Hiding the theme implicitly in the image is the traditional realm of "scene blending". There are three kinds: hiding emotion in the scene, seeing the scene in emotion, and interacting with the scene. How to create an artistic conception of blending scenes?
I think there are five ways: touching feelings, changing feelings, painting feelings, lyricism and ruthlessness. Here is a brief introduction.
First, affectionate words and pictures.
Sentiment: concentrate on writing landscapes with pen and ink, not deliberately pursuing what kind of feelings are expressed in words, but only depicting a vivid picture of life, but euphemistically naming words, words and sentences with strong feelings in appropriate places outside the words describing landscapes.
There are three difficulties in describing the artistic conception of "scene blending": it is difficult to draw the scene vividly, it is difficult to be sincere and sincere, and it is difficult to be invisible. We might as well compare this creative process to painting a dragon, accurately describe the shape of the dragon, accurately grasp the outstanding characteristics of the most representative scenery in people's lives and describe it in detail, so that people are immersive; "Love" is like the "eye in the chest" when painting dragons. The painter must have true feelings (themes) in his chest and eyes in his chest, so that what the painter wants to express through "painting dragons" will flow from his chest to his pen. "Melting feelings" means melting the feelings in the chest, turning them into invisibility and focusing on the dragon.
"Love" is just a means to put the "eyes" in the chest on the dragon and integrate the "love" in the chest into the scene. When drawing a dragon, draw the shape of the dragon from beginning to end (write a scene), and don't deliberately ask the dragon to have "eyes" or "feelings" in the scene when writing the scene. You just boldly used parallelism, metaphor, exaggeration, personification, questioning, comparison, antithesis, allusions, bedding, contrast, foil, carving and so on. Describe the most representative scenery in detail and draw a concrete and sensible picture of social life. Then, in appropriate places (such as the end of the article), the feelings contained in the full text are expressed with words, words and periods with vivid feelings, so that the whole article is dyed with smart colors and deep fascination, and the scenes painted in front are shrouded in this deep affection.
For example, the song Farewell to the Pavilion (page 170 of the fourth volume of senior high school Chinese by People's Education Press) reads: "The sky is blue and yellow, the west wind is tight, and the geese fly south in the north." From natural landscapes such as sky, land and wind to wild geese, it depicts a clear autumn scenery of "blue clouds, yellow flowers everywhere, tight west wind and wild geese flying south in the north". Like a pen, the author grasps the most prominent scenery in autumn, the most prominent features of "sky", "flower", "land" and "wild goose"-"quiet and desolate", writes from the sky to the ground, from the wind to the wild goose, and draws the background of "farewell". Literally, these words are about scenery, but where is love? After a careful look, I found that love is at the end of two sentences. It pointed out with a question: "Who is drunk in the frost forest in the morning? Always in tears. " The word "tears" touches people's feelings and makes the whole article shine with tears that leave people. The words "sky, flowers, earth, wind and geese" have all become things full of feelings of parting, but the people in the scene are shedding tears of parting, which just casts a thick feeling of parting on the scene written earlier, making the whole article seem to be "writing the scene in every sentence", but in fact "talking about the scene in every sentence"
"Feeling in the scenery" is a way to use some feelings. On the surface, it seems that they are all about scenery, which seems simple, but they can appreciate the lyrical way of emotions contained in the scenery. In other words, the surface is a complete story, and the author only uses words, words and periods with distinct feelings to express the feelings contained in the full text, and the thoughts and feelings are hidden in it, but not shown. There is not a trace of affection on the letter, but the author's subjective feelings are everywhere in the depths. Emotion lies in the scenery, the scenery is alive, and emotion is hidden. Methods are roughly divided into:
1. Choose and describe the scenery. There are many sights in the world, and I have learned a lot from observation, so I won't write all of them. Be sure to make a choice before writing, choose one or more scenes that best convey your feelings, even a certain feature. When writing, we must grasp the characteristics of the scenery and portray it vividly, so that the natural scenery can be transformed into vivid landscapes and beautiful music, making people feel as if they are in the environment, such as hearing its sound and smell its taste.
