Firstly, the relationship between the individualization of image selection in Du Fu's poems and the gloomy artistic style of Du Fu's poems.
Image is an artistic image that contains the writer's subjective feelings. It is a feeling reprocessed by the poet's feelings, imagination, thoughts and aesthetic tastes, which comes from the poet's screening and melting of objective things. It is not only a portrayal of real life, but also the crystallization of the poet's aesthetic creation and the carrier of his emotional thoughts. Poets and scholars at all times and all over the world attach great importance to the creation of images and their aesthetic functions. In "Wen Xin Diao Long", Liu Xie once said that "getting a glimpse of the image is a heavy burden", which means that the poet should build his own artistic world with aesthetic images; Si Kongtu's "Twenty-four Poems" clearly put forward the idea of "similarity without form", encouraging poets to "take bones from form" and pursue artistic similarity, while "caution" said that "the image is natural and strange"; In the Ming Dynasty, He Jingming advocated "the combination of images and the deviation of images" in "Talking about Poetry with Kong Li", pointing out the artistic effect of whether meaning and image fit together or not; Qian Zhongshu emphasized the causal relationship between poetry and images: "Poetry is also good, with images to speak and images to make words;" Forget what you said, there is no poem. " (Selected Works of Qian Zhongshu, Volume I, page 67) American poet Pound thinks that image is "a complex experience of reason and emotion presented in an instant"; Wellek and Warren described it as "a combination of fundamentally different ideas" in The Principles of Literature. Therefore, poets are often good at shaping concrete images to express their feelings implicitly. People of the same nationality and cultural background often use their national cultural feelings to create specific images, such as Hongyan, Liu Yang, Chrysanthemum, Moon, Rhododendron and Plum Blossom. As the saying goes, "China people have the mentality of China people, while China people have the ears of China people" (Liushahe language).
Du Fu is such a great poet! In the practice of poetry creation for many years, Du Fu created a distinctive image group through research and thinking. These image group's are saturated with the poet's feelings of worrying about the country and the people and loving life, and they are full of tragic colors. Du Fu has always been ambitious and has high hopes. He was "strong at the age of seven, and began to admire the Phoenix" (Zhuang You). He was determined to "steal millet and make a promise" and "make the vulgar pure again". He was full of confidence in himself, consciously endowed himself with a sense of mission in the times, and revealed his strong desire for prosperity and transcendence. It is this heroic character, lofty ambition, noble personality and broad mind that makes Du Fu admire works with strong brushwork and broad weather in his creative tendency and pursue masculine beauty in his creative practice. Reflected in the unique choice of images, it determines that the choice of images in Du Fu's poems will inevitably tend to be big and masculine, showing a unique artistic style and aesthetic value pursuit.
Therefore, the natural scene embodied in Du Fu's works is that "the creator has endowed all mysterious natural grace here, and? The day immediately enters dawn and dusk. " "The stars are falling from the open place, and the bright moon is coming from the upper river", "There is Wu in the east and Chu in the south, and the heavens and the earth are floating endlessly", "Waves between the rivers and the sky, clouds and the earth" and "Leaves fall like waterfalls, and I see the long river rolling" all show the poet's broad mind, strong spiritual strength and personality charm. In Du Fu's poems about objects, it mainly sings powerful animals such as phoenix, horse, eagle, stork and sculpture. "Phoenix" is a unique image in Du Fu's poems. Phoenix is a legendary bird in ancient China. It is said that when it appears, the world will be peaceful. From the age of seven, Du Fu's awareness of the Phoenix became stronger and stronger. This can bring a peaceful and auspicious phoenix, which is not only a