Association is usually understood as association and imagination, also known as "analogical imagination" or "association", which is a special form of imagination. Association is a psychological process that people think of another related thing from one thing according to some connection between things. That is to say, because of the perception or memory of a certain concept, concept, event and representation, the memory and cognition of another concept, concept, event and representation with some similarities and differences is a kind of thinking activity from one to two, which is completely consistent with the artistic thinking of "Bi Xing" at this point. In the history of psychology, the discovery, induction and presentation of the law of association were first completed by Aristotle. In his memory theory, the rudiments of similarity law, contrast law and associative proximity law have been formed. Association can be divided into similar association, comparative association, related association and close association. The conditions of association are: rich representation and knowledge reserve; Be good at finding out the same, similar, similar and opposite internal and external connection points between them; Broad thinking space, active and sensitive thinking. The basic methods of association are shaping, tracing, divergence and implication. Association and imagination generally do not produce new images and opinions. Association is of great significance in writing, especially in conception activities. Carrying out creative spiritual production activities is the basis and premise of mobilizing the reserves of life, knowledge and cognition, expanding the scope of cognition and deepening cognitive thinking.
What the author discusses here is that association and imagination are limited to the category of literature and art. As the concepts of literary psychology, imagination and association are used in the study of literary creation and appreciation, that is, artistic imagination and aesthetic association.
Artistic imagination refers to the activity that artists create new artistic images through the processing of psychological processes such as feeling, perception, representation, memory and thinking. Artistic imagination is directly related to artistic aesthetic emotion, aesthetic ideal and aesthetic taste. The result of artistic imagination is the birth of various artistic images. The form of artistic imagination is not single. In literary and artistic creation, there are both recreative imagination and creative imagination, both unintentional imagination and intentional imagination, the most important of which are intentional imagination and creative imagination. Therefore, literary psychologists believe that "the most basic character of artistic imagination is creativity, which is a creative activity to provide people with novel, unique and socially meaningful artistic images." According to the difference of novelty, independence and creativity of artistic imagination, imagination can be divided into two categories: recreating imagination and creating imagination; In terms of whether imagination is controlled by will, imagination can be divided into unintentional imagination and intentional imagination. The former classification was put forward by the famous British philosopher Bacon in16th century. The so-called recreating imagination refers to the psychological process of recreating the corresponding new image in the mind according to the description of language or the instructions of patterns, symbols and signs; Creative imagination is a psychological process of creating new images independently without ready-made description. It is a more independent, novel and creative imagination, and it is the most important psychological function for people to engage in creative activities. Rebuilding imagination and creating imagination play an important role in literary creation and appreciation. Unintentional imagination, without a predetermined purpose, is caused by a * * *, involuntarily. This is a spontaneous appearance activity and the simplest and most elementary form of imagination. The appearance of image is not involved and unconscious, but related to human subjective factors. Everyone has an unintentional imagination, and the situation of imagination varies from person to person. Unintentional imagination can be transformed into intentional imagination. Corresponding to unintentional imagination, imagination is intentional if it has a certain purpose and consciousness. This is an imaginative activity according to a certain task and purpose, and it is an advanced form of imaginative activity. From the content of imagination and the form of imagination development, artistic imagination can be divided into figurative imagination, analogical imagination, symbolic imagination, synthetic imagination, hypothetical imagination, speculative imagination, illusory imagination and dreams.
