Modern poets in China generally don't deny the aesthetic charm of poetic images, but the poets who emphasize poetic images most strongly are those with obvious modernist tendencies, and it is the writers who are full of modernist feelings that directly inspire the enthusiasm of "expressing poems with images". The reason is not only the above modernism's encouragement and liberation of people's imagination, but also the inevitable connection between concrete modernist artistic methods and image creation. At least, synaesthesia art, which has been widely used since symbolism, is an important opportunity to create poetic images. On the basis of developing people's sense of official position, synaesthesia art has created a number of sensational strange police images, which greatly broadened the idea of creating poets' images. Some talented poets in ancient times occasionally used synaesthesia. For example, Li He's famous phrase "sunrise, sunset and rest" appeals to hearing and creates the image of "the sun", which gives people a unique freshness and deep impression. However, Li He and other ancient poets did not have enough consciousness of this artistic technique, but only occasionally did it in the creation of ancient poems. In modern times, synaesthesia has become a normal image design path, and many poets with symbolism tend to use this method to make poems express images and images express strangeness. Dai Wangshu has the phrase "I'm lying here,/chewing the fragrance of the sun" in Firefly. Li Jinfa wrote in The Illusion of a Cold Night that "the night outside the window dyed the heart of a lonely guest blue". In the poet's gaze, he wrote down the lambs in his mind: "Their cries are like wet veils". These are successful poems that create unique images through synaesthesia. It should be pointed out that modern poets do not use synaesthesia to complete a strange metaphor, which is an important difference between them and ancient poets in their poetic thinking. What they strive to achieve is the feeling of images, that is, the realm of "full official feeling or super official feeling" that Dai Wangshu said. In Xu Zhimo's "Xue Mei in Spring-Commemorating March 8th", he chanted "The petals of fallen plums dipped in snow", which transcended the simple vision or hearing and entered the image level of "fullness".
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Second, the presentation of traditional images in new poetry.
The concept of "image" is not clearly defined in China's traditional poetics, but this does not mean that traditional poets have not summarized the phenomenon of "image". In fact, when the ancient theory of "Bi Xing" just appeared, people could get the information revealed by "Xiang". Liu Xie wrote in Wen Xin Diao Long? When explaining the theory of Bi Xing in Bi Xing, it has been clearly pointed out that the image of Bi Xing includes: "Bi, Fu, Yang and Qi." Moreover, saying that "metaphor is complex and incisive is the most expensive" means that a metaphor can express polysemy, which is the characteristic of images. Zhou Zuoren also admitted in Preface to Liu Bannong's Whip Collection that China's traditional "Xing" can be integrated with western "symbols" to form a poetic image. By the Qing Dynasty, poetry critics had clearly discovered the imagery tradition of China's poems. Liu Xizai wrote in Introduction to Art? The summary of the poem is as follows: "the spirit of the mountain can't be written, but it is written in the clouds;" The spirit of spring can't be written, it is written by grass trees. "Obviously, the" smoke clouds "and" grass trees "here are not ordinary images, but images that condense the spiritual concepts such as" mountain gods "and" spring gods "experienced by poets. This passage not only shows the universality of imagery in poetry creation, but also reveals that imagery of poetry is the inevitable choice of traditional poetry expression mode and the limitations of traditional expression vocabulary.
Although the May 4th New Culture Movement, as the cultural foundation of modern poetry, aims to oppose the old culture and resist the tradition, it is impossible for any extremely anti-traditional poet to get rid of the profound influence of excellent traditional cultural heritage. Traditional images flashed in Hu Shi's new poems, and almost all poets in the May 4th period were as distressed as Hu Shi to get rid of traditional images. Needless to say, when the creation of new poetry is faced with a difficult choice from the rough catharsis at the time of liberation to the establishment of new aesthetic norms, the poet's mentality will not be confined to the framework of confrontation between old and new cultures like the aforementioned poets, but will only be based on whether it is conducive to the expression of thoughts and feelings in the form of new poetry; What's more, modern poets grew up drinking the milk of traditional culture, and all kinds of cultural genetic information will obviously have an effect on their free mentality of no longer defending tradition. Therefore, the image of traditional poetry has almost never been interrupted in the creation of new poetry, and among modernist poets like Li Jinfa who have transcended the old and new cultural values, the appearance of traditional images is even more common.
