Jiao Hong of the Ming Dynasty wrote in his Preface to Elegant Entertainment Pavilion: "If you don't feel it, you won't feel it deeply. If you don't feel deep, you won't be thrilling and won't go far. " What is said here is that when feelings accumulate and deepen further, they produce "meaning" and rise to the poet's subconscious mind. As I said in the first part of Shui's poems, although most of them are not straightforward, she has a good grasp. However, we say that it is a common and main method to use direct expression to create situations in poetry creation, but it is not the only method of poetry creation. If writing poetry can be different from integrating feelings into situations and scenes, and there are many ways to create situations, then it can also show the beauty of emotional agitation and flow.
While appreciating Shui's poems, I found a problem, that is, Shui's current creative thinking is limited, still confined to the realm of "self", pursuing an aesthetic style, but she also has her own shortcomings, and some poems and songs are somewhat rambling, not too concise and not too full of images. Taking the expression of a little woman's feelings as the main line, her poetry works, when read, are round and beautiful at first sight. But she ignores the more important point, that is, the core of poetry lacks something deeper, which can be more integrated into the hearts of the public and arouse the thoughts of * * *. This can be seen from some works made of water:
For example, "Deception" "Those mistakes woke up/I opened my eyes wide/I looked at the old beauty/I was clear while retreating/Yesterday's mistakes/I became a deception in the morning/I rose to the clouds with the sunrise/I was absorbed in the gray sky/I closed my eyes in fear/I tried to avoid the confused clouds/I slowly closed/I cheated, Squeezing into the heart window/So/The days in disguise are one after another/The transparent world is still in chaos/There is no cold in winter/There is extra snow in spring/Maybe there is no heat in summer/There is extra rain/tears and laughter in autumn, and I speak the same language/single, and the same thing/occurrence/deception is in front of me again and again, forming my work/I write it seriously/love it deeply/I don't know which one. I think many people have seen it: that is, her first three verses have a good interpretation of deception, but the fourth and fifth verses are redundant descriptions, completely revealing that all forbearance and absorption come from deception, creating a "miss the mirror, Gulliver lost his imagination." Too much talk. When she wrote this poem, there should be only one theme in her mind, that is, all the troubles and worries brought by deception, leaving no room for readers to think. Even technically, this work is remarkable. All the goals to be pursued are focused on the final focus, "Let the tears flow happily", during which there is a kind of relief, which belongs to calm and free and easy.
Another example is "Don't say anything/a word is dandelion/your breath/it will blow away delicate petals/chase the promise in the wind/or don't say anything/say it is evidence/a pale piece of paper/it will make the rebellious soul sink deeper and deeper/listen to the voice of the magpie/please don't say anything/do it/be true with your heart". Use "don't say, or don't say, please don't say" to push emotions to the peak, reflecting deep forbearance and tenacity. However, the last two sentences "Go ahead, be careful, be true" are a bit redundant. If you only get to the sentence "Please don't say anything", the sentence of the poem is over, but the artistic conception and theme of the poem are not over, and the rest is left to the readers, which can better show the charm of the poem! It just shows the author's inner twists and turns, just like a winding stream in a mountain canyon, hovering back and forth, thinking between saying and not saying.
For example, "Morning Tea" "From that day on/morning tea/telling your worries in the office/smelling the fragrance coming from your face/you drifted away to get slightly drunk/floating the fragrance of tea/like two trees in the depths of the scenery/touching loneliness/making ethereal noise/shadows/cups/kissing/burying your worries in the afternoon". Morning tea/office, two trees/shadows, and the smell/noise/kiss of tea, all objects appear side by side. All these images she tried to introduce were displayed in a juxtaposed way, and the purpose of juxtaposition was only to make the whole poem smooth and smooth, and to present and highlight the inner thinking and hesitation caused by the same work and life every day. Then there is another problem here. The context formed by such language makes the relationship between words and things in the whole poem lack a kind of tension, and does not lead the reader's attention to a certain environment and depth, but only stays in the space of her personal thoughts, and there is no broader space for readers to exert their imagination.
