Poetry uses expressive techniques and analyzes them.

A collection of poetic expression skills

Part one: Rhetoric skills.

First, commonly used rhetoric

(A), metaphor

Compare one thing or situation with another. It can be divided into simile, metaphor and metonymy. It can highlight the characteristics of things and visualize abstract things. For example, the poem "Looking at the landscape of Dongting from a distance, snails on silver plates" (Liu Yuxi's "Looking at Dongting from a distance") skillfully compares "snails" and compares the mountains under the bright moon Yin Hui to snails on silver plates. The color is elegant and the landscape is integrated. Metaphor not only makes the images depicted in poetry more vivid, but also embodies the modal characteristics of images. For example, "the cool moon looks like an eyebrow hanging 60 thousand, and the Zhongshan mirror looks more."

(2), personification

1, please look at the following two poems:

"Jasper makeup into a tree high, hanging green silk sash in ten thousand. I don't know who cut the thin leaves, and the spring breeze in February is like scissors. "

"Good rain knows the season, when spring comes. Sneak into the night with the wind, moisten things silently. The wild path is dark, and the river is bright. Look at the red and wet place, Jinguancheng is heavy. " (Du Fu's "Delighting in Rain on a Spring Night")

-the first poem, contrary to the previous writing, does not use the slender image of willow to describe the slim figure of beauty, but uses anthropomorphic techniques to make willow appear as a beautiful "jasper" and vividly describe the graceful appearance of willow.

-The second poem vividly depicts the rainy scene on a spring night, and writes the magic of rainy night with anthropomorphic methods, and the joy is vividly on the paper.

(3), argot (homophonic), pun

In some poems, especially folk songs, in order to express a euphemistic and implicit emotion, the author often uses argot and pun rhetoric.

"Spring Thoughts" (Tang? Li Bai)

The grass is as green as Beth, and the mulberry leaves in Qin area are green. When you miss your hometown, you were missed and sad a long time ago. Spring breeze, since I dare not know you, why should I separate the silk curtain beside my bed? ?

This is a well-known poem describing the love between men and women, and it is a monologue about women in Qin. The poet made a pun, expressing the spring of nature and reasoning about the love between men and women; It also uses the homonym of "silk" (thinking) and "branch" (knowing) to connect the feelings of men and women missing in different places.

(4) Metonymy

Borrow something relevant, not what you want to express. Metonymy can use parts to represent the whole, concrete to replace abstraction, and features to replace people. The use of metonymy makes the language concise and implicit.

(1) "know, know? It should be green and fat and red and thin "(Li Qingzhao's dream). In the poem, leaves and flowers are replaced by "green" and "red" respectively to describe the lush leaves and the withered flowers.

② The music in the poem was replaced by "neither string nor bamboo, a whole year" and "silk bamboo".

(3) The pommel horse in the poem "Cold in front of the door" (Bai Juyi's Pipa Trip) represents "guest"

(4) In the poem, "Du Kang alone relieves anxiety" (a short song by Cao Cao), "Du Kang" is used instead of wine.

(5), exaggeration

An enlarged or reduced description of the image, characteristics, function and degree of things. It has the function of expressing things more prominently and vividly.

For example, "White hair is three thousands of feet, and sorrow is as long as long" (Li Bai's Song of Autumn Pu), and the poet exaggerates to write that white hair is as long as "three thousands of feet", which shows the depth of sorrow.

(6) Duality

Use a pair of sentences or phrases with the same structure and the same number of words to express two relative or similar meanings. Formally, the language is concise, neat and symmetrical; From the content point of view, the meaning is more concentrated and implicit. For example, "The leaves fall like the waves of a waterfall, but I think the long river always rolls forward" (Du Fu's Up the Mountain)-from the structure of the article, this poem consists of four eight sentences, each of which is antithetical, round and natural, without traces of axe chisel. "Boundless falling trees" and "endless Yangtze River" make the artistic conception of the poem appear broad and far-reaching, and the rustling leaves make people feel more colorful about the rolling water. More importantly, from here, I feel the pain that the poet's youth is fleeting and his ambition is hard to pay.

