Features:
1, the form is free.
2. The connotation is open.
3. Image management is more important than rhetoric.
Modern poetry is free in form and rich in connotation, and image management is more important than rhetoric application. Compared with ancient poetry, although they all feel things and reflect the soul, they completely break through the characteristics of ancient poetry, which are "gentle and sincere, with no complaints", and emphasize more on free and open, straightforward statements and intangible communication between reason and reason. The mainstream of modern poetry is free verse.
Classification:
There are also many ways to classify poems, which can be divided into different categories according to different principles and standards. The basics are as follows:
1, narrative poems and lyric poems. This is divided according to the expression of the content of the work.
(1) Narrative Poetry: Poetry contains relatively complete story lines and characters, which are usually expressed by the poet's passionate singing.
(2) Lyrics: It mainly reflects the social life by directly expressing the poet's thoughts and feelings, and does not require complete stories and characters. Such as love songs, carols, elegies, elegies, pastoral songs, satirical poems, etc.
Narration and lyricism are not absolutely separated. Narrative poetry is also lyrical, but its lyricism requires close combination with narrative. Lyric poems often describe some fragments of life, but they can't be spread out, and they must obey the needs of lyricism.
2. Metric poems, free poems and prose poems. This is classified according to the phonological meter and structural form of the language of the work. (1) Metric poetry: It is a poem written according to certain formats and rules. It has strict rules on the number of lines, the number of words (or syllables), the tone and rhyme, the antithesis of words and the arrangement of sentence patterns. For example, China's ancient poems, quatrains, words and songs, and European sonnets.
(2) Free verse: it is a newly developed poetic style in modern Europe and America. It is not limited by metrical rules, has no fixed format, pays attention to natural and internal rhythm, and uses rhymes roughly similar or without rhymes. The number of words, lines, sentence patterns and tones are relatively free, and the language is relatively popular.
(3) Prose poetry: it is a literary genre with both prose and poetry characteristics. There are poetic artistic conception and passion in the works, which are often full of philosophy, paying attention to the rhythm of nature and the beauty of music. The length is short, like prose, and it does not rhyme, such as Lu Xun's Weeds.
China's modern poetry can also be divided into two relatively independent stages:
1. Modern Poetry in China: Poetry before the first half of the 20th century is called "Modern Poetry in China".
2. Contemporary Poetry in China: Poetry after the second half of the 20th century is called "Contemporary Poetry in China".
The content of modern poetry appreciation
1. The language of poetry
Language is the basic material of all literary works. Poetry pays special attention to the use of language, because the shaping of artistic image, the creation of artistic conception and the transmission of emotion all depend on language. The language of poetry requires the simplest words to convey as much content as possible, which makes the language of poetry concise, implicit and jumping. Relatively speaking, modern poetry is written in vernacular, which is easier to grasp literally than old-style poetry. However, to correctly evaluate a poem, it is necessary to recite it repeatedly, try to figure it out, grasp the words full of the author's affection, and savor its profound meaning.
2. The imagery of poetry
Poetry reflects life and expresses feelings through artistic images. To appreciate poetry, we must accurately grasp the artistic images in poetry: some poems express their emotions by depicting concrete and vivid images; Some poems, although they do not depict specific images, can arouse readers' imagination; Some poems not only depict concrete images, but also express their thoughts and feelings. ...
To grasp the image of poetry, we must grasp the characteristics of the image. Some poems depict many images, so when appreciating them, we should combine many individual images to imagine and construct a whole image. The images depicted in some poems are not real, but have metaphorical or symbolic connotations. We can't understand the image of this kind of works literally, but we should combine the background of the times and the author's experience to explore the connotation of the image through imagination and association. In a word, understanding the image of poetry should be based on profound understanding and overall grasp, rather than superficial.
3. Poetry emotion
Poetry usually expresses feelings and wishes, and we must deeply understand the emotional connotation of poetry when we appreciate it. Specifically, it is to understand the author's feelings from the image and artistic conception of poetry.
The thoughts and feelings of some poems are reflected by metaphors and symbolic meanings. To understand the thoughts and feelings of this kind of poetry, we must first expand association and imagination, accurately grasp the connotation of poetic images, and thus deepen our understanding of feelings.
Poetry always reflects the life of a certain era, and the characteristics of the times cannot be ignored in understanding the feelings of poetry. Works with the same theme will show different thoughts and feelings because of the poet's ideals and interests, life experiences and different times.
