Poetry about the coexistence of reality and fiction 1. Those poems can embody the coexistence of truth and falsehood.
The artistic technique of combining reality with reality has been fully used in the hands of the poet Du Fu, and it has achieved the artistic aesthetic effect of "winning more with less, seeing the big with the small, turning the virtual into the real, and turning the real into the virtual".
Du Fu's poem "Moonlit Night": "Tonight, watch it alone from her bedroom window. For our boys and girls, poor little baby, too young to know where the capital is.
The fragrant mist wets the temples, and the jade shoulders are cold. When will you lean on the emptiness and watch the bright light stop crying? . "
The beauty is that the poet wrote not how he missed his hometown in the war, but how his family missed him. Turn reality into nothingness and scenery into emotion.
The abstract emotion (missing his wife) is attached to the concrete image (missing the moon), which allows readers to gallop their imagination in fiction and fact, and infer his wife's missing for her husband from the poet's deep missing for his wife. Another example is "From Beijing to Fengxian": "Worry stops in the south and the hole cannot be crossed."
Emotionally express the "troubles" of intangible psychology, saying that their troubles are piled up like the endless mountain, and they can't be cleaned up like boundless water, turning virtual into reality. The great structure of "writing a generation" is the "Northern Expedition": "I have a charming life and the color is as white as snow.
Seeing crying behind, dirty feet are not socks. The two little girls in front of the bed were only knee-high after being repaired ... "Here, the poet didn't write about the disaster caused by the war, didn't write about his own deep sorrow, only wrote about the hunger of his beloved son, and wrote about the disaster caused by the war, such as their crying and oil pollution, but the poet's inner sorrow was vividly expressed.
People are very familiar with these two poems of Du Fu, "The wine in Zhumen stinks, and the bones freeze to death on the road". The two poems put two completely different pictures together, which not only adds charm to each other, but also literally presents the meaning of the third picture: there is only a wall between the inside and outside of Zhumen, but it is such a different world, which is an unreasonable society! Here, the directness of the image provides clues of association, which makes people think that the bones of the poor people who froze to death in the wilderness were caused by the exploitation of Zhumen; The meat forest in Zhumen wine pool is caused by the social system that "the deficit is not enough to meet the demand".
These truths are not expressed word for word in the works, but readers can deeply feel them by supplementing and enriching the imagination of poetry according to their own life experiences and aesthetic feelings. In Du Ji's poems, such as "rich cooking stinks, white bones in the battlefield" ("Drive the vertical shaft to pick the ear"); "A first has tired beam meat" ("Zhuang You"); "Rhinoceros has long been tired of it, and precision phoenix carving knives are rarely used" ("Beauty Walk"); See Du Fu's poem "Singing 500 Words from Beijing to Fengxian".
This is not the poet's simple feeling and reaction to reality, but the expression of emotional concentration in the poet's aesthetic grasp of the environment, which is an aesthetic evaluation combining truth, goodness and beauty. It can be seen that the deeper the nature of society is revealed and the higher the degree of generalization, the higher, bigger and deeper the realm of the work, and the greater its aesthetic value.
Chang' an fell, the country was broken, and only the mountains and rivers remained; Spring has come, and the sparsely populated Chang' an city is densely forested. Sad state, can not help but burst into tears, amazing birds, leaving sorrow and hate.
The war lasted for more than half a year, and letters from home were rare, with a hundred thousand gold. Twisting with melancholy, scratching my head and thinking, the more I scratch my white hair, I can hardly insert a hairpin.
Du Fu's famous poem "Spring Hope" has created a unique realm and its own artistic conception. The combination of scenery and lyricism in the poem is perfect, and it is really a blend of scenes.
However, there are not only feelings and scenes in the poem, but also things and people. Writing scenery, writing things, narrating and painting people, all kinds of factors are integrated into an independent world, which perfectly expresses the poet's thoughts and feelings.
Here, the "realm" composed of scenery, things, events and characters and the "meaning" expressed by the poet are perfectly integrated into a seamless whole. It contains the poet's infinite sadness and resentment over the country's ruin and death, as well as the meaning of worrying about the country and homesickness.
Limited territory, infinite meaning, perfect combination and boundless fusion have become artistic conception. Ceng Yun, a senior, said: "Poetry written by the ancients is more valuable than words, which makes people think deeply." A typical example is the poem "Spring Hope".
