Literary appreciation activities are composed of the reading relationship between the object of appreciation-literary works and the subject of appreciation-readers. The object of literary appreciation is the text form created by writers. It entered its own life history as soon as it was born. Since a literary work is alive and open to readers, its historicity depends on readers' reading comprehension and emotional response.
In a sense, the process of literature appreciation is a process of empathy. Empathy in appreciation activities includes two aspects: on the one hand, the subject of appreciation-readers bring their emotions, memories, wills and thoughts into the reading process and project them on the characters, events, mountains and rivers and scenery in the works. "Mountain climbing is full of feelings, and watching the sea is full of meaning." For example, "Where the petals have fallen like tears, the lonely bird has mourned" (Du Fu's "Spring Hope"), the flowers are also in tears, and the birds are surprised by the turmoil of the country's destruction; "Affectionate but always heartless, but I think I can't laugh before I die. Candle has a heart to say goodbye and cries for others until dawn (Du Mu's Farewell). Candle also understands the departure of the world and shed tears of sympathy. " "Birds fly high, and lonely clouds go alone. Seeing each other tirelessly, I only respect Tingshan. " (Li Bai's Sitting Alone in Jingting Mountain), the mountain is alive, concentric with people, leisurely, elegant and chic, and the poet looks at the mountain and is not tired at all. Because "we always look at the events that happen outside us according to the analogy of the events that happen to us and our personal experience", when we pour our personal feelings, efforts and will into the works we read, we are replacing our emotions and "pouring" our lives in. On the other hand, the object of our appreciation, literary works, is not the thing itself, but only the language symbols that mark things. We only observe the image of literary works through the typical images displayed by language symbols. Only by combining the above two aspects can literary appreciation be completed. At this time, the subject of appreciation gains the aesthetic feeling, and the work becomes the aesthetic object. Because "aesthetics is not an appreciation of an object, but an appreciation of a self."
According to the interpretation of Yuefu Ancient Poems, Boya learned the piano after three years, but he could not achieve emotional concentration and spiritual appeal when playing again. Cheng Lian said to Boya, "My piano skills are still not impressive. My teacher is in Donghai. He can teach you empathy. " . So Boya followed the teacher to Penglai Mountain with food and bags. The teacher said, "I'm going to meet my arrival!" " "So I rowed away and didn't look back for ten days. Boya waited, lonely and sad, and looked around, but she didn't see the teacher. She only heard "the sea is bubbling, the mountains are dark, and birds are singing", and suddenly she had an epiphany and sighed. It turned out that the teacher wanted to express my feelings with the birds singing in nature. "Although this story is not entirely about the feelings of literary works, it tells us a truth: only the feelings you feel can inspire and mobilize sincere feelings, and you can understand the feelings in the works more deeply.
Literary appreciation activities can be divided into several stages, such as feeling, experience and imagination. Feeling refers to the feeling and perceptual effect in literary appreciation activities, and it is the psychological activity for readers to grasp the language of literary texts as artistic symbols. The writer's creation is to melt the artistic image expressing his thoughts and feelings into language symbols to materialize and produce texts. Readers appreciate literature and art by reducing language symbols to artistic images and reflecting them in their own minds. For example, Cao Xueqin wrote in the section about Xiangling's study of poetry in the forty-eighth chapter of A Dream of Red Mansions that Xiangling began to learn poetry, but she didn't understand it, and later she learned more and more. She believes that "the benefits of poetry are unspeakable, but it is realistic to want to go." It seems unreasonable, but it is also reasonable to want to go. "Taking the song" Fortress "as an example, she said," The desert is lonely and straight, and the long river sets the yen. "How straight do you want to smoke? The sun is born round: the word "straight" seems unreasonable, and the word "round" seems too vulgar. When I closed the book and remembered, I seemed to have seen this scene. What Xiangling realized was the uniqueness of the aesthetic feeling of poetry.
