Image is the focus of poetry creation and the soul of poetry art. There are some phenomena and problems in the image creation of modern poetry, such as creating and piling up images, completely abandoning aesthetic images, and separating "meaning" from "image", which are all related to the author's failure to grasp the essence and social function of poetry and his weak sense of responsibility. To put an end to and avoid these phenomena, we must devote ourselves to the study of China's excellent ancient traditional poems, abandon the style of strange images and mountains, establish aesthetic standards and sense of responsibility in modern poems, and correctly handle "meaning" and "responsibility".
Keywords: problems, causes, solutions and measures in the creation of modern poetry images
I am a lover of poetry. I usually read some poems and write some poems. But for some modern poems, there is always a feeling of looking at flowers in the fog and looking at the moon in the water, and I don't understand the clue and meaning. Some people say that this is because I can't read the images in the poem. I can't deny that not being able to read a poem is related to a person's cultural level and experience. But if a poem is submerged and pretends to be inscrutable, it will become obscure rather than hazy. Based on the present situation of modern poetry, this paper discusses the problems, causes and solutions in the creation of modern poetry images.
First, the significance of poetic imagery
"Image" is an aesthetic category initiated by China. Its earliest source can be traced back to Zhouyi? Anthology ". Its cloud: Confucius said: books are not full of words, and words are not full of meaning. However, the meaning of saints is invisible? Confucius said: A saint should erect an image and do his best. In Wen Xin Diao Long, Liu Xie once said "a glimpse of a proud image", which means that the poet should construct his own artistic world with aesthetic images. Si Kongtu, a poetry critic in the Tang Dynasty, said: "Imagination is natural and strange." Hu Yingli in the Ming Dynasty also said: "The beauty of ancient poetry lies in seeking images. "Image is the focus of China's ancient poetry creation and appreciation, the tradition of China's poetry, and the basic artistic symbol of modern poetry. Poetry image is an artistic image created by objective objects through the unique aesthetic activities of the creative subject. It is the organic integration and unity of subject and object, mind and object, meaning and image, and the product of the combination of subjective feelings and objective objects. It is an objective object with subjective feelings, or the subjective feelings expressed by objective objects. It is not only a portrayal of real life, but also the crystallization of the poet's aesthetic creation and the carrier of his emotional thoughts. It is the unity of the external scene of life and the poet's inner feelings, the expression of the poet's emotional externalization, and a meaningful image. When reading literary texts, Wang Yaohui believes that "the textual meaning of poetry is conveyed through the creation of images." Yu Guangzhong said, "Image is one of the basic conditions that constitute the art of poetry. It seems difficult for us to imagine a poem without image, just as it is difficult for us to imagine a poem without rhythm. " Qian Zhongshu emphasized the causal relationship between poetry and images: "Poetry is also good, with images to speak and images to create words;" "If you forget what you said, there will be no poem." It can be seen that poetry is a kind of image art of language. Image is the focus of poetry writing and the soul of poetry art. Without image, there would be no poetry. Without extensive and profound image culture, there would be no poetry reaching its peak.
Second, some problems in the image creation of modern poetry
(A) creating and accumulating poetic images
Look at some popular modern poems, deliberately pursuing images, without integrating the author's feelings. Or groan, or insincere, or fail to convey the meaning, or mystify. This is manifested in deliberate carving in form or posturing in language. Unconventional, emphasizing form over content, no matter whether the written things are poetic or not, as long as the sentences are arranged in a line, the words become the so-called "poems". For example, in Wuyi Literature Network, where the author is located, there are poets from all over the country, who flatter each other, write poems in more and more fancy forms, with more and more artificial language, pile up words at will, abuse synaesthesia, shape images, and write obscure poems such as "tears falling in the water" and "death falling in the body". I once heard a joke that a person actually doesn't know poetry, but he still learns to make modern poetry for the sake of artiness. He moved the dictionary to his side, randomly selected some words from the dictionary and numbered them, then randomly combined these words in the form of lottery and put on the coat of poetry. I don't want many poets and readers to read the "poem" written in this way, saying that it has rich images and far-reaching artistic conception, and even praising it as "a good poem". This is undoubtedly a great irony of modern poetry.
