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Talking about the lyrics of pop songs and classical traditional culture

Editor's note: the development of pop songs to today, perhaps not too many people will take the initiative to pop songs and traditional culture together, will feel that it is two things that are not related, but the classical poetry and the lyrics of modern pop songs, in fact, there is also an indelible relationship between the roots and development. Pop songs draw on the essence of classical poetry to carry forward, making it a kind of popularized spiritual fast food; classical poetry from the words and phrases, the theme of the creation and presentation, emotional grasp, etc., for the modern pop song lyrics creators to provide a lot of good ideas and references, it will be the lyrics of pop songs in the creation of an indispensable theme.

China's pop songs have traveled through the stormy course of half a century. Chinese pop songs were produced in the 1930s and 1940s in Shanghai and other metropolitan areas, after the founding of New China, "migrated" to Hong Kong and Taiwan, and since the reform and opening up of the mainland, and gradually northward, back to the mainland, and from the initial "half-covering the face of the Pipa," the development of the present-day It has developed from "holding the pipa with half a face" to the present "breaking into the nine states with fire and wind". It can be said that, as a musical genre of lyrics and music, poetry and music, and a major form of popular culture, pop songs have not only become an important spiritual food for the masses, but also an indispensable constituent element of modern and contemporary literature. "The advanced means of culture are the products of modern science and technology, which have created the conditions for the unlimited expansion of the principle of commodity exchange in the field of culture. Culture and art are no longer independent artistic creations; they have to be governed by market supply and demand." [1] The fact that popular songs have become popular is a product of the market. However, "the people do not accept pop songs as an art, but as life, as a culture of their own. It is a part of their own culture. It is in their behavior, in their living, in their appearance and in their intangibles. What they like, what they don't like, depends on the nature of their hearts, the guidance of the artificial system of selection or a strong termination are not easy to change their choice. Thus, without much acknowledgment of authority, and without so much as a thought, they bluntly admit their feelings." [2] Therefore, this kind of mass-marketed spiritual fast food, perhaps not too many people will not take the initiative to link it with classical poetry, will feel that they are two things that are not related to each other, one is like a torrential river in the ocean, the other one is a thousand years of snow on the peak, too far away from each other. However, just as the torrential river actually comes from the melting of a thousand years of snow, classical poetry and modern pop song lyrics, in fact, also has an indelible relationship between the roots and development. This paper intends to discuss the relationship between contemporary pop songs and classical poetry.

I. Examples of the relationship between contemporary pop songs and classical poems

Pop songs, as a set of popular fast food in today's society, have been more and more preferred and accepted by people. The Czech writer Milan? Kundera once dissected: "The aesthetics of the mass media realizes that it must please and win the attention of the majority, and it inevitably becomes the aesthetics of kitsch. As the mass media surround and infiltrate our entire lives, kitsch becomes our everyday view of aesthetics and morality." [3] This is probably the mainstream of our society. Nonetheless, a large part of those prevalent pop songs are closely related to our traditional classical poems and have become a force in the pop song world, which in turn seems to keep it away from kitsch. We know that classical poetry has a very deep meaning and penetrates into every nuance of life, and it is only when the living is extreme that classical poetry is endowed with classic blooming talent. The only difference is that the more the previous text is more rigid, the more bite, and the more the later, the more open the text form, the more broad, which is probably the reason why pop songs and classical poetry have such a close connection. The combination of pop songs and classical poems can be roughly divided into the following types:

