What is the image of poetry? What is the symbolic meaning of poetry?

1. The basic element of poetry: image image is a meaningful, meaningful and meaningful "image". Like hieroglyphs, like elephants with long noses. 4000 years ago, the climate of the Yellow River Basin was much warmer and wetter than it is now. Dashun once tamed elephants to plow fields, which shows how close people were to elephants at that time. Later, the climate in the Central Plains became cold and the elephants disappeared. The ancients rarely saw living images, only images in paintings, so there were "images" and "images in paintings" in Chinese vocabulary, which gave birth to images and images. The image in the picture has two more links than the living image: cognition ("cognition") and description ("walking"), so everything in the mind is more illusory than everything in reality; The gradual change from cognition to description is the basic format of human life practice, so "image" is more subjective in introspection and communication than "thing" or it belongs to people. As the formalization of vivid life experience, it is naturally vivid. In Tao Te Ching, there is "trance", in which there are images; There is something in the sentence, and the comparison between "image" and "thing" shows that "image" and "thing" are different in the pre-Qin era. This difference is clearly explained in Zhouyi, that is, divinatory symbols are virtual symbols of the changes of everything in the world. In short, "image" is the virtual symbol of "thing". The characteristic of "image" lies in its "meaning": all the so-called meanings, meanings and meanings are understood by people from "things"; This understanding of human beings lies in the whole process of cognition and description of "things", which is the fundamental difference between human beings and animals. Without "meaning", where can there be an "image" with a clear idea? So "image" must be image. As an element of poetry, image reminds the independence and consciousness of poetry in literary stylistic sense: it determines that a poet can not leave the framework of "image" like writing essays, but directly understand Chen Qi's understanding of the meaning, meaning and meaning of things. Yan Yu's poetics has long been known as "four taboos" ("the language should be straight, the meaning should be shallow, the pulse should be exposed, and the taste should be short"), which is the basic viewpoint of China's classical poetics. Xin Qiji's "Partridge Sky" says: "The peaches and plums in the city are worried about the wind and rain, and the shepherd's purse in Xitou is in spring." "Li Tao" had to "worry" in the "city" in the "wind and rain", thus becoming a symbol of broken mountains and rivers; "Xitou shepherd's purse flower" is the messenger of "spring", which is beaming and symbolizes the hope of life. Another example is Guo Lusheng's Autumn Meaning: autumn rain reads poems on fallen leaves, and autumn wind sends them to editors. In the youthful age when the green leaves were noisy, it was bound into a beautiful collection of poems. There is an autumn leaf floating into my heart, with crystal tears on it, slowly falling in the wilderness in my chest and sobbing in my heart. I can see that it is your tears, bitter, salty and poetic, which can drop on the unhealed wound in my heart, but it is a sad memory. There are no "poems" on the fallen leaves and no "tears" on the autumn leaves. It is the poet himself who "sobbed in a low voice". Autumn wind and autumn rain are images, while sadness and poetry are symbols. Zhou Faxiang's words are quoted in Liushahe's Twelve Elephants, that is, "meaning hides behind the elephant". Why are "shepherd's purse flowers" and "autumn leaves" alive? Because they have the poet's affection behind them. This implicit style of hiding "meaning" in "image" should be said to be the stylistic feature of poetry.

