In the process of writing poems, ancient China literati often put a lot of effort into a few or even one or two words. It is these or one or two sentences that make the whole poem fly out of the artistic conception, express emotions more thoroughly, and give poetry an artistic effect with endless meanings. For example, Wang Guowei's "Words on Earth" once explained the beauty of this: "The branches of red apricots are full of spring, and the realm depends entirely on the word' noisy'. The cloud breaks the moon to make a shadow, the word' de' is written out, and the realm is exhausted. " The interest brought by "noisy" and "teasing" is the result of predecessors' refining words.
Chinese studies can often make poetry come alive, so poets have always been very particular about the tempering of words. Yang, a poet in the Yuan Dynasty, once said, "Poetry should be refined and words should be eye-catching." Hu Zai, a poet in the Song Dynasty, has long discussed the beauty of refining Chinese characters: the power of Chinese poetry is naturally brilliant, like a panacea. Hao Ran said, "Wei Yun is a light river man, and the raindrops are sparse." The merit of the previous sentence lies in the word "light", and the merit of the next sentence lies in the word "drop". If it is not these two sentences, it is a good sentence. For example, according to the cloud of Poems on June 1st, Sheren Chen Congyi got an old Du Ji, many of which fell off, until the cloud "Farewell to Cai" said that he was "as light as a bird" and lost a word. Chen Gongyin and the theory of "several passengers" complement each other, and it is impossible to decide whether the cloud is sick or healthy, or Yun Qi, or under the cloud, or the degree of cloud. Then I got a rare book, but it was "lighter than a bird" and I was amazed. I said that Chen Gong can't fill in the numbers, and Lao Du's word "horizontal" will do. (Volume 9)
This passage of Chinese studies shows us the art of refining Chinese characters and the efforts made by the ancients to temper Chinese characters. It is this pursuit of keeping poetry from falling into stereotypes that has made famous sentences passed down from generation to generation, such as "Spring came last, no one felt coming and going".
In Chinese studies, it is necessary to clarify the difference between refined words and poetic eyes. The former tends to scrutinize and temper words, while the latter lies in the ability to reveal the theme of poetry. However, scholars have always combined the two, and poetic eyes are often the result of text refining. The art of refining Chinese characters is expounded in many poems. Focusing on Du Fu's poems, we make a simple discussion on the status of refined Chinese characters and the part of speech of refined words.
First, the position of fine words.
The position of exquisite words in a poem is not fixed. The refined words in many poems change from time to time, just as Yang Zai said in The Number of Poets and Legalists: "Every sentence must have words, or waist or knee or foot, and there is no fixed place." Exquisite and ingenious words used in different positions can make poetry vivid or profound and realistic, and have no influence on the wonderful transmission of poetry. Sun Yi's Xiuzi said: "Poets mock everything, every sentence must be refined, and there are many ingenious works." He made a simple summary of Du Fu's poems from the standpoint of refining characters. First of all, he said: vad90 countries 7 13k4 learn k 1ljb network n23i 1.
Learning the country is like a poem "Chunjiang Village": "I am too lazy to wear clothes." There is another cloud: "The heart-piercing stone reflects the moon, and the snow-capped mountains are windy." "Accompany the monarch and make him sneak into Chen Cang" says: "A little knowledge turns flowers into shore, so you can only try birds with the boat." "Manxing" says: "The path of the tree is paved with white felt, and the lotus leaves in the stream are stacked with green money." They all practiced the first word very well.
Xueguo is here to introduce three well-written words in Du Fu's poems, especially the words "Jing" and "Dao" in "Quiet Poetry, Sweet Sleep and Snow Mountain Wind", which are very vivid and ingenious. Next, Sun Yi said:
Learn from the country's "North Wind" cloud: "Cool and humble wetlands, ringing Dongting Lake." "Zhuangyou" says: "Angry and frustrated, short-sighted Cao Liu wall." "Pan-West Lake" says: "Political familiarity, the sound of knives flies repeatedly." "Early Spring" says: "Peach blossoms are red and tender, and willow leaves are green and new." "In autumn, Sui's father's" Huai Fu "said:" The gorge rises from the Cangjiang River, and the stones line up into trees. " "Twelve Rhymes of Jiandu" says: "The wind breaks Qingpu Festival, and the frost buries bamboo roots." "Chai Men" says: "If you are old enough, you dare to be the best." They all practiced the second word very well.
