Poetry is lyrical, except for a few direct lyricism, most of them should find a concrete "image" that can be expressed, symbolized and entrusted to express their feelings. To appreciate poetry, we must solve the image. Therefore, grasping the image is the first step to truly interpret poetry.
So how to grasp the image? I think we can start from the following three aspects:
First of all, we must understand the connotation of the concept. "Meaning" is the center of the author's expression and the thought and emotion entrusted by the author; "Image" is a concrete and tangible thing. Image refers to the organic combination of objective image and subjective interest formed in a writer's mind, and also refers to the concrete image with subjective interest conveyed in his works. In short, it is an object with the author's affection. The objective reality in life is not an image, such as the "water" in the river we see. But once absorbed into the author's pen, it is an image with emotional infiltration, such as Wang Bo's famous sentence: "Sunset and lonely Qi Fei, autumn water * * * sky is the same color." In the meantime, "autumn water" is an image, which shows the author's aesthetic taste. In the meantime, "loneliness", if someone wants to roast and eat it, it is not to understand the image, because it is to express the author's emotions, and it is no longer purely objective material. Another example is the "bright moon" in the sky, which only exists objectively when it is illuminated, but in "there is such bright light at the foot of my bed, is there frost already?" , conveys the feeling of homesickness, "May people live a long life, thousands of miles * * * Chanjuan" expresses a blessing, while "Waves in the heart, Leng Yue is silent" creates a calm and sad realm.
Secondly, mobilize your own life accumulation and open the wings of association and imagination to feel and experience.
Imagination is not only necessary for poets to create, but also necessary for readers to appreciate. It can be considered that the poet created the image of poetry through imagination, and the reader richly reproduced the image created by the poet through imagination. To feel and experience is to put all one's heart and soul into the work, communicate with each other, and thus relive and relive the poet's imagination. We might as well appreciate it from classical poetry. For example, Ma Zhiyuan's "Tianjingsha Qiu Si" in the Yuan Dynasty: "A dead vine and an old tree faint crow/a small bridge and flowing water family/a thin horse on an ancient road/a sunset/a heartbroken man is at the end of the world." It involves eleven images and has the characteristics of superposition. Expanding our rich imagination, there are some pictures in front of us: withered vines are wrapped around an old tree, and a crow is perched on the branch-drooping its head; On the ancient road, a bony old horse walked slowly, and the sun set in the distance. A man carrying a bag lingered and sighed silently. At this time, the west wind burst. It is not difficult to realize the bleak scenery and the sadness of feelings. Maybe someone will ask: "Little Bridge Running Water" is not depressing, is it? Indeed, it is quiet and warm here, conveying the unique flavor of Jiangnan water town. But if you mobilize your own life experience and life experience, it is not difficult to feel that this has aggravated the homesickness of the wanderer. Imagine a person who is far away from home, or has a bad reputation, or his career is not smooth, or his business is not good ... all of these are always frustrated people. In the face of the ease and harmony of "small bridges and flowing water", he will not miss home, nor will he be disappointed with life, not to mention the dusk, which is the most difficult pastime, plus the bleak west wind. As the saying goes, the sadness that touched Le Jingsheng is also true. At this time, we can further ponder the image. If it can be discussed, why does the crow use "faint" to modify it, and is "old" ok? What would happen if "thin horse" was replaced by "fat horse" ... If this goes on, the result will definitely be quite fruitful. If you can draw a few strokes, you might as well fix this moment on your drawing paper. After all, poetry and painting are interlinked.
It can be seen that the interpretation of images is the interpretation of mind and emotion, and it is to broaden the situation of the works with one's own life experience and knowledge to understand and capture more profound things in the works.
If contrast poems are introduced in time, the contrast effect will be better. The following images can be used to link Comrade Mao Zedong's Qinyuanchun Changsha: "Independent cold autumn/going to the north of Xiangjiang River/Orange Island/Wanghongshan/Paving forest/Bitou of Manjiang River/fighting for the flow/eagle hitting the sky/fish fragrant shallow bottom/ten thousand kinds of frost fighting for freedom/feeling lost/asking the boundless earth/who is in charge of ups and downs". It is completely different from the bleak autumn in Qiu Si, Tianjin. They all depict the autumn scenery. Why is the difference so big? Without him, only the image is different; Different images naturally convey different emotions. The so-called different scenery. We can also see the author's temperament, tolerance, taste, personality, mind and so on. Of course, this is also closely related to their times and background. I won't go into details here.