To understand the feelings of poetry, we should also consider the categories, styles and genres of poetry. For example, there are differences in emotional expression between realistic poetry and romantic poetry, and the thoughts and feelings expressed by bold and graceful words are often different.
4. The artistic features of poetry
The artistic features of poetry mainly refer to lyrical means, allusion, conception and expression. To appreciate poetry, we should master the common means of expression and artistic skills of poetry, such as personification, metaphor, metonymy, exaggeration, contrast, symbol, etc., as well as writing static with movement, seeing the big with smallness, combining reality with reality, setting things off and expressing will.
Appreciation method of modern poetry
1. Grab the poetic eyes
The eyes of a poem are the most expressive keywords in the poem, which can open up the artistic conception of the poem and also make the poem shine. The tempering and setting of poetic eyes play an important role in poetry creation, and all poetry critics in ancient and modern times appreciate poetry from this point.
2. Analyze the image.
Image is the product of the collision between the poet's subjective concept and the external objective image, and it is a kind of language artistic image with specific significance that the poet produces to express his inner world by selecting, refining and reorganizing the objective image. In poetry, poets should not only think and feel with images, but also express them with images.
3. Distinguish between "virtual" and "real"
Social life is infinitely vast, and it is impossible for a poet to write everything in his poems. Therefore, poets often use "reality" to mean "emptiness" or "emptiness" to mean "reality". It is the artistic law of poetry creation that the virtual and the real coexist and set each other off into interest. The "emptiness" in poetry is thoughts and feelings, and the "reality" in poetry is the image of scenery. If poetry only writes "empty", it will appear abstract and empty, without poetry; If you just write "truth", it will look lifeless and lifeless.
Step 4 discuss skills
There are generally two ways for poets to express their feelings: one is to express their feelings directly in their works; The other is that poets often ignore political background in order to render scenery and contrast atmosphere, such as euphemistically expressing their feelings with metaphors and allusions.
5. Meet people and talk about the world
Meng Ziyun: "I don't know if I can praise his poems and read his books." It is based on its world. "This sentence means that if you want to understand his poems, you must know who he is and the era in which the author lives.
Classical poetry
The original meaning of "ancient poetry" refers to the poems written by ancient literati. Before and after Wei, Jin, Southern and Northern Dynasties, there appeared a number of five-character poems written by scholars before Wei and Jin, which had no title and no author. Most of them are lyric poems with unique expressive techniques and artistic styles, which are collectively called "ancient poems".
Significance Shen Deqian in Qing Dynasty said: "Nineteen ancient poems were not written by one person. I abandoned my wife at a high rate, my friends were rich, I wandered abroad, and I felt a sense of death and new things. Or fable, or express, or repeat. There is no whimsy at the beginning, and every sentence is thrilling. The ancient poems of Xijing are all under it. " During the Jin and Song Dynasties, these "archaic poems" were regarded as models of five-character poems. Lu Ji once imitated 12 sentence by sentence. Tao Yuanming in the Eastern Jin Dynasty and Bao Zhao in the Song Dynasty. There are "quasi-classical poems" that study the skills and styles of "classical poems". In the Liang Dynasty, Liu Xie's Wen Xin Diao Long and Zhong Rong's Shi Pin theoretically summarized and evaluated the artistic characteristics and value of "ancient poetry", and discussed its author, era and origin, which were generally recognized as works of the Han Dynasty. At the same time, Xiao Tong's Selected Works and Chen's Xu Ling Yutai's New Poetry define the scope of "ancient poetry" from the classification of poetry: all works without clear titles are called "miscellaneous poetry" by the author and "ancient poetry" by anonymous people. Therefore, after Liang and Chen, "ancient poetry" has formed a special name with a specific meaning. It is the same as the two Han Yuefu songs, referring to the five-character poem written by Wu Ming in the Han Dynasty, which has developed into a poetic style with the artistic characteristics of "ancient poetry". Nineteen Ancient Poems occupies a representative position in the history of literature, and this title has also become a topic name.
