Appreciation of the Implication of Twenty-four Poems

The Tang Dynasty is the peak of the development of China's poetry culture. No matter the scale of poets or the quality of works, it is incomparable in any period. During this period, the development of poetry theory reached a peak, and Si Kongtu's Twenty-four Poems is one of the representative works. This theoretical work, which focuses on the aesthetic problems of poetry, has also become a classic in the history of China literature.

Implication is the eleventh chapter of Twenty-four Poems, and it is also one of the most literary chapters in the book, which has always been praised. Since the name is "implicit", it should not be too explicit when writing, but "romantic every word". Whether writing poetry or writing, verve is the first, that is, to let readers taste "meaning beyond rhyme" and "meaning beyond taste" Then, in order to illustrate this idea in detail, the author first gives an example, "Words do not involve difficulties and have no worries": there are no bitter sentences in wording, but the worries contained in the words are enough to make people cry, and the words are meaningful and memorable.

The second paragraph is a progression on the basis of the first paragraph, mainly explaining the moral realm, "there are real slaughter and ups and downs." The so-called "true slaughter" comes from Zhuangzi's Theory of Everything, which refers to the internal law of the operation of everything, and here refers to the content and emotion of the work. Implication is not constant. If you want to "go with the flow" according to the "ups and downs" of a work, you must be natural. If the wine overflows into the container, although it is full, it will not stop; If it is inhibited, it will bloom. If it is cold in autumn, it will slow down, but it will not show. These two metaphors not only fit the proposition, but also give people beautiful enjoyment, so they are very literary.

In the third paragraph, the realm begins to be great, and the dust in the air and the ripples in the sea are endless. The poet can understand its characteristics as long as he takes a drop in the ocean. Then as soon as it is controlled, the world is locked in shape, and everything is frustrated at the end of the pen. The "one in ten thousand" of the last sentence is in line with the programmatic judgment of the first sentence "Don't say a word, you will get romance", which is also an implicit brushwork.