beach in the water.
Comments:
Jian (jiān) and jiā (jiā) are green, and the white dew is frost. The so-called beauty is on the water side. If you follow it back, the road is long and blocked. Traveling back from it, Wan is in the middle of the water.
蒹: A reed without long spikes. Jia: A young reed. Cangcang: lush appearance. Hereinafter, "Qiqi" and "Caicai" have the same meaning. For: condensed into. The so-called: said, here refers to what is missed. Yiren: That person. On the other side of the river: On the other side of the river. Tracing back to the river means going upstream to find her. To return: to go upstream. From, to pursue, to pursue. Obstacle: Dangerous obstacle, difficult to walk. Traveling backward: wading along the current. You, Tong "flow", refers to direct current. Wan: As if.
The flowers are blooming, and the white dew is still shining (xī). The so-called Yiren is located in the water (méi). If you follow it back, the road will be blocked and you will advance (jī). If you trace the journey back from it, you will find it floating in the water.
luxuriant: lush appearance, the text refers to the lush growth of reeds. The People's Education version is "Qiqi", and the Jiangsu Education version is "Qiqi". Xi: dried in the sun. Mei: The place where water and grass meet, referring to the shore. Jiu: to rise, here it describes a road that is steep and high. Di: A small islet or highland in the water.
The jianjia is picked, and the white dew is not over. The so-called beauty is in the river (sì) of the water. Follow it back, but the road is blocked and to the right. If you trace the journey back, you will be swimming in the water.
Caicai: lush appearance. Already: stop, here it means "dry", to become dry. 涘: waterside. Right: circuitous. 沚: A small piece of land in the water.
Appreciation:
If the "sweetheart" in the poem is identified as a lover or lover, then this poem expresses the lyrical protagonist's persistent pursuit and pursuit of beautiful love. Melancholy mood. 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 hopeless and difficult-to-find "by the water" he created. An 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 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 water side".
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 in Water Island again. I couldn't find it, and my anxious and helpless mood was as itchy as crawling ants, and as painful as a knife twisting. Just like we often say "distance creates beauty", this kind of beauty becomes hazy, blurred 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 a 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 enthusiastic yearning. The first two sentences of each chapter of the poem are inspired by the autumn scenery 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. It is exactly "all scenes" The embodiment of "Words are all words of love". In short, the rich beauty of the poem "Jian Jia" deserves our attention and serious discussion, whether from the perspective of appreciation or creation.