Author | Mengxin Edited | Zhang Xuefang
(12) White depiction of the image, leave the waiter taste
Sometimes, at the end of the sentence, the poet uses a white drawing technique to draw a specific image, or portray a specific detail, leaving it for the reader to appreciate and taste, and the poet's hidden emotions also depend on the reader's own understanding in appreciation and taste.
And look at Yuan Shu's "Palace":
The ancient palace is few and far away, and the palace flowers are lonely and red.
The white-headed palace lady was there, sitting idly and saying Xuanzong.
This poem first writes about the desolation of the palace, and the only people who see it are the lonely palace flowers and the white-haired palace women, the situation is full of ups and downs, the past cannot be looked back, and the sad atmosphere has jumped on the paper. Perhaps, the poet will use the scenery lyricism to close it. Unexpectedly, the concluding sentence only portrayed the action of the palace maid "saying Xuanzong". What did the palace maid say about Xuanzong? The poet does not show his mouth, and intends to leave the reader to taste and think for himself. The words "idle and say Xuanzong" and "say" are Guan Jian words, and only one word of "say" has encompassed infinity, and the wounds of prosperity and decline and the feeling of nostalgia have all been enshrined in it, which makes people feel alarmed. It can be seen that using white painting techniques to conclude, no discussion, better than discussion, no lyrical feelings, can also be impressive.
Look at Liu Yuxi's "He Lotte Spring Words":
New makeup should face the Zhu Lou, deep lock spring light a courtyard of sorrow.
Walk to the atrium to count the flowers, and the dragonflies fly on the jade scratching their heads.
This poem writes about the loneliness and sorrow of the young woman in the good spring light, and the ending sentence also uses a white drawing technique, depicting the detail of a flying dragonfly standing on the young woman's elaborately dressed hairstyle jade hairpin, and its subtext is: This young woman sees the flower and falls into contemplation, and even stands like a fool, and even the dragonfly is rampantly flying on her head without noticing. It can be seen that the end with details is also quite interesting.
Song people often end with this white drawing technique. For example, Kong Pingzhong's "Heshu":
The 100-mile west wind is fragrant, and the Mingquan Falls Dou Valley appears.
The old cow roughed the cultivation debt, and the grass slope lay in the sunset.
The image depicted in the epilogue is an old cow, lying on the hillside of the sunset after ploughing, chewing grass, is that a cow? Yes, but also when it is the poet's sustenance, there is a taste to be found. Zhang Shunmin also wrote a poem that can be painted as a picture of the evening pastoral return, "Village Residence":
The water surrounds the bamboo hedges of The Pitian, and the elm money falls to the hibiscus flowers.
The sunset cow has no one to lie on its back, and it brings the jackdaws back in pairs.
The image depicted in the white verse is also a cow, a crow resting on the back of the cow and returning with both cows. "Cow with Jackdaw" means that this disharmonious cooperation has become the helpless destination of the cow, bringing out a message that can only be resigned to nature, and this ending also contains a kind of indifferent melancholy.
Let's take a look at some of the masterpieces of contemporary poets that end in white depictions.
The Hebei poet Wei Xinhe has a poem "Song West Lake", which reads:
Glancing at the Twelve Bridges of the West Lake, the Qianjiang River is only higher than the treetops.
The height of the world is uncertain, and the end of the wood slowly reaches my waist.
It's a travel poem. The author of this poem has a short text description: since the tiger ran to the Jade Emperor Mountain, the forest is full of sun, and the leaves are full of paths. The top of the West Lake on the left and the Qianjiang River on the right are all above the treetops, and the surrounding peaks are at the bottom of the sleeves. In fact, this passage is exactly the scene of this poem's chanting, and it can also be written without writing. The treetops are higher than the top of the mountain, and the West Lake and Qianjiang River are higher than the treetops, which is a strange phenomenon caused by the viewing angle and location. The poet thought of the things of the world from this strange scene, and he felt a lot of emotions, so he said the idea that "the world is high and low and the original is uncertain", and he is waiting to discuss it and bring out his emotions. Unexpectedly, the cunning poet stopped the discussion and used only a paintbrush to paint a picture of the treetops only reaching "my waist", and all the emotions were hidden in this scene. The poet's discoveries and insights come from the landscape in front of him, and it is a relatively clever way to write without exhausting the discussion but to guide the reader to observe on his own and thus understand the author's ideological realm.
Jiangsu poet Han Shengli has a poem praising farmers for squeezing time to go to the technical school to study at night classes in order to master the new agricultural technology, the title is called "Peasant Technical School", the poem said:
The crescent moon is hidden on the mimosa willow, and the peasant technical school is brilliant at night.
When Jiao Jiao returned late from selling vegetables, she entered the classroom with a mouth full of steamed buns.
A mouth of steamed buns into the classroom, this is also a white brush, the image of a rural woman eager to learn jumped on the paper. Through the rendering of this image, the poet also expresses his appreciation and praise for the new rural fashion, and the truth is hidden between the lines.
Hunan poet Jiang Changdian has a poem "Farmhouse Scene", which is also good at capturing the new atmosphere of the times in real life. His poems read:
Returning to the old Swallow has new sorrows, and there is no thatched eaves to see the color building.
The three-turn around beam was finally recognized, and the hoe basket was still hanging on the powder wall.
This poem describes the changes in the farm at present. With the rise of the wave of urbanization, with the improvement of economic living conditions, farmers have bid farewell to the living environment of building houses in the fields, living alone, from stone houses and thatched houses to simple bungalows, and transitioning to the direction of urbanization, intensification, uniformization, and Western-style buildings. This kind of scene, this change, I believe that people who often walk in the countryside can see it. It was this new fashion that people ignored was focused on by the keen eyes of the poet, so that a masterpiece was written. Carefully pondering this poem, the ingenuity of the idea lies in the conclusion. "The hoe basket is still hanging on the head of the pink wall" is also a scene of white painting, and with this picture, all the emotions and wonders can be saved.
The fifteenth of the author's "Sixteen Absolute Sentences of Xitang", the concluding sentence is also a white brush, and the test reading is to see how effective it is, the poem says:
Autumn comes as a guest house, pillow water to listen to the waves and enjoy the fish.
There is no beautiful scene in Mo Dao Xitang, and the Huansha maiden is booing.
Most of these people who carry water and laundry in the river port behind the house are foreign sisters who open inns and do small businesses, but with their figures, this ancient water town has the previous vitality, which is of course one of the beautiful scenes of the water town. The image of the white painting also carries the emotions of the observer, but it needs to be carefully pondered to be able to touch.