In literary appreciation activities, experience is a personal experience from external form to internal form-grasping and understanding the meaning of a work to "test it with body and mind". Marx pointed out in 1844 Economic and Philosophical Manuscripts that the characteristics of human activities are free and conscious life activities, and through this free life activity, people make all objective reality become the reality of human essential strength. "Only when the object is said to be the object of human beings or become the object of human beings, can people not lose themselves in the object", and talents "affirm themselves in the object world not only through thinking, but also with all their feelings." The overall feeling here is that when people appreciate literary works, they devote themselves wholeheartedly to them and experience their lives from the object world. For example, in the twenty-third chapter of A Dream of Red Mansions, the quip of The West Chamber is like a play, and the colourful songs of the Peony Pavilion are like a tide. As soon as she reached the corner of pear fragrance court, she could only hear the melodious flute and the melodious songs on the wall, and Daiyu knew that it was the twelve girls practicing the opera. Although I didn't pay attention, I dyed a few words and heard them clearly. I said, "There are flowers everywhere. Like this, all the wells have been broken ... Daiyu was very emotional, so she stopped to listen carefully and sang:" What a beautiful day, whose family enjoys it ... "After listening to these two words. After thinking about it, I regret that I shouldn't dream and delayed listening to music. When I listened again, I just sang: "Just for you, as beautiful as flowers and as beautiful as jade, like water passing by ... Daiyu was very uncomfortable after listening to these two words. After listening to this sentence: "You feel sorry for yourself in a secluded room ...", you are more and more infatuated, and you can't stand it, so you squat on a rock and chew the taste of the eight characters. Suddenly, I remembered the poem of the ancients the day before yesterday, which said, "When water flows, flowers are merciless.": In the second word, there is a sentence, "The flowing water goes in spring, which is heaven and earth"; Also, just now, there was a sentence in The West Chamber, "There are thousands of kinds of worries; They all remembered at the moment and got together. When I read carefully, I feel my heart is hurting and my eyes are crying.
This is because Du Liniang's bitterness and sadness of "loving but not loving" aroused the same bitterness and sadness in Daiyu's heart. This * * * emotional experience led to an unforgettable emotional experience when Lin Daiyu listened to The Peony Pavilion, which reached a strong * * * sound of empathy and got into trouble. Through this vivid description, we can see that Lin Daiyu's appreciation of the Chinese music of Peony Pavilion includes the repetition and gradual deepening of her personal experience.
The experience in literary appreciation is mainly manifested in two aspects: one is the experience of the fate, thoughts and feelings of the characters in the works; The second is the writer's experience of thoughts and feelings. Why did Lin Daiyu in A Dream of Red Mansions feel "heartbroken" and burst into tears when she heard The Peony Pavilion? It is because Daiyu lived a depressed life since she was a child, and her feelings and spirit were greatly suppressed. She is sensitive, considerate and full of feelings, and naturally she will feel more misfortune and sadness than ordinary women. The thoughts and feelings expressed in The Peony Pavilion touched Lin Daiyu's heartstrings, and flooded into my mind together with the images in The West Chamber, the Spring Festival Evening of Cuitu in Tang Dynasty and Li Yu's Langtaosha in Southern Tang Dynasty. After "careful consideration", I felt pain in my five senses, mixed feelings and tears in my eyes. Mr. Liang Qichao pointed out in "On the Relationship between Novels and Group Governance": "Anyone who reads novels must consciously be in the book and be the master of his book." "My husband turned his body into a book, but when he read this book, the body was no longer mine. He had completely entered this world and entered another world." "If the owner of the book is Washington, the reader will be transformed into Washington; If Napoleon is the master, the reader will be transformed into Napoleon; If Sakyamuni and Confucius are masters, readers will be transformed into Sakyamuni and Confucius. " Readers incarnate in the book precisely because they have concentrated on the emotional fate of the characters in the book and achieved a true portrayal of the aesthetic realm of selflessness.
