Ye Jiaying: Look at some old Chinese poems from a more modern point of view

Ye Jiaying: A Few Old Chinese Poems from a More Modern Perspective (Part 1)

Ye Jiaying

China Poetry Network

Look at a few old Chinese poems from a more modern point of view

Some time ago, the modern poetry clubs of two universities invited me to give a lecture for them, and their original intention was to ask me to talk about the problem of modern poetry, but for modern poetry I am really a layman, I myself have no experience in creating modern poetry, and I have not read enough modern poetry, so I dare not talk about the problem of modern poetry, but the enthusiasm of the students is difficult to push, so I think that since I am a person who teaches old poetry in class, why not use the topic of new and old interception, on the one hand, I can meet the modern requirements of my classmates. On the one hand, it is still not far from the content of the old poems I taught, so I have made two lectures on the theme of "Looking at Several Old Chinese Poems from a Relatively Modern Point of View", and the content of these two lectures is really not exactly the same, and this manuscript is the merger and arrangement of these two lectures.

First of all, I want to briefly explain what I call the modern point of view, generally speaking, in the western modern literary criticism theory, there are two points that are most important to the poetry aspect: the first point is the use of imagery, the so-called image is not necessarily limited to vision, it can be auditory, it can be tactile, it may even be all psychological feelings. As for the role of imagery in the work, there are also many kinds, which can be metaphorical, can be metaphorical, and can be symbolic. In short, its purpose is to transform some imsensible concepts into images that can be felt. Because poetry was originally written in beautiful language, beautiful writing is appealed to human sensibility, not to human intelligence. Therefore, to be able to give people a real and perceptible image is the basic element of a good poem. Although Chinese literary criticism has no complete theory of imagery, but the preciousness of poetry can have a perceptible imagery, it is the same as that of ancient and modern China and abroad, in Chinese poetry, the poetry of the scene is of course described as "as in the present", and the poetry of lyrical narrative is more expensive because the author can turn its abstract concept of affection into a perceptible image, such as Li Houzhuo's "Qing Ping Le" the word "away from hatred is just like spring grass, more far away from life", Qin Shaoyou's "Minus Magnolia" word "want to see the ileum, cut off the incense of the lavender." and Li Taibai's poem "Dengjinling Phoenix Platform" "Always for the floating clouds can cover the sun, Chang'an does not see to make people sad." The latter main word is a metaphor for "leaving hate" with the image of "spring grass" that "goes further and farther to live", the word "less travel" uses the image of "small seal incense" in the "lavender" to allude to "ileum", and the poem of Taibai uses the image of "floating clouds" and "covering the sun" to symbolize the obscuration of slander, and the "invisible" of "Chang'an" is hurt. The reason why these three poems have become famous sentences that have been recited is precisely because they can express abstract feelings with clear and perceptive images, so that the reader can have a very deep feeling. It can be seen that from the perspective of the "use of imagery" in Western literary theory, old Chinese poetry is a new angle of appreciation that can be tried. Another point that Western literary criticism theory attaches importance to is the structure of poetry in terms of planning, and the texture of texture in the use of words to construct sentences. As I said earlier, poetry is a kind of beautiful writing, as a work of art, how to organize some materials with words and chapters, should be the top priority of a poet as an artist, this kind of artistic for the dispatch, sentence making and the arrangement and use of the chapter, its importance is also the same as ancient and modern China and foreign countries, due to the limitation of space, the focus of discussion will only be based on chapters and syntax. Let's take two examples to see the importance of chapters and syntax in Chinese poetry. For example, Du Fu's "Song of Drunken Time" gave Zheng Guangwen a poem, the beginning of the "Zhugong Gong Gong Gong Dengtai Province, Mr. Guangwen's official is cold, Mr. Jia Di is tired of sorghum meat, Mr. Guangwen is not enough to eat, Mr. Xi Huang, Mr. Guangwen has talent over Qu Song", in terms of chapter law, the first four sentences are two strands of contrast, with the "Gonggong" "Dengtai Province" and "Jia Di" of "Tired Sorghum Meat" to make a sharp contrast with "Mr. Guangwen" of "Guan Du Leng" and "Insufficient Food", which very prominently shows a sense of sadness and injustice, and the five and six sentences put "Zhu Gong" and "Jia Di" On the one hand, only Mr. Guangwen is left, it can be seen that the "princes" and "JiaDi" are not expensive enough, and Mr. Guangwen's uniqueness can be respected, and in just six sentences, he is called Mr. Four times in a row, which vividly shows Du Fu's love for Zheng Guangwen. Another example is Wang Wei's poem "Mountain Residence Autumn Dawn", "Bamboo hustle returns to the Huan woman, the lotus moves the fishing boat" and the poem "Watching the Hunt" poem "Wind Power Horn Bow Ming, General Hunting Wei City" sentences, are first said "bamboo noise", "lotus movement", "wind power horn bow sound" and other direct sensory feelings, and then said "return to the Huan Girl", "fishing boat", "general hunting Wei City" and other rational events, this kind of "fruit" in front, pour "cause" in the back, is the reason why Wang Wei's poems appear particularly real and powerful. Therefore, we can say that in addition to "imagery", chapters and syntax are another important factor in becoming a good poem. It is an extremely huge task to sort out the "imagery" and the various types of chapter syntax used in old Chinese poetry, not to mention that chinese literary criticism has always lacked a theoretical system in this aspect, and if western theories are forced to be applied to China, so that those with the surname Li wear the hat of Zhang, it is inevitable that there will always be a sense of inadequacy, so I do not dare to try to do a precise theoretical analysis of this aspect in this small article, I just want to do it from the poets I prefer. Just pick some slightly representative works to try out for a new perspective. Among the old Chinese poets, I liked many authors, but now I want to bring up the discussion of only the works of Tao Yuanming, Du Fu and Li Yishan. I chose these three authors, one because I have a deep preference for them, and because these three authors can represent several different types of old Chinese poets. I think that among all the old poets in China, if the true Chun Yingche of the texture of "man" and "poetry" is concerned, since Tao Yuanming is the first author; if the breadth and depth of feelings and workmanship are enough to gather great achievements, since Du Fu is the first author; and if the subtlety and sensitivity of feelings and the subtleness of the mind are enough to penetrate beyond reality and go deep into a certain dream realm belonging to the soul, Li Yishan should be the first author. The works of these three authors are deeply related to their personal lives and emotions. As far as modern Western literary criticism is concerned, they think that imagery and sentence structure are important factors in the formation of a poem, related to the value of poetry itself, and therefore important; and the author himself is not important, because the author's life is not directly related to the value of poetry itself, so in Theory of Literature, Rene Wellek wrote "Literature and the Author's Life" In the chapter (Literature and Biography), it is said that "literature is not a document of the author's life" and that "although the study of the author's life has some value for literary history, we cannot say that it has any real importance for literary criticism." This theory is the complete opposite of the traditional Chinese attitude of focusing on the compilation of the author's chronology and the examination of the author's ability. I think that these two attitudes seem to be biased, and the true value of poetry certainly lies in the work itself, not in the author outside the work, but Mencius said it well, "Reciting his poems, reading his books, not knowing what he can do, is to talk about his world", and especially poets like Tao Yuanming, Du Fu and Li Yishan, whose works are deeply related to the author, it is almost inevitable to talk about their "poetry", so although I marked "imagery" and "chapter and sentence structure". Two more modern points of view, but when discussing the "poems" of these three authors, it is still inevitable to use the old traditional views to talk about their "people", fortunately, my topic turned out to be a new and old interception of the topic, then the content of the old and new interception, the reader can naturally forgive it.

Speaking of Tao Yuanming first, Yuanming was the earliest author of the era among these three poets, and in Yuanming's time, Chinese literature did not have a decent work in theory, let alone the awakening of the theory of the use of imagery, but despite this, yuanming's poetry was already full of extremely rich and perfect expressions of imagery. For example, the nine poems of his "Pseudo-Ancient" are almost every capital of the capital is an expression of imagery. Its poems, such as "Rongrong Window Under the Lan", "Dancing New Yan", "Winding Hundred Feet Building", "Cangcang Valley Tree", "Planting Mulberry By the Yangtze River", "Kyaukgyao Cloud Moon", although they can be seen at a glance are metaphorical works, while some other works that appear to be narratives from the surface are about personnel affairs, such as "CiJia Yu Yan Driving", "There is a soldier in the East", "Young and strong and strong" Heads, although they seem to be narratives, but in fact, they write "endless" places, "Other Cranes", "Lone Luan" songs, "Boya" and "Zhuang Zhou" The "roadside high grave" and so on are all all metaphorical images, and if they are considered to be pure narrative works, it is inevitable that they will lose their intentions. In fact, in Yuanming's poems, all his best poems are often neither simple narratives, nor simple scenes, nor simple lyricism, and Yuanming's masterpieces are often a state or realm that expresses the activity of the ideas in his soul, which is one of the major features of Yuanming's poetry. Yuanming himself in his poem "Drinking" poem "Jielu in the Human Realm" once described a large section of scenery after describing "the mountain qi is good day and night, the birds are returned", but he said that it is "there is a true meaning here"; the Qing Dynasty Wang Fuzhi commented on the seventh of the nine poems of Yuanming's "Pseudo-Ancient", "The sun is cloudless, the spring fan is slightly harmonious", and he also once said: "Picking out the scenery language, it is a good victory, but this is not a scenery language, the elegant people are victorious in their chests, and the heavens and the earth and mountains and rivers are all self-proclaimed." Another Qing Dynasty scholar, Qiu Jiasui, commented on the fifth of the nine poems of the "Imitation of Ancients" and once said: "This gong himself has the meaning of his life to be poor and observant" ("Dongshan Caotang Tao Shi Notes"). It can be seen that what Yuanming's poems express is often a realm in his own soul, rather than just a secular narrative, and the Yellow Valley of the Song Dynasty once said: "Yuanming is not a poem, but writes the wonderful ear in his chest." It is not easy to express abstract ideas in poems that win with sensibility, not to mention that Yuanming's "beauty in the chest" is of course even more difficult to express in poetry. It is only Yuanming, with his rich imagination, that he has found many images that can be felt for this wonderful reason in his chest, which are just enough to express his "wonder in the chest", and his "wonder in the chest" must be expressed through these images, which is an important reason why the imagery in Yuanming's poetry is so rich in beauty. As for the chapter syntax in Yuanming's poems, although Yuanming uses the usual plain syntax of ancient poetry in terms of syntax, in terms of chapters, it is manifested as two very different characteristics, which are very noteworthy: one is a structure that is flat and orderly, and the other is a structure that suddenly appears as a turn in the air. The former, such as the first song of "Returning to the Garden and The Field", from "little unsuitable rhyme", after "mistakenly falling into the dust net", to the final "return to nature", and the fourth poem of "Drinking" writes a "lost flock of birds" that "twilight" and "fly alone", after "wandering" without end, finally encountered a "lone pine" that can be supported, so it is self-congratulatory "gets", and vows to "never violate", these are the orderly structures that belong to the first category; the latter is like the fifteenth poem of "Drinking" poem, "poor living and lack of artificiality, The depiction of the barren dwellings of the shrubs and the barren houses suddenly shifts to the sadness of the shortness of life in "the universe is one and a long, and life is less than a hundred", and then to the pity of "if you do not entrust the poor to reach the poor, it is a pity to hold deeply", and the "lonely cloud" of the first song of "Yong Poor Man" is "lonely cloud" that is "alone", to the "flying bird" who "delays in leaving the forest", and then to the poor man who "can measure up to keep the old way", these are the structures that belong to the second type of aerial turn. On the surface, these two structures are two completely different manifestations, but as far as Yuanming's writing attitude is concerned, these two manifestations are due to the same cause, that is, Yuanming's attitude of "letting the truth be self-satisfied", Yuanming's poem was originally a natural outpouring of "the magic in the chest", he had no intention of using hardships to mark the new, so sometimes he wrote straight narratives, which is the reason why Yuanming's poetry is manifested as the first structure; and at the same time, he has no intention of seeking knowledge in a simple way, so sometimes it is the natural flow of his spiritual consciousness This is the reason why the manifestation of Yuanming's poetry is the second structure. Now let's take two Yuanming poems as an example, and try to analyze them from the two aspects of imagery and rules:

Roosting lost flocks of birds, the sun is still flying alone. Wandering is endless, and the night and night are sad. Li Xiang thought of Qingyuan and went to He Yiyi. Because of the lone pine, the return of the widow is far away. The strong wind has no honor wood, and this shade does not fade. The body has been blessed, and it is not the same for a thousand years. (Drinking Alcohol, psalm 20-4)

All ethnic groups have their own trust, and the lone cloud is alone. Ambiguous in the air, when to see the afterglow. Cebu opens in the morning glow, and the birds fly together. Delayed out of the forest, did not return at night. If you can keep the old ways, you will not be cold and hungry. Knowing that the voice does not exist, there is no sorrow. (One of the seven songs of "The Poor Man")

Let's first look at the first poem "Roost Lost Birds", in Yuanming's poem, "flying bird" is a kind of image he uses most often, although in different works, "flying bird" has different meanings, but in short, it is generally a metaphor for Yuanming's life or soul, such as the "bondage bird" of "Returning to the Garden and Living in the Countryside" "The bird loves the old forest", which is a kind of image of Yuanming's nature being destroyed in the life of entering the world; the "high bird" of the "Wangyun Kuo Bird" in the song "Jing Qu'a", It is a metaphor for the lofty freedom that Yuanming yearns for; the poem "Returning to the Bird" is a metaphor for Yuanming's disappointment and tiredness in the world and finally resolves to retreat. Sometimes these images appear only in one sentence of the whole poem, such as the two poems "Returning to the Garden and The Pastoral Residence" and "Jing Qu'a"; sometimes the whole text is a metaphor, such as the poem "Returning to the Bird", and the poem "Perching and Missing Birds" that we are looking at now is a poem that is full of metaphors, and the whole poem writes about the painful experience of the soul of Yuanming who wanders through contradictions and finally finds a place to support himself, and the whole bird as the image is a very complete metaphor. The first sentence of the word "qiqi", using the word "qiqi" in the "Analects" "Qiu he is a percher and", not only shows a sense of uneasiness in the meaning of the word, but also because the "Analects" is a well-known book, so the association with the "Analects" caused by these two words is a deeper meaning of the word "perch", so the uneasiness of this bird does not seem to be completely meaningless, but also has a deeper meaning. The following word "lost group", on the surface it seems that nature is to write about the lonely flight of birds, but in fact, it is to write a lonely and lonely sadness in Yuanming's heart, the reason why Yuanming "lost the group", of course, also has its own deep meaning, Yuanming in "Return to the Garden and The Field" once said "less suitable rhyme", in "Feeling The Soldier Does Not Meet the Endowment" also said the words of "feeling the philosopher's no couple", in the "Return to the Word" also said that "the world and I are left behind", with the true nature of the quality of Yuanming, the transcendence of the ideal is lofty, and this" Of course, the human life of the true wind and the retreat of the great false Si Xing" cannot be matched, not to mention the Yuanming "not seeking glory and profit", in this society that only knows to compete for fame and fortune, of course, it is more homologous, when all the birds are anxious to compete for rice sorghum insects and ants, but there is a bird far away from this competition, and alone for the search for a certain ideal, let alone uneasy, then the "loss of the flock" of this bird is rather an inevitable result. The following sentence "Flying Alone" is the word "solo flying", which is inheriting the "perch" and "out of group" of the previous sentence, "out of group" so "alone", "perch" so has been uneasily "flying". The word "Judas" is still the same meaning, "Judas" and "solo flight" can be seen that its "solo flight" for a long time, "twilight" should be the time when the tired bird should be thrown into the forest to stay, this bird has gone through a long day of "flying alone", it can be seen how urgent it is to find a place to support itself, but the following is the five words of "wandering without end", it is that although it wanders for a long time, although the desire is cut, but finally it has not found a place to stay, so there is the next sentence of "night and night sound turn sad" The night is more tragic than the night of mourning, followed by the two sentences of "Li Xiang Si Qingyuan, Go to He Yiyi", "Li Xiang" is inheriting the "sound to sorrow" of the previous sentence, and the sentence of "going to come" is inherited from the previous sentence of "wandering and indefinite", and Gu Zhi's "Tao Jing Jie Poetry Notes" notes these two sentences: "Li, Lieye, Urgent, all the voices of urgency will be far away." In fact, Yuanming's original sentence is not only written about the qingyuan of the sound, but more importantly, it is written by the sound of the voice revealed by its central longing for the Qingyuan, the ancients have clouds "words for the heart", in fact, not only human beings, even birds and beasts in animals, we can often from their roaring sounds to find out a feeling in their hearts, these two sentences are naturally still written birds, that is, from the sharpness of their song to know the clarity of their thoughts, but in fact, It is Yuanming himself to write a lament and a long thought in his heart. Followed by the sentence "Where to come and go To Yiyi", on the surface, it is naturally still a state of indecision that writes about the birds coming and going, neither perched, nor can they go away categorically, but as far as Yuanming is concerned, it should be written about a contradiction between the source and going in his heart. Yuanming was deeply influenced by Confucianism, he himself was born with a benevolent heart, and all talented people often have a mood of not wanting to let their lives be empty, so Yuanming's early years of holding the idea of useful world, is a very natural thing, we see Yuanming in the "Miscellaneous Poems" wrote "Fierce Zhi Yi All The Sea, Qian Fei Si Yuanyi", and in the poem "Pseudo-Ancient" wrote "Young and strong, sword-wielding and traveling alone" Sentences, we can imagine his youthful ambitions, but Yuanming resigned after all, and returned to hiding. Of course, there have been many wandering contradictions during this period, and Yuanming was unfortunate to be born in this great pseudo-Xing human life with the true nature of his qualitative nature, and even more unfortunate to be born in the era of inactivity at the end of the Eastern Jin Dynasty, so it is conceivable that his wandering contradictions also contained a lot of sadness and disappointment in this life. Zhu Zi once said that "Tao wants to do something and can't do it" ("Zhu Zi Yu Class"), so from the original intention of wanting to be promising to the final determination to return to the countryside, Yuan ming did have a painful struggle experience in his heart, and the middle paragraph of this song "Roost Lost Birds" shows his inner experience with the image of "wandering uncertain" and "going to and coming". The good news is that this bird has finally found the lonely pine tree that it can support, and Yuanming has finally found a place where he can live in both spiritual and life, and his spiritual freedom is as good as the evergreen glory of the pine tree, his hard work in life is poor, and it is also like the pine tree that has a hardy discipline in the midst of the difficulties of the wind and clouds, and his lonely mood with the world makes him have a very deep sense of loneliness, so the image he takes is not only "pine", but also a tree." Lone Pine". Although the sentiment contained in this poem is extremely complex and profound, the imagery it takes is extremely complete. The whole article is written about birds, and the structure is even more orderly, which is an excellent masterpiece of Yuanming.

