All literary and artistic works need to express feelings. Poetry, especially needs to express feelings. In poetry creation, we should express the poet's clear right and wrong, strong love and hate, touching sadness and joy. Touching poems are always filled with the poet's joys and sorrows between the lines, thus shocking readers' hearts and making them enjoy beauty.
Bai Juyi said: "Those who touch people's hearts should not worry about their feelings first." ? Diderot also said: "Without emotional quality, no style can touch people's hearts." ? Whether a poem has rich, intense, passionate and delicate emotions can be said to be an important symbol of its success.
Writers and critics in ancient China have long known that poetry should express feelings. For example, the author of Preface to Mao's Poems said: "The poet's ambition is also in his heart, and his words are poems, his feelings are in his heart, and his form is in his words." ? Here, "emotion" and "ambition" are clearly put together. In other words, the most important feature of poetry is to express thoughts (aspirations) and feelings (feelings).
However, how do poets at all times and all over the world convey their thoughts and feelings to us in their poems?
"Emotion" and "scenery" as a pair of poetic categories were established after the Six Dynasties.
One is touching the scene? Love; Second, it is the only way to express emotions through scenery and realize the blending of scenes.
The relationship between "emotion" and "scenery" was first established as a pair of poetic categories after the Six Dynasties. ? In Wen Xin Diao Long, Liu Xie put forward the concepts of "seeing things with passion" and "seeing things with affection". The eyes are still in the past, and the heart is breathing. The autumn wind is rustling in the Spring Festival Evening. Love to give, xing to answer "("looking for ").
Liu Xie not only clearly pointed out that seeing things can arouse feelings, but also pointed out the organic connection between scenes, that is, returning feelings to the scene, giving them to the scene and answering them, as well as the spitting and answering of the creative subject, which explained the influence of the scene on feelings. This is a step further than Preface to Mao Poetry. It can be regarded as the initial blank of the theory of "scene blending"
After the Tang and Song Dynasties, as a pair of categories, situational relationship was formally put forward as "human feelings have joys and sorrows" (Song Ge and Li Fang's Yu Yun Yang Qiu). Reveals the relationship between changing feelings and scenery. It highlights the dynamic role of emotion and correctly expounds the truth that the aesthetic subject's feeling of aesthetic object changes with the psychological change of the subject.
When analyzing Du Fu's poems, Fan's "Talking about Bed One Night" clearly points out that in excellent poems, there is always a sentence that "scenes blend without separation". The creation is "the scene is ruthless? There is no scene in love. " ? At this point, it can be said that "scene blending" has taken shape.
Bai Juyi, a great poet in the Tang Dynasty, said, "When a mortal feels something, he must move, then he will sigh, sing and be shaped by poetry." The meaning of this passage is similar to that of Preface to Shi Mao, and it is also believed that poetry is produced by the poet's emotions. But he went further and pointed out that the poet's feelings were "sentimental" and stimulated by objective "things", which was of course quite right.
Fang Hui of Yuan Dynasty also emphasized the combination of scene and situation in English Lv Kui, and thought that the wonderful sentences of wonderful poems were often "scenery in emotion, emotion in scenery".
But the "scene blending" really matured in the Ming and Qing Dynasties.
In Ming Dynasty, Du Mu combined scene with poetry generation? The importance of the book is emphasized to the extreme.
He said: "Poetry must be composed of emotion and scenery, scenery and emotion", and poetry can only be expressed. ……"
In the Qing Dynasty, poetics rose, and the theory of "scene blending" was discussed and further promoted.
Wang Fuzhi clearly pointed out: "? Two were called at the scene, but they could not be separated.
In particular, Wang Fuzhi clearly pointed out: "? Two were called at the scene, but they could not be separated. God and poet are in perfect harmony, and skillful people have feelings for the scenery and feelings for the scenery. People in love in the scene, such as' a bright moon hanging in the capital', are naturally lonely and recall distant feelings; The shadow in Thousand Officials is very quiet, and I am very happy to be in the mood. The scenery in love is particularly difficult to write. For example,' Poems become pearls and jade fluttering' writes a scene in which talented people admire their calligraphy. "
In addition, it is worth mentioning that Wang Guowei's "thorns on earth" can be said to be a masterpiece of "blending scenes". He simply put forward the view that "all scenery and words are sentimental".