2. Express your true feelings. "Feelings are more precious than truth", and heartfelt feelings will arouse readers' * * *. Love has been brewing for a long time, making it burst its banks. Avoid affectation and moaning.
To sum up, when writing a scene, do your best to write the scene, not deliberately for love, "love" is not intentionally attached, but clearly pointed out in emotional words in appropriate places, which is the method of "touching love"
Second, the emotional scene of image words
Melt feelings: melt feelings into the mountains and rivers. When writing a scene, the emotion surging in the author's heart naturally and invisibly melts into the description of the scene, making the scene a living scene and an affectionate scene. Lyric while writing scenery, lyrical at will. There are several ways to change feelings: first, when writing scenes, choose words with strong feelings; The second is to choose typical images with strong emotional color in landscape writing.
Choose words and phrases with strong feelings to express feelings in the scenery. There are many such works. For example, Li Yu's Yu Meiren: "When is the spring flower and the autumn moon? How much do you know about the past? The small building was easterly again last night, and the old country could not bear to look back on the bright moon. Carved jade should still exist, but Zhu Yan has changed. " Incorporating the words "music", "travel", "English" and "past events" into the scenery, I wrote a sad and nostalgic person, standing alone in the small building, facing the east wind blowing from the old country, and can't help but feel that the full moon has passed away unconsciously and sigh that the prosperous and rich home no longer belongs to myself but to others! How many times have you been sad? "I" know perfectly well past ask with deep feeling. "Le", the meaning of the ending, is to describe that "I" saw the spring flowers wither, the autumn moon set, and time passed, and my heart was filled with infinite regrets and infinite sighs; "You" implies how many times people stand upstairs and look at their hometown, thinking deeply, feeling sorry and sad. These are all descriptions in real life, but among them, there are deep feelings and life grievances that the author can't get rid of. "Should" and "Should, Probably, Possibly" mean that the author goes upstairs and overlooks, misses his hometown and overlooks today's hometown, thinking that the prosperity and glory that belonged to me in the past have become a thing of the past, and can't help but feel sad and deeply express the feelings that things have changed and the country has changed hands!
The word "unbearable" means unbearable, and the word "unbearable" writes the thoughts of the old country, the pain of national subjugation, the soul of homesickness and the sadness of helplessness. The sentence "My old country can't bear to look back in the moonlight" can be understood in many ways: I can't stand the pain of looking at my old country from afar; Looking back at my old country in the bright moonlight, I can't stand the pain of national subjugation and the thought of my old country. Looking back at the bustling old capital under the bright moon, how can I stand this yearning, this sadness and this pain? This technique of using appropriate emotional words to "melt feelings" in description is widely used and there are many examples; For example, the tide hits the empty city to be lonely, crying like rain, and the pulse is hard to say, which cannot be listed one by one. It is in this way that Emotion organically integrates the words and phrases (few of which are sentences) that concentrate the author's strong feelings and have certain functions of describing real scenes into the writing of scenery.
It is a more ingenious way to integrate traditional images with typical meaning and strong emotional color into the description of life scenes and scenery writing.
Let's take a look at Liu Yong's Yulinling. The phrase "Cold cicada mourns, the pavilion is dying, and the shower begins" uses images such as "cold cicada" and "pavilion" in the open and "willow" and "shower" in the dark. In the Song Dynasty, willows were planted on the river bank outside Doumen, and the poem said, "Liu Gao cicadas sing". The cicada in autumn is called cicada, and it will leave the colorful world forever. Naturally it will be very sad. When cicadas sing, they will follow the willows, which is a symbol of "parting" in our country and is often used in farewell poems. Willow has the function of "brushing water to give people away", which has easily touched people's feelings of parting since ancient times. There is endless reluctance here. Borrowing the image of "Long Pavilion", there was a long pavilion every ten miles on the ancient avenue for pedestrians to rest. People often say goodbye in the pavilion, so the image of "pavilion" embodies too many "parting" and "parting" thoughts. Once again, it is the image of "shower". As the saying goes, "When it rains, people stay for a day". Pedestrians are inconvenient to walk in the shower and most of them will stay. This image has been attached with too much flavor of "giving up" and "reluctant to leave", and at this time, it is the beginning of the shower, which makes it even more difficult to leave. At this point, the feeling of separation becomes irresistible.