2. The way of poetry: Imagination is the creative presentation of "image" in free thinking activities ("thinking"). So it can also be said that imagination is the essence of thinking in images. In Lu Ji's Wen Fu, the so-called "taking responsibility for nothingness in class and knocking loneliness for sound" shows the creative characteristics of imagination. Shakespeare's A Midsummer Night's Dream said: "In a magical carnival, the poet's eyes can see the sky from the sky and the ground, and can also see the sky from the ground. Imagination will present the unknown things in a form, the poet's pen will give them a real image, and the empty nothingness will have a position and a name. " More emphasis on the spirit of free imagination. Poetry is one of the freest and most creative literary styles. Some people divide the imagination of poetry into association and fantasy. In fact, even Lenovo is quite creative. In Li Bai's poems, it is said that "clouds think clothes, flowers think capacity", from "clouds" to "clothes" and from "flowers" to "capacity", so that "clouds" and "flowers" as "things" suddenly surpass the "things" themselves and have significance. There is an imaginative poetic thinking behind this association. So the poet Baudelaire said, "Only in imagination can there be poetry." The Greeks resisted the Persian invasion, and 300 Spartans guarding the Maupile Pass fought bravely against the enemy, all of whom were killed. The poet Szimonidesz wrote an epitaph for them: Passerby, please send a message to Spartans. In order to listen to their instructions, we lie here. This is a poetic imagination. Mr. Sun Shaozhen's understanding is quite wonderful: "What is written here seems to be not completely faithful to life, but more faithful to feelings. Its reality is the meeting (sleep) of the objective morphological characteristics of life (death, lying on the ground) and the subjective desire characteristics of feelings (dedication to the country, eternal life) at an intersection. ..... is characterized by death (lying down) and immortality (listening while working while sleeping). Naturally, it is not a realistic picture of life, but an imagination derived from reality and transformed from emotion. Through imagination, life is like being reborn and gaining another form and character. It lost some characteristics of the prototype of life, and it gained emotional characteristics. It is a fairly common law that the image of life changes to varying degrees in imagination. " Li He's "Dream of Heaven" says: "Looking at qi zhou in the distance, a glass of seawater flows backwards." Kyushu is vast and the four seas are big. Falling from the sky is just a cigarette and a glass of water. It is undoubtedly impossible to put the surging seawater into the "cup" in reality, and this "change" is only reasonable in the imagination. The imagination of poetry is like the legendary "touchstone", which directly leads to the exaggeration, reduction, illusion and deformation of objects, thus creating moving beauty beyond real life. The aesthetic essence of imagination is the feeling of life in free space, and the thinking essence of imagination is the flexible development of path thinking (similar thinking, causal thinking and constitutive thinking). Imagination has two important qualities. The first is strong emotion, which produces a powerful driving force for imagination. Without emotion, there is no imagination. The second is the free construction of imagination, that is, in order to express feelings, the image is combined and constructed by using writing thinking operation technology. This is the so-called image thinking and artistic thinking of literature and art.

3. Stylistic focus of poetry: Spiritual poetry is actually a kind of artistic conception and realm. When talking about the experience of reading poetry, the famous American poet Bu Running said, "... the poems of these poets suddenly brought me to a realm, and their language is poetry." Artistic conception, sometimes called realm, must clearly grasp the meaning of the word "realm" to understand the true meaning of artistic conception. The original word of "Jing" is "Jing", which is a time concept to indicate the end of music. Xu Shenyun said, "All music is fine." Later, it was extended to the concept of space representing the final boundary of territory. Mao said in the Book of Songs Yun Chuan: "Xinjiang is actually." Shuowen even interprets "boundary" as "classics". Duan Yucai's "Notes on Explaining Words" said: "When the ground stops, tell the truth." It can be seen that the word "Jing" accumulated a rich sense of time and space at the beginning of civilization. We believe that "artistic conception is a unique cultural time and space opened up by people's hope, sigh, thinking and vitality." In other words, artistic conception, as an important component of the third nature, is originally a three-dimensional space-time with' people' inside. "It emphasizes two elements of artistic conception: the sense of space and the spirit of life. In fact, these two things are one and two, and two and one. The sense of space is the spiritual feeling of life existence, and the spirit of life is the spiritual sense of infinite freedom. As far as the sense of space is concerned, artistic conception comes from image and transcends it. Image is limited, it melts emotion (meaning) into scene (image), and the focus is on "scene". Wang Shizhen once praised the "dancing image" in the poem "Lu, Luo, Wang and Yang" in Art Garden. Ai Qing's poem "The Sun" includes: from the ancient tomb, from the dark ages, from the stream of human death, shocking the sleeping mountains. If the steam wheel rotates on the sand dunes, the sun will roll towards me ... Twelve Talks by Liushahe said that he "created a shocking and dazzling image" and "gave readers a strong stimulus". Artistic conception is