(1) Grasp the change of part of speech and experience the "meaning" refined by the poet.
In order to refine the meaning of words, ancient poets in China often changed the parts of speech of some words in their poems, which were often the "poetic eyes" of a poem or the "poetic eyes" of a word. Make a detailed distinction.
Example 1 "Running water is sung on the Qushi, and the pine trees adjust the sun" ("Crossing Ji Xiang Temple") Wang Wei: I don't know the way to Jixiang Temple, and I wander under the clouds for several miles. Ancient trees are towering, but there are no pedestrian paths, and there are bells in the mountains in the temple. The spring water in the mountains hits the dangerous rocks, and the sun in the pine forest is cold. In the evening, come to the empty pool and meditate quietly to suppress the dragon. )
This is a poem about sightseeing, which mainly describes the scenery. The title is about the mountain temple, but it does not depict the front, but uses the side environment to express the quiet victory of the mountain temple. Yunfeng, Ancient Wood, Deep Mountain, Dangerous Stone, Song Qing and Empty Pond are the figures of the temple. Finally, I saw that the deep pool was empty, and thought that the fierce dragon mentioned in the Nirvana Sutra had surrendered, indicating that the monk's wishful thinking had been surrendered, and he unconsciously realized the profoundness of Zen. The monastery is not written in the whole poem, and the monastery is already in it. The idea is wonderful and the words are exquisite. "A stream sings winding rocks, and the sun is reconciled by pines" is regarded as a model for refining Chinese characters. )
Example 2: Spring Breeze and Green Jiang Nanan by Wang Anshi.
Example 3: Jie Jiang's two adjectives "Time flies and people are easily thrown away, cherries turn red and bananas turn green" as verbs, which promote the invisible time to age into colorful red and green, followed by the word "Le", describing the changing process of cherry from green to light red, then to deep red maturity, and banana from light green to dark green aging, showing the sense of time and space anxiety-youth.
In Zhou Bangyan, the wind is old and the warbler is young, and the rain is plump and plums are plump. Plums are ripe and the flesh is fresh and round ("the wind is old and the warbler is young, and the rain is fat." Although it describes the early summer in Jiangnan, it can't resist the temptation of "old" and "fat" and put it in spring. The wind is "old" and the rain is "fat" for plums. We ancients used to use words, adjectives and nouns flexibly, and all of them could be used as verbs, which were vivid when written. I don't think it takes a day or two for a yellow-billed chick to grow feathers with its head held high and spread its wings to leave its nest. It takes a long time to treat the hardships of parents, and it takes a long time. Finally, it only has the word "old", which is really intoxicating. Our thoughts wandered in the word "old" and spent a few months inadvertently. Another rainy "fat" plum. How many rains have you experienced? It should be from "light rain, sunny weather" to "the willow is drunk with spring smoke", then to "the apricot is out of the wall", then to "the flowers are small and the red apricot is small", and finally the rain is abundant. Write about the dynamics and forms, thinking that the plums have gone from being young and shy to being yellow and fat and round and sweet, and the yellow and faint red is full, how can it not be mouth-watering! The words "cold", "yue", "green", "red", "green", "old" and "fat" in the above sentences are adjectives. These words have their own wonderful uses, but one thing is the same, that is, turning decay into magic and enhancing the expressive force and appeal of poetry.
(2) Restore the inverted word order and grasp the poet's true intention and emotional focus. Typical examples are
1. Subject is postpositioned.
Cui Hao's poem "Yellow Crane Tower": "Every tree in Hanyang is clear, and a nest of herbs in Nautilus Island." It means "There is a vivid Hanyang tree in Qingchuan (on a sunny Yuan Ye), and the grass on Nautilus Island is lush". "Hanyang Tree" and "Nautilus Island" seem to be the objects after "vividness" and "lush", but they are actually the objects to be stated.
Another example is: "The laundry girl in the bamboo language returns, and the lotus leaf bends in front of the fishing boat." (Wang Wei's "Autumn Night in the Mountain") means "When the girl returns, the bamboo is noisy, and the fishing boat moves down." Poetry is the other way around, and narrative becomes description, so we can write a real scene of listening to its voice first, then seeing its people, seeing its actions first, and then seeing its events.
