On Appreciation and Creation

Appreciation and creation are inseparable. If we want to have a deeper experience and understanding of any kind of art, so as to learn from the author's expression techniques and further innovate, we must first go deep into it and understand all its tricks one by one, so as to find problems, gain experience and thoroughly understand its advantages and disadvantages. Practice makes perfect, which naturally comes from pursuit. As the predecessors said, you can go in first and then go out. All relationships between inheritance and creation are the same. Ci is the study of relying on sound. In order to master its special laws and create lyrics suitable for this tune, it is necessary to conduct in-depth research and practice. Otherwise, it will be difficult to talk about real appreciation and it will not be of much help to creation. "Appreciating strange pens and analyzing doubts" (The Collection of Tao Yuanming, Volume II, Migration) is the experience that Tao Qian, an outstanding poet in the Jin Dynasty, told us. To appreciate the "fantastic book", we must first find and analyze the problems, so as to thoroughly understand its "strangeness" and thus obtain the pleasing spiritual enjoyment of "forgetting food while enjoying it". Monk once said poetry by "opposing the will with the will", and the "will" he said is what is generally called thoughts and feelings now. Correct thoughts and sincere feelings are expressed through clever language art. Only through the medium of language art can we infer the author's thoughts and feelings with the readers' thoughts and feelings, so as to be spiritually infected and enjoyed. As we said before, Ci is the most musical literary form, and the beauty of this special form can be understood from three aspects: color, fragrance and taste. As Liu Xizai said:

Words are things, and color, fragrance and taste should be everywhere. In terms of color, there are borrowed colors and true colors. I don't know if I will wash off the borrowed color before I see my true colors.

-"Outline of Art" Volume 4 "Outline of Songs and Fu" Wang Guowei also said that it is "fragrant and true" (see Volume 1 of "The Words of the World"). Liu also called:

Sikongbiao sage (figure) says: "Plum stops at acid, salt stops at Yu Xian, and beauty is beyond acid and salt." Yan Canglang said: "Beauty is thorough and exquisite, and it cannot be brought together, such as the moon in the water and the image in the mirror." These are all poems, and the writing is also beyond this situation.

-"Introduction to Art" Volume 4 "Introduction to Ci Qu"

Words such as "the moon in the water, the image in the mirror" and "the beauty is beyond the sour and salty", as well as the so-called "color", "fragrance" and "taste" are intangible things, and it is difficult for us to understand without personal experience such as vision, smell and touch.

Because the most important point of the language art of ci is its indissoluble bond with music, to appreciate it, we must first appreciate it from two aspects: sound and color. "Sound" is expressed by the basic principle of "high and low, scattered and orderly", and "color" is expressed by the accuracy of words. To understand and master these two methods, we must start with reading words. Not far from the ginger said:

When writing lyrics, it is right to read them (at first). The way of sound is rooted in nature and related to people's hearts. The real name of the word is Yuefu, which can be matched. Although the melody has been lost today, a good reader can balance the exotic, cadence and beautiful timbre. It is clear, bright and harmonious, even if it is difficult for readers to understand. When the tone is very familiar, the control is self-contained, that is, the sound flows out with the words and is naturally harmonious.

-"Ci Shuo"

Before you learn to write lyrics, you must be good at reading words. A piece of music has different rhythms, and these different rhythms, high and low, are intricately changing. They must adapt to the ups and downs of the thoughts and feelings expressed by the author, so as to achieve the close combination of content and form and reach the peak of language art. All this, I have roughly analyzed in front. As for the arrangement of the four tones' level tone and rhyme, how to achieve harmony and pleasing to the ear through the pronunciation parts, instead of reciting them repeatedly, it is difficult to achieve the sound transmission and feel the strong appeal of the works.

When it comes to the accuracy of words, we have to look at it from two aspects. On the one hand, it is "elegant tone", that is, Zhang Yan said, "You should type loudly and sing fluently" (see etymology). On the one hand, it is "color", which is what Lu Fuzhi called "the eye of the word" (see Ci Zhi). This is different from the poet Yu Xie's saying that "the ancients refined Chinese characters only on the eyes, five-character poems covered three characters, and seven-character poems took five characters as the eyes". Liu Xizai put it well:

The eyes are gathered by divine light, so the eyes with a perfect eye and several sentences are all waiting for the reflection of the eyes. If you give up the rules and seek words and strive for ingenuity, how can you open and close and change?

