(A) capture the poetic imagery and poetic inspiration
The smallest artistic structure unit of poetic artistic conception is image. Poetry writing often begins with the first image obtained by the author from his unique poetic beauty experience of someone, something, a landscape, something and a truth in life. The inspiration of poetry creation is the poet's sudden epiphany and grasp of the ability to visualize emotions and transform subjective feelings into words. Invisible emotions suddenly have a tangible image, and abstract ideas suddenly have a concrete image, which makes the poet's psychological structure and language structure suddenly reorganize and update. The writing inspiration of this kind of poetry has the characteristics of transience, mutation and non-repetition.
After poetic inspiration appears, the content of inspiration experience should be visualized quickly and accurately in time, and after the inspiration experience is visualized, it should be visualized into poetry and verse in time and accurately. These are the three stages of poetry writing: inspiration-finding images-finding words. Quite a few people can't complete these three stages of writing poetry. Although some people have experienced inspiration, they failed to transform poetic beauty into poetic images in time; Some people have formed poetic images in their minds, but they can't translate them into words and words in time and accurately. Such poems are still active in the author's mind and cannot be materialized.
(B) convey poetic images in novel and delicate language.
What is used to convey poetic images in poetry writing is not the familiar language in people's daily life, but the novel and exquisite deformed language. The biggest obstacle to beginners' poetry writing lies in the weakness of this poetic language ability. We can cultivate and improve the poetic language ability from the following aspects.
1. Selected verbs
When the poetic language conveys the beautiful images of poetry, the first thing it can do is to carefully temper the verbs that express dynamic images. Dynamic images can attract readers' aesthetic attention more than static images. A beautiful and accurate verb often adds a lot of color to the image of poetry. Ai Qing's poem: "Snow falls on the land of China, and cold blocks China." Ruan Shi: "Layers of green trees and heavy fog, heavy mountains and heavy clouds break the road." A "blockade" and a "breakthrough" make the poetic image vivid.
2. Grafting vocabulary
Compared with other languages, Chinese has the freest grammar and the least fixed part of speech. Poets can make use of this feature of Chinese to change the nature of words in some poems and make poetic images appear novel and unfamiliar. Love, a poet in Taiwan Province Province, wrote: "The shoe print on the left is only afternoon/the shoe print on the right is dusk." "Afternoon, dusk" was originally a term for time. At this time, when it is grafted into a verb, the whole image becomes lively.
3. Polysemy
In order to avoid ambiguity, the language of novels and essays usually only shows one meaning, while in the language of poetry, poets deliberately create polysemous poems in order to create polysemous images and rich connotations. Ye Zhang's "When I was Young" wrote: "You are standing far away again/smiling at my piano/will you always remember the beginning of the piano?" The surface of the poem says "the sound of the piano at the beginning", but its other meaning is "the love sound of the first love". A word obviously implies two different meanings, which is implicit and affectionate.
Skip and omit
Because the language of novels and essays focuses on the reproduction of images, their language forms are relatively simple and meticulous, and they pay attention to the clear connection between sentences. Poetic language pays attention to the expression of subjective mind. Under the limitation of space, we must skip some procedural narratives and omit some inevitable conjunctions and turning words in novel and prose language by means of jumping and ellipsis, so as to create a poetic language of "meaningless conjunctions" to arouse the rich free association of poetry readers.
5. Extraordinary combination
Skipping ellipsis is to increase the connotation from the perspective of deleting a word. Extraordinary combination is a deliberate violation of general language conventions. Using the changeable part of speech and combination relationship of Chinese words, some irrelevant words are skillfully embedded in a poem. This connection can be the connection between concrete verbs and abstract concepts, or the interlacing of sensory words with different meanings. With this strange and deformed poem, the poetic image conveys the poet's subtle emotional experience. Cang Kejia wrote in "Spring Birds" that "singing/like a star in a dark sky/getting brighter as you listen" is a typical example.
6. Syntactic variability
This is a means to create a sense of novelty in the word order and sentence pattern of poetry. For example, the inverted sentence order of Xu Zhimo's "I left gently/as I came gently" changed the normal sentence pattern and expressed the poet's unique inner feelings with the effect of defamiliarization.
(C) the combination of poetic imagery and rich and magical imagination
While lexicalizing images, poets should also combine images into a whole poetic artistic conception with the help of imagination to convey a specific poetic beauty experience. Therefore, the poet's combined image is freer, bolder and more unexpected than other styles. Although the combination of poetic images is ever-changing and varied, as the basic laws and types of poetic artistic conception, the following main combination types can be used for reference by poetic writers.
1. Parallel combination
Zou Difan wrote in the poem "Thunder": "A tender smile/a hidden feeling/a jar of intact wine/an unfinished ideal/a burning heart". The poet juxtaposes five images in one breath to describe the charm of the flower bud. Poets regard flower buds as "laughter", "love", "wine", "ideal" and "heart", which is a very unique poetic beauty experience. When the poet juxtaposes them as an image system, the concrete flower buds are associated with some abstract emotions, and the juxtaposition of five images highlights a kind of praise for youth. This combination often begins with an image and ends with an image. It is difficult for readers to directly read the poet's hidden deep feelings, but they need to chew their deep meanings through these juxtaposed image systems. This is a common combination of modern misty poetry and imagery poetry.
2. Staggered combination
This method also needs to combine many images, but the poet deliberately combines completely opposite and contradictory images to form an image system of one positive and one negative, one flat and one strange, which has produced unexpected and thought-provoking aesthetic effects. This image combination is very common in China's ancient poems: "The wine in Zhumen stinks, and the bones on the road freeze to death" (Du Fu); "Half of our soldiers at the front line were killed, but the other half are still alive, still in the camp, and beautiful girls sing and dance for them" (normal university) is a typical example of poetry. This combination is also common in the writing of new poems.
3. Sudden trans combination
This method also needs to combine many images. The poet starts with a core image and combines some similar images around it. After the rendering of the poetic image was completed, he finally put forward an opposite image, which formed a poetic situation of first promoting and then restraining, first being empty and then being real, and the final image was the real purport of the poem. In "Wrong" by Taiwan Province poet Zheng Chouyu, three lovely girls waiting for "me" to relive their old dreams were written at first, but the last image: "me" was just a passer-by passing by Jiangnan. This accident infected readers with the sadness caused by "beautiful mistakes". This method of combining images has its special aesthetic taste.