When appreciating and creating poetry, limited by the number of words, the language of poetry should usually be unified in sound, form and meaning, that is, concise and concise, with less winning more, paying attention to the tempering of words, and paying attention to rhythm, rhyme, levelness, intonation and repetition. Therefore, when appreciating and creating poems, we should pay special attention to the function and usage of verbs.
The symbol of the success of a work is to write people (things) vividly, vividly and accurately, thus leaving a deep "living" impression on readers. What is the sign of "being alive"? Then there is the use of verbs. From the perspective of intuitive image, the main signs of people and things "living" are "moving" and "moving". Verbs are the main language components that embody the characteristics of people and things. Grasping the dynamic behaviors, actions and states of people and things, and choosing accurate and appropriate verbs are the keys to express the vivid image and expressive force of the article. From a grammatical point of view, verbs often act as predicates or predicates in sentences. It is the core part of a sentence. "The subject can be omitted in a certain context, but the predicate can't, and many components in the sentence revolve around the predicate to varying degrees." From the perspective of rhetoric and ideography, the predicate is the eye of the sentence, through which all kinds of behaviors, actions, properties and attributes of the subject are expressed. In fact, the "refining words" emphasized by the ancients is mainly the tempering of predicate verbs.
In a poem, there is a word called "poetic eye" because it is used properly and is very wonderful. If you pay a little attention, it is not difficult to find that a considerable part of them played the role of poetic eyes in ancient poetry. Due to the action of verbs, some poems become famous sentences, which we call "verb effect". The ancients were deeply ignorant, from the "bitter poet"
The choice of verbs is an important means of language art, which plays an important role in writing people, things and narratives. To make poetry vivid and touching, we should use exact and powerful verbs to express things in motion, and try to avoid writing things in motion as static things, which will make the reported poetry events come alive and the tone will be lively. Poetry pays attention to choosing wonderful language to describe the dynamics of things, and makes good use of active verbs to make things and create things.
In a word, I think the use of verbs is directly related to the success or failure of the work. The following is a simple analysis of this problem, combined with my own writing experience:
First, the proper use of verbs in works can reflect the three-dimensional sense of things and increase the three-dimensional sense of poetry.
Verbs are expressive. Whether the article is vivid or not depends entirely on the use of verbs. It can be said that verbs are the soul of the language and art of the article. For example, the word "Li" in "Silent Sunset on Several Peaks" gives life to the mountain that was originally in a static state. The peak can't be said, but it is called "speechless", which already has a meaning in it, and the word "Li" makes the late mountain from "nothing"
The artistic life of poetry lies in images. The language of poetry is not speculative, but emotional. It is not abstract reasoning, but the cultivation of image. Verbs are an important means to create vivid images. Verbs can change some images from "inanimate things" to "living things", from "heartless things" to "sentient things", and even give the images the characteristics of people. For example, the sentence "The bright moon shines on a tall building, and time drifts away" (Seven Mournings by Cao Zhi) describes the verb "Wandering away" of moonlight from "heartless thing" to "sentient thing", in which loneliness, loneliness and melancholy can be felt concretely. If adjectives are used here, it may also make the meaning smooth, but it will never be as vivid as it is now. Because the verb here expresses "natural and emotional things" in the form of spiritual phenomena, it is sublime (Hegel's aesthetics). It can express some potential emotions in the image more concretely, emotionally and vividly, which is actually the externalization of the author's feelings and the result of the author relying on the external image to entrust his inner feelings.
Verbs are more prominent in the personification of things in poetry, such as the word "attack" in the sentence "flowers attack people and make people feel warm at first" in Lu You's Happy Village. Due to the use of personalized verbs, Breath of Flowers has a distinct image and sensibility. Another example is Wang Anshi's poems "The Moon Moves Flowers and Shades on the Column" ("Night Straight") and "The Sun Reminds Red Shadow on the Curtain Hook", both of which play an important role in personification of things. The sentence "Bo Yun Yan Ji Su" in Du Fu's Song of the Subian River is based on the sentence "Bo Yun Yan Ji Chu" in He Xun's "Going to Cisse to Show colleagues in the South House". Du Fu changed the verb "Chu" to "Su", which immediately made the poem vivid and novel.
Verbs have the functions of moving still life, making things emotional and personifying things, which plays an obvious role in shaping vivid images. The artistic life of poetry lies in imagery, so the role of "descriptive effect" in poetry can be imagined.
Second, verbs can also make the structure rigorous, especially flexible verbs, more appropriate and vivid.
Most people usually expose an important shortcoming when writing, that is, there are too many related words. Too many related words are easy to cause semantic far-fetched, incoherent and uninspiring, while verbs can just play the role of linking the context, which can organically keep the cohesion of the upper and lower sentences and make the article more vivid. For example, Mao Zedong's Snow in the Garden, Looking Inside and Outside the Great Wall and Remembering the Emperor of Qin.
