"Feeling from the scene" is also called "feeling from the scene" and "feeling from the scene", which means that there is a scene first, then there is love. "Scenery is the medium of poetry" (in Xie Zhen), the characters are relatively calm at first, but they are stimulated by the external scenery to arouse their feelings, so they are called "touching the scene and feeling". Du Fu's poem Ascending the Mountain is a typical touching work.
The wind is fast and high, the ape cries sadly, and the birds are circling in the white sand.
The endless trees are rustling leaves, and the Yangtze River is rolling unpredictably.
Li in the sad autumn scenery, a wanderer all the year round, lives alone on the high platform in today's illness.
Hardship, pain, hatred, heartache and fatigue are a thick layer of dust in my wine.
When the poet climbs the mountain, he sees a desolate and magnificent autumn scenery: the vast river, the sorrowful apes, the erratic birds, the rolling Yangtze River and the rustling of fallen trees (the first two couplets). This desolate scenery touched his feelings of long-term wandering, old illness and loneliness, so he was miserable at home (the last two couplets).
There are many examples of touching the scene: "The smoke in Pinglin is vast, and the cold mountain area is sad." When the color enters a tall building, someone upstairs is worried. The jade steps stand empty, and the birds fly quickly. Where is the return trip, the long pavilion and the short pavilion. "(Li Bai's Bodhisattva Man);" Suddenly I saw the willow color on the stranger's head and regretted letting my husband find a seal "(Wang Changling's" Always in my heart "); Flowers, as high as my window, hurt the heart of a wanderer, because I see from this height that sadness is everywhere "(Du Fu's" Climbing the Building "); We met for the last time in the flowers, where we parted, and a year later, there were flowers here "(Wei," To My Friends and "). ...
2. Write the scenery with love.
"Taking emotion as a scene", also known as "from emotion to scene", means that there is emotion first, and then there is a scene, and "everything is my color because of my view of things" (Wang Guowei's "Words on Earth"). The setting of scenery is always based on emotion. As the saying goes, "Emotion makes the scenery sad, while emotion makes the scenery happy" (Wu Qiao's Poems on the Furnace). The poet's mood is more exciting. When he added this excitement to the scenery, he saw all the scenery when he was happy, all the scenery when he was happy and all the scenery when he was sad. For example, Li Bai's "Mourning the Chao and Celebrating the Heng": "Japanese Chao Heng resigned from the Imperial City and set sail around Penghu. The bright moon does not return to the blue sea, and the white clouds are full of sorrow. " The unfortunate experience of his friend Chao Heng made the poet extremely sad. When he looked at the scenery under the control of this emotion, all the scenery was stained with his subjective feelings: the sky was full of sadness, and layers of white clouds hung over Cangwu Mountain on the sea, as if mourning the death of Chao Heng.
Examples of romantic scenery writing in classical poetry are not uncommon: "An old friend left the Yellow Crane Tower in the west, and fireworks went down to Yangzhou in March. The lonely sail is far from the blue sky, and only the Yangtze River flows in the sky. " (Li Bai's Yellow Crane Tower Farewell to Meng Haoran on the way to Yangzhou); "Jason Wu, as a hometown, is connected with water, and it is slim for you to go to Chunjiang. Where do the sails anchor at sunset? And heaven remains our neighbourhood, breaking people's intestines. " (Meng Haoran's "Send Du Fourteen Down to the South"); "Lonely west wing, such as hook. Lonely phoenix tree deep courtyard locks clear autumn. " (Li Wei's "Welcome to Huan") ...
(2) Situational empathy, situational affection.
1. empathize with the scenery.
Empathy for the scene is personification, which endows the scene with human feelings and makes it have feelings for people, thus making the author's feelings stronger. For example, Li Bai wrote in the poem "Old Laoting": "The world is sad, and the old Laoting sends guests away. The spring breeze knows that it is not bitter, and it is not green. " In this poem, the author wrote the original ignorant and heartless spring breeze with emotion, and let it share the feelings of parting and sadness with others, thus turning it into me and becoming the emotional embodiment of the poet. In Liu Changqing's "Send Judge Li to Runzhou Camp", the phrase "Refuse to stay at home, and the grass will send horseshoes" euphemistically expresses the image that travelers can't stay on the pretext of refusing to stay, while the horseshoes of pedestrians are far away on the grass, expecting to bid farewell to friends like themselves, expressing a very long and tortuous farewell. Another example is Du Mu's "Two Farewells" sentence, "If you miss a candle, you will cry for others until dawn". By writing candles, the sadness that makes people cry and stay awake all night is expressed implicitly, lingering and chic. ...
