Image is an important concept in China's ancient literary theory. The ancients believed that meaning was an internal abstract mind, just like an external concrete object; Meaning originates from the heart, and with the help of image expression, image is actually the sustenance of meaning. China's traditional poetry theory actually refers to the artistic processing skills of putting emotion into the scene, borrowing the scene from the scene and blending the scene. The process of poetry creation is a process of observation, feeling, brewing and expression, and a process of reappearing life.
The use of images naturally varies from person to person, from thing to thing, from time to time and from emotion. Generally speaking, the methods of conception can be divided into three categories: Fu, Bi and Xing.
Fu, that is, writing directly, is what the author usually says. In the author's view, an object has the characteristics of expressing one's feelings, and it can be directly used to make this image shoot one's feelings.
Comparison, which is often called metaphor, compares the author's feelings with other things, similes, metaphors or symbols in different ways, and directly compares his feelings with people or things, making them have the characteristics of people or things.
Xing means "say something else first to arouse the words to be sung". Xing must be attached to something, have a concrete image that can arouse Xing, and then make this concrete image penetrate into the author's feelings, thus producing artistic conception.
Three levels of poetry appreciation?
Generally speaking, literary works have three levels, namely, language level, image level and implication level. Poetry appreciation should also start from these three levels.
Language: There is no doubt that poetry has a strong intuition. The language of poetry is highly generalized, concise and meaningful. It often violates the general grammatical norms and has a stronger sense of strangeness than the general literary language. There are often many gaps between the lines of a poem, showing a strong leap. It is this leap that contains more images of poetry, thus constructing refreshing poetry in a very limited space.
Image level: image and aesthetic education are inextricably linked, and poems with beautiful images can give readers a sense of beauty. Whether you can create a novel and unique image of beauty is one of the signs to measure the success of a poem. Images are mainly composed of three methods: Fu, Bi and Xing. However, only by using images or metaphors of seemingly unrelated things can we express ourselves accurately and effectively, and the images generated according to this principle can be surprisingly bizarre, fresh and amazing.
Hint level: With the formation of images in the mind and the stimulation of phonological rhythm, readers have already developed a preliminary aesthetic feeling. However, how to break through the image surface to understand the image connotation of poetry is the key to the success or failure of poetry appreciation. The meaning of poetry generally includes aesthetic meaning and intellectual meaning.
Imagism is the earliest school of modern poetry in the early 20th century. 1908- 1909 was formed in Britain, and was later introduced to the United States and the Soviet Union. Representative figures are Hume, Pound, Amy and Ye Saining.
The appearance of imagism was originally a reversal of the poetic style at that time. First, in the late19th century, symbolism, aestheticism and romanticism merged to form a new romanticism. Imagism developed from it. By the beginning of the 20th century, traditional poetry, especially romanticism and Victorian poetry style, had degenerated into moaning, sentimentality and ethical preaching. Just "imitating Keats and Wordsworth". Pound and his Imagist put forward the idea of "being unconventional" and "being innovative". Secondly, Bergson fever was popular in the early 20th century, which is an extension of the influence of irrational philosophy in the literary world since Schopenhauer. Hume, the pioneer of Imagism, was directly influenced by it.
Q: What is poetic imagery? What does poetic imagery mean?
Professor Bergson's intuitionism and philosophy of life have been accepted by imagists and become their main theoretical and philosophical basis. Imagist poetry especially emphasizes the role of image and intuition. At the same time, the symbolism poetry school created a new way for the Imagist, especially the synaesthesia, color and musicality of poetry, which greatly inspired the Imagist.
Because most imagist poets have experienced symbolic poetry creation, some people in the theoretical circle regard imagism as a branch of symbolism. In fact, there are great essential differences between imagism and symbolism poetry. Imagism is not satisfied with symbolism to find the metaphorical meaning and symbolic meaning behind the image by guessing, not satisfied with finding the mysterious relationship between the image and the thought, but writing poems in the description of the image. It showed up in an instant. It advocates using vivid images to restrain feelings, not preaching, not abstract lyricism and unreasonable. Therefore, imagery poems are short and pithy, with vivid images. A poem often has only one image or several images. Although symbolism also uses images, both of them regard images as "objective counterparts", while symbolism regards images as symbols and pays attention to association, suggestion and metaphor. The image becomes the code that needs to be translated. Imagism is "from symbolic symbols to the real world", focusing on the image itself, that is, concreteness, so that emotions and thoughts can be integrated into the image and reflected naturally in an instant without thinking.
In addition, from the internal form of poetic imagery, imagism is influenced by Japanese haiku and China's ancient poems. Imagist's poetic innovation began with imitating and learning Japanese haiku. China's ancient poems are completely immersed in images, which are pure combinations of images. For example, Liu Zongyuan's Jiang Xue said, "There are no birds in a hundred mountains, no footprints in a thousand paths, a boat with a leaf, a bamboo cloak, and an old man fishing for a cold river-snow." Wang Wei's "Crossing the East". Long rivers make yen. "Qiu Si in Ma Zhiyuan": "Old vines are crying, bridges are flowing, and old roads are thin horses. When the sun sets, heartbroken people are at the end of the world. " China's poetry is dominated by images, which runs through the whole poem, hanging in front of him like a painting, with scenes blending and objects hovering. The poetic style of China's poets in Wei, Jin and Tang Dynasties, which expresses images without evaluation, conforms to the idea of Imagism. I saw the magic of a language and image, which led to the magical worship of China's poems and Chinese characters. The long poem "Chapter of Poetry" contains Chinese characters in many places to show some mysterious meaning, advocates finding out the images in Chinese, and puts forward that English poetry should also try to infiltrate the whole poem into the images.
The creation of imagist poetry has three distinct artistic characteristics.
1. Imagism requires poetry to directly present an image that can convey feelings, and to express the image in the form of sculpture and painting, and opposes lyrical poetry that is musical and mysterious, and puts forward "don't say" and "don't talk". Show without comment. Pound summarized the definition of image poetry as: "Image is a complex of reason and emotion presented in an instant." For example, China's famous modern poem "Life": "Net" allows readers to experience all the connotations of life in an instant. Another example is Amy's masterpiece "Middle Age": "It seems to be black ice,/slipped by ignorance,/full of insoluble whirlpool. /This is the dull surface of my heart. " In the display of images such as "black ice", "vortex pattern" and "dark face", poetry instantly conveys the poet's inner feelings of helplessness in middle age.
Secondly, imagist poetry is concise in language, without meaningless adjectives and modifiers, without decorative lace, and is opposed to show. The line is short and the image jumps. For example, Pound's translation of the phrase "Surprise, chaos in the desert, sun in the sea" in Li Bai's ancient style is inevitably mistranslated, but the brevity and lightness of the language can also be seen.