This poem has three overlapping chapters, and each chapter has four levels.
The first two sentences begin with the combination of the two, showing a picture of autumn scenery along the river: the river is Vivi, the reeds are green, and the dew is frosty and snowy. This scene, with a slightly sad tone in the cold loneliness, well exaggerates the atmosphere and sets off the persistent pursuit and elusive love mood expressed in the poem.
Three or four sentences are the central image of the poem: the lyric hero lingers by the river, longing for the "Iraqi people" on the other side of the river. This "Iraqi" is the one he misses day and night. "On the water side" was isolated, forming a difficult situation. The protagonist gets up early and says hello late, always looking forward to it. His persistent love spirit can be seen. But "Iraqi" is irresistible, illusory and elusive, so the poet's heart is full of helpless emotions and empty and melancholy feelings.
Five or six sentences are a concrete case of "being on the water side": the pursuit of going upstream, endless difficulties and obstacles, endless journey, out of reach. This is one of the common unpredictable situations, and the pursuer's melancholy mood is also enhanced.
Seven or eight sentences is another concrete scene of "being on the water side": going downstream, the journey is smooth everywhere, the Iraqi people are always there, but they seem to be true and unreal, and they are finally inaccessible. This is also one of the common situations where it is difficult to see the situation clearly, and the disappointment of the pursuers is therefore stronger.
Through the repeated descriptions of general description, sub-description, countercurrent and downstream, the whole poem clearly shows the vision and pursuit of the water side, and fully shows the lyric hero's persistent pursuit of love and the empty and melancholy mood that he can't pursue.
Second, continuous growth: an artistic paradigm that expresses human tragic situation and tragic mentality.
On the Water Side should be regarded as a symbolic artistic conception. No matter whether it was originally a poem to invite sages, visit friends or love, On the other side of the water has infinite symbolic space, which can cause trouble and sublimate into an artistic paradigm with universal significance. Literary and artistic works depict "this one", but it contains "these" and "this kind", which can be endless. This is why art is art and poetry is the key to poetry.
On the Water consists of three elements: the pursuer-the river-the Iraqi people. Each of these elements has a lot of room for continuous growth. Yiren, this is the object of pursuit. As long as it meets the basic situation that it is impossible to pursue because of being blocked, Iraqis can be saints, friends or lovers. If sublimated, it can also be a blessed land, a holy land, a heaven, or even a career, an ideal, a future and so on. Accordingly, the "river" as a barrier symbol can be an obstacle that may be encountered in real life, such as mountains and deep valleys, patriarchal clan system and ethics. Similarly, the seeker is transformed into various roles he wants to adapt to. As long as the three elements are not lacking, as long as it is difficult to achieve because of barriers, as long as there is a spirit of pursuit and a sense of loss that cannot be pursued, these things that have come into being one after another are included in the artistic conception space of On the Water Side.
In the same way, "Tracing back to the source, the road is long and its Xiu Yuan is Xi" is composed of three elements: chasing troops, the road is long and its Xiu Yuan is Xi, and Iraqis. "Tracing back to the source, being in the middle of the water" consists of three elements: chasing troops, illusory and inaccessible, and Iraqis. Among them, "the road is blocked and long" and "illusory and difficult to approach" also have various specific situations, and their artistic conception is difficult to describe. From this point of view, the overall connotation of the poem Jia Xu should be said to be an artistic portrayal of all the situations in the world that are difficult because of obstacles, while On the Water Side is an artistic paradigm to show the tragic situation of human beings (of course, human beings also have comedy situations) and tragic mentality. Here, the pursuit of spirit is good, but the result is sad and the future is bleak.
Third, you can't see the forest for the trees.
Poetry is not a scientific paper. It didn't answer the questions "What is this" and "What is that". What it pursues is: what kind of artistic conception paradigm can be created to make people feel more and associate more. Therefore, the meaning of poetry is not limited to "ability", it always "contains infinite insights beyond words". Otherwise, "reading poetry must be this poem", then "it is found in children's neighbors" (Su Shi language).
We can't simply say that it is wrong to interpret Jia Jian with wit, confidant and lovelorn, let alone use one of them to oppose other theories, because they are all one of the old possibilities in the artistic conception space of On the Water, and there is no distinction between right and wrong and high and low. The same is true for explaining this poem with fairyland nothingness, unattainable ideal and dim future. They are the concretization of the enlightenment structure of On the Water by different readers in the process of reading this poem. People in similar situations can get * * * vibration from On the Water, which is based on the specific effect of readers. But it must be clear that the concretization of readers is not a general grasp of the meaning of "on the water side", but just a tree in the forest, and the overall meaning should be a summary of the concretization of possible readers. The artistic conception of any poem is a forest, and readers must never see the forest just for the sake of trees.
