The classification of conjunctions, conjunctions are function words used to connect words, phrases or sentences and express some logical relationship. Conjunctions can express relations such as juxtaposition, undertaking, turning, causality, choice, hypothesis, comparison and concession.
The conjunctions of coordinate relations: harmony, following, and, both, the same, and, and, and, besides, don't mention it, or even wait.
Conjunction: then, yes, just, er, convenient, so, then, as for, speaking of, besides, like, like, general, example, and so on.
Conjunction: que, although, but, but, and, just, but, as for, to, unexpectedly, I'm not sure and so on.
Causal conjunction: originally, because, because, for, so, so, so, so, so, so and so on.
Choose relational conjunctions: or, or, or, inhibition, non … that is, non … that is, and so on.
Hypothetical conjunction: if, if, if, as long as, unless, if, even if, for example, etc.
Comparative conjunctions: like, like, like, like, like, like, equal; Less than, less than; How about, if, though, but wait.
Concession relation conjunction: although, of course, although, even, even, etc.
Progressive conjunctions: not only, but also, not to mention, and, and so on.
Conditional conjunction: whatever, as long as, unless, etc.
The purpose relation conjunctions: to, to, avoid, to, etc.
There are also conjunctions in idioms, such as: Better short than extravagant, think twice before you act, and have a good rest.
Conclusion: Conjunctions are more empty parts of speech than adverbs and prepositions. It is used to connect words, phrases, clauses, sentence groups and even paragraphs. It has pure connectivity, does not modify junior high school politics, and does not act as a sentence component. Generally speaking, many conjunctions are developed from adverbs and prepositions; Many adverbs and prepositions are developed from verbs.
Imagination and Reality in the History of Classical Poetry
The combination of reality and fiction is one of the common artistic techniques in classical poetry. The so-called "truthfulness" in poetry appreciation refers to the real images, facts and realities existing in the objective world, which can be obtained through visual, auditory and tactile feelings and are real and concrete descriptions; The so-called "emptiness" is a wonderful sight, which exists in people's ideology and causes people's association. Specifically: finite is real, infinite is virtual; The scenery is real and the emotion is empty; The front is real and the side is virtual; The scene in front of us is real, and the scene that has passed away is empty. The combination of reality and fiction can make the structure of the work more compact, the image more vivid and increase the capacity of the work.
First, finite is true and infinite is empty.
Infinite realm is created by imagination on the basis of limited scenery. Guo, a painter in the Song Dynasty, said: "The mountain is high, the fatigue is not high, and the waist is also high." Water is far away, exhaustion is not far, and resistance is far away. "This is the blank art in painting art, and it is the blank in the artistic image structure intentionally caused by the artist when he reproduces the whole object. For example, Ma Yuan's "Fishing Alone in the Cold River" in the Song Dynasty only painted a boat floating on the water and a fisherman sitting alone in the boat, and the surroundings were almost blank except for a few microwaves. However, it is this kind of blank that shows the foggy river surface and a strong sense of space, which sets off the cold and bleak atmosphere on the river surface, thus more intensively portraying the fishermen's concentration on fishing, and also providing viewers with a distant artistic conception and a broad imagination space. It is through the use of blank art that the author gives the viewer a free imagination, conquers the complexity with a little bit, and uses ingenious means. There are many examples of this technique in China's classical poems, such as Jia Dao's digression: "When I asked your students under a pine tree," he replied, "My teacher went to pick herbs." However, through these clouds, how can I know which corner of the mountain it is facing? . "The author actually wrote a dialogue with boys, but omitted the content of" questions ",let alone an implicit introduction.
The whereabouts of the hermit, but through the picture, we can feel the fog in the mountains, the leisurely and elegant hermit, and the author's own carefree and quiet state of mind. This technique of writing in reality can also be called the art of blank space in poetry, which shows infinite leisure through limited questioning.
Second, the scenery is true and emotional emptiness.
People often use the expression "the virtual comes from the real, the real is the virtual, the real is the foundation, and the virtual is used" to analyze the relationship between the virtual and the real in poetry. The poet's emotions are invisible and intangible. To express this kind of emptiness, it is necessary to turn emotion into scenery and emptiness into reality, while readers must turn reality into emptiness and scenery into emotion.
For example, in Du Fu's Spring Hope, "Although the country is broken and the mountains and rivers are forbearing, the vegetation will be green again in spring", on the surface, it depicts the real scene of the country falling, the city breaking, the grass crossing and the trees being miserable, but this scene contains the poet's infinite grief and indignation at the country breaking and the family dying, as well as the meaning of worrying about the country and homesickness. The author places his feelings on things, places his feelings on the scenery, describes the scenery truly and shows his feelings empty, which is also a common way of writing poetry appreciation.
