The Book of Songs, National Style and Qin Feng

The Millennium is frost.

The so-called Iraqis are on the water side.

Tracing back and forth, the road is blocked and long.

Swim back from it, in the middle of the water

Sadly, the Millennium is still there.

The so-called Iraqis are in the water.

Tracing back and forth from it, the road is blocked and broken.

Swim back from the inside and swim in the water.

Jia Cai, peace and prosperity have not passed.

The so-called Iraqis are in the water.

Go back and follow, the road is blocked and turn right.

Swim back from the inside and swim in the water.

[Edit this paragraph] Note

Jiān jiā: Ji, like a reed. A reed.

Pale color: dark blue.

Condense into: condense into.

So-called: say, here refers to what you missed. Iraqi: This person is still that person. It refers to the person that the poet misses and pursues.

By the water: On the other side of the river.

Go back: it means to go upstream along the river to find her. Upstream, upstream. Follow, chase, chase.

Resistance: dangerous, difficult to walk.

Follow it: go upstream along the DC River to find her. Swim, flow, refers to the channel of DC.

In the middle of the water: (That man) seems to be in the middle of the river. Wan, it seems, it seems.

Sadness: lush appearance. Writing "lush" now has the same meaning as writing "Cai Cai" below.

Me (xρ): Fuck.

Mai (méi): a place where water and grass meet, generally referring to the shore.

J: rise, height.

A small continent or island in the water.

Mining: lush and distinctive appearance.

Yes, it means "fuck, fuck" here

By the water.

Right: Bypass.

Zhǐ: The beach in the water.

[Edit this paragraph] Translation

The reeds by the river are blue and green.

The white dew condenses into frost in late autumn.

The people I miss day and night,

On the other side of the river.

Looking upstream,

This road is dangerous and long.

Look for it downstream,

It seems to be in the middle of the water.

The reeds by the river are lush,

The dew is still wet in the morning.

My ghost,

Just across the river.

Looking upstream,

The road is rugged and difficult to climb.

Look for it downstream,

It seems to be in the middle of the sandbar.

The reeds by the river are more lush,

The Millennium still lingers in the morning.

The person I'm looking for,

Just across the river.

Looking upstream,

This road is dangerous and circuitous.

Look for it downstream,

Like a sandbar in the water.

[Edit this paragraph] A short comment

"Acacia was written in ancient times, and there is no such thing as' Jiaxu'."

The so-called acacia, hope but not, see but not; Although you work hard and give everything you want, you will never get it. So the faint feelings are beyond words. I smell string songs, and the string stops and the sound is in my ears; After reading "Jia Jian" today, the article stops here, and the rest of my feelings never leave.

A reed, a reed, a wandering thing, swaying with the wind, but stopping at its roots, if it floats, if it stops, if it has nothing. Infinite thoughts, wandering in a trance, worrying about the roots. Roots, love also. Acacia is nothing but love. Exposed to things, disappeared in an instant. Buddha said: Everything has its own way, like a dream. If dew is like electricity, it should be seen this way; Love is a thing, illusory and shapeless. Zhuangzi said: "Happiness comes from the air and steam it into bacteria." . That makes sense. Dew condenses into frost. Earth, air and body fluid are born from the ground, and thin and cold are frost. Beauty is not available, so lovesickness is very beneficial and affectionate. So it is called "not yet" and "not yet". Although you can't get it, you will suffer. Don't ask for it, love never leaves! This lovesickness is the most bitter!

Love is tied to the so-called Iraqi people. However, on the water side, I don't know where it is. Jia Changjiang has a poem: "But which corner of the mountain, how do I know, through all these clouds?" "If a husband is happy, he will ask for something, so he waded through the water though he didn't know where he was. It is called "back to back" and "back to back", which is also up and down. Moreover, the road twists and turns are hard to find, which is really a "up, he looks for green vanity, down, and the grave." But in the end, "but he failed, and in two places, he didn't find the person he was looking for", but the pursuer was a phantom cloud, hidden from the mirror and would not be available.

Acacia is beneficial, just like the shadow in front, within reach, but out of reach. The phrase "everything is in the middle of the water" is as long as the sound of a broken string. Idiot? Dream? Every time I read this, I can't help but rejoice, sigh, complain and cry!

[Edit this paragraph] Writing background

Jia Jian is selected from The Book of Songs? National wind? Qin Feng, a folk song, came into being in Qin about 2,500 years ago.

