"Qian Zhongshu < Talking about Art> Reader" Zhou Zhenfu - Twelve Notes

preface:

Around Valentine's Day, Mr. Wang Pei (Whiteboard Newspaper) organized a daily text activity and his heart was moved. The reading notes of the daily class are uploaded day by day, and at first the interest is quite high, and within a few days it seems to become a burden, and it is difficult to support it, and after twenty days, it becomes natural. Looking at the gains of the past two months, it is surprising and self-satisfied, and the words are insignificant, but the harvest of reading is very different from the sloppy reading in the past. Thanks To Mr. Wang Pei!

A few days later, I saw that Jian Shu had a similar interaction, and at that time, I regained markdown, so I practiced my hands in two places. A few days later, I can also post headlines, so I add a cave. Wang Peihao Chinese website can be sent by email, automatic typesetting; the simple book has a markdown, and the headlines can be equipped with a public layout, each with its own advantages. Unexpectedly, a simple book was strictly inspected on a certain day, and the account involving the US system was locked, and the account was re-established two days after the impact, and the editors were scattered with old texts.

This note is one of them. Scattered across jane books, gmail, personal blogs and good Chinese websites. Rummaging back and forth for more than an hour, twelve excerpts were written to talk about masturbation.

Regarding Mr. Zhou Zhenfu, I recently read Du Zexun's "Philology" and learned that he was the editor of "Tan Yilu" and a senior disciple of Mr. Qian Jibo, qian's father. In the process of editing "Talking about Art", he and Qian Zhongshu had many opinions and suggestions to communicate, and the efforts behind it were indispensable.

1. About Li Shangyin's "Untitled"

Mr. Qian Zhongshu's appreciation and interpretation of "Jinse -- Li Shangyin" answered the questions that had existed in his heart for many years, what was this poem saying? When I read the "Three Hundred Poems of Tang Dynasty" annotated by Mr. Jin Shengyao, I only felt that the words were gorgeous and beautiful to read. However, Mr. Jin's comments were finally doubtful, whether it was about love or mourning, and did not pay too much attention.

Original text of the poem:

Jinser unprovoked fifty strings, one string and one pillar Sihua Nian.

Zhuang Sheng Xiao dreamed of butterflies, and wangdi chunxin trusted the cuckoo.

There are tears in the pearls of the sea and the moon, and the warm jade smoke of the blue field.

This can be a memory, but it was already confused at the time.

Mr. Qian first listed various explanations, one is to mourn his wife Wang's family, Yi renhua, can not be reborn, reminiscent. The second is to put it at the beginning of his own poetry collection to explain the skills of his own poetry, like beads with tears, like jade smoke. The third is to mourn the late Tang Prime Minister Li Deyu and dry up with Zhuhai.

This passage is more tiring to read, because each statement has a different interpretation of the words in the poem. The same word can be interpreted as several different allusions. However, when you look closely, the list of materials is all-encompassing, like opening a living dictionary.

Next came Mr. Qian Zhongshu's own opinion, first refuting the far-fetched annotation of the mourning one, and then spending a large amount of space explaining that he agreed with the second interpretation, that is, this poem is a summary of Li Shangyin's own poetry collection, which has become a poetry technique.

Of course, it is also explained first why the predecessors opposed this statement. Li Shangyin's poetry collection has been scattered and rearranged many times in history, so it is not necessarily Li's original intention to put it in the first part now, so it cannot be explained by hand because of the beginning of the article, it is a kind of text that replaces the self-prologue. At this point, Mr. Qian used many quotations to illustrate that historically, the Jinse was placed at the beginning of the poetry collection, and there were many versions. Therefore, the "prologue" does not come from the beginning of the article. Li Yi as a self-prologue, the opening of the clear meaning, summarizing the whole collection, but without pointing.

After that, he focused on explaining the whole text, the first link sighed nearly fifty years old, the jaw link explained the "method of composing poetry" with allusions, the neck link talked about style and realm, and the tail link echoed the first link "good dreams are easy to wake up, and the feast will be scattered". The numerous references in between are amazing.

The wonderful thing is that we first explore the various interpretations of our predecessors, analyze them one by one, and point out the problems of the statements. Then borrowed the verses about "Jinse" in Li Shangyin's complete collection and made a comprehensive analysis. Combined with literary and artistic theory, and Chinese and foreign works, a comprehensive appreciation was made. Break through the confusion of the ages, explore the hearts of the ancients, interpret the poems, and make conclusions.

