He writes about the chilly spring, the dripping rain and the damp tide. It can be seen at a glance that so many overlapping words are intentionally used. What charm does it contain? 1. Is there a melancholy feeling in the chilly spring? Yes, "even my thoughts are wet", the rain is "cold", and the author can't escape if he wants to. Second, is this melancholy temporary? Come with the rain, go with the rain? It doesn't seem that simple. Because the author said, even in a dream, you can't escape, and you still hold an umbrella. In other words, the melancholy carried by the rain haunts the soul. Third, are so many overlapping words used to express the characteristics of emotions? Yes, there are more such overlapping words below, and the use of overlapping words may awaken a lingering feeling. Fourth, is this a general lingering feeling? It seems that it is not entirely, but a lingering feeling with the charm of classical poetry. Using a series of overlapping words to express lingering feelings, does it remind people of the famous works of female poets? It's possible. However, we are not completely sure.
Next, he goes home every day, from Jinmen Street to Xiamen Street. This is the narrative component, and it is also the narrative hidden line in this lyric prose. The writer evokes his memories of life for more than 20 years, and his thoughts are flying, and he is brilliant and unable to restrain himself. Without trace, the author arranged a narrative clue for Wang Yang's wanton emotions, that is, to go home, from Jinmen Street to Xiamen Street, until his home in a deep alley. All my thoughts are in this process, and when I get home, my thoughts and articles are over. The road is short and simple, but the thoughts are long and complicated. It's like designing a frame for a painting.
Why are there so many ideas? Because it is easy to get from Jinmen Street to Xiamen Street, but it is far from Jinmen Street, which is the stagnation of homesickness. This kind of homesickness is of course political, but Yu Guangzhong's strong homesickness is concentrated on another focus. He said that he "walked into the rain" in the drizzle, especially "daydreaming". There is a cultural allusion here, which is a famous sentence in the Book of Songs, "I have been there, and the willows are reluctant." I think it's raining today, and then I will talk about the Chinese character "rain" and admire the pictographic beauty of Chinese characters. From those four points, I can hear "dribs and drabs, raindrops" The use of reduplication here is obviously to express the beauty of hearing and manage the poetry of rain in hearing. This is undoubtedly the dominant intention of this article's artistic pursuit. However, while Yu Guangzhong highlighted the auditory beauty of rain, he also deliberately set off other senses. Please see:
Listen, the cold rain. Look at that cold rain. Smell the cold rain. Lick it, cold rain.
This almost mobilized hearing, sight, smell and even taste, and merged with the coldness of touch. However, all this is to express the aesthetic feeling of rain in hearing, that is, the poetry of homesickness. What poem is this?
It is clear and rainy this season. Rain is female. Should be the most emotional. The sound of rain is ethereal and psychedelic, so it is refreshing to smell it carefully.
This makes it clear that this kind of poetry has feminine beauty and such a structure of overlapping words, which is exactly the same as "searching, cold and clear, sad and miserable" in Li Qingzhao's "Slow Voice and Whispering". Yu Guangzhong tried to find homesickness, Chinese and special rhythm caused by rain not only in the charm of classical poetry, but also in the rhythm of classical poetry, especially in the rhythm of Li Qingzhao:
The rain is not only audible, quite heavy, but also audible. Listen to the cold rain. Listening to the rain, as long as it is not a rock-breaking typhoon and rainstorm, will always be an aesthetic feeling of hearing. Autumn in the mainland, whether it is raindrops, phoenix trees or showers hitting lotus leaves, always sounds a little bleak, sad and sad. In today's aftertaste on the island, there is a layer of sadness besides sadness.
