What is the difference between Qilu and Qijue? (more details)

The main difference is the number of words.

The Qilu consists of eight sentences and fifty-six characters.

Qi Jue consists of four sentences and twenty-eight characters.

Qilu and Qijue should be discussed separately in terms of practice. Qilu should be neat, steady, and should be grand. I do not advocate that Qilu should be written too lightly and beautifully. This style is inconsistent with its constitution, and it is like Li Changji's. The fantasy style is not suitable for writing Qilu. Although Li Yishan's romance Qilu is lingering and beautiful, it still has a refined and majestic temperament. Qijue is very suitable for lightness and beauty. When we read Xiao Du's Qijue, they are a group of fashionable beauties, delicate and bright, which is admirable. Lao Du's Qilu is a gentleman who is unsmiling. Just imagine a man giving a wink to the judge. , I’m afraid no one can adapt to it. However, there are no absolutes in the world, and there are exceptions like Anita Mui and Leslie Cheung, not to mention poetry.

Qijue is mostly fine brushwork, and Qilu is mostly freehand brushwork. The meaning of freehand brushwork is that it is suitable for a wider viewing angle. Taking photography as an analogy, Qijue is like macro, Qilu is like wide-angle, and Wuyue is like telephoto. The archaic style is closer to the header. Du Fu's "Wu Lang Again" describes a very small incident, but it still reflects the times and the great feelings of compassion and compassion. But it should not be empty, especially when writing about current affairs or feelings, and the most taboo is to use rhetoric. I have always thought that the gap between Liu Gaizhi and Xin Youan in the poems is worth learning from. This is not just a gap in literary talent and knowledge. Everyone has different experiences, and there are some things It cannot be forced. When writing about feelings, be careful not to be clingy or heavy-handed. This is very difficult. If you have true feelings, you will often get stuck in the matter. If you don’t have true feelings, just use some sweet sentences to make up the number. The former one will give people the feeling that the words cannot convey what you want, while the latter is more common. If you say it's not good, it's done well, but if you say it's good, it's just rambling and has no real emotion in it.

From a technical point of view, the emphasis of Qijue is on the last two sentences, some of the four sentences are evenly weighted, and few of them focus on the first two sentences. The first two sentences are well prepared and balanced. Even if there are no faults or merits, people should remember that the key lies in the last two sentences, whether they are advancing on the basis of the previous ones or making a big turn. You can also foreshadow the story in the first three sentences, and then clarify the meaning in the last sentence. The main event is later, but it doesn't mean that you can just say the first two sentences casually. For example, Du Mu's "Screen": "On the screen, Zhou Fang painted a slender waist, and the old blue color is half gone. Leaning against the jade window, a girl with a hairy hair, dusting the dust, is still jealous of her coquettishness." The first sentence lays out the background, and the second sentence is highlighted in the big tone. The main point is emphasized and the turning point behind is hidden. If this sentence simply continues the previous sentence and continues the beauty on the screen, the turning point behind will lose most of its power. The third sentence shifts the focus to the protagonist, and the last sentence clarifies the main theme. Every sentence is transferred from sentence to sentence. The structure is extremely tight and cannot be changed. The structure is good and can be rated 100 points. How many points the overall poem will get is another matter. I don’t advocate placing too much emphasis on structure. The charm of poetry is more important.

When writing Qi Lv, the foundation of education is very important. It is not as important as Qi Jue. It emphasizes spiritual energy and can be a little trickier. If you read few books and lack variety in vocabulary and sentences, your poems will be easy to read and lose control. There are many opinions on the specific writing methods of Qilu, including words, sentences, couplets, and chapters in the past dynasties. There are also special chapters on the Internet. Each has its own reasons. You may as well follow whichever one you believe. Most of the paths lead to the same goal. As long as you can write good poetry. , the path is irrelevant. Really good poetry has the power to reverse appreciation habits instead of accommodating common appreciation habits.

Macroscopic issues are easier to grasp, but one thing that cannot be ignored is that no matter what genre, poetry must have details. Li Shangyin's "Lying in white New Year's gown, the white door is so lonely. The red building looks cold to each other through the rain, and the bead foil floating lantern returns alone. The long journey should be sad in the late spring, and the remaining night is still a vague dream. The jade seal is sealed "He Youda, a wild goose flies in the clouds thousands of miles away", "The bead foil floating lantern returns alone", so delicate and kind as to be seen, later people often tend to get the impression of "the night is still dimly dreaming", and the result is a tense one. A skeleton of skin, without flesh and blood, how can there be life. Without details, you can't impress and win the reader's trust. The details must be written skillfully, the vision must be unique, the technique should be authentic, and the jade chopsticks can be pointed at every turn, the piano and the crane are played, and the beauty is not seen, but the vulgarity is seen.

Where do the details come from? "Three or two branches of peach blossoms outside the bamboo are a prophet of the warmth of the spring river. The ground is full of wormwood and the reed buds are short, which is when the puffer fish is about to come." A few days ago, I was teaching my son to recite this poem, and suddenly I thought that the ancient poems were inaccessible. In this kind of situation, Modern people can no longer imagine places, because we do not have such a close connection with the natural world. Even if we write about it, it is only a simulation. If it is not natural, it is not good. Poetry always comes from life, even if it is imagination, it also comes from life, but we do not necessarily appreciate and like the environment we are in, so we have created a number of works that sing about the wind and the moon, and moan without illness. Criticism of such works is Easy, but what to replace them with is a big question. People often say that they don't know what to write, they don't find content from real life, and they are unwilling to simply imitate the ancients. This is the problem they will encounter.

This problem is not hopeless to solve, but it does not necessarily require or be able to propose a complete solution theoretically. The ancients imitated the ancients and worshiped the ancients, which does not prevent them from continuing to be admired and imitated by future generations. The source of culture continues in one continuous line. We cannot separate it and say that our environment is very different from that of our predecessors, so our poetry must be very different from that of our predecessors. This statement can be applied to a specific creator, but if To apply it to the world, all or most people who create old-style poetry must write with the flavor of the times (this requirement of the flavor of the times has two completely different ways of expression and practice, which is a bit far from the main idea, not much (mentioned)’s work, it went from one extreme to another.

In terms of specific practice, I rarely spend too much time on a poem. It usually goes from idea to completion very quickly. I am not good at chanting. It is more important for me to capture the first feeling. It is important, so I rarely revise it. If I am not satisfied with a certain article, I would rather start over and rewrite it instead of making repairs. This may not be better than meditating on it, but it is suitable for me, a forgetful lazy person. Compared with the ultimate pursuit of studying poetry, finding the writing method and expression method that suits you best and that you like best may be a more feasible way-for most authors and works.

In both reading and writing, I advocate putting the overall picture first and then the words. If you have thoroughly studied the theory of every word and sentence, but have no perception of the poem as a whole, then this kind of theory will not be useful for writing. It is doubtful how useful poetry is. Even if the writing of the words and chapters is impeccable, it is still not enough to prove that it is a good poem. The quality of poetry cannot be demonstrated through demonstration. When we write poetry, we cannot put ourselves in the position of the compilers of poetry appreciation dictionaries.

In the final analysis, what to write and how to write are not the core issues. In the end, only the work itself speaks.