abstract:
Classical poetry provides a paradigm for poetry creation, and its vocabulary has been tempered and developed from generation to generation, forming some recognized implied meanings with aesthetic significance. After time of elutriation and nourishment, people have reached * * * knowledge in their minds and impressions. As long as you see those words, you can naturally perceive their meaning and connect them with related events or emotions, thus connecting the rational relationship between authors, works and readers, which is more likely to happen to each other. Starting with the specific vocabulary in classical poetry, this paper talks about inheritance and innovation, and applies the vocabulary in classical poetry to the current poetry creation, hoping that this little thinking can inspire the poetry creators.
Key words:
Classical poetry? Vocabulary? Use? Inherit? reform
One? introduce
The classical poems referred to in this paper are classic works handed down over time, such as 19 ancient poems, 300 Tang poems, 300 Song poems and 1000 poems. It is worth noting that these poems have a certain historical distance from today, some thousands of years ago and some hundreds of years ago. They were born in China during the long feudal dynasty. Its social life, material and economic conditions and spiritual and cultural pursuits are quite different from those of modern society. We have lived a more modern life for only a few decades, but earth-shaking changes have taken place, as have people's inner feelings and aesthetic tastes. Based on this fact, this paper discusses the inheritance and innovation of classical poetry vocabulary in our poetry creation today.
Two? inherit
In classical poetry, there are many words worthy of our continued use. By studying, examining our real life experience, internalizing emotions and seeing those words, readers can easily understand the feelings and meanings conveyed by the author. Those words have our feelings and some distinct emotional colors, which are worth using flexibly in our creation to express what we need to express.
1? Image vocabulary. In classical poetry, some words have relatively fixed symbolic meanings when expressing feelings, such as "Folding willows to get green stripes, moving to the Golden Palace to plant in Yun Lan." "Spring breeze knows that it doesn't suffer, and it doesn't send willow green." "Chang 'an is a stranger to infinite trees, and only weeping willows will leave. "The well-known' folding willow' is a pun. Often used in parting scenes to express farewell to friends. However, my friends, today we know the meaning of this image through scholars' textual research, which is impossible for us to do in our life. In other words, folding willows was a ritualized way of seeing off in ancient times, but today it is divorced from our real life. We can only feel that kind of affection through imagination. In reality, it is difficult to break a willow to bid farewell to friends. Of course, writing articles should not be pedantic. This beautiful and moving image can still be used today, because we can still feel it from the heart.
Another example is "Moon" and acacia, cherishing people, "Hongyan" and letters, missing, "Mei" and pride, nobleness, "Bamboo" and fortitude, integrity, "Banana" and sadness, "Du Fu" and so on. These words have constructed distinct and sensible emotional connotations, which people have seen since ancient times.
There are many such image words, which need special attention in current poetry creation. To understand what they symbolize and represent in the ancient environment, we should choose images that are familiar to the public, can stimulate people's psychological feelings, and conform to the content and emotion. You can't use it at will, nor can you copy it mechanically. It should be noted that after these images are widely used, they lack new ideas in literary expression and look old-fashioned, perhaps not so charming, and no longer infect people as before. If you choose unfamiliar image words, it may be difficult for readers to understand. It should be understood that most creators are incapable of selecting or even cultivating their own readers. ) What should I do? This will be discussed in the later article "Innovation".
2? Allusions and words. Liu Yuxi's Song of Tainiang? : "How to sprinkle Qian Qian's tears on the Xiangjiang River?" The word "Bambusa bambusa" contains allusions. Bai Juyi's Song of Eternal Sorrow? "In heaven, I wish I were a wing bird, growing together on the earth, two branches of a tree ..." The word "love birds" contains allusions. Meng Haoran's Message from Dongting Lake to Premier Zhang? "When I sit here and watch a fisherman throw, I feel like a squid." The word "virtuous residence" contains allusions.
We often use the word "two-winged bird", and there is another word called "fly with me", which is used to describe a couple's congenial feelings. The vitality of classic words is eternal. Using allusions can express the author's feelings concisely. There are many allusions in classical poetry. If used well, it is like "a dead tree meets spring"; if used badly, it is like "painting a snake to add feet".