-"Introduction to Art" Volume 4 "Introduction to Ci Qu"

Whether it is a perfect "eye" or a few sentences, we should pay attention to the color of this word or sentence, and it must be particularly brilliant and exquisite, just as Wang Guowei said: "The branches of red apricots are noisy in spring" (Song Qi's "Yulouchun"), and the word "noisy" is written all over the world; Clouds break the moon and flowers make a shadow' (Zhang Xian's Fairy), with the word "Nong", the realm is exhausted. "The words" brain "and" get "can make a word" color "and make the whole body" color ". Another example is Liu Yong's Yu Linling. " Where did you wake up tonight? "Yang Liuan and Xiao Feng Canyue" is also a perfect "eye", which is written in this sentence, but the myriad customs, so melancholy, are looming between the lines, exquisite and thorough, and endless. But this state needs to be recited repeatedly. If you look at each word separately and then look at the overall structure together, it is not easy to understand.

Kuang Zhouyi, a modern lyricist, also told us with his accumulated experience for decades, which made us understand this aspect. He said:

The method of reading words, taking the excellent artistic conception of famous sentences of predecessors, constructing this artistic conception in dreams, and then thinking clearly, taking the body into it for a swim and blending with the spirit is really mine, and foreign things can't take it away.

-Huifeng HuaciNo. 1 Volume

Reading like him is really conducive to both appreciation and creation. Because of this, the thoughts and feelings of readers and authors can be integrated. Through the artistic techniques of language and writing, the real scenes felt by the author at that time are reproduced in the readers' minds one by one, so that the readers are strongly infected, so as to have a deep understanding of various performance arts, which is a powerful means to shape themselves with things and let love grow. This is called "Wu Miao" in Yan Yu, while "Wu Miao" comes from "perusal". Yan Yu teaches people to learn poetry, and there are so-called "three sections":

At the beginning, he didn't know likes and dislikes and was full of articles. It is extremely difficult to feel ashamed and cringe at first; Very thorough, and then seven vertical and eight horizontal, handy, in good order.

-Cang Shi Lang Petrochemical Law

Every outstanding poet or artist has to go through these three stages. In fact, this is a combination of ideology and artistry, and it is the relationship between inheritance and creation. In our previous generation, literary theorists only called it "can enter and exit". Yang Wanli, a poet in the Southern Song Dynasty, once told us about his personal experience in writing poems. He said in the preface to Jingxi collection:

When it comes to poetry, I began to learn from the gentlemen in Jiangxi, not only the five-character method of Houshan, but also the seven-character quatrains of the old man in the Mid-Levels. Later, I learned the quatrains of the Tang Dynasty. The more I learn, the less work I have.

This shows that he experienced many hardships from the first stage to the second stage. I have a deep understanding of the performance art of my predecessors, so I feel the bitterness. It is not so easy to express my thoughts and feelings properly. Then he said:

In the summer, the official went to Jingxi, not only to the official position, read the lawsuit and manage the state capital, but also only his relatives. Past poems come to me, and I want to be free. In the three generations of the Reform Movement of 1898, people were asked to write poems every day, and suddenly they realized it. Therefore, the Tang people declined politely, but the gentlemen of Wang, Chen and Jiangxi dared not learn, and then they liked it. Try to let the children write, bring a few songs casually, and it will be clear and clear, and there will be no re-rolling. Since then, every afternoon, officials have to leave the court, that is, take an instant noodle, go to the back garden, climb the ancient city, pick chrysanthemums and climb bamboo flowers, and present poetry materials after the arrival of Vientiane, but they refuse to leave. The former didn't go, the latter was forced, and they didn't feel the difficulty of writing poetry. This will be a day that covers the poet's illness and death. It is not only difficult for the party to write poems, but also difficult to write realms.

