What are the writing methods of poetry?

Writing poetry is regular, but not regular. The process of poetry creation can be divided into three steps: discovery, conception and expression. Only by going deep into life, observing and appreciating attentively can we find poetry in the ordinary world. I found that poetry is only the primary stage of poetry creation. Next, we should carefully plan and conceive the text structure of poetry and concentrate the loose poems. The last stage of poetry creation is expression, that is, the process of poetic language. To sum up, the basic requirements that poetry writing should master are:

(a), pay attention to observe life, keen to capture the instant feelings and experiences.

"How vast life is,/life is the ocean. /Where there is life, there is happiness and treasure. " This is a poem written by the poet He Qifang in How Broad Life is. It can be said that the vastness of life and the poet's real experience and careful observation of life triggered He Qifang's exuberant creative inspiration. Life as vast as the ocean is not only full of happiness and treasure, but also full of poetry and poetry. However, this kind of poetry can only be discovered by the eyes that are good at observing life, and can only be captured by the extremely keen mind. The poet Ai Qing said: "Life practice is the expansion of the poet's experience world. Poets must learn from the source of creation in life practice, live in the sadness, joy, bitterness, joy, resentment, love, sorrow and resentment in the world every day, and ferment and brew all the emotions in their lives, so that the incomparable fragrance and strong wine can flow from the deepest part of their hearts. " Obviously, Ai Qing regards life practice as an important source of poetry creation. Of course, for poetry creation, the meaning of "life" should be broad, including not only social practice, but also inner life. The cooperation of the two constitutes the whole life content of the poet. In life, we must pay attention to keenly capture the instant feelings and experiences, and accumulate them in the thinking information base in time for future poetry conception and creation. "Afternoon homework for collectors" wrote: "I fell asleep,/paved the earth,/covered the sun,/covered my head with a thin shade." It can be said that such a poem could not be written without careful observation and profound life accumulation.

(2) Pay attention to the cultivation of inspiration and the refinement of images.

There are many explanations for creative inspiration at all times and in all countries. Plato believes that inspiration is the divine power attached to the poet, while Socrates interprets inspiration as the poet's innate talent. Zhu Guangqian, an aesthete, thinks that inspiration has two important characteristics: one is suddenness; Second, it is involuntary. For poetry creation, the significance of inspiration is extraordinary, and the role of inspiration is enormous. As Ai Qing said, "Inspiration is the poet's unparalleled harmonious and pleasant experience of external things; It is the unexpected opening of the poet's closed door to things. " "Inspiration is the concept of poetry." Although inspiration is very important, it is not easy to obtain, and it can only be obtained occasionally after long-term accumulation. Therefore, poetry creation should pay attention to the cultivation of inspiration, observation in daily life, temper poetic thinking, and gather life feelings and experiences. Only in this way can poetic inspiration come unexpectedly in our creative activities.

At the same time, we should also pay attention to the collection and refinement of poetic images. Poetry expression must rely on typical images, and the acquisition of typical images must rely on our usual observation and life accumulation. Spring, summer, autumn and winter, time series change, spatial change. In different time and space, our living environment is different, and our feelings and understanding of the world are also very different. Excellent poets are good at extracting unique images from different time and space, and using language to materialize their unique knowledge and understanding of the world and themselves. For example, Li Jinfa, a poet, left the motherland from 19 19 (when he was only 19 years old) and went to France to study for five years. Out of his deep understanding of foreign life, he chose many unique images to describe his life situation. He used "abandoning his wife" as a metaphor for his humble position in life and "cold night" as a description of the surrounding environment. The careful selection and refinement of images make Li Jinfa's poems reach a high level and have outstanding aesthetic value.

(3) presenting images with extraordinary language structure.

The presentation of images in poetry needs the help of extraordinary language. Generally speaking, the language way of presenting images includes the following situations:

1, the selected verb

For the presentation of poetry, dynamic images play a greater role than static images, which can make poetry more emotional, dynamic, vivid and full of internal tension. Dynamic images can also catch readers' reading sight and stimulate their rich aesthetic association and imagination. An appropriate verb will make the image of the poem vivid, thus making the artistic level of the whole poem leap to a higher level. For example, in Chen's The Philosopher and the Cat: "Rain locks the window of dusk,/Let the days fade away quietly", and the verb "lock" vividly shows the rainstorm and its shadow on people's hearts, and the days fade away quietly because of the tight "lock" of rain; Refugees from Tibetan families: "The sun has set into the bird's nest, and the crow's wings have not completely melted at dusk." The word "dissolution" accurately and vividly describes the situation of night falling slowly; And "thick clouds in the sky say sulking." "the pressure on the back is buckled into the meat", "writing" and "buckling" are also very vivid.

