The latter two chapters are only slightly changed from the first chapter, and this kind of repeated singing with only slightly changed words is a common technique in the Book of Songs.
As far as this poem is concerned, this change is all about rhyme-the first chapter "Cang, Shuang, Fang, Chang and Yang" belongs to the rhyme of Yang, the second chapter "Qi, Mei, Ji and Gui" belongs to the rhyme of Fat, and the third chapter "Cai, Ji, Huan, Right and Turbid" belongs to the rhyme of Yang.
At the same time, this change has also caused the reciprocating advancement of semantics. Such as "white dew is frost", "white dew is not sad" and "white dew is not endless"-dew at night condenses into frost flowers, which melt into dew due to rising temperature, and the dew evaporates under sunlight-indicating the continuation of time.
Extended data
If the "Iraqi" in the poem is regarded as a lover, then this poem shows the melancholy mood of the lyric hero's persistent pursuit of good love. The spirit is precious and the feelings are sincere, but the result is slim and the situation is sad.
But the most valuable thing in this poem is not the pursuit and loss of the lyric hero, but the artistic conception of "being on the water side" created by him, which has universal significance. Good poetry can create artistic conception. Artistic conception is a pattern and a structure, which has the performance of containing all heterogeneous things with similar patterns and structures.
The structure of On the Water is: chasing troops-rivers-Iraqis. Because the "Iraqi people" in the poem has no specific reference, and the meaning of the river lies in the barrier, all the pursuits that are difficult to achieve because of being blocked in the world can be isomorphic and resonate here.
From this point of view, we might as well understand Jane's poems as a symbol and take On the Water as an artistic paradigm to express all the difficulties in social life. The "Iraqis" here can be talents, friends, lovers, achievements, ideals, prospects, even blessed land, holy land and heaven.
The "river" here can be high mountains and deep valleys, patriarchal clan system and ethics, or any other obstacles that may be encountered in real life. As long as there are pursuits, obstacles and disappointments, it is the world that it reproduces and expresses.
In this way, the ancients interpreted it as persuading people to follow the etiquette, accepting talents and caring for others. Today, people regard it as a love poem, and some even regard it as a ritual of ancestor worship by the ancient water god. I'm afraid there is some truth. It seems inappropriate to stick to one family and exclude 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", we should appreciate its keen pursuit, not its pessimistic disappointment. This poem creates a hazy, fresh and mysterious artistic conception with images such as water, reed, frost and dew. The morning mist covers everything, and the crystal dew has condensed into frost.
A shy girl walked slowly. The water image in the poem represents women and embodies the beauty of women, and the thin mist is like a veil covered by a girl. She appeared at the water's edge, and then on the land of water. I can't find it, and my anxious and helpless mood itches like an ant crawling and hurts like a knife cutting.
As we often say, "distance produces beauty", this kind of beauty becomes hazy, fuzzy and unclear because of distance. The identities, faces and spatial positions of the protagonist and the Iraqi people are vague, giving people a vague, looming and hazy feeling. Sword armor, white dew, Iraqi people and autumn water are becoming more and more elusive, forming a hazy and elegant watercolor painting.
At the beginning of each chapter of the poem, the brushwork of seeing interest in fu is adopted. Through the description and admiration of the real scene in front of me, I drew an ethereal artistic conception that enveloped the whole article. The poet grasps the unique characteristics of autumn, and repeatedly describes and renders the empty and sad atmosphere in late autumn with heavy colors, so as to express the poet's loss and ardent admiration. The first two sentences of each chapter are inspired by autumn scenery, which leads to the text.
It not only points out the season and time, but also renders the desolate atmosphere, which sets off the melancholy mood of the characters and reaches the artistic situation of blending scenes. The three images of "Jiaxu", "Water" and "Arbitrary" complement each other and blend into one, and the things for fun and the things described constitute a complete artistic world.
At the beginning, the scene of reeds growing by the water in autumn is exactly "expressing meaning with images" and has the role of "passion" Because of the reed, and under the reflection of the sky and water, it is bound to present a state of confusion, showing the realm of "hazy love" in the hero's heart from one side.
Wang Fuzhi's "Jiang Zhai Shi Hua" said: "Those who care about the current situation are also self-interested and beneficial to others. Although the scene is divided into heart and object. The scenery is full of feelings, and the feelings are full of scenery, sadness and joy touch each other, glory and tension meet each other, and they hide in their homes. " The poem "Jin Jia" is to fuse the unique scenery in late autumn with the euphemistic and melancholy lovesickness of the characters, thus rendering the atmosphere of the whole poem, creating a confusing artistic conception, which is the embodiment of "all scenes and words are affectionate"
In a word, the rich aesthetic feeling of Jiaxu is worthy of our attention and serious discussion, both from the perspective of appreciation and creation.
Baidu Encyclopedia-Guofeng Qinfeng Sword A