(1) Pop songs that are straight to the source

2. References to the titles and quotations of classical poems

There are some pop songs that like to use the titles or quotations of classical poems as lyrics, which start from the fact that the titles of classical poems are short but with a depth, which can express the mood and feelings of the song appropriately. The reason for this is that the titles of classical poems are short but with depth, which can express the mood and emotion of the song properly, which is also in line with the requirement of concise lyrics for pop songs. Classical poems have high aesthetic value. Since "what can be said to have aesthetic value must be humane and coincide with the aesthetic needs of man ...... this is determined by the value attributes of beauty."[5] Therefore, the lyrics of classical poems have high aesthetic value. [5] Therefore, lyricists also like to borrow these aesthetic values from classical poetry. There are more examples of this, there are Liu Haibo's Peach Blossom with a Human Face (red lips so agitated, smile so hazy, eyes so sad, like that the years are flowing, memories are being forgotten, peach blossom still laughs at the spring), Bai Xue's The Sound of the Sound of the Voice (searching and searching, cold and quiet, miserable and tragic. When it is warm and cold, it is most difficult to rest. Three cups and two cups of light wine, how to beat him, the evening wind rush? (The geese have passed by, and it is sad, but they are old acquaintances), AGIN's "Beacon Fire Yangzhou Road", Chen Ming's "Looking back at the end of the lights, there you are", Tang Dynasty's "Dreaming of the Tang Dynasty", "Dream of the Moon" and so on, these lyrics are only borrowed from classical poems or one of the famous words, which are in fact not very related to the original poems, but they hint at the kind of inextricable and unendingly close relationship of the modern pop songs with classical poems. However, it hints at the close relationship between modern pop songs and classical poems, which is inextricably linked. These are also the pop songs that have been straightened out.

(2) Pop songs that are similar to the shape

The term "similar to the shape" comes from Sikongtu, who mentioned in his "Poetry" that the poetic mood with the "image outside the image, the scene outside the scene" has its own characteristics in the method of artistic creation, and the term "similar to the shape" has its own characteristics in the method of artistic creation. One of the characteristics is "to get the likeness by leaving the form". The so-called "away from the shape", that is, not bound by the "shape", do not stick to the shape of the similarity; "get like", that is, to convey the spirit of the gods, to get the similarity of the gods rather than the similarity of the shape. The common saying is to focus on the spirit, which is the meaning of poetry, here we draw on the study of pop songs, that is to say, from the classical poetry to extract its charm of pop songs. The above mentioned pop songs are directly taken from classical poems, in fact, in addition, there are a lot of pop songs that extract their charm from classical poems. They don't use the original lines or titles of classical poems, but draw the essence from them.