2. Preposition object.
Du Fu's poem "Moonlight Night": "Clouds are fragrant and foggy, and jade shoulders are cold." In fact, it is "fragrant fog and wet clouds, cold and jade arms." The poet imagined that his wife in Zhangzhou was just looking at the moon in her boudoir. The misty mist with a delicate fragrance seemed to wet her hair, and the clear moonlight made her white arms feel cold. Here, "wet" and "cold" are the so-called causative usages, and "cloud" and "jade arm" were originally the objects they dominated, but the results came first and seemed to be the subjects.
Xin Qiji's "He Xinlang" words: "Say wine pavilion. You see, it's round and bright, and the wind and the moon are similar, and Wolong Zhuge. " How can Tao Yuanming of Jin Dynasty be like Zhuge Liang of Three Kingdoms? It turned out that the author used these two words to compare his friend Chen Liang, explaining Chen Liang's literary talent and martial arts respectively, which literally means "seeing a romantic life is similar to Yuan Ming and Wolong Zhuge". The object "roundness" ran to the position of the subject. Another example is a poem in Qian Qi's "I'm in Taniguchi's Study", "You'll like the rain over Hsinchu and the sunset over new mountains." Pity the bamboo after the new rain and love the mountain in the sunset. )
3. Subject and object have been interchanged.
Ye Mengde's "He Xinlang" words: "Autumn is getting late, and the frost letter reports yellow flowers." Obviously, it also means "returning yellow flowers to frost". This word order of subject-object transposition is still in the form of "subject-verb-object" on the surface, but it must be understood in reverse. Another example is Bai Juyi's "Song of Eternal Sorrow", "Sisters and brothers are all listed in the soil, and because of her light, they are proud of their ancestors" (the family is full of glory), and Lu Lun's "Xia Sai Qu" poem "The dark wind hits the grass in the forest, and the general tries to shoot at night" (the dark wind in the forest is shocking).
4. The position of the attribute is in the radical phrase, with the attribute in front and the head in the back, which is a common situation in ancient and modern Chinese. However, the position of attribute in poetry is quite flexible, and it can often move back and forth without the headword it modifies. The following are examples.
A. the attribute moves forward.
Wang Changling's poem "Joining the Army" said: "There are dark snow mountains in Qinghai, and the lonely city looks at Yumenguan." The "lonely city" in the next sentence refers to Yumenguan, which is an appositive of Yumenguan, but now it is moved to the verb "overlooking", which is easily misunderstood as standing on another lonely city overlooking Yumen.
Liu Cha's poem "Joining the Army": "No one hears it from the flute, and the red flag goes straight to the Tianshan Snow." (Smelling flute) are all examples of the same kind. Lu You wrote in the poem "Sleeping in the daytime": "The fragrance in the account produces fog, and the books accumulate in the mountains beside the pillow." There is a fragrant mist in the tent and a mountain of books on the pillow. )
B. after the attributive is moved.
Li Bai's poem "Tianmu Mountain dreams of climbing high": "My heart and dreams are in Wu and Yue, and I cross the mirror lake on a moonlit night." It means "flying over Mirror Lake on January night". The phrase "moonlit night" was originally an adverbial of time at the beginning of a sentence, but now it has been split into two parts. The attributive "moon" is far from the head language, and at the end of the sentence, it seems to be the central part of the object. However, it is obvious that the author can only fly over the mirror lake, but not the moon.
And the poem "Delighting in Rain on a Spring Night": "Look at the red and wet place, the flowers in Jinguancheng are heavy." (Jinguancheng with heavy flowers)
5. Adverbials in the form of objects.
"People don't know where to go, but peach blossoms are still smiling in the spring breeze." On the surface, "laughing at the spring breeze" is a verb-object phrase. In fact, "autumn wind" and "spring breeze" are not based on "moving" and "laughing", but mean "moving in the autumn wind" and "laughing in the spring breeze" respectively.
