1. The combination of scene settings makes poetry rich and beautiful.
Poetry is mainly lyric. And all kinds of emotions in ancient and modern times, at home and abroad, have different depths, which are expressed in the works. Generally speaking, if they are scattered, their poeticity is weak; If it is superficial, poetry is straightforward; If it is mediocre, poetry is shallow. These are the narrowness and shallowness of the aesthetic connotation of poetry. And "Moonlit Night on a Spring River" is completely different. Its whole poems are condensed into a whole from beginning to end, and its poetry is very rich, just like a flowing river; It digs deep into the basic feelings of human beings when expressing, making the poem appear strange and colorful; It does not take the general meaning of the object of chanting, but overlaps with a large number of images, making the poem profound and simple. The extension and excavation of the aesthetic connotation of poetry has formed a unique riverside moonlit world.
All these are achieved through the setting of the situation, which makes poetry converge into a goal, forms a situational world, and broadens the connotation at once. This kind of situation setting in this poem is varied and even runs through the whole poem. Please see:
"Lian Haiping Chunjiang Tide, the bright moon on the sea was born in the tide", which shows the Chunjiang River; "I travel thousands of miles with the waves, and there is no moon by the river." This is to write a spring night; "The river flows around Fangdian, and the moonlight shines on the flower forest." This is a description of the Spring Garden. If these contents are expressed in a single way, they may not be beautiful, but they seem simple and shallow. Now the author arranges them together, forming a world of "Spring River ―― Spring Night ―― Spring Plain", and we will enter a situation where the Spring River blooms under an unusually wonderful moon. In this situation, all single objects give full play to their own connotation, and through our association, they extend infinitely outward.
Another example is "whoever sees the moon at the first sight by the river will take a photo at the beginning of the month." Life is endless from generation to generation, and Jiang Yue is only similar year after year. "It seems to be a discussion, but the expression of affection still needs to be expressed through the situation. Here, the great river under the barren moon and the people standing by the river are seamlessly connected, forming a situation. The "fate" of thinking about people under the moon is the river of time, while the barren moon corresponds to the river of space. In Life-Great Rivers, the two great rivers are isomorphic. Deepen the meaning and connotation of the life universe, make people think deeply along this clue, and thus produce strong expressive force.
If you think about it carefully, you will find that the reason why Zhang has such a strong artistic effect is that when he expresses his feelings, he has carried out special treatment, that is, setting up various situations one by one, which makes people repeat, enlarge and extend constantly in the dizzying appreciation. We might as well call it "the compounding of circumstances".
Such a complex situation can be found everywhere in "Moonlit Night on a Spring River". What we can feel is that the poet is on a moonlit night. Based on the river, imagine galloping between the sea and the sky. The river tide in front of us meets the imaginary vast sea, and a bright moon emerges on the vast background of the sea with the tide. At this time, realistic and unrealistic contents such as life, universe, love and relatives poured in. Missing women-wandering, missing and remembering, imagining each other's circumstances, there are a series of "breeze shops-flat boats" that both men and women care about; There is a series of ideas of "broken clothes anvil-jade pot curtain"; "Hongyan-Carp" signal series; There are a series of "Xiaoxiang-Jieshi" recourse; There is a sad series of "Spring scenery in the moon pool-the spring scenery is fading-the river tree falls into the English". The setting of these complex situations forms a general situation ―― Spring, River, Flowers, Moon, Night and Moonlight on the Spring River, which covers the whole article and makes people appreciate it, just like walking on a cool road, dazzling, vivid and rich, and obtains great artistic satisfaction.
2. The unique application of image superposition greatly expands the aesthetic connotation of poetry.
In all literary works, poetry is the most direct way to open people's hearts and feelings. Whether it is the perception of life, the questioning of the soul, the inner code, or the wandering dream, the poet sincerely confides to the world with the help of language. Poetry is deepened and sublimated with the help of the situation, but the degree of sublimation depends on the depth of the poet's emotion, imagination and thought. Generally, it is virtual, and subjective "meaning" participates in "environment" and produces images.
"Moonlight on a Spring River" begins by writing that the moonlight is extremely open and beautiful, which is based on the situation and naturally makes people think. This scene is quiet and far-reaching, and it is easy to stretch your mind. In the empty space-time, the mind enters the situation without hindrance, or rises freely in this situation, which is completely the mechanism of image generation. "There is a bright moon on the sea, born in the tidal waters of Lianhaiping, drifting thousands of miles. Where is there no bright moon by the river? " A bright moon rises from the riverside Ran Ran. This image is so vast and beautiful that people feel like holding their breath in front of the magical nature.
The scene touched the feelings, and the feelings touched the scenery. In this context, this is the fusion of natural scenery and humanistic feelings, and it is also the transmission and development of images: "The river flows around Fangdian, and the moonlight shines on the flower forest. You can't feel the frost flying in the air or see it on the white sand. " Here, the moving scene of the riverside flowers and trees reflected by the spring moon at night is an artistic atmosphere woven by images that are both Ming Che and fuzzy, pure and blurred. Using the first four sentences to reflect, we can see that when the bright moon rises, the poet's heart turns from confusion to emptiness and purity, but when the poet looks around, the river turns around, flowers and trees are like cymbals, and thoughts begin to sprout slowly, which makes the poet fall into fantasy and meditation. The first eight sentences, from far to near, from obvious to hidden, are intertwined with reality, with scenes and flowers everywhere, which is the redeeming feature of this poetic image.