"Where to Wake Up Tonight" uses five typical images: wine, willow, shore, wind and waning moon. "When wine enters your heart, it turns into homesick tears" and "It is even more worrying to drown your sorrows by drinking". Wine is the twin brother of sorrow; "Liu", as mentioned above, is the image of "parting"; "Shore" is where pedestrians stop, but the words are written on the shore that pedestrians see. Know that pedestrians continue to walk far, without stopping, and go further; "Wind", such as Cao Zhi said, "May I die in your arms for the southwest wind", is an unforgettable image of acacia; "Canyue" is the moon shaped like a hook at dawn. Song Dynasty Mei's "Send Ouyang Yong After Sleeping", "Dream for five miles, and the waning moon is a chicken". Who can sleep peacefully? I can see the waning moon hanging on the western horizon this morning! "Canyue" is really a sleepless night, full of acacia, reflecting the image of acacia. Through this sentence, on the surface, it is narrative and vivid scenery, but in fact, it is through this set of typical images to express deep feelings. Imagine: On the morning that I just left, the picture of "holding hands" was always there. For this bleak scene, the road ahead is a thousand miles away from the person you love. "It's really a long way to go, like soaking in spring water." How can this separation be embarrassing? In this way, the poet skillfully used images to blend that deep feeling into the scenery in the painting.
This is a clever way to use words and images into water.
Third, figurative images draw true feelings.
"Painting feelings": it is a way to describe feelings vividly or positively or laterally by using figurative rhetoric.
Literature should use vivid language to create vivid but abstract feelings. Because it is invisible, colorless, tasteless, invisible, intangible and odorless, people can only rely on personal understanding and personal life experience to feel their feelings and thoughts, and can only rely on association and imagination to find its similarities with everything in the world.
Metaphor is a rhetorical device that uses one thing to explain or describe what is to be expressed according to the similarity between different things. Wonderful metaphors can be vivid in language, or help to reveal the essential characteristics of things, or make abstruse truths easy to understand. Metaphors commonly used in middle schools are simile, metaphor and metonymy.
For example, Li Bai's "white hair, three thousands of feet, long sorrow" is a simile. Grasping the similarity between "long" and "white", we can visualize sorrow, which makes people feel that "sorrow" is long (three thousands of feet) and has far-reaching influence (black hair turns white hair).
Another example is Li Yu's Young Beauty, "How much sorrow can there be, just like a river flowing eastward". With simile, people can imagine a vivid picture: the poet is dreaming of returning to his old capital at the moment, standing on the city, looking at the mighty Yangtze River flowing eastward, and feeling that his sorrow is like this river, and the waves are constantly rolling over and surging into the sea. This word captures the similarities between the poet's sadness and flowing spring water: more and more, long, endless, long, endless, deep, unfathomable, ever-present, continuous ... It captures these characteristics to describe the poet's "sadness" and make people feel it.
Another example is He Zhu's Jade Case. "How much leisure? Yichuan is full of wind and catkins, plums are raining when it is yellow, and Qin Guan is "crying at the edge of Jiang Liu, full of sorrow". Metaphorically, the abstract sadness is written as a stream of tobacco, a windy city and a rainy season, which is very vivid and implicit.
It is another important technique to describe abstract feelings directly as images. "Wulingchun" by Li Qingzhao "I'm afraid the ship can't carry much on its mind." Writing that the boat can't move, to say that this kind of worry is heavy, gives this kind of "virtual" emotional quality and texture, and shapes a strange and fresh image. There are many such descriptions: Dong Jieyuan's "Mo Wen's carefree worries are heavy, and the horse can't move", and Wang Shifu's "The West Chamber" "Fill in the worries of the world and measure how these cars can afford it" ...
