Li discovered/expressed through poetry. .........
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The Butterfly on the Jinse is Lost —— On the text uncertainty of Li Yishan's Jinse
Abstract: Li Yishan's Jinse has a vague connotation and profound twists and turns, and there have been many different interpretations in the history of interpretation. This paper tries to analyze the text uncertainty of Li Yishan's Jinse from two aspects: creative skills and creative motivation.
Keywords: Li Shangyin's golden uncertainty
Li Shangyin was one of the most important poets in the late Tang Dynasty. His original name was Mountain, and his word Yuxi Sheng. He raised the artistic expression of poetry to a new height in the aspects of rising love, rich themes and going deep into the spiritual world in the middle Tang Dynasty. His works were praised by predecessors as profound in meaning, profound in artistic conception and poetic twists and turns. The connotation of Li Yishan's untitled poems is vague, and there are different opinions in ancient and modern poetry circles. Yuan Haowen once lamented that "people who hate Jian Zheng are not the only ones", and Wang Yuyang also said that "a Jinse is difficult to understand". This paper tries to analyze the text uncertainty of Li Yishan's "Jinse" from two aspects: creative skills and creative motivation, and also quotes some viewpoints of contemporary China scholars and western literary theories, instead of deliberately seeking novelty and depth, only sorting out ideas and explaining understanding.
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Ethel believes that the role of readers depends on the depth of intention and the certainty of the text. The connotation of Jinse is vague and profound, and people's understanding has been very different for more than 1000 years. In the history of the interpretation of China's classical literary works, the interpretation of Jinse is varied and endless, which has become a striking phenomenon, fully embodying the uncertainty of the text. Some people think that this poem mourns the death of his wife, some people advocate homesickness, or it is actually chanting the harp, or the golden harp is named as the maid of Linghu Chu, remembering old feelings, lamenting that talent does not hurt oneself, saying that life is like a dream, or worrying about the country and homesickness, and so on. Combined with Li Yishan's other poems, we can see that Jinse basically contains three meanings: either it refers to the lovesickness of men and women and the loss of emotion; Or feel sorry for the country when you are injured; Or hurt your life and sigh the passage of time.
From the perspective of creative techniques, the uncertainty of the connotation of Jinse lies in the twists and turns of sentences. The first couplet is headed by "Jinse", but the couplet uses two seemingly unrelated allusions: "Zhuang Sheng Meng Die" and "Wang Di Hua Juan", expressing an emotion of being confused first and then sad. Necklace couplets do not inherit the allusion of "looking at the emperor and changing into a cuckoo", but depict the beautiful and unattainable dreamland of "mermaid weeping over pearls and green sea next month" and "Lantian spitting jade at the sun". At the end, the couplet points out the present "reminiscence" and the then "melancholy", and the word "waiting" expresses a complex mentality of wanting to recall but not being able to bear it. Therefore, the whole poem is filled with a complicated and obscure emotion that is confusing, clear and sad, touching and elusive.
Secondly, a variety of rhetorical devices are used, such as metaphor, symbol and imagination. Some people think that "Why does my Jinse have fifty strings" has a general metaphorical nature, while the couplets of chin and neck have a metaphorical function, and the total score is progressive step by step. From the details, the two couplets of chin and neck are gradually superimposed with multiple images, such as "strong voice", "Meng Xiao", "spring heart", "sea", "blue sky" and "swallow". And the meaning of this metaphor is more complicated and endless. Li Yishan's "Jinse" has always been complicated and controversial, the main reason lies in the hazy mystery of conveying feelings with objects and conveying letters with images.
Thirdly, Jinse embodies the fuzziness of poetry. This ambiguity means that several ambiguities in poetry can not only coexist, but also enrich, cooperate and complement each other. * * * is considered to be a rich and complicated topic, and their relationship is not either/or. 1930, British scholar Jenson published Seven Forms of Polysemy, which divided it into seven types and cited a large number of examples to prove that it is an important means of expression in poetry. Jinse embodies the fuzziness of intention and symbol, as well as the fuzziness of allusions. Although the image of "Jinse" in the poem and the allusions of Zhuang Sheng dreaming of butterflies and looking at the emperor to turn to cuckoo have been fixed, there is still a layer of melancholy emotion in the poem, because there is other meaning behind these images and allusions. The meaning and application of images and allusions complement each other, forming the first layer of ambiguity; Various interpretations of the overall meaning of poetry enrich each other in readers' aesthetic creation of polysemous words, which constitutes the second layer of polysemous words.