Above, we briefly discussed the influence of "scene blending" of China ancient poetics on the formation of poetry and the formation of aesthetic emotion in poetry creation. This is the basic theory that we poetry lovers and creators should understand. And use this to guide our poetry appreciation and poetry creation.
Let's take the works of China's outstanding poets in the past dynasties as an example to elaborate: the emotional generation method in poetry creation-scene blending.
China poet Ye Xie in the early Qing Dynasty.
2. Poets are emotional, and emotional attachment is obvious-emotional generation method in poetry creation-scene blending.
An excellent poetic work touches people's hearts through the emotion of poetry. And in what way can the aesthetic emotion of this poem be produced and conveyed to readers, so that readers' hearts are shocked. This is what people who are interested in poetry creation pursue. Ye Xie, a poet in the early Qing Dynasty. It was he who clearly answered what we were looking for.
His Original Poem is recognized as the most logical and systematic theoretical work in the history of China's literary theory after Liu Xie's Wen Xin Diao Long. He has such a sentence, which highly summarizes the essence of poetry and the method of poetic emotion generation:
Poets are also emotional, and their emotional attachment is obvious (naked poem preface). Let's take this as a theoretical basis to learn and appreciate how outstanding poets of past dynasties created.
(1). "Emotion is obvious only when it is attached to form." The most prominent method is to abstract it into concrete.
The poet felt that emotion is the "poetic soul" of this poem. And the soul of poetry is invisible. We must find a kind of possession. Only by attaching to some visible scenery can it be materialized into a poem that can be grasped.
For example, Li Bai's "To Wang Lun":
Li Bai was about to go by boat when he heard someone singing on the shore. Peach Blossom Pond is deeper in thousands of feet than in Wang Lun.
The poet compares thousands of feet's Peach Blossom Pond with Wang Lun's deep affection for the poet, and vividly expresses Wang Lun's friendship with him.
Another example: Li Qingzhao's? Wuling Spring Festival Gala? 》:
The wind has stopped the dust, the fragrant flowers have blossomed, and I am tired of combing my hair at night. Things are people, not everything, and tears flow first. It is said that Shuangxi Spring is still good, and it is also planned to make canoes. I'm afraid the ship can't carry much worry.
Sadness is abstract, but using "can't bear much worry" will materialize the "sadness" that can't be seen or touched, and show the unspeakable feelings incisively and vividly.
The same poem is Li Bai's "White hair and three thousands of feet, sorrow is like a long beard." I don't know where to get autumn frost in the mirror. " ; And "how much sadness can you have, just like a river flowing eastward." "and so on.
Therefore, poetry creation should use image thinking and express emotions with visible and tangible landscape pictures. This requires the poet to use all rhetorical devices or borrow things to express his feelings.
As Shen Deqian said: "It is difficult to show the truth, but it is difficult to tell the truth." In this case, the poet can "connect everything with form; Passion is expressed, secrets are touched, and everything is borrowed to express. " ("Talking about Poetry")
(2). Lyric scene, empathy in the scene.
There is no scene in love. "People who are deeper than love are good at writing scenes." ? Wang Fuzhi said: "The ancients never sang multi-scene language. For example, there are many trees in Taiwan, butterflies in the south, spring grass in ponds, pavilions and pavilions in ancient times, and hibiscus dew falls. And love is among them. "
Take Du Fu's, for example? On Leaving the Tomb of Prime Minister Fang;
I had to come back from this distant place, and I dismounted next to your lonely grave. The place where I stood was wet with my tears, and the sky was dark with broken clouds. I once played chess with the Prime Minister, and now I want to take the dagger he wants to my master. But I only saw petals falling, and I only heard Suzaku respond.
