Why is Qin Feng & gt's artistic conception hazy and endless?

In The Book of Songs > 300 Poems, the style is unique, the scene is mixed, the image is blurred, and the artistic conception of the poem is full of hazy beauty. Jia Xu, a folk song of Qin State, is a love poem, which describes the psychology and feelings of an infatuated person in love. It is very real, tortuous and moving. The protagonist swims up the river bank to find the trace of the right person, but there are many obstacles and difficult steps on the road. "Follow it and swim to the middle of the water." Then he swam into the water to find her, but no matter how the protagonist swam, he couldn't reach her. She seems to be in the middle of the water forever, but I can't reach her. These words are about the illusion of the protagonist. There is always a vague figure floating in front of her eyes, as true as false. No matter whether she travels on land or in water, she can't get close to her, as if she were turning around the center of the circle. So he lingered by the water and felt uneasy. This clearly outlines a hazy artistic conception, describes an obsessive mood, and casts a layer of confused and sentimental mood on the whole poem. The poem has three overlapping chapters, and each chapter can be divided into four levels. The first two sentences show a picture of the autumn river: the morning in late autumn; Autumn water is Vivi, reed is green, dew is Ying Ying, crystal clear as frost. This state is slightly sad in emptiness and loneliness, so it plays a good role in rendering the atmosphere and setting off the artistic conception of the persistent pursuit and elusive love expressed in the poem. Three or four sentences tell the central image of the poem: the lyric hero strolls by the river and stares at the "Iraqi people" on the other side of the river. This "Iraqi" is the one he misses day and night. "Being on the water side" is isolated from the world, which means to pursue difficulties and produce an unattainable realm. Although the lyric hero yearns for autumn water and pursues it persistently, "Yi" is ethereal and unattainable, so the poem is full of helpless emotions and empty feelings. The following four sentences are two levels of juxtaposition, describing two different scenes on the water side. "Going back to the shore, the road is long, but it's Xiu Yuan" is a description of the dilemma when chasing against the current: endless difficulties and obstacles, endless journey, and inaccessible signposts. "Swim downstream in the middle of the water" is the illusion of tracing downstream: the journey is smooth everywhere, the Iraqis are always there, but in the end they can't get close. There are both upstream and downstream, and the significance of pursuing and persisting can be seen; Either the dilemma is difficult to reach, or the illusion is difficult to approach. After all, it is impossible, and the deeper the disappointment. At this point, the situation that Iraqis never dreamed of has been concretely and fully demonstrated. But the most valuable and striking thing about 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 the poetry of the novel 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, and 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 "Jiaxu" as persuading people to follow the etiquette, recruiting talents and cherishing talents. Today, people regard it as a love poem, and some even regard it as a ceremony for ancient people to sacrifice to the water god. I'm afraid there is some truth. It seems inappropriate to stick to one and exclude 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", we should appreciate its keen pursuit, not its pessimistic disappointment. Jianjia is one of the best chapters in The Book of Songs. Its main features are embodied in three closely related aspects: the fuzziness of facts, the emptiness of images and the symbolism of the whole.