Artistic techniques:
1. Expression methods:
Poetry mainly uses four modes of expression: narrative, description, discussion, and lyricism. Among them, description and lyricism It is the focus of the examination. The description methods include the combination of dynamic and static, the combination of virtual and real, etc.; the lyrical methods include (lyrical method? There are two main ways of direct lyricism and indirect lyricism.) Expressing one's feelings directly, borrowing scenery to express feelings, embodying feelings in the scenery, blending scenes and scenes, and emotions arising from scenes. The scenery sets off the emotion and blends the emotion into the scenery. All the scenery words are love words, etc.
2. Structural form:
The structural form of poetry is the common beginning and end echoes, straight to the point, in-depth layer by layer, summarizing first and then dividing, scene first and then emotion, final chapter showing ambition, transition, Foreshadowing, foreshadowing, etc.
3. Rhetorical techniques:
The main rhetorical techniques are: \"counterpart\"\"metaphor\"\"personification\"\"metonymy\"\"hyperbole\" \"parallel\"\"repetition\"\"symbol\" sustenance, etc.
4. Writing skills:
Writing skills include: comparison, foil, contrast, Exaggeration, final chapter showing ambition, finishing touch, seeing the big from the small, suppressing the desire first, associating imagination, inverting the word order, etc.
5. Artistic style:
Including vigorous, broad-minded, bold, handsome, dilute, melancholy, sad, and graceful
3. Ways of expression:
1. Expressing emotions through scenes or blending scenes: When the poet feels a certain scene or some objective thing, he embodies the feelings and thoughts he wants to express in this scene or object. , to express one's emotions by describing the scenery and objects. This way of expressing emotions is called borrowing scenery or borrowing objects to express one's emotions. In ancient Chinese poetry, pine, bamboo, plum, orchid, rocks, streams, deserts, ancient roads, border passes, sunset, night moon, breeze, drizzle and grass, etc. are often the objects for poets to express their emotions. For example, Bai Juyi's "The wild fire cannot burn out, but the spring breeze blows and grows again" uses the tenacious resistance of the "grass on the original ground" to fully express the irresistibility of the laws of nature.
Incorporating emotions into scenery (or objects) and blending scenes, this method integrates emotions into specific natural scenery or life scenes, and expresses emotions through the description and depiction of these natural scenery or scenes. An indirect and implicit lyrical approach. For example, Du Fu's "A good rain knows the season, and spring will happen. Sneak into the night with the wind, moistening things silently", the description of the scene contains the joy of the spring rain; Liu Yong's "Where are you sober tonight, the willow bank, the dawn "The wind is waning and the moon is waning", the description of the scene embodies the poet's sorrow and hatred.
Usually, a happy scene is used to describe happy feelings, and a sad scene is used to express sad feelings. However, there are also writing methods that use happy scenes to set off sad feelings or sad scenes to describe happy feelings. For example, "Farewell to Xie Ting" written by Xie Qun of the Tang Dynasty: "A song of labor explains the boating, the red leaves and green mountains are rushing to the water. At dusk, the drunken people are far away, and the sky is full of wind and rain, and I am descending to the west building." The first couplet uses a bright and poetic line like "red leaves and green mountains". The scenery reflects the poet's sadness and regret at parting. "Jiang Zhai Poetry Talk" says: "Use happy scenes to describe sorrow, use sad scenes to write joy, and double the sorrow and joy.
The poet writes poems to express his thoughts and emotions. In order to achieve this purpose, he needs to write scenes ——Scenery in nature or surroundings can arouse emotions and convey emotions to readers. The handling of emotions and scenes is very important. If handled properly, it will arouse the reader's emotions and make the reader resonate with him. . Such poems are well written and can move people.
The handling of emotions and scenes is not just a matter of poetry. It is also a problem of other arts, such as novels, dramas, movies, and paintings. Cooperate with the scene. Take movies as an example. When a disaster is about to happen, we often see thunder and lightning and storms to prepare the audience for the future disaster. When a couple is in love, or they are newly married, they will take a walk in the park, the weather is sunny, the flowers are blooming, and it is a joyful scene. This kind of scene combination is similar to that in writing poetry. This is called "situational foil". ” or “scene blending”.
In both Chinese and Western poetry, we can find examples of poets successfully handling the combination or blending of emotions and scenes.
