Does anyone know the poem about crabs?
Xue Baochai
Guiyin sits with a curtain, and Chang 'an looks forward to Chongyang.
There is no latitude and longitude in the road ahead, and the skin is black and yellow in spring and autumn.
Chrysanthemum should also be used when the wine is not fishy, and ginger must be used to prevent cold accumulation.
What's so good about dropping the pot today? The moon is empty and the millet is fragrant.
Introduction: Query on this poem
Whenever I read the last poem "Ode to a Crab" at the end of the thirty-eighth chapter, my heart is always full of doubts. This poem has been regarded as Baochai's satire on the world for a long time. The satire is very clear and seems to have become a final conclusion.
However, Heng's poems have always been "subtle and vigorous" and are known as "Heng has no body". Just pick out the poems written by Baochai and look at each other.
For example, the well-known poem "Ling Jiang Xian Liu Yong" shows Baochai's ambition, and its meaning is very clear, even though it has long been said that "a good wind relies on its strength to send me to Qingyun". At the same time, however, she still thinks and understands the situation of chaos and rootlessness, that is, the word "chanting willow" is not only a pure ambition to achieve great success, but also a nirvana thinking that transcends this state of chaos and rootlessness, so that we can understand some thoughts behind her. Otherwise, what is shown between the lines is just a treasure chai who looks in all directions and is covered in catkins, rather than a treasure chai who has made a career after seeing through the sufferings of the world and thoroughly understanding them. Only by understanding the word from this angle can we truly understand the "meaning" of Heng.
With this in mind, let's take a look at the poem Ode to a Crab in Thirty-eight Chapters. If we only stay on the understanding that "the satirical world is too poisonous", is constant satire too straightforward? And is this reading of the Seven Laws of Crab really not thin? Behind this irony, are there some feelings that are not susceptible?
This idea exists in my heart, and I have thought and thought about it, but I have never got to the point. Today, I read that poem 38 times again and suddenly realized something. I remember it here, but I dare not say it right. I feel very lucky if I can throw a brick to attract jade!
This is an introduction.
Second, re-discussion: doubts about Mr. Cai's interpretation
Because it is a mystery, because there is doubt, I always want to learn some nutrients from the knowledge of my predecessors. Let's take a look at what Mr. Cai said in A Dream of Red Mansions Poetry Qufu:
Baochai's poems about crabs are also used by the author to pin his thoughts ... here we can clearly distinguish two points: 1. A Dream of Red Mansions tells the true story of political issues with the false words of affection for children, that is, "from small to large". Second, it aims to scold the world, so it is much safer to play it with Baochai's works than with Baoyu or Daiyu, who is obviously rebellious. Because Baochai is the "orthodox school" in ancient society, she maintains the existing order everywhere, which is very similar to just "creating feelings for literature" and subtly scolding the world by borrowing her poems for a while, which can play a more protective role. In fact, it is a satirical poem disguised as an idle landscape coat.
Poets all know that "poetry expresses ambition", so Mr. Cai uses this to explore the deep meaning or essence of Baochai's "singing crabs".
Sir has two meanings:
First of all, small is big. Mr. Wang believes that this poem contains political issues with children's feelings. I don't know what you mean, but I can't see the "political issues" in this poem Ode to a Crab. Perhaps Mr. Wang only made such a statement based on his consistent position, but obviously Mr. Wang himself was not so confident, so he just stopped at the point and did not make further analysis. The focus of the analysis and demonstration is on the second point, that is, "aiming at scolding the world."
Mr. Wang believes that instead of cursing the world with Baochai, it is better to curse the world with Baochai, which can play a role of "covering up" and attribute this poem to "a satirical poem disguised as a leisure coat."
Well, here, let's take a look. In Mr. Wang's view, the profound meaning of this poem lies in the author's intention of scolding the world. In the final analysis, this poem is just a satire. So, what's the difference between this and the widely circulated comment that "it's simply too poisonous and satirizes the world"? If the meaning of this poem is only "satire" and the author only wants to use Baochai to make such a straightforward "scolding the world", then on the one hand, it is different from Baochai's consistent behavior, on the other hand, it is not the consistent style of "Wu Hengti", as evidenced by the word "chanting willow" mentioned earlier.
