4. Scenery integration
The environment design of scene integration is actually the highest type of design pursuit in terms of classical poetry.
In this kind of environment design, the scene is confused, the virtual and the real are combined, and we don’t know what is emotion and what is scenery. The relationship between scenes shows the wonder of chemical engineering created by heaven and earth. Emotions appear without words, and scenery without words The scene reveals itself, showing the distinctive feature of "forgetting both things and myself". Wang Fuzhi's "Jiang Zhai Poetry Talk": "Being affectionate and able to reach it, meeting the scene and being heart-warming, experiencing the object and being spiritual, then you have your own wise words and the wonders of chemical engineering." Fang Shiju, a Qing Dynasty man, "Lan Cong Poetry Talk": "Poetry has There are those who do not need to express sadness but are self-sorrowful, such as "the sky is clear and the leaves of the trees are heard" and "the autumn anvil wakes up to hear more", etc., which I feel is redundant; there are those who do not need to express the scenery but the scenery is self-presenting, such as "there are Bashu in the mountains and rivers", " "The flowers return to the morning" and so on, I feel that the description is laborious. "In the creation of classical poetry, the scenes used by the subject to create the scene are actually the products of spiritual re-creation, reflecting the inherent nature of poetry, and detailing it. Only through observation can one know how to be clever.
There are two types of designs that combine scenes to create environments. One is that all living beings and everything are present in the subject, and the other is that the subject is integrated into all living beings and everything, that is, "the realm of self" and "the realm of self" The state of no-self”. Wang Guowei's "Human Words": "There is a state where I am, and there is a state where I am not. 'My tearful eyes asked the flowers without saying a word, and the red flowers flew across the swing.' There is a state of self. "I am picking chrysanthemums under the eastern fence, leisurely seeing the Nanshan Mountain", "The cold waves are rising, and the white birds are leisurely descending". There is a state of being without me. I am observing things, and the old things are with me. Color. In the state of selflessness, one sees things in terms of things, so one does not know which is me and which is the object. There are many ancient poets who wrote about the state of self, but it is impossible to write about the state of selflessness. This is what the heroes can do. "Self-establishing ears."
(1) All living things are prepared by the main body's environmental design. Shen Xianglong of the Qing Dynasty wrote "Essays on Ci": "Zhenling misses the beauty, and the wind and rain miss the gentleman. Anyone who writes a poem to pay homage to the past must have this thought. I am so high-spirited that all phenomena are for my use. To chant the past is to chant my heart." Shen's "everything is for my use" has touched the root of "the realm of self". This kind of landscape design is highly praised by classical romantic poets, and his most representative work is Qu Yuan's lyrical poem "Li Sao". "Li Sao" has always been praised by researchers as Qu Yuan's loyal and patriotic work. It is not until recent years that scholars have given new evaluations from the perspective of the subject's pursuit of life value, thus revealing to us from a poetic perspective that this is a song "all living beings and all things are the same." Prepared for me" is a work of environment design. The subject "surveys emotions in the dreamlike world of free fantasy", uses magical illusions and leaping associations to drive all things such as mountains, water, sun, moon, wind, clouds, thunder, phoenix, beauty, etc. for its use, revealing the The value of life exists in the eternal "pursuit from above and below". The pursuit of the value of life only has a process and no end. Poet Li Bai's "Sun Travel" "I will cover a large part, Haoran and Mingju are of the same subject", and its environment design is similar to that of "Li Sao". This kind of comprehensive landscape design has also been outstandingly displayed by subsequent poets. Zhang Xiaoxiang's "Niannujiao·Dongting Spring Grass": "The green grass in Dongting is close to the Mid-Autumn Festival, and there is no wind at all. The thirty thousand hectares of jade mirror Qiongtian, one leaf of my boat. The plain moon is shining brightly, the bright river is full of shadows, both the outside and the inside are clear. . It's hard to tell you what's so wonderful about it. The lonely light shines on you, your