Abstract: Yu Dafu has always been famous for his novels. In fact, as a great poet, his old-style poems are fresh and smooth, profound in artistic conception, rich in connotation, intriguing and well-known, with high artistic value and great aesthetic enjoyment. This paper intends to explore and taste the artistic conception beauty of Yu Dafu's old-style poems from the perspective of China's traditional poetics theory, and defines the artistic conception of his old-style poems as the beauty of harmony between man and nature, the beauty of sadness at times, the lingering beauty of reluctance, and the tragic beauty of patriotism and hatred for the rich. Key words: harmonious artistic conception, sadness, lingering, patriotism and tragic Yu Dafu, who is famous for his novels, is also an outstanding poet. He claimed that the old poems "best suit his temperament":
(1) left a lot of old-style poems in the history of modern literature in China. These old-style poems are well-known, with high artistic achievements and high evaluation at home and abroad. Guo Moruo copied Yu Dafu's poems? The preface says: "Duff's poems are really better than his novels or essays." Xia Yan once said: "In the old-style poems written by new literature writers, I think Lu Xun, Yu Dafu and Tian Han are the best." ;
(2) Wang Jingzhi once commented: "Duff's poems are dazzling and modern poets are unparalleled ...";
He once told his family that "Yu Dafu is a genius and his poems are unparalleled".
(4) Hattori, a famous Japanese sinologist, commented on Yu Dafu's poems, "Don't be coquettish, don't be too young, the immortal Buddha is ancient and rare." Yu Dafu's old-style poems are so well-known because, as Guo Moruo said, "most of these poems are works of mind, which can be used as autobiography and poetry history." ;
⑤ More importantly, Yu Dafu "condensed his own sentimentality into poetry articles and made a faithful record for the times and himself ⑤", creating a rich and breathtaking artistic beauty. "Jing" is an important concept in China's classical poetics and the core and foundation of China's classical poem aesthetic comprehension. Yu Dafu said in "Talking about Poetry": "An artistic conception of old poetry is the meaning of the so-called' fragrant elephant crossing the river, antelope hanging its horn' which was vaguely said by the ancients. It is a common and impressive one generally praised by Twenty-four Poems. For example, frankness, calmness, elegance and nobility, implication, novelty, meandering and flowing, etc ... "
(7) The poetic scene mentioned in Si Kongtu's Twenty-four Poems of the Tang Dynasty is actually a poetic style, which is different from the artistic conception discussed today. The "interest" in Yan Yu's Cang Shi Lang Hua uses Zen as a metaphor for poetry, which makes the artistic conception very mysterious. In addition, for example, Wang Shizhen's "image" in Art Garden, Hu Yinglin's "Xiang Xing" in Poetry and Wang Fuzhi's "Jiang Zhai Shi Hua" are all called "scenes"; The expression of artistic conception is different, but its connotation is roughly the same. After Wang Guowei divided realm creation into "creative realm" and "writing realm", he put forward "realm with me" and "realm without me" and became a master of artistic conception theorists. "Wang Jingan's mention of the word" realm "seems to be comprehensive. " ;
(9) Thus, China's theory of artistic conception was established and became an important category of China's aesthetics and literary theory. Previous discussions on artistic conception are rich and seemingly complicated, but what is artistic conception? In short, "meaning" is emotion, that is, subjective thoughts and feelings; "Scene" is the realm, that is, an artistic picture with three-dimensional sense. In literary works, especially poetry, "meaning" can't be said naked, but needs to be expressed through things; "Context" cannot be a purely objective object, and needs to be triggered by intention. Therefore, "artistic conception" can be said to be a realm formed by the integration of the poet's subjective thoughts and feelings with objective things, and a three-dimensional picture of the blending of scene and spirit. Wang Guowei said in "Words on Earth": "Words are based on the realm, and those with the realm are self-contained and have their own famous sentences." ;
Although this is true for words, it is also true for poetry. Yu Dafu's old-style poems have created a poetic art world with strong appeal and appeal because of his artistic conception creation skills. Among them, the beauty of harmony between man and nature, the tragic beauty that harms nature, the lingering beauty of love, and the tragic beauty of patriotism and hatred of the enemy are like four artistic scrolls with harmonious form and spirit, which shine in the long river of poetic art. The author tries to explore and appreciate the above four masterpieces of Yu Dafu's old-style poems from the perspective of artistic conception.