1. Borrowing from the mood and tone of classical poems

Literary creation has always been characterized by a wide range of references, quotations, and the use of objects, thus suggesting the broadness of the subject of its expression. "Art puts a kind of interest in an imagery, interest from the imagery or imagery from the interest, can not be independent." [6] Therefore, many modern lyricists of pop songs hope to borrow some allusions or contents from classical poems, expand them or interpret them as their ideas, and then show a modern story and emotion, to broaden their creative ideas. There are two people who are most prominent in this regard. One is Taiwan's Qiong Yao, who likes to borrow some famous lines from classical poems in many of her lyrics, such as "It's only when I'm frowning that my heart goes up", "How many times are the courtyards deep", "The green hills are still there, how many times is the sunset", "The green hills are still there, how many times is the sunset", "The green hills are still there, how many times is the sunset", and so on. This is very much in line with the image of a classical woman that she has always worked so hard to create, and is also very much in line with the various images she has created, which are poetic and picturesque, not eating the fire of the earth. The other is the mainland's Chen Xiaoqi, who is the leader of the Lingnan school of songwriters in the mainland's songwriting scene. He has an influential "Sound of the Waves Remains the Same Trilogy", "Sound of the Waves Remains the Same" (Mao Ning), "Deep in the White Clouds" (Liao Baiwei) and "Night Rain on Bashan" (Li Jin), which, from the song titles alone, are already inextricably linked to ancient poetry. The splendor of "The Sound of the Waves Remains the Same", which was made popular by Mao Ning, lies in the lyricist's organic combination of the traditional mood of classical poetry with the feelings of love of modern people. The Tang Dynasty poet Zhang Ji's "Night Mooring on Maple Bridge" is a masterpiece known to young and old: "The moon is falling and the crows are crying and the frost is filling the sky, and the river maple and the fishing fires are sleeping to the sorrows. Outside the Gusu City Cold Mountain Temple, the sound of bells arriving at the passenger boat at midnight." The poet seized the specific scenes of "the moonlight falling and the crows crying", "the fishing fire", "the sound of the bells" and "the passenger ship" to describe The author of "The Sound of the Waves Remains the Same" describes the desolate and cold scene of the travelers who stayed in the boat at night, tossing and turning, unable to sleep. The author of "The Sound of the Waves Remains the Same" also seizes these important words, quotes the wonderful mood of classical poems, and gives them deep meanings to express his longing for his departed lover and his hope for reunion. Although the themes of classical poetry and this pop song are far from each other, they are similar in mood, and the classical poetry provides a reference for the pop song. The song "Deep in the White Clouds" uses the phrase "Deep in the White Clouds there are homes", as well as Du Mu's "Walking in the Mountains", which reads, "Sitting at the intersection facing the setting sun, deep in the white clouds there is no home for you, you say you like the view of the maple forest, but in fact the frosty leaves are not the February flowers of the year" (Stop the car!). You say you love the view of the maple forest, but in fact the frosty leaves are not the same as the February flowers" (Stop the car and love the evening of the maple forest, the frosty leaves are redder than the February flowers), "Waiting for the car, you can't walk out of the picture in your heart, roll up the autumn colors to find your spring and summer", "Waiting for the car, why can't you break through the blink of an eye? Don't sing your heart out for a song". Later he wrote "March of Fireworks", "Morning Cloud and Night Rain" (both sung by Wu Tingqing), and a song by Mao Ning, "Big Wave" (the same moonlight sprinkled over your shoulders, you can't see your face under the neon lights, through the net weaved by years, are you willing to accompany me back to the old days). He is one of the mainland lyricists with the heaviest ancient style, and likes to combine famous lines or allusions from ancient poems and lyrics with modern emotions, thus forming his unique Chen's style, and setting a model for pop songwriting. However, he mainly focuses on depicting personal emotions, which is also the mainstream of modern pop songs.

In addition to personal emotions, there are also those that draw on family and national sentiments. Feng Xiaoquan is a representative of this, because he himself was studying ethnic musical instruments, so he has a deep interest and rootedness in national culture, and his lyrics also make more use of classical poetic allusions or famous lines, mostly to create an atmosphere, show a kind of spirit, express a kind of sentiment, and more favor a kind of social responsibility and national sentiment of the things, more familiar with the "Chinese folk songs" ( "The cup of wine in the morning flowers, lonely people after the wind and rain, drunken smile do you have, the geese flew over the chrysanthemums inserted all over the head"), and the "long days of autumn water" and so on. We can also take the now very hot Knife Lang, his songs are not very clear references to classical poetry, but let people first associated with the Sheng Tang period of the border poetry, because the border poetry is the poetry of the Sheng Tang Dynasty can best reflect the representative works of the era of the Tang Dynasty, a mention of the Sheng Tang school of border poems, always make people think of the desert wind and dust in the hot-blooded men, there are no strange and wonderful scenery, as well as the border soldiers The spirit of feeling beauty in hardship should be the so-called positive and optimistic spirit of the Sheng Tang Dynasty. These are the moods of national sentiment that we have absorbed from classical poetry.

These examples above are good illustrations of how contemporary pop songs borrow from classical poems in terms of mood and sentiment.

2. Borrowing or applying or imitating the language style and form of classical poems

The use of the style and form of classical poems to create modern pop songs, on the one hand, makes the lyrics inherited the language of traditional poems concise and expressive method of implicit restraint, on the other hand, there is no doubt that in the expression of the theme of the subject matter has a shortcut to the main idea, no matter whether it is to say that children's love, or the family's feelings, or anything else, it's a good example of the current pop songs. Whether we are talking about the feelings of children, the feelings of the family and the country, or anything else, classical poems often condense the language and the emotions together, thus adding a lot of space for evocative memories and the flavor of the long mood. There are many representatives of this.