Aesthetic association is equivalent to psychological control association, and its greatest feature is the directivity and integrity of the situation displayed by association. Aesthetic association is a manifestation of people's spiritual freedom and brings people aesthetic pleasure. The emotion caused by this association is related to aesthetic experience and can only be explained by aesthetic association. Aesthetic association can also be called aesthetic imagination. "The so-called aesthetic imagination is a psychological process in which the aesthetic subject mobilizes the accumulation of past representations, enriches and perfects images and creates new images on the basis of directly observing aesthetic objects. In aesthetic activities, when the aesthetic subject directly feels the aesthetic object, it is not satisfied with the mechanical negative feeling, but always actively mobilizes and transforms the representations in the past memory reproduced by the information of the aesthetic object, and makes new combinations according to the aesthetic ideal of the subject, thus enriching and enriching the aesthetic image or creating new aesthetic images. Rich original appearance and accumulation of aesthetic experience are indispensable conditions for aesthetic imagination. " Aesthetic association is closely related to artistic imagination, which aims to reveal the essential laws and characteristics of artistic creative thinking, while aesthetic association reveals the aesthetic characteristics of artistic thinking at a deeper level from the aesthetic value and aesthetic reflection of artistic creation. Because association is a special kind of imagination, aesthetic association is also divided into recreating aesthetic imagination and creating aesthetic association accordingly. The basic feature of recreating aesthetic association is to recreate a new aesthetic image based on one's own past aesthetic experience and the description, explanation and explanation of others as the premise of imagination development. The basic feature of creating aesthetic association is the thinking process of creating new images independently on the basis of predecessors' aesthetic experience or current aesthetic feelings, which is more original, unique and novel. Similarly, aesthetic association can be divided into intentional imagination and unintentional imagination. The so-called intentional imagination is to consciously and selectively carry out association, imagination and aesthetic experience according to the predetermined purpose. There is a certain direction and organization, people always control the direction and content of imagination in the process of imagination, and the aesthetic experience obtained is also predictable. The so-called unintentional imagination is the imagination and aesthetic experience produced unconsciously without a predetermined purpose, and the aesthetic experience obtained is unpredictable. Artistic imagination and aesthetic association are often from unintentional to intentional, from reconstruction to creation. Unintentional and intentional, re-creation and creation are not absolutely opposite, they can be transformed into each other.
Artistic imagination and aesthetic association play a very important role in the creation of literary works, marking the maturity of artistic thinking and the maturity of the whole artistic creation process. As Kant said in Critique of Judgment: "Imagination, as a creative cognitive ability, is a powerful creative force, which creates the second nature from the materials provided by the actual nature. Where experience seems boring, imagination provides us with pleasure and happiness. " Diderot said: "Imagination is the function of people to recall images." Baudelaire said: imagination is "the queen of all abilities", "only in imagination can there be poetry" and "without imagination, all abilities ... are nothing". Goncharov said, "Without imagination, my pen has no power." Bacon said: "Learning and different departments of human intelligence are interrelated: history and memory, poetry and imagination, philosophy and reason are interrelated." Artistic imagination is the most important and basic way of artistic creative thinking, and aesthetic association is a special form of artistic imagination. It is not only a method of artistic creative thinking, but also an insurmountable intermediate bridge connecting artistic imagination and ultimate aesthetic experience. Aesthetic association embodies the aesthetic value of artistic creation. It can be said that without association and imagination, there would be no poetry, literature or even art.
First, "good luck" and association and imagination
In the first chapter, this book summarizes that an important connotation feature of "Jixing" poetic theory is "Bixing" artistic thinking. As a poetic theory, "auspicious star" contains the basic connotations of social realistic value, artistic value and aesthetic value of Tang poetry. The realization of all the above values depends on the artistic thinking mode of "Bi Xing". Bixing's artistic thinking completely includes artistic imagination and aesthetic association, which is called association and imagination for short. The artistic thinking mode of "Bi Xing" in China's ancient poetics began with the interpretation of the philosophical view of "the unity of man and nature". "Harmony between man and nature" is China's original cosmology, philosophy and outlook on life in ancient times. It runs through China's whole philosophy, politics, religion and artistic thought and has a far-reaching impact on our traditional national aesthetic psychological structure. It is Xunzi's "sense of things" theory that first introduced this view into artistic creation, and thus established a relatively systematic and complete theory. Although the theory of "sense of things" comes from the theory of music, the psychological principles of "harmony between man and nature" and "feeling between man and nature" are of universal guiding significance to poetry and even the whole ancient literature. The ancient philosophy of "harmony between man and nature" and the inductive theory of "sense of things" are fundamentally epistemology, and when applied to literary creation, it becomes an artistic way of thinking. "China's theory of sense of things in ancient literature and art is its concrete embodiment. Whether an objective foreign object can become the object of artist's description depends not only on some external characteristics and internal structure of the foreign object, but also on the internal spirit and emotional internal structure of the artistic creation subject. The same is corresponding, and the difference is exclusive. Therefore, whether this foreign object has an induction effect on the artist's body depends on the artist's' heart'. Only when the structure of foreign objects is isomorphic with' heart' and becomes the need for poets to express' heart' can this image enter the territory of poetry. " In the process of literary creation, "the connection between heaven and man" has become a complex relationship of two-way communication between things and me, mutual opposition, mutual penetration, mutual transformation and mutual integration between mind and things, and has developed into an artistic way of thinking-association and imagination.