2. Excessive edge

Mr. Qian Zhongshu commented on Zhao Yishi: "The style is not high, but the rhetoric is properly rounded. Can say the luck of the book, hate the sharp edge is too exposed, the machine tune is too fast. Zhao Yi has "On Poetry", a more familiar one of the evaluations of Tang poems: "Li Du's poems have been passed down through the ages, and they are not fresh so far. There are talented people in the jiangshan generation, each leading the way for hundreds of years. ”

The latter is incessantly praised, and has gone beyond the scope of poetry. After all, when it comes to poetry, who dares to be Li Duxian? As far as the intention is concerned, Mr. Qian's criticism is indeed to the point, and the parable that follows is particularly amazing: "Like the new wolf writing about the skin of his daughter, the fat wheel walks frozen ishizaka." The previous sentence can be understood by casual brain supplementation, and the hard pen touches the soft skin that can be broken by blowing bombs, and the real picture sense is still in front of you.

The next sentence is quite incomprehensible, looking for online information, I don't know where the code is? If according to the understanding of the previous sentence, the hard object is soft, it should also be a metaphor for excessive force.

"Dwarves have seen dramas and seen them all to say short and long with people." Compared with Mr. Qian's analogy, it seems to be too ridiculous and demeaning. However, in today's public opinion, network public opinion, it seems to be three points. A pat on the back of the praise, a rush of rebuke, only to see the tall building, and then smell the collapse of the building.

This popular oil sentence is not used, because Mr. Qian is also known as the use of Zhao Yi, which is very melting kung fu. For example, the sentence "The bear fish laughs at itself and is greedy", using the famous sentence of Mencius's Confession of The Son: "Fish, I want it; bear paws, I also want it." "Nature is appropriately integrated, canonized in poetry, and takes into account their own attitudes, unique eyes, and their own style and personality, which is related to talent."

Speaking of parables, there is also a sentence at the end of this chapter, which can't help but knock on the table and applaud: "The verses are moving and impatient, and the friends of Judah cannot be respected for a long time, and the blades are thin and sharp, and the back is not thick." ”

The inability of Jewish friends to be respected for a long time is quite enlightened, but it seems that the description of the poem here is not as appropriate as the latter sentence. Back to this sentence to open a separate article, talk about the experience. The latter sentence, the knife is sharp but thin, describing the poem as good-looking but there is nothing to recall, the derogatory language is placed in the present, Jia Moumou's broken sentence, the female poet "through most of China to sleep with you", pretending to be amazing, has not even looked good.

3. Tang poems Xi lai yi wei

Superstar has a set of four episodes of "Interview with Yu Yingshi", and after watching the world view, it is quite shocking, and Rao is already the age of a father. I can't talk about it, I only talk about literature and art here. At the end of the section, I was asked whether there was a corresponding plan for all the dynasties that had written famous books, but the Tang Dynasty was missing. Mr. Yu is frank that the elderly retire, the body is not as good as before, do not talk more about the plan, take a step to see a step. It seems negative, but in fact it is not, only a casual sentence, such as starting with the Tang Dynasty, it is inevitable to study Tang poetry and Buddhism, and the two are actually quite related.

"Tan Yi Lu" Tan Yi Lu quotes "Like a reed from the west, a great changing Xuanfeng, it is a teaching outside the world, and the altar is dazzling." Most of the poetry is based on Zen metaphors, and the so-called charm, style and spirit are the same as Zen Buddhism. For example, Wang Mojie "the empty mountain does not see people, but hears the sound of people's voices", silence is not silent, Tang People's comments: The noise in the shadows, the charm of the spirit is good.

The Song people commented on Tang poetry with Liu Chenweng of the Southern Song Dynasty as the successor. "Nandu talents, not the former Song Dynasty, but talk about poetry alone in ancient and modern times." The meaning is hazy and ambiguous, and the text is mysterious. Without a word, gradually zen. The so-called "unintentional meaning, more like no language" and "the magic is unspeakable". There are many comments such as "wonderful" and "wonderful", the meaning of which is clear, quite without a trace of sigh. Latecomers are not smallly influenced by it, and the so-called article is natural, and the clever hand occasionally obtains it.