Empathy for the scenery can be seen everywhere in classical poetry: Ouyang Xiu's "Butterfly Loves Flowers" "Tears ask the flowers for silence, and the red flies over the swing"; Yan Shu's "butterfly lovers", "The moon is unfamiliar and resentful, and the oblique light wears Zhu Hu"; Du Fu's Fatanzhou, "Flowers fly to the shore to see off guests, and Yan Yan keeps people"; Qian Qi's "Returning to the Old Cottage in the Late Spring" "Began to pity the window of Youzhu Mountain and didn't treat me in a different shade" ...
2. Love in the scenery.
"Emotion in the scenery" is also called "melting feelings in the scenery", "writing feelings with the scenery" or "expressing feelings through the scenery". Kuang Zhouyi said in "The Wind and the Flowers": "Writing about scenery and romance are not the same thing. Good at love, but write scenery and love in it. "
Chen's bandit said: "Words are solid works to express feelings, but words with feelings are thin. We must integrate our feelings into the scene and see our feelings from the scene. " ("Old Moonlight Zhai Ci") Feeling in the scenery can make poetry receive subtle and intriguing effects.
There is a saying in the Book of Songs: "I went there yesterday, Liu Yiyi. Today I think it's raining. "
Liu Xizai's evaluation of its benefits is "deep and elegant, and it is lyrical by borrowing scenery". Another example is Liu Yuxi's "Shicheng": "The old country is surrounded by mountains, and the tide hits the empty city and it is lonely. In the old moon east of Huaishui, I also came to the female wall at night. " This poem describes the scenery. However, all the scenery is mixed with the deep sadness of the poet's hometown depression and the bleak life. It is a typical lyric work by scenery.
There are also many examples of lyricism in classical poetry: Li Hua's Improvisation in Spring: "Grass grows at the foot of Yiyang City, and water flows from east to west. There are no flowers in the fragrant trees, and birds crow all the way to the spring mountain. " In Wei's "Twilight Rain", the sentence "Your wet sails are dragging and the shadows are flying slowly": Du Fu's "Book of Letters", the green grass stains the steps in spring, and the birds are chirping happily under the leaves. ..... are beautiful sentences that integrate feelings into the scene.
(3) background scenery.
"Love stories must be set off by scenery, profound and beautiful." (Wu's Lotus Poem), ancient China poets have a deep understanding of this. In classical poetry, there are many examples of rendering scenery to set off the feelings expressed. Scenery can be divided into positive contrast and negative contrast.
1. Front lining.
Write a sad mood with a sad scene.
Jing Ke's Song of Yi Shui: "The wind is rustling and the water is cold, and the strong man is gone forever." In the poem, the sadness of heaven and earth sets off the farewell feeling of a strong man when he dies. Bai Juyi's "Pipa Trip" begins with the phrase "maple leaves and rushes rustling in the autumn wind on the Xunyang River at night", which is used to add sadness to parting. There is a sentence in Li Shangyin's Untitled that "time was long before I met her, and it was longer after we parted, and the east wind rose and a hundred flowers blossomed". Choosing a scene in late spring, with withered flowers as the background of parting, will inevitably multiply hatred and make it difficult to say goodbye. These poems absorb the sad scenery from different sides, as a foil to parting, and add more sadness to parting.
Enjoy the feeling of Syaraku.
Li Bai's "The Night Walk of the Luting Pavilion": "When the boat arrives at Guangling, the Luting Pavilion will sign on the moon. Mountain flowers are like embroidered gills, and Jiang Huo is like fireflies. " Under the dim moonlight, the flowers on both sides of the Lu Zheng Pavilion are graceful, like a group of innocent girls; Fishing fires on the river and thousands of lights reflected in the water are scattered and flickering, flying around like countless fireflies. These scenery set off the poet's pleasure in traveling.
2. Contrast.
Write sadness with happiness.
Du Fu's "Two Poems" (Part II): "Jiangbi birds are too white, and blue and white mountains burn. I saw it again this spring. When is the year of return? " The pleasant spring scenery highlights the poet's eagerness to return home. In Zheng Gu's Farewell to Friends in Huaishang, the sentence "Yang is at the head of the Yangtze River, worrying about killing people to cross the river" describes that the Yangtze River is in the spring, with a bright future, but because of the departure of "Jun goes to Xiaoxiang and I go to Qin", the scenery is good, but it makes people worry about killing people. The author moves to the scene, and the scene changes with the situation. The beautiful scenery is in sharp contrast with the inner sadness of the characters, which gives people a strong infection.
Mourn the situation in Syaraku.