It's not surprising if a friend says Baochai was like this for a while. Why do you want to drill this dead end? However, I would rather try to find out the reason than simply solve the problem.
What is the "moral" of "irony" that everyone can see at a glance? Because of this, I can't help but look at this poem "crab songs", which is recognized as "irony" by the world.
Three theories: comparison of two "emptiness" at the end of mandible.
This poem consists of two couplets, each with a word "empty", and I, from the effective comparison of these two words, have realized some unusual meanings.
Look at the "emptiness" of couplets first. Generally speaking, when we analyze this poem, we focus on the couplet, because the irony of the whole poem focuses on this couplet:
There is no latitude and longitude in the road ahead, and the skin is black and yellow in spring and autumn.
In a word, crabs are rampant. In a word, only the black paste film and crab roe left in the crab shell are used to express the danger of the world. At a glance, it uses the classic "Lippi Chunqiu" to evaluate the things of people in the world, which is obvious to all and can be easily drawn from poetry.
Let's take a look at the understanding of "emptiness". My understanding is that this "emptiness" is nothing but … that is, "nothing is left". For crabs, this "emptiness" does not mean "futility". In this way, the whole sentence will be understood as above.
It is necessary to point out Mr. Cai's explanation here. Teacher Cai interprets the "emptiness" of "emptiness, blackness and yellowness" as "futility", so this association means that crabs have "thunderbolt spring and autumn". Although there are "blackness and yellowness" and a lot of tricks, everything is futile, because it will inevitably be cooked.
At first glance, both of these understandings are feasible. However, if we carefully analyze the whole poem of "crab fu" and follow Mr. Cai's explanation, then couplet and couplet are on the same level of meaning and will not produce the opposite outstanding effect. This is the taboo of poetry.
Let's look at the tail link:
What are the benefits of falling into the kettle today? The moon is empty and the millet smells sweet.
This couplet can probably be translated into: now put it in the pot to cook, then what's the use of running wild? On that moonlit night, by the water's edge, there was only the fragrance of millet (no more crabs).
Although the "empty" of this couplet can be literally understood as "only left", for crabs, this "empty" means "useless".
It can be seen that this couplet is a sigh of what the crab did before, meaning "If I had known this, why should I have done it?" If the couplet "Lippi Spring, Kong Qiu, Black and Yellow" means "futility", then the couplet does not constitute a contrast conflict in the sense, that is, the meaning of this poem stays on the couplet, and the couplet is redundant. However, if "spring and autumn skin is black and yellow" refers to the inside of the crab shell, only two colors are left, which are hidden but not exposed. Then, on the one hand, this meaning corresponds to "there is no latitude and longitude in the road ahead", on the other hand, it also makes a big turn in the sense of "what is the benefit of falling into the kettle today", pointing out the place of this poem and making the whole poem form an organic whole. Because of the different meanings of the two couplets, this poem also reaches the ironic meaning.
I say the meaning of this couplet endlessly, just to emphasize the different meanings of the word "empty" Staring at the "emptiness" in couplets for a long time to appreciate Baochai's sense of "futility", I can't help thinking of Baochai who won the true taste of parasitic grass 22 times. What does "in vain" mean? Let's take a closer look at the word "empty". Doesn't it also show Baochai's understanding of the empty tragedy of this world after all?
Fourth, the theory: the eyes and hearts of Baochai's poets.
In the last section, I thought carefully about the poem itself. Now, I want to make a tour of Baochai's mentality of writing poems from the outside. To this end, please see Mr. Wang Guowei's theory:
A poet must be both inside and outside the universe. If it is involved, you can write it. It is also beyond it, so you can watch it. Into it, so there is life. Beyond it, it is high.
There are many incisive theories in The Thorn on Earth. Let's see, isn't this passage an interpretation of Baochai's psychology in writing this poem "Ode to a Crab"?
Talking about crabs is talking about people. Baochai's satire on the world can be seen from the poem. Zhuan Xu's "There is no latitude and longitude in the road ahead, and the skin is black and yellow in the spring and autumn" reveals that the world is cold and the evil of people's hearts is profound; Tail couplet "What's the good of falling into the kettle today? The moon is empty and fragrant." How sober and calm the crab's ending is! Chin and tail are connected, one is affirmative, the other is negative, the other is pure irony, and the other is sad irony. Couplets reveal the fate of the world. To be fair, this fate is a tragedy. Baochai said "write it and make fun of it", which is precisely the calmness of her efforts outside this tragedy-everyone lamented its poison. However, behind the "teasing" of this poem, how much sadness and tears did Baochai pay for this sobriety and calmness?
