The Book of Songs·Jianjia Edited Entry Already following the editor summary

Abstract The Book of Songs·Jianjia comes from "The Book of Songs·Qin Feng". This is a nostalgic poem. The "beauty" in the poem is the object of the poet's love, nostalgia and pursuit. The description of the scenery in this poem is very excellent, the scenery is sentimental, and the scenes are integrated, which effectively highlights the protagonist's melancholy emotions and gives people a melancholy and hazy beauty.

Table of contents

1 Original text

2 Comments

3 Translation

4 Introduction

5 Hierarchical structure

6 Content review

Expand table of contents

1 Original text

2 Comments

3 Translation

4 Introduction

5 Hierarchical structure

6 Content review

7 Writing background and sentence by sentence...

8 Artistic Features

Collapse and edit the original text of this paragraph

The Book of Songs·Jianjia

Jianjia is green, and the white dew is frost. The so-called beauty is on the water side.

If you follow it back, the road will be long and blocked. Traveling back from it, Wan is in the middle of the water.

The leaves are luxuriant, and the white dew is still shining. The so-called beauty is on the water.

Retrospect and follow it, but the road is blocked and you can advance. If you go back and swim from it, you will feel like you are swimming in the water.

The jianjia is collected, and the white dew has not stopped. The so-called beauty is in the river of water.

Looking back, the road is blocked and to the right. If you go back and swim from it, you will be swimming in the water. Edit this paragraph's comments

Jianjia (jiān jiā): Jian, Di, like reed. Jia, reed.

Cang Cang: lush appearance.

For: condensed into.

The so-called: Missing. Yiren: This person or that person refers to the person the poet is longing for and pursuing.

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

Su Huí (sù huí) means following the river upstream to find her. Backtrack, go upstream. From, to pursue, to pursue.

Obstruction: Dangerous obstacles, difficult to walk.

Travel back from it: follow the straight-flowing river upstream to look for her. You, Liu, refers to a straight-flowing waterway.

Wan in the middle of the water: (that person) seems to be in the middle of the river. Wan, as if, as if.

Bleak: lush appearance. Now written as "Qiqi".

晞(xī): dry.

Mei (méi): The place where water and grass meet, referring to the shore.

Ji (jī): Climb, rise.

Di (chí): a small island or highland in the water.

Caicai: lush and bright appearance.

Hai: stop, here it means "dry, become dry".

涘 (sì): waterside.

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

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

Edit this paragraph for translation

The reeds on the riverside are green and green, and the white dew in late autumn condenses into frost.

The person I thought about day and night was on the other side of the river.

I went upstream to pursue her, but the road was difficult and long.

I looked for it along the river, as if I was in the middle of the water.

The reeds along the river are lush, and the dew in the early morning has not yet dried.

The person I dream about is on the other side of the river.

I went upstream to look for her, but the road was difficult and difficult.

I looked for it along the river, as if I was right in the middle of the sandbank.

The reeds along the river are more luxuriant, and the white dew still lingers in the early morning.

The person I am pursuing so hard is on the other side of the river.

I went upstream to pursue him, but the road was difficult and tortuous.

I looked for it along the river, as if I were on a sandbank in the water.

Edit this paragraph's introduction

"Jianjia" is a folk song of the Qin State. It is a love poem written about the psychology and feelings of an infatuated person in love. It is very real and tortuous. ,moving. "Jianjia" is the collective name of Digi reed and Phragmites australis, both of which grow by the water. "The reeds are green and the white dew is frost" describes a cool scene of autumn reeds, white dew and heavy frost, which underlines the protagonist's mood at this scene. "The so-called beauty is on the other side of the water." Zhu Xi's "Collected Poems": "The beauty is just like that person." Here it refers to the person of interest that the protagonist misses day and night. The autumn scenery before his eyes was silent, the autumn water was long, and there was nothing. However, due to his worried longing, he seemed to see his beloved in the distance on the other side of the water, so he wanted to pursue her in the hope of a happy reunion. "Wandering along the road, the road is long and blocked." The protagonist walks upstream along the river bank to find the trace of his beloved. However, there are many obstacles on the road, which makes it difficult to walk, and it is also circuitous and far away. "Swim from it, wandering in the middle of the water." Then swim through the water to find her, but no matter how hard the protagonist swims, he can't reach her. She seems to be always in the middle of the water, just out of reach. These sentences describe the protagonist's hallucination. There is always a blurry figure floating in front of his eyes, which seems real but not real, seems fake but not fake. No matter whether he is traveling by land or by water, he can never get close to her, as if he is revolving around the center of a circle. circle. So he wandered back and forth by the water, feeling uneasy.

