The Writing of Near-Style Absolute Sentences (近体绝句写作)

The writing of near-formal stanzas

The stanzas come out of folk songs, so the language is shallow, easy to remember, easy to recite, few allusions, style close to the folk songs, like Li Bai's "Silent Night Thoughts" and "Gift to Wang Lun", which come out of the mouth, and the celestial music resonates from the sky, and the language is shallow and the love is deep.

28 words in seven-character stanzas. The five-line stanza is even shorter, only 20 words, three more than the Japanese haiku 17 words, but there is a beginning and end, the chapter is more twisted and turn, more than the haiku, the beauty of the circle, the world's most beautiful poetic style.

The Ming poet Hu Yinglin said, "The most important thing about a stanza is its subtlety." Qing Shen Deqian said: "seven-word stanzas, to the language close to the feelings of remote, containing the main vomit, only the eyes of the foreground, the spoken word, but there are strings outside the sound, taste outside the flavor, so that people are far away from the God, (Li) Taibai there." Said the precise.

The creation of the stanza, the most important thing to pay attention to the novelty of the artistic conception, ingenuity, the principle is that the small see the big, in order to win more than less.

You can write a small scene, such as the above mentioned Du Mu "Red Cliff" from writing a broken halberd to start, as well as the Tang Dynasty Li Duan "boudoir": "The moon and stars are sparse, the sky wants to be bright, the lonely lamp has not been extinguished dream is difficult to become. The moon is falling and the stars are scarce, the sky is about to dawn, the lonely lamp is not extinguished, the dream is difficult to realize. This is a great opportunity to express the deep love of a woman *** to her long-distance husband through the annoyance of a magpie.

Dong Shu, a young contemporary poet, wrote about the War of Resistance Against Japan, and skillfully created the image of the Lugou Bridge lion singing generously:

Late showers with thunder, the sound of water falling from the sun.

Five hundred lions stood on the bridge and sang "Man Jiang Hong" over the fence.

-- Lugou Sunset

The poem "Full River Red" is not only about the evening scenery under the Lugou Bridge, but also about Yue Fei's "Full River Red". The five hundred waking lions have become a symbol of the Chinese children who fought bravely against the Japanese invaders.

You can write about the momentary movements, demeanor and psychological changes of the characters, such as the Tang Dynasty Li Duan's Ming Zheng:

Ming Zheng Quan Suzhu, the hand in front of the jade room.

Another example is Wang Changling's famous poem "Complaints of the Boudoir":

The girl in the boudoir *** does not know how to worry, but in the spring, she puts on makeup and goes up to the green tower.

I suddenly saw the color of the willow on the street, and regretted teaching my husband to look for a vassal.

Wang Wei, a poet of the Tang Dynasty, was also a master of the absolute sentence. His "Sending Yuan Er to An Xi": "Regarding the light dust of rain on the morning of Wei Cheng, the willow color of the guest house is fresh. I advise you to drink one more cup of wine, and there is no old man in the west out of the Yangguan Pass." The last cup of wine is used to persuade you to drink at the farewell party, writing out the most touching friendship in the past and present. His "September 9th Memories of Shandong Brothers": "Being a stranger in a foreign land, I miss my relatives twice as much at festivals. I know from afar where the brothers are climbing up to the top of the mountain, and there are fewer dogwoods sticking out all over the place." Not only "every festive season doubly homesick" sentence in plain language highly summarizes the guest in his hometown people's hearts and minds *** have and everyone's pen does not have homesickness and nostalgia for their relatives, and the latter used from the "opposite pen", "do not say I "I don't say that I miss him, but that he misses me, doubling the poignancy." (Zhang Qianyi's "Poetry Talks in the Bird's Nest") Later on, Du Fu's "Remote pity for the little children, not understanding the memory of Chang'an" (Moonlit Nights) and Bai Juyi's "Thinking of sitting deep in the night at home, and still talking about the people who have traveled far away" (Thinking of Home on the Night of the Winter Solstice in Handan) are both written in this way, which can be described as The poem is written in this style, which can be called "new in sentiment and new in meaning". Wang Wei also wrote "Three Miscellaneous Poems" (the second): "If you come from your hometown, you should know about your hometown. In the coming days, before the window, the cold plum blossoms are not yet in bloom." A traveler asks a person from his hometown about a cold plum in front of the window, expressing his infinite longing for his hometown and his wife in a way that is less than more. Song Gu Le of the Qing Dynasty, "Selected Commentary on Ten Thousand Absolute Sentences of the Tang Dynasty:" "The suspense of a small object conveys the concern of every piece and the eagerness of homesickness." Wang Wei's "Acacia": "Red beans are born in the south, and several branches are sprouted in spring. I advise you to pick more, this thing is the most lovesick." A grain of red beans in the southern part of the country is used to express the deep feeling of lovesickness. More than ten years ago, a contemporary poetry competition was held on the theme of "lovesickness", and there was a wonderful work that won the first prize (Zhen Xiuying's "Farewell"):

A few thousand roads in the south of the country in the spring winds, and the willows in the sound of the black song are filled with smoke.

A little bit of the setting sun is like a red bean, and it has been written all over the sky.

The association is ingenious, exaggerated and bold, worthy of the predecessor.

The chapter of the absolute sentence is the first start, the second to undertake three turns and four combinations. The first pen should be powerful, the undertaking should be natural, the twist should be unexpected, and the combination should be able to aftertaste endless. The third sentence of the absolute line of the transition, commonly used assumptions, negative, question, rhetorical question, question, singing sighs and other sentences, mainly to strengthen the power of the transition, the strength of the lyric, so that the verse has a loop of the lyric and a singing three sighs of lyricism.

