Imagery and poetry appreciation
Ge Yuhong
Although the interpretation of poetry has isomorphic relationship with art appreciation, it has its own independent aesthetic characteristics. In art appreciation, if the strong aesthetic feeling of the aesthetic receiver cannot be aroused, then the existence of the literary form of "poetry" will lose its meaning. Therefore, the key to poetry appreciation is to pay attention to the specific connotation of implication, awaken the aesthetic taste of the subject and make the subject achieve the all-round operation of aesthetic thinking in the process of appreciation. Only when the subject of appreciation forms a rich accumulation of aesthetic psychology in long-term practice can he have a deeper understanding of artistic image. ?
key words: poetic language creation technique, image implication?
Chinese Library ClassificationNo. G623.23
Document IdentificationNo. A
Article No.1-186 (21) 9-45-3
The new textbook of People's Education Edition, which was put into use in 2, tries to break the previous balance, and searches for the personalized texture of the textbook with an exploratory eye, which reflects both the form and the content. The third Chinese textbook for junior and senior high schools used this autumn has changed the most. Taking high school as an example, the third volume arranges 16 poems in three units, which are omnipresent at all times and all over the world, thus raising the appreciation of the meaning of poems to an unprecedented height. This is probably the first case in the history of textbook compilation, which is extremely challenging. The new third volume selects poems such as Farewell to Cambridge by Xu Zhimo, Motherland, My Dear Motherland by Shu Ting, I Love this Land by Ai Qing and To the Sea by Pushkin. Without good teaching guidance, these poems are difficult for students to master at once. Therefore, it is necessary to improve the level of poetry appreciation as soon as possible. ?
the word image is an important concept in China's ancient literary theory. The ancients thought that meaning was an internal abstract mind, like an external concrete object; Meaning originates from the heart and is expressed by means of images, which are actually the sustenance of meaning. China's traditional poetics actually refers to the artistic processing skills of containing feelings in scenery, relying on scenery to express feelings and blending scenes. The process of poetry creation is a process of observation, feeling, brewing and expression, and it is a process of reappearing life. The author feels something about the outside world, so he entrusts it to a selected concrete object, so that it can blend into the author's own emotional color, and create a specific artistic world, so that readers can make a second creation in their hearts according to this artistic world when reading poetry, and infiltrate their emotional color on the basis of restoring what the poet sees and feels. ?
the use of images naturally varies with people, things, times and feelings. Generally speaking, the methods of constructing intention can be divided into three categories: Fu, Bi and Xing. ?
Fu, that is, writing things directly, is what the author usually says. In the author's view, an image already has the characteristics of expressing his feelings, so he directly uses it to make this image directly express his feelings. This kind of image is very common in Chinese poetry creation, such as Xin Qiji's word "Xijiang Moon" selected in the textbook, "The bright moon surprises the magpies, the breeze sings cicadas in half a month, and the rice flowers say good harvest and listen to frogs." It can be said that all the words are paved images, and a quiet night scene of the countryside is directly sketched out with a series of images, which describes the scenery without a word of love, but the author's feelings infiltrated in it can be seen everywhere. ?
comparison, which we often call metaphor, compares the author's feelings to other things, similes, metaphors or symbols in different ways, and directly compares his feelings to people or things, making them have the characteristics of people or things. Li Bai's "how lovely locks in bright mirrors in high chambers, though silken-black at morning, have changed by night to snow" is to directly compare images like moss and snow to hair, so as to make readers' association clear, clear and vivid at once, and give readers a vivid feeling. Shu Ting's poem "I am the worn-out old waterwheel on your forehead" has left a very deep impression on people, because the image of the old waterwheel is used to symbolize some kind of flesh-and-blood connection between "I" and the motherland, thus making the whole poem delicate and rich in exotic meanings. ?
Xing means "saying something else first to arouse the words to be sung". Xing must be attached to something, have a concrete image that can arouse Xing, and then make this concrete image penetrate into the author's feelings, thus creating an artistic conception. The use of line drawing in creation can often be regarded as a kind of interest, such as Cang Kejia's poem "Old Horse" is a typical example. The poet created the image of an old horse with the technique of line drawing, which made the cart "fit enough", "don't say a word anyway" and "buckle the pressure on its back into the meat". It just hung its head heavily. Here, the old horse is already a symbol and a direct rising object, and the author uses this image to pin his unyielding national personality and the author's praise. Therefore, this creative technique is both pen and ink saving and profound.