Let’s take Chinese poetry as an example. For example: The following two poems are very successful in combining emotion and scenery.
Yu Jia Ao (Autumn Thoughts) (Song Dynasty) Fan Zhongyang's scenery is strange when the autumn comes, and the geese in Hengyang leave without paying attention. A thousand miles away, the sun is setting and the city is closed. A glass of turbid wine is coming from thousands of miles away. The Qiang officers are covered with frost. At that time, General Fan Zhongyan was sent to the army. Take Yan'an, guard the border, and defend Xixia. This poem is his personal experience. The time is autumn, the place is the city, and the characters are the general and Zhengfu, who are thousands of miles away from home and see Yannan outside the wall. Flying, hearing the sad sound of bamboo pipes and Qiang pipes, I naturally miss home, but I can't go back because I have not succeeded. The sad and melancholy scene written in the poem fully matches the mood and scene of the people at that time. The blending allows readers to experience the feelings of these people guarding the frontier.
Look at another poem about happy scenery:
Feng Rensong (titled wine shop) C Song Dynasty) Yu. The national treasure spends a lot of money every day, getting drunk every day on the West Lake Road, singing and dancing in front of the restaurant. Departure. The painting boat carries the spring back, and the remaining emotions are in the lake water and smoke. Tomorrow, I will help the residual drunk and come to find the flowers on the road.
It is written here that in the bright spring, among the apricot blossoms and green poplars, tourists took boat rides, drank wine, sang and danced. Make readers fully feel the joy of spring outing.
You can also use happy scenes to set off people's sadness. In the poem "Two April Mornings", Wordsworth tells that he and his friend Matthew went to LU to play together on an April morning. It was a beautiful spring day, the sun was shining brightly, and the grass and flowing water made people happy, but Matthew stopped and sighed. Wordsworth found it pleasant to go for a walk in the fields on a beautiful spring day, and asked Matthew why he sighed. Matthew stared at the top of the mountain in the east, and then said that such good weather and beautiful clouds reminded him of a day thirty years ago. Thirty years ago, the weather was as good as now, and the clouds were as beautiful as now. He took his fishing rod and went to the church cemetery to see his daughter's grave. His daughter Emma was not yet nine years old. She was very cute, the whole village liked her, and she sang as beautifully as a nightingale. But she was lying in the cemetery. That day Matthew came out from looking at his daughter's grave. Next to a yew tree in the cemetery, he saw a rosy-cheeked girl with beautiful eyebrows and dew on her hair. She was walking briskly with a basket on her arm. Matthew said: I sigh in pain,. Can't help it. I looked at her again and again, but I didn't want to regard her as my relative. When my own daughter dies, no matter how good another daughter is, she cannot replace her. The poem mourns the death of her daughter, and writes about the sunny sky, fragrant grass, flowing water, and beautiful clouds, which is a contrast to the scene. Thinking back on sad things in the beautiful spring light increased his sadness. Facing the happy scenery, the poet feels more and more sad. This is a happy scene contrasting with a sad scene.
Now look at the following Qijue poem "Inscribed on Jinling" (Tang Dynasty). The rain is falling on the Wei River and the grass is flowing in the river. The Six Dynasties are like birds chirping in the sky. The most ruthless willow is Taicheng Liu, still smoked ten miles away from the embankment. Zhuang Jinling is Nanjing. The Six Dynasties were Wu; Eastern Jin, Song, Qi, Liang, and Chen (AD
317-589). These six dynasties all had their capitals in Nanjing, and they were all short-lived. The Six Dynasties were famous for their luxury and luxury. By the time of the Tang Dynasty, the Six Dynasties had passed and its luxury had declined. Therefore, Tang Dynasty poets who went to Nanjing to pay tribute to the ancient times always lamented the Six Dynasties. The poet saw the rain falling on the river, the river was overgrown with grass, and the scene of desolation and decay before his eyes. He was very sad to think that the six generations of luxury had passed like a dream. But when he came to Taicheng, he saw the bright spring scenery, flying catkins, and smoke cages for ten miles. He thought that the scenery in nature was still so beautiful, but the human affairs were completely changed, and the glory of the past was gone forever, which made him feel sad. Therefore, this short poem is written using both situational foil and situational contrast. In this way, the two are used together to enhance the appeal and effect of the poem, which is a very successful work.