In poetry, many adjectives are used flexibly as verbs. Because these flexible verbs often form a "causative structure" in poetry, we call this phenomenon "causative effect". Since flexible verbs have the dual meanings of verbs and adjectives, they can play a dual role, thus enriching the meaning of poetry and achieving the purpose of combining dynamics with texture. For example, "Spring Breeze and Green Jiang Nanan" (Wang Anshi's reason is that the poet wants to express both a dynamic and a state, but simple verbs can't express the state, and simple adjectives can't express the dynamic. In this case, only flexible verbs can meet the poet's requirements. This is why the flexible verb "green" has become an important reason for this warning.
Verbs can not only enrich the meaning of a poem, but also make it look lively and free. For example, the words "Yue" and "Kong" in Chang Jian's Zen after Broken Mountain Temple are both causative words. What the author wants to show here is a kind of selfless and secular abstract artistic conception. How to make this profound meditation vivid and not boring with these ten words? It is very reasonable for the author to flexibly use "yue" and "empty" as causative verbs. It seems reasonable to change the sentence to "the birds in the mountains are naturally happy, and the people in the pool are empty", but here "yue" and "empty" are just general adjectives, and the poem looks dull. If "Yue" and "Empty" are used flexibly as causative verbs, this poem will be easy and free.
Third, the clever use of verbs can not only increase the vividness of things, but also describe them vividly.
Tolstoy, a famous Russian writer, once pointed out that verbs are the most important in artistic language, because all life is in motion. Indeed, carefully refined verbs play an irreplaceable role in painting scenery and expressing feelings. Looking at Tianmen Mountain, a famous landscape painting by Li Bai, a poet in the Tang Dynasty, vividly shows the spectacular scenery of Tianmen Mountain with a series of verbs.
In the process of writing, the figure's outline is mainly expressed by the figure's portrait and movements, such as long hair, big eyes, thin eyebrows, high nose, small mouth and wide ears, or some clothing descriptions, such as silver flags, manes, silver collars and long skirts. The description of appearance in portraits mainly shows the natural characteristics of characters, or physiological characteristics, objective factors and congenital. The description of characters' costumes focuses on the sociality of characters, such as social status, characteristics of the times, customs and habits, personality preferences and so on. Compared with the description of appearance, the description of characters' costumes is much more profound and belongs to a higher level of character description. However, these are all descriptions of the external images of the characters, which belong to the category of "shape" and cannot write the characters' own characters very vividly. Especially can't show the human spirit. The description of characters by actions has reached a higher level, that is, depicting characters from the level of "God". The wonderful descriptive function of verbs is the main reason for completing this ingenious stroke.
Poets' views on nature often have many incomprehensible images and puzzling wonders. This is because the poet understands "God" through the "image" of the physical environment. As a concrete "image", it is difficult to describe the abstract and even mysterious "God". They appear in poetry and are often the focus of the poet's "refining words". Sometimes a sentence can form a difficult image, point it out. This shows that the words in the poem are amazing. People who act as "the finishing touch" are verbs in many cases, so we call this effect of verbs "the finishing touch effect". For example, the word "Noisy" in "Red Apricot Branches are Full of Spring" (Song Qi's "Yulouchun") is a good example. Here, the author intends to write rather than "form". Here, I'm afraid any adjective will be eclipsed. A verb "Nao" unexpectedly describes the spring scenery of an apricot tree, which not only makes the whole sentence colorful, but also adds luster to the whole article.
It seems that many ancient people are familiar with this function of verbs in poetry. Some of them seem to be wonderful scenery that only God can understand, and they are often vividly expressed by poets with the help of verbs. For example, Wang Wei described the wonderful scenery at the moment when the moon rose in The Sound of Birds: "A bird was surprised when the moon rose." A surprise sentence simply describes the scene of the moon rising, perfect.
Similarly, there is Li Bai's poem "Wild geese lead the heart to worry, and the mountains hold the moon" ("Twelve Summers on the Yueyang Tower"). If the verb "quotation" in the sentence has been used uniquely, then the word "topic" is used implicitly and humorously, which makes the poem full of interest and realm.
Of course, the imagery function of verbs in poetry can not be separated from the poet's rich imagination and associative power. The word "Fang" in "Let's Watch the Silver Mountain Beat the Sky Wave and Open the Window into the River" (Ceng Gongliang's "Ai Ganlu Monastery") is novel and unique. If it is a reality that the river flapping against the sky waves, then the majestic momentum of the river is a virtual reality, which can be said to be a god-like existence, but it is really difficult to convey.
However, verbs often play a vivid role in poetry. The description of the lotus in Zhou Bangyan's The Su Mu is as follows: "The water surface is clear and round, and the wind and the lotus are at one stroke." The word "Ju" describes the graceful demeanor of the lotus naturally and vividly. No wonder Wang Guowei praised it as "a person who can really get the spirit of the lotus" in "Words on Earth". With this sentence: "No one can see all the wrinkles on the mountain, but they are picked up by the sunset", an indescribable wonderful sight is brought to life. Another example is the word "wet" in "Drizzle and Wet Streamer" (Feng Yansi's "Nanxiangzi"), which is also the finishing touch. Wang Guowei's Ci-Hua on Earth says that it can "capture spring".
