The Book of Songs comes from The Book of Songs Qin Feng. This is a pity poem. The "Iraqi people" in the poem is the object that the poet loves, misses and pursues. This poem describes the scenery very well, and the scenery is full of emotion and the scene is integrated, which effectively sets off the sad and melancholy feelings of the protagonist and gives people a hazy beauty.

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3 translation

4 Introduction

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1 original

2 comments

3 translation

4 Introduction

5 hierarchy

6 content review

7 Writing background and sentence by sentence …

8 artistic features

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The Book of Songs

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

It's been a long time, and it hasn't changed for thousands of years. 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 comment.

Jiān jiā: Ji, like a reed. A reed.

Cangshan: lush appearance.

Condense into: condense into.

So-called: miss. 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. Now write "cymbals"

Me (xρ): Fuck.

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

Jump (jι): climb, rise.

A small continent or highland in the water.

Mining: lush and distinctive appearance.

Yes, it means "fuck, fuck" here

By the water.

Right: Turn right, which means (the road) is bent.

Zhi (zhǐ): A small piece of land in the water.

Edit this translation.

The reeds by the river are blue, and the dew in late autumn condenses into frost.

The person I miss day and night is on the other side of the river.

Pursuing her against the current is a long and arduous journey.

Look downstream, it seems to be in the middle of the water.

The reeds are lush by the river, and the dew is not dry in the morning.

My ghost is on the other side of the river.

Sailing against the current to pursue her, the road is bumpy and difficult to climb.

Look downstream, it seems to be in the middle of the sandbar.

The reeds by the river are more lush, and the Millennium still lingers in the morning.

The person I'm after is on the other side of the river.

Sailing against the current to pursue her, the road is difficult and circuitous.

Looking downstream, it seems to be a sandbar in the water.

Edit the introduction of this paragraph.

Jiaxu is a folk song of Qin State. It is a love poem, which describes the psychology and feelings of an infatuated person in love. It's real, tortuous and touching. "Jiaxu" is a general term for reed and reed, both of which are born near water. "Jian Peijun is pale and the white dew is frost" describes the cool scenery of reeds in an autumn, with broad white dew and thick frost, which secretly reflects the hero's mood at this moment. "The so-called Iraqis are on the water side", Zhu's "Biography of Poetry": "Iraqis are still the same." The hero misses his lover very much. In front of autumn scenery, there was silence, a long talk, and nothing at all, but because she was preoccupied, she seemed to see the right person in the distance on the other side of the water, so she wanted to pursue her in order to get together. "Going back and forth, the road is long and its Xiu Yuan is Xi". The protagonist goes upstream along the riverbank to find the trace of the right person, but there are many obstacles on the road, and it is difficult, tortuous and far away. "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. In the next two chapters, only a few words are changed and sung repeatedly. "No", not dry. The junction of "Mae" aquatic plants is also the shore. "Jump", rise. "Yes", twists and turns. "Gou" and "Zhi" refer to Xiao Zhu in highland and water. Edit this paragraph hierarchy

This poem has three overlapping chapters, and each chapter can be divided into four levels:

The first two sentences begin with an autumn color on the 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.

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. Comments on editing this paragraph

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 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 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.

The writing background and sentence-by-sentence appreciation of editing this paragraph

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.

This poem of cherishing people has always had different interpretations. Some people think that the author misses his lover and the theme of the poem is to write about love; Some people say that the poet satirized that Qin Xianggong could not be a good corporal through his bosom friend, which led to the hermit of the wise men and refused to come out to be an official; Some people say that the author is a hermit, and this poem is the work of Zhi Ming. We are poetic, and the love between men and women is not clearly expressed in the poem. Besides, it is difficult to judge whether "Iraqi" is a man or a woman. It is even more unfounded to say that it is a satire. Therefore, we only regard "Iraqi people" as the person whom the author admires and loves, whether male or female.

The phrase "white dew is frost" points out the time and environment from the image and color. The dense reeds growing by the river are light blue, and the crystal dew has condensed into thick frost with a white brush. The slight autumn wind brings people chills, and the boundless autumn water is even more chilly. In this bleak and quiet late autumn morning, the poet sometimes stops, sometimes hesitates, sometimes looks up, and sometimes frowns and meditates. His anxiety appeared before our eyes from time to time. It turned out that he longed for a friend. The phrase "The so-called Iraqi people are on the other side of the water" shows the object of the poet's admiration and the position of the Iraqi people, and shows the poet's desire to see but not see, looking through the autumn water and looking for it. "Iraqi people" refers to people who are close to the poet, respected and loved by the poet, and never forget. The word "so-called" shows that "Iraqi people" are often mentioned and kept chanting, but now they are on the other side of the long river. The tone of On the Water Side is positive, which shows that the poet is convinced of his existence and pursues it with confidence, but the river is isolated from the world and it is not easy to meet each other. "Going back and forth here, the road resistance is long; Swim back from it in the middle of the water. " Walking on the riverside path is a long and arduous journey, even if it takes a long time, it is difficult to get there; If you swim across the river directly, although the distance is not far, you can see the endless autumn water in front of you, which is difficult to do, as if you saw the figure of Iraqis shaking in the middle of the water. Although the poet stood by the river, his trance-like mind was already flying, and he couldn't help but see the image of Iraqi ecstasy vividly. The wonder of poetry, as Fang Yurun said: "Playing with its words is out of reach. Taste its meaning, seek it not far away, and think about it. " (Original Book of Songs)