Let's first look at stylistic borrowings, with Hong Kong as a representative. Hong Kong's pop song writing has always been a very strange phenomenon, mention of Hong Kong, we naturally associated with the most modern pace of life, that is because Hong Kong itself is y influenced by foreign cultures, fast-food culture is very prevalent, in terms of pop songs, there was a period of time, many singers' works are taken directly from the European, American, and Japanese popular tunes with Chinese lyrics, but the classical in Hong Kong's popular song However, the penetration of classical poems in Hong Kong's pop songs is significantly more than that in both the Mainland and Taiwan. I think this may also be related to the prevalence of classical martial arts dramas and historical dramas in Hong Kong. On the other hand, Hong Kong lyricists pay much attention to the infiltration of Cantonese culture, and their lyric writing is mostly based on the way of using words and phrases in the Cantonese dialect, which is itself called vernacular, and whose way of speaking is similar to that of the literary language in many ways, and so the works of many Hong Kong lyricists tend to be a combination of great vulgarity and harmlessness, and this has formed their own style. However, it must also be recognized that many Hong Kong lyricists, their ancient cultural skills are quite profound, from their works can be seen a lot of use of canonical, and even with the classical poetry writing style, norms to create.

Besides the stylistic borrowing, pop songs also have a good reference to classical poetry in terms of form. Songwriting on the Taiwanese side favors more modern texts and focuses more on the wind and flowers, but this also happens to be a major source of material for many of the older poems. The most prominent one I think is still Qiong Yao, who makes the best use of old poems and texts to express the romantic feelings of children in love.

Pop songs, as today's cultural fast food, are inextricably linked with classical poems, and we have countless examples of them. Here we have just a brief list of some of them, but they are sufficient to illustrate the ever-changing connection between pop songs and classical poems. Then behind these numerous examples, we can again explore the deeper relationship.

Second, the conscious era of poetry and music

On the relationship between pop songs and classical poems, there have long been discussions in our ancient books. The Shangshu? Yao Dian" says: "Poetry speaks of the will, song everlastingly speaks, the sound is based on the everlasting, the law and the sound." [7] This precisely shows that poetry and music are closely linked. It is said that Confucius sang all of the three hundred poems. ("Poetry 300" refers to the "Classic of Poetry," which was produced in present-day Shaanxi, Shanxi, Henan, Hebei, Shandong and Hubei.) In fact, China's early classical poetry is lyrics, inseparable from music, is a subsidiary product of music, after the Spring and Autumn Period gradually separated. The above mentioned "poetry speaks of will", that is to say, poetry is used to express aspirations (although this issue at that time there was a debate, part of the people believe that "poetry speaks of will" means that poetry is used to express human emotions, that is, what we call the poems of the lyrical character, and even some people think that "poetry speaks of will" means that poetry is used to express human emotions. Some people thought that "poetry expresses the will" means that poetry is used to express human emotions, which is what we call the lyrical character of poetry, and some people even thought that this is the same meaning as Lu Ji's "poetry is about emotions", but this does not affect its explanation of the relationship between pop songs and classical poetry), and that it is a conceptual form, which is the "program of the opening of China's poetic theories" (Zhu Ziqing), and it is also an important part of later systematic poetic theory. It is a conceptual form, the "founding program" (Zhu Ziqing) of China's poetic theories through the ages, and has had a far-reaching influence on the formation of later systematic poetic theories. It is on the basis of the above that classical poems have entered the ranks of popular songs and gradually developed until today they have become a kind of indispensable popular fast food in people's modern life. Admittedly, these classical poems into pop songs are not just "poems", as they were contemptuously called back then, but they are also light entertainment from which people can experience their emotions and life lessons, thus enlightening our lives. "...... Culture has been popularized, and the distance between elegant culture and popular culture, pure literature and popular literature is disappearing. ...... In short, the culture of postmodernism has expanded out of that specific cultural circle of the past and entered people's daily life as a consumer product." [8] It is in this way that pop songs, combined with classical poetry, have become a popular spiritual consumer product.

