On the Ambiguity of the Theme in The Book of Songs Qin Feng Jiajian

The Millennium is frost.

The so-called Iraqis are on the water side.

Tracing back from it, the road resistance is long;

Swim back from it, in the middle of the water

This is sad and sad, and the Millennium is not happy.

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 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. Qin Feng * * * ten articles, mostly folk songs in the Eastern Zhou Dynasty.

This poem of cherishing others 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.

It's fascinating and beautiful-I read Qin Feng's Sword Family and Sword Family, which are among the 300 lyrical masterpieces. It is unique in Qin Feng, which is quite different from other Qin poems. It is really a miracle that such a beautiful and touching work can be produced in a belligerent country like Qin. The text of the work is simple:

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

This chapter is repeated, and only a few words have been changed in the first three chapters. The content of the poem is also extremely simple, writing the so-called "eternal" theme at all times and all over the world, and men and women love each other. Just choose a specific scene: on such a late autumn morning, there is a lover wandering back and forth on the Baihe River, fascinated and eager to find his or her missing lover, that's all. But the aesthetic feeling of the works is very rich, so rich that "we just don't feel tired of reading it a hundred times" (History of China's Poetry).

Let's talk about implicit beauty first. One of the strengths of this poem is its few but precise expressions, which construct a very broad space for imagination and chewing with seemingly economical words. There is no direct lyricism in the work, and there is no description of how the lover misses his sweetheart. He only writes his own actions of finding and looking for a lover, which is quite similar to the feeling of "tossing and turning leisurely" in Guan Ju. The protagonist's passion and anxiety in pursuing his lover, as well as his (her) infatuation, unforgettable lovesickness and disappointment, are vividly and implicitly expressed through constant rushing for action and glancing around. One minute "follow" and the other "follow". Who knows how many times? Chen Qiyuan said: "If the husband says he must, but he can only watch and can't, then Mu Yue will benefit." ("Shi Mao and Ji Gu") Only when it is "the wood is more than one" can it be seen that it can't be obtained, and the more disappointed it is.

Although the works do not deliberately depict the images of both parties in love, they implicitly outline the image characteristics of both parties through the emotional orientation shown by the protagonist's pursuit of action. Against the clear water, "Iraqi" looks noble and makes people feel respectable, amiable and lovely. Otherwise, how can he (she) have such a great magnet-like attraction, so strongly attract pursuers and fascinate pursuers! The pursuers and admirers of the Iraqi people, those who really miss the Iraqi people, are not afraid of difficulties and obstacles, and persevere in looking for the Iraqi people. They are passionate, persistent and yearning for love.

At the same time, the poem only writes about the difficult and elusive Iraqi "for thousands of years", which comes to an abrupt end and is not described below. So what will happen to this pursuer, which leaves the reader with room for imagination. Maybe he (she) is still pursuing his (her) passion, because the more impossible things in the world, the more valuable they feel, the more interested they are, and the more urgent they are. Maybe it's grief and infinite disappointment. Perhaps it is a kind of unspeakable mood, a kind of taste of "cutting without stopping". But what is this? The author didn't say. This is the so-called "endless words, endless meanings" or "endless meanings are outside the words".

Let's talk about artistic beauty. In the crisp autumn season, at dawn, the reeds are white, the dew is frost, the autumn wind is rustling, the reeds are undulating, the autumn water is crystal clear, the water is misty, the air is misty, the winding river course and the small continent in the water are in front of us. At this time, an infatuated lover, wandering by the water, he (she) enthusiastically and eagerly pursued his lover. The lover seems to be on the other side of the water, but the water is full of joy, and the river is blocked, so the "Iraqi" can't reach it. He (she) wanders back and forth like this, ecstatic, and his inner pain is unspeakable. "Iraqis are everywhere, but they can't be found", but their figures are flashing and shaking from time to time, sometimes far away, sometimes hidden, sometimes absent, and sometimes flickering. This situation makes the pursuers unable to find it and can't stop at all. Reading it only makes me feel sad, quiet and meaningful. After in-depth taste and repeated recitation, we can find that the artistic conception of the poem presents a multi-overlapping, interactive structure, showing rich and colorful colors.

First, the poet's pursuit of his lover's dream, infatuation and trance-like subjective feelings is integrated with the foggy scenery in autumn morning. It seems that this confused mist is the poet's infatuated dream at this time, and the scenes are inseparable.

Secondly, the poet's pursuit of lover's continuous affection and "Iraqis are everywhere, but they can't be found" are one of them. If it is not "Wan Zai", the poet will not pursue it. Just because it is looming, there is always an ethereal shadow flashing in front of his eyes, constantly pulling the poet's warm feelings and giving up.

Thirdly, the poet's anxious state of mind of seeking left and right is a realm of "beyond reach". The eagerness to "retreat" and "retreat" is due to the anxiety of pursuers. This kind of anxiety complements the unpredictable, visible and unpredictable situation, which is born from the environment and has emotional charm. Quite a "weaver girl by the river, cowherd by the river, not crossing shallow water, facing each other from a distance" (Meng Jiao's "Ancient Separation").

