Please talk about your understanding of the theme of a poem.

Jia Xu is a lyric masterpiece among 300 works. It is unique in Qin Feng, which is quite different from other Qin poems. Never similar. It is a miracle to have such beautiful and touching works in Qin, a belligerent country. The writing is simple:

The Millennium is frost. The so-called Iraqis are on the water side. Go back, the road is blocked and long. Go back to it, it's in the middle of the water.

Such a heavy chapter is repeated, and only a few words have been changed in the first three chapters. The content of the poem is also very simple, writing the so-called "eternal" theme at all times and all over the world, and men and women love each other. And only one specific scene was chosen: on such a late autumn morning, a lover wandered by the white river, fascinated and eager to find his or her missing lover, that's all.

Let's talk about implicit beauty first. It is a great advantage of poetry to express more with less, and to construct a very broad space for imagination and chewing with seemingly economical words. The work does not directly express feelings, nor does it describe how the lover misses his sweetheart, but only writes about his actions of looking around for his lover, which is quite like "tossing and turning leisurely" in Guan Ju. As well as his (her) infatuation, deep-rooted lovesickness and disappointment, are vividly and implicitly expressed through the constant rush to seek action. Who knows how many repetitions there will be? Chen Qiyuan said: "If the husband says he must, but if he can only watch it, he will benefit from it." (Shi Mao and Ji Gu) But if he can't ask for it, he will be even more disappointed.

Although the work does not deliberately depict the images of two lovers, it implicitly outlines the image characteristics of both givers and receivers through the emotional orientation shown by the protagonist's pursuit of action. The "Iraqis" under the clear water are noble and noble, which makes people feel respectable, amiable and lovely. Otherwise, how can he (she) have such a great magnet attraction, so strongly attract the pursuer, then make a pursuit? And this Iraqi pursuer and admirer, who sincerely misses Iraqis, bravely and persistently looks for Iraqis, is a passionate and persistent person with love.

At the same time, the poem only wrote the elusive Iraqi "Wan Zai", and then came to an abrupt end, which is no longer described below. So what will happen to this pursuer, which leaves the reader with room for imagination. Maybe he (she) is still pursuing enthusiastically, because the less things in the world, the more valuable, the more interested and the more urgent. Maybe. Infinite disappointment. Perhaps it is an unspeakable mood, a taste of "cutting constantly, and the reason is still chaotic". But what it is, the author didn't say, this is the so-called "incoherent, endless meaning" or "endless meaning".

Let me talk about the beauty of artistic conception first. In the crisp autumn season, at dawn, the reeds are all white, the dew is frost, the autumn wind is rustling, the reeds are undulating, the autumn water is boundless, the crystal clear, the water is misty, the winding rivers and the small continents in the water are all in sight. At this time, an infatuated lover is touching. "Iraqi" is just out of reach, so he or she wanders back and forth, ecstatic, and has unspeakable pain in his heart. "Iraqi people are everywhere, but they can't be found", but his figure flashes and shakes from time to time, from time to time, from time to time, from time to time, from time to time, from time to time, from time to time. This situation makes the pursuer unable to find it, and he can't stop reading it.

First, the poet pursues his lover's dreamy, infatuated and trance-like subjective feelings, which are completely integrated with the autumn morning mist and misty scenery. It seems that this misty morning mist is the poet's dream at this time, and the scenes are inseparable.

Secondly, the poet's pursuit of love for his lover is consistent with "Iraqis are everywhere and can't be found" If it is not "everywhere", the poet will stop pursuing it. It is only because there is always an ethereal shadow flashing in front of him that he will continue to paint the poet's warm feelings and refuse to give up.

Thirdly, the poet's anxious mood of seeking left and right is in line with the realm of "beyond his power". The haste and continuity of "chasing" and "tracing" are all due to the anxiety of pursuers. This kind of anxiety and the situation of "unreachable, unreachable, visible unreachable" complement each other, and the situation is full of emotions. Quite a taste of "Weaver Girl by the River, Cowherd by the River"

Fourth, the protagonist pursues endless melancholy and frustration, just like the bleak scene of the late autumn school. Since ancient times, "autumn scenery's coldness makes people sad", the frustration, worry and pain that poets can't pursue, have been integrated with the bleak environment of autumn frost, autumn wind and 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 spirit of the Iraqi people is set off by the clear scenery and integrated with the external environment.

It is this open structure with overlapping artistic conception that makes this romantic work the best poem with great tension, profound meaning and colorful colors, giving readers more space for imagination, development and creation.

Third, let's talk about hazy beauty. Although the work seems to only describe the poet's longing, pursuit, disappointment and melancholy for the right person, it is not a direct description, but a nuanced description, but a freehand brushwork sketched from a distance. Distance produces beauty, such as Han Yu's poem "The sky is raining like crisp, the grass is near but not there", and Du Mu's "Jiangnan Spring" are both excellent examples of long-distance beauty. 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 relationship between spatial distance and psychological distance that the whole poem of Jiaxu is confusing and hazy, presenting a mysterious and hazy beauty in vague images. The identity of the lyric hero is vague. Its cultural background, personality and interests are all at a loss. The face of "Iraqi" is blurred, let alone a portrait, and even a rough 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 "Yi" is also very vague. "On the water side" and "Wan Chai" 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 this suitor,

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 day and night, then "tossing and turning" to sleep, and then waking up and remembering with poetry. It may also be the common mental model of "Iraqis are everywhere, but there is no trace to be found". People often have such experiences in their lives. Someone or something seems to be there, but when they look for it, they disappear. I always feel that he (it) is still there. You can also express a "within reach" philosophy of life 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 in the activities of ideal expectation, we often meet them. This is our interpretation of poetry today, so we might as well interpret it in many ways. We are even more surprised at the views of the ancients.