Ancient poetry, also known as ancient style. The ancient poetic style before the Tang Dynasty is a poetic style that does not pay attention to meter and has no limitation on the number of words and sentences. After the Tang Dynasty, due to the appearance of modern poetry, poets deliberately imitated the writing style of ancient poetry in the Han, Wei and Six Dynasties in order to distinguish ancient poetry from new metrical poetry, and restricted it in some aspects, thus forming a fixed pattern of ancient poetry in the Tang Dynasty. As a result, the completely free poetic style before the Tang Dynasty was changed into a semi-free poem between metrical poetry and free poetry. The number of words and lines in classical poetry: Classical poetry has no fixed verse and no fixed style. All ancient poems are classified according to the number of words in the poem. Four-character ancient poems are referred to as four-character ancient poems for short; Five-character ancient poems are referred to as five-character ancient poems for short; Seven-character ancient poems are referred to as seven-character ancient poems for short. Four-character poems were adopted by people as early as the Book of Songs. But it gradually declined in the Tang Dynasty, and few people wrote it. Therefore, ancient poetry is still expressed in five words and seven words. Five-character ancient poetry is the orthodoxy of ancient poetry, and many people write it. Seven-character ancient poetry is not the mainstream of classical poetry, because it originated late. Therefore, the seven-character style is greatly influenced by the seven-character modern poetry. Five-character ancient poems and seven-character ancient poems are both ancient poems with neat words. There is also a kind of ancient poetry with mixed words, and the length between the lines is different and uneven.
On the Style of Ancient Poetry —— Also on two styles of poetry in middle school textbooks: There are many styles of ancient poetry in China, and there are different views on the classification and appellation of ancient poetry. Especially for Yuefu, ancient style and ballad poetry, it is even more confusing. Because, from the formal point of view, Yuefu style and ancient style are both five-character styles, and seven-character ancient poems and ancient songs are all seven-character styles, so it is difficult to distinguish them. But since ancient times, people have unanimously recognized their differences in content, technique and style, and established their names. In the second topic "Discussion and Practice" of Five Poems of Grade Eight (Volume II) published by People's Education Press, it is said that "The hut was blown down by autumn wind" and "A song to bid farewell to the field in the snow-secretary Wu goes home" are all poems with free form, fluent language and unrestrained style. Please talk about the similarities and differences between these two poems from the aspects of sentence pattern, narration and lyricism. "chanting willow
The ninth grade (1) knowledge essay "How to read" said: "Du Fu's" Shi Qu Guan "has a broad meter and a high style, which is called ancient style ..." The name here does not conform to the habit. People used to call Du Fu's Caotang "an ancient poem with seven words", while Cen Can's Bai Xuege was called "a poem with seven words". The editor also clearly saw the difference between the two poems, so this problem arose. Although Du Fu's "Three Officials and Three Farewells" are all five-character poems, people are used to calling Shi Hao officials "new Yuefu" instead of "ancient style". In order to understand this problem, it is necessary to make a brief review of the style of China's ancient poems. China's earliest poetic style was The Book of Songs with four characters, and then the Chu Ci style represented by Qu Yuan's Li Sao (also known as Sao Style Poetry) appeared, which lengthened sentence patterns with the conjunction "zhi" and the modal particle "xi", such as "Xi, the descendant of Emperor Levin" (Li Sao) and "Wu Gexi is wearing a rhinoceros armour". Therefore, The Book of Songs and Songs of the South became the source of China's poems. In the Han Dynasty, Yuefu, an organization specialized in collecting all kinds of poems and songs, appeared, and the most influential one it collected was folk poems, which we can still see today. Its biggest feature is strong reality, popular and lively, and its form is mainly five words. For example, the long songs in the eighth grade (1) textbook and "Drinking Horses in the Cave of the Great Wall" and "Joining the Army in the Tenth Five-Year Plan" in the high school textbook are authentic Han Yuefu. The content and style of Yuefu folk songs in Han dynasty influenced the poetry creation of literati at that time and later generations. By the end of the Eastern Han Dynasty, there were 19 ancient poems representing the maturity of literati's five-character poems, which absorbed many characteristics of Yuefu folk songs and promoted the development of ancient poetry. Especially in Wei, Jin, Southern and Northern Dynasties and Tang Dynasty, the development and evolution of Han Yuefu formed two main forms. A few poems