2. In poetry appreciation, virtuality and reality are relative. As the book says, what is there is reality and what is not is virtuality; what is evidence-based is reality, and what is false is false; what is objective is reality. The subjective is virtual; the concrete is real, the hidden is virtual; the actions are real, the mere words are virtual; the present is real, the future is virtual; the known is real, the unknown is virtual, etc.
First of all, let’s introduce the “virtual” in poetry.
In the traditional techniques of Chinese painting, emptiness refers to the sparse strokes or blank parts of the picture. It gives people space for imagination and endless aftertaste. The same applies to poetry and painting. Poetry draws on this method of Chinese painting. The "virtual" in poetry refers to the intangible and intangible intuition, but one can appreciate those virtual images and ethereal realms from between the lines. Specifically, "virtual" in poetry includes the following three categories:
1. The world of gods, ghosts, and dreams. Poets often use this kind of nihilistic realm to contrast reality. This is called showing reality with virtual images. For example, in "Sleepwalking Tianmu Yin Liu Farewell", the fairyland is an illusion. The poem says: "The sun and the moon shine on the gold and silver platform", "The neon is the clothes and the wind is the horse", "The tiger and the drum are playing and the luan returns to the carriage", "The immortals are lined up like hemp". Li Bai painted a beautiful picture, and the beauty of the picture contrasted with the darkness of reality.
2. The realm of the gone scene. This kind of virtual scene is a scene that the author has experienced or happened in history, but is not in front of him now. For example, in Li Yu's "Yu Meiren", "The jade balustrade should still be there, but the beauty has changed." In the sentence, the "jade balustrade" of the "homeland" exists, but it is not in front of you at this time, and it is also an illusion. The author compares "carved railings with jade" and "beautiful face", which gives a sense of the desolation of his homeland and the feeling that things are different and people are different. Another example is Su Shi's "Niannujiao·Chibi Nostalgic": "While talking and laughing, the rafts and oars disappeared into ashes." This reproduces the historical fact of the burning of Red Cliff. Obviously it didn't happen in front of our eyes, so it was also a virtual scene.
3. The imagined future. This kind of imaginary state has not happened yet, and the emotions it expresses will extend into the future without ending. Therefore, writing about sorrow will multiply your sorrow; writing about happiness will multiply your happiness. For example, Liu Yong's "Yulin Ling" says: "Where are the drunken people in the sky today, the dawn wind is waning on the willow bank." This is the imagined scene after farewell: a boat leaves the shore, the poet wakes up from drunkenness and dreams, only to see Xi Xixiao The wind blew the rustling willows, and a waning moon hung high on the willow branches. In "The Romance of the West Chamber: Farewell at Changting Pavilion", many of Cui Yingying's farewell lyrics to Zhang Sheng are imaginary scenes of the future. Tonight, in the middle of the moon, I can only watch alone in my boudoir. I feel pity for my children from afar, but I still remember Chang'an.
Let’s take another look at the “truth” in poetry.
In Chinese painting, it actually refers to the detailed and rich strokes in the picture. In poetry, "reality" refers to the reality, facts, and situations that exist in the objective world.
For example, the dark reality in "Sleepwalking Tianmu Yin Farewell"; "When will the spring flowers and autumn moon come" in "Poppy Beauty"; "Niannujiao·Red Cliff Nostalgia" in Shangque's "Rocks pierce the sky, the waves crash on the shore, and roll up" "Thousands of piles of snow" describes the precipitous situation in Chibi; Shangque writes about the separation of the two people in "The Bell in the Rain", such as "The cicadas are sad, facing the Changting Pavilion at night", "Holding hands and looking at each other with tears in their eyes, they are speechless and choked", etc. .
"The virtual and the real coexist" means that the virtual and the real are interconnected, interpenetrating and transforming each other, so as to achieve the realm of virtuality with reality and reality with virtuality, thereby greatly enriching the imagery in the poem , open up the artistic conception in the poem, provide readers with a broad aesthetic space, and enrich people's aesthetic taste.