Fang Taiwei, that is, Fang Qiu, worshiped when Tang Xuanzong came to Sichuan, and he was more upright. In 757, he was demoted by Tang Suzong. Du Fu once resolutely remonstrated with Su Zong, and as a result, he offended Su Zong and was executed several times. In 763 (the second year of Baoying), he visited the Ministry of Justice. He got sick in Lu Yu and died in Langzhou.
Two years later, Du Fu passed through Langzhou to see the tomb of his old friend. Write down this poem.
The main idea of this poem is:
I am wandering, traveling to other places again and again. Today, I stopped in Longzhou to pay tribute to your lonely grave. Tears wet the soil, and I feel extremely sad and trance, just like a broken cloud flying low. When I played chess with you, I thanked you for your Jin Dynasty. Now I'm at your grave, just like Ji Zha saying goodbye to Xu Jun. I can't bear to look back. Before my eyes, I saw this patchwork of forest flowers. When I left, I heard oriole crying, and it smelled terrible. ? The poet expresses the sadness of crying with "tears wet the soil" that can be seen and touched.
"All scenery words are sentimental words" (Wang Guowei): "I feel very sad and trance, just like a broken cloud flying low." ; "I saw the forest flowers scattered in front of me, and I heard the oriole crying sadly when I left." ? Both the flying broken clouds and the shrill cry of the oriole infected the poet's emotional color, and achieved "empathy for the scenery" here, reaching a situation of blending scenes. As Wu Qiao said in Qing Dynasty: "Scenery is spontaneous, temperament changes, emotional sadness means emotional sadness, and emotional joy means emotional joy."
(3) There are many poems in classical poetry that seem to simply describe natural scenery. In fact, it contains the poet's emotions such as joy, anger, sorrow, joy, love, evil and desire.
For example: Jiangnan Spring by Tang Du Mu.
Jiangnan, the sound of green and red flowers, the waterside village in the foothills. Four hundred and eighty halls in southern dynasties, how many towers are misty and rainy!
Four sentences in the whole poem are all about scenery, and four sentences are also about feelings. The last two sentences seem to be mourning? The decline of the Southern Dynasties actually implied the poet's mockery of the rulers of the Southern Dynasties' wanton building of temples.
(4) If love is sad, then the scene is sad; Love is music; Happy to write condolences, mourning Syaraku.
1. Say your love first, and then your scene will be very sad:
"Xianyang west tower at night? 》? [? Don? ]? Xu hun
Climb high and miss the ancient oil for thousands of miles, but the willows in your eyes are like Jiangnan. The red sunset is in the temple outside the temple, and the wind has not yet come, and the wind has already blown the buildings in Xianyang. At dusk, birds fly in the garden, and in late autumn, cicadas chirp in the leafy trees. Passers-by don't ask about the past, only the Weihe River flows eastward as always.
The first sentence pointed out the infinite sadness when going upstairs. Then there are desolate sandbars; As the sun sets, the rain comes, symbolizing the decline of the Tang Dynasty and answering the reasons for sadness. Only birds haunt in the green grass, and cicadas crow in the yellow leaves of Qinyuan Han Palace. Finally, don't ask passers-by. At present, only Weishui River flows from west to east in the hometown of Qin and Han Dynasties.
The whole poem reveals infinite regret for the decline of the Tang Dynasty empire. Write a sad mood with a sad scene.
2. happy:? Music expresses musical feelings on the spot.
For example: Meng Jiao's After Graduation;
"Past dirty boast,? At present, debauchery is excessive. See all the Chang 'an flowers in one day. "
"Spring Breeze" and "Spring Flower" set off the ecstasy of imperial examinations among poets.
3. Write sadness with happiness:
Du fu's quatrains:? The water waves in the river, the white feathers of waterfowl, the green and red flowers on the mountain are in contrast, and you want to burn. I watched it again this spring. When is the year of return?
"The birds in the river are white, and the mountains are blue and white." This is simply a landscape painting that should be gratifying. What a terrible time in spring, but when can I go home and reunite with my relatives? ? Write sadness with happiness-say goodbye to sadness.