Look at the boundary (excerpt)
Loff
The fog is rising and we are in a daze.
The palms began to sweat.
Nostalgia is magnified dozens of times in the telescope.
Scattered with the wind.
When the distance is adjusted to heartbeat.
A distant mountain flew head-on
I was badly hurt internally.
This was done when Luo Fu 1979 and Yu Guangzhong went to the border of Lok Ma Chau in Shenzhen to see the mainland. Let's look at the choice of image-pay great attention to an emotional thing and give up an outgoing image. I didn't emphasize that such a purely emotional thing is not good. Poetry should be emotional, but the vague expressive force is limited to a specific aesthetic background, while the visual expressive force can always maintain a very vanguard state.
1 First of all, let's take a look at the grasp of line sense in Ai Qing's poems:
Lines are the basic elements of a painting, and the world we see is composed of single and complex lines. Mastering lines is the most basic skill of a painter, and Ai Qing has a good grasp of such skills. Let's look at several scenes in Transparent Night:
People who drink, go to the village.
A door with a light on,
From The Reed Flute:
Margaret's trembling lips faded.
Violet story spits out.
and
Reach out to the flame of burning meat, reach out to my hand!
In the dark, the image of "door" is difficult to construct. If you simply write the door, then a very symbolic image will be limited to paper and words. But here, the author compares such a "door" with a beam of light from the depths. The contrast between light and shadow is only a very rough line structure, so behind the "door", the author lists four groups of images: "the breath of blood, the pile of meat, cowhide, hot and fishy acid ...". These four groups of things seem to be concrete, but in fact they are abstract-breath and fishy acid. Such a description of human nature is very simple under the tolerance of thick lines. At the same time, the structure of thick lines makes the following details more detailed.
Similarly, the effect of the "lip" line is the same as that of the "door", except that it is a small point in the stack of group pictures. But Ai Qing's handling of this dot is also very clever. This should be a very subtle detail, but as a painter's pen should be able to reflect a broader meaning in subtle places-this is not an ordinary lip, but faded. Then imagine: when the lip color was bright, the edge of the lip was of course contrasted with the filled color, but now the filled color is faded, so the edge is particularly prominent. This contrast can directly make people think more widely, and almost every novel can be derived from a small point. This is the charm of lines. The next line is even more unique: flame. This should be an invisible image, but such a jumping and deformed line can only be combined with related things when it is shown-this seems to have the same effect as the first "door", but it is just the opposite. In the process of change, the flame will eventually reach the barbecue on the upper shelf, thus forming a closed space. In such a blank closed space, the shape of the flame will not become abstract even if it continues to change.
To sum up, Ai Qing's treatment of lines is characterized by using thick lines to construct the overall effect, using thin lines to reflect the color difference, and finally using another closed line to describe the image that can not be expressed in a single language.
2. Secondly, let's look at Ai Qing's choice of color:
Impressionist painters have a unique and rigorous treatment of the color distribution in the picture. They basically decompose light into a single primary color, then fill every tiny square, and finally get a three-dimensional sense of light without color difference.
Ai Qing is also looking for such a subtle visual sense in poetic language, but the limitations of poetic language bring difficulties to the expression of such an ideal. Because the color between lines can't be described in detail, the color difference of this light can only be shown under big lines.
Let's take a look at the "door" part we mentioned last time.
The light comes from the inside of the door-so the intensity of the light is represented by the color difference. Because of the thick lines of the door, such a strong lighting background is weakened into a scattered panoramic effect. The whole picture becomes three-dimensional, not only the lines are supported by light, but also the light is dispersed into a whole by lines.
Let's look at the second paragraph in To the Sun:
Good morning.
You're standing at a crossroads.
When the vehicle passes by,
A policeman with white sleeves.
Good morning.
You come from out of town.
A vegetable vendor is carrying a basket full of green vegetables.
Good morning.
You clean the road.
A cleaner in a red vest
Good morning.
You are the first to go to the market with a basket.
A young housewife with brown skin
I believe
last night
You will never be like me.
Be tracked by continuous wind and rain
Be haunted by endless nightmares
You all slept better than me!
Among them, the choice of color is unique. The picture was originally colorless, but if it is directly converted from a colorless picture to a full-color picture, it will be unacceptable to the eyes. But also cause a kind of confusion and unnaturalness in the overall sense. Ai Qing did this well (compared with other poets-stripped the color from the image). He just chose very representative colors and used them to reflect the ideological things in poetry. The white sleeves of the policeman, the basket filled with green by the vegetable vendor, the red vest of the street sweeper and the brown housewife are all juxtaposed in a single solid color, which is another typical feature of impressionist painting. White and green are monochrome and light colors. Red and brown are dark tones. The key is the stacking of colors, and the transition between them is very clever-white, green, red and brown. The gap is not very big. Then we are talking about something politicized in the middle-the white of the police is reactionary terror, the green of the vegetable vendor is melancholy, the red vest is the flame of revolution and the rhythm of the heartbeat, and finally the brown skin color-a typical oppressed group (see Lie Bin's Tracker on the Volga River).
