Shandandan flowers are red and beautiful,
Xiangxiang talents grow well.
The first sentence is used to cheer up. The poet used metaphor to set off Li Xiangxiang's appearance and inner beauty with Shandandan, who grew up on the cliff in northern Shaanxi, and completed Li Xiangxiang's "simple and profound" appearance.
He pointed out that rising is more common in folk songs. This is somewhat similar to the opening gongs and drums in acting, or the songs before the TV series starts, mainly to create an expectation. Zhu said, "Let's talk about something else first, and arouse what we are singing." Listen to the impromptu folk song "Floating in the Wind", and you will feel the same way with Zhu. Of course, the rise of poetry that can be passed down to this day also has certain significance. For example, Guan Ju, the first poem at the beginning of The Book of Songs, is about a teenager who is pursuing chastity and beauty and can't sleep at night. The first section is like this:
Guan Heming's osprey, accompanied by the small continent of the river.
A beautiful and virtuous woman is a good spouse of a gentleman.
Excited, as if to remind you to get ready: "Look! This song is going to come for a while, listen and enjoy it. " When I hear the back and think of the front, I feel that there is still a little unclear relationship between the front and the back, which forms a tension and is intriguing. Another example is the following folk song:
Rape flowers bloom like bitter fleabane,
If you have a heart for lang, you are not afraid of poverty.
As long as two people have a good relationship,
Make tea slowly with cold water.
The first line is Xing Xing. Simple words describe a magnificent scenery, which is fascinating. Then follow suit-although I am poor at present, we have a good relationship and will definitely create a bright future together. Taking "tea" as a metaphor also shows the sweetness and affection in "bitterness". Another example is the beginning of Jiao Zhongqing's wife:
Peacocks fly southeast and wander for five miles.
At the age of thirteen, I can weave, and at the age of fourteen, I can learn to tailor.
The peacock's wandering leads to a story about where you are going, which is appropriate from the emotional point of view. Look at another foreign poem:
The little tree trembled,
When birds fly on it;
My heart is shaking,
When I think of you.
…
The danube is flooded,
Maybe it will rush;
So is my heart,
Can't restrain enthusiasm.
Petofi's well-known love poem expresses that when I think of my lover, my heart is "trembling" and excited, and I can't restrain my surging thoughts. Because this technique can visualize the language of poetry and draw people's imagination, it is infectious.
Subdivide it, there are two kinds of rise, one is that rise has metaphor, and the other is that rise has no metaphor. There is no metaphor for the rise, but it mainly plays a role in setting off the theme. For example, in the first section of The Book of Songs, Nan Zhou Yao Tao:
Peach blossoms are in full bloom, colorful and fiery red.
The girl is going to get married and be happy at her husband's house.
This is a poem to congratulate a woman on her marriage. Writing poems stretches warmly, giving people a strong flavor of life. These lines are translated into today's words: the peach blossoms are blooming brightly, and the girl is getting married. I wish her happiness. The first two lines and the last two lines are not necessarily related, but only play a role in triggering poetry and setting off the theme. The other is that there are metaphors in the rise and fall. For example, The Book of Songs Nan Zhou Hanbitsoft:
There are trees in the south, don't worry;
Han has a wandering girl, so you can't think;
Han is too broad to swim;
The river is so long that it is impossible to take a raft.
It is about a young man's depressed mood of pursuing a girl. It begins with "there are trees in the south, but I don't rest", which means there is a big tree in the south, but I can't rest under it. At the same time, it also implies metaphor, because the tree is high, but it can't snuggle under it, just like the girl on the bank of the Han River can't get it.
Finally, Tang concluded that the rise of folk songs often comes from not knowing where it came from, but not knowing where it went. It is simple and fresh, vivid and unpretentious, which makes people sigh its wonderful charm. In the book, he made a comparative study of masculine beauty and feminine beauty.
He said that the beauty of nature and society can be divided into two kinds-masculine beauty and feminine beauty, such as cliffs, waterfalls, strong winds, heavy rains, silent nights or vast deserts, and poems in memory of Xiang Yu or Cao Cao, all of which have masculine beauty; The breeze and bright moon, faint fragrance, thin tree shadows, green snail-shaped hills, sparkling lakes, Lin Daiyu with flowers buried, or Nalan Xingde drinking with a side hat all have female beauty. Some people think that the beauty of masculinity and femininity is not vivid, and they simply use two poems to express it: "The steeds in northern Hebei are autumn, and the apricot flowers in southern Jiangsu are spring." The former is masculine beauty: vigorous, vigorous, rough, bold and dignified, while the latter is feminine beauty: elegant, gentle, charming, slender, graceful and brisk. Poetry also has the beauty of autumn wind, the beauty of customs in northern Hebei and the beauty of apricot blossoms and spring rain in the south of the Yangtze River.
