First, the relationship between reality and situation.
In Li Bai's poem "Yellow Crane Tower Farewell Meng Haoran to Yangzhou", "The lonely sail is far away, the blue sky is full, and the sky is only flowing along the Yangtze River". These two poems are in the form of scenery, but this scenery contains the poet's deep affection for his friends and is lyrical. The scenery is real, but the lyricism is empty. In fact, this is a way to express emotions or feelings in the scene. Another example is Zhu's "Sailing at the Shuikou": "It rained on the ship last night. What about the stormy night? At present, the test paper is lonely. There are still many green mountains and green waters. " Writing about what you saw and heard on the river is a real scene; The narrative of the poet's landscape painting contains the philosophy of life: the storm is always temporary, the storm will eventually subside, the green mountains and green waters are always eternal, and the vitality of all beautiful things is unstoppable after all. This is virtual. This is actually what we call borrowing scenery to express emotion. The writing method of narrative suggestion. Another example is Li Chen's poem Waterfall: "Thousands of rocks and valleys spare no effort, and we can know the source from a distance. Can the stream stay? After all, the sea is a wave. " The poem describes the majestic waterfall image that eventually ran to the sea through bumps. This is an objective landscape and reality. In this poem, the poet pinned his thoughts: one must never be satisfied with the status quo, be ambitious, not afraid of difficulties, and never give up until he reaches his goal. This is a statement, not an empty statement. In fact, this is what we usually call the expression of ambition.
In the above-mentioned cases, the author "turned the scene into emotion" by virtue of subjective emotion, ambition and objective reason. From the performance content, it is the relationship between emotion and scenery; From the form of expression, it is also the relationship between virtual and real.
Second, the relationship between reality and contrast
When a poet describes a scene, it is sometimes difficult to express the characteristics of the scene positively, or when the poet deliberately pursues a euphemistic and implicit beauty, he will use the method of profile description to set off or hint, so as to achieve the purpose of describing the scene and expressing emotions. For example, Li Bai's parting message in a hotel in Nanjing: "A gust of wind brought catkins to make the hotel more warm, and Wu Ji advised guests to taste it with wine. Comrades in my city came to see me off. When each of them drank his glass, I said to him when leaving. Oh, ask this river flowing eastward, whether it can go further than the love of friends! ? "The poet used the water of the Yangtze River flowing eastward (reality) to set off his deep friendship (nothingness) with his friends in Jinling.
Third, virtual reality and metaphor.
Yu Meiren by Li Yu: "When is the spring flower and the autumn moon? What do you know about the past! The small building blew eastward again last night. The old country can't bear to look back on the mid-Ming Dynasty. Carved fences and jade bricks should still exist, but Zhu Yan changed them. How much sadness can you have? Just like a river flowing eastward. " Li Yuguo lost his family and his wife and children were separated. He was the king of a country. He became a prisoner, humiliated for life, humiliated through the ages, and resentful in his chest, which is hard to say. The poet used a metaphor, full of sadness. "Ask how sad you are? Just like a river flowing eastward. " Turning emptiness into reality, writing emptiness with reality, and materializing "sorrow" into flowing spring water, endless melancholy is vividly displayed. Another example is He Zhu's Jade Case: "How much leisure, a stream of smoke and willow, the city is full of wind, the plum rain is yellow." Poets use exaggerated metaphors to turn intangible into tangible, and write infinite sadness and sorrow in their hearts. "A stream of smoke and willow", "The wind blows all over the city" and "Huang Meiyu" are too idle to care about. This writing method of expressing emotions by metaphor is more vivid than expressing one's mind directly, so it is more infectious.
Fourthly, the relationship between emptiness and blank art in classical poetry.
The art of blank space is widely used in China's classical poems, especially in poems that describe scenery by line drawing. For example, in Jia Dao's suicide note, "I asked your student that it was under a pine tree," and he replied, "My teacher went to collect herbs.". However, through these clouds, how can I know which corner of the mountain it is facing? The dialogue between the writer and the boy is true, while the content of the poet's "question" is omitted. I won't introduce what a hermit looks like. However, we can imagine that hermits haunt the sea of clouds in the mountains and stand by the mountain stream ... through this kind of virtual realism, the virtual and the real are combined, so as to achieve the effect of virtual and real.