Baochai's "crab fu" is permeated with deep compassion for the world, that is, to examine the defects of the world with a tragic eye. Everyone attaches great importance to its "thunderbolt spring and autumn" and regards it as "poison" As everyone knows, this "poison" is "transparent". Because of its transparency, it can "enter its territory" and is like a crab, so it lives for writing; And he said "just for fun" because he "laughed" and "surprised", but he did not lose his ambition to climb high and look far, in order to watch, so he aspired high.
If you can't understand this, then Baochai's chant is really just a joke, really just a satire. Knowing this, we will know that Baochai hides her sadness in her banter, which is ironic, sad and hidden, and can't be said to be "implicit".
Verb (abbreviation of verb) conclusion: ode to crab and Baochai
It can be seen that Baochai has not only the eyes of a poet, but also the heart of a poet. And this "poet's heart" makes him hide his sadness in his heart and show the world only a calm state. When we contact Baochai in A Dream of Red Mansions, we can see that Baochai's image is still consistent, rather than previously known, because there is a sudden fault and contradiction in Ode to a Crab. Baochai's sadness and transcendence reflected in this poem "crab fu" is the reason why "Lengxiang Pill" is cold and fragrant, and it is also the charm of Baochai's "opposing feelings with reason". Isn't that why Baochai is different from Xichun and Daiyu?
Baochai's poem is obviously higher than Baochai's, and the key lies in artistic conception. The other two capitals eat crabs directly, but this one swings open and points to the world; What's more commendable is that it finally fell on the crab itself. -"Moonlight is empty, the valley is fragrant", which changes the final perspective of the whole poem from satire to pity.
In my opinion, reading a poem from the realm of poetry is the key to grasp this poem and understand Baochai's character. The irony of the world is really just the "surface" of this poem.
In the thirty-eighth chapter of the novel, after the daughters finished writing chrysanthemum poems, they suddenly wrote three poems about crabs. Before writing the chrysanthemum poem in the novel, they were planned and prepared, and the length was very long. This chapter seems to be specially written for chrysanthemum poems, and the last poem about crabs seems to be completely unintentional and accidental. But Mr. Huo doesn't think so. He thinks Ode to a Crab is the most important poem in the novel, because it reveals a historical fact, that is, what Cao Tianyou was doing on August 23rd after the sudden death of Yongzheng! (As for how to infer that the date of writing Chrysanthemum Poetry is August 23rd, Huo will discuss it in other articles. )
Huo Shi thinks that these three poems about crabs are false, and the irony of Yongzheng is true. On August 22nd, Yongzheng died, and Cao Tianyou was revenged. He was very excited. Autumn is coming, and crabs are getting fatter and fatter. So, God bless drank wine, ate crabs, and wrote "Crab Fu", satirizing Yongzheng. Fearing that future generations would not understand its meaning, the author specially arranged "Chrysanthemum Poetry" before "Crab Fu", and explained the purpose of Baochai's writing poetry: "It is not only a tribute to chrysanthemums, but also a" harvest of scenery ". After writing Ode to a Crab, everyone said, "These little topics were supposed to be meaningful, but the irony was too poisonous." Huo believes that the "world" here does not refer to ordinary people, but to Sejong Yongzheng.
Huo believes that "The Ode to a Crab", like the whole novel, has the nature of two songs in one throat. One of its two songs is chanting and the other is giving alms. Therefore, Huo explained these three poems one by one according to his own understanding:
The crab sings the third Xue Baochai.
Guiyin sits with a curtain, and Chang 'an Kuikou looks forward to Chongyang.
There is no latitude and longitude in the road ahead, and the skin is black and yellow in spring and autumn.
Chrysanthemum should also be used when the wine is not fishy, and ginger must be used to prevent cold accumulation.
What are the benefits of falling into the kettle today? Yuepu has surplus grain and millet fragrance.
The trial solution is as follows:
Gui Yitong sat in the shade of a tree and held it up.
