1, spot dyeing
Dot dyeing is a Chinese painting term. When painting, some places are decorated and some places are dyed, so as to draw a harmonious and unified picture. Borrowing classical poetry means that the author points out his will in some places and renders it in some places. This is common in lyric poems describing scenery, usually dyed with scenery; Point out the feelings to be expressed in one sentence and one word. Rendering is to highlight the will, which leads to rendering, interdependence and harmony.
For example, Ma Zhiyuan's "Tianjingsha Qiu Si": "The old vines are faint, the bridges are flowing, the old roads are thin, the sun is setting, and the heartbroken people are in the end of the world." Among them, "heartbroken people are at the end of the world" is the key point; The rest of the sentences are "dyeing", which plays up the sadness of lovesickness.
For example, Liu Yong's Yulin Order: "Affection has been hurting since ancient times, and it is even worse to neglect the Qing Autumn Festival. Who knows where I am when I am awake tonight? Yang Liuan, Xiaofeng Canyue. " The first sentence is "point", which points out "injury"; The rest of the sentences are "stained" to render sad emotions. Li Qingzhao's "Slow Whispering" uses "it's warm at first, but it's cold", "three cups and two glasses of wine", "the wind is too late", "the phoenix tree is everywhere" and "it's drizzling" to express his sad mood. Finally, it uses "how can I get a sad word this time" to point out his sad theme.
In Wang Shifu's Farewell to the Pavilion, "Zhenggong" and "Righteousness and goodness" are preceded by "blue sky and yellow flowers are tight in the west wind, flying north and south." "who is drunk in the frost forest at dawn" is dyeing, and "all tears are leaving people behind" is the point. It's the same technique.
2. Virtual reality
The combination of reality and fiction is one of the important artistic techniques in classical poetry. The so-called "truth" is the part of poetry that can be grasped through visual and auditory senses; The so-called "emptiness" refers to the part of poetry that exists in human ideology. In other words, as far as the method is concerned, the details are true and the simplicity is virtual; Concrete is real, abstract is virtual; Evidence is truth, and false support is empty; Actions are real, but words are empty. As far as the object is concerned, the scene is real and the feeling is empty; Seeing is believing, and imagination is empty; Some are true, and none are empty; The obvious is true, and the hidden is empty; The present is true, the past and the future are empty; The known is true, the unknown is false, and so on. The combination of reality and fiction can give people endless imagination and aftertaste, and also make the poet's feelings more profound and full.
For example, Li Bai's Shu Dao Nan is a virtual reality. From the opening of Can Cong to the opening of five mountains, from the return of six dragons to the night cry of Zigui, it has created an amazing image of Shu Dao.
Li Shangyin's "Jinse" used the words "Saint Zhuangzi daydreaming, bewitched by butterflies, and the emperor's longing for love cuckoo crowed. The four allusions "Mermaids shed pearl-like tears at the moon-the green sea and the blue fields breathe their jade at the sun" are fictitious (past experiences, dreams, setbacks and so on. ), which made later scholars think deeply, was called "misty poetry" in ancient times.
Li Yu's "Young Beauty" asks how much sorrow you can have, just like a river flowing eastward, but it turns the abstract "sorrow" into a concrete and sensible river, which is fresh and wonderful and memorable.
3. Density
The density of poetry mainly refers to the density of describing people, things, scenery and things. Density, density. Sparse people outline a big outline, focusing on vividness; The secrets are mostly described in detail, with emphasis on laying and rendering. In poetry, sparseness is conducive to writing big scenes and secrecy is conducive to writing small scenes; Among the lyrics and songs, the graceful ones are more dense; Unrestrained people are rare.
However, in a poem, the poet sometimes uses the combination of density and density to form a certain artistic conception, such as Du Fu's Ascending the Mountain, "The wind is urgent in the sky, and the birds return to their nests on the white sand in clear lake. Leaves fall like the spray of a waterfall, and I think the long river always rolls forward. The first two sentences are three images: the wind is rushing, the sky is high, the apes are whistling, Zhu Qing, the sand is white and the birds are flying, which are dense and impatient. The last two sentences "falling wood" and "Yangtze River" have images, which make the images rare and sparse. From the aesthetic point of view, there is a sense of tightness due to density, and there is a sense of looseness due to density, which brings psychological pleasure to the viewer; The author created this dense artistic image, and put the unique autumn scenery in a grand background, which set each other off and gave people rich imagination space.