Mr. Qian mentioned that the Tang people called "calligraphy and painting different names and the same body," such as Wang Mojie's poem "People idle and laurel flowers fall, and the night is quiet in the spring and the mountains are empty." The Song people emphasized that poetry and painting are different and the same, and when they said, "Poetry is an invisible painting, and painting is a tangible poem" Although it has gone to "there is nothing originally, where to stir up dust!" ", but there is still a spirit of charm. On the same question, Mr. Qian quoted an ancient Greek poet as saying, "Painting is a silent poem, and poetry is a painting that can speak", which is quite brilliant! On the basis of the pun, there is a vivid appearance.

Wang Wei was revered as the founder of Nanzong painting, sitting on the first chair, and his poetry and painting style was consistent. However, Mr. Qian thought that although shen yun poetry was everyone, as far as poetry was concerned, Du Fu, who had gathered great achievements, should still sit in the lead. That is, the standard of traditional literary and art criticism, painting should be virtual, poetry should be real. Here there are quite some opinions on public opinion, personal preference, biased towards Wang Wei more.

4. Good poetry is like a projectile

"Tang Poems West to a Reed" was hurriedly completed, and I was discouraged from watching it again. First, the paragraph seems illogical, and the second is a hasty conclusion. When reading Mr. Qian's original article and notes, I was inexplicably excited, and I had the feeling of being pointed to the cave passage. However, when it is repeated every other paragraph, it is stretched, and the original circle point seems to be unknown.

Want to read the notes of bad writing is better than good memory, writing experience is better than copying the public, reading to a comfortable place, you need to record the text in time, and your own experience, otherwise it will be like a strange road. Then there is the readability of the classics, which seems to be experienced again, and then hazy, and repeatedly forgotten. Read it two or three times many times to feel brand new, if a little drip into yourself, the use is endless.

Back to the main topic, the so-called west to a reed refers to the eastern transmission of Buddhism. Dharma Guru crossed the river with a reed and introduced Zen Buddhism to China. Mr. Yu Yingshi believes that Tang poetry and Buddhist Zen Buddhism are two major topics that cannot be bypassed in the study of the Tang Dynasty, and they are closely related. In fact, many literary and art critics after the Tang Dynasty have the same view. Mr. Qian also agrees with this.

To add a piece of material, Wang Shishen compiled the "Tang Xian Sanwei Collection", paying special attention to Shen Shenyun and emphasizing the meaning of the whole poem. He quoted the words of Master Enlightenment and Daguan, and used Zen to speak poetry, emphasizing subtlety. That is to say, the poem should not be revealed, and the unspoken meaning should be experienced by each person himself. This Zen poem is also blind.

Therefore, Lu Fangweng's poem "The Theory of Projectiles Is Wrong", is a refutation of Xie Xuanhui's "good poetry is like a projectile, this true living method is also." This argument is thought to make the verses flow lightly. However, Mr. Qian believes that Xie's original intention is like a brocade machine brocade, a jade person, a poor and ingenious, a round and beautiful flow, not a light slip.

Lu Fangweng's meaning is only because his self-composed poems are inevitably slippery, and his words are like this. Also because of self-knowledge, there are many imitations of Lu poems, especially the ancient and simple Mei Yaochen poems. Mr. Qian listed dozens of examples of imitations and originals and made explanations. Compared with reading, it is very interesting, the so-called familiar reading into recitation, imitation and imitation, can be calm.

For example, the Mei poem "Wet Firefly Grass Is Not" is imitated as "Firefly Wet Grass is the same as the brigade", Lu really feels that Mei Shi is good, and there are poems to prove that "ordinary life dissolves the cattle hand, and the remaining blade is restored alone" "Rough can peep into the outline, but also enough to comfort the ordinary life", love, overflowing with words.

Lu You believes that Mei Shi is not able to learn, because his selection of each word is stable and solid, and he is skillful in change. If you want to learn, you can't learn your hands. Ouyang Xiu once mentioned Mei Shi's beauty and strange ingenuity, and Lu also echoed this statement.

Mei Yaochen believes that his "bitter words are not mature", advocating a plain poetic style, and proposing that even if he is poorly crafted, it is a realm that is difficult to achieve. From this, it is known that Lu You is really misunderstood about the light slip of the projectile.

