In the meantime, there is a quatrain called: "Three lights, the sun, the moon and the stars, and four poems are elegant." In the six meanings, "style, elegance and praise" refers to the types of poems in the Book of Songs, and "Fu, Bi and Xing" are the expressions in poems.
Fu: It is a way to express things directly. Zhu, a scholar in the Song Dynasty, said in the Notes on Poems: "The giver must tell the truth." For example, Ge Tan and Slug in The Book of Songs used this technique.
Bobby: It's a figurative way to describe things and express thoughts and feelings. Liu Xie said in "Wen Xin Diao Long Bi Xing": "And what is Bi Ye? Cover things with attachments and threaten to cut them off. " Zhu said, "If you compare, you can compare this thing with another." For example, books in The Book of Songs, such as Cats and Storytelling, are written in this way.
Xing: It's a way to make things interesting, that is, to use the beginning of things to describe things and express thoughts and feelings. In the Tang Dynasty, Confucius said in "Mao Shi Zheng Yi": "Those who get the Tao are happy. Take the metaphor as an example. Those who quote plants, birds and beasts in poetry and prose are happy. " Zhu pointed out more clearly: "If you are interested, you should say something else first to arouse the words you are reciting." For example, Guan Ju in The Book of Songs is the expression of "Xing".
These three methods of expression have been handed down all the time, and they are often used comprehensively and complement each other, which has a great influence on poetry creation in past dynasties.
There are many forms of expression of poetry, which are constantly developing and creating since ancient times, and their application is also flexible, exaggerated, repetitive, overlapping, jumping and so on. It's hard to describe. However, all methods are inseparable from imagination. Rich imagination is not only a major feature of poetry, but also the most important form of expression of poetry. In poetry, there is also an important technique of expression, which is symbol. Symbol simply means "symbolic meaning", but in modern poetry, symbol is the direct image of the soul and should be paid attention to. From a modern point of view, there are three main ways to create images in poetry: enlarging or narrowing the content to be described in order to attract readers' attention and association.
Li Bai's Peach Blossom Pond is deeper than thousands of feet, so it is not as good as Wang Lun (for Wang Lun), "Flying down three thousands of feet, suspecting that the Milky Way will fall for nine days" (Looking at Lushan Waterfall), in which "deep thousands of feet" and "three thousands of feet" are mentioned, although it is not true, the image he created vividly shows the characteristics of things and expresses the poet's passion, which is not only acceptable to readers. However, this exaggeration must be artistic and aesthetic, not too absurd, not too real, and not too vulgar. For example, there is a poem describing the harvest of cotton: "A bag of cotton is wrapped/the truck head is tilted/tilted, three feet high/like an anti-aircraft gun." After reading it, people feel unreal and can't feel good. Symbol is to express one's will by holding things, and to give profound meaning with concrete images. For example, Yu Qian's Ode to a Lime, Lu You and Mao Zedong's Yongmei, and Shu Ting's To the Oak all rely on vivid images to pin their life ideals or understanding of something.
1, figurative technique: figurative refers to the specific image of an object, that is, the image of the object. Generally speaking, concreteness in poetry refers to the name of an object, including its shape, color, texture and so on. Such as willows and camphor trees on trees; Lotus, orchid and reed in vanilla; Crows, eagles, chickens, ducks and geese in poultry; Tigers, wolves, dogs and rabbits in mammals; Wind, clouds, thunder, electricity, rain, snow, sun and moon in the sky; Mountains, rivers, lakes and seas on the ground; Man-made bridges, buildings, silks and satins, cars, planes and so on. Adjectives such as round, square, long, short, curved and straight, and color words such as green, green, yellow, red, purple and white are added in front of these objects to form tangible shapes. Coupled with adjectives such as hard, soft and tough, we can know the texture of some objects. Of course, the reason why we can perceive the concreteness of these objects from poetry works is based on our daily experience.
Image is an image with the author's subjective feelings. Image belongs to the category of China's ancient aesthetics. Meaning refers to the mind; Image refers to the object image. Image is the concrete image contained in the chest, and it is the fusion of the perceptual image of the object and one's own state of mind. The word was originally a philosophical concept. Liu Xie, a A Liang in the Southern Dynasties, used it in artistic creation for the first time in Wen Xin Diao Long, pointing out that "a craftsman can get a glimpse of his image by taking a single photo", indicating that the image of foreign objects should be integrated with interest and emotion in conception to form an aesthetic image.
For example, "horse" is an object, "white horse" is a concrete, and "fierce horse" is an image. Why? Because whether a horse is strong or not depends on people's feelings and brain's judgment. Similarly, "people" is the object, "black people" is the concrete, and "good people" and "bad people" are the images. Another example is that "mountains" and "water" are objects, "green mountains and green waters" are concrete, and "entering wasteland" is vivid. Image is a general concept, not clear enough. For example, "horse" is an image, which includes all animals that can be called "horse". The figurative "white horse" image is clearer; "Fierce horse", it increases people's feelings and judgments. In a poem, if the image of "fierce horse" is accompanied by a "general", then the poem will appear more atmospheric in style, which is also conducive to depicting the tall and powerful image of "general"; If the image of "Fierce Horse" is matched with a herdsman, then this poem may have a rough style; If you add a "dwarf", then this poem is likely to look ridiculous. In poetry creation, images serve the theme that the author wants to express, and are used in poetry by the author after thinking and screening. Therefore, choosing the right image to express it is one of the keys to the success or failure of a poem.