Influenced by the psychological laws of the theory of "harmony between man and nature" and the theory of "sense of things", "Bi Xing" has the artistic characteristics of association and imagination. Zheng Zhongyu of the Han Dynasty said: "Bixing is like a thing; Inspired by things, Wang Yi's Preface to Li Sao: Li Sao is inspired by poetry and cited by analogy, all of which reveal the regular characteristics of Bi Xing, such as associative form, implication, figurative imagination and analogical imagination. Wang Yanshou of Han Dynasty clearly put forward that "the poet's prosperity is based on feeling things" in the Preface of Luling Guangdian Fu, and compared the inductive theory of feeling things with Bi Xing, and regarded Bi Xing as an artistic way of thinking based on the psychological law of inductive theory of feeling things. During the Wei and Jin Dynasties, the theory of "feeling things and rejuvenating feelings" represented by Lu Ji appeared, which further deepened the research on the artistic thinking of "Bixing". "Bi Xing", as a subjective feeling and psychological state and process of dealing with foreign objects, belongs to the level of poetic artistic thinking. In fact, as early as the preface to Mao's poems put forward the viewpoint of "emotion moves in the middle" from the creative point of view, it was pregnant with the idea of "rejuvenating emotion" induced by mind and matter. Under the influence of Lu Ji's theory of "feeling things and rejuvenating feelings", a group of poetic theorists in Wei Jin expounded the artistic thinking characteristics of "Bi Xing" from the perspective of the relationship between the internal emotion of poetry and the trigger of external things. For example, Ge Hong's "Miscellaneous Notes on Xijing": "When you suddenly fall asleep, you are happy"; Yang Xiu's Preface to Peacock: "Fu is ambition"; Zhiyu's "On Partitions": "Xing, feel it with words"; Fu Xian's Preface to the Ephemera: "After reading the poem To the Ephemera, I feel that although it is a ephemera, you can repair its wings, enjoy it and endow it." These poetics or literary theories all point out the characteristics of divergent thinking and illusory imagination of "Bi Xing". The understanding of Bi Xing by the critics in the pre-Qin and Han Dynasties is still limited to Bi Xing, which is only an artistic rhetorical device and belongs to the level of artistic communication. Although there is also a vague understanding of the psychological mechanism characteristics of Bi Xing, for example, Confucius said that "poetic stimulation" is to explain "Xing" from the perspective of emotional stimulation, and Bao Xian in the Analects of Confucius explained "Xing" and "Bi Xing" to some extent, but they are not very clear. In the Wei and Jin Dynasties, the theory of "feeling things and rejuvenating feelings" represented by Lu Ji interpreted "Bi Xing" as a moving emotion, which highlighted the characteristics of "Bi Xing" as an artistic way of thinking of association and imagination. Due to the popularity of poetic emotion concept, the origin of emotion has become the focus of people's attention, and "Bi Xing" has changed accordingly, from rhetorical meaning to artistic thinking of emotional feelings. Bi Xing, written by Liu Xie of Qi Liang, connects the figurative rhetoric function of Bi with the emotion of Xing, that is, the thinking process inspired by creative inspiration. "Bi Xing" rhetoric introduces things into poetry, which is essentially the psychological process of the poet's artistic thinking. In fact, "Bi Xing" rhetoric is only the externalization of "Bi Xing" thinking in poetry. The artistic thinking of "Bixing" comes from self-induction, which is finally manifested in the relationship between mind and matter and the relationship between matter and me. "Wen Xin Diao Long Seeking Species" said: "Poets have a sense of things and their associations are endless." Wang Anshi's Poetry in the Northern Song Dynasty Volume I: "Compared with the same kind, it is called comparison. If you feel it, you will be happy "(Li Huang Ji Jie quoted the meaning hook of poetry); Zhu's Biography of Poetry in the Southern Song Dynasty, Volume I: "If you compare, then this thing is compared with the other thing", "If you are interested, say the other thing first to arouse the words you sing"; Chen Qingting's "White Jade Zhai Thorn" Volume 7: "The metaphor is not deep, and the tree is not thick enough to express interest. Deep and thick, but the metaphor can refer specifically, and the meaning can be strongly attached, which is not enough to express interest. The so-called "walker" is intended to write first, which is beyond the word of God. It is extremely empty and lively, extremely heavy and depressing. If it is far and near, it can be said that it is incomprehensible and honest. " Feeling things is endless. Feeling things leads to the poet's infinite creative inspiration, thus making the poet gallop in the infinite artistic world of association and imagination.