The relationship between the virtual scene and the real scene is sometimes opposite and forms a strong contrast, thus highlighting the center. For example, the virtual scene in Jiang Kui's "Yangzhou Slowness" refers to "Ten Miles of Spring Breeze", describing the prosperity of the ten-mile long street in Yangzhou City in the past; the real scene is "all the shepherds and wheat are green", describing the desolate situation the poet sees today. These two contrasting pictures, virtual and real, embody the poet's emotion about the past and present decline.
The relationship between the virtual scene and the real scene sometimes complements each other to form a rendering, thus highlighting the center. For example, Ouyang Xiu's "Traveling on the Shasha": "The plum blossoms in the waiting hall are withered, the willows on the stream bridges are thin, the grass is fragrant and the wind is warm and the bridles are shaking. The sorrow of separation gradually becomes infinite, and the distance is endless like spring water. Every inch of the soft intestine is full of pink tears, and the building is too high to be close. "The landscape is full of spring mountains, and the travelers are outside the spring mountains." Shangque is realistic, reflecting the sadness of "passers-by" through the early spring scene. Xiaque is real and empty. By imagining the "pedestrian" thinking about his wife leaning on the railing and looking into the distance, and missing the "pedestrian" in sorrow, he writes about his sorrow. The wife misses her husband, and the husband misses his wife. The virtual and the real complement each other, thus vividly expressing the sadness of separation.
Four. Structural method (reflecting from beginning to end, going straight to the point, going in-depth layer by layer, summarizing first and then dividing, scene first and emotion later, chapter showing ambition at the end, transition, foreshadowing, and foreshadowing)
5. Rhetorical methods (\"parallel\"\"metaphor\"\"personification\"\"metonymy\"\"exaggeration\"\"parallel\"\"repetition\"\"symbol\"sustenance)
1. Contrast: This is a technique in Chinese painting that uses ink or color to render the outline of an object to make it stand out. Used in poetry creation, it refers to describing something from the side, as a foil, to make the desired thing stand out clearly. It can be a person to set off a person, such as "Qin Luofu" uses the reactions of "walkers" and "young men" to set off Qin Luofu's amazing beauty, or it can be an object to set off things, such as "the noisy cicadas in the forest become quieter, and the birds singing in the mountains... "More quiet", "Monk knocking on the door under the moonlight", "Moonrise startling the bird", etc. are used to set off the tranquility. More often, objects are used to highlight people. For example, in "Pipa Line", the moon in the river is written three times, which respectively highlights the beautiful and fascinating sound of the pipa and the character's desolate, lonely and sad mood.
2. Association and imagination: mostly used by romantic poets. For example, Li Bai often combines reality with dreams and fairyland, and nature with human society. His "Dream Wandering Tianmu Yin Liu Farewell" structures the whole poem with the idea of ??flying over. The poet's imagination is like a wild horse, and the dreams and fairyland he depicts are exactly what he yearns for. The pursuit of a bright and beautiful ideal world. "I didn't know the moon when I was young, and I breathed on the white jade plate", "I sent my sorrowful heart to the bright moon, and followed you until the night in the west" and "I sang about the wandering moon, and my dancing shadows were messy" are all magical touches that combine fantasy and reverie with the innocence of nature.
3. Allusion: quoting historical facts and using allusions in poetry. Ancient poetry pays great attention to the use of allusions, which can not only refine the language of the poem, but also increase the richness of the content, increase the vividness and implicitness of expression, achieve the effect of being concise, meaningful and thought-provoking, and enhance the expressiveness and appeal of the work. For example, Xin Qiji successfully used five allusions in "Yong Yu Le? Nostalgia for the Past in Beigu Pavilion, Jingkou": Sun Quan, Liu Yu, Liu Yilong, etc. The poet used these historical facts to implicitly, naturally and fully express his thoughts and feelings.