This sad beauty comes not only from life, but also from the classical aesthetic tradition. Platanus acerifolia, drizzle and dribs and drabs are the images in Li Qingzhao's ci, and the sound of rain beating the lotus leaves is a classic in Han Yu's One of the Five Poems of Hutang: "You can't make a pot pond, but the lotus roots are planted together." From now on, if it rains, you must remember to listen to the rustling of leaves. " Therefore, Yu Guangzhong's homesickness is a kind of culture, and it is not an ordinary culture, but a classical culture. In terms of the flexible use of classical poetry and rhythm, it can be said that it can be said that it is a wonderful pen. Its poetic allusions may be too dense, and the charm of the poem is quite saturated, but it is combined with Wang Yucheng's prose "Bamboo House Listening to the Rain". Is this a letter and a pen that I can't bear to give up my love? No. This is a natural transition. Because, with the help of his listening to the rain, Yu Guangzhong turned to listen to the rain on the roof. He said:
The rain hits the trees and tiles, and the rhythm is crisp and audible. Especially the clang on the roof tiles, belongs to China's ancient music.
Why do you have to pull out the roof tiles? Isn't it beautiful on the lotus leaf of phoenix tree? Because the classical beauty of hearing was completely quoted, it was not enough to express the characteristics of Taipei at that time. There are two points to note in the article: first, it is repeatedly mentioned that rain hits the roof tiles, and Japanese roof tiles are always mentioned. Actually, strictly speaking, it should be China's, because Japanese tile roofs are copied from China. During the fifty years of Japanese rule in Taiwan Province Province, many houses similar to China Wawu were built. Secondly, there is a sentence in the article: "Taipei, how did you suddenly grow taller?" There is another sentence in front: "The era of apartments is coming." This refers to the modernization of Taipei in the 1970s, and the tile roof soon disappeared. The apartment is a western-style high-rise building with a flat roof. When it rains, you can't hear the rain. "Tile's music has become a masterpiece. Thousands of tiles, beautiful gray butterflies fly into historical tiles, and beautiful gray butterflies fly into historical memories. " What causes Yu Guangzhong's desolation is not only the imminent disappearance of traditional architectural style, but also the disappearance of traditional cultural poetry:
The chirping of birds has decreased, the cackling of frogs has decreased, and the chirping of insects has also decreased in autumn ... If you want to hear chickens, you can only find them in the rhyme of the Book of Songs.
Even the disappearance of the roof is beautifully written, and several groups of overlapping words are beautiful and quite exquisite. Yu Guangzhong's classical cultural accomplishment is sincere and vivid, and even gives the harsh critic (Dong Qiao) the impression that he shows his talents and himself without restraint. But from the full text, this is only one aspect, and it can even be said that it is not the most exciting part. Because this is, after all, the pursuit of classicism and the manifestation of classical language literacy. Yu Guangzhong is a contemporary poet majoring in English. He also has other talents, and he is looking for a way to express himself beyond the classical, that is, the modernity of rain and the creation of modern aesthetic language:
The rain is beating the thousands of scales on the tiles, from far to near, soft and heavy.
If "petal" as a quantifier has the characteristics of Chinese, then "light and heavy" is the rhythm characteristic of western poetry. The musical expression of China's classical poetry is flat and even, while the rhythm of English and Russian poetry pays attention to the alternation of light and heavy. This is the case with Gorky's Hai Yan in middle school Chinese class, but the light and heavy sounds were drowned out as soon as they were translated.
From here on, the musicality of China's classical poetry and the musicality of western poetry began to blend.
Drop by drop (rain) flows down the tile trough and eaves, and all kinds of knocking and sliding sounds are woven into a net, and the fingers of the net are massaging the helix.
"Tapping sound" and "sliding sound" are terms of piano performance, and the western elements of poeticization and musicalization are becoming more and more obvious. It is rare to turn the comfort of hearing into tactile massage in China's classical poems, but it is more common in modern western poems. The rhetoric of western poetry is more intense in the following texts:
"It's raining", the gentle grey beauty came, and her cold hands flicked countless black keys grey keys on the roof, turning noon into dusk.
