How to write good old-fashioned poetry?

Poetry is one of the important genres of literature. "Poetry speaks of the will, and song chants the words" (Shangshu - Yao Dian) "Therefore, the heart of sorrow and music is felt, and the voice of song and chants is sent out. Reciting its words is called poetry, and chanting its sounds is called song." （Poetry has cognitive, educational and aesthetic values. "In ancient times, there was an official who collected poems, so the king could observe the customs, know the gains and losses, and examine himself." (Han Shu - Yi Wen Zhi) Confucius advocated the Confucian poetic teaching of "gentleness and generosity". Workers also valued the role of poetry, "the hungry sing about their food, the laborers sing about their work". Our country has always emphasized "poetry speaks to the will". Poetry that speaks to the will must have the power to influence people in terms of thoughts and feelings and to impose moral norms on them. "Poetry is the message sent by mankind to the future; it gives mankind the courage to move towards the ideal." (Ai Qing: "Essay on Poetry") Poetry is characterized by the following three features: (a) Concentration of ideological content. Poetry is the most concentrated expression of a certain social life. "Meaning is like the five grains; in literature, it is cooked and made into rice; in poetry, it is brewed and made into wine." (Wu Qiao, "Poetry in the Furnace") The concentration of the ideological content of poetry is mainly reflected in the fact that it expresses the author's thoughts and feelings and reflects social life by creating a mood (the image of the poem). Context is the blending of internal feelings and external scenery, the harmony and unity of emotion, reason, form and spirit, and the artistic world rich in poetic flavor with strong infectious power and revelation.　　(ii) The lyricism of the method of expression. Poetry is a lyrical style of literature. "Poetry, the will of the also, in the heart for the will, speaking for the poem. Emotions move in the middle and take shape in words." ("Preface to Mao Poetry") Poetry is precious to true feelings. "Without feelings, there is no poet and no poetry." (Belinsky) "Poetry is: rooted feelings, seedling words, colorful sounds, and real meaning." (Bai Juyi) "Poetry is created by natural flow. Poetry is created like the survival of natural objects, without the slightest artifice. I think this is where the life of the new style of poetry lies." (Guo Moruo) The lyricism of poetry is particularly strong in comparison with the lyricism of other literary styles.　　(iii) The musicality of the language form. Poetry is the most musical language art. "Emotions are expressed in sound, and the sound of the text is called sound" (preface to Mao's poem), the harmony of sound, distinctive rhythm, is a basic feature that distinguishes poetry from other literary styles. Marx said: "Since you write in rhyme, you should arrange your rhymes more artistically." Lu Xun demanded: "New poems should first have stanzas and rhyme roughly similarly." In short, the essence of poetry is: to express unique thoughts and feelings figuratively through carefully crafted language, to show the general skillfully from the particular, and to bring harmony and unity to the world of feeling and the world of emotion of the self.　　Writing Poetry How do beginners learn to write poetry?　　I. Capture and create the image of the poem (a) Poetry is written with image thinking Belinsky has long pointed out that "Philosophers use the method of trilogy, while poets speak in images and pictures, yet they all say the same thing." (Glimpses of Russian Literature, 1847) This tells us that poetry should be written with image thinking. By thinking in images, it means first of all that when one penetrates into life, one should feel life figuratively, experience life figuratively, observe life, and analyze life.　　To think in images, we should be good at capturing images on the basis of image feeling. Ai Qing pointed out that "the activity of image thinking lies in making everything that is difficult to capture, everything that flutters fixed, distinctly presented in front of the reader, as clear as the prints hitting the paper." Thus he says, "The man who writes poetry often searches for an image in order to express an idea." The ability to capture a novel image is also material for writing a poem. So how do you capture an image? It comes down to inspiration. Mayakovsky gave an example of capturing an image: around 1913, he was returning to Moscow from Saratov.　　In order to show a woman he was traveling with on the train that he had no evil thoughts about her at all, the poet said, "I am not a man, but a cloud in pants." Immediately after saying this, he considered that it could go into a poem - but he feared that it would be verbally abused by passing it on for nothing. What then? He was very anxious, and for almost half an hour the poet asked the maiden many questions, until he was convinced that his words had flown out of her other ear, and then he was reassured. Two years later, he used "Clouds in Pants" as the title of a long poem.　　