The feelings that enter the works are generally the feelings that the author touches the scene and is indifferent to the feelings, so as to set the scene by reason. However, the only way for the author to write this kind of feelings is to use "borrowing things to express feelings", "borrowing things to express feelings" and "borrowing reasons to express feelings". The word "borrow" illustrates the fundamental writing of "love": love is invisible, shadowless and colorless. I have to describe the scenery similar to this "love". This is a profile.
But how to borrow it? Borrow scenery, borrow things, and integrate your feelings into objective narration and detailed description. Practice has proved that it is an effective method to grasp Lenovo's multi-angle scenery writing around the theme, pay attention to subjective color, write a wide range of scenery, have something in the eyes, feel something in the chest, observe carefully, have obvious characteristics and dig deep into symbolic significance. The author first has true feelings, pays attention to reason, originality and beauty, and then puts his love and hate, praise and depreciation into objective narration and his emotional tendency into detail description, which can not only vividly describe illusory feelings, but also receive good artistic effects.
Fourth, grasp the book Seeing the Scenery in Love.
At first glance, the method of "seeing the scenery in love and raising a pen" seems to be the same as expressing one's mind directly. In fact, careful analysis shows that there is a difference between the two. "Express one's feelings directly" means that the author or character directly pours out his feelings without the help of various media, which is also called direct lyric. It is hearty, frank and sincere, and its words are not tactful. His feelings of great joy and great sorrow, unforgettable and shocking are really emotional storms, the collision between human love and true feelings, and the condensation of human beauty and emotional beauty. It can be divided into summoning (angry accusation, heartbreaking parting of life and death, warm and affectionate praise and painful remembrance), chanting, unrestrained and tortuous. Even the most emotional "call body" should be sentimental, material, scenic and rational, never unfounded and lyrical, and never leave the object that causes feelings. To achieve "emotional connection", gain motivation at all levels and skillfully pave the way. By narrating, describing people and painting scenes, the trend of emotional generation is accumulated and poured out.
As can be seen from the above, the first purpose of "expressing one's mind directly" is to express one's feelings, and directly pour out the truest and deepest feelings without disguise; The first purpose of "seeing the scenery in love and writing" is to create an artistic conception of "blending scenes", so that readers can experience the clear scenery and the most sincere and rich feelings in the rich "feelings", so as to enjoy beauty.
"Seeing the scenery in love, writing a pen": it means expressing your feelings directly in a few words or paragraphs in time, and writing your feelings and thoughts directly, without covering up. Sometimes the full text is lyrical, and it seems that it doesn't write about scenery, but it magically allows readers to experience clear scenery in rich "emotions", that is, "seeing scenery in love".
There are many such examples. For example, Su Shi's Nian Nu Jiao? "Red Cliff Nostalgia" is "picturesque, how many heroes there used to be", enthusiastically praising the rivers and mountains of the motherland and ancient heroes, "Wandering home, loving Ying Xiao Wo, having a baby early", and lamenting that the years have passed and nothing has been achieved! Mao Zedong's "Spring and Snow in the Qinyuan" swept away the ages like an iron broom, folded into today, ended with "the present", rose from the mountain, highlighted the theme, and praised the new era, new people and people, thus showing the revolution.
This method of expressing emotion with a few words or paragraphs in the full text and combining emotion with the scenery written in the article mostly uses some words in the article to express emotion, so that it can complement each other with the scenery written, thus achieving the artistic conception of blending scenes. To create the artistic conception of "scene blending", we can also adopt the method of "full-text lyricism, no description of scenery, so that readers can see a clear scene from emotion"
For example, "Before me, where are those lost years?" in Chen Ziang's Song of Dengzhou Taiwan. Behind me, where are the future generations? I think of heaven and earth, there is no limit, there is no end to being alone with me, and my tears fall down. There is no description of the scenery in the poem, and the anger, pain and sadness in my chest are directly expressed. When you understand Chen Ziang's sinister situation when writing this poem, you will see a picture shining with blood and tears, an endless sky, a towering platform and an independent desolation.