This shows his final stage, which is what Yan Yu called "complete" stage. This is called "Wu Miao" by the poet and "Hunhua" by the poet, which is what Lu You said: "Articles are natural and skillful hands are occasionally available". To put it clearly, only by deeply understanding the accumulated experience of predecessors and integrating various language arts can we solve the problem of combining ideology with artistry. It's just that what the author wants to say is expressed accurately and skillfully.

Wang Guowei deduced his theory, and there are so-called three realms in talking about ci. He said:

The great cause of ancient and modern times and the questioner of the university must go through three realms. "Last night, the west wind withered the green trees, and I went up to the tall building alone and looked at the horizon." (Yan Shu's Flowers Near) This is the first place. "The belt is getting wider and wider, and I don't regret it. I am thin for Iraq. " (Liu Yong's Wu Fengqi) So is this second place. "Looking for him in the crowd, I suddenly turned around and the man was there, dimly lit." (Xin Qiji's "Jade Case Yuan") This third place is also.

-"Words on Earth" Volume

This first scene shows that it is impossible to capture it before entering, which makes people feel like "above, he searched for the green void, below, the yellow spring, but he failed. In these two places, he didn't find the person he was looking for." The second situation is that after entering, I get pleasure from hard exploration. The third condition is that if you enter, you can go out and be suddenly enlightened. Our appreciation of predecessors' excellent works and our conception of personal creation must also go through these three realms before we can achieve "the truth belongs to me, and foreign things cannot be taken away."

Zhou Ji also talked about the issues of "being able to enter" and "being able to leave" in the Preface to Selected Poems. He said:

Fu ci is not nailed in, but specially nailed out. One thing, one thing, leads to it and touches many things. If the mind flies like a gossamer, it contains wings a pound thick. Without thickness, when I entered the room, I became a habit and had a sense of accident in life. It's a fake class. I've watched it thousands of times. If you love deeply, you will lose every time. It will brew for a long time and get lost in the dark. Although plain and simple, it is full of feelings, and there is no owner in Wuli. People who read the article, looking at the fish in the deep water, the mean carp, and the midnight fright, know nothing about things, laughing and crying with their mothers, and can be said to be able to get out of the countryside.

Being able to enter and leave the two realms is also discussed in combination with appreciation and creation. What is "sustenance"? That is, the so-called "meaning from the inside" and "meaning from the bottom". How to understand which works of predecessors have "sustenance"? This has to be closely related to the author's time environment and personal special character and the content and expression of the work, and studied repeatedly. Then the so-called "implication" can make readers feel refreshed and shake their emotions, and achieve the profound and strong appeal of "a naked boy laughs with his mother, and his hometown is full of emotions". For example, in Li Yu's later works, because he lived a life of being confined to Lacrimosa day and night, a rebellious feeling of revenge overflowed in his chest. Under the oppression of an environment that he dared not say but did not dare to be angry, he inadvertently revealed that "it was a flower in the forest, and he was worried, but it was cold and rainy, but the wind came late" ("Meeting Huan"), another example is the works of patriotic poet Xin Qiji, which almost run through "worrying about the country" The so-called "understanding people and discussing the world" is also the main condition for appreciating the works of predecessors.

What is the so-called "fragrant nature" of words? In my opinion, to understand this realm, we have to ask for the meaning and rhyme of the work, and we have to ask for the opening and closing of the whole structure. As for the difference between "natural color" and "borrowing color", the most obvious point is that, as the poem of Mrs. Huai Guo in the Tang Dynasty said, "But dyeing is too greasy, and sweeping away the beauty is supreme." Just like Li Taibai's poem, "Clear water produces hibiscus, and carving is natural." I think the best example of this "real fragrance" is Li Qingzhao's "Yu Shu Ci". For example, at the end of Drunk Flowers, this is what people read the most:

Don't say clear autumn is not a person, the west wind rolls the flag and beads curtain, and the person in the curtain is thinner than that Huang Ju.

Another example is the end of He Zhu's Jade Case:

How much leisure do you have? Yichuan tobacco, city wind, plum yellow rain.