In the transcendence of the old and new cultural values, Li Jinfa carries the aesthetic principles of "exotic fragrance" and French symbolism on the one hand, and dares not copy these principles rashly on the other, so he naturally seeks ways to carry these principles from the traditional style in his attempts and explorations, which makes his poetry expression look so Gu Zhuo. More importantly, for Li Jinfa, the first recipient and experimenter, the "pioneer" poetic thought of symbolism is still difficult to grasp even under the disguise of traditional stylistic strength. In this long and vacant situation, the normal mentality of experimenters and explorers is to look for evidence from past examples in order to obtain strong psychological support. Therefore, Li Jinfa pays more attention to decorating his modern poetic thoughts with classical images than any new poet before him. His poetic images full of ancient meanings should be more meaningful than the traditional styles that often appear in his poems. He described his observation of autumn in this way: "stop for a minute, you will see the sunset send the fallen leaves on the road." The ancient sunset road and the west wind falling leaves are typical images of autumn sadness in China's ancient poems. Li Jinfa is handy, leaving no trace, showing profound ancient cultural accomplishment. In his Song of the Night, he sang: "The magical age,/I want to eat the herbs in the garden". It seems that he doesn't mind borrowing the image of "vanilla" that can be traced back to Qu Yuan's Li Sao, which looks ancient and profound.
Many poets in the May 4th period were keen to draw inspiration from classical images and write unique poems. Guo Moruo's poems, such as Phoenix in the Fire, Dog Swallows the Moon and Tianjie, all draw lessons from or directly use the inherent images of China traditional culture. Feng Zhi's most famous narrative lyric poem "Silkworm Horse" just wants to draw nutrients from ancient miraculous legends, and the silkworm horse itself constitutes a strange image, which provides great imagination for poets and readers. In the New Moon School era of Wen Yiduo, Xu Zhimo and others, the classical images in poetry showed a quite common trend. Wen Yiduo often sings "Red Candle", "Red Lotus" and "Red Bean" in his poems, showing his strong interest in these classical images respectively, and sometimes directly conveying his feelings with the help of classical images, such as "Six Dragons Driving" and "Golden Sun Flying Fast" described by the sun. In the poem Miracle, he wrote such a poem: "I heard the wheel hub of the house suddenly ring, and a dress fell on the purple sky-that was a miracle-"in order to express that mysterious and strange fragrance and convey the sound of "clothes" in the house. Xu Zhimo's interest in classical images is also quite strong. His colleagues in the Crescent School found that more than a dozen classic images can be found in the poem Goodbye at Cambridge.
Sun Dayu, a crescent poet, also used the images in China's classical literature more freely. His "Reed Flute" is simply fantastic to play, which can attract the phoenix to play musical instruments and summon the Peng bird to come to Korea-"Since I have this reed flute,/I haven't played it,/… just blow it gently,/Wenfeng, goshawk, negative day Peng bird, … will all fly to Korea." The images represented by "Wenfeng" and "Pengniao" are full of magic and nobility, and are full of remoteness and magnificence. Using such images, poetry seems to tell an ancient and fascinating story, or recall a colorful and blurred dream.
Dai Wangshu's successful reference to the images of classical poetry made him a leading figure in the field of poetry in the 1930s. Perhaps in view of the theory of "no need for classics" during the literary revolution, Dai Wangshu tried his best to defend the use of traditional images, saying that "the use of old classicism is indisputable when it gives us a new artistic conception." In fact, this also reveals his basic principles when choosing classic images: first, let go of the old classics and do not shy away; Second, he should breed new emotions from classical images, or resort to old images to express them. This concept makes him often inadvertently pick up the images of ancient poetry in the process of poetic thinking, thus making poetry appear lush and quaint. In Loneliness, he wrote that the weeds in the garden were drifting away. On the one hand, he "lost his soul in the wandering weeds", on the other hand, the word "wandering" is reminiscent of the artistic conception of "coming and going with the seasons" in ancient famous sentences, which euphemistically and vividly shows the sad feelings of "loneliness".
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