Now let's look at the second song, the metaphor of this one is not as complete as the previous one, but the succession of several layers of different ideas, beginning with "All the tribes have their own trust, the lonely cloud is alone, the ambiguous sky is extinguished, when will we see the afterglow" The four sentences take "cloud" as a metaphor, and the first two sentences write that the cloud is lonely and lonely, compared with the various races of all things that have their own trusts, then the birds inhabit the forest, the fish swim in the water, the lonely bamboo can still take root in the Taishan, and only the lonely cloud in the sky is floating in space and completely dependent, These two sentences really write the feeling of helplessness of a lonely heart. The second two sentences write about the transience and impermanence of Yun's life, the word "ambiguous", and Ding Fubao quotes Wang Yi's "Chu Ci Notes" Yun: "Dim appearance." The phrase "when to see the afterglow" is still referring to the clouds, the word "Hui" should refer to the light and shadow of the floating clouds, the so-called heavenly light and cloud shadow, and the floating clouds will disappear, once they disappear, there will be no remnants of light and shadow, and the human beings who are "suitable to see in the world, dying and returning" written in the three poems of "Shadow God" are not similar to the transience and impermanence of the lives of human beings who are temporarily destroyed. The first four sentences of the metaphor of floating clouds write about the sadness of loneliness in Yuanming's soul and the realization of the impermanence of life. Then the following four sentences, "The morning sun opens the cebu, the birds fly with each other, and the birds fly with each other, and they do not return at night" are turned into another metaphor of "flying birds", and the "birds" of "phase and flight" symbolize the sentient beings who are struggling for fame and fortune, and when the morning "morning sun" dispels the fog that remained in the air last night, the struggle of the day begins from here. However, in the struggle between the birds and the flight, there was another unusual bird that refused to compete with the birds, and this bird flew out of the forest with its wings for a long time, but returned early before the sky was fully twilight. The "out of the forest" in the previous sentence is actually to point out that a bird in the forest, using a "翮" character that refers to the bird's wings to represent a bird as a whole, one because the word "翮" can imagine the flying state of its wings "out of the forest", and then the "翮" word in the previous sentence can run straight to the "gui" word in the next sentence, which has the meaning of the previous poem "Coming Home from afar". Of course, these four sentences are just like the choice and determination of Yuanming's indifferent fame and fortune to retreat, so the last four sentences of "Measure and keep the old ways, do not have cold and hunger, know that the sound does not exist, and have no sorrow", then turn from the metaphors of "floating clouds" and "flying birds" into a self-description of oneself, and officially write the mood and intention of a poor man. Those who "measure their strength" know what their own qualifications and abilities are, and they also know what they can get with their own qualifications and abilities, without making the slightest excessive thought, which is generally called "measuring strength". For Yuanming, he is a self-aware, self-sustaining character, he knows what he has, he also knows what he can do, and he knows even more deeply what he refuses to do, Yuanming once said in "Return to the Word" that "the quality is natural, not corrective, hunger and frost, against their own diseases", in "with the Son and so on", he also said: "Sex has just been clumsy, with things and things, self-esteem for themselves will be common, and the world will be born, so that Ru and other young and cold." In this case, we can see Yuanming's persistence in "measuring strength" and his understanding of life's "cold and hunger", but Yuanming would rather live this life of hunger and cold than make plans to change course, and he once said in the ninth poem of "Drinking" that "it is honest to learn, it is not a fan against oneself, and it is not a fan to enjoy this drink, and I cannot return", which shows his firm intention of "keeping the old way". It is only Yuanming's intention and discipline of "keeping the old ways according to one's strength, not being cold and hungry", after all, it is not easy for ordinary people to understand and accept. Yuanming in "Waiting for The Son", after saying the above passage of "self-measure" and "death" and inevitably make the family "hungry and cold", the following goes on to say "but hate the neighbor Jing Erzhong, the room is not lai woman, holding a bitter heart, good and lonely", not only does not have the acquaintance of friends, even the forgiveness of the family's wife can not be imagined, then the loneliness in his heart can be imagined, but Yuanming has found his own spiritual world in his hard life and lonely soul, he has not only said about the life of hunger and cold For ren zhen's self-satisfaction, he has even said that "there is a true meaning in this, and he wants to argue that he has forgotten his words" and "he is not happy to return to the universe", so Yuanming is under the two sentences of this poem, "Measure the strength to keep the old way, is not cold and hungry", but at the same time, he also leisurely said the supreme cultivation realm of deep discernment and bitterness and transcending sorrow and joy with two sentences: "Knowing that the sound does not exist, what is the sorrow". Although this poem is explained by me in three paragraphs: "Lonely Cloud", "Flying Bird" and "Poor Man", the spirit of Yuanming is really throughout the text. The metaphor of the first four sentences of "lonely clouds", the loneliness of "no dependence" expressed by them, is far away from the loneliness of the two sentences of "Zhiyin does not exist" at the end, and the illusory realization of "ambiguous air extinction" is precisely the psychological basis for Yuanming to be able to completely ignore all the gains and losses of the world, and is full of wisdom of liberation and enlightenment, and this psychological basis is not only the psychological basis for the birds that "delayed out of the forest" and "did not return home" written in the following four sentences of the "Flying Bird" metaphor, so they can not compete with the birds. At the same time, it is also the psychological basis for the poor man who can "measure his strength to keep the old way" and cling to the life of hunger and cold, and the bird written in the middle four sentences is exactly the metaphor of the poor man in the last four sentences, and the "measuring force" and "hunger and cold" in the first two sentences of the last four sentences are closely related to the birds of "not returning from the sunset" in the middle four sentences, and the loneliness of the last two sentences of "knowing the sound does not exist" echoes with the "lonely cloud" of the first sentence, so that the poem is not all flowing through the whole text with the activity of the mind in the mind, and its loops are consistent with the magic of the string. It can transcend several different images and operate without hindrance, which is a masterpiece of Yuanming's poetry that can be highly valued. Compared with the previous prime minister, the previous poem uses the metaphor of "perching and losing birds" as a metaphor, and its imagery is simple, and the structure of the whole text is a plain and orderly structure close to reason; this one is quoted layer by layer with two different metaphors of "lonely cloud" and "flying bird", and finally turns into the self-description of the poor man, and its whole structure is based on the layer of spiritual consciousness as a clue, and is expressed as another structure of the mutation of the air turn. From the above two examples, we can already glimpse Yuanming's good use of imagery, as well as his two different characteristics in terms of chapter structure.

Ye Jiaying: A Few Old Chinese Poems from a More Modern Perspective (Part 2)

(Part 1: Ye Jiaying: A Few Old Chinese Poems from a More Modern Perspective)

Secondly, we talk about Du Fu, speaking of Du Fu, the Du Fu known to ordinary people is a realistic poet, and everyone knows that this realistic poet is also full of imagery in his works, and in terms of chapters and syntax, there are even more amazing achievements, we have analyzed earlier why The yuanming poems are rich in imagery, and the characteristics of the yuanming poems in the structure of the chapters, now let us also try a simple analysis of Du Fu. The benefits of Du Fu's poetry, which are commonly recognized by ordinary people, are about two points: First, in terms of content, Du Fu has extremely deep and broad feelings and nostalgia, whether it is for the monarchy, for the people, for his family, for his friends, or even for all living or inanimate things, Du Fu does not have a very deep love for him, Du Fu is a poet who cares about reality and loves reality, so in Du Fu's poems, not only is it rich in realism, but also in these realistic works, there is no projection of Du Fu's deep feelings. This is one of the well-recognized advantages of Du Fu's poetry; moreover, in terms of workmanship and skill, Du Fu has an extremely valuable capacity of collection, comprehensive and comprehensive, not only can make full use of the strengths of ancient and modern, but also has a new performance in all aspects of planning sentences and words, which is the second of the benefits of Du Fu's poetry recognized by all. However, from the modern point of view marked in this article, the former is an important reason for the rich imagery of Du Fu's poetry, and the latter is also an important reason for Du Fu's unique achievements in chapter syntax. First of all, although Du Fu is known for his realism, the reality he writes is not only a flat and objective reality, Du Fu has a very deep emotional projection of any object he writes, so the reality written by Du Fu is often stained with a very strong imagery under the shadow of the projection of his feelings. Therefore, some of Du Fu's masterpieces are often realistic on the one hand, and on the other hand, they are the manifestations of the imagery of feelings and personality, which is a major feature of Du Fu, such as his "Thin Horse Line", literally Du Fu should only write about a realistic thin horse he really saw, but there have always been people in the commentators or that this poem was written for the removal of the wounded Fang Zhen, or that this poem is Du Fu's self-condition after his resignation; and it is also a poem of his "Beauty". On the surface, it seems that it should only be written about a beautiful person he really saw in reality who was abandoned by his husband because of the death of his brother due to war, but there have always been people in the commentators who have said that this poem was written by Du Futuo's abandoned wife to compare with his subjects, hurting the new and independent madness, or thinking that it was Du Fu's self-metaphor. With a deep emotional projection, the things in reality written become an image that symbolizes feelings and personality, which is the reason why Du Fu's poems are mostly realistic works, but at the same time they are also very much in the expression of imagery. From the second point of view, Du Fu has the title of a collection of great achievements, so the changes he has introduced in terms of chapters and syntax are almost inexhaustible. I shall now discuss only a few of his characteristics in terms of principles. First of all, in terms of chapters, the reason why Du Fu can become a writer of great achievements is really because Du Fu is a poet who combines both sensibility and rationality, so he often shows both self-sensibility association as a sudden turning point on the one hand, and from the logic of reason on the other hand, it is manifested as the week of taking care of echoes. For example, his most famous poem "The Head of the Sorrowful River", from the two sentences of "turning over to the sky to shoot clouds, a smile is falling on the wings of the two flying wings" the joyful description of Xuanzong and the noble concubine You XingquJiang, suddenly turned to the following two sentences of mourning for the tragic death of the noble concubine, "Where are the bright eyes and teeth now, and the blood-stained wandering soul cannot return". From the sudden entry of joy into mourning, it is naturally a turning point of mutation, and the association of the direct sense of the person given by the literal, although the previous sentence of "falling double wings" is a description of the joy of shooting hunting, but the "fall" of "double wings" is also hinting to give the reader a sense of foreboding that it is more than the flight of the wings and bending in the middle, so the following is the death of the noble concubine, the turn of this mutation, naturally out of emotional association, but in terms of the content of the poem "The Head of the Mourning River", it is said that the past is traced back to the past, from today's sneaking qujiang, Recalling the joys of the past, and then swimming from the past of joyful shooting and hunting to the parting of life and death, there is also a rational echo arrangement in the middle. Another example is his other famous poem "Yonghuai to Fengxian County", from the narration of the journey of "crossing Lishan Mountain in the early morning", followed by "The Imperial Bed is in the Crest", and then he writes about the obscene luxury of the imperial court with a large paragraph of ink, and finally summarizes the previous obscene luxury with the sentence "Zhumen wine and meat smell", and then re-photographs the journey along the way with the sentence "There are frozen bones on the road", this kind of chapter is naturally a rational echo and care, but from "wine and meat smell" to "frozen bones" is out of contrasting associations, which also has a vague emotional meaning. This is du Fu's characteristic of both sensibility and rationality in terms of rules and regulations. As for the syntax, the benefits of Du Fu's similarity with ordinary people are left alone, and if it is different from ordinary people, then I think that Du Fu's biggest feature is the inverted or condensed syntax that jumps out of the grammar but grasps the key points with sensibility, such as his "Green Hanging Wind Folding Bamboo Shoots, Red Blooming Rain Fat Plum" in his "You He's Mountain Forest", "Cuigan Dangerous Stack Bamboo, Red Greasy Little Lake Lotus" in "Jiyue Prefecture Jia Sima Ba Prefecture Yan Envoy Jun", the so-called upside-down sentence, Shunzhi, then it should be "wind folding bamboo shoots", "green plum", "rain fat plum", "red bloom", "dangerous stack bamboo green dried, Little lake lotus red greasy", but upside down to appear more vivid and more robust. Another example is the three words of "grass and wood wind before the soldiers of all nations" in his "Washing Soldiers and Horses", and the old note is thought to be the use of "the sound of the wind and the cranes and the grass and trees are soldiers". If these three words are literally interpreted as the grass and trees that are blown by the wind, then it is an ordinary scene to see the wind blowing grass and trees on a normal day and is taken under the word "before the soldiers" above, then the wind blowing grass and trees are all suspicious and fearful, in short, the hasty and confusing combination of these five words just causes a feeling of fear and doubt, which is an extremely successful syntax. Another example is the eight songs of his "Qiu Xing" "fragrant rice pecking at the remaining parrot grain, Biwuqi old phoenix branch" two sentences, some people also think that it is an inverted sentence, in fact, these two sentences and the previous inverted sentence are not the same, the previous inverted sentence, in the next row can get the original meaning of the sentence, but the two sentences of "fragrant rice" If according to the general people's saying, the second sentence is arranged as "parrot pecking at the remaining fragrant rice grain, phoenix perch old phoenix branch", it has become two actual things written in fact, but this is not Du Fu's original intention, privately thinking that these two sentences should be "fragrant rice" and "Bi Wu" Mainly, as for the five words of "Pecking Yu Parrot Grain", it is the adjective sub-sentence of "Fragrant Rice", writing the abundance of Fragrant Rice, there are parrot pecking grains, and the five words of "Perch Old Phoenix Branch" are the descriptive sub-sentences of "Bi Wu", writing the beauty of Bi Wu as the branch of The Phoenix Perch, so that the scenery near the prosperous world of The Heavenly Glory is in the present, so Du Fu nai places "Fragrant Rice" and "Bi Wu" at the beginning of the second sentence, and does not count the "Fragrant Rice" placed on the word "Peck", and the "Bi Wu" is placed on the word "Qi", In the concept of ordinary people, how difficult it is to be accepted syntax, although this is not the same as the inverted sentence mentioned above, it is still a feature of Du Fu who only grasps the key points with sensibility and transcends ordinary grammar. Let's take two du fu poems as examples to analyze the use of imagery and the composition of chapters and sentences:

In the rain, the grass rots and dies in autumn, and the cassia under the steps is brightly colored. The leaves are full of green feathers and the flowers are countless golden coins. The cool breeze blows Ru Urgently, and it is difficult to be independent when it is afraid that Ru will be difficult to be. The students in the hall had blank heads, and the wind sniffed and wept. (One of the three songs of "Autumn Rain Sigh")

Kunming Chi Shui Han Shi Gong, Emperor Wu Jingqi in the eyes. Weaver machine silk night moon, stone whale scales moving autumn wind. The wave drift rice is dark and the dew lotus room falls pink. Guansai is a bird road in the sky, and the rivers and lakes are full of fishermen. (Qiu Xing, 8 of 7)

First of all, the first poem "Autumn Rain Sigh", there is no doubt that this poem is written about a crust of cassia that was blown in the autumn wind and rain, cassia is a plant, with pinnate compound leaves, autumn flowers, Du Fu wrote that the original is only a cluster of cassia of reality, and Du Fu has invested his feelings on this clump of cassia, which has a figurative meaning. At the beginning, "a hundred grasses rot and die in autumn" not only writes about the withering and desolation of a hundred flowers in the autumn wind and rain, but also the devastation and pain expressed by the two words "rotten death" can be said to be really shocking, and Du Fu has always used his pen to cut to the point, and he often does not avoid all ugly and fierce words. The word "rotten death" in this poem not only creates a strong contrast with the next sentence of "bright color", making people feel even more that the unique ability of cassia after the grass has been "rotten and dead" is still precious, but on the other hand, the strength of the ruthless destruction power shown by the word "rotten death" also indicates that the determination is afraid that it will eventually be impossible to escape the sadness of this devastation of destruction and disability. In the background of this sadness and worry, Du Fu used the words "Cui Yu Gai" and "Golden Money" in the second sentence, describing the vivid and beautiful meaning of the cassia, saying that the green leaves attached to it were like an umbrella cover decorated with Cui Yu, and its blooming yellow flowers were more like countless glorious and dazzling money, try to see how rich and abundant the words used in these two sentences, such as "full branches" and "innumerable" showed how rich and abundant, and how beautiful and precious "Cui Yu" and "Gold" showed, and although the genre of this poem was originally an ancient poem, However, Du Fu used such a neat couplet of sentences in these two sentences, and from these places we can see how cherished and cherished Du Fu was, and devoted himself to writing about the preciousness of this bush that can still be so vivid in the wind and rain after the death of the hundred grasses. Then the pen sharpened, suddenly with the sentence "Cool breeze Xiao Xiao blows Ru anxious, afraid that it will be difficult to be independent after Ru", and then return to the beginning of the wind and rain, and successively used two very kind "Ru" characters to call this cluster of cassia, and then used a "blowing" word in the previous sentence, completely adding Xiao Xiao's wind and rain to such a kind "Ru" word, which is such a sad thing, so the next sentence uses a "fear" word on the word "Ru", showing a very deep worry, in the whole environment where all the grasses have rotted to death. Which one can stand alone for a long time? Therefore, it is said that "it is difficult to be independent when I am afraid of Ru", and there is infinite worry and love in the seven words. At this point, the whole poem is mainly based on writing a clump of cassia in the wind and rain, but the following Du Fu suddenly intervened in the characters and wrote a sigh of "the blank head of the scholar in the hall, and the three sniffs of the wind and the three sniffs of the incense weeping", so the scholar of the hall and the cassia of the lower step suddenly sympathetic divine light flickered, and the wind caused the ring to be born, which is really the second sentence of the divine stroke. The hall is a scholar who has nothing to do but achieve nothing, and the next step is a cluster of cassia that has been blown by wind and rain and is afraid that he will not be able to avoid rotting death, and the scholar is deeply hurt by his boss's invincibility, and he is even more bitter about the failure to save each other under the step, so there is a lament below that the wind sniffs its sweet fragrance and finally weeps, "Sweet Fragrance" Although it is only two words, it embraces and implies the beauty of all the qualifications that The Cassia can cherish, with such a beautiful qualification, and so resolutely standing up out of the wind and rain , but in the end, it is inevitable that they will suffer the same fate as the hundred grasses, so they will smell its sweet fragrance three times and finally weep. The word "three" does not have to be used as a definite reference to the number, but it is only a matter of adding more words, and the "three sniffs" have deep love and pain; with the pen, it will naturally make people feel that this cluster of cassia seems to be not only a clump of unconscious and emotionless grass and trees, but also a metaphor for the sentimental character of a character, so in the "Detailed Notes on Du Shi", Qiu Zhao'ao thought that the definite in this poem was indeed a metaphor, saying, "This sense of autumn rain gives poetry, each of the three chapters has irony, Fang Zhen said that the flood, the national loyalty made Yushi press it, so it is known' I am afraid that it will be difficult to be independent after the Ru hou's 'also ,...... Although the language is subtle, but the meaning is deep, it is not general." It is also extended that Han Guang said: "The second sentence of 'cool wind blowing ru' says that a gentleman is in danger of chaos in the world. Thus this cluster of realistic clarity is full of figurative meanings, becoming a moving image, a metaphor for a kind of perseverance of sentiment and personality, rather than just realism. This is precisely a characteristic of Du Fu's realism and ability to visualize reality, as for the transition from cassia under the steps to the students on the hall, with a sudden opening of a sentence, and then with the sentence "three smells of sweet fragrance" immediately patted and then returned to the cassia, and the word "tangshang" is far opposite to the previous word "under the steps", all the magic of this opening and closing can see Du Fu's wonderful point of combining strength and beauty with both sensibility as a turn and rationality as the echo in the chapter.

