What are the expressive techniques of ancient poetry?

What are the expressive techniques of ancient poetry?

What are the expressions of ancient poetry? The ancient poems left by ancient poets are the treasures of our traditional culture in China, which is why primary schools have always advocated students to recite ancient poems. In addition to reciting ancient poems, we need to have a deep understanding of their meanings and techniques. The following article will introduce the expression of ancient poetry for everyone.

What are the expressive techniques of ancient poetry?

First, allusions

(1) Use things: express the author's thoughts, feelings, positions and attitudes through historical stories.

(2) Quote or use the poems of predecessors, deepen the artistic conception of poems, make people think and seek the implication.

Second, imagine

On the basis of existing materials and ideas, people create new ideas through association, reasoning, analysis and synthesis.

Third, Lenovo

The connection between one thing and another thing related to it, or the connection between similar features in things, forms a model.

Fourth, contrast or contrast.

Refers to the use of ethidium to make the characteristics or traits of nails more prominent. There are two kinds: front lining and back lining.

Verb (abbreviation of verb) translation

Describe the environment and scenery in many ways, highlight the image and strengthen the artistic effect.

Sixth, symbol

Express concepts, thoughts and feelings with similar or similar characteristics with concrete and easily associated images. That is to say, with the help of concrete and concrete things, it embodies some kind of spiritual quality or abstract arrangement.

What are the expressions of ancient poetry? 2. Spot dyeing.

Dot dyeing is a Chinese painting term. Originally refers to the painter in painting, some places, some places to dye, so as to draw a harmonious and unified picture. Later, it was borrowed from ancient poetry, which means that the author points out his will on the front of some ground and renders it on the side of some places.

This technique is more common in lyric poetry, usually dyed with scenery; Point out the author's feelings in one sentence and one word. Rendering is to highlight the will, which leads to rendering, interdependence and harmony. For example, Ma Zhiyuan's "Tianjingsha Qiu Si": "The old vines are faint, the bridges are flowing, the old roads are thin, the sun is setting, and the heartbroken people are in the end of the world." Among them, "heartbroken people are at the end of the world" is the key point; The rest of the sentences are "dyed" to highlight the sadness of acacia. There are many such examples, such as Liu Yong's "Lin Yuling": "Affection has been hurting since ancient times, and neglect of clear autumn is even worse. Who knows where I am when I am awake tonight? Yang Liuan, Xiaofeng Canyue. " The first sentence is "point", which points out "injury"; The rest of the sentences are "stained" to render sad emotions. Li Qingzhao's "Slow Whispering" expresses his feelings with words such as "It's warm at first", "Three cups and two glasses of wine", "It's too late for the wind", "Flying geese" and "Indus with drizzle", and finally points out the theme of "sorrow" with "How can I get a sad word this time". In Wang Shifu's Farewell to the Long Pavilion, "Zhenggong" and "Righteousness and Goodness" are in front of "Blue sky and yellow flowers are close to the west wind and fly north and south". Who is drunk in the frost forest at dawn is all dyed, and the following "all tears" is a dot.

Second, the actual situation

The combination of reality and fiction is one of the important artistic techniques in ancient poetry. The so-called "truth" is the part of poetry that can be grasped specifically through vision, hearing and touch; The so-called "emptiness" refers to the part of poetry that exists in human ideology. In other words, as far as the method is concerned, the details are true and the simplicity is virtual; Concrete is real, abstract is virtual; Evidence is truth, and false support is empty; Actions are real, but words are empty. As far as the object is concerned, the scene is real and the feeling is empty; Seeing is believing, and imagination is empty; Some are true, and none are empty; The obvious is true, and the hidden is empty; The present is true, the past and the future are empty; The known is true, the unknown is false, and so on.

The combination of reality and fiction can give people endless idle thoughts and long aftertaste, and also make the poet's feelings more profound and full. For example, Li Bai's Shu Dao Nan is a virtual reality, from the opening of Can Cong to the opening of five mountains, from the return of six dragons to the night cry of Zigui, which has created an amazing image of Shu Dao. The poet expresses his feelings strongly and elegantly. Li Shangyin's "Jinse" used the words "Saint Zhuangzi daydreaming, bewitched by butterflies, and the emperor's longing for love cuckoo crowed. Mermaids drop pearl-like tears into the moon-green sea, and blue fields breathe their jade at the sun. Write empty stories (past experiences, dreams, setbacks, etc.) with empty stories. ), the poet's feelings are real and profound, so that later scholars have a lot of guesses and imaginations, which are called "misty poems" in ancient times. Li Yu's "The Mermaid" asks how much sorrow you can have, just like an eastward river, but it turns the poet's abstract "sorrow" into a concrete and sensible river rolling, fresh and wonderful.

Third, density.