There are many wonderful sentences in Du Fu's poems, all of which are the result of his skill. In this passage, the second word in Du Fu's poems is well refined, such as "into" and "return" in "Peach Blossom is tender and willow is green and new", which has always been praised by people. Yang, a poet in the Yuan Dynasty, once said, "Peach blossoms are red and tender, willow green and new", refining the second word; If we don't refine the words "back" and "forward", it is the duality of the school. "Indeed, this is the spring of all things recovery. Some bright red flowers are spreading quietly, stained with delicate peach blossoms, and the wicker by the pool slowly spits out green buds. Poetry presents color changes in a dynamic way, which is ingenious and incomparable, and depicts a dynamic spring scene for us.
Guo Xue also introduced the waist word (middle word) and the ending word in Du Fu's poems. The waist characters such as "Far gulls float quietly, light swallows lean with the wind" and the tail characters such as "Birds in the river are too white, mountains are clear and waters are white" make people draw picturesque scenes in their minds.
As mentioned above, refining words is not just refining one or two words, sometimes several words, and sometimes even whole sentences. Sun Yi also found five or seven words that were very well refined in Du Fu's poems. He said:
Learn from the countryside: "The green wind breaks bamboo shoots, and the red rain makes plum blossom fertilizer", "The snowy mountains are white, and the golden city is yellow", "The orange frost falls off the claws, and the rice and snow turn over the spoons", "The fog is sprinkled on the ground, and the wind spins with the clouds", "The book is short and the sword is long" and "The purple cliff is undercurrent, and Bai Niao goes to the border." Leaves fall like the spray of a waterfall, and I always watch the long river roll forward. "Look at the Beidou descending to the lower reaches of the river and looking up at the stars in the sky", "Look back at the river, climb over the cliff, return to the clouds, embrace the trees and lose the mountain village", "The shadow is tempted by clear water, but the wind is jealous of safflower, but it blows back", all of which are good.
Guo Xue's two sentences, "The breeze bends bamboo shoots, and the red rain blooms plum blossoms", are from Du Fu's Ten Poems of Peace Talks and Congratulations to General Forest. These two sentences are reversed, and the tender bamboo and plum bathed in spring rain have both form and spirit, as at present. The new and tender bamboo can't stand the spring breeze, drooping its head, and its green appearance is very cute; Plums moistened by the spring rain slowly turn red and are full of flowers. These two poems are excellent examples of whole sentence refinement in Du Fu's poems.
Second, refine the part of speech of words.
It is not easy to refine Chinese characters in the times. Jiang Shunzhi said in "Continued Words": "The weight of a thousand years depends on it; Ten thousand people, one person can control it. Sentences have length and rhythm. The word is unstable and the whole article is flawed. " So what's special about the parts of speech of concise words, so that creation and appreciation can be traced? Some scholars believe that the beauty of the refinement of ancient poetry lies in verbs, and only verbs can make poetry concise and vivid, but this is not the case. Of course, it is undeniable that verbs do occupy a large proportion in the words that poets have been refining.
Multiply by 1, verb
Verbs of the times are very common in the art of Chinese character extraction, and many of them are well written. The most widely known is the story of "Deliberation", which is a story about bitter chanting, practicing Chinese characters, and even more about tempering verbs. Others, such as "Sui" and "Hug" in Li Bai's Xiao Dou Jin Drum, Holding Jade Saddle at Night, and "Splash" and "Surprise" in Du Fu's "Where Tears Are, Lonely Birds Sing Sadness" are all good sentences that have been told so far to temper verbs. Yang said that Du Fu's two poems, "No one feels coming and going" and "without practicing the words" feeling "and" going ",are vulgar poems. What's the point? " Some seniors also said: "The color goes to the spring sorrow. It is best to get down to business, which is children's language. No one feels coming and going. It's a good word. Explain that reciting poems requires one or two sentences. If you look at this, you will know that I said it, not me. "
There are also Du Fu's poems, such as "the light swallow is tilted by the wind" and "the fish comes out in the drizzle, and the breeze tilts the swallow". Among them, the three verbs of "receiving", "tilting" and "going out" are quite concise and vivid, describing the scene of the rain clearing up, the fish happily dancing in the wind, graceful and natural, vivid and vivid. Because it is common to refine words into verbs in classical poetry, I won't go into details here.
