Yaoyao snow is on the road.
Wander around
Wrapped in the edge of the fog pine
Jinsong stood proudly.
calmly
Pan ruoxue peak
Yuanshan
plum blossom
Put on a suit of armor
White velvet hood
Zuijiangshan
The rhythm and rhyme in the poem are quite similar to the old saying, implicit but not obscure, with bones in the show, gentle but not weak. The words such as "Yaoyao", "Zhi" and "Ruo" in Far Snow on the Road have the characteristics of classical words, and the poet has integrated them into the form of modern poetry, which is beautiful. In addition to this poem full of classical charm, it is also a picture full of classical charm. The first two paragraphs of Sketch in Winter seem to outline a picture of a pine tree in the snow with meticulous brushwork, while the second paragraph depicts a vivid scene of "plum blossom fragrance comes from bitter cold", just as Wang Wei said: "There are paintings in poems and poems in paintings".
New art pays attention to classical tradition but does not abandon "modernity". She pursues the architectural beauty of modern metrical poems. Her poetry creation is not limited by classical poetry rules, and her poetry form is free and lively, which meets the requirements of modern poetry architectural beauty. The so-called architectural beauty is a poetic proposition put forward by Xu Zhimo, which advocates changing the original single, flat and loose language symbols into multi-dimensional, three-dimensional and integrated emotional symbols in the formal arrangement of modern free poems and songs, resulting in strong visual effects. Such as the appearance of water:
The earth has crossed
Your melancholy shadow
A drop of dew is suspended.
A dream that wants to return to shame
Quiet moon
Bend your forehead.
Put a soft heart
guess
Tossed and pulled out a fish-belly white.
There is a sweet song in the morning.
Gone with the Wind
Eyes like water.
Tender and lingering.
Monthly washing leads China.
Avoid the evening rain
It's in your heart.
internal injury
Uneven poems are long and short, and "the dream of falling to shame" is full of the shadow of Xin Qiji's ancient poems, but the whole poem has constructed extraordinary poetry in the beauty of modern architecture.
The classical beauty of Xin Yi Qing Dance Poetry follows the combination of classical artistic conception and modern feelings. Art Nouveau often uses some verses in ancient prose, idioms and classical poems and their meanings and rhymes in poetry to create the artistic conception of classical beauty and make it elegant. For example, in Mourning for the Past, it's hard for dust and sand to clean you up/Zen Snow is stained with blood/dust and dirt all one's life, and in Fishing Songs, Zhang's Mourning for the Past, it's just used to suddenly pull away the sadness in Mourning for the Past, but it's so close that a faint sadness comes to mind instantly.
Image is the biggest carrier of artistic conception construction, and Xinyi Kate regards it as the sustenance of modern feelings and the presentation device of classical artistic conception. Light dance likes to use the image of "Qin", which itself has a strong classical charm, so its frequent appearance in poetry makes the classical rhyme of his poems self-evident, such as "ten fingers of grass/jumping and dancing/black and white marching string feeling mysterious", "melodious piano sounds like relay/rushing to the branches of Levin in August" ("Finally …") and "drizzle" The poetic images of Xin Yi's light dancing are always full of traditional culture, old poetry and classical beauty, such as flute, cicada, drizzle, wind, heart rain and bright moon, which have been accumulated in classical poetry for a long time. The appearance of these images in poetry makes light-dancing poetry build a bridge to classicism, and the unspeakable beauty of classical artistic conception is constantly passed on. The beauty of this artistic conception can be described as "exquisite and thorough, inseparable, such as the voice in the air, the color in the phase, the moon in the water and the image in the mirror". [2] Xinyi's poems such as Like Water, Sorrow, Full Moon in a Pool and Blue Everywhere all contain this kind of beauty.