In fact, many people blindly pursue some techniques of western imagism when writing poetry, deliberately making poetry hazy, implicit and even obscure, and casting a mysterious veil on poetry. There is no emotional flow in the poem, but many irrelevant images are piled up, making the images fly like locusts, so this kind of poem is not written, but spelled out, without any aesthetic feeling. Some serious poets turn poetry into riddles, and only they will know the answer. As a result, few people continue to guess riddles, and modern poetry has lost readers and markets. Therefore, there is a representative opinion in the society that there are more people writing poems than reading them, and China's poems are dead. No wonder Professor Hong Zicheng from the Chinese Department of Peking University wondered: "Poetry is far from us" or "We are far from poetry"? Professor Sun Shaozhen of Fujian Normal University will sigh: "When misty poetry appeared, I refuted those who said that they could not read poetry. Now it's my turn to read poetry. "
(B) completely abandon the aesthetic image of poetry
Since the late 20th century, there have been nakedness literature, junk poetry and ruthless poetry in China. The images in these poems are all about sex organs, sexual intercourse, shit, urine, fart and other things that people dare not talk about. In the words of a writer, Yu Hua, these works describe not the heart, but only the endocrine. For example, "I am naked/lying on a rock/being baptized by the sun/my pubic hair/as gentle and smooth as my hair/my penis/like a refined wise man/peaceful and serene/lying between two strands/overlooking the world/all vaginas." There is also "Poetry is the Engine of Farting" by Blue Butterfly and Lilac: "Write a poem/Fart/Write two poems/Fart/Write three poems/Fart/Write poetry constantly/Fart constantly/Poetry/You are the engine of farting/Make the whole world/stink/stink." This kind of poetry, with a rebellious attitude and a spiritual belief in "low", tore open the mysterious veil and shy face of human beings, abandoned elaborate language and vague and implicit interest, and was keen on describing people's lower body, with no aesthetic image at all, as straightforward as boiled water. This kind of poetry may have a certain market in a small area, which can satisfy some people's sensory pleasure, but generally speaking, there are not many readers who like this kind of poetry, which further separates modern poetry from the general public.
(C) Split the relationship between "meaning" and "image" in poetry
"Meaning" and "image" in poetry are a whole. Poetry creation should not only avoid the intention of unintentional images, but also avoid the intention of images. But some "poets" have completely separated the relationship between "meaning" and "image" when writing poems. For example, a poem "Diligence" published in a certain publication is well-intentioned: "Genius goes hand in hand with diligence/success goes hand in hand with diligence/don't expect luck/don't wait for tomorrow/leave it to fate. This is the creed of the lazy/grasp life, and it is also the motto of the diligent." This kind of poem is just straightforward in general philosophy, lacking concrete symbols, ignoring images and not talking about images. Therefore, a little motto like "Pride makes people lag behind, modesty makes people progress" is acceptable as a motto, but it is really not a poem. Gorky put it well: "True poetry, even with a little philosophy, is always ashamed of what is reasonable." In another case, a poem says, "A smooth mirror/an image reflecting an object/a girl's smiling face/an old man's eyes." Others shouted shrimp: "bending over is by no means a respect for people." Chant to the goat cloud: "A beard that stands up doesn't mean you are old." They all only know things, don't know the meaning of sustenance, and lack poetry and painting. At best, it is only an explanation of the unique form of things, and it is a superficial work without profound meaning.
Thirdly, the reasons for the problems in the image creation of modern poetry.
(A) did not grasp the essence and social function of poetry
What is the essence of poetry? The ancients said, "Poetry expresses ambition." When describing the essence of poetry, Heidegger said: "Starting from the heart, pointing to the heart". Love, a famous poet in Taiwan Province, said: "The essence of poetry is the image of language, which is to pin feelings on external objects and complete their feelings in aesthetic images." Xiong Guohua, a poet, said: "Poetry is a high-level language art dedicated to expressing emotions. It is to re-integrate the objective world with the image language of the spirit, explore the true meaning of cosmic life in the most intuitive, imaginative, philosophical and aesthetic form, and seek spiritual transcendence and absolute freedom of the soul. " It can be seen that poetry is a poet's presentation, association, perception and reconstruction of the objective world and life from the depths of his heart with language as the carrier and poetry as the medium.