1. Harmonious Beauty of the Unity of Heaven and Man China's aesthetics and literary theory regard the blending of scenes as the basic requirement of artistic conception or realm. Yu Dafu's old-style poems are artistic masterpieces created by consciously following this basic requirement and using image thinking. This basic requirement is especially reflected when expressing the harmonious beauty between man and nature. The beauty of neutralization is the aesthetic thought that runs through China's classical poems.
⑾ The beauty of neutralization in Yu Dafu's old-style poems is manifested in the beauty of harmony between man and nature when it comes to the issue of man and nature. Yu Dafu once said frankly in Appreciation of Landscape and Natural Scenery: "Appreciating nature and landscape is a harmonious function of harmony with all things and harmony between man and nature. According to Aristotle, this is another reason for the origin of poetry. He likes to reconcile the development of instinct. " ;
Besides, "the fascination with nature since childhood has become a kind of nature of young Yu Dafu"
[13] From Yu Dafu's autobiography "My Dream, My Youth", teenagers often stroll along the Fuchun River, climb the cliff of the zygomatic mountain, breathe the fresh breath, and look at the green grass and Qingjiang River in the distance, and can't help falling into dreams and forgetting their own existence. The harmony between man and nature is generally manifested in two aspects. First, the image of nature is consistent with a certain trait and mood of human beings, so that in the works, the author objectively describes the scenery, permeates the author's emotional characteristics, and the image and emotion are integrated, and the subject and object are integrated.
14. Generally speaking, the story inside and the scene outside are very harmonious, forming a picture full of the author's strong subjective feelings. Therefore, when casting artistic conception, people often borrow scenery to express their feelings, or put their feelings in the scenery, or put their feelings in the environment. The scenery written in it not only plays a normative role in the feelings expressed by the poet, but also shows the tendency of the poet's thoughts and feelings, making the poet's inner and even abstract feelings externalized, objectified and objectified, thus strengthening the image, concreteness and vividness of the poem. As Xie Zhen said: "Scenery is the medium of poetry, and emotion is the embryo of poetry, which is combined into poetry."
(Poetry on all sides) Yu Dafu's "Gui Chou Xia Deng Dong Cheek Mountain" written in 19 13 (⒂) embodies this feature.
Travel in the mountains at night to help jade. The sound of insects shakes the cliff, and the shadow of flowers protects the Zen leaves.
Fishing lights gather on the far shore, and birds stay in danger. Even more silent, a monk returned from the moon.
This poem combines many images such as insects, flowers, Zen leaves, fishing lanterns and birds, which makes us see a vivid picture. The realm is quiet and quiet, and it also reveals a little Zen. The author's emotion, that is, the tranquility and pleasure of traveling in the mountains at night, is hidden in the fresh image. This poem is lyrical with scenery, beautiful and affectionate. People walk in the mountains, quietly blend with insects, flowers, birds and the moon, and become a part of nature. This poem fully embodies the aesthetic principle of harmony between man and nature. This is precisely "painting in poetry" and "poetry in painting", which is a good poem with beautiful artistic conception and intentional context. Another example: the fourth poem of his poem to himself:
Living under Yanling Beach, the scenery in Qin Dynasty was in Jin Dynasty.
Peach blossoms in March, fishing boats come and go along the Chunjiang River.
This is a poem and a painting. Indeed, Fuchun River has beautiful scenery. "From Fuyang to Tonglu, hundreds of miles away, unique. (Liang? Wu Junshu and Zhu). In the poem, we seem to see the scattered beaches along the Fufu Chunjiang River. In March, green peaches are like brocade, and the river is clear, facing red flowers and white sails. How happy I am! What a beautiful picture of the river. The poet skillfully colored it. The peach blossoms are red and the riverside is green. The two set each other off and become interesting. It is also connected by fishing boats coming and going, which makes the close-range and the distant view set each other off, and the whole picture is colorful and full of vitality. In addition to the colorful and dynamic fishing boats, these have aroused the author's interest in the scenery of his hometown. The author thought of the distant past of his hometown, the scenery in Qin dynasty and the mountains and rivers in Jin dynasty, which actually expressed his love for his hometown. This poem is full of emotion and realm. When we read this poem, we will naturally see a three-dimensional picture with a blend of scene and spirit. Living in such a beautiful natural environment, poetry naturally evokes the beauty of harmony between man and nature and is a good poem with beautiful artistic conception. Written in 19 17 "Guanlongmen Mountain Wall"
The autumn moon is white, and the fishing songs force the shore to clear. The stars are swaying and a wild goose is silent.
The mountains are far away and the waves are light, and the tide rises from the island. The crowd moves at night, and the city is full of good dreams.