One is "Ancient Yuefu" (also called "Old Yuefu"), which was created by literati with simulation. It borrows the title of Han Yuefu and writes new contents, just like old bottles and new wine, such as Cao Cao's Out of Xiamen (Part VII), Yang Jiong's Joining the Army and Li He's Wild Goose Gate. The characteristics of these poems are that although they follow the theme of Han Yuefu, the content is new and related to the original theme, such as "joining the army" related to military affairs, and "wild goose gate satrap" related to frontier fortress. The content of literati's quasi-Yuefu changed from narrative to lyrical in Han Dynasty. In terms of form and technique, it draws lessons from its vulgarity and elegance, adds literati color and improves artistic taste. Ancient Yuefu has two forms: five words and seven words. Seven-word Yuefu, an ancient poem, was first seen in Cao Pi's Ge Yan Xing in the Three Kingdoms Period, and it was not until Bao Zhao in the Qi and Liang Dynasties in the Southern Dynasties that he wrote Quasi Difficult Travel (18) and so on. Yuefu poems can be sung, while the seven-character Yuefu style is mainly chanting. In terms of content and length, it is generally long, and it is like flowing water when chanting. It can freely change the rhythm, making its content changeable, its structure turning, its momentum magnificent and its feelings colorful. This kind of poetic style is suitable for carrying large ideological content and expressing warm feelings. It not only has the characteristics of the popularity and liveliness of ancient Yuefu, but also focuses on expressing the voices of literati. Its form is mainly seven-character sentence pattern, and the miscellaneous words are colorful and cadenced, so people also call it "Gexing Style". The other is mainly to learn from the narrative-oriented, realistic content characteristics and simple and popular expression characteristics of Han Yuefu to reflect the social reality at that time and attract people's attention to society. It no longer borrows the original name of Han Yuefu, but is named according to the different contents of the event. The so-called "life-threatening, hard to see." In the Tang Dynasty, Du Fu was concerned about state affairs and reflected the social reality before and after the Anshi Rebellion with his pen. He wrote many such poems, such as Chedian (high school), Sanguan (Tongguan official, Xin 'an official and Shihao official) and Sanbie, which mainly inherited the tradition of Han Yuefu in essence. Later, Yuan Jie, Gu Kuang and other poets also wrote such poems. In the middle Tang Dynasty, realistic poets such as Bai Juyi and Yuan Zhen, in order to save the decline of the country at that time, used their own poems to reflect the shortcomings of social reality, so as to attract the attention of the rulers, vigorously advocated these poetic forms of Du Fu and Yuan Jie, and launched the "New Yuefu Movement" with the title of "New Yuefu". They themselves have written many "new Yuefu", with five or seven sentences in form. For example, Bai Juyi's "Looking at Wheat Cutting" (Part 9), selling charcoal Weng, Xinfeng folding arm Weng and Du Lingcuo are all narrative and popular "new Yuefu style". Answer in the Bamboo Grove said: "Ancient poetry and Yuefu have been divided since the Han and Wei Dynasties. Yuefu syllables don't pass on, and the Tang people borrow old topics and new meanings every time. At least Ling doesn't attack old topics, such as "Three Officials" and "Three Farewells", which are really Yuefu. " (Continuation of Poems in Qing Dynasty, 2225 pages, Shanghai Ancient Books Publishing House, 1983) Briefly points out the characteristics of new Yuefu poems. There is another situation in literati's study of Han Yuefu, which mainly introduces the characteristics of Yuefu poetry into lyric ancient poems, reflecting the characteristics different from the previous five-character ancient poems. The representative work is Li Bai's "Ancient Style" (58 poems). From the formal point of view, "ancient style" is no different from five-character ancient poetry, but the lyrical content and way are different. When answering the difference between Yuefu and classical poetry in Zhao Zhixin's Yinpu in Qing Dynasty, he said: "There is a great difference between sound and emotion, and it takes more than half a minute to understand it here." (Qing Shihua 132, Shanghai Ancient Books Publishing House 1963) "Sound and emotion" refers to the difference in content, emotion and charm. "Ou Bei Shi Hua" further pointed out: "Beggars' Yuefu is more committed to women's thoughts, and violets are deeper than Yuefu, so they can also inspire couples to bid farewell to the injured. However, they are all subtle and ancient ... they are short and meaningful, leaving a legacy of national style directly. Shaoling has no such taste. " It can be seen that Du Fu's "new Yuefu" is different from Li Bai's "ancient style", although both are influenced by "Han Yuefu". In the collection of Tang poems, there are few directly labeled "ancient style". "Ancient Style", "Five-character Ancient Style" and "New Yuefu" are free in form and do not talk about meter, so there is no problem of "wide meter". Ask any girl