As for the second chapter of "Kunming Pond", it was originally the seventh of the eight poems of Du Fu's group of consecutive chapters, "Qiu Xing", these eight poems are the works of Du Fu's wandering in his later years, when Du Fu lived in Sichuan Fufu, because of the autumn excitement and remembered Chang'an, the eight original were one, or with the Fufu as the main and distant reading of Chang'an, or with Chang'an as the main reflection of the Chu fu, is the most complete and most varied set of poems in Du Fu's works, I have previously written the book "Du Fu Qiuxing Eight Collected Sayings", A chapter is devoted to the echoes of these eight poems, but now limited by the length and style, only one chapter can be cut as an illustration, so it can only be explained simply. This poem Du Fu remembers the Kunming Pond in Chang'an, and the Kunming Pond is the place where Emperor Wu of the Han Dynasty made the officials excavate in order to conquer Kunming yi in the west, so the beginning is to say "Kunming Pond Water Han Shi Gong", on the one hand, it is in line with the historical facts of Kunming Pond, on the other hand, borrowing Han Yu Tang, because of the han Wu Gong, because of the han Wu Gong, one of the Tang Dynasty's national strength was in a slump, there was infinite decay and snub, and the past and present mourning, and at the beginning, he made all-out efforts to reverse it, and wrote about the prosperity of the Han Dynasty martial arts, not only in the first sentence, he clearly pointed out the word "Gong" of martial arts. Moreover, in the second sentence, "Emperor Wu's flag is in the eyes", the seven characters of the "gong" of the day are written so that the flag flutters as in the present, and then the following two sentences, "The Weaver's Silk Night Moon, the Stone Whale Scales and the Autumn Wind", then suddenly falls to undertake today's decay, these two sentences seem to be the pen of the record from the surface, because the stone whale and the statue of the Weaver Girl were originally actual scenes on the banks of the Kunming pool, according to Ban Gu's "Xi Du Fu", Zhang Heng's "Xi Jing Fu" and "Wenxuan Xi Du Fu" Notes quoted in the "Han Palace Que Ji" are all clouded: Around the Kunming Pond there are two stone statues of morning glory weavers to resemble the Heavenly River. According to the "Xijing Miscellaneous Records", "Kunming pond carved jade for whales, every time the thunder and the whale often roars and the tail moves, the Han Dynasty sacrifices to pray for rain, often tested." "Is Kunming poolside does have a stone statue of the weaver girl, the pool also has a stone carved whale, but the pool weaver girl in vain in the name of weaving, but can not be like the average woman really sound the machine night weaving, then not overnight night sky stands in the moon, so use a "virtual" word to indicate that it fell into vain to lose this night moon, so it is called: "Weaver Silk Void Night Moon" also. As for the stone whale, although it is also a stone carved image, but in the wind and rain, when the pool water is surging and undulating, this stone whale really has the meaning of moving the tail, so use a "moving" word to write its turbulent state in the waves and undulations of the water under the autumn wind, so it is known that "stone whale scales move the autumn wind" Also, this two sentences were originally the actual scenery of Kunming Pond, but these two sentences in addition to the superficial realistic meaning, more noteworthy is that they can bring people a sense of emptiness and turbulence, so Jin Sheng sighed and sang the scripture hall "Du Shi Xie" Commenting on these two sentences is Cloud: "The weaver machine silk is empty, then the grapefruit is empty, the stone whale scales are moving, the strong beam is blazing, the night moon is hanging in the sky, the autumn wind is terrible, it is really a good hand at painting and depicting the wind, and it is not willing to do tangtu language and bumps in current affairs." Wang Yaoqu's "Ancient Tang Poetry Combined Interpretation" also yun: "The stone whale scales, moves more than the strong Liang people and wants to succeed, the weaver girl machine is virtual, than the Xiangchen loses its economy, and the weaving girl stops the shuttle this night moon, which is also a deeper view." The traditional Chinese commentary, which has always been good to accompany current affairs, is sometimes not fully credible, but as far as these two sentences are concerned, the imagery of "empty night moon" and "moving autumn wind" does show a kind of sadness that has been in vain, and the feeling of turmoil and difficulty can indeed be felt, and the realistic brushwork has caused a metaphorical effect, which is one of the major features of Du Fu's poems. The following two sentences, "The waves drift the rice is dark, and the dew cold lotus room falls pink", from the surface, it seems that it is only a scene of reality. Rice is a plant that grows in water, with leaves like reeds, flowers in autumn and grows spikes, and is fruity like rice, which is called rice, also known as carved rice. Of course, this sentence is to write about the autumn scenery of Kunming Pond, just when the autumn rice is strong, and the pool water is desolate, no one has picked and sorted it out, then only one of them is allowed to wither and float in the pool water, and there are many rice, and those who float in the water are but see the black shadow of the cloud like a cloud shadow sinking in the water, so it is called "wave drifting rice sinking cloud black" also. And autumn is the time when the lotus flowers are withering, in the season when the wind is high and dewy, the red petals of the lotus flower pieces are gradually drifting and fading in the lake, so it is known as "dew cold lotus room falling pink", as for the "dew cold lotus" and the "dew cold lotus room", the "lotus room" is the place where the lotus is located, it is the flower room in the depths of the lotus heart, and the petals of the lotus flower have fallen pink, so the "dew cold lotus room", is the cold dew straight to the depth of the flower heart, there is no shelter, then the cold of the flower can be known, and the drifting can be imagined. Some people also think that these two sentences are not only realistic scenes, but also have more metaphorical meanings outside the words. Shao Bao's "Notes on the Classification of Du Shi" once commented on these two sentences: "Sighing that the desolation of the pond water is the non-cultivation of weapons." Qian Qianyi's "Notes on Du Shi's Notes" zeyun: "The rice does not receive it and listens to its drifting and sinking to see the tragedy of the Chang'an war." Jin Sheng sighed in the Du Shi Xie: "Five, six, turn to Li Min to stop hunger, Ma Song is also defeated, and he also can't bear to rebuke, so it is a hidden language." Although these far-fetched theories are not to be fully believed, as long as we carefully appreciate the meaning of the withering and pitying meaning of du Fu's words "drifting", "sinking", "cold", and "falling" in these two sentences, it is not difficult to feel the sadness of the words . The above six sentences are all written about Chang'an in Du Fu's nostalgia, and then the next two sentences, "Guansai Extreme Heaven only bird road, the rivers and lakes are full of fishermen" only fell out of the Mansion where Du Fu is bound today. The word "guansai" has a very broad meaning, and there have always been many sayings, and if Gai says that what he sees in front of him, there is the high city of the White Emperor; as far as the representative of Shu land is concerned, there is the danger of the sword pavilion; and as far as the poets are concerned, they should be worried about the isolation of the road between Qin and Shu. As for the word "Extreme Heaven" below, it is written that it is highly dangerous and dangerous, and the word "Bird Road" is written in Taibai's poem "Shu Dao Difficulty" once had "Xidang Taibai has a bird road" and "not with Qin Saitong", Du Fu's "bird road" here does not have to refer specifically to one place, but it is generally said that the barrier between Qin and Shu is high-risk, only the road that birds can pass, and gai deeply laments that Chang'an cannot return. Moreover, in terms of rules and regulations, this sentence is an extradition from the aforementioned Chang'an back to today's bondage province, and the "Bird Road" is the only way between. Therefore, the following sentence, "A fisherman full of rivers and lakes", returns to today's life of wandering in Kuizhou, and ends the whole article with a bottomless mourning. Regarding the four words of this sentence, "rivers and lakes are full of land", there have always been many different statements in commentators, some think that they refer to those who live in the Gorge today, some think that they refer to the Xiaoxiang Cave Court that is about to go, some think that the word "jianghu" means that "all the people in the world are", and some people think that the word "jianghu" is a variation from the word "Lu Shen". In addition to writing about Du Fu's real life of going down the gorge in a boat and sending the rivers and lakes like a fisherman's homelessness, this sentence may also be more like the sadness of the world gushing and the shenzhou sinking land. In short, although most of what Du Fu wrote in this poem on the surface is only a scene and a thing in reality, at the same time it is full of metaphorical meaning, so that all the realistic events he writes are stained with imagery. This is precisely the realistic and at the same time imagery characteristic of Du Fu's poetry, which I mentioned earlier. As for the chapter law, then the person remembered in this chapter is the Kunming Pond of Chang'an, so starting from the Kunming Pond Yong, the first two sentences first describe the exploits of han Wu in the past years, falling into today's decline from the third sentence, and then dividing the scenery of the Kunming Pool into four things: "Weaver Girl" statue, "Stone Whale" fish, "Rice Sinking Clouds", "Lotus Room Falling Powder", and then the seventh sentence "Bird Road" directly into the floating of today's Fufu, so it ends with "Fisherman", and the "Jianghu" in the last sentence is still mainly written "water", and the whole passage is written to remember Chang'an and all with "Kunming Pond Water" The theme of "water" written mainly by the main writer is also completely consistent, and all this can be seen that Du Fu is in the process of inheriting changes in the rules and methods, and does not forget the characteristics of rationality as the arrangement. As for syntactics, Huang Sheng's "Du Shi Shu" once commented on the third and fourth sentences of this poem: "And rewind the sentence, Shunzhi is 'night moon virtual weaving female machine silk, autumn wind moving stone whale scales' Also, the syntax is strange, and the calligraphy is also resumed." In fact, these two sentences are mainly to mark the "Weaver Girl Statue" and "Stone Whale", two famous objects related to Kunming Pond, and then use "Machine Silk Void Night Moon" and "Scale Armor Moving Autumn Wind" as an extended supplementary description, but "Machine Silk Void Night Moon" is the condensation and inversion of "Machine Silk In the Night Moon", and "Scales moving Autumn Wind" is the condensation and reversal of "Scales and Armor Want to Move in the Autumn Wind", but if you make a straight narrative, then everything is implemented, there is no outside the words, you must use such an upside-down and condensed syntax, Only to show the illusory emptiness in the night moon and the turbulence and fluttering sorrow in the autumn wind are the characteristics of Du Fu in terms of syntax. The two sentences of "leafing" and "flowering" in the previous poem "Autumn Rain Sigh" are also extremely concise and condensed sentences, if they are extended to smooth sentences, it should be said as I explained earlier, "the green leaves attached to it are like the umbrella cover decorated with green feathers, and the flowers bloom are like countless yellow money", but Du Fu flashed "full of leaves" to "full of leaves" and omitted the explanation of the word "like", and the three words "green feather cover" were directly followed, but it was exactly such a syntax. Only so that these two poems are full of vigorous pen strength and flashing brilliance, Du Fu's attitude of self-description as poetry, once had the words "the language is not shocking and endless", the exercise of syntax, is exactly what he is committed to, this syntax is very different from the consistent smooth syntax of the ancient poems expressed by Yuanming, which can be clearly seen.

