It is well known that writing requires considerable life skills, and poetry is no exception. There is a saying that writing a novel requires considerable life experience, while writing a poem "does not need to read more about the world" (such as Wang Guowei's "Words on the World") is actually specious. Reading the world as a creative accumulation is generally the case for poets and novelists. One of the earliest anthologists of Tang poetry once talked about the anecdote of poetry: "Hao wrote poetry when he was young, which was called frivolous." The festival at night suddenly became normal and windy. A glimpse of the fortress wall tells a glorious journey. ..... can drive with Bao Zhao. " Lu You recalled his creative experience in his later years and taught his son two poems, especially his appearance:
I have never studied poetry before, and I am begging. Hengli is very depressed and self-aware. He is ashamed to use a pseudonym. Forty entered Nanzheng and feasted in the army for several days and nights. Build a field in a thousand steps and read 30 thousand horses. ..... Before the poet Samadhi suddenly saw him, Qu Jia was vividly in his eyes. The secret brocade is used in me, and the beauty of cutting is not in the ruler. ..... ("Reading Poetry")
I'm a beginner on Poetry Day, but I want to draw. People began to realize a little in middle age and gradually wanted to see the grandeur. ..... Poetry is one of the six arts, and you can't be crafty. If you want to learn poetry, your kung fu is beyond poetry. ("History")
Lu You's so-called extra-poetic kung fu here refers to the art of dealing with the world.
Since readers should have a life experience corresponding to the author, they can have a thorough understanding. It can be seen that the appreciation of poetry also depends on the skill of life. Otherwise, if he doesn't understand the goods, he will definitely buy a gift and return the pearls, just like returning to Baoshan empty-handed. Lv Zuqian in the Southern Song Dynasty said when reading history: "When you look at history, you see the benefits of things and the disasters at that time. You will hide your thoughts: What should you do if this happens?" In this way, learning can also be improved, and knowledge can be high and beneficial. "The same is true of reading poetry. Pu Qilong, the author of Reading, said: "I have studied Du for ten years and Du for many years. Suodu is increasingly blessed by Bai's interpretation of Du. Since it is my heart that has imprinted Du's heart, my heart is boring, Du's heart is alive, and I am in a land with nothing, and my solution is embarrassing. " The so-called "idea solution" is also an effective "meaning reversal". "It should be noted that reading poetry should have the ability to restore the imagination of life, that is, to find life in the world of aesthetic objects. Good poems are often written as "everyone has something in his heart, but nothing in his pen", and good readers should also read "However, I feel the harmonious heartbeat of the sacred unicorn" and feel "the care of the master's words for me". Every time Jin Shengtan explains poetry, there are several common sentences in the Northern Expedition:
Po Tao looks at the valley. I walked by the sea, and my servant was still dead.
However, he read out his interest: "Looking back at the wind, I suddenly lowered my head when I was far away from you. This slope looks far away, but when I get home, it suddenly looks far away. All the same. The words "the rocky valleys are intertwined" are a picture of horizontal distance. It's not far to write off the ridge, it's not near. Within reach, not overnight. I'm at the end of my rope, and my servant is still at the end of his rope. I am impatient and anxious, and my servant is very broad-minded. I didn't know it was late and I didn't know it was urgent. Look, he used the words' already' and' still', both of which were written in a hurry. " There are many complementary solutions. Although his interpretation of Tang poetry and Du Shijie is shorter than that of knowing people and discussing the world, he is good at rebelling against his will. He commented on the poem "The banks of the Yellow River were recaptured by the imperial army" and said: "It is common for people to cry when they are extremely happy. You will go to the meeting without writing an article. " It can be seen that he reads poetry with good intentions and is good at participating. No wonder people were sighing about reincarnation at that time. He boasted, "This was painted by Wang Zai, and what Mr. (Du Fu) saw was better than sighing." This strange effort comes from the foundation of life.
In recent years, I went to Dunhuang and walked back and forth along the Hexi Corridor by bus for seven days. I have been to Wuwei (Guliangzhou), Zhangye (Guganzhou), Jiuquan and Dunhuang, and I have the Longxi Chronicle:
Take up all the questions in the north, and the Hexi Silk Road goes around Qilian. Several peaks are still covered with autumn snow, and a wall is still a Wan Li kite. Lonely country in the desert, Zhang Qian hangs the border. Tonight, I sing a cool state song, and the cup holds a luminous moon.