This kind of situation is more common in poems, such as Du Fu's "Autumn Xing", the second of eight poems: "Qian Shan is wide in Clare from Zhao Hui, and he is sitting in the Cuiwei River Building every day." (Claire Kuo, Qian Shan, Zhao Hui, sits in the green of Jianglou every day. ) Li Shangyin's poem "Anding Tower": "I always remember the white hair of the rivers and lakes and want to go back to heaven and earth and enter the boat." I will always remember that the rivers and lakes will come back with white hair. ) are examples of the same kind. Others: Su Shi's "Niannujiao" words: "The old country fell, passionate about Ying Xiao Wo, born early." (Ying Xiao Wo is sentimental. For example, Mao Zedong's words "independence in cold autumn, Xiangjiang River going north, Orange Island" can be quickly rearranged as "independence in cold autumn (in) Orange Island, (seeing) Xiangjiang River going north"; The typical "But you go up a storey still higher, which broadens your horizons by three hundred li" is familiar to students and can be quickly rearranged as "I want to see Wan Li". It is difficult to find a hero like Sun Quan after the history of the country.
6. Intertextuality
Such as the bright moon in Qin dynasty and the bright moon in Han dynasty, and I, the master, have dismounted and the guests have boarded the ship.
Why is there an upside-down phenomenon?
First, it is the requirement of temperament. In addition to rhyming and limiting words, the mature "modern poetry" in the early Tang Dynasty and later words and songs should also pay attention to the deployment of parallel poems and the stability of antithesis. In order to meet the requirements of temperament, the poet had to make some changes in the word order. For example, Chao Wuqi's "Riverside Fairy" is based on a sentence in Wang Wei's poem "I live in seclusion in Zhongnanshan". Wang wrote: "I will walk until the water checks my way, and then sit there and watch the rising clouds."
Second, for the special needs of rhetoric. Wang Wei's poem "The Hairpin Phoenix returns to the bamboo to sing, and the lotus leaves are harvested in front of the fishing boat" in "Autumn Night in the Mountain" says: "Judging from the action sequence of the objective environment, it turned out that the return of' Huannv' caused the' bamboo sound'; Under the fishing boat, the' Lotus Movement' was introduced. However, if it is so mechanically stated that "Huan women belong to noisy bamboo and the fishing boat moves lotus", then the center of the picture is attributed to passive factors "bamboo" and "lotus"-this is the end of the action process. When the action is over, the picture will be still. " According to the order in the poem, "Bamboo Noisy" and "Lotus Moving" become the introduction of "Huannv" and "Fishing Boat". So the center of the picture moved to the active factors of the actions of' Huan Nv' and' Fishing Boat'. The movements of "Huannv" and "Fishing Boat" are not only more obvious than those of "Bamboo" and "Lotus", but also as the starting point and motivation of the movement, which enables this process to continue. This greatly enhances the dynamic and uniqueness of the picture. "In fact, the emergence of special word order in poetry and music, the requirement of melody and the need of rhetoric often have both. For example, Wang Changling's Join the Army and Du Fu's Delighting in Rain on a Spring Night are two examples. The attributive "Ancient City" moves forward and "Jinguan City" moves backward, which not only conforms to the pacification format of the seven wonders and the five laws, but also aims to highlight and emphasize the isolated and abrupt terrain where Yumenguan is located and the scene of flowers falling after the spring rain in the poet's imagination.
(3) Pay attention to the ellipsis in poetry and fill the blank left by the poet with imagination and association.
Mr. Jin Kaicheng pointed out that the appreciation of poetry is always inseparable from the word "image". Mr wu shichang also said that it takes imagination to read words. In poetry appreciation, reconstructing imagination according to the "reconstruction conditions" stipulated in poetry can supplement the blank left by the poet intentionally, restore the scene of poetry and obtain higher aesthetic enjoyment. This is a necessary part of poetry appreciation. Ellipsis in poetry is related to the combination of images. Therefore, you can also use imagination to fill in the omitted parts. Jia Dao's See the Guest: "I asked your student, under a pine tree," he replied, "My teacher went to collect medicine." However, through these clouds, how can I know which corner of the mountain it is facing? Obviously, it takes three questions and three answers, and it takes at least six sentences to complete the dialogue. The author reduced it to twenty words by answering questions. This is like the montage technique in the movie, one image after another, one picture after another, leaving a lot of gaps between the shots, so that our readers can supplement and improve according to the logic of life, the accumulation of experience and their own cultivation.
In fact, the combination of images in China's classical poems can be directly combined between words, images and images with the help of parataxis of Chinese grammar, and even words that play a connecting role can be omitted.