liver and gallbladder are full of ice and snow, and you can see the vastness of the Xijiang River, pouring out the Beidou. "For the guests. I whistle alone on the side of the boat, I don't know what night it is." This word expresses the author's noble and loyal mind and heroic spirit through the moonlight scene in Dongting. The upper part depicts the subject riding a boat through the Dongting at night, in a quiet and quiet place, "reuning at ease", and stepping into the harmonious state of the universe; in the film, the "lonely light, self-illumination, ice and snow" echoes the "exterior and interior" of heaven and earth. , the subject is placed in the clear universe of "the moon is shining brightly, the bright river is full of shadows, and the jade mirror is 30,000 hectares of Qiongtian", and in the "steady sky and vast sky", he leans on the side of the boat and whistles alone: ??"to the fullest extent of the Xijiang River" , Pouring the Beidou carefully, all things are guests." The poem fully expresses the spirit of the subject dominating the universe, and clearly displays the characteristics of "all things are prepared for me" in an all-round way. It is a rare masterpiece in the world of poetry and is well received in the field of poetry. theorists praise. Pan Youlong commented in "Selected Ancient and Modern Poems After Drunkenness": "Under the light of a solitary light, not only the body is completely destroyed, but also the universe does not know the up and down." Wang Kaiyun's "Comments on Xiang Qi Lou" compared it with Su Shi's "Shui Diao Ge Tou", The praise said: "Piaopiao has the aura of soaring clouds, and I feel that Dongpo's "Shui Tiao" has a dusty heart."
(2) The main body is integrated into the environment design of all living things. That is, the design of the unity of things and myself to the point of forgetting both things and myself (a state of no-self). This kind of design uses objects to observe objects, and the main body relies on the symbolic function to "embodie" the "scenery" that evokes unique emotions and achieves the effect of symbolism (universal meaning). ***It is divided into two types of selfless realm designs: recognition type and realization type.
To realize the design of a selfless state, the subject does not present the natural scenery as it is, but deliberately arranges the scenery to create the environment, guides the directional association to echo the "universal meaning" it wants to imply, and achieves the realization of the experience. Recognize the cognition of intelligence. For example, Wang Wei's "Farewell to Li's Relics at Lingaotai": "Send off to Lingaotai, how far away is Sichuan Plain. At dusk, the birds return, and the travelers keep going." The title of the poem is "send off a friend", which seems to be a work of farewell, but in fact it is known. Deep meaning. Xu Zeng, a native of the Qing Dynasty, wrote in "Er'an Shuo Tang Poems": "This is purely about the meaning of approaching a high platform. Don't just stare at a single word to gain something.
"The subject "stands on the high platform" to bid farewell, looking at the vastness of the river and the endless horizon. Under the background of the emotion of separation, it reveals the touching metaphor of the existence of all living things in the vast universe, and uses the "birds return" and "the pedestrians go" at sunset. The scene changes, immersed in the alternation of life, and inspired by the understanding of the cyclical laws of the universe: "Two orioles sing in the green willows, and a row of egrets ascends to the blue sky." The window contains the snow of Qianqiu in the Xiling Mountains, and the door is docked with ships thousands of miles away from Dongwu. "The whole poem is composed of two sets of couplets, which combine scenes to create a state of selflessness. Although the four scenes are not related externally, they echo each other with their own unique and interesting content. They are closely connected internally and the scenery creates a sense of selflessness. The scenery is indeed intentional. The first set of couplets, "Orioles singing in the green willows" and "Egrets ascending the blue sky", are silent and moving, forming a harmonious harmony of the existence of all living beings. The second set of couplets, "Xiling Qianqiu Snow" and "Eastern Wu Wanli Ship", one eternity and one vastness, constitutes the harmony of the gathering of all things. The subject successfully constructs a harmonious picture of the ecological balance of all living beings in the universe through the emotional response of the imaged scene. Recognize the inner balance of the universe
