Translation 1
The river is green with reeds and frost in autumn. Where is the right person? Just across the river.
It's too long to go upstream to find her. Follow the running water to find her, as if in the middle of the water.
The reeds by the river are dense, and the morning dew is not dry. Where is the right person? Just beyond the river bank.
Sail against the current, it is hard to go climbs. Follow the running water to find her, as if on a beach.
The reeds by the river are thick and thick, and the dew has not been completely collected in the morning. Where is the right person? It's just beyond the water.
It's hard to find a way to find her against the current. Follow the running water to find her as if she were in the water.
Translation 2
Large areas of reeds are green, and the morning dew is frosted. I miss my sweetheart. Standing on the other side of the river Go against the current to pursue her (him), and the road to follow her (him) is dangerous and long. Looking downstream, she (he) seems to be in the middle of the river.
A large area of reeds is sad, and the dew in the morning has not dried. I am a haunted person, she (he) is on the other side of the river. Pursuing her (him) against the current is bumpy and difficult. Down the river, she (he) seems to be in a small continent in the water.
The reeds by the river are lush and continuous, and the dew in the morning has not evaporated. My suitor, she (he) is on the river bank. Sailing against the current to pursue her (him), the road is tortuous and dangerous. Down the river, she (he) seems to be on the beach in the water.
Appreciation of works 1
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 take Jian Peijun's poems as a symbol and "on the water side" 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 the anonymous ancient poem "Jian Peijun" as persuading people to follow the rites, recruiting talents and cherishing people. Today, people regard it as a love poem, and some even regard it as a ritual of ancestor worship by the ancients. 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. 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. Ancient poetry, a thousand years, the autumn waters of Iraqis and swordsmen 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 unique characteristics of autumn, and repeatedly describes and renders the empty and sad atmosphere in late autumn with heavy colors, so as to express the poet's loss and ardent admiration. 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 image of "water" and "Yiren" in the ancient poem "Sword Armor" by Anonymous brings out the best in each other and forms a complete artistic world with the object to be described. 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. The scenery gives birth to feelings, the feelings give birth to scenery, the touch of sadness and joy, the honor and disgrace and the response, and the mutual hiding of their homes. " The poem "An Jian" is to fuse 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 patchwork artistic conception. In a word, the rich aesthetic feeling of Jiaxu is worthy of our attention and serious discussion, both from the perspective of appreciation and creation.
Appreciation of works ii
The Qin land in the Eastern Zhou Dynasty is roughly equivalent to most of Shaanxi and eastern Gansu today. Its land is "close to Rongdi", and such an environment forces Qin people to "practice combat readiness and value their strength" (Hanshu Geography), and their emotions are also passionate and generous. The ten poems preserved in Qin Feng mainly focus on hunting, mourning, satire and persuasion, like Jia Jian and Morning Wind, which are more like Zheng's style.
The poem "White Dew is Frost" conveys to readers that it is late autumn and the dawn of genius, because there are frost flowers condensed by dew at night on reed leaves. On such a late autumn morning, the poet came to the river in pursuit of the person he longed for, and an endless reed appeared in front of him, showing cold silence and loneliness. Where is the man whom the poet expects? All I know is that it is on the other side of the river. But is this a definite existence? Seen from below, this is not the case. Whether the poet doesn't know where the Iraqis live at all, or whether the Iraqis are like the "South Americans" in the fourth of Cao Zhi's Seven Miscellaneous Poems, who travel east to the north bank of the river and spend the night in Xiaoxiang, is impossible to know. This may be hopeless at the poet's feet and pen, but it is full of the temptation of pursuit. Understanding "upstream" and "upstream" as upstream and downstream, or along a winding waterway and along a DC waterway, will not affect the understanding of poetry. In Bai Juyi's Song of Eternal Sorrow, after the death of Yang Guifei, Xuanzong was lonely and sleepless. Through the above search, he found the green void. Below, in the yellow spring, a Taoist priest was still "but he didn't find the person he was looking for in two places", but after all, he found the immortal Yang Guifei on the "illusory" overseas fairy mountain and met again on Tanabata. However, in An Jian and An Unknown Ancient Poetry, after the poet's hard pursuit, the Iraqi people seem to be in the middle of the river, surrounded by rough waves, and still inaccessible. In Hanguang, Nan Zhou, the poet can't find a "wandering girl" either, because the Hanjiang River is too wide to cross. Chen Qiyuan said: "Those who speak (say) will seek it, while those who can only see it without seeking it will benefit." (Appendix to Shi Mao's Argumentation) "Visible but unreachable", which is within reach, deepens the degree of longing. The word "Wan" in the poem shows that the figure of the Iraqi people is vague and ethereal, and perhaps it is simply an illusion born out of the poet's obsession. The latter two chapters are only slightly changed from the first chapter, and this kind of repeated singing with only slightly changed words is a common technique in the Book of Songs. As far as this poem is concerned, this change is all about rhyme-the first chapter "Cang, Shuang, Fang, Chang and Yang" belongs to the rhyme of Yang, the second chapter "Qi, Mei, Ji and Gui" belongs to the rhyme of Fat, and the third chapter "Cai, Ji, Huan, Right and Turbid" belongs to the rhyme of Yang. At the same time, this change has also caused the reciprocating advancement of semantics. Such as "white dew is frost", "white dew is not wet" and "white dew is not exhausted"-dew condenses into frost flowers at night, frost flowers melt into dew due to rising temperature, and dew evaporates under sunlight-indicating the continuation of time.
