Imagination and Reality in Poetry

The theory of truth and falsehood in the appreciation of classical poetry is originally a pair of philosophical categories, but it is widely used in artistic creation and artistic criticism in China. In the article "Imagination and Reality in China's Artistic Expression", Mr. Zong Baihua made a deep discussion on the emptiness and reality in China's opera, painting, calligraphy, architecture, seal cutting and dance. In China's classical literature, especially in his classical poems, there are a lot of phenomena of the combination of reality and fiction. The relationship between virtual reality in classical poetry and virtual reality in other audio-visual art forms is one of the similarities. The relationship between virtual reality in classical poetry and blank space in painting art is a common expression technique in China traditional painting art, such as fish painted by Badashanren and prawn painted by Qi Baishi. There is nothing else on the paper, but we can feel the blue waves in our eyes. Although the picture is ethereal, it has charm. These are all blank skills. The artist inspires the audience through the images on the screen, fully mobilizes the imagination of the audience and reproduces the beautiful realm of art. This phenomenon also exists in China's classical poems, such as Jia Dao's Lisao: "When I asked your students, under a pine tree," he replied, "My teacher, go to herbs." However, through these clouds, how can I know which corner of the mountain it is facing? The dialogue between the writer and the boy is true, but it omits the content of the poet's "question" and does not introduce what the hermit looks like. But we can supplement it by imagination. This technique of writing empty with real things can also be called blank art in poetry. China's classical poems are concise in language and rich in meanings. Many poems use this art of blank space, especially those that simply describe the scenery. The combination of reality and reality, and the second is the relationship between reality and contrast. When a poet portrays a character or a scene, when it is difficult to express it positively or the poet deliberately pursues a kind of euphemistic and implicit beauty, he often uses the method of profile description to contrast or hint. Arouse the imagination of readers, thus causing aesthetic experience. For example, in Shang Mo Sang, the poet described the abnormal reaction (reality) of pedestrians, teenagers, tillers and hoes to compare the beauty of Luo Fu. Another example is Pipa, where the poet wrote about the moon in the river three times, but the purpose of describing the moon is to set off the feelings of the characters. " Although we drank wine, we were not happy. We were breaking up. When the river mysteriously widened towards the full moon, it set off the poet's sadness when he broke up. "The boat in the east is quiet, and the boat in the west is quiet, just looking at Bai Yue in the middle of the river", which sets off the wonderful and charming effect of pipa sound. "She is guarding an empty boat at the mouth of the river, and there is no one to accompany her except the bright moon and cold water", which sets off the lonely and sad mentality of the pipa girl. The scenery is real, but the feelings set off by the scenery are empty. China's classical poetry is similar to painting, drama and other art forms, but poetry is a unique art form, the relationship between reality and scene. When analyzing the relationship between the virtual and the real in artistic works, people often say that "the virtual comes from the real, the real is the virtual, the real is the foundation, and the virtual is the use". This phenomenon is particularly prominent in China's classical poems. For example, "I can only see the Yangtze River flowing in the sky" in Li Bai's "Yellow Crane Tower Farewell Meng Haoran on the way to Yangzhou". These two poems literally describe the scenery, but this scenery contains the poet's deep affection for his friends and is lyrical. The scenery is real, but the lyricism is empty. In fact, this is a way to express emotions or feelings in the scene. Another example is Zhu's "Sailing at the Shuikou": "It rained on the ship last night. What about the stormy night? At present, the test paper is lonely, and there are still many green mountains and green waters. " Writing about what you saw and heard on the river is a real scene; The poet's description of landscape painting contains the philosophy of life and is illusory. This is actually what we call borrowing scenery to express feelings and narrative reasoning. Another example is Li Chen's poem Waterfall, which describes the majestic and rugged waterfall image that finally flows into the sea. This is an objective landscape and reality; The poet reposes his ideal of life in his poems, which is an expression of ambition and emptiness. In fact, this is what we usually call the expression of ambition. In the above-mentioned cases, the author "turned the scene into emotion" by virtue of subjective emotion, ambition and objective reason. From the performance content, it is the relationship between emotion and scenery; Fourth, the metaphor of the virtual and the real is a rhetorical device and a common expression skill in classical poetry. In this way, poets vividly describe specific scenes to express their feelings. For example, Li Yu's "Yu Meiren" (when is the spring flowers and the autumn moon): "How much can you worry about? Just like a river flowing eastward. " With a metaphor, the endless "troubles" are materialized into flowing springs, which are expressed incisively and vividly. Another example is He Zhu's Jade Case: "How much leisure, a stream of smoke and willow, the city is full of wind, the plum rain is yellow." Poets use exaggerated metaphors