He compared Su Shi's Niannujiao Chibi Nostalgia with Liu Yong's Yulinling:
The surging river flows eastward, and those heroes of the past are gone forever. To the west of the old base, humanity is the spike wall around the Three Kingdoms. Rock clouds break, waves beat the shore, and thousands of piles of snow are rolled up. The majestic rivers and mountains are picturesque, and many heroes emerge at once. Looking back on Zhou Yu's spring breeze era, young and beautiful Joe just married him, and he was full of heroic spirit. Feather fan nylon scarf, laughing and laughing, strong ashes. I am wandering in the battlefield today. I feel a feeling heart and give birth to white hair prematurely. Life is like a dream, sprinkle a glass of wine to pay tribute to the bright moon on the river.
-Su Shi: "Niannujiao Chibi Nostalgia"
The cicadas in autumn are so sad and urgent, facing the pavilion, it is in the evening and a sudden rain has just stopped. All the doors are empty, the party is nostalgic, and the blue boat is urging. Holding hands and looking at each other, tears swirled in my eyes until there were no words at last, and a thousand words stuck in my throat and I couldn't say it. Thinking about thinking, thousands of miles of smoke, dusk, chutiankuo. Since ancient times, it has been awkward and cold to leave. Who knows where I am when I am awake tonight? Fear is just the edge, facing the sad morning wind and the setting sun of the waning moon. This is a long time, people who love each other are not together, and I even expect to be satisfied with the good weather and scenery in name only. Customs are strange, who can you tell?
-Liu Yong: "Yulinling"
Niannujiao red cliff nostalgia is a famous nostalgia word. Su Dongpo was in exile in Huangzhou at this time, aged 47. He praised the success of Zhou Yu, a promising young historical figure, and compared himself to express his frustration. Although "life is like a dream" seems negative, this idea is positive and impossible. As far as the whole poem is concerned, Su Dongpo expresses a kind of lofty sentiments and ambitions, and his lyrical way is unrestrained. What he describes is a magnificent historical picture scroll and magnificent natural landscape, which is outlined with big strokes, opened wide and closed wide, forming a magnificent face, showing the beauty of strength and spirit. Liu Yong's "Lin Yuling" is obviously different from this: the word describes the scene that he had to leave Beijing and his lover Changting on an autumn night because of his career frustration, expressing his depressed mood and the pain of losing his love comfort. It can be said that it is tender and affectionate, and he cried with tears. This word not only writes about other times, but also imagines other times from "where do you wake up today?" The pen is light and delicate, and the parting is subtle, tactful and incisive. Its characters are written by China Resources, with gentle strokes and gorgeous colors, showing a delicate and exquisite aesthetic feeling.
From the comparison between Su Dongpo's ci and Liu Yong's ci, this paper points out the general characteristics of masculine beauty and feminine beauty. The difference between them often stems from whether the poet is masculine or feminine. The works of writers with strong masculinity often show the beauty of masculinity, while the works of writers with superior femininity often show the beauty of femininity. The previous poet showed philosophy or tragedy even in adversity; The latter writer can only be sad and express sadness. In expressing feelings, masculine people are straightforward, bold, vigorous and dignified; Feminine people are subtle, often euphemistic, soft and charming, smooth and light. In terms of brushwork, masculine people are rough and unconstrained, pursuing novelty, simplicity and strangeness; Feminine people are meticulous, pursuing elegance, richness and wealth. In the artistic realm, masculine people pursue far-reaching breadth, which makes people thrilling and produces lofty realm and grand feeling; Feminine people pursue charm and charm, which is pleasing to the eye and produces a sense of purity and intimacy. For example, "Yun Qi is foggy and covered with a city" (Meng Haoran) belongs to the beauty of masculinity, and "the willow blossoms are bright, and people meet dusk" (Zhu) belongs to the beauty of femininity; "The spring breeze is proud and the horseshoe is in a hurry, and you can see all the Chang 'an flowers in one day" (Meng Jiao) belongs to the beauty of masculinity, "The passionate peony contains spring tears, and the weak rose lies on the twig" (Qin Guan) belongs to the beauty of femininity; "You don't see the water of the Yangtze River coming up from the sky and entering the ocean, and it will never return" (Li Bai) belongs to the beauty of masculinity, "I can't help but spend it and feel familiar with Yan Gui" (Yan Shu) belongs to the beauty of femininity; The smoke in the desert is straight, and the long river falls in the yen "(Wang Wei) belongs to the beauty of masculinity," the sunset is scattered into gas, and the Chengjiang is quiet as practice "(Xie Tiao) belongs to the beauty of femininity; "Mochow has no confidant in the road ahead, and no one in the world knows you" (Gao Shi) belongs to the beauty of masculinity, while "Advise the monarch to drink more, and enter Yangguan for no reason" (Wang Wei) belongs to the beauty of femininity.