"The mountains and rivers are there, and there is nothing left in the Ming Dynasty; The vegetation is deep and no one is clear; Flowers and birds, things that can be entertained at ordinary times, make you cry when you see them and feel sad when you smell them, and then you will know ["the mountains and rivers are here" ... you will know then]. See Sima Guang's poem. " The poet's inexhaustible meaning is expressed in this limited environment, and the meaning is deeply hidden in the environment, so people can think about it before they can get it.
Li Bai, a great poet in the Tang Dynasty, is also good at creating a unique realm in his poems by combining reality with reality. Let's take one of his poems as an example to see how the poet created the artistic conception through 28 words, which are virtual and real, real and virtual, and virtual and metaphorical.
Li Bai was just about to leave when he heard a farewell song from the shore. Even if the Peach Blossom Pond is deep, it is not as deep as Wang Lun's sending away my love.
This poem was written by Li Bai after he visited Taohuatan in Jingxian County, Anhui Province in the 14th year of Tianbao (AD 775). When the poet boarded the boat and wanted to leave, "he suddenly smelled the song on the shore."
Beauty lies in hearing that person's voice first, then seeing him, replacing people with songs, embracing reality with emptiness and living with reality. The poet was about to leave in a canoe, and the farewell party took a song to see him off (singing and patting him with his feet). "Suddenly Smell" shows that this farewell song is an accident for the poet, and as far as poetry is concerned, it is also a unique accidental pen, which makes this poem suddenly come into being after the first sentence is narrated.
It not only makes this scene, this song and this feeling as fresh as eyes and ears, but also makes people's feelings vivid, enriches the poetic audio-visual (time and space) feeling, and shows the return of emotion and joy. Without virtual reality, it is difficult to achieve this wonderful state.
"Peach Blossom Pond is deep in thousands of feet" is not comparable to ordinary shallow pools and streams. However, thousands of feet's deep pool is far less than Wang Lun's sincere and simple feelings. How deep is Wang Lun's Send My Love? The poet left a large blank (empty) for people to measure and gallop. Wang Lun's deep affection suddenly appeared in front of people, making people unforgettable for a long time.
The last two sentences are emotional and impromptu, seemingly simple, enriching the meaning realm of poetry, with a good eye and written feelings, but it is difficult to express them without a pen. The uniqueness of Li Bai's poetry lies in his "wonderful scenery is only in a transition", and the word "less than" is the key.
This kind of improvisation, with material symbols, turns abstract friendship (emptiness) into concrete image (reality), and compares intangible feelings that are difficult to measure with "eye view". This "transformation" makes the poem unique, ethereal and interesting, with rich aftertaste and novel warning. There are only 28 words in the whole poem, but the first song "suddenly smells" makes it.
2. Which poems are based on reality and reality?
On Saturday, July 28th, 2007, at 03: 5 1 China's classic poetry, The Beauty of Scenery with the Combination of Fiction and Reality was selected from Literary Aesthetics (Peking University Press, 1989 edition).
The artistic technique of combining reality with reality has been fully used in the hands of the poet Du Fu, and it has achieved the artistic aesthetic effect of "winning more with less, seeing the big with the small, turning the virtual into the real, and turning the real into the virtual". Du Fu's poem "Moonlit Night": "Tonight, watch it alone from her bedroom window.
For our boys and girls, poor little baby, too young to know where the capital is. The fragrant mist wets the temples, and the jade shoulders are cold.
When will you lean on the emptiness and watch the bright light stop crying? . "The beauty is that the poet wrote not how he missed home in the war, but how his family missed himself.
Turn reality into nothingness and scenery into emotion. The abstract emotion (missing his wife) is attached to the concrete image (missing the moon), which allows readers to gallop their imagination in fiction and fact, and infer his wife's missing for her husband from the poet's deep missing for his wife.
Another example is "From Beijing to Fengxian": "Worry stops in the south and the hole cannot be crossed." Emotionally express the "troubles" of intangible psychology, saying that their troubles are piled up like the endless mountain, and they can't be cleaned up like boundless water, turning virtual into reality.
The great structure of "writing a generation" is the "Northern Expedition": "I have a charming life and the color is as white as snow. Seeing crying behind, dirty feet are not socks.
The two little girls in front of the bed were only knee-high after being repaired ... "Here, the poet didn't write about the disaster caused by the war, didn't write about his own deep sorrow, only wrote about the hunger of his beloved son, and wrote about the disaster caused by the war, such as their crying and oil pollution, but the poet's inner sorrow was vividly expressed. People are very familiar with these two poems of Du Fu, "The wine in Zhumen stinks, and the bones freeze to death on the road".