The "things" we described above are mostly confined to natural scenery, and the association and imagination triggered by this telepathy will often lead people to pure aesthetic art activities, just like the implicit and euphemistic aesthetic realm pursued by Xing Xing's theory. This association and imagination of "Bixing" focuses on the consideration of aesthetic value. In addition, the theory of "good luck" has profound social practical value, so in the actual process of poetry creation, "Bi Xing" thinking should not only consider the aesthetic value of poetry, but also pay attention to the social practical value of poetry, that is, the association and imagination caused by "social induction of mind and matter". "Bixing" association and imagination, which pay attention to the social induction of mind and matter, often complement with artistic techniques such as "auspicious star", "quoting analogy" and "satirical analogy" to achieve the realistic purpose of "satirical beauty".
Bixing technique in Tang poetry and its association and imagination
Lenovo and imagination have created a magnificent artistic world with delicate emotions. Specifically, in poetry creation, they created a colorful artistic world. Among the poets in the Tang Dynasty, "Li San" is the most memorable, imaginative and representative, namely Li Bai in the prosperous Tang Dynasty, Li He in the middle Tang Dynasty and Li Shangyin in the late Tang Dynasty. Their unique association and imagination have added infinite charm to Tang poetry and have always been sought after and worshipped by the world. Let's explore the artistic charm of association and imagination of Tang poetry by combining the poetry creation practice of three poets.
(A) "Bixing" technique of emotional
French philosopher and psychologist Li Bo said: "All forms of creative imagination contain emotional factors." (On Creative Imagination) Emotion is the initial stimulation of creative motivation in artistic imagination. At the same time, association, imagination and emotion are integrated and infiltrated with each other, which runs through the whole creative process. Association and imagination are a very complicated psychological process. The poet must integrate the whole personality temperament, life consciousness and personality soul into imagination, and deep emotion and basic reason will be integrated, thus creating the image he wants to create. Therefore, association and imagination are brand-new creations, incorporating the author's strong feelings.
In ancient poetics, "expressing ambition in poetry" and "feeling in poetry" have always been in parallel, and "lyricism" has always been recognized as the essential attribute of poetry. In the process of "Bi Xing" thinking, the telepathy between mind and object is not enough to achieve the whole literary creation, and the ultimate goal of "object" refining is to fit with the subject's emotion, thus conforming to the aesthetic essence of literature. For poets, association and imagination are only artistic means and ways, and their fundamental purpose lies in "lyricism". During the Wei, Jin, Southern and Northern Dynasties, emotion, as the fundamental attribute of poetry, was incorporated into Bi Xing's artistic thought, and this view was continued in the poetic theories of past dynasties. Tang Kong Yingda's Preface to the Justice of Mao Poetry: "Six emotions are still in the middle, everything is swinging outside, emotions are moving, and things are close"; Song Li: "Narrative is endowed with expression, and emotion is full of expression. Seeking the ratio of things is pleading, and those who attach things to feelings are also. Touching things with emotion means that they are prosperous, and those who have feelings are also "(Volume 18 of Waste Ran Collection, Hu Yin's Change with Li Shu's Book); Wang Qingfu's "Poetry Interpretation": "Xing is between intentional and unintentional, and it is not allowed to be carved; If you care about the status quo, you will feel sorry for yourself. Although the scene is divided into things, the scene gives birth to feelings, the feelings give birth to the scene, the sorrow and joy blend, the honor and disgrace meet with Lawton, and each hides its own home "("Jiang Zhai Shi Hua "volume); Chen Qinghuan's On Poetry: "Fu is obvious and prosperous, more straightforward and prosperous ... for example, than things; Monkey, leave things to things. The poet's original intention is to entrust things to things first, then compare things to things and cover up the words, which is more meaningful than already. " On the one hand, "Bixing" association selects, transforms and processes imaginary things according to the needs of emotional expression, so that they tend to be completely emotional; On the other hand, the poetic mood created by association and imagination also reacts on the poet's emotional world, enriching the poet's inner experience and giving emotion a distinct perceptual image. In the process of creation, emotion and imagination communicate and blend with each other, thus bringing poetry closer to the aesthetic realm.