In fact, the above-mentioned four phenomena of the combination of reality and reality overlap with artistic techniques such as lyric, contrast, metaphor and blank space. The following situations are worthy of attention.
First, the present scene is real and the dead scene is empty.
A scene that has passed away. Or what the author experienced, or what happened in history. The author writes these things into poems, mostly by forming a certain relationship with the current real scene to express the poet's inner feelings. For example, the words "jade carving" and "Zhu Yan" in Li Yu's "Yu Meiren" (when is spring flowers and autumn moon) are the poet's nostalgia for the old country. The "jade carving" may still be there, but the beauty has faded. But these are not real scenes, so they are all imaginary. Another example is Li Yu's Looking South (how much I hate it, in my dream last night). The first word is "It's like swimming in the garden of the old society, and cars are like running water in Ma Rulong. These three sentences "Flowers and flowers are spring breeze" describe the prosperous life of the past, which is in sharp contrast with the poet's infinite bleak situation at that time. The combination of reality and reality highlights the heavy sadness after waking up. Another example is Li Bai's Visit to Yue Gu: "Gou Jian, the King of Yue, broke Wu Gui, and the soldiers returned with all their finery. Maid-in-waiting is like full spring palace, but today only partridges can fly. " The first three sentences are about the past when Gou Jian, the King of Yue, ate his bread, drank his courage, defeated Wu in one fell swoop and returned home in triumph. Su Shi's "Niannujiao Chibi Nostalgia": "Looking back, Xiao Qiao was first married and magnificent. Feather fan nylon scarf, laughing, dying. Xin Qiji's "Yong Yu Kouting Nostalgia": "Yuan Jia Cao Cao, sealed the wolf in Xu, and seized the north." . "The above are all scenes of writing your own death, and there is no white writing.
Second, the present scene is real and the future scene is imaginary.
There are many poems in classical poetry that envision the future. The poet compares or contrasts it with the present situation and current feelings, and expresses his feelings with virtual reality. Liu Yong's Lin Yuling: "Where to wake up tonight? Yang Liuan Xiaofeng has a broken moon. " This is what you see when you wake up from a drunken dream. Weak willows help the breeze. Hanging branches on the waning moon is empty writing. This sad scene envisioned by the poet adds a layer of sadness to the scene of parting with his lover. Another example is Li Shangyin's "Short Message to Friends in the North on a Rainy Night": "You asked about the return date. Autumn pool night rain rises. When * * * cut the candle at the west window and talk about the late rain. " The last two sentences are the author's vision of telling his wife how to miss their loved ones tonight when they meet again in the future. The deep feelings of missing are beyond words. Another example is Du Fu's Moonlit Night: "When can we lie on our screen again and watch the bright light stop crying?" ? "These two sentences are the imagination of the poet when he met his wife one day. After the robbery, the husband and wife reunited, with deep feelings and tears streaming down their faces. This joy (emptiness) of future reunion just reflects the sadness and pain of separation.
Third, write from your own point of view and from the other side's point of view.
This article is similar to the previous one. The similarity lies in each other's assumptions; The difference is that the latter assumption is from the other side's point of view, so some people call it the correct writing. For example, the first four sentences of Du Fu's Moonlit Night: "Far away in Fuzhou, she is watching the moonlight, watching it alone from the window of her room. Our boys and girls, poor little babies, are too young to know where the capital is. " This poem was written by the poet who missed his wife and children when he was trapped in Chang 'an during the An Shi Rebellion. Originally, the poet missed his wife and children, but the poet adopted the "antithesis". On the other hand, imagine how his wife misses herself on the moonlit moon, but the children still don't understand why his mother misses Chang 'an. Some critics say: "The public is homesick, but they miss their families and themselves." This way of writing is more euphemistic than saying how much you miss your wife and children, but the feelings have achieved the effect of two-way communication, so the feelings are deeper, which is more touching and artistic.