The biggest gain of the trip to Longxi is to experience the frontier fortress road in the Tang Dynasty, get to know the Hexi Corridor and the Gobi Desert, and get to know the frontier fortress poems in the Tang Dynasty. From Lanzhou to the west by car, we will soon walk through the vast Gobi, and Qilian Mountain is on the left. On sunny days, you can see snow that doesn't melt all year round on the mountain peak, and Qinghai is on the other side of the mountain. It is known that Wang Changling's "Joining the Army" and "Dark Snow Mountain in Qinghai Province" describe the scenery of Hexi Corridor looking south, and the "Snow Mountain" is Qilian Mountain. Wan Ren in Wang Zhihuan's Liangzhou Ci is the isolated city of Wan Ren, that is, Qilian Mountain. So I believe that Wang Changling has been to Longyou. Maybe he hasn't been to Cen Can, but at least he has been to Liangzhou. Because if you don't have on-the-spot observation and don't know much about the geographical position written in the poem, how can you write it so briefly! Qilian Mountain forms a wall on the left and the Great Wall of Wan Li is on the right. With these two walls, the concept of "corridor" is clear. Every city in Hexi Corridor is a residential area, a green belt, troops and citizens, trees and fields. We can imagine the scenes of these ancient cities in the Han and Tang Dynasties from the popular songs such as Liangzhou and Ganzhou. There is a desert between this city and that city. Because of this, Cen Can's "I don't know where to stay tonight, and Pingsha Wan Li is uninhabited" ("Zhai Zhong Zuo"). It is precisely because of this that people in the Tang Dynasty called these border towns "isolated cities": "the isolated city overlooking Yumenguan" (Wang Changling), "the isolated city of Wan Ren Mountain" (Wang Zhihuan) and "the few watchmen who survived by the lonely wall at sunset" (Gao Shi). Poets after the Tang Dynasty also used this term: "the isolated city is closed at sunset" (Fan Zhongyan) and "several families are isolated together. The ground is full of coarse gravel, with drought-tolerant grass in the middle, which looks deserted. It is no wonder that the word "qi" comes from "stone", and it is no wonder that the word "gravel" appears frequently in Cen's poems. What do you mean, "After ten days, the wind will not stop." When a horse walks in the rubble, all its hooves bleed "and what" and the valley, filling the broken boulder like pecking measures, down, upside down, with the wind "... The desert is a lonely and long river setting. If the poet really sees the scene of" the long river setting the yen ",then he must not have reached Taohe River, which is still far from Liangzhou, because once he arrives in Hexi, there will be no more" the long river setting the yen ". A gentleman in the same trade said that when everyone dozed off, he had seen the scenery of "the long river setting the yen" with his own eyes. This "river" is completely an illusion formed by clouds, but it is very realistic. He believes that this is the natural wonder that Wang Wei saw in those days.
Life experience, life skills, not overnight, not strong. However, if readers can pay attention to it at any time in daily life, grasp the interest of life from poetry and interpret poetry with life experience, they will certainly cultivate a keen artistic feeling, that is, "strange heart." Life experience is limited, reading can increase knowledge, enrich indirect experience, and also help rebellion. "According to the inherent nature and temperament, we should sharpen our practice, expand our life experience, appreciate it carefully, accept traditional practices in many ways, seek simplicity and take short, and achieve mastery through a comprehensive study. These three levels of effort are the so-called learning literacy. " (Zhu Guangqian's "The Interest of Literature") With such preparation, you can learn something new and gain something from the significance of the whole work to a sentence. For example, in Du Mu's poem "Mountain Walking", the speaker has always seen the author's leisurely mood from the words "someone is deep in the white clouds" and "frost leaves are red in February flowers", but he did not know that there is quite a "mountain walking" life interest. Let's reread this poem with meaning:
In the distance, there are cold mountains, oblique stone paths and people in the depths of white clouds. Stop and sit in the maple forest late, and the frost leaves are red in February;
