What are the imagery and mood in the poem? Imagery creates an artistic mood, and the two work together to create a poetic aesthetic

Imagery is an important concept in ancient Chinese literature. Liu Xun of the Southern Dynasty proposed in the "Wenxin Carved Dragon Divine Thought": "Let the slaughter of The Mysteries of Xuan Xie, find the sound law and determine the ink; the craftsman of the sole illumination, peep at the image and transport the jin." This is the first technique of the gaihua text, the big end of the plot. The construction and expression of imagery is regarded by him as one of the criteria of literature and poetry.

Artistic conception refers to an artistic realm produced by the fusion of the life picture depicted by the poet through the combination of images and the aesthetic emotions of the poet's subject in poetry works, which is the overall image that can open up a rich aesthetic imagination space when the scenes are blended and the virtual reality is born.

It can be said that the far-reaching of the artistic conception is closely related to the imagery of the poem, and only by understanding the meaning of the image can we grasp the content of the poem, understand the main idea of the poem, enter the poetic mood, and perceive the poet's emotions.

Wang Guowei said in "Words and Sayings on Earth" that "literary things are enough to express themselves on the inside, and enough to be touching on the outside, and both meaning and context are only." "The work of literature is not work, and it depends on the existence or shallowness of its artistic conception."

Chinese classical poetry writers often use subjective emotions to give objective scenes to establish imagery, realize the functions of ideography and lyricism, form a significant feature of Classical Chinese poetry, and also highlight the characteristics of the creative mode of Chinese classical poetry authors. Therefore, the symbols that carry the meaning of poetry have also entered the realm of rhetorical aesthetics.

The poet mourns the spring and autumn, and leaves the sorrows, and all borrows colorful images. The carefully selected imagery constitutes the artistic conception of the poem, presenting a subtle and timeless charm, which constitutes a unique landscape of traditional Chinese poetry. It can be said that imagery is the soul of poetry.

Using imagery to create the poet's mental space is a law that all art forms must follow, and it is also the pursuit of the poet's creation. Poets send emotions through the world of imagery, allowing readers to perceive and play in their imaginations, they either chant objects, or write scenes, or depict the mood of the characters, or portray life scenes, and so on.

The poet feels the heavens and the earth, and expresses this feeling in his heart by cutting the objects and selecting the imagery, revealing the artistic characteristics of poetry to create the image world. For example, Li Bai's "I don't know the mirror, He Qiu gets autumn frost", an "autumn frost", contains the poet's endless sorrow. Chen Ziang's "Dengyouzhou Tai Song" also expresses the loneliness and sadness of the lyrical protagonist's heart through the long and vast expanse of time and space.

The beautiful artistic conception of classical poetry is inseparable from the vivid, real and vivid imagery. And the creation of the imagery blends the author's emotions. When we appreciate it, we must grasp the imagery by processing and combining these images, so as to evaluate the content and emotion of the poem. The poetic imagery is mainly three types: human, visual and object, and this egg imagery is reflected through the technique of scene blending.

The so-called human figure, that is, the figure in the poem. In classical poetry, there are those who do not seek glory and profit, who are bold and uninhibited, those who send love to the landscape and the ambition to retreat, those who are concerned about the world and worry about the country and the people, those who send off friends and miss their hometowns, those who do not meet talents and are ambitious and difficult to reward, those who are determined to serve the country, those who love and hate, and those who are generous and cynical.

For example, the last four sentences in the Tang Dynasty poet Du Fu's "Ascending to the Heights": "Wanli Sorrowful Autumn is often a guest, and he has been ill for more than a hundred years and has been on the stage alone." Hardship hated the frost sideburns, and poured out the newly stopped cloudy wine glass. The last four sentences are the second group of images, expressing the poet's feelings of ascending to the heights. The sad wanderer in autumn, the poet who ascended to the heights of loneliness, the white sideburns, and the newly stopped wine glass show the poet's uncertain situation for many years, the loneliness of the unaccompanied eyes, and the pain can be imagined.

Du Fu had been away from his hometown for a long time, wandering away alone, sick in his twilight years, without relatives, and looking up at the distance in the miserable autumn, he could not help but be full of sorrow. The poet thinks of the country's difficult situation, the bumpy road, and can't help but have white hair, but because of the illness, the new to quit drinking, so although there are all kinds of sorrows, there is no way to dispatch, the feelings when the country is sad jumped on the paper.

Another example is the famous sentence in the Tang Dynasty poet Wang Wan's "Under the Sub-Northern Gushan Mountain", "The sea is born of the night, and the river spring enters the old year", the poet depicts us a picture of the night will end, the morning dawn will be slightly dewy, and a round of red sun will rise from the sea; the harsh winter will not end, and the spring has quietly arrived. The philosophy of life with universal significance in the poem gives people the power of optimism and positivity. It can really be said that there is emotion in the scene, and the reason in the scene. This is the lyrical function of the imagery of the scene in the poem.

The so-called scene is the image of the scene in the poem. Wang Guowei said in the "Words and Sayings of the World" that "all scenery is love language", it can be said that the scenery in the poem is the scene in love, in this regard, the Northern Song Dynasty poet Qin Guan's "Tasha Xing" is a good example, in the upper part of this word, the lyricist wrote: "The fog lost the terrace, the moon lost in Jindu." Taoyuan is nowhere to be found. The isolated house is closed in the cold of spring, and the sound of cuckoos is obliquely sunlit. ”

The first three sentences are fictional scenes, and the lyricist here uses the writing method of creating scenes according to emotions - the scenery is set for love, just like Wang Guowei's "Words and Sayings on Earth" said that "all scenery is love words". Because the lyricist tried to stumble and was degraded to Chenzhou, he lived alone in the Chenzhou Hostel, facing the green lantern of the lonely hall, so he could not see the image of "Jindu".

