Walk out the door slowly, your feet are tempted to endure. Don't send the far one near, the latter only knows how to send it to the door. Who calls tea bitter? It is as sweet as water. New faint feast, such as brother.
Jing and Wei are turbid, _ _ its _. Yan 'er is new and faint, and I am crumbs. Don't go to my fish dam and don't open weel again. I bow and don't study, I pity my queen!
I like to cross the river deeply, using rafts and boats to cross the river. As the river was clear and shallow, I swam to the other side. There is nothing at home that you need to do wholeheartedly. If the neighbors are in trouble, help will not be delayed.
Yes, I can. Instead, I am the target, which hinders my virtue and Jia Yong's virtue. Once upon a time, I was afraid of family poverty and adversity. Now that my family is getting better and better, I think you hate me like an evil spirit.
Prepare dried vegetables and pickles and store them for the winter. The banquet is new, and I am anti-poor. There is a _ collapse, which is both embarrassing and embarrassing. If you don't think about the past, I'll come. As a social problem, husbands abandon their wives because of environmental changes or emotional discord, which is reflected in the earliest collection of poems in the literary history of the Han Dynasty, The Book of Songs. Feng Wei who protects himself is one, and Gu Feng is another. The pain of being abandoned is also stated in the tone of abandoning his wife. Compared with self-protection, the women in Li Feng are not as decisive in character as the former, so they don't have anger when recalling the past and telling their feelings, but complain and don't directly condemn the Sad Man. However, in terms of artistic style, they can better reflect the gentle and sincere tradition of poetry teaching advocated by Confucius.
From the narrative of the whole poem, the woman's husband turned out to be a poor farmer, and it was only because of the joint efforts of the two after marriage, especially the efforts of the young wife, that life gradually improved. However, this improvement in living conditions has become the reason for her husband to abandon her. This heartbroken man not only ignored this troubled scum wife, but also liked the new and hated the old, regarded her as an enemy, deliberately found fault, often punched her, and finally kicked her out of the house on the day she married her. It is in this case that the abandoned wife in the poem poured out her grievances with tears.
The most noteworthy lyrical aspects of this poem are: firstly, the most heartbreaking moment is selected, and the husband's ruthlessness and abandoned desolation are highlighted by comparison. At this moment, the newcomer enters the door and the old man leaves home. There is nothing sadder than this moment for a woman who has devoted herself to a better life. Therefore, the poem skillfully grasped the best opportunity to reflect this life tragedy, thus providing a foundation for the lyrical development of the whole poem. On the one hand, it is the excitement and intimacy of "the banquet is new and light, and the brotherhood", on the other hand, it is the ruthlessness and indifference of "coming all the way to Iraq to send me to Kyrgyzstan", which forms a highly sharp contrast and highlights the incomparable sadness of the abandoned people, and the typical sad atmosphere is rendered very strongly.
Secondly, it borrows vivid metaphors and expressions and has a strong flavor of life. The whole poem is divided into six chapters, and each chapter has endless subtle metaphors. For example, the first chapter begins with windy and rainy days, showing that husbands often get angry for no reason; The root of radish was abandoned, which shows that he has lost his root and regarded the treasure as waste. This is mainly used for words. The second chapter turns tea into bitter and sweet, to compare the bitterness of characters when they meet their husbands, far above the bitterness of tea. This is mainly used for expressions. For example, in the third chapter, "Jing Yiwei's water is turbid, _ _ its _", Jing Yishui is used to describe himself as innocent despite being accused by his husband. The fourth chapter uses deep rivers to cross the boat and shallow waters to swim across the boat, which means that no matter what difficulties you have in your past life, you can try your best to solve them. The fifth chapter uses "Jia Yong doesn't sell" as a metaphor for her husband's disgust, and "compare it with poison" means her hatred for herself; The sixth chapter compares his past hard work to "the purpose of keeping out the cold" and compares her husband's abuse to the roaring running water. These metaphors are simple and simple, which are in line with the characteristics of metaphorical situations and greatly enhance the artistry and expressiveness of the works.
Finally, the singing and chanting of the work is also a major feature of expressing the upset mood and infatuation of the abandoned wife. From the first chapter's "unity is not anger" and "virtue is not offensive, mutually assured destruction" to the second chapter's "road delay, central violation", from the third chapter's "don't let me die, don't let me die", to the comparison of the fourth and fifth chapters, and then to the sixth chapter's "don't miss the past, easy" along this emotional context. As for the phrase "new feeling of feast", which appears repeatedly in the second, third and sixth chapters of the work, in the intermittent mixed memories and lyricism, it highlights the strong stimulation brought to her by her husband's treachery. She couldn't stand the reality that appeared in front of her eyes, and she couldn't accept it with a normal heart, so she sang it repeatedly to show that it was unforgettable and unforgettable.
It can be seen that this poem is very distinctive in expressing the sadness of abandoning his wife. Its appearance shows that ancient women have been in a weak position in love and marriage for a long time and acted as victims of a patriarchal society, and their fate deserves sympathy. Although the work does not directly condemn the ungrateful people, the initial oath and the final abandonment, such as taking off the boots, still make a strong direction for this and have a profound warning effect.
References:
1, translated by Wang Xiumei. The Book of Songs (I): National Style. Beijing: Zhonghua Book Company, 20 15: 68-722, Jiang Liangfu, etc. Dictionary of pre-Qin poetry appreciation. Shanghai: Shanghai Dictionary Publishing House, 1998: 68-72.