Symbolic metaphor is the most commonly used way to express the image world of Gu Cheng's poetry, which is also the center of the new art of poetry. It broke the traditional real description and direct expression of the soul, and shifted the poet's lyric angle. On the surface, the symbols in the poem seem to have nothing to do with each other, but in the deep, they have infinite meanings, and this is the appeal of the poem. Malamei, an early master of symbolism, repeatedly emphasized (2) "Poetry can only be implied, such as direct call." Yes, the charm of poetry is not reflected in the intuitive and true description, nor does it prove anything. It always implies something, and symbolic enlightenment is also an important feature of modern poetry. Symbolism is very similar to the metaphors of "from here to there" and "from here to there" in classical poetry. Fundamentally speaking, symbolism is also a metaphor, or metaphor is an expression of symbolism. Bixing is the visualization of poetry, and Xing is the implication of poetry. The difference is that symbolism often subtly hides the things being compared, and the theme of poetry is also vague. For example, the initial generation of poetry is an image combination composed of perceptual images such as "night", "me" and "black eyes". They have their own objective meaning, and the inherent meaning they represent is beyond the inherent objective meaning of these words. Together with the explanation of the title, they have a strong symbolic significance, that is, "night" symbolizes the shadow placed on the hearts of that generation, and "eyes" symbolizes that generation. It can be seen that the aesthetic characteristics of poetic symbols are actually the inherent aesthetic characteristics of images.
The metaphorical expression in the image world of Gu Cheng's poems is as suggestive as a symbol, which concretizes feelings or feelings through an indirect metaphor. The image created by metaphor often hides the poet's feelings deeply. We first come into contact with the intuitive world of images, and it takes a long way to further understand the spiritual world behind the scenes. For example, in Fantasia for Life, he wrote: Let the waterfall of sunshine/wash my skin black/…/The sun is my tracker/It pulls me/Use the rope of strong light/… In the previous section, the waterfall was used to compare "sunshine", and then the waterfall was used to wash people's skin black, implying that the sun tanned my skin, and the skin was tanned, which was originally a sign of health and beauty. Indeed, it implies more subtly that the poet longs for his life to be stronger in the bright world. In the last section, the "tracker" is used as a metaphor for the "sun", the "rope" is used as a metaphor for the "bright light", and the tracker carries the rope while I swim against the current, which means that this high-spirited spirit and bright belief inspire life and make him strive to advance in any sinister predicament.
The second image representation technique is abstract deformation.
The second expression of Gu Cheng's poetic image is abstract deformation.
With the progress of modern life, people's appreciation tastes are constantly shifting, the appreciation cycle is also constantly shortening, and more and more attention is paid to artistic deformation. In a sense, there is no art without deformation. The artistic program of western modernism claims that "accurate description is not necessarily true", which really coincides with Si Kongtu's saying that "it seems to be out of form". However, the image creation in the new poetry tide is often divorced from the exaggeration of classicism and devoted to "deformation". Intuition, illusion and illusion can easily make people feel instantly, and the key to deformation lies in how the opposition between Gu Cheng's subjective feelings and objective reality skillfully becomes "unreasonable rationality".
For example, the fallen leaves in the poet's eyes can reveal dry internal organs, and the beautiful flowers in the poet's eyes are actually bloody. Poets can also externalize their feelings and change the description of the original state of things, such as: the sun is tilted like wood pulp,/immersed in cool dreams. The deformation of the poet's image is actually the embodiment of the poet's mentality and the expression of emotion. As far as Gu Cheng is concerned, his childhood was full of dreams, but in his youth, his dreams were shattered by reality, and naive teenagers suppressed themselves. Facing the atrocities, agitation and bloody smell in the Red Sea during the Cultural Revolution, his sensitive heart became fearful and even deformed. He longs for pure blue sky, pure white clouds, pure life and love, but the pollution and cruelty of reality have increasingly led to his inner desolation and sadness. The world he wrote is often pure at first, and it is a "paradise" built with the sound and color of "sterling silver", but in the end it all belongs to a gloomy world in the gray line of sight under sadness. The poet's mind is distorted, and the poet's line of sight is also distorted, so everything in the vision has changed its original form. In his world, ordinary logic was silent, the world defined by rational laws began to disintegrate, the boundaries of color, sound and image disappeared, time and space were surpassed, and the world began to recombine, thus producing deformation, unlike a mirror, in which people and the world were simply and rudely distorted. The poet's subjective consciousness is like all kinds of convex and concave mirrors, which produces the effect of approaching photography different from tradition and classicism. Its effect is a distorted inner truth, extremely exciting and charming.
The third image expression technique is emotional communication.
That is what we often call synaesthesia. Synaesthesia has been used in China's classical poems for a long time. Our ancestors have long been familiar with the "listening type". For example, a sad word can be long and short, "One drop of water makes Wan Li long", and the voice can smell, "The wind makes the birds sing sweet". Pound thinks that the synaesthesia of modern poetry comes from China's classical poetry, which makes sense. However, the scope of synaesthesia in modern poetics greatly exceeds that of classical poetry, and the content of poetry suddenly increases. Because the five senses are interlinked, the associative space of poetry has been developed. The comprehensive effect produced by the mutual "transmission" of listening, smelling and touching feelings supports and strengthens the subjectivity of poetry. It can be predicted that a three-dimensional poem with heavy texture is expected to compete with a flat "small emotional painting".
