Abstract: Spring * is a common image in classical poetry, which is used to express the theme of parting and lovesickness. This paper makes a prototype analysis of this image with Jung's prototype criticism, and analyzes its earliest appearance in ancient literature, the creator's psychology at that time, its application in later works, and its changes in name and symbolic meaning.
There are abundant original images in China's ancient literature, and the artistic features of classical poetry are also based on images. As an ancient aesthetic concept, image is the most basic way for poets to express their feelings. China culture has a long history, and the images in classical poetry have accumulated rich cultural connotations and unique aesthetic taste. Poets often use images to express similar or interlinked feelings. Only with a clear and profound understanding of images can we have a comprehensive and in-depth understanding and grasp of the art of poetry and have a profound aesthetic feeling. In the art gallery of China classical literature, classic images about time and space emerge one after another, and the content of prototype meaning has been greatly expanded, which has become a realistic and extensive constituent element in literary works, which makes the prototype concept more important in critical practice.
According to Jung's archetypal criticism, we know that each archetype is "a symbol" and "an image", and the archetypes in classical literature, as artistic symbols, are often associated with the rich historical experience and spiritual world of ancient nations. Prototype is effectively visualized in literary works, arousing the voice of readers. The original image, that is, the prototype, benefits from the carrier of literary works and appears repeatedly in the original form. Frye, another important figure in archetypal criticism, said: "(Archetype is) a symbol, usually an image, which appears repeatedly in literary works and can be regarded as an integral factor of people's literary experience." { 1}
In the creation of China's classical literature, especially poetry, Spring * is such a prototype. It is often used in works expressing farewell and lovesickness themes, and becomes an image expressing sadness and hatred. Cahill once said: "The kingdom of art is a kingdom of pure forms", and "these forms are not abstract, but appeal to feelings" {2}, so the image of spring * also constitutes the pure form of poetry, reflecting the rich historical content and cultural significance of our nation.
The image of "spring" first appeared in "Songs of Chu Recruiting Hermits": "Wang Sun swims without returning, and spring is long and long. I don't talk to myself at the end of the year, I sing. " This work first appeared in Wang Yi's Songs of Chu in the Eastern Han Dynasty, and later many scholars thought it was written by Liu An, the king of Huainan in the Western Han Dynasty. Because Liu An often went to Chang 'an to see Emperor Xian of Han Dynasty, but the situation in the DPRK was extremely sinister. Huainan Mountain, as his guest, is worried that Liu An will be killed. I hope he will not stay in Chang 'an for a long time and return as soon as possible. The guests watched Liu An's debut and return home. In the bright spring, he didn't come back, only to see the thriving spring. The feeling of missing is urgent. From "born in spring" to "singing in autumn", time goes by and feelings grow stronger. As Wang Guowei said in "Words on Earth": "Everything is the color of my view of things." Poets melt their feelings into things, and endless spring embodies infinite thoughts. Spring is not only the messenger of spring, but also the carrier of the poet's parting feelings. And the bright spring can always arouse the thoughts of remembering old friends and looking forward to reunion, which can best express the endless feelings of parting.
In fact, the image of spring reflects the vast and far-reaching consciousness of time and space in ancient China. The universe is vast and unchanging, and the image of spring, like the willow color injured in Baling for another year, repeatedly impacts the hearts of literati. It is the psychological activity of many people in ancient times when transportation and communication were very backward, and spring has also become the embryonic form. This "typical recurring image" has been repeatedly used by poets for a long time, which has a distinct symbolic significance. Once the prototype appears in literary works, it will make readers feel strongly infected like reliving the personal experience of distant ancestors. Jung believes that archetype is the basic image of race passed down from generation to generation. Writers unconsciously embody some prototypes in their works under the collective unconscious control; In the process of reading works, readers are touched by these prototypes and the collective unconsciousness accumulated in their hearts. At this time, they will suddenly feel comfortable and get inner shock, as if the voices of all mankind are ringing in their hearts.