Although the above two sentences are the end of the previous one, they are then integrated into the landscape, taking advantage of each other, and some are ready to come out. However, compared with the other two, Li's poems are a natural standard of gentle self-pity, which makes readers deeply moved and regards congratulations as a deeper charm. At first, there was no embellishment, just an understatement, tactfully lingering and endless. This is Li Qingzhao's early work, which should be read in comparison with the following paragraph in her preface to the Story of the Stone:

I remember every time I finished eating, I sat back in the hall. Making tea refers to the accumulation of book history, which means that something is in the first line of the first page of a volume of a book, and winning or losing is the order of drinking tea. Hold up a cup and laugh until the tea turns over, but you can't drink it.

After reading it, we can see the charm of the author and the deep affection of the couple to help us appreciate these famous sentences. Look at the "Slow Voice" she wrote after her husband's death. At that time, she was displaced and suffered the bitterness of life:

Looking around, lonely and sad. It's the hardest to stop breathing when it's warm and cold. Three glasses and two glasses of wine, how can you beat him? It's late in the wind. Guo Yan is very sad, but this is an old acquaintance.

Yellow flowers were piled all over the floor, withered and damaged. Who can pick them now? Looking out the window, how can a person be dark? Indus is raining in Mao Mao, dripping at dusk. This time, what a sad sentence?

There has never been a classic used in it, and there has never been a little powder. Just a female poet who has experienced the wind and frost and felt the past and present, and truthfully described her feelings of "sudden loss" from morning till night. It seems that they are all ordinary words, but they surprise future generations with their "vigorous vitality" (Volume 10 of Wan Shu's Morphology), and they can be "creative" (Volume 6 of He Lin Yulu by Luo Dajing), reaching the peak of language art, which is really similar to Li Yu's later works, and only because of truth and combination.

The so-called "borrowing color" is the most common substitute word, such as "Liu Guihua Wa" in Zhou Bangyan's "Xieyuhua" and "Toad's Cold Shame" in Wu Wenying's "Banquet in Du Qing". Replacing "Moon" with "Osmanthus fragrans" and "Bichan" is only for the balance of sound and color. However, Zhou and Wu's poets like to play this skill. If we want to understand their works, we must pay attention to this technique. Shen Yifu once pointed out:

The most important thing is to refine sentences. When you say peach, you can't say it directly. You must use words such as "red rain" and "willow waves". For example, when chanting a willow tree, don't say it is broken, use words like "Zhangtai" and "Ba 'an". If you use something like "silver hook is empty", it is the word "book", not to mention the word "book" "Jade Hanging" is "tears", not to mention "tears". Such as "Lv Yun fills the air", hidden bun hair; "Look for bamboo when you are sleepy", which is obviously bamboo. (For all cited examples, see Halal Collection. There is no need to know. For example, if you teach beginners, you will see beauty only if you tell them what it is.

-"Yuefu Finger Fan"

It is also a long-standing technique in language art to describe the beauty of things with various metaphors to make them more vivid. For example, in the Book of Songs, women's hair is tied into a bun, which is "curly like a cloud" ("Wind, a gentleman grows old together") and "head is like a flying canopy" ("Feng Wei Bo Xi"). When describing women's eyes in Han Fu, there is a phrase "wandering eyes" (Yi Fu's dance fu). Later, Lv Yun was further used to replace the bun and eyes, just like the famous sentence "How to make eyes when leaving" in The West Chamber, and I didn't feel the disgust of these two words. But playing tricks on it, either falling into exquisiteness or falling into cliche. It's really unacceptable that the author and the reader will only be more confused by "finger-obsessed" like this.

Another skill of writing is ups and downs. Some "hidden, hidden, hidden, hidden" places must be "transported by the true power of the atmosphere" (Volume 1 of HSBC Thorn). For example, Su Shi's "Yong Yu Le Cheng Peng spent the night in the Yanzi Building, dreaming of it, all because of it":

The bright moon is like frost, the wind is like water, and the scenery is infinite. Jumping fish in a curved harbor, lotus dew in a round place, but not alone. Like three drums, one leaf is loud, and the dark dream cloud is broken. In the dark, I found that there was nowhere to find it, and I felt that I had traveled all over the small garden.

