Metaphor, personification and symbolism are often used to express a person's will.
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The customary law in poetry: the first lecture: from the superposition of proportion and image
Ai Qing has a poem called "To ulanova", which begins with a few words.
Soft as a cloud,
As light as the wind,
Brighter than the moon,
More peaceful than night—
The human body parades in space.
After watching it, people will marvel at ulanova's elegant ballet posture. What a vivid metaphor! If we look at another poem entitled "Girl", there are only two sentences:
Trembling rainbow
Collect bird feathers
I can't help feeling at a loss. Although the title is clear, what is the connection between the "trembling rainbow" mentioned in the poem and "collecting bird feathers" Why did you understand the last poem at a glance? People will answer, isn't it a metaphor? However, we can't help asking, isn't the girl a metaphor? We think that although it is also a comparison, there is a process of gradual expansion. In the poet's view, how beautiful is the teenage girl, but the first impression captured in the poet's mind is the trembling rainbow hanging on the horizon. However, at this time, it is obvious that the feathers of various birds flash in his mind, and then many feathers weave bright and dazzling flower feathers, which are actually one image superimposed on another. Although the communication means of this poem is still mainly "comparison", its basic skills are image superposition and instant impression compound.
In China's ancient poetry legends, the image theory has a long history, and it is rooted in the long-standing poetry creation. Liu Xie in Wen Xin Diao Long? "Meditation" says, "A craftsman who shines alone looks like he ran away." Hu Yinglin said in Poems: "The beauty of ancient poetry lies in seeking images". Fang commented on Du Fu's poems in Zhao Wei, saying that "no matter the size of the image, there must be realism", and Shen Deqian commented on Meng Dongye's poems in Talking about Poetry, saying that "the image is lonely and solemn, and there is no shortage of vitality". Image superposition is the most commonly used technique in China's classical poems. Ma Zhiyuan's poem "Tian Jing Sha? Qiu Si is a masterpiece in this respect:
Dead vines, old trees, faint crows,
Small bridges and flowing water,
The ancient road, the west wind and the thin horse,
The sun went down,
Heartbroken people are at the end of the world.
In Wen's "Walking in the Morning", so do chickens, Maodian, the moon, pedestrians, Banqiao and first frost.
The image in poetry is the fusion of meaning and image, and it is the embodiment of the author's subjective meaning and objective image. Liu Xie in Wen Xin Diao Long? Seeking gives a true description of the process of image fusion: "The poet feels things and has endless associations. When wandering around Vientiane, ponder the audio-visual area; The spirit of painting, not only with things; It is attached to the sound and lingering with the heart. Therefore, fresh peach blossoms look like willows, which is the capacity of sunrise; The shape of rain and snow, the sound of chasing yellow birds, the rhyme of grass insects; Bright sun star, a poor word, uneven, two words difference (even): and use less, use more, clear feelings. "He means that the poet activated his imagination when he was moved by external things, so his mind moved with the objects. It is in this interactive psychological activity that various vivid aesthetic images are produced. At this time, the "image" is by no means a metaphor, and the latter is similar to the referred relationship, while the former is not similar to the referred relationship, but equal. In image, the difference between signifier and signified has been lost, and signifier is signified. The two have been combined into a comprehensive body, and sensibility and concept (intellectuality) are completely condensed into a whole. It is an image full of words. " (1) A poem is rarely a single image, but a combination of a series of images, and its multiple combinations are like a montage of movies. The so-called montage refers to "putting a series of pictures together to form an abstract concept that can't be seen on any picture." The superposition of images in poetry is the most common way of image combination. It is the projection of one image on another image or the infiltration of multiple images. As a foreign poetry theorist said, "two visual images constitute a visual chord, and their combination implies a brand-new image." (3) This image is easily superimposed in Tang poetry.
For example, one of Du Fu's four quatrains:
"Two orioles sing green willows, and egrets cover the sky."