One: Sit in the shade of osmanthus trees and drink a glass.
Second: celebrate the destruction of the enemy Yongzheng, and sit in the shade of osmanthus trees and enjoy drinking. This sentence is about Yongzheng who died in autumn.
Chang 'an Kuikou looks forward to Chongyang. Saliva: gluttony.
First, the gluttony in Beijing has long been looking forward to the arrival of the Double Ninth Festival.
Second: Cao Tianyou has been waiting for the arrival of the Double Ninth Festival for a long time. Huo thought, maybe Yu Xiang and God Bless agreed to meet at Chongyang in 1999. He once wrote a poem "Goodbye at Double Ninth Festival" in "Recalling Chrysanthemum" in "Poetry of Chrysanthemum". I don't think so. I think the Double Ninth Festival is just a symbol, not a specific date. Because Cao Tianyou is about to meet Yu Xiang, he will "look forward to the Double Ninth Festival".
The road ahead has no latitude and longitude.
First, there is no way out before boiling crabs.
Second: Yongzheng had only a dead end at this time.
Piri is black and yellow in spring and autumn.
First, although crabs are full of tricks, they have not escaped the fate of being cooked.
Secondly, Yongzheng was full of intrigue and suspicion, but failed to change the fate of being governed by others.
Use chrysanthemums if the wine is not fishy.
First, drinking alone can't offset the fishy smell of crabs, and chrysanthemum is needed as an aid.
Secondly, the word "Chrysanthemum" and "Breeze and Frost Chrysanthemum" in this sentence have the same implied meaning, and they are both synonyms of Yu Xiang (Daiyu). The moral of this poem should be: wine alone failed to make Yongzheng dizzy, and Xiangyu's encouragement and persuasion made Yongzheng swallow cinnabar.
Ginger with cold beard to prevent sexual accumulation.
First, crab meat and crab paste are cool, so you must eat ginger at the same time when eating crabs.
Secondly, the word "accumulated cold" in the sentence refers to Yongzheng's cunning and suspicious nature, and he is calm and thoughtful. It is not easy for such a person to take cinnabar. In order not to let him "accumulate cold", it is necessary to use provocation. The "ginger" here is not a seasoning, but a thorn stick.
What are the benefits of falling into the kettle today? Kettle: pot
One: What are the benefits of crabs being cooked now?
Second: Yongzheng, who was once rampant for a while, has now ended up being put to death. What's the good of this?
Yuepu spare corn and millet. Yuepu: the water's edge in the moonlight.
First, crabs can no longer enjoy rice grains and millet grains near the water in the moonlight.
Second, Yong Zhengdi's heart is malicious, and his carefully accumulated wealth can no longer be enjoyed.
For "crab fu", in the total batch of "the original" at the end of the 38th back, red inkstone once said:
"Please look at the daughters in the boudoir. This time, they can make such lofty aspirations, love each other, do their own things, and are not obedient. The author has a deep intention to reward and advise them. People who read this article should not ignore it and quit it. "
Huo thinks that the word "human" in Shan Ge is a mockery of "Sejong Yongzheng", so the so-called "satire on human is too poisonous" in Xie Fu naturally refers to Yongzheng. And how Yongzheng was associated with this "rampant son", Huo Shi believes, is through Jia Huan. In the kite-flying part of the novel, he first explored the spring with a phoenix kite, and then picked up the bag and wore it with a beautiful kite. Then Aaron said, "I gave the crab (kite) to Third Master (Jia Huan) yesterday."
Who is Jia Huan in the book? Jia Huan took office.
The seventy-fifth novel is about the Mid-Autumn Festival, where the Jia family plays the game of passing parcels together. The flowers went to Baoyu and Jia Lan, and his uncles and nephews sang a poem respectively, which was praised. Jia Huan later got the opportunity to occupy a poem, which was very popular with Jia She. Jia She not only rewarded him with many toys, but also patted Jia Huan on the head and said, "This hereditary future will not escape you in the future." Hearing this, Jia Zheng quickly pointed out that something was wrong. Zhi Yanzhai criticized here: "Erase it gently." Huo believes that this sentence is a heavy pen in the book, and book critics warn readers not to neglect it.