symbol of his lofty aspirations, but also his totem. In Zhu Fengxing, the image of Zhu Feng, who is in a difficult situation, poor and lonely, but cares about birds, is a symbol of the poet's own love for the people. The poet eagerly calls for its arrival in the poem, "The fight is not over, and the phoenix unicorn is flat" ("Re-viewing Fishing"); Even willing to give his own flesh and blood: "I can give up my heart and drink Pecks to comfort my loneliness." A solid heart, Tim wants nothing. It is better to take blood as the source than clean water. "("Phoenix Terrace ") Look at the horse described by the poet:" Huma has a big name and a thin side; Bamboo ears, the wind light into the hoof; The direction is empty, and it is really worth life and death; If there is such a thing, it will be rampant. "("Fang Bing Cao Huma ") This poem" vigorous and vigorous words, flying to Wan Li, now facing the DPRK "("Du Shi Jing Quan "), with the extraordinary image of Ma Shen, expresses his gratitude to Mr. Cao, and fully shows the author's indomitable heroism of taking the world as his responsibility. When painting an eagle, the poet compares himself with the eagle, thinking about the cunning rabbit and longing for "how to attack every bird and sprinkle blood on weeds" The poet wrote in the poem "Wang Bingbing Made a Double-horned Eagle" that the horned eagle eliminated evil birds and divided them into owls and bears, which showed his feelings of eliminating evil and rebuilding peace. The poet's ambition and feelings, spirit and boldness of vision are flourishing to the old age, adding an uncompromising heart. For example, poems such as thin horse, sick horse and twelve eagles painted by Yang Jian. They all show the image of Du Fu's perseverance, dedication and loyalty in his later years. Although the heroic spirit of "running amok" embodied in the poet's early images has changed into "fighting with grief and indomitable spirit" ("Qinzhou Miscellaneous Poems") because of the difficult times and unpaid ambitions, and there are more tragic backgrounds in the heroes; And "Painting Horse Songs at the Home of General Cao" is a sigh of the hero's end. These poems all inject the subject's feelings into the object, and the poet's feelings are organically combined with objective things, making their images more vivid and profound. As Huang Che said: "Build it far, strengthen it with heart, and never give up;" "Sick and stubborn, Yus verbally attacked." (Bixi Poems, Volume II) At this point, the poet's lofty aspirations and loyalty reflected in his illness will inevitably be sublimated into caring things that deeply care about the people's destiny. The heroic complex embodied by the former is essentially the same as the humanitarian feelings embodied by the latter.
From this, Du Fu's poems also show his singing and concern for the tiny, weak or forgotten objects. For example, The Lonely Goose: "The lonely goose flies without pecking. Who has pity on a shadow and lost Wan Liyun? Looking at the horizon, I seem to see the figure of my companion; The voice in the valley seems to hear the voice of the companion. Wild crows have no feelings and are noisy. " Visually, this poem says, "I can't stop flying when I look at it, but I still seem to see its ball and run after it"; As far as hearing is concerned, "those who cry endlessly because of sadness are more likely to be heard" (Pu Qilong's Reading Du Xinjie, Volume 3, Part 5). Frequent wars, people wandering around, showing the poet's sympathy and sadness. The whole article is based on the aesthetic subject's observation of the object, and the objective image is clearly branded with the poet's subjective feelings, forming a unique image with implied poetry and great ideological capacity. He is like a "parrot" and feels out of place; Seagulls envy its leisure; "Ape" is full of wisdom; "Muntjac" is full of danger in troubled times; "Chicken" expresses the custom of a strange hometown; "Yellow croaker" is difficult to grow up; The subtle and inevitable harm in Little White vividly shows the author's spiritual world in the observation of small life. Love and hate are distinct, and feelings are the closest. It is really "a heavy cover my heart, mountains and rivers, birds and flowers are my friends" ("Tour of the Second Temple of Daolin in Yuelu Mountain").