Fourth, verbs can make a poem seamless, reflecting the poetic mood.
One of the keys to writing a rich and infectious article is to use verbs as much as possible. Similarly, verbs should be used as much as possible in title making. Verbs can often make sentences concise and vivid, help to vividly express the "feelings" contained in poems, and at the same time attract readers' attention and arouse their interest in reading. The ancients said, "Sing a word and twist a few hairs."
In a poem, words that can form vivid images of turning beauty into flattery are mainly concrete verbs that express dynamics. When appreciating poetry, we should pay special attention to scrutinizing the verbs in the poem, because a good verb can mobilize the whole poem, especially the verbs with "multiple meanings". For example, in Du Fu's poem "Both banks of the Yellow River were recaptured by the imperial army", I suddenly heard the good news that the rebellion was pacified and rushed back. "Go back from this mountain, cross another mountain, come up from the south, and then go north-to my own town!" . The three dynamic words "wear", "Xia" and "Xiang" in the sentence run through four places far apart, expressing the poet's quick and extremely happy mood of imagining his trip home after hearing the news of victory. The words used are extremely accurate: from the dam to Wuxia, the gorge is narrow and dangerous, and the boat is like an arrow, so the word "wear" is used; From Wuxia to Xiangyang, there is a waterway, and the word "Xia" is vivid; From Xiangyang to Luoyang, it is all land, and the word "Xiang" is used in one direction, which is quite ingenious.
The accumulation and application of verbs is of great significance to increase the vividness and vividness of articles, and verbs are also an important yardstick to measure a writer's language control ability. The ancients demanded that "taste and poetry can be distinguished". So how can we make poetry meaningful and interesting? The collocation of "reality" can be regarded as a method. In other words, the concrete and abstract concepts are directly combined to make the impossible possible, thus brewing poetry. Verbs are often needed to complete this connection between reality and reality. For example, in the sentence "Lonely phoenix tree locks deep courtyard to clear autumn" (Li Yu's Night Cry), "clear autumn" is empty, and there is no very clear image and specific texture. Poetic. "Clear Autumn" can't be shut up, of course, but the author "looks at things with me, so everything is my color" (Wang Guowei's "Words on Earth"). Loneliness, sadness, sadness, all kinds of images flow out of this "lock". The poet has always praised him for his peculiar imagination and ingenious conception.
Verbs can also be used to write poems with a sense of humor. We also classify them as "virtual and real structure", because it is this kind of image that the poet pursues, not whether it conforms to realistic logic. For example, the sentence "the sea breeze blows the moon constantly" in Lu You's Bogan County is typical. Of course, the moon is not blown by the sea breeze, but because such poems are based on artistic truth and conform to the "imaginary logic" divorced from realistic logic. Readers can accept it completely. Another example is "Thin cicada has a lot of energy, but she won't stop singing in the sunset" (Yang Wanli's Five Poems of Twilight Lotus Pond), which is also humorous, vivid and unique. This combination of reality and fiction greatly enriches the meaning of poetry.
Poetry should pay attention to "artistic conception". The so-called artistic conception is actually the artistic realm created by the combination of the poet's strong thoughts and feelings and vivid objective images. In this combination of emotion and scenery, the proper choice of verbs plays an important role. Sometimes, verbs can play the role of conveying the poet's mood and become a window to peep at the poet's mood. We call it "emotional effect". For example, the "seeing" in "Looking at Nanshan leisurely under the chrysanthemum fence" (Tao Qian's "Five Drinking Songs") is the poet's casual discovery. This kind of carelessness is precisely to better express the poet's "under the hedge of picking chrysanthemums, there is no intention of mountains and scenery, but the scenery is in harmony" (Cai Mengbi's "Drinking Five"
The most prominent feature of verbs is "live". Yuan Mei said: "All poems and songs should be written on paper, not on paper. People are lying alive, and so are pens. " The language in ancient novels and essays is a model in this respect. A word can make people or things stand up, concise and clear, capable and powerful. For example, "Mosaic" is what we are using.
Some verbs can directly reflect the poet's mood. For example, the phrase "come back from this mountain, pass another mountain, go up from the south, and then go north-to my own town!" " In Du Fu's Imperial Army Recovers the Banks of the Yellow River, the combination of "wear", "summer" and "neck" is as fast as lightning, which shows the poet's "ecstasy" joy and arrow-like desire incisively and vividly. It can be seen that verbs play an important role in conveying the poet's emotions.
In short, the accumulation and use of verbs is an important link to improve the expressive force of the article. Once we find more vivid, accurate and novel verbs in our daily life and study, we must collect them and constantly enrich our verb treasure house. At the same time, those verbs that are abused and widely used should be removed from the "thesaurus" in time, updated irregularly and replaced with more accurate and vivid verbs. Verbs should be used accurately and often. On the one hand, it is unrestrained like flowing clouds, on the other hand, it is "free to do whatever you want without crossing the line" to achieve the purpose of using it freely. The various functions of verbs in poetry deserve our in-depth study, which is conducive to our poetry creation and appreciation.