infinite, which is the three-dimensional and super-three-dimensional infinity of images. Image is a picture, and artistic conception is a spiritual space. The place where space transcends the picture is that it always has a deep three-dimensional sense, a sense of anger and an infinite sense. For example, Feng Wei said benevolence: "Soft hands, firm skin, collar like salamander, teeth like rhinoceros, and a cicada's head like a moth eyebrow. Smile! I am looking forward to it! The overlapping of images such as "hand", "skin", "collar", "tooth", "head" and "eyebrow" is not only "realm", but the infinite feeling of paper life formed by "money" and "hope" turning the picture from static to three-dimensional, thus creating a vivid and far-reaching moving artistic conception. Another example is Zhang Juxuan's poem: "It rains at night and a tree blooms early. Where does spring go?" Yuan Haowen thought that the poem was "good but insecure" and changed "a tree" to "a few points". Yuan Xingpei's "Research on China's Poetry Art" explains: "A tree will blossom early in one place, which is unremarkable; When is the early plum blossom?' Focus on a vast space, with unlimited quantity and artistic conception. Taiwan Province poetry critics once praised the beauty of "spatial layering" in the modern poem Landscape: there are windbreaks outside and windbreaks inside, but the List of Sea and Waves says that its beauty lies in "creating endless layers of overlapping feelings in readers' hearts". This peculiar sense of space is the secret of poetic artistic conception. In a word, behind the three-dimensional space of poetic image is the extremely free and detached life space cast by the poet between the lines of poetry. In Poetry and Philosophy are Close Neighbors, Zheng Min elaborated this spiritual freedom-oriented pursuit: "Language, skills and themes are often used to establish a realm. China's realm is a spiritual pursuit infiltrated by humanities, history and philosophy for thousands of years. It is a mixed experience and evaluation of life with ethics, aesthetics and knowledge. It is a spiritual pursuit between religion and philosophy. Perhaps it is the breath of the soul of the Chinese nation. ..... The realm is constantly changing, like a thunderstorm, and it is also the synthesis of the poet's mentality and spirit. The poet sometimes expresses his own realm with some specific descriptions, but what he really wants to give the reader is not a specific description, but a sudden spiritual understanding of disappointment. It is neither a clear teaching nor an emotion that can be named. ..... If the word artistic conception is interpreted as the realm of scene blending, it will be simple. The level of poetic style has a great relationship with the spiritual realm of the poet in the poem. China's poems, books and paintings really take the realm as the soul. No matter whether the specific content of the poem has the poet's own feelings, that is, whether there is me or not, its realm must be superego. In addition to lyrical writing, there is a heavy sky, which is superego and superman. The greater the degree of detachment, freedom and chic, that is, the higher the realm, the pursuit of this spiritual realm is China's practice of Confucianism, Taoism and Buddhism. In the realm, there is no omnipotent Lord, no authority, no control, no control, and people enter a state of complete "freedom" in the realm, so complete freedom and complete "freedom" means superego, transcendence, transcendence, that is, complete transcendence and coexistence with "nothing" Or: Everywhere. " Therefore, Ma Zhengping thinks: "In China's aesthetics,' realm' ('artistic conception') is the ultimate noumenon of literature and art. Here, not only the language symbol as an artistic form is the carrier of art, but also the theme and image of artistic content, all of which are to express the author's artistic conception and realm. From the perspective of writing, appreciation and criticism, I think that "artistic conception" and "realm" are neither pictures of "scene blending" in literary and artistic works, nor "typical" in western literary theory, nor the artistic world imagined by association in artistic appreciation, nor the three-dimensional artistic world of artistic image and environment, but an abstract and lofty sense of space that transcends all these artistic images. This is the height of art and the height of life. " Tao Yuanming's "Picking Chrysanthemums in Dongli" is poetically transformed into the realm of "forgetting words when the mountains are beautiful and the birds are gone"; Kou Zhun climbs the mountain and overlooks it, condensed into the grand realm of "looking up at the red sun and looking back at the low white clouds". Poet Yu Xinjiao's masterpiece Epitaph: In my motherland, only you have never read my poems, and only you have never loved me. When you know where I am buried, please choose the most beautiful spring and take the brightest road. It's just that you haven't read my poems, but you haven't loved me. You are the only shadow of my bright motherland. You should apologize to the blue sky and apologize to me that it's going to rain. Please lower the Chinese milk vetch that is not yet open. Ask them to open in advance in my sunny motherland, apologize to Baiyun, apologize to the green mountains and green waters, and finally apologize to me. Finally, it would be great if I were still alive, and create a "passionate" realm of "exposing my bright side in the middle of the night neglected in hell" (Yu Xinjiao's Exposing My Bright Side). The realm, grandeur and passion of "forgetting words" in our poems are actually, as Yu Xinjiao said, "an instant exposure of dreams, vitality and cosmic order" and the ultimate display of the poet's life spirit. This "artistic conception" of poetry is what Ma Zhengping called "realm" in "The Space of Life".

