The poem "The Cricket" by Liu Shahe, a famous contemporary poet, is a masterpiece with many images, profound connotation and ingenious combination. Throughout the poem, the main images can be roughly divided into the following three levels:
First, Xiang Xing.
Xiangxing is an image without obvious traces of human nature in works of art, and "Xiangxing is natural" is a silent nature. Its composition seems to be a purely objective object, which often has no obvious symbolic or metaphorical significance. It doesn't seem to matter whether a single image exists, but an image group composed of many single images has profound meaning. There are many such images in that cricket, such as the Book of Songs, ancient poems, Mulan Ci, and the second paragraph of Jiang Kui Ci. From the individual point of view, it doesn't matter if any of them are added, deleted or modified, but they form a very important image group, which shows that China has a long history and culture since ancient times, and the same historical and cultural background makes us live in different times. In addition, there are post roads, beacon towers, patios, battlefields, moon cakes, sweet-scented osmanthus, pomegranate fruit, residual lotus, flying geese in the south, haystacks and Taipei alleys in the last few poems. Sichuan countryside, dewdrops, fireflies, partridges, etc. All these images constitute the most basic image unit of poetry, which is equivalent to the cell of the author's lyric expression.
Second, the situation
Scenery, also known as artistic conception, is a whole composed of basic images, which is more breakthrough in time and space than basic images and has a strong sense of universe, history and life. Many images in the second, third, fourth and fifth sections of That's a Cricket form four groups of images, namely four scenes. Through these four scenes, we can deeply feel the vicissitudes of China's history, the vastness of rivers and mountains, the greatness of maternal love and the permanence of unity. Especially the third artistic conception is very beautiful and moving. The poet intercepted a very typical picture full of rich pastoral life in the way of two poets' memories, such as eating moon cakes, watching residual lotus, stacking haystacks and so on. , thus showing the beauty of innocent childhood life, which shows that every China person's life experience may not be exactly the same, but it gave birth to my family and raised my great and profound maternal love, which is * *.
Thirdly, metaphor.
Metaphor is an image constructed by metaphor and symbol. It is created by the artist by reorganizing or deforming the objective image according to the mind with the help of certain artistic skills, so that the objective image becomes the carrier of the mind. Metaphor and symbolic images are loved by artists because of their great suggestibility. The cricket in That Cricket is such a phenomenon. Cricket is a small insect that people in China are very familiar with. It is also called cricket promotion or cricket cricket. It is loved by many people because of its belligerence and the sound produced by wing friction. But the cricket in the poem is no longer an insect in the general sense. According to Mufu's Dictionary of Appreciation of China's New Poetry, Yu Guangzhong, a Taiwan Province poet, studied in Yuelaichang, North Sichuan for five years during the Anti-Japanese War. Do your homework in front of the window at night. There are often crickets singing outside the window. Later, he went to Taiwan Province Province. 1In June, 982, he wrote to Liushahe about this matter, saying, "When I miss the rivers and mountains in the mainland, I have Jiangnan, Minnan and infinite Sichuan in my mind. Overseas, when you hear a cricket at night, you will think that you heard it in rural Sichuan. " So the poet Liu Shahe felt it and wrote The Cricket as a chorus. Obviously, in the minds of the two poets, crickets are no longer limited by time, space and politics. They can communicate the feelings of China people from ancient times to the present and across the Taiwan Strait, and chanting crickets have become a model of our Han nationality. However, I feel the harmonious heartbeat of the sacred unicorn, and a small cricket bridges the communication between two poets and between poets and readers. Cricket is the same mentality of our nation, the same blood culture and the feelings of the Chinese nation. This feeling can be bitter and heavy. But it is indelible and no force can stop it.
The poet Yang Lian once said: "The whole structure of a poem is like a' magnetic field', a group of sculptures ... this is a vibration field, and each part echoes and participates in other parts." The whole melody or magnetic field is more important than a single image, and an image can only play a better role in the whole "field" Therefore, clever artists attach great importance to the combination of images, and cricket fully embodies the exquisiteness of this combination art.
The first layer of combination: image combination: scene images, that is, a series of images arranged by the author in the second, third, fourth and fifth paragraphs of the main body. These images seem to be independent and unrelated, but they are combined into four artistic conceptions and become the four basic units for the author to express his feelings.
The second level of combination: the multi-angle correspondence of the four scenes. The first is the correspondence between paragraphs 2 and 3 and between paragraphs 3 and 4. In the second section, image group is developed vertically from historical development, and in the third section, image group is developed horizontally from location transformation. These two paragraphs correspond and complement each other from the perspective of time and space, which shows that people in China at different times and places have the same feelings. The astrological group in the third paragraph is divided according to childhood and middle age. When childhood unfolds, the fourth section of the film group unfolds according to the space between the two sides of the Taiwan Strait, and the two sections complement each other from the perspective of time and space, which shows that China people with different experiences and regional and political backgrounds have the same feelings. Secondly, there is a corresponding relationship between the second and third sections and the fourth and fifth sections. The second and third sections focus on the historical and regional background of the nation, while the third and fourth sections focus on the personal experiences and feelings of the two poets. Therefore, the second and third sections correspond to the fourth and fifth sections, forming a lyric development vein from object to subject, from national macro to individual micro. This multi-level and multi-angle correspondence enables poets to project individual feelings onto the national cultural background, thus amplifying and sublimating individual feelings, which is more likely to arouse readers' * * *
Three-level combination: the four images are finally derived from the metaphor of crickets, which makes many images in the poem form an organic whole. Each section of the poem begins with "Which cricket sings in ……" and "Singing in ……", and all images start from the image of cricket and then return to "cricket". The poet used "China people have the mentality of China people, while China people have the ears of China people" to summarize the significance of cricket singing. The ancestors, land and culture of * * * make everything inseparable from the Chinese, and the hearts of China people are always lovesick. Crickets' cries, like flowing music, enveloped the whole poem and filled it with a strong emotional atmosphere from beginning to end.