First, write objects and images directly (no sustenance).
This kind of poems about objects mostly adopt the style of Fu, and the paintings reproduce images, just like still life sketches and meticulous flower-and-bird paintings, which are vivid, lovely and interesting. According to the different emphasis, they can also be divided into three ways:
1, biased towards writing. This kind of writing focuses on the external form of things. As "Wen Xin Diao Long Search" said: "The real thing is wonderful, and the merits and demerits are closely related. So clever words are cut into shapes, such as inkpad, not carved, but written in mustard. Therefore, it is expected that the word will be seen, that is, when the word is known. " For example, when Luo was seven years old, he wrote Ode to Goose: "Goose! Goose! Goose! Xiang Tiange with a crooked neck. White hair floating green water, red palm clear waves. " That is, it vividly reproduces the image of Anthurium andraeanum and white goose swimming and singing in the green water. No matter how "Yong Liu" is, it is also a poem that tends to be written: "Jasper is dressed as a tree, and thousands of strands of moss hang down. I don't know who cut the thin leaves, and the spring breeze in February is like scissors. " The poet uses metaphor and personification to describe the shape of thousands of willows in the spring breeze. Brought us the breath of spring. Another example is Du Mu's "Egret": "Frosted clothes and snow make jade mouths, and a group of fishermen catch fish in the shadow of a stream. Surprised to fly far away to reflect the blue mountains, a tree pear flower falls night breeze. " The first sentence is colorful. The second sentence describes the scene of egrets fishing, and the last two sentences describe egrets flying into the distance in fear, like white pears falling against the green hills. As a bystander, the poet describes and appreciates the static and dynamic cranes, just like a colorful bird picture of cranes swimming in the water and flying far away, which gives us beautiful enjoyment.
2, biased towards writing God. This kind of poems describing things do not pursue nuanced description and skillful likeness, but pay attention to the way of writing things and express the inner spirit of things, but this spirit is not attached to people. Poets just write out the weather of things they feel instantly, just like western impressionist paintings or China's freehand brushwork. For example, Wang Zhu, a poet in the Song Dynasty, wrote "Pear Blossom": "The courtyard is black and fragrant with white flowers. A light rain, tears wet makeup. " This poem describes the poet's sight of a pear flower with rain in the early morning, just as Yang Guifei wrote in Song of Eternal Sorrow: "Tears fall from her sad white face, just like the spring rain falls on the pear flower". What the poet wants to write is the impression that this pear flower brings rain to people, and it does not involve borrowing things to hold things and writing people. Write like this, it looks radiant and lifelike. Sheikh of the Southern Qi Dynasty put forward six painting methods, the first one is "vivid charm" (a record of ancient paintings), which is similar to this.
Su Shi attaches great importance to spirit likeness. He said in "Two Broken Branches in the Master Book of King Yanling": "The similarity of paintings can be seen in children's neighbors. Poetry must be this poem, and you must know that you are not a poet. " Su Shi once criticized Shi's poem "Red Plum" for "recognizing peaches without green leaves and distinguishing apricots with green branches", which failed to reach the spirit likeness. He also wrote a poem "Red Plum" that emphasized the spirit likeness: "I'm afraid I'm afraid I'll sleep late alone, and I'm afraid the ice won't agree. Pretending to be a little red peach apricot, I am still lonely and thin. Cold heart is unwilling to follow the spring state, and wine is dizzy for no reason. I didn't know Meg was here, but I looked at the green leaves and branches. " It writes the spiritual character of Hongmei, and highlights the spirit likeness, so it is better than the former. Other poetry theorists also believe that writing about God is more important than writing about form. For example, Zou Zuomo's "On Yuan Zhizhai's Poems" in Qing Dynasty said: "You can't praise things, especially avoid being too similar. It is better to take shape than to take shape, and to use things unintentionally. "
3. Have both form and spirit. This is the combination of form and spirit, which has the advantages of both, and it is also the most ideal way to write poetry directly. Wang Shizhen's "Poems in Classroom" said: "A work that praises things must be a masterpiece. As the Zen master said, it is inseparable." Qian Yong's Poems in the Garden also said: "Poetry about objects is the most difficult. If it is too relevant, it will stick to the belt and bones. Irrelevant, catching the wind and catching the shadows must be in between. " It means that if the recited poem is blindly shaped. It is dull and pedantic, lacking aura; If you are blindly similar to each other, you will be too far away from things and it will be difficult to identify. Therefore, it should have both form and spirit, so that it is no longer just a formal imitation and no longer lost in nothingness. The so-called "never leave" refers to the unity of "form" and "spirit", which permeates the poet's feelings. For example, a painting completed by a painter is no longer a simple sketch of a "thing", nor is it a random writing without "thing". Instead, we choose typical expressive pictures and create natural and vivid landscape paintings, flower-and-bird paintings, figure paintings, genre paintings and so on with a certain affection as the center. Such works, whether in form or spirit, have high aesthetic value and become the ideal realm pursued by poets who chant things. The ancients had a lot of discussions in this regard. For example, Chao Yidao's Painting Wild Goose Poems said: "Poetry conveys the meaning of painting, and it is expensive to paint." "On Poetry" by Tu Long said: "Small but vivid." Both emphasize the combination of form and spirit. Fang Bing Cao Hu Ma written by Du Fu, a great poet in Tang Dynasty, is a masterpiece with both form and spirit. Here, let's look at another plum blossom poem by Chen Liang: "The branches are thin and thin, with small calyx pearls. A flower suddenly changes, and a hundred flowers blossom. If you want to spread the message of spring, you are not afraid of snow burial. The Jade Emperor took the third lane, and Dong Jun was advocating. " The first four sentences of this poem mainly describe the "shape" of plum blossom: thin branches and strips with snow on them and bright calyx like beads; One flower blooms first, and the fragrance is released. From the fourth sentence to the last four sentences, the "spirit" of plum blossom is mainly written: plum blossom blooms first in spring, and Ling Xue is frost-resistant, and the fragrance is all over the world, and the law is unstoppable.
