The artistic characteristics of Huang Tingjian's poetry are reflected in the following aspects: (1) The strict planning and structure of the poem. Fan Wen of the Song Dynasty quoted Huang Tingjian's words from "Qianxi Poetry Eyes": "The article must be arranged carefully. Whenever I see the disciples, they often tell me that the meaning of "Yuan Dao" is tortuous." The poetry of the Song Dynasty has a tendency of prose, and Huang Tingjian also used the method of writing articles. In poetry creation, it is required that clues can be found from top to bottom of the article, and each sentence and paragraph should be arranged properly. But this "arrangement" is not about a rigid format like the trial post, the "origin, inheritance, transfer, and integration" of the village pedant, but about twists and turns. "Strangeness and righteousness come together", rich in law and helplessness, and finally reach the state of "no intention in literature". When we read pornographic poems, we often encounter this situation: the author's train of thought seems to have suddenly stopped, and the upper and lower sentences, and the front and back paragraphs cannot be connected. This is just like the montage technique in the movie, where the camera changes suddenly and the scene suddenly changes. But there are still some internal connections among them, and we need to use our imagination to make up for it. In this way, literature becomes more concise and poetic.
(2) Pay attention to rhetoric and sentence making. Huang's poetry has its own special syntax, which was passed down from Du Fu's lineage. I like to make awkward sentences. In terms of sentence structure, it does not follow normal grammatical rules, reversing the order of subject, predicate, and object, or deleting some sentence elements, or condensing two meanings into one sentence, so as to make the meaning of the sentence twists and turns, the style of the sentence is ups and downs, and the reader is confused. Make a lasting impression. For example, the famous lines "When the wind and rain are extremely strong, I know that the chicken will wake up, and the snow and frost will compete with the fungus for years" ("Zi Yun Ji Zi You"), "The yellow stream cannot understand the bright moon, and the green trees will give me a cool autumn" ("Bian'an Wine Gift") "Yellow Seventeen"), etc., are all good examples. Huang Shi attaches great importance to word refinement, "Placing one word is like a key to closing the door", the third word of a five-character poem, the fifth word of a seven-character poem, and even requires new police work to be stable. The words are placed powerfully and there is "eye" in the sentence, which makes the sentence look steep and steep, and the whole poem is full of color. It is also necessary to refine the virtual characters, especially the use of connecting virtual characters, so that the writing can be smooth and consistent.
(3) Pay attention to the refinement of couplets in verse. The people of the Tang Dynasty had already put a lot of effort into antithetical couplets. There were many neat, exquisite and popular couplets in Tang poetry. If the people of the Song Dynasty wanted to overcome them, they had to create new methods and come up with new ideas. The couplets in Huang's poems are natural and vivid, and some of them look like prose at first glance, not like couplets at all. But if you carefully understand them, you will feel that the words are precise and have a unique charm. For example, "The leaves are only a hundred miles away after dancing in the sun, and the bastards are divided into young men" ("The Same Year as Pei Zhongmou"), "Sitting in the Qing Dynasty and singing spring rain songs, missing my lovesickness thousands of miles away as the setting sun fades" ("Replying to Wang Huizhi When He Climbs the Tower to See Mail"), etc. It is the so-called "the spirit of singing is carried by the occasional sentences".
(4) It has a special musical beauty. The melody and emotion of poetry are consistent, and special styles require special melody to express them. There are many sentences in Huang Tingjian's rhymed poems that do not conform to the "formal" style. They do not form sentences according to the oblique and oblique rules stipulated in the rhythm of poetry. "The method is to change the flat characters with oblique characters to make them stand out." This kind of awkward sentence, Used well, the sound and emotion are both eloquent, and the beauty is even more beautiful in the "disharmony", such as "The guest in the mountain has been sitting for a long time in the light rain, and the Yangtze River has been late to pick up the sky" ("Ti Luo Xinglan Yixuan", "Talking and Writing") "Ten thousand words, three hundred cups raised with white eyes" ("Old Inscription on Crossing the Square City to Search for the Seventh Uncle"), etc. When we recite it, we will naturally feel the special beauty of its rhythm. In this way, Huang Tingjian worked hard, deliberately surprised, and used his unique style to achieve his goals. His writing method of "creating the strange and the right", his syntax and calligraphy of "using the old to make the new", and his sinister music have formed his own unique artistic style. ", "deep and penetrating", "old and hard" poetic style is called "Huang Tingjian style". Huang Tingjian contributed to the development of Chinese poetry in eradicating the weak and elegant poetic styles of the Five Dynasties and the early Song Dynasty.
On poetry, Huang Tingjian advocated the methods of "no word has its origin" and "turning iron into gold" and "reshaping the body", which had a certain influence on the Jiangxi Poetry School's advocating thinness in the Song Dynasty and even later poetry circles. The hard style requires each word to have its origin, and often adopts the poetic style of the predecessors but slightly changes the words, thinking that craftsmanship is the result of inheriting Huang Tingjian's legacy and intensifying it. Huang Tingjian paid too much attention to the technical form of poetry, and ignored the most essential thing of literature and art. ——The ideological content of the work, so no matter how hard you try to introduce the old and bring out the new, practice words and sentences, and peel off the words and outdated tones used by others, in fact you are just filling the old wine of your predecessors in your own new bottle. He got deeper and deeper into writing techniques, and some of his poems were stiff and weird, or too convoluted and obscure, so that they became antiques that could only be appreciated by a few people.