Tang believes that for a poet, his temperament tends to focus on one of masculinity or femininity. However, due to the changes of the theme and life picture described by the author and the ups and downs of emotions, his poems tend to coexist with masculine beauty and feminine beauty in general. For example, Pushkin's To the Sea is vast and vigorous, while his To Kane is full of twists and turns. "Get up, Hungarians, the motherland is calling!" Petofi's patriotic poem "Song of the Nation" burns the flame of passion and beats the marching drums; "I wish I were a tree, if you were a flower on the tree; I wish I were a flower, if you were dew. "His love song" I wish I were a tree "scattered the fragrance of jasmine and played a moonlight melody. In China, such as Li Qingzhao, she wins mainly by her beauty. This is due to her particularly developed artistic sense, just as the blind are surprisingly sensitive to sound. Li Qingzhao was imprisoned in the boudoir for a long time, which created her particularly developed artistic feeling of combining her external life with her inner world. Therefore, even if she just woke up from a deep sleep, she would miss the changes of Haitang outside the window after a night of wind and rain. "You know what? Do you know that?/You know what? It should be green, fat and thin "; And a westerly wind will make her as thin as a yellow flower. "The curtain rolls in the west wind, and people are thinner than yellow flowers." It is such a graceful and affectionate poetess who will also write such amazing words: "Nine Wan Li winds up, the wind rests, and the boat blows away three mountains." "Life is a hero, and death is a ghost hero" (Wujiang River) is full of iron masculinity.
He said that rigid beauty and flexible beauty can also be unified in a poem. Combining rigidity with softness, combining rigidity with softness, having rigidity in rigidity, having rigidity in softness, turning rigidity into rigidity and turning rigidity into softness can give people a diverse and unified aesthetic feeling in artistic reference. For example, Du Fu's Monument to Hanlin Zhang Haile:
The crown leads to the south pole, and the article falls on the stage.
Imperial edict from the three halls, monument to Bai Man.
The wild pavilion is full of flowers, and the spring sails are raining.
I don't know. When will the scourge return?
The first half of this poem is wide and the second half is thin. The first two couplets summarize the vast space and magnificent weather, which can be called the pen in the poem; The neckline suddenly opens up a new scene, with delicate description and delicate feelings, which is the soft pen in the poem. In this way, they are majestic but not empty, graceful and restrained but not obscene, avoiding masculinity and rudeness or femininity and weakness.
Tang believes that poetry creation should avoid "rigidity" and "softness" in style. Too stiff is brittle, too soft is decadent. Taking empty talk and big talk as bold and unconstrained, killing evil as vigorous, swearing and shouting as vigorous and healthy, or moaning, coquettish and dissolute, and carving and painting as feminine are all morbid styles, which are far from the beauty of masculinity and femininity. In the creation of new poetry, some people regard "vanity" as bold, and some people's poems are weak, soft, gloomy, light and vulgar romance, which should be corrected. Don Zhu Zheng made a comprehensive exposition on the metaphor of poetry.
He thinks metaphor plays an important role in poetry. Hegel, the master of aesthetics, said in Aesthetics: "In order to avoid the ordinary, we should try to find out the relevant characteristics in seemingly nondescript things, so as to unexpectedly combine the farthest things together." Metaphor is to compare two different things with a certain similarity, so that the two images set off each other and confirm each other, so that the thoughts and feelings to be expressed in the poem become concrete images for readers to feel.