This obviously outlines a hazy artistic conception and describes an obsessed mood, which casts the entire poem into a confused and sentimental mood. In the next two chapters, only a few words are changed and chanted repeatedly. "Weixi" means not dry. The place where the "Me" water plants meet is the shore. "Jiu" means to rise. "Right", tortuous. "Di" and "沚" refer to the highlands and Xiaozhu in the water. Edit the hierarchical structure of this paragraph

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

The first two sentences start with a ripple, showing a picture of autumn colors on the river: Late autumn morning; the autumn water is rippling, the reeds are green, and the dew is full of water, crystal clear like frost. This realm is slightly desolate and pathos in the midst of purity and loneliness. Therefore, it plays a very good role in rendering the atmosphere and contrasting the mood of the persistent pursuit and elusive love described in the poem.

The third and fourth sentences show the central image of the poem: the lyrical protagonist is wandering by the river, staring and pursuing the "beau" on the other side of the river. This "beauty" is the one he misses day and night. "Being on the side of the water" means isolation and impassability, which means the pursuit is difficult, creating a realm that is elusive and out of reach. Although the lyrical protagonist sees through the autumn water and pursues it persistently, the "beautiful woman" is elusive and difficult to reach. Therefore, the poem is filled with helpless feelings and feelings of emptiness and melancholy.

The following four sentences are two parallel levels, describing two different situations on the water side and the realm of hope and difficulty. "Retracing our steps, the road is long and full of obstacles." This is a description of the dilemma when pursuing against the current: endless difficulties and obstacles, and a long and endless journey, which means that it will not be reached in the end. "Swim along it, and you will feel like you are in the middle of the water." This describes the illusion of pursuing along the current: the journey is smooth everywhere, and the beauty is always there, but in the end it is not close. Both against the current and with the current, pursuing in every possible way, the persistence is obvious; either the dilemma is difficult to reach, or the illusion is difficult to approach, and in the end, it is not possible, and the feeling of despair becomes deeper. At this point, Yiren's elusive and unattainable situation has been concretely and fully demonstrated.

The whole poem has three chapters, and only a few words are changed in each chapter. This not only exerts the artistic effect of repeated chapters, repeated chants, and three sighs, but also has the effect of continuously advancing the poetic meaning. From "white dew is frost" to "white dew is not over" and then to "white dew is not over", this is the passage of time, symbolizing the length of time the lyrical protagonist has been looking for; from "on the side of the water" to "on the water's edge" , then to "in the water", from "in the middle of the water", to "wan in the water", to "wan in the water", this is a change of location, symbolizing the beauty's elusiveness and elusiveness; from "The road is blocked and long", to "The road is blocked and yet it reaches the right", and then to "The road is blocked and right" repeatedly exaggerate the difficulty of the pursuit process to highlight the perseverance of the lyrical protagonist. Repeated chapters and repeated sentences, advancing layer by layer, are common expression methods in folk songs in the Book of Songs. Edit the content of this paragraph

If the "sweetheart" in the poem is identified as a lover or lover, then this poem expresses the lyrical protagonist's persistent pursuit of beautiful love and the melancholy of being unable to pursue it. The spirit is valuable and the feelings are sincere, but the results are slim and the situation is sad.

However, the most valuable and evocative thing about this poem is not the pursuit and loss of the lyrical protagonist, but the "beyond the water" created by him-a hopeless and elusive thing. This artistic conception of universal significance. Good poetry can create artistic conception. Artistic conception is a pattern and a structure, which has the ability to contain all heterogeneous things with similar patterns and similar structures. The structure of "On the Water Side" is: pursuer - river - beautiful person. Since the "Yiren" in the poem has no specific reference, and the meaning of the river lies in the barrier, all kinds of pursuits in the world that are difficult to achieve due to obstruction can occur here. .

