2. The way of poetry: Imagination is the creative presentation of "image" in free thinking activities ("thinking"). Therefore, it can also be said that imagination is the essence of thinking in images. Lu Ji's Wen Fu called it "taking responsibility for nothingness and knocking loneliness for sound", which revealed the creative characteristics of imagination. Shakespeare said in A Midsummer Night's Dream: "The poet's eyes are in a magical carnival. Seeing the sky from the ground, imagination will present the unknown things in a form, the poet's pen will give them a real image, and the empty things will have a shelter and a name. " It emphasizes the spirit of free imagination. Poetry is one of the most liberal and creative features in literary style. Some people divide the imagination of poetry into association and fantasy. In fact, even Lenovo is quite free to create. In Li Bai's poem, he said, "Clouds want clothes and flowers." It is of profound significance to think of clothes from clouds and abilities from flowers, so that clouds and flowers as objects suddenly surpass the objects themselves. There is an imaginative poetic thinking behind this association. So the poet Baudelaire said, "Poetry is only in imagination." The Greeks resisted the Persian invasion. They were all killed. The poet Simonidade wrote an epitaph for them: passers-by, please send a message to Spartans. In order to listen to their instructions, we lie here. This is a poetic imagination. Mr. Sun Shaozhen's understanding is quite wonderful: "What is written here seems to be not completely faithful to life, but more faithful to feelings. Its truth is the objective morphological characteristics of life (death, Lying on the ground) and the subjective desire characteristics of feelings (for eternal life) are at an intersection (sleep) It is quite common to meet ................................................................................................................................................................'s imagination with different degrees of change. " Li He's "Dream of Heaven" says: "Looking at Jizhou from afar, there are nine smoke spots, and a glass of seawater is poured." Kyushu is vast, and the whole world is big, but the sky is just a cigarette and a glass of water. It is undoubtedly impossible to put it in a cup with turbulent sea water. This kind of "change" is only reasonable in the imagination. It directly leads to the exaggeration, reduction, illusion and deformation of objects, thus creating moving beauty beyond real life. The aesthetic essence of imagination is the feeling of life in free space, and the thinking essence of imagination is the flexible development of path thinking (similar thinking, causal thinking and constitutive thinking). Imagination has two important qualities. The first is strong emotion, which produces a powerful driving force for imagination. The second is the freedom of imagination.
3. Stylistic focus of poetry: Spiritual poetry is actually a kind of artistic conception and realm. When talking about the experience of reading poems, the famous American poet Bu Running said, "... the poems of these poets made me suddenly enter a realm, and their language is poetry." Artistic conception, sometimes called realm, must clearly grasp the meaning of the word "realm" to understand the true meaning of artistic conception. The word "realm" is "Xu Shenyun said:" The joy is the most beautiful. " Later, it was extended to express the spatial concept of territorial boundaries. Mao said in The Book of Songs Yun Chuan: "The realm is also beautiful." Shuowen even interprets the boundary as beauty. Duan Yucai said in "Notes on Explaining Words", "Where the earth stops, it is also beautiful." This shows the word "fine". Unique cultural time and space opened up by human vitality. In other words, artistic conception, as an important component of the third nature, is originally a three-dimensional space-time with' people' inside. It emphasizes two elements of artistic conception: sense of space and spirit of life. In fact, the two are the same thing. The sense of space is the spiritual sense of life, and the spirit of life is the infinite sense of spiritual space. As far as the sense of space is concerned. Artistic conception originates from image and transcends it. Image is limited, and its focus is "scenery". In Yi Yan, Wang Shizhen praised the "dance image" with four poems: Lu, Luo, Wang and Yang. Ai Qing's poem "The Sun" includes: from the ancient tomb, from the dark ages, from the stream of human death, shocking the sleeping mountains. If the steam wheel rotates on the sand dunes, the sun will roll towards me ... Twelve Talks by Liushahe said that he "created a shocking and dazzling image" and "gave readers a strong stimulus". Infinite artistic conception is the three-dimensional and super-three-dimensional infinity of image. Image is a picture, but the place where space transcends the picture is that it always has a deep three-dimensional sense, a sense of anger and infinity. For example, in the poem "Feng Wei tells people": "Soft hands, skin coagulation, collar like ephemera, teeth like rhinoceros, cicada's head hanging down. Smile! Smile! I am looking forward to it! The overlapping of images such as "hand", "skin", "collar", "tooth", "head" and "eyebrow" is not only "realm", but the infinite feeling of paper life formed by "money" and "hope" turning the picture from static to three-dimensional, thus creating a vivid and far-reaching moving artistic conception. Yuan Haowen thought the poem was "good, but uneasy" and changed "one tree" to "a few points". Yuan Xingpei's Research on China's Poetry Art explains that "a tree blooms early" refers to one place, which seems dull; When is the early plum blossom? It focuses on a vast space, and the number is unlimited. So the artistic conception is flying. " Poetry critics in Taiwan Province once praised the beauty of "spatial layering" in the modern poem Landscape: there are windbreaks outside and windbreaks inside, but the listing of Sea and Waves says that its beauty lies in "creating endless layering in readers' hearts". This peculiar sense of space is the secret of poetic artistic conception. In short, behind the three-dimensional space of poetic images is the extremely free and detached life space cast by the poet between the lines of poetry. In Poetry and Philosophy are Close Neighbors, Zheng Min elaborated the pursuit of spiritual freedom: "Language, skills and themes are often used to establish a realm in the end. Realm is a spiritual pursuit of China's culture for thousands of years, and it is a mixture of ethics, aesthetics and knowledge. It is a spiritual pursuit between religion and philosophy, and perhaps it is the breath of the Chinese nation's soul. It is both tangible and intangible. When poetry lacks the realm, it loses its luster, just a bunch of words ... the realm is constantly changing, like a thunderstorm, and it is also a combination of the poet's mentality and spirit. The poet sometimes uses some concrete descriptions to express his realm, but what he really wants to give his readers is not that kind of concrete description, but that kind of sudden disappointment. It is neither a clear teaching nor an emotion that can be named ... If the word artistic conception is interpreted as the realm of scene blending, it will be simple. The level of poetic style has a great relationship with the spiritual realm of the poet in the poem. China's poems, books and paintings really take the realm as the soul. No matter whether the specific content of the poem has the poet's own feelings, that is, whether there is me, its realm must be superego, in addition to lyrical writing. In superman's world, the greater the degree of detachment, freedom and chic, that is, the higher the realm, the pursuit of this spiritual realm is China's practice of Confucianism, Buddhism and Taoism, which is more ethereal and broader than western religious practice. There is no omnipotent master, authority, control and control in the realm, and people enter a completely "free" state in the realm. In other words, it completely transcends' being' and coexists with' nothing'. In other words, it is everywhere. Therefore, Ma Zhengping thinks: "In China's aesthetics,' realm' ('artistic conception') is the ultimate noumenon of literature and art. Here, not only the language symbol as an artistic form is the carrier of art, but also the theme and image as artistic content. From the perspective of appreciation and criticism, I think that "artistic conception" and "realm" are neither pictures of "scene blending" in literary works, nor "typical" in western literary theory, nor the artistic world of associative imagination in artistic appreciation, nor the three-dimensional artistic world of artistic image combined with environment, but an abstract and lofty sense of space that transcends all these artistic images. This sense of space is the height of the artist's heart (thought, emotion and personality) reflected by artistic symbols, artistic content and artistic skills. This is the height of art and life. "Tao Yuanming picked chrysanthemums in Dongli, which poetically turned into the realm of" forgetting words when the mountains are beautiful and the birds are singing "; Kou Zhun's "Climbing to the Top" is condensed into "Looking up at the red sun and looking back at the grand realm of low clouds", and the poet Yu Xinjiao's masterpiece "Epitaph": In my motherland, only you have never read my poems, and only you have never loved me. When you know where I am buried, please choose the most beautiful spring and take the brightest road. In the moonlit motherland, only you have never read my poems, and only you have never loved me. You are the only shadow of my bright motherland. You must apologize to the blue sky and apologize to me for the rain that will rain on this day. Please rain another day. The Chinese milk vetch, which has not been opened on this day, asked them to open in advance in my sunny motherland, apologize to Baiyun, to the green mountains and green waters, and finally to me. Finally, she said that it would be great if she were still alive, which created the realm of "exposing her bright side in the middle of hell" (Yu Xinjiao's Exposing her bright side). In fact, as Yu Xinjiao said, the realm of "forgetting words", "grand realm" and "passion realm" in poetry is "an instant exposure of dreams, vitality and cosmic order" and the ultimate display of the poet's life spirit, and this "artistic conception" of poetry is what Ma Zhengping said in "The Space of Life".