Jia She's words sounded unreasonable at first, because Jia She's family has Jia Lian and Jia Zheng's family has Baoyu. They are all brothers of Jia Huan, who is still an unmarried woman, so it is not Jia Huan's turn to be a hereditary official in Fu Rong anyway. However, there are many precedents in history to abolish truth. For example, Yongzheng is a usurper, so there has always been a saying that "Yongzheng seized the throne" in the ruling and opposition circles. Zhi Yanzhai once approved this book as a "household name". Huo believes that the author refers to the inheritance of the title by analogy. Yongzheng was the fourth son of the emperor, but Jia Huan was the third. Mr. Huo thinks that the author has set a small ambush on the ranking of brothers:
Fu Rong is divided into Jia She and Jia Zheng. Jia She has a son Jia Lian, and Jia Zheng has three sons, Jia Zhu (deceased), Baoyu and Jia Huan. The two brothers are in separate rows, so Jia Zheng's Baoyu ranks second and Jia Huan ranks third. However, the sisters of two families are the oldest, Yuan Chun (politician), Yingchun (forgive family), Tan Chun (politician) and Xichun (respect family). The ranking of the younger brother and the ranking of the older sister, Huo thinks this is the author's cunning pen.
If Fu Rong's brothers are replaced by big ones, then the order is Jia Zhu, Jia Lian, Baoyu and Jia Huan, and Jia Huan happens to be the fourth. If Ningfu is included, the two brothers rank in a big order, then this order is Uncle Zhen (Jia Zhen), Mr. Lian (not included, so Jia Lian has always been called Mr. Lian), Baoyu, Jia Huan, and Jia Huan is still the fourth. The reason why the author is so painstaking in the ranking of brothers and sisters is precisely because he is too explicit, so he uses this cunning and tortuous expression.
Because the author hates Yongzheng, he wrote that Jia Huan was raised by a little wife, and Jia Huan's behavior was obscene and ranked fourth. The author hates the word "four" because it implicitly refers to Yin Zhen, the fourth son of the emperor (Yongzheng). When it comes to the name of Xiang Hui, the girl in the second1of the novel, the author hates it with Baoyu's mouth: "If it is serious, it should be called' unlucky' ... tomorrow it will be called" Si Er ",and there is no need for names like" Xiang Hui "and" Lan Qi "... It insults a good name and a good surname." The writer red inkstone said in this batch:
"It is also a harmful person. The author has been mistaken for this all his life, and the approvers have been mistaken for this all his life. He saw such a person in the open book, and everyone was happy. I hated it. The cover word is very misleading, and the misled person has a deep feeling of this batch. "
In the seventy-fifth novel, Jia Huan was described as "a mysterious fairy and ghost", which his father Jia Zheng called "the reincarnation of Cao Tang as a Taoist". This is consistent with the historical records that Yongzheng loved learning alchemy since childhood. Huo believes that Jia Huan is the image of Yongzheng as a prince. Jia She said that Jia Huan, an illegitimate child, could not escape the hereditary future, suggesting that Yin Zhen, the fourth son of the emperor, usurped the throne.
Huo believes that the author asked Jia Huan to associate with crabs, crabs and crabs, and asked Xue Pan, the main avatar in the novel, to prepare materials for the crab feast, just to show that they were eating crabs as guests of the emperor, or that the "rogue son" who spilled vinegar on ginger was ecstatic was the emperor himself. Although there is an imperial guard wearing armor and holding Longge in his hand (Longge in armor will never be forgotten until his death), there is a powerful Eight Banners Army outside (the fleshy one is even more pitiful); Despite his scheming, he tried every means to kill his political opponents (Piri Chunqiu's crazy son); Although he was too hungry to fill his stomach, he sucked up all the cream in the world, so that his mind was full of fat (the crab was full of tender jade and the shell was full of red fat), but he could not escape the fate of being put into a steamer and sent to others for cooking. It was his jade queen who sent him to the grave.
On the surface, these three "Poems on the Crab" scold Jia Huan, then reflect Jia Huan's plot to usurp the throne with the fourth prince Yin Zhen (Yongzheng), and then prove it by setting the date of the banquet on the same day as Yongzheng's death. Huo believes that the author wants to explain to readers that the crab they ate so happily is Yong Zhengdi himself, as the saying goes, "The clouds are light and the wind is light, and the castle is bright."