The two poems put two completely different pictures together, which not only adds charm to each other, but also literally presents the meaning of the third picture: there is only a wall between the inside and outside of Zhumen, but it is such a different world, which is an unreasonable society! Here, the directness of the image provides clues of association, which makes people think that the bones of the poor people who froze to death in the wilderness were caused by the exploitation of Zhumen; The meat forest in Zhumen wine pool is caused by the social system that "the deficit is not enough to meet the demand". These truths are not expressed word for word in the works, but readers can deeply feel them by supplementing and enriching the imagination of poetry according to their own life experiences and aesthetic feelings.
In Du Ji's poems, such as "rich cooking stinks, white bones in the battlefield" ("Drive the vertical shaft to pick the ear"); "A first has tired beam meat" ("Zhuang You"); "Rhinoceros has long been tired of it, and precision phoenix carving knives are rarely used" ("Beauty Walk"); See Du Fu's poem "Singing 500 Words from Beijing to Fengxian". This is not the poet's simple feeling and reaction to reality, but the expression of emotional concentration in the poet's aesthetic grasp of the environment, which is an aesthetic evaluation combining truth, goodness and beauty.
It can be seen that the deeper the nature of society is revealed and the higher the degree of generalization, the higher, bigger and deeper the realm of the work, and the greater its aesthetic value. Chang' an fell, the country was broken, and only the mountains and rivers remained; Spring has come, and the sparsely populated Chang' an city is densely forested.
Sad state, can not help but burst into tears, amazing birds, leaving sorrow and hate. The war lasted for more than half a year, and letters from home were rare, with a hundred thousand gold.
Twisting with melancholy, scratching my head and thinking, the more I scratch my white hair, I can hardly insert a hairpin. Du Fu's famous poem "Spring Hope" has created a unique realm and its own artistic conception.
The combination of scenery and lyricism in the poem is perfect, and it is really a blend of scenes. However, there are not only feelings and scenes in the poem, but also things and people.
Writing scenery, writing things, narrating and painting people, all kinds of factors are integrated into an independent world, which perfectly expresses the poet's thoughts and feelings. Here, the "realm" composed of scenery, things, events and characters and the "meaning" expressed by the poet are perfectly integrated into a seamless whole.
It contains the poet's infinite sadness and resentment over the country's ruin and death, as well as the meaning of worrying about the country and homesickness. Limited territory, infinite meaning, perfect combination and boundless fusion have become artistic conception.
Ceng Yun, a senior, said: "Poetry written by the ancients is more valuable than words, which makes people think deeply." A typical example is the poem "Spring Hope". "The mountains and rivers are there, and there is nothing left in the Ming Dynasty; The vegetation is deep and no one is clear; Flowers and birds, things that can be entertained at ordinary times, make you cry when you see them and feel sad when you smell them, and then you will know ["the mountains and rivers are here" ... you will know then]. See Sima Guang's poem. "
The poet's inexhaustible meaning is expressed in this limited environment, and the meaning is deeply hidden in the environment, so people can think about it before they can get it. Li Bai, a great poet in the Tang Dynasty, is also good at creating a unique realm in his poems by combining reality with reality.
Let's take one of his poems as an example to see how the poet created the artistic conception through 28 words, which are virtual and real, real and virtual, and virtual and metaphorical. Li Bai was just about to leave when he heard a farewell song from the shore.
Even if the Peach Blossom Pond is deep, it is not as deep as Wang Lun's sending away my love. This poem was written by Li Bai after he visited Taohuatan in Jingxian County, Anhui Province in the 14th year of Tianbao (AD 775).
When the poet boarded the boat and wanted to leave, "he suddenly smelled the song on the shore." Beauty lies in hearing that person's voice first, then seeing him, replacing people with songs, embracing reality with emptiness and living with reality.
The poet was about to leave in a canoe, and the farewell party took a song to see him off (singing and patting him with his feet). "Suddenly Smell" shows that this farewell song is an accident for the poet, and as far as poetry is concerned, it is also a unique accidental pen, which makes this poem suddenly come into being after the first sentence is narrated. It not only makes this scene, this song and this feeling as fresh as eyes and ears, but also makes people's feelings vivid, enriches the poetic audio-visual (time and space) feeling, and shows the return of emotion and joy.
Without virtual reality, it is difficult to achieve this wonderful state. "Peach Blossom Pond is deep in thousands of feet" is not comparable to ordinary shallow pools and streams. However, thousands of feet's deep pool is far less than Wang Lun's sincere and simple feelings. How deep is Wang Lun's Send My Love? The poet left a large blank (empty) for people to measure and gallop.