Second, the physical meaning (with sustenance).
The writing of this kind of chanting poems is different from before. First of all, as far as the purpose of creation is concerned, although we still want to describe the image and express the expression of things, its main purpose is not the thing itself, but to support the meaning of things. The so-called "meaning", or expressing ambition, or expressing emotion, or discussing, or reasoning, is the subjective affection that the poet wants to express through things. But this feeling is also different from the free expression of "thinking for a thousand years" and "seeing through Wan Li" in lyric poetry. It must be carried out on the basis of reciting things, either inseparable from this thing or inseparable from it, so I still recite things. Secondly, as far as the emphasis of creation is concerned, it is also different from the former category. It focuses on the "meaning" of metaphor, rather than the form and spirit of things. However, it is different from lyric poetry. The focus of lyric poetry is entirely to express the poet's subjective feelings. However, the focus of this kind of figurative poems is not necessarily moral, and the space occupied is not necessarily emotional. Chanting things is still the dominant content. Finally, as far as creative techniques are concerned, the former kind of chanting poems mainly focus on fu style, directly describing and portraying, and sometimes using some simple metaphors and personification techniques, while this kind of chanting poems with physical significance mostly adopts metaphors, symbols, personification, lyricism and discussion techniques, which are more diverse and complicated. Comparing the above three aspects, it is not difficult to distinguish which kind of chanting poems belong to. As for how to distinguish between object-chanting poems and lyric poems, it is also explained above. In addition, we can also look at the titles of poems to distinguish them. Generally speaking, these poems are poems describing things, so their titles are often the names of things, such as Egret, Lotus, Hongmei and Willow by the Pool. Or add "Yong", "Fu De", "Drama title" or "Song" and "storytelling", such as "Fu De Chicken", "Pond Fish", "Fan Song" and "Mosquito Collection". Even if the title of lyric poetry involves the name of the object, some emotional words are often added, such as "Gu Chai Tan", "I hurt the parrot next door", "I am sad about autumn" and "I wrote a kite as a message".
As far as these two kinds of poems about objects are concerned, ancient poetics holds that the latter is superior to the latter. For example, Wang Fuzhi's "Jiang Zhai Shi Hua" says: "The meaning is still handsome, and the clouds are full of rocks, flowers and birds are covered with moss, and gold is covered with brocade, which means spirit." Another example is Shen Xianglong's "On Ci", which says: "The merit of chanting things is to borrow things to contain temperament and to have a sense of life. Your country's worries are hidden in it, and your thoughts are far away and you can't touch them. " To be fair, for example, the former kind of poems that simply praise things and have no sustenance can vividly and delicately express the beauty of "things", such as still life paintings, and can also give people a beautiful enjoyment, which has its own value. After that, the latter kind of poems about things have their sustenance, which can reflect the meaning of things, express feelings through excuses, and argue with things, so they can show greater significance, richer connotation and deeper image by going up a storey still higher. It can better express the poet's inner feelings, and it is also more intriguing and more touching.
