Anyone who writes poetry and lyrics has experienced these two stages.
First, the basic knowledge stage:
Poetry has meter. If you don't learn this meter, you won't understand the face of poetry. I can't even grasp the face of poetry. What about poetry creation?
Poetic meter should not only be learned but also practiced. The process of this exercise is the process of finding out the temperament of poetic meter. Only by finding out this temperament and getting familiar with it can we enter the real creative process.
Let's talk about poetry first The metrical form of poetry is relatively simple and fixed. Poetry after the Sui and Tang Dynasties, except for the ancient style, belongs to modern poetry, which is what modern people call metrical poetry.
Rhyme is divided into five laws and seven laws, and on this basis it is divided into five sections and seven sections. Whether it is absolute or legal, if you don't worry about the sentence, it's actually the same thing.
Five laws are five words and eight sentences, and seven laws are seven words and eight sentences. Seven laws are the result of adding two words to each sentence of five laws, so it seems that seven laws and five laws are the same thing.
Therefore, grasping the key of the five-law format is equivalent to understanding the general idea of the law poem.
The most important forms of poetry are tone and rhythm. No rhyme, no poem, no tune and no rhythm. These two places are the most important.
In addition, we must also know how to fight, know how to avoid loneliness, know how to help, and know how to persist. Then distinguish between ancient rhyme and new rhyme. The rest is to practice more. You don't have to be good at the beginning, just ask the sentences to be smooth and correct in format, until you become more and more proficient, and then it's not too late to move on to the next step.
The text is relatively complicated. Where is the complexity? This is an inscription. Words are long and short sentences, not as neat as poems. Usually it is calculated according to the number of words and the arrangement format of long and short sentences. Even if each small unit is a format, each format can be crowned with a epigraph independently. In this way, when filling in words, we should first choose a suitable epigraph, and then fill in the language and words according to this format. So in terms of writing, we usually say "filling in words" instead of "writing", which is the reason. Of course, there is no need to be serious.
It is better to write poems with lyrics, and it is better to know a little about phonology and exegetics. For example, knowing a little music, such as melody and rhythm, is good for your interest in writing.
When practicing lyrics, you must not ask for antiquity. Asking for the past will make you detour. You can follow the example of learning poetry, first ensure that the * * * sentence is fluent and the format is correct, and then take into account the logical relationship of the whole word and keep practicing until you are handy.
It's best to practice one epigraph at a time, and don't chop and change. Because the interest of epigrams is the life of words, doing so can avoid the similarity when you fill in other epigrams.
If you practice feeling the epigraph, you can do more things, such as thinking about the choice of image, the treatment of artistic conception, whether the thinking is reasonable, whether the structure is logical, whether the sentence is intriguing, whether the style of choosing words is consistent with the overall interest of words, and so on. This requires a rather long tempering process.
The next step is to compare what you wrote with the ancients and inspire your understanding. Of course, the main focus should be on the understanding of universal laws, such as conception, structure and techniques, and don't stick to your preference for certain words and enthusiasm for certain skills, so as to help you get out of confusion smoothly and not solidify your immature experience prematurely.
Write poetry and lyrics in one go. First, you should conceive the sentence, and then level the words. Rhyme can be put aside, and everything should be adjusted in the later polishing. After filling out a poem, you should try to reflect on yourself. When there is a problem and it is not easy to modify it, look at the size of the problem first. If the artistic conception is beautiful and the problem is only one or two flat lines, then this poem can stay and find a way out in the process of further precipitation. If the problem is big, we must be willing to throw it away and re-conceive. Don't go around in circles and talk nonsense, which is not good for your thinking construction and appreciation
It is also bad that some writers are unwilling to modify or even throw away the whole work because they appreciate one or two sentences in their own poems. Writing poetry, like other writing, should dare to deny yourself boldly, because this is what you ultimately need to cultivate self-confidence and improve your ability, not to make famous words and sentences.
Second, the creative stage:
The emergence of the creative stage is naturally generated on the basis of the previous stage, and it is not artificially separated, nor is it transferred by human will. Many people will blindly think that they have achieved something before this stage, and start to create. Although it is not impossible, the involuntary creation and the far-fetched nature of the works will even lead to their conscious and unconscious retrogression, because his neglect of one thing will never make him handy. A strange phenomenon at this time is that you can't tell the pros and cons of your own works, and you dare not operate your own works. You don't admit that your work is not good, but you always feel inferior to others. In particular, I dare not have my own views on celebrity works and blindly pursue them, just like a person always draws more circles in the same place and can't jump out of the mold.