Poetry mainly relies on images to form the meaning of poetry, and there are various ways to combine images in poetry. ?
juxtaposition
List several groups of related images, such as "Jiangnan Spring" by Du Mu and "Water Village, Mountain Country, Wine Flag Wind", which juxtaposes several groups of images of water village, mountains, wine, flags and wind, so that we can appreciate the unique customs of Jiangnan Spring. ?
Contrastive combination
Select two or more groups of objects, which are opposite to each other and set off each other. For example, Gao Shi's "Yan Ge Xing", "The Warrior Army lives and dies in the first half, and still at the camp beautiful girls dance for them and sing", which is bloody on the one hand and indulged in drunken dreams on the other, thus deepening the theme. ?
Synaesthesia image
means that hearing, sight, smell, taste and touch are communicated and transformed into each other. For example, in Shu Ting's "Lu Yu", "Bicycle bells are suspended in space" and "Bells throw broken flowers in throbbing long streets", the former sentence of auditory bell is transformed into visual suspension, and the latter sentence of auditory sense of smell and psychological feeling are interwoven and combined, thus forming a very wonderful realm. Bells can float, and bells throw flowers, which makes readers wonder for the poet's rich imagination. ?
absurd combination
combines two or more images that are illogical and logical, that is, what cannot happen in reality can be realized in psychological feeling. For example, in Qiu Lai by Li He, "Ghosts in Autumn Grave Sing Bao's Poems" and "Ghosts Sing" are astounding, which seems to make people hear ghosts in Autumn Grave sing Bao Zhao's poems expressing "long hatred" in those years, so as to express the author's grief and sadness. The poetic style is novel and mysterious, which coincides with the genius of Li Shi's poems in absurdity and illusion. ?
whether it is juxtaposition or contrast, synaesthesia or absurdity, the meaning of poetry lies in their different combinations. The use of these techniques in poetry creation makes poetry show infinite charm. To interpret poetry, we must first understand these basic poetic combinations, so as to appreciate poetry more accurately.
second, three levels of poetry appreciation?
generally speaking, literary works have three levels, namely, language level, image level and implication level. Poetry appreciation should also start from these three levels. ?
Language level
There is no doubt that poetry has a strong intuition. Poetic language is highly generalized, concise and full of meaning. It often violates the general grammatical norms and has a stronger sense of strangeness than the general literary language. There are often many gaps between lines of poetry, showing a strong leap. It is this leap that accommodates the richer images of poetry, thus constructing a refreshing poetic meaning in a very limited space. The formation of this artistic feature of language mostly depends on the clever combination of figurative words and abstract words, that is, deliberately matching abstract words with figurative words to form a concrete and vague realm of intersection of reality and reality, thus providing readers with information to pursue the poet's personal feelings. In the reading exercise, the newly revised third textbook of Chinese for senior high school selected the poem "Broken Chapters" written by the poet Bian Zhilin. Bian Zhilin's poems are loved by readers for their subtlety and wisdom. He often depicts the world in vivid language, and uses symbolic images to metaphor the philosophy of life, which not only has a rich and vivid artistic sense, but also contains the experience of the world. The language of the poem "Broken Chapters" vividly embodies this feature: "You stand on the bridge and watch the scenery, and the tourists are watching you upstairs" and "The bright moon decorates your window and you decorate other people's dreams". The surface of the poem is plain: there is scenery on the bridge, so you are watching; You also constitute the scenery, so others are watching you. In the wonder, people realize the rich relativity philosophy of life and death, knowledge and ignorance in the universe contained in the picture. "The bright moon decorates your window, and you decorate other people's dreams", and the "decoration" is dreams. The collocation of this language is very clever, which is the combination of concrete words and abstract words, breaking the logical relationship of semantics and forming a poetic logic, thus greatly expanding the flexibility of poetic language, enriching the expressive connotation of poetry, expanding the expressive scope of poetry and deepening the theoretical meaning of poetry. Similarly, there are "I took a sip of the hazy street" ("Record") and "I vomited a milky white sigh" ("Dusk"). Therefore, to appreciate poetry, only by grasping this characteristic of poetic language and singing it repeatedly can we deeply understand the highly concise characteristics of the poet's language, thus bringing out the condensed connotation of poetry. ?