Among the three poets, the most prominent emotional characteristics of Li Bai's poetry, lyrics and songs are association and imagination, which show the momentum, majestic weather and overwhelming power, and the emotions are warm, surging and stirring. Emotional praise, hate and transient are the main threads that run through association and imagination, and the works of wandering immortals such as "The Dream of Mount Tianmu Ascends to Heaven" belong to this type:
A sailing tourist will talk about Japan, which is hidden in water and fog and inaccessible. But the more people talk about the mother mountain, the clouds are light or visible. On a straight line leading to heaven, its peak enters heaven, topped with five sacred peaks, and casts a shadow across China. The Paradise Terrace Mountains are 100 miles long, and it is here that they begin to extend to the southeast. My heart and my dream are in Wu Heyue. They cross Jinghu Lake on a moonlit night. The moon lit up my shadow and I came to Yanhe. Xie Caotang is still there, and the monkeys are singing above the green water. I put on Xie's first spikes and boarded the Qingyun ladder. Halfway through the sunny ocean, the sacred rooster crows in space. Countless peaks and more valleys, there is no road, flowers tempt me, and rocks relax me. The day suddenly ended. Bears, dragons and storms on mountains and rivers disturb forests and shake mountains. Clouds are darkened by rain, and streams are pale by fog. God of thunder and lightning, the mountains are crumbling. Cave stone gate, drain in tiankeng. An impenetrable shadow, but now the sun and the moon light up the gold and silver terrace. Wearing rainbow clothes and riding the wind, all the queens of the clouds came and came down one by one. With the tiger as the harp and the phoenix as the dancer, the images of fairies are arranged in rows. I moved, my soul flew and suddenly began to grow. My pillow and mat are the lost clouds in which I once lived. This is the consistent way of human happiness, and all kinds of things will always flow to the east like water. So I'm leaving you. I don't know how long it will take. But let me raise a white deer on my green hillside and ride to you when I need you, Dashan. Oh, how can I bow and scrape to those people with high status and important positions? They never want to be seen with a sincere face!
The poet's travel from mountains and rivers to associative imagination to fantasy dreams has created a colorful fantasy world, and the travel and exploration in this world is actually the adventure and pursuit of the poet's spiritual world. The imagination of the whole poem basically revolves around the poet's emotional main line: first, he began to escape from the world and seek a moment of peace in the magnificent landscape; Then, as the dripping poetic pen gallops freely in the imaginary world, the poet's repressed emotions are completely released in the fairyland created by association and imagination, and the poet enters the aesthetic realm; Finally, with a sudden change of pen, the illusory dream was shattered, and the poet returned to reality, sighing helplessly in the face of the cruel world, and his mood changed from initial enthusiasm, generosity and passion to helplessness, anger and emotion.
In association and imagination, the poet's inner feelings are attached to external images, which have new meanings and connotations because they carry the poet's special feelings. Once this meaning is formed and used repeatedly, it will be fixed and become a special meaning, which forms a one-to-one correspondence with something outside, which is what we call image. The typicality of image symbols makes the artistic expression of poetry reach a high level, and the aesthetic significance of poetry is constantly enhanced. However, due to the repeated use of image typicality, the typicality and stylization of its symbolic meaning in turn hinder the aesthetics of poetry itself, which is contrary to the essential attributes of association and imagination. One of the characteristics of association and imagination lies in its particularity and individuality, each with its own unrepeatable characteristics and circumstances, which permeates the personality characteristics of writers and artists, thus excluding typology and formulation. The association and imagination of "Bi Xing" is not guided by definite logical concepts, nor is it limited by definite concepts, but is the active creation of the poet's personality consciousness and aesthetic experience, so it is concrete and personalized. The pursuit of "Bixing" association and imagination is to create an artistic image that can arouse the aesthetic feeling of the appreciator and has the poet's unique personality charm, and gain touching artistic expression and inexhaustible artistic life. In the following image symbol part, there will be a specific discussion.