4. Metaphor: This is a rhetorical technique that compares one thing to another essentially different thing. When used in poetry, it is also called comparison. This technique is often used in poetry to achieve the artistic effect of vivid images and turning reality into fiction. For example, Zhu Qingyu's "Zhang Shuibu in the Recent Examination" of the Tang Dynasty cleverly used the uneasy but hopeful psychology of the bride before meeting her parents-in-law to write about her nervousness and hope of being appreciated before taking the exam. He Zhizhang's "Ode to the Willow": "The jasper is as high as a tree, with thousands of green silk ribbons hanging down. I don't know who cut out the thin leaves. The spring breeze in February is like scissors." In early spring, new leaves sprouted, and the poet suddenly had a whim in a burst of surprise. It is spring. The girl used her dexterous hands to play with the clever scissors to cut out the thin leaves! The metaphor makes the description turn reality into fiction, the image is more vivid, and the emotion is more intense. If this Bixing image is used throughout the text, it is a symbol. For example, Li Bai often used majestic and extraordinary things, such as Dapeng, Pegasus, majestic swords, and mountains and rivers, to express his ideals and symbolize his talents; he also liked to choose noble and beautiful things, such as the bright moon, phoenixes, pines and cypresses, beauties, etc. To symbolize Bao's character and integrity; he often chooses characters who were tortured and imprisoned to describe his experience and situation.
5. Exaggeration: that is, deliberately exaggerating or minimizing the description of things to express the poet's unusual emotions. Reasonable exaggeration may not be reasonable, but it is reasonable. In romantic poetry, exaggeration can be seen everywhere. For example, "The rooftop is 18,000 feet, and I want to tilt it to the southeast." (Li Bai's "Song of Qiupu" by Li Bai)
Another example is "Three cups of vomiting promise, the five mountains are light" (Li Bai's "Xia Ke Xing") uses the five mountains as light to exaggerate the importance of the knight's promise; "Entrusting friends with light words, facing Jiu Ningfeng." (Li Bai's "Honghou Ballad") 》) Use mountain peaks to exaggerate the estrangement and suspicion between friends.
Comparison, appropriation, and intertextuality are also commonly used in ancient poems (such as Wang Changling's "Out of the Fortress" "Qin Shi Mingyue Han Shiguan", Bai Juyi's "Pipa Xing" "The Master Dismounted and the Passengers Are on the Boat"), puns, and analogies The usage, characteristics, and functions are similar to those used in general articles, so I won’t go into details here. In addition, we should also pay attention to some common "artistic dialectical" techniques in ancient poetry. For example, when describing things or scenery, we often combine far and near, movement and stillness, sound and color, reality and emptiness, etc., which achieves better artistic effects.
6. Common styles in ancient poetry
1. Vigorous: Vigorous refers to the greatest and firmest strength, and the majestic and vigorous Qi. Its characteristics are: strong bones, majestic mountains and rivers, breathtaking universe, open-mindedness, magnificent spirit, majestic spirit, vast momentum, and majestic spirit. It is like the roaring, turbulent sea, not like the rippling blue waves and sparkling West Lake; it is like the Kunlun Mountains that emerged from the sky with thousands of peaks and clouds, not like the small and pleasant Suzhou gardens with hills and valleys. Among the specific works, some are ambitious and resolute, such as Liu Bang's "Song of the Great Wind"; some are generous and elegiac, looking at death as if they are home, such as Xiang Yu's "Gaixia Song"; some are open-minded and full of pride, such as Cao Cao's "Guan Cang Sea". Vigorous is the style of poetry in the prosperous Tang Dynasty. It reflects the prosperous scene and vitality of the prosperous Tang Dynasty. Wang Changling's "Crossing the Fortress" (the bright moon of Qin Dynasty and the pass of Han Dynasty) is vast and majestic; Wang Zhihuan's "Crossing the Fortress" (far above the Yellow River among the white clouds) is rich in imagination and has a vast realm; Meng Haoran's "Steaming Clouds and Dreams, Shaking Yueyang City" " ("Lin Dongting") is grand and spectacular; Wang Wei's "The lonely smoke is straight in the desert, and the sun sets over the long river" ("Shi to the Fortress") is so lofty and magnificent! And what can really be called "magnificent" is Frontier poets represented by Gao Shi and Cen Shen. In their writings, there is Wolf Mountain, a desert, an extremity, an isolated city, strange cold, scorching heat, indignation against the same enemy, and determination to defend the border to the death.