(7), analogy

It is anthropomorphic to say that people are human beings, or simulacra to say that people are crops. Contrast has the function of prompting readers to associate and making the people, things and things described more vivid and vivid. For example, the couplet "Frost Birds Want to See First, Butterflies Like to Know Each other" (Lin Bu's Xiao Mei in the Mountain Garden) adopts anthropomorphic techniques. "Steal a glimpse first" wrote that the white crane loves plum blossoms very much. Before it could fly down, it couldn't wait to peek at the plum blossom first. The word "broken soul" describes the butterfly's love for Mei, exaggerating the butterfly's love for Mei to the extreme.

(8), parallelism

Say several sentences or phrases with closely related contents, the same or similar structure and the same tone in succession. "The old vine cries faintly, the small bridge flows with people, and the thin horse in the west wind sets the sunset" (Ma Zhiyuan's Tianjingsha) is purely a noun combination, which constitutes a typical environment.

(9) Ask questions

Ask questions first, and then express your opinions. The introduction of the question led to the whole article, with the question in the middle, connecting the preceding with the following, and the question at the end, which deepened the theme and made people memorable. For example, "Who are the heroes in the world? There is wine on the river, which is fair to Cao. " (Yuan Xiao Qu Ling, written by Aruwei)-Start with a question, point out the theme, and lead to the following hierarchical description of the heroic achievements of the Three Kingdoms.

(10), rhetorical question

Express clear meaning in the form of questions. Used to strengthen tone and express strong feelings. For example, "Although the disciples in Jiangdong are here today, are they willing to make a comeback for you?" (Wang Anshi's Pavilion on the Wujiang River) uses a rhetorical sentence with a cold tone, emphasizing the inevitability of history.

(11), allusions:

Quote is a common expression in ancient poetry, which can play the role of suggestion, refinement, euphemism and association. It not only enhances the meaning of the work, but also has a certain influence on reading. For appreciators, if they don't understand the meaning of allusions, they can't read these poems well, let alone appreciate them. The college entrance examination in 2002 is a typical example. Therefore, we must have a preliminary understanding of the "allusions" in the works, and then understand the new meaning expressed by using allusions through their original intentions. Generally speaking, the allusions in ancient poems are as follows: ① Pointing out predecessors' sentences, such as "Dogs eat people and don't know how to check, but they don't know how to get hungry on the way" in Mencius, which was pointed out by Du Fu, and wrote in "Singing 500 words": "The wine and meat in Zhumen stink, and the bones on the road freeze to death." (2) Citing fairy tales, such as Li He's "Li Ping Plays Elegance", there are "Jiangsu and Zhejiang sing bamboo and sorrow, Li Ping plays elegance and China", there are "Nu Wa's refining stones to make up the sky, and the rock breaks the ground", and there are "Wu sleepless leaning on a good tree, showing his feet and flying wet rabbits". Citing myths and legends can enhance the artistic expression of poetry and form a peculiar artistic realm. (3) Using historical stories, such as China Wendi (Liu Heng) cherishing Jia Yi's talents, he was recruited from Changsha to meet Jia Sheng, while Li Shangyin wrote Jia Sheng, but satirizing China Wendi's impossibility to really reuse Jia Yi with the poem "Poor in the middle of the night, Mo Wen people ask ghosts and gods", which is the opposite of China Wendi meeting Jia Yi. By using it in reverse, you are actually lamenting your talent.

Section 2 Performance Skills

First, the lyric way

(1) On the relationship between emotion and scenery: Poets write poems to express their thoughts and feelings. In order to achieve this goal, he needs to write scenes-natural or surrounding scenery, to arouse feelings and convey feelings to readers. The handling of feelings and scenes is very important. If handled properly, he will arouse the feelings of readers and let them sing with him. Such a poem is well written and touching. The handling of emotions and scenery is not just a matter of poetry. Other arts, such as novels, plays, movies and paintings, also have this problem. Generally speaking, love and scenery are in harmony. Take movies for example. When a disaster is about to happen, movies often let us see lightning and storms, so that the audience can be psychologically prepared and foresee future disasters. When a man and a woman fall in love in a movie, or when they are newly married, they will walk in the park. The weather is fine and spring blossoms, which is a refreshing sight. This kind of scene coordination is similar to writing poems in movies or other arts. This is called "scene setting" or "scene fusion". In China's and Western's poems, we can find examples of poets successfully dealing with the coordination or integration of emotion and scenery. The following two sentences, the combination of feelings and scenery is very successful.

