The beauty of the use of quantifiers

In classical poetry, decorative poems and quantifiers are movements composed of pretty images, lively rhythms and harmonious tones. Poets and lyricists often skillfully and massively introduce numbers into poetry creation, and apply numbers belonging to the field of abstract thinking to the field of image thinking, thus obtaining subtle aesthetic effects and peculiar artistic charm. "Spring is divided into three parts, dust is divided into two parts, and water is one part." Su Dongpo, a poet in the Song Dynasty, skillfully used the word "number" to express his idea of "spring scenery": "spring scenery is divided into two" and "water is divided into two", which seems strange at first glance. How can he look at "Spring Break" like this? It turned out that he saw the symbolic flowers of spring floating in the dust and running water, two thirds of them fell in the dust on the roadside, one third fell in the water, and the number of "two points" and "one point" gradually decreased from more to less. Didn't the "three-point spring scenery" just pass? . Similarly, Ye, a poet in the Song Dynasty, wrote in Farewell: "Three points of spring scenery, two points of sorrow, one point of wind and rain". Although spring is good, it is reduced by the "strength" of sorrow and wind and rain. It is very delicate to use the numbers of "three, two and one" to reduce spring. The pen of a good poet is like this, just like a wand in a fairy tale, which can make the desert gush out of the oasis. Only after careful selection of quantifiers can we produce rich and meaningful poems under their urging. In Geng Xin's Fu on Xiao Yuan, "a fish of one inch and two inches, a bamboo with three poles and two poles" was called "reading is boring" by predecessors. Li Shangyin's "Jinse" begins with "I don't know why my Jinse has fifty strings, and each string is a flower-like interval." Although Yuan Yishan first lamented that "no one wrote about Jian Zheng", Wang Yuyang later expressed "a golden instrument to solve the people's difficulties". The numerals "fifty strings", "one string" and "one column" are not poetic, but they have gained a hazy beauty in the works of superb poets. In the poem "Morning Plum" written by Miracle, a monk, Zheng Gu changed "several branches opened" to "in Qiancun, several branches opened last night", and Miracle worshipped Zheng Gu as a "ci teacher". Changing "several" to "one" here can better express the poet's feelings of love at first sight and surprise in joy. At the same time, the use of "Yi Zhi" also shows that the poem is really "early plum blossom", and the artistic picture is fresh and attractive, thus making the whole poem smooth and smooth, adding charm and receiving the artistic effect of "I am happy and beautiful beyond words". Liu Zongyuan's Jiang Xue: "There are no birds in a hundred mountains, no footprints in a thousand paths, a leaf boat, a bamboo cloak, an old fisherman's cold river-snow", "Qianshan" and "Wanjing" are so vast, and the reality of "one must" and "one must" is so desolate and cold. Because the pictures in Qian Shan and Wanjing are beautiful and sad, it highlights the lonely and high poetry of fishing alone in a snowy day. "There is a picture in poetry, and there is a poem in painting"; There is context in meaning, and the images in poems with meaning in context are exquisite, which contains an extraordinary beauty of tranquility; Its artistic conception is far-reaching, and there is a kind of ideological sustenance that is unwilling to yield. The reason why this poem can be called "wonderful" is inseparable from the use of the numbers "Qian Shan" and "Wanjing". The figures in classical poetry directly express the poet's joys and sorrows, or directly draw artistic images in his works, so as to enhance the emotional color, render the atmosphere or highlight the theme and open up the artistic conception. "Swallows come to the news agency, pear blossoms are three or four points behind the moss on the Qingming pond, and there are one or two orioles at the bottom of the leaves, and the sheep are light." This is the first part of Broken Warrior written by Yan Shu, a poet in the Song Dynasty. It describes the beautiful scenery in the late spring scenery. The most vivid and wonderful thing is three or four sentences, and "three or four" is selected in the antithesis sentence. Obviously, the numbers here are dynamic, noisy and colorful. The poet chose them here in order to combine auditory and visual feelings, create a delicate artistic conception and give people room for imagination and pondering. Appreciating the use of numerals in ancient