Dynamic and Static in Classical Poetry (2)

Li He, a poet in the middle Tang Dynasty, is the best one to turn static into dynamic. This talented poet, who has only lived for 25 years, is not only good at turning static into dynamic through characters' language actions, but also leaps in poetic prosodic images, such as this poem Wild Goose Gate:

Enemy soldiers rolled in like dark clouds in an attempt to tear down the city wall; Our army was ready, and the sun shone on the armor, glittering with gold.

In autumn, the loud bugle sounded; The soldier's blood became dark in the night.

The red flag rolled half, and the reinforcements rushed to Xiao; The night frost is heavy and the drums are gloomy.

I want to report to you on the golden platform, and I want to take Yulong to your death.

There have always been different opinions about the theme of this poem. Some people say that the enemy soldiers are under siege, and the wild goose gate satrap sticks to Chengwei; Some people say that the satrap of Yanmen led the troops to pacify the buffer region; Some people say it's a loyalist siege, others say it's a surprise attack; Some people say that it describes the process of fighting, while others say that it depicts fierce fighting. The reason why there are so many ambiguities is mainly because it adopts a leap-forward structure: almost every sentence is a fragment and a scene, and there is no direct correlation between them, and there are not too many narrative categories. Some critics interpret this as the writing style of Western Impressionism, while others take a name with China characteristics? Impression linking method? . No matter what its name is, its main feature is the jumping between pictures, which is very dynamic in structure and emphasizes the visual impression of the fragments. Plus the color of the picture is extremely strong? Dark clouds? 、? Golden scales? 、? Yan Zhi? 、? Night purple? 、? Red flag? 、? Frost weight? This will leave a deeper visual impression on readers.

Lee, is he worthy? Ghost talent? He not only wrote about people's ability to turn static into dynamic, but also wrote about ghosts and gods. People who are familiar with China's classical poems will know his song "Song of the Golden Copper Fairy":

Maoling Liulang is a guest in the autumn wind, and I heard Ma Si's ignorance at night.

The osmanthus tree in the painting column hangs autumn fragrance, and the soil in the thirty-six palaces is green.

Wei Guan led the car thousands of miles, and the sour wind in Dongguan shot at his eyes.

Empty sent John out of the palace door, thinking of your tears like lead water.

Declining orchid to send guests to Xianyang Road, if the sky is old.

The lonely moon is bleak, and the acropolis is low.