The Pride of Fisherman (Qiu Si) (Song) Fan Zhongyan

The scenery in Qiu Lai is different, and Hengyang Goose is unknown. The four sides are connected with each other. Thousands of miles away, the long smoke closes. A glass of turbid wine is Wan Li's home, but Ran Yan hasn't come home yet. The pipe strength is covered with frost. People don't sleep, and the general has white hair and tears.

[Analysis] At that time, Fan Zhongyan was sent to Yan 'an to guard the border and defend Xixia. This word is his personal experience. The time is autumn, the place is Xiaxia, and the specific place is Gucheng. The characters are generals and recruiters. They left home thousands of miles away, saw the geese flying south beyond the Great Wall, heard the sad creaking sound and the sound of Qiang pipes, and naturally they were homesick, but they couldn't go back without success. Drinking cloudy wine makes you insomnia. The sad scenes written in the ci fully fit the mood of the people at that time, and the scenes blend, so that readers can appreciate the mood of these people guarding the frontier.

(2) The classification of lyric techniques:

There are two kinds of direct lyric and indirect lyric.

Express one's feelings directly-express one's feelings directly means that a poet reveals his feelings in his poems and expresses his passion, joy or autumn without any disguise.

[Skills] There are two ways to express feelings, one is direct and the other is indirect. Direct lyric is a writing style that takes the first person "I" as the lyric subject and directly expresses the author's thoughts and feelings. It's also called direct expression. For example, the central sentence of Li Bai's sleepwalking in Tian Mu Liu Ling Bie: "Alas, how can I bow and scrape to those high-ranking officials whose sincere faces will never be seen?" On the basis of narrative description, the author expressed his thoughts and feelings of not colluding with the rulers with the passion of volcanic eruption. Another example is Lu You's poem "Shizi": "When you die, you know that everything is empty, but you don't see the nine continents together. Julian Waghann set the Central Plains Day in the north, and the family sacrifice did not forget to tell Nai Weng. " The first two sentences begin with comments, expressing the poet's patriotic feelings of restoring the Central Plains until his death. Poetry in the Mountain: When the bird came out of the mountain, I stuffed a petal in its mouth and told the girl who lived in Gukou that bloom had died in the mountain. This is a love poem that directly expresses love, but it is implicit and intriguing.

Indirect lyric, also known as euphemism and implication, poets often express their thoughts and feelings euphemistically with the help of various rhetorical arts. It is divided into scene blending, borrowing scenery to match feelings, and expressing things. For example, Li Bai's "A Gift to Wang Lun" and Liu Yuxi's "Ci of Zhi Zhu" all adopt indirect lyric methods on the basis of narration. The difference is that the former uses "Peach Blossom Pond is deep in thousands of feet" as a metaphor for "Wang Lun sends me love", while the latter skillfully uses homophonic puns to express the subtle love between lovers.

Lyric by borrowing scenes or blending scenes: When a poet has a feeling about a scene or an objective thing, he puts his feelings and thoughts to be expressed in this scene and expresses them by describing this scene and this thing. This lyric way is called borrowing scenery to express emotion or borrowing things to express emotion.

Second, description skills.

1, compare and contrast?