2. Flexible use of parts of speech

The flexible use of parts of speech in poetry is quite common. The flexible use of parts of speech in poetry is generally the conversion of parts of speech between nouns, verbs and adjectives. Through flexible use, the meaning space of modern Chinese vocabulary is expanded, the expression potential of words is fully tapped, and the aesthetic expression of poetry is enhanced. "The field is deserted-/the plowed land is littered", "Please stop, stop your tired running", "I took a sip of the hazy street" and "but its life is full of so many fragrances", among which "messy", "running", "hazy" and "fragrant" are all flexible parts of speech, indicating meaning.

3. Polysemy

Polysemy and pun are also common expressions in poetry creation. As we know, natural silk is often used to express psychological thoughts in ancient poems, sunny weather is used to imply emotional feelings, and the action of "folding willows" is used to express reluctance and retention of friends. There are also many polysemy phenomena in new poems. For example, in The Girl Playing the Piano, there is a poem: "What covers my piano face/falls gently like moonlight/your eyes/my strings are tensed with happiness/a heart eager to sing sunshine, flowers and streams/touched by your fragrant breath/suddenly enlightened", and the surface of the poem reads "Qin". Another example is "Untitled No.1" by Bian: "There was a little water in the mountains for three days,/passing by with a smile,/now I see it again, rubbing my eyes/there is a spring tide in front of the house." "Untitled" is generally used in the writing of love poems. The "small water" here is not only the drizzle of nature, but also the rain of love bathed by poets.

4. Ellipsis and jumping

Poetry writing is usually concise and pays attention to the beauty of simplicity. Therefore, poetry is often full of meaning ellipsis and emotional jumping, which reserves a huge space for readers to exert their imagination, and also makes poetry infinite in meaning and can withstand repeated reading and interpretation. For example, Ceng Zhuo's "I look into the distance": "When I was young/in the ocean of life, I occasionally looked up/looked into the distance. When I was 60 years old, I looked into the distance/like a port in a foreign country//I experienced ups and downs/now I have arrived, and sometimes I look back/look into the distance, like looking into the distance/lost in the smoke and dust of my hometown", a short eight-line poem will be written. What kind of storms and rough waves have you experienced? How do poets resist these storms and stormy waves? There is no explanation in the poem, and the meaning gap caused by skipping ellipsis is is filled by the reader himself. Another example is Gu Cheng's Arc: "Birds turn around rapidly in the high wind//Teenagers go to pick up a penny//Vines stretch out because of fantasy//The back of the waves rises because of retreat/"The poet's poems are jumping, and the birds, teenagers, vines and waves do not meet.

5, near ratio and far ratio

When evaluating the symbolism poetry school represented by Li Jinfa, Zhu Ziqing divided the metaphors in his poems into two types: "near comparison" and "far comparison", and thought that Li Jinfa's poems belonged to the latter. He said: "The so-called distance does not mean the material of metaphor, but the method of metaphor; They can see the same thing in what ordinary people think is different. They discover new relationships between things and organize them into poems in the most economical way. " In other words, the so-called "near comparison" means that the similarity between the ontology and the metaphor is so obvious that readers can accept it immediately after reading it, such as "When my life is tender as a bud,/everything smiles at me." It is easy to understand and accept the comparison of Young Life to Flower Bud. The so-called "far comparison" means that the similarity between ontology and vehicle is not obvious, and the span between them is very large, which is difficult for readers to accept at first sight. This metaphor has a strong defamiliarization effect and brings greater aesthetic stimulation to readers. For example, "the deepest meditation in the spiritual world is like a sad hand." There is a big difference between "meditation" and "hands". Using "hands" as a metaphor for "meditation" obviously belongs to "far ratio". Sometimes, out of the need of poetic expression, poets often combine "near ratio" with "far ratio", such as Shu Ting's To the Oak: "I have my red flowers,/like a heavy sigh,/like a heroic torch." We can easily see that the first metaphor is "far ratio" and the second metaphor is "near ratio".

