Image and Poetry Appreciation

Ge yuhong

Although the interpretation of poetry has an isomorphic relationship with artistic appreciation, it also has its own independent aesthetic characteristics. In art appreciation, the existence of "poetry" as a literary form will lose its meaning if it cannot arouse the strong aesthetic feeling of aesthetic recipients. Therefore, the key to poetry appreciation lies in paying attention to the specific connotation of implication, awakening the subject's aesthetic interest and making the subject realize the all-round operation of aesthetic thinking in the process of appreciation. Only when the subject of appreciation has accumulated rich aesthetic psychology in long-term practice can he have a deeper understanding of artistic image. ?

Poetic language creation technique, image implication?

China library classification number G623.23

Document identification code a

The article number is1000-0186 (2001) 09-0045-03.

The new textbook of People's Education Edition, which was put into use in 2000, strives to break the previous balance and seek the unique texture of the textbook with an exploratory eye. Both form and content embody the idea of textbook editors-being close to the people. The third textbook of junior and senior high school Chinese used this autumn has changed the most. Taking high school as an example, the third volume arranges 16 poems in three units, which are everywhere in ancient and modern China and abroad, thus raising the appreciation of the meaning of poems to an unprecedented height. This is probably the first case in the history of textbook compilation, which is extremely challenging. The new third volume featured Xu Zhimo's Farewell to Cambridge, Shu Ting's Motherland, My Dear Motherland, Ai Qing's I Love This Land, Pushkin's To the Sea and other poems. Without good teaching guidance, it is difficult for students to master these poems at once. Therefore, we must improve the level of poetry appreciation as soon as possible. ?

Image is an important concept in China's ancient literary theory. The ancients believed that meaning was an internal abstract mind, just like an external concrete object; Meaning originates from the heart and is expressed through images, which are actually the sustenance of meaning. In fact, China's traditional poetics refers to the artistic techniques of expressing feelings in scenery, borrowing scenery to express feelings and blending scenes. The process of poetry creation is a process of observation, feeling, brewing and expression, and a process of reappearing life. The author has a sense of the outside world, so he entrusts it to a specific object, so that it can be integrated into the author's own emotional color and create a specific artistic world, so that readers can make a second creation in their hearts according to this artistic world when reading poems, and infiltrate their emotional color on the basis of restoring what the poet sees and feels. ?

The use of images naturally varies from person to person, from thing to thing, from time to time and from emotion. Generally speaking, the methods of constructing intention can be divided into three categories: Fu, Bi and Xing. ?

Fu, that is to say, write directly. In the author's view, an image already has the characteristics of expressing one's feelings, and it can be directly used to project feelings. This kind of image is very common in China's poetry creation, such as the word "Xijiang Moon" selected by Xin Qiji in the textbook, "The bright moon surprises the magpie, the breeze sings cicadas in half a month, and the rice fragrance says that the harvest listens to the frogs." It can be said that all the words are laid out images, and a series of images directly outline a quiet rural night scene. There is no love word in the scenery described, but the feelings infiltrated by the author can be seen everywhere. ?

Comparison, which is often called metaphor, compares the author's feelings with other things, similes, metaphors or symbols in different ways, and directly compares his feelings with people or things, making them have the characteristics of people or things. Li Bai's "How lovely the mirror lock on the shelf is, though it is dark in the morning, it turns to snow at night", which directly compares images such as moss and snow to hair, making readers' association clear, clear and vivid at once and giving readers a vivid feeling. Shu Ting's poem "I am the worn-out old waterwheel on your forehead" has left a very deep impression on people, because the image of the old waterwheel symbolizes some kind of flesh-and-blood connection between "I" and the motherland, thus making the whole poem exquisite and exotic. ?

Xing, that is, "say something else first, so that the words can be sung." Xing must be attached to something, have a concrete image that can arouse Xing, and then make this concrete image penetrate into the author's feelings, thus producing artistic conception. The application of line drawing in creation can often be regarded as a kind of interest, such as Cang Kejia's poem "Old Horse" is a typical example. The poet created the image of an old horse by line drawing, making the cart "fit", "don't say a word anyway" and "buckle the pressure on its back into the meat". It just hung its head heavily. Here, the old horse is already a symbol and a rising object. The author used this image to pin his unyielding national personality and the author's praise. Therefore, this creative technique not only saves pen and ink, but also has profound meaning.