First, the concept: foil is divided into positive contrast and negative contrast. Positive contrast is often called contrast, which obscures the moon. As the foil of the main body, the lining highlights the main body. Contrast is a technique in Chinese painting, which uses ink or color to render and set off the outline of an object, making the object stand out obviously. Used in poetry creation, refers to deliberately describing from the side, as a foil, so that what is needed is obviously prominent. It can be a person-to-person comparison. For example, in Qin Luofu, the amazing beauty of Qin Luofu is compared by the reaction of "walker" and "teenager". It can also be set off by objects, such as "cicadas make the forest quieter and the palace mountain quieter", "monks knock on the door of the moon" and "birds are startled at the moon". More scenery is used to set off the characters, such as writing the moon in the river three times in Pipa, which sets off the wonderful and charming timbre of Pipa and the desolate, lonely and sad mood of the characters respectively. We should also pay attention to some common "artistic dialectics" techniques in ancient poetry. For example, when describing things or scenery, we often combine far and near, motion and stillness, sound and color, reality and emptiness to form a contrast, which has received good artistic effects. The last two sentences of Du Mu's poem in Houchi, Qi 'an County: "No one sees the light rain all day, and the mandarin ducks bathe together." Pairs of "Yuanyang" set off people's lonely mood. This contrast is also called reflection. The main body is opposite to the lining, and the lining sets off the main body from the back as the background.

B contrast is to compare two opposing things or two different aspects of the same thing together. For example, He Zhangzhi's "Teenagers leave home, old people return, and the local accent has not changed." Gao Shi's "Half of our men at the front line were killed, but the other half are still alive, and beautiful girls are still dancing and singing for them in the camp" and so on. In contrast, the contradictions revealed are impressive. The first two sentences of Wang Mian's White Eyebrows in the Yuan Dynasty: "I am in a forest of ice and snow, and peaches and plums are mixed." By comparing the white plum blossom in Snow Forest with the peach and plum mixed with fragrant dust, it shows that the plum blossom is noble and loyal, and expresses the author's thoughts and feelings of not being in cahoots with the secular world. ?

2. The combination of reality and surplus

A. definition: in poetry appreciation, emptiness and reality are relative. As the book says, some are true, and none are empty; Evidence is truth, and false support is empty; Objective is true, subjective is virtual; Concrete is real, hermit is empty; Actions are true, but words are empty; The present is true and the future is empty; The known is true, the unknown is false, and so on.

B. concept: first introduce the "emptiness" in poetry. Specifically, the "emptiness" in poetry includes the following three categories: A, the world of immortals and ghosts and dreams. Poets often use this nothingness to contrast reality. This is the so-called representation of reality with virtual images. For example, the Tianmu Mountain fairyland in the dream is a virtual image. But now the sun and the moon light up the gold and silver platform, wearing rainbow clothes and riding the wind, with tigers as their pipa players and phoenixes as dancers, and rows and rows of fields like hemp are lined with fairy images. Li Bai painted a beautiful picture, reflecting the darkness of reality. B, the domain of the deceased. This kind of virtual scene is a scene that the author has experienced or happened in history, and now it is out of sight. For example, in Li Yu's Yu Meiren, "the jade carving fence should still exist, and Zhu Yan should change it", and the "jade carving fence" in the sentence "old country" exists, but it is no longer in sight at this time, and it is also a virtual image. The author compares the Jade Carving Column to Zhu Yan, which has a sense of desolation of the old country, and things are different. Another example is Su Shi's Niannujiao? There is a cloud in "Red Cliff Nostalgia": "When you talk and laugh, it disappears in smoke. "Reproduces the historical facts of burning Chibi. Obviously, it didn't happen in front of us, so it was also a virtual scene. C, the envisaged future. This virtual environment has not happened yet, and its feeling will continue to extend into the future. Therefore, writing funeral music will double its funeral music; Syaraku will have more fun. For example, Liu Yong's "Yulinling" reads "Where do you wake up today? There is a waning moon on the bank of Yangliu. "This is an imaginary landscape after parting: a boat leaves the shore, and the poet wakes up after drinking, only to see a breeze blowing the willows, and the waning moon hangs high on the willows. In the west wing? Many farewell words in Changting Farewell to Zhang Sheng by Cui Yingying are imagination of the future. Tonight in the middle of the month, I watched it alone from the window of her room, because our boys and girls, poor little babies, are too young to know where the capital is.

Look at the "reality" in poetry again. In Chinese painting, truth refers to the meticulous and rich brushstrokes in the picture. In poetry, "truth" refers to the real images, facts and reality existing in the objective world. For example, the dark reality of Tianmu Mountain ascended to heaven in a dream; "When is the Spring Flower and Autumn Moon" in Young Beauty; "Niannu jiao? In "Red Cliff Nostalgia", there is still a lack of description of the precipitousness of Red Cliff. There is still a lack of scenes of two people leaving each other, such as "Cold begets sorrow, and it's late for the pavilion" and "Holding hands and looking at each other with tears", which are speechless and hard to say. "and so on.

