Contrast image
The construction of poetic emotional images attaches great importance to the dialectical handling of the relationship between direct and flexion, sadness and joy, right and wrong by using comparative figures of speech. The so-called contrast image is to combine words, phrases or sentences that are semantically, emotionally and associatively opposed and contradictory, take the contrast figure of speech as the presentation form, take the construction of images as the aesthetic purpose, and make the two images emphasize, contrast and conflict with each other, thus strengthening the poet's certain meaning, emotion and concept. [4]
Yu Guangzhong pursues a variety of image construction methods in his poetry creation, among which there are many contrast images. For example:
(1) A song, reciting that life was once a melon and bitter.
Be extradited forever, and the result will be sweet.
(white jade bitter gourd)
Whenever a storm sweeps across the Central Plains.
I can't help thinking of historical sites.
(The Tempest)
(3) Such endless quilt.
The dragon in the wandering world is called the mainland.
A strong man climbs a mountain, which is called Kyushu.
Heroes in distress call it Jianghu.
(Ten Years of Mountain Watching)
The above 123 poems use the artistic techniques of time and space expression and imagery to form a rich hierarchy of time and space structure and psychological structure, with endless meanings. The authors of these poems used the contrast of spatial images.
In "Climbing the Great Wall-Mutianyu" [5], the author of "The East is all over the sea, and the West is all over the world" forms a bipolar tension in the mind of the receiver, which condenses a subconscious feeling of soul returning to China's long civilization. Here, the author compares the dynamic direction of the image, which makes the opposite movement form particularly striking, because its reversal forms a bipolar tension in the mind of the receiver.
The four sections of the poem Homesickness represent the four seasons of life, namely, adolescence, adolescence, prime of life and middle age, and reflect people of different ages' yearning for the motherland. Here, through the coexistence of time and space contrast, the aesthetic effect of two kinds of contrast is achieved, that is, the abstract time image contrast becomes visible through the presentation of space image contrast, and the space image contrast becomes more profound through the contrast of time change.
If there is a war in the distance, like Double Bed, is about a lover who realizes the war in the distance. So the theme structure of this poem is also based on the contrast between love and war. People in love say, "We are in bed, and they are on the battlefield." [6] Bed is not only a place of love, but also a bed of death for poets who are hurt by war. "Look at me in bed/lack of hands, feet, eyes, gender ..." [7] Poetry is intertwined with the opposition between war and love, people in love and people in war, and individuals and human beings. This is manifested in the poet's empathy and sympathy, which is a typical example of Yu Guangzhong's superb skills in using contrast images in his poems.
In a word, it is through the tension formed by the conflict of opposites and contradictions that the contrast images balance each other and create aesthetic effects. Zhang Li's pure words belong to the original temperament of poetic language. Because of the colorful existence of contrast images and Yu Shi's efforts in the application process, I only give the above examples to illustrate.
(B) Symbolic images
The imagery thinking of "rejuvenating the country by feeling things" embodies the internal relationship between China's ancient poetry and modern poetry in the ontology of poetry. Modern poetry relies to a great extent on the traditional way of thinking of feeling things and revitalizing society because they feel the connection between "xing" and "symbol". The influence of modernist image poetry is often reflected in the metaphorical structure of symbolic images or metaphorical image thinking. This image metaphor does not imply emotion, but implies life experience or life experience.
The poet in Baiyu Bitter Melon has a unique vision. His heart trembled when he saw a beautiful jade carving treasure in the Palace Museum. In the eyes of poets, it is not an ordinary cultural relic, but a cultural treasure that condenses national history and wisdom. It sucked up the milk that was fed and fed in ancient China, no longer bitter and mature, and became a symbol of national culture. Bitter gourd is the motherland and itself. The roots of bitter gourd are deeply rooted in the soil of the old country, sucking the "kindness liquid" of the motherland. The poet is not crawling on the chest of the motherland, asking for the "kindness liquid" on which to grow. From the "bitterness" of "Bitter Melon", the poet associates with the history of national suffering in the past hundred years. Yu Guangzhong thought of natural bitter gourd from the bitter gourd of jade carving art in front of him, and was linked with the fate of the motherland. In the construction of image, it can be said that it is ingenious. Another example is calling:
Just like when I was a kid.