In the process of literature appreciation, not only should we have rich feelings and experiences, but also rich imagination is essential. Imagination can not only be read and appreciated according to the language symbols given in the text, but also create a new image by transforming the memory representation in the mind, thus recreating the deeper meaning created by the writer. Italian aesthetician Miyotori pointed out: "Most people imagine that inanimate things are alive. ..... A lover's imagination is often full of images, which are all caused by the object he loves in his heart. For example, his fanatical enthusiasm reminded him that the tenderness of the people he loved was a great and rare happiness, so that he really and naturally thought of all other things, including flowers and plants, which also longed for that happiness. " We read "I have been there, Liu Yiyi" (The Book of Songs, Xiaoya Cai Wei); "People don't know where to go, but peach blossoms still smile at the spring breeze" (Cui Hu's "Chengtou is Nancun"); "I see how charming Castle Peak is, and I expect Castle Peak to look at me like this" (Xin Qiji's He Xinlang); "Out of the mud but not stained, clear but not demon" (Zhou Dunyi's Love Lotus); "Beautiful nature, how wonderful! How brilliant the sun is, vilen smiles! " (Goethe's Song of May) Although they are only a combination of words and symbols, they can naturally arouse natural images such as willows, peach blossoms, beauties, green hills, lotus flowers and Yuan Ye in our minds, and arouse feelings such as parting, parting, purity, communication and appreciation.
Nikolai Gogol once used imaginative words to evaluate Pushkin's lyric poems. He said:
His short poems present a series of dazzling pictures. This is a bright world, a world that only ancient people are familiar with. In this world, nature is represented by vivid four, as if it were a silver river. In this torrent, another dazzling shoulder, a hand as white as jade, and a gypsum-like neck are covered with a night-like black curls, a bunch of transparent grapes, or a myrtle and a shade planted for striking. It contains everything: the enjoyment of life, simplicity, and lofty thoughts that suddenly shock readers with solemn calmness. ..... There are no beautiful words here, only poems here; There is no ostentation of appearance here, everything is so simple, this is pure poetry. Not many words, but very precise and meaningful. Every word is a bottomless abyss; Every word is as difficult to grasp as a poet. So there is this situation, you will read these little poems over and over again. ...
Of course, literary appreciation is not only a simple acceptance, but also a strong creativity in the process of literary appreciation, which is a re-creation based on the writer's creation. Yao Si, a representative figure of reception aesthetics, once said: "A literary work is not an independent and self-sufficient object, it provides the same picture for every reader in every era. It is not a monument to show its transcendental essence in a monologue, but more like an orchestral score, which constantly resonates with readers, liberating the work from verbal materials and giving it a realistic existence. " That's why we say that a thousand readers have a thousand Hamlets. Aesthetic creation has two characteristics: one is to supplement and enrich the image of the work; One is the discovery and addition of the meaning of the work. In the last article, we have covered the supplement and enrichment of images, and here we mainly talk about the discovery and addition of the meaning of works. The meaning of literary works is implied in language symbols and literary images, and is not directly presented to the appreciator. Therefore, in literary appreciation activities, the meaning of literature needs readers to discover, explore, think and comprehend.
Ollie Salvig, a famous Danish poet, wrote in Pale Morning: "I always hear the truth selling his goods/between houses." /But when I opened the window/The peddler was with his car for several hours/It seemed that ordinary houses were crowded there/Their sad sunny smiles/On a day as usual. //Great morning has come. /A huge light source burns in space. /A faint bright color/Trembling in the cold. /Truth is noisy in my ear/It has crossed many roofs/It has reached other streets/Now others have heard his cry. "Chen Chao thinks that poetry reflects the century evolution of human's cognitive structure, and poets are good at' finding the objective counterpart of the soul from nature' and expressing human's living situation through individual life experience. He said: "This is a metaphor for people's pursuit of value truth with the sun. It contains not only truth, but also truth, goodness and beauty and the indomitable spirit of fighting for reason. "
Andrew West wrote in "Human Affairs Beekeepers":
The man who flies bees is at the core of nature, and his serene expression of integration with nature shows that he is a part of nature. He works with light every day and bathes in sunshine or wind and rain with the earth. He knows the mysterious language of nature, and he talks with all the people around him with his heart. He is like a messenger of history, bringing the friendly side of human beings into nature. His relationship with nature is the oldest relationship between human beings and nature. As he feared, this relationship, in the hands of today's human beings, is gradually disappearing. Here, the worry of the bees is not only the writer's husband and son, but also the reader's personal feelings. Zhuangzi once said, "There is great beauty in heaven and earth, without saying it. There are clear rules at four o'clock, and we won't talk about everything that is reasonable. In the face of the magnanimous silence, broad tolerance and profound mystery of nature, it is more wise to wait and see, wait and see, and understand its way.