Regarding the social function of poetry, Confucius said: "Poetry can be aroused, observed, grouped and resented; Your father is a thing, and your father is a distant thing; Know the names of birds, animals and plants. " This passage basically sums up the main social functions of poetry, and the words "Xing, Guan, Qun and Complain" have also become the basic principles followed by poets in past dynasties. It is generally believed that "xing" means that poetry can arouse will and cultivate sentiment; "View" refers to observing the ups and downs of customs and researching political gains and losses through poetry; "Group" means that poetry can communicate and exchange people's thoughts and feelings and coordinate interpersonal relationships; "Resentment" means that poetry can criticize and satirize the faults and mistakes of rulers. In short, the function of poetry is to cultivate, observe, communicate and satirize.
Therefore, from the essence and social function of poetry, poetry is to express one's feelings and aspirations, not to entertain oneself. Confucius did not say "entertainment", "deception" and "meanness" when enumerating the social functions of poetry, that is to say, poetry should not be used for entertainment, whitewashing peace and following the fashion. Because poetry is not only written for oneself, but also for readers, if poetry can't impress others, the purpose of art is meaningless. Image is the basic unit of poetic language, and it is also the main means to arouse and strengthen specific emotions. The problem of image creation in modern poetry lies in that some poets are not clear about the essence and social function of poetry, and indulge in vaudeville-like laughing and cursing or game-like self-entertainment. They are either narcissistic and moaning, or pretending to be profound and mysterious, or praising and rewarding each other, or attacking each other with their comrades. It is hard to imagine how much rationality, objectivity and truth there are in such poems.
Therefore, we must advocate the sociality of poetry. Poetry is a serious art, which requires the author to avoid laziness and vulgarity and explore more extensively with diligence and nobility. Poetry, as a thinking art that takes image language as a tool and pays attention to emotional expression, needs poets to observe and think deeply about life. Throughout the ages, any excellent work has been handed down, and its content certainly embodies profound practical significance. A poet who can only write small jasper, sweet words and low tastes cannot be called a poet. Only by raising the content of a poem to an aesthetic and aesthetic realm can it be a poem. For those "trendy poems" that do not need logic, rhythm and aesthetic images, but rebel for the sake of rebellion, and are full of thoughts and contents such as talking in a dream, decadence, death, strangeness, bloody, morbid, madness and fornication. , can not be circulated for a long time, and there is nothing to save. For readers with a certain appreciation ability, there are two minimum reading principles: first, literature is not just philology. Avant-garde poets regard writing poetry as a word game, completely denying the images and artistic conception that traditional poetry should have, and stacking irrelevant words together at will, which is absolutely unacceptable to readers. Second, the essence of literature is human studies. The biggest difference between humans and animals is human nature. The practice of writing people purely as animals will inevitably be spurned by readers. We often say that a person's poems are well written, which definitely means that some of his works have touched us from form to connotation, from skill to language, and infected us, but by no means means that he is good at empty talk about theory, showing off his knowledge, pretending to be profound and so on.
(B) lack of sense of responsibility
There are some problems in the image creation of modern poetry, except that some poets objectively don't understand the essence and social function of poetry, and subjectively there is also a lack of responsibility. Many people write poems not cautiously, but to satisfy their vanity, win the title of "poet" or gain the capital to show off to others. These "poets" (in fact, they can only be counted as "poets" at most) created a lot of meaningless and lengthy words irresponsibly. At first glance, the deepest impression of the whole poem is that "you are moaning" or "hormone excess", which is completely divorced from the concern for society and the excavation of human nature, and vividly regards modern poetry as a refuge of individualism. Sometimes, a poem knows that it is not good, its language is vulgar, straightforward and rough, its image is not beautiful, and its artistic conception is not good, but it just doesn't want to modify it, and it is too lazy to modify it. It doesn't matter. Just throw it aside and it's over, isn't it? However, some "poets" always want to show off their fame and let others say "good". I think this is a great insult and irresponsibility to readers.
Haizi, a modern poet in China, emphasized the poet's mission and responsibility. In Haizi's mind, the poet is an explorer who travels around the earth on a sacred night to find a spiritual home for mankind. Poets should get rid of "literati interest" and "pay direct attention to the existence of life itself". He said: "Poetry is fire, not rhetorical exercise". I also said, "I think China's concern for images in modern poetry has damaged or even endangered her language requirements." "The birth of new aesthetics and new language poetry depends not only on the reconstruction of sensibility, but also on the unity of image and singing. Image civilians must climb the noble who sings. " What he pursues is "the combination of nation and mankind, the great poem of the unity of poetry and truth" and advocates "being a poet who loves' human secrets'. Therefore, "The Poet's Nest" also said that "the poetry world needs introspection and self-help, and the current modern poetry creation needs to regain its responsibility to society. "
Fourthly, the methods and measures to solve the problem of image creation in modern poetry.
