First, "Plum Tree" speaks directly and wins with fun.
Li Shu is one of the Feng Wang in The Book of Songs. From the lyric point of view, it is a lyric work with individuals as the main body.
The whole poem consists of three chapters, and the first two sentences of each chapter seem to be common in the Book of Songs, but they are actually different. "Millet leaves, millet seedlings" is the actual scene that the poet saw when he set foot on the wasteland. It is a part of the poet's "walking" at the moment, and there is not much symbolic and metaphorical significance. This is very different from the rise of "Guan Yu's dove in Hezhou". It is not so much a rise as a "blessing".
There are three or four sentences in each chapter: the poet "does his own work" and "walks on the decadent road, shaking his heart". Here, the poet expressed his reluctance to leave and his helplessness. Five or six sentences are particularly straightforward. "What I know makes me worry, and what I don't know makes me want." . Write my inner sadness by watching others, telling the depth of my sadness and the weight of ignorance in the world. The last two sentences, "Tian Daochang, who is this!" The poet's grief and indignation seemed irresistible, and he asked in the sky, expressing strong anger and condemnation. There are eight sentences in each chapter, and the last six sentences are not set off and rendered by any foreign scenery. The poet's mood and feelings are blurted out and won by pure emotion.
The artistic charm of this kind of straightforward heart song lies in that its straightforward feelings deeply touched our hearts. What we feel is a sadness of past glory and present decline, which transcends our own sadness and temporary lament and becomes an eternal sadness that spans time and space.
Second, "Jiaxu": Scenes and scenes blend together, without any confusion.
"The scene is called two, but they can't be separated." Jiaxu fully embodies the aesthetic characteristics of this classical poem. In this article, poetic interest and imagery complement each other, which can be described as the pinnacle, forming a wonderful and perfect artistic conception.
"The Millennium is frost." In the autumn morning, the green reeds along the river are covered with frost, giving people a bleak and cold feeling. "The so-called Iraqis are on the water side." The lyric hero is melancholy and sad, and the scenery here can be called love, and love and scenery are integrated. Later, I wrote that "Iraqi people" are on the water side, and the waterway is tortuous. The protagonist is impossible to meet, showing a warm pursuit and disappointment. The poem depicts the specific scenery of a certain time and space, which just sets off the thoughts and thoughts of the lyric hero at this moment. We should pay special attention to the scenery described in this paper, which breaks the mechanical scenery described in the Book of Songs and is usually fixed in the first few sentences. The scenery described here is always described according to the scene, which permeates the beginning and end of the text. The scene is integrated and the realm is exhausted.
The artistic charm of this paper lies in that the works create infinite artistic space for us to imagine and recreate artistic conception and aesthetic feeling. The image of "Iraqi" is vague and uncertain. The poet didn't describe her in detail, but just put her in the water, aroused the readers' imagination through the environmental atmosphere and the psychology of the lyric protagonist, and left the beauty of "Iraqi people" to the readers to create, thus obtaining the infinite beauty of watching flowers in the fog and peeping through the curtain. This state is to merge without trace and form a high lattice.
Third, "? Yi: Emotion comes from the scene, and image wins.
This poem describes the scene of ancient women picking plantain seeds. What we see seems to be a smart and distant landscape painting, which has nothing to do with love and politics. The poet writes naturally and vividly, and the description of natural scenery is not like the common scenery in the Book of Songs, but a foil. The scenery here has moved from foil to foreground, and the scenery is the main body. We can imagine the light and beautiful image of banana in the gentle breeze and sunshine. The beauty of this image itself infects us, and we don't need poets to express our feelings. Image itself is a kind of traction, which triggers our visual senses to some extent and forms a lasting impression. Picking girls may answer each other in a light song, and their happy mood was born in this bright, light and distant scene. Yurun, a person in the dynasty, had a wonderful feeling about this: "The reader calmed down and recited this poem, listening to the women of the Tian family telling in their dreams. On the plain, in the embroidered fields, the wind is sunny, the songs are answered, and the sound is lingering. If it is far away, if it is intermittent, I don't know why it is moving and why it is empty. " Then there is no need to be detailed and complacent about this poem. "
This is the presentation of the scene, the poet's emotions seem to be hidden, and poetry is everywhere. This poem is spontaneous, winning with images, and also gives us a profound sense of artistic conception, which is a faint and simple aesthetic feeling.
Gong, lecturer of Wuhan Commercial Service College.