Vin
I have been interested in Tang poetry and Song poetry since I was sixteen or seventeen. Often sarcastic, sometimes learn to write a few quatrains or "artistic conception" first. The word artistic conception was put forward in the Tang Dynasty. Japanese monks introduced the poetry theory of the Tang Dynasty with King Kong Zhao in the Secret House of the Cultural Realm, and there is a saying in Nanyi that "Fu writes articles and thinks more". "If you don't come, you have to be lenient and make the environment alive. Then, according to the situation, thinking will come and writing will come. " The "meaning" mentioned here is combined with "affection", that is, affection. "Realm" is the realm, that is, adding emotional color to the scenery. "Depending on the context" means that you can create a poetic context. Wang Changling's poem "Shi Pin" said: "Poetry has three realms: one is the metaphysical realm. If you want to do landscape poetry, then the realm of Zhang Quan and Shi Yunfeng is extremely beautiful. There is a god in the heart, a realm in the realm, depending on the realm in the heart, holding it in the palm of your hand, and then thinking, you can understand the image of the realm, so it is shaped. The situation of the past two days and the troubles of the entertainment circle are all in the body. Think again and get its feelings. Three-day artistic conception, if you think about it in your heart, you will get it. " The three realms here are all artistic conception, but the one that focuses on writing landscapes is called the image realm, the one that focuses on lyricism is called the scene realm, and the one that focuses on lyricism is called the artistic conception realm. Here, I mainly talk about landscape poems, and I want to write about the beauty of Shi Yunfeng in spring. This aesthetic is in the poet's mind. Poets must be in Shi Yunfeng in spring, master the beauty of Shi Yunfeng in spring, see it thoroughly and understand it clearly, so as to depict the image of Shi Yunfeng in spring. There are two main points in the so-called physical environment. First, we should see the "stunning beauty" of the landscape, that is, the beauty of mountains and rivers; The second is to "resemble" and portray the image of mountains and rivers. Because it is the poet's aesthetic view and the combination of image and beauty, it constitutes the artistic conception. The difference between scene and artistic conception is that the scene is written as "entertainment" and the artistic conception is written as "meeting", and the combination of emotion and scene becomes a scene and artistic conception. In fact, these three are the combination of scene and realm, often the combination of emotion and meaning. There is intention in lyricism, affection in expression, and affection in writing landscapes.
These three conditions are artistic conception.
Let's see what kind of poetry is "artistic conception". In Liu Xie's "Wen Xin Diao Long Search", he said: "It is based on the poet's sense of things, but the class is endless. When you wander around Vientiane, you will ponder the audio-visual area. " The poet is moved by the external scenery, which is endless, so it is called Vientiane. As long as it is exposed to the audio-visual range, it is emotional and poetic, and it can constitute creation. Wandering refers to being reluctant to leave when enjoying the scenery, having feelings here, giving the scenery emotional color and thoughtfully entering the creation. He also said: "Writing a gas chart is not only about things, but also about your heart." "Painting appearance" is to describe the image, not the scenery; "Harmony" is an expression of affection and lyricism. When the two are combined, the scene blends and forms the artistic conception, that is, the combination of emotion and environment. "Writing Qi" is used to describe the climate, while "belonging to mining" is used in rhetoric, and it is also used to write the realm. Here are a few concrete examples: "Therefore, the peach blossoms are fresh,' Yi Yi' is like a willow,' Meat' is like a sun,' Meat' is like rain and snow,' Yi' sounds like a yellow bird,' Yi'" "Less is always more, and the situation is clear." Let's take a look at Liu Xie's example.