Time 2, function words
Function words of the times have no lexical meaning. Writing function words vividly requires profound literary skills, but Du Fu can use them freely.
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It is extremely difficult to live in the virtual world of the times, especially to die in it. Although Gai is a dead word, it is difficult to make it live. Lao Du's "the ancient wall is still bamboo-colored, and the empty pavilion sounds". And "there are Bashu in the mountains and rivers, and the towers are harmonious." Recently, I read his poem "Two Cliffs in Qutang" and said: "When you enter the sky, you will see the cloud roots." The words "Jude" and "Sudden" are like floating clouds, flickering and unpredictable. Who can trace its beauty? His words such as "the mountains and rivers meet, the army has not settled down", "the old country is still untouched, and the land is also full", "the land is rich at the beginning, the mountains are more dangerous" and "the poems are on the wall, and the slaves are smooth" are all based on one word.
Here in the world, "all work hard on one word" means that every sentence is a function word and well written. From what Fan said above, we can also find that the function word "you" in Du Fu's poems seems to be used frequently. In fact, the word "you" in Du Fu's poems has many meanings. The first one is equivalent to "one" in classical Chinese and "de" in vernacular Chinese.
There are many examples in the world, such as: pregnant with 500 words: "The trace is still sour and bitter, and the heart is still bitter", "White water flows eastward at dusk, and the green hills are still crying", "Tongguan official" and "You still have to prepare for the morning cooking in an emergency". The second kind, adverb of time, has, has. Such as the pavilion: "Autumn window is still early, falling wood is more windy" and "Northern Expedition": "Weier people are all wrong and still live in this country". The third kind, adverb of scope, means only, only. For example, "News of My Teenager": "There are still tears in the river, and I will pay more attention to the east every day." Just through the word "you" in these poems, we can also see the profoundness of Lao Du's art of using Chinese characters. 13k4j Kingdom k 1jda Learn iuf57 Network 97n67
On earth, Du Fu's Book of Scholarship, "Spring grass dyed the steps, birds whispered under the leaves" is also beautifully written, that is, "Zi" and "Empty". The annotation in Qiu's Detailed Notes on Du Fu's Poems in Qing Dynasty said: "The grass is in spring, and the birds are singing in the air. This kind of writing about temples is desolate, but the meaning of thinking about people is beyond words. "
World 3, noun
Few people pay attention to nouns in ancient poetry, but being ignored does not mean that they do not exist and have no value. The nouns in classical poetry are very refined, such as When I Come for the Night by Sikong Shu: "Raindrops brighten the yellow leaves, and lights illuminate my bald head."
Many ancient scholars in the world have discussed the beauty of this sentence, such as Fan's Rain at Night Window Volume 4:
Poets all over the world often happen to coincide when making words. For example, "when the fruit falls in the rain, the grass insects sing under the lamp." Wang. "when the tree is yellow, when people want to get old." Lotte also. There is a cloud in "Sikongshu": "Like raindrops shining on yellow leaves, lights shining on my bald head". Syntax is king, meaning is white, but the poet doesn't think this is offensive. 13k4j Kingdom k 1jda Learn iuf57 Network 97n67
Tian Wen's Collection of Ancient Soups in Qing Dynasty (Volume 18):
Wei Suzhou said, "The man in the window must be old, and the tree in front of the door is already autumn." . Bai Letian said, "When trees start to become Huang Shi, people want to get old." . Si Kongshu said, "The rain hits the yellow leaves, and the light shines on the white heads." It is best to have three poems on the same plane, which is good for the current situation and infinite sadness. What I saw was different from that in Mao Qin. Nothing is like the happy aftertaste. The words "early" and "desire" are wonderful and implicit. The old tears are undercurrent, and the scene is more embarrassing.