Which line of this poem is the best? The answer is the same: "Frost leaves are redder than February flowers." However, if you ask which word is the best, readers may ignore it or answer "love" or "red". Actually, it's better to say "stop" The title of the poem is "hiking", and the beginning is also written as "hiking". The mountain road is far away, the climate is cold, the stone road is tortuous, and it is getting late. It is time to stay. But he said: "There are people in the depths of the white clouds"-the mountain house that can stay is still far from the white clouds. As the saying goes, "When you see a house, you cry when you walk", so you must hurry. These two sentences are by no means leisurely writing about scenery, but seeing a group of people writing about scenery in a hurry. The following is a turning point. We stopped when we shouldn't have stopped. Not that there is something wrong with the car. "Stop-sit in the maple forest until late at night, and the frost leaves turn red in February." Surrounded by mountains, the oncoming scenery is charming, and there is no way to "stop". Every autumn, maple leaves shine every night, with red on top, which is especially beautiful. "Leaves" have always been used to set off "flowers" in poetry. However, the place of "flower" has been occupied here, and it is common to mourn autumn in ancient poems, but this poem is unique, which is deeper and better than Liu Yuxi's sentence "I say autumn is not as good as spring". The advantage of the sentence that autumn leaves are better than spring flowers is that it appears in the plot of stopping in the mountains. Pedestrians actually ignore the night, the cold autumn, the distant mountains and the crooked paths, stopping to look at each other and reluctant to part. It makes the sentence "Frost leaves are red in February flowers" more artistic and convincing. "Stop" and "go" are contradictory, which is quite interesting to use. This word "stop" is really good. It is said that it is Du Mu's Qingming Festival, which is also full of life interest:
Mourning day, drizzle like tears; Pedestrians on the road want to die. Excuse me, where is the restaurant? The shepherd boy pointed to Xinghua Village.
Some people say that the beauty of the last two sentences lies in the fingers of the shepherd boy, such as the dance movements of "Little Cowherd", so that even the music seems to be heard. I'm afraid this is divorced from the whole article, especially the illusion caused by not focusing on life. If you read it with your life experience, you can understand that this poem is a genre painting in the Qingming shower. When Du Fu wrote Tomb-Sweeping Day, he said, "In a prosperous day, there are thousands of people in Changsha." The so-called "pedestrians on the road" are people who go for an outing. I didn't bring rain gear because it was a mystery before. "In spring, the baby's face will change three times a day." Suddenly, in the shower, the clothes of pedestrians were wet, so they were in a state of panic, which led them to "want to break their souls." So, I want to find a restaurant to shelter from the rain and cold. "Where is the restaurant?" Only the local people know that the shepherd boy is one who happened to meet on the road. The shepherd boy must have brought a rain whip cow home, and he didn't have much time to answer passers-by's questions. He just pointed the whip at the curtain near the apricot blossom forest in the distance, which was an answer. The beauty of the whole poem lies in drawing such a "interesting picture in the rain" with rich plots
Mr. Zhu Guangqian's "Talking about Words" ("Talking about Literature") has many examples of exquisite analysis and superb skills:
Give a well-known example. One moonlit night, Han Yu heard Jia Dao chanting poems, saying that "birds by the pool are in the trees, and monks push the door under the moon" and advised him to change the word "push" to "knock". This passage has been handed down from ancient times to the present as a beautiful talk. Today, people should put the meaning of "speaking like a book" better, and say "thinking carefully". People in ancient and modern times also appreciate the word "knock" rather than "push". In fact, this is not only the difference of words, but also the difference of artistic conception. Although "pushing" seems a bit reckless, it means that the solitary monk has returned to the Moon Palace, and the door was originally built by himself. He pushed it today. He has to hide and push himself, which shows that he is the only lonely monk in the temple. In this cold and lonely occasion, he is interested in going out for a walk, having a good time before going home, going alone, feeling at ease, he has his own mind and tolerance. The word "knock" makes him more formal, indicating that someone answers the door in the temple. He seems to be visiting friends on a moonlit night, unwilling to be lonely. If it is not a lively occasion, there is at least some warm feeling in the temple. Comparatively speaking, "knocking" air is not as cold as "pushing" air. Judging from the previous sentence "birds stay in trees by the pool", "pushing" seems to be more harmonious than "knocking". "Push" can be silent, and "knock" is bound to have a pecking sound, which will wake the birds, break the silence and disturb them like hands. So I doubt whether Han Yu's revision is really as appropriate as it has been praised in ancient and modern times.