This poem is about the author and his eldest brother singing a song about Fuchun landscape in their hometown by Chengjiang River at the base of Zygomatic Mountain. Looking from a distance, the autumn moon in Hengjiang is in the distance, the stars are swaying, the mountains in the distance are like smoke, and the turbulent river tide is nearby. You can also hear fishing songs and dying geese. This poem outlines the autumn moon, rivers, stars, distant mountains and other scenery, showing the characteristics of overlooking the distance. At the same time, through several verbs such as "horizontal", "forced", "shaking" and "walking", the natural scenery is lifelike and endowed with fresh life and expressive force. The word "horizontal" is well used, which outlines the wonders of the autumn moon reflecting the river. The word "forced" is better used. Fishing songs actually force the shore to turn green, similar to the word "green" in Wang Anshi's Spring Breeze Green Jiang Nanan. "Shake" and "Walk" not only vividly depict the shapes of stars and geese, but also vividly depict them. These four dynamic descriptions show the quietness of Longmen Mountain at night, and the next four sentences become static descriptions. The quiet scenery of distant mountains, smoke waves, tides and islands reminds people of the beautiful dreams of the city. The last four sentences of this poem are well connected with the first four sentences, consistent and seamless, forming a complete and beautiful autumn night vision. The poet's thoughts and feelings, his love and admiration for his hometown landscape have been fully expressed, especially the last sentence, "Good dreams are full of heavy cities", which reveals this appreciation and joy and makes the scenery and emotions organically fit together. There are pictures in this kind of poems, and they are three-dimensional pictures with both form and spirit. Emotion in poetry is a sincere emotion born of emotion. This is the artistic conception of poetry, which has strong artistic appeal.
Many of Yu Dafu's poems are immersed in physical images because of the poet's affection, and the physical images are fully grasped by the poet and become spiritual things. This is exactly what Wang Guowei called "my realm" in "Words on Earth", that is, "the color of everything I see".
If the sound of insects is sad and anxious, the most difficult thing to settle is homesickness. ("Autumn Supin Chuanyi") Guests are infinitely fragrant, half-stained with smoke and half-stained with water. (192 1 August Eight Diaries of Yanyuan)
I can't sleep for a night, and the moon is like a dream. (1February 27th, Sulhai Hot Spring)
Cherish a piece of Xijiang moon, as people in Jin Meng. The second aspect of the harmony between man and nature is that when dealing with the relationship between man and nature, natural images are required to be consistent with people's tastes, and a feeling of harmony, calmness, elegance, relaxation and gentleness is emphasized. Most of Yu Dafu's landscape poems have this feature. This kind of poem is organically integrated with scenery, and the meaning and scenery are in harmony. Although there is sometimes a sad atmosphere in the poem, the beauty of freshness, detachment and grace is the same. He once advised Sun Quan to read more late Tang poems: "The best poets in the late Tang Dynasty were Li Yishan, Wen Feiqing and Du Fanchuan. Try Li Shangyin's untitled works. They are melodious and have a desire to die. It is a mistake for the world to dismiss it because it is too delicate! Poetry must be exquisite before it can be used. What's wrong? "
⒄ It can be seen that Yu Dafu appreciates this graceful and delicate artistic conception, which is reflected in his "Car Passing Linping" written in September 2007 (19 17).
Qingxi is full of ups and downs, and Huangyelin has a dream of sparse birds.
It's another autumn fragrance, and the fragrance of rice has passed Linping.
Qingxi rises and falls, rhombuses sway, leaves turn yellow, trees appear sparse and empty, and even birds' dreams are light and comfortable. The breath of autumn is also rendered by the breath of autumn and the fragrance of rice. This leisurely and soothing autumn mood is highly unified with the poet's relaxed and leisurely mood. It can be said that "the implication is in harmony with the environment and the artistic conception is in harmony." ("Save Words") Another example is:
The sand on both sides of the Xijiang River is like snow, and the moon is moored at night. (Sleeping in the West)
There are two hot springs of water and bamboo in Tsinghua, with long water potential and inclined bamboo potential. (Hot spring)
Blue waves melt into gulls, and lotus leaves worry about tourists. (Ode to the Lake)
At dusk, the boat is beautiful, the long beach is full of cherry blossoms and the moon is full of Sichuan. (Twelve Japanese Ballads)
There are countless such poems. In fact, the images of river, white sand, bright moon, boating, blue waves, lotus flowers, long beach and tender willows in the above poem "All scenery is sentimental" (Wang Guowei's language) are consistent with the poet's leisurely and relaxed mood, creating a beautiful artistic conception of "I don't know which is me and which is what". "The harmony between man and nature in China's classical poems is the main tendency of Moshan's flooding works." "As the aesthetic standard of China's classical poetry, the harmony between man and nature has great vitality."
