China's classical poems pay the most attention to artistic conception, which refers to the artistic realm formed by the integration of objective scenery and subjective feelings in literary and artistic works (modern Chinese standard dictionary), and generally consists of situational relations. The "emotion" here refers to the author's thoughts and feelings, desire pursuit and so on. "Landscape" refers to natural scenery, events, activities, etc. Except the author. Dealing with the relationship between the two has become the key to the creation of poetic artistic conception: emotion and scenery can be natural, then artistic conception is generated; Love is out of place with the scene and has no artistic conception. There are several common methods to deal with the relationship between emotion and scenery in classical poetry.
First, touch the scene.
Under normal circumstances, people's feelings are relatively calm, but once triggered by a specific external situation, some thoughts and feelings originally hidden in the chest may be stimulated and released, thus condensing into poems. There are three conditions for touching the scene: first, there must be an objective world (scene) that can arouse emotional activities; Second, the creative subject must have a certain psychological sensitivity that can stimulate subjective feelings because of the objective world; Third, the creative subject must have rich life experience and rich inner world.
Du Fu's "Ascending the Mountain": "The sky is windy, the apes are singing and the birds are singing, and the blue lake and white sand are returning. The endless trees are rustling leaves, and the Yangtze River is rolling unpredictably. Li in the sad autumn scenery, a wanderer all the year round, lives alone on the high platform in today's illness. Bad luck has a bitter frost on my temples, and heartache and fatigue are a thick layer of dust in my wine. " The first couplet highlights the desolate features of autumn, and the scenery is full of emotion. Zhuanlian has a broad vision and writes about the geographical features of Kuizhou Mountain City. "Touching the scenery" is both concrete and macroscopic. The Neck Couplet wrote about its own situation-"Wan Li is a guest" and "More than a hundred years of illness". At the end, the couplets are about the feelings aroused by bleak autumn scenery, vast landscapes and one's own situation-"bitterness, bitterness, hatred" and "poverty". As far as the scenery is concerned, late autumn, this desolate and remote mountain city, has a depressing and desolate taste. This situation and Du Fu's own "old", "sick" and "difficult" situation have expanded, making the sad mood stronger and stronger. The artistic conception of the whole poem is the artistic conception produced by touching the scene.
The scene in the poem is not a simple representation of the objective world, but is painstakingly managed by the author. This scene has a certain emotional orientation. Autumn scenery in Du Fu's works is bleak and desolate, and there is a tradition of "mourning for autumn" in ancient times, which accords with human nature. This correspondence between scenery and emotion makes the artistic conception more touching.
Second, melt feelings into the scene (empathy into the scene)
The so-called melting feelings into the scenery means that the author projects some feelings hidden in his chest into the described scenery, so that the described scenery is permeated with some subjective feelings, thus producing artistic conception. The difference between touching the scene and melting into the scene lies in: touching the scene produces feelings, and feelings are born of the scene. The same scene often evokes similar feelings; Emotion first enters the scene, and the poet injects emotion into the scene described, and different emotions will give the scene different emotional colors.
For example, Ouyang Xiu's "The Play Answers Yuan Zhen": "The spring breeze is less than the horizon, and there are no flowers in the mountain city in February. There are oranges in the residual snow, and the freezing thunder scared the bamboo shoots to sprout. When the geese return home at night, they feel homesick, and they feel rich in the new year when they are sick. I used to be a guest of Luoyang Flower, but Ye Fang didn't need to be embarrassed at night. " When Ouyang Xiu was young, he was demoted to Yichang Gorge Yizhou as an official. Yizhou town, located in a remote place, is separated by mountains and rivers. Although it is already February, it seems that the spring in the town has not yet arrived. But at that time, Ouyang Xiu was still young and ambitious, so although he was lonely and depressed in the deep mountains, he was obsessed with "homesickness", but he was more keen on waiting for opportunities. Seeing that there are no flowers and no spring, he doesn't feel sad and desperate. The oranges in the branches of the poem and the bamboo shoots that want to germinate all imply a new hope of germination. He firmly believes that this road will be widened in the future. "Ye Fang doesn't have to cry at night", but she is still in high spirits for the time being, which is reflected in every sentence. It was Ouyang Xiu's insight and foresight that reflected his thoughts and feelings in the mountain city scenery in early spring, making the scenery warm and bright and refreshing.
Third, the scene is the same (scene fusion)
China's poetics attaches great importance to situational interaction, which can be said to be an organic combination of the first two situational relationships. Emotion and scene are interrelated and interpenetrated. "The scene is called two, but they are inseparable. God is a poet, and it is infinite "(Wang Fuzhi's Jiang Zhai Shi Hua). Take away feelings and write scenes in isolation, and poetry will lose its spirituality and appeal, thus losing its life. Simply writing about love, without the contrast of scenery, poetry will appear abrupt and unnatural, lacking image and meaning. Only the fusion of mind and matter can write a masterpiece with muddy artistic conception.
