2006-5-6 13:24:09
Poetry attaches importance to true feelings, that is to say, it should have true feelings, but at the same time, poetry should have artistic appeal and attract readers. This is a technical problem. Tasso, an Italian critic, said in On the Art of Poetry: "Every poet who is interested in writing … should pay attention to three things, namely, choosing the theme so that it can accept the most perfect form that the poet strives to pursue; Give the theme this form; Dress up the theme with the most exquisite and appropriate decoration. "Think this is a problem of poetry creation skills, can be summarized as two aspects:
The first is the writing, that is, the overall design of poetry. Including theme, content, layout, hierarchy, etc.
The second is decoration, that is, the artistic design of poetry. Including sentence making, diction, shape selection (which combination of Chinese characters is more beautiful), sound discrimination (which combination of Chinese characters is more beautiful), rhyme (of course, there are rhymes), beat, melody and so on.
Speaking of skills, I remember a very clear sentence, which was mentioned by Ba Jin when he met Yugoslav writers in the early 1980s: "I advocate that the highest skill of literature is no skill, so don't rely on external skills to attract people." It is believed that this statement is extremely correct, which tells the dialectics of art, reveals the laws of artistic creation and aesthetics, and is a summary and intuitive expression of traditional creative experience.
In fact, in China's poetry creation and even the whole artistic creation, there have always been two aesthetic pursuits, namely, the beauty of "wrong gold" and the beauty of "water lotus", while the latter is considered to be a higher but unattainable realm. The beauty of "Water Lotus" pursues plain, natural, simple and simple, that is, the beauty of "no skill", which is widely used in the whole artistic creation and appreciation. For example:
Li Taibai's poem: "Clear water gives birth to hibiscus, which is carved naturally". ("After the chaos, Tian En Liu Yelang recalled the past and gave Jiang Taishou a good slaughter")
Xie Zhen said: "Natural beauty is the best, and seiko is the second". (Four Poems)
Yue's "Ji Yue Lun" advocates music: "Big music is easy, big gifts are simple".
Dong Qichang on painting: "Work is inferior to clumsy" and "Light is superior to work". (Essay on Painting Zen Rooms)
On books, Huang Tingjian said that "all books are clumsy and unfortunate", "save the truth and go to China" and "quality is better than literature". (Knife and pen of the old man in the valley)
Li Yu commented on Chinese opera: "Only by seeing talents on the surface can you be called a master of writing". ("send it casually")
Yao Nai's paper: "If the realm of an article is better than plain, it is naturally typo.". ("Book with Wang Tiefu")
All these tell us that the beauty of art lies in form, not in form. There is no beauty without form, and only form cannot be beauty. As Rodin, a French master of art, said, "True art ignores art." Wang Zhihuan's "At the Heron Villa" did not use any flowery rhetoric, metaphor, personification, symbol and other techniques, but we got beautiful enjoyment and profound enlightenment from the plain.
Therefore, we say that poetry creation comes from the poet's eruption of life feelings, not the expression of skills. After all, "a clever woman can't cook without rice." When Lu You, a great poet in the Song Dynasty, reviewed his creation in his later years, he said to his son affectionately, "I am a beginner in poetry, but I want to paint. Middle-aged people began to realize that there was less, and then they gradually got a glimpse of grandeur. " If you want to study poetry, you must work outside it. ".(Shi Zi Qian)
However, "no skills" does not mean that skills are not needed, and true feelings also need superb artistic skills to express. The so-called "no skills" means that in poetry creation, the use of skills should be adapted to the content, and should be "integrated" without trace. Skills should not highlight themselves, but should highlight the content and integrate with it. Liu Yuxi once commented on Bai Juyi's poem: "There is no trace of human weight, and the fairy clothes abandon the knife ruler." ("Twenty-two Scholars of Hanlin sent 100 Poems because of their answers") Writing poems should be as natural as a craftsman's luck to cut a little white mud from a person's nose without hurting his nose.
