"Orthography" is a unique writing technique in ancient homesick poems. Some people call it "subject-object shift" and "writing backwards"
In the process of describing people, narrating and expressing feelings, ancient poems directly turned from subject to object, from reality to fiction, or from writing about one's own situation to writing about the other's situation, which played a rich expressive force, lyricism and far-reaching effect. This conception method is common in homesickness, homesickness, farewell and other poems.
On the surface, it is to write about each other, but in fact, it is to write about yourself, and to reflect on yourself through each other, thus expressing deep feelings euphemistically and implicitly. This technique of "putting pen to paper on the opposite side" makes the author or the protagonist in his works feel nostalgic or homesick, vivid and full of artistic conception, concrete and deep. It not only deepened the feelings, but also strengthened the theme.
The essence of "antithetical writing" is that one is true and the other is imaginary, with strong association and imagination, and the imaginary is opposite to the real. This is a common expression in classical poetry.
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Analysis of the conception method of ancient poetry reverse writing
First, we should base ourselves on the whole text of poetry and see clearly the lyrical subject.
Second, by reading poems, we can see who the opposite refers to and what the relationship between the opposite and the lyrical subject and narrator is.
Third, it is a holistic reading, using the method of putting pen to paper to understand the emotional connotation expressed by the poet.
For example, Wang Changling's "Seeing Wei Er": "When you are drunk, you will see the fragrance of oranges and pomelo in the red room, and the river wind will lead the rain into a cool dream. Yi Junyao is in Xiaoxiang Moon, and I am very sad to hear that I grew up in my dream. " The lyric subject of this poem is the poet himself; The opposite refers to my friend Will. A sentence or two describing the poet's own situation after seeing his friends off reveals loneliness, which can be seen from the word "Shuang".
And three or four sentences lead to fictional scenes by recalling words, imagining how the other party (Will) will face the moon sleepless after leaving. Boating on a moonlit night, dreaming of listening to apes, makes the virtual and the real set each other off into interest, and makes the idea more ingenious. As Lu Shiyong said in "A General Theory of Poetry and Mirrors", "The feelings of generations are farther away."