Another ingenious place is to use the transformation and fusion of color scales to find light in dark colors. How to understand this sentence? Let's look at an example: Dayanhe-my nanny.
Dayanhe, today, your baby is in prison.
Write a hymn for you.
Give you the purple soul under the loess.
The key is here: the purple soul under the loess. These two colors were originally dim tones, but after such a combination, a qualitative change took place, and we found that there was a faint light sprouting under the text. Purple is composed of red and blue, so yellow can break this combination, and yellow itself can also be a bright spot. Then at this time, the overall color becomes rich, with bright components, and this light is still a strong process.
3. Finally, let's look at the overall embodiment of the composition effect:
In this regard, let's take a look at some scenes in the middle of his second death:
After the burning pain
His heart is at peace now.
It's like a battlefield that has just experienced a terrible battle
It's quiet now.
But his blood
Elastic gauze passed through his arm.
Or drop by drop
Dropping on the winter road of the motherland
……
That night.
Facing the opposite direction of his bed.
A solemn team ten times bigger than before.
At the rate of ten thousand people.
Wipe off the purple spots left by his blood drops
……
Freedom, sunshine, the world ushered in spring.
Countless people are in the street.
Make him feel strange and kind.
The sun shines strongly on the street.
awake from a sound sleep
Live and dance in the light.
……
In the soil with spring grass
After covering his body,
He left it to the world.
There are countless stars scattered on the wasteland.
One of the poor mounds.
On those mounds
People never mark the names of the dead.
-Even if it's marked.
What's the use?
Let's first look at the first paragraph quoted: blood drops on the road in winter; Ten thousand people's feet erased this purple trace.
Infiltrating color is the main means used-see Monet's Sunrise-the whole picture is full of color, and several simple bright tones are all blended together to achieve the effect of blending light. Although Ai Qing didn't make the light sense of the whole picture so strong here, the dyeing process was very full-blood, thick red, pale and gray on the way in winter-dripping behind, and it was completely dyed. It is because of this infiltration that the thick red becomes purple. This unique color expression looks a bit romantic, but it is so realistic in the bones.
Section 2: Sunshine, Life and Rhythm
This is the complete intersection of light and feeling. You can see that the whole picture is supported by a huge and intense light-this panoramic light has changed from glare to intensity. The whole picture is completely swallowed up by such power, but the author is not afraid because of this swallowing. On the contrary, it has intensified this atmosphere and changed him from a simple three-dimensional to a four-dimensional one.
Part III: Soil, corpse and starlight.
The romanticism we talked about before is back-what a fantastic picture it is. But this dream comes from death. The contrast of this contrast is all obtained by the starlight everywhere. The whole picture changed from a single piece of land to a fusion of stars in the sky, and the faint light made the gray tone wonderful. This kind of light perception is different from the intensity of the sun, and it is a subtle force-its tension makes every inch of land vivid and three-dimensional, and it has a unique taste in composition.
It can be said that Ai Qing is successful as a painter and poet, and this integrated impressionism makes the original stereotype more vivid and changeable. The world is changing, and this picture that changes with the pace of life is the real life.
Second, the impressionist music in Ai Qing's poems
Impressionist music uses texture, color and loudness to replace boring soliloquy and intoxication in classical and romantic music. Music can only imply or provide an image or artistic conception, and it is not necessary to report the literal meaning. The specific way is to use a variety of new sound combinations (nine chords, thirteen chords, chords with additional sounds such as unresolved two tones, and various augmented chords, etc. ) and the connection of these very complex chords in harmony (the juxtaposition of dissonant chords) to create strong colors that keep flashing, just like the juxtaposition of solid colors in impressionist painting. Thus, harmony is completely subordinate to timbre effect. In the aspect of orchestration, it is handled elegantly: brass instruments often add silence, woodwind instruments often use their mysterious and moving bass areas, and stringed instruments are also very detailed. Zhong Qin, piano, triangle and harp in percussion instruments play a great role in color processing. The effect of timbre is closely related to the strength factor-impressionist composers like to play weakly in order to highlight the artistic conception of music, such as lightness, delicacy, charm and even sadness, and the strength climax in music is mostly a short flash. As for melody, it is the instantaneous free floating of some incoherent short motives, in which the change is more than stability. As Debussy said, the continuous progress of melody will never be interrupted by anything and will never return to its true colors. This forms a loop-back mutation effect. Generally, the rhythm types that always avoid the beat stress, various modal scales, diatonic scales and oriental pentatonic scales, as well as rich and complex textures, have become an important part of impressionist music language.