Since the appearance of "Spring *" in Songs of the South, the prototype of "Spring *" has been inextricably linked with the expression of parting feelings. Poets who describe parting love the image of "spring *" very much, making it a fixed image in poetry creation, and "Wang Sun" has also become synonymous with the poet's wandering. The image of spring often appears in later works. Li Shangyin once summarized this phenomenon as: "Seeing the square * means blaming Wang Sun for not returning." ("Dedicated to Hedong Qigong") The green fragrance all over the mountains leads people's feelings to the distance. It is beautiful, and it places the poet's thoughts on distant relatives and friends, and also places the deep friendship of saying goodbye to relatives and friends. Poems expressing parting complex with spring as the image are numerous;
Jiang Yan's "Biefu": "The spring scenery is blue and the spring water is surging, sending you to Nanpu. What injury? "
Xie Lingyun's "Regret for the Past": "In spring, Wang Sun is affectionate."
Li Bai's Farewell to Fuling: "Farewell to Baling Pavilion, flowing water gurgles. There are ancient trees that don't bloom in the world, and there are sad springs under them. "
Liu Changqing's mourning for the immortals: "I hate Changsha alone, and Jiang Tanchun is in full swing."
Dugu and "Going to Houhu to Hurt the Spring and Cherish the Old Capital": "The mountains and mountains are full of spring scenery, and there is nowhere to stay."
Li Yu's Qing Ping Le: "Hate is like spring *, you can go further and live better."
Wang Wei's farewell in the mountain: "friend, I have been watching you go down the mountain, and I didn't close my hut door until dark." It will turn green next spring, but what about you, my friends? . "
This farewell poem also shows the prototype of spring, which is unique in that it shows the spring of next year in time. At present, when thinking about the future, I feel uncertain about my return date and deeply miss my departure day. The title is Farewell, but there is no specific farewell plot. In contrast to spring, there are special feelings between the lines, which are shallow and deep, with long meanings and endless aftertaste.
Li Bai's "Spring Thoughts": "Yan * is like Bess, and my mulberry is curved with green silk branches. When you miss your hometown, you were missed and sad a long time ago. Spring breeze, since I dare not know you, why should I separate the silk curtain beside my bed? ? "
The touching thing about this poem is that it shows the spring in another place in space. The homesick woman who described spring saw the green mulberry in Qin, and her husband who was far away in Yan also saw the spring like Bess, which must have sprouted the feeling of homesickness. The application of the poem "Songs of the South: Calling Hermits" is ingenious and natural.
In the process of using the image of spring, Bai Juyi's poem Farewell to the Ancient Plain is very famous and plays a summative role. This poem is written all over the place. It gives a comprehensive explanation and explanation of the prototype of spring with a full image, and describes the immortal "coming and going with the seasons" of spring, their resilience in the life of spring breeze and their sweet vastness on the old road, which finally boils down to the theme of farewell. This is the ode of spring, the swan song of spring.
This is a farewell poem with a description of spring as the background, with neat and beautiful words and sincere feelings. How poetic it is to come back in spring and say goodbye in such an environment, and how easy it is to make people feel happy and sad! "I hear them sigh after you", in the author's view, it seems that every leaf is full of sadness and no hate, which is the ultimate meaning of praising spring in the poem.