(B) Fantasy "Bixing" technique
"Bi Xing" has a high degree of freedom in association and imagination, and the poet's personal wishes and demands can penetrate into his imaginary artistic image more freely, spreading the wings of association and imagination in the world of poetic art. To some extent, this association and imagination is not bound by the logic of life. However, this does not mean that poets can fantasize and do whatever they want, and at the same time follow the rational logic of real life. The logic of this life does not completely come from reality, but the reconstruction of real life by the poet's emotional, will, wisdom and other psychological factors, which is the co-creation of real life logic and poet's psychological logic. Therefore, association and imagination not only obey the logic of life, but also transcend it. Only in the contradictory unity of freedom and logic can association and imagination gain a vast world and great power, thus making artistic imagination show a high degree of creativity that is not only logical, but also bold, superior and full of vitality.
When a writer develops his free imagination, he should transform and reorganize the figurative materials in strict accordance with the logic of life. Therefore, although the artistic image as the product of imagination is not true to life, everything is well-founded, natural and credible, even more real than the facts. In this regard, the Soviet writer Fielding put it well: "The task of artist's fantasy is to follow the logical development of image. In other words, fantasy should not make the image divorced from the logic of life, and should not make the image an illusion. Fantasy does not exclude logic. " The characters are lifelike, and the environment is clear, concrete and vivid. Huang Yuan's poem in Ming Dynasty: "Fake fax means that it is in advance, or that rolling stones make Mount Tai look at the mountain, or that it is more provincial, or that it is meaningful to find, or that it is ruthless and difficult to refer to. Love is touching, love is living, things are changeable, and you can be crazy, you can listen attentively, you can float like an antelope, and you can find no trace. " The contradictory unity of freedom and logic, fantasy and reality is a sign that Bixing association and imagination have entered a mature stage.
Among the three poets, Li He's poems are often criticized as "unreasonable", which actually means that Li He's poems do not conform to the logic of life and lack rationality. In fact, Li He's poems are characterized by voluntarism and rationality. In essence, voluntarism is an artistic thinking theory, which runs through the whole process of Li He's poetic artistic creation and is the basic point and foothold of the poet's creation. The poet perceives and appreciates beauty according to his genius intuition. However, in the actual writing process, the poet uses a rational logical thinking to plan the layout of the article, which makes his ghost poems not only have the possibility of understanding the world and the truth of life beyond all things, but also make the poems have a rational light. Take the poem Ballad in Heaven as an example:
Tianhe night drifts back to the stars, and Pu Yin clouds learn the sound of water. The osmanthus in the jade palace has not fallen, and the fairy concubine picks incense and hangs tassels. Qin Fei rolled up the north window and planted a little green phoenix in front of it. Prince blowing sheng, in charge of goose management, called on dragons to plant tobacco and Yao grass. Pink rose red ribbon lotus root silk skirt, green island step pick up Lan Hengchun. The east means that xi can lead a horse, and the dust of the sea will give birth to a stone mountain.
Rendering and paving layer by layer first. The first two sentences of this poem have laid out many scenes and foreshadowing, described the magnificence of Tianhe, and guided people from the real world to the dream world. Tianhe, Guixing and Liuyun are vividly in sight, and the other side of the world described by the poet is clearly presented to the world, which makes the abstract ideal an observable object, increases its reliability and credibility, and accumulates and accumulates the eruption of his poetic feelings. Second, care from beginning to end. The middle eight sentences are four independent pictures, but they run through the story of Qin Fei and his wife and the phoenix becoming immortal. In the meantime, there are some characteristics of Tang legends, and the beginning, inheritance, transformation and combination of poems are quite plot and story-telling. The conclusion of the poem is the finishing touch, describing what the immortal saw overlooking the world, pulling people back to the real world from the illusory fairyland, falling together, end to end, like nature itself. Third, structural comparison. Poets express the vicissitudes of the world and express their feelings by comparing the past with the present, others with me, things with me, reality with fantasy. Among them, time and space are staggered and boundless, which is the embodiment of Li He's poetry rationality.