From this point of view, we might as well understand the poetic meaning of "Jianjia" as a symbol, and regard "On the Water Side" as an artistic model that expresses all the difficult and difficult situations in social life. . The "beauties" here can be talents, friends, lovers, achievements, ideals, futures, or even blessed places, holy places, and fairy worlds; the "rivers" here can be mountains, deep chasms, patriarchal clans, Ethical ethics can also be any other obstacles that may be encountered in real life. As long as there is pursuit, obstruction, and loss, it is the world of its reappearance and expression. In this way, the ancients interpreted "Jianjia" as an exhortation to follow Zhou rites, recruit talents, and cherish people. Today, people regard it as a love poem. Some even regard it as an ancient water god ritual. I'm afraid there are some. To a certain extent, it seems inappropriate to stick to one and reject the others, because they are all included in the symbolic meaning of "on the side of the water".

Naturally, when we are in a situation similar to "On the Water Side", what we should appreciate is its determined pursuit, not its pessimism and disappointment.

Edit the writing background and sentence-by-sentence appreciation of this paragraph

"Jian Jia" belongs to Qin Feng. During the reign of King Xiao of Zhou, Feizi, the ancestor of Qin, was granted the title of Qin Gu (now Tianshui, Gansu). When King Ping moved eastward, Qin Xianggong received a large fiefdom west of Qishan due to his meritorious service in sending troops to escort him. Later, Qin gradually moved eastward, with its capital in Yong (now Xingping, Shaanxi). The Qin Dynasty included the area from Guanzhong in Shaanxi Province to southeastern Gansu Province. Qin Feng's ten chapters are mostly folk songs from this area during the Eastern Zhou Dynasty.

There have always been different interpretations of this nostalgic poem.

Some people think that the author is missing his lover, and the main theme of the poem is about love; some say that the poet used his friend to satirize Qin Xianggong for not being able to treat the virtuous corporal, which caused the virtuous men to live in seclusion and refuse to come out to serve as officials; others say that the author is a hermit, and this poem is a work of Mingzhi. . When we carefully examine the meaning of the poem, we find that the love affair between a man and a woman is not clearly shown in the poem, and it is difficult to determine whether the "beau" is a man or a woman. It is even more unfounded to say that it is a satirical poem. Therefore, we only regard "Yiren" as a person whom the author admires and loves, regardless of whether he is a man or a woman.

The two sentences "Jianjia is green and white dew is frost" illustrate the time and environment from the object image and color. The dense reeds growing by the river are green in color, the crystal clear dew drops have condensed into thick white frost, the slight autumn wind brings a chilling chill, and the vast autumn water brings a chilling chill. . In the specific time and space of this desolate and ethereal late autumn morning, the poet sometimes stood quietly, sometimes wandered, sometimes looked up, and sometimes frowned in thought. His anxious expression and restless mood appeared in front of us from time to time. It turned out that he was yearning for a friend. The two sentences "The so-called beauty is on the other side of the water" explain the object of the poet's admiration and the location of the beauty. It shows that the poet is eager to see and see through the autumn water, and keeps looking and seeking. "Yiren" refers to a person who has a close relationship with the poet, is respected and loved by the poet, and has never been forgotten by the poet. The word "so-called" shows that "Yiren" is often mentioned and talked about constantly, but now he is on the other side of the long river. "On the side of the water", the tone is affirmative, indicating that the poet is convinced of his existence and is confident to pursue him, but the river is isolated and it is not easy to meet. "If you follow it upstream, the road is long and blocked; if you follow it upstream, you will feel like you are in the middle of the water." Walking upstream along the riverside path, the road is difficult and long, and it is difficult to reach even if it takes a long time; if you go straight When you cross the river, you can see the vast autumn water in front of you, even though it's not far away. Although the poet is standing by the river, his confused and confused mind has already started to fly, and the image of being intoxicated and obsessed with seeing the beautiful woman is vividly visible. The wonder of poetry is just as Fang Yurun said: "Play with its words, although it may be expected but not within reach. Taste its meaning, actually seek it and not far away, think about it and you will arrive." ("The Original Book of Songs")