In addition, sick trees, sick oranges, withered Phoebe, withered brown, ancient plugs, autumn clouds, evening anvil, residual torches ... even Gao Jiang, Xia Ji, Cheng Wei, boating alone, crying apes, birds, fallen flowers, sunset, Leng Yue and so on; There are also hardworking weaver girls, old women who jump dates in front of the hall, old farmers who groan under heavy burdens and marry other couples; An overbearing official, an overbearing general, a rude and unreasonable villain, a beauty by Chang 'an Waterfront, and so on. They have all become images that can quite represent Du Fu's poetic style, showing the poet Du Fu's eagerness to save the world, denouncing and confusing Gan Kun, indignant bullying, lamenting the loss of life, regretting the exhaustion of material resources and praising the help given to the masses. As Ye Xie said: "Du Fu's poems, accompanied by a sentence, can be seen everywhere that he cares about the country and loves the king, draws lessons from mistakes, suffers from loss, and is meticulous. He lives in a remote place where soldiers and thieves are rugged, but he expresses his resentment with mountains and rivers, friends and friends. This is Du Fu's face. " ("The Original Poetry" Volume II) In short, Du Fu's life, whether rich or poor, safe or dangerous, has always been full of an unshirkable sense of responsibility and mission, holding the firm belief that he will devote his life to the cause he loves. "Nine temples are burned, and the people are miserable", and his anger is extremely strong and his feelings are extremely sad; His unique poetic image, which combines natural scenery, national tragedy and personal feelings, is profound and incomparable, which casts a dignified and deep melancholy and tragic atmosphere on the real and magnificent picture of life in the times. With heroic feelings and old and vigorous brushwork, the artistic style of Du Fu's poems is clearly formed, and its image is either "generate" or "magnificent and high" (. Belinsky once said: "Any great poet is great because his pain and happiness are deeply rooted in the soil of society and history, so he has become the representative and spokesman of society, times and mankind." (belinsky Literature) Du Fu's poems are interwoven with family worries and national hatred with their unique poetic images, which profoundly shows that the personal fate of honest intellectuals is closely related to the fate of the country and the nation, with a high degree of generality and typical significance, and it is the spiritual essence of "depression and frustration".
The second is the dense combination of images and its overcoming of the limitations of modern poetry's own meter.
The combination or jumping of poetic images is the most concise and concise image expression. The combination of images in China's classical poems, with the help of parataxis of Chinese grammar, can be directly combined from word to word and from image to image. This is like the montage technique in movies, one image after another, one picture after another, leaving a lot of gaps between the shots, so that readers can supplement and improve according to the logic of life, the accumulation of experience and their own cultivation. This highly concentrated poem maximizes the density of poetic images and the power of poetry; It not only makes image group in poetry stand out, but also provides readers with a broad space for association and imagination, which has high aesthetic value.
Different from Li Bai's poems, Du Shi is good at compressing several images into a poem, which is dense and has a large capacity and looks dignified and profound. For example, Denggao, known as "the first of the seven laws of ancient and modern times", said: "In the sharp wind from the vast sky, apes are sobbing, and birds are flying home on the clear lakes and white beaches. The endless trees are rustling leaves, and the Yangtze River is rolling unpredictably. Li in the sad autumn scenery, a wanderer all the year round, lives alone on the high platform in today's illness. Bad luck has a bitter frost on my temples, and heartache and fatigue are a thick layer of dust in my wine. " Holographic images are very closely organized, especially the first couplet and the neck couplet. One by one, images emerge one after another, words are extremely precise and appropriate, and there is no name. "Wan Li" is a couplet with multiple