First, the inherent meaning and extension of flexibility
Life is inseparable from distance.
In the distance, there are friends waiting.
Another friend came from afar.
my friend
Every one of you.
It's all my festivals
-Miss by Shao Yanxiang
At first glance, the language is plain and no exaggeration, but it is this plain that makes the wine look clear and transparent and has a strong texture. The distance here not only refers to the geographical distance, but also includes the emotional distance, which goes far beyond its original meaning.
Readers can have various extensions in chanting body odor. The emotional friendship between friends is mainly based on the common word "festival", but its connotation is infinitely extended, which reminds people of all kinds of joy, sweetness, harmony, liveliness and excitement of friendship and feelings ... "Distant" and "festival" contain such capacity without any modification, mainly because of their own "expansion coefficient".
Secondly, the combination of images gains flexibility.
Play/along the vine-like path in Yuan Ye/the bamboo forest after the rain/the green poem/along the golden beach in May/the early tide swept/the wind turned from nature to society. ...
Wind, young wind
Burning pain
The surface of the earth
Blood, in the dredged river
Pentium up ...
-Kong Ling has a "juvenile style"
Through lyrical imagery, the poet gradually expanded the connotation of "wind" and finally surpassed its original specific scope. This group wind is no longer the surge of nature in May, but has hinted at the ideological emancipation movement of social ideology, the wind of democracy in politics and even the wind of reform in the economic field.
If the author only relies on the rich meanings of words and doesn't do extensive excavation in extension, although the focus is also concentrated, the strength and thickness are obviously not enough.
The poet's comprehensive flying skills, with the help of multi-angle image expression, "fermented" and "expanded" the inherent potential elasticity of its core, allowing it to fully eject, making this young "wind" thicker, bigger and fiercer, and gaining a wider meaning, so that finally "wind" completely broke free from its elastic limitations and was obviously promoted to a symbol.
Thirdly, the appropriate "variant" grammatical rhetoric gains flexibility.
If Bitan is more glass.
You can look at my sad silhouette.
If the bilge is dirtier.
My sadness will disappear.
-Bitan in Yu Guangzhong.
According to the usual writing, it should be "Bitan Lake is as clear as a mirror" and "boat is like a boat", but here, Yu Guangzhong regards "glass" and "boat" as nouns with ulterior motives and omits prepositions.
Properly "twisting" the grammar "neck" makes the sentence have a dazzling and strange ingenuity, and shows the beauty of simplicity. This kind of sentence that focuses on inward concentration often forms a strong outward rebound.
Even the clever change of quantifiers (the position of words) will suddenly make the language powerful:
Withered love
If you turn a flower into a silk, a piece or a pile, love will be dim, because it is usually associated with flowers, and the image of flowers is usually left by experience and habits. At this time, a flower is suddenly associated with love, and love will naturally gain the image of a potential flower in the viewer's mind. Tools are completely concrete with the change of quantifiers.
Another example is:
"Open a rainbow tree"
"Build a wall of huge waves"
"A cup of warm comfort"
"a warm current"
Explain that the part of speech has changed slightly, (morphological changes, pen names, etc. Even the change of a word helps to strengthen the flexibility of the language. Look at a word from Yang Lian:
The flickering lips turn into thousands of palms/raise a loud kiss//raise the wings that have just been written/
According to the analysis of common grammar textbooks, how to hold a kiss in your palm and fly high? No, absolutely not-either the host and guest are improper or the guests are talking nonsense. In order to gain flexibility, the poet deliberately distorts grammar, so that "kiss" and "soar" are no longer just verbs, but full of metonymy in the noun sense.
To clarify the transformation and metonymy of this meaning, then "holding up" happiness is the implicit extension of the poet. The capacity gained by bypassing the logical structure of surface grammar and extending the meaning from the poetic core is indeed what the general novel prose language hopes.
Fourthly, the classic "refined language" is integrated to gain flexibility.
China's classical poems have been forged for thousands of years, and there are many energetic classic words. Introducing its syntactic refinement into the melting pot of modern poetry properly should also achieve rich flexibility.
Hao Hao Ming said
Throw it into the mouth of the dragon of the East.
Riding a dream
Ride away in a dream
The eastern moon is a knight.
Excellent riding skills
Riding spirit
-Li Gang's "Oriental Moon"
Dynamic "dream riding" is really wonderful! How many cliches and contents have been swept away by the word "riding a dream", which has the power to carry the tripod and ride brilliantly; Riding shows the abstraction in spirit and dynamics, and truly achieves the extensive meaning of words. Omitting the melting riding form of "riding a dream" not only makes you feel thin, but doubles your appearance in austerity.
Many poets in Taiwan Province Province have also made considerable achievements in this respect, such as Roman's A Comprehensive Review of Persimmons.
Persimmon is written on the breakfast table:
Give me/put a photo.
Posture outside the cold mountain at sunrise.
Write the persimmon on the bed:
To me/pose as if the river is setting the yen.
What is the state of "sunrise outside the cold mountain" and "long river setting yen"? Different time and space, different moods, there must be many answers. The poet's abstract and concrete "copying" is really thought-provoking, and this is the beauty of density formed by clever use of classical vocabulary, and its richness is self-evident.