The poem "White Dew is Frost" conveys to readers that it is late autumn and the dawn of genius, because there are frost flowers condensed by dew at night on reed leaves. On such a late autumn morning, the poet came to the river in pursuit of the person he longed for, and an endless reed appeared in front of him, showing cold silence and loneliness. The poet only knows that the person he expects is on the other side of the river. Seen from below, this is not a definite existence. The poet has no idea where the Iraqis live, or whether the Iraqis are like the "South Americans" who swam to the north bank of the river in the east and lived in Xiaoxiang in the evening in the fourth of Cao Zhi's Seven Miscellaneous Poems. This may be a hopeless but tempting pursuit under the poet's feet and pen. Understanding "upstream" and "upstream" as upstream and downstream, or along a winding waterway and along a DC waterway, will not affect the understanding of poetry. In Bai Juyi's Song of Eternal Sorrow, after the death of Yang Guifei, Xuanzong was lonely and sleepless. Through the above search, he found the green void, below, in the yellow spring, a Taoist priest. He still "but he didn't find the person he was looking for in two places", but after all, he found Yang Guifei, who had become an immortal on the "illusory" overseas fairy mountain, and met again on Tanabata. However, in Jiaxu, after the poet's hard pursuit, the Iraqi people seem to be in the middle of the river, surrounded by waves, still inaccessible. In Hanguang, Nan Zhou, the poet can't find a "wandering girl" either, because the Hanjiang River is too wide to cross. Chen Qiyuan said: "Those who speak (say) will seek it, while those who can only see it without seeking it will benefit." (Appendix to Shi Mao's Argumentation) "Visible but unreachable", which is within reach, deepens the degree of longing. The word "Wan" in the poem shows that the figure of the Iraqi people is vague and ethereal, and perhaps it is simply an illusion born out of the poet's obsession.
The latter two chapters only slightly change the first chapter, which is a common technique in the Book of Songs. Specific to this poem, this change is in rhyme-the first chapter "Cang, Shuang, Fang, Chang and Yang" belongs to yang rhyme, the second chapter "Shu, Yi, Mei, Ji and Yi" belongs to fat rhyme, and the third chapter "Cai, Ji and Yi" at the same time, this change has also caused the semantic reciprocating advancement. For example, "white dew is frost", "white dew is not wet" and "white dew is not exhausted"-dew condenses into frost flowers at night, frost flowers melt into dew due to rising temperature, and dew evaporates under sunlight-indicating the continuation of time.
Unlike most love poems in The Book of Songs, which are often concrete, the meaning of this poem is particularly ethereal and vague. Not only is there no specific event or scene, but even it is difficult to tell whether the protagonist is male or female. The whole article deliberately renders a distant and illusory realm atmosphere, a lingering and slightly sentimental state of mind, and a yearning and elusive state of mind. It shows not the specific love story and scene plot, but the pursuit and sigh of the lyric hero's soul. Because it ignores the specific traces of love life and only shows a vague pursuit, it is obviously much purer than other love poems in the Book of Songs, and it is a kind of purification and sublimation of feelings. From this point of view, it seems to be closer to some purely lyrical love poems of later generations, but different from the passionate and frank folk love songs that sometimes inevitably involve vulgarity.