It can blow off the golden leaves in autumn and bloom beautiful flowers in spring.
Scraping the river surface can set off several huge waves in thousands of feet, and blowing bamboo can make tens of thousands of poles tilt.
There is no word "wind" in the whole poem, but every sentence is written about wind and interest. With "interest", what is recited is vivid, just like He's "Singing Willow" in the Tang Dynasty.
Jasper dressed as a tree, hanging down ten thousand green silk tapestries.
I don't know who cut the thin leaves, but the spring breeze in February is like scissors.
The first two sentences are purely written, although there are skills. But the whole poem would not be vivid without the philosophical phrase "Spring breeze in February is like scissors".
Therefore, it is not advisable to simply describe things, which is invisible to God. The so-called "God is invisible" means that the whole poem only sees the meaning you express, with no foreign carrier and no borrowing, but "I" is talking. This kind of poem is the easiest to float on words without content. Invisibility equals preaching, which is really unacceptable. But if you can stick to the characteristics of things, that's another matter. For example, in the Tang Dynasty, a man named Li Yuan wrote a song.
? Ode to Yuanyang
Yuanyang is a parting wound, and people like Yuanyang.
Try to take a mandarin duck and cut more intestines.
Writing parting heartbroken with the characteristics of Yuanyang in two places firmly grasps the characteristics of things, so it is reasonable and good to send feelings. The third is the unity of form and spirit. This kind of poem combines what is sung with the emotion of "I" and is a masterpiece. For example, in the Song Dynasty, Wang Anshi wrote a poem "Plum Blossoms": "There are several plums in one corner, and hanling blooms alone." I knew from a distance that it wasn't snow, because Dimfragrance was coming. Poetry is not only the "shape" of plum blossom, but also the "expression" of the quality of words, and it is a work with the unity of form and spirit.
Generally speaking, object-chanting poems are these three situations. There are four realms in writing poems about objects.
The first realm is to look at things in form and look at things in spirit.
This realm lies in grasping the characteristics of things in writing, nuanced and meticulous. At first glance, readers know that it is used for writing, and they can see everything without separating paper. As the Tang Dynasty poet Zhang Wei said.
The poem "Early Plum" wrote: "A tree with cold plum and white jade belt faces the village road and creek bridge." I don't know if the recent splash started first, but I suspect it hasn't been sold after the winter snow. "The whole poem captures the characteristics of early plum, and first explains the shape and growth environment of plum trees. With the metaphor of "white jade strip", the overall image of this plum tree is vividly summarized. It is also pointed out that it grows in the place near Lincun Road and Xiqiao, and then the reason for writing it "early" may be "near the water", so "flowers bloom first". Because its flowers are white, a metaphor is used to describe its shape and pure charm, and at the same time, it shows the innovative spirit of early plum blossoms and the tenacious will of not dying in winter. The same is true of the wind mentioned above.
The second realm is to view me by things, and things are me.
This realm does not focus on describing the morphological characteristics of external things, but on supporting the meaning of things, expressing feelings through things, so that readers can know at a glance that they are not writing, but are interested in external things and hide their feelings behind their backs.
Its meaning is like a layer of paper, and it is necessary to uncover this layer of paper to find that there is another mystery below. For example, Yu Qian's Lime Lyrics in the Ming Dynasty: "A thousand hammers cut out a deep mountain, and a fire burns idle. I'm not afraid of being smashed to pieces. I want to leave my innocence in the world. " No matter how you read this poem, you won't really think of it as writing lime. Most people will understand that it was written by Yu Qian and are not afraid of being shattered. Of course, "I" has both ego and ego. So it can also be understood as writing about people with lofty ideals who are not afraid of sacrifice in the world. Similarly, Luo Yin's Bees in the Tang Dynasty:
No matter underground or on the mountain, where there are flowers in full bloom, there are bees busy.
Bee, you harvest flowers to make nectar. Who has worked hard and who wants to taste the sweetness?
The whole poem is not about describing the shape and spirit of bees, but about expressing the sadness that bees have different lovers and don't cherish people through a wide range of labor-"whether on the flat ground or on the top of the mountain", great labor intensity-"infinite scenery" and long labor time-"collecting flowers to make honey". Of course, "I" here can also be understood as a kind of dedication, or a kind of praise to hardworking people. This writing is obviously not to describe the form of things in detail, or the intention is not to describe the state of things, but to express the feelings of "I" through things. We call it "seeing me from things".