4. Poetic Style: Sense of Rhythm When someone asked Moore, a famous contemporary American poet, if there were any changes in the characteristics and styles of his poems, he said, "I was most concerned about the sense of rhythm at first, and it didn't change much. If I successfully express the rhythm in my heart, I will be satisfied. " This shows the position and significance of rhythm in the poet's mind. So what is rhythm? As we know, the appearance of poetic style refers to a language form that can present readers with a special auditory feeling, which depends on the careful arrangement of rhythm and rhythm. The so-called sense of rhythm refers to a sense of language order formed by a series of sounds with certain intensity, height, length change and even time interval. According to China's theory of ancient art aesthetics, it is the "style" and "style" of sound. Its essence is to obtain a formal sense of time and beauty of time through the movement of tones. In China's poems, the rhythm is embodied in the rhythm, which makes the poems have an open and closed time beauty. China's classical poems generally have strict rhythm rules, such as "three-character suffix", which will not be introduced here. The rhythm of new poetry, on the one hand, is the regular beauty of intonation time formed by the regular stop of rhythm, on the other hand, it is determined by the ups and downs of poets' emotions. The spiritual implication of the rhythm of poetry, the combination of the length and the length of poetry, the smooth coordination of stress and the echo of paragraphs can all taste the corresponding rich feelings. For example, in Zheng Chouyu's Mistake, I walked across the south of the Yangtze River, and I looked like a lotus in the season. Catkin in March can't fly. Your heart is like a lonely town. The street is like bluestone, and the spring curtain in March doesn't show your heart. It's a beautiful mistake to hold my horseshoe tightly. I am not a passer-by. I am a passer-by. The quiet and slightly frivolous rhythm gives people a beautiful and indifferent sadness when reading. The wonderful truth of poetic rhythm needs a pair of clever and enlightened ears. There is a sense of sound order formed by the harmonious changes of repeated responses in a certain order. In poetry, rhythm is also rhyme, which means that the same pronunciation appears regularly and repeatedly in a certain position in poetry. The rhyme of classical poetry is very strict, so it should be filled in according to the established flat structure. Poetry has definite sentences, sentences have definite characters, and words have definite sounds. New poetry generally requires similar rhymes, and it is absolutely necessary. Prose (oral) poetry also needs a smooth and powerful sense of music, which makes new poetry a "poem". For example, Guanglong Di's "The Heights of the Motherland": The heights of the motherland are three sunflowers in Tibet, and the salt I love on an oil lamp comes through the liver and intestines like an autumn rainstorm, and the autumn wind suffers on the cold road. In life, he is a paradise singer who opens the piano box and sings the mountain of Ansai. The sound of the pony over and over again is the moonlight washing the lips. The elders in the heights of the motherland are kind. I was born in the Yellow River. One is my father, and the other is my mother. I am guarding the rice in Yinchuan and the grain in Guanzhong. I can hold my bones and flesh all my life, and I can be like a window flower. Years are long. My sister in my heart is hot, with a spout in her left hand. The right hand refers to Lvliang. Your tenderness is my strength. Fill my sleep with silver and put pig iron on my head. I am very happy. Growing up in the soil, the rhymes in the poems are mainly Tibetan, Shang, Tian, Chang, Liang, Tang, Singing, Wang, Guang, Ji and Niang. It just rhymes. Rhythm can create and strengthen the musical sense of poetry, so the rhyme and tone of poetry must be harmonious. Taking this poem as an example, the poet's emotion is profound and the theme of the poem is grand, so he chose the opening tone. In addition, the meaning of rhythm also includes the smooth and changing sound of the vocabulary language used in the sentence. In other words, a sentence can't be all flat.