The density of poetry mainly refers to the density of describing people, things, scenery and things. Density, density. Sparse people outline a big outline, focusing on vividness; The secret is nuance, focusing on laying and rendering.

In poetry, sparseness is conducive to writing big scenes and secrecy is conducive to writing small scenes; Among the lyrics and songs, the graceful ones are more dense; Unrestrained people are rare. However, in a poem, the poet sometimes uses the combination of density and density to form a certain artistic conception, such as Du Fu's Ascending the Mountain, "The wind is urgent in the sky, apes howl, and birds fly home on the white sand in clear lake. Leaves fall like the spray of a waterfall, and I think the long river always rolls forward. The first two sentences are three images: the wind is rushing, the sky is high, the apes are whistling, Zhu Qing, the sand is white and the birds are flying, which are dense and impatient. The last two sentences "falling wood" and "Yangtze River" have images, which make the images rare and sparse. From the aesthetic point of view, density can produce a sense of tension, and density can produce a sense of relaxation and openness. Tension and relaxation can bring psychological pleasure to the viewer. Another example is Wang Wei's "Autumn Night in the Deep Mountains", which stands in the autumn night after the rain. The moonlight is in its pine forest, and the crystal of the stone is in its stream ",which is also deeply profound." The first two sentences explain "empty mountain after rain" and "autumn night", and when writing environment and time, it can be said that it is sparse and refined; The last two sentences are written as bright moon, pine and cypress, moonlight, clear spring, stone and splash, with rich images; Sparse is broad, dense is quiet, giving people a relaxed feeling.

Fourth, exercise.

The dynamic and static state of objective things gives the poet a lot of inspiration for his creation. They often combine the dynamic and static description of things, so that they can see the dynamic in the static and the static in the dynamic. Dynamic and static are complementary and fun.

For example, see "Night Book on the Ship": "See the fishing lamp in the dark of the moon and Takegawa Hotaru in the lonely light. Slightly stormy and scattered all over the sky. " The first two sentences are static, and the last two sentences are dynamic, which is full of life interest. Wang Wei's Birding Creek: "When people are free, osmanthus flowers fall, and the moon is quiet and the mountains are empty. When the birds are surprised at the moon and the spring is flowing. " Write silence with movement, flowers fall on the moon and birds move, highlighting the silence of the spring stream. Du Fu's quatrains: "Two orioles sing green willows, and a row of egrets go up to the sky. The window contains autumn snow in Xiling, and the Wu Dong Wan Li boat stops at the door. " Write the first two sentences and draw a beautiful picture; The last two sentences are written in dictation, which is very wide in length and long in time, but they also move in dictation: the scenery combining static and dynamic reflects the poet's psychological activities of thinking about the past and seeing through Wan Li for thousands of years. Li Bai's Looking at Tianmen Mountain is even more exciting. It writes the magical "movement" of water with "Tianmen interrupting ChuTiankai", which is very powerful; And with "Higashi Shimizu flows to this back", he wrote the majestic and steep quietness of the mountain-the quietness of powerful power; Then, he wrote silence with "the green hills on both sides of the strait are opposite", and there was movement in silence; "The solitary sail comes from the sun" is about moving, and there is stillness in moving: the contrast between moving and static means that there is strength confrontation and tranquility and harmony. It can be said that the pen is like a god!

Verb (short for verb) shadow

Shade in painting mainly refers to the depth and lightness of color. Later, it was used in literary creation, mainly referring to the color of language. Thick, heavy and colorful with a pen, gorgeous; Light, plain pen light writing, not carving.

As far as the author is concerned, some pursue simplicity, some pursue richness, and some have both. Shades set each other off, which can receive vivid artistic effects. For example, Wang Anshi's "Gui Zhi Xiang Jin Mausoleum Nostalgia" describes Jinling's magnificent autumn colors, and uses "like training", "emerald peak", "sunset" and "colorful clouds on floats" with rich and colorful language; The next film sighs that the six dynasties are contending for luxury, and the language is plain; It serves politicians' far-reaching thinking of seeing the present and learning from the past. Another example is Li Qingzhao's A Cut of Plum, which reads the words "red lotus root", "jade hairpin", "Luo Shang", "blue boat", "brocade book" and "full moon" with strong colors; The next piece is written "flowers", "water" and "leisure", and the color is lighter; The contrast between the rich and the poor fully exaggerates the poet's lovesickness: "strong" can't solve his sorrow, and "light" makes her feel sorry.

Sixth, appeal to both refined and popular tastes

Elegance and vulgarity is an art of using language. "Elegance" means elegance, and "vulgarity" means vulgarity.