For example, Xin Qiji's phrase "the bright moon surprises the magpie, and the breeze knows in the middle of the night" (using familiar words such as "the bright moon" and "the breeze"), but when they are combined with "other branches surprise the magpie" and "knowing in the middle of the night", they form a deep artistic conception with rich sounds and dynamic Xian Yi, and people even ignore the level and level confrontation of these two sentences. "Moon" and "Surprising Magpie", "Wind" and "Singing Cicada" are not simple things listed, but have internal relations and causal relationships. )
"Bright moon in Qin dynasty, bright moon in Han dynasty"
"A glass of wine in the spring breeze of peaches and plums, a ten-year lamp in the night rain in the rivers and lakes" recalls the joy of meeting in Beijing, and the next sentence expresses the depth of lovesickness after parting. The poet got rid of the usual situation and didn't say "we met in those days" in general, but came up with the word "a glass of wine". "A glass of wine", this is too common! But it is only common and can give people rich hints. Shen Yue's "Don't be fascinated" said: "Don't say a bottle of wine, it will be difficult to hold it tomorrow." Wang Wei's "Send Yuan Er An Xi" says: "There is no reason to go out to the West for a glass of wine." Du Fu's "Memories of Li Bai in Spring" said: "When is it important to drink a bottle of wine and write a detailed discussion?" When old friends meet, talk or write papers, they always have some wine. With a glass of wine, I wrote down the scene of two people meeting. The poet also chose the words "peach and plum" and "spring breeze". These two words are also familiar, but it is because of familiarity that we can summon the smoke scene of Yangchun to readers at once, and use these two words to set off a glass of wine and show the joy of friends meeting each other.
Think again, it is not so easy to write two people's parting and parting thoughts in seven words. The poet chose Jianghu, Raining at Night and Ten-year Lamp, and made touching descriptions. The word "Jianghu" can be associated with circulation and vagrancy. Du Fu's "Li Bai's Dream" said: "From rivers and lakes-storms, shipwrecks, fear is a boat." "Rain at night" can arouse people's feelings. Li Shangyin's "Sending Friends to the North on a Rainy Night" says: "Ask Jun to return, and the rain will rise in the autumn pool at night." Listening to the "rain at night" in the "Jianghu" adds a sense of desolation. It rains at night, so we need to light a lamp, so we chose the word "lamp". "Lamp" is a common word, and "Ten-year lamp" is the author's initiative. The connection with "Jianghu in the rainy night" can stimulate readers' imagination: two friends, each wandering in the Jianghu, are alone with the lamp every rainy night, missing each other and can't sleep at night. And this scene has lasted for ten years!
Lu You's Annoying Book, "Night snow in the building, autumn wind through the customs", and the article "Cockcrow in the thatched cottage, frost abandoned on the bridge" are all related by nouns. The aspect of "image" seems to be isolated, but the aspect of "meaning" has internal deep connection, which seems to be divorced from reality and reality, leaving readers room for imagination and reconnection.
The last two sentences of Du Mu's "Crossing Huaqing Palace": "When the world of mortals rode the princess, no one knew it was litchi." There is no related word between "riding the world of mortals" and "concubine laughing", and they are put together directly. It can be said that "Riding the World of mortals" made "the concubine laugh"; It can also be said that the princess showed a smiling face in "Riding the World of mortals", like an overlay of two shots. Both of these understandings seem possible, but they are not exact. The poet just puts two contrasting images in front of the reader, and the connection between the images needs you to imagine and supplement, but it is not allowed to solidify them. Once solidified, it loses its poetry; The charm of poetry lies in its ambiguity.
Another example is Ouyang Xiu's "Butterfly Loves Flowers": "The rain and wind are crazy in March, and the door covers the dusk, so there is no plan to stay in spring." Omitting the conjunction of "door cover" and "dusk" can be understood as closing at dusk, closing at dusk and closing at dusk, which may have three meanings. Anyway, the young woman has a closing action, and it is dusk, which shows his loneliness, disappointment and melancholy.
Secondly, there are some words worthy of special attention in many poems, which usually add a lot of color to the whole poem and even become the eyes of the poem.
