From Guo Feng Qin Feng Jiajian, it is one of the ancient realistic poems in China, and the author is anonymous. The whole poem consists of three chapters, and the last two chapters are only slightly changed compared with the first chapter, which has formed the effect of harmonious internal rhythm and uneven rhythm between chapters, and also caused the reciprocating advancement of semantics.
The original text is as follows:
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.
The translation is as follows:
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.
Extended data:
The most valuable thing in 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, and the meaning of the river lies in the barrier, all the pursuits that are difficult to achieve because of being blocked in the world can be isomorphic and resonate here.
From this point of view, we might as well understand Jane's poems as a symbol and take On the Water 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 it as persuading people to follow the etiquette, accepting talents and caring for others. Today, people regard it as a love poem, and some even regard it as a ritual of ancestor worship by the ancient water god. I'm afraid there is some truth. It seems inappropriate to stick to one family and exclude others, because they are all included in the symbolic meaning of "on the water side"
Baidu Encyclopedia-Guofeng Qin Fengjiajian