Comparative analysis of "Qinyuan Spring in Changsha" and "Qinyuan Spring Snow"
The imagery is magnificent and the artistic conception is lofty
Appreciation of Mao Zedong's "Qinyuan Spring in Changsha"
p>
"Image" is a term in Chinese classical aesthetics, which includes two aspects: "meaning" and "image". The "meaning" here refers to the thoughts and feelings of the creative subject, and the "image" here refers to the objective image as the creative object. The image of poetry is the fusion of the poet's thoughts and feelings with objective objects, while the artistic conception is a poetic artistic realm formed by the poet through the creation and combination of various images. Mao Zedong's poem "Qinyuanchun Changsha" is not only rich in content, but also majestic, with magnificent pictures, magnificent images and lofty artistic conception. The author believes that if we appreciate this poem from the perspective of the beauty of imagery, we may be able to find another way to accurately grasp the ideological content and artistic characteristics of this poem.
The beauty of the imagery in "Qinyuanchun Changsha" is highlighted in the selection of scenery. The author has a broad vision and the scenery selected is either extensive, grand or majestic. Take the sentences above that are led by the word "look", for example, there are "layers of forest" on the mountains, "hundreds of boats" in the river, there are eagles in the sky, and there are fish swimming at the bottom of the water. Judging from the state of the scenery, there are static fiery red maple forests, and dynamic "hundred boats" "competing for the flow". The author looks from far to close, from looking up to overlooking, the sky is vast and the earth is vast, the mountains are red and the water is green, "the sky and the earth are contained in the shape, and all things are contained in the pen" (Lu Ji's "Wen Fu").
The author's selection of scenery is largely restricted by his conception. Poems such as "Sad Autumn", "Sad Autumn" and "Sigh Autumn" by ancient literati Determined by "meaning". For example, Ma Zhiyuan's "Autumn Thoughts on the Pure Sky and Shasha" places the "meaning" in "Heartbroken people are at the end of the world", and the "elements" chosen are naturally "withered vines", "old trees", "faint crows", "thin horses", etc.; Du Fu's "Ascend the High" bases its "meaning" on "sad autumn for thousands of miles" and "hardship and hatred", and the "image" it takes is naturally inseparable from the "mourning ape", "falling wood", etc. Mao Zedong's intention is positive and upward. , forge ahead high-spirited, and the "images" he takes are naturally those vigorous and vigorous scenery, such as mountains, forests, hundreds of boats, eagles, swimming fish, etc.
"Qinyuan". The beauty of the image in the word "Spring Changsha" is also reflected in the expression of the image. The choice of image is of course very important, but the expression of the image should be more original. The image in the poet's pen should not be an objective line drawing, but should be "infused with vitality." "image" (Kantian language), in "Qinyuanchun? Changsha", Mao Zedong paid great attention to the expression of images in order to "infuse" more vitality into the selected objective objects, as summarized by the word "look" in the above line. A group of images, among which the words "ten thousand", "layers", "manifold", "all over", "all over" and "through" in "all the mountains are red", "all the forests are dyed" and "many rivers are green" are different in scope, degree and In terms of layers, the red and green colors are more prominent, richer, and more vivid, which makes people feel lovely. In addition to expressing the beauty of the quiet scenery of red mountains and green waters, the poet also deliberately describes the dynamic magnificence of things, "hundreds of years." The word "fight" in "Gege Strives for the Current" adds a high-spirited and enterprising atmosphere to the green and dust-free river surface, vividly showing the lively scene of thousands of sails competing for the first place. In "Eagle Strikes the Sky" and "Fish Soar to the Bottom", due to " The use of the two creative and expressive verbs "hit" and "fly" accurately and vividly depicts the vigor of the eagle flying in the sky and the joy and freedom of the fish swimming in the crystal clear river. Replacing "strike" and "fly" with "fly" and "swim" would not be able to express the vigorous and powerful posture of the eagle when it spreads its wings and the brisk and comfortable mood of the fish swimming in the water. The use of the word "Jing" effectively highlights the vigorous vitality of all things under the cold autumn frost, making people feel the poet's infinite love and sincere praise for nature.
