(a) The strict structure of the articles of association. Fan Wen, a poet in the Song Dynasty, quoted Huang Tingjian as saying: "Articles must be carefully arranged. Every time I see the post-school, I often tell you that the original road has twists and turns. " Song poetry has a tendency of prose culture, and Huang Tingjian also used the method of writing articles in his poetry creation, demanding that every sentence and paragraph should be arranged properly. However, this "arrangement" is not an attempt to stick to such a rigid format, and the village scholars' "starting, inheriting, turning and combining" is full of twists and turns. "Strange and positive are born together", which is rich in law but impossible to do, and finally reaches the realm of "unintentional writing". When we read Huangshi, we often encounter such a situation: the author's train of thought seems to be suddenly broken, and the upper and lower sentences can't be connected with tenons. This is like a montage technique in a movie. The lens suddenly changes and the scene suddenly changes, but there are still people who are internally related and need our imagination to make up for it. In this way, literature is more concise and poetic.
(2) Pay attention to rhetoric. Huang poetry has its own unique syntax, which was handed down from Du Fu. I like to make awkward sentences. In sentence structure, the order of subject, predicate and object is reversed, or some sentence components are deleted, or two meanings are condensed in one sentence, which makes the meaning of the sentence tortuous and the style ups and downs, leaving a deep impression on readers. For example, the famous sayings "A chicken knows when it rains, and snow and frost are better than fungus to compete for the new year" ("Re-rhyme to send children") and "I don't know the bright moon, and the green trees give me cool autumn" ("Bianan wine gives me yellow seventeen") are all good examples. Huang's poems attach great importance to the refinement of words, "taking one word as the key to closing the door", the third word of five-character poems and the fifth word of seven-character poems require a stable work and a new policeman. The words are powerful, there are "eyes" in the sentence, and the sentence looks steep, which is colored by the whole poem. Function words should be refined, especially the application of function words, so as to make the writing ups and downs.
(3) Pay attention to the tempering of the sentences in the regular poems. Duality, the Tang people have made a lot of efforts, and there are many neat, delicate and well-known antitheses in Tang poetry. If Song people want to spread it, they must establish new laws and innovate their ideas. The antithesis in Huangshi's poems is natural and vivid. Some of them look like prose sentences at first glance, but they are not like duality. However, if you appreciate them carefully, you will find that every word is exquisite and has a unique charm. For example, "Five sheep are a hundred miles away, and cheap children are divided into male teenagers" ("Pei Zhongmou, the second rhyme in the same year"), "Sit still in the spring rain song, and miss the sunset thousands of miles away" ("Answer Wang Huizhi to see you upstairs"). As the saying goes, "the breath of singing is the luck of even sentences."
(4) It has special musical beauty. The rhythm of poetry is consistent with emotion, and the special style needs to be expressed with special rhythm. In Huang Tingjian's regular poems, there are many sentences that do not conform to the "norms", and these sentences are not composed according to the flat and even characters stipulated in the Poetry Law. "The method is to change the word from the current flat word, and it is quite unusual to be angry." This well-used and emotional embarrassing phrase is even more beautiful in disharmony. For example, "It rained for a long time, and the Yangtze River sailed to the sky late" ("The topic falls on Xinglan"), "Talk 10,000 words, look up 300 cups" ("The old topic of crossing Fangcheng to find the seventh uncle") and so on. In this way, Huang Tingjian took great pains, found a new way, deliberately surprised, and formed his own unique artistic style with the writing method of "singularity", the syntactic method of "taking the old as the new" and the dangerous temperament. People call this poetic style "bold innovation" and "old and hard". Huang Tingjian swept away the weak and extravagant poetic style in the Five Dynasties and the early Song Dynasty and made contributions to the development of China's poetry.
On poetry, Huang Tingjian advocated such methods as "no words are passive", "turning iron into gold" and "replacing bones with fetuses", which had a certain influence in the Song Dynasty and even later generations. Jiangxi poetry school advocates thin and hard style and demands that every word has its source. It often imitates the poems of predecessors, making slight changes, thinking that originality is to inherit Huang Tingjian's mantle and strengthen it. Huang Tingjian pays too much attention to the technical form of poetry and ignores the ideological content of his works, which is the most essential thing in literature and art. Therefore, no matter how hard he tries to bring forth the new, practice words and sentences, and strip away the words and stale tunes used by others, he actually just fills his new bottle with the old wine of his predecessors. His writing skills are getting deeper and deeper, and some poems are stiff and eccentric, or too tortuous and obscure, so that they have become antiques that only a few people appreciate.