Image level
Image has an indissoluble bond with aesthetic education, and poems with beautiful images can give readers a sense of beauty. Whether a novel and unique image of beauty can be created is one of the signs to measure the success of poetry. The formation of images mainly uses three methods: Fu, Bi and Xing, but only by using images or metaphors of things that are extremely irrelevant on the surface but actually related can we express ourselves accurately and effectively, and the images generated according to this principle can be surprisingly bizarre, fresh and surprisingly accurate. This also involves the fusion between the image selected by poetry and the meaning it symbolizes. Image and meaning are often inseparable. The reason why Shu Ting's poem "Motherland, My Dear Motherland" makes people cry is inseparable from the poet's successful use of metaphor and synaesthesia to create a group of profound images: "I am an old waterwheel on your river, spinning tired songs for hundreds of years", and the visual "old waterwheel" is connected with the auditory "tired songs". The poet begins with this desolate image and will soon. "I am the painful hope of your ancestors/the flower that has not fallen to the ground for thousands of years", and the concrete image and abstract image are integrated into one, and the poet's subjective emotion is expressed in the sharp transition and contrast of time and space. The images of "I am your brand-new ideal/I just broke free from the spider web of myth" and "I am the newly brushed white starting line/the crimson dawn is spreading" make us suddenly realize the complex meaning of the strong thoughts and feelings they represent after the initial shock, so that we can realize the unique aesthetic interest of this poem from the artistic perspective and feel the consistency between the poet's inner spirit and the images of the poem. Therefore, the interpretation of poetry can not be separated from the grasp of the image itself. The creativity, imagination and all vitality of poetry lie in the shaping of the image. When you read poetry, you must read the images first. ?
Implication level
With the formation of images in the mind and the stimulation of phonological rhythm, readers have developed a preliminary sense of beauty, but how to break through the surface of images to understand the image connotation of poetry is the key to the success or failure of poetry appreciation. The meaning of poetry generally includes aesthetic meaning and intellectual meaning. ?
Of course, excellent poems are aesthetic. At the beginning of reading poetry, readers begin to have some kind of spiritual experience and feel spiritual pleasure. But this is not an aesthetic appreciation. This time, the textbook was revised, and a poem "Praise" by the famous poet Mu Dan in the 194s was selected. At that time, due to special historical reasons, some modernist poets in the 193s and 194s were lost in the darkness, and their works were mostly confined to their own "ego" and expressed helplessness. But Mu Dan is different. He often gives his images a philosophy of darkness and light in his own poems, and the poem "Praise" embodies the poet's artistic creation style. There are two figures in the poem: one is the poet himself as the lyrical subject, and the other is the farmer whose rough body moves in the field. The lyric subject tells his "silent love" in the desolate land, in the boundless weeds, in the melancholy forest, facing the "unshakable gray ranks" crawling in the sky, "to embrace with the desolate desert, the bumpy road, the rainy weather, the snowy hand and the rickety people"; This is an image with strong patriotism. The farmer, the "father of many children", "how many dynasties have risen and fallen beside him", "hope and disappointment are on him" and "the road is infinitely long", but he put down the ancient hoe that "always rotates behind the plow silently" and resolutely "watched himself" and melted into death. A laborer guards his poverty and toil, then abandons his wife, children and mother, and everything, and never looks back. What kind of image is this? What is his endoplasm? What makes "I" also cry for his departure? It goes without saying that these two groups of images have the power to shake people's hearts. The farmer and I suddenly met in the poem, and each understood his own mission. When all sentient beings were dizzy with the loss of self-awareness, the farmer and I expressed our sobriety in our own unique way, conveying a spirit that was incompatible with the groggy world and shattered in search of light. At this point, we have completed the anatomy of the image, dug up some connotations of the poem, and had a preliminary aesthetic experience of the work; However, further appreciation: in this desolate and hungry picture, the spiritual light of the image of the farmer began to come alive, float and expand, thus conveying the personality of the farmer-when he was full of turmoil, contradictions, suffering and ignorance, he did not hesitate to abandon himself, sacrifice himself, transform himself, and seek a bright way out, which is why "a nation can get up" and "a nation has got up". The image of the farmer actually bears the connotation of national history, represents the specific qualities of the pioneers, and shines with the immortal brilliance of national character. And I am a symbol of the new farmer, and my flesh-and-blood ties with the farmer have built the national soul together. This is the lofty aesthetic implication that the poem "Praise" brings us. Only by appreciating this can we truly enter the grasp of the poetic implication, that is, the "intellectual" implication of the poem. ?