The classical beauty of Xinyi's light dance poetry is also manifested in her ability to integrate classical artistic conception with modern experience. Just like her quiet personality, she has an empty creative mood. Virtual quietness refers to a kind of empty and quiet psychological state in which the poet throws himself into his creation without the interference of external things and the entanglement of inner distractions. The thought of emptiness and quietness comes from Xunzi's "emptiness and quietness", which is the same pursuit of aesthetic psychology and creative psychology. In fact, Art Nouveau has done this unconsciously to a great extent. In a QQ chat, she said that she wouldn't feel that she couldn't sleep or get up late at night to write. She usually concentrates on her thoughts, slowly realizes life and emotions in a relatively peaceful and quiet state, and then creates poems, which quietly flow through her heart like the running water of a stream, and then quietly flow along the nib. In fact, this is a wonderful creative state. For poets, passion is important, but the quiet mind is more suitable for some classical poems to flow out. This is actually a state that many poets pursue. Heidegger, a German existentialist philosopher, once said: "In poetry, people enter a static state, but it does not mean that there is no activity in thinking, but that they are in an infinite state of harmonious movement of human potential." [3] Zong Baihua once pointed out: "The birth of artistic mind is a moment of forgetting myself in life, which is the so-called' still photo' in aesthetics. The starting point of still photos is that everything is empty, the mind has no obstacles, and it is temporarily isolated from the world. At this time, I have a little feeling, look at everything. Everything is as smooth as a mirror, but each has its own full, inner and free life. I think everything is complacent. This complacent and free life shows its brilliance in silence. " [4] Heidegger's "resting state" and Zong Baihua's "still photo", which is what we call the virtual static mentality. When we read Xinyi's light dance poems, we are all influenced invisibly, just like walking into a quiet temple from a noisy city. The inner noise is purified, and the soul is washed between poems, leaving only purity and tranquility. For example, her Heart Rain:
The strings of drizzle
Trembling on the mane of the wind
Silk is as elegant as silk.
Like purple fog and smoke
at a distance
Flute played in the desert.
Express the happy beating of the flame.
Who cares about the warm hands like honey?
The fragility of lingering desires
Tilt a piece of water, the rain of love.
Without peace of mind and ethereal peace of mind, it is impossible to write such exquisite and euphemistic words. The whole poem is shrouded in a faint sadness and sweetness as elegant as silk and purple mist, so serene and so far away, as if it were a piece of grass behind the gentle veil of classical beauty, which makes people daydream infinitely.
Based on this empty creative mentality, Xinyi pays attention to the expression of internal reality and poetry writing, and is good at integrating her modern experience into internal reality. The truth written in poetry is often divided into external truth and internal truth. External truth is an objective fact that exists in the objective world, while internal truth refers to the fact that may exist according to the poet's understanding and emotional needs or the poet's emotional intention. Compared with introspective and thoughtful poets, they pay more attention to the inner truth of poetry. For example, To a Lover outlines a female lover's pursuit and positioning of her image by virtue of the professionalism, meekness and virtue of classical women.
love
If I were a weak aquatic plant,
I want to show you the gentlest dance.
Leave the tired and dark wounds to the salty sea.
love
If I were a colorful shell
I want to give you the most beautiful color.
Leave the darkness to myself.
love
I want to release you.
It's like flying a bird
Let you fly high
This is the tone set by the poet for his love road in a quiet and peaceful state of mind, which belongs to the poet's own unique internal reality. In contemporary society, women's life pressure and work pressure are great, so I'm afraid there are not many women who are willing to treat love and lover with this mentality. Therefore, Xinyi Kate is a poetess whose classical beauty and modernity are intertwined, which is not only reflected in her poems, but also deeply exists in her inner world.
The tension between classicality and modernity constructs the beauty of multi-dimensional interpretation of Xinyi's light dance poems. The two forces converge into two opposing forces, which set up a powerful pyramid of his poetry world, which makes people sigh. Of course, Xinyi's light dance is still in the primary stage of poetry creation, and naturally it can't be separated from the imitation of classical poetry. Some poems seem to be somewhat blunt. Of course, this can in no way damage the unique beauty of the interweaving of classical and modern in Xinyi light dance poems. Wandering between classical and modern, I believe that Xinyi's light dance will never stop moving forward, because she knows that there is more beauty that she needs to create with a pen.