Homework in Quiet Night is a masterpiece of Zhang Chengzhi's prose and an important work representing his thinker consciousness. In the dead of night, when relatives sleep peacefully, writers spread their wings to think and daydream. What did Gao Jianli see in the blind darkness? Lu Xun's "Weeds" expressed thoughtfully in the night at the beginning of the twentieth century, facing the darkness. Gao Jianli's architecture and Lu Xun's pen once existed as sharp weapons, but now "there is no simple architecture in the rich and changeable darkness." "Seeing the building destroyed, Mr. (Lu Xun) lost his pen and swallowed all the sharp weapons in the dark." In Zhang Chengzhi's eyes, "the ancient people walked in elegant music and assassinated, choosing beautiful martial arts;" Recently, scholars have written books in blood, which is a heroic writing-but after all, husbands are weak. " He admired the heroism of ancient heroism, and at the same time, he praised Lu Xun's "face the darkness, correct it with righteousness, and fill it with lofty sentiments." Because Zhang Chengzhi has rich historical knowledge, he has read Historical Records, Biography of Assassins and Lu Xun's works for a long time. What goes deep into the bone marrow is the quaint and heroic beauty in the dark, looking for the tacit understanding of * * * in the dark. On an occasional quiet night soaked in darkness, I recalled that my feelings and feelings suddenly poured in and felt that I was "a discerning person and had a rest." "In this enlightening darkness, wandering alone, the lessons of a quiet night always begin and end. It leads to the spiritual height and the distant future.
Synaesthesia in 1.5 and Synaesthesia in Acceptance
The psychological differences between literary appreciation and other artistic appreciation, synaesthesia and even the influence of mobilizing association and imagination on literary appreciation activities.
The sound of promoting weaving is like a needle, which hurts the traveler's heart more deeply.
Monologues in the Bright Moon I was stunned by sleeping children and boarding birds.
-Jia Dao: "Ke Si"
Fauchelevent is not light, and it is still blowing flowers and making red sounds.
Love is more important in life than spring. There is no love between old age and spring.
-Yang Wanli: Jia Dao, whose name is Lang Xian, was born in john young (near Beijing today). He was a famous poet in the middle Tang Dynasty, and was famous for his bitter songs. Jia Dao, a young envoy, became a monk and returned to the secular world after his poetry became famous. He took the Jinshi exam, but he was not admitted because of his humble background. He only worked as a junior official such as the master book of the Yangtze River and the treasurer of the army in his life, but left the Collection of the Yangtze River, which made him a literary historian. Jia Dao is good at describing natural scenery and expressing real life scenes with simple daily language, and has formed a light and simple poetic style. The song "Ke Si" we chose records a wanderer wandering in a foreign land, sitting alone on a moonlit night, worrying nothing but the needle-like chirping of crickets. Jia Dao is good at describing deep psychological feelings in simple and plain language. Therefore, Han Yu's evaluation of Jia Dao is that poetry "often makes it dull". From the perspective of literary aesthetics, gorgeous is easy to be plain and difficult. What plain shows is essentially a high artistic realm. As Mei, a poet in the Song Dynasty, said, "Poetry is not ancient, but plain." The author of the second poem, Yang Wanli (1127-1206), whose real name is Zhai Chengyeke, was born in Jishui, Jizhou (now Jishui, Jiangxi), and was a contemporary poet with Lu You and Xin Qiji in the Southern Song Dynasty. Zhai Chengji has been handed down from generation to generation. According to records, he studied less Neo-Confucianism and paid attention to moral integrity. People are resolute and upright, and when they disagree, they are called "just turning the corner." Yang Wanli started as a Jiangxi poetry school at first, and then learned from the quatrains of the Tang Dynasty, gradually getting rid of the shackles of the established