He said that poets often use metaphors to express their unique feelings about something, and to concretize abstract and indescribable things. He used the sad metaphor as an example to illustrate. Sadness is a basic theme of poetry. There are thoughts (friends, lovers, parents, hometown), parting, leisure, busyness and poverty, and inexplicable worries suddenly come to mind. Sadness is an emotional activity, which can't be seen with eyes or touched with hands. Poets usually visualize it by metaphor. For example, "poverty is as heavy as a mountain, and it is always on the head" (Li Qunyu), using mountains as a metaphor for poverty; "Sunset towers overlap the mountains, but their leisure worries are more than doubled" (Zhao Wei), which means more leisure worries with the mountains; "Grief is getting farther and farther away, and the water keeps flowing in the distance" (Ouyang Xiu) and "How much sorrow can be like a river flowing eastward" (Li Houzhu), all of which seem to show endless sorrow more with water than sadness. There are flowers and plants and so on to compare depression, which makes it look alive. For example, "Hate is like grass, the longer it grows" (Li Houzhu), and Zhu He's "How much leisure, a wisp of smoke, a town full of wind and rain, plum yellow rain" are lined up, which not only increases the weight, but also fits the situation at that time.
Generally speaking, metaphor consists of three parts in modification, namely, the object to be compared (metaphor book), the object to be compared (metaphor body) and metaphor words. According to the different forms of expression of the above three elements in poetry, they can be divided into simile, metaphor, metonymy and metaphor.
Tang gave examples respectively.
Simile, also known as metaphor, and metaphor appear in the text at the same time, and the two are often connected by words such as "image", "image" and "as if". For example, Xu Zhimo's Shi Anna La:
The most is the gentleness of bowing,
Like a lotus, it can't overcome the shyness of the cool breeze.
Take care, take care,
There is sweet sadness in the treasure-
Shian, Nora.
The metaphor of "water lotus" shows the tenderness of Japanese girls when they say "shian Nora". The whole poem is short and sentimental, which makes people sing tirelessly. It is wonderful to sing three times and sigh three times.
Metaphor, also known as metaphor, has metaphor and vehicle, but there is no metaphor word, and the two are connected by "yes". If the explicit form is "A is like B", then the metaphorical form is "A is B". For example, two poems in Yu Guangzhong's Homesickness:
In childhood
Homesickness is a small stamp.
I'm at this end
Mom is over there.
When I grow up
Homesickness is a narrow ticket.
I'm at this end
The bride is over there.
The poet turned the "homesickness" that is invisible and intangible into a "small stamp" to set off the feelings of missing when "I am here and my mother is there"; Become a "narrow boat ticket" and render the feeling of "I am here and the bride is there".
Metonymy means that the metaphorical thing does not appear, but the metaphorical thing, that is, the vehicle, directly becomes the ontology. For example, Heine's poem "Hour, Day, Eternal Years" in the first paragraph:
Every hour, every day, eternal years,
They crawl like snails;
These ruthless giant snails,
Stretch out their tentacles and roam.
The last two sentences of the poem simply throw away "time", write snails directly, and replace "time" with snails directly. This is metonymy.
Metonymy sometimes means borrowing a part to represent the whole or replacing it with something related to it. For example, Zhou Bangyan's "I miss Tao Li Dong Yuan, with beautiful lips". Is to replace beauty with "beautiful little lips" Another example is He Zhu's "Ling Bo doesn't cross the Hengtang Road, but only looks at the incense dust", and Wu Wenying De's "The hornet flies thousands of times, and the hand is fragrant at that time". The former uses "incense dust", while the latter uses "hand" as a metaphor for beauty.
Metaphor uses many figurative image fields to describe a certain feature or multiple features of the things being compared, such as Jimenez's poem Music:
On a quiet night,
Sweet music, you are a clear water,
Cool and pleasant-like cordate telosma.
In an unfathomable vase—
The sky is full of stars.
The successive use of three metaphors of "clear water", "cordate telosma" and "starry sky" makes a series of different vehicle images increase the image density of poetry, mobilize your sense of smell, hearing and tentacles, and interweave into a vivid picture, so that you can get a deeper and more vivid feeling from the ontological image of "music". It can be seen that metaphor is more complex and stereoscopic than single metaphor. Another example is Su Dongpo's "The Hundred Steps of the Flood":
The long flood bucket jumps,
The canoe goes south like a shuttle,
The navy never wakes geese up,
Chaos has no line.
Like a rabbit walking and an eagle falling,
The horse gambled 1000 feet on the slope,
Break the rope, drop the arrow,
Fly-by-wire control gap ball turnover load.