This poem was once regarded as a mockery of Qin Xianggong's failure to consolidate the country with Zhou Li (Preface to Jian Zheng Shi Mao), or as a regret that it could not attract hermits (General Introduction to the Book of Songs, Yao Jiheng, Primitive Book of Songs, Fang Yurun). But unlike most poems in The Book of Songs, the content is often more specific. There are no specific events and scenes in this poem, and even the gender of "Iraqis" is difficult to identify. The above two understandings may be based at the beginning, but these bases have not survived or are not convincing enough, so their conclusions are questionable. Annotators of the Book of Songs in past dynasties often pursue deeper, but they get the opposite result of giving up the root and getting the end. Moreover, "all history is contemporary history" (see the concept of history by British philosopher and historian Collingwood), and the interpretation of the text is also contemporary. Most modern scholars regard it as a love poem, starting with the obscure ancient poem Jia Jian, and then writing about the man who pursues the right person. Where are the people they are chasing? In the dense "Jian Jian" anonymous ancient poems, it seems that there are also different things, some hidden and some present. This poem uses repeated chapters to express suspense. "Cang Cang", "Lush" and "Caicai" have similar meanings; Millennium is "thawing", "thawing" and "unfinished", with similar contents. In a word, the heavy chapter of this poem is neat and concise, with bright rhythm and pleasing to the eye.
The emptiness of poetry brings trouble to interpretation, but it also expands the inclusive space of its connotation. When readers touch what is hidden behind the description object, they will feel that the images in this poem are not only used by poets to sing, but also contain some symbolic meanings. "On the Water Side" is a symbol of admiration, which is described in detail in Qian Zhongshu's "Pipe Tapes". "Swim back", "Swim back", "The road is blocked and long" and "Wandering in the middle of the water" are just symbols of the difficulty and uncertainty of repeated pursuit. The poet searched up and down, but Iraqis were faintly visible but still out of reach. In The West Chamber, Yingying failed to combine with Zhang Sheng in Pujiu Temple because of her mother's constraints. She lamented that "people are far apart", and the poets in Jia Jian's unknown ancient poems felt the same way.
It seems that the poet's pursuit will be successful, but it is still a mirage. There is a story in ancient Greek mythology that King Tantalus was punished for boasting that he had committed a crime-enduring eternal thirst and hunger. He stood in the big lake, the water was as deep as his chin, there were fruit trees by the lake, and many fruits hung on his head. However, when he was thirsty and bowed his head to drink water, the lake receded; When he was hungry and reached for the fruit, the branches swung open, and the beautiful spring fruit was always within his reach. The proximity of the goal makes failure more painful and regrettable. The most unacceptable failure is the failure that is only one step away from success.
Works that explore the profound experience of life always get constant response in later generations. Random thoughts on the unknown ancient poems of the sword family (called random thoughts of the sword family in the province) and Yi people in the unknown ancient poems of the sword family have become cliches in old letters. Cao Zhi's Ode to Luoshen and Li Shangyin's Untitled Poems are also responses to the themes expressed in Jianjia's unknown ancient poems. A romantic novel by Qiong Yao, a contemporary popular novelist in Taiwan Province, is called On the Water, and the theme song of the TV series of the same name is based on this poem.
Vagueness of facts
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. Emotion expressed in the works: the man who pursues "Iraqi" failed to find his "Iraqi" after three pursuits, which shows that the so-called Iraqi is just an elusive dream and a virtual environment. But the dreamer didn't give up, but sought for the dream, not afraid of difficulties and obstacles.
An 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, 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 and an unknown ancient poem lies in the poet's accurate grasp of people's psychological images, creating a psychological situation that looks like flowers, making the artistic conception of the poems present as a whole symbol.
source
Jia Jian-Anonymous
original text
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.
Keyword annotation
Jiān: Reed without long spikes. Jiā: a new reed. Pale: bright and lush. In the following, "planting" and "mining" have the same meaning.
Pale: lush appearance 3. In favor: condense into.
So-called: what I said refers to what I missed.
Iraqi: That person refers to the object of admiration.
One side: that side.
Backwater: upstream. Hereinafter, "upstream" refers to downstream. One said that "rotation" refers to a curved waterway, and "swimming" refers to a DC waterway.
From: Pursuit.
Obstacles: difficulty walking.
Wan: Now it seems.
Me (xρ): Fuck.
May: Where the water meets the grass is the coast.
Jο(jο): the highland in the water.
Chí: The beach in the water.
By the water.
Right: twists and turns.
Zhǐ: The beach in the water.
Creation background
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 Poetry" said: "Jia Xu" is an anonymous ancient poem, which is a thorn in Xiang Gong. If you can't make use of Zhou Li, you can't consolidate your country. Su, a modern man, explained 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 obey Zhou's etiquette, you are in the middle of the water, in the water, in the water, which means there is hope to govern 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, "The recluse does not follow its path, and the recluse avoids 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 blocked. "
Because the original writing method of this poem can't be verified, and the reference of "Iraqi" in the poem is also difficult to gain credit, it is difficult to draw a conclusion on the above three theories. Here, let's take it as a love poem. An unknown ancient poem by 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). Qin land 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.
Artistic conception of ancient poetry
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.