Therefore, whether it is Mei Yaochen, who pursues blandness, or Jia Dao, who deliberates into poetry, he has not departed from the "projectile" theory.

5. Yuan Ming's poems are inappropriate

Mr. Qian pointed out that some of the annotations in Yuan Ming's "Poetry with the Garden" were inappropriate. Yuan Ming: "Commenting on the poetry of people, relying more on ear food, a speckle of feathers, not fully recognized." ”

Ear food should be the meaning of the hearsay book, and Kataba interprets it as a blind person touching an elephant and seeing a one-sided face. The text is like a picture, fresh and unconventional, and several grades higher than the commonly used idiom to describe Yuan Ming's annotations in a partial generalization.

First, Wang Duoshi: "The plan is not a thousand acres of bamboo, and Fusheng only serves as an official for ten years." ”

Yuan Ming commented that this is Wang Duo's proficiency in "jingxing", telling his own fortune, when he can get the middle yuan, and he knows that he will not live. Mr. Qian pointed out that this view is obviously based on the annotation of Qing Shen Deqian's "Poetry of the National Dynasty": "The sentence "attributed", less than ten years old, the poetry was completed early. ”

But Wang Duo had no such intention, just a confession that was indifferent to eunuch affection. Shen Youshi's connection to human life and death divination has been far-fetched. Yuan Mei changed the "attribution" to "livelihood" to achieve the theory of "self-knowledge and non-longevity", which should not be.

Second, Ma Puchen's poem depicts the fisherman's life: "Since the long rod, the career is the end of the water." "Yuan Ming will be attached to: True King, Meng Ye. In fact, it is not similar to the style of Wang Wei and Meng Haoran, who have paintings in the poems.

Third, Tang Shunzhiyun: "Poetry with wealth and nobility is not good." Yuan Ming disagreed with this, and cited Jin Deying's "Suburban West Willow Branches": "The willow branches on the side of the West Straight Gate contain smoke and dew to whisk the flag." Long is the supreme advent, the time parting is not known. ”

Just because of the supreme privilege, he concluded that he was rich, and he did not know that this poem was divorced from the writing. Willow trees are mostly planted on the water side of the shore rather than in the palace, unlike the backyard jade tree, which can bear the supreme favor, so even if it is lonely and sad on the side of the bridge, it is only for people to climb and fold and give goodbye.

Mr. Qian listed a number of yongliu to illustrate that the verses are good, but not rich and poetic. Yuan Ming's objection here would have been correct, but the example seemed to be improper.

6. Kingdom Wei Xie Dream of the Red Chamber

Previous Supplement

Regarding the interpretation of Li Shangyin's "Jinse", I will first add some content.

During this time, I watched the video of the "Literary Theory" class at the B station, explaining a lot of confusion, such as the reading comprehension of the students' examination classic works, and the good thing reporter asked the original author to do the questions, often unqualified, low score. Thus hype to discuss the irrationality of the exam. As far as literary research is concerned, after the author's work comes out, it does not have the right to authoritative interpretation, because the next pen is like flowing water, and there is often implicit or subconscious content.

The poem "Jinse" is also mentioned in the class, so I will say it in passing. Mr. Qian verified that this poem is the preface to Li's poetry collection, describing the text and style of his poems. This poem is also mentioned in the "Theory of Literature" class, the insight is quite novel, privately thought to be more basic, for reference: the pronunciation and meaning of Chinese characters are separated, and "Jinse" has no explanation, the reason why it has become a famous passage is because the rhyme is confusing and touching.

Back to the point

Wang Guowei's "Dream of the Red Chamber" talked about the causes of the tragedy: Jia Mu did not love Dai Yu and was lonely, Lady Wang was close to Xue Shi, Feng Jie was jealous of Dai Yu's talent, and attacked people and feared that "the east wind overwhelmed the west wind", and Bao Yu had no opinion on this, resulting in the "tragedy within tragedy" of Jin Yu and Mu Shi.

Mr. Qian pointed out that Wang said that Ben was from Schopenhauer, which seemed to be unreasonable.

Schopenhauer divided tragedies into three types:

The wicked do the evil

Blind fate

There are no snake and scorpion characters and unexpected changes, but the heavens and people are misplaced.