Poetry Nan Zhou Yao Tao: "Taofei (not so good-looking), Yan (not so beautiful-looking). The son of Yugui (this woman is married) should be at home. " Burning, which describes the beauty of peach blossoms, is a "painting"; Also praise the beauty of the bride's appearance, which is "intention"; That is, the scene blends, which is a poem with artistic conception. There seems to be no realm here. Why is it artistic conception? Wang Guowei's "Living Words on Earth" said: "The scenery is not unique. Emotions and sorrows are also one of the realms in people's minds. Therefore, people who can describe scenery and true feelings. That is called a realm. " Here, the description of peach trees and peach blossoms is used to arouse the young bride and bright face, and reflect the poet's mood of joy and praise. This is the realm. However, this intention is not clear, and it belongs to the three realms.
Poem Xiaoya Cai Wei: "In the past, I was gone, and the willows were reluctant. Let me see (auxiliary word, still awkward), rain (snow) (describing snow). " When soldiers go out to war, it is a kind of "character representation" to see the weakness of willow branches, which reflects their reluctant feelings, and it is also "harmony", that is, the scene blends and the artistic conception is written. "Poetry Feng Wei Bo Xi": "When it rains, it rains and the sun comes out. I am willing to say that I am afraid, and I am willing to be the first disease (head). " Women want their husbands to come back, like drought, but the sun shines and it won't rain. "Sleepy" is a sunrise, which reflects the disappointment of women and is also a blend of scenes.
"Poetry Xiaoya Horn Bow": "Rain and snow (phonetic symbols, like heavy snow) disappear at the sight." People who have been slandered by slanderers say that there are many slanderers, like heavy snow. When the sun says the snow is going to melt, why not melt or believe them? "Hu" is a character and also reflects the disappointment of those who have been slandered.
Poetry Nan Zhou Ge Mo: "Yellow birds fly in the air, gather in the bushes and sing." Hehe describes the singing of yellow birds, and also reflects the happy mood of women.
Poem Zhao Nan Cao Chong: "MengMeng (waist singing, insect singing) Cao Chong, Ti Tuo (singing, jumping) Yan Fu. I am worried if I can't see a gentleman. " Women miss their husbands, hear insects alone, feel the changes of festivals, and cause anxiety. "Mew mew" describes the sound of insects, arouses feelings, and is also a blend of scenes. Six examples in the Book of Songs are cited above, that is, "Shao" and "Yi Yi" are both "pictures and representations", which describe representations; Hum' and' Hum' means' writing qi' and writing climate:' hush',' hush' and' attached sound'.
Write the sound. Here is not only "moving with things", but also "swimming with one's heart", so as to achieve "clear at a glance", that is, the scene and artistic conception blend. The author paints emotional colors on the scenery to form a realm, which contains feelings, that is, family ties, so it is an artistic conception. This is a poem with artistic conception in the Book of Songs.
"Search" also said: "It is long and indescribable from the generation of" Li Sao ",so it overlaps comfortably." The works describing artistic conception in Qu Yuan and Song Yu's Songs of the South are richer than those written in The Book of Songs.
"Nine Songs and Sweet Lady": "Di Zi (female) has fallen (Zhou Xiao) and her eyes are hazy (like farsightedness). Autumn wind blows, and Dongting waves are under the leaves. " "Rolling Wind" describes the weakness and thinness of autumn wind, and also reflects the euphemistic fluctuation of feelings. In Feng Qiu, the waves in Dongting Lake also reflect the ups and downs of emotions. Here is also a blend of scenes, the description of the scenery is richer and the realm is more prominent, just like painting in poetry.
Song Yu's Nine Debates: "Sorrow is the spirit of autumn. Bleak (like the wind) the grass and trees shake down and become weak. If it is a long trip, climb the mountain near the water and go back to China. The sound point is sparse (empty), the sky is high and clear, and it is as lonely as water. 乭乭 (tragic) Sadness increases (sigh) 乭乭乭乭乭乭乭乭乭乭乭乭𱁉𱁉. Needless to say, writing here, writing about the wind, writing about the withering of vegetation, writing that the sky is high and the clouds are light, and the water is clear, writing that the light cold attacks people, and combining the long journey of farewell, it is new to leave. Use such a variety of scenery to set off the sad mood of the characters. The scenery here constitutes a realm with richer content and extremely strong emotions. This constitutes the characteristics of Chu ci, and
The artistic conception written in The Book of Songs is different.