（Poetry is a "manifestation of the imagination" Aristotle said: "Poetry requires a special endowment, or an element of insanity in the person, or an ease of imagining the required demeanor." Shelley: "Generally speaking, poetry may be interpreted as 'the manifestation of imagination'." Braslett: "Poetry is the language of imagination and passion." Belinsky: "In poetry imagination is the main active force. The creative process can be accomplished only through imagination." Ai Qing said, "There is no poetry without imagination," and "The most important talent of a poet is the use of imagination." A poet's imagination is different from a scientist's. Bacon noted, "Poetry is a discipline, limited for the most part in literary metre, but in other respects extremely free, and connected with imagination. Imagination, because it is not bound by the laws of matter, is at liberty to unite what is naturally separated, and to separate what is united. This creates unlawful mates and divorces." Shelley also said, "Poetry deforms everything it touches." In his fairy tale "Creation," Hans Christian Andersen wrote that a young man who loved to write poetry and was distressed because he could not write good poems went to a witch. The witch puts glasses on him and plants an earpiece, and he hears the potato singing about his family's history, the wild plum tree telling a story, and the crowd swirling with story after story. What is being said here is actually that to be a poet it is not enough to have a normal person's sense of hearing, but one must also have the poet's deformed glasses and earpiece. Therefore, to write poems, we need to observe the characteristics of life very accurately, but at the same time, we do not lack the courage to change these characteristics. As a result of metamorphosis, the image of the poem often has a symbolic meaning. For example, Zang Kejia's "The Old Horse": The cart must be loaded enough, this moment doesn't know the next moment's life, it doesn't say a word, it only swallows tears in its heart, the pressure on its back snaps into its flesh, the shadow of the whip floats in its eyes, and it hangs its head down heavily! He raises his head and looks ahead.　　What is written here is not just a poor old horse, but the main thing is to write about the northern farmers in the thirties, the spirit of endurance, resilience and quality. The "old horse" is a symbolic image.　　（In "How to Write a Poem", Mayakovsky said to the young authors: "Poetry should be made to maximize its evocativeness. One of the great means of evocation is the image." According to Eliot, to create an image is "to seek the objective counterpart of an idea." There are many specific ways to do this, such as: transforming the imaginary and the real; transforming people and things; transforming things and things; transforming inside and outside; transforming the big and the small; transforming the far and the near; transforming the few and the many; transforming the part and the whole; transforming the historical and the real; transforming the real and the future, and so on.　　It needs to be emphasized that: the poet's image and the image of scenery in the poem serve to express emotion, mood, and interest. Poetry is more emotional than figurative, leaving the lyrical need to haphazardly pile up images, can only damage the poem.　　Second, cleverly carry out the idea of the poem (a) the inspiration of the poem Idea is one of the most important stages in the process of poem creation. What gives rise to an idea? The simple answer is: the impulse to create - an outburst of inspiration.　　Ai Qing said, "The so-called 'inspiration' is nothing but the poet's new excitement about things, the sudden feeling of excitement, the flash of the mind that fades away in an instant. The so-called 'inspiration' is the most pleasant encounter between the poet's subjective world and the objective world." ("Poetry") For a poem, inspiration is the cause; for the objective world, inspiration is the effect. Inspiration is the cause of a poem; inspiration is the effect of the objective world. This is the process by which a poet writes a poem. After the outbreak of "inspiration", creation enters into concrete conception.　　（The conception of a poem is very important. The poet Guo Xiaochuan said in Talking about Poetry, "Poetry is to be skillfully conceived." "You mentioned conception, which I think captures the key." Regarding the content of a poem's conception, Hegel states in Aesthetics, "First of all as to what is suitable for the conception of a poem, we may at once exclude, at least in a relative degree, things of nature which are purely external. The objects or subjects peculiar to poetry are not the sun, the forest, the mountain scenery, or the outward form of man, such as blood, veins, sinews, and the like, but the spiritual interest. Even though poetry also resorts to sensuous observation and vivid and distinctive depiction, even in this respect it is still a spiritual activity which works only to provide inner observation." What is the way a poem is conceived? The way a poem is conceived is inner experience. Hegel says, "Since the poem is capable of the deepest expression of the fullness of the fullness of