A common poem that uses antithetical brushwork is Gao Shi's Except Night: "The hotel stays alone in the cold light, and the guest's heart turns to sorrow. Tonight, my hometown is a thousand miles away, and the Ming Dynasty is another year. " I miss my hometown relatives thousands of miles away, but I say my hometown relatives miss themselves thousands of miles away. Wang Wei's "Thinking of Shandong Brothers in the Mountain Festival": "Being a stranger alone in a foreign land, I miss my relatives twice every festive season. I know from a distance where my brother climbed, and there is one person missing from the dogwood. " Originally, I missed my relatives at the festive season, but the author didn't say that I missed my brother in my hometown, but that my brother in my hometown missed me. Poets imagine that their Double Ninth Festival is getting higher and higher. It is a great pity that we can't get together because of the lack of poets far from home. Bai Juyi's Night Thoughts on the Winter Solstice in Handan: "Every winter solstice in Handan, accompany me to hold the knee lamp. Sit at home late at night and talk about travelers. " The first two sentences describe the lonely and desolate life of the poet who was exiled on the night of winter solstice. Homesickness is self-evident. But the poet didn't say that he missed his family, but he imagined that his family still sat together and sang poems about himself in the winter of solstice. Another example is Ouyang Xiu's "Walking on the Beach": "Inch by inch, soft-hearted, full of tears. The height of the building is not close to danger. " The author imagines Lacrimosa, a heartbroken woman upstairs, imagining herself (a pedestrian) standing on a high place. "Pingwu is everywhere in the spring, and pedestrians are outside." The walker not only imagines that the other person climbs high and thinks far, but also imagines that the other person's heart has been following him. This kind of yao si wrote a lot about the sadness of pedestrians. In this way, the person you imagine can't be a scene, only a person. The artistic effect it produces is different from that before. For example, He Zhu's Jade Case: "Qiao Yue Garden, a window of Zhu Hu, only spring branches." What is expressed is only unilateral thoughts, sadness and heartbroken pain. Moreover, with the right style of writing, the feelings of both sides are communicated, and what is lacking is both sides. This kind of missing includes sadness and sadness, as well as warmth and comfort.
Fourth, the objective scene is real, while dreams, fairyland and vows are all empty.
Express feelings and express ideal poems by writing dreams and fairyland. The most famous is Li Bai's "Mount Tianmu in a Dream": "An impenetrable shadow, but now the sun and the moon shine on the gold and silver platform. Wearing rainbow clothes and riding the wind, all the queens of the clouds came and came down one by one. With the tiger as the harp and the phoenix as the dancer, row after row, like hemp, is arranged with the image of a fairy. " These poems describe the good fortune and beauty of the celestial world, contrast the danger and ugliness of the real world, and express the poet's hatred of the real world. Another example is Li Qingzhao's "Pride of the Fisherman": "It seems that the dream soul belongs to the emperor. Smell the sky and ask me where to go? " The poet created a caring and gentle image of Heaven Emperor, reflecting the fear of powerful enemies and fleeing all the way, leaving the people of Song Gaozong out of the quagmire and incompetent court. "Nine Wan Li Peng Feng positive. The wind stopped and the ship blew away the three mountains! Although the poet is very talented, she can't tear down the building. She hopes to live a happy and beautiful life in fairyland, which reflects the suffering and hopelessness of the real world. Another example is Su Shi's "Jiangchengzi": "In the dead of night, I dream of returning to my hometown, and Xiao Xuan window is dressing. There is nothing to care about, only a thousand tears. " The author and his wife Wang Fu have deep feelings. Although life and death are different, old feelings are unforgettable. This is a dream, mixed with sorrow and joy. This is empty writing. Then he wrote about the sadness after waking up, the combination of reality and reality, and the poet's deep sorrow for his dead wife. Another example is the poem "Shangxie" written by Han Yuefu: "Shangxie! I want to know you and live a long life. There is no mausoleum in the mountains, the river is exhausted, there is Lei Zhen in winter, and there is rain and snow in summer. Heaven and earth are in harmony, dare to be with you! " In this Yuefu poem, five scenes are envisaged, namely, "There are no tombs in the mountains, rivers are exhausted, there is Lei Zhen in winter, and there is rain and snow in summer, and heaven and earth are in harmony". These are all impossible and imaginary, and the heroine regards these as the conditions for "leaving the monarch". It also shows our firm belief that we will not "break with the monarch" until we die. This oath strongly shows the hero's loyalty to love.