The first aspect is to appreciate the beauty of artistic conception of classical poetry, and to start with understanding and grasping the artistic conception of poetry, we can truly appreciate the profound and beautiful realm and artistic charm of poetry. The beauty of artistic conception is the highest artistic standard pursued by China's ancient poetry, and it is also the first thing to pay attention to when appreciating poetry.
What is "artistic conception"? Wang Guowei said in the History of Song and Yuan Dynasties: "Writing feelings is refreshing, writing scenery is in people's eyes and ears, and words are as they say." The best of ancient poetry is this. Wang Guowei also said: "If you can describe the scenery and true feelings, you will say that there is a realm, otherwise you will say that there is no realm. "In fact, what can truly reflect the beauty of a poem's artistic conception should be the organic combination of emotion and scenery, and the inseparable relationship between emotion and scenery, that is, we appreciate a poem, see how it describes the scenery, and see how it blends thoughts and feelings through the scenery. This is an artistic pursuit of artistic conception in ancient poetry creation.
The artistic conception of China's classical poetry presents that kind of beautiful form, which is repetitive and multifaceted. It presents itself to us in various forms. In other words, when people read poems, the beauty of artistic conception they experience is different. It is not that the beauty of artistic conception is an artistic conception or that the feeling of beauty is a feeling. That's not true. In fact, the beauty of artistic conception is very rich. I sum it up in eight aspects. The first artistic conception is called "majestic and broad"; The second is called "openness and cheerfulness"; The third is called "desolation and tragic"; The fourth kind is called "deep depression". These four types have one thing in common, that is, they show a kind of "masculine beauty". In addition, there are four kinds, the first is called "magnificent"; The second is called "cold silence"; The third is called "fresh and elegant"; The fourth kind is called "cold cold". Generally speaking, these four kinds all show one thing in common, that is, "female beauty." Therefore, the artistic beauty of poetry gives us nothing more than "masculine beauty" and "feminine beauty". Then, one type of "masculine beauty" is the artistic conception of "vigorous and broad". Poems in this artistic conception are often magnificent, magnificent, lyrical and shocking when writing landscapes, and often exaggerated and shocking in language. The second kind is called "open and cheerful", and the general feature of this artistic conception is that the scenery is often clean and refined, and the reality and the reality coexist. Lyric, often open and cheerful, slow and long, language, generally healthy and lively, fantastic and elegant. The third kind is called "desolation and tragic", which is characterized by beautiful artistic conception. In terms of scenery description, it is often vast and far-reaching, steep and sparse, in terms of lyricism, it is often bold and unconstrained, sad and sad, and in terms of language, it is often simple and vigorous, upright and solemn. The fourth is "deep gloom". This kind of poetry is generally characterized by deep content accumulation, deep feelings and stagnation. In language, it is often unpretentious, rarely exaggerated and good at touching things.
We talked about four kinds above. After reading these poems, we often have an image in front of us, some of which are like mountains, spanning space; Some are like the waves before the river crosses; Some are like lightning and thunder, walking on clouds; Some are like the wind rolling water, and the trees are scattered; Some, such as strong men wielding swords, are sad and miserable; Some are like pouring wine and singing; Some seem to be singing, drinking and hating on the banks of the Ze River. In a word, these images give us a sense of beauty. Generally speaking, this kind of aesthetic feeling is exciting, unrestrained and enthusiastic, deep and solid, vigorous and sad. These four kinds, we say, belong to "masculine beauty".
As for "female beauty", I also summarize it into four types: the first type is called "magnificence", and most of the themes described in this kind of poems are based on wine and beauty; The expression technique it adopts is often thick painting and deliberate carving; Its artistic image is often resplendent and magnificent. The second kind is called "indifferent and quiet", and the artistic conception of this kind of poems is often described with nature as the theme, which shows the author's elegant mood of escaping from the world. The third kind is called "fresh and elegant". Generally speaking, most of the poems described by the author are natural scenery, green mountains and green waters, fragrant grass and flowers, which are relatively dull. Or describe some innocent characters, lively, handsome and lovely. Its expression techniques are often delicate, beautiful, unique and euphemistic, as if it were a flowing spring full of life. The fourth is "cold cold". In this kind of poetry, the situations it expresses are mostly sad, such as sadness and crying, which often move people's hearts with sadness and sadness. Reading such poems can arouse people's fear and pity, and arouse people's love and yearning for beautiful things in a tragic way.