"Looking for" also said: "In modern times, Wen Gui is similar, peeping at the scenery and drilling for vegetation. Singing is far-reaching; The beauty of the body is closely attached to the merits. " This is a landscape poem written by Xie Lingyun during the Liu and Song Dynasties in the Southern Dynasties, such as "Stone House Returning to the Lake": "It's still early to leave the valley, and we have entered. The forest valley gathers color, and the dusk clouds gather. Lotus and lotus set each other off, and Puyi is dependent on each other. " In this poem, "peek at the scenery" and "look at the vegetation" are not the emotional vegetation forms described by the poet on the scenery, but the modality of the poet when he sees the scenery itself. For example, "the forest is full of color, and the clouds gather at dusk." Combining the first part of the book "It's too early to leave the valley" and "It's too late to board the ship", we don't let the clouds fly without sunset, but let the clouds "gather color" and "merge with sunset". The night before the sun comes out is put away by the forest valley, and the flight of the sunset is put away by the cloud, which is what writing about the forest valley and the cloud itself has. Another example is "Lotus reflects Wei", water chestnut and lotus repeatedly illuminate, water chestnut shines on lotus, and lotus shines on water chestnut. Wei is photographed, that is, taking photos, which is also the modality of writing water chestnut and lotus itself. Pu barnyard grass is two kinds of grass beside the water, because they are interdependent and very close, which is also the modality of writing Pu barnyard grass. The poet regards landscape flowers and plants as sentient beings and sees their various modes, which is the characteristic of Xie Lingyun's landscape poems. At the end of this poem, I quote a sentence, "thinking about things lightly is just right." If you send messages, try this push. "Think lightly, meditate, and look down on fame and fortune. Affection is only natural and reasonable. Send a message for health care, try this truth to infer. That is, it is good for health to be satisfied with the modality of landscape scenery and forget fame and fortune. This is a "far-reaching ambition". This poem describes the form and artistic conception of the scenery.
Wang Guowei said in "Words on Earth": "There is a place for me, but there is no place for me. Tears asked the flowers to be speechless, and the red flew over the swing. It's like a lonely pavilion in spring and a cuckoo falling in the sunset.' This is my place.
Picking chrysanthemums under the east fence, you can see Nanshan leisurely. Speaking of cold wave, Bai Niao is very leisurely. There is no room for me. If you have my own environment, you can see things with me, so everything is my color. There is no room for me. Look at things by things, so I don't know what is right for me and what is right for things. "I am here, it is the situation or artistic conception mentioned in the poem; The realm without me is the realm of things. Feng Yansi's Magpie Tread: "Tears ask flowers silently, and red flies over the swing. "Write a woman's sadness and loneliness with Tears Asking Flowers. No one can ask, so we have to ask flowers. With "Flying over the Swing", the swing is exactly where she and her husband played when they were dear. Now her husband is traveling, and it is unbearable to see the swing. Qin Guan's "Walking on the Sand": "It's like a lonely pavilion in the spring, and the cuckoo is sunset. "Write wandering wanderers, lonely and sad feelings, and pin these feelings on the scenery, like Xie Lingyun's landscape poems, and write the modality of the scenery itself, like Yuan Haowen's" Ying Bie ":"The cold waves are bleak and leisurely. "Write the modality of Han Yu itself, and don't add his urgency to Han Bohe. The so-called "viewing things by things" and "viewing things by things" means painting landscapes with feelings instead of feelings. I don't need my emotional color to see the scenery, but I still look at the modality of the scenery itself with my eyes, such as "faint", "leisurely", "reflecting slightly" and "relying on" quoted from the image, or seen in the eyes of the poet, or containing the poet's subjective elements. Therefore, it is not exact to use "seeing things by things". If you use photography, the camera is a thing, and the shadow you shoot is also a thing, but you must choose the angle, pay attention to the light distance and choose a good-looking lens to shoot. There is also the photographer's aesthetics in it. Therefore, "picking chrysanthemums under the east fence and seeing Nanchuan leisurely" contains the poet's feelings of loving chrysanthemums, so "picking chrysanthemums" contains the poet's feelings of loving Lushan Mountain, so there is a saying of "seeing Nanshan". The so-called realm without me is the realm of things in poetry.