There are also two situations when the seven-character song style developed to the Tang Dynasty. Because "metrical poetry" appeared in the Tang Dynasty (also called "modern poetry" to distinguish it from "ancient poetry" that didn't talk about metrical poetry before), one kind deliberately introduced some syntax and techniques of metrical poetry into ancient poetry, and the other kind deliberately avoided it. Traditionally, people refer to the former as "Seven-character Song Style" and the latter as "Seven-character Ancient Poems". On the basis of inheriting the magnificent poetic style of Qi and Liang Dynasties in the Southern Dynasties, some poets in the early Tang Dynasty tried to introduce the sentence patterns and antithesis of seven-character rhythmic poems into their singing style, resulting in such famous works as Lu's Ancient Meaning Chang 'an, Luo's Poems on the Palace and Zhang's Moonlit Night on the Spring River, which are magnificent in length and momentum, and their scattered sentences are mixed with metrical and antithesis, reflecting the vast society. In the prosperous Tang Dynasty, Gao Shi and others wrote a large number of frontier poems on this theme, such as Gao Shi's Travel, Cen's Bai Xuege Farewell to Taiwei Wu's Hometown (eight times) and Ben Ma He Song Farewell to Feng, the general of the Western Expedition (nine times). These poems give full play to the characteristics of "early Tang style", with rich and magnificent content, unrestrained feelings, magnificent images, diverse techniques and unique language. In the middle Tang Dynasty, Bai Juyi and others incorporated narrative elements into this style and wrote such famous works as Song of Eternal Sorrow and Pipa Story. Seven-character quatrains have made new progress. Until the early Qing Dynasty, Wu (No.Meicun) wrote Yuan Yuan Qu, He Yong Palace Ci, Xiao Shi Qing Men Qu, and Listening to the Female Taoist Bian Yujing Playing the Piano in this poetic style. He praised history with poems, paid more attention to skills in form, used colorful words, and formed a colorful and changeable artistic style, which was beautiful and touching, and even sung in seven words. By the end of the Qing Dynasty and the beginning of the Republic of China, Wang Guowei and others had written poems such as The Summer Palace Ci in this style. Du Fu's Ceramic Statue
On the other hand, poets such as Du Fu and Han Yu consciously avoid the syntactic sentences of the seven-character Yuefu physical rhythm poems to reflect the quaint and simple style characteristics, and often adopt loose sentences and three-level endings (such as "San Mao", "Changlinding", "Sink Pool" and "Sigh"). In terms of content and style, this kind of poetry is often based on realistic themes and deep and depressed feelings, which is different from the rich romantic color of the previous kind of songs. However, it pays attention to the grandeur of content, the boldness and agitation of momentum and emotion, and the changeable structural transition, which conforms to the overall characteristics of the seven-character style. For example, Du Fu's Autumn Wind Breaking the Cottage (eight times), Li Yi's Going to the Temple of Heaven to See the Sea at Night, Han Yu's Mountain Rock, Lu Tong's Poem of Eclipse, Mid-Autumn Festival Giving Zhang and Hengshan Temple Stopping, I'm going to write this poem at the gatehouse, and I'm going to urge you to send new tea, etc., all have such characteristics, which are customarily called. There are many discussions about the difference between seven-character quatrains and seven-character ancient poems. In Liu Xizai's poems, the characteristics of these two types are divided into: "There are seven ancient poems, which can be said to be nearly two ancient poems. Close to the body, parallel, harmonious, beautiful and smooth; The ancient style is simple, awkward, thin and energetic. One is handsome and the other is muscular. This is the difference between Qi Liang and Han Wei, which is why the early Tang Dynasty and the prosperous Tang Dynasty are different. " (Continued on page 2436 of Qing Shi Hua) The "ancient" here refers to the seven-character ancient style similar to the "autumn wind breaking the thatched cottage song", which inherits the simple and substantial characteristics of ancient poems in Han and Wei Dynasties; "Jin" refers to the seven-character swan song style developed from the "early Tang style" and inherits the ingenious and beautiful characteristics of the Qi and Liang Dynasties. It can be said that this is the fruit of two different flavors on the big tree of seven-character Yuefu poems in the Han, Wei and Six Dynasties. Poet Li Bai
The above is probably the basic overview of China's ancient poetry, which, together with the modern poetry with strict meter in the Tang Dynasty, has become the basic form of China's ancient poetry. There are many classic poems in Runwu.
