1. Flexible use of abstract thinking and image thinking Let's first analyze the thinking process in poetry creation. Any poem reflects the author's interest, reflects certain emotions, and is expressed through certain images. This kind of interest and emotion are abstract things, which the author summed up again and again through his own actual feelings. The destruction of the country, loneliness, hunger and cold … can all increase a person's sadness. Since this abstract emotion comes from all aspects of life, the reverse is also true. Poets will reflect this emotion through different events, environments and objects, and each refraction will be slightly different. Today's sadness is different from yesterday's sadness, and the sadness here is different from the sadness there. Most of Li Shangyin's poems are sentimental, but each poem leaves a different feeling, which is also the inevitable result in the process of thinking. It can be seen that poetry tells people not a single logical understanding. Therefore, it is difficult to grasp and exhaust the artistic conception of a poem in sentences, and different people may have different interpretations of the same poem.
A touching poem should be the result of the poet's flexible use of abstract thinking and image thinking. In order to properly integrate the specific environment and objects into the poet's taste and emotion, so as to achieve harmony and unity, abstract thinking and image thinking must be used at the same time, both of which are indispensable. It's just like an actor's acting. On the one hand, he should blend into the role and experience the emotional changes of the role. On the other hand, he should keep a clear head and know that he is acting, so as not to lose proper limit. Poets write poems both in reality and above reality. We should not only keep a conscious sense of the objective environment, but also add feelings to the real image. This method of poetry creation embodies the combination of reality and reality in thought. Li Shangyin's poems are unique in this respect. Although his poems are full of leaps and bounds, one is a description of reality and the other is a psychological feeling, but the two can not be separated.
For example, "You said you would come, but you didn't come, and you left me no trace except the moonlight on your tower at five o'clock". The first sentence is about the psychological feeling of dreams, and the second sentence is a description of the real environment when you wake up from dreams. This transformation between reality and reality is very appropriate, and it is also a reflection of the poet's true thoughts. One virtual reality contrasts with the other. Another example is "Moon Sorrow in the Rain", which also abstracts thinking into images. According to the actual situation, the scene in the rain and the scene in the moon are not together, so it is difficult to reproduce the moon when it rains. Putting these two scenes together is the result of flexible use of abstract thinking, which can enhance the weight and appeal of poetry.
2. Pay attention to the diversity of materials and conciseness of expression. People's thinking is the result of subjective and objective interaction. The generation of an idea requires both external things to act on the senses and further processing by the brain. That is to say, on the one hand, the poet's subjective feelings need to be enriched, on the other hand, objective things need to be enriched. This objective thing should include both immediate things and past things-allusions. The more you master objective things, the more active your thinking will be. This active thinking and strong rendering constitute the uniqueness of Li Shangyin's poems. The use of allusions in Li Shangyin's poems should be a positive measure to broaden his poetic ideas and horizons. The key point is that later generations are not very clear about the allusions at that time, so they find it difficult to understand Shi Li. This can't blame Li Shangyin. If the word "Yi Meier" appears in the poems of modern poets, then the ancients will be confused.
Although the allusions quoted in Li Shangyin's poems are difficult to understand, his allusions are not shy and can naturally appear in harmony with the poems. Although his poems use allusions, it does not prevent them from being concise and fluent. Li Shangyin's poems have a concise beauty, which is necessary. It is convenient for readers to intuitively grasp the main emotions in poetry and achieve the artistic effect from shallow to deep. For example, "But the magic mountain is out of reach, and you are on that side, beyond Wanfeng", even if you don't know the story of Tiantai Mountain meeting the fairy Liu Chen, you can feel the feeling of being away from the crowd. Another example is "Chu Tian Huang Yu, Song Yu has no worries." Even if you don't understand the story of Song Yu and Wushan Goddess, you can feel the worries brought by rainy nights. The obscurity of the content does not affect the simplicity of the appearance.
3. Strengthen the strong color and rhythm of poetry Another feature of Shili poetry is that it has a strong color display. Experts say he is good at writing sadness and sadness in beautiful sentences.
Generally speaking, people who write poems often use dim colors to set off their dull mood and emphasize the consistency of scene blending. This is also a logical approach, and the consistency of this situation is also easy to mobilize the emotions of the author and readers. But Li Shangyin is not. He uses beautiful sentences to write desolation, that is, he uses contrast to express his feelings. This is also in line with people's psychological experience. When a person is in a bad mood, the more he hears laughter, the more upset he is. In the same way, Li Shangyin skillfully mobilized this feeling with color contrast.
In fact, objective things are inherently dual. The lightness of color, the joys and sorrows of thoughts are all objective things, but people's attention is diverted. Li Shangyin describes desolation with beautiful sentences, which is a psychological portrayal of an unlucky and talented beauty. This contrast and contrast can cause * * * sound, more infectious. For example, "golden emerald" and "embroidered hibiscus" are beautiful words, representing beautiful things. But this beautiful thing, however, has the shortcomings of "wax light half cage" and "musk fragrance slightly smoked" Another example is Moss and Mangrove, which is also a set of strong color contrast, but also fell into loneliness and sadness. There is also a big leap in the poem, which reflects the injustice in the poet's heart, and this expression also constitutes an integral part of the beauty of appearance.
Another feature of Li's poetry is that it accelerates the rhythm of poetry. This is reflected in the way he uses repeated words and "makes sense in the sentence"
Generally speaking, there are not many words in a poem, so try to avoid repeating words when writing a poem. Li Shangyin broke through this boundary. There are many repetitive words in his poems, and he used this repetition to strengthen the rhythm of his poems. For example, "Song Yu doesn't worry about himself" and other sentences. Experts say that Li Shangyin skillfully created the form of "reasonable in sentence". In metrical poems, duality usually appears between the upper and lower sentences. The so-called right in a sentence means that there are opposites in the seven words of a sentence, such as "loneliness in the rain" to "sorrow in the middle of the month", "leaving the palace on the mountain" to "going upstairs to the palace". This sentence alignment obviously accelerates the rhythm of poetry, which is also needed to strengthen the appeal of poetry. Li Shangyin's poems do not give people the feeling of decadence. He put sadness in excited and jumping poems, which enriched the aesthetic feeling of poems and deepened the psychological feelings of readers.