Try to look at the following three or four lines of the famous Tang poem:

But make the Dragon City fly generals in, do not teach Hu Ma Du Yinshan. This is the case with Su Shi's "Drinking the Rain after the First Clearing on the Lake" cited above, "Farewell" composed by Zhen Xiuying, Dong Shu's "Sunset in Lugou", and He Zhizhang's "Winging the Willow", all of which are similar to this. A few more famous Tang poems:

The incense burner produces purple smoke in the sunshine, and the waterfall hangs in front of the river in the distance. The waterfall falls three thousand feet straight down, suspected to be the Milky Way falling into the nine heavens.

--Li Bai, "Looking at Mount Lushan Waterfalls"

The lake light and the moon and the two, the surface of the pool without the wind mirror is not worn. I'm not sure if I'm going to be able to get a good look at it, but I'm sure I'll be able to get a good look at it.

-- Liu Yuxi, "Looking at Dongting"

The smoke and waves are not moving and the shadow is sinking, and the blue color is not deep. It is suspected that it is the place where Narcissus went to wash himself, and it is in the center of the mirror that a conch is made.

--Yongtao's Title of Junshan

Far away from the cold mountains, the stone path is sloping, and there are homes in the place where the white clouds are born. I love the maple forest in the evening, and the frosty leaves are redder than the flowers in February.

-- Du Mu, "Mountain Walk"

Above, we have talked about some of the specific writing skills of writing proximity poems and stanzas. The poem and the stanza are old forms, but they express new thoughts and feelings, new connotations of life and feelings of life, and reflect the spirit of the times. The author's thoughts must be up-to-date. Can not write the poem from the content to the form of ancient, but to try to write a living color, personality, a sense of the times. We should study *** poetry, the "epic" tradition of Chinese revolutionary war and socialist construction, and the creative method of combining revolutionary realism and revolutionary romanticism of Chairman Mao's poetry. Of course, it is also necessary to learn from famous contemporary poets, including Lu Xun, Yu Dafu, Zhu Ziqing, Tian Han, and Zang Kejia. Zang Kejia was good at both new and old poems. His poem "Old Yellow Ox" reads: "Pieces of barren fields are filled with water and mud, and deep plowing and careful work goes on. The old ox also understands the shortness of time, and does not need to raise its hooves." Lyric Sentiments in Sickness: "The hospital is half a home for the old man, and the bitter medicine is replaced by green tea every day. Who is on the couch cloud canceling the gas, flying intention horse to the end of the world." Write out the poet's upward mobility.

Second, adhere to the use of image thinking, that is, poetic thinking, to create a vivid, distinctive, unique imagery, and vivid and wonderful imagery, from the poet for the beauty of nature and the beauty of life new discoveries. It can be said that there is no creation without new discovery, and there is no poem without unique imagery. He Zhizhang's "February spring wind is like scissors" is a discovery, Han Yu's "grass color looks near but not there" is a discovery, Du Fu's "fine rain fish out of the breeze swallows slanting" is a discovery, Su Shi's Su Shi's "black winds blowing sea clouds outside the sky" is also a discovery, Lu You's "the mountains are full of doubt, dark flowers and a village" is also a discovery. With the new discovery, it is possible to mobilize bold imagination and association, the use of such artistic techniques as anthropomorphism, metaphor, hyperbole, symbolism, empathy, etc. to create imagery and construct the mood.

Third, the poem should be repeated, hammering, and strive to create a masterpiece. Learning from the ancients, "Yinan a word, take a few stems off the beard," the spirit of hard work. Chairman Mao wrote poetry, is also time and again to consider, refinement, can be described as a thousand hammers, in order to refine: "the red flag jumped over the Tingjiang River, straight down the Longyan Shanghang. Packing up a piece of Jinou, dividing the fields and land really busy." ("Qing Ping Le - Jiang Gui War") such a vivid and lively, like a folk song like a good line. Refinement: "A mountain flying stand on the side of the river, jumping on the lush green four hundred spins." ("Seven Melodies - Climbing Mount Lushan") The static mountain is written in such a flying manner. Refinement: "White clouds fly on Mount Jiuyi, and the emperor's son rides the wind down to Cuiwei. A branch of bamboo with a thousand tears, a hundred years of clothes with ten thousand red haze. The waves of Dongting surged with snow, and the people of Changdao sang poems that moved the earth. I would like to dream of a lonesome land, where the hibiscus country is in full sunshine." The poet uses the method of combining revolutionary realism and revolutionary romanticism, melting myths, legends, classics and real life into one, remembering his lover, the martyr Yang Kaihui (Xiagou), and rejoicing in the steaming economic and cultural achievements of his hometown Hunan. The whole piece from the idea, chapter and verse, imagery and mood creation, to achieve every word and every sentence are so exquisite, really round, colorful, stirring, pleasing to the ear.

Fourth, as far as possible, to comply with the rules of the proximity of the meter, but we are writing a poem, not to write the meter. But we are writing a poem, not a rule. In order not to jeopardize the perfect expression of poetic meaning, we can also appropriately break the rule. The Chinese Poetry Society advocated the reform of sound and rhyme, and published the "Chinese New Rhyme Table", while proposing a "three-track system": "old sound and old rhyme, new sound and new rhyme (without the use of the sound characters, using the new rhyme), and the old sound and new rhyme (retaining the sound characters, using the new rhyme)."

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