4. Shaping the Style of Poetry: Rhythm When someone asked Moore, a famous contemporary American poet, if there were any changes in the characteristics and styles of his poems, he said, "What I was most concerned about was the sense of rhythm at first, and it didn't change much. If I successfully express the rhythm entrenched in my heart, I will be satisfied. " This shows the position and significance of rhythm in the poet's mind. So what is rhythm? As we know, the appearance of poetic style refers to a language form that can present readers with a special auditory feeling, and the production of this auditory feeling depends on the careful arrangement of rhythm and rhythm. The so-called sense of rhythm refers to a sense of language order formed by a series of sounds with certain intensity, height, length change and even time interval. According to the theory of China's ancient art aesthetics, it is the "text" and "text" of sound. Its essence is to obtain a formal sense of time and beauty of time through the movement and change of tone. In China's poems, rhythm is embodied in the rhythm. In this way, poetry has gained an open and closed beauty of time. China's classical poems generally have strict prosodic rules, such as "three-character suffix", which is not introduced here; On the one hand, the rhythm of new poetry is the regular beauty of intonation time formed by the regular pause of footwork, on the other hand, it is determined by the ups and downs of the poet's mood. The spiritual implication of the rhythm of poetry, the combination of the length and length of poetry, the even coordination of stress and the echo of paragraphs can all taste the corresponding rich feelings. For example, Zheng Chouyu's Wrong: I walked across the south of the Yangtze River, waiting for the lotus to fall in the season, and the catkins in March did not fly. Your heart is like a lonely little city. The spring curtain in March didn't show your heart at night. It was a beautiful mistake to cover my horseshoe. I am not a passer-by, but a peaceful, quiet and slightly frivolous rhythm. Read it. The beautiful rhythm of poetry needs a pair of smart and enlightened ears. The so-called rhythm refers to a certain sense of order formed by a series of sounds through the harmonious changes of repeated responses. In poetry, rhythm, that is, rhyme, means that the same pronunciation appears regularly and repeatedly in a certain position in poetry. The rhyme of classical poetry is very strict, and it should be filled in according to the established flat structure. Poetry has definite sentences, sentences have definite characters, and words have definite sounds. Generally speaking, new poems also require similar rhymes. Most poems rhyme at the end of the sentence, but the rhyming density is more free. New poetry is the product of classical poetry moving towards prosaic culture, which is the "newness" of new poetry; Prose (oral) poetry also needs a smooth and powerful sense of music, which makes new poetry a "poem". For example, Guanglong Di's The Heights of the Motherland: The heights of the motherland are three sunflowers in Tibet cut by my sunshine. On the last oil lamp, the salt I love is like a rainstorm, coming through the liver and intestines. Autumn wind is tormenting on the road. Opening the piano box and singing the mountain in Ansai, my hometown, is the life of a paradise singer. The sound of the pony over and over again is the moonlight washing the lips. The elders in the heights of the motherland are kind. I was born in the Yellow River. One is my father, and the other is my mother. I am guarding the rice in Yinchuan and the grain in Guanzhong. I can hold my bones and flesh all my life, and I can be like a window flower. Years are long. My sister in my heart is hot, with a spout in her left hand. The right hand refers to Lvliang. Your tenderness is my strength. Fill my sleep with silver and put pig iron on my head. I am very happy. Growing up in the soil, the rhymes in the poems are mainly Tibetan, Shang, Tian, Chang, Liang, Tang, Singing, Wang, Guang, Ji and Niang. Their tones are different and their vowels are different, but their rhymes are almost the same. Rhythm can create and strengthen the musical sense of poetry, so the rhyme and the tone of poetry must be harmonious. Taking this poem as an example, the poet's emotion is profound and bold, and the theme of the poem is grand, so he chose the opening tone. In addition, the meaning of prosody also includes the smooth and changing sounds of the lexical language used in sentences. In other words, a sentence can't be all plain, nor can it be all plain. It should be flat, so that the rhythm of poetic pronunciation is beautiful.