"Words on Earth" also said: "The branches of red apricots are noisy in spring, and the word" noisy "is used in the realm, and the word" gain "is used in the realm. This paper puts forward the problem that the realm cannot be reached, that is, which poems have realm and which poems have no realm. A word "Noisy" describes the vigorous Chun Qing in the poet's heart, and a word "Lane" describes the poet's appreciation of the beauty of dancing under the moon. These are the poet's unique feelings, and writing this unique feeling is artistic, whether it is the blending of scenes, whether the poet paints his feelings on the scenery or the poet writes the modality of the scenery itself. If the author doesn't have his own feelings and just writes what others have written again, people will follow suit. Without the author's feelings and the modality of the scenery itself, it is a poem without artistic conception.
On "Thinking about Poetry"
Jin kaicheng
More than once, I have heard that articles such as poetry appreciation published in newspapers and periodicals are the crystallization of the author's painstaking efforts; In other words, they didn't enjoy reading so much, just to write articles, so they came up with these meanings and turned "appreciating poetry" into "thinking poetry". These comrades also said, who can read poetry like this? Therefore, many appreciation articles are divorced from the appreciation of the masses.
I think this argument, though emotional, is debatable. Poetry appreciation is a kind of literary research work and belongs to the category of literary criticism. It is not the same as browsing casually, so you need to use your brains to make a correct and profound exposition. Take "readers" as an example. If you want to really get ideological guidance and artistic enjoyment in poetry appreciation, you must think hard. Because the process of reading and appreciation is mainly done in the brain. Of course, poetry is accepted through eyes or ears. Without eyes or ears, the special information of poetry cannot enter the brain. However, in the middle of reading, the reason why words and sounds are linked in content and become a meaningful appreciation activity is mainly due to the analysis and synthesis of the brain. Because the brain has long been accustomed to the analysis and synthesis of external information, people seem to think that reading and appreciation are done by the eyes (ears) on the spot, but this is an illusion after all. There is a saying that "the young monk recited the scriptures, but his mouth was unintentional." In fact, the "little monk" is not completely unintentional. If you are completely "unintentional", then you can't even recognize the words or sounds of Buddhist scriptures, and you can't "recite them" if you can't remember them. But after all, the "little monk" is not careful enough, so although he "recites the scriptures", he still doesn't understand the meaning of the Buddhist scriptures and feels the image. Therefore, in the reading and appreciation of poetry, "thinking about poetry" is a normal and universal phenomenon; Appreciating the author just thinks deeper than the average reader. This is also true, because after all, research needs to be improved to help promote general reading.
What do you think if you want to appreciate poetry? Because poetry is a special object of understanding, we should think according to its characteristics. Specifically, there are three main points:
First of all, poetry is the art of language. Of course, you must understand the language before you can appreciate art. Therefore, understanding the meaning of this poem accurately is the first problem to consider.
Secondly, poetry is written by the combination of words and characters, which is expressed as a sentence or a line of words, which is not vivid in itself; However, people can have a rich sense of image in appreciation. On the one hand, this sense of image is due to the "reconstruction of imagination" according to the "reconstruction conditions" stipulated in the poem. Therefore, accurately "recreating imagination" according to the "reconstruction conditions" stipulated in poetry is the second problem of poetry appreciation.
Thirdly, poetry has the characteristics of "endless words and endless meanings", so the appreciator is feeling the content expressed by poetry.