Although Li He was a branch of the Tang royal family, his family had already declined. Although he was ambitious, he failed to get into the Jinshi exam because he avoided his father's anonymity, which broke his career path. It was only through the clan relationship that I got the humble position of Feng, who was in charge of the ancestral temple sacrifice, to support my family. With what? What is a teenager thinking? Compared with ambition, inner pain and injustice are self-evident. At the age of 23, even this connection with the court will be lost. According to Zhu Ziqing's Chronicle of Li He, this poem was written in the eighth year of Yuanhe (8 13). Li He resigned due to illness and returned to Luoyang from Chang 'an. The poet expressed himself with the legend that the golden bronze immortal did not want to leave Chang 'an ancestral temple and went to Luoyang. Zongzi? The sadness of going to the countryside. The theme of this poem is profound and sad, the color of the poem is gloomy and cold, but this poem is full of movement. Poets express themselves by turning static into dynamic? Zongzi went to the countryside? Sadness and inner anxiety. This is manifested in the description of the environment, the outline of the characters and the depiction of the inner world. Emperor Wu of the Han Dynasty's desire for longevity has always been the object of Li He's ridicule. Emperor Wu loves immortals and burns gold to get purple smoke. The stables are full of meat horses, so why don't you understand the sky? ("Ma Shi"); ? Liu Che Mausoleum has many stagnant bones, but Ying Zheng catalpa coffin costs abalone? The bitter days are short. But in this poem, although the long-lived monarch is still ridiculed as a passer-by in the autumn wind, he is a restless soul: during the day. Maoling is as silent as other barren graves, but at night, horses neigh and carry this generation of Yingjie to roar and chase. ? Have you ever heard of Ma Si at night? Although there are only seven words, it is full of strong sense of movement, vividly depicting the dead soul of Emperor Wu of the Han Dynasty from the inside out. The image of the golden bronze immortal is full of movement. According to the "Hanshu Jin Chunqiu" learned in the Eastern Jin Dynasty? Emperor (referring to Wei Mingdi, quoted from the note) moved the board and dismantled it, and it was heard for dozens of miles. Di Chin (Tong Ren) is still crying because he stayed in the city? . Li He deliberately concealed the fact that Jin Tongxian stayed in Bacheng because he was too heavy to migrate, and fabricated the situation when he left his hometown for Luoyang. Wei Guan leads a car thousands of miles? Is it to emphasize the compulsion and helplessness of leaving the old country? Does Dongguan sour wind shoot your eyes? It is to express inner sadness and sadness. ? Acid wind? The description of the cold wind in Kanto makes Tongren people's eyes sour, and also implies their inner sadness. Poets not only use? Acid wind? And then what? Shoot? These two words with strong dynamic sense turn static into dynamic, personify lifeless bronze figures, have human feelings and psychology, and make the picture and connotation full of dynamic sense. In addition, the poet constantly changes the angle in his description: Wei Guan leads a thousand miles? It is the object of writing, highlighting the compulsion and helplessness of Tongren to move eastward; ? Kick John out of the empty palace gate? Then turn to the theme, highlighting the desolation and emptiness of the old country. Nothing exists, everything is gone. This is the feeling of the copper man's imagination of the old country, and it is also the feeling of the poet's arrival in the old country. Use? Lead water? I'm afraid this is the only one that can show my heavy heart and deep yearning for the monarch. Shi Gui? Imagine that. Tears are everywhere like lead water, so there are not only sports but also sounds. This dynamic feeling is not only reflected in the behavior of Emperor Wu, the expression and psychology of the bronze man, but also in the poet's description of the environment along the way when the bronze man moved to Luoyang. ? Decline blue to see Fujian off? It is intended to show the sadness of the environment. The moon is desolate? It gives people a sense of eternity. Acropolis long wave small sound? What's more, using distance and sound gives people visual and auditory feelings, which is the application of turning silence into hands-on method.

Ren Xian, a golden boy, wrote about God in Han Song, but his other poem, Su Xiaoxiao's Tomb, showed ghosts. This classic in China's classical poetry also uses the technique of turning static into dynamic:

Orchids are like crow's eyes and have nothing in common, so fireworks are difficult to cut. Grass is like grass, loose as a cover, wind as a skirt, water as a compliment. The oil-wall car used before death should be waiting around at night. Wildfire Wildfire green, courtesy, lightning. She walked, under the Xiling, only the wind and rain, whistling.

The orchids in the poem are crying, the candles emit cold light, and the autumn rain is blown all over the Xiling by the wind, which is not only full of movement, but also transforms the lifeless nature into the feelings and life of the rich: the wind is clothes, the water is jade, and the oil-walled car is accompanied day and night, so that the ghost of the talented woman Su Xiaoxiao rides the oil-walled car and drives a green horse. As long as you compare the Song of Su Xiaoxiao with the same theme in Yuefu in the Southern Dynasties, you will feel how imaginative and dynamic this poem of Li He is:

I take the tanker and Lang takes the Qingqi. Where the knot is concentric, Xiling pine and cypress.

There are no environmental descriptions and all kinds of objects symbolizing death in this southern dynasty Yuefu, such as the bleak wind and rain under the Xiling, the weeping orchids, the inseparable fireworks and the symbol of ghosts? Cold green candles? It is all Li He's further imagination and animation. Xiling pine and cypress? Still refined? Grass, loose as a cover? ,? I take the oil wall car? Add something? The breeze is her clothes, and Jasper is her Yu Pei. Oil wall car, treat at night? Waiting for the dynamic story of preparing for the appointment.