Pop songs naturally became the spokesmen of modern life. Especially those pop songs related to classical poems are connecting culture and life, tradition and modernity, and it has developed into a spiritual fast food for the masses, whether you like it or not, it is actively or passively filling and penetrating all corners of our lives, and it doesn't matter whether you accept it or not. It has actually become a culture (although more widely known as popular culture), from the life at the same time also act as the role of life spokesman, in this regard, it and classical poetry complement each other, different and similar, not to mention that it contains a lyrics of the creation of the problem, which inevitably involved with the poems, into a kind of self-awareness of the intermingling. In a certain sense, songwriting is also a kind of poetry, belonging to the category of poetry, and as the same language and culture, then, its origin must have some kind of inevitable connection with China's classical poetry.

(1) Classical poems directly provide themes and contents for pop songs

The reference to the themes and contents of classical poems not only enriches the space of pop songs, but also examines the grasp of culture by pop song lyricists, which, to a certain extent, enriches the expressive function of pop songs and enhances the level of pop songs. Art production is in the final analysis a dynamic reflection of social life, and factors such as the political stance, values, cultural composition and even life experience of social subjects will be reflected centrally through the aesthetic consciousness of the works, thus making art production branded with personal tendencies. "It is only on the basis of the corresponding social ideology that music can play different degrees of auxiliary roles in social activities such as politics, education and religion. It is true that poetry, in any era, is never divorced from the theme of emotion; as one sociologist put it, lovesickness, nostalgia, and homesickness have become "the three themes with the highest repetition rate."[11] However, poetry, in any era, is never divorced from the theme of emotion. As one sociologist put it, "the three themes with the highest repetition rate are lovesickness, nostalgia, and homesickness". [11] However, people in different times often express their emotions in very different ways and with very different contents, which is not unrelated to the content of people's lives and social norms in each era. Thousands of years of feudal culture in China have made people focus mainly on the country, family and society, the pursuit of knowledge and career, the country, the motherland and the mountains, and so on. In classical poems, you must have read more of such nationalistic thoughts as "The country is broken, the mountains and rivers are there, and the grass and trees grow in the spring of the city", or the boundless scenery of "The peach blossoms begin to bloom in the mountain temples in April on earth", or "Life is a pleasure. or the open-mindedness of "to enjoy life to the fullest, don't make the golden bottle empty to the moon", or the high and boundless realm of "birds stay in the trees by the pool, monks knock at the door under the moon", or the personal sentiment of "raising a cup to look at the bright moon, and turning the shadow into a trio", or There is also the epiphany of "once the ocean is hard to be water, except the witch mountain is not a cloud". Great writers such as Li Bai, Du Fu, Bai Juyi, more in the description of the mountains and rivers and other world affairs, or personal success or failure between the feelings, but for the personal feelings of things, but carefully collected, less mentioned. Song lyrics depicting personal emotions count more, but most of the most subtle things, like writing a parting, can only "look at each other's eyes in tears, and even speechless choking", write longing, explicitly can not come, only to "looking for, cold and clear, miserable and tragic", the two love, at best, also can be used to describe the two love, at best, but also the two love, at most, can not be used to describe the two love. Two love, at best, also look forward to a "golden wind and jade dew a meeting, will be better than countless on earth", more can only sigh "two love if it is long time, and not in the morning and evening". But nowadays, people's attitude towards emotions is more open, and personalized things are also more and more attention and importance, so many works depicting personal feelings prevail, and in the language expression, direct and frank, such as the first time we meet each other, "love at first sight can't be forgotten", and then "for the sake of the date! For example, when we first met, "I can't forget love at first sight", and then "for this date, I couldn't sleep last night because I wanted to think about you", and when we are in love, we will always ask "am I the one you love the most", and when we break up, we will say "I can't bear to see you go, so how can I stay alone", and when our feelings change suddenly, we can't believe that we even have a "fourth person". The "fourth person" can appear, on the one hand, loudly questioned "why I love others behind my back," and finally can only face the "speechless end" "break up when said break up, please do not say hard to forget", but can not figure out "why miss always after the breakup", and these things, but I am afraid that even the famous Li Houzhu to the flirtation is also just think about, and mention all dare not mention the problem.