Now the image, but also appropriate association, this is the third question to think about.
The above-mentioned "thinking twice" is determined by the characteristics of poetry as the object of understanding. Therefore, anyone who appreciates poetry, whether consciously or unconsciously, has actually put his mind into the above three aspects. What is urgent now is, why do some people understand deeply with their thoughts, while others find it difficult to do so? Of course, there are many reasons for this, some of which cannot be solved overnight. There is only one thing I want to focus on now, that is, when thinking about "thinking twice", I should not dive into the poem itself, but be good at using my knowledge and experience in all aspects to accurately relate to the poem I read, so that I can have a deeper understanding and feeling. The following mainly takes the appreciation of poems published in Knowledge of Literature and History as an example to talk about this problem in detail.
First of all, regarding the interpretation of poems and songs, China's ancient poems are not only written in ancient Chinese, but also a concise, implicit and jumping "poet's language", which reflects the ancient social life and the thoughts and feelings of the ancients. Therefore, the accurate interpretation of sentences depends not only on the knowledge of ancient Chinese, history and culture, but also on the experience of appreciating ancient poems and sentences. In this respect, the situation is particularly obvious when appreciating poems with allusions. For example, the second issue of Knowledge of Literature and History (8 1) contains an article by Comrade Ni Qixin, analyzing Meng Haoran's Guo Fangfang Zhuang in Tang Dynasty. The poem Crossing Enemy Village seems clear, but Comrade Ni Qixin pointed out that the first sentence of this poem "Chicken and Millet" was translated into The Analects of Confucius and Wei Zishu. The fifth sentence "Opening the Xuan" uses Ruan Ji's "Yong Huai" to "open the four fields of Xuan, climb high and think"; The sixth sentence "Sang Ma" uses the meaning of Tao Yuanming's "Returning to the Pastoral Residence", "Meeting without miscellaneous words, Sang Ma grows up"; In the last two sentences, Tao Yuanming went out to pick chrysanthemums on the Double Ninth Festival and got drunk. Therefore, it reveals that this poem still has narrative and lyrical significance. Meng Haoran originally wanted to learn from Confucius to "serve the officials as righteousness", and later, like Ruan Ji, "realized something from real politics"; Finally, "I admire Tao Yuanming's intentions" and "I plan to return to farming". The meaning of this self-reported interest change is deeply hidden in poetry. Comrade Ni Qixin excavated it by using rich historical and cultural knowledge and poetry appreciation experience. This is really reading ancient poems as ancient poems, which obviously shows a deep understanding of the original sentence.
Secondly, "recreating imagination" according to the "recreating conditions" stipulated in poetry is an important link in appreciation, and poetry needs to be pondered repeatedly. The so-called "pondering" mainly means that readers imagine and feel the images and emotions it expresses on the basis of accurate understanding of poetry. The actual situation of human psychological activities is that any "re-imagination" (including imagining the appearance of objects through instructions and imagining the image of buildings according to design drawings) needs the knowledge and experience of imagination itself; However, in poetry, because the "reconstruction conditions" indicated by poetry are extremely concise, implicit and enlightening, it is more necessary to mobilize readers' relevant knowledge and experience, so that it is possible to fully imagine the lyric images to be expressed in poetry. For example, in Du Fu's quatrains, "two orioles sing green willows", and the image of "one boat moored in Wan Li" expressed in the last sentence is generally considered easy to imagine, which is nothing more than saying that a sailboat is moored outside Du Fu's thatched cottage. However, the article "Painting and Poetry" published by Comrade Li Sijing in 1983,No. 12, showed a new imagination: "After enjoying the snow scene in the western hills with the window as the frame, the poet looked out the window and found another wonder: through the gate of his yard, he saw a ship drifting eastward on the water in the distance. ..... This is another portrayal that conforms to the perspective principle: he pressed the distant' Wan Li Ship' and the door of Dujia Courtyard on the same plane