C. Relationship: "the combination of reality and fiction" refers to fiction and fact's mutual connection, mutual penetration and mutual transformation, so as to reach the realm of the coexistence of reality and fiction, thus greatly enriching the imagery in the poem, opening up the artistic conception in the poem, providing readers with a broad aesthetic space and enriching people's aesthetic taste. The relationship between the virtual scene and the real scene sometimes forms a sharp contrast, thus highlighting the center. For example, the imaginary scene in Jiang Kui's "Yangzhou Slow" refers to the "ten-mile spring breeze" and describes the prosperity of the ten-mile long street in Yangzhou City in the past; The real scene is "the wheat is green", which is the bleak situation that the lyricist saw today. From these two contrasting pictures, the poet's feelings about the past prosperity and decline are conveyed. The relationship between the virtual scene and the real scene sometimes complements each other, forming a rendering contrast, thus highlighting the center. For example, Ouyang Xiu's "Walking on the Sand": "Plum blossoms are waiting in the pavilion, willows are sparse on the stream bridge, and the grass is warm and swaying. Sadness is getting farther and farther away, and the distance is like spring water. Inch by inch, my heart is tender, my eyes are full of tears, and the height of the building is not close to the dangerous fence. At the end of Pinger, there is Chunshan, and pedestrians are outside Chunshan. " What is lacking is realism, which sets off the departure of "pedestrians" through the scenes in early spring. The lower part is insufficient. Write melancholy thoughts by setting a railing where a "pedestrian" misses his wife and a sad image of a "pedestrian". The wife misses her husband and the husband misses her.

3, dynamic and static combination

Dynamic and static combination-In ancient Chinese poetry, poets pay special attention to dynamic description in order to create artistic conception. Dynamic and static combination is a commonly used method of scenery description. In the use of this technique, it is unique, with "every word is the best" and "the realm is the best". For example, the selection of "push" and "knock" like "the bird stays in the tree by the pool, and the monk knocks at the door under the moon", and the adjective "green" in Jiang Nanan with a green spring breeze as a causative verb are all examples of dynamic description, and many articles have been made on the use of verbs. However, as a combination of static and dynamic scenery, it often depicts dynamic and static in an artistic conception, with static as the main theme and static as the background (the "dynamic" here includes dynamic and sound, such as "the washerwoman returns to the bamboo to sing, and the lotus leaves in front of the fishing boat gather", "noisy" is sound, and "dynamic" is dynamic), forming a harmonious unity of artistic conception and image. Therefore, the combination of dynamic and static scenery writing techniques can not be completely separated from the foil

4. Point-surface combination

Everything is interrelated, not isolated, and the scenery described is the same. They are always inextricably linked with the surrounding scenery. Therefore, when we write about landscapes, we should not write about the subject in isolation and stillness, but also write about the relationship around the subject, combining point with surface, so as to make the subject image fuller and more distinctive. Liu Zongyuan used the technique of combining point with surface in Jiang Xue. "Dai Li Weng" is small in the picture, but it is the center of the poem in a conspicuous position. "A boat, a bamboo cloak" belongs to the description of points; The first two sentences "There are no birds in a hundred mountains, and there are no footprints in a thousand paths" belong to the superficial discussion. The poem describes the bitterness and loneliness of the characters from "birds fly away" and "people disappear", and puts the quantifier "thousands" and "ten thousand" before "mountains" and "roads" to highlight the characters' perseverance and outstanding personality. Shu Xiang, the masterpiece of Du Fu's Seven Laws, was written by Zhuge Liang's ancestral hall and described the life and career of this sage of Shu and Han. Its neck is connected with a cloud: "The third call aggravated his national affairs, and he gave his heart to two generations." These two sentences are particularly heavy because they contain extremely rich contents: the former sentence is worth an article in Longzhong Dui, and the latter sentence is worth two examples; From three visits to the thatched cottage, I met with my ancestors, from seven captures of Meng Huo to six exits of Qishan, the achievements of governing Shu and the achievements of the Northern Expedition; The plan of the world expresses its grand plan, and the heart of the old minister expresses its loyalty; ..... In addition to Lao Du, which poet has had such pen power? Similar to this technique, it can be called point-surface combination. Point out that it is comprehensive.

