For example, Lu Xun's "Hometown" begins: "Since it is the end of winter, approaching my hometown, the weather is gloomy again. The cold wind blew into the cabin, and we looked out from the gap in the canopy. There were several desolate villages across the world of Huang Chengcheng, which were lifeless. " A few words, a few sketches, not only will the hometown of vilen, which is shrouded in a gloomy winter sky, be closed to the bottom; And between the lines reveals the deep sadness contained in the author's heart.
The narrative uses the technique of line drawing, which makes people feel that the lines are clear and the words are concise and true. For example, in The Scholars, Jin Fan wrote a post saying, "... I watched it again and again, clapped my hands and said with a smile:' Alas! All right! I won! As he spoke, he fell back, gritted his teeth and was unconscious. ..................................................................................................................................................................................
By describing the characters in simple terms, the appearance, behavior and psychological activities of the characters can be indirectly revealed according to the scenery or environment in a few words, so that readers seem to see people.
Such as Lu Xun's Kong Yiji, "the figure is very tall; Blue and white face, often with some scars between wrinkles; A messy gray beard ","Although wearing a gown, it is dirty and torn, as if it has not been mended or washed for more than ten years. " These descriptions are like using a few ink lines and simple strokes to reveal characteristics and convey grace.
I like painting, whether it is meticulous or colored ink, whether it is watercolor or oil painting, it can form its own system and have its own characteristics; The line drawing technique in literary creation is not mutually exclusive with other techniques.
2
There are two paragraphs in Wang Yuanjian's Seven Matches, one is when the unknown soldier handed Lu Jinyong seven matches:
"Comrade, look ... that comrade waved to Lu Jinyong and approached. He stretched out a stiff finger and carefully fingered the matches one by one, whispering: one, two, three, four ..."
There is also a paragraph where Lu Jinyong chased the troops and handed the matches to the instructor:
"Lu Jinyong quietly walked behind the instructor. Reflecting the flashing lights, he opened the party card with trembling fingers, handed the remaining six matches to the instructor one by one, and counted them in a strange tone:
One, two, three, four ... "
In the two paragraphs, through two "one, two, three, four ...", we can expand rich associations and truly feel the lofty inner world of soldiers. After reading the first song "One, Two, Three, Four ...", we seem to see that when the unknown soldier wanted to give Lu Jinyong the matches he protected with his life, he could not restrain his excitement and said to himself: I have seven matches. Look! Name one. When the wound hurts on the count of two, the voice is very low and short. At three o'clock, he struggled in pain and saved all the strength of his life. He took a deep breath as much as possible and squeezed out three or four from low to high. When it came to four o'clock, his voice was firm and his eyes were firm. He seems to see that around the fire, the soldiers are saving their strength; In the rain of bullets, the soldiers charged to kill the enemy ... four words later, he smiled and looked serene. The second "one, two, three, four ..." is what Lu Jinyong said when he chased the troops to complete the entrustment of the unknown soldier and handed the matches to the organization. Said that his mood was sacred and solemn for a while. After chatting for two hours, he remembered the scene where the unknown soldier died on the grass. His eyes were full of tears and his voice trembled. On the count of three, Lu Jinyong's tone was full of ease and comfort in completing the task. At four o'clock, thinking of the great cause of the Red Army going north to resist Japan, this match will ignite a vigorous anti-Japanese bonfire, with high tone and forge ahead. I believe that anyone who has read this article will never forget these simple words "one, two, three, four ..."
3. In action description, the application of line drawing technique can make the expression of characters' inner feelings more accurate and concise.
Look at the description in Wei Wei's prose My Teacher;
"Only once, his pointer seems to have dropped. I greeted it with a slate, and the pointer tapped on the edge of the slate. Everyone laughs and he laughs. "
Between the lines, Teacher Cai's care for students, like a trickle, flows from every reader's heart, lasting and far-reaching.