⒅ Yu Dafu's poems consciously follow the important aesthetic standard of China's poetics of "the unity of heaven and man" and create a three-dimensional picture of the blending of scenes, which is the artistic conception of poetry. Therefore, the natural scenery in Duff's poems is broader and richer than the objective scenery and even the author's original intention, which is an important aspect of the artistic conception beauty of Duff's old-style poems and the embodiment of its strong vitality and influence.
Second, the beauty of grief and indignation. Wang Guowei once said: "The scenery is not unique. Emotions and sorrows are also a realm in people's hearts. " He also said, "Therefore, what can describe scenery and true feelings is called realm, otherwise it is called no realm. (Article 6 of Wang Guowei's Poems on Earth) That is to say, the realm contains two factors: "scenery" and "emotion", which cannot be separated, because there is no simple description of scenery without emotion in art, and there is no simple description of feelings completely divorced from all scenery. Excellent poetry should be "emotion in the scene", "ambiguity between meaning and scene" and "forgetting the artistic conception, blending things with me". It can be seen that some kind of scenery objectively or some kind of emotion subjectively is the realm in real life. Yu Dafu's old-style poems are a unified fusion of vivid scenery and sincere and deep lyricism, thus casting a profound and intriguing artistic world.
Yu Dafu was born in a society where feudal society was gradually disintegrating. When he was a child, he witnessed the domestic warlords' scuffle, the society was dark, the people's hearts were dirty, and he was in financial distress, which made him develop a lonely and sad character from an early age. He is like a sentimental traveler in the journey of life. However, as the author said, "Sadness is by no means an innate thing. According to Tolstoy's artistic theory, the rendering and transmission of feelings is one of the main functions of works of art. "So the poet's sadness overflowed and became many more popular poems with beautiful artistic conception. It can also be said that "the husband's words of peace are weak, and the voice of sorrow is wonderful; Happy words are hard to make, and poor words are easy to be good. " (Han Yu's Preface to Tan Advocating Peace Poems) When poets create profound artistic conception in these poems, they reveal the beauty of grief and indignation that hurts the world. For example, 19 19 wrote "Feeling angry at the end of the year".
At the end of the year, the world is lonely, and the scenery in jathyapple is quiet.
Beauty dreams of the bones by the river and plays the flute in the city.
Poverty invaded Suwu Festival, and the court gave a banquet to serve mink.
Scholars have been wandering outside for many years. Why does Xiangshui want to make a big fight?
This poem was written shortly after the poet returned to Japan after failing the exam in Beijing, and his mood was naturally angry, lonely and sad. The first two sentences describe the bleak and lonely "true scenery" at the end of the year, and in the next few links, they express the "true feelings" filled with indignation at the decadent situation. This poem is in harmony with the scenery. In fact, the author's loneliness and anger have been revealed in the first few lines of the poem. The theme of this poem is to express the feelings of anxiety and anger, and the scenery in love is also very depressed. This is the beauty of creating artistic conception by telling feelings and feelings. The fly in the ointment is that the feeling is a little more than the scenery, that is, the feeling is greater than the scenery and the meaning is slightly smaller. But on the whole, this poem is still a good poem with artistic conception, which shows the beauty of grief and indignation that the poem was born in troubled times and its ambition is difficult to implement. Another example: Talking with Wenbo Night written by 1920, I feel that the original thing is impossible. The next day, Wenbo returned to the west and said that he was going to Fayun.
Meet the hostel only sigh, China worry too much.
At night, the stars shake the Beidou, and the empty building forces the Tianhe.
Ask who can be the mainstay, turbid waves are hard to clear.
If you pass by, you will find Jing Ke looking for Nong.
Fan said, "The scenery is heartless and there is no scenery." This poem was written by the author who is sensitive to the change of national destiny, and truly expresses the author's grief and indignation towards China, Japan and Africa and his willingness to give up his life. The poem describes the stars in the middle of the night, all kinds of miserable scenery in the small building, commanded by anxious and angry feelings, and the painful feelings naturally emerge from this scene, and the feelings and scenes are intertwined into a whole, creating an artistic conception of expressing anxiety and anger. Written in 19 18 March, Four Poems of Quanjun Original Rhyme (I and IV)
First, try your best to travel around the world.