There are three or four sentences in Su Dongpo's poem "Cooking Little Dragons in Huishan": "Take a small moon in the sky alone to taste the second spring in the world", and "Little Moon in the sky" is associated with "Little Dragons" tea. If you don't know this connection, the original text is meaningless at all; I don't understand the beauty of the original text if the moon shines on spring water and green tea soaks in spring water tomorrow. The beauty of these two poems is that they are inseparable. It is richer and more ambiguous than using the phrase "Huishan Spring Soaks Xiaolong Tuancha". The difficulty lies in the ambiguity. From "taking the little dragon group alone to taste Huishan Spring" to "taking the little moon in the sky alone to taste the best Er Quan in the world", this is the golden touch.
If the taste and experience of life are narrow, how profound is it?
Jumping is one of the characteristics of poetry. The narrative lyricism of poetry is often omitted and blank. To a great extent, readers' restoring ability is to fill the blank with historical knowledge, life experience and imagination. This point has been covered in the analysis of To Wang Lun. Now, take Du Fu's "Shi Hao Guan" as an example to further illustrate. Du Fu's narrative poems are famous for their concise narration, and this poem is a typical example. There are only 120 words at the beginning, but the content is very rich, and the people, events and environment are very typical, reflecting the contradictions and conflicts in life with amazing breadth and depth. Readers must be familiar with the historical background and read this poem like "reading" life itself, in order to see the profound meaning from the blank lines of the poem.
At dusk, officials arrested people at night. The old man walked on the wall, while the old woman went out to watch. No matter how angry an official is, why do women cry? Before listening to his wife's speech: three men are guarding Yecheng. One man attached a book, and two men died. Those who drag out an ignoble existence are dead! There is no one in the room, only grandchildren. And grandma didn't go, and there was no skirt in and out. Although an old woman is weak, please come back at night. If you are in a hurry to serve Shirley in the river and Yang, you might as well prepare the meal in the morning. The night is long and silent, like crying and choking. Dawn will rise into the future, leaving the old man alone.
The first sentence worthy of readers' attention in this poem is: "The old man climbed over the wall and walked". As an old man, you must cross the threshold carefully. How can you jump over this wall? However, when the emergency comes to do or die, it has its own things. This objective narrative shows a thrilling scene. The old man climbed over the wall and the old woman answered the door, because Ding generally didn't want women, especially old women, so he felt a little safe. Then the poet wrote, "Why do officials get angry when they shout, and why do women cry?" It seems a little sudden. In fact, there is a "blank" before these two sentences. Visiting an art exhibition in Chongqing, there was a meticulous figure painting (the label was just lost), which showed an old woman in ancient costume leaning over the courtyard dam to pick up a straw sandal, but her eyes were staring at Chai Men, and a dog was barking at the door. I recognized this painting at a glance as a poetic painting of a "stone moat official". The scene shown in this painting is exactly what this "blank" should have. Because it takes a little time for the old man to climb over the wall, the old woman's going out will definitely be delayed. The official went out to arrest people at night, with good intentions, and knocked for a long time, but the door wouldn't open. As soon as the door opened, he lost his breath. How can he not be angry? The attack at night made the old woman really miserable, but at that time I was afraid that she would be more flustered. To cover up the old man's climbing over the wall and stall the collector, I'm afraid she can only cry in response. The following sentence 13 is only written as "listen to your wife first", and it is even more "blank" without official questioning. Mr. Huo said it was "hiding questions and answering questions". To truly understand the situation described in this paragraph, readers need to use their imagination to restore it. Imagine that when an official came in and saw an old woman, he naturally became angry from embarrassment. First, he must ask the men at home. So the old woman's answer is "three people guarding Yecheng". In order to cover the old man, she dragged on three sons who were soldiers, two of whom had died in the recent battle of Yecheng! "If you drag out an ignoble existence, the dead are gone", this sentence is very sad, intended to gain sympathy and is likely to have an effect. However, no matter how sympathetic the official is, he must ask if there is anyone else at home because he is on official business. So the old woman has the answer that "there is no one in the room". But this statement is too absolute, and immediately added, "Only breasts have grandchildren." It is contradictory to say "nothing else" and "only", which shows that the old lady was incoherent at that time. Giving up the grandson who is nursing has actually involved the daughter-in-law, but since it is breastfeeding and there are endless skirts, the official is helpless. To the reader's surprise, the old woman did not wait for the official's cross-examination, that is, she stepped forward and volunteered: "Although the old woman is weak, please come back from the official at night. I'm in a hurry to wait in the river, and I have to prepare breakfast. " There are three meanings here. First, it can be seen from the conversation that the government has also made some explanations and persuasion to the old woman, letting her know that the situation in Heyang is urgent and diligent. The second is to tell the truth about everything at home. Only when the old man ran away, was ambushed, and was heckled, would he be poor enough to show the clues. The third is the psychology of relying on the old to sell the old, and there is no chance. Unexpectedly, however, the official really took the old woman away because he couldn't find a job for Ding. Through the disintegration of a family that has contributed three sons to the country, this poem profoundly reveals the sufferings endured by the people in the turbulent period. Among them, the sacrifices made by the old woman for the family (several relatives) and the country are quite tragic. If readers can't participate in contradictions on the basis of discussing the world, they will feel superficial and gain little. Some young people think Du Fu's poems are not very interesting. In fact, they haven't trained enough. They shouldn't complain about food because of their appetite. Therefore, Wang Shizhen said, "Before the Ten Songs, Shaoling was difficult to enter.".