Another example is Li Chen's "Waterfall Union": "Thousands of rocks and valleys spare no effort, and you will know the source from a distance. Can the stream stay? After all, the sea is a wave. " Here, the author uses the technique of expressing ambition to write the majestic, decisive and magnificent waterfall image of junior high school chemistry, which shows the author's ambition to abandon sparrows. The great ambition of Mu Hong Magpie is fictitious. The author's subjective feelings are based on the objective scenery, "changing the scenery into feelings", reaching the realm of virtual reality and enriching the images in the poem.
Third, the front is solid and the side is virtual.
Frontal and lateral description is one of the commonly used expressions in poetry. In most cases, poets describe the characteristics of scenery from the front. Sometimes, in order to pursue a euphemistic and implicit emotion, poets often describe it from the side, turn reality into fiction, fictionalize reality, produce implicit effects, and leave readers with more imagination space, which can also be regarded as the combination of reality and fiction in poetry appreciation.
For example, Ziyi described Jiang Yue three times in Pipa Travel, all in order to set off people's feelings. When the river mysteriously widens towards the full moon, it reflects the relative silence and sadness of the subject and the object, and reflects the sad mood of the poet's friends at that time; "East boat is quiet in the west, only white autumn moon enters the heart of the river" is a profile description of pipa sound, which highlights the environmental atmosphere at that time, sets off the strong artistic charm of the music, and leaves readers with a broad space with lingering charm; "There is no companion except the bright moon and cold water" renders the lonely and sad mentality of Pipa girl after being abandoned by businessmen. Here, the positive scenery is true, and the feelings on the side are empty.
Another example is Wang Changling's "Join the Army": "The desert is dusty, and the red flag is half rolled out of Yuanmen. The former army fought in Hebei at night and has been reported alive. " The poet chose the follow-up troops who didn't directly fight with the enemy, and only brought out the brilliant "former army night battle" from the side, avoiding describing the war process positively and setting it off from the side, so that readers can imagine how hard and wonderful the striker's battle is from the "dusty desert" and "Taohe Hebei night battle". Appreciate how dramatic this expedition is from "It is reported that it was captured alive".
Fourth, the present scene is real, and the past and imaginary scenes are empty.
In China's ancient poems, poets often describe scenes that are not in sight at this time, but have experienced or happened on earth, and express themselves by comparing the dead scenes with the real scenes at present.
Inner complex feelings. For example, there is a sentence in Li Yu's "Young Beauty" that "carved fences and jade should still exist, but they should be changed", which is the author's lament when he looks at the south. "Carved Fence" and "Jade Brick" may still be there, but they are not in sight at this time. Through this silent scene, the author conveys the infinite sense of regret that things have changed. Another example is his "Looking at the South of the Yangtze River", such as the old garden, the car is like running water in Ma Rulong, and the flowers and the moon are in the spring breeze, which reproduces the prosperous scene of the past and reveals the bleak situation of today.
Sometimes, in order to describe his homesickness, the poet does not start with himself, but imagines the possible situation of the other party and writes about himself by writing about the other party, which is also a common way of writing in classical poetry. For example, Du Fu's Moonlit Night: "Tonight? Status month, watching it alone from the window of her room. For our boys and girls, poor little baby, too young to know where the capital is. Her cloudy hair is sweet with mist, and her jade-white shoulders are cold in the moonlight. When can we lie on the screen again and look at the bright light and stop crying? ? "This is a famous poem written by a poet who was captured by rebels and trapped in Chang 'an in the fifteenth year of Tianbao. This poem reveals the feelings of missing his wife and children. But the poet did not shed ink from his own side, but imagined his wife foggy, wet and cold on the moonlit night, worried about her husband's situation. This way of writing is more tactful than saying how much you miss your wife and children. Between the lines, your wife's feelings of "looking at Fuzhou alone and remembering Chang 'an" and "looking at Chang 'an alone and remembering Fuzhou" have been exchanged in two ways, making her feelings deeper and more artistic. In a word, the real world is a real world, a material world and a material world. Virtual realm is an imaginary space and a poetic space created for readers. From the above analysis, we can easily find that imagination can produce truth, truth can produce imagination, and imagination is its bridge. It is the intervention of readers' imagination that makes poetry more full, full of aura and poetic.