the inner meaning of the spirit, we should demand that the poet also have the deepest and richest inner experience of the subject matter he represents." "The poet must know human life both inwardly and outwardly, absorb into his self the vast world and its manifold phenomena, sympathize * * * with them, experience them y, and make them profound and lucid." (Aesthetics, Volume III, Lower, p. 54) So the poet writes a poem although "not every poem is about himself. But every poem is written by itself-that is, through its own heart." (Ai Qing) Following this method of conceptualization, when writing lyric poetry, since the real source of lyricism is the inner life of the creative subject (the poet himself), the poet should only express "pure moods and feelings and so on, without describing the concrete external situation in terms of external shapes". (Hegel, Aesthetics) The process of conceptualizing a poem consists of the following: (1) Refining the poem. It is to search for the unique feeling that shows the general feeling from the general feeling, and to search for the specific feeling that shows the **** same feeling from the **** same feeling. Such as Ai Qing's Freedom.　　(2) Selection of angle. Lyric poetry should choose the right angle. Generally speaking, there are two big angles, one is straight to the heart, the poet directly out of the lyric, such as Wen Yiduo's "confession". Write poetry with this angle, should avoid vague, to create a distinctive personalized image of the poet, otherwise it is easy to straighten out. Another angle is to symbolize and support, to borrow things to send feelings, to borrow people to express their feelings, and to borrow scenery to write feelings. As mentioned before, Zang Kejia's "Old Horse".　　(3) Layout. How to write the beginning and the end of the poem, and how to form an organic whole between the parts need to be carefully considered. It is necessary to think: in this poem, what do I use to connect the poem? Lyric poetry in general, "is always threaded through with a hierarchy of changes in mood (feelings)." (Guo Xiaochuan, "Talking about Poetry") (4) Refine the language. Language is the most important factor in the expression of a poem. It is extremely important in the process of conceptualization. We will make a special study in the third section of this chapter.　　Poetry writing should emphasize the skill of poetic conception. Guo Xiaochuan advocates, "Don't put pen to paper without a new idea, without a new creation." Therefore, ideas must be: new, strange and skillful. Summarizing the experience of the predecessors, there are some techniques that can be borrowed.　　Such as: symbolism, radiation, "props", "propositions", "proposition", "contradiction", "virtual", "antithesis", "side", "contrast", "dialogue", and so on.　　The Language of Poetry "Poetry is practically a language" and "As a means of conveying the idea of poetry, the element of words is also different from the expression used in prose; it is an end in itself in poetry and should appear to be refined." "Nor must the poem remain inwardly a poetic idea, but must express the image of the intended creation in words. In this respect, the poem has two more things to do: first, the poem must adapt the inner (heart) image to the expressive power of language, so that the two fit perfectly; second, the poem uses language, and cannot use it as the everyday consciousness does, but must treat it poetically, both in the choice and arrangement of words, and in the intonation of the language, which distinguishes it from the expression of prose. " (Hegel, Aesthetics) The fundamental language of poetry is the language of imagery. Imagery is visualized feelings and emotions. Imaginative language is characterized by intuition, expressiveness, transcendence, etc. It should be more in line with the laws of the poet's subjective sensory and emotional activities than with the objective grammatical laws. This is the essential difference between poetic language and practical language. Therefore, the art of poetry cannot be mediated by everyday practical language.　　Only by "destroying" and "transforming" the practical language, "breaking the neck of grammar" as Eliot said, can the poet make it the language of poetry. For this reason, poetry must study the language of poetry rhetoric, that is, to master the language of poetry expression. Poetry's language expression methods are: simile, rise, borrowing, antithesis, symbolism, through the sense of contradiction, modification, the combination of reality and falsehood, etc. In addition, there are other modification methods. In addition, there are other methods of modification, all of which contribute to the expression of poetic mood. Only through reading, researching and writing more can a practicing writer master the language and rhetorical skills of poetry. To write a poem, we should not only pay attention to rhetoric, but also pay attention to the refinement of words and phrases. Famous poets of the past and present have paid attention to the refinement of poetic phrases. Verse refinement is never just a matter of formal skills, it is closely related to poetic meaning, poetic flavor, and the expression of the theme of the poem. A meaning such as "The night is past is light," if stated plainly, will make people feel dull and tasteless. Zang Kejia thought over and over again, and finally wrote it as follows: "Under the long wings of the night, / there lies a bright morning sun."　　