2. Bold and unrestrained: Bold and unrestrained, it is called bold and unrestrained. Its characteristics not only express the characteristics of the poet as the subject, but also express the characteristics of the depicted object as the object. As far as the subject is concerned, the emotions are surging and the style is high-spirited; the imagination is strange and exaggerated; the ambition is lofty and broad-minded; the spirit is full of the universe and the mountains and rivers are strong; the spirit is rugged and unruly. As far as objects are concerned, they often have huge size and great power, showing unique magnificence and sublimity, or showing vast and vast scenes, so they are majestic, magnificent, ethereal, and boundless. . Li Bai is a master of bold and unrestrained style. His emotions are passionate, his style is high-spirited, his imagination is strange, and his exaggeration is outrageous. These are the characteristics of Li Bai's bold poetic style. "If you don't see it, the water of the Yellow River comes up from the sky and rushes to the sea never to return." ("Jianjin Wine") It is powerful and flows thousands of miles; "The grass is green and the frost has turned white, and the sun is west and the moon is returning to the east." ("Ancient Wind") depicts the passage of time. So fast, the speed of personnel changes, all in one go, seamlessly; "The snowflakes in Yanshan Mountain are as big as mats" ("North Wind Journey") "The white hair is three thousand feet long, and the sorrow is long." ("Qiupu Song") The exaggeration is unreasonable but reasonable. . Su and Xin are the most outstanding representatives of the bold style of Song poetry. Su's poetry focuses on integrating impassioned, tragic and desolate emotions into his poetry. He is good at using unrestrained and heroic images when writing people, chanting scenery, and describing objects. The grand momentum and grand and majestic scenes win. "Niannujiao? Red Cliff Nostalgia" is a masterpiece. The two sentences "The river goes eastward" collect all the characters who move in the vast and long space and time in one stroke, and they are magnificent. "To the west of the old fortress" to "disintegrated into ashes" are an ode to ancient times, with high and deep emotions, while "chaos" A few lines of "stone piercing the sky" combine the majestic posture, bright colors and huge sound into one, which is majestic and gives people "the feeling of being carried by the wind and waves on the sea". A few sentences of "Homeland Wandering" turn to oneself, and the emotions also fall from high to gloomy. The tone of the whole poem is majestic and majestic, and it is sung by "a big man from Guanxi, holding an iron plate".
3. Depression: If boldness is the eruption of a volcano, depression is the undercurrent of the seabed. When the poet is flying and unrestrained, it becomes bold and unrestrained; when the poet is meditative and silent, full of sorrow and anger, it becomes melancholy. Li Bai is bold and bold, his body is light and his energy is clear, so he rises in curls and flies into the sky, like a wild crane in the clouds, floating everywhere; Du Fu is melancholy, because of his weight, he sinks and sinks, diving into the sea of ????heart, stirring up emotions and twisting and turning. What is depression? Depression refers to the richness, richness, sorrow, anger and implication of emotions. "If you are heavy, you will not float; if you are depressed, you will not be thin." Du Fu's poems are extremely rich. Sorrow is the main content of Du's poems. His sorrow is not only personal, but also belongs to the country, nation and people. Therefore, this kind of sadness has rich emotional levels, which makes it gain deep emotions and lofty value. . His "Three Officials", "Three Farewells", "War Chariots" and "Song of Thatched Cottage Broken by the Autumn Wind" are all melancholy masterpieces.
4. Sadness: Feeling emotional when touching a scene, feeling sad when seeing something, tragic and generous, is called sadness. All poets lament the rapid changes in the situation, deplore the rapid passage of time, witness the heavy misfortunes of the people, suffer from the ups and downs of fate, and harbor the anger of unfulfilled ambitions. Those who are worried and grieve generously are all filled with sadness. It can be seen that sorrow is the voice of the times and the cry of poets. Faced with the turbulent reality, poets lament out of a serious sense of responsibility. Chen Ziang's poems are famous in the poetry world for their pathos.
