1。 The difference between metaphysical road and metaphysical road
Whether in China or in the West, the concept of "image" contains two contents, namely "meaning" and "image". The former is subjective and the latter is objective. Subjective "meaning"
It should be expressed by objective "image", which is a subjective "meaning" expression. "Meaning" is the purpose and "image" is the means. "Image" is an objective thing or scene carefully chosen by the author to express "meaning". China's classical image theory emphasizes "meaning", that is, "image outside the image", and the latter's "image" implies "metaphysics"
Special ingredients. This is the expression of "image" thinking from Zhouyi to metaphysics, which is a feature that western "image" theory does not have. Western Imagism pays attention to the representation of "image", that is, the means to achieve the goal, so it has the characteristics of "metaphysics" and emphasizes the main position of image in poetry. Image is the ontology of poetry, and image is poetry. The ultimate goal of expressing emotions through "images" in China and the West is similar, but the specific paths are different. This is an important reason why westerners can't really understand the charm of China's classical poems. 2。 An objective image is different from a subjective image.
The "image" mentioned in China's ancient poetics mostly refers to the objective image, and the "meaning" is contained in the unexpressed image. There were many poems about things in ancient China, all about things and people, and people and things. It's all about "seeing things from me, so everything is my color". Everything is integrated with things and difficult to decompose. The image of modern western imagism is a psychological image or subjective image that is integrated into the poet's inner feelings. The image they choose is only the materialization of the poet's mind, and it is the "objective counterpart" of the poet to express his feelings or emotions, lacking implicit meaning. Imagism is neither a subjective reflection of realism nor a direct manifestation of romanticism, but a close combination of subjectivity and objectivity in imagery. Although the images they pursue are independent and distinct, which are very similar to China's classical poems in expression, they lack the profound connotation of China's classical poems, that is, the rhyme outside the rhyme and the flavor outside the taste. This is because, in the process of generating images, China's ancient poetics paid more attention to the sense of things in the traditional sense, that is, the feeling of scenes and the understanding of the soul; However, western modern image poetics believes that the image generation process of poetry is the display of complex experience of reason and emotion, which mostly reflects the infiltration of subjective will into nature or image world. 3。 Images are expressed in different ways.
Judging from the relationship between subject and object in the formation of images, both Imagist poetry and China's classical poetry emphasize the blending of scenes and the integration of subject and object, but the ways of integration are different. China's classical poets pay more attention to improvisation: the inner feelings inspired by things are in harmony with the objective scenes they face, and their works are completed in one go. When expressing images, western poets often regard objective things and background things as the "counterparts" of personal special feelings, and use these things and backgrounds to imply feelings, avoid naked exposure, and seek "counterparts" when personal special feelings already exist.
The images in China's classical poems pay attention to the harmony and unity of subject and object, and the unity of man and nature. The unity of man and nature means that man and the universe are the same, and man can perceive and understand heaven, thus achieving perfection. This idea is embodied in the image-building, that is, people look at people in a natural way and nature in a human way, thus humanizing the material state and materializing people's feelings. The ancient poets in China projected all their emotions on the object, so that "I" and "things" were integrated.
Images in American Imagist Poetry focus on seeking unity in the opposition between subject and object. Influenced by Plato's "ideal world" and Aristotle's "universal logical structure" theory, westerners believe that man is a whole independent of nature, dividing ego and non-ego into two elements, and emphasizing ego to explain all phenomena in the non-ego world. For westerners, between things and me? Matter and spirit are opposites. Imagist poets are also influenced by Schopenhauer's aesthetic view and Bergson's "intuitionism". Schopenhauer said: "Life is full of struggle and pain, and aesthetic observation can eliminate the difference between things and me, achieve the unity of things and me and even forget myself, and get rid of it temporarily." Attending Bergson thinks "intuition"
It means "that kind of rational experience puts us inside the object so as to fit in with the unique and unspeakable things in the object" ○ 1 1. The theories of the two show that westerners can create a strange world where things blend with me through caring for beautiful things and intuitive experience, that is, create a temporary unity of subject and object in the world of opposition between subject and object. 4。 Difference between fuzzy image and accurate image
In imagist poetry and China's classical poetry, the aesthetic characteristics of images are different. China's classical poetry pursues the hazy beauty of images, and pursues "the image outside the image, the scenery outside the scene" and "endless words and endless meanings", which are "hidden" and "obvious" in poetry.
The product of unification. "Show" means that "image" is tangible, vivid and distinct? Stick out. But "concealment" has two meanings: one is that "meaning" is hidden between the lines, and the other is that "meaning" is hidden behind "image", and multiple meanings can be obtained through imagination and association.
China's classical poems use vivid images (displays) to hide implicit and rich polysemy (concealment), from the real to the virtual, and the virtual and the real coexist, thus obtaining a hazy beauty. Imagism pays attention to the feeling in images, pursues the tough and clear beauty of images, emphasizes seeking truth from facts, accurately describes things without any explanation or comment, and creates tough, clear and rigorous poems.
China's classical poetry takes verve as its ultimate goal, and imagism takes image as its ultimate destination. Imagist poets believe that accuracy is the product of high concentration on what is written. In the process of creation, we should always focus on the spirit and deal directly with "things" to prevent the invasion of abstract concepts.
The object feeling presented to the reader "accurately" is just like the object presented in the poet's mind when he wrote this poem. In this situation with almost no expected purpose, the instant blending of scenes can only be understood by the reader through instant intuition, and this emotional power is fleeting and lacks connotation. 5。 The difference between fuzzy language and precise language
Due to the inherent differences between English and Chinese, imagist poetry and China's classical poetry have different expressive power of images. Language is the most primitive way of thinking. China's image language causes China's image thinking, and the biggest feature of image thinking is that it is easy to grasp the world intuitively. The first is to grasp the image, then the relationship and the whole. But when we grasp the whole, the individual will become blurred.
The fuzziness of China's language is the diversity of China's language meaning. There is substance behind the language phenomenon, so China's thinking pursues the implication, metaphysical sound, the taste beyond the taste and the meaning in the words.
Fennorosa believes that Chinese characters in China have two characteristics, which are most suitable for poetry. First of all, Chinese characters can best show and preserve the truth of things. Because it is pictographic, it is closest to nature. As far as a Chinese character is concerned, it contains much richer image content than an English word.
Second, China's characters are not bound by rational logic, but have independent initiative, which avoids the drag of many characters. Chinese grammar is simple, without considering the changes of number, case and tense, so it can be arbitrary, and the subject can often be omitted. In Chinese, sentences are formed naturally, without articles or even conjunctions.
English is phonography, which has advantages in imitating people's thinking activities and expressing abstract ideas, but it is slightly inferior to Chinese in dealing with things directly. English rich grammatical morphological changes and systematic rules also restrict imagist poets, making them unable to express their images as freely as China's classical poets. Due to the detachment of grammar and the freedom of part of speech, China's poems are highly concentrated and ethereal, which can't be imitated by imagist poets in Britain and America. As for the strict antithesis and rhyme in China's ancient poems, English and other languages are far behind.
English is an ideographic language with accurate meaning. At the same time, English is also logical and organized. Without subjects and conjunctions, English can't be understood, and there is no room for imagination, and it is even more difficult to create a beautiful artistic conception. The simplicity of Chinese characters is beyond the reach of English writing. In ancient Chinese, the words were concise and the structure was free. The syntax in China's ancient poems is not determined by the subject, and there is no change in tense, number, case and person, which creates a broad space for ancient China poets to use words.