Tired of tourists from the ends of the earth, I returned to my home in the mountains and looked at my hometown. Swallow house is empty, where is beauty? The swallows in the empty lock building are like dreams from ancient times to modern times. Have you ever dreamed of them? But there are old lovers and new resentments. At different times, the night view of Taohuawu sighs for Yu Hao.

Straight words are ethereal and tough, with magical lines, but they are progressive layer by layer, and the pen and pen are reversed. It can be said that there is a real breath of swimming in the meantime, but there is no trace of turning, closing, lifting and stopping. Another example is "Man Ting Square", where he met Zaisi and walked hand in hand in Nanshan.

Thirty-three years, wandering rivers and seas, Wan Li smoke waves in Yun Fan. The old friend was surprised and haggard. I am narcissistic, so what are you doing, running around? Time is running out, the dead end will be unable to sit still and the stern will freeze.

Fairy fairy, outside Huaipu, the brothel of the ancient temple is empty. Hand in hand with the forest, holding hands with a smile. Don't go to the end of the lonely peak, staring eyes, mixed with clouds and water. Where is home? Because you ask me, I dreamed of pine trees and fir trees.

This is also the best way to open and close the ups and downs. The awe-inspiring mind is free and easy, just like being connected with our generation in the vast sea of clouds, straight, unpretentious and natural. Liu Xizai only appreciates another poem of his "Looking Back at the Old Days and Playing a Sad Song", thinking that "I am sincere and generous, but I want to go home by the wind if I don't learn, lest it is too cold at the top" in "Mink Head", and that these are all "ethereal and ethereal" ("Cang Fa"), what's more, the techniques he uses are just ups and downs, which can follow the shape of things.

In the ups and downs of opening and closing, we should not only "support" but also "pay attention" to see the "needle and thread" For example, Chen's Linjiang Fairy:

I remember drinking on the bridge at noon yesterday, and most of the people sitting inside were Hao Ying. Long ditch Ryutsuki was silent. In the thin shadow of apricot flowers, I played the flute until dawn.

It has been like a dream for more than twenty years, although I am shocked. Go to the pavilion to see the new sunshine. How many things in ancient and modern times, fishermen sing the third.

Liu Xizai once cited the advantage of "apricot blossom and thin shadow playing the flute till dawn", because it inherited "recalling the past" and paid attention to "dreaming", so it "turned into melancholy without feeling luxurious". We carefully appreciate the artistic conception described in this whole article. The seven words in the middle of Shanggan have hidden the root of "melancholy" in "luxury", while the seven words in Xiagan have been separated from the word "shock", as if "there is joy in sorrow". In this way, the tape is played first to form a perfect picture, which is worth repeating. Another example is Li Yu's "Langtaosha":

Jin Jian has been buried and full of vitality. On a cool night, the moonlight blooms. I think of the shadow of Yulou Yao Temple, and the sky shines on Qinhuai.

These first two sentences are so sad. Then, the pattern was put down, showing a brilliant and brilliant atmosphere. But he suddenly fell into the abyss of extreme pain, turned to Huawei and swallowed it, seeing love and hate in bitterness. Later, Fan Zhongyan's Yu Jie Xing also used a similar technique:

Every night, we can see the tulle moon, but the one we love is thousands of miles away. Sadness is inch by inch, and it is hard to make yourself intoxicated if you want to drown your sorrows in wine.

The characteristics of this technique are: the front is as wide as possible, and the back is steep and wrinkled, which transforms the absolutely magnificent language into the absolutely sad artistic conception. We understand these technologies and apply them flexibly. Then, whether you appreciate ancient masterpieces or your own creations, you will be inspired and get better and better.

In short, appreciation and creation must begin with repeated recitation. Mastering the wonderful use of temperament and all language arts to express noble and magnificent ideological aspirations and to make intriguing and emotional new words, I think, this is what every literary and art worker yearns for every day and is also urgently demanded by the broad masses of the people.