Wang Lun's deep affection suddenly appeared in front of people, making people unforgettable for a long time. The last two sentences are emotional and impromptu, seemingly simple, enriching the meaning realm of poetry, with a good eye and written feelings, but it is difficult to express them without a pen.
The uniqueness of Li Bai's poetry lies in his "wonderful scenery is only in a transition", and the word "less than" is the key. This kind of improvisation, with material symbols, turns abstract friendship (virtual) into concrete image (real), and borrows immeasurable intangible feelings from "eyes looking"
Those poems are the combination of reality and reality.
In the traditional techniques of Chinese painting, emptiness refers to the part with sparse strokes or blank parts in the picture. It gives people room for imagination and endless aftertaste. Poetry and painting are the same, and poetry draws on this method of Chinese painting. The emptiness of poetry means that you can't touch it intuitively, but you can appreciate the ethereal images and ethereal realms between the lines. In Chinese painting, truth refers to the meticulous and rich brushstrokes in the picture. In poetry, "truth" refers to the real images, facts and reality existing in the objective world. Virtual and real are complementary, and "coexistence of virtual and real" means that virtual and real are interrelated, infiltrated and transformed with each other, thus reaching the realm of virtual and real coexistence, thus greatly enriching the images in poetry, opening up the artistic conception in poetry, providing readers with a broad aesthetic space and enriching people's aesthetic taste. To sum up, there can be the following relationships:
1, the scene in front of you is real, and the imaginary scene is empty. For example, in Liu Yong's Rain Bell, "Holding hands and staring with tears, I am speechless and choked" is the scene in front of me. This poem has been praised by many critics as the "most meaningful" moment in farewell poems, and the highest state of feelings is silence, and silence is better than sound. As for the other sentence, "Where do I wake up tonight? The breeze in Yang Liuan is waning the moon", the author speculates about the scene after leaving: "The breeze in Yang Liuan is waning the moon", and every image ("Liu", "Xiaofeng" and "waning the moon") is related to the sadness of leaving. In the sad morning breeze, the willow branches seem to be telling the sadness of parting, and the lack of the moon is more like saying goodbye. The combination of immediate scene and imaginary scene enriches the artistic conception of poetry.
2. The scenery is real and the emotion is empty. The poet's emotions are invisible and intangible. To show this emptiness, we have to turn emotion into scenery and emptiness into reality. Readers must turn reality into emptiness and landscape into emotion. This is also the general idea and method of poetry appreciation: knowing the image from the text and knowing it from the image. This technique is often used in poems that love scenery, such as Yang Wanli's Four quatrains when I first entered the Huaihe River. The first two sentences of the poem, "The boats on both sides of the Huaihe River are rushing, and it is difficult to negotiate with the ripples", actually describe the boats on both sides of the Huaihe River, and it is difficult to contact with the ripples, which makes the writer feel painful and helpless about the north-south division. The last two sentences, "Only the gull heron is free, flying from south to north", actually describe that the gull heron can fly freely in the north and south, falsely expressing the writer's strong desire for national unity and people's free exchanges.
3. The image is real and the abstraction is virtual. The relationship between scenery and emotion mentioned above is also the relationship between image and abstraction, but abstract things are not just emotions, and all difficult scenery and things are abstract. For example, "How much leisure is there?" in He Zhu's Jade Case Yichuan smoke, full of wind, plum yellow rain. "The word" sorrow "in the sentence is abstract and unclear, but comparing" sorrow "to" a stream of smoke, a city full of wind and Huang Meiyu "vividly depicts a" wide, dense and long ",which is really a stroke of genius.
4. Finite is true, infinite is empty. Infinity is created by imagination on a limited basis. Mei, a poet in the Song Dynasty, said: "The meaning is endless, and it is beyond words", which is the greatest skill of poetry. "Infinite meaning" is infinite. For example, Wang Changling's "Joining the Army (Part II)" takes "the bright moon shines on the Great Wall in autumn" as the scene, as if after drinking in the army, a bright moon suddenly appeared as the vast and desolate scene of the Great Wall; The ancient and majestic Great Wall is full of ups and downs, the autumn moon shines brightly, and the scenery is magnificent and sad, which deepens the poet's homesickness. Is the defender deeply homesick or eager to make achievements at this time? Is it anxiety about reality or deep love for the motherland? Unknown, leaving readers unlimited imagination.
