First, scene fusion.
The so-called scene blending is the relationship and state of harmonious integration of emotion and scene in the works. The realization of scene blending, one is to express feelings through scenes. There are many such works, such as Du Fu's "Ascending the Mountain": "The sky is high and the wind is urgent, the apes whimper, and the birds fly across the white sand in clear lake. The endless trees are rustling leaves, and the Yangtze River is rolling unpredictably. Li in the sad autumn scenery, a wanderer all the year round, lives alone on the high platform in today's illness. Bad luck has a bitter frost on my temples, and heartache and fatigue are a thick layer of dust in my wine. " The poem's first couplet and couplet depict a picture of late autumn with simple scenery combination, creating a bleak and cold atmosphere, so as to express the author's wandering feeling and the sadness of life experience, which can be called a model of lyric with scenery. No wonder Yang Lun called it "Du Ji's seven-character method first". Another example is Lin Daiyu's "Burying Flowers", which also belongs to this type.
Another embodiment of scene fusion is to create scenes through emotions. This kind of poetry is less than the previous one, but it is generally more profound. For example, Chen Ziang wrote on the tower of Youzhou: "Where was the past before me? Behind me, where are the future generations? . I think of heaven and earth, there is no limit, there is no end, I am alone, and my tears fall. " This poem is directly lyrical, creating a huge historical scene, with great tragic spirit and great loneliness. Another example is Li Bai's from a pot of wine among the flowers, I Drink Alone. No one is with me. Until I raised my cup, I asked the moon, which brought me my shadow and made the three of us feel lonely in the text, reminding people of such a scene of drinking alone with the moon. Wang Guowei said in "Tales on Earth", "There is a creative environment and a writing environment, and this ideal is divided from two schools of realism. "Probably this sentence points out the difference between creating landscapes with emotions and expressing emotions with landscapes.
Second, virtuality and reality are innate.
The combination of reality and fiction is a common expression in China's ancient poems. Virtual environment refers to the aesthetic imagination space induced and developed by the real environment, which is realized through the real environment and processed under the control of the virtual environment. There are many examples of the coexistence of reality and fiction, such as Wang Zhihuan's Heron Hostel, The Mountain Covers the Day and The Passage of Things. But you have expanded your horizons by 300 miles, one floor less ",Jia Dao's last words, but how do I know about which corner of the mountain, through all these clouds? Ye Shaoweng's The Garden is Worthless, The Garden can't be caged in spring, and an apricot comes out of the wall, and Du Mu's Autumn in Chang 'an, The building leans against the frost tree, and there is nothing in the mirror. Autumn in Nanshan is full of momentum ",Li Bai's Dream on Tianmu Mountain, Su Shi's Nian Nujiao Chibi Nostalgia, Liu Yong's Yulinling, where do you wake up tonight? The breeze in Yang Liuan is fading, and Liu Yuxi's Wuyi Lane's Laowang Xietang died before flying into the homes of ordinary people. What about Li Shangyin's Notes to Northern Friends on a Rainy Night is complementary to reality. This existence is born of reality and created by the imagination of the brain on the basis of reality. Virtual and real are a pair of relative concepts. "The combination of the virtual and the real" refers to the mutual connection, mutual penetration and mutual transformation between the virtual and the real, so as to reach the realm of the coexistence of the virtual and the real, thus greatly enriching the images in the poem, opening up the artistic conception in the poem, providing readers with a broad aesthetic space and enriching people's aesthetic taste.
Third, the charm is endless.
Endless charm refers to the beautiful factors that give people a "round beam" in poetry, which is the real charm of artistic conception. In the late Tang Dynasty, Si Kongtu founded the theory of "lasting appeal". He believes that the aesthetic effect of artistic conception has infinite charm, not only internal charm, but also external charm. He also called this "taste outside" "effect outside rhyme" and "intention outside taste". In his book Qian Xi Shi Yan, Fan Wen said: "People with rhyme are extremely beautiful", and he also said that "everything is beautiful as it is, and there must be rhyme. If rhyme is invincible, it will also die. "
Infinite charm is vividly reflected in China's ancient poems. For example, some of Wang Wei's Zen poems, such as Autumn Night in the Deep Mountains, Empty Mountain after Rain and Late Autumn Stand. The bright moon shed clear light from the cracks and cleared the fountain on the rocks. The bamboo forest is sonorous, the washerwoman returns, and the lotus leaves are swaying to get on the canoe. My friend's prince, what does it matter if spring is over and you are still here? . Another example is Ji Xiang Temple and not knowing the way to the Temple of Heaped Fragrance Road, which walked for miles under the mountain clouds. "。 Ancient trees are towering, but there are no pedestrian paths, and there are bells in the mountains in the temple. The spring water in the mountains hits the dangerous rocks, and the sun in the pine forest is cold. At dusk, close to an empty pool, thoughts can conquer the dragon of passion. "There are Li Shangyin's untitled poems, such as Jinse. I wonder why my Jinse has fifty strings, and each flower-like string is the interval of youth. Zhuangzi daydreaming, a saint, was bewitched by butterflies, and cuckoo crowed in the imperial spring. Mermaids shed pearl-like tears on the moon-green sea, and the blue fields breathed their jade to the sun. A moment that should last forever has come and gone before I know it. " And Lin Hejing's Xiao Mei in the Mountain Garden: "Many fragrant people shake off their unique beauty and occupy a small garden. "Mottled shadows hang obliquely on the clear shallow water, and their fragrance spreads peacefully in the moonlight dusk." Cold birds want to fly, first glimpse plum blossoms; Butterflies will be enchanting if they know the beauty of plum blossoms. Fortunately, there are micro-songs to compare, and there is no need for sandalwood golden jars. "There are also" Mulan Ci, Antique Decisive Ci, Friends of Cambodia "by Nalan Xingde. If life is just like the first sight, why is it sad to draw a fan in the autumn wind? It is easy to change, and it is also easy to change. Lishan language is clear at midnight, and the rain bell doesn't complain at night. What's more, if you are lucky enough to be a handsome guy, you will be willing to stay close to each other on the same day, and so on.
Zhang Xiaoxiang's "Nian Nujiao Crossing Dongting" wrote that "Dongting grass, near the Mid-Autumn Festival, is even less glamorous. Jade Sword Qiongtian covers 30,000 hectares and gives me a boat. The bright moon is in the sky, and the shadow of the Ming River is clear both inside and outside. Leisurely, beauty is difficult and you say. " The charm of poetry is a wonderful feeling. Even in many cases, the beautiful and wonderful feeling of charm is only at the moment of "carefree heart". When we want to relive it, that feeling only exists in me at that time, and that has passed. It can be said that the existence of charm must be synchronized with the feeling when reading, otherwise, it is unrealistic not to feel the charm of words.