My window framed the snow-covered western hills. My door often says "goodbye" to ships sailing eastward.
Wei s Xixi Chuzhou;
Alone, grass grows by the stream, and orioles sing on the trees.
The spring tide brought the rain late and urgent, and there was no boat on the wild crossing.
Contemporary poets who are familiar with the superposition of images in classical poetry are even more handy. For example, the poet He Jiang wrote Variations on the Stars for the Star Art Exhibition held in Beijing in 1979. The painters of "Star Art Exhibition" and the poets of misty poetry rose almost at the same time in the literary and art circles and painting circles at that time, and both of them began their own reflection on the dehumanization of the Cultural Revolution in the media. The painters' great innovation and strong critical consciousness shocked the painting circle at that time, and obviously they were criticized by some people at that time. In view of this, the poet He Jiang wrote this poem as a voice for painters. The theme of this poem is like the fixed music in music:
If every corner of the earth is full of light
Who needs a star? Who will?
Gaze at the night
Looking for distant comfort
If every corner of the earth is full of light
Who needs a star? Who will?
Burning loneliness in the cold
Ask for a little hope
In the poet's view, the decade of the "Cultural Revolution" is like a long night. When will it end? At this time, people are eager for light, even a little light is good; The decade of the Cultural Revolution is more like a bleak winter, and its ruthlessness makes people yearn for the early arrival of spring, so the following images symbolizing spring are superimposed in the poem:
Who doesn't like spring?
Birds are everywhere on the branches.
Like falling stars all over the sky
The flickering sound came from a distance.
The clouds of white lilacs are hazy.
What a beautiful spring, it shows the resonance of hearing, sight and smell. Although this poem is hazy, people don't feel incomprehensible because of its obscurity. The reason is that people are familiar with China's classical poems and know the superposition of images like the back of their hands. However, we should also see that some new poems, as the superposition of images, are described as "dark and hazy" like Gu Cheng.
arc
Birds are in the high wind
(of a road) curve sharply
Teenagers are accelerating.
A penny
Vines born of fantasy
And an extended contact line.
The waves flinched.
And humpback
This is obviously related to people's mentality of reading new poems. Usually, people think that the superposition of images must be their similarity, but in Arc, the vehicles and targets in the four images are so different. But from the point of view of gestalt psychologists, this similarity should be broader, that is, although the appearance is different, it can still be considered similar. In their words, as long as the "literary strength" of both sides has an isomorphic corresponding relationship, such as the Song Dynasty poet He Note:
How much leisure do you have? Yichuan tobacco, city wind, plum yellow rain.
At this time, the structure of "worry" that He Zhu felt was isomorphic with the force patterns of "Yichuan Tobacco", "Mancheng Flower" and "Meiyu Season" on natural things in his brain, which was essentially similar. Second, performance and performance expansion have been mentioned, so I won't go into details. From this, we can see that the four images in the arc of poetry are all similar in an "arc". Under the background of the Cultural Revolution, what the poet wants to tell us is the cruelty and horror in the Cultural Revolution, which greatly distorted human nature. People don't want any love and affection except the life-and-death struggle. This external distortion (arc) and the internal distortion of human nature have different "force patterns". If we can understand the similarity caused by the above "isomorphism", people will appreciate the infinite artistic charm brought by the superposition of images in the poem "Ancient Temple" by Beidao:
The disappearing bell
Form a spider web, in a cracked column}
Spread into a ring
No memory, Stone.
Echo propagation in an empty valley
Stone, no memory.
When the path goes around here,
Dragons and strange birds also flew away.
Take the dumbbell off the eaves.
And unrecorded legends
The handwriting on the wall has worn out;
As if only in the fire.
To identify
Weeds are annual.
Growing up, so indifferent
Don't care about their obedient masters
These are the monk's cloth shoes.
Or the wind
Broken stone tablets support the sky.
Maybe with the eyes of the living
Turtles are resurrected in the soil.
With a heavy secret
Climb out of the threshold