"Dengyouzhou Taige" is the most exciting and sad poem. With extreme sadness and indignation that his ambition was unfulfilled, the poet climbed onto the tower, bursting into tears and filled with emotion. Facing the long sky and the vast earth, with a brush like a rafter, he outlines the continuous time scrolls of the past, present and future, and depicts the vast and boundless space of the universe. His tragic song resounds through the sky, and his generous spirit reaches across space. Another example is Xin Qiji's poem,
5. Junshuang: that is, handsome and bold, valiant and fluent. The representative poet is Du Mu. His poems span the past and present, have a grand view of all generations, talk about history, lament the shortcomings of the times, draw lessons from the past, worry about the country and the people, have great ambitions to support the sky, and feel that there is no way to repay. Flying, smooth and smooth. For example, "Passing the Huaqing Palace Quatrains": "Looking back at Chang'an, there are piles of embroidery, and thousands of gates are opened on the top of the mountain. Riding on the red dust concubine laughs, no one knows it is the lychee." In an implicit and ironic style, it profoundly exposes the indulgence, arrogance and lewdness of Emperor Xuanzong of the Tang Dynasty , a life of drunkenness and dreams. Another example is the lively rhythm of "Red Cliff" (the iron is broken but the iron is not sold), the lightness of "Mountain Travel" (the stone path slants up the cold mountain in the distance), and the graceful beauty of "Jiangnan Spring Quatrains" (thousands of miles away, the orioles are singing and the green is reflected in red). , "I have dreamed of Yangzhou for ten years, and won the reputation of a brothel" ("Qianhuai"), which is beautiful but not elegant, gorgeous but not coquettish, and is a well-known masterpiece.
6. Dilute: Dilute means harmonious and indifferent, and contains the characteristics of leisure, tranquility, indifference and profoundness. Wang Wei's landscape poems are characterized by leisure, tranquility, lightness and distance. He is a master of the dilution style. For example, "People are idle, osmanthus flowers are falling, and the night is quiet in spring. The mountains are empty. The moonrise scares the birds, and they sing in the deep streams." ("Birds Singing in the Stream") "There are no people in the empty mountain, but you can hear the sound of people's voices. Return to the scene and enter the deep forest, and then return to the scene. Shining on the moss." ("The Deer Village") Here, there is no hustle and bustle of the city, no disputes in the world, no disturbances from the outside world, only the tranquility of nature and the vitality of the landscape, flowers and birds. The poet enjoyed, appreciated, and was intoxicated, threw himself into the embrace of nature, and became an organism of nature. The nature described by the poet all beats the poet's pulse, echoes the poet's voice, and shakes the poet's soul. Therefore, nature has been personified. The nature described by the poet is the poet himself, which reflects the poet's diluted mood. The poet himself has melted into nature. This kind of dissolution is to transform subjective emotions into objective scenery and pursue a state of emptiness and selflessness. This is the ultimate form of dilution. However, dilution is not disillusionment or death, but full of vitality. It is the result of the poet transforming active life into solidified life, and the vitality changes from flowing to quiet.
7. Broad-minded: that is, wild and uninhibited, free and open-minded, unrestrained and elegant, noble and independent. The representative writer is Su Shi. In addition to being bold and bold, Su Shi's poetry is more of a broad-minded style. Su Shi, who was a man of great talent and great potential, but who was not recognized for his talents, must not only insist on not conforming to the customs, but also adapt to the situation; he must not only "do his best" but also "know the destiny", so that his character has the typical "broad-minded" characteristics. Poems such as "Life is like a dream, and a statue still shines in the moon over the river" ("Niannujiao? Chibi Nostalgia") and "I talk about being a teenager" ("Jiangchengzi? Hunting in Mizhou") have obvious broad-minded colors. Su Shi sometimes tried his best to get rid of himself and melt himself into nature, so that his limited life could be eternal in the beginningless and endless movement of nature; let all the troubles of life be relieved in the pure and beautiful nature that transcends reality. , purify yourself from all kinds of conflicts with society, and be in harmony with the laws of nature. For example, "Shui Tiao Ge Tou? When Will the Bright Moon Come?" equates life phenomena with natural phenomena, life philosophy and natural laws, obliterating the boundaries between time, space, things and myself. The upper echelon regretted not being able to "ride the wind back", and immediately explained to himself "How can it be like being in the human world"; the lower echelon regretted that "people have joys and sorrows", and immediately expressed the regret that "the moon is waxing and waning, so this "It's hard to tell the truth", so as to gain comfort and enlightenment from nature and get rid of the troubles of life. Su Shi sometimes tried his best to enrich himself and maximize his spiritual world, so as to resist all intrusions from the outside world and achieve detachment. Sometimes they seek to escape from the painful life, dark reality, and dirty officialdom by means of being indifferent and clarifying their aspirations, yearning for seclusion, and keeping themselves clean, or even drinking and reveling, talking about Zen, and self-anaesthesia.