Shimazaki Tōson [Japan]
Running away from home with acacia,
If you want to cross from one shore to the other,
At dusk, the sound of waterfowl flies in the sky.
Be careful when you have wings, there is nothing to be afraid of.
I abandoned my relatives for lovesickness,
Because of your love for you,
The river wind blowing my hair!
You should know how worried I am.
Jiang Tao is choppy,
The rapids hit the rocks,
I wish I was full of romance,
Boil the water without hindrance.
From yesterday's heavy rain to tonight's rainstorm,
How did the high tide reach me-
Cry day and night!
Tears flowed into a waterfall.
Do you know I'm lovesick,
Not that flower and birds in the picture,
Not the words in the sand in the mirror,
It's not the wind whistling in the treetops.
Do you know how much I miss you?
When can I touch a handsome hand,
Ah! Let me put lipstick on my lips.
Don't leave a trace.
Love is my body in the temple,
Jun is a sage in the temple,
Sit firmly on the altar, I want to worship!
Willing to sacrifice my life.
Jiang Tao, throw stones at stones!
Everything depends on you,
I want to swim across the river,
Give me a statue of the god I long for.
Let my body, mind, hands and feet,
Turned into a fire,
Hold me up with melancholy and acacia,
Muscle waves.
(translated by Luo Xingdian)
Love Song of A Jumei is selected from Tender Dishes, and A Jumei is one of six women with different fates (commonly known as "six virgins") portrayed in six love poems of Tender Dishes. Academics believe that Aguomei is not a real model, but an image of a affectionate girl created by the author in an imaginary world. The poet let her gallop freely on the lyric Yuan Ye.
This is a passionate love poem. In order to meet the person she wants, the heroine's pursuit of sincere love fills her body and mind with brave strength. Not afraid of the long journey and the danger of water, she began to trudge without hesitation. At the beginning, the poet's pen magically pointed out a strong flame of youthful life and a feminine charm full of flesh and blood.
In the second couplet, a nine-sister who loves you like fire makes it clear that she would rather "abandon her relatives" for love. Such a determined will to love was undoubtedly a rebellion against the old moral consciousness in the early Meiji period when the old traditional feudal ethics in Edo still dominated people's customs. The third and fourth parts are about the hardships and difficulties of the protagonist as a lover who misses each other as soon as possible. The poet used some fierce and harsh natural phenomena such as "Jiang Tao", "Turbid Waves", "Rapids" and "Rainstorm" to control the romantic artistic techniques flexibly and freely, which vividly disproved Aguimei's unswerving true feelings. She wants to turn full love into a flame and burn the rolling river that blocks her progress; How can rain and waves meet the tears of love and converge into a waterfall!
"ah! Let me put lipstick on my lips without leaving a trace. " This is a bold and humble declaration that love is the true desire from the core of life. This kind of consciousness happens to be in line with the fifth couplet "Do you know I'm lovesick? Not the flowers and birds in the painting, not the words in the phantom sand in the mirror, nor the wind whistling in the treetops. " The corresponding echo aims to emphasize that a person's love is a real feeling that can be chewed and appreciated. Far from the interest of flowers and birds in painting, far from the illusory shadow in the mirror, far from the fleeting words written on the beach, far from the fleeting wind on the treetops.
The heroine in the poet's works is advancing step by step, and the seventh couplet can be said to be standing at the top of a peak in this poem. "Love is that I am a temple and Jun is a temple." This further sublimates the supreme sacred aesthetic consciousness of love. Shinji Ito pointed out: "There is a hidden outlook on life and morality in the new era, and the new morality in the new era is put forward through the burning of the flame of love." Eighth, nine couplets, the heroine deeply expresses her firm determination and savors fine products, which coincides with the oath of "There are no graves in the mountains and rivers, there is Lei Zhen in winter, and there is rain and snow in summer, so I dare to be with you" in Shang Xie of Han Yuefu, and the charm is similar.
In the creation of this poem, narrative poems are used to express feelings. Kawai Zuiming, the author's literary friend and romantic poet, commented: "The love song of Agumei is more a narrative poem with moist feelings than a pure lyric poem. The Meiji 1920s was the period when narrative poetry prevailed. Shimazaki Tōson's poetry was probably influenced by its atmosphere, but at the same time he freely expressed his rich feelings and maintained his own new and different style in the narrative poetry system at that time. " Therefore, Guo, an early Japanese lyric poet, called it a wonderful "narrative lyric poem". Once A Jumei's love song was published, the response was extraordinary. Another modern lyric poem, the representative poet Miho Thaci, said that the girl in this poem is "sentimental, free and unrestrained, and can be called a masterpiece." Based on the social and historical background at that time, it is generally believed that the real significance of the author's love poems lies not only in the madness of functional breath, but also in advocating the moral concept of a new generation of women in the poems, which is a solemn challenge to the old morality since the Edo feudal era.