In the cauliflower field behind the house
Play until dark
The sun went down and the sweat was cold.
It seems to be heard all the time, far away.
Mom called me.
The sound of eating dinner
I can imagine my old age.
The sun went down and the sweat was cold.
In an ancient house with a history of 5000 years.
Just light a lamp.
There's a phone call.
More comforting and moving than hours.
Far away, call me home.
This poem is expressed in poetic language, and this lamp is obviously a symbol, symbolizing the excellent traditional culture of China for 5,000 years.
In a word, image is an element of poetry, and poetry is composed of images. The splicing, combination and transformation of images combine scattered, isolated and unclear images into an organic whole, which is the whole process of poetry creation. The artistic conception of poetry is the combination and sublimation of images. The ultimate goal of poetic imagery movement is to create artistic conception-a whole aesthetic form. Yu Guangzhong always manages the beauty of images. The reason why Yu Guangzhong's poems are evergreen in contemporary poetry circles is inseparable from his pursuit of image construction.
Second, the presentation of image beauty.
Yu Guangzhong opposes outdated images and seeks novel, unique and fresh images from his aesthetic feelings. Yu Guangzhong boldly tried a new way of combining Chinese and western, ancient and modern. Liu Xie said: "A craftsman who takes pictures alone is lucky to get a glimpse of the image;" This is the first skill to cover the text and the end of the article. " [8] The lasting charm of a work of art lies in its originality, whether it is a common image in traditional poetry or a vivid image. Once the poet's art is washed away, it presents a modern outlook on life, outlook on life and cosmology, full of modern rational beauty and poetic beauty. In his works, we can see a variety of image types, some reflect people and things around the poet, some express modern western civilization, and some are full of the charm of China traditional culture, such as the ancients, ancient events and ancient scenes. The following is illustrated by several representative pictures.
(A) "Lotus" image
In Yu Guangzhong's love poems, lotus is his favorite thing to sing. Since ancient times, "Lotus" has been the ideal of Oriental Beauty. In the poet's view, lotus is a symbol of beauty, love and God. For example:
As long as there is in the pool, as long as there is in summer.
A petal of red, why did I meet you?
Lotus is the nickname of Pearl Krabs, and Lotus is Pearl Krabs.
Read Pearl Krabs, and meet people when you meet lotus.
(Forever, Wait)
It doesn't matter whether you come or not, but do you think
Every lotus is like you.
Especially through the dusk, through the drizzle.
Waiting for you in the rain.
Example 1 and the image of "Lian" in Example 2 is vivid. In the evening drizzle, we are familiar with and kind to "her" from Honglian. "She" is a pure, simple, gentle and affectionate China's My Fair Lady.
Repeatedly: "A poet only pursues a few central images in his life. Cezanne's apple is cold, Van Gogh's sunflower is hot, my lotus is hot and cold, in the middle of the water ... For me, lotus is a comprehensive symbol of beauty, love and God. " [9] In the aesthetic sense, it is naturally reminiscent of the sentimental lotus picking girl. Furthermore, from a religious point of view, lotus flowers mean "pity" to people. From the visual pink lotus to the imaginary beauty, and then to the eastern gods, this association makes people appreciate the beauty of traditional culture. Lotus is from Ling Bo, with the indelible beauty of the classical East, in the poet's eyes, heart and dreams. The poet used this central image to write all the feelings in this life and the Covenant in the afterlife.