Synaesthesia is widely used in Gu Cheng's poems. For example, in Love Me, the Sea, Gu Cheng has such an image: the sound is covered with scratches from the glacier, where the sound is invisible, while the voice written by the poet is a tangible body, covered with scars from the scratches of the glacier, and the silent auditory image is manifested as a tangible visual image, that is, vision and hearing are interrelated.
For example, the buildings in the poet's image world are fresh and plain, the dreams written by the poet are dark red, the nights are light green, and so on.
The application of synaesthesia enriches the objective world at once, and the exchange of things and feelings creates a vast world in poetry.
The fourth expression of poetic images is the superposition of objects and images.
That is to say, after injecting the author's subjective feelings, different images overlap and become another expression of images. This technique is often produced by the poet's inner feelings infiltrating into the object. For example, Gu Cheng wrote in his poem Blink: Rainbow,/swimming in the fountain,/looking at pedestrians gently,/I blinked-/turned into a snake shadow. Here, rainbow and snake shadow are two completely different images of beauty and ugliness. In a blink of an eye, the rainbow becomes a snake shadow, and the snake shadow and the rainbow overlap, and the two interact and communicate, which invisibly reflects another image, that is, the poet's invisible spiritual world. In his mind, he advocates beauty and longs for beauty, but often beautiful things will be destroyed and become ugly in an instant. This superposition of objects and images is actually the superposition of different emotions of poets. Emotion is revealed through objects, and objects truly reflect inner feelings. They depend on each other and form a field where images are skillfully combined in eyes and thoughts.
The fifth image expression technique is the transformation between things and people.
In other words, the poet's subjective feelings are completely devoted to the objective image, and the purpose of passing on things is achieved through the personification of the image. It is somewhat similar to personification in traditional poetry, but it gives objects more subjective feelings than traditional poetry, making them have deeper significance and broader humanity. For example, there are some lines in "I am a wayward child": at the end of the paper/I still want to draw myself/draw a koala/he is sitting in the dark jungle of Victoria/sitting on a quiet branch/in a daze/he has no home/no heart to stay far away/he only has many, many/berry-like dreams/and big and big eyes/... The poet passes by koalas. Koalas have no home. They sit on branches and don't know where to go. There are only many sweet dreams and a pair of eyes eager for the light of happiness. The author personifies the koala, which is actually the shadow of the poet. It is more attractive to indirectly express the poet's feelings through the transformation of things and people than to directly tell his own feelings, and the suggestibility of poetry is once again reflected.
The sixth expression technique is the method of taking images according to the meaning.
It is to use imagination, that is, the functions of perception and representation, and then use illusion or illusion to feel the representation in these perceptions, completely abandoning the objective image as an objective reality. For example, in Gu Cheng's poem "I don't know how to love you", I wrote: I'm still screaming/echoing/scales shining in soft soil/wind sighing in coarse soil/flat snails can't make people hear and see such an objective image in tears licking poems. In poetry, the poet makes the aesthetic image vain and illusory in the process of "blending scenes", "taking images with ideas" and "creative imagination". The use of this image formation method expands the scope of image acquisition in poetry, and the poet gains greater initiative and creativity by reducing the limitation of objects. He can put his complex and subtle aesthetic feelings into his mind, which is difficult to directly resort to practical normative language, and appeal to intuition through this novel and vivid perceptual picture, and receive more positive image effects.
The seventh method of image expression is ellipsis and jumping.
That is to say, there seems to be no connection between the front and back of the poem, and completely unrelated images are just so juxtaposed, completely jumping between different images, omitting the transition or some related words. For example, the arc: birds turn to teenagers to pick up in the high wind/the vines with a penny stretch out because of fantasy/rise behind the waves because of retreat/here four groups of unrelated images are juxtaposed, and the basis of juxtaposition is the "arc" of these four groups of images, which is somewhat similar to the montage in the movie. Image is also a combination of local images saturated with the poet's thoughts and feelings into a touching and complete image. Therefore, the image superimposed in the arc can be called the montage of poetry, which is a grammar about the combination of poetry pictures. It's just not taken with a camera, but expressed in words. However, this kind of language is not plain and meticulous, but a paradoxical language that omits jumps, so that the picture transformed from language cannot be directly presented to people, but emerges in people's suspense.
In short, the image itself is a language, which transcends the formulaic language. The images in Gu Cheng's poems form the poet's unique artistic style.
Gu cheng's birthday
From: Doreen 2011-03-2115: 09: 22.
Because of the birthday
I have a colored wallet.
I have no money.
I don't like those boring coins.
I ran behind that strange mound.
To see those little flowers that love beauty.
I said, I have a warehouse.
Can be used to store flower seeds.
The wallet is really full of flower seeds.
Some are black and bright.
Like strange little eyes.
I said again: Don't be afraid.
I want to take you to your spring home.
There, you will get
Green jacket
And colorful lace hats.
I have a small wallet.
I don't want money.
Don't want those coins that won't germinate.
I just need to fill it with small flower seeds.
I want to know their birthdays.
This poem uses a child's perspective to receive a wallet on his birthday, but it is used to hold flower seeds. Images full of childlike interest create a fairy-tale artistic conception and express the poet's love for nature.