In Moonlit Night on a Spring River, images are conveyed through constant contrast: macro contrast is the contrast between the upper part of scenes and philosophy and the lower part of parting and lovesickness; Microscopically, it is the contrast between the river and the moon, the contrast between life and the moonlight on the riverside, and the contrast between "leisurely white clouds" and "Qingfeng Pu". Of course, there is the contrast between leaving people and missing women, and the mutual reflection of their inner psychology and emotions, and so on. The contrast between reality and reality can also be seen everywhere in the whole poem, which makes this poem with mixed scenes and twists and turns profound, changeable and full of infinite charm. In addition, there is another feature in the poem, that is, in the vast image group, the most dynamic central image "the moon" is grasped, which makes all images have centripetal force and emotional direction, thus forming a spectacular and colorful image group. This "moon" not only connects the poet's innermost corner, but also connects the present and the ancients, and also swings back and forth between the wanderer and the homesick woman, the author and the reader, resulting in a strong artistic tension.
Image is the life of poetry, and the construction of multiple images forms the rich artistic world of poetry and derives the vitality of life. There are many images in this poem: bright moon, river water, flower trees, heavy snow, flowing frost, white clouds, swan geese, ichthyosaurs, secluded ponds and fallen flowers ... If we sort them out, we will form "birth month-mid-sky month-west oblique month-solitary month" and "image group"; Take "flowers-flowers-trees-Fangdian" and "flowers" as image group; "Qingfengpu ―― Yueminglou ―― dressing mirror" and "Women's thoughts" image group: image group has "Moon Curtain ―― Pouring Anvil" and "Missing", as well as "Beauty ―― Carp", "Jieshi Road ―― Xiaoxiang Love" and "Jiangtan Melting Moon ――― Falling Moon Shakes Love ――. These are all unfolded with hidden or explicit emotions, which are presented through the superposition of multiple images, really like a dazzling flower, showing the unique aesthetic style of this poem.
The superposition of images has a unique meaning in this poem, which not only produces multiple aesthetic characteristics and effects, but also injects new meaning into the traditional meaning, making images easier to enter the spiritual realm, greatly expanding the aesthetic space of the poem and making the form of the poem dynamic and three-dimensional. This is the secret of this particularly touching poem.
Third, the exploration of philosophy makes poetry soar and sublimate.
Any literary expression and poetic narration, as long as they face life directly and show true feelings, will certainly touch some essential parts of life, and will be presented in concise language, often with a different kind of rational light. The meaning of excellent poetry is always multi-directional, especially in the moonlight on the spring river.
Zhang's sentimentality of "endless generations, the river and the moon are only similar year after year" and his helplessness of "I don't know who the river and the moon are waiting for, but only look at the Yangtze River to deliver water" reflect loneliness and loneliness, as well as the psychology of frustrated people seeking comfort and relief. However, the eternity of the moon and the cycle of surplus and deficiency remind people that the relationship between time and the universe is the same. As a symbolic form, the moon evokes people's vast cosmic consciousness and historical consciousness, evokes the sigh of life in the vast space, and touches the distant and desolate cultural original image. Thinking about the moon and life together shows the eternity of the world and the shortness of life, and realizes the true meaning of life from sentimental feelings.
Further, we can find that the poet melts himself into the universe, because the universe is natural and eternal, and the "endless" life can be together with the "similar life year after year", and the two have reached a unity. However, this realization is an instant manifestation of the poet Gao Zhuo's life consciousness. The lingering melancholy makes the poet deep in thought when gazing at the bright moon in spring: "I don't know that Jiang Yue is waiting for someone, but I see the Yangtze River delivering water." There is resentment in the river and the moon, and the water is ruthless, which makes the poet's thoughts soar in the flow of images and full of emotions.
Corresponding to rivers, trees, flowers and people, the lonely moon in the air reflects the loneliness of the author's mood. As the spirit of the natural universe, Jiang Yue is in contrast with "man": Jiang Yue dies in the east and the bright moon sets in the west. Isn't man like this, Jiang Yue, gone forever? In the light of sadness, the poet connects human beings with the natural universe from himself and others, from this moment to the past, and from personal feelings, not only asking about his own existence, but also exploring the deeper philosophy of life and the mystery of the universe. On such a beautiful moonlit night by the river, the poet's thoughts wander back and forth in the contrast and unity between history and reality, self and human beings. Everything in nature is endless, but how to save youth and life? This is a sigh and sorrow that is used to hurting the world, and it is the helplessness of individual life facing the infinite universe. The author obviously doesn't stay here. When he looked at the vast sky, his personal resentment melted into the infinity of the universe. He transcended the narrow sense of self and the narrowness of the world and gained the highest freedom in the art world.
Nostalgia or lovesickness, an important content of A Moonlit Night on a Spring River, has changed from common life to the thoughts of parting between a wanderer and his wife. Wandering around the world, wandering in the boudoir, a kind of acacia, leaving two places to worry about. Where does life belong? The poem clearly shows a kind of pursuit. The Infinite Road in Xiashi Xiaoxiang not only describes the depth of emotion, but also the emotional seeking for refuge.
As an important aesthetic medium in poetry, the moon is endowed with spirituality and embodies the joy and happiness of reunion. At the moment, it shines on the loneliness in different parts of the world. The moon binds the soul of acacia, shortening the distance between time and space, thus triggering the theme of homesickness in January, which is actually the author's philosophical thinking about returning home.
We deeply explore the author's philosophy, feel the poet's emotional richness, feel the richness of life, and even enhance people's emotions: the world is endless, and life is always a mystery, because it is a mystery, inspiring people to explore constantly, which is a positive gesture to enhance life.
In a word, Moonlit Night on a Spring River is a complex scene, which makes this poem vivid and rich. The superposition and interaction of images greatly expand the aesthetic space and connotation of poetry and enhance the aesthetic effect of poetry; The exploration of philosophy makes poetry really fly and sublimate, looks swaying and shows infinite artistic charm.