How to express the theme in China's classical poems

China is a country of poetry. Since the ancient ballad "Guan Guan Gui Du" was sung in the riverside mainland, China's poets have been unable to accept it: from collective singing to literati's solo creation, from high-ranking emperors and generals to nameless women and children, they are all using this form to express their feelings about life. After thousands of years of development, deduction, absorption and innovation, poetry is not only increasingly rich in content, all-encompassing, but also flexible in form, and famous articles emerge one after another, which is amazing and has written the most beautiful stroke in the cultural history of China. So how does the poet express himself in this short and pithy genre? The author tries to take the poetry with the theme of "parting" as an example to talk about his simple understanding.

Since ancient times, people have come from afar for a certain emotion in their hearts, or drink and compose poems; Or two of a kind, confession to each other; Or water, chat; Or high mountains and flowing water, echoing each other. However, "Time was long before I met her, but it was longer than after we parted" (Li Shangyin has no title) and "A gazebo thousands of miles away, and there is no banquet that never ends" seems to be a work expressing the theme of "separation" far more famous than a work expressing reunion. Even masterpieces such as Preface to Lanting and Preface to Wang Teng-ting, which show the grand occasion of literati, will inevitably have the feeling of "life and death" and "the feast is hard to continue". The reason is probably "sentimental and sad to leave since ancient times." The sadness of parting can touch the poet's fragile heart strings, stimulate his sensitive poetic feelings, and make him realize that life is less and more, and life is changeable. How do specific poets express this feeling of "parting"? The author analyzes it from the following four aspects.

First, heavy environment rendering

Wang Guowei said: "All scenery words are love words." Lyricism and scene blending are the main features of China's classical literature, especially in poetry. Although Fan Zhongyan said that people should "not rejoice in things, not grieve for themselves", poets are often idealistic and subjective. They think that "petals fall like tears, lonely birds sing their sorrows", they think that "whoever is drunk at dawn will always make people cry", they think that "candles have a heart to say goodbye, and they cry for others until dawn", and they think that "I will think of you on floating clouds, so I think of me at sunset", and so on. Emotion is the main body of their view of things. The willow tree beside the ancient road blows the heart of the son who can't bear to leave; Thousands of feet's Peach Blossom Pond is the friendship between Wang Lun and Li Bai. The green willow color outside the guest house is Wang Wei's farewell to his friends; Outside the pavilion, chilling cries made Liu Yong's heart more melancholy. ...

Second, delicate emotional portrayal.

The strong description of the environment is only to render an atmosphere. The theme of this kind of poetry is to express the emotion of "parting", which is reflected in different details. The loving mother pinned her love for her son on her meticulous sewing and thorough mending (Ode to a Wanderer in Jia Dao), while Li Bai waved goodbye with us, and my horse hissed (farewell to friends) to express her reluctant feelings for her friends, while Wang Wei expressed her infinite concern for her friends by "advising you to drink more and go out for no reason".

Third, the choice of typical image

China's classical poetry attaches great importance to the creation of artistic conception, and chooses typical images to express his feelings, which not only shows beautiful artistic conception and implicit feelings, but also integrates scenes, mind and matter, and the realm emerges from itself. Wang Guowei said: "There is a realm, which is self-contained and has its own famous sentences." In the Qing Dynasty, Wang Fuzhi's Poems on Xuanzhai said: "The name of the scene is called two, but it cannot be separated." In the poetry with the theme of "parting", the following images are generally used.

1. Willow. Originated from The Book of Songs Xiaoya Cai Wei: "I wasn't there in the past, Liu Yiyi; I think about it today, it's raining. " Willow's love and the feeling of parting are combined. "Liu" and "Liu" are homophonic. When the ancients bid farewell, they often expressed their deep feelings of parting by folding willows, so that many literati used this to express their resentment and nostalgia. For example, in Wang Wei's envoy Anxi, "the rain in Weicheng is light and the green willow in the guest house is new", "Where will I wake up tonight?" Yang Liuan, Xiao Feng and Canyue all have this meaning.

2. Pavilion. In ancient times, there was a pavilion on the roadside for travelers to rest or see off. Yu Xin, a writer in the Northern Zhou Dynasty, said in "Jiangnan Fu": "Ten miles and five miles, roadside pavilions." It's called a ten-mile pavilion and a five-mile pavilion. As an image containing feelings of parting, "Changting" appeared constantly in ancient farewell poems. Such as "where is the return journey? The pavilion is shorter than the pavilion (Li Bai's "Bodhisattva Man"), "It's cold, the pavilion is late", and "Farewell to the pavilion" in Wang Shifu's "The West Chamber" pushes the connotation of this image to a peak.

3. wine. Yang Zai, the Yuan Song, said, "Anyone who gives people more wine to show their feelings and writes about the scenery to cheer them up is grateful." (Number of poets and legalists) Besides understanding worries, wine is full of deep blessings. There are countless poems that associate wine with parting, such as "Advise you to drink more, and go out of Yangguan for no reason", "Although you drink all the wine, you will leave in a bad mood, and the river will be treacherous when the moon is full" (Bai Juyi's Pipa Trip). Although they "drink nothing", it is essential to send farewell wine. In the history of China, Li Bai, who had an indissoluble bond with wine, once said: "Comrades from the same city came to bid farewell and drank it off. When I left, I told him." ("Nanjing Hotel Parting") "But since the water is still flowing, although we cut it with a sword, it is even sadder to raise a glass to dispel our worries." (Uncle Yun, Xie Tiao Building, Xuanzhou, seeing off the school book), but in Visit to China, it is even more free and easy: "There are tulips in Lanling and amber light in the jade bowl. But it can make the owner drunk and don't know where he is. " Wine became a parting condiment.

Fourth, sharp contrast.

Liu Yong wrote in "Rain Sounds": "When I miss you, thousands of miles of smoke are rolling, and the dusk is heavy." This is the writer's vast realm after leaving his beloved, leaving by boat and disappearing into the boundless sea fog. However, the poet did not feel at ease because of this. The sharp contrast between this realm and state of mind is also reflected in Bai Xuege's farewell to Tian Shuji Wu's hometown: "Then, he disappeared at the corner of the pass, leaving only hoofprint." There is a sentence in Li Bai's "Farewell to Meng Haoran on the way to Yangzhou": "A solitary sail crosses the blue sky and flows across the Yangtze River." Have the same effect. Liu Yong's Rain Ring and Li Shangyin's A Note to a Friend in the North on a Rainy Night, How to Cut the Candle in the West Window, but Talk about the Time of Late Rain, not only contain the reciprocating contrast of space, but also reflect the cyclic contrast of time, which makes people feel sad.