Poetry mainly relies on images to form the meaning of poetry, and there are various combinations of images in poetry. ?

Parallel combination

For example, Du Mu's "Spring in the South of the Yangtze River" and "Wine Flag Wind in the Water Country and Mountain Country" list several groups of images, which let us appreciate the unique customs of spring in the South of the Yangtze River. ?

Contrast combination

Select two or more groups of objects, facing each other and setting each other off. For example, in Gao Shi's Ge Yanxing, "The Warriors are still dancing and singing for beautiful girls in the camp for the first half of their lives." On the one hand, they are bloody, on the other hand, they are addicted to drunken dreams, which deepens the theme. ?

Synaesthesia image

That is, hearing, sight, smell, taste and touch are mutually communicated and transformed. For example, in Shu Ting's "Lu Yu", "Bicycle bell hangs in space" and "Bell throws residual flowers in the throbbing long street", the former sentence of auditory bell is transformed into visual suspension, and the latter sentence of auditory sense of smell and psychological feelings are intertwined, forming a very wonderful realm. The bell can float and the bell can throw flowers, which makes readers marvel at the poet's rich imagination. ?

An absurd combination

Combining two or more illogical images, that is, things that cannot happen in reality, can be realized in psychological feelings. For example, in Qiu Lai by Li He, the word "ghost sings Bao poetry" and "ghost sings" breaks the sky, as if people heard the ghost singing Bao Zhao's poem "Song of Eternal Sorrow" in that year, so as to express the author's grief and sadness. The poetic style is novel and mysterious, which coincides with the genius of Shi Li's poetry in absurdity and illusion. ?

Whether it is juxtaposition or contrast, synaesthesia or absurdity, the significance of poetry lies in their different combinations. The application of these skills in poetry creation makes poetry show infinite charm. To interpret poetry, we must first understand these basic poetry combinations, so as to appreciate poetry more accurately.

Second, the three levels of poetry appreciation?

Generally speaking, literary works have three levels, namely, language level, image level and implication level. Poetry appreciation should also start from these three levels. ?

Language level

There is no doubt that poetry has a strong intuition. Poetic language is highly generalized, concise and meaningful. It often violates the general grammatical norms and has a stronger sense of strangeness than the general literary language. There are often many gaps between the lines of a poem, showing a strong leap. It is this leap that contains more abundant images of poetry, thus constructing refreshing poetry in a very limited space. The formation of this artistic feature of language mostly depends on the clever combination of figurative words and abstract words, that is, the abstract words and figurative words are intentionally matched to form a concrete and vague realm where the virtual and the real intersect, thus providing readers with information to pursue the poet's personal feelings. In the reading practice, the newly revised textbook of the third volume of senior high school Chinese chooses the poem "Broken Chapters" written by the poet Bian. Bian's poems are loved by readers for their exquisiteness and wisdom. He often uses vivid language to describe the world and symbolic images to metaphor the philosophy of life, which not only has a rich and vivid sense of art, but also contains the experience of the world. The language of the poem Broken Chapter vividly embodies this feature: "You stand on the bridge and watch the scenery, while tourists watch you upstairs" and "The bright moon decorates your window and you decorate other people's dreams". The surface of the poem is very dull: there is scenery on the bridge, so you are watching; You also make up the scenery, so others are watching you. In wonder, people realize the rich philosophy of relativity between life and death, knowledge and ignorance in the universe contained in the picture. "The bright moon decorates your window, and you decorate other people's dreams", and "decoration" is a dream. This kind of language collocation is very clever, which is the combination of concrete words and abstract words, breaking the logical relationship of semantics and forming a kind of poetic logic, thus greatly expanding the flexibility of poetic language, enriching the expressive connotation of poetry, expanding the expressive scope of poetry and deepening the theoretical significance of poetry. Similarly, there are "I took a sip of the hazy street" ("Record") and "I vomited a milky sigh" ("Dusk"). Therefore, to appreciate poetry, only by grasping this feature of poetic language and singing it repeatedly can we deeply understand the highly concise feature of the poet's language and bring out the concise connotation of poetry. ?