Of course, this "unskilled" realm can't be achieved without profound artistic accomplishment, superb observation and expression, persistent pursuit and unremitting efforts. The ancients said, "Poetry is plain and difficult, regardless of ancient or modern times". (Mei reads Shao Wuyi's poems) Mr. Lu Xun once said that some young people want to get the "secret" of writing: "If there is, it is only the opposite of the smoke screen: if there is truth, whitewash it, don't put on airs and don't show off." Gorky also warned young writers: "You young people always torture yourself in the pursuit of' form' ... this is extremely useless work". (literary letters), these are all to warn us not to abuse skills. We want to encourage poets to use facts to describe meaning, not to follow the fashion and not to show off their skills.
Some poets may ask: Why talk but not practice? Haha, isn't it easier to say what you can't do in an authoritative tone? There are 100 books about poetry, but only one poem has been created; Teachers who teach eloquence can be seen everywhere, but there are hardly any speakers. "(Voltaire's On Epic)
My humble opinion on poetry writing skills
Poetry is the heart, and emotion is the soul of poetry. Writing poetry focuses on the word "love", and lovers contain feelings, passion and lust. First of all, you should have feelings, and then you will feel moved by the scene. This is passion. But you must be passionate about writing, which requires enthusiasm. With the word love, you can learn. The rest is how to master the writing skills. There are many skills in poetry writing, which can be roughly summed up in the following words: canon, metaphor, meaning, harmony, imitation, parallelism, metaphysics, concealment and form. "Dian" refers to quoting allusions or famous sentences from ancient poems. For example, Li Bai said in "Memories" that "the willows fall every year, and Liling hurts." I used the allusion of "Fuling folding willow". "Yu" is a metaphor, such as Liu Yong's poem "A Leaf Boat", "Smoke gathers in a cold forest, painting a screen, the sky is far away and the mountains are small, and the eyebrows are shallow." This sentence vividly describes the mountain scenery overlooked by the author. Among them, "painting screen" refers to the scenery you see, and "wearing shallow eyebrows" refers to the turquoise of "distant mountains" becoming pale because it is far away. "Yu" is implied in the text, such as Song Qi's "Mulan Dongcheng Gradually Feeling", the text "Clouds are pale and the branches of red apricots are full of spring." The word "noisy" symbolizes the noise of bees gathering honey among flowers and the magnificent scenery in spring. "Harmony" is implied by homophonic words and also belongs to the technique of "containing", such as Liu Yuxi's Zhuzhi Ci (Yangliuqing), "Yangliuqing" and the song I heard on the Langjiang River. Sunrise in the east and rain in the west, the road is sunny. " Two of the words "Qing" imply the word "Qing" and their homophones. "Imitation" refers to personification techniques, such as the poem "In the Shadow of an Ancient Wood" by Zhi Nan, a monk in the Southern Song Dynasty. "In the shadow of an ancient wood, there is a low eaves and a cane to help me cross the east of the bridge." Among them, "Chenopodium" is personified. "Rhyme" is a way of writing circuitous hidden songs, such as Liu Yong's "Jade Butterfly Watching Autumn Harvest", in which "I miss Shuang Yan, but I can't follow the news, which means I go home in the evening. Looking at each other, in the sound of a broken rainbow, the sunset stands. " Both of these sentences express "longing for the arrival of spring, longing for letters from old friends far away", but they are written very tactfully. "Sunset in the West" can make you imagine that "the poet stands in the afterglow of the sunset, looking up at the evening sky, expecting … until the sun goes down and it gets dark, and then comes back hopelessly". "Mystery" refers to the expression of meaning by mystery, such as Wu Wenying's phrase "Where does Tang Duoling synthesize sorrow?" Autumn keeps people's hearts. " Among them, Autumn in My Heart is a riddle. "Hiding" refers to a poem that hides the head (tail), that is, putting every word you want to say but don't want to make it clear at the head (tail) of the poem. Poetry itself shows the reading order, if not in the order from beginning to end. "Form" refers to other rhetorical devices, such as antithesis, parallelism and inversion. Inverted sentences, in particular, are the most commonly used in poetry, because they are for rhyming, suitable for even rhyming. For example, Liu Yong's "Yulin makes chilling cicadas" words "chilling cicadas, Changting is late, and the shower begins to rest." Among them, "late is Changting" is the inversion of the word "late"; The phrase "the first rest in the bath" is the inversion of its verb "the first rest". In addition to the above skills, there is also the skill of "palindrome poem", which is difficult for ordinary people to master. There are two kinds of palindromes: one is to form a circle by connecting all the words of a poem from beginning to end, and then read any word, it becomes a poem, all of which are a poem; The other is simpler than the previous one, that is, the poems written are poems from beginning to end, and the poems read backwards are also poems from beginning to end. There is such a poem in A Dream of Red Mansions.