meanings, which has always been appreciated by people. In this regard, Luo Dajing said: "Wan Li is far away; Autumn, when sad; Be a guest and travel; Frequent visitors, long-distance travel; For a hundred years, teeth are dying; Sick and sick; Taiwan, high, but embarrassing; Alone on the stage, no relatives or friends; There are eight meanings between fourteen characters, and the duality is accurate. " ("He Lin Yu Lu" XI) Others are guests in a foreign country, guests are frequent visitors, guests are in Wan Li, and guests are bleak in the autumn wind. Born in the autumn wind, friends and relatives are sad on the stage alone, sick on the stage, sick on the stage, sick on the stage, sick on the stage, eight times, sick nine times a hundred years later. Here, Wan Li, sad autumn, guest appearance, a hundred years of illness, loneliness, stage and many other images are intertwined. You have me, and I have you. They are orderly, have no time sequence, and are intertwined at the same time, giving people a panoramic feeling. Autumn scenery in the poem is no longer a true record of Kuizhou, but an artistic illusion of "out of shape"; The sad autumn feeling in the poem is not only Du Fu's unique emotion, but also a universal aesthetic experience extracted from his personal life experience, which truly achieves "writing the truth and surpassing the truth". Another example is "the hope of spring": "Although a country is divided, mountains and rivers last forever, and the spring of trees and grass is back. Sad state, can not help but burst into tears, amazing birds, leaving sorrow and hate. The war lasted for more than half a year, and letters from home were rare, with a hundred thousand gold. The white hair has become shorter, and there is no more hairpin. " There are "four sentences and eighteen layers" in Ms. Chen Wanjun's annotation poems in Qing Dynasty, which shows that the images are dense and the combination is compact, which is not enough to tell the richness, complexity, twists and turns, obscurity and pain of the poems. The ruins of the first pair of couplets "The country breaks down and the family dies" are in sharp contrast with the vitality of "City Spring", which highlights the dilapidated scene after the fall of Chang 'an and embodies the poet's deep feelings of worrying about the country and the people. Sima Guang praised: "Poetry written by the ancients is more valuable than words, which makes people think and get it ... Du Zimei is the most famous poet in modern times. If' the mountains and rivers are there', there is nothing in the Ming Dynasty; The vegetation is deep and there is no trace to be found; Flowers and birds, things that can be entertained at ordinary times, cry when they see them, and know when they are sad when they smell them. " ("Wen Gong Xu Shi")
When Du Fu's poems constitute images with natural scenery, he also pioneered the image superposition method, that is, all entity noun images are spliced and concentrated, and the related words between noun images are omitted. With a high degree of poetic language, it expands the capacity of modern poetry, reaches the artistic realm of rich words and adds aesthetic value. Such as "Apes whimper in a fierce wind from the wide sky, and birds return to their nests on the white sand in clear lake" ("Ascending the Mountain"), "A breeze rippled on the grass bank, passing through the night, and blowing to my motionless tall mast" ("One Night Abroad"), "Guan Shanyue played flute for three years, and the vegetation in front of soldiers from all over the world", "The blue wall with the wind is thin, and the clouds are thin, while the back of the sun is full of trees. This kind of image superposition method was gradually imitated by Du Fu, and many excellent structures appeared, such as "and like raindrops brightening yellow leaves, lights shining on my bald head", "the crowing of chickens in Maodian, the frost shortage on the bridge". Liu Yong, Ma Zhiyuan and others also have exquisite reference and innovation. Du Fu's exploration and innovation of image combination overcame the limitations of modern poetry, expanded the capacity of this genre, enriched the expressive skills of modern poetry, and made the poet's emotional expression more free and flexible, thus making modern poetry have new aesthetic characteristics different from ancient poetry.
Thirdly, the novel structure of image and its unique aesthetic effect.