Only a few words have been changed in the second and third chapters of the poem, but the content is basically the same as the first chapter. But it embodies the musical characteristics of poetry chanting, enhances the melodious and harmonious beauty of the rhythm, and makes the emotions expressed more and more intense. "Cang Cang" in the first chapter, "Desolate" in the second chapter, and "Cai Cai" in the last chapter describe the color of the reeds from pale green to desolate blue to white, rendering the desolate atmosphere of late autumn more and more intense. It highlights that the poet's environment at that time was very cold and his mood was very lonely. The transformation of white dew into "frost", "weixi" and "weiji" depicts the gradual changes and processes of morning dew turning into frost and then melting into autumn water. It vividly depicts the trajectory of time development and illustrates the poet's dawn. Then we came to the riverside and stayed there until the sun rose in the east. Just imagine how anxious and melancholy he must feel when he wanders alone in the cold and lonely wilderness for a long time, facing the vast autumn water, waiting for no one to see or find anyone! When describing the beauty's location, because of the "square" and "mei" The change of the three words "涘" and "涘" truly depicts the activities and psychological image of the Yiren waiting for the poet on the other side and the poet's desire to meet the Yiren. Such writing greatly broadens the artistic conception of the poem. In addition, the changes of "Chang", "Jiu", "You" and "Yang", "Di" and "沚" also describe his difficulties in finding his lover and his mood in wanting to see his friends from different roads and directions. An urgent situation. If you connect and taste the changing groups of words used in the three-chapter poem, you can better appreciate the meaningful and honest meaning of the poem.

The beginning of each chapter of the poem adopts a style of writing inspired by the poem. Through the description and admiration of the real scene in front of you, the painting creates an ethereal artistic conception that envelopes the entire article. The poet grasped the unique characteristics of autumn colors, and did not hesitate to use thick ink and heavy colors to repeatedly depict and exaggerate the lonely and sad atmosphere of late autumn, so as to express the poet's feeling of loss and enthusiasm for his friends. Just as "Human Words" said: "The poem "Jianjia" is the most profound." It has the characteristics of "I see things with my own eyes, and the old things all have my color" and "The words are also refreshing; the scenery is described It must also be open to people's ears and eyes; the words come out of the mouth without any pretense."

This poem, which has been recited endlessly, has an obvious influence on later generations. Let’s take a look at a description in Song Yu’s “Nine Bian”: “What a sad autumn! The grass and trees are swaying and decaying; I feel as if I’m traveling far away; I’m climbing a mountain and facing the water to see off the return; the sky is desolate. The air is high and clear; the silence is low and the water is clear; the desolation increases and the people are in the cold." Here, through the description of the autumn weather and the falling vegetation, a chilling atmosphere is created and the poet expresses his feelings. A sad and miserable mood. This may be influenced by the poems of "Jian Jia", from which we can get a glimpse of the inheritance and development clues of "Chu Ci" on "The Book of Songs". The origin of "There is a tall building in the northwest" in "Nineteen Ancient Poems", the writing method of expressing interest in the poem and using scenery to express emotion, also follows the writing style of the poem "Jian Jia". Later, Cao Pi transformed this poem into a poem: "The autumn wind is bleak, the weather is cool, and the grass and trees are shaking and the dew turns to frost." It can be seen that the poem "Jianjia" plays an important role in the history of ancient poetry.

Edit the artistic features of this paragraph

"Jian Jia" is one of the best chapters in the Book of Songs. Its main characteristics are concentrated in three closely related aspects: blurring of facts, ethereal imagery, and overall symbolism.

1. The blurring of facts

Generally speaking, the creation of lyric poetry is inspired by the feeling of specific things, so in its artistic conception, you can always see some Real personnel scenes. However, the author of "Jianjia" seems to have deliberately blurred out the main characters and events in it. Who is the pursuer? Why is he pursuing? We don’t know; what is the identity of the “beau” being pursued? Why is he so difficult to get? We don’t know either; so much so that we can’t even confirm whether they are male or female. Especially "Yiren" has no voice, appearance or appearance. Sometimes he is in the upper reaches of the river, sometimes in the lower reaches of the river, sometimes in the middle of the water, and sometimes in the grass beside the water. He is erratic, coming and going indistinctly, which makes people doubt whether he really exists. physical presence. Undoubtedly, due to the blurring of the pursuer, especially the forced seeker, the entire pursuit of characters, events, and content becomes illusory and hazy; however, it is precisely because of the blurring and hazyness of this fact that the artistic conception of the poem is It seems so ethereal and symbolic.

2. The etherealness of the image

In fact, the scene described in the poem is not the actual people and events that exist in the eyes, but a mental image. This kind of mental image is not a memory of a real thing that has been experienced, but a typical psychological situation that is synthesized, condensed and virtualized by many similar events and similar feelings. The biggest characteristic of this psychological situation is that it is neither sticky nor sluggish, and is ethereal and multi-aggregated.