On the Poetic Writing Skills of Concise Metric Poems
Wen/Shi San Gongzi
In the field of poetry writing, those ancient rules sometimes make people who want to learn to write poetry flinch. Those complicated rhythms and accents are like divination, which makes beginners look like they are reading a heavenly book. So, how to solve this phenomenon? I'm here to talk about a simple creative method, so that beginners can see it at a glance as much as possible.
Many forums have similar posts about poetry creation, but I think it is often about some metrical and epigrams for your reference, and many people always can't understand them. In fact, the meter of classical poetry is not suitable for writing today, but only for appreciation. There is no doubt that the poems created by the ancients with those techniques must be appreciated with relevant knowledge. However, poetry has been reformed until today. Let's talk about how to use "today"
There is no mention of the ancient four tones here, which will be mentioned later. The so-called "four tones today" are the tones in Chinese Pinyin that we have all learned. Quite simply, we understand the first and second sounds in pinyin, that is, Yin Ping and Yang Ping, as flat sounds, and the third and fourth sounds as slurs, which I think everyone can understand. Generally, quatrains are four sentences, and metrical poems are more than eight. But anyway,
When creating, you must first define a rhyme. The rules of rhyme in classical rhyme books are strict, so beginners don't need to pay attention to them. If you choose a special rhyme, you should also compare it with the rhyme book. Let's talk about the usage of common rhymes first, and try not to choose those distant rhymes.
As far as rhyme is concerned, we all know that pinyin can be divided into initials and finals. For example, the phonetic structure of the word "Tian" is "Tian", and the word "An" used to mark tones is the rhyme we are looking for. The related words are money, Lian, Wan and Yan Yan. Its phonetic structure is "Lai", and the "Ai" used to mark the tone is the rhyme we are looking for. Rhyme is to find its related words, such as "firewood", "crooked" and "Cai Cai". It should be noted that the general rhyme is flat tone, and the words we mentioned earlier are flat tone, that is, one or two words in Chinese Pinyin. That is, three tones and four tones. For example, the word "Guang Guang" rhymes with the words "Yangyang" and "Yangyang". If these words are chosen, the last words of the second sentence, the fourth sentence, the sixth sentence and the eighth sentence of a poem will have to use such words with the same initials. That is, the concept of rhyming even sentences. Let's give an example:
The foot of my bed is shining with such bright light.
Is there frost already? (,a voice, a flat voice)
I looked up at the moon.
Sinking back again, I suddenly remembered home (incense, a voice, a dull voice)
"Frost" and "country" in this poem are its rhymes. Another example is:
Leng Yue is heavy and the bridal chamber is quiet.
The shadow of the buttonwood tree outside the real pearl curtain (shadow, three tones, squeak)
Prophet, autumn frost is coming.