Finally, we will talk about another poet, Li Yishan, who is the poet who is the longest in the use of imagery. If Yishan is compared with Yuanming and Du Fu, then the richness of Yuanming's poetry is the result of "entrusting things with the heart", and the richness of Du Fu's poetry is the result of "entering things with feelings". The imagery in their poems is either a natural outpouring of the activity of the mind, or a natural projection of the depth of feelings, in short, the rich imagery in their poems is a natural expression, needless to say that in the era when they wrote poetry, there was no consciousness of the theory of imagery in Chinese literary criticism, and even when they used imagery, it should only be a natural manifestation of "doing what should be done, stopping at nothing", and did not necessarily intend to arrange and manufacture, and had the consciousness of "imagery expression" Thus, although in their poems there is a figurative meaning, the imagery they use, and the affection they symbolize, still have a certain basis for reality that can be analyzed and accepted by ideas. For example, the "flying bird" and "lonely cloud" of Yuanming are not only the objects they take in reality, but also the process of inner contradictions and struggles and the lonely and lonely poor people they symbolize, which are also feelings that can be conceptually accepted in reality. As for du Fu's poems, the cassia, the statue of the weaver girl, the stone whale and the rice, the lotus house, etc., they are the real objects in reality, and the character in the wind and rain and the turmoil and decay of the husband's country that he symbolizes are, of course, the feelings that can be accepted in reality. Yishan poetry is not the case, the imagery used by Yishan is mostly non-realistic things, and the metaphor it symbolizes is often a kind of subtle affection that is extremely difficult to explain the concept of reality, and although the era of Yishan still has no theoretical self-consciousness in Chinese literary criticism, the use of imagery by Yishan is implicitly conscious of use. Since we have analyzed before why the figurative performance in the poems of Yuanming and Du Fu is rich in imagery, then of course it is more worth studying the more vague and subtle representation of Yishan, which is not realistic. I think that the important reason why Yishan has embarked on such a vague and subtle path seems to be divided into two aspects: congenital and acquired, first of all, from the perspective of congenital factors, no matter what genius has a qualification of a gift that belongs to himself, and a way of expressing things that is unique to himself. In terms of endowment qualifications, Yishan seems to have been born with a slender and sensitive to almost morbid feelings and feelings, the world he sees is often different from what ordinary people see is only the appearance of things, but has been looking into the depths of the soul of all things, and especially indulged in a certain kind of mutilated and sickly beauty in the depths of the soul, this endowment qualification is not originally able to express it with a clear concept, not to mention that the unique way of expression of Yishan is also based on the feeling of sensibility. Without paying attention to rational explanation, Yishan poetry often only shows itself as an intricate combination of imagery, and the images it uses are often the products of some souls that are far away from reality, full of magnificent and mysterious colors, which are the two factors that make Yishan poetry embark on such a vague and subtle path. From the perspective of acquired factors, there are also several points that can be described: according to Zhang Ertian's "Yuxi Birth Chronology Notes", Yishan lost his father at the age of nine, and his life in his youth was very bitter and miserable, and in his "Sacrifice to The Sister", he once said: "The year is on the side of the fu, the family is difficult to spin, bow to the board of public opinion, in order to lead Dan Xu, there is no place for the four seas to return, and the nine tribes have no relatives to rely on... And clothes in addition, the purpose is anxious, is to account for the number of Dongdian, the maid book dealer", and when Yishan used the maid book dealer to raise his widowed mother, but only twelve years old, then the trauma suffered by Yishan's youth psychological pain can be known, one of them; then he was known by the article by Ling Huchu, and at the age of eighteen, he was from the Linghu Chu Tianping shogunate, and set up the bureau as an inspector, and in the twenty-sixth year, he ascended to the shidi with the strength of Chu Zi Ling Fox, and after Yishan ascended to the throne, he was rewarded by Wang Maoyuan with literary cai, and his wife was taken as a female wife, and there was a party dispute between Niu and Li in the political arena of the Tang Dynasty at that time. Ling Fox father and son as the Niu Dang, Wang Maoyuan as Li Dang, so Yishan was born as a lonely and cold scholar, and because of the accidental encounter, he was caught between the grievances of the political party, one was a friendship between two generations, one was the friendship of Weng's son-in-law, and the suspicion was together, mo bai for life, so that Yishan Pingsheng had a great hidden pain, the second; and The situation of Yishan was born in the autumn of Tang Duo's death that night, after the life of the Xian, Mu, Jing, Wen, Wu, and Xuan, he had heard and seen a lot of sad feelings. And these sorrows about state affairs also have unspeakable grievances, and this is the third. In addition, various factors, together with some of the internal factors mentioned above, combine the two, resulting in a unique and faint feature of the many Yishan poems expressing extremely vague sentiments with unrealistic images. Therefore, when Yishan poetry is mentioned, it will make people first rise a kind of sigh of "a "Jinse" to solve people's difficulties" and "only hate no one to make Zheng Notes", but Yishan poetry is difficult to understand, and there are many readers who love Yishan poetry. I think that the difficulty of Yishan's poetry to be understood and easy to be appreciated is actually due to the same reason, that is, because he often does not write poetry from the conceptual aspect, but composes a poem with emotional imagery. Although these composed images cannot be understood, they can be felt with certainty, and the sense of certainty is the first element of poetry that makes people feel, so although it is difficult to understand, it is completely harmless to the reader's appreciation and love for them. In the face of these poems that do not belong to the idea but rely on the combination of images, but to explain it with the idea, it is impossible and unnecessary to do so, so the best way to appreciate the poetry of Yishan is to face some hidden and profound images full of dazzling and touching power with one's own heart and feelings, to be faithful to one's own feelings, and also to be faithful to the poem itself, so as to do a deep understanding, this is the best way to appreciate the poetry of The Righteous Mountain. And it is the most important thing not to confine ourselves to the stereotypes of a certain narrow idea. Of course, this does not mean that some knowledge belonging to ideas is completely useless, but the knowledge of those ideas can only be used for reference, and must not be blinded by its limitations. Let's take two poems by Yishan as examples to explore our own direct feelings about imagery:

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. ("Kinse")

The scenery is rising and strange, and the soul cannot be found for a few days. Honey room feather guests are heartbroken, and ye ye advocate articles all over the acquaintance. Warm and radiant late peach tree west, high beard standing peach beard Qi. What about male dragons and female phoenixes? The mess is also confusing. Drunk with a slight sun like the first dawn, the curtain dream broke the residual words. Sorrow will be iron mesh coral, the sea wide sky wide lost place. The belt is mercilessly wide and narrow, and the spring smoke is white from the autumn frost. Yan Dan did not know the stone heavens, and wished to be imprisoned in heaven. The sandwich is single embroidered, and the incense muscle is cold lined with a cocoon. Today, the east wind is invincible, turning into a ghost light into the West Sea. (One of the four songs of "Yantai")