The language of poetry is the most native literary language, with its special functions: A. Lyricism, close to music that depicts small functions.　　B. Organic information system, one word, can produce magical effect. Such as "Jumen" in "Jumen wine and meat stink", became synonymous with the ruling class, has a lot of meaning, as well as the author and the reader's feelings.　　C. Independent aesthetic value, can play. Novels can put aside the language, retelling the story, while poetry can not leave the language.　　D. The general requirement is to express the psychological feelings of the personality, and there are four specific requirements: First, polysemy, both surface meaning and deep meaning. The main use of symbolism. Such as pine, plum, snow and bamboo, the Great Wall, lilies and so on. Traditional symbols are too rational, forming a rigid routine. There are also hints, puns, euphemisms and so on.　　The second is jumping, more than any genre language. For showing rapid mental activity. Don't any prepositions, conjunctions and other medium - related words. Such as "the sound of chickens thatched store moon, people traces of boardwalk frost". Can also be logical confusion, arbitrary interlacing. Such as time and space intertwined. Such as "back when the love" in the poet and the ancient beauty of love.　　Thirdly, it is perceptible, with a sense of color, three-dimensionality and specificity (turning abstraction into figuration). There is a painting in the poem.　　The fourth is musicality, both intrinsic musicality, i.e., the rhythm of emotions, and extrinsic musicality, i.e., the refrain of sound (rhyme, rhythm, and intonation). It acts as a kind of moderation of raw emotion. Rhythm is the determining factor, the rhythm of things and human physiological rhythm - the regulation of respiration and the feeling of movement is reflected, is the group of tones and pauses in a regular arrangement. A word has one syllable, and monosyllables, disyllables or polysyllables with independent meanings form a group, each followed by a long or short pause. Ancient poetry: pentameter "two, two, one". New poetry is free and open, uniquely creative, and regular in its variation.　　The role of musicality in poetry is to act as a restraint on raw, hard, strong feelings, transforming them into a regular movement, deepening the poetic flavor, arousing the reader's aesthetic attention, and putting aside some practical, non-poetic ideas.　　Inner musicality is the rhythm of inner emotions, i.e. high and low, long and short, fast and slow.　　Extrinsic musicality is mainly expressed in the loop of sound, which can be described as a proportionality of numbers. Rhyming is the process of making the last syllable of a relevant verse rhyme with the same or similar vowel. Rhyme should be treated with an open mind, respecting the poet's artistic pursuits; it may or may not be used as long as it perfectly conveys the inner emotion. Unrhymed psalms can be made musical by other means, such as the arrangement of the lines.　　The first step is to choose a rhyme scheme. Rhymes of the same kind form a rhyme scheme. Nowadays, there are thirteen ruts, i.e., thirteen categories: Middle East, Renchen, Jiangyang, Yanqian, Fahua, Huailai, Ashdui, Yaojiao, Yauji, Sobo, Yichi, Gusu, and Xxiao, etc. Each of these rhymes has its own part of pronunciation and degree of openness. Each rhyme part of the pronunciation part, the degree of opening is different, the tone range is also different. Some of them are high in loudness, exuberant and exuberant, such as Jiang Yang and Fa Hua. Some of the loudness is low, bitter, heavy, such as ash pile, a seven and so on. To choose rhymes because of the mood, because of the mood change rhyme.　　The second is to change rhyme. Longer poems, emotional flow changes, which should be reflected in the voice form. If a rhyme to the end, easy to give people monotonous, fatigue. Change of rhyme can make the gas a revitalization. Such as the "Spring River and Moonlit Night", four lines of a rhyme, flowing, euphemistic and lingering.　　Once again, the rhyme scheme. Mainly have a line rhyme - every line are betting, rhyme - ancient times have "one three five regardless, two four six clear" requirements, with rhyme - two lines for a change such as the letter of heaven. -Two lines of a change, such as albatross, cross rhyme - the first line and the third line rhyme, the second line and the third line rhyme, and so on. Others include clasp rhyme, where the first line rhymes with the fourth line, and the second line rhymes with the third. This is the authentic rhyme scheme of the Western sonnet.　　Tone The change of pitch and length in the process of pronunciation. Shen Yao's Four Tones was the first to study this issue. New poems can only pay attention to it. Especially when reciting a poem requires it.　　