千百年来，《关雎》首章作为中国诗歌的开篇一直受到广泛的关注。围绕着“雎鸠”的考证与解说一直是理解《关雎》诗旨的关键，不同的训释和解诂使得“雎鸠”的所指被一层层浓雾笼罩，说诗者过于执著于“雎鸠”的本意而忽略了它作为起兴的诗性思维的重大作用——审美不是物理的事实，不是逻辑思维的产物，它非关功利，并与现实生活保持一定的距离。所以，或许孔子正是发现了这一审美的奥秘才将其置于诗三百的篇首。因此从某种程度上说，《关雎》首章也成为现代审美理论的早期实践者。%As the starting point of Chinese Poetry, the first chapter of GuanJu has received wide attention for thousands of years and interpretations and textual research surrounding ＂JuJiu＂ have always been key to understanding GuanJu. Which kind of bird is ＂JuJiu＂ is the most confusing question about this chapter. Since Han Dynasty, we have been burdened with too many interpretations to understand what it is. Therefore, a fog hangs over ＂JuJiu＂ as an aesthetic enigma. But we don＇t have to be ornithologists to understand the poem, because a poem is the product of poetical thinking, not a record of physical facts subject to logic and laws of nature. It transcends worldly concerns and always keeps a distance from everyday life. Per- haps Confucius the Sage had solved this aesthetic enigma when he made GuanJu the first poem of The Book of Songs. In a way the first chapter of GuanJu is an early manifestation of modern aesthetic theory.
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