Above, we have talked about how pop songs have borrowed from classical poems in terms of theme and content, but in addition, classical poems also provide a lot of material for pop songs, which, like the water from the source, injects vitality into the river of pop songs and makes them flourish.

(2) Classical poetry provides a reference for pop songs in terms of writing techniques

The whole Chinese culture is inherited from each other. Modern pop songs still inevitably borrow or apply or imitate the language format and style of ancient poems in their writing techniques. Using the form of classical poetry to create modern pop songs, on the one hand, makes the lyrics inherited the language of traditional poetry on the one hand, and the method of expression on the other hand, in the expression of the theme also undoubtedly has a shortcut into the main idea, whether it is to say that the family and the country, or the love of the children, or any other content, the classical poetry is often the language and the emotion together with the condensed, so as to add a lot of memorable space and a long mood! The classical poetry often condenses the language and emotion together, thus adding a lot of evocative space and a long rhythmic mood, which is exactly in line with the requirements of pop songs. Kant once said that "the highest model, the archetype of appreciation, is only a conception, which must be produced by each individual from within himself. ...... Ideal originally meant a representation of an individual in conformity with the conception." [12] Although the idea of beauty is said to be a product of man's spiritual life, most works of literature and art are capable of provoking the sense of beauty in man. The reason why they are able to stimulate people's sense of beauty has to do with the special laws of literary and artistic creation itself. In ancient times, there were "Xing", "Guan", "Qun" and "Grievance", and the reason for the rise of the poem lies in the fact that the poem The reason for the poem's rise lies in the fact that the poem "does not speak in a straightforward manner, but in a more dynamic manner; it does not speak in a rational manner, but in an emotional manner; it does not strive to win over people, but to touch them." (Preface to Mao Poetry Supplement) Classical poetry is characterized by the fact that it can reflect life in a figurative way, with emotion as its main content and touching people as its function. The sense of rhythm and the beauty of the mood are the basic requirements for the creation of poetry. The technique of picaresque, which is more commonly used in classical poetry, is even more frequently used in the writing of modern songs, and the examples are countless. For example, "Love is like a green olive" compares love to a green olive, which is bitter but has a lingering flavor in the heart, which is the true feeling of love: sour, bitter and sweet. In "Like Mist, Like Rain, Like Wind", "You're like mist, like rain, like wind to me; you come and go, but leave nothing behind. You treat me like fog, like rain, like wind, letting my heart flip with you." The feeling of love for the other person in love life is an abstract and intangible thing that is hard to talk about. The lyricist associates it with the figurative objects of fog, rain and wind, so that the appreciator can grasp this cloud-covered feeling and inscrutable sentiment through the concrete feelings of the fog's haziness and ambiguity, the rain's quick coming and going, and the wind's coming and going without a trace. Another example is "Thoughts are like a river", "Loneliness is like a silver screen, the screen is full of you, sadness is like a huge net, netting my heart, thoughts are like a river, can't stay and don't turn back." Originally, loneliness, sadness, longing are some psychological phenomena in the field of consciousness, through the metaphor to visualize them, become visible, the words of the author of the depth of loneliness, sadness, longing for one by one jumped to the paper, the true meaning of the appreciation of the feelings, *** wipe a handful of tears of longing.

Re-as in "homesickness" there are a few lines, "homesickness is very sweet, hometown moon caress my head; homesickness is very beautiful, hometown willow pulling my hand; homesickness does not sleep, hometown faintly dissolved into the arms of the wine." Home makes people feel cozy, homesickness makes the family feel friendly, here the words of the author to make the hometown of the moon and willow also like people like to understand the human feelings, the whole homesickness is also angry, the realm of the whole out, people think a lot.