Tailor's scissors at the bottom of the lamp are cold (cold, three times, squeaking)
This poem rhymes, that is to say, two or four rhyming sentences use rhyming words. The initials of "shadow" and "cold" are different, but they have the same rhyme. We can feel that "shadow" and "cold" are similar in pronunciation. The related words are "Li Li" and "Shuishui", which are the same. At the end of other singular sentences, syllable words should be used, which is opposite to the rhyme part. If you choose a syllable word, except for the first sentence, it is also the other way around, so it is frustrating and rhythmic to read.
One more thing is very important. If you choose flat, a poem must always be flat, flat, and you can't change rhyme in the middle. For example, if the suffix is "Guang Guang, the initial is ang", then you should always look for words that fall on the first and second syllable "ang". If you choose the ending, for example,
For the word "Rusheng" in the ancient four tones, it is not a tone, and it can't be reflected in pronunciation. It's just a word with fast pronunciation, whether it's flat or inarticulate. Then in the regulations, they are classified as slurred speech. This often happens in classical poetry, so you don't have to pay attention to it when you write with today's four tones.
It is very important to understand these seemingly complicated things. You should find more experience in poetry, and you can also copy other people's works when you start writing poetry. In the development of poetry today, we only need to remember this little basic thing.
Let's talk about the flat change in sentences.
You can't always use the same tone in a sentence. You have to have a cadence to make a sentence sound good, otherwise it will be like boiled water. So, how do you do this? Beginners should strictly observe this rule. Because you are confused about counting times at first, you must follow strict rules. Just like a toddler, don't rush to run first, but wrestle. Whether it is a quatrain or a metrical poem, it is most important to follow the rules first. Let's give some convincing examples.
The bridge was urgent last night.
Let's look at this sentence. The second, fourth and sixth words of every sentence must be strictly observed. The words "night", "bridge" and "water" appear in the second, fourth and sixth positions, and their relationship is "falling sound", "flat sound" and "falling sound". So there was cadence.
Last night, the bridge ran very fast.
Snuff does not cut green branches and low branches.
The words "flowers", "scissors" and "branches" in this second sentence are flush with the words "night", "bridge" and "water" in the previous sentence. If you use the word "ping sheng" in the second, fourth and sixth positions of the first sentence, it will become like this:
The quicksand at the bottom of the river was very urgent yesterday.
This needs attention, but the three words "quicksand" at the end of your sentence are all flat, called "Sanlian", which can't be used generally. Similarly, "three consecutive companies" is unacceptable. What should I do? We can modify and remedy it:
The waves and sand at the bottom of the river were very urgent yesterday.
That's good. But it also shows that, in theory, "quicksand urgency" in classical poetry is ok, because it contains the word "rusheng". Milk students have been eliminated today, so try not to use them like this. If we change it to the second way, the next sentence will have to be changed, such as:
The waves and sand at the bottom of the river were very urgent yesterday.
Don't cut snuff, choose spring clothes.
Someone wants to ask, "sand" and "spring" are rhymes and cannot be used. Yes, in principle, beginners should not use such words, which belong to higher usage. Then, we might as well modify it:
The waves and sand at the bottom of the river were very urgent yesterday.
Don't cut the shallow clothes of snuff.
The meaning hasn't changed, just another way of saying it. She is not alone in the boudoir, she is getting dressed and ready to go out. It is important to change words when writing poems, but it requires us to have rich knowledge. For example:
It was windy last night.
The moon is idle.
The second of these two sentences is obviously inappropriate. The word "bright" has four tones, and the word "night" has three tones, belonging to the same tone. So, we can change words without changing our meaning:
It was windy last night.
Clean the toad and go to leisure alone.
Qing toad, it is said that there is a toad on the moon, which can also refer to the moon. This change of words conforms to the rhythm and makes the poem more poetic. Let's fill in these two parts completely:
It was windy last night.
Clean the toad and go to leisure alone.
(The last two sentences also change the tone rhythm. )
Never tired of looking at each other.
Zen tea is also fresh.
For the record, the previous sentence has no practical significance. We didn't mention artistic conception and thinking method, but we had a general understanding of metrical transformation. Please don't misunderstand me.