When the poet's unique feelings and emotions can't be properly expressed in the objective things, the poet will rely on his own imagination to deform and recast the objective things, so that the images bred by the mind can properly convey the poet's feelings in a novel structural way. Du Fu said in a poem: "It is not surprising that there are many beautiful sentences about human nature." He always creates new words consciously, especially poetic language. To this end, Minglu Shiyong once accused Du Fu of "A General Theory of Poetry and Mirror": "Curiosity, curiosity is far-reaching ... I feel uncomfortable when I look at it carefully." In fact, "curiosity" is Du Fu's conscious pursuit, and "discomfort" is the effect of defamiliarization in Du Fu's poems. Poets often use various deformation techniques, such as abbreviation and omission, intricate inversion, reverse description, semantic change of verbs, etc. , making the word order more "meaningful", casting a novel and unique image form, showing new aesthetic pursuit and characteristics. This kind of deformation seems abnormal and unreasonable, but it shows the nature, essence and elegance of the things described more profoundly and forcefully, so it has the characteristics of abnormal harmony, irrationality and wonder (Zou Shuixuan's Poems in Qing Dynasty), forming the spiritual interest and strange interest of aesthetic images. It seems to have destroyed the natural intimacy of previous images, but it has a sense of novelty and strangeness, leaving readers room for artistic imagination and re-creation, and enhancing the artistic charm of poetry. For example, "the first cold outside the pipa" ("Winter Luocheng Beidi Xuanyuan Temple"), the gas of "the first cold" fills the universe, everywhere and all-encompassing. How can Pipa live alone outside? However, as long as we fully mobilize our aesthetic experience and imagination, realize that the poet associates the green vegetation with the blue color of the tile, and then realize the life experience of "sorrowful autumn makes the vegetation wither and decline", then the green tile in our eyes really lives alone outside the cold; Looking up at the towering Xuanyuan Temple, I feel that the height of the blue tile is beyond the cold between heaven and earth, so the word "outside" is a must. The poem conveys the poet's unique feelings about the majestic Xuanyuan Temple and his reverence for worshipping the readers through the pipa, which is called "revealing, perceiving and knowing" (Ye Xie's original poem). Another example is "the windows in the sky are shining, and the moonlight is shining on the nine clouds" ("Night Watch in the Palace Left Courtyard"), and the moon may have "round and short words, bright and dark words. The words are ups and downs, the words are competitive, and there are not many words. " "Today, I said' more'. I wonder how much this month is?" How much does it cost to start? I don't know how many months. How many mirrors do you see on the moon? Ye Xie further pointed out that the word "Duo" is "unspeakable": "Imagine the scene at that time, which is unclear, lofty and exciting, but only these words can fully cover the present scene of this palace. Others watch together, but they can't know each other or talk; I won't know until I see it, but I will say it. "In fact,' more' is just a feeling. It is a unique feeling for poets to look at the moon because they are worried about their country when they are on duty. There are still many poets who spend the night in Zuo Province, which is sweet and happy. Therefore, only the word "Duo" is enough to express his complicated feelings. Another example is "The morning bell is wet outside the cloud" ("The boat goes to Su Guo in Kuizhou, but it is wet and can't go ashore, so don't judge the twelve kings"). Can the bell be invisible and wet? How do you know it's wet? " Autumn falls in the high city (boating with Yan Gong Maha Pool in Late Autumn), how did "autumn" fall? Where did it fall? Ye Xie was full of praise for this: "The so-called writing is intermittent, and the way of thinking is intermittent. However, the truth is as empty as it is, as close as it is, almost as obvious as flying kites and diving fish. " (Ye Xie's "Original Poetry")