poetry can not only appreciate the ingenuity of ancient people in choosing words and making sentences, but also gain aesthetic enjoyment from a new angle. "My hometown is 3,000 miles away, and a maid-in-waiting has lived here for 20 years, but she wants this song. Let's see how she can hold back her tears in the first few words" is a poem by Zhang Hu, a poet in the Tang Dynasty. In each sentence, the number "three thousand" refers to the distance from home, "twenty" refers to the time spent in the palace, and "one" and "two" refer to the tears of resentment and sadness. The whole poem is four sentences and twenty lines, from big space to big time, and then to the sadness of compassion. These four figures give full play to their rhetorical functions. First of all, the numerals "three thousand" and "twenty" mean more, and "one" and "double" mean less complement each other in the poem, forming a pair of sentences; Secondly, the expression of the four numerals is both virtual and real, and the combination of virtual and real. The number "more" means virtual, and the number "less" means real. "3,000" and "20" are imaginary numbers, which exaggerate the remoteness of hometown and the long time, condense the complex content of maids leaving their homes and being under house arrest, and express homesickness and palace resentment. "One" and "Double" are both real numbers. "One" means to cry every time I hear the pleasing dance music "He Manzi" by the feudal emperor, and tears flow down my cheeks. Through the word "one" and "double", the long-accumulated sadness of the ladies-in-waiting poured out, revealing the deep sadness of the ladies-in-waiting and vividly reappearing the example environment. Numbers, in poetry, sometimes refer to exact meaning, sometimes to imaginary meaning, sometimes counted as numbers, sometimes said too much, and become exaggerated words, which have a strong artistic effect through "exaggerated" description. Write that life is interested in drinking, saying, "Cook a sheep, kill a cow, sharpen your appetite, and let me, 300 bowls, take a long drink!" " , write about the length of the Yellow River, say "Three Wan Li Yellow Rivers flow eastward into the sea", write about the distance of the border, say "Jade gold people, 24,000 Li", write about the barrier of building a pavilion, say "One person can keep it, ten thousand people can't force it", write as many invitations as possible, and say "However, we called it a thousand times before she began to walk towards us, and she also hid half her face behind her guitar. Although these characters have exaggerated elements, they are all popular and simple, vivid and vivid, giving people real feelings and full of poetry. As an important means of choosing words and making sentences, numerals still play an important role in the structural beauty of poetry. Du Fu's quatrain "Two orioles singing green willows, a line of egrets flying in the sky, the snow-covered window in Xiling, at the gate of Wu Dong Wan Li boating". The first sentence is a close-up view of willow branches and orioles, singing with each other, "two" orioles, writing from the "point"; The second sentence, the egret flying freely in the clear sky of Wan Li, is exquisite in posture, "word by word", from "line" to pen, and then writes a vision; The third sentence, "Qian Qiu" snow highlights the eternity of time, meaning "face"; The fourth sentence is about "Wan Li", which seems to be a vast space, but in fact it is written about "Ti". In this way, the point, line, surface and body of the whole poem are intertwined, the distance and time and space are contrasted, and the structure is flexible and coherent, forming the three-dimensional beauty and uneven beauty of this poem. What makes people feel the power of "numbers" most is the phrase "Spring rains add flowers, while spring blossoms move mountains". The word "flower" in Qin Guan's poem "Good Things Near" in the Song Dynasty seems to have the power to shake mountains. The flowers swaying on the spring road are actually shaking the spring scenery of "a mountain" When you see flowers moving, you will see them. Among them, the word "one" has attracted people's attention. Just a word "one" brought the spring scenery of a mountain to people's eyes, and the spring scenery became a tangible entity. Without the participation of the word "one", how can we know the specific power of the "flower movement"? . The numerals in ancient poetry are often "singular in one word", or add color to the whole poem, making it meaningful, implicit and meaningful, or making the poem fly like a cruel pearl, which leaves a deep impression on people.