The poet bid farewell to a friend who had traveled far away. When I sent my friend away to the vast ancient plain, I saw a piece of spring and green everywhere, which just touched the poet's parting feelings, so my eyes and feelings merged and I wrote this farewell poem. The image of Chunyuan appeared in front of the author, leaving him with some meaningful thoughts. What kind of beautiful realm has eternal spring * created on the ancient plains? As a symbolic prototype, Spring * evokes the poet's boundless spatial consciousness and profound historical consciousness, evokes the lament for the eternity of the universe, the shortness of life and the preciousness of friendship, and touches the collective unconsciousness in the author's heart again. The magnificent and simple aesthetic realm formed by the vast ancient plain and boundless spring scenery makes the poet stand on the ancient plain with a hidden nostalgia. Since the appearance of "Wang Sun Gone for Never, Spring is Full", images sung by countless poets have mushroomed in front of his eyes, and his mind is filled with deep feelings of parting. Ancient times have become historical witnesses of many changes. "Outside the pavilion, by the ancient road, Xiangbi." Since ancient times, there have been many farewell scenes and emotional expressions of emotions. Now the poet comes here again to say goodbye to his friend. "Oh, my friend's prince, you left again, and I heard them sigh behind you." When friends drift away and disappear into the wild, this green-eyed spring is full of the poet's deep feelings of parting. This poem achieves a high degree of scene blending, melts the deep feeling of parting into the description of spring, has a great influence on later generations, and has played a role in promoting the development of the image of spring. Jung said: "Prototype is a typical model of understanding. Whenever we face a generally consistent and recurring understanding model, we encounter a prototype. " He also said: "There are as many archetypes as there are typical situations in life, and these experiences are deeply engraved in our psychological structure because of constant repetition." {3} In the creation of Ci, many "typical situations" that express sadness and hate people also express their bitterness with the help of Chun *' s "typical understanding mode".
Lin Bu's "A Little Red Lip": "Who is responsible for the spring chaos in Jingu every year? The remaining branches were scattered in the drizzle. It is also from autumn that people see off here at dusk. Wang Sun has gone, and there are countless roads, east and west, north and south. " The whole poem takes spring as the starting point of feelings and the focus of description, and takes the deserted garden as the background to express feelings without hatred. In the last three sentences, * is a symbol of continuous separation. The image of spring embodies the poet's strong feelings and is an attachment to express the parting complex.
Han Zhen's "Ode to Feng Xiao": "I am locked away from sorrow, and the sky is endless, and I am unfamiliar when I come. Embroidered people are far away, and tears are sent to the wheel. The pavilion grows heavier in the eyes, and the distant mountains are lonely. She is also climbing the castle, but her eyes are erratic. Fascinating. After leaving the pond, I am used to walking. I am green and I am jealous. When walking, I will carry my hand behind my back and spend a lot of time dancing in the catkins, slowly fragrant. Zhu Yankong changed himself, getting newer every year. I traveled all over the green fields and swam as drunk as a fiddler, young. " This poem describes spring from beginning to end, and always depicts spring as a symbol of farewell to hate in many ways. It is a word about parting sorrow, so it is recognized as a model of singing spring in poetry.
From many examples above, we can find the significance of spring as a prototype symbol in poetry creation. As Gehrhard Hoptman said, "Poetry evokes the original words in vocabulary." Jung believes that the process of literary creation is to activate the prototype image from the unconscious and process it to make it a complete work.
In ancient history, when poets used the collective unconscious prototype, the same prototype sometimes changed in name or symbolic meaning, but its core meaning was basically the same, which met some universal psychological requirements of human beings. In the poet's farewell works, with the specific changes of the object and environment, the names of spring images sometimes become *, Bian *, Fang *, Wang Sun *, Decline *, Yan * and Bi *. For example:
On the banks of the Qingqing River, Philip Burkart Road is continuous.
-Han Yuefu's "Drinking Horses in the Great Wall Cave"
It's freezing, rainy and windy.
When there is no home to go home, the cuckoo will cry in her ear.
-Tang Anonymous Miscellaneous Poems
On the day of brocade car, the fate is prosperous.
-Lang Shiyuan's "Send Yang Zhongcheng and Fan"
Fine * Qingting State, Wang Sun is resistant to thin swimming.
-Li Jiayou "Send Wang Mu to Jizhou to pay homage to his uncle"
Besan thinks endlessly all day long, and she hates it if she wants it.