Rhythm This is a musical term, and it is the decisive factor in the external musicality of a poem. In nature and in life, everything has a rhythm. The rhythm of poetry is a reflection of the rhythm of things and the physiological rhythms of human beings - the regulation of breathing and the feeling of movement.　　Poetic rhythm is the regular arrangement of groups of sounds and pauses. In Chinese, a word is usually a syllable, and monosyllables, disyllables or polysyllables with independent meanings form a group, each followed by a long or short pause.　　Rhythm of ancient poems: "two, two, one" in pentameter; "two, two, two, one" in heptameter.　　Rhythm of new poems: free and open, unique and creative; each line is roughly equivalent, with regular variations.　　The new poems do not have the fixed musical regulations of the ancient poems, but introduce the western lines to strengthen the sense of rhythm and melody to achieve the effect of musicality.　　A. The lines are adapted to the mood of the poem in terms of length, sparseness, and variety. The lines follow the inner rhythm of poetry - the rhythm of emotion - and their shape is a structural form that visualizes and displays the inner emotions. Whitman expresses the pioneering, bold, free and romantic emotions of the founding of the nation, and the lines are long, as if they were the vast expanse of the New World frontier. Mayakovsky expresses the dramatic changes of the October Revolution, and the lines of the poem are staircase-shaped, with great ups and downs and unevenness.　　B. The use of ellipses and jumps in the lines of the poem is arbitrary and generates new structural meanings. For example, the juxtaposition of the upper and lower lines of the poem produces a new meaning: "Vermilion door stinks of wine and meat, and the road is full of frozen bones."　　C. Branching turns visual intervals into auditory intervals, showing rhythm. This is the effect produced in reading. Reading together will not show the rhythm.　　D. The division of lines draws aesthetic attention to the poem and allows one to appreciate it with the psychology of a poem.　　Requirements: A. Pay attention to the organic combination of line and line. The key is to span lines - a sentence that takes up more than two lines. This is to pause and focus attention on the next line-emphasizing the most valuable and glorious language.　　B. Branching lines are evolving and should be original. For example, the traditional mood patterns change into pictograms and congruent patterns.　　C. The branching line emphasizes more on the visual effect of the poem, changing from "auditory art" to "visual art". This is because the inherent complexity and multilayeredness of new poems can hardly be expressed directly through recitation, and the poetic meaning can only be maintained by arranging the words. According to Kahler, whether a text is a poem or not does not necessarily depend on the language itself, but on the arrangement of the words, i.e., the visual form.　　Modes of Poetry The Symbolic Mode This mode, which can be considered an heirloom of poetry, is also known as the multilayered mode: it gives image at the visual level of the written symbols, while at the same time giving meaning (of a physical thing or spiritual content) at the deeper level of association in the most unlimited generalization and encompassing way possible. The symbolic body is superficial and clear, and may even be prescribed by traditional rationality, such as the plum orchid, pine and bamboo, the Great Wall and so on. The symbolized body, on the other hand, is hidden and ambiguous. The relationship between the two should be arbitrary to facilitate creativity. Genius poets put the apparently unrelated internal and external imagery through similar associations to form a marvelous idea. The key is to capture the point of ****similarity between the two, while other attributes are as far apart as possible.　　The central method is to choose the image, the formation of symbolic imagery. Imagery, also known as artistic images, can be said to constitute the cells of a large system of literature and art. Meaning - human consciousness (including emotions. Fundamentally, it is the aesthetic and cognitive needs of man), which ultimately manifests itself in literary art as the projection and expression of the author's individual life. Image - objective things, external to the author, but ultimately objectified by the author's life essence. The combination of the two is imagery, and the number of components of the two and the relationship between them, such as the hidden and sparse, has resulted in two basic methods of literary creation, i.e., Romanticism, which emphasizes meaning, and Realism, which emphasizes imagery, and has become the source of the theory of expression and the theory of reflection. Symbolic imagery has a specific requirement over general imagery: to be the central image of the poem. The best symbolic imagery, whose meaning is unlimited, expresses the inner world of the author as much as possible and becomes a universe of artistic individuality.　　As a rule, the titles of such poems are written to symbolize the body (and even the character). However, the inner body, i.e. the feelings of the author's individual life, is what the poem is really about.　　