In the six meanings, "style, elegance and praise" refers to the types of poems in the Book of Songs, and "Fu, Bi and Xing" are the expressions in poems.
Fu: It is a way to express things directly. Zhu, a scholar in the Song Dynasty, said in the note of Biography of Poetry: "Fu Ying told the truth." For example, Ge Tan and Fei in The Book of Songs used this method.
Bi: It is to use metaphors to describe things and express thoughts and feelings. Liu Xie said in Bi Xing: "What is Bi Ye? When you write something to add meaning, you threaten to cut it off. " Zhu said, "If you compare one thing, you can compare it with another." For example, the book of songs such as Cat and Mouse is written in this way.
Xing: It is the way to revitalize things, that is, to borrow something from the beginning to describe things and express thoughts and feelings. In the Tang Dynasty, Confucius said, "Xing, starting from the class, starts from one's own heart. In poetry, all the plants, animals and birds are raised to see what they mean, and they are all happy with words." Zhu pointed out more clearly: "Xing, let's talk about other things first, so as to cause the lyrics to be sung.
These three methods of expression have been handed down all the time, and they are often used comprehensively and complement each other, which has a great influence on poetry creation in past dynasties.
Poetry has various forms of expression, which have been constantly developed and created through the ages, using flexibility, exaggeration, repetition, overlapping and jumping. It's hard to describe. But all methods are inseparable from imagination. Rich imagination is not only a major feature of poetry, but also the most important expression of poetry. In poetry, there is another important expression, symbol, which is simply "symbolic meaning", but
1, analogy. In the book Wen Xin Diao Long, Liu Xie said: Bixing is "either Bixing with sound, or Fang with appearance, or with heart or Bixing." There are many examples in the poems we listed before. There is also a common method of analogy, that is, "personification": personification with things or personification with people. /I waved gently,/bid farewell to the clouds in the western sky. /the golden willow by the river,/the bride in the sunset; /colorful shadows in the waves,/rippling in my heart. I regard "Cloud" and "Golden Willow" as people. For example, "Because of the Wind" of love: ... my heart/as bright as the candlelight in your window/a little ambiguous/inevitable/because of the wind/... with the love of my life/light up one.
2. exaggeration. It is to enlarge the things to be described, just like the "capitalization" and "close-up" shots in the movie, which arouse readers' attention and association. In Li Bai's Peach Blossom Pond is deeper than thousands of feet, not as good as Wang Lun (For Wang Lun), it is suspected that the Milky Way has set for nine days (Looking at Lushan Waterfall), which expresses the poet's passion, and readers can not only accept it, but also be convinced and surprised. However, this exaggeration must be artistic and beautiful, not too absurd, too three-dimensional and too vulgar. For example, there is a poem describing the bumper harvest of cotton: "The head of a cotton bag/truck is stuck/stuck, three feet high/like an anti-aircraft gun." After reading it, people feel something.
3. Metonymy. Is to replace one thing with another. It is similar to analogy, but different. The difference is that analogy is generally compared, and the comparison is concrete and visible; Metonymy is concrete on the one hand and abstract on the other, which bridges the gap between concrete and abstract, makes the image of poetry more vivid and prominent, and thus causes readers' association. This is what Ai Qing said: "Put wings on your thoughts, dress your feelings, color your voice, and solidify those who have changed."
To shape the image of poetry, we should not only use the materials taken from perspective to describe the picture, but also use the materials obtained from the senses such as hearing and touch to reflect the image in many ways, so as to be vivid and novel. Jia Dao, a poet in the Tang Dynasty, rode on a donkey and sang "Birds stay in the trees by the pool, and monks push the door under the moon", but he thought it would be enough to use "monks knock at the door under the moon". Is it "push" or "knock"? Unexpectedly, the donkey blocked a big official's way. This man is Han Yu, a great writer. When the guards led Jia Dao to the horse, Jia told the truth. Han hesitated for a long time and said it was better to type. Because of the sound of "knocking", there were one or two knocks on the door on the moonlit night in the mountains, which made the scene "alive" and made the environment more silent. The aforementioned "a night-mooring near maple bridge" is. Modern, such as Huang Helang's "Morning Song": "There is also a stubborn listening/wind, rain, waves/faint/dawn/morning bell of Lingquan Temple/like a gushing spring/distant response/faint knocking down/a few sparse stars/cock crowing/as if crossing the ocean/cock crowing/like the tide.
Whether it is metaphor, exaggeration or metonymy, it depends on the poet's keen observation of objective things, his integration with his own emotions, his bold imagination and even fantasy. It can be said that no matter romance or reality, you can't be a poet without imagination (fantasy).