Therefore, a serious attitude of writing poems without utility and not rushing for success will accelerate a poetry lover to enter the creative stage. When people reach this stage, it is the stage when you fully accumulate creative experience and give full play to your true ability. At this stage, you can do the following and keep making breakthroughs again and again.
1, a natural creation aimed at entertaining others and yourself. A solid foundation is the guarantee of people's self-confidence. When a poet has complete confidence, he will treat his works objectively, not because people praise him, nor because people spoil him. His works always focus on entertaining others or himself, and don't care much about other people's attitudes. In this way, his creation can remain "intentional" and "unintentional". "Intention" is his creative desire from time to time, and "unintentional" is that he never regards his poems as a capital to show off in front of people. Therefore, his creation is natural and the closest to a new breakthrough. Some of Mao Zedong's poems were rescued from the wastebasket by the secretary, which is enough to explain the problem.
2, the format is not only the format, but also the meaning. A person who is familiar with the metrical form of poetry is most likely to find the weaknesses in its form and form a subjective willingness to break through, rather than being passive and out of line. Of course, his breakthrough format is different from that of people who don't know the rules, and the influence on readers is different, because no one believes that he wrote the rules because he didn't know the rules. In fact, it builds another kind of self-confidence: proper discipline. At this time, he has the ability to pay attention to the meaning of poetry rather than the form itself, so he has a better way to deal with poetry: format is not only format, but also meaning.
Of course, meaning is more important than form to anyone. When meaning and form cannot be balanced, meaning is the best way to deal with it. Most of the changes in ancient poetry are related to this.
Poetry serves people, and many of them serve reality, so whether it is published or not does not affect its service nature. So don't worry that readers will have an eternal test of an author's poems. Besides, they only have a few poems in their life, which can stand scrutiny from format to meaning.
3. Use a variety of techniques to create and gradually form a style. At this time, the format is no longer the author's burden, and the author has sufficient energy to use various literary and artistic techniques to create poetry. He can also refer to the existing ways people treat poetry, such as changing the rhyme mode, adding and subtracting rhymes, adjusting the dual format, coordinating the number of words between sentences or changing the style of epigrams, so as to serve his own poetry creation. And according to their own ability tendency, gradually form a personality style.
4, mainly popular, moderate allusions. Poetry is the product of the times, mainly popular and can be understood by most people. Only with the progress of the times, although the format has been handed down, many languages and images that can add culture and a sense of * * * have not been changed and updated in time, and there has been a phenomenon that modern people speak and use ancient sayings. This is understandable, but it is not always a good thing. With the distance between the old saying and the audience getting farther and farther, poetry will inevitably fall into an unfavorable situation, so popularity is always inevitable in the development of poetry. Then most of the old sayings can also be left behind as allusions in modern poetry creation.
On the other hand, poetry creators have the responsibility to create new images and new poetry vocabulary. Such as "airplane", "computer", "network", "express", "car" and "traffic" are just ordinary things or phenomena, and they don't have much imagery ability, so they still need the continuous efforts of poetry creators. At the same time, modern people face a lot of new stories, but they can't use them as allusions in poetry, because they don't have the profound cultural strength as ancient allusions, which is also a fact that contemporary poetry creation should face and change.
5, adhere to fresh and lively, try a variety of themes. Innovation is the development direction of all cultures, so should poetry. At present, the most important thing is to get rid of sourness, return to dullness, get rid of difficulty and simplicity, get rid of the dross in the field of poetry creation, and make poetry creation more in line with the appreciation taste of modern people.
In the face of today's more and more extensive poetry themes, poetry writers can no longer be confined to their own small circles and self-righteous like narcissism.
In fact, it is the vocabulary used in poetry that affects this problem. Therefore, we should try our best to get rid of old vocabulary and advocate writing poems in modern language.
Also, due to the limitations of the old society, many poems tend to use private life to cover up personal feelings, especially euphemism and sadness, which obviously does not meet the requirements of the times and needs to be broken through.
6. Enhance the speculative power and appeal of poetry and pursue far-reaching. Good poetry should not only be infectious, but also have strong speculative power. In modern poetry creation, there are many works with a sense of * * *, but few of them are really speculative and can inherit the essence of ancient times, which undoubtedly brings great opportunities to poetry creation.
Speculative power is not only reflected in the internal logical relationship of poetry, but also refers to poetry with argumentative power and self-mind that closely links personal feelings with modern society. In particular, the improvement of artistry deserves more attention.