This creative method of "seeing the scenery in love" (seeing the scenery in lyric) is as important as the method of "seeing the true feelings in writing the scenery", and both can be created by themselves.
5. Clever use of "hiding" seems to be "heartless"
1. It seems possible to write without writing: write where you haven't written, write where others think you haven't written, and hide the author's feelings between the lines.
For example, Du Fu's first couplet, "I am in the north, I am in the south, the spring water is flooding, and I have only seen gulls day after day", explains the time and place, and describes the quiet scenery behind the house, which seems to be a monotonous and lonely mood. The couplet "Flowers don't sweep the courtyard, my door is closed-it's open for you today", which reads "Don't sweep the courtyard, don't delay guests". Today is the beginning of the gentleman, which is more meaningful; The necklace association's "It's a long way to the market, I can't give you much, but in my cabin, we have old wine in our cups" wrote "Enjoy drinking and entertain guests", regretting the lack of food and wine, but more affectionate. This triple has written down a rich flavor of life and human touch from the front, showing the sincere friendship between the host and the guest. There is nothing to write about "Hakka", and there is no place to write. Suddenly, a genius thought added, "Should we call my old neighbor to join us, call him through the fence and empty the jar?" I used a pencil, but only the host and guests were too cold and cheerless, so I asked the guests if they wanted to call the neighbor's old farmer over for a drink, but they gave up if they didn't want to. The meaning of "take" is the same as "get" and auxiliary words. "Call from the fence" means that it is an east-west neighbor (because there is water in the north and south of the house, there is no way to get through, so we have to take a detour), and the relationship has been relatively close, so call. In fact, it deepened the poet's frank attitude towards the guests, saw the profound friendship between the two sides, and rendered a happy and harmonious atmosphere between the host and the guest.
Look at Liu Yongyuan's Fisherman, an ancient poem with three rhymes and seven words. The first sentence, "An old fisherman spent the night here, under the west cliff", is about sleeping. The fisherman stopped at the west cliff and rested in the embrace of nature. This is a place far away from the world, with rocks and running water as companions, and it is really quiet to the extreme. The second sentence "Little Qing Ji burns bamboo incense" is written to eat, wake up in the morning, draw water from Xiangjiang River, tear down the bamboo in Chu, and cook fish to eat. This water, this drinking and this eating all belong to nature and wait for no one. Therefore, this kind of eating and sleeping also shows a pure free and easy spirit. The third sentence "Then, at sunrise, he went through the fog" is about boating on the Xiangjiang River. After breakfast, the fog on the sunrise river in the east cleared away and the figure disappeared. Where did it go? In the fourth sentence, the answer is "swimming is a green landscape", and swimming is the sound made by boatmen with rowing. Green mountains and green waters, but when I heard the sound of paddling, the fisherman had already gone downstream. These two sentences describe a seemingly real and virtual landscape world with visual "emptiness" (invisible people) and auditory "reality" (sound), and some of them are ecstatic. This kind of realm can only be felt and described by people with empty and quiet hearts and quiet and elegant hearts. The poem is written here, describing the fisherman's adaptive life and his elegant image. If the whole poem ends with the strange sentence "I am a green landscape", the whole poem depicts the fisherman's life of "sleeping, eating and singing freely", which can not only achieve the effect of "endless feelings" and "endless words", but also be more interesting.
There is really no place to write poetry here. Su Shi and others argue that this poem should have only these four sentences, so let's stop here and delete the last sentence. It can be seen that the poem has been written enough and there is nowhere to write.