to enjoy it, and took the door as the frame, so the Wan Li ship was actually parked in the door. " This new "Ran Zao's Imagination" is quite incisive and reasonable. The reason why the author imagines the original sentence is because he connects the perspective knowledge in painting art with the original poem, thus gaining a new understanding of the "reconstruction conditions" provided by the original poem. Regarding the "Wan Li Dongwu Ship", there is a different "recreating imagination" in the Zhang Yongfang Chronicle essay published in the 5th issue of Knowledge of Literature and History (8 1), which is also reasonable and quite innovative: "It is generally believed that four poems and one scene are the scenery that the poet sees through the window, but I think that although the fourth sentence is written with real scenery, it is not necessarily so. When the poet touches the feelings of parting, the scene of' Wan Li boating' that is used to it on weekdays suddenly comes to mind, just like now, which is very natural. " The reason why the author makes such an imagination is also the result of linking relevant knowledge and experience with the original work (see the original text for details). In this way, a seemingly simple poem, through careful consideration and connection with different knowledge and experience, may make different "re-creations", such as The Ship of Wan Li in Soochow; It may be difficult for people to judge which imagination is more in line with the poet's original intention, but obviously, both of them show a profound understanding and feeling of the original poem.
This is another example. Comrade Ge wrote "Reading Du Fu's" Danqing Leads General Cao Ba "in the 10 issue of10 in 1982. In the original poem, the famous painter Cao Ba sketched the horse as "the first emperor ruled the horse". On that day, the first emperor led the horse to the imperial court, and Cao Ba was painted by imperial edict, which was soon finished. Then the original poem wrote: "One jade flower stood on the altar, and the other stood by the steps, and the two looked at each other in amazement. The emperor rewarded you with smiles and gifts, while officers and soldiers watched. " Comrade Ge said this to these four sentences: "The horse should not have stood on the imperial couch, but the word' but' created the illusion of painting a horse in a strange tone, and the illusion that two horses stood opposite each other on the couch made this illusion more realistic. The word "one" and the word "Jiong" on it set each other off, and vividly drew their vigorous and strange bones from the magnificent posture of two horses. Although' Supreme' and' Big Servant' are foil, their brief descriptions are also suitable for their respective identities. Although Xuanzong was happy, he just smiled and urged him to give him money. This is indeed an imperial style. Compared with the servants in charge of horses, China people who keep horses are disappointed, which is a special psychology of horse officials. Judging from the audience's reaction, even a real horse can hardly defeat the god who draws horses. This kind of "recreating imagination" is more common in poetry appreciation. It does not rely on any specialized knowledge and experience (such as historical materials and artistic theory), but only relies on a careful understanding of the "re-creation conditions" provided by the original poem. It is necessary to "recreate imagination" and then accurately record the results of imagination, that is, to become a better appreciation article. Speaking of this, it involves a problem: at present, many beginners often have a problem when they appreciate poetry writing, that is, they repeat the original content too much, and at the same time interspersed with some explanations or impressions in the retelling. This kind of article always feels that there is no depth and it is not a quality comment. Then, why is it that Comrade Ge is also retelling the original poem for explanation and impression, but it is considered as a better appreciation? The key point here is that her "re-imagination" based on the original feelings is more accurate and clear, which can be said to reveal the vivid picture and humorous interest expressed in the original poem, and it is also measured. The "recreating imagination" shown here, although seemingly without special knowledge and experience, is actually closely related to the author's historical knowledge, cultural accomplishment and artistic appreciation experience; If these factors are not fully mobilized in the process of thinking, it is impossible to make this kind of "recreating imagination".