The essential feature of "Bixing" association and imagination lies not in expression but in creation, fantasy is creation, and creation is fantasy. Dostoevsky said that writers "should observe reality with the eyes of the mind or with the eyes of the eyes" instead of "observing reality like the lens of a camera". Poet's poetry creation is the creation of beauty, so association and imagination should not only be put into rational expression, but also project life experience. Psychologist K. Kaufka said: "The reason why artists create is really not entrusted by others, but mainly to describe and express a corner of their own world, their place in it, and make it immortal." In other words, art should describe and express "the relationship between the world and the self", with "the world containing the self" at one end and "the self surrounded by the world" at the other. It can be seen that association and imagination solve the contradiction between the objective real world and the purely perceptual self.
"Bixing" association and imagination always naturally express themselves, that is, naturally express their own personality and psychological characteristics, their own temperament and artistic style in imagination, reflecting their own aesthetic pursuit. However, the poet's successful association and imagination can not be satisfied with spontaneous self-expression, but only his own personality. He also needs to control himself with his will, make himself consciously adapt to the rich life, and explore the possibilities of life through conscious imagination. The more conscious the imagination is, the more colorful the possibilities the poet faces. To do this, the poet should get rid of himself and break through the limitations of his own experience and personality when imagining. Successful association and imagination can surpass themselves to some extent. For example, the association and imagination in the four types of poems with artistic characteristics —— epic, event poem, poem about immortals and poem about missing women discussed earlier, and the poet's use of association and imagination to compare historical figures, flowers, birds, fish and insects, immortals and ghosts and boudoir * * * are not the poet's self-expression, but the poet's life experience, aesthetic experience and life experience. Therefore, "Bixing" association and imagination should not only reflect their own personality characteristics, but also break free from the shackles of self, which is a law that cannot be ignored. The writer's talent lies in not only letting imagination show its unique personality, but also letting imagination break through its own personality.
Among the "Three Li's", Li Shangyin's poems are the most difficult to understand, because the association and imagination of Li Shangyin's poems are the most creative beyond self. When evaluating Li Shangyin's poems, the world always thinks that his poems are profound and meaningful, and even a poem has several interpretations, such as Untitled (Jinse). Some people say it is a love poem, others say it is a political poem. In a word, the art of Bi Xing in Li Shangyin's poetry creation epitomizes all artistic features of association and imagination. The emotion of association and imagination, the uniqueness of artistic image, the fantasy and creativity outside logic have all been fully exerted in Li Shangyin's poems. Or take Untitled (Jinse) as an example:
I want to know why my Jinse has fifty strings, and each string has a youthful interval. Zhuang Wang's longing for spring is cooing. Mermaids shed pearl-like tears on the moon-green sea, and the blue fields breathed their jade to the sun. A moment that should last forever? Before I knew it, it had come and gone.
At first glance, the images formed by association and imagination in the poem seem to be completely unrelated. On the surface, Jinse has no logical connection with Zhuang Sheng's dream of butterfly, thinking of monarch, tears and jade smoke, but the poet's main thoughts and feelings secretly run through the main line of association and imagination, starting with "for no reason" and ending with "a moment that should last forever and unconsciously come and go". There are many rich images in the poem, which are the expression of the poet's unique personality, rather than stylized things, such as "Jinse", "Du Fu", "Butterfly", "Sea", "Pearl" and "lantian jade". Almost every image has its own unique meaning. Needless to say, fantasy. As for the creativity beyond self, it is the greatest artistic charm of association and imagination. The whole poem is a whole composed of association and imagination. It is such an infinite association and imagination that time and space jump. The poet's experience has gone from inanimate Jinse, Haizhu and lantian jade to living butterfly and cuckoo, to thoughtful Zhuang Sheng and Wang Di, from inorganic matter to organic matter, from animals to people. The poet's spiritual, thinking and emotional experience has crossed three steps at once, including three substances in the vast world.