His human nature is fond of Tianzhu ancient pipes, and Buddhist texts are also one of his philosophical sources. The Great Wisdom Theory of Wisdom: "The body is suffering, the new suffering is pleasure, so suffering is suffering." The poles are born of work, and after the first happiness, they are bitter. ”

Much of this is true in the East and the West. The ancient Roman poet Lucretius said of the difficulty of life: "Man is in the world, and he is thirsty all his life, and there is no solution." Hegel once said, "Today there is nothing to be gained, and tomorrow there will be no hunger." ”

Mr. Qian mentioned the performance of poetry: men and women are obedient, and they are not the same at the beginning. Seeing sentimentality is easy to get tired, seeing less affection is changeable; but seeing Sauvignon Blanc is a long meeting.

Novels such as "Madame Bovary" in the West and "Flowers" by Mr. Jin Yucheng in the contemporary era write about the suffering of life, destroying the well-being of life with extraordinary momentum, and also revealing this meaning. Tragedy therefore has a fascinating artistic power, such as the slang phrase "it is better to steal than not to steal", and Li Yuyan "allow to see and not to eat". The so-called "lack of but some demand" is nothing more than that.

King Weiben Schopenhauer's analysis of the tragedy of Bao Dai seems to be unreasonable. Because according to Schopenhauer's original intention, it should be allowed that although the good fortune is good, the good will gradually become a vendetta, and "the wrongdoer will eventually be resentful." The two walk into the city and then hurt each other, which can better reflect the tragedy of tragedy. However, the dream of the Red Chamber has now ended, and it is necessary to cut things into love and not have to cut enough to be appropriate. Here, Schopenhauer is attached to explain the "Dream of the Red Chamber", which is inevitable to practice self-harm and forced to clash.

From this, it is known that scholars try their best to open things up and merge into one family, but they participate in Zen and expensive work, in order to learn and know. "A strong and a solution can only make the gap between philosophy and literature even more."

7. Stylistic evolution is not a successor

Generally we will say "Tang poems, Song ci, Yuan qu, Ming and Qing novels", and sometimes add Han Fu. It is very illustrative of the characteristics of each era, but if we simply regard the change of literary form as absolute metabolism or successor, it is too arbitrary, and the words are particularly loose.

Ming Li Mengyang's "Records of fangshan jingshe": Song Wushi, Tang Wufu, Han Wushao.

Hu Yuanrui: Song people's words win and poetry dies, Yuanren song wins and words also die.

In fact, this is not the case, for example, the Six Dynasties Li body is popular, taking the scattered body and replacing it, until the Tang Dynasty is revived in ancient Literature, the large-scale pen is scattered, but the Li body has not been extinguished, and the line is long, although it is rapidly declining in the Ming, and it is suddenly better than the Qing.

The development of the style is nothing more than the shortcomings of the existing style, when a sensitive literary artist finds that the existing style has some kind of fault or constraint in content or form, he must find a way out, thus promoting the emergence of a new style.

The seven sons before and after the Ming Dynasty were dissatisfied with the "TaiGe style" only pursuing elegance and craftsmanship, disregarding the stale vulgarity of style, and advocating retro imitation.

The European Renaissance was a revolution in art and ideas, but followed by the form of the revival of ancient Greece and Rome, thus breaking the flashiness and increasingly softness of the time.

To put it simply, social life and human language are constantly developing and changing, and the requirements for expressing emotions and modeling things are naturally becoming more and more abundant, and the style of writing is becoming more and more varied and colorful, and the history of the development of literature as a whole is like this.

Then we cannot simply conclude that Tang poetry is higher than Song poetry.

Yuan poetry is not as good as Yuan Qu, Han Fu can win over Han Wen, just like the high word length (Sima Qian) Yes? Can Tang Shi win over Tang Wenye?

It is said that "endowment is limited to Han, poetry is limited to Tang, and qu is limited to Yuan." It is a fallacy. Similarly, specific to a certain literary scholar, it cannot be said that Sima Xiangru's fu is well written, and it can be said that Sima Qian's writing is not good. In fact, they are all good at what they do, and they are in the literary world.

8. Cypress beam body

"Suiyuan Poetry" has a poem by Zhang Xuan's "Drama Title", which is quite interesting to read:

Calligraphy and painting piano and chess poetry hops, when the pieces did not leave him.

Now seven things have changed, chai rice oil salt tea vinegar sugar.