Wei's and Bai Juyi have the responsibility to fight for elegance. The author thinks that the words of several experts are still the best. The beauty of "like raindrops brightening yellow leaves" lies in the word "rain", which adds a sense of sadness; The beauty of "the light shines on my bald head" lies in the word "light", which is the current reading style. The yellow is swaying, echoing the word "yellow" from a distance. This is one of them. Autumn rain is a talking thing, and night is a silent field. With moving and writing, the feeling of loneliness becomes more and more obvious. The second is also. Qiu Shu's rain cage, the lights are trapped, and the feeling of depression is lingering, so I don't think about it any more. The third is also. 13k4j Kingdom k 1jda Learn iuf57 Network 97n67
It is my duty to read two sentences in Du Fu's Midnight: "Flying stars fly over the water in vain, and the moon sets in the sand." There are also different opinions about these two sentences. Tan thinks the word "white" is wonderful, but thinks that "only the word" water "is wonderful. Stars are flying all over the sky, watching the night from the pavilion. Suddenly, I saw a white shadow across the water, and my hopes were dashed. Gong was written as a poem, a real archer. The same is true of' the moon falls on the sand'. The sand is white, but the moon shines sideways. Looking from the pavilion, the shadows shook. Static is real, dynamic is empty. It's like taking pictures with a mirror. "
I have the responsibility to believe that "the moon sets in the sand" is the scene of the first quarter moon. The first quarter moon rises in the middle of the night, sets in the middle of the night, and the moon sets in the dark, which means empty word. It shows that Du Fu has not fallen asleep in the middle of the night, and his deep worries can be imagined. Another "flying star crossing the water" is an instant scene. "The moon sets on the sand" is a long-standing image.
Responsible. adjective
In responsible classical poetry, the tempering of adjectives can sometimes achieve the effect of wonderful pen and flowers. In Du Fu's poems, adjectives such as "green hills pass, yellow oranges and pomelo come", "green grass outside the lake, red sea clouds", "green bamboo is in danger, red lotus is greasy" and "the forest is wet and the water grows long" are well used. In view of the word "wet" in "The forest is wet with the swift, and the water is long and green", Wang Yanfu, a scholar in the Northern Song Dynasty, said:
It is the responsibility to carve this poem on the courtyard wall, and the word' wet' is eroded by snail saliva. Su Changgong, Huang, and the monk each added a word for lack of words: Huang Yun's "run", Qin Yun's "tender" and Fo Yin's "pour". Looking for a set of tests is the word' wet', which comes from nature. And these four people are divided into old age and suffering. Poetry expresses ambition and belief. (Notes on Du Yu in Qujiang, Volume 6 of Detailed Notes on Autumn)
From Qiu's quotation, we can see that when using the word "wet", we must have made some efforts. The word "wet" is better than nature, and the flowers in the forest are wet by the spring rain. Gorgeous colors are just like being dyed with rouge, and their posture is beautiful. "Luo" also has books, but it is not as natural and vivid as the word "wet" after repeated chewing.
Others are responsible, such as the word "green" in Liu Zongyuan's The Fisherman, and Han Yu's "six words are ordinary and one word is strange", which are similar to the "green" in Wang Anshi's "boating in Guazhou" and "Spring Breeze Green in Jiang Nanan", and the beauty of both form and spirit is talked about by future generations.
Third, the conclusion
Responsibility From the above, we can see that the ancients paid attention to refining words when writing poems. These refined words are vivid or vivid, so the poet's feelings are expressed more thoroughly and readers can express their interest. It should be noted that the purpose of refining words is to make poetic expression more in line with the poet's wishes, and it is forbidden to walk into a dead end when writing poetry. Deliberately pursuing novelty, not only will not shine, but it will be counterproductive, making poetry seem obscure and far from interesting.