7. Enjoy poetry everywhere. For a long time, poetry has been listed as the threshold of literati. Although short and pithy, it is rejected by most people, and it is not widely accepted and used by people like new poetry. This is exactly what poetry creators should treat cautiously and seriously. If we still face readers with the ostentatious attitude of "people don't understand me", then the creative motivation and source of poetry writers will also be exhausted.
Therefore, poetry writers should step off the so-called "altar" as soon as possible, integrate into modern society, serve readers with good guidance, good poetry writing style, good poetry appearance and style, and let themselves enjoy the fun of poetry everywhere.
8. Integrate into the realm of the unity of literati. Scholars have always had a tendency to cater to them, and the utilitarianism of creation is deeply rooted. Use skills to cater to people, use "people don't understand me" to harm people, and use difficulties to deceive people. In short, don't treat people with true feelings. This phenomenon is full of disadvantages, which deserves the vigilance of poetry writers. Judging from the history of poetry development, although there are many examples, the poems that can be passed down to this day are works that the author never tires of reading, which often makes people feel that poetry is the author and the author is a poem, which makes people feel instructive and beautiful. This is the realm of the unity of literati. And this kind of state is just a natural and pure state of "I speak my mind".
For a poetry lover, no matter what stage you are in now, you are the author of poetry. Inevitably, you will eventually experience a process from learning, imitation, confusion to regression, and no one is an exception. The difference is to see who stopped at which step.
For a good writer, whether he is successful or not, writing poems and lyrics is a kind of fun, without distractions, accidents and surprises. But in any case, you must first learn to be a good reader, a down-to-earth reader, know how to judge a poem or word from an objective and correct angle, know how to analyze and evaluate a poem or word with theoretical knowledge, and know how to feel what you think is valuable in a poem or word, thus triggering personality reflection.
"A poet or poet who can't be a reader, how can he be a masterpiece? When can a person who is always staring at words get out of his shell? " This sentence is worth considering.
Appreciation of Examples: Zhang Xiaoxiang's "Mink Head Guo Yue Yang Lou Block"
Lakes and seas are tired of tourists, and Jianghan returns to his hometown. The west wind is thousands of miles away, and I was sent to Yueyang Tower today. Junshan dusk clouds, spring comes to the distant vegetation, and it is difficult to harvest it from afar. Just leaning on the fence for a long time, lacking the moon to hang the curtain hook.
Xiongsanchu, swallowing Qize, connecting Kyushu. What are the advantages of the world being more like this building? I want to bow my head and feel very tired, but there are fishermen and woodcutter, and I am very sad to write this. Looking back, it turned out to be Yu Shun and Du Ruoman was in Zhou Fang.
Conception: The author boarded Yueyang Tower and looked at the scenery in front of him: Dongting Lake, Junshan Mountain and the middle reaches of the Yangtze River. He thought of his situation: he retired like an official. Seeing the scene of fishing and collecting firewood in front of me and thinking of my own fate, my heart is full of bitterness. He wants to write "Leaving Sorrow" to vent his grievances.
Structure: The author starts with "Lake and Sea". Think directly of your own situation, such as "tired tourists". Then write the scenery, and hint at your own vacillation by writing the scenery, in vain. Among them, the word "Hui" is of great significance.
The next film is based on a regional summary, saying that people satirize themselves, which leads to "nothing to be tired of hanging up" and "heavy and tired" self-comparison. "Tired" means that Qu Yuan is tired of Hunan, which is also called "tired of Hunan". Being forced to death without guilt makes the "tired" author compare himself with Qu Yuan, suggesting that he has indomitable fighting spirit. "Leaving sorrow" means leaving Sao, which means "fishing firewood" can be understood by * * *. The ending is striking.
Techniques: compare yourself with "tired swimming" and "returning to the boat" and "lack of the moon", thus leading to the real comparison: "tired" and "leaving sorrow", thus making the author's mind constantly sublimate. Through "Junshan Yun Qi" and "Yuanxiang Vegetation", I arouse association, which is a metaphor for my ethereal life. From "Yu Qiao" to the Miluo River, to express their ambitions and uneven situation. Use allusions such as "Tired", "Looking Back is Yu Shun" and "Du Ruoman Zhou Fang" to express grief and grievances.
Evaluation: The whole poem is easy to understand, exquisite in artistic conception, reasonable in comparison, natural in association, just right in allusions, and has strong internal speculative power. Although expressing personal feelings is closely related to the fate of the country, it has great artistic appeal.