From being at ease, to falling in the middle of the family road, stacking poems with physical nouns, the two kinds of life content before and after, real helplessness, people feel emotional.

To describe the helplessness of middle-aged people, or greasy, contemporary also has similar content to stacking items. For example, the feng tang article where the word "greasy" is popular; don't be fat, don't be dirty, don't educate the younger generations, don't stop studying, and so on.

The good deeds add fuel to the fire, but also stack items: hand-made, copying scriptures, goji berry thermos cups...

The forms are different, poetry, prose, mortal object, Versailles, etc., but the content is the same.

Tracing back to the roots, the earliest is the "Oriental Shuo Bei Biography", "Han WuDi Collection", to the Wei and Jin Dynasties, the scholar Shang Qing talked, laughed at each other when things happened, and had a clever back and forth similar to the oil poem. Harmonic, rhyme, and joint sentence style, with the meaning of game banter, at that time it was called "Bai Liang body"**.

The "New Language of the World" records that fathers and children answer three sentences, which are full of fun:

What does the snow look like?

Sprinkle salt in the air to make a difference,

The willows did not rise because of the wind.

Writing snow is nothing more than this poem by Zhang Dayou in the Tang Dynasty, inheriting the past and the future, and thus naming an example: playing oil poems:

Heaven and earth are unified, and inoe is a black cave;

The black dog is white, and the white dog is swollen.

Such works declined after the Tang and Song dynasties, but they rose again in the Qing Dynasty. The personality of each person in "Dream of the Red Chamber", in addition to being a person in the world, is also very distinct in mutual and poetic responses. Xue Pan does not appear much, occasionally drinking orders, not taking off the true color of the overlord:

The daughter is sad and married to a man who is a turtle.

The daughter was worried, and a big horse monkey came out of the embroidery room.

Happy daughter, the cave house flower candle towards the lazy.

Daughter Le, a ** poke in.

Qing Jin Heshan wrote a long narrative poem, "Original Thief", a long poem, stacked with twenty words of artifacts, outlining the fierce attack of the Taiping Heavenly Kingdom army. The family's movable and immovable property was listed, and at the hands of the strongman, they were destroyed one by one.

From the initial banter, development and change to stacking physical objects, the "Bai Liang Body" still retains rhyme in form, and on the surface it also maintains the characteristics of the game for fun, but the actual content has been greatly expanded.

9. History, biography and fiction

Is Romance of the Three Kingdoms history? It seems that it is not, it is a novel. Is Romance of the Three Kingdoms history? One of the highest-rated "first four histories" in the Twenty-Four Histories, a monumental work of jichuan historiography. However, the "Romance of the Three Kingdoms" itself is also the product of cultural reintegration after the end of the Three Kingdoms separation period, that is to say, the words and deeds of the characters in it are also with the imagination of the author Chen Shou, so as to make a statement on behalf of the author.

Since they all bear the suspense of the author, where is the boundary between history, biography and novel?

Borrowing from the same incident, Shi Kefa went to prison to visit zuo Guangdou, a mentor persecuted by the castrated party, and the four authors explained this problem by different accounts of Zuo Guangdou's lamentations.

"Erhu is here?" -- Shi Kefa

"Yu has come to this point, why did Ru come to die?" -- Zuo Guangxian

"Neighbors, be generous and self-loving!" On another day, there is something going on in the world, and I hope that the son will be the pillar of the country. Since I was cursed, the protégé was a former official, and he was arrested against the party. Imiko was born into a sinner, a martyrdom of keng, and the front of the adulterer. When I die, the Son will follow, and he will kill me again!" -- Demings

With his fingers, his eyes were like torches: "Yong slave, wherever this place is, and before Ru lai." The affairs of the state have eroded to this point. The old man has been destroyed, Ru Fu is light and righteous, and who can support the affairs of the world. Don't go quickly, no adulterer framed! -- Fang Bud

People of different talents use different languages and have different effects. The first two are sighs, wearing long sentences of sixty-two words, explaining the context, which is obviously the language of ideas. This writing method is often used in today's works, for fear that the reader will not understand, so the fiction is the Tao, but it is a pity that it does not take into account the form of danger in prison, whether there is a condition to say these words.