When it comes to the vastness of space, we have to talk about the three elements of poetry creation. What are the three elements of poetry? As all friends who love poetry know, a poet should aim high, focus broadly and put pen to paper carefully before writing poetry. And the vast space focuses on the broad scope, not limited to the narrow scope. If the focus is narrow, it will inevitably affect the eclecticism and eclecticism of poetry works. Now that we have talked about the three elements, let's talk about the ideas in the poems made of water. We say that when writing poetry, if the intention is low, the connotation of poetry works will become shallow and mediocre. The idea is very high, but what is expressed in the poem is general, empty talk and meaningless. Therefore, to say a good poem, first of all, when we read it, we should find out where the author's intention is, and then savor it! Let's take a look at the poem "Heart Gate" made of water. "Build a door on the moon/carefully/always open for you/in my eyes/when it is full of gray/maybe you won't walk in the door easily/now I'm afraid of your entry/because the moon/half bent by your bowstring/half shot by an arrow/I gently picked up those fragments/made them into jewels/turned into tears/fell on the threshold when I wanted to leave them for you/. This poem is well conceived. Taking "Heart Gate" as an opportunity, it expresses the meditation on life and the wandering and confusion of emotion. In my opinion, this poem has basically extracted exquisite poetry from its concise words, words and sentences, and it is quite successful. The beauty of this poem is at the end. "The door is still open" is a realistic embodiment of typical anti-interrogation methods, leaving readers with unlimited imagination. My feeling is that there is no money here, so I can guess the author's psychological meaning.
Ai Qing, a famous poet, once said in On Poetry: "Association is a similar memory aroused by things; Lenovo is the echo of experience and experience. " We say that poetry creation does not come out of thin air, but from the things in life memory, it produces associations and refines the feelings in associations. This can be seen everywhere in water poems. It should be said that she mobilized, communicated and connected similar things so that they were not limited by one thing, one time and one place. Therefore, her poems should feel simple and natural and imaginative when read for the first time. However, as long as we study it carefully, it is not difficult to find that her poems often stay at the individual level, and the search for publicity and universality of meaning is relatively lacking. It is only reflected in the superficial ideological category, without deep meditation, so as to achieve rich and profound thoughts and depth. We say that the value of poetry lies in that the author will not hold back because of his colorful life feelings, but will extend his thinking steps and complete his deeper dialogue with the world, nature and life. If the language of poetry can be expressed by scenery, and the vivid sensibility and abstraction of the image aroused in readers' minds can be unified, the aesthetic effect of "words fail to convey meaning" can be strengthened.
When it comes to "words don't mean everything", we must go back to the front and talk about the three elements of poetry. Putting pen to paper is like looking for a needle in a haystack, pulling from east to west, but not grasping the key theme, that is, "poetic heart". Why do you say that putting pen to paper should be small? In fact, it is very simple, that is, don't keep writing, don't ramble. So what is "small", that is, what do you want to express when we write a poem, what is your main idea, to be exact, the angle from which you write this poem. Speaking of "angle", perhaps many friends know that it is the starting point of a poem, or the focus of a poem, or the highlight and breakthrough of a poem. If a poem finds a good angle and opens this breakthrough, it will affect the overall situation and the nerves of the whole poem. Writing poetry is like taking a cow by the nose, hitting a snake with seven inches, choosing the right angle and choosing a place convenient for excitement, development and excavation. Therefore, when creating, we should be good at choosing the right angle, which is both a skill and a talent.
As I said in my last article, I wrote three groups of poems made of water to talk about my feelings, but I want to say one more thing. In fact, "writing poetry" was a big operation and demanding in the past. People who used to be able to write a group of poems were all spendthrifts or poets with a long reputation. Of course, that's all in the past, and those great poets may not be considered by many people now. The key point is that the poems we see now can't actually be grouped. The author may be reluctant to put them together, because many poems can't be connected by a main line. (I have the opportunity to elaborate on what a group poem is)
Of course, the above are just my personal views and feelings, but I always think that poetry should have certain philosophical interest, from which we can see the author's thoughts. If a writer writes poetry with passion and no thoughts, it can only be said that he is still in the early stage of writing, still wandering in front of the threshold of poetry, and has not officially started. In fact, the language of poetry is basically very simple. Those who always pay attention to making thoughts deeper, using skills and highlighting more wonderful things in language will make readers feel less mellow. So when we read a poem, we always feel that it is not like a poem, and there is always a strange feeling. Then, you enter the poet's "thinking".
Writing here, I now regret using the word "brief comment" in my previous article. In fact, these words I wrote can only be "comments", not "comments". Because I don't have the rich ideological connotation in the bones of scholars, and I don't like to use the condescending statement of "brief comments", but the fact is that I have always written my feelings from the perspective of equality and even looking up to the author.
Therefore, if poetry is a single presentation of accumulated experience, then comments and feelings are a comprehensive perspective and playback of the creative background and the poet's creative state, and its wonderful degree may be unbelievable even by the author himself. Finally, I ended my feelings about water's poems with a famous saying by Shelley: "Poetry has opened the curtain and revealed the beauty hidden in the world"-because aesthetic feeling is the eternal theme of all artistic creation.