Transversal Mode This type of poem intercepts a slice of life or a slice of consciousness and describes a series of images or uses a series of metaphors in order to express the author's feelings and express his or her consciousness. Many landscape poems are exactly like this. It is important to create the mood as much as possible. For example, Du Fu's Spring Hope.　　Vertical Mode These poems use the advancement of the author's point of observation as a clue to blend what is seen, heard and felt as time passes or space unfolds. For example, He Jingzhi's Return to Yan'an. This type of poetry is generally longer and mostly narrative.　　Sublimation Mode These poems are generally divided into two parts: the first part is a gentle padding, and the second part is a new idea, which creates a striking breakthrough and sublimates the feelings and mood to a new height. Most of the old-style poems that "speak of will" adopt this pattern, writing scenery in the front, blending the scene, and writing "will" in the back, and there is love in the will. Mao Zedong's "Qinyuanchun. Snow.　　This type of poem consists of several juxtapositions of the same structure with some of the same lines. Repeated chants. There are more poems of this type in the Book of Songs.　　Confessional mode Direct expression of feelings, using assertive argument, also known as discursive mode. It has a long history, and most Romanticism uses lyricized argument, i.e., confession. Many political and philosophical poems belong to this "traditional confessional" mode. This kind of confession is not easy to write well, first of all, the author must reach the highest level of awareness and experience of an era. In Western modernism, Whitman's "Leaves of Grass" was the first and the second, and it made a lot of use of confession, so much so that after the 50s, the American poetry was represented by Allen Ginsberg's "Howl", which formed the confession school and occupied the mainstream position. Most of the poems of the "third generation" in China in the 1980s belonged to the "confessional" poems. Unlike the Romantic confessions of the early period, the confessions in contemporary poetry can be called "anti-traditional confessions": they are intentionally anti-traditional - against culture, aesthetics, individuality, rationality and even poetry itself - but in fact, they are limited to the subject matter of their personal life experience, mainly the circle of their own feelings. In fact, the subject matter is limited to personal life experience, mainly the circle of my own feelings. Most of the poems are written in the first person, without any formalities, and they reveal their feelings about life and even their privacy in everyday colloquialisms, sometimes touching on society and criticizing it to a certain extent. The "confessional" poems emphasize more on language, form and meaning, and even write entertaining documentary poems, calling themselves "play" poems. As an exploration of poetry as a whole, "Confessional Poetry" can be said to have had a historical role in shifting the meaning from social criticism to the affirmation of individual life.　　Hieroglyphic pattern The lines of a poem are arranged in the shape of a central image, which becomes a hieroglyphic pattern. For example, the French poet Apollinaire's "The Dove of Peace Stabbed". Another example is the poem by the Taiwanese poet Bai Di, which is like a landscape painting (the lines of the poem go from right to left, and the words go from top to bottom), comparing the wanderer to a silk fir far from the mountains, forests, and lakes.　　Modern Mode Transplanted from Western modernist poetry. It is significantly different from traditional poetry in terms of content and form, and believes that content is form and form is content, thus placing more emphasis on formal innovation. Writes about the split and absurdity between the individual and society, nature, others and even the self, reflecting the spiritual crisis, perverted psychology, pessimism and despair and nihilism brought about by the high degree of development of capitalist society. Emphasis is placed on the expression of the inner mind - actually only the fickle and unpredictable instincts (desires, especially sexual desires) and subconsciousness. The main methods used are: ① Ideological perceptualization, i.e. abstraction of the flesh. Abstract ideas and concrete images are directly combined to "perceive ideas as you smell roses (Eliot)". For example, the poem "Dance of Force", "Dizzy Will", "Damp Souls Sprouting". Free association. This kind of association is not inherent in the thing itself, recognized by everyone, but is based on personal intuition and hallucination to write out the association. For example, "The sun is the soccer ball kicked out of the sun. (3) The form of language can be varied at will, and is used to suggest feelings, imaginations, and states of mind in a particular moment.　　Some lines of this type of poetry are arranged in abstract shapes to show the tendency of a certain meaning. For example, the arrangement of lines in the second half of "The Sun Goes Down" suggests that the sound of bells rises and falls in the gale]