Du Fu's A Night in a Foreign Country: "The breeze rippled on the grass bank, passed through the night, and blew to my still high mast. The endless plains are dotted with drooping stars. The moon runs with the river. I hope my art can bring me fame and liberate my sick old age from the office! . Flying around, what am I like? But sandpipers in the vast world! Du Fu worked as Yanwu's assistant in Chengdu, and resigned after only half a year. After Yanwu's death, he was alone in Chengdu, so he had to leave the thatched cottage with his family, take a boat to the east and wander again. This poem was written on a wandering road. The first part is about the close-up seen in "Night Walk". Alone on a moonlit night, the breeze bursts, the fine grass blows, and silence and loneliness cover everything. Parallel couplets are written with a long-term vision and a broad and magnificent realm. "Sagging" and "Surging" set off the vastness of Ye Ping and the surging of great rivers. These two sentences contrast the sad scene of sleeping alone at night in the first couplet with the majestic open weather, seeing the scenery and loving each other, and the scene blends. Necklace couplets changed from scenery description to lyricism, expressing their grievances in an ironic way. Tail couplet touches the scene, takes the scene as its own, and sets off the loneliness of "One Sha Ou" with the vast "heaven and earth". Sha Ou is a lonely ship and a poet. The whole poem describes the scenery of the moonlit night during the journey and expresses the loneliness and sadness of wandering life. Scenes blend together and become a masterpiece with scenes.
Fourth, the scenery is hidden.
The lyricism of China's classical poems emphasizes implication, and Tang Tu advocates that there should be "meaning beyond rhyme", "image beyond image" and "everything should be romantic". In the relationship between emotion and scenery, the explicit and implicit emotions show that the whole article is a description of scenery, the author's emotional tendency hardly appears in the text of poetry, and the author's emotions are hidden in the scenery picture. Different from empathy, this artistic conception creation method is that there are very few emotional words put into words, and the emotional orientation of the works is quite hidden. As for the feelings, readers need to recite the body odor repeatedly, in order to understand the meaning and get the aesthetic feeling with endless aftertaste.
For example, Wei's Xixi Chuzhou said: "The grass grows on the stream alone, and the orioles sing in the trees. Spring tides bring rain late, and there is no boat crossing in the wild. " This poem describes the scenery of Xijian in the western suburbs of Chuzhou. When I first read this poem, I felt it was a simple poem about scenery. But in connection with the poet's writing background, we can see that it is not only about scenery, but also about something, and even more about hidden feelings. Wei was an honest and upright poet in the early years of the mid-Tang Dynasty, and also a good official who cared about people's livelihood. When he was appointed as the secretariat of Chuzhou, he felt guilty and ashamed that he could not resist the imposition of exorbitant taxes by the imperial court on the people. He misses the countryside and enjoys the mountains and rivers. When he came to Xijian, he couldn't put it down. Why does he "pity" the grass by the stream? Because the grass by the stream is full of vitality and enjoys itself, it shows that the poet is willing to be poor, not grandstanding, and maintains a calm mind of integrity. Why does he love orioles singing among trees? The oriole not only embodies the seclusion and silence of the grass, but also means freedom and gets rid of the fetters of the world. And the lonely boat that sailed freely in the wild in the spring tide and rain revealed the sadness that the poet lived in a turbulent troubled times and did not give full play to his talents. With poetic scenery description, the poet quietly expressed his helpless situation and yearning for seclusion, which made this poem a well-known masterpiece.
The scenery is not sentimental, but the author's purpose is still lyrical, and the poet's deep feelings are hidden in the scenery, achieving the purpose of "the scenery that is difficult to describe is like now, and there are endless opinions beyond words", which constitutes the infinite artistic conception of "the end of the song is invisible to people, and the peak on the river is green", giving people a special aesthetic feeling and making readers have rich aesthetic imagination.
5. Show your feelings and hide the scenery (express your feelings directly)
The essential attribute of poetry is lyricism. In various methods of creating artistic conception, obvious scenery and hidden feelings reflect the indirectness of lyricism; However, expressing emotions and hiding scenery reflect the directness of lyricism. Explicit feelings and implicit scenes require: (1) The author must have true feelings, be trapped in his chest for a long time, and be excited by the outside world at any time, instead of moaning and pretending; (2) Emotion should rely on something, or there should be objects, scenes, environments, etc. As the fulcrum of lyricism. Without reason and support, emotions cannot erupt.
For example, Yuan Zhen's "From Thinking" said, "Once the sea was difficult for water, it was amber forever. Lazy looking back at flowers, half the sky is repaired, and half the sky is a gentleman. " This poem was written in memory of his late wife Wei Huicong. The sea is vast, and after seeing it, the water in other places is hard to attract attention. The cloud steaming in Wushan is a goddess. In contrast, the clouds in other places are eclipsed. Walking through the flowers, I am too lazy to look back. Besides loving my wife, I will never miss his flowers again. Why are you lazy to look back? Partly because of respecting Buddha, practicing and studying, and partly because of losing loved ones. In fact, the first half is also a kind of sustenance for brokenhearted sadness. This poem not only expresses the mind directly, but also skillfully uses allusions. Vividly and profoundly expressed his loyalty and deep nostalgia for his dead wife.
The technique of revealing feelings and hiding scenes, skillfully using the direct expression of the mind, directly points to the strong feelings in people's hearts, infects readers, causes * * * sounds, stimulates associations and forms artistic conception.
It should be noted that China's classical poems often combine various methods when dealing with feelings and situations, especially in long works. Simple methods rarely make a poem or sentence have a strong touching effect.