Proper use of elegant language and common sayings in poetry will make both refined and popular, and enhance the artistic charm of poetry. For example, in Zhang's "Mountain Goat Tongguan Nostalgia", the first seven sentences are "The peaks are like gathering, the waves are like anger, and the mountains and rivers are both inside and outside Tongguan Road. Looking at Xijing, I regret it. I am sad in the Qin and Han dynasties, and the palaces and palaces are all made of earth. I use a dictionary to make sentences. The last two sentences, "Xing, people suffer! The people can't live if they die, but the language is extremely popular: this is vulgar and elegant, which highlights the poet's concern for the people's sufferings. Another example is Bai Juyi's poem "Recalling Jiangnan", which is well-known for "Jiangnan is good and the scenery is old" and "Can forget Jiangnan"; And "the sunrise is better than the fire, and the spring is as blue as blue", and the language is elegant: the beauty of Jiangnan cannot be written without elegance; If you don't use vulgarity, you will lose your intimacy and unique yearning, which can be said to complement each other.

Seven, smart and clumsy

Cleverness is also the art of language use. "Clever" is clever, "clumsy" is simple and clumsy. The combination of the two can often achieve unique and intriguing artistic effects.

For example, Jiang Kui's Yangzhou Slow: "The Twenty-four Bridges are still there, the waves are swaying, and Leng Yue is silent." The first sentence is simple, and the last two sentences are skillful. Without the former, the latter two sentences lose their support; Without the latter, the former sentence loses its proper expressive effect: consistency, a sad scene suddenly emerges and a feeling of regret flows. Another example is Zhou Bangyan's "Su Curtain Covering": "On the leaves, the rain is dry in Chuyang, the water surface is clear and round, and the wind and the load are at one stroke." It is relatively simple to write in the previous sentence that the sun rises and the dew gradually dries; In the last two sentences, the water is green, the wind is blowing the water, and the swaying leaves seem to be constantly being held high. Using pens and landscaping is very clever.

Eight, straight.

Flexibility and straightness are two ways for poets to express their feelings. "Qu" is graceful and subtle, while "Straight" is straightforward and clear.

Generally speaking, poets like to be subtle and tactful when they are calm, and they will call a spade a spade when they are emotional. In real life, the author's thoughts and feelings are often complicated and changeable, so he always uses both music and straight lines to express his feelings in his works, striving to make music and straight lines complement each other and suit his heart. For example, Li Bai's "Climbing Mount Tianmu in a Dream" describes a fascinating fairyland, clearly describes the yearning for fairyland, and secretly writes a strong dissatisfaction with reality, which belongs to the "bending" technique; At the end of the poem, he shouted, "Oh, how can I solemnly bow and scrape to those people with high status and important positions, because they will never be seen with a sincere face!" " This is "straightness", which has always shown the poet's frank and lovely personality to the fullest. Bai Juyi's Pipa Trip, although formal and straightforward, lacks Li Bai's frankness, but mainly focuses on music; He wrote about the life experience of pipa girls, which directly showed sympathy for the lower geisha and working people, but twists and turns expressed his deep understanding of reality and strong dissatisfaction with the world after political setbacks. He said that his experience was "straight", but he still expressed it so "curved" that he didn't tell the truth, only that he felt the same way. The twists and turns and direct use are related to the poet's mood, which is intriguing.

Nine, looming

"Hidden" and "obvious" are also two ways for poets to express their feelings. "Concealed and obvious" and "straight and straight" are very similar. When the two are often linked, Song is implicit, while straight is obvious.

Poets often use vague words and take tortuous ways when expressing their thoughts and feelings hidden in their hearts but inconvenient to express. For example, Zhu Qingyu's "To Secretary Zhang on the Eve of the Political Examination" obviously wanted to say that he had no confidence before the examination and expected success and Zhang Ji's help, but he obliquely asked the groom: "Is it deep?" Another example is Su Shi's "Jiangchengzi", "Ten years of life and death are boundless and unforgettable." While clearly expressing the feelings of mourning for his dead wife, he also vaguely expressed his political frustration of "being ashamed and frosty".

Catch hold of

Clutch is a dialectical expression that digresses from the topic and sticks to the theme. Write the topic directly, and the content will be cramped; Wave away the pen and ink, and the content will deviate from the theme. Clutch is to pay attention to the harmony between direct writing and profile, and the harmony between direct writing and profile. No matter the profile or the profile, we should serve the correct writing and the topic, so that the meaning of the poem is connected, seemingly continuous and swaying.

This technique is very prominent in chanting poems, because the ancients advocated that chanting poems should strive to be "inseparable". For example, Su Shi's Hidden Dragon: "Like a flower, no one repents. Throwing it on the side of the road seems heartless, but it is full of affection. It was she who was injured, euphemistically confused, trying to open her mouth but closing it tightly. The dream floated in Wan Li, looking for a place to go, and was called by Yingying. " From the beginning, I got down to business and recited Huayang with ruthlessness and thoughtfulness, and then Huayang gave birth to the image of thinking about women. People and flowers, things and feelings are inseparable, and chanting things without leaving things has reached a superb realm.