Descriptive techniques-contrast/rendering, contrast/contrast, line drawing/meticulous painting, virtual reality/lyrical expression of dynamic and static poets can not be separated from the description of scenery, and the description methods of scenery are complex and diverse. To appreciate the description of scenery, we should generally pay attention to the author's observation and description angles (front and side, virtual and real writing, dynamic and static scenery, distant view and close view, various sounds and smells, etc. ), master and analyze the expressive techniques of scene description (contrast and rendering, sketch and meticulous painting, contrast and contrast, figurative techniques, symbolic techniques, etc. ), and understand and discriminate the rhetorical devices (metaphor, personification, etc.) that describe the scenery. ).
Among the above terms, the following groups are often confused by candidates in appreciation, and the specific analysis is as follows:
1, contrast/rendering
Contrast and rendering are the skills of China's painting. The former uses ink or color to contrast the outline of the object image, making the characteristics of the object image more prominent; The latter is usually highlighted where it needs to be emphasized, which makes the image in the picture more vivid and prominent. Now it is widely used in literary and artistic creation, and it is also two completely different descriptive techniques to highlight the characteristics of things.
Contrast mainly refers to supporting the first object with the second object, which makes the characteristics of the first object more distinct and prominent, and is a way of profile description. According to the relationship between A and B, contrast can be divided into two forms: positive contrast and negative contrast. According to the object characteristics of objects A and B, the comparison can be divided into the following categories: (1) Compare people with people. For example, in the Yuefu poem "Shang Mo Sang", the poet uses the reactions of pedestrians, teenagers and farmers to set off the amazing beauty of Qin Luofu. (2) feed things with things. Such as Wei's "Night Rain Farewell to Li Zhou": "Is there rain on the Chu River all the way? The bell in the evening came to us from Nanjing. The rain is heavy, the sky is not right, and the birds fly slowly. The Yangtze River flows into the distance of the Yangtze River, and the trees are full of rain. Similarly, because of our great love, there is a waterline on our face. " The whole poem is written by describing other scenery except the object of "light rain" in the first sentence. The poet successfully used the artistic technique of holding objects, as if making people feel that it was drizzle falling on sails, bird feathers, the sky and trees. Another example is Bai Juyi's "Night Snow": "I have been shocked and cold, and I have seen the window. I know it snows heavily at night, and I hear the sound of bamboo folding. " The object described in the poem is the night snow, but the poet compares the magnitude and ferocity of the snow from the aspects of touch (cold pillow), vision (bright window) and hearing (bamboo folding sound). (3) take people by things. For example, Jiang Xue of Liu Zongyuan said, "There are no birds in hundreds of mountains, and there are no footprints in thousands of paths. A boat, a bamboo cloak, an old man fishing in the cold river-snow. " The first two sentences of this poem describe the fisherman's unique personality and optimistic and open-minded feelings by comparing the harsh environment in winter. Another example is Bai Juyi's three descriptions of moonlight in Pipa, which respectively set off the beauty of the piano and the desolate, lonely and sad mood of the characters.
Rendering in literary creation mainly refers to highlighting the image and strengthening the artistic expression effect through the description of the environment, scenes or characters' behavior, psychology and other details. Mainly describes the object from the front. Such as Yuefu poem "Picking Lotus in Jiangnan":
"Jiangnan can pick lotus, lotus leaf, and fish play between lotus leaves. Fish plays lotus leaf east, fish plays lotus leaf west, fish plays lotus leaf south and fish plays lotus leaf north. "
The first three sentences of this poem outline a vivid Jiangnan landscape. The last four sentences are vivid, natural and interesting, focusing on the changes in the east-west, north-south direction and the activities of fish. A slight change in the repetitive sentence structure is more reminiscent of lotus pickers boating, singing and corresponding scenes in the lake. Not a word in the poem directly describes people, but through the rendering of lotus leaves and fish. If you hear their voices, if you see their people, if you are nearby, you will feel a feeling of vitality and connect it with the inner joy of lotus pickers.
Another example is the first paragraph in Du Fu's Car Shop, in which the author deliberately depicts the farewell scene, thus expressing the people's aversion to war.