"Preface to Poetry" says: "If you strengthen Jia to stab Xiang Gong instead of Zhou Li, there will be no way to strengthen the country." Shen Shi said, "The lower reaches of the Beggars' Sect are Luo Jing, and Zhou people can't get it when they see it in the middle of the water. Upstream is Heshi. People have different opinions. However, it is this obscurity, ambiguity and ambiguity that suits the poet's samadhi. Xie Zhen in the Ming Dynasty pointed out in his Poems on Four Things: "All poems should not be realistic, for example, the green hills are beautiful, but hidden and lovely. The mist is indescribable, and the scene is just a few trees. What you see far and near is different. Beauty lies in ambiguity. The words here, originally intended to be another kind, make the image at a loss, make people fall into a trance without discussion and poor thinking, so it is the most important. "(the original poem) shows that the ancients have long been fascinated by the hazy beauty in the poem, and their views are very incisive and original. However, in this vague and uncertain will, there is still something certain in the poem. The feeling of "deep enterprise is willing to see" is certain and persistent.

Finally, there is the beauty of music. The poem is full of chapters and sentences, and the meaning changes. Rhyme first sounds and then sighs, then raises and then suppresses, and the lingering sound echoes around the beam, singing and sighing, which is very infectious.

In a word, the rich aesthetic feeling of this poem deserves our attention and serious discussion, whether from the perspective of appreciation or creation.

(Knowledge of Classical Literature No.2 1999)

Appreciation of Jia Jian

Yin Zhangjian

When Jiaxu belonged to Wang Xiao, the ancestor of Qin people, Fei Zi, was sealed in Qin Valley (now Tianshui, Gansu). When Wang Ping moved, 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's territory includes the area from Guanzhong in Shaanxi to southeastern Gansu. Qin Feng ** ten.

This poem has always had different interpretations. Some people think that the author misses his lover and the main purpose of this 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 in detail, 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 "Jian Peijun is pale and the white dew is frost" points out the time and environment from the image and color. The dense reeds growing by the river are blue, and the crystal dew condenses into the thick cream color of the white brush. The slight autumn wind sends the coolness of the incoming people, and the boundless autumn water absorbs the soaking cold. In this particular time and space in the desolate and quiet late autumn morning, he frowned and meditated from time to time. His anxiety appeared before our eyes from time to time. It turned out that he longed for a friend. The phrase "Iraqi people are on the other side of the water" explains the object that the poet yearns for and the place where Iraqi people are, and shows the poet's desire to see, to find through autumn water and to find. "Iraqi" refers to people who are closely related to poets. Explain that "Iraqi people" are often mentioned and kept chanting, but now they are on the other side of the long river. The positive tone of The Other Side of the Water shows that the poet is convinced of his existence and full of confidence to pursue it, but the river is isolated from the world and it is not easy to meet each other. Follow it, it's in the middle of the water. "It is dangerous and long to walk on the riverside path, even if it takes a long time, it is difficult to reach; If you swim across the river directly, although not far apart, you can see endless autumn water, which is within reach and difficult to do, as if you saw an Iraqi figure shaking in the middle of the water. Although the poet is standing by the river, his trance-like mind is already flying, and his infatuated image reminds you of an Iraqi. The wonder of poetry, as Fang Yurun said, "It is impossible to play with its words. You can really ask for it. "

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. However, it embodies the musical characteristics of the singing of the poem, enhances the melodious and harmonious beauty of the 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 the change of reed color from green to blue and then to white, rendering the desolate atmosphere of late autumn. I feel very lonely. The transformation of "white dew is frost", "not wet" and "not already" depicts the scene and process of the morning dew gradually turning into autumn water, and vividly depicts the track of time development, indicating 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 water, waiting for someone. When describing the position of the Iraqi people, due to the transformation of the three words "Fang", "Mei" and "Huan", 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, words like "long", "sharp", "right", "middle" and "middle" etc.

At the beginning of each chapter of the poem, the brushwork of seeing interest in the poem is adopted. Through the description and admiration of the real scene in front of me, I draw an ethereal artistic conception, covering the whole article. Grasping the uniqueness of autumn colors, the poet repeatedly depicted and rendered the lonely and sad atmosphere in late autumn, expressing the poet's feelings of disappointment but eager to miss his friends. As "The Words of the World" said: "Poetry? An article, Jia Jian, impressed me the most. It has the characteristics of "seeing things from me, so everything is my color" and "its words and feelings will be refreshing"; Its landscape writing will also attract attention; His words blurted out, and he didn't want to put on makeup. "

This poem, which has been told by many people, has obvious influence on later generations. Look at a description in Song Yu's Nine Arguments: "Sorrow is the spirit of autumn! 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; Sorrow increases pain. " Here, through the description of the autumn weather and the fall of vegetation, a chilling atmosphere is created, expressing the poet's sad and painful mood. 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.