(4) Artistic combination and superposition of various images.

In the artistic expression of poetry, poets often need to adopt various ways to carefully combine and superimpose the collected images in order to achieve the best expression effect. There are several ways to construct images in poetry:

1, I feel moved

Sense transfer is what we often call "synaesthesia", and synaesthesia is also used very frequently in poetry creation. Synaesthesia is a psychological phenomenon after the poet's artistic thinking is mobilized. At this time, the poet's various senses communicate with each other, move with each other, learn from each other, and paint wonderful spiritual images. Synaesthesia has become a common expression in poetry.

For example, He Qifang's A Full Moon Night: "Your voice is as soft as an angel's snow-white arm." "Soft voice" such as "snow-white arm" is to write hearing with vision; Guo Moruo's New Moon and White Clouds: "White Clouds! Have you quenched your thirst, Ling Bing? How can I swallow you down my throat? /Solve my burning anxiety. " Vision is written by taste ("Baiyun" is "Ling Bing to quench thirst"), and mind is written by touch ("anxiety"). When the poet's feelings communicate, the images in the poem often appear wonderful combinations, and the poem also becomes swaying and full of charm.

2, color mixed to Pack

When poets combine poetic images, they often mix a variety of colors and present complex poems in a colorful world. For example, He Qifang's Joy: "Tell me, what color is joy? /Like a pigeon's feather wings? The parrot's red mouth? " Use "red" and "white" to describe joy; Mu Dan's The Beast: "In the solid meat, those deep/bloody ditches irrigated/turned into white flowers, on the bronzed skin!" Three colors are interlaced to create a beast; Ai Qing's Dayan River, My Nanny: "Give you the purple soul under the loess." The "yellow" land and "purple" soul are very artistic. Together, they accurately portrayed the image of a nanny who lived in a barren land and was tortured and flogged by life.

3. Metaphor and elaboration

Metaphor refers to writing the image of the same thing from different angles, and using different metaphors to refer to the same ontology, such as "a young smile/a hidden love/a jar of intact wine/an unfinished ideal/a burning heart", and using "young smile", "hidden love", "intact wine" and "unfinished heart" respectively. Another example is: "A colorful wall chart without lines,/a pure but unsolvable algebra,/a Dan Xian piano, a string of rosaries picked under the eaves,/a pair of paddles that can't reach the other shore." Write the meanings of "missing" in four figurative sentences.

The so-called communication means that the image of the same thing is repeatedly spread and written from different sides to achieve the purpose of strengthening meaning and rendering emotions, such as: "The net is scattered in the river. /Did you catch the moonlight? /Have you netted the river? /or catch the wind? /Oh, I can't catch anything! /But the net is the tenderness of a river,/Fish and shrimp,/Dream,/Welcome the dawn night. " Write the "net trap" of fishing net with two interrogative sentences and four declarative sentences, and the expression effect is extremely outstanding.

4. Absurd and sudden opposition

Paradox can be said to be a unique expression in poetry. The so-called paradox is to juxtapose opposing or relative words, so that poetry has the aesthetic effect of semantic ambiguity and breaking the routine. For example, "this is a reluctant wish, an uncertain affirmation", "this is pain, this is happiness, and I need to fill my life with ice and snow" and so on. The juxtaposition of these words with opposite or opposite meanings seems to violate the physical logic of the life world on the surface, but actually conforms to the empirical truth of the psychological world. Their appearance makes poetry present greater artistic charm.

The so-called sudden reaction is that the poem first revolves around a core image, spreads the poem layer by layer with several similar images, and then goes deep step by step. When the contrast between the core images and the poetic rendering reaches a certain level, an opposite or opposing image is chosen, which makes the previous poetry completely subverted. For example, Ai Qing's "The Rock": "Wave after wave/coming endlessly/every wave is at its feet/broken into pieces, scattered ...//Its face and body/cut like a knife/but it still stands there/smiles, looking at the ocean ..." The first six sentences try to write the rough waves beating and breaking the rock, and the last two sentences. The use of sudden opposition strengthens the "unexpected" characteristics of poetic language and also enhances its defamiliarization expression effect.

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