Tianjingsha Qiu Si interprets Tianjingsha from the perspective of cognitive psychology? Qiu Si "

Ma Zhiyuan's "Clear Sand? Qiu Si is a famous Sanqu. Most of the previous comments focused on explaining how the works express the tragedy of death in autumn and human poverty, without paying attention to the psychological mechanism of cohesion and coherence between images in the works. This paper intends to interpret it from the perspective of cognitive psychology, which is helpful to deepen the understanding of this poem.

In a good literary work, the author often makes a reasonable layout of language units according to the needs of performance and expression. In "Tianjingsha? In Qiu Si, nine nouns referring to different things are used side by side in the first three sentences: withered vine, old tree, crow, small bridge, flowing water, family, ancient road, west wind and thin horse. The author skillfully combines them together, presenting a picture of a night outing in autumn in front of readers. But these nine seemingly chaotic things piled together, not only do not appear loose, but also are very wonderful in conveying feelings, which shows the deep homesickness of autumn travelers and is touching. How can this group of images with very discrete cognition play a harmonious homesick Qiu Ge? The mystery can be found in people's cognitive psychological mechanism.

Everything exists in the constant movement of time and space, and things often have a relationship in time. Although this group of image group in the works does not have any cohesive ties in form, from the cognitive experience of human beings, they have strong spatial relevance and order, that is, a number of things that often appear together in real life can often coexist in a certain order in language, without any connection, such as vines wrapped around trees and crows perched on trees. Small bridges and flowing water people are also related in human cognitive experience. Where there is a bridge, there must be people and water. The same is true of the ancient west wind thin horse. The horse is walking on the road, and the west wind blows ahead. It is common that these spatially related and orderly things coexist in people's real life and knowledge background, forming human cognitive experience and national cognitive psychology over time.

According to general psychology, perception is the reflection of objective things directly acting on sensory organs in the human brain. Perception is divided into time perception, space perception, visual perception, auditory perception, tactile perception and so on. Among them, the perception of objective objects by spatial order is called spatial perception. It is through a series of perceptual activities that human beings constantly interact with the outside world. However, this perceptual cognitive activity often needs to follow the spatial order of the cognitive object. This poem well follows and embodies the orderly rules of spatial perception.

The nine things in the poem can be divided into two groups: withered vines, old trees and faint crows extend vertically from bottom to top, while bridges, flowing water, people, ancient roads, westerly winds and thin horses extend horizontally with the ground as a reference, forming a two-dimensional space plane. As shown in the figure, it is:

In fact, the network formed by this dual dimension is the spatial order relationship implied by the combination of images in the works, that is, the sequential relationship of multiple incoherent image units according to the perception of things. This spatial order relationship formed by visual perception habits gradually forms human cognitive experience and finally solidifies into some kind of cognitive psychology. This spatial order relationship is the cognitive psychological basis of image cohesion and coherence in the works, and it is the organic unity link of all images. It perceives perceptual objects with different attributes and components as a unified whole, thus integrating them into an orderly graphic background. The nine images from "dead vine" to "thin horse" in the poem are connected and integrated according to this spatial order relationship: the poet walked with his head down and found dead vine on the roadside (or it was the dead vine that tripped his feet). Looking down the dead vines, he found that the dead vines were wrapped around the trunk. There were few branches on the old tree, and there was a rough crow's nest on the branches, which was particularly conspicuous. The poet looked around (the narrative order was changed to horizontal direction), and there was a small bridge not far away. Under the bridge, the stream flows slowly, and there are several thatched houses next to the stream, and there may be plumes of smoke. The ancient road remains the same, the setting sun shines, the cold wind blows, and the thin horse pities people. It can be seen that the connection of the above images uses the spatial order relationship based on people's spatial perception habits, which extends from bottom to top and then along the horizontal direction, making the whole narrative process like a clever landscape photographer shooting a short film in late autumn. First, he takes a close-up shot with a close-up lens, and the lens keeps lifting and stretching to the distance, and then shaking to both sides. In short, the poet used the above-mentioned spatial order relationship to closely connect the seemingly cluttered things, forming a bleak and bleak autumn night travel map, and implied the poet's thinking about his own situation: the future is long, bumpy (ancient road), the world is cold (west wind), isolated (thin horse) has little time left for himself (sunset), and finally gave a cry. What a tearjerker!

Everything stretches in space and continues in time. We might as well examine how the images in the works are organically unified into a whole from the perspective of time.