Fang Baozhi's description is the most vivid and touching, and the relationship and emotions of the two people, the indomitable spirit and the atmosphere of the meeting are all written as "energetic and vibrant". The finishing touches, the portrayal of the characters and the rendering of the environment make people feel reasonable. As if you hear it, you have it.

From this, it can be seen that literary works are inseparable from writing people and things, how to write to give people a sense of reality, and inspiration can be obtained from comparison: trivial superficial phenomena are not equal to truth, and the reasonable words and things related to what are written cannot be omitted. The so-called memorization is all Shijia suspenseful ideas, virtual reasonable words. In this regard, literary works and history have similarities in their writing, which are inseparable from fiction and endorsement.

However, this situation is not the same as the fictional situation of the fictional characters of the novel legend, and it is not difficult to understand. Looking at the Romance of the Three Kingdoms and the Romance of the Three Kingdoms in this way, as well as many of the legends of the Three Kingdoms that have been continued by later generations, we can roughly draw differences in their writing methods.

10. Metaphors in Rhetoric: Qu Metaphors and Metaphors

Ming Dynasty Wang Tingne's "Lion's Roar" Twenty-first Fold Chen Ji Is Often Afraid of Nei: My mother's hand is not ginger, how to hit the ear half a month ago, it is still spicy.

The taste of ginger is introduced by the shape of ginger, and the twists and turns are appropriate, and it is unbearable to read.

Probably influenced by film and television works, I think Chen Ji is often a Ming Dynasty person. In fact, this is not the case, Su Shi has a poem of oil: overhearing the roar of the lion in Hedong, the cane fell to the palm of the hand in a daze.

Chen was a Song Dynasty man, and his wife was jealous, and occasionally the guests had a voice prostitute, so they hit the wall with their rods, and the guests dispersed. I don't want to have another ear, it's funny, it's sympathetic.

The metaphor in rhetoric has a twist and turn, but each talent is different, and it is difficult to understand its taste. Mengjiao has a poem: it seems to open the mouth of the lonely moon, and can say the heart of the falling star.

"Suiyuan Poetry" is very dismissive, the moon does not smell the mouth, and the star suddenly has a heart. It's really chiseled. Later generations of Pan Deyu also believed that it was "unreasonable". Then Su Dongpo, who was full of energy, praised this. In fact, this is the difference between the depth and depth of literary and artistic literacy.

"Moon mouth" does not mean that the moon has a mouth, but refers to the mouth shaped like the moon; "star heart" does not mean that the star has a heart, but refers to the star-like heart. For example, the writing often uses "mountain head", "water surface", "estuary", "tree waist", etc., and compares them with some similarities or similarities.

Take the righteousness of the bodies near, and know under the scriptures. The mountain is called by the head, and the cover is taken from the people.

More like Li Shangyin:

The warbler cries like tears

The wax torch turned into gray tears and began to dry

The use of this rhetorical technique can undoubtedly enhance the appeal of art.

For example, Wordsworth (an Eighteenth and Nineteenth Century English Romantic Poet), compared with "moon eyebrows" and "moon eyes", is also a metaphor for ignorance and ruthlessness.

Ginger erba is a metaphor for people with things, and Westerners often have the sweetness of sugar as a metaphor for the taste of love, side-by-side out, partial foot, strange and coincidental, Chinese and foreign communication.

Another kind of metaphor, such as the Buddhist saying three more and nine ru, takes its shortness, impermanence, and never returns. Such as He Zhu's "Qingyu Case": Try to ask a few idle worries, a river of tobacco, full of city wind, plum yellow when the rain. With three kinds of physical objects, it is a metaphor for sorrow, laying out the comparison, and feeling empathy.

11. Metaphor for the second handle

The same parable has either positive or negative meanings, which is called two handles. This is not the usual rhetoric with a sneer: You are so clever. Placed in different scenes, there is a sense of praise or irony.

Take the lotus flower, for example, born in mud, its roots are white, and its fragrance is elegant. Ancient and modern people are often used as a metaphor for the high quality of people, out of the mud and not stained. Liu An praised Qu Yuan's "mud but not muddy", and Su Shi had a poem "Silt gives birth to lotus flowers, and dung soil produces fungal mushrooms". As for Zhou Dunyi's famous sentence "Give the only love lotus out of the mud without staining", it seems to be picking up people's teeth and wisdom, which is derived from Su Xueshi's poems, but it is more praised.