The current reality is that our Chinese education no longer emphasizes the study, appreciation and practice of poetry, but emphasizes the cultivation of students' comprehensive application ability of language and characters. Most of us know very little about the allusions in classical poetry, that is, we have been exposed to some basic allusions in Chinese learning in junior high school and senior high school, and we are totally powerless to further appreciate poetry. There are too many allusions that scholars are familiar with, but they are unheard of today. Not to mention ordinary people, scholars who specialize in ancient literature. In poetry creation, most of them can't easily grasp allusions, which is the result of the change of education and training direction. Some friends who love traditional poetry teaching are saddened by this, while some creators of modern poetry scoff at it. This extreme attitude is not conducive to the development of poetry. Every generation has a generation of literature, and the style and content of literature will inevitably change with the times, social form, realistic environment and aesthetic taste. Based on the problems found in the inheritance of poetry, it is necessary for us to attach importance to it, make use of the education system of junior and senior high schools and do more inheritance work of traditional poetry culture. It is particularly important not to be linked with grades, but to regard it as a course of literary appreciation, so that children can get in touch with the culture of classical poetry and feel the beauty of classical poetry as much as possible. Poetry creators should also take the initiative to study and sort out the allusions in classical poetry, make those allusions come alive with their own words, and promote them with the poems created at present. I believe it will be amazing.
3? Words with unique emotional flavor. "The branches of red apricots are noisy in spring", and the word "noisy" is written, and the realm is exhausted. "The spring breeze is green in Jiang Nanan", a word "green" is full of spring. "The quieter the forest, the quieter Tonamiyama will be." A sound of silence, a sound of silence, set each other off and become interesting, which is even more quiet and far-reaching. These sentimental words, which we usually call "refined words"-carefully choosing vocabulary combinations and creatively expressing feelings and situations, can be described as turning decay into magic.
At present, poetry creation should also go deep into classical poetry, experience the beauty of these sentimental words and use them flexibly in creation. We should think more about whether the collocation of this word and that word produces aesthetic feeling, whether it can draw some meanings, whether it can sublimate the height of our language, whether it can convey some metaphors that readers can perceive, whether it can achieve the unity of form and content and so on. Only by paying attention to these details and polishing them hard can we further improve our poetry creation level.
To sum up, the creators of modern poetry don't have to completely deny the things in classical poetry, but should learn modestly and draw creative nutrition from them. Today's poetry creators, whether writing old-style poems or modern poems, need to carefully study the image vocabulary, allusions vocabulary, sentimental vocabulary, poet's personalized vocabulary and so on in classical poetry, combine their own creation reality, our life reality and readers' understanding of some words, inherit the vocabulary in Chinese classical poetry, and use it flexibly in actual creation to enhance the artistic appeal of works.
Three? reform
There must be innovation if there is inheritance, and artistic creation cannot be rigid.
In the vocabulary of classical poetry, some are familiar to us, others are unfamiliar to us, and some specific objects, animals, plants or customs no longer appear in our daily life and are divorced from our actual life. Such words and their meanings also lack vivid realistic foundation, and creators need to consider whether they are still suitable for creation. We can't deliberately use only "old sayings" to express a classical taste. Even if they write well, it is a way to pay for themselves.
Psychologically, people will have special feelings for those things in the past, the old people and old feelings, such as porcelain in Amin era, the night pearl in Tang Dynasty, ivory sculpture in Qing Dynasty, etc. Apart from its high value, most people appreciate its exquisite craftsmanship. Through these old things, they can feel the dusty atmosphere of that era and have some good feelings. Not everyone can collect and buy antiques on display in museums, but if you look at them, you can have some memories of that era. They not only give the audience a sense of history, age and strangeness, but also attract people's intimacy. At that time, those "old things" may be things used in daily life, ornaments worn, buildings, travel tools and so on. However, in the eyes of future generations, they have become "old love" with unique flavor, the carrier of remembering people and the aesthetic taste of art.
For example, "pure wine costs money, a gold cup costs 10 thousand copper, a hip flask costs 10 thousand copper, and a jade plate costs 1 million." When we see the "golden urn" and "jade plate", we can feel its preciousness and luxury; "The sideburns are red, and the Hosta has the upper hand." We can perceive the beauty of Yuchai when we see it, and then think of the beauty of that woman; "A glimpse, starting from the city, painted the golden partridge." When we saw the "painted golden partridge", we could feel the luxury of its decoration. These words are simple words, which can arouse people's goodwill at a glance and have no sense of distance from readers. If the creator uses them, it may add literary grace to the work. From today's point of view, in classical poetry, all the words we are familiar with today that have realistic emotional foundation can be used directly. If used properly, it may be particularly touching, because people have an "old love" for those "old people"
However, there is another situation that can be described as "ignorance". The words in the classical poems adopted by the creators are difficult to appreciate because they are too divorced from people's real life and aesthetic needs, and become a kind of "Chun Xue" self-admiration.