In the field of poetry, there is another explanation for the word "image", that is, the concept of "image" refers to the image in the author's mind when writing. In other words, some objects don't exist at all, such as "dragon", "phoenix", "unicorn", "immortal", "Yan" and "the Monkey King", and there are other legendary animals. If you write these things into poetry, they will become "images in your mind". In another case, this object exists, and it may have been here, but the poet didn't see it when he went. In order to serve the theme and create artistic conception, the poet also wrote it in, becoming an "image in the heart". For example, when writing poems about Wugong Mountain in Luxi, many people write "White Crane" in their works, because the main peak of Wugong Mountain is called Baihefeng. As far as I know, there is no white crane in Wugong Mountain, at least no one has ever seen it in contemporary times. If we really think that a poet saw a crane in Wugong Mountain while reading these poems, it would be a big mistake. Please look at a night-mooring near maple bridge, a poem by Zhang Ji, a poet in the Tang Dynasty. We are all familiar with it:
Crows fell on the moon, crowed coldly, slept on maple trees, and slept in fishing lanes by the river.
In the lonely Hanshan Temple outside Suzhou, the bell that rang in the middle of the night reached the passenger ship.
For hundreds of years, there have been arguments about the five styles, Jiang Feng and Midnight Bell in this poem. Some people think crows are sleepy at sunset, but they don't crow at night. The moon sets and the frost rises, and it is almost dawn. Why does a crow crow? Some people think that maple is afraid of wet and likes to dry, and maple will not grow by the river; Others think that there are no bells in the Buddhist temples in the Tang Dynasty at midnight. In fact, this also involves the image of poetry. Poets often write poems by association. He will write some non-existent images into his poems to improve the artistic conception of his works. Let's assume that Zhang Ji didn't see a maple tree on the river, didn't hear a crow crow, and didn't hear the bells of Hanshan Temple, but this didn't prevent him from "borrowing" these three things into his poem a night-mooring near maple bridge. Crows crowing at night can give people a feeling of sadness and terror. Don't we folks often say "the crow is not good"? Isn't it said that whoever says something unlucky is a "crow's mouth"? In fact, "crying at night" is just an image that the poet exaggerates the melancholy of tourists. As for saying that maple trees will not grow on wet banks, this speculation is wrong. There is a big maple tree by the river on the east side of Ren Li Village Street in Luxi Town. I went to see it a few years ago, and this maple tree is still there.
2. The description of poetic artistic conception refers to an artistic realm in lyric poetry and other literary and artistic creation.
The artistic conception of beauty is a kind of high-level and deep understanding expressed by the author in his poems. Think deeply and think it over. Or inspired by thought, addicted to philosophical thinking. If poetry lacks this kind of artistic conception beauty, it will reveal that good poetry will have a kind of artistic conception beauty, that is, the artistic conception is superb and far-reaching, which makes people feel rich and affectionate after reading; Let people immerse themselves in its tasteless, or low style.
Artistic conception is not mysterious, it is the unity of the poet's subjective intention (thoughts and feelings) and the objective environment (life image or living environment), and it is the harmonious and perfect unity of form and spirit, inside story and location. Explain in plain and concise words that "meaning" is the poet's thoughts and feelings, and "realm" is the objective thing described by the poet. Combine the two to achieve scene blending, or express emotion in the scene, or borrow the scene to express emotion; Or reason in the environment, or reason by the environment. When we write poetry, we should use concise, accurate and beautiful language to create an artistic realm which is different from the prototype of life, has both form and spirit, and contains infinite meaning and feelings. In this artistic realm, "meaning" is not directly revealed or abstracted, but is naturally perceived by readers in the picture; "Scene" is not a purely objective appearance camera, but permeates the author's thoughts and feelings. Implicit feelings in images, that is, meaning in the realm and meaning in the realm, can create a meaningful artistic realm.
Good poetry pays attention to artistic conception. This is because thoughts and feelings must be contained in concrete images. If you want to write a poem well, you can't help writing scenes. You must pay attention to the blending and unification of scenes and be harmonious. This kind of scene blending is particularly obvious in poems describing landscapes.
Su Dongpo commented on Wang Wei's poems and paintings, saying that "there are paintings in poems and poems in paintings". "Painting in Poetry" is a landscape created by emotion; "Poetry in painting" is the feeling in the scene. The former should be good at choosing and depicting scenes suitable for expressing their thoughts and feelings, while the latter should express their thoughts and feelings through vivid pictures. This is what people often call "scene blending".
Liu Zongyuan's famous poem Jiang Xue is a very representative example:
There are no birds flying over those mountains, and there are no traces of people in those paths.
A boat on the river, a fisherman wearing his webworm moth; Fishing alone is not afraid of snow and ice.
This poem is like a beautiful landscape painting. It vividly depicts the picture of snow flying in the cold river and fishing alone, which makes people feel that the snow is all over the ground and the north wind is pressing, but fishermen are willing to fish alone in a harsh and lonely environment; This reflects the author's situation and mood at that time. Liu Zongyuan was relegated to exile because he failed to participate in the political reform. This photo shows his indomitable integrity in a bad political environment. At first glance, I may think this is just a plain landscape painting, but the more I appreciate it carefully, the more meaningful and far-reaching it is.
Su Dongpo's "Title of Xilin Wall" is a poem borrowed from the environment;
Looking at Lushan Mountain from the front and side of peaks and valleys, from far, near, high and low places, Lushan Mountain presents various faces.
I can't recognize the true face of Lushan Mountain because I am there.
This poem is full of interest in reasoning and superb reasoning skills. By watching Lushan Mountain in different places, Su Dongpo explained the philosophy that we should observe things from different angles to draw correct conclusions. Of course, this is also the feeling of his visit to Lushan Mountain. If Su Dongpo had not expressed this philosophy by understanding the situation at that time, his reasoning poems would certainly not have been mentioned often.