Finally, we must reiterate the richness and specificity of images. As mentioned above, different images express different emotions. In fact, the same image can also express different emotions. After all, images have rich cultural connotations. Take the sunset as an example. The sunset in the poem "Sunset, heartbroken in Tianya" conveys the sunset of heartbroken people; The sunset in the poem "to see the sun, for all his glory, buried by the coming night" has a sense of helplessness and melancholy; The sunset in "Buried by the Coming Night, Seeing the Sun, Glory for it" has the flavor of "the old man crouched down, bent on a thousand miles, the martyr lay dying, full of courage"; The sunset in the poem "The mountains are getting better every day, and the birds are coming back every day" is a bit more leisurely and serene. Even the same thing has different meanings because of different names, such as "sunset" and "sunset". "Sunset" reproduces the sunset glow burning like fire, bright red, exciting and full of lofty sentiments; Sunset is empty, gloomy and desolate, which makes people feel sad and sad. This may be the reason why our image has a specific cultural connotation. There are many such examples, such as Liu Yang, from "Now I have gone to Yiyi, Liu Yang" in The Book of Songs to "Where do you wake up tonight, the breeze in Yang Liuan is fading away" in Liu Yong's Rainforest. There are also Du Fu and Lotus. This allows students to find, ponder, appreciate and accumulate by themselves.
Practice has proved that starting from the above three aspects has a good effect on improving students' ability to interpret poetic images. Of course, it will not happen overnight to interpret the image of poetry well. You need to read more, appreciate more and accumulate more.
On the Artistic Conception of Poetry
Artistic conception is a special image system and an important category of China's classical poetry aesthetics. It was founded in the pre-Qin Dynasty, originated in the Six Dynasties, produced in the prosperous Tang Dynasty, and matured from the late Tang Dynasty to modern times, which had a far-reaching influence on China literature and art. Artistic conception has the characteristics of subjectivity, fuzziness and collectivity in painting, and has the characteristics of dominance, transcendence and philosophy in expression. According to different emphases, artistic conception can be divided into two basic forms: scene and material environment.
First, the basic definition of artistic conception
The general definition of artistic conception by China scholars is: it refers to an artistic realm formed by the combination of the creator's subjective feelings and objective images.
Professor Jiang of North Sichuan Institute of Education made the following explanation in Aesthetic Poetry: "Artistic conception is not equal to artistic image. It is the organic unity of the poet's subjective feelings and the objective performance characteristics of people, things, objects and scenes, and the feelings and scenes, meaning and images. It is an aesthetic environment that can lead people into the artistic space to fully imagine through the image of scene blending. "
The following is the interpretation of "artistic conception" in some contemporary literature and history tools:
1. Modern Chinese Dictionary: "Artistic conception, the realm and artistic conception expressed by literary and artistic works through image description".
2. Encyclopedia of China Literature: "Artistic conception, as used in China's ancient literary theory, refers to an artistic realm in lyric poetry and other literary creations, which is an implication or image formed by the blending of subjective thoughts and feelings with objective scenery and environment".
3. A Dictionary of China's Poetics: "Artistic conception is a unique aesthetic character with infinite interest and image creation".
4. China Dictionary of Ancient Literary Theories: "Artistic conception refers to the artistic realm that can lead readers into an imaginary space through the artistic description of visual scenes".
Second, the emergence and development of artistic conception theory
The earliest source of the ancient theory of artistic conception is the image harmony in Zhouyi. As the oldest aesthetic concepts in China, "Xing" and "Xiang" have sprouted the theory of artistic conception in the later mature period, that is, affirming the unity of mind and matter, the unity of people's inner and outer world, and the unity of limited expression and infinite initiation of speech. It contains two main factors: scene fusion and virtual reality. The integration of Confucianism, Buddhism and Taoism in Wei, Jin and Six Dynasties produced a large number of conscious lyric poems, especially pastoral poems, which laid the foundation for the theory of artistic conception. The concept of "artistic conception" was first put forward by Wang Changling, a poet in the prosperous Tang Dynasty: "There are three poetic realms. One is the realm of things. If you want to write a landscape poem, Richard cheung kuen's scenery in Shi Yunfeng is very beautiful. The immortal lives in the heart, lives in the environment, sees the environment in the heart, shines in the palm of his hand, and then thinks and knows the mirror image, so it is similar. Second, the situation. The troubles and grievances of the entertainment circle are all in the body, and then think about it and get your own feelings. Third, artistic conception. Think about it in your heart and you will get it. "
In addition, the charm of Tu in the late Tang Dynasty, Yan Yu's interest in the late Song Dynasty and Wang Shizhen's charm in the early Qing Dynasty can all be regarded as meaning.
Variations of context theory.
The theory of realm put forward by Wang Guowei in modern times by combining Chinese and western methods is the inheritance and development of the traditional theory of artistic conception: literary things are enough to impress themselves inside, touching people outside, meaning and realm. Those who reach the summit, first, are confused about the situation, and second, win by the situation, or win by intention. Without one, it is not enough to talk about literature. The original husband's literature has artistic conception because it can be viewed.