Poetry that recites material things. Can also be roughly divided into three kinds of writing:
1, personification (metonymy). This kind of object-chanting poem either makes use of some similarities between things and people's spiritual morality, or artificially compares natural things with social ethics that have no internal connection, that is, it emphasizes the expression of people's spiritual morality while chanting things. The theory of "vanilla beauty" in Qu Yuan's works means that "vanilla" is attached to a beautiful spiritual quality, and "beauty" symbolizes the king. It is the formation and creation of this theory of "Bide". Qu Yuan's Ode to an Orange is this kind of metonymic poem. Every sentence in the poem praises oranges, but it's not just oranges, but personification. It compares a beautiful orange to a person with good spirit and morality, so every sentence praises the orange. He is also a sentence writer. The unity of things and me in the poem expresses the poet's deep affection for praising sages and expresses his ambition with dried tangerine peel. Yongmei, a great poet in the Southern Song Dynasty, also wrote in this metonymic way. In addition, such as "Egret" by Li Bai: "Egret falls in autumn water and flies like frost alone. I didn't go idle, next to the independent sandbar. " This poem describes the egret flying alone and independently, not only describing its color, posture, manner and situation, but also expressing emotion through the heron, symbolizing the poet's own lonely and wandering mood and noble interest of being unwilling to go along with others. It can be said that the egret sung in the poem is a self-portrait of the poet Li Bai.
2. Writing (emotional). Poetry chanting things in this way is no longer confined to the framework of "virtue", but a step forward, getting rid of Confucian morality and utility, paying attention to the description of natural things themselves and the expression of poets' deep feelings caused by it, and moving towards a new way of "empathy" As Liao Yan said in the fourth volume of Preface to Intention Garden in the early Qing Dynasty, "Let me express my mind through my physics." If the metonymy of object-chanting poems shows ethical beauty, personality beauty, group and type characteristics, focusing on social beauty, then the lyricism of object-chanting poems shows human beauty, human beauty, individuality and uniqueness, focusing on personality beauty. It marks that the aesthetic consciousness has entered the stage of "relaxing" from the stage of "comparing morality". For example, Qian Qi's "Book of Songs" says: "A rosy cloud shines on the fairy well, and the bottom of the spring is covered with peach blossoms. Then I know that under the secluded stone, I don't communicate with Wuling? " This poem is about Shijing, and the peach blossom is reflected in the well, which arouses the poet's emotion and association: Is there any connection between the peach blossom in the well and the peach blossom source in Wuling? It expresses the poet's yearning for the life in the Peach Blossom Garden, which is "feeling" and "empathy". Another example is Huang Chao's "Chrysanthemum Terrace": "The rustling west wind is planted all over the courtyard, but it is difficult for cold butterflies to come. If I am Di Qing next year, I will report peach blossoms. " This poem, written by Huang Chao, the leader of the peasant uprising in the late Tang Dynasty, is magnificent, vivid and simple, and full of extraordinary momentum. The chrysanthemums written in the first sentence are in full bloom in the rustling west wind and contain appreciation. The second sentence points out that although chrysanthemums are bright and blooming, the flowers are beautiful and fragrant, but they are open in the cold autumn wind, and "flowers are cold and fragrant", which cannot attract beautiful butterflies to courtship like spring flowers. This poem describes the unreasonable opening of chrysanthemums in the cold autumn, which aroused the poet's indignation. So the poet wrote with a pen: "If I were Di Qing next year, I would report peach blossoms." The poet is determined to change this unfair situation and let chrysanthemums and peach blossoms bloom together! This also tells the poet's mind: the reality is so unreasonable. If I become the emperor in power, I must rearrange the world, eliminate injustice and realize the beautiful ideal of equality for all. This is also the core content of the major political program put forward by the poet who later became the leader of the rebel army. Of course, in this poem, the poet is writing a poem, so he can only praise things, express his will and symbolize his feelings. The poet said, if I become Di Qing in April next year, I will definitely make chrysanthemums bloom with peach blossoms in that spring. The implication is self-evident: in that case, gorgeous chrysanthemums will attract dancing butterflies to have sex like peach blossoms and other spring flowers.
This kind of object-chanting poetry is considered as the top grade of object-chanting poetry, because it flexibly expresses the poet's feelings and has the most aura. For example, Chen Qing's "Questions and Answers in the Bamboo Forest" said: "Poems about objects are interesting, and then vivid. Those who amuse themselves take photos in the lingering sadness, and the comparison of "300 articles" is also interesting. Those who are lifelike appreciate each other, and "three hundred articles" are also. If the model is normal, the seaweed will be painted blue and the dead thing will die. " (See Volume 4 of Continued Poems in Qing Dynasty).