Let's look first at the first poem, "Jinse", which is the most famous poem of Yishan, and has almost been regarded as a masterpiece of Yishan, and probably no one who has ever commented on Yishan's poetry has not mentioned it, so although I know that there has been too much explanation of this poem, I still have to cite this poem as the first example of Yishan's poem. There are about the following theories about the poem's predecessors: either they think that the four sentences in this poem are written in Jin Serzhi's "Suitable Grievance Qing" and "Four Tones" (see "Miscellaneous Notes on The Miscellaneous Records of The Essence"), or they think that Jin Ser is a personal name, and he is a noble person who loves Ji, and even refers to Ling Hu Chu Qingyi (see Liu Gongfu's "Poetry" and "Chronicle of Tang Poems"), or thinks that it is a poem of mourning death (see the Three Commentaries on Zhu Yi and Feng Hao' Notes); or thinks that it is a self-injurious remark (see the Three Commentaries on Zhu Zhu's Commentary and Zhang Ertian's "Notes on the Annals of Yuxi Birth"). As for the theory of mourning or self-harm, it is originally a feeling for the reader, but if it is like Feng Zhuzhibiyun: "The canghai sentence is beautiful in its eyes, and the blue field sentence is beautiful in its appearance." Or like The Zhang clan will write the biyun: "The canghai sentence says that Wei Gongyi has long withered with Zhuhai, making the fox xiangye fang and like Yutian not cold." "It is also not free from the disease of too much chiseling. Let us now put these narratives aside for a moment and analyze the imagery used by the poem itself and the feelings and associations they can give the reader. In the first sentence, "Jinser unprovoked fifty strings", the word "Jinser", Zhu Zhu quoted the "Zhou Li Musical Instrument Diagram" Cloud: "Decorated with treasure jade, the person who is known as Baoser, the painted text is like Jinyue Jinser." "He is the most precious beauty of the musical instruments. As for the three words of "fifty strings", Zhu Zhu quoted the "Book of Han and SuburbAn Qizhi" Yun: "Emperor Tai made the Su Nu drum fifty strings, sad, the emperor forbided more than once, so the broken Qiser was twenty-five strings." "It is the fifty-stringed instrument of the most miserable, with such a precious instrument, and it is as tragic as the sorrow of the other, which is truly a tragedy of destiny, but who is really it?" Why? This is why "gratuitous" also. In this sentence, the word "gratuitous" is a fictitious word, but the sad meaning of the whole sentence is expressed entirely through these two imaginary words. The word "unprovoked" is the meaning of "no reason", the so-called "Mo for the sake of the one, the heavens also", the precious beauty of Jinser and the sorrow of the fifty strings are unstoppable, under the combination of the word "unprovoked", it is the formation of a sense of tragedy of how mo can be, so the precious beauty of Jinser is destined to bear the heavy sorrow of this fifty strings, just like the subtle and deep beauty of yishan's soul, but there are unfortunate encounters like him and heavy sorrows like him, which are also the tragedies of the destiny of "unprovoked", so it is said that "Jinser unprovoked fifty strings" is also. As for the following sentence of "one string and one pillar SiHua Nian", it is inherited with two "one" characters and the following "si" characters, which seems to be describing some tedious matters in remembrance. If the three words "fifty strings" in the above sentence are a metaphor for a life that is extremely precious and extremely heavy for some endowment, then the "one string and one pillar" of this sentence should be every music played by this life, and each music is a metaphor for every old dream in every point of life. And in the old dreams of these dots and pieces, how many remembrances and nostalgia for the passing years of Hua are, so it is said that "one string and one pillar of The Year of Thought" is also. The first two sentences are the sum of a recollection, followed by four images marked by two couplets and four sentences. First look at the sentence "Zhuang Sheng Xiao Dream Fan Butterfly", this sentence of course uses the allusion of the book "Zhuangzi", "Zhuangzi QiWu Theory" Yun: "In the past, Zhuang Zhou dreamed of butterflies, vivid butterflies also, self-metaphorical zhizhi, do not know Zhou Ye." If you are aware, then you will be aware of it. Feng Zhu used this poem as a work of mourning for the death, so he explained this sentence: "Take the meaning of materialization, and use Zhuangzi's wife to hang himself, and Zhuangzi sings in a drum basin." Feng Hao's description of the butterfly transformation of Zhuangzi QiWu as the meaning of the death materialization of a foreign body is already a big misunderstanding, not to mention that the dream of the butterfly is associated with the song of the drum basin, of course, it is even more untrustworthy. In fact, I think that although Yishan's poem uses "Zhuangzi", "dream" and "butterfly" from the literals of "Zhuangzi", its meaning is not the same as the original meaning of the transcendence of "Zhuangzi Qiwu Theory" out of the similarities and differences of all things, and yishanzhi uses this fable to tell the story, but it is expressed as an image, but it gives it another kind of affection. The most noteworthy thing in this sentence should be that it was not originally found in "Zhuangzi", and the words "Xiao" and "Fan" added by Yishan himself, "Dream" and "Xiao Dream" are only short dreams before dawn, which are the short impermanence of dreams, and the word "fan" under the "dream" can also be imagined. As for the "butterfly dream" that must be used in "Zhuangzi", because of the association given by the word "butterfly", people can feel as if they can see the brightness of their colors and the flipping of their posture, and then as Du Fu's poem "Qu Jiang" wrote, "Wearing flowers and butterflies deeply seeing", it is also the obsessive and intoxicating feelings of butterflies in the flowers that are also in front of them. If in the journey of life, we have indeed had a love affair like the bright beauty of a butterfly and more like a butterfly's intoxication and obsession, it will be how worthy of nostalgia and cherishing, but in the impermanent world, all the love affairs that can be cherished and cherished, full of bright colors and obsessive love, are only like a short dream before dawn, just like Yan Xiaoshan's words and words, "The things of sorrow and joy, such as illusion, like electricity, like yesterday's dream before the dust, but can cover up the ease of time and shadow, the reality of sighing the world", so to say" Chuang Sang Xiao Dream Fan Butterfly "also. Looking at the sentence "Wangdi Chunxin Tuo Cuckoo", Zhu Zhu quoted the "Shu King Benji" Yun: "Emperor Wang's envoy to the turtle spirit to control the water, with his wife, ashamed, and with virtue as thin as the turtle spirit, is entrusted to the state." When Emperor Wang went, the zigui Fang Ming, so the Shu people mourned the zizhi and thought of the emperor. He also quoted the "Chengdu Chronicle" Yun: "When Emperor Wang dies, his soul turns into a bird, known as cuckoo, also known as Zi Zhi." Feng Zhu quoted the Huayang Guozhi Yun: "Wangdi Zen is located in the enlightened (according to the turtle spirit number enlightened), the emperor ascends the Western Mountains hidden, the time is february, the sub-crane birds sing, so the Shu people mourn the birds also sing." He also quoted the Shu Dufu as saying: "The Book of Shu says: 'Du Yu Wang Shu, the number of Wangdi, Yu died, as the saying goes, Yunyu became a sub-rule, and the Shu people heard the sub-rules, and all of them knew Wangdiye.' As Guan Fu quoted above, we can already know the legend of The Shu Wang Emperor Du Yu who died and his soul turned into the legend of the cuckoo, but Yishan took this legend, and what is the meaning? I think that we should pay attention to this verse as in the previous sentence, depending on which words Yishan added to the dictionary. In the previous sentence, he himself added the word "Xiao" and the word "fan", while in this sentence he himself added the word "Spring Heart" on it. Since the word "Xiao" and the word "fan" are the main purpose of the previous sentence, then the word "Spring Heart" should be the main purpose of this sentence. As for the meaning of the word "spring heart", the two sentences of Yishan's other "untitled" poem, "Spring heart is not contested by flowers, one inch of acacia and one inch of ash", can be used as a reference, and the word "heart" with the word "spring" can already make people think of how much beautiful fragrance, not to mention this "spring heart", but also the heart of "inch and inch", and the heart of "flower fighting", then the amorous heart of this spring heart can be known. It's just that the second sentence of the "Untitled" poem is written from the opposite side, and its meaning is the spring heart that fights with the flowers, and since it will only end up with a heartbreak in the end, then don't be so obsessed with the flowers. As for the "Wangdi Chunxin Tozalee" in this sentence, it is all written from the front, and it is the Heart of Wangdi that is not only the spring heart of the amorous and tight, but also the amorous and reconnected heart to death, although after the soul has turned into a heterogeneous cuckoo, it is still a disaster, so it is followed by the three words "Tozalee". The cuckoo is a thing, and the poignancy of its song is enough to make the hearer cut off his intestines, and even more so that his mourning is cut to the point of weeping blood, and the soul of Emperor Wangdi after death is transformed into a cuckoo, and its "spring heart" is even more attached to such a sad and weeping blood cuckoo, then the "spring heart" that Emperor Wangdi is attached to is a "spring heart" that has crossed life and death, and its grief and sorrow can also be imagined, and this obsessive attachment, why only hope the emperor is for it, Yishan just uses this real image to show all the "spring heart" that cannot be eroded, so it is known" Wangdi Chunxin to cuckoo "also. Looking at the sentence "There are tears in the pearl of the moon in the sea", Zhu Zhu quoted the "Anthology" as a note: "When the moon is full, the pearl is complete, and if the moon is lost, the pearl is que." Guo Xian's "Meditations on other countries' caves" Yun also quoted: "The Kingdom of Weile is in the south of Japan, and its people take the elephant into the seabed to get treasures, and stay in the palace of the fish people, and when they get tears, then the pearls that the fish people weep are also." He also quoted the "Naturalist Chronicle" Yun: "There are fish people living in the water like fish in the south overseas, and they do not waste the weaving, but their eyes can cry out of the beads." Feng Zhu quoted the "Great Dai Li Ji" Yun: "Clams and turtle beads, and the moon is full of emptiness." Quoting yishan's poem "Huizhong Peony", the sentence "Jade Disc Bursting tears and sad numbers", Zhu Yun: "Zuo Si's "Wu Dufu" note: 'The fish people are coming, and from the master's vessel, they cry out beads full of plates, in order to communicate with the master. He also quoted Yishan's poem "Inscription Monk's Wall" from the sentence "The Mussel Fetus Is Not Full of Thinking of New Gui": "Lü's Spring and Autumn", 'The moon looks at the clams solidly, and the moon obscures the clams are virtual. Judging from the several theories quoted above, it is because clams are produced on the sea, and the pearls of clams are also with the moon, so on the night of the full moon, the clam beads on the sea should be uniform and bright. Moreover, there are two possibilities for the beads to have tears, one is that the uniform circle of the beads is flickering, which itself is like the tear point of the crystal, so if there is a flicker of tears in the eyes; second, if there is a saying that the beads of the people cry, then the beads of the uniform circle of flickering are originally the tears of the people, so there is still the flicker of tears on them. The canon and the meaning of the sentence are clear, and now we can see how this image feels. These four words alone can make people feel a vast sea and vast emptiness, the lonely moon is desolate and clean in the sky, and it is full of an indescribable sense of sorrow in the emptiness and emptiness. Followed by the following three words, "beads have tears", then whether it refers to the beads of tears or the beads of tears, in short, in the empty and empty situation, the pearls seem to have tears flickering, that is, tears are beads, that is, beads are tears, and how well-rounded and precious are pearls, how painful and sad are tears, with such a well-rounded and precious pearl, how can it be the same as the tears of pain and sorrow? With the tears of pain and sorrow, how can they be transformed into such a well-rounded and precious pearl? In the combination of this bead and tear, people feel how precious and desolate the poet's sorrow and sorrow are, and even more so with the background of the previous "Canghai Moon Ming", its precious and desolate sorrow is a sense of desire to condense into a piece of emptiness and desolation in the vast sea, and this so-called "pearl of the sea and moon has tears" also. Looking at the sentence "Lantian Sun Warm Jade Smoke", Zhu Zhu quoted the "Chang'an Zhi" cloud: "Lantian Mountain is thirty miles southeast of Chang'an County, and its mountain produces jade, also known as Jade Mountain." Zhang's huihui note quoted the "Chronicle of Sleepy Learning" as containing the holy words of Sikong Table: "The scenery of the poet is like the blue field sun warm and good jade smoke, which can be expected and cannot be placed before the eyebrows, and Li Yishan's sentence of jade and smoke is covered here." Yishan this sentence and the previous sentence is an obvious contrast, "Lantian" is the place of jade production, and the previous sentence of the pearl-producing land of the "canghai" is the opposite, and Lantian is the famous mountain of jade production, with these two words can make the following three words of "Yusheng Smoke" more vivid and moving, as for the word "Sun Warmth", it is more direct to write a warm mist under the beautiful sun, plus the feeling of warmth given by the word "jade" below, the misty shape of the word "smoke" given to people, and the smoke of jade and smoke is warm and misty. There is a feeling of great affection and confusion that cannot be caught. This sentence is the opposite of the previous sentence "There are tears in the pearl of the moon in the sea", and it is privately believed that the righteous mountain is to express different realms and feelings in life through two different images, so these two sentences are in stark contrast everywhere, because only in the contrast can we exaggerate the possibility of various changes in the different realms, so whether it is the cold night of the bright moon, whether it is the sunny day of the warm sun, whether it is the vast sea of few and desolate desolations, whether it is the green mountain of smoke and mist, whether it is the sorrow of the pearls and tears, Regardless of the confusion of yusheng smoke, all these things have become metaphors for the various realms of mind and emotion that the poet has experienced in his lifetime. Then followed by the end of the two sentences "This situation can be turned into a remembrance, but at that time it was already confused", and looking back at the whole text, the two sentences of "Jinse" are the total, writing the remembrance of the deceased Years. Then, with the two sentences of "Zhuang Sheng" and "Wangdi", he wrote that the butterfly dream of life is easy to wake up, and the persistence of ChunXin is difficult to protect. Then write in the two sentences of "canghai" and "blue field" that no matter in the desolate or gentle realm, its sorrow and confusion cannot be liberated. Then, summing up with the last couplet, the "Butterfly Dream", "Spring Heart" and husband's various feelings written by the first two couplets are "beads with tears" and "Jade Smoke", and those who "can be remembrance" are said to be "may have to wait until the time of remembrance"? It is the tone of a question, Zhang Xiang's "Interpretation of Poetry and Song Words" explains the word "can", that is, the "waiting" of Yishan's sentence is thought to be the meaning of "waiting" or "which to wait". If you look at this sentence together with the following, then the meaning of Yishan Gaiyun will not be able to wait until the time of remembrance, but at that time it was enough to make people feel sorry and low. Although the image of this poem seems to be quite jagged at first glance, because almost every sentence of the middle four sentences is a different metaphor, each is not related, but throughout the whole text, it has its own distinct context to find, the first two sentences are total, the middle four sentences are divided into four different images, the last two sentences are summaries, it is a very complete poem, and the whole text also happens to write Yishan's understanding and feelings of the emotional aspects of the whole life, which is of course a good poem that can be used as a representative work of Yishan.