Finally, there are structural jumps and gaps. The four sentences of "Zhuang Sheng", "Wang Di", "Canghai" and "Lantian" in the second couplet of Jinse embody this point. In these four sentences, there is a considerable gap not only between words, but also between sentences. There is no connection between them, but there is some internal connection between a series of images, which gives birth to a unique tension. Therefore, readers are connected through this series of images, and the whole poem is unified through their sad, hazy, beautiful and dreamy thoughts and feelings. As Fan Wen, a poet in the Song Dynasty, said in the Eye of Shallow Creek Poetry: "Ancient poems are also articles, and the language may seem incoherent, but it is full of meaning." In this way, the meaning of words is outside the surface, and readers create new meanings through their internal logical connections. This is the viewpoint of Gestalt psychology, that is, the whole is greater than the sum of parts, and the blank between words increases the ideographic content of language. In China's ancient literary theory, it was "forgetting words with pride" and "forgetting fish".
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The uncertainty of the text of Jinse lies in the diversity of creative techniques, which can be traced back to the author's creative motivation.
Creative motivation refers to the author's inherent need or motivation to engage in creative activities or create a specific work, which is related to some subjective desire or purpose. Creative motivation is a transcendental intention, which is often associated with the traumatic and missing experience of the subject. Many writers have talked about the stimulating effect of pain on artistic creation. Pain is a state of psychological deficiency. Li Yishan was orphaned at a young age, and his family was miserable and unhappy. As an adult, he entered the shogunate. His life was ruined and his ambition could not be displayed because of the struggle between his cronies. In the past 20 years, he has moved from shogunate to shogunate, and his wife died and separated from his children. The misfortune of the times, family background and life experience have brought him long-term and profound pain, which has created his sentimental and introverted personality. Dissatisfaction, depression, depression and other painful psychological experiences are stagnant and connotative, which become powerful psychological potential energy and demand release, thus becoming the main driving force of the author's literary creation and an important source of transcendence intention.
Zhang Caitian once put forward the viewpoint of "latent qi turning inward" in Li's poems, pointing out that some of Yishan's poems were written in the spirit of depression, injustice, disappointment and expectation. What is written in "Jinse" is not necessarily a temporary event, but a "hidden spirit" of the whole complex inner world, such as self-injury, recalling the lost years, lamenting that life is like a dream, mourning for the dead wife ... It is not surprising that the feelings are vast and complicated, and the poems are ambiguous. In addition, this "latent spirit" has been accumulated for a long time, and perhaps even the author himself may not realize it. It is confused, like fog, like sadness and joy, but also empty and real, so it needs unusual language and structure to express such complicated and changeable feelings. Therefore, some mountain-leaning poems, represented by Jinse, are quite blank in structure and obscure in image.
In addition, many images in Jinse, such as Jinse, Dream Butterfly, Pearl Tears and Jade Smoke, have been spiritualized, which directly reflects the author's complex and intricate psychological picture. Images, jumping from sentence to sentence, blank and illogical, poetry is not to describe events and performance processes, but to directly face complex changes and even inexplicable thoughts, which reflect the poet's urgent need to release his psychological feelings.
Moreover, the use of symbols and metaphors such as "Saint Zhuangzi daydreaming, butterfly bewitch" vividly shows and vividly embodies the author's mental state, and at the same time deepens the secret of his inner world, further deepening the deep and wide interpretation of the world between twists and turns.
To sum up, Li Yishan's Jinse has been circulated through the ages, and the uncertainty of the text has always been a strange phenomenon in the history of interpretation. This paper holds that the main reason lies in the twists and turns of sentence meaning in creative skills, the comprehensive use of various rhetoric, ambiguity and structural jump and blank, which can also be traced back to the creative motivation in literary psychology. Jinse is a rare masterpiece in ancient Chinese poetry with profound ideas and high text uncertainty. In the process of reading it, readers can create polysemy aesthetics. "Poetry is meaningless" and only seek understanding.