3. Borrow something (argumentative paper). This refers to discussing and reasoning through writing, or discussing politics through things, or reasoning through things, or reciting history through things. (1) borrowing things to discuss politics: generally speaking, there are three situations. First, in order to avoid being persecuted by rulers or political enemies, we don't discuss politics directly with poetry, but we condemn and criticize politics in a tortuous way by chanting things, putting a protective color on ourselves; Second, in order to vividly express political views, it is easy to understand and meaningful; Third, the poet's personality factors, some poets like joking, some are very lofty, and disdain to discuss politics with politicians of the current dynasty, so they use things to ridicule and joke. These poems about politics by borrowing things often contain Zhuang in harmony and have the meaning of allegorical poems. But the whole poem is dedicated to things, and there are concrete and vivid descriptions of what is sung. It can be seen that its shape can taste its spirit, and it is still a chanting thing. For example, Liu Yuxi's "Mosquito Gathering Ballad": "On a heavy summer night, the hall is open, and flying mosquitoes are waiting in the dark like thunder. At first, the noise is frightening, but if the conversation comes from Nanshan. Noise is exciting, joy is weak, and the ignorant are not confused by the wise. Dew drops from the moon to the sky, and sharp mouths welcome people. My body is seven feet tall, and one person can hurt himself. Born sometimes unstoppable, give you a trampoline. Qiu Lai, a Qing businessman, knows that he is ashamed to feed the Danbird in miniature. " The whole poem is about mosquitoes. They make noise in the dark and bite people with sharp mouths, which makes people have to set up tents to defend themselves. But when autumn comes, all mosquitoes will be eaten by Dan birds. But the author's original intention is not to really write about mosquitoes, but to discuss politics by mosquitoes. At this time, the poet Wang joined the innovation group to carry out the New Deal. However, they were opposed by officials and local governments, and they tried their best to safeguard their own interests. They dare not speak out, but secretly conspire, spread gossip, spread rumors and mislead, and attack reformists, just like a group of mosquitoes that secretly bite people. Therefore, the poet used mosquitoes to expose, reprimand these political opponents for their meanness and viciousness, and warned them that they would not have a good end.
(2) Metaphoring people with things: this kind of poems describing things can vividly explain the truth and make people easy to understand; It can also be tactfully implicit, with profound implications and endless aftertaste. For example, according to Wang Zhifang's poem, when Wang Anshi was an academician, there was a cluster of pomegranate trees in the academician courtyard, with lush foliage and no flowers. One day, a red flower suddenly appeared. Wang Anshi said, "There need not be many green flowers." These two poems vividly illustrate the wisdom of the ancient art of war that "there are not many soldiers, but they are good", and contain the philosophy of "winning more with fewer" and "seeing the big with small". Another example is Ouyang Xiu's "Thrushcross Birds", "Hundreds of voices follow, and the flowers are red and purple. I just know that the lock is in the golden cage. Not as comfortable as the Woods. " The first two sentences of this poem describe the joy and beauty of blackbirds flying freely and singing freely in the mountains, while the last two sentences contrast the singing of blackbirds in golden cages, which is really wonderful! This points out a truth: without free thrush, even if it is kept in a golden cage, it is essentially unhappy! From things to people, isn't it the same for people?
(3) Discussing history by events: This kind of poetry connects things with history through certain opportunities, eulogizes history by chanting things, and expresses the poet's unique views. For example, Qu You's "Young Beauty" in the Ming Dynasty said: "In those days, the bloody shadow was still there, and the songs of Chu made the spring scenery last forever. The wind dances, the waist is thin, and the rain is like tears. The river is empty and the people in the palace are sad. Qingqing only has a tomb of Ming Princess, and hate falls to dust. " This poem is dedicated to Yu Meiren Glass. The poet seized the name of grass, took advantage of the opportunity that Xiang Yu's favorite concubine was also called (folk also said that grass was changed after death), and made his own evaluation by writing grass to recall people in history. The first couplet remembers people with grass names, recalling the scene of Yu Meiren dancing sword and serving wine, accompanying the overlord of Chu and committing suicide under siege; In the second couplet, Yu Meiren grass is regarded as the incarnation of Yu Meiren after his death; The neck couplet first wrote that the overlord of Chu was finally killed by the river, and then wrote that his favorite concubine, Mrs. Qi, was destroyed after Liu Bang's death. Later, Wang Zhaojun and Fan Wai were buried in the Qing Tomb, and they hated it from then on. Although the poet did not point it out clearly in the poem, he expressed his views on the history of the struggle between Chu and Han between the lines: although the king of Chu was defeated, he committed suicide in Kyrgyzstan, which deserves sympathy; Although Liu Bang won, Han Di couldn't keep his woman. What a coward! Yu Ji's fate is really better than that of Mrs. Qi and Wang Zhaojun! Another example is the book burning pit written by Zhang Qian, a poet in the Tang Dynasty: "Bamboo and silk cigarettes are sold for nothing, and the ancestral home is locked in the river. The pit ash is not cold and Shandong is chaotic, and Liu Xiang does not study. " The poet thought of Qin Shihuang burning books and burying Confucianism in history, and made his own comments. It was a big mistake from three aspects: burning books and burying Confucianism destroyed the foundation of the country and weakened the inheritance of the emperor; Burning books and burying Confucianism turned people against each other, and Xiongguan River could not save the demise of Qin: burning books and burying Confucianism had no effect, and Liu Bang and Xiang Yu, who finally destroyed Qin, were not scholars! Just four sentences, concise, no less than a historical theory.