Life is complicated, phenomenon and essence are not necessarily unified, and poetry is often the same. There are words here, those who are interested there, those who have righteous desires, and those who regret words, are deeply happy. All this should be judged according to life experience. Cui Hao's Longganqu says, "We were born in Chang Gan, you and me! Why have we never known each other? "It seems that it is a brief encounter, but in fact it is" knowing each other and enjoying each other. " Li Bai's "Ancient Meaning" ("Nanling children don't go to Beijing") says: "It's not too early to lobby hard, but it's too late to cross the horse and go a long way." Although it's a little late, it's all ecstasy, so here's the whole story: "Laughing and watching the sky go out, am I Artemisia?" Li Shangyin's "Poem of Pride": "Making friends is quite a peep, which is called the Danxue incident. The former dynasty is still beautiful, and the cargo flow comes first. Otherwise, Xianzi is not like a crane bone. Is there such comfort? I want to comfort the decadent quality. " Seemingly self-deprecating, in fact, it can't hide the inner admiration for Aiko. Shi Dazu's "Flying Swallows Together": "If you want to smell yourself, you will forget the world." It is said that after the swallow's nest was formed, it stopped working hard. If you regret your resignation, you will be deeply gratified. All this is hard to know without knowing the inside story of life.
A poet's good sentences are often neither refined nor extremely refined, that is, "easy but difficult". It turned out that he "sang a sentence and burned a few whiskers", and the reader made an ordinary interpretation, which is often the case. There is a saying in Song of Eternal Sorrow:
It was early spring. They let her bathe in a pure pool to warm and smooth her creamy skin.
Because it is hot spring water, it is especially good to take a cold spring bath. But why does water "slip"? Or think that hot spring water contains minerals and slides, and people who have been to hot spring baths will know that this statement is specious. The key to understanding this word lies in the word "washing coagulate fat" From the situation of pouring condensed fat with water, we can understand the meaning of "slippery". Therefore, it is not water "slippery", but actually describes the delicate skin of the imperial concubine. This writing is much more effective than explicit description. This shows the poet's skill in using words. Liu Changqing's "Send Master Che Ling";
Blue chikurinji, near the distant bell in the middle of the night. Holly falls farther and farther on the green mountain with the sunset.
Ordinary readers often interpret "belt" as static "wear", but people who have seen the sunset on the mountain are different. He will regard this word as a dynamic "lead": it covers the followers of the sunset moving around, drifting away, and people returning to the sunset. This poem depicts the scenery from the perspective of travelers, which contains a feeling of parting. Coincidentally, Tao Yuanming's "Returning to the Garden" already has a sentence: "Rejuvenation at dawn, weeding by the moon lotus", and the next sentence is not "Dai Yue wears a star", but the moon is accompanied by people, so as to see the joy of taking part in labor at the beginning. This understanding depends entirely on life experience.
There is such a situation:
Some works, when we first saw them, felt childish and worthless. However, some works seem naive at first glance, but when they look again, they find that they are simple and unattainable. According to legend, some people chant snow, beginning with "one piece after another", then "two pieces, three pieces, four or five pieces", and then "six pieces, seven pieces, eight or nine pieces", which makes friends standing by greatly anxious and wonder when it will end. But when I finally wrote the sentence "I can't see the plum blossom", I felt at one go, and the artistic conception was detached, which made people gasp in admiration. (Jeff's Theory of Literary Appreciation)
The key point is that at the end of the last sentence, readers can suddenly see a scene in life, that is, they are connected with a life experience, and the snowflake in front of them suddenly comes alive.