5. Detailed information description:

China's classical poems are generally short and pithy, and there are not many details as narrative works. However, even a short chapter, even a lyrical sketch, can not ignore the description of details. This requires special attention. Real and vivid details in literary works can also achieve the effect of "seeing the micro-knowledge".

6, color rendering

Du fu's quatrains

"Two orioles sing green willows, egrets sky-high." Outside my window is the snowy Western Hills. My door often says "goodbye" to ships sailing eastward.

The author emphasizes the newly sprouted willow branches, paired orioles, free egrets and blue sky. Four bright colors are fresh and bright, forming a gorgeous picture.

7. Observe the change of angle

On Dumu Mountain

As far away as Hanshan, the stone path is oblique, and people are in Bai Yunsheng. Stop and sit in the maple forest late, and the frost leaves are red in February flowers.

The first two sentences describe the prospect of Akiyama. The first sentence describes the majestic scenery of the autumn mountain and shows the poet's courage to climb it. The second sentence describes a specific scene in the autumn mountain, and several families can be seen faintly under the white clouds fluttering sky. The last two sentences depict a close-up of Akiyama. The phrase "Frost leaves are redder than flowers in February" is full of vitality, bright, fresh and vivid, giving people a sense of beauty that Qiu Guang is better than spring. Description should be hierarchical-from far to near or from bottom to top. Su Shi's "Title of Xilin Wall" said: "Looking horizontally, the mountain side becomes a peak, and the distance is different." Looking at the same scene, the observer's position is different and the angle is different. Looking down, looking up, looking far away and looking closely, the visual image will be varied and varied. Describing from different angles will make readers have a more comprehensive understanding of the scenery described and get a more perfect feeling. Li Jianwu's "Climbing Mount Tai in the Rain" uses this technique when describing eighteen plates: overlooking "eighteen plates crawling in the gorge like a gray python"; Looking up at "eighteen plates are like long ladders, standing at the mouth of the Nantianmen Gate"; Look closely at "the newly built stone steps are too narrow to hold the whole foot"; Looking down at "looking down at the new but extremely long track-"In short, only by observing and describing the scenery comprehensively from different angles can we create a lively artistic image.

8. Draw a line

Originally, it is one of the traditional painting techniques in China, which is roughly close to the sketch or sketch in western painting methods. Its characteristic is to outline the picture with simple ink lines, freehand brushwork, no contrast and no color. This painting method is introduced into poetry creation, that is, without adjectives and modifiers, it is carefully carved and rendered layer by layer, not to mention melody or foil. Instead, it grasps the object of description, outlines the shape, light and dark (sound) of things cleanly and neatly with accurate and powerful strokes, simple language and plain words, and shows the author's feelings about things. For example, the above two poems are a combination of six nouns (that is, six landscapes) without any modification. It can be seen that it is hard to go early. It is obvious that it is difficult to walk early in the morning before the rooster crows and the moon falls.

9, with less is always more, with small to see big.

(1) Less is more: Liu Xie's Wen Xin Diao Long? Looking for ":"is always more, and the situation is clear. History of Liu Zhiji in Tang Dynasty? Narration: "I saw one thing in the sentence, but I turned three corners outside the sentence"; Wang Anshi's "more green and red, not much touching spring scenery".

"Get twice the result with half the effort" should have the following characteristics: first, generality: the * * * and inevitability of the things expressed can stimulate readers' association. When a leaf falls, you can tell the world that it is autumn. The second is concreteness: it means that the things expressed have individuality and contingency, which are embodied in sensibility and can limit readers' association. For example, "Spring Tour in Qiantang": Several early warblers compete to warm the trees, and whose new swallow pecks at the spring mud. If you splash it in your eyes, Lysimachia christinae will have no horseshoes. Scenes such as "early warbler", "new swallow", "disorderly flower" and "shallow grass" add personality, and let us know that this is early spring, not late spring.