The poet Miracle wrote a poem "Early Plum", and there is a saying: "In the former village of Zita Law, a few branches opened last night." Zheng Gu changed the word "number" to "one" because the title was "early plum blossom". If a few branches are opened, it means that the flowers have been blooming for a long time, so it can't be regarded as "early plum". Miracle admired Zheng Gu and called him a "word teacher".
Wang Jia wrote a poem "Sunny Days": "Look at the flowers before the rain, and there will be no flowers at the bottom of the leaves after the rain. Bees and butterflies fly over the wall, but they think spring is in the neighbor's house. " Wang Anshi changed "flying in" to "flying in succession", because only the clever pen of the busy butterfly outline can truly feel the unique beauty after the late spring rain.
Verb refinement is the main content of ancient poetry refinement. The word "green" in Wang Anshi's Spring Breeze and Green Jiang Nanan, the word "see" in Tao Qian's "Seeing Nanshan leisurely", the word "de" in Zhang Xian's "Clouds breaking the moon to make a flower shadow" and the word "noisy" in Song Qi's "Red Apricot Branches Full of Spring" are all well known. A word "Noisy" expresses the poet's feelings about spring, and a word "Nong" expresses the poet's appreciation of the beauty of flowers dancing in the breeze under the moon. These are the poet's unique feelings, and writing this unique feeling is artistic, whether it is the blending of scenes, whether the poet paints his feelings on the scenery or the poet writes the modality of the scenery itself.
Du Fu's poem: "Four more mountains spit on the moon, and jathyapple is bright." The word "Ming" is an adjective as a verb, which makes the picture dynamic, and even better, the word "spit" (students experience it themselves! If function words are used well, they can also achieve the aesthetic effect of dredging literary spirit, opening and closing echoes, melodious twists and turns, and activating emotional charm. Du Fu has a poem: "There are Bashu in the mountains and rivers, and the towers and terraces are harmonious." Ye Mengde commented: "The distance is hundreds of miles, up and down for thousands of years, only between the word" you "and the word" zi ",but it is beyond words to appreciate the atmosphere of mountains and rivers and cherish the past and present.
Verbs: When appreciating poetry, we should pay attention to verbs, especially those with "multiple meanings".
Example 1: Why should a strong brother complain about Liu? Spring breeze is not enough to pass Yumen Pass. The word "resentment" obviously uses personification, which is not only the emotion in the song, but also the heart of the piper.
Example 2: Petals fall like tears, and lonely birds sing their sadness. The words "splash" and "shock" are not only fresh words, but also add to the poet's inner pain of hating others.
Example 3: Mist from Yungu and Menggu enveloped Yueyang City. "Steaming" and "shaking" are somewhat exaggerated.
Exodus 4: Rain makes the flowers wet and the wind darkens the leaves. (Suburban Xing) Look at this poem. "Wet" means "light" and "sparse" means "shadow", which is unusual in itself. Wang Bo described the short-lasting spring rain. After the rain, there is no rain on the flowers at sunrise, and it is more humid under the sunlight, so the word "wet" is very accurate. The word "light" is full of energy, so the word "light" is affectionate. The wind stopped, and under the sunshine, the night shadow was clear and sparse, and the word "sparse" appeared, indicating that the sun was coming from the leaf shadow. It is written completely according to the lifestyle and looks very poetic. The words here are wonderful.
Example 5: "The stars descend from the open space, and the bright moon goes upstream." (Du Fu) "The mountains are flat and primitive, and the rivers meander in the wilderness." (Li Bai)
Modifiers: mostly adjectives, but also the focus of poetry appreciation.
Example 1: The Yellow River is far above the white clouds, and there is an isolated city, Wan Ren Mountain. A word "loneliness" can describe the loneliness of the environment and reach people's hearts directly.
Example 2: sneak into the night with the wind and moisten things silently. Good. The pulse is continuous. It's about opportunities created by nature, which is the closest.
Example 3: Young married women in boudoir don't know how to worry, so they put on Cui Lou in spring. Suddenly I saw the green willows, and I felt uncomfortable; Oh, I regret that I shouldn't have asked my husband to find Hou Feng. ("in my heart forever" Wang Changling) The first two sentences are written by a young woman who has finished dressing and rushed to Cuilou to enjoy the spring scenery. At this time, the author used a word "suddenly", which means casual and just right. Encounter: The willow color that broke into her eyes reminded her of the scene of folding willows with her husband, and she couldn't help but feel sad when she thought of her husband. This is a young woman with a childish face, and the word "suddenly" vividly describes this emotional change, which is exactly what this poem is intriguing about.