The second and third chapters of the poem have only changed a few words, and the content is basically the same as the first chapter. But it embodies the musical characteristics of poetry singing, enhances the melodious and harmonious beauty of rhythm, and makes the feelings expressed stronger and stronger. The first chapter's "grey", the second chapter's "sadness" and the last chapter's "picking" show that the color of reed is from light green to sad green and then to white, which makes the bleak atmosphere in late autumn more and more rich, and sets off the poet's cold environment and lonely mood at that time. The transformation of "white dew is frost", "not wet" and "not already" depicts the scene and process of morning dew gradually turning into autumn water, vividly outlines the track of time development, and shows that the poet came to the river at dawn and stayed until the sun rose. Imagine that he wandered alone in the cold and lonely wilderness for a long time, facing endless autumn waters, waiting for people to disappear, thinking about people, how anxious and melancholy he was! When describing the position of the Iraqi people, due to the change of words such as "square", "beauty" and "joy", it truly describes the activities and psychological images of the Iraqi people waiting for poets and poets to meet them on the other side, which greatly broadens the artistic conception of the poem. In addition, the changes of "long", "leap", "right", "middle", "sweet" and "sweet" also describe his difficulty in meeting Iraqis and his desire to meet friends from different roads and directions. If we relate several groups of deformed words used in the three chapters to taste, we can better appreciate the meaningful and honest meaning of this poem.

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. Just as "Words on Earth" said, "Jia Jian's poem impressed me the most." It has the characteristics of "seeing things by myself, so everything is my color" and "its feeling will be refreshing; Its landscape writing will also attract attention; His words blurted out without any makeup. "

This widely read poem has obvious influence on later generations. Let's look at a description in Song Yu's "Nine Debates": "Sad autumn is the same! Bleak, the vegetation falls and decays; If you want to travel far; Get the moon first by being close to the water tower; The sky is crisp; Lonely and lonely, clear water; It is sad and sad that people are in the cold. "Here, through the description of the autumn weather and the fall of vegetation, a cold atmosphere is created and the poet's sad mood is expressed. This may be influenced by the poem Jia Jian, from which we can see the inheritance and development clues of Chu Ci to The Book of Songs. There are high-rise buildings in the northwest of Nineteen Ancient Poems, and the brushwork of expressing emotion with scenery also follows the brushwork of Jianjia poem. Later, from this poem, Cao Pi translated the poem "The autumn wind is bleak and the weather is cool, and the vegetation is like frost". It can be seen that Jia Xu plays a very important role in the history of ancient poetry.

Edit the artistic features of this passage.

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. But the author of Jiaxu seems to have deliberately blurred all the main events in it. 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. There is no doubt that the pursuit of people, events and contents becomes illusory and hazy because of the vagueness of the pursuers, especially those who are forced to pursue them. 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 psychological image. 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, due to the vagueness of pursuers and forced people, seemingly real scenic rivers and roads, as well as the upstream and downstream pursuit routes, as well as the "water center" where Iraqis are located, have also become virtual symbolic images. We can't find out when and where they are and what water they have in He Shan. Otherwise, Iraqis are contradictory in the upper and lower reaches of the river, so 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 the poem Jiaxu is not the use of symbolic figures of speech or techniques in a certain word or sentence, but the overall symbol of artistic conception. "Being on the water side" is a common situation in life, so is the dilemma of "going back, it's a long way" and the illusion of "going back, it's natural". People may often be baptized by a complete emotional flow, from the excitement of pursuing, to the troubles of being blocked, and then to the disappointment of being lost, they are 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 Jia Xu really have an inexhaustible philosophy of life. Wang Guowei once compared this poem with Schumann's Dead Hua Lian, "Last night, the west wind withered the green trees, climbed the stairs alone, and looked at the horizon", thinking that it was "restoring the scenery and human feelings", 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.

The three chapters of this poem are all inspired by the desolate autumn scenery on the bank of autumn water. The so-called "white dew is frost", "white dew is sorrow", "white dew is not beautiful" and "the gathering of endless white dew" describe the clear autumn scenery of a water town. In other words, the poet's sad mood is also enhanced by such a cool autumn scenery, and the image is concrete. 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. And the scenery gives birth to feelings, feelings give birth to scenery, the touch of sadness and joy, the welcome of honor and disgrace, and mutual collectors. " This poem combines the unique scenery of late autumn with the euphemistic and melancholy lovesickness of the characters, thus rendering the atmosphere of the whole poem and creating an artistic conception full of style and scene. In addition, the poem "Jia Xu" combines the realistic situation with imagination and fantasy, and strengthens the appeal of lyric writing by means of mutual growth of reality and reality, vague and hazy images. "The so-called Iraqi people are beyond the water" is his first illusion. He clearly saw a figure on the other side, but he couldn't go to her side. "Everything is in the middle of the water" is his second illusion. Suddenly, he felt that his beloved appeared on the island surrounded by running water ahead, but he could not swim to her side. That beautiful image is "on the water side" for a while and "in the middle of the water" for a while; One moment on the shore, the other on the highland. It's like being in a fantasy, in a dream, but the protagonist firmly believes that this is true and spares no effort to pursue her. This is a vivid and profound description of an infatuated person's psychopathy and strong feelings for his loved ones. The ambiguity and confusion of this image make the whole poem have a hazy aesthetic feeling and give birth to a charming artistic appeal.