And Jiang Yuheng's "Stamps" "buy a stamp, stick it in my heart, so I want to send myself back home like this, when will the damp ocean well clear up, so I can see where I am." This is the complicated feelings of a wanderer in a foreign land who loves his home and is helpless. Here, the objective reality has been hallucinated and poeticized by emotion, and it seems that people can go home as long as they put a stamp on the letter in the post office. This is the aesthetic hallucination caused by the strong emotion of the lyricist, and between the reality and the hallucination, the appreciator obtains a broad aesthetic hallucination, and the bigger the space is, the more aesthetics the appreciator will get. In the lyrics, the word "clearing" itself is a figurative word with emotional color, and the admirer with the emotional experience of the joy of clearing everything after the rain to play with the mood of the lyrical protagonist in the lyrics who hopes that there will be no more tears in the eyes of sadness, will be able to enter into the emotion, so as to feel the beauty of the language's charm and novelty, and obtain aesthetic pleasure.

What is this?

While the creation of modern songs is developed along the path of classical poetry, however, classical poetry and modern pop songs are still products of different eras, and after all, they show the language and content characteristics of different eras, and accept the scrutiny and judgment of different era standards.

Three, the current pop songs and classical poetry of the intermingling

We say that literature exists to reflect the life, then any form of culture is bound to reflect the reality of life in a period of time, reflecting the characteristics of a particular era. Just as we all say classical poetry, and do not have a general term, is because they reflect the characteristics of different eras. Pop songs, on the other hand, are obviously a product of this era, different from the Tang and not very different from the Song, so there are still more obvious differences between it and the first two, which is precisely the reason why they are seldom actively compared together nowadays. The intermingling between pop songs and classical poetry is manifested in the following two aspects:

(I) Classical Poetry's Nodding to Current Pop Songs

The ancients had a saying that "iron is turned into gold", which is a method of creation. "'Pointing iron into gold' came out of the Answer to the Book of Hung Kui Father: 'Those who can be asked for in the ancient times are really able to cultivate all things. Though the ancient people's old words into the ink, such as the elixir of a grain, point iron into gold.' The so-called 'turning iron into gold' is to ask for the 'old words' of the ancients to be re-melted and melted by the poets, so as to be used by me, and the 'good sentences and good words' in the works of the predecessors are used for their own works. ." [13] This is one of the most influential elements of Huang Tingjian's poetic theory. The achievement of Tang poetry was at its peak, and Tang poems were almost all-encompassing in terms of subject matter and mood, and the use of rhetorical devices had reached a level of perfection. He also put forward the theory of positive reference to the language art of previous generations of poetry. He said: "It is most difficult to make one's own words, Lao Du made poems, retreat of composition, no word without a place. The later generation reads less, so they say that Han and Du made their own words. Therefore, the article can be, really can cultivate all things, although the ancients of the old saying into the ink, such as a grain of elixir, iron into gold." Huang Tingjian in the creation of a more successful use of the "iron into gold" method, so that in the reference to the former on the basis of innovation, for example, its "sick up Jingjiang Pavilion that is the matter of ten" of eight: "Closed to find the sentence of Chen Wuji, to the guest to wield the pen to Qin Shaoyou. I don't know if I have enough to eat or drink. The west wind blows tears to ancient Tengzhou." The structure of the poem was borrowed from Du Shi's "Two Stanzas for the Surviving and the Dying", in which one line is about the survivors and the other about the dead, but with new rhetoric and rhymes, which was a strategy to get out of the dilemma in the specific era of the Northern Song Dynasty, and therefore had a great influence at that time. This theory is more commonly known as borrowing the verses of the ancients to express the thoughts of the present day, and borrowing this method of the ancients to the study of popular songs, which is the mainstream of the borrowing of classical poems as we have said above. As we have said, classical poems have strict requirements in terms of phrasing, themes, rhymes, etc., and the ancient people's scrutiny of words and phrases is often very delicate. Borrowing from them will undoubtedly add to pop songs, and this is exactly in line with the requirements of songs, which are concise and precise, and also catchy. Absorbing the essence will certainly increase the attractiveness of modern pop songs and put the finishing touches on them.