③ Special words: In poetry, some words are unique in themselves, and readers can find them quickly:
A. Reduplicated words: Reduplicated words have two functions: enhancing the sense of rhythm of language or playing an emphasis role. The willows in Jiang Shuiping are green, and I can hear the songs on the Langjiang River. (《lt； Zhuzhici > 1. Liu Yuxi, thousands of families always change new peaches into old ones every day. ("Yuanri" Wang Anshi) Looking for it, it is cold and miserable. ("Slow Whispering" Li Qingzhao)
B Onomatopoeic words: Some onomatopoeic words are overlapping words, so they are listed separately because of their high frequency. It has a function: to make poetry more vivid and make people feel immersive. Outside the curtain, the rain is gurgling, spring is fading, and Luo Can can't stand the cold. Leaves fall like a waterfall, while I watch the long river roll forward. ("Ascending the Mountain" Du Fu)
C. Words expressing colors: These words are sometimes used as predicates, sometimes as attributes, and sometimes as subjects or objects. But there is only one function. Color generally expresses mood, enhances the color sense and picture sense of description, and renders the atmosphere. When you appreciate it, you can grasp the words that can express light colors, and realize the rich artistic meaning and distinctive rhythm of "two orioles singing green willows and a row of egrets rising to the sky" in the poem. The four colors of yellow, green, white and cyan are patchy, extending from points and lines to infinite space. The picture is still and moving, and the three-dimensional rhythm is distinct. Or grasp the words in the poem that can show sharp contrast and appreciate the concentrated emotional color: "The fleeting people, cherry red, banana green." "Red" and "Greenway" show Jie Jiang's "colored thoughts" lamenting that time is in a hurry and spring is fleeting. Even if we grasp the words expressed by a single color, we can also appreciate the poet's deep affection: "Recalling the love in Tsing Yi, we pity the grass everywhere." "Whoever is drunk in the frost forest at dawn always makes people cry!" Pity and hurt feelings are both in "Young" and "Drunken Red". Ten miles after the spring breeze, the wheat is green. ("Yangzhou Slow" Jiang Kui) Red lotus root fragrance, jade dies. (Li Qingzhao, pruning plums) The green grass in spring stained the steps, and the birds sang happily under the leaves. ("Shu Xiang" Du Fu)
Third, the overall language features.
The overall linguistic features include the linguistic features of a sentence or an entire article.
fresh
Freshness is generally used in landscape poetry. Generally, the poetic style is distinct, the language is popular, the metaphor is novel and unique, and it contains the author's joy.
The fresh wind is common in the following poems. First, most pastoral poets, Tao Qian's poems are mainly plain and sometimes fresh, while Wang Wei's and Meng Haoran's poems are relatively fresh.
1, Wang Wei: a poet and painter in the Tang Dynasty. There are less than 400 poems written by Wang Wei, among which the greatest achievements are describing landscapes and pastoral areas and praising seclusion. His representative works include Zhongnanshan, Manhan River, Autumn Night in the Mountains, Qingxi, Crossing Ji Xiang Temple, Wang Chuan Bie Ji, Pei Shi No.20 and so on. Most of Wang Wei's pastoral poems depict the beauty of nature, but at the same time, they reveal the interest of leisure in leisure life. Or quiet and bleak, or bleak weather, or lonely and deserted, showing the poet's indifference to reality and even the extinction of Zen. In addition, the artistic skill is very high, which is highly praised by future generations. In Wang Wei's farewell poems and Ji Xing's poems, there are often beautiful sentences about scenery, such as "The desert is lonely and the smoke is straight, and the long river sets the yen" ("Make it to the fortress"), which has been passed down from generation to generation.
There are pictures in Wang Wei's poems, and there are poems in the paintings. His feeling of natural beauty is unique and meticulous. His landscapes are full of charm, slightly exaggerated, long in artistic conception, bright in color and well painted. He combines static and dynamic scenery and is good at showing the changes of natural light, color and sound in detail. His landscape poems are short in length, exquisite in language and soothing in syllables, which are suitable for expressing quiet scenery and comfortable mood. It has the reputation of "world literate Sect" and "Shi Fo". Have a great influence on future generations.