The third realm is to look at things with me and melt things with me.
This realm is to write from the perspective of "I", and everything has "I". It not only captures the characteristics of things to describe, but also sends out "I" in things to achieve the unity of things and me. If you use it, too
Metaphor is a piece of paper. On the front, it is a thing, but when it is turned over, it is "I". For example, in the Song Dynasty, Li Gang's poem "Sick Cow" said: "If you plow a thousand acres of hard labor boxes, who will be hurt if you are exhausted?" But all living beings are full and will not hesitate to win. "This poem is about a cow who has worked hard for a lifetime and made achievements, and finally fell ill in the sunset. Why not talk about himself? Wang Anshi's Plum Blossom mentioned earlier also belongs to this category. Another example is Wang Luobin's cicadas in prison in the Tang Dynasty:
? Cicada sang in the western land and ordered me to make up my mind in my cell.
? I can't stand the shadow on my temple to break the heart of a white-haired prisoner.
? His flight passed through the thick fog, and his pure voice was drowned in the world of wind.
? Who knows if he is still singing? Who will listen to me? .
This poem, although we also know that the author's purpose is to express the sadness of knowing loyalty and dust. But in the poem, I wrote about the misfortune of cicada and my own misfortune. I wrote myself as a cicada, so the whole poem achieved the unity of things and me. This way of writing, we call it "looking at the problem from my point of view".
The fourth realm is to take me as me, not me as me.
This kind of realm seems to be not in the sense of things, but in the field of vision of "I", "things" are also "I", but it doesn't seem to be in the real thing, and it doesn't really write "I", so it is in a realm of non-things and non-me. Such as the Qing Dynasty poet Yuan Mei's "Moss":
Life is not everywhere, youth is just coming.
Although moss is as small as rice, it also blooms like peony.
In this poem, it is difficult to see the author's intention of writing "moss". No matter what he thinks, he is writing "I". First, he wrote about my humble origins: "Heaven never shuts one door but another", but he didn't give in to it, so he fought for it: "Youth comes from the right place". Life lies in blooming. Don't give up easily. Although the moss is as small as rice, it is learned to bloom as a peony. The whole poem is looking at "I" with "I" and revealing things, but obviously it is not writing things. Literally, I can't see "I" at a glance, and I am in an intangible state.
In particular, it is emphasized that the poems written by the object cannot say which realm is the highest, but each has its own beauty and realm. No matter what kind of realm, the poem written by the object is a good poem. Of course, if you want to write a good poem about objects, you need to find another way and not stick to the routine. Because once you fall into stereotypes, you will be bound by commonly used images, and it is easy to follow suit and have no new ideas. For example, writing plum blossoms must be proud of snow, writing chrysanthemums must be noble, and writing bamboo must have knots, which will fall into the trap. Poetry that lacks originality and creativity is not excellent by any means. A poem praising daffodils by Huang Tingjian, a great poet in the Song Dynasty: "Mud can be turned into white lotus root, and dung can open topaz." Unfortunately, regardless of the fragrant sky of the country, it drifted into the Wang family with the fate. (Two Jade Daffodils in Two Rhymes (Part Two)) is a unique poem. The word "dung rot" is really unprecedented. Poetry like this exudes infinite charm.
Zhang Yan, a ci theorist in the Southern Song Dynasty, said in the book Etymology: "A little truth leads to stagnation; If you imitate it far away, it will be dark and unknown. "It means that if the poem describing the object is written too carefully, it will lose its meaning and imagination; But if we don't grasp the characteristics, it seems that those who write peaches can also be used to write apricots, and those in Yongmei can also be used to sing bamboo, so the expression is ambiguous. The characteristics are not obvious, which is the taboo of chanting things.
Wang, a poetic theorist in the Qing Dynasty, also said in Poems in Classroom: "Poems about objects must be excellent as the Zen master said." "Not sticking" or "not being" means not staying on things, praising things instead of just staying on things. "Do not take off" and "do not take off" are the characteristics of fasteners; Without the characteristics of things, I don't know what to sing. "Never leave, it is superior." Poems that write things should have things and "I", which is a good work.