The core of rhetoric here is of course the musicality of hearing, and its connotation is the traditional roof tile of China, but it is a multi-level metaphor commonly used in western poetry in rhetoric. Compound metaphors not only do not interfere with each other, but also are combined properly. First, compare the beauty of rain to piano playing; Second, compare the performer to a beautiful woman; Third, beauty is described as gray (associated with "Cinderella" in western fairy tales), which is unified with the dark light in rainy days; Fourthly, add the association between the attribute "tenderness" and Mao Mao rain; Fifth, because it is a piano performance, the roof tile naturally becomes a description of the piano's health, black and gray, commensurate with the black keys white keys on the piano; Sixth, compare the whereabouts of rain to the delicate hands of beautiful women, and turn the cold rain into a "feeling of ice and ice"; Seventh, put all this together, turn the afternoon rain into a piano movement, "play until dusk", saying that rain is like music, so beautiful that people forget the time.
Reading "Listening to Cold Rain" will not only touch your heart, but also make you feel physically, pleasantly and emotionally. The most striking feature of this paper is that it creates an extreme beauty of language. One is to create a musical beauty by using the unique phonological characteristics of Chinese characters. He used a novel and bold combination of overlapping words to write the rain shape, rain state, rain sound, rain situation, "falling", "dripping" and "refreshing". "Rain knocks on thousands of tiles, from far and near, gently and heavily", written with affection and color, has a unique charm to read and flavor to taste. Creative reduplication constantly depicts a word "rain" from form to meaning, and melts feelings and meaning: "For example, writing a word" rain "out of thin air, dribs and drabs, all love and rain are like this." Put "the heart of the Han nationality, the memory and hope of the ancestors" on the word "rain" which can represent the beauty of Chinese characters. The author also skillfully constructed a homophonic figure of speech, "In the storm, walk into the rain and daydream" and "There are thousands of umbrellas across the Qian Shan", which formed a natural rhyming effect. The combination of synonyms such as "bleak, sad, sad and sad" also makes the expression effect of word meaning particularly delicate and profound. The use of "smell, smell and lick", such a special word setting, seems unreasonable, but it has a unique feeling, which makes the sentence have a wonderful artistic effect. Secondly, poetic language description creates an intoxicating artistic beauty. Or turn the general language into artistic conception, "I can't spare you much pride and chivalry, but I'm afraid I can't stand repeated storms" and "the life of a sensitive soul is strung together with cold rain beads upstairs, by the river and in the temple". Or use similes to describe it, so that the real scene becomes illusory and forms a wonderful poetic scene to pin lingering poetic thoughts. "The rain is coming, and the lightest knock is beating on the city. The vast roof is far and near, the ancient piano, the fine and dense rhythm, has its own softness and kindness in monotony. " Borrowing or using ancient poetry in the text also adds a bit of poetry to the text. "If you want to write a good scene, you must be a poet. If you want to be vivid, you must be a novelist. You need a poet's pen if you want to express your feelings further. To turn the sensibility in life into the sensibility in writing, we must be good at capturing images and arranging colors. " 1 Yu Guangzhong is a poet and essayist. He wrote prose with the poet's rich and wonderful imagination and vivid lyric language. In his works, rain is full of light, color, sound and taste. The material is steep, dripping with ideas, beating the city like an ancient piano, beating one by one, thin and dense-clear rain shape. Drop by drop, like a lullaby sung by my mother, like a thousand silkworms eating mulberry leaves, trivial-clear and clear. And it's fresh and refreshing, with a little smell of mint and a little smell of earth-this is the real taste. The rain was cold, wet, bleak, sad, sad, and then covered with sadness-it was almost tangible. In addition, the rhythm is crisp and pleasant, whether raindrops are scattered on the buttonwood, lotus leaves are hit by showers, or tiles on bamboo buildings and trees are hit by rain; You can also let readers lick the cold rain with him, smell the taste and smell of the rain, and feel the interest, charm, interest and spirituality of the rain. The author described the rain scene in all directions, from multiple angles and with a long lens, which not only fully showed the thickness of the objective world, but also skillfully showed the intensity and distinctiveness of subjective feelings, and even showed the richness and profundity of the author's emotional world.