It is precisely because he often looks at everything with the eyes of a Zen master that his poems have a kind of beauty of tranquility, openness and quietness that other poets can't reach. In particular, the dynamic images in his description of nature in A Moment are so pure and quiet and full of Zen, such as: "People are idle with osmanthus fragrance, and the night is quiet and the mountains are empty." When the birds are startled in the moon and the springs are singing. "("birdsong ")" In the autumn rain, there is a shallow pomegranate flow. The jumping waves splashed from themselves, and the egret was shocked. "("Luan Jia Se ") and the famous sentence" There is moonlight in the pine forest and crystal stone in the stream "("Autumn Night in the Deep Mountains ") often purify readers' hearts and give people endless quiet reverie.
2. Meng Haoran, a poet in Tang Dynasty. Xiangyang Xiangzhou (now Xiangfan, Hubei) Xiangyang is known as Meng Xiangyang in the world. Write more about landscapes, pastoral areas, seclusion and travel. Although it is not without cynicism, it is more of a poet's self-expression. He and Wang Wei also said that although his poems were not as broad as Wang's, they had unique artistic attainments, and he was the pioneer of the pastoral poetry school in Tang Dynasty after Tao Yuanming, Xie Lingyun and Xie Tiao. Meng Ke's poems are unpretentious, cordial and true, full of life breath and wonderful and complacent interest. Such as "Autumn Boasts Send Zhang Wu", "Passing the Old Village" and "Spring Dawn", which are light and elegant, integrated and elegant. Meng's poems are based on broad-mindedness and broad-mindedness, but there is also a vigorous and free spirit, such as Dongting Lake Newspaper, Clouds and Clouds, and Yueyang City Trapped, all of which are vigorous and free, overlooking everything. But this kind of poem is rare in Meng's poems.
"Prepare chicken and rice for me, old friend. You entertain me on your farm. Green Woods surround the village and green hills are located outside the city. Open the window facing the valley vegetable garden and pass the glass to talk about crops. Wait until the mountain is on holiday, and I will come back in chrysanthemum time. " . Green trees, green hills, cottages, nurseries and Sang Ma blend harmoniously. This is a beautiful and quiet rural scenery, emitting a fresh earthy atmosphere. There is a strong atmosphere of life here. Here is "too light to see poetry" (Meng Haoran in Wen Yiduo's works), but there is no lack of artistic beauty and simple life beauty that are deeply integrated into the whole poem. Meng Haoran seems to have found the feeling of conversion here. The poet finally forgot all the setbacks and gains and losses of fame and fortune in his political pursuit, and even completely abandoned his lonely and depressed mood in seclusion. Finally, the mind is relaxed, and even the poet's movements are very flexible, which naturally shows its conquest here.
"In the spring morning, I woke up easily, and birds were singing everywhere. But now I think of that night, that storm, I don't know how many flowers were folded? " These four poems are works in which Meng Haoran's artistic realm and spiritual realm have changed. But now I remember that night, that storm, I wonder how many flowers were broken? Wang Guowei's evaluation of Li Yu's words "implies that Sakyamuni Christ bears human sins", and Meng Haoran's two poems also contain great and profound feelings. "His feelings and feelings for all things have a * * * sound", and he has a deep sympathy for the universe and life. This poem expresses the highest metaphysical heart and the greatest romantic feelings. This is the most natural poem, and it is heavenly. Meng Haoran is happy. He changed the realm of life from the realm of utility to the realm of heaven and earth, and I reached the realm of no self. Although I suffered hardships during the period, I finally endured it.
Dull: Dull is different from mediocrity and insipid. It is the deep feelings and rich thoughts expressed in simple language, full of affection, so it is often dull and thoughtful. As Wang Anshi said, it seems the most bizarre, but in fact it is easy to achieve but difficult.
Tao Yuanming is the first plain poem, and few people can write plain poems. Li Yu's ci is definitely not dull, on the contrary, it has strong emotional power.
Excellent
Li Shangyin's poems are not only gorgeous, but also obscure, and Li He's poems are gorgeous and even wonderful.