People live in the long history of time all the time, and the concept of time that needs to be recorded and expressed is extremely complicated, so people have created a variety of timing methods and countless time-keeping characters. During the day, from morning till night, the sky is constantly changing, and the sky is one of the important signs of time. There are many time words to express the weather in China's ancient poems, such as "Sunset in the water, half the river rustling, half the river red", "Moonlight in the pine forest, crystal stone in the stream", "But I look home, and the twilight is getting darker?" Sunset rippled on the river with a sad mist, and so on. There are also some time words describing the sky in this poem, such as "faint (crow)" and "dusk (sun)", indicating that it was dusk.

People often use these media to record time and express emotions, but sometimes the way of recording time also has its own limitations, which is difficult to meet the needs of expressing complex emotions. Therefore, sometimes people will use their regular and periodic natural phenomena observed at any time to record time, such as the fluctuation of tides, the ups and downs of the moon, the alternation of day and night, etc. Or use some physiological conditions in some organisms to record time, such as hay, yellow leaves, cicadas, angry plums and so on. Or use time-sensitive things to record time, such as ice, frost, snow, dew and so on. In this poem, the author uses the time words of biological internal physiological state to express the sadness and tragedy in late autumn, such as "withered vine" and "old tree".

But a larger time domain always contains a smaller time domain, for example, "dusk" can be the dusk of an autumn day. Although some of the timed words in the poem point to "dusk" and some point to "late autumn", they are all unified in the larger time domain of "faint-autumn", which ensures the close connection and coherence of the works in form. As shown in the figure below:

The occurrence of cognitive activities always depends on people's past knowledge and experience. Under the background of certain knowledge structure, if the brain is stimulated by relevant information, it can transfer emotions and experiences and effectively carry out association and cognitive reasoning. These seasonal marker information are stored in readers' respective knowledge modules for a long time. Once stimulated by these seasonal marker information, readers' cognitive units will be activated. By extracting relevant scripts from memory, a mental model will be established and relevant information will be collected in this mental model. Then, with the help of human cognitive experience about time, the information is processed, and the information with the same or similar information is further extracted, so that the relevant information is coherent and unified, and readers' appreciation activities can be carried out smoothly. The author of the poem arranged some typical and periodic natural phenomena, so that things without seasonal characteristics (such as bridges, flowing water, people's homes, ancient roads and thin horses) and even the whole sketch were stained with strong seasonal colors. It is precisely because of the effective connection of this time mechanism that this group of image group does not appear loose and natural.

"Autumn is sad and lonely since ancient times". Under the background of China local culture, ancient literati could not help but think of the sadness, loneliness, loneliness and homesickness in autumn, and finally completed the connection and unity from form to content. In China's ancient poems, why does the image of "autumn" have an indissoluble bond with wanderers, travelers and literati who have poor careers in foreign countries? This unconscious cognitive process must have its potential cognitive psychological mechanism. The spatial mapping theory in cognitive linguistics uses the mapping principle in mathematics to analyze the process of association and cognitive reasoning. According to the space mapping theory, this process is to map the concepts in one psychological space with those in another or more psychological spaces, thus forming a new psychological space, that is, forming a new concept. The emergence of this mapping relationship depends on some similarity between the two cognitive domains of "autumn" and "sadness". It is a common natural phenomenon that everything withers in autumn. Psychological representation is similar to the homesickness of wanderers and travelers and the poor official career complex of scholars. It is precisely because of this mapping relationship between the concepts in the A domain of mental space and the concepts in the B domain of mental space that when the concepts in the B domain of mental space are looming, the concepts in the A domain of mental space may trigger activation, or even quote the concepts in the B domain of mental space. The faint autumn picture composed of various images in the poem forms an image schema in the human mind. After the precipitation of emotional experience of life from generation to generation, through repeated association mapping and making it empirical, psychological stereotype is finally formed, thus constructing a new psychological space C domain of "Sad for Autumn".

It is precisely because this poem hides the order of space and the unity of time, which coincides with people's cognitive psychological mechanism, so the simple juxtaposition of nine images is not loose and chaotic, but coherent and natural. Therefore, it has been praised by people for hundreds of years, affecting the heartstrings of generations of wanderers and causing strong * * * sounds. "Day crystal sand? Qiu Si deserves to be called "the father of Qiu Si"!

References:

[1] Cao Richang. General psychology. People's Education Press.2001.

[2] Xiong Xueliang. A brief introduction to cognitive linguistics. Foreign language learning .2001.3.

Zhao Yanfang. Introduction to cognitive linguistics. Shanghai Foreign Language Education Press.

[4] Liang Ningjian. Contemporary cognitive psychology. Shanghai Education Press. 2003.

[5] Zhu Yongsheng, Jiang Yong. Spatial mapping theory and derivation of conventional meaning. Foreign Language Teaching and Research. 2003.8+0.

Shu Yongjun, male, 2004 graduate student of Art College of Huazhong Normal University.