However, since the Ming and Qing dynasties, this metaphor has gradually become a good name for prostitutes.

Qian Qianyi "Gentleman: Repair the Green Lotus Pavilion and pull out the silt." ”

Praise the willow as it is: jade in the fire, fragrant lotus in the mud.

It is used as a metaphor for being a lowly person, but of high quality. The green mud lotus is already a vague pronoun, although it does not seem to have a pejorative meaning, but it is not the original meaning.

For example, "insect erosion wood", Huang Tingjian's metaphor, but it is not original. The original sentence comes from a Buddhist scripture with a good saying, such as insects eating wood. Metaphors occasionally become words, think hard, and finally get a wonderful sentence. But another poem: Juvenile Mihanmo, No Alien Worm Silver Wood, is a pejorative meaning. No choice, no direction.

Another example is Zhuge Liang's "my heart is like a scale, I can't be heavy for people", using the scale as a metaphor for people's selflessness, fairness and permission to people and things, which is a word of praise. And Zhu Xi's "heart is like a scale, and if something is on it, the scale is uneven", which is a satire on people's inflammatory tendencies.

In addition, the same metaphor can also be interpreted in many ways and become different. Huang Tingjian "lotus born silt" and "silt dissolved into white lotus root", the nature likes silt, which is close to the flower and mud. And "in the mud of the lotus, it is not in tune with the mud", which separates the lotus from the mud.

Whether it is a flower near the mud or a flower away from the mud, it is a proper metaphor.

12. Synaesthesia

Lotte poem: Looking up at the painting, listening to the doubts in the low ear. The gist is that the viewing consciousness of the ear and the eye are in contention, the form and sound, and the vision and hearing seem to be connected.

Mr. Zhou Zhenfu gave an example, "Pipa Line" at this time is more silent than sound, the big sound is loud, with the sense of ear awareness illusion to supplement the eye awareness of reality, creating a sound in silence. Text descriptions outline the visual image and evoke auditory associations. Thus generating moving power.

Wang Mojie has always been famous for his poetry and paintings:

Look at the mountains from a distance, and listen to the water silently.

Spring flowers are still there, and people and birds are not alarmed.

The writing has color and painting, and sometimes there is sound in the painting, which is the ultimate of synaesthesia.

Jiang Xun said that Chinese is really bold, only using black and white to depict the natural world, or thick or light ink, but can paint moving landscapes, landscapes, and even snow scenes! Reckless and profound, just the background of black and white can make people immersive.

Wang Shizhen: The so-called yizu does not seek color, the so-called yizu, that is, the entry of the second, can have the artistic power to communicate people's various feelings.

epilogue:

This "Qian Zhongshu < Talking about Art Records > Reader", read the record, was purchased on confucius online in 2010. There are always times in a year, reading Mr. Qian Zhongshu's deeds and works, a certain whim can not resist placing an order. Such impulses have occurred many times, for example, in a certain historical reminiscence article, reading about Liang Qichao and about Chen Yinke, there are attempts to read their works.

However, this recklessness gradually faded with the shelving of the book after the purchase. Even if every word is known, the whole article is still like reading a book in the sky, which knows that there is a threshold for scholarship, ignorance and fearlessness, and it cannot help to glimpse the scenery inside the ivory tower.

I think I may never understand it, and I hang up the hole net again and give it to book friends. However, this one has been on the shelves for ten years. A fish that slips through the net, or always feels that one day it will be able to read it? I don't know.

Turned over the copyright page, published in 1992, priced at 11 yuan, thick like a dictionary. Kong net 10 years to buy is 20 yuan, has been nearly twenty years from publication, the appearance, in addition to the traces of time, and new books in general. The bookshelf has been idle for another decade, there are more yellow spots, and the weather in Gangnam is very unfriendly to books, especially modern machine paper. Over time, the fragrance of books is gone, and the musty smell is full.

A few years ago, I inexplicably took the book down, read two articles, and felt that through the annotations and the explanations of the author of the book, I vaguely had some understanding of Mr. Qian's writings. At the moment, I am at ease to read carefully, I really can't read the chapters, skip one or two, fortunately, the length is not large, and there is not much impact on reading through. When encountering something that can be read through, read carefully, preferably from the part that can be understood, slowly extends to the confused text.