Fourthly, the protagonist's pursuit of nothingness and frustration is integrated with the bleak scene of the late autumn school. Since ancient times, "autumn scenery's cold kills sorrow", the frustration, worry and pain pursued by poets are mixed with autumn frost, autumn wind and bleak environment in autumn scenery. The bleak autumn environment at this time is the expression and externalization of the poet's sad mood.

Fifth, the noble and charming spiritual temperament of "Iraqi people" is set off by the bright and clean scenery and integrated with the external environment that sets off him.

It is this open structure with multiple artistic conceptions superimposed on each other that makes this romantic work the best poem with great tension, profound meaning and colorful appearance, giving readers more space for imagination, development and creation.

Third, talk about hazy beauty. Although it seems that the work only describes the poet's yearning, pursuit, disappointment and melancholy for the right person, it is not a direct narrative, but a nuanced description, but a freehand brushwork sketched from a distance. Distance produces beauty, such as Han Yu's poem "The rain in the sky is crisp, and the grass in the distance is near, but there is nothing", and Du Mu's "Jiangnan Spring" "Thousands of miles of Ti Ying are green and red, and the water village is full of wine flags. The description of the 480 Temple in the Southern Dynasties shows that there are many terraces in the misty rain, which is an excellent example of aesthetic feeling from a distance. But this kind of aesthetic feeling is bound to become vague, hazy, unclear or even uncertain because of the distance, which is a kind of hazy beauty. It is precisely because of the spatial distance or psychological distance that the whole poem of Jiaxu is confusing and hazy, showing a mysterious and hazy beauty in the vague image. The identity of the lyric hero is vague, and it is impossible to know whether it is male or female, and the cultural background and personality are even more at a loss. The face of "Iraqi" is blurred, let alone portrait, and even a general outline can't be seen. Its noble, respectable, lovely and charming beauty is reflected from the passionate and persistent emotional direction of the pursuer or through the contrast of clear autumn waters. The spatial position of "Iraqis" is also very vague. " "On the Water Side" is just a freehand brushwork of Chinese painting, and the smoke is confused. Anyone here? "Wanzai" is a wandering word, which is difficult to determine. The poet stood by the river, staring at the "one side" of the water through the mist and reeds, which is where the Iraqis live, giving people a hazy feeling of seeing flowers in the fog. It is hard to say whether it is an eye view or a "mind view", but it is really difficult to refer to and elusive. As for the feelings and mentality of this pursuer, the work did not mention a word. We say that he (she) is passionate in love, persistent in pursuit, pursuing endless melancholy, disappointment and so on. It's all the feelings and analysis of our readers. In fact, the work itself has not been clearly explained, and readers seem to be confused.

The most elusive thing is the ambiguity of the theme. What is Jia Jian's theme? Is it really about the love between young men and women? Is there really such a man or woman wandering by the river in the late autumn morning, fascinated by the pursuit of a phantom? So, is this a dream? Perhaps it is a young man who pursues his lover, thinking about it day and night, "tossing and turning" and then falling asleep, and remembering it with poetry after waking up. It may also be the common psychological mode of "Iraqis are everywhere, but I just can't find them". People often have this experience in their lives. There seems to be someone or something there, but they can't find it. When I don't look, I always feel that he (it) is still there. You can also express a philosophy of life that is "beyond your reach" through description. There are many things in life that are out of reach, such as in the field of love, in the field of career, in the life of official career, and more often in the activities of ideal longing. This is our interpretation of poetry today, and there may be many interpretations. As for the opinions of the ancients, we are even more surprised.

"Preface to Poetry" said: "Jia Jian stabbed Xianggong instead of Zhou Li, so there would be no way to strengthen the country." "Shi Hua Shen" said: "The lower reaches of Gai are Luo Jing, Zhou is a scholar, and the water is in the middle, but it is not available. The upper reaches are the Weihe River, and the scholars are in Qin. Long road resistance can cause. " People think that the main idea of this poem is to find a hermit. In short, due to the ambiguity of the theme, sages have different views on the theme of poetry. Originally, "poetry is meaningless", this ambiguity is even more different. However, it is this obscurity, vagueness and ambiguity that fits the poet's samadhi. Xie Zhen in the Ming Dynasty pointed out in his Poems on Four Things: "All poems cannot be realistic, such as looking at the beauty of green hills from a distance, but their colors are hidden and lovely. Its hazy changes are indescribable, and the uncomplicated wonders are just a few trees. What you see far and near is different. The trick is to be vague so that you can see it. " In the Qing Dynasty, Ye Xie even had a set of vague poetics: "The beauty of poetry lies in implication and vagueness, which is pinned on the unspeakable and refers to the insoluble meeting;" What is said here is intended to be another. It is the best to leave the image without a clue, never talk about it, and be poor in thought, attracting people to the realm of obscurity. "(The Original Poetry) shows that the ancients have long been fascinated by the hazy beauty in poetry, and their opinions are very incisive and original. However, in this ambiguity and uncertainty of will, there is still something in the poem. The feeling of "deep desire to see" is certain, the significance of persistent pursuit is certain, and the pursuit of not giving up until you reach your goal is also certain. This has played a guiding role in readers' imagination and recreation.

Finally, there is the beauty of music. The poem is full of chapters and sentences, and one meaning changes into three folds. Rhyme first sounds, then sounds, and then suppresses, lingering sound, singing and sighing, very infectious.

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.