Edit the relevant common sense of this paragraph
1. Rhyming: rhyming words at the end of a verse sentence, such as Li Bai's Thoughts on a Quiet Night, are there already frosts at the foot of my bed? Looking up, I found that it was moonlight and sank again, and I suddenly remembered home. The land of light and frost is rhyme. Usually the third sentence doesn't rhyme, but there are also poems with irregular rhymes (such as looking at Tianmen Mountain). 2. Rhyme: Poetry rhymes to make the tone harmonious and beautiful. For example, Li Bai's "Silent Night Thinking" uses rhyme. 3. The structure of metrical poems: * * eight sentences, with one or two sentences as the head couplet, three or four sentences as the parallel couplet, five or six sentences as the neck couplet and seven or eight sentences as the tail couplet. 4. Rhythm and rhythm of ancient poetry: From the perspective of sentence patterns, ancient poetry generally has four words: two and two; Five words are two, two and one; These seven words are two, two, two and one. Sensually, there are sometimes special situations due to ideographic needs, such as: Shila | Wuyue | Gai | Chicheng, making it two, two, one and two. Because there are no punctuation marks in ancient poems (punctuation marks were added by later generations), one line is one sentence. First, restore the inverted sentence order and grasp the poet's true intention and emotional focus. The subject is postpositioned. Cui Hao's poem "Yellow Crane Tower": "Every tree in Hanyang is clear, and a nest of herbs in Nautilus Island." It means "Qingchuan (with clear leaves), Hanyang trees are vivid (countable), and Parrot Island is lush with grass". Du Fu's poem "Moonlight Night": "Clouds are fragrant and foggy, and jade shoulders are cold." In fact, it is "fragrant fog and wet clouds, cold and jade arms." C. transposition of subject and object. Ye Mengde's "He Xinlang" words: "Autumn is getting late, and the frost letter reports yellow flowers." Obviously, it also means "returning yellow flowers to frost". D, the location of the attribute. First, the attribute moves forward. Wang Changling's poem "Joining the Army" said: "There are dark snow mountains in Qinghai, and the lonely city looks at Yumenguan." The "lonely city" in the next sentence refers to Yumenguan, which is an appositive of Yumenguan, but now it is moved to the verb "overlooking", which is easily misunderstood as standing on another lonely city overlooking Yumen. Second, the attribute has been moved. Li Bai's poem "Tianmu Mountain dreams of climbing high": "My heart and dreams are in Wu and Yue, and I cross the mirror lake on a moonlit night." It means "flying over Mirror Lake on January night". E. adverbial in the form of object. "People don't know where to go, but peach blossoms are still smiling in the spring breeze." On the surface, "laughing at the spring breeze" is a verb-object phrase. In fact, "autumn wind" and "spring breeze" are not based on "moving" and "laughing", but mean "moving in the autumn wind" and "laughing in the spring breeze" respectively. Secondly, there are some words worthy of special attention in many poems, which usually add a lot of color to the whole poem and even become the eyes of the poem. The poet Miracle wrote a poem "Early Plum", and there is a saying: "In the former village of Zita Law, a few branches opened last night." Zheng Gu changed the word "number" to "one" because the title was "early plum blossom". If a few branches are opened, it means that the flowers have been blooming for a long time and cannot be regarded as "early plum". Miracle admired Zheng Gu very much and called him a "word teacher". The word "green" in Wang Anshi's Spring Breeze and Green Jiang Nanan, the word "see" in Tao Qian's "Seeing Nanshan leisurely", the word "de" in Zhang Xian's "Clouds breaking the moon to make a flower shadow" and the word "noisy" in Song Qi's "Red Apricot Branches Full of Spring" are all well known. Verbs: When appreciating poetry, we should pay attention to verbs, especially those with "multiple meanings". Example 1: You remember the Qingxi Banli Bridge, where there was no old red board and there were too few people in Qiushui. There is no one at sunset, leaving a weeping willow. The word "leftover" is prominent here, so the author doesn't have to "stay" or "see". Its beauty lies in that although the