It seems that I am going to grow old in another country and fall into the Central Plains with some old friends.
Fourth, how to stay on the New Year's Eve? The ice water on the river doesn't flow.
How much hate there is in a song, and the plum blossom pavilion moves to clear the sorrow.
The poem describes the miserable scene of being stuck on the river ice alone under a lonely lamp in a foreign land on a cold night, revealing the strong feelings of sadness and indignation of traveling around the world, living alone in my hometown and dying in a foreign land. Scenery is based on emotion, which is caused by scenery. Emotion is main and scenery is subordinate, and the beauty of grief and indignation is revealed in the blending of scenery. The poet's "sense of time" is mainly due to the turmoil of the times and the darkness of the current situation. He often worries about his talents, such as "the yellow bell is destroyed once, the tiles are thundering" and "the ambition is not paid". He often used gloomy and cold scenery descriptions and ancient people's wine glasses to pour a thunder in his chest, thus casting a unique artistic conception and revealing anxious beauty. For example:
Drunk and dry, wine is cold, rivers and lakes are sparse and winter is disabled.
Play pity on Zhongzhou parrot bone, not worship Changsha Taifu official. Sit at the table
At dusk, the frosty wind falls on the wild pond, and the sense of independence in the suburbs is boundless.
Jiuyuan can be a vacuum scholar and laugh at Huaiyin as a fake king. "The poor township is independent, the dusk is boundless, and it hurts itself. It is just a sentence."
I am anxious to live for half a month, and my mind is boundless.
Father should be ashamed of Xiang Yu today, and it is difficult for all the students to recommend Liu Wei. "Meditate on life, I am bored, write a poem to support me."
The hibiscus falls in autumn and the wind flows, and the swallows are divided into nests.
You can only chase Du Mu if you are thin and crazy, but you should have nothing to do with Liu Sui's dream.
The author of "With Brothers, Raise Me" often expresses his sad and helpless feelings about Japanese and African affairs and the sinking of China land in his poems. For example:
Autumn wind and autumn rain are everywhere, and martial law resounds over Xuzhou.
It will be late for the Yellow River to dive into the country, with clear and turbid currents.
The poem "Two Miscellaneous Feelings of the Northern Expedition" puts the scenery before the feelings, and touches the feelings. The bleak scenery of autumn wind and autumn rain in the poem is a metaphor as a whole. Here, the scenery language can be described as emotional language, symbolizing the state of urgency, coldness and chaos of the country, nation and politics; Metaphor is more difficult and embarrassing in this state of people's livelihood, as well as the poet's sobriety and helplessness. In the historical changes, it expresses the author's indifference but inability to return to heaven. This poem narrates the scenery with emotion, shows the feelings with the scenery, and creates a profound artistic conception. And so on: Indus leaves autumn leaves sea and sky, Ma Rong's generals only worry about themselves. ("Two Misunderstandings in Early Autumn"), the hostel is just a sad song, and China has rested too much. ("Talking to Wenbo at night, I think the Central Plains has become impossible. The next day, Wenbo returned to the west and said that he was going to France. Poets born in troubled times feel that apart from worrying about the country and the people, the pain of leaving and homesickness after living in a foreign country for a long time has also turned into the beauty of grief and indignation in Yu Dafu's poems. In this kind of poetry, the author's anxiety and anger are mostly based on the scene, which is very touching to read. Love and scene fit well, forming a picture, which is integrated with meaning and context. For example:
Looking at China from the sea, I miss the old hotel in Jiangcun.
I still remember the dream on the eve of leaving home, and the sunset flowed from west to east. Hometown of Omori Beach, Japan
Listening to the beetles on the Qiantang River, I dreamed of going back to my hometown at night.
When I woke up, I suddenly forgot that I was a guest and cried like I was going to tear people's intestines off. Such as the mighty sea and sky, the restaurant in Jiangcun, the sunset in the west, the wild songs by the river, etc., can all cause the author's strong homesickness. These poems are flexible and changeable in dealing with the relationship between scenery, or foreground and background, or scenery alternation, forming artistic conception to express the homesickness of wanderers. The poet lived in his time, and his grief and indignation, anxiety about the world, loss of friends and homesickness were not only the author's personal feelings, but also those of many contemporaries. Therefore, these sorrows were integrated with the local scenery at that time and condensed into poems, which not only recorded the poet's mental journey, but also recorded the times. More importantly, they constitute the unique artistic beauty of Yu Dafu's works-the beauty of grief and indignation that feels the world hurt.