There have always been different opinions about the content of this poem. To sum up, there are three main arguments: one is the theory of "stabbing Xianggong". "Preface to Mao's Poems" says: "Jia Xu, stab Xiang Gong also. If Zhou Li cannot be used, the country cannot be consolidated. " Su, a modern man, explained this meaning in the Book of Songs: "The so-called sage on the water side is a metaphor for the ritual system of the Zhou Dynasty. If you run the country against the rites in the Book of Rites, then "the Tao will be long if it is blocked", "the Tao will be broken" and "the Tao will be right", that is, it cannot be done and cannot be cured. If you follow Zhou Zhili, it will be in the water and in the water. " "Water swimming" means that there is hope for governing the country. "The second is" recruiting talents ". Both Yao Jiheng's General Theory of the Book of Songs and Fang Yurun's Primitive Book of Songs are poems that introduce sages. "Yiren" means "sages": "sages live in seclusion on the waterfront, but people want to see them." Or, saying, "You don't follow the path of seeking seclusion, and hermits avoid it." The third is the theory of "love". Today, Lan Juyou, Fan, Gao Ting, Lu Huiwen and others all hold "love songs". For example, Lu Huiwen said: "This is a love song, and the poet is in trouble because the lover he is pursuing is out of reach. It is an implicit metaphor to say that the river is impassable. "

Because the skill of this poem cannot be verified, and the reference to "Iraqis" in the poem is also difficult to win the trust, it is difficult to draw a conclusion on the above three theories. Here, let's take it as a love poem.

Jia Jian belongs to Qin Feng. When Wang Xiaoshi was in Zhou Dynasty, Fei Zi, the ancestor of Qin State, was sealed in Qin Valley (now Tianshui, Gansu). When Wang Ping moved eastward, Qin Xianggong was escorted by troops and got a large fief in the west of Qishan. Later, Qin gradually moved eastward, all in Yong (now Xingping, Shaanxi). The Qin area includes the area from Guanzhong of Shaanxi to southeastern Gansu. There are ten songs in Qin Feng, most of which are folk songs in this area during the Eastern Zhou Dynasty.

] hierarchy

The most prominent feature is to repeat the same structure of the chapter, not only Jia Xu, but also the rest, such as Wei and so on. This repetition can be said to be the same structure, only one or two words are replaced, so that writing can achieve the effect of singing three sighs and reciting repeatedly, so as to fully express one's feelings. As for the writing technique, it is naturally xing. Among them, the most distinctive and influential poet in the afternoon should be the enthusiastic application, which can avoid the abrupt shortcomings and has the characteristics of oriental elegance and circuitous.

This 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: in the early morning of late autumn, autumn water is dense, reeds are green, dewdrops are bright and 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 is eager to see through the autumn water and pursue it persistently, "Iraqis" are full of fog. It's hard to see, so there are helpless feelings and empty and melancholy feelings in the poem.

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 feelings of fear. At this point, the situation that Iraqis never dreamed of has been concretely and fully demonstrated.

There are three chapters in the whole poem, and only a few words are changed in each chapter, which not only plays the artistic effect of repeating chapters and sentences, chanting repeatedly, singing three times and sighing three times, but also plays the role of constantly promoting poetry. From "The White Dew is Frost" to "The White Dew is Not Wet" and then to "The White Dew is Not Already", this is the passage of time, symbolizing the long-term gaze and pursuit of the lyric hero; From "on the water side" to "on the water side", then to "on the water side", from "in the middle of the water", to "on the water side" and then to "on the water side", this is a change of location and symbolizes the elusive Iraqi people. From "the road is blocked and long" to "the road is blocked and broken" and then to "the road is blocked and right", it is the repeated rendering of the difficulties in the pursuit process that highlights the indomitable spirit of the lyric hero. Repeating chapter by chapter and advancing layer by layer is a common form of folk songs in The Book of Songs. The poem also skillfully uses words such as "gray" and "sadness" to make the whole text have both sound and emotion.

Content review

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.

However, the most valuable and resonant thing of 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, the meaning of the river lies in the barrier, so all pursuits that are difficult to achieve because of being blocked in the world can have isomorphic resonance and resonance 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 fairyland; 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 uniqueness of autumn colors, and repeatedly depicts and renders the empty and sad atmosphere in late autumn, so as to express the poet's disappointment but ardent yearning for his friends. 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. Scenery gives birth to emotions, emotions give birth to scenery, touch sadness and joy, welcome honor and disgrace, and hide in each other's homes. " The poem "Jin Jia" is to combine the unique scenery in late autumn with the euphemistic and melancholy lovesickness of the characters, thus rendering the atmosphere of the whole poem and creating a confusing and patchy artistic conception. This is exactly the sentence "All scenery and words are sentimental". The rich aesthetic feeling of the poem "Jiaxu" deserves our attention from the perspective of appreciation and creation.

[Edit this paragraph] Artistic features

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.

First of all, the fact is vague.