Understand the design of the selfless state, the subject faithfully presents the natural scene, all scenes gather together freely, and the emotions are directly related to the desire to express. "Universal meaning" echoes to achieve the realization of the "true meaning" in the realization. Meng Haoran's "Su Jian Dejiang": "Moving the boat to Yanzhu, the guests are worried about the new arrival at dusk. The trees are low in the open sky, and the clear moon on the river is close to the people. "Between the two lines before and after this poem, in the seemingly separated scene atmosphere, a progressive interpretation of the "guest sorrow" style is presented. Liu Hongxi of the Qing Dynasty commented on it in "The True Interesting Debate of Tang Poems": The first two lines " Stopping in the smoke, I feel like I am at the end of the world, in a lonely and uninhabited place. Looking back sadly, I realize that the guest has traveled far away, so it is said that 'the guest is worried about the new'." The river is clear, so I feel that the moon is close to people. "The subject uses the scene of "the sky is low" and the "moon is near" to feel the "closeness" between the sky and the moon, which is a metaphor for the gentle feelings from the hometown of life and the home of the soul, which comfort the wanderers' souls and guide their understanding of the hometown of life and the soul. The mysterious realization of homeland. Cui Hao's "Yellow Crane Tower": "In the past, people used the Yellow Crane to go there, and the Yellow Crane Tower was left here. The yellow crane is gone and never returns, and the white clouds remain empty for thousands of years. There are Hanyang trees in Qingchuan and luxuriant grass in Parrot State. Where is the hometown gate at sunset? The misty waves on the river make people sad. "Jin Shengtan's "Selected and Criticized Tang Poems" says: Except for the second sentence that says "Yellow Crane Tower", the first four sentences all write thoughts about "the past people". The first sentence "writes about the past people" and the third sentence "thinks about the past people" , the fourth sentence "looks at people in the past", the first four sentences are all a combination of scenes and events; the last four sentences express nostalgia, Jin Shengtan commented: "The five or six sentences are just the words 'Where is the hometown'." It is said that this place is full of trees, and the luxuriant trees are like a state. I only look at the countryside, but I don't know where it is. "The five, six, and seventy-three sentences are also a combination of scenes, and the concluding sentence "The Yanbo River makes people sad" uses the scenery to express emotions and is the finishing touch. "Yellow Crane Tower" is because "in the past, wen Yi ascended to immortality, and every time he rode a yellow crane here to rest and drive" "Taiping Huanyu Ji" was named after "Taiping Huanyu Ji". As an allusion, "Riding the Yellow Crane" has become an allusion to the wonderland of the gods. The "yellow crane" has also been given a prototype symbol - an elf who can communicate with the gods. Yu Biyun " "A Brief Introduction to Poetry" commented: "It is said that the cause of the immortal is unknowable, but it is vast, with hundreds of ends intersecting, and there is a sense of infinity. Not only is the three characters "Yellow Crane Tower" written clearly, but its beauty lies in the ethereal thought and lofty sentiments. "The subject's thoughts of climbing the building are really expressing his understanding of the universe. "White clouds for thousands of years" have drifted away for a long time. The yellow crane never flies back. The clear river and Hanyang tree are clearly visible in front of us. The green grass on the shore of Parrot State is luxuriant. But the road to the heavenly realm is elusive and difficult to find. The subject is in the vast twilight and sighs to the universe: Where is the home of life? Hao's "Yellow Crane Tower", with its undulating design, creates a selfless realm of understanding and cosmic inspiration. The wonder and illusion of the created realm truly live up to the title of "The First in Tang Dynasty" ("Canglang"). "Poetic Talk")"! Taibai's follow-up work "Jinling Phoenix Terrace": "The Phoenix travels on the Phoenix Terrace, and the empty river flows by itself when the phoenix leaves the platform. The flowers and plants of the Wu Palace are buried in the secluded paths, and the clothes of the Jin Dynasty are transformed into ancient hills. Beyond the blue sky, the three mountains are halfway down, and the two rivers are divided into Bailuzhou. The floating clouds can always cover the sun, and the absence of Chang'an makes people sad. "The landscape creation techniques are comparable and the styles are comparable, which can be used as a reference."