meaning of "leftover" is similar to that of "staying", the word "leftover" is generally passive and has the meaning of "residual" and "leftover"; In addition, the word "leftover" is time-sensitive and gives people a sense of helplessness. "Stay" is not that meaningful. "Seeing" is only temporary, and it can't give people a sense of change by comparing the past and the present. Modifiers: mostly adjectives, but also the focus of poetry appreciation. Example 1: Young boudoir women don't know how to worry, so they put on Cui Lou in spring. Suddenly I saw the green willows, and I felt uncomfortable; Oh, I regret that I shouldn't have asked my husband to find Hou Feng. ("in my heart forever" Wang Changling) The first two sentences are written by a young woman who has finished dressing and rushed to Cuilou to enjoy the spring scenery. At this time, the author used a word "suddenly", which means casual and just right. Encounter: The willow color that broke into her eyes reminded her of the scene of seeing her husband off, and she couldn't help but feel sad when she thought of him. This is a young woman with a childish face. A word "suddenly" vividly describes this emotional change, which is also the intriguing place of this poem. 3 Special words: In poetry and prose, some words are unique in themselves, and readers can quickly find them: a. Reduplication: Reduplication has only two functions: enhancing the sense of rhythm of language or playing an emphasis role. The willows in Jiang Shuiping are green, and I can hear the songs on the Langjiang River. (《lt； Zhuzhici > 1. Liu Yuxi was searched and searched, and it was deserted and miserable. ("Slow Whispering" Li Qingzhao) B. Onomatopoeia words: Some onomatopoeia words belong to overlapping words, so they are listed separately because of their high frequency. It has a function: to make poetry more vivid and make people feel immersive. Outside the curtain, the rain is gurgling, spring is fading, and Luo Can can't stand the cold. Leaves fall like a waterfall, while I watch the long river roll forward. ("Climbing the Heights" Du Fu) C. Words expressing colors: These words are sometimes used as predicates, sometimes as attributes, and sometimes as subjects or objects. But there is only one function. Color generally expresses mood, enhances the color sense and picture sense of description, and renders the atmosphere. When you appreciate it, you can grasp the words that can express light colors, and realize the rich artistic meaning and distinctive rhythm of "two orioles singing green willows and a row of egrets rising to the sky" in the poem. The four colors of yellow, green, white and cyan are patchy, extending from points and lines to infinite space, and the picture is static and dynamic, with a distinct sense of three-dimensional rhythm. Or grasp the words in the poem that can show sharp contrast and appreciate the concentrated emotional color: "The fleeting people, cherry red, banana green." "Red" and "Greenway" show Jie Jiang's "colored thoughts" lamenting that time is in a hurry and spring is fleeting. Even if we grasp the words expressed by a single color, we can also appreciate the poet's deep affection: "Recalling the love in Tsing Yi, we pity the grass everywhere." "Whoever is drunk in the frost forest at dawn always makes people cry!" Pity and hurt feelings are both in "Young" and "Drunken Red".
Five-method format one
⊙ Ping ⊙ 仄仄
⊙ШШ Ш (rhyming)
⊙⊙⊙⊙⊙⊙
Ping ⊙ Ping (rhyme)
⊙ Ping ⊙ 仄仄
⊙ШШ Ш (rhyming)
⊙⊙⊙⊙⊙⊙
Ping ⊙ Ping (rhyme)
Five-method format 2
Ping ⊙ Ping (rhyme)
⊙ШШ Ш (rhyming)
⊙⊙⊙⊙⊙⊙
Ping ⊙ Ping (rhyme)
⊙ Ping ⊙ 仄仄
⊙ШШ Ш (rhyming)
⊙⊙⊙⊙⊙⊙
Ping ⊙ Ping (rhyme)
Five-method format three
⊙⊙⊙⊙⊙⊙
Ping ⊙ Ping (rhyme)
⊙ Ping ⊙ 仄仄
⊙ШШ Ш (rhyming)
⊙⊙⊙⊙⊙⊙
Ping ⊙ Ping (rhyme)
⊙ Ping ⊙ 仄仄
⊙ШШ Ш (rhyming)
Five-method format four
⊙ШШ Ш (rhyming)
Ping ⊙ Ping (rhyme)
⊙ Ping ⊙ 仄仄
⊙ШШ Ш (rhyming)
⊙⊙⊙⊙⊙⊙
Ping ⊙ Ping (rhyme)
⊙ Ping ⊙ 仄仄
⊙ШШ Ш (rhyming)
Usually, Ping refers to one or two tones of Pinyin, while Xu refers to three or four tones.
Round and graceful, rhyme at the end of the previous sentence.
Parallel couplets (three or four sentences) and neck couplets (five or six sentences) should be dual.
The feeling of writing poetry is reading a lot.
Otherwise, write with some modern grammar and thinking.
It will deform, but outsiders may not feel it.
Your poem is not bad.