Generally speaking, the creation of lyric poetry stems from the feeling of specific things, so there are always some real personnel scenes in its artistic conception. However, the author seems to have deliberately blurred all the main events. Who is the seeker? What is he after? We don't know; What is the identity of the hunted "Iraqi"? Why is he so hard to catch? We don't know; Even if it is male or female, it is impossible to confirm. In particular, "Iraqis" have no voice, no appearance and no physical appearance. After a while, he was in the upper reaches of the river, the lower reaches of the river, the middle of the water, and the grass by the water. He is erratic and unpredictable, which makes people wonder if he really exists. Undoubtedly, because the pursuer, especially the pursued, is vague, the whole pursuit of characters, events and contents becomes illusory. But it is precisely because of this fact that the artistic conception of poetry is so ethereal and symbolic.

Second, the ethereal image

In fact, the scene described in the poem is not a real person, but a kind of mind. This psychological image is not the memory of a real thing I have experienced, but a typical psychological situation which is synthesized, condensed and blurred by many similar events and feelings. The biggest feature of this psychological situation is that it is not sticky or greasy, and it is ethereal and rich. On the Water is the artistic expression of this ethereal psychological situation. Here, the "water center" where Yiren is located has also become a virtual symbolic image because of the ambiguity between the pursuer and the pursued, the seemingly real scenic river road and the pursuit route of the upstream and downstream. We can't delve into when, where and what rivers and mountains they are, otherwise Iraqis are contradictory in the upper and lower reaches of the river, and why even two people don't cross the river becomes a problem. The success of Jia Xu lies in the poet's accurate grasp of people's psychological images, which creates a psychological situation that looks like flowers, making the artistic conception of the poem present as a symbol of integrity.

Third, the overall symbol of artistic conception

The symbol of poetry is not the use of symbolic figures of speech or skills in a word or sentence, but the overall symbol of artistic conception. "Being on the water side" is a common situation in life. The dilemma of "going back and forth in the middle, but the road is blocked and long" and the illusion of "going back and forth in the middle of the water" are also common situations in life. People may often be excited by pursuit. The baptism of a complete emotional flow, from blocked troubles to lost melancholy, is more likely to be often affected by how painful it is to go upstream or how happy it is to go downstream; Readers can think of the situation of love and the experience of arousing love from here, and also think of their ideals, careers, future situations and arouse many life experiences from here. The overall symbol of artistic conception makes it truly have an inexhaustible philosophical significance of life. Wang Guowei once compared this poem with Yan Shu's "Butterfly Lovers", "Last night, the west wind adjusted the trees, climbed the stairs alone, and looked at the horizon", which was considered as "the most popular", obviously focusing on the symbolic significance of life in its artistic conception.

The vagueness of facts, the emptiness of images and the overall symbol of artistic conception are three aspects of a problem. From the fact to the virtual image, and then to the overall symbol, this is roughly the process of constructing the artistic conception of symbolic poetry.

reference data

Different places and different people make people want to die. (Ming? Comments on Zhong Xing's The Book of Songs)

This is naturally a poem of sages living in seclusion by the waterfront, but it makes people yearn for it. "Go with the flow", this sentence has been changed and imitated twice, so it is written in the form of deep admiration. So I added a "ten thousand" prison to the next word "in", which made me feel like I wanted to fly. (Qing? Yao Jiheng's General Theory of the Book of Songs)

If you play with the word "so-called" carefully, it is difficult for the person you want to tell others. "On the water side" is also an imaginary word. If there is a certain way that people can come, why not ask for it? The poet's purpose is far away, and so is his stubbornness for suppression. (Qing Huang's Doubt on Poetry)

The three chapters have only one meaning, especially the change of rhyme. In fact, the first chapter has become a swan song. When the ancients wrote poems, one meaning turned into three folds. As the saying goes, one sings three sighs, and one sings more echoes. (Qing? Fang Yurun (Original Book of Songs)

The poetic scene is symbolic and mysterious. (Chen Zizhan's The Book of Songs)

"The so-called Iraqis, the water side, go back and follow, the road is long; Swim back from it in the middle of the water. " Curtain: "One side, difficult." Press (Han Guang): "Han has a wandering girl and can't help but consider it; Han is too broad to swim; Jiang Zhiyong, don't think about it. " Chen Qiyuan (Ji Gu Bian? The appendix says: "If the husband is happy, he will seek for himself. If he can only see and cannot seek, he will benefit." Two poems are endowed with the so-called yearning situation of western romanticism (pension 1 1 Shantou t). The ancient Roman poet Huan Jill famously said: "Watching the fire from the other side is within reach", and people who are considerate in later generations think that good deeds are difficult to achieve. Ancient German folk songs praised good deeds and multipolar obstacles, each of which put obstacles in deep water. Dante's Divine Comedy aims to make a beautiful woman smile across the river, three steps apart, such as across the sea. Modern poet Zhiyun: "Joy grows on the other side of the river." ..... (edited by Qian Zhongshu)