Another example is Wang Wei's "Autumn Night in the Deep Mountains", which stands in the autumn night after the rain. The moonlight is in its pine forest, and the crystal of the stone is in its stream ",which is also deeply profound." The first two sentences explain "empty mountain after rain" and "autumn night", and when writing environment and time, it can be said that it is sparse and refined; The last two sentences are written as bright moon, pine and cypress, moonlight, clear spring, stone and splash, with rich images; One is macro-open, the other is quiet, which is really refreshing.
4. Exercise
The dynamic and static state of objective things gives the poet a lot of inspiration for his creation. They often combine the dynamic and static description of things, so that they can see the dynamic in the static and the static in the dynamic. Dynamic and static are complementary and fun.
For example, see "Night Book on the Ship": "See the fishing lamp in the dark of the moon and Takegawa Hotaru in the lonely light. Slightly stormy and scattered all over the sky. " The first two sentences are static, while the last two sentences are moving, giving people wonderful reverie.
Wang Wei's "Bird Singing Stream": "People are idle and osmanthus flowers fall, and the night is quiet and the mountains are empty. When the moon comes out, it surprises the birds and sounds into the spring stream. " The movement of flowers, moon and birds highlights the tranquility of the spring stream.
Du Fu's quatrains: "Two orioles sing green willows, and a row of egrets go up to the sky. The window contains autumn snow in Xiling, and the Wu Dong Wan Li boat stops at the door. " Write the first two sentences and draw a beautiful picture; The last two sentences are silent, with a wide space and a long time, but they are also silent and moving, which is the poet's thinking for thousands of years and seeing Wan Li's movement.
Li Bai's "Looking at Tianmen Mountain" is even more exciting, and the magical movement of water is written with "Tianmen breaks Chutian", which is magnificent; And with "Higashi Shimizu flows to this back", the mountain is majestic and steep, and it is quiet; Then write silence with "the green hills on both sides of the strait are opposite", and there is movement in silence; "The solitary sail comes from the side of the sun" is about moving, and there is silence in moving; Dynamic and static contrast, that is, strength confrontation, but also can live in peace, it is really like God's help!
Step 5: Shadow
In painting, shade mainly refers to the depth and lightness of color. In literary creation, it mainly refers to the color of language. Thick, heavy and colorful with a pen, gorgeous; Light, plain pen light writing, not carving. As far as writers are concerned, some pursue simplicity and some pursue richness; Some are the combination of shade and shade, which set each other off and receive vivid artistic effects.
For example, Wang Anshi's "Gui Zhi Xiang Jin Mausoleum Nostalgia" describes the magnificent scenery of Jinling, and describes autumn scenery with "like training", "Qingfeng", "sunset" and "floating clouds", with gorgeous language; The next film sighs that the six dynasties are contending for luxury, and the language is plain; The contrast between thick accumulation and thin hair has effectively strengthened the far-reaching thinking of politicians to see the present and learn from the past.
Another example is Li Qingzhao's A Cut the Plum, in which the words "red lotus root", "jade hairpin", "Luo Shang", "blue boat", "brocade book" and "full moon" are written in the previous film, with strong colors; The next film is about "flowers", "water" and "leisure", and the color is lighter; The contrast between shade and shade fully renders and expresses the poet's lovesickness; "Thick" can't solve her troubles, but "light" makes her feel worse.
6. Elegance and vulgarity
Elegance and vulgarity is an art of using language. "Elegance" means elegance, and "vulgarity" means vulgarity. Proper use of elegant language and common sayings in poetry will make both refined and popular, and enhance the artistic charm of poetry.
For example, in Zhang's "Goat Tongguan Nostalgia", the first seven sentences say that "the peaks are like gathering, the waves are like anger, and the mountains and rivers are like Tongguan Road. Seeing Xijing, which means embarrassment, is sad during the Qin and Han Dynasties, and the palaces and palaces are all made of earth, which is more elegant; The last two sentences, "Xing, people suffer! Death, people suffer ",which is more popular: this way, from vulgarity to elegance, fully expresses the poet's concern for people's suffering."
Another example is Bai Juyi's poem "Recalling Jiangnan", which is well-known for "Jiangnan is good and the scenery is old" and "Can forget Jiangnan"; And "sunrise is better than fire, and spring is as blue as blue", which is elegant. Without elegance, you can't write the beauty of Jiangnan; If you don't use vulgarity, you will lose your intimacy and unique yearning, which can be said to complement each other.