"Beyond the Water" is an artistic expression of this ethereal psychological situation. Here, due to the virtualization of the pursuer and the forced seeker, the river, the dangerous road, and even the upstream and downstream pursuit routes, as well as various places such as the "middle of the water" where the beautiful woman is, are also invisible. All have become virtual symbolic images. Neither of them can be studied deeply about when, where, what mountains and rivers. Otherwise, it would be contradictory if the Yi people were both upstream and downstream of the river. It would also be a question why the two people did not cross the river. The success of "Jianjia" lies in the fact that the poet accurately captured people's mental images and created a psychological situation that resembles a flower but is not a flower, and is ethereal, so that the artistic conception of the poem appears as a holistic symbol.

3. The overall symbol of the artistic conception

The symbol of the poem "Jianjia" is not the symbolic rhetoric or technique used in a certain word or sentence, but the overall symbol of the artistic conception. "Being on the side of the water" and facing difficulties is a common situation in life. The dilemma of "traveling back and following it, the road is long and blocked" and the illusion of "traveling back and following it and wandering in the middle of the water" are also common in life. Situation; people may often be baptized by the complete emotional flow from the excitement of pursuit, to the trouble of being blocked, to the melancholy of loss. They may also often be impacted by the pain of fighting against the current or the joy of going downstream; readers can From here, it can be associated with the situation of love and the experience of arousing love. It can also be associated with the situation of ideals, career, future and many aspects of life, and it can also evoke many aspects of life experience. The overall symbol of artistic conception makes "Jian Jia" truly have an inexhaustible philosophical meaning of life. Wang Guowei once compared this poem with Manshu's "Butterfly Loves Flowers" "Last night the west wind withered the green trees, I went up to the tall building alone, looking at the end of the world", thinking that it "regained the charm of the people", which was obviously focused on its artistic conception. The symbolic meaning of life.

The blurring of facts, the emptiness of images, and the overall symbolism of artistic conception are three aspects of a problem. From the blurring of facts to ethereal imagery, and then to overall symbolism, this is roughly the process of constructing the artistic conception of symbolic poetry.

The three chapters of this poem are inspired by the desolate autumn scenery on the shore of the autumn water. The so-called "Jian Jia is green and the white dew is frost", "Jian Jia is sad and desolate, but the white dew is not yet fresh", "Jian Jia is picked, but the white dew is not yet fresh". "Already" depicts the autumn scenery of a water town. It not only clearly describes the objective scenery the protagonist sees at this time, but also implies his mood and feelings at this time, and the poet's sadness trapped in deep thoughts. The mood is consistent. In other words, the poet's melancholy state of mind is exaggerated and contrasted by such a cool autumn scene, and it is expressed concretely. Wang Fuzhi's "Jiang Zhai Poetry Talk" said: "Scenery is related to feelings, and it is related to feelings. Although scenes can be divided into hearts and objects. And scenery produces feelings, feelings produce scenery, the touch of sadness and joy, the welcome of prosperity and languor, mutual exchange. "Hide His House", this poem combines the unique scenery of late autumn with the euphemistic and melancholy lovesickness of the characters, thus exaggerating the atmosphere of the whole poem and creating a confusing and blended artistic conception. In addition, the poem "Jianjia" combines the actual situation with imagination and fantasy, using the method of mutually reinforcing the virtual and the real, and using the ambiguity and haziness of the image to enhance the appeal of the lyrical writing. "The so-called beauty is on the other side of the water." This was his first hallucination. He clearly saw a figure on the other side, but he couldn't reach her no matter how hard he walked. "In the middle of the water", this was his second hallucination. He suddenly felt that the person he loved appeared in front of him again on the small island surrounded by flowing water, but he could not swim to her side no matter how hard he swam. That beautiful figure is sometimes "on the side of the water", sometimes "in the middle of the water"; sometimes on the shore, sometimes on the high ground. It is really like being in a fantasy or a dream, but the protagonist firmly believes that it is real and pursues her at all costs and hardships. This vividly and profoundly describes the psychological abnormality of an infatuated person and his strong feelings for the one he loves. The vagueness and confusion of this image give the whole poem a hazy beauty and an endless artistic appeal.