Finally, talk about the association in poetry appreciation. All art has the function of evoking association, and poetry is an art with strong evocative power and great space. However, the emergence of association also needs the appreciator to think deeply. If you read all the poems in a hurry, even the images expressed in the poems can't be accurately "recreated", let alone associated and meaningful poetry. Sima Guang in Song Dynasty said in "Continued Poems": "Poetry written by the ancients is more valuable than words, which makes people think and get it. ..... modern poet, but Du Zimei is the best poet, such as "Although a country is divided, mountains and rivers live forever, trees and grasslands are green again in spring. Where the petals have flowed like tears, the solitary bird has sung a sad song': where the mountains and rivers are, there is nothing left in the Ming Dynasty: the vegetation is deep and there is no one in the Ming Dynasty; Flowers and birds, things that can be entertained at ordinary times, cry when they see them, and know when they are sad when they smell them. " Sima Guang listed a series of thoughts on reading Du Fu's poem "Spring Hope", and clearly pointed out that this association must be "thought and obtained". "Thinking and getting it" is "thinking about poetry".
Association in poetry appreciation is quite complicated, but it can be roughly divided into two categories, which can be called expected association and accidental association. The so-called "expected association" means that when a poet writes a poem, he has expected the appreciator to produce this association, so that readers can associate it according to the author's intention when enjoying it. Although this kind of expected association is "implicit", it is an organic part of the poetry content that the author wants to express. For example, in the 1 1 issue of "Knowledge of Literature and History" in 1983, Comrade Wu said in the article "The Implicit Beauty of Poetry" that "flowers are as beautiful as flowers, unlike flowers, and no one regrets teaching them". What he wrote is not only a sunny flower, but also a sunny flower, full of deep sympathy for a woman who has fallen into the dust; Leisure is the most bitter, don't lean on the fence, the sunset is in the dark place. What I wrote was not only the sadness of late spring, but also the sadness of late spring, revealing the yin and affection for the country and Japan. And more importantly, it often has a deep meaning behind it. "The two examples mentioned in this paragraph belong to the scope of metaphor, but the object of comparison is" more important "and" deep meaning "; This appreciation of "meaning" can only be found through accurate association, and association is of course inseparable from the appreciation of existing knowledge and experience.
"Association by chance" means that it is not intentionally expressed by the author in his creation, but because the viewer has other specific thoughts, feelings or life experiences, so he has his unique association in appreciation. For example, in the sixth issue of "Knowledge of Literature and History" in 1982, Comrade Hu Jingzhi said in "Beauty and Truth": "After leaving Suzhou for 30 years, I always miss my hometown. Whenever I think of my hometown, I naturally think of a night-mooring near maple bridge, a well-known poem by Tang Dynasty poet Zhang Ji ... When I meditate, I unconsciously enter the realm of poetry, which evokes my fond memories of my hometown: fishing fires by the river in the quiet night, Wu Peng's boat leaving at night, crows screaming on the treetops of temples in the morning, and the security hall next door often rings day and night. Of course, I also remembered the Maple Bridge I once saw. ..... At that time, Suzhou had just broken away from the Japanese invaders, and the famous historical site Qiao Feng was devastated and in a state of decline ... "Zhang Ji wrote this poem in the Tang Dynasty because he didn't want to arouse the readers' homesickness; Readers are not all from Suzhou, and they may not have those "good memories" of Suzhou, nor may they have seen the "Maple Bridge" of "a scene of decline". Therefore, these associations of Comrade Hu Jingzhi are unique to him personally, and of course they are also related to his own knowledge and experience.
In poetry appreciation, it is necessary to dig out the "deep meaning" of the original through expected association, otherwise it is impossible to understand the original deeply. As for accidental association, it is the "free association" of readers in general reading; Sometimes, this association can also deepen the feelings of a poem, and even become the reason why I particularly like this poem. However, in the appreciation of poetry as a literary study, unexpected association is dispensable. Since it is dispensable, it is necessary to use it properly; The passage written by Comrade Hu Jingzhi is very infectious, which not only helps other readers to understand the charm of the original, but also makes the appreciation of the article itself very distinctive.