From the perspective of time, the opening sentence of "Tasha Xing" is written about the foggy and lost moonlit night, and the time described in these two sentences is the three words of "oblique sun twilight"; literally, how can time be regressed to the dim moment? Obviously, these two sentences are the actual writing of Qin Guan's pen, and it turns out that the lyricist can't afford to be lonely.

The mood of the writer at this moment is disappointed and sad, so the two sentences of "Cankan Lonely House Closed Spring Cold, Cuckoo Sound Slanting Sun Twilight" these two poignant lamentations, the voice is poignant, reading touching to the heart. "Kekan Lonely Pavilion" and a "cold" character have written the loneliness and desolation in the hearts of the lyricists, and if this sentence of Wang Guowei is used to evaluate Qin Guan's writing technique here, it is appropriate.

The fusion of scenery and emotion is nothing more than the scene of homesickness and farewell. Li Bai wrote in "Spring Night Los Angeles Smelling Flute": "In this nocturne, who smells the broken willows, who can't afford the old garden? "Here, folding willow can be understood as hearing a folding willow song, and it can also be understood as hearing the thoughts of folding willow in the music." Willow "harmonic" "stay". When the ancients bid farewell to relatives and friends, they folded willows to give each other, suggesting the meaning of nostalgia and remembrance. Folding willow is not only a custom, but also represents a scene and an emotion. The ancients also had the habit of folding willows to send far away, which is the meaning of looking forward to the early return of relatives who travel far away.

Liu Yong wrote in "Raining Bells": "Where is the wine awake tonight? Yang Liu'an Xiao Feng And The Moon", the lyricist closely associates the image of Yang Liu with the parting of sorrow. The images of willow, xiaofeng and remnant moon are the most touching images, and they can touch people's hearts even more.

The imagery in the poems is rich in connotation, reflecting the reality, emotions and pursuits of people's lives, and only by walking into the imagery of poetry can we better appreciate the edification of the humanistic spirit of classical poetry.

The so-called object image, that is, the poet makes an anthropomorphic symbolic description of the scene in order to show the heart or emotion, and tortuously expresses the poet's character, discipline and thoughts and feelings.

In Ma Zhiyuan's "Autumn Thoughts", the "dry vine" is selected as the opening image, which not only plays a leading role in the leading role of related images such as "old tree" and "dusk crow" in the future, but also lays a desolate and withered tone for the whole series of images, directly giving the whole piece a sentiment of sorrow and continuity, and together with a series of subsequent imagery, it forms an image combination, and conveys the author's nostalgia for his hometown and the sorrow of wandering with a series of image combinations.

And the Southern Song Dynasty Lu You's "Bu Operator Yong MeiHua": "There is no intention to fight for spring, and Ren Qunfang is jealous." Zero fell into the mud and dust, only the incense was as it was. "Lu You takes the gods with his appearance and focuses on portraying Mei's character: opening in the harsh winter without competing with the spring of a hundred flowers, showing his openness and freedom, Mei's perseverance, and unchanging Zhijie, which is also a portrayal of the poet's own personality.

The way of constructing imagery in classical Chinese poetry often uses the magic of love and scenery to give the image the possibility of being established in the artistic conception, as Wang Guowei said in "Words and Words on Earth": "In the past, when people talked about poetry, there was a difference between scenery and love language. I don't know all the scenery language, all the love language also. "In the imagery of classical Chinese poetry, the fusion of love and scenery is commonly seen in a series of combinations of imagery of love and scenery.

The fusion of scenes is the common pursuit of poets when creating artistic conceptions and images, but the characteristics of artistic conceptions are not limited to the blending of situations, it breaks through and exceeds specific images, from limited to infinite, from concrete sublimation to ethereal. It inspires the reader to imagine and associate, so as to enter the infinitely rich and vast artistic space created by the poet, to think and understand the thinking and understanding of the poet's social history and even the life of the universe in the poem.

For example, Wang Wei's "Birdsong and Streaming" is another good example: "People are idle and the osmanthus flowers fall, and the night is quiet and the spring mountains are empty." The moonrise frightens the mountain birds, and when the song is deep in the stream. The poet chooses several scenes of the silent mountain forest: "Falling flowers, empty mountains, moonrises, birdsong, deep streams, they all contain the poet's unique feelings, which constitute the imagery of poetry."

In the poem, "quiet" and "idle" refer to leisurely and idyllic, referring to the disgust and avoidance of earthly worries such as officialdom, fame and fortune, and personnel disputes. It is precisely because the poet has this quiet and idyllic state of mind, writes silent with sound, and artistically processes these images, which creates a unique quiet and profound artistic realm.

The ancient poetry of the mainland, no matter how lyrical, whether its lyrical protagonist appears directly or not, can present a beautiful picture in front of us, creating a unique artistic conception, which is either both form and god, or beautiful and moving, or fresh and timeless, or desolate, or hazy as smoke.

Immersed in the poetic imagery of the blended scenes, lingering in the realm created by the poetic image, the reader can listen to the poet's most sincere talk to nature, society and life, dock the poet's richest, most real and most delicate emotions, enjoy the most humanistic care and humanistic spirit of the beauty, so as to get the enjoyment and edification of beauty, taste the unique exchange between the spirit of heaven and earth in classical Chinese poetry, and the concept and aesthetic state of life full of vitality.