"Qinyuan". The beauty of the image in the word "Spring Changsha" is reflected in the combination of images. The artistic connotation in the poem is not only contained in each image, but also reflected in the combination relationship of the images. When poets write poems, they often combine them individually. According to the laws of beauty, the images form organic, spatially and temporally distanced, and hierarchical pictures, so that they can produce coherence, contrast, contrast, suggestion, etc., show readers colorful life pictures, and convey rich and colorful thoughts and feelings. They often use a variety of methods to achieve the combination of images. Mao Zedong mainly uses juxtaposition and radiation in "Qin Yuan Chun Chang Sha"
The juxtaposition of poetic images is like a montage of movie shots. Connection mainly juxtaposes individual images with each other in a juxtaposed form, thus forming the "complex image beauty" of the whole word, that is, the beauty of combination, such as the group of images led by the word "kan" in the line above. On the whole, they are in a juxtaposed relationship. The poet combines images using juxtaposition techniques, pays attention to the combination of movement and stillness, and combines distance and nearness, thus forming a colorful "Autumn Colors of the Xiangjiang River". Another example is the past life recalled in the lower part of the poem, which is also juxtaposed two by two, highlighting the young revolutionaries' spirit of hard work and daring, and depicting for us a series of vibrant "pictures of young students" .
The radiation of poetic images is to form an image group with one image as the center and "radiating" to the surroundings in the group image.
Still taking the seven sentences led by the word "look" in the above sentence as an example, images such as "ten thousand mountains", "layers of forests", "hundred boats", "eagle" and "swimming fish" are radiated by the central image "all kinds of frosty sky" The two juxtaposed composite images of "pointing the country and inspiring words" in the lower column are also formed under the radiation of the "schoolmates" who are "in their prime". From the perspective of the whole word, the central image should be the "I" of "Independent Hanqiu", and other images are formed under the "radiation" of this central image. Here, the broad-minded landscape viewer has become a "landscape". This is a majestic "picture of a great man"!
In "Qin Yuan Chun Chang Sha", Mao Zedong, due to the selection of The objects are typical, the expressions are vivid, and the images are cleverly combined, creating a lofty artistic conception and forming a magnificent picture, making this poem have a strong aesthetic effect.
Appreciation of "Spring Snow in Qinyuan"
1. Blending of scenes and narratives
This poem has two parts, each with its own emphasis, but closely connected. Integrated. The upper column describes the scenery, and every sentence is sentimental. When describing the Great Wall, rivers, mountains, and plateaus, it pours out the patriotic affection to praise the rivers and mountains of the motherland. The lower column also combines the discussion with lyricism. When commenting on ancient emperors and contemporary heroes, it injects praise for the contemporary era. Heroic feeling. The description of the scene in the upper column is the basis of the lyrical discussion in the lower column, and the lyrical discussion in the lower column is the inevitable result of the description of the scene in the upper column. This is how the author uses a combination of scenery description, lyricism, and discussion to praise the magnificent rivers and mountains and the heroes of the proletarian revolution.
2. The wording is precise, vivid, vivid and precise
This poem uses very precise words, such as "Wei Yu Mangmang" and "Wei Yu" in "Sudden Lost Tao". "" and "Dun" are both adverbs, which play the role of modification and restriction. The word "WEI" effectively emphasizes that the vast expanse of white is the only scene, and nothing else can be seen; the word "Dun" emphasizes the up and down of the Yellow River in the sentence. The momentum of the rolling waves suddenly disappeared, highlighting the cold weather and the speed of the river freezing. Another example is the two verbs "wu" and "chi". "Wu" means to dance and fly, describing the snow-covered mountains twisting and turning like "silver snakes"; "Chi" means galloping and running, describing the snow-covered hills like giant elephants. Benz. These two verbs are used extremely vividly, bringing the snow-covered mountains and plateaus to life, giving the quiet scene dynamic and making it full of vitality. This word not only uses concise words, but also skillfully uses metaphors, personification, antithesis and other rhetorical methods. The above-mentioned "Silver Snake Dancing in the Mountain" and "Yuanchi Wax Figure" are clever use of metaphors. Then comparing the magnificent scene of the red sun and white snow to a girl wrapped in red is a strange imagination and an accurate metaphor. The word "desire" personifies "mountain" and "origin" in "Desire to compete with God", vividly describing their ambitious mental outlook and high-spirited spirit.
Mao Zedong’s own note:
Xue: Anti-backdoorism, criticizing one aspect of two thousand years of feudalism.
Literary talent, coquettishness, and big sculptures can only be like this. You must know that the master is writing poetry! Is it okay to abuse these people? Don't explain it's wrong.
The last three sentences refer to the proletariat.