paradigm and casting a unique "sincere style". In his later years, Yang Wanli once said that his poetic realm is "Boundless Qingming Festival, Back to the day before yesterday (Preface to Collection of Jingxi)." He is good at capturing interesting moments from ordinary things, expressing what he sees, hears and feels in simple language, fresh and lively, plain and simple. For example, "Wheat grows in Pingtian Village, and flowers float on the red shore of tender water" (March 30th quatrains), "Spring plays banana leaves, and children get rain by mistake" (early summer nap quatrains) are all manifestations of his style. As we all know, poetry is the art of language, and rhetoric is one of the indispensable means of poetry creation. In poetry, the poet is lyrical and freehand, and has a special embrace. Both Jia Dao and Yang Wanli put their feelings in. We put two poems of different times and different contents here, mainly to provide readers with two typical examples of synaesthesia. Jia Dao's "The Sound of Promoting Weaving is like a Needle"-a metaphor for the sound of crickets heard in the ear is like a needle, and the sound perceived by hearing has a sharp texture that can be seen and touched; Yang Wanli's "You Blow Flowers and Arouse Red Tones" is to transform colors that should have been perceived by vision into sounds that need to be experienced by hearing. These two poems, one is the transfer from hearing to vision, the other is the transfer from vision to hearing, which makes communication between hearing and vision, which should have their own functions-this is what we usually call "synaesthesia"
On the surface, the phenomenon of "synaesthesia" in literary creation and appreciation seems to be just a special perceptual activity. In the past, some people simply attributed it to "the transfer of feelings", thinking that one feeling caused the excitement of another feeling and strengthened the original feeling. For example, the color is divided into cool color and warm color, which means different colors. The feeling of "warm" and "cold" produced by people's psychology is a transmission from vision to psychological feeling; Sound is divided into "round" and "sharp", which means that different sounds cause a "sharp" or "round" feeling in human physiology, which is the transmission from hearing to touch; Dividing writing into "raw" and "sweet" refers to the feeling of "raw" and "sweet" brought by different writing styles, which is the transmission from touch to taste, and so on. So, what does "synaesthesia" feel like? Essentially, synaesthesia is a psychological phenomenon formed by the interaction of different senses. Psychologically, it is called "synaesthesia", and "synaesthesia" refers to the "displacement" caused by the excitement of one feeling that has happened, or the psychological phenomenon that the function of one feeling is strengthened by the excitement of another feeling at the same time.
Mr. Qian Zhongshu has a simple and popular explanation in Synaesthesia: "In daily experience, vision, hearing, touch, smell and taste can often communicate with each other, and the fields of eyes, ears, nose, tongue and body have no boundaries. Color seems to have temperature, sound seems to have image, cold and warm seems to have weight, and smell seems to have physique. Such things often occur in common language. For example, when we say "bright" and "loud", we turn the word "bright" into sound, just like Latin and modern Spanish often say "dark sound" and "bright morning sound", as if vision and hearing had a "wealth friendship" at this point. China ancient literary critics have noticed this psychological phenomenon. In the Book of Rites, there is a saying that "old singers are like resistance, teams are like teams, purlin is like wood, and the end is like pearls". Confucius said in the Book of Rites Justice: "Sound touches people and makes people think that it is what it is. Liezi Wentang has the saying that "the reverberation lingers for three days", which transforms the auditory effect into the visual effect; Beautiful music is like a visible ribbon, giving people a deep feeling. This "listening" shows a kind of "synaesthesia" phenomenon.