As for one of the four poems of the second "Yantai", I do not intend to give a detailed explanation here, one is because the number of words in this poem is too long, such as the detailed explanation of each sentence, it seems to be too heavy in the proportion of the length of this article, and I have previously published a manuscript on the four poems of "Yantai" in the second issue of "Pure Literature", readers can refer to it, so I do not intend to repeat it here, but I now refuse to take another poem of Yishan as an example, but still have to choose this poem. This is because the poem has something to say about the use of imagery and the syntax of the chapters. First of all, the poem begins and ends with the tone of the narrative, and in the middle is a combination of intricate images, starting with the coming of spring, starting from the awakening of the spring heart symbolized by the "beautiful scenery rising", and then using the metaphor of the "delicate soul" to symbolize the object of a certain subtle shadow, with the "honey room feather guest" and "YeYe advocate" as a metaphor for the earnestness of their own pursuit of the heart and the week of pursuit, with the two sentences of "warm" and "high beard" as a metaphor for the trance in the mist, with "male dragon and female phoenix" and "chaotic silk" The two sentences symbolize the final inability to attain the realm of perfection and the meaning of despair, the two sentences of "drunkenly slightly yang" and "the curtain dream is broken" are metaphors for the illusion of being really upside down, the two sentences of "sorrow will be iron nets" and "the sea is wide and wide" are metaphors for the sadness of finally losing nothing even if there is a resolute intention, the two sentences of "mercilessness in clothing" and "spring smoke from the blue" are like the contrast between the haggardness of sentient beings and the indifference of ruthlessness, and the two sentences of "Yandan Stone" and "Willing to be imprisoned in heaven" are metaphors for the erosion of reality and the perpetuation of resentment. Then the last few sentences turn to the tone of the narrative, with the two sentences of "sandwiching the commission" and "fragrant muscle cold lining" to write that the three springs have passed away, and the hot summer has come, so it is followed by the sentence "Today's east wind is invincible" to summarize the old age of spring. The last sentence returns to the metaphorical brushwork with the sentence "Transform into a ghostly light into the West Sea", writing that the long passing of spring light will not return. Looking at the above two examples, the entire poem of Yishan is mostly an intricate representation of images, and its imagery is extremely hidden and subtle, which is difficult to explain by concept, as for the chapter, it is privately believed that Yishan poetry also has a major feature, that is, although the poems of Yishan are mostly a combination of images and their beginnings, there is a kind of rational mention, as in the previous two examples, the first two sentences of the "Jinse" poem are summed up, and the last two sentences are summarized, which is clearly visible, that is, although the poems of "Yantai" are composed of intricate images, although the whole poem is composed of intricate images, And its beginning and end have also used some rational tones that are closer to the narrative. The intricate use of rational mentions to intricately cite some emotional imagery is a major feature of Yishan's poetic method. As for its syntactic characteristics, Yishan often uses rational syntax to combine irrational words, such as its sentence "Gao Gui Li Gong Tao Qi", "'What' Li Gong 'What 'Qi', which was originally smooth and rational in syntax, but Yi Shan used an irrational word such as "Peach Mane"; and as in his sentence "Transform into a ghost light into the West Sea", "transform into 'what' into 'what'" "Originally it was also a smooth syntax that conformed to reason, but Yi Shan used words such as "Ghost Light" and "West Sea" to say "East Wind" It can be transformed into a "ghost light" and enter the "West Sea", and although the method of combining sentences is rational, the meaning of the sentence composition is irrational. The previous "Jinse" poem, in terms of syntax, is mostly smooth and rational syntax, but it can be noted that these sentences composed of reason show irrational imagery, which is the biggest feature of Yishan's poetry.

Finally, I would like to make a general comparison of the materials and methods used by the three poets mentioned above for imagery, and I think that in general, the imagery used by Yuanming is mostly derived from things that can exist in reality; the imagery used by Du Fu is mostly from things that actually exist in reality; and the imagery used by Yishan is mostly taken from things that do not exist in reality. Naturally, this distinction is only in terms of the general impression given by several of their masterpieces, if one intends to seek exceptional poetic evidence, then the "Danmu" and "Blue Bird" of Yuanming's "Reading the Classic of Mountains and Seas" are not also taken from those who have nothing in reality, and the "lotus leaves" of Yishan's "Twilight Autumn Solo Journey to qujiang" and the "lonely hung" of "Sunset Tower" are also taken from the actual things in reality. It is only in terms of the attitude of these three poets who are generally expressed as people and poets, then Yuanming is a person who sees deep and lofty from plainness and simplicity, and his poetry and personality have always been based on plainness and simplicity, and do not like to show off. On the other hand, Yuanming is also a person who overcomes matter with spirit, and the things he expresses in his poems are often only the lyrics of The Gods in his poems, so what is active in his poems is often only the concept of some things, not the entities of those things, so there is no carved scenery in Yuanming's poetry. The lonely clouds, birds, pine trees, and chrysanthemums that he wrote about were only his concepts of these things, and they were often only concepts that Yuanming recognized in his personal spirit, and by no means an individual in objective reality; as I said earlier, the imagery in Yuanming's poems was only the result of "holding things with the heart", and he only expressed the concepts of the mind with the concept of the things he recognized. It is only that although the field of spiritual activity is extremely subtle and lofty, its attitude toward human beings is extremely plain and simple, which is the reason why he does not take the image of the real individual in reality, but still takes the concept of certain things that may exist in reality. As for Du Fu, this is not the case; Du Fu's characteristic is to pay attention to reality with the greatest concern, to face reality with the greatest courage, and to narrate reality with the greatest genius; Du Fu is a giant of realistic poets, which is an untold conclusion, and the Thai half described in his poems is a real thing in reality, which is an unsurprising thing. It is only du Fu who is at the same time a poet with the deepest feelings and the deepest enthusiasm, and he often invests his own strong feelings on everything he writes, so that it presents the meaning of imagery because of the poet's feelings and personality bets, just as I said earlier that the imageization of Du Fu's poetry is the result of "entering things with feelings", and he originally made all the real things he wrote imaged by investing his feelings, so I said that the images in Du Fu's poems are mostly based on things that are real in reality That's because his psalms were originally based on realism. As for Yishan, this is really a master of imagery, and the reason why I say this is because although the manifestation of imagery in the poems of Yuanming and Du Fu is beautiful, in the author's case, it is still just a natural outpouring, but in the poems of Yishan we can clearly feel the author's intentional creation and arrangement of images. Sometimes what is expressed in Yishan's poems is an intricate and colorful imagery, which is completely different from the situation in which Du Fu of Yuanming still has ideas to find at the time of narration, and the image is only the natural sustenance or projection of the mind or feelings. And, as I said earlier, Yishan, with his innate endowment and acquired encounters, is particularly indulged in the mood of crippled and sick sorrow, and he also loves to use a vague and subtle way of expression, so the material of his imagery is also particularly favored by some unrealistic things with trance and confusion, because only these unrealistic things can show his sad and hidden feelings, which is why I say that the imagery of Yishan's poetry is mostly based on things that are not in reality. As for the chapters, these three poets also have differences, Yuanming's attitude is mainly Based on Ren Zhen, or manifested as a hierarchical flat narrative, or expressed as a jump in the flow of thoughts; Du Fu is based on both rationality and sensibility, even if it is a sudden transfer due to perceptual associations, he still does not forget to echo in succession in reason; while Yishan is often based on the intricacies of some images, but sometimes makes a slight mention of reason at the beginning and end of development. As for syntax, Yuanming mostly uses the syntax of ancient poetry smooth and straight narrative, Du Fu sometimes only grasps the emphasis of sensibility and performs inversion or condensation in syntax, and Yishan uses rational syntax to combine some irrational words. Du Fu's sentences can sometimes become easy to understand as long as they are smoothly extended and reversed, while Yishan is still incomprehensible although his sentences are completely grammatical. If some of Du Fu's sentences are grammatically difficult to understand, then some of Yishan's sentences are inherently difficult to understand, and Yishan's poems are essentially completely only perceptually recognizable and not rationally explained. From Yuanming's imagery performance of the mind and its self-reliant chapter and the syntax of smooth and straightforward narration, to Du Fu's expression of the image of the emotion and its turning echo of the Zhou Solstice's chapter and the upside-down condensed syntax, and then to the intentional use of imagery performance of Yishan, and its comprehensive chapter, although it is mentioned rationally but is all imagery, instead of its essence is all perceptual syntax, I think we can not only see the difference between the styles of the three schools from this, but also in their differences. There seems to be some historical evolution that belongs to the literary way of expression. I do not say this to promote the Mountain of Righteousness and suppress Yuanming, the lofty wisdom of Yuanming is unmatched, but the highness of Yuanming is a natural outpouring that belongs to a personality itself, and does not belong to the conscious evolution of the technique of expression, while Du Fu's refining sentence plot and the symbolic image of Yishan have a certain evolution of technical consciousness.

It is a great joy to look at the works of some of the old Chinese poets from a more modern point of view and to find that they are worthy of being analyzed with any new theoretical viewpoint of any era, and perhaps this kind of analysis can also be used as a reference for modern poets, which is of course even more gratifying.