5. The side is real and the front is virtual. Calligraphy pays attention to density, while gardens pay attention to shade. Everywhere is actually stagnant, and everywhere is empty. Profile description can turn reality into nothingness, and often falsely write what it wants to express, thus creating an implicit effect and leaving readers with more imagination space. Bai Juyi has a poem "Snow at Night", which reads: "I have been stunned by the cold pillow, but I see the window clearly. I know it snows heavily at night, and I hear the sound of bamboo folding. " The poet expressed the reality of heavy snow, but he did not see it with his own eyes. He writes everywhere from imaginary places, especially when he writes the last sentence. The scene of heavy snow is like this.
moonlit night
From Beijing to Fengxian
northern expedition
Zhuangyou
Drive the vertical shaft to pick up the ears in the warehouse.
Beauty manbu
"From Beijing to Fengxian, chanting 500 words"
etc
4. Static and dynamic combination
1, autumn rain is like a shining pearl, fluttering and swaying.
When it rains, the leaves of all kinds of flowers and plants are condensed with glittering and translucent water drops.
3. Wind chases rain, rain chases wind. Wind and rain unite to chase the dark clouds in the sky, and the whole world is raining.
It is raining heavily from the sky, and the dark sky seems to collapse.
Autumn rain, like smoke and fog, floats silently in the rubble of the open space, on the dead branches and leaves, getting wet on the ground, the house and the trees.
6, raindrops together like a big net, hanging in front of my eyes.
7. It keeps raining cats and dogs, and the rain under the eaves gathers into a stream in the street.
8. Silky light rain fell from the sky, the raindrops were so small and the rain curtain was so dense that the mountains were covered with cicada-like white gauze.
9. Rain is like thousands of silver threads falling from the sky.
5. The expression of "virtual reality" in ancient poetry
Original publisher: kisslovelace
The expression of "virtual and real" is a traditional technique of Chinese painting and an important expression of poetry. Emptiness in poetry means that the author created E69DA5E887AA6216964757A 68696416F313333623766 through feeling, association or imagination, but he can feel the empty image between the lines. The "truth" in poetry refers to the author's description of real images, objects, real scenes and real scenes existing in the objective world, that is, the immediate scenery and considerable scenery. The application of the combination of reality and fiction in poetry can have different forms of expression, and the good use of the combination of reality and fiction can make the structure of the work more compact and the image more vivid. "The combination of reality and reality" is a traditional technique of Chinese painting, because this technique is used well and often conveys a faint charm. But "the combination of reality and fiction" is also an important expression of ancient poetry. The "emptiness" in poetry refers to what the poet creates through feeling, association or imagination, which is invisible and intangible, but he can appreciate those imaginary and ethereal realms between the lines, that is, the scenery in his heart and the imaginable scenery; "Reality" refers to the real images, facts and reality in the objective world described by the poet, that is, the immediate scenery and considerable scenery. Virtual and real are often relative, and the combination of virtual and real can make the structure of the work more compact and the image more vivid. First, the scene is real and the emotion is virtual reality. A good poem is naturally a blend of scenes, which naturally reaches virtual reality. The description of "truth" in poetry is based on the realism of life. World vicissitudes, bid farewell to the ages, the mountains and rivers change, worry about the country and the people, have unfulfilled ambitions, and have a bumpy career ... How many true feelings flow, and thousands of thoughts accumulate in my heart. With the description of "truth" and "reality", the real farewell scene and the real "empty" description in poetry are created.
6. The combination of virtual reality and virtual reality is relative to these formulations. Which of the following poems is suitable?
1 Thrushcross Ouyang Xiu moves at will, and the mountain flowers are red and purple. Only then did I understand that listening to the cry of the thrush locked in a golden cage is far less than singing leisurely in the forest.
(Virtual and Real)
I heard the sound of Lang Shiyuan's phoenix blowing in blowing sheng next door, and I don't know who it is outside the wall. The gate of the city gate was not searched, but they fantasized in their hearts that there must be a thousand peach trees. (combination of reality and reality)
Chen Tao swears to the death to sweep the Huns in Longxi, and 5,000 sable brocade mourned Chen Hu. Alas, the pile of bones in Wuding River is still the husband of a young woman in my dream. (Virtual and Real)
4. Walking in Tasha, Ouyang Xiu waited for Mei Can, and the willows on the bridge were thin and the grass was warm and swaying. Sadness is getting farther and farther away, and the distance is like spring water.
Inch by inch, my heart is tender, my eyes are full of tears, and the height of the building is not close to the dangerous fence. Pingwu is full of spring mountains, and pedestrians are even outside. (Virtual reality is relative)