(1) Learn from the excellent traditional poems of the motherland, and abandon strange images and piling up styles.
In the 1920s, modern poems such as "taking images from a distance" originated from Li Jinfa gave birth to a new poetic image. The "modernization of poetic images" advocated by Mu Dan makes poetic images more contemporary. These novel and vivid poetic images not only create new forms of poetic beauty, but also greatly expand people's spiritual world. It is precisely because the innovation of images has such great poetic significance that in the writing of modern poetry, a bias is becoming increasingly obvious: the innovation and modernization of images are implemented by many people as the strangeness and accumulation of images. As a result, some "modern poems" are not only confusing, but also difficult to read in rhythm. This prejudice alienated the writing of "modern poetry": in some modern poets, poetry is no longer an expression of unique feelings, but a craftsman-style trick to show off skills.
There were many excellent poems in ancient China. Poets often used images in their poems to complete various functions of poetry and created many classic poetic images. For example, the images in Li Bai's poems are fantastic, vigorous and elegant. Du Fu's poetic images are unique, saturated with the poet's feelings of worrying about the country and the people and loving life, and have a strong tragic color. We should study the excellent tradition of China's classical poetry with our heart, and abandon the strange and piled style. It is necessary to understand that the image of poetry is the most basic way for poets to express their emotions, and the image should be supported by emotions. Lu Ji, a literary critic in Jin Dynasty, said: "Poetry is beautiful because of love." Yan Yu pointed out in Cang Hua that "poets sing about love". Xie Zhen in Ming Dynasty also pointed out in his Poems of Four Things that "Poetry is based on emotion". It is to emphasize that emotion is the life of poetry, and to put aside sincere emotion, the image of poetry is passive water, with no root and no end. We should dare to say "no" to poems that are divorced from people's emotions, arbitrarily build images and don't know what to say. Never learn from the ministers in the emperor's new clothes. In order to show their "intelligence" or appreciation level, they praise all obscure poems indiscriminately, which can only further derail modern poetry. For example, for the poet Wu's untitled poem group: "The person who knows best hasn't appeared yet/the car accident has come/she is addicted to it/her nails bring her sharp lines/what color should it be?" /God gave her an eyebrow ... "I'm confused. Although these poems are decomposed, we can still see the images created by several poets, such as "people who did not appear", "sudden car accident", "nails in the body", "sharp lines" and "eyebrows". But these images are isolated from each other, at least readers can't see any connection between them, let alone form the artistic conception of poetry. To tell you the truth, I think these poems are just a pile of words. In fact, they have no meaning at all, so it is normal for readers not to understand them. As for Bing Xin's "Stars" (July 1 Sunday): "These things/are endless memories/gardens under the leaves of vines in the moonlight/mother's knees", I really appreciate them. Although it is only a small poem, it also lists images such as "the garden in the moonlight", "under the leaves of vines" and "mother's lap". But because of its beautiful sentences, natural rhythm and emotion in the scene, it creates a quiet and beautiful artistic conception and is very popular.
(B) the establishment of modern poetry aesthetic standards and sense of responsibility
The modern evolution of China's poetry is carried out in the historical atmosphere of cultural exchange and collision between the East and the West. Western culture, especially the "aesthetic modernity" formed in the modern western cultural environment, influenced and gave birth to China's modern poetry. Foreign poetry advocates freedom pioneers, so China has lower-body literature, junk poetry, saliva poetry, ruthless poetry ... These poems reflect a grandiose style. They don't care about people's thoughts and living conditions and feelings in social changes, but care about people's reproductive organs, feces, urine, fart and so on. The bolder they write, the more exposed they are, and they are not ashamed, but proud. I don't know, is this the misfortune and sorrow of modern poetry? I just think that the poet and the children are all your own private houses, so why bother to show off in the sun?