(2) See the big from the small: see the whole from the local, see the infinite from the limited, and see the big from the small through the typical and symbolic, with the help of people's life experience. In ancient poetry, the artistic interest of seeing the scenery from the window is often shown, and the infinite and the limited are linked, so "small things are big" is full of interest. Similarly, watching the sun in the bamboo, reflecting the scenery in the mirror and reflecting the scenery in the water also have this artistic effect.

10, there are pictures in the poem

There are pictures in poems, that is, in poems describing scenery, pictures are described in meticulous ways to express an artistic conception. Su Dongpo praised Wang Wei's poetry as "painting in poetry", which is very pertinent. Wang Wei's pastoral poems always outline a picture, revealing an ethereal and implicit meaning, which is not difficult for us to understand when we read Xu Hu's Youchun Lake.

Third, the technique of expression

1, symbol

Symbol is an artistic technique to express some ideas, thoughts and emotions through a concrete and easily associated image. Symbol and ontology have some similar characteristics, which can be linked through readers' imagination and association. For example, candles, aboveboard, burn themselves and illuminate the specific image of others, which can remind us of the lofty spirit of self-sacrifice. Therefore, candles are a symbol of self-sacrifice.

2. Association and imagination

Most of them were adopted by romantic poets. For example, Li Bai often integrates reality with dreams, fairyland, nature with human society. His "Climbing Mount Tianmu in a Dream" is full of poems that let go of thoughts, and the poet's imagination is like a wild imagination. The dreamland and fairyland depicted by him are the bright and beautiful ideal world he yearns for. "I don't know the moon when I was young, but I cried to Bai", "I am worried about the bright moon, and I travel west with you at night", "I sing. The moon encourages me, and my dancing shadow is messy "are all ingenious brushstrokes, combining whimsy with the truth of nature and heaven." Bold and rich imagination is often manifested in the use of exaggeration. The so-called exaggeration means deliberately exaggerating or narrowing things to express the poet's unusual feelings. In romantic poetry, exaggeration can be seen everywhere. For example, Li Bai's Tianmu Mountain rises in his dream, and there are hundreds of miles of ladder mountains, which are here and begin to turn to the southeast. This sentence uses exaggeration and contrast to express the loftiness and sublimity of Tianmu Mountain. Another example is Li He's "Dream of Heaven", "Looking at qi zhou in the distance, a glass of seawater flows backwards." In the poet's eyes, Kyushu Island on the vast land of China has become a trivial dust fog at nine o'clock, and the vast East China Sea has become a thing in a cup. Through imagination and exaggeration, the poet expressed his deep feelings about personnel changes.

3. Constraint relationship

Speak the negative side and the positive side at the same time, and only highlight one side, so as to achieve the purpose of suppressing one, promoting one or suppressing one. There are two kinds: first rising and then restraining, first restraining and then rising.

"If you want to promote, you should first suppress it", which is also called "first suppress it and then promote it", that is, the literary potential is first suppressed and then promoted, or the literary significance is first degraded and then promoted, just like climbing a mountain, climbing from the bottom up. "If you want to suppress it, you should raise it first and then suppress it", that is, the literary potential should be raised first and then suppressed, or the literary significance should be raised first and then degraded, flying down from a height like a waterfall.

4. Borrow the ancient to satirize the present or borrow the ancient to express one's feelings.

Borrowing the past to satirize the present or borrow the past to express one's feelings: borrowing the ancients to express one's aspirations is ostensibly to recall history and describe the ancients, but actually to express one's understanding of people and things. Such as: "Book of Scholars" "Where to find the ancestral hall of ministers, in a deep pine forest near Silk City, since the spring scenery, the grass is green, the birds are singing and singing under the leaves, and the three visitors are diligent, and the two dynasties open their hearts to the old ministers, and the teacher shows his real name. Who is better than in a thousand years?"

Du Fu's poem borrows the story of Zhuge Liang and expresses the author's grief and indignation at his lack of talent and ambition.

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