to turn intangible into tangible, and write infinite sadness and sorrow in their hearts. "A stream of smoke and willow", "The wind blows all over the city" and "Huang Meiyu" are too idle to care about. From a realistic point of view, this writing method of expressing emotions by metaphor has turned virtuality into reality. In fact, the above four kinds of phenomena of the combination of reality and reality are related to artistic techniques such as lyricism, contrast, metaphor and blank space, so they are not within the scope of poetry appreciation. Fifth, the present scene is true and the dead scene is empty. When the author writes a dead scene into a poem, he mostly expresses the poet's inner feelings by forming a relationship with the real scene at present. For example, Li Yu's "Looking at the South of the Yangtze River" (how much hate, last night's dream): "Like the old garden, the car is like running water. These three sentences "Flowers and flowers are spring breeze" describe the prosperous life of the past, which is in sharp contrast with the poet's infinite bleak situation at that time. The combination of reality and reality highlights the heavy sadness after waking up. There are quite a few poems that express their feelings by writing dead scenes and combining reality. In particular, the ancient poems that satirize the present are mostly written in this way. For example, Liu Yuxi's Xibao Mountain Nostalgia, Li Bai's Yue revisits the past, Su Shi's Red Cliff Nostalgia, Xin Qiji's Jingkou Nostalgia, Gubei Pavilion and so on. Sixth, the present scene is real, and the future scene is imaginary. There are many poems in classical poetry that imagine future scenes. The poet compares or contrasts it with the current scene and current feelings, and expresses his feelings with virtual reality. Liu Yong's Yulin Order: "Where did you wake up from the wine tonight? Yang Liuan Xiaofeng passed away. "This is what you see when you wake up from a drunken dream. Weak willows help the breeze, and the waning moon hangs branches. This is an empty article. This sad scene envisioned by the poet adds a layer of sadness to the scene of parting with his lover. Seven, from their own point of view to write for real, from each other's point of view to write for virtual. This article is similar to the previous one. The similarity is that they all imagine each other, but the difference is that the latter idea is from the other side's point of view, so some people call it positive writing. For example, the first four sentences of Du Fu's Moonlit Night: "Far away in Fuzhou, she is watching the moonlight, watching it alone from the window of her room. For our boys and girls, poor little baby, I finally remembered Chang 'an. "This poem was written by the poet who missed his wife and children when he was trapped in Chang 'an during the An Shi Rebellion. Originally, the poet missed his wife and children, but the poet adopted the "opposite writing". From another angle, imagine how much his wife misses herself on the moonlit moon. Some critics say, "the public thinks of home, while the family thinks of itself." This way of writing is more euphemistic than saying how much you miss your wife and children, but the feelings have achieved the effect of two-way communication, so the feelings are deeper, which is more touching and artistic. Commonly used antithetical poems include Except Night written by Gao Shi, Shanju Holiday Thinking of Shandong Brothers written by Wang Wei, Winter Night Thinking of Hometown written by Bai Juyi and Walking on the Beach written by Ouyang Xiu. This combination of reality and reality has communicated the feelings of both sides, so there are thoughts, sadness and heartache. Eight, the objective scenery is true, dreams, fairyland, vows are empty. By writing dreams and fairyland, I can express my feelings and express my ideal poems. The most famous is Li Bai's Mount Tianmu in a Dream. The author wrote an auspicious and beautiful fairy world with magnificent poems, which reflected the danger and ugliness of the real world and expressed the poet's hatred of the real world. Another example is Li Qingzhao's "Pride of the Fisherman": "It's like a dream soul returning to the emperor, smelling the sky and asking me where to go." The poet created a loving and gentle image of Heaven Emperor, which reflected his fear of powerful enemies. He fled all the way, leaving the people of Song Gaozong, the quagmire and the incompetent court. "90,000 Li Fengpeng lifts, the wind stops, and Pengzhou blows three mountains!" Although the poet is very talented, she can't tear down the building. She hopes to live a happy and beautiful life in fairyland, which reflects the suffering and hopelessness of the real world. In addition, Su Shi's "Jiangchengzi" (Ten Years of Life and Death) is often used to write about missing his dead wife in dreams, and the combination of reality and reality shows the deep pain of missing. Another example is the poem "Thank You" by Han Yuefu, which envisages five scenes, namely, "There is no mausoleum on the mountain, the river is exhausted, there is Lei Zhen in winter, there is rain and snow in summer, and heaven and earth are in harmony". These scenes are impossible and imaginary. The heroine regards these as the conditions for "breaking up with your husband", which highlights her firm belief that she will never break up with your husband. This oath strongly shows the hero's loyalty to love. Among these poems, the most peculiar one is Liu Guo's "Qinyuanchun", in which several great poets who are closely related to Hangzhou are invited to write poems, including Bai Juyi, Su Dongpo and Lin Bu (Bai Juyi died more than 350 years ago, Dongpo and Fu Juan both died), and their famous sentences describing the West Lake in Hangzhou are expressed in words. Great,