There are about 600 poems by Li Shangyin. Among them, political poems are full of irony and quite profound. His epic satirizes the present and makes great achievements. This kind of poems often ridicule the dissoluteness of the former or current kings, and some people rely on history to express their incompetence. This kind of poems mostly use discipline, intercept specific scenes in history and spread them, which has the artistic effect of seeing the big from the small and expressing deep meaning. "Two Poems of Sui Palace and Southern Dynasties" and other masterpieces. His lyric poems are deep, delicate and sentimental, such as "The sunset is infinitely beautiful and buried by the coming night" ("Leyou Graves"). Li's poems are lyrical and not straightforward, especially devoted to beautiful songs and opinions. His poems are often fascinating and memorable. But deliberately seeking pleasure sometimes brings hidden disadvantages. His poems about objects are meticulous in style and description, and can express the inner charm of things and convey the author's feelings with the depiction of typical characteristics and the rendering of environmental atmosphere. Untitled poetry is Li Shangyin's original creation. Most of them take the love between men and women as the theme, and the feelings change from deep to sincere, and the words are elegant and beautiful. Such as "last night's stars and last night's wind" and "it was a long time before I met her, but it was longer after we parted" Some also asked Yu Youpeng for contacts and life experiences, such as "waiting for Lang to come to the moon is already low" and "I am anxious to take it". There are still some poems that are difficult to understand. The basic style of Li Shangyin's poems is full of emotion and graceful words, which can bring melancholy and heavy beauty, and has a deep influence on later poetry and ci circles. His poems are widely circulated. His "Seven Laws" is the highest achievement, which inherits the rigorous and frustrated characteristics of Du Fu, and combines the brilliance of Qi Liang's poems with the beauty of folk songs in the Six Dynasties, as well as the fantastic symbolism of Li He's poems.
Li He: The general feature of Li He's poems, as commented by predecessors, is fantastic and magnificent. Another feature of Li He's poetry aesthetics is the pursuit of unique creativity, uniqueness and defamiliarization in artistic form. This is mainly manifested in four aspects: using words to survive, seeking cold and hard, novelty in conception, strange and abrupt style and hazy realm. In Li He's poems, there are few familiar words used by predecessors, and his choice of words always gives people a sense of strangeness as far as possible. . This strangeness is reflected in his use of many words with cool colors and words with hard matrix. Words such as Pan, Ning, Yin, Tears, Cold, Bitterness, Surprise and Blood frequently appear in poems. The indifference of tone is their same characteristic. In the use of cold-tone words, we can see that the poet deliberately avoids expressing himself and his unique poetry. This uniqueness is the expression of his sad thinking, which makes poetry always make people feel the poet's cold feelings, and the cold image makes the realm of poetry unusually quiet.
lively
Just don't beat around the bush and hit the nail on the head. Nothing is brighter than Bai Juyi.
Others, such as implication and conciseness, are not unique to that poet. Most poets have some more or less. In fact, when doing a problem, we often can't separate a feature, but often put it together, such as simplicity, freshness and simplicity. And the language style of poetry is far from being summarized by these words. For example:
1 vigorous. This is generally used in Du Fu, Xin Qiji, Lu You and others.
The words added in the following poems have their own beauty, please enjoy the analysis.
1, the desert is lonely and straight, and the long river sets the yen (Wang Wei's "Chuangguan Fortress")
2, the moon, now full of crossing the sea, at this time the end of the world * * * (Zhang Jiuling's "Looking at the moon and thinking about a distance")
3. A mist emerged from Yungu and Menggu, and has been surrounding Yueyang City (Meng Haoran's "Prime Minister Zhang in Dongting")
How vast the world is, how close the trees are to heaven and how close the moon is to the water! (Meng Haoran's "Jiande Night Sleeping")
5. The mountains are cold and blue, and the autumn waters are all day long (Wang Wei's "Message from Wangchuan Bieye")
6. Birds fly high and go alone. (Li Bai's Sitting Alone in Jingting Mountain)
7. The stars tilt down from the open space, and the moon runs from the upper reaches of the river. (Du Fu's One Night in a Foreign Country)
8. The steps are dotted with green grass in spring, and birds are chirping happily under the leaves. (Du Fu's "Shu Xiang")