(2) The Adaptation of Current Pop Songs to Classical Poetry

The ancients also had the saying of "taking away the fetus and replacing it with the bone", which is also a method of creation, and we are still borrowing it into the study of the relationship between pop songs and classical poems. "The 'take the tire and replace the bone' out of Hui-Hung" Lengzhai Night Story ":" Valley cloud: poetic meaning is infinite and talent is limited to the limited talent to chase the infinite meaning, although the Yuanming, Shaoling shall not work also. However, it is not easy to create its meaning and language, known as the bone method; peep into its meaning and describe it, known as the fetal method.' The so-called 'taking away the fetus and replacing the bones' is to rewrite the poetic meaning of the predecessor with new words and vocabulary, and to use the content of the predecessor's poems as the material for creation." [14] A more colloquial way of saying this is to borrow the meaning of the ancients and express it in the language of the present day. Maupassant once said, "There are many people who make up the reader, and their requirements vary: comfort me; entertain me; make me sad; move me; make me dream; make me laugh; make me fear; make me think." [15] This inevitably results in the fact that different aesthetic subjects will express themselves in different ways. Borrowing this approach from previous generations to look at current pop songs, there are so many examples of this. Although a lot of pop songs have borrowed or quoted classical poems and these and those things to varying degrees, but it is more or less some of the things of classical poetry will have certain adaptations, living language has inevitably become the mainstream of modern songwriting, modern vocabulary and grammar has always dominated the lyrics of the songwriting. In the language format requirements are also different, classical poems have strict requirements on the format, while pop songs just need to rhyme, and even some do not need to rhyme. Classical poems are very elaborate in their phrasing, and there is a famous story about Jia Dao's "Push and Knock" ("The bird sleeps in the tree by the pool, the monk knocks at the door under the moon"), while the language of modern pop songs is based on and dominated by the modern vernacular, which is much more straightforward and colloquial. There are a few narratives in the old poems, but they are still in the literary style of "the charcoal seller, picking firewood and cutting charcoal in the southern mountains, his face full of dust and soot", and I believe it is not possible to be as straightforward as "dear mom and dad, how are you, are you busy with your work, are you well".

Modern pop songs pay too much attention to love, open mouth is the heart-breaking true love call, your departure let me live and die ...... There are also a lot of pop songs in the language is not too pay attention to the normative, more is to serve in the tune, so there are a lot of mistakes. This is especially true of Hong Kong's songwriting, where, strangely enough, the best lyrics and the most abusive lyrics are found. In contrast, some veteran lyricists in Taiwan pay more attention to the combination of poetry and culture, and the way of combination. Hong Kong's lyrics love to use poetic culture, but they are mostly abused or even misinterpreted, which is a distinctive feature of Hong Kong's urban fast-food culture, and also represents a major shortcoming of modern pop songs, which clearly reflects an anemic and calcium-deficient posture. The pop songs combined with classical poems absorb the essence of classical poems and just use the language form with the characteristics of the times to express the classic topics. This just makes up for the shortcomings of modern pop songs and injects fresh blood into the paralyzed modern pop music scene.

So classical poetry and contemporary pop songs are in the same lineage, although due to the times and history, they are also beginning to intertwine with each other, and there are also historical differences, but this does not affect the inextricable relationship between pop songs and classical poetry.

Conclusion

We have explored the relationship between classical poetry and contemporary pop songs, and it is mainstream that they are complementary and mutually informative (although there are also differences between them). As a successful singer, he should first become a successful poet, he "should not only be a 'love child', at the same time should also be a philosopher, not only the concentration of feelings should be pursued, should also pursue the depth of philosophical, so that the lyrics are not only burning with the flame of intense feelings, but also shine with the light of wise philosophy! " [16] And one should strive for poetic enlightenment, so that the language is extremely concise and precise, with a thousand words that allow no misunderstanding or suspicion, yet give rise to endless associations, before one can become a successful lyricist. This is also a reflection of the intersection of classical poetry and pop songs.