In this respect, Mr. Qian Zhongshu provides us with an example to interpret On the Water Side. He said in Volume I of Mao Shi's Six Principles of Justice: "On the water side, it is a symbol of yearning" and "the law that binds the world from the world is that we must cherish the admiration of the water side and yearn for it." He cited dozens of examples at home and abroad, and summarized Dante's exploration of life, human pursuit of ideals, men's and women's longing for marriage, emperors' pursuit of immortal mountains, Buddhism's meditation on the other side, philosophers' reasoning and spirit and many other heterogeneous and isomorphic situations into the artistic conception space of "water side" It is indeed a model to analyze poetry through the ages. It can be said that the significance of poetic artistic conception lies not in its ability, but in its connecting space. If its connecting space is excluded, it is essentially equivalent to canceling poetry.
artistic appreciation
First, the illusory and mysterious hazy artistic conception
Generally speaking, the creation of lyric poetry mostly stems from the feeling of a specific situation, so we can always see some real scenes, things, people and things in its description. However, the author of "The Edge Sword" seems to deliberately blur the main characters and events in it. Who is the suitor? What is he after? We don't know. What is the identity of the hunted Iraqi? Why is he (she) so difficult to approach and get? We don't know. I can't even confirm whether it's a man or a woman. In particular, the voice and smile of "Iraqi people" show no trace at all, sometimes in the upper reaches of the river, sometimes in the lower reaches of the river, and sometimes at the water's edge. In the water, in the water, in the water? Unpredictable and erratic, it is doubtful whether he is a real existence. Obviously, the scene described in the poem is not the real thing you see in front of you, nor the memory of the people or things you have experienced, but the psychological illusion that is synthesized, condensed and blurred by many similar people and feelings. On the Water Side is such a psychological illusion that concrete feelings are externalized and concrete facts are completely blurred. Everything in this psychological illusion, whether it is rivers, Iraqis, countercurrent or downstream, whether it is dangerous or lingering, whether it is the river bank or the middle of the water, it is not necessary or possible to study mountains and rivers, rivers, time and place, or even who and what; Otherwise, there will be many contradictions. Because of this, the artistic conception of "concurrently container" presents a kind of hazy beauty that is not sticky, like a flower but not a flower, ethereal and implicit.
Zhong Xing said: "Concurrent" and "Long-distance love makes people want to be immortal." Chen Zizhan said: "Concurrent poetry" is quite symbolic and contains mystery. (The Book of Songs) This illusory and mysterious beauty is probably related to the prevalence of witchcraft in the pre-Qin period. "On the Water Side" is the transformation of the image of "climbing high and looking far", which contains the linguistic image of "looking". The word "Wang" in Oracle Bone Inscriptions was a symbol of the "King Sacrifice" ceremony that was widely practiced at that time. The ghosts of mountains and rivers are not close, so I hope to sacrifice them. There are "following the ceremony" in the memorial ceremony, which is mostly carried out in four parts: descending to the gods, welcoming the gods, paying homage and seeing off. There are many solo, chorus, solo dance, group dance and performance quintets, which are found in Nine Songs adapted from Qu Yuan's Sacrificial Songs of Chu and Han Dynasties. Mrs. Hexiang in Nine Songs is a re-creation of the water god's sacrificial song, and its "four-part" and "five-part" are obviously branded. The artistic conception of "sword and pen" is similar to the atmosphere of greeting words, so some people suspect that "on the water side" is a relic of the water god's sacrifice. At that time, the water god in the ceremony was dressed up by a wizard, jumping up and down, elusive, and its legacy was quite like the "Iraqi" on the water side. Although this statement is difficult to prove, it is generally not wrong to think that the illusory and mysterious hazy feeling of the poetic scene of "concurrency" is influenced by the ceremony of the water god.