In a sense, poetry is a competition of imagination, and it is the poet's sacred mission to create new images and obtain the perfect combination of meaning and poetic form. At first glance, the novel image created by Du Fu is contrary to common sense, but in fact, it uses the so-called "exclusion principle" and "defamiliarization" principle to defame those things that have become habitual or unconscious; The details extracted from personal life experience, through the poet's subjective feelings, and with his own unique wording and image structure, form personalized emotional images and create a brand-new sensory world. For example, "Let the boat go", "Cherish the peaks and mountains, and know the oranges and pomelo in yellow", from the first impression to the emotions that trigger feelings, and then to the rational judgment, is it not the effect pursued by "stream of consciousness"? Don't you see the word order of "Looking at the moon through the heart and reaching the snowy mountain" ("Five Poems of Spring in Jiangcun") because of strong feelings and vividly outline the poet's thinking track of paying attention to things? Du Fu is also good at using the visual nature of Chinese characters to combine some objectively disordered synchronic pictures into an orderly poetic grammar, which seems casual but accurately expresses his feelings and obtains unique aesthetic effects. For example, "Peach blossoms are in full bloom, and yellow birds fly with Bai Niao" (Qujiang Dujiu). In nature, peach blossoms and flowers are mixed, but the yellow bird and Bai Niao don't care who flies with them; Once Du Fu sorted out his poems, the words "chasing" and "concurrently" suddenly changed from disorder to order, and human feelings were among them. This novel image structure creates a materialized lyric way from realistic image to surreal image, breaks through the old aesthetic psychological norms and has unique aesthetic value; This is undoubtedly a milestone in the development of image forms in China's classical poems. Others such as Beyond the sadness of the emperor's hometown, there are tears in spring (boating to send Wei 18th to Beijing and sending Cao back to Beijing for sending Cen Zhongyun and Fan Langzhong), By the willow of the post building, the outline outside the county (Looking at the top), Her hair is fragrant and foggy, and her shoulders are cold in the moon (Moonlight), and Wanshan Claire is sitting in the morning on the river floor.
Artistic features of Li Bai's poems
Like many great writers, all Li Bai's works also contain romanticism and realism, but as far as his dominant tendency is concerned, he is a master of positive romanticism. As a romantic, although he also accepted the influence of realism in The Book of Songs, it was Qu Yuan's works in The Songs of the South that influenced him more deeply. Li Bai and Qu Yuan have similar political ideals and misfortunes, the same rebellious spirit of dissatisfaction with reality, and equal noble quality and artistic genius. Based on these common characteristics, he is bound to embark on the road of positive romanticism initiated by Qu Yuan and enrich and develop it according to his own life practice and artistic practice. Li Bai inherited and developed Qu Yuan's tradition. He combined his political ideal of "securing the country" and "helping the poor" with the Taoist cynicism and the spirit of resisting violence, saving the weak and helping the poor in the ranger thought, and expressed his love for the motherland. Express sincere sympathy for the oppressed and damaged people; He expressed deep hatred and anger at the dark phenomenon hatched by feudal system; He expressed strong resistance and contempt for the dignitaries in the ruling class-his positive romantic spirit is indeed broader than Qu Yuan's. In terms of expression, he also inherited and developed Qu Yuan's romantic expression, especially the exaggeration in folk poems, and improved it in creative application to make it more perfect. On the object of description, he contacted more subjects than Qu Yuan, so he used romanticism more widely. He not only uses this technique to express romantic themes such as "self", seeking eternal life and sleepwalking, but also often uses this technique to reflect wars and describe daily life and natural scenery, so as to gallop his imagination of "wanting to fall from the sky". He expressed his hatred for the cruelty and ugliness of the enemy and his sympathy for the suffering of the people through such a fantasy realm:
The fairy shines like a star on the lotus peak in Huashan Mountain. Holding hibiscus in hand, the imaginary step is too clear, the skirt is wide, and you are on cloud nine. I boarded the rainbow platform and bowed to Wei Shuqing. Anxiously follow them and take Hongyan to Zixuan. Inadvertently, the Luoyang Plain was full of soldiers in the Anshi Rebellion. The bones are bloody, and the traitors turn their backs on the court.
Comparison of Du Li's Poems
It is believed that the rise and fall of Du Li's position in Tang Dynasty is due to the evolution of poetic style and the difference of critics' personal appreciation interest. Song people generally hold the view that Du Fu's poems are not as good as Li's, because Song people think that Du Fu's poems have more realistic demonstration significance. The general view in Ming Dynasty is that Du Li's name and price are equal, which is because people in Ming Dynasty pay attention to the problem from the artistic point of view. Learning Du Li's thoughts has also become the consensus of most people in Ming Dynasty. This view was basically inherited by the Qing people.