However, Liu Zongyuan's next sentence has become another artistic realm of gossiping and ethereal, which more profoundly depicts the floating realm of fishermen's "drifting with the clouds": "Looking back at the endless downstream, the rocks have no intention of chasing the clouds." You see, the fishing boat goes downstream and looks back at the upstream. White clouds are fluttering on the west rock, chasing leisurely ... just like unintentional white clouds, isn't the fisherman a boat with no attachments? This kind of realm implicitly connects the poet's envy of the fisherman's life with Tao Yuanming's pastoral life, writes his own state of mind of being devoted to nature and being at ease, and expresses his feelings of letting nature take its course. These two sentences seem redundant, but they can't fully express the author's feelings of "being comfortable, enjoying the scenery and getting into nature"
2. Write without writing: don't write what seems necessary, in order to achieve the state of "incoherent", so that readers can fantasize, imagine and appreciate the charm. This situation is also very common in literature.
For example, Wang Zhihuan's "The Bird House", with only 24 words, contains infinite charm. "The mountains cover the day, and the sea drains the golden river" writes the majestic and vast realm of nature seen upstairs at dusk in very popular and simple language. A round of daytime, a thousand peaks for the purpose, the Yellow River into the sea for the imagination. The vast sea has the Yellow River flowing in, and the vast daytime is dotted with mountains, weaving into a magnificent picture of mountains and rivers. "But when you walk up a flight of stairs, you broaden your horizons by 300 miles". The first two sentences say that the magnificent scenery is what you can see before you reach the top of the building. These two words mean that if you want to get more beautiful scenery, you have to go to a higher level, even beyond the limits of architecture. This not only writes a more beautiful and magnificent scene (the author didn't say it, depending on the reader's own thinking), but also embodies the spirit of enterprising interest-to open up a new realm, we must work hard and climb bravely when we see a new world, and more beautiful and newer things will only appear if we redouble our efforts. After reading the first two sentences of scenery description, people feel that they should write the scenery according to the meaning of this scenery description, but the author writes rationally instead of writing. What's it like to go upstairs again? The poet didn't write it, but left it to the reader to think about. It seems dull, but it has infinite significance and the charm of "writing without writing"
Another example is Zuyong's On Seeing the Snow Peak in Central South, which is an exam-oriented work. According to the regulations, the exam-oriented poem should be written with five-character rhyme and twelve sentences with six rhymes, but Zuyong only wrote two rhymes and four sentences and handed it in, and he stopped writing when others thought there was bound to be a sequel, leaving a good poem that was told through the ages. "Watching how Zhongnanshan flies" wrote that standing in Chang 'an and watching Zhong Nanshan saw the "show" of the dark side of the mountain, which provided the necessary conditions for seeing the rest of the snow (only the snow on the dark side had melted). This is a true story. The word "xiu" refers to both the shape and the color of the mountain. The next sentence "its white top is above the clouds" is a supplement: the snow on the sunny side has melted, and the snow on the cloudy ridge still exists, shining brightly and delicious. The shape of "floating in the clouds" adds a layer of aura to the snow in central and southern China. Why is the snow in Yinling so clear, so bright and so fluttering? The third poem "A Warm Sky on the Snow Line" explains the reason: after the snow stopped, the sunlight reflected on the reflection of the forest top and the snow, making it bright. The poet verbalized the word "Ming", which made the light on the forest table dynamic. Supposedly, the brightness of the sun gives people warmth, but the fourth poem "The town in the valley is getting colder and colder" actually describes the scene of "the sun sets" and "the snow is not cold, but the snow is cold". "Residual cold" implicitly refers to "residual snow" and describes the dusk after the snow is clear. Although the sun hangs at the top of the forest, the city will be colder. You did. Do you feel cold? Readers can only guess and think about the author's seclusion. From the snow in Zhongnanshan to the cold in Chang 'an, there must be words to describe the poet's mood, but the poet stops here and hides all his thoughts and thoughts, leaving it to readers to guess: he is deeply concerned and sympathetic to the cold weather that ordinary people will encounter.