In poetry creation, artistic synaesthesia is not only an important means of creative intention, but also the inevitable result of the poet's highly developed artistic thinking. On the one hand, the poet's perception of things is bound to break through a single sensory experience, which is manifested in the establishment of corresponding connections between various senses to achieve communication and whole-hearted observation; On the other hand, in the process of artistic thinking, due to the role of association and imagination, various symbols are delayed and the boundaries of various feelings are completely broken. The differences of perception and representation overlap, transform, penetrate and communicate, which makes it easier to form a kind of "sensory shift", so that "the nose has the ability to taste sound and the ear has the god of smell." Therefore, in the country of poetry, sound can produce smells, making it "non-nasal and non-fragrant", such as "beauty caresses the harp, and her hands are idle; The fragrance is tied with the wind, and the sadness is fragrant "(Lu Ji:" There are tall buildings in the northwest "); There will also be colors, shapes and smells, so that you can see the colors, shapes and smells in your ears, such as "the wind turns green with the willows, and the wheat turns yellow with the dust" (Yan Sui becomes a "city road"), such as "A, the black vest on the fly/the stinking dark bay buzzing around; E, the innocence of the fog and the tabernacle, the proud peak/white emperor of the glacier, and the little white flowers are trembling "(Rambo: vowel), such as" The broken wing is still fine, and the sour song is still extremely clear "(Jia Dao's Sick Cicada). Correspondingly, objects without sound will sound in the poet's eyes and mind, such as "Fireflies in March, Crossing the Tianhe River in Wan Li" (Chen: "The boat arrives at Huarong County at night"), such as "The Tianhe River drifts back to the house at night, and the clouds learn the sound of water" (Li He: Songs in the sky), such as "Beads Rolling over Bamboo" and "Lights on/I am walking on my pain" Officials believe that poets communicate and blend their feelings in their creation, or enhance their hearing with the help of smell, or enhance their vision with the help of vision, or enhance their touch with the help of vision ... So they melted and cast vivid and novel poems in ancient and modern Chinese and foreign poems, making readers realize the "unreasonable and wonderful" charm of poetic language.
It should be noted that the method of using artistic synaesthesia to describe artistic images is not only found in poetry texts, but also in other types of literary texts-novels and essays. For example, in the second time in the modern novel Travel Notes of Lao Can, when describing Xiaoyu's drumming, he wrote: "Gradually, the sound became louder and louder, and suddenly a top was pulled out and thrown into the sky like a steel wire. ..... I didn't know she was in a very high place, but she was still full of twists and turns. ..... It seems that from the west of the summit to Fanya, the worse you see Fanya, the more dangerous it is. ..... After singing to a very high 34 fold, it suddenly falls, hovering like a flying snake among the 36 peaks of Huangshan Mountain. ..... The lower you sing, the lower you will be. ..... suddenly rises again, like fireworks in the East, a marble rises into the sky, and then turns into thousands of five-color flames, flying vertically and horizontally ... "Xue Erkang wrote in" Flower Ballad ":"When you step into the door, a strange fragrance comes to your face. Although it is full of fragrance, it comes to Wen Ya with a leisurely rhythm, like a soft Jiangnan silk and bamboo. " Turgenev's essay The Hunter's Notes contains an article The Singer, which reads as follows:
..... He sang: "There is more than one road in the field", which we all felt sweet and horrible. I
It is rare to hear such a sound: slightly broken, such as broken jade; At first, I even felt a little sick; But there are sincere and deep enthusiasm, youth, strength, sweet feelings and a kind of ecstasy and vast sadness. ..... His voice is no longer trembling-she is trembling, but it is an inconspicuous, internal and enthusiastic trembling that pierces the listener's heart like an arrow. This voice is constantly intense, intense and expanding. I remember one night, when the tide receded, the waves of the sea surged solemnly and heavily in the distance. I saw a big Bai Ou on the flat beach: its silky chest reflected the red light of the sunset, and it sat motionless, only occasionally spreading its long wings slowly against the familiar sea and the crimson sunset. -I heard Yakov sing. I remember this Bai Ou. ..... He sang, and every song he sang gave people a kind and infinite feeling, as if the familiar grassland stretched out in front of you in endless hunger. ……