Lyricism by borrowing scenery and lyricism by borrowing things are two common ways of expression in classical poetry, each of which has its own unique function. However, in the specific poetry appreciation, some candidates are easily confused, which is related to their similarity in form. Both of them express their feelings or thoughts through external things, but only by careful analysis can the difference be obvious. Lyricism by borrowing scenery refers to feeling in the scenery. With the help of the description of objective scenery, express feelings, express feelings. Poets express implicit feelings in their poems, so they have joy and anger, joy and sadness, but we will never regard this feeling as an idea. Entrusting ambition with things means that a poet expresses his heart, his attitude towards life and his perception of life through the description of things. In specific poems, the "scenery" expressing emotion by borrowing scenery refers to natural scenery, not something, while the "things" expressing ambition are often some objective things with symbolic significance. The poet expresses his "ambition" with the help of some characteristics of this thing, which shows that this "thing" is not a "scene" and chanting things is not a description of the scene. The "ambition" to express ambition can refer to feelings, ambitions, sentiments, hobbies, wishes, demands, etc. And the "feeling" of borrowing scenery to express feelings specifically refers to feelings such as love, hate, praise, joy and sadness. For example, the purpose of writing scenery is to express emotions, so it is to express emotions by borrowing scenery. "I am not afraid of broken bones and mud, but I only want to remain innocent in the world" (Yu Qian's "Lime Song"), "Scattered into mud, crushed into dust, but the fragrance remains unchanged", (Lu You's "Bu Operator? Yongmei) The poet wrote "Lime" and "Plum Blossom" in order to express his ambition and noble sentiment, so he used the expressive technique of supporting the object. Let's compare two classical poems and analyze the differences between them.
Quail day
Su Shi
The forest breaks the mangosteen and hides the wall, and the cicadas rot the grass in the pond and see the birds from time to time. Outside the hut, beside the ancient city, sticks and quinoa turned to the sunset. Diligence It rained all night last night, which made it cool for a day.
The whole poem describes the scenery from the perspectives of distance, altitude, vision, hearing and smell, and writes seven pictures of forest, mountain, bamboo, wall, cicada, grass and pond, which are of great capacity and can be called wonderful pens, but these scenes come together to reveal a secluded and complicated atmosphere. Through the picture, we can vaguely see the poet's bored, self-comforting and helpless mood. This kind of emotion is not directly expressed, but with the help of natural scenery, which is a way to express emotion by borrowing scenery.
Komatsu
Du Xunhe
When pine trees were young, they grew in deep, deep grass and could not be seen. Now they are found to be much taller than weeds.
Those trees that don't recognize that they can soar into the sky, until it enters the sky, people say it is tall.
Komatsu has just been unearthed, and it is really pitiful. The weeds on the roadside are taller than it, so that it is buried in the "deep grass". But small but not weak. Surrounded by "deep grass", it does not bow its head, but is a "thorn head"-the head covered with pine needles is straight and hard, sprinting upward and unstoppable. Those fragile grasses are not comparable. Komatsu was originally trampled by a hundred herbs, and now it has exceeded the height of Artemisia capillaris; Komatsu is still young and plain as grass. It will be insightful and meaningful if we can recognize it as "Lingyunmu" and cherish and cultivate it. However, it is this word "knowledge" that people of the times and customs lack, so the poet lamented that short-sighted "people of the times" would not regard Komatsu as a pillar, and how many Komatsu were destroyed and hacked because "people of the times didn't know"! After reading this, we will find that this poem is nominally "Komatsu", but in fact it is about people. When it was written as "Komatsu", it was not noticed at first, but eventually grew into a lingyun tree, which reflected the author's thinking about the talent's micro-life and eventually became a great cause, and criticized the shallow vision of the world to take people by their life experiences. The poet Du Xunhe was born in poverty. Although he was talented when he was young, he was down and out all his life because of "no acquaintances in the emperor" ("Quit Jiujiang Li Langzhong to enter the customs"), and even tried every time. Isn't this "Komatsu" buried in the deep grass a self-portrait of the poet? By describing Komatsu's bumpy experience, the poet expressed his thoughts on the growth of talents. This kind of writing is a way to express your will by supporting things.
In short, we should pay attention to the difference between these two concepts, one is "scenery" and "things", and the other is "emotion" and "ambition". Writing about scenery is to express feelings, and chanting things is to express ambitions. As long as you think about it repeatedly, the difference is still obvious.