7. Smart and clumsy
Cleverness is also the art of language use. "Clever" is clever, "clumsy" is simple and clumsy. The combination of the two can often achieve unique and intriguing artistic effects.
For example, Jiang Kui's Yangzhou Slow: "The Twenty-four Bridges are still there, the waves are swaying, and Leng Yue is silent." The first sentence is simple, and the last two sentences are skillful. Without the former, the latter two sentences lose their support; Without the latter, the former sentence loses its proper expressive effect: consistency, a sad scene suddenly emerges and a feeling of regret flows.
Another example is Zhou Bangyan's "Su Curtain Covering": "On the leaves, the rain is dry in Chuyang, the water surface is clear and round, and the wind and the load are at one stroke." It is relatively simple to write in the previous sentence that the sun rises and the dew gradually dries; In the last two sentences, the water is green, the wind is blowing the water, and the swaying leaves seem to be constantly holding high. It is very clever to use a pen.
8. Straight
Flexibility and straightness are two ways for poets to express their feelings. "Qu" is graceful and subtle, while "Straight" is straightforward and clear. Generally speaking, poets like to be subtle and tactful when they are calm, and they will call a spade a spade when they are emotional. In real life, the author's thoughts and feelings are often complicated and changeable, so he always uses both music and straight lines to express his feelings in his works, striving to make music and straight lines complement each other and suit his heart.
For example, Li Bai's "Climbing Mount Tianmu in a Dream" describes a fascinating fairyland, clearly describes the yearning for fairyland, and secretly writes a strong dissatisfaction with reality, which belongs to the "bending" technique; At the end of the poem, he shouted, "Oh, how can I solemnly bow and scrape to those people with high status and important positions, because they will never be seen with a sincere face!" " This is "straightness", which has always shown the poet's frank and lovely personality to the fullest.
Bai Juyi's Pipa Trip, although formal and straightforward, lacks Li Bai's frankness, but mainly focuses on music; He wrote about the life experience of pipa girls, which directly showed sympathy for the lower geisha and working people, but twists and turns expressed his deep understanding of reality and strong dissatisfaction with the world after political setbacks. He said that his experience was "straight", but he still expressed it so "curved" that he didn't tell the whole story, only complaining about the same feeling. The use of twists and turns and frankness is related to the poet's mood, which is really intriguing.
9, recessive and dominant
"Hidden" and "obvious" are also two ways for poets to express their feelings. "Implicit and explicit" and "straight and straight" are very similar and often linked together, because songs are implicit and straight are obvious. Poets often use vague words and take tortuous ways when expressing their thoughts and feelings hidden in their hearts but inconvenient to express; Others are generally expressed more directly and clearly.
For example, in Zhu Qingyu's "To Secretary Zhang on the Eve of the Examination for Political Affairs", it is obvious that he was not confident before the examination and was full of expectations for success. He looked forward to Zhang Ji's help, but obliquely asked the groom, "Is the thrush deep?" It can be said that it is hidden and wonderful.
Another example is Su Shi's "Jiangchengzi" (ten years of life and death), which clearly expresses the feelings of mourning for his dead wife and vaguely expresses the feelings of political frustration, which can be said to be hidden.
10, clutch
Clutch is a dialectical expression of digression and getting close to the topic. Write the topic directly, and the content will be cramped; Wave away the pen and ink, and the content will deviate from the theme. Clutch is to pay attention to the harmony between direct writing and side writing, positive writing and side writing, and both side writing and side writing should serve the positive writing and topic, so that the meaning of the poem is coherent, seemingly continuous and swaying. This technique is very prominent in reciting things, because the ancients advocated that reciting things should strive to be "inseparable."
For example, Su Shi's Hidden Dragon: "Like a flower, no one repents. Throwing it on the side of the road seems heartless, but it is full of affection. It was she who was injured, euphemistically confused, trying to open her mouth but closing it tightly. The dream floated in Wan Li, looking for a place to go, and was called by Yingying. " From the beginning, I got down to business and recited Huayang with ruthlessness and thoughtfulness, and then Huayang gave birth to the image of thinking about women. People and flowers, things and feelings are inseparable, and chanting things without leaving things has reached a superb realm.
Of course, there are many dialectical expressions of poetry besides those mentioned above, such as "size" in angle, "abrupt nature" in content cohesion, "speed" in syllable rhythm and so on.