The above is mainly about how to think in the understanding and feeling of poetry. Poetry appreciation belongs to the category of literary criticism, so if you write a formal appreciation article, you can't help but evaluate the thought and art of poetry while understanding and feeling. This requires using historical materialism and literary theory, as well as understanding the historical background and literary development background of writers and works, and linking this knowledge with the object of appreciation for thinking, so as to draw certain conclusions. Therefore, in a word, the appreciation of poetry is always inseparable from the word "think".
The weather of poetry
week
Before talking about the weather of poetry, let's take a look at the meaning of the word "weather". "Biography of Xu Mian in Liang Shu" answers the guest's quotation: "I have heard that luck is common throughout the ages; Spring glory and autumn fall, and the weather is regular. " This "weather" refers to the natural scenery. "Wen Xin Diao Long Looking for a Job": "In the Spring and Autumn Period, the Yin and Yang families were miserable, and their hearts were shaken when looking for a job." This "search" is equivalent to the "weather" quoted above. In Search, it is also called "painting with qi, and qi turns with things", which is closer to "meteorology" and equivalent to "style". Also, "exaggeration": "beauty like mountains and seas" is to describe the scenery of mountains and seas; "If you want to shine in Wewe Chan, your voice and appearance will change." This description should shine, and your voice and appearance will fly. Talking about "qi appearance" in this way is closer to the atmosphere of poetry. Because of the weather in poetry, we should also describe the scenery and describe it vividly. Fan Zhongyan's Yueyang Tower: "It's sunny in the morning and cloudy in the evening." The scenery here and there is endless change, which also means that the lights are shining and the voice is flying.
As far as "the beauty of mountains and seas" is concerned, Jiao Ran's poetic Shi Ming said:
A master's narrative is like climbing a wizard and seeing the prosperity of Sanxiang and Yanying, which haunts Pan Bo.
State. The opening and closing function of style. Or the sky is very high, there is no group, and the spirit wins the momentum and flies together.
Genus; Strange circumstances are at work. Still building a river, there is no wave in Wan Li, which is a profound repetition. Qishiya
Send. Brother Yi, ancient and modern, Chinese and foreign, have done it to the extreme.
This passage is a poem describing landscapes. Pay attention to the "ever-changing" landscape, that is, write "colorful" There are "ripples", "sky is extremely high", "close at hand" and "no waves in Wan Li", indicating that the weather has changed. If you want to write "Qi wins momentum and flies", you should also write radiant, smiling and flying. There is no mention of "meteorology" here, but we have come into contact with the meteorological problems in poetry, that is, we should pay attention to all kinds of changes in the scenery when writing about meteorology, and we should write about meteorology as "winning the momentum and flying"
On the "weather" in poetry, there is Yan Yu's Cang Shi Lang Dialect. He said in "Poetry Discrimination": "Poetry has five methods: system, gree, meteorology, interest and syllable." Mr. Guo Shaoyu quoted Poems Miscellanies in his notes: "Meteorology, like human appearance, must be solemn." Associated with the "myriad weather" of the scenery, then the weather is used to refer to people's appearance, that is, "graceful demeanor" and "amazing weather" refer to various changes in natural scenery; "Posture in all directions" refers to the beauty of characters, not limited to "solemnity". As far as people's weather is concerned, they have different styles and characteristics on different occasions. It is very beautiful to be solemn at grand banquets, cordial in the love words of relatives, treat children well on different occasions and adapt to different styles and characteristics. Those who talk about poetry without weather not only refer to describing scenery, but also to describing various patterns of people and society. Write beautifully, unprepared, brilliantly and with flying momentum. This is just like the saying in "Wen Xin Diao Long Feng Gu": "If it can be formal and make civilization healthy, the style of writing will be clear and bright." Whether it is the description of characters, scenery or anything else, it must be described correctly and "radiant", so that it can be meteorological.
Cang Lang Shi Hua: "Although Xie put forward hundred schools of thought's poems, they are also very different." Here is Xie Lingyun's Autumn of Prince Quasi-Wei.