The second breakthrough point to appreciate China's classical poetry should be the beauty of language. Because China's classical poetry is also the art of language, the most refined language and the most beautiful language. People say that this language is beautiful, that is, the language is like poetry, so the language of poetry is a very beautiful language, and the language of poetry is like paint in painting. No matter how beautiful this painting is, it depends on language to describe it. Therefore, the linguistic beauty of poetry can make the works present a kind of painting beauty. Ancient poetry has strong generalization and small system, so it requires accurate, concise and vivid language.
The third breakthrough point of poetry appreciation is formal beauty. China's ancient poems are the most formal. In the long-term development process, various laws and systems have gradually formed. Combined with the language characteristics of Chinese, ancient poetry has a kind of musical beauty and architectural beauty in form, which is pleasant to read and cadence. There is also a kind of architectural beauty, and the poems are very regular and neat, just like the building we are building now, which is square from top to bottom. Western poetry or other foreign poetry, pyramid-shaped or stepped, also has its arrangement form. Of course, a word has long sentences and short sentences, and it is also a form and a form, so it shows a unique beauty of music and architecture, which is also unique in the poetry garden of the world. China's classical poems were stereotyped as "four-character poems" in the early stage. As we all know, the earliest eight-part poem in The Book of Songs is a four-character poem, which means four words and one sentence, but there is no special metrical requirement. In the Han, Wei and Six Dynasties, "five-character poems" and "seven-character poems" rose; During the Qi Dynasty in the Southern Dynasties, it was found that Chinese characters had four tones, namely, flat tone, upper tone, lower tone and entering tone. According to the rules of these four tones and two rhymes of Chinese characters, some people study the coordination of rhyme and intonation of poetry, demanding that poetry should be written simply, with different rhymes, and pay attention to duality. Therefore, in the Southern Dynasties, a new poetic style appeared-"Yongming Style", which paid attention to temperament. "Yongming Style" has a far-reaching influence on the formation of later metrical poems and the emergence and development of later literary styles such as parallel prose, ci and qu. In the early years of the Tang Dynasty, it was on this basis that metrical poems and quatrains, the so-called "metrical poems", were produced.
China's poetry really talks about meter from the Tang Dynasty. Before the Tang Dynasty, it had a development process. From then on, this new poetic style, this "metrical poem" and later lyrics and songs have a certain format in sentence speed, word speed, tone of each sentence, tone of words, rhyme at the end of sentences, antithesis between sentences and this structural law of the whole poem. Therefore, metrical poetry has become a basic form of ancient poetry in China, including poems, words and songs. Poetry has certain metrical requirements, which are read in sequence, length, cadence and harmony, further enriching the expressive force and artistic beauty of poetry. The metrical requirements of classical poetry are strict and complicated, but the basic requirements are mainly in three aspects: first, the requirement of "level tone", that is, the tone of words; The second is the requirement of "rhyme", and what rhyme is used in "rhyme"; The third is the requirements of "duality", "duality" and "duality". These are more complicated and demanding, so in the past, President Mao Zedong said that young people were encouraged to write new poems, but they were not encouraged to write old-style poems-he didn't mean that everyone was not encouraged to write, mainly because in a sense, this kind of metrical restriction was more, because poetry focused on lyricism. If you really want to express your feelings freely, but you are limited by this form and can't follow your own rules, then poetry writing is not like metrical poetry. But to appreciate classical poetry, you must know something, not necessarily to write, but to understand.
In a word, the excellent works of China's ancient poems and songs are thoughtful and exquisite, which are worth studying seriously. We should inherit them critically, so as to enhance our cultural literacy, improve our ability to know life, summarize life and reflect on life, and lay a solid foundation for adapting to the new challenges of the new era.