At the symposium on modern poetry in China held by Fujian Normal University, Professor Hong Zicheng of Beijing Normal University said that "modern poetry in China needs in-depth self-reflection". Sun Shaozhen, a professor at Fujian Normal University, strongly calls for the establishment of China's modern poetry writing appreciation standard, and thinks that there must be practical artistic standards to measure the quality of poetry, so as to ensure the stability of poetry writers and readers. The author also believes that poetry should have a general aesthetic standard, and all lines should not be called poetry, let alone those that are sensational, provocative and straightforward. To evaluate the quality of a poem, thought is more important than form, and the poem shows the poet's spiritual yearning and conscience. What kind of consciousness tendency may breed what kind of poetry. But in any case, we should follow and grasp the principle and essence of poetry, that is, pay attention to people's hearts and the state and feelings of life. As a real poet, we can't just sing "self", let alone pursue low-level tastes unilaterally, entertain ourselves and isolate poetry from our society. Poets of past dynasties set an example for us in this respect. In today's reform and opening up, in the face of new choices and new challenges, all people who love poetry should not forget the mission of poetry and the responsibility entrusted to us by the times. Regardless of adversity or prosperity, let your voice, works and the pulse of the country, nation and times tremble. Think what the public thinks, be anxious about what the public is anxious about, and let poetry truly become the drum and horn of the times. With this "big ego", we can create passionate and beautiful poems in ordinary life, thus arousing people's enthusiasm and love. For those unhealthy, disgusting, indifferent and tasteless poems, we should criticize more and applaud less, and don't blindly pursue and applaud. We should make these poems introspect, introspect, stay away from vulgarity, improve their taste, truly become words that can bring people aesthetic enjoyment, and become art that is beneficial to readers and society.
(3) Grasp the relationship between "meaning" and "image" and realize the unity of images.
Image is the basic unit of poetry. "Image" is the image in the mind, and "meaning" and "image" are a whole and inseparable. Meaning is the theme of poetry and the core of artistic conception. This kind of meaning is not the meaning of ideas, but the meaning of interest, that is, the "meaning" that can be seen, heard and felt after the materialization of emotions. Image is the object image in poetry and the carrier of the poet's emotion, but it is not a purely objective description of the scenery, but an "image" after emotional thinking. The conception of the poem is noble, ingenious and good, and the image is simple and kind, but not too obscure. This kind of discretion is really difficult to grasp. Therefore, ancient Fei Jingyu said: "Poetry is as expensive as shallow, but not as expensive as deep." In poetry creation, we should strive for the perfect combination of "meaning" and "image", "thing" and "me", which makes people see at a glance, but it is memorable. Han Han's "weight" is like this: "Put the bloody head/on the balance of life/let all the survivors/lose weight." "A Balance of Life" weighs the proportion of Zhang Zhixin's violent life and highlights the unique shocking power of her death, which is more important than Mount Tai. Comparing a person with all beggars, the contrast formed strongly penetrates into the reader's heart through the "balance". Its image is clear and profound, although the system is small, it can win with extremely strong emotional content, which is called "winning more with less".
(D) the correct use of imagination to combine poetic images
Imagination is the author's wings soaring in the thinking sky. Hegel said: "When it comes to skill, the most outstanding artistic skill is imagination." Shelley said: "Generally speaking, poetry can be interpreted as an expression of imagination." Breslet: "Poetry is the language of imagination and passion." Belinsky: "Imagination is the main active force in poetry. The creative process can only be completed by imagination. " Ai Qing said, "Without imagination, there is no poem". "The most important talent of a poet is to use imagination." Imagination is the eyes of beauty, imagination is the runway for inspiration to soar, and good imagination is an important part of the work. A work without imagination can only be a stagnant pool without waves. When the poet lexicalizes the images, he should also consider the poetic image system that combines the images with imagination. What kind of poetic image system will produce what kind of specific poetic artistic conception and convey what kind of poetic beauty experience. Due to the intervention of magical imagination, the combined image method of poetry writers is freer, bolder and more unexpected than the combined methods of other styles. However, the imagination in poetry cannot be groundless or groundless, but should be the product of the poet's unique subjective spiritual experience. If imagination is used well, images will be rich and artistic conception will be beautiful. For example, Homesickness, the masterpiece of Yu Guangzhong, a famous poet in Taiwan Province, imagines homesickness as four sections: stamp, boat ticket, grave and strait, which is novel and unique, and reflects the poet's super imagination from one thing to another. The four imaginations in the poem create four images, and there is nothing special about a single image. However, these images closely revolve around the center of homesickness and progress step by step according to the growth process of life, such as childhood, adulthood, later and now. The contrast between "I" and "mother", "bride" and "mainland" makes the image management profound, which is essentially different from other homesick works.
(5) Deal with the relationship between image and riddle.