Image level

There is an indissoluble bond between image and aesthetic education. Only poems with beautiful images can give readers a sense of beauty. Whether you can create a novel and unique image of beauty is one of the signs to measure the success of poetry. The formation of images mainly uses three methods: Fu, Bi and Xing. However, only by using images or metaphors of seemingly unrelated things that are actually related can we express ourselves accurately and effectively, and the images generated according to this principle can be surprisingly bizarre, fresh and surprisingly accurate. This also involves the fusion between the image chosen by poetry and the meaning it symbolizes. Image and meaning are often inseparable. The reason why Shu Ting's poem "Motherland, My Dear Motherland" makes people cry is inseparable from the poet's successful use of metaphor and synaesthesia to create a group of profound images: "I am an old waterwheel on your river, spinning tired songs for hundreds of years", and the visual "old waterwheel" is connected with the auditory "tired songs". The poet started with this desolate image and will soon. "I am the longing of your ancestors/the eternal flower", which combines concreteness and abstraction to express the poet's subjective feelings in the rapid transformation and contrast of time and space. Images such as "I am your brand-new ideal/I just broke away from the spider web of myth" and "I am the newly painted white starting line/the crimson dawn is spreading" make us suddenly realize the complex meaning of the strong thoughts and feelings they represent after the initial shock, so as to experience the unique aesthetic taste of this poem from an artistic perspective and feel the consistency between the poet's inner spirit and the images in the poem. Therefore, the interpretation of poetry is inseparable from the grasp of the image itself. The creativity, imagination and all vitality of poetry lie in the shaping of images. When you read poetry, you must read images first. ?

Implication level

With the formation of images in the mind and the stimulation of phonological rhythm, readers have a preliminary aesthetic feeling, but how to break through the surface of images to understand the image connotation of poetry is the key to the success or failure of poetry appreciation. The meaning of poetry generally includes aesthetic meaning and intellectual meaning. ?

Of course, excellent poetry is aesthetic. At the beginning of reading poetry, readers begin to have some kind of spiritual experience and feel spiritual pleasure. But this is not aesthetics. This time, the textbook was revised and a poem "Praise" written by the famous poet Mu Dan in the 1940s was selected. At that time, due to special historical reasons, some modernist poets in 1930s and 1940s were lost in the dark, and most of their works were confined to their own "self" and expressed helplessness. But Mu Dan is different. He often endows his images with a philosophy of darkness and light in his poems, and the poem Zan embodies the poet's artistic creation style. There are two characters in the poem: one is the poet himself as the lyrical subject, and the other is a farmer with a rough body moving in the field. The lyrical subject tells of his "unshakable gray team" crawling in the sky in the desolate land, in the boundless weeds and in the melancholy forest, "to embrace the desolate desert, bumpy roads, rainy weather, snow-like hands and rickety people"; This is an image with strong patriotism. The farmer, the "father of many children", "how many dynasties have risen and fallen around him", "hope and disappointment are on him" and "the road is infinite", but he put down the ancient hoe that "rotates silently behind the plow forever" and resolutely "watches himself" and melts into death. A laborer guards his poverty and hard work, then abandons his wife, children and mother, and everything, and never looks back. What kind of image is this? What is his endoplasm? What made me cry for his departure? It goes without saying that these two groups of images have shocking power. The farmer and I suddenly met in the poem, and each of us understood our mission. When all sentient beings are confused by the loss of self-awareness, the farmer and I express our sobriety in our own unique way, conveying a spirit that is incompatible with the groggy world and broken in the search for light. At this point, we have completed the anatomy of the image, excavated some connotations of the poem, and had a preliminary aesthetic experience of the work; However, further appreciation: in this desolate and hungry picture, the spiritual light of the image of the farmer began to come alive, floating and expanding, thus conveying the farmer's personality-when he was full of turmoil, contradictions, suffering and ignorance, he did not hesitate to abandon himself, sacrifice himself, transform himself and seek a bright way out, which is why "a nation can get up" and "a nation has got up" In fact, the image of farmers bears the connotation of national history, represents the specific qualities of pioneers, and shines with immortal national character. And I am a symbol of the new farmers, and my flesh-and-blood ties with farmers have jointly built the national soul. This is the lofty aesthetic implication brought by the poem Zan. Only by appreciating this point can we truly grasp the meaning of poetry, that is, the "intellectual" meaning of poetry. ?