Second, the meaning of symbolic patterns and endless analogies
The symbol of "concurrently" in poetry is not a symbolic figure of speech or technique used in a certain word or sentence, but an overall symbol of artistic conception. Chen Zizhan said it was "rather like symbolism" and Qian Zhongshu said it was "western romanticism", all of which meant this. The symbolism of this overall artistic conception is due to the inclusive effect of the fact model, which greatly enhances the implementation characteristics of "nothing to say"
As mentioned above, the scene description in Bianzhuan has the characteristics of blurring the specific scenery and people as much as possible; This ambiguity can easily make readers sublimate their artistic conception into a pattern with some abstract meaning: "on the water side", in which the river is sublimated into "impassability" and the whole becomes an elusive pattern. In the same way, "go with it, the road is blocked and long" can be a pattern of how difficult it is to go upstream, and "go with it, the water is in the center" can be a pattern of going downstream and rejoicing. Where is the value of the model? It is that it can contain all things with the same and similar structure in real life, which opens up infinite space for the continuous generation of poetry. Expectation difficulty is a common situation in life, so is how hard it is to pursue the upstream and how happy it is to pursue the downstream. People are often baptized by the complete emotional flow from the excitement of pursuit, the trouble of hand resistance to the pain of disappointment, and often influenced by how painful it is to struggle against the current and how easy it is to have emotional impact downstream. From here, the ancients can think of recruiting talents, finding bosom friends and evoking various related experiences. Today, people can think of the experience of love and lovelorn, as well as career, ideal and future situation, and arouse many life experiences. The symbolic mode makes "concurrency" truly have an inexhaustible meaning of life. Wang Guowei once compared this poem with Yan Shu's "Last night, the west wind withered the green trees, climbed the stairs alone, and looked at the horizon", thinking that they were "the most popular", which obviously focused on their symbolic significance of life.
The infinite symbolic meaning of "concurrent" artistic conception fully embodies the symbol of poetic artistic conception space mainly outside the image. The ancients often said "moral". What does this mean? This mainly means that poetry speaks with images, and the meaning of images transcends the meaning of words. The meaning of words is mainly reference, while the meaning of images has reappearance, expression and even philosophical significance. The word "on the water side" means on the other side of the river; But as an image, he also embraces the unattainable life situation, which is the meaning of reproduction, the meaning of expression, and the tragic situation and mentality of life, which is the philosophical significance. Isn't the philosophical meaning of the reproduction and expression of these transcendental words implicit? The ancients often said that "words are endless." Why is it infinite? This is mainly because images and artistic conception are not only themselves, but also can be sublimated into certain patterns, so they all have extensive similarity, heterogeneity and isomorphism. The scenery and personnel directly described in poetry can only be "this one" and can only be limited, but it can constantly surpass "this one" with the help of readers' imagination, association and connection, thus moving towards infinity, which is "implication" and "infinity in finite", which is undoubtedly the basic standard to measure all poetic characteristics of poetry. I'm afraid this is why Bianbian can become a rare good poem in The Book of Songs, and On the Water Side still has such a widely used vitality.
Third, the aesthetic form of singing, sighing and advancing layer by layer.
"City" consists of three chapters, each chapter is replaced by a few words, which not only plays the artistic effect of repeating chapters and sentences, chanting repeatedly and singing three sighs, but also plays the role of promoting poetry layer by layer. From "White dew is frost" to "White dew is?" , and then to the "Millennium", is the continuous passage of time, which means that the protagonist hopes to pursue the length of time and shows the protagonist's persistence. From "on the water side" to "on the water side" to "on the water side?" From "ten thousand in the middle of the water" to "ten thousand in the water" to "ten thousand in the water?" This is the change of location, which means that "Iraqi" is illusory, mysterious and hard to find. The harder it is to pursue, the more it can show the sincerity of the seeker. From Road Obstacle and Long to Road Obstacle and Broken to Road Obstacle and Right, the pursuit process is difficult to render repeatedly. The more difficult it is, the more sincere and persistent the protagonist is.
Repeating chapters and sentences and singing three sighs are common forms of ancient folk songs and modern folk songs. Its aesthetic value should be viewed from two aspects: first, from the emotional aspect. The emphasis is on emotional people. Emotion is not a litchi that acts on people, and it can not be effective by one-time concept notification. It takes repeated infection to have a touching effect. Second, from the perspective of music. Ancient folk songs are all sung orally, using tones and melodies to infect people's emotions. Singers have to repeat it to enjoy themselves, and listeners have to repeat it to gain emotion. Therefore, singing three sighs and going back and forth itself is to promote feelings at different levels, that is, to continuously strengthen aesthetic effects. There is no need to regard the development and change of each chapter as progress. This should be realized.