According to the data of many experts and scholars, "Ai Qing's poems are too dull and have lost their unique sense of rhyme." There is nothing wrong with prose, but it is a bit exaggerated to say that the sense of rhyme is lost, because the so-called rhyme of poetry is not simply from the expression of words or the emphasis on rhyme in classical poetry. The phonological beauty of modern poetry should be combined with the musical beauty of its times to a greater extent. In other words, the sense of rhyme in Ai Qing's poems does not come from the words themselves, but from the structure constructed by the words, which is hidden under the text carrier and has its own unique rhythm, like a symphonic poem.
Here, I will take Ai Qing's masterpiece Dayan River-My Nanny as an example to analyze the harmony and transformation in this pluralistic variation. Because the whole poem is very long, I only quote the original text in specific links.
1, cyclic overall structure:
The whole poem "Wild Goose River-My Nanny" has an obvious feature, that is, the structure from beginning to end is consistent.
Dayan River, My Nanny, Dayan River, My Nanny, The snow I saw today reminds me of you ... Write a hymn for you and dedicate it to Dayan River, which is run by my son who loves me as his own.
The whole poem is connected by such a structure, and this connection is not a simple and unchangeable thing. As in the first and second parts, the end-to-end connection assumes the shape of the inclusion. The content in the second section is not an isolated existence, it is included in the first level. Secondly, in the consistent middle part from beginning to end, all the still images are firmly placed side by side like photos. For example, in the third quarter-"Yours, Yours, Yours ..." and in the fourth quarter-"In you, in you, in you, in you ..." Although this intention flashback is only a slight impression, the overall final effect is highlighted in such a gradual deepening process.
The most outstanding artistic effect of circulation is that it can add combination and hierarchical effect to the humble and independent image, make the overall plain culture and narrative dull disappear, and enlarge and express the author's inner will.
2. The horizontal effect of independence and integration:
The aesthetic feeling of impressionist music lies in the three-dimensional integration of single musical language and elements, which breaks the overall promotion of baroque music in the original romantic music. This sense of hierarchy is also fully reflected in "Wild Goose River":
The seventh, eighth and ninth sections break the reading rhythm and mode used by readers before. A paragraph that should be a complete combination is cut into two sections, which are different in space.
In the consistent part, such a combination factor is highlighted:
Dayan River, for living,
After she used up all the lotion,
She began to hug me and work;
The ending is still such a combination. The middle part of She's Smiling is divided into two sections, four sections and two parts. This short paragraph can be read separately, because it is originally a section. But there is a slight difference in the collocation of images-the first two sections are closely connected with the first part, and the last four sections are separated into paragraphs. This rhythm change and structural dislocation make the whole picture look natural when switching scenes, and the description from multiple angles has an innate sense of jumping, so that readers will not get tired of simple scene juxtaposition in the process of reading, but go on more appreciatively.
The ninth section, breaking the previous model, pushes the atmosphere of poetry to a small climax with a looser layout. Just as the climax atmosphere continued, the indifferent ellipsis and the sentence "Dayan River, the baby who loves her deeply" approached the first sentence, ending this little climax.
Integration after independence, integration contains independent paragraphs, such as twelve paragraphs, and the following thirteen paragraphs are integrated and inseparable.
The combination of variation, the application of polyphony and the new three-dimensional structure all make the narrative poems of prose culture full of jumping rhythm and add brand-new vitality.
3. Choice of independence and overall image:
Throughout Da Yan He, the choice of images has been carefully considered, and the result of this consideration is that there is a blending but independent feature in the independent intention and the collocation of components. I take the third and fourth verses of the psalm as an example:
There are four images in the third section: tomb, wafi, garden and stone chair. It seems to be very independent, but it is unified in one picture, which contains a sad atmosphere, in contrast to the sadness of the snow at the beginning and end. What's more interesting is the subtlety of composition transformation, which makes a rhythm as complicated as panoramic painting leisurely. In addition, the combination of natural transition has no stiff feeling at all, and it is completely around the gray main color.
In the fourth quarter, there are stoves, charcoal ashes, rice, bowls and tables with black sauce, rags, hands, lice and eggs. This is a separate and independent image, which is described and arranged in the order of the viewer. The overall sense of rhythm is not very strong, but an independent musical instrument is singing in a low voice, slowly presenting a common life scene. However, the restoration and reproduction of this scene have some classical and single patterns, which seem rigid and dull, but more is to pave the way for the integration of the following chapters.