Empathy is one of the important expression techniques in poetry. Empathy is to first transfer people's subjective emotions to things (i.e. images), and then use the infected things to set off the subjective emotions, that is, the object and I become one, and the scene blends.
For example:
The vast sea is covered with hundreds of feet of ice,
The gloomy clouds condense thousands of miles away.
——Tang Cen Shen's "Song of White Snow Sending Magistrate Wu Back to the Capital"
The vast desert is covered with ice and snow; the snow is heavy with winter clouds, thick and dense. Although the snow has stopped, the weather is unlikely to improve. This is a typical harsh environment for the poet to bid farewell to Judge Wu. The word "sorrow" blends into the scene, making the scene sad and sad. The scenery is bleak and the mood is sad.
Many times, to make invisible abstract concepts tangible, verbs can be used. For example, in the sentences "History lingers at the gate of the Western Regions" and "Hard work determines a good harvest," the verb "wandering" makes "history" change from intangible to tangible; the verb "fixing" changes "hard work" and "good harvest" from intangible. For tangible. In many of the examples we cited above, such as "carrying away hatred", "carrying spring scenery", "leaking spring scenery", "locking up autumn", cutting off sorrow, throwing away luxury, etc., all are verbs at work.
However, it is not just verbs that make invisible abstract concepts tangible.
Li Bai's "Moon Song of Mount Emei": "The moon is half-autumn on Mount Emei, and its shadow is reflected in the water of Pingjiang River. The clear stream flows to the Three Gorges at night, and I miss you when you go to Yuzhou without seeing me." "Half-autumn" in the poem means It means deformation. "Qiu" means autumn. "Autumn" is an abstract concept, and it is modified with the numeral "half wheel" to change "autumn" from invisible to tangible. "Half-wheel" of course comes from the half-moon of the crescent moon. Here, the half-moon of the crescent moon is cleverly used to modify autumn, giving autumn the image of a half-moon. From here we can know that numerals can also transform abstract concepts from intangible to tangible under certain circumstances.
Li Qunyu of the Tang Dynasty has a line in the poem "Looking at the Relatives and Friends at the River Tower leisurely in the Guanzhong": "The distant Hong Gao sends a group of sorrows away." It is somewhat similar to Li Bai's "Mountain Emei Half-Moon Autumn", which is borrowed from the flying geese. The "one line" modifies sorrow, giving the invisible sorrow the image of a line.
Liu Yuxi's "Spring Poems" of the Tang Dynasty: "When wearing new makeup, it is better to go down to the Zhulou Tower to lock in the spring scenery and melancholy in the courtyard. Walk to the atrium and count the flowers, and clear flies will fly on the jade and scratch your head." In the poem, " "Locked deep in the spring scenery and worried in one courtyard" is a deformation of writing. "Shensuo Chunguang" is the verb "shensuo" acting as "spring light", making the spring light change from invisible to tangible; while the numeral "一yard" modifies sorrow, giving "sorrow" a form that can be locked in a yard.
Dai Xulun of the Tang Dynasty's "Long Trip to Zhang Langzhong, Hunan": "We are neighbors behind closed doors, and the northern Ruan pities the poor southern Ruan. But the plum blossoms have no worldliness, and they distribute a branch of spring across the wall." This "spreading a spring through the wall" is a deformed way of writing. Spring is an intangible concept. If it is modified with the numeral "一 branch", spring will have the form of a branch. These are all numbers.