Set comments
Different places and different people make people want to die. (Ming? Comments on Zhong Xing's The Book of Songs)
This is naturally a poem by a sage who lives in seclusion on the waterfront, but it is what people are eager to see. On the Mekong River changed this sentence and added two imitations of "upstream" and "upstream", so it was written in the form of deep admiration. So I added a word "wan" to the next word "zai", and I felt that I wanted to fly and was fascinated. (Qing? Yao Jiheng's General Theory of the Book of Songs)
If you play with the word "so-called" carefully, it is difficult for the person you want to tell others. "On the water side" is also an imaginary word. If there is a certain way that people can come, why not ask for it? The poet's purpose is far away, and so is his stubbornness for suppression. (Qing? Discrimination of Huang Shi's doubts)
The three chapters have only one meaning, especially the change of rhyme. In fact, the first chapter has become a swan song. When the ancients wrote poems, one meaning turned into three folds. As the saying goes, one sings three sighs, and one sings more echoes. (Qing? Fang Yurun's The Book of Songs)
The poetic scene is symbolic and mysterious. (Chen Zizhan's The Book of Songs)
"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. " "Biography": "One side is difficult." According to "Han Guang": "Han has a wandering girl, which is unthinkable; Han is too broad to swim; Jiang Zhiyong, don't think about it. " Chen Qiyuan, Bian? The appendix says: "If the husband is happy, he will seek for himself. If he can only see and cannot seek, he will benefit." These two poems are endowed with the so-called yearning situation of western romanticism. The ancient Roman poet Huan Jill famously said, "Look across the river and reach for it." The descendants who know it all think that good deeds are difficult to achieve. There are many obstacles in ancient German folk songs praising good deeds, and every obstacle has deep water obstacles. Dante's Divine Comedy also implies that Yu Meiren crossed the river with a smile, three steps apart, such as across the sea. Modern poet Zhiyun: "Joy grows on the other side of the river." ┅┅ (The Pipe Cone by Qian Zhongshu)
translate
Reed flowers are white and gray, and morning dew is frosted. Honey, where is he? He is on the other side of the water. I went to him against the winding water for a long time. Walking towards him against the straight water, as if in the middle of nowhere.
Reed flowers turn white, but dew never dries. Honey, where is he? That man is on the beach. It's getting harder and harder to find him. Walk towards him against the straight water, just like in the middle of a small continent.
Reed flowers are brilliant, but the sun does not show dew. Honey, where is he? You can clearly see him across the river. Go to him against the winding water and twist it. Looking for him against the straight water is like hiding in the middle of the island water.
(Selected Poems of Yu Guanying)
Make an appreciative comment
First, the artistic conception is hazy.
The words "pale and white dew is frost" point out time and environment from the image and color. In the early morning of late autumn, the reeds along the river are lush, and the gray reeds are stained with crystal frost flowers. In the bleak autumn wind, large areas of reeds fluctuate and sway, and the clear blue river is foggy. The slight autumn wind brings the coolness of people entering the city, and it is boundless and cold. The hero lingers by the winding water, eager to find his lover. What we can feel and breathe is the protagonist's persistence, anxiety, disappointment and confusion. What is created for us is a sad state of mind, a quiet and hazy realm. The Poem of * * * consists of three chapters, and each chapter begins with the brushwork of finding pleasure in fu. 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 grasped the unique characteristics of autumn colors, repeatedly described and rendered the empty and desolate atmosphere in late autumn with thick ink and heavy colors, in order to express the poet's disappointment but affectionate mood towards his friends.
The poet's reed is white, the reed fluctuates, the autumn water is boundless, the water is boundless, the air is misty, the curved river course and the small continent in the water are in front of us. Words such as "light", "sad" and "picking" indicate the color of the scenery. The color of reeds changes from light green to sad white, which makes the bleak atmosphere in late autumn stronger and stronger. The transformation of "white dew is frost", "not wet" and "not already" depicts the scene and process that the morning glow gradually turns frost into autumn water.
The images of "concurrently", "water" and "Iraqi" complement each other and are integrated. Under the reflection of heaven and water, it is bound to present a confused realm, and then show the hazy love in the hero's heart. All kinds of scenes are in front of us. The poet's pursuit of his lover's dreamy, infatuated and trance-like subjective feelings is integrated with the misty autumn morning.
