Mr. Zhu Guangqian always examines the realm, situation and image of poetry calmly and rationally. Under Mr. Wang's soothing and powerful analysis, I slowly entered the beauty of poetry.
Influenced by my husband, I also tried to reread it critically. Only in this way can I live up to his kindness.
I especially like Mr. Wang's wonderful interpretation of poetry and painting, that is, "aftertaste in silence." "Quiet" is the poet's feeling state of all things in nature, which needs internal and external integration. In my opinion, the key to the tranquility of the outside world is the independent existence of everything, that is, to become what it is, which can be understood by Taoist thought: Taoism is natural. Only when everything is not distorted and carved, can we experience eternity and profundity from it and get the emotional motif in poetry. Spring is like catkins, summer is like lotus flowers, cicadas are singing, autumn is like white leaves falling, and winter is like plum ice. It is easy to wake up some emotions every time the season changes.
"Having a pair of eyes to discover beauty" also needs inner peace. I remember that in "Talking about Beauty Letters", Teacher Wang also mentioned many times that beauty is the meditation of nature in the heart. "Show greatness in the dust, tolerate infinity in the limit", keep inner peace, eliminate utilitarian distractions, and stick to the image, and you will feel subtlety sensitively. Such beauty will never be revealed, but will be as deep as jade. Lin Geng quoted "leaves fall like the spray of a waterfall, but I think the long river always rolls forward" and "falling wood" in "Talking about Mu Ye", which is quite emotional. This is not Du Fu's meditation on the fallen leaves in the bleak autumn wind. If he is high-spirited, if he has Li Bai's close friends around him, and if he can also "hold heaven on the left and attract yellow flowers on the right", will he still focus on falling leaves? Will there be "falling wood"?
Therefore, Mr. Zhu Guangqian mentioned in the article that "the realm of poetry is the combination of scenes" and that "the depth of meaning of things is directly proportional to the depth of human interest, and the deep ones see it deeply and the shallow ones see it shallowly". The same autumn meaning, "blue sky, yellow leaves and autumn colors", is separation, but not giving up. It is pride and excitement that "the cranes in the clear sky row clouds and lead poems to the blue sky".
"Beyond the image, you can get beauty", "quiet" things are self-representation, and "quiet" mind is self-reflection in the mirror.
The bridge connecting internal and external tranquility is "aftertaste". Because the forms of things are colorful and changing rapidly, not all things can become images, and not all environments can become artistic conception, which requires repeated taste and association. This aftertaste needs to break through the shackles of utilitarianism, get rid of the shackles of convention, bloom heartily, wash and filter, and explore the real essence.
Is it "separation" or "no separation"? Whether it is "with me" or "without me", it is a aftertaste. So I think there is no difference between "separation" and "non-separation" and "self-existence", and each has its own fun. The most important thing is to recall the natural expression of interest. As Mr. Zhu Guangqian said, "from feeling to aftertaste, it is from the real world to the realm of poetry, from practical attitude to aesthetic attitude."
Teacher Wang found another way to put forward the weight of combining interest with image, which I think is very fresh. In short, he listed many Chinese and foreign poems. It is mentioned that the ancient poetry before Wei and Jin Dynasties did a lot of work in image, and it seems that there is no repetition and aftertaste. It lists the bi xing phenomenon in the poetry of The Book of Songs. I think this expression is a bit absolute, such as the Book of Songs? Xiaoya? "I have been there, Yangliuyiyi" in "Picking Wei". I think about it today, it's raining, and it's really a blend of scenes. Another example is The Book of Songs? Feng Wei? In Mencius, "Mulberry leaves flourish before falling" and "Mulberry leaves fall, but they are yellow and rotten" also contain interest.
We appreciate poetry now, which is also a different kind of creation and needs to be "silently remembered". We don't need to cater to the ancients or over-interpret in appreciation. In silence, it is most important to understand your own taste!