Poetry in the form of language has how the characteristics, how to answer

Poetry has many means of expression, China's earliest popular and still often use the traditional means of expression are "fugue, than, Xing". Mao Poetry Preface" said: "Therefore, the poem has six meanings: one is said to be wind, two is said to be fugue, three is said to be more than, four is said to rise, five is said to be elegant, six is said to be ode."

In between there is a stanza called: "three light sun, moon and stars, four poems, wind and elegant praise."

The "six meanings" in this "six meanings", "wind, elegance and praise" refers to the types of poems in the "Classic of Poetry", and "fugue, ratio and rise" is the expression of the poem.

Fu: It is an expressive method of stating things directly. Zhu Xi, a scholar of the Song Dynasty, said in his commentary on "Poetry Collection Biography", "Fugue is a way of stating things directly."

For example, Ge Qin and芣苢" in the Classic of Poetry use this technique.

Bi: It is the use of metaphor to depict things and express thoughts and feelings. Liu Innocence in the "Wenxin Diao Long - than Xing" said: "and what is called for than also? Cover write things to attach meaning, Yang speech to cut things also." Zhu Xi said: "than, to the other thing than this thing also." For example, "katydids" and "rats" in the Book of Songs are written in this way.

Xing: It is a method of writing in which a certain thing is used to start the description of the thing to be described and the expression of thoughts and feelings. In the Justice of Mao Poetry, Kong Yingda of the Tang Dynasty said, "Xing is to rise. Taking analogies and citing classes, starting to develop one's own mind, poetry and literature all cite grass, trees, birds and animals to see the meaning of the person, are all emerging rhetoric." Zhu Xi pointed out even more clearly, "Xing is the first to speak of other things to cause the words of the chorus." For example, in the Book of Songs, "Guan Ju" and "Tao Yao" use the expression "Xing".

These three methods of expression have been passed down, often used in combination to complement each other, and have had a great influence on the creation of poetry through the ages.

There are many methods of poetic expression, and they have been constantly developed and created through the ages, and their use has been flexible and varied, including exaggeration, redundancy, overlapping, jumping, and so on, which is difficult to describe. But all kinds of methods are inseparable from the imagination, rich imagination

Imagination is both a major feature of poetry, but also poetry is the most important means of expression. In poetry, there is another important means of expression is symbolism. Symbolism, simply put, is "to symbolize righteousness", but in modern poetry, symbolism is also expressed in the direct imagery of the mind, which should be noted. From a modern point of view, there are three main ways of shaping images in poetry:

Comparison

In his book Wenxindiaolong (Carving Dragons for the Heart of Literature), Liu Feo said: Comparison is "either a metaphor for sound, or a square for appearance, or a simulation of the heart, or an analogy for events." There are many examples of these in the poems we listed earlier. There is another common technique in simulation, which is "anthropomorphization": anthropomorphizing an object, or anthropomorphizing a person. The former, such as Xu Zhimo's Farewell to Kangqiao: Gently I go, / Just as I gently come; / I gently wave, / Farewell to the clouds of the western sky. /The golden willows along the river / are the brides in the setting sun; / the colorful shadows in the waves / ripple in my heart. The "clouds" and "golden willow" are treated as human beings. For example, Love's "Because of the Wind": ...... My heart is as bright as the candlelight in front of your window / Slightly ambiguous / Inevitably / Because of the wind / ...... With the love of my whole life / I light a lamp / I'm a fire / That may go out at any time. /Because of the wind. Compare "my heart" to a candle, and me to a lamp. Of course, in the end, the essence is still "anthropomorphism".

Exaggeration

It is the enlargement of the thing to be depicted, as if the movie's "capitalization" and "close-up" lenses, in order to arouse the reader's attention and association. Li Bai's "Peach Blossom Pond is a thousand feet deep, less than Wang Lun sends me love" ("Gift Wang Lun"), "Flying straight down three thousand feet, suspected to be the Milky Way falling nine days" ("Look at Mount Lu Waterfall"),

which says "a thousand feet deep", "three thousand feet", "three thousand feet", "three thousand feet", "three thousand feet", "three thousand feet", "three thousand feet", "three thousand feet" and "three thousand feet". "" three thousand feet ", although not the truth, but he shaped the image, but vividly show the characteristics of things, expressed the poet's passion, the reader can not only accept, and can be convinced, very surprised

Joy. However, this kind of exaggeration, must be artistic, beautiful, not too absurd, or too real, too vulgar. For example, there is a poem describing the cotton harvest: "A cotton to make a bale / Pressing the truck head up / Head up, three feet high

/ As if an anti-aircraft gun." Instead, it feels unrealistic and produces no sense of beauty.

Borrowing

It is to replace one thing with another. It is similar to the comparison, but different, the difference is: comparison is generally more than the thing compared to and are compared to the thing are concrete, visible; and borrowing is one side of the concrete, one side of the more abstract, between the concrete and abstract bridge, so that the image of the poem is more distinctive, prominent, in order to trigger the reader's associations. This is what Ai Qing said, "to give wings to thought, to give feelings to clothes, to give color to the voice, so that the passing of the shifter congealed."

Shaping the image of poetry, not only can we use the material taken in by the perspective to depict the picture, but also can use the material obtained by the hearing, touch and other senses, to reflect the image from various aspects, so as to make the sound colorful and vivid and novel. Tang Dynasty poet Jia Dao rode

on a donkey and chanted, "Birds sleep in the trees by the pool, and monks push the door under the moon," but also felt that "monks knocking on the door under the moon" could also be used. Whether it is "push" or "knock", he could not decide, so he used his hand to make a knock, unexpectedly the donkey blocked the way of a big official

, this person is the great literary Han Yu, when the guards will bring Jia Dao in front of his horse, Jia Dao told the truth, Han Yu pondered for a long time, said it is better to use the word "knock". The first thing I want to do is to use the word "knocking". Because the word "knock" has a sound, in the mountain moonlit night, there are one or two knocks

sound, it makes the scene "alive", but also more appear to be the environment of the silence. The "crowing" and the "sound of bells" in the aforementioned "Night Mooring on the Maple Bridge" are also the finishing touches of the poem. There is also the musical description in Bai Juyi's Pipa Xing, "Big pearls fall from a jade disk", which is very realistic and wonderful! Modern, such as Huang He Lang's "Morning Song": "And the reef / listening stubbornly / beyond the sound of the wind, rain and waves / vague / dawn / Lingquan Temple's morning bell / just like Drum Mountain springs / distant response / faint faint faintly knocked down / a few sparse stars / and the red corolla of the / powerful cockcrow / as if across the sea / crowing bright day of the morning sun / such as a tidal surge. This poem is also well written. So if we master the technique of shaping images with sound, it will open up a wider field for poetic creation.

Whether it is simile, hyperbole, or borrowing, it all depends on the poet's keen observation of objective things, incorporating his own feelings, and boldly imagining, or even fantasizing. It can be said that, whether it is romantic or realistic, no imagination (fantasy), will not become a poet. For example, Li Bai, who is known for his boldness, certainly has a rich imagination and an eloquent poetic style, while Du Fu, who is known for his realism, has also written poems such as "I've got ten million rooms in a wide building ...... when do I see this house in front of me ......? " ("thatched roof broken for the autumn wind song") and "fragrant mist cloud maid wet, clear light jade arm cold. When will I lean on the false front, and dry my tears?" ("Moonlight Night"). ("Moonlit Night") and other evocative masterpieces.