Second, hazy lovers
"Preface to Mao Poetry" said: "Poets who have aspirations have aspirations in their hearts and express them in poetry." There is no obvious love story in The Border Sword, but through simple words, we can still appreciate the hazy and beautiful love.
"The so-called Iraqis are on the water side." The two sentences explain the object of the poet's admiration and the location of the Iraqi people, and show the poet's yearning for autumn water.
In the water and sky, the "Iraqi people" who are flickering in the gray and lush are undoubtedly noble, beautiful and amiable. She has infinite charm and attracts the protagonist like a magnet. Staring at the water's edge, Iraqis seem to be on the other side of the water, but the swaying reeds block the hero's line of sight, and the figure of Iraqis is hazy and illusory. So the protagonist is "tracing back to the source"
"Upstream, downstream", constant pursuit and search, the pursuit of a sweetheart is so full of hardships, "the road is long and its Xiu Yuan is Xi", "the road is blocked and accessible" and "the road is blocked and right". What is the result of the pursuit? Yiren is in the water, in the water, in the water. The lover admired by the hero is still foggy and out of reach! So what will happen to this pursuer, which leaves the reader with room for imagination.
What the poet pursues is the continuous affection of his lover, which is integrated with the looming realm of Iraqi "presence" 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.
Although it seems that the work only describes the poet's yearning, pursuit, disappointment and melancholy for the right person, the author does not describe it in detail, but draws a freehand sketch from a distance with a curved pen. 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 "concurrency" of poetry appears confusing and hazy, showing a mysterious and hazy beauty in the vague image.
The identity of the lyric hero is vague, and the cultural background and personality are even more at a loss. The face of "Iraqi" is blurred, let alone a portrait, and even a rough outline can't be seen. Its noble, beautiful and charming beauty is reflected in the passionate feelings and persistent beliefs of its pursuers. The spatial position of "Iraqi people" is also very vague, and "water side" is just an imaginary hazy place.
This love poem expresses the sincerity and persistence of the ancient working people to love, and expresses the melancholy of wanting to see people. Poetry reflects a set of basic contradictions in human heart, namely, the contradiction between ideal and reality. Compared with most love poems, this poem is particularly ethereal and distant. It has no specific events, and even the hero and heroine are difficult to identify.
Third, the hazy theme
What is the theme of "concurrently"? This poem was a folk song of the State of Qin at that time, and some people thought that Bian Bian was used to satirize Qin Xianggong. It is said that Qin Xianggong didn't use the etiquette formulated by Zhou Wenwang, Zhou Wuwang and Duke Zhou to govern the country, so Qin couldn't prosper, so the poet went to look for his ideal saint, but he didn't get it. Some people think that "Bian Jia" is about tourists' feelings about autumn. Others think that "poetry" is a poem that attracts seclusion, and so on. However, due to the lack of sufficient reasons, these statements are unconvincing. So, is this poem about the love between young men and women? Among them, is there a man or a woman walking along the reed bank in the early morning of late autumn, fascinated by the pursuit of a phantom? So, is this a dream? Maybe young people pursue the right person, yearning for it. After wandering around, he entered a dream and woke up with a poem. Perhaps it is a kind of sustenance for people's pursuit of life and career, which contains a kind of "within reach" philosophy of life. In my opinion, the theme of "concurrently" has gone beyond love, and it symbolizes the pursuit of all good things.
It is the fuzziness of poetry theme that enhances the aesthetic feeling of poetry and guides people to further explore its potential connotation. This vague beauty adds a strange color to poetry. Zheng Banqiao, a poet in the Qing Dynasty, said in "The Original Poem": "The beauty of poetry lies in its implication, its thought is implicit, and it is pinned between words." "It can attract people who are in a trance, so this is the most important thing."
song
The Book of Songs
Word: look forward to it.
Song: Lu Qingsi
Singer: HITA
Reed is dark green.
Dew and frost shimmered.
Where do I need her?
Yi ren zai shui yi Fang
Ask your lover if you want to go upstream.
Why is it so long to get together?
The sword is full of sadness.
Wet pure dew
Where do I need her?
Yiren is in the water.
Who are you waiting for there, the opposite lover?
There is only a water gap between us.
Acacia for a long time, thinking, thinking, thinking, dreaming.
Love, Lang Lang, Lang Lang, Lang Lang, Lang Lang, where are you?
Miss, miss, miss, miss, miss, miss, how can you not miss?
Can I be in your heart?