The poet used eleven kinds of images (flying shuttle, flying ducks and geese, landing eagles, flying rabbits and flying horses, broken strings and off columns, flying arrows, lightning, rolling lotus beads) to describe the speed of canoes, which produced vivid effects.
Tang pointed out that there is another roundabout metaphor in poetry. It first proposed the carrier, then denied the carrier, and then led to the ontology. This metaphor denies that the vehicle is false, and emphasizes that the connection between the vehicle and the ontology is true, which means to promote it first and then suppress it. This is especially common in folk songs. For example, the following song "Qinghai Ballad Standing on the High Mountain".
Standing on the high mountain and looking west,
A white area around the mountains;
Not a belt,
This used to be a new highway up the hill.
Standing on the high mountain and looking west,
Floating on Baiyun Mountain;
Not clouds,
It used to be a drilling workshop built on the top of the mountain.
Standing on the high mountain and looking down,
The flowing water in the well site turned into black waves;
Not water,
It turns out that the crude oil is out of the gate and spreading its wings.
He also pointed out that metaphor has the characteristics of two sides and multilateralism. Aesop told a story about a pedestrian who went to the residence of a mountain god for shelter on a cold night. When he entered the residence of the mountain god, he breathed with his mouth. The mountain god asked him why he was angry, and he replied, "To keep warm." Later, the mountain god brought him a bowl of hot porridge, and he blew into it. The mountain god asked him why he blew again, and the pedestrian explained, "To make the porridge cool." The mountain god threw the tenant out of the door because he didn't want to associate with such people. He can use air to keep warm and cool. Interestingly, metaphor has the characteristics of "two handles" and "multilateralism". The so-called two handles, "similar things are used as metaphors, or praise, or depreciation, or joy, or evil." The tone is very different. "For example, the same moon is praised, condemned, eternal and impermanent. Such as the moon in Lv Benzhong's "Picking Mulberry Seeds" in the Southern Song Dynasty:
Hating the king is not like the moon,
East, west, north and south.
East, west, north, south,
Just each other.
Hating the king is like a river building,
Temporary loss in Man Cang;
If you are full for a while, you still lose money.
How long will the reunion last?
The so-called "multilateral", Qian Zhongshu said: "Creation is just a thing, but it is not limited to one sex and one use, so it is not limited to one function and one effect. Whether people who take analogies are careful or different, focusing on differences, referring to the same but with different purposes; So the image of one thing and one thing can be established and changed. " Simply put, one carrier is suitable for many different ontologies. It is also a cloud, "tourists are like clouds", which means a lot; "thoughts are like clouds", which are mixed; "Dancing like a cloud" means dancing lightly and gently.
Tang said that metaphor is a condensed method and can be summarized as much as possible. For example, Shakespeare asked Macbeth to compare life to a candle in a monologue. Life is like a candle because the beginning and end of life are dark; That is, when life exists, it will shine, have energy, be active and be brilliant; That is, life will gradually run out and become shorter and shorter; Is that life may end at any time; Life is short and can only be burned in a short time. Your imagination can be further developed. In any case, Macbeth simply compares life to a short candle, which implies some truth in life. To use straightforward language, you have to use dozens of words or more. At the same time, this metaphor makes the abstraction concrete, increases the image of poetry and provides readers with the pleasure of imagination. Imagination can be said to be a leap of the soul. Its way is not to climb step by step, but to jump from the bottom of the stairs to the top. We like to look up at clouds and regard them as various faces of animals or people, one is a lion and the other is a dragon. Metaphorical language, like a cloud, adds infinite imagination pleasure to us.
Metaphor is a reasonable fallacy. Metaphors are often lame. Comparing a girl's face to an apple is to find the common ground in color from the girl's blush and the apple's red. Metaphor can't bear to think about it. If you are obsessed with this, you may ask whether a girl's face looks like an apple. Is it edible? Can you sell it in proportion? Or, you can ask the girl what kind of apple is her face, raw or cooked? Green leather or hemp leather? If you ask this question, all metaphors are over.
Tang said that the advantages of metaphor can be considered from three aspects: whether it is novel, whether it is strange, and whether it is relevant. Old, mediocre and inappropriate metaphors lack artistic appeal. For example, "the train is like a roaring iron dragon, and the rails are like a fallen ladder". For poets, whenever metaphor is used, we should think about Wilde's famous saying: "The first person who compares beauty to flowers is a genius, the second is a mediocrity, and the third is a fool."