For example, "If you take a sip, you must teach Yu Di to play." Yi is an ancient wine vessel, but most people today don't know it. Even if you understand its meaning through annotations, it is difficult to project its specific image in your mind. This is called scratching your boots. Therefore, if we use "zi" or "bottle" when writing wine vessels today, we need to consider whether it is really necessary to use such ancient words, whether it is beneficial to our expression, or whether it will actually reduce our expression effect and whether it will cause overall disharmony in vocabulary. This is what we need to pay attention to in our creation, and it is not necessary to use more classic words to improve the level of poetry.
For example, "draw a bridge, Agger stops at the radius, and there is a bamboo bridge outside the hedge of Hibiscus." "Drawing a bow" is a big ship decorated with various patterns and patterns, and "spoke" is an oar. How many people know what it means without reading the explanation? How many people can remember their faces clearly after reading their notes? Readers should not say that this is the tip of the iceberg of the author's vocabulary. Imagine if we have never seen them, touched them, used them, and only know them through books, then it is very likely that they are just a noun, an object, or a pronoun to us. Without emotional connection, it is difficult for us to connect them with our hearts, so it is just one sentence and one thing.
If our poets use these "archaic" words to create poems, because of the "estrangement", the artistic effect is likely to be greatly reduced, but they are indifferent and may even be complacent. In their view, this is a level performance. Readers can't understand it, but they can only blame readers for reading too little and having no cultural literacy. Unfortunately, this sense of superiority will not help, but may make poetry smelly and hard.
Here are more examples of these words. (Underlined and in bold type) "White spring shirts are like snow." "Necklace's old clothes are very narrow." "Yule carved a saddle to patrol the metallurgical department." "Who smells better in the breeze?" "Holding golden shoes" and "Carved jade fence should still be there." "I am only responsible for beautiful notes, and I have to teach courses." "I am always afraid, easy to steal things from China, and my time is wasted." "Thousands of riders have high teeth." "The path is flat and the pool is boundless." "I want to send a colored note and a ruler." "When the museum is destroyed, the bridge is thin." "It's like three drums and one leaf." "Cold light is messy, who is biased?" "Sunset courtyard, red formation, flying." ...
Therefore, the author here advocates seeking truth from facts to choose words in classical poetry for creation.
We don't mean to abandon it completely, but to adopt and adapt it according to actual needs. Don't focus on the realm of the ancients, write poems exactly like the ancients. Such works, no matter how well written, may be lacking in today's times. Don't let today's poem become a relic in the coffin. Because the times we live in today are very different from those in ancient times, and our perception range is also very different from those in ancient times. Many ancient people's artistic conception and aesthetic pursuit have been "extinct" today and cannot be copied at all. Even if they yearn for it, there is really no "Peach Blossom Garden".
Therefore, we should combine the scenery of this era and strive for the innovation of vocabulary; We should try our best to refine some words or images with modern symbolic meaning and implying the current social emotion and psychology to enrich our expression; We should try our best to sum up some core word-making rules from the vocabulary of classical poetry, and create them in combination with the current environment and creative needs to form a poetic language with the personality of the times or the personality of the author; We should also extract and accumulate words or sentences with special literary significance from everyday expressions and folk songs, and apply them to our creation, so as to develop and enrich our modern Chinese. How does the development of art stick to the rules?
For example, a popular word before was called "in a daze", which added two overlapping words to indicate that you were in a daze after encountering major events and were at a loss. The author thinks this word is very lively and can be added to the creative text at an appropriate time. We should attach importance to this language, analyze it and use it flexibly.
The way to climb the artistic peak is often to set up another peak. In art, "technology" means method. If the creator fails to achieve a good artistic effect, it is likely that the method adopted is not good enough, so there is no need to talk about inspiration and talent. Many times the direction is wrong and the method is wrong. Only by active exploration, trial and error, and persistence, can we hope to continue for 1,001 times after failing for 1,000 times, and finally become a "tungsten wire" for lighting creative light bulbs.
Four? label
The development of modern Chinese is far from mature, and poetry is the art of language. Poets should have the consciousness of developing and enriching their mother tongue, and look for formulas and inspiration in classical poems. Just as the pharmacist Ms. Tu Youyou extracted artemisinin, a panacea for malaria from Chinese herbal medicine, our poetry creators can also go to classical poetry to deepen their understanding of poetry, strengthen their creative ability and achieve their own creative peak. Here, I sincerely wish the poets "inside and outside" to be perfect.
Young papaya/willow tobacco