Qian Qi's "Returning to the Old Cottage in the Late Spring": "There are few yellow birds in Taniguchi, and magnolia blossoms. I began to pity you under the window of Zhushan, and I won't change my shade if I don't go back. " A sentence or two exaggerates the passing of spring scenery, leaving a trace of withered and empty breath, which reflects the poet's delight in You Zhu's "Don't change the shade until I come back".
Wang Fuzhi's "Jiang Zhai Shi Hua" said: "Write mourning with joy and mourn Syaraku, and its sorrow and joy will be doubled." It can be seen that the contrast technique is used well and the effect is stronger.
(4) Use scenery and complex scenery to form feelings.
1. Have sex with the scenery.
The so-called "knot feelings with scenery" means that the first half of the poem is lyrical, and finally the whole poem ends with writing scenery. The advantage of this writing method is that it comes to an abrupt end at the critical point of lyricism, leaving readers with a broad imagination space, which contains endless significance. Talk about three examples to illustrate:
Dai Shulun's San Lv Temple: "Yuan Xiang is endless, why should Qu Zi complain?" The autumn wind rises and sets, and there is a rustling maple forest. " The first two sentences of the poem are hanging in the air, expressing their feelings with the pen of lamentation, and writing the grief and indignation of Qu Zi's life is beyond measure. It seems difficult to continue. The talented poet wrote such a landscape in an ingenious way: "The autumn wind starts at dusk and the treetops whisper". These two sentences are unintentional, but people feel endless bitterness and infinite affection, which can be described as vivid.
Meng Haoran's "Sleeping at Jiande": "When my boat is sailing in a foggy berth, the day is getting darker and the memories of the old days begin. How vast the world is, how close the trees are to heaven, and how close the moon is to the water! Writing things and feelings in one or two sentences has revealed the word "worry". It seems that the next step is to write worry in a positive way. However, the poet turned his brush strokes to the landscape, and skillfully bound his feelings with the landscape, which contained endless significance. Shen Deqian commented: "In the second half, write about the scenery, and the guests worry about themselves."
Wang Changling's "Joining the Army" (II): "The new sound of pipa dance is always related to the mountains. I can't stop listening to chaos, and the high autumn moon shines on the Great Wall. " The first three sentences are lyrical with music, and the last sentence is light, and the whole poem brings together magnificent and sad scenes, which can't help but be inexhaustible. This kind of feeling with the scene can really be described as "outstanding".
2. Take a complicated view.
The so-called "scenery with complex" means that the first half of the poem is mainly used to write about scenery, not to talk about love, and only when the whole poem is coming to an end, a lyrical stroke is added. The beauty of this technique is that it makes the finishing touch and takes the whole poem in one stroke, which makes the scenery written in the first half of the poem subjective and emotional and memorable.
Please read Li Bai's "Qiudeng Xuancheng Xie Tiao North Building": "On the picturesque river, the mountains look at the clear sky at night. Between the two rivers, one lake is like a bright mirror; The two bridges on the river look like rainbows falling from the sky. Orange forest pomelo is set off in the cold smoke of kitchen smoke; Autumn is boundless, and the phoenix tree has become old. Whoever goes to the North Building appreciates the wind. " In the first six sentences of the poem, the poet saw the scene when he boarded the North Building of Xie Tiao, and the depression and loneliness expressed in the last two sentences made the readers taste the "autumn flavor" of the first six sentences.
Another example is Kou Zhun's "Jiangnan Spring": "Waves are misty, Liu Yiyi. The grass in the lonely village is far away, and the apricot flowers fly in the setting sun. Jiang Nanchun was heartbroken, and Pingman Tingzhou people did not return. " The first four sentences of this word describe the scenery, and the last two sentences directly express the feelings, so that the expressed feelings change from hidden to obvious with the complex scenery, which is really the finishing touch.
Another example is Wang Yucheng's Little Red Lip. "Rain hates cloud sorrow, and Jiangnan is still called beauty. Fish market in water town, a wisp of solitary smoke.
The sky is magnificent, like a tune in the distance. Life, at this time, who will have the meaning of relying on. "The first half depicts the rain scene in the south of the Yangtze River with beautiful brushstrokes, and the last lyric awakens the whole word, reminding readers of the deep feelings contained in the scene written earlier: there are ambitions to make contributions, but also loneliness and gloom that are not understood.
Wang Fuzhi's Preface to the Red Sunset says, "Love and scenery, named two, are inseparable. God is infinite to poets. "
The blending of scenery is the pursuit of China's classical poetry. The above scenarios are only classified for the convenience of students to master the characteristics. In fact, a poem often uses several ways at the same time, touching the scene and blending feelings into the scene. The two germinate and penetrate each other, thus achieving a seamless state and creating a wonderful artistic conception of the poem.