The French symbolist poet Malamei once said: "Poetry should always be a mystery, and this is the purpose of literature." Of course, the words of hot girls are a little extreme. We admit that there are some similarities between poetry and mystery, but we have to admit that poetry is not exactly the same as mystery, and there are significant differences between them. Riddles hint at hidden mysteries with unique clues, while poems hint at profound spiritual world with vivid language. In poetry, image is a boat to help readers ferry to the other side. It is through the enlightenment of image that readers arouse their own experience, and the role of image is a tool to express their emotions. Just as the clues provided by the riddle all point to the answer, when the reader captures the answer through cracking, the media function of the clue is completed. In this sense, poetic imagery, like riddle clues, is an intermediary means. But fundamentally speaking, riddle is just a word game, which does not carry emotional content, is dull and tasteless, and its image has no aesthetic attribute. Poetry, on the other hand, entrusts the poet's feelings, shows the poet's perception and discovery of life, and shows the profound spiritual world. The meaning and purpose of the riddle are definite and single, and the answer is found. When the process of solving riddles is over, riddles have no meaning, but a good poem has no clear answer, and there are rich hints and symbolic meanings in it. For example, "Busy during the day, thatched houses at night" is a riddle, and the answer is "eyes"; Bian's broken chapter: "You are standing on the bridge watching the scenery/the people watching the scenery are watching you upstairs/the bright moon is decorating your window/you are decorating other people's dreams", during which the thoughts are flashing and jumping, which contains profound life experiences. Obviously, it is a poem with rich meaning and endless aftertaste. The ancients said: Poetry is beyond description. It is precisely because poetry has no definite solution that it has left us an inexhaustible treasure of aesthetic exploration and endowed poetry with infinite vitality.
(6) Handle the relationship between image and logic.
When writing poetry, we should pay attention to the creation of images, but at the same time, we should also pay attention to logical relations. Poetry and logic are the relationship of unity of opposites and interdependence. On the one hand, poetry is a free bird, spreading its thinking wings vividly and flying freely in the world of poetry. Due to the needs of poetry and emotion, the image of things in the author's works often appears to be distorted or exaggerated in contradiction with the logic of things, and the logic of poetry or emotion replaces the logic of life. On the other hand, poetry has the inherent requirement of converting to logic and following logic, which makes poetry show a rigorous and impeccable logical power. Xiangling in A Dream of Red Mansions understands this seemingly unreasonable and essentially reasonable feature of poetry accurately: "The benefits of poetry are unspeakable, but it is realistic when you want to go;" It seems unreasonable, and it is rational to want to go. " This feature of poetry determines that the creation of poetry should pay attention to both image thinking and logical thinking-that is, any rhetorical device can make poetry novel and moving, but it must not be really unreasonable-making people feel heartless and unreasonable. Poetry should stand scrutiny, and the logic in poetry should not be ignored. Ignoring it often leads to the embarrassing situation that the bucket breaks the hoop and the hoe falls off the wedge. However, some poets pay little attention to this issue, which leads to the omission of poetry and affects the overall expression of poetry. For example, Mr. Liang Nan pointed out in an article that in a poem of our time, the image of a poem violates logic: "We have been silent for too long/even our eyes have grown moss." A silent person refers to being silent, observing silently and not closing his eyes. Closing your eyes does not mean silence. In this way, it is a bit unreasonable to say that there is moss on the eyes. It is logical and reasonable to say that moss climbs on closed lips. The relationship between poetry and logic is unity of opposites and complementary. Logic enters the kingdom of poetry because of poetry, and poetry increases internal strength and philosophical speculation because of logic.
The above are some simple analysis and refinement of the author's image creation in modern poetry, some of which are inevitable. Of course, it is not enough to write modern poetry and master the image knowledge of poetry in isolation. If the author wants to make his poems meaningful, he must observe the society, nature and life that we are most familiar with with with enthusiasm and concentration, gain knowledge through observation and experience, capture images, accumulate feelings and empathize with the scenery. Finally, the author ends this article with belinsky's words: "The works describing the beauty of nature are created, not copied. In any case, beauty comes from the depths of the soul, because natural scenery cannot be absolute beauty. This beauty is hidden in the souls of those who create or observe them. The poet added life to the natural scenery with his own feelings and thoughts. If he wants to infect or shock us with natural scenes, he must first appreciate it or be surprised by it. "