-Du Mu's "Going to Jiu Feng Building to Send Zhang Hu"
Although Fang * is ruthless, he is also outside the sunset.
-Fan Zhongyan's Su Muzhe
Looking at Wang Sun *, I recognized the river trees in the clouds and the spring sand outside the gulls.
-beware of "high balcony, send Vietnamese friends"
Then he went to the place where Qingyang was broken, and without saying a word, he walked all over the clear autumn road with a whip.
Decline * even the sky is in no mood, and the sound of geese spreads far and wide.
-Nalan Xingde's "The Recent Flowers"
In the process of using the image of spring, there are some symbolic variations, from expressing family affection to expressing homesickness, and then to expressing the important theme of "returning" in classical literature, showing that "Wang Sun" got rid of the setbacks on the road of life, pursued real life and explored the profound connotation of spiritual home. The "return" to hometown and the "return" to feelings are also stained with the new green of spring. Spring * connects China's traditional spirit of "returning" with the poet's yearning for family and homeland, which enriches the symbolic significance of this prototype.
Xie Lingyun's Climbing the Pond and Going Upstairs: "Spring is born in the pond, and the willow in the garden becomes a songbird. It hurts the song and feels awkward. " The author of this poem was demoted to Yongjia, and what he saw and felt when he went upstairs after a long illness expressed his sadness. Spring on the pond made him "feel gloomy" and remembered the poem "Wang Sun swims without returning, and spring is long and lush", which further aroused his idea of getting rid of embarrassment and returning to his hometown to live in seclusion.
Cui Hao's Yellow Crane Tower: "Every tree in Hanyang becomes clear in water and smells like parrot Island. But I looked home, the twilight was getting thicker, and the river waves were filled with sad mist. " This poem also describes what Cui Haodeng saw and felt in the Yellow Crane Tower. Xiang tried to dye away the poet's melancholy, which led to homesickness and homesickness.
Wang Anshi's "Dengguazhou": "Guazhou in Jingkou is a water room, and Zhongshan is only separated by several mountains. The spring breeze is green in Jiang Nanan. When will the bright moon shine on me? " This is a famous lyric poem, which expresses deep homesickness. Although the word "spring *" does not appear in the poem, the use of a "green" also makes us feel the existence of this image.
As jung said, "every original image contains a fragment of human spirit and human destiny, and it has the remnants of countless repeated joys and sorrows in the history of our ancestors, and has generally followed the same path." It is like a riverbed that has been dug deeply psychologically, and the flow of life in it suddenly surges into a big river. " {4}
Above, we have made a shallow prototype analysis of the famous spring image in classical poetry. Archetypal criticism holds that truly great works of art must reflect the life experience of all mankind in their artistic images and must return to the prototype of human spirit. China's classical poems are rich in images. Image construction is an important feature of China's classical poetry creation, and it is also an important aspect for us to learn and understand classical poetry. Frye said: "I call prototype a symbol, that is, it connects one poem with another, thus contributing to the integration of our literary experience." {5} China's classical poems are beautiful, poetic, simple and experienced, and have won readers' love for thousands of years. If we analyze and understand them from the perspective of "archetypal images", we can also see the profound reasons why they are so touching for a long time, and find the deepest meaning that is ubiquitous in human literary works from archetypal symbols. Because it is the universal consistency of all psychological reactions, the basic model of psychological structure, the relic of ancient human life and the accumulation and concentration of those typical experiences in the long history of human society.
{1}{5} [Plus] Northrop Frye. Analysis of criticism [M]. Tianjin: Baihua Literature and Art Publishing House. 59438+0998+05438+0.
{2 }[ Germany] Ernst Cassirer. Language and myth [M]. Beijing: Sanlian Bookstore. 1988。
{3}{4} Hu Jingzhi. A Course of Western Literary Theory: Volume II [M]. Beijing beijing University Press, June 2003.