The collection of poems "Association of Lotus" pushed his creation to a new height, which marked a new breakthrough in his creation. It exudes classical fragrance and modern flavor, and has the unique charm beauty of oriental art. The simplicity, beauty and uniqueness of lotus flower coincide with Lao Zi and Zhuang Zi's indifferent attitude towards everything. It is this aesthetic thought that Yu Guangzhong creatively cultivated a modern "lotus" with classical fragrance.
(B) the image of "fire"
Among Yu Guangzhong's poems, his poems, such as Fire Bath, Tian Wen, Nine Cats, Remember Those Eyes, and The Piano Player, are composed of two poles full of opposition and coexistence from the superficial meaning of images. But from a potential point of view, they all point to the regeneration and renewal of life. On the other hand, the overall structure presents a trend centered on the image of "fire". In these poems, "fire" is not only the medium for the active creation of life ontology to realize the transition from extinction to rebirth, but also melts into life and becomes the soul of life. Therefore, to grasp and understand the rebirth and eternity of life in Yu Guangzhong's poems, we must grasp and understand the "fire" image in his poems. Such as "thinking of those eyes":
(1) Think about it, those black diamonds.
Focus on you, those long shadows
Lift it up to keep you warm.
On a cold night, I want to ask you for it.
Seeking fire, the meaning of seeking fire
……
Think of those eyes, alas, the soul.
Your fire can't be put out
Forever, ever, ever.
The "eyes" in the example refer to young college students, and the "you" in the poem refers to the poet's self-image. The reason why I am willing to "burn yourself, your soul and everything" in the poem is because he found in those young people who "beg for fire" from themselves that his self-immolation does not mean the end of the prototype of life. Another example is "I often find":
(2) Children in the Anti-Japanese War also have reflections in their eyes.
But I hope it's not sunshine, but fire.
……
But from the reflection in her eyes, you can be sure.
The world she saw was better than what I saw.
(2) The case revolves around a reference form of "fire"-the expansion of light. Light is the greatest gift that the universe brings to mankind. However, the light reflected by the poet's childhood eyes and the poet's daughter's eyes is quite different in external form: fire is connected with the past, and sunshine is connected with the present. Although my childhood disappeared, it was continued by my daughter.
(3) Ancient images
Wu Sijing pointed out in the Basic Principles of Poetry that ancient poets in China liked to use the method of reversing the verdict, and Yu Guangzhong used this method to completely transform the classical image. Since The Classic of Mountains and Seas came out, the mythical "Kuafu" has been endowed with the traditional symbolic meaning of persistent pursuit. Yu Guangzhong's Kuafu in Kuafu is different:
Why try to save this night?
That's just the back of the sunset.
You don't have to lick Ozawa and Changhe.
That's just the reflection of the sunset.
Instead of chasing the endless sunset.
Buried in the cold embers of purple mist
Why not turn around and wave?
Facing the newly blooming sun.
Kuafu in this poem is endowed with distinctive modern color by the author.
Another example is the image of "bluebird" in Red Bean, which is a mythical bird that sends information to the Queen Mother of the West. As for love poems, there is a classic poem titled Untitled by Li Shangyin: "Pengshan has no road, bluebird, and listen! -Give me what she said! . "[10] Facing the love of modern people, the poet used" stamps "instead of" bluebirds "to send away the distant lovesickness. The infatuation in the Tang Dynasty and the love in the 265,438+0th century are linked by these two images. Poets express modern feelings through traditional images, which makes their poems take on a brand-new meaning. In other works, we can also find ancient images such as "tired grandma", "Peng Zu", "Pangu", "Cowherd" and "Weaver Girl".
In addition, Yu Guangzhong's ancient images also excavated the unique image types of ancient images. Such as Reading Dongpo at Night, Death of Xiang, Stabbing the King of Qin, and Playing Li Bai, he pinned his feelings and experiences on ancient literati, chivalrous men and others. In addition, Yu Guangzhong also included Jesus and other ancient Western figures in his own image.