People who look at me are more interested in the environment; For the viewer, the situation is more important than the meaning. However, it's okay to look at me. Look at me and you will have me. Therefore, the two are often intertwined and can be biased, but not biased. The success of a literary work depends on its artistic conception and only on its depth. In the 20th century, China aestheticians such as Zhu Guangqian, Zong Baihua and Li Zehou continued to deepen and improve the theory of artistic conception. Zhu Guangqian described the artistic conception of poetry like this: "Every poem has its own realm. No matter the author or the reader, when he gets the information of a good poem, a picture or a scene will suddenly appear in front of him and fascinate him. If he is surprised and happy, he has no time to look around, as if there is independence and self-sufficiency in this small world. In addition, all the hatred, love, sadness and joy in the vast universe and personal life seem to have vanished in an instant. The state of mind of pure poetry is focused gaze, the view of pure heart is isolated and insulated, and the heart and its view are like fish playing with water, blending. "
Third, the characteristics of artistic conception
The description of artistic conception is not only projected and touched by the subjective consciousness, but also has the characteristics of fuzziness and collectivity.
Poetry should express the poet's personal thoughts and feelings, emotional life becomes the unique content of poetry, and poetry "provides inner care for works", which determines that poetry should be projected and touched by the poet's subjective consciousness.
Vagueness means that the writer's description of specific objects and their relationships is not nuanced, but leaping, which makes the poetry show different degrees of blank, leaving readers with a world of imagination and taste, resulting in "the image outside the image, the scene outside the scene." Fang Shishu wrote in "Essays on the Temple of Heaven": "The mountains and rivers are natural, which is also true; Because the heart creates the environment, the hand transports the heart, and this virtual environment is also. " For example, the sentence in Li Shangyin's poem "Jinse", "Men shed pearl-like tears at the moon's green sea, and the blue fields breathe their jade at the sun", is not a true description of the sea and lantian jade, but a description of them arouses association and imagination, creates an illusory and sad atmosphere, and expresses sadness about fleeting youth and past events. It can be seen that there is emptiness and reality, and there is emptiness, which is a basic feature of artistic conception.
Collectivity means that the various images that make up the artistic conception are not fragmented and piled up, but closely and harmoniously linked into an organic whole, which is constructed into a vivid environment, scene and atmosphere, thus forming a three-dimensional sense and a sense of space. In Ma Zhiyuan's Sand Qiu Si in Jing Tian, a essayist in Yuan Dynasty, nine different images of "old vines, faint crows, small bridges and flowing people, thin horses on ancient roads" are interlocking and decorated with specific adjectives, creating a sad situation.
The expression of artistic conception has the characteristics of dominance, transcendence and philosophy.
Dominance is to render and transform the appearance and essence of objective things according to subjective ideas, and to adjust and fabricate the relationship between objective things and images. For example, in Du Fu's poem "Spring Hope", "the petals have fallen like tears, and the lonely bird has mourned", and the flowers shed tears and the birds are shocked, saying that it is heartbreaking.
The so-called transcendence means that the meaning contained in the artistic conception not only transcends the concrete image, but also has implications, hints and endless meanings, leaving room for the pondering experience. Ye Xie said in the original poem: The beauty of poetry lies in the infinity of implication, in the implication of thought, in the unspeakable, and in the meeting of solvable and unsolvable. What I'm talking about here is that it's the most important thing to leave an image without a clue, to leave a poor mind without discussion, and to draw people into a trance.
Philosophism refers to the philosophical feeling and understanding of the whole society, life, universe and history, which is often not just a cognitive evaluation of specific things. Readers' perception of artistic conception often enters the philosophical level of poetry, thus surpassing the poet's original intention. For example, Lu You's "There is no doubt in the mountains and rivers, and there is another village in the dark."
Fourth, the basic form of artistic conception
Although ordinary poetry is full of emotions and scenery, according to different emphases, artistic conception can be divided into two basic forms: scene and material environment.
The so-called situation is to describe the poet's emotional state, create emotional space and form artistic conception. That is, what Wang Guowei said is "having one's own territory" and "winning with intention". Ruyan's poem "Falling Flowers Are Independent, Swift Qi Fei" vividly shows the loneliness and sadness of the poet standing alone in the drizzle in late spring.
The so-called material environment is the artistic conception based on writing, and the subjective feelings are just hidden in poetry. That is, Wang Guowei said, "there is no self in the realm" and "winning with the realm." For example, in Wang Wei's Overlooking the Hanshui River, the sentence "This river flows through the heavens and the earth, and there are both mountains and mountains here" gives people an ethereal spirit and a sense of selflessness.
Fifth, the size of artistic conception
Artistic conception has size.
"Leaves fall like waterfalls, I see the long river rolling in" and "Clouds, dreams and fog around Yueyang City" are magnificent and broad, and they are great realms.
"Spring breeze does not lift the ban on flowers, rushing to the pavement", "Where to wake up after drinking tonight, Yang Liuan breeze is dying", depicting delicate tenderness, is a small realm.
"Countries are big and small, regardless of advantages and disadvantages. Fish come out in the drizzle, the flag of' Why not do it' falls in the breeze, and the wind rustles in A?vagho?a; The curtain hangs a small silver hook, why not "the fog is lost, the moon is lost"! ”。
The big environment gives people a sense of grandeur, while the small environment gives people a sense of softness and elegance. Beauty is different.