Step 2 set off/contrast/contrast
There are often more than one scenery described in poetry, and their status is not juxtaposed. The words "contrast", "contrast" and "contrast" reflect the angle and primary and secondary relationship of scenery description. In the college entrance examination, candidates' analysis of scenery description is often examined, but candidates do not understand the difference between the three, which often leads to confusion.
Setting off and contrasting is to compare some things together, thus highlighting the characteristics of another thing. But there are distinct differences between the two: contrast mainly emphasizes the differences between things, and all listed things are parallel and have no owners. For example, Jiang Kui's Slow Yangzhou, Li Bai's Yue revisits the ancient times, and other nostalgic and mourning poems mostly express the sadness of changed things or parting through the comparison between ancient and modern times. Foil is to highlight the characteristics of things, and the listed things have their own priorities, which are not equal or parallel. For example, in Bai Juyi's poem "Night Snow", the main object of description is "Night Snow". The poem also describes the cold pillow, the bright window and the sound of breaking bamboo. The quoted things are different, and the method of setting off is adopted. Similarities and differences between foil and foil: the same thing is that there are primary and secondary points between the listed things, all of which are to emphasize the characteristics of the main things. When there is more than one thing listed in the two methods, both methods can generally be used. However, foil is only a specific form of foil. If one thing implies another thing, the main thing may not be explained. The foil is that these two things have to be explained and set off each other. Contrast must use a number of secondary things to highlight the main things. Contrast can be one-to-one or many-to-one. What needs to be supplemented is the similarities and differences between positive contrast and negative contrast. These two predictions are two concrete applications of foil technology. Positive contrast refers to setting off things with the same nature or characteristics. For example, Du Fu's quatrains: "The whiter the Jiangbi bird, the blue and white mountain flowers will burn. I saw it again this spring. When is the year of return? " With "Jiangbi", "Bird White" and "Mountain Blue" as the background, the colors are in harmony with the scenery. Contrast is to use the opposite of one thing to set off another. This technique is widely and typically used in lyric poetry to borrow scenery, which can be roughly divided into: writing mourning with pleasure scenery and writing mourning with Syaraku scenery. The former, such as Ouyang Xiu's Walking in the Sand, uses the beauty of spring to set off the poet's parting feelings; The latter, such as Li Bai's Xia Sai Qu (Five In the snow in Tianshan Mountain), expressed the optimistic revolutionary feelings of the soldiers guarding the border with the help of the harsh environment in Tianshan Mountain.
3. Line drawing/meticulous painting
Sketch is a kind of Chinese painting technique, which is generally outlined with thick ink lines without color, and is applied to literary creation, that is, using concise pen and ink, without contrast, to describe a vivid and vivid image concisely and clearly. Poems written simply seem dull, savored carefully, but meaningful. For example, Meng Haoran's "Spring Dawn" and Tao Yuanming's "Returning to the Garden" (less and less vulgar rhyme) all cherish ink like gold, and outline the scene of spring and the scene of the poet living in seclusion in the countryside respectively.
The meticulous brushwork pays attention to the description of local details and describes it with great care. For example, Wang Wei's "Waiting for Chu and Guangxi": "The heavy door has been opened, sit up and listen to the sound of cars. If you want to smell Qingpei, go out and see him. In the evening, bells will ring in the garden and rain will pass through the spring city. I don't care about myself and feel empty in the clinic. " The poet closely followed the word "waiting" in the title and described various scenes in which the poet waited for the arrival of guests: he opened the door early in the morning to welcome guests, but he fidgeted and sat up again. Then he described the illusion of hearing, and then through the description of the scenery (going to the garden at night and crossing the spring city to shelter from the rain), friends still didn't come from morning till night, but they were affectionate (empty). In the poem, the poet expresses his longing for the arrival of his friends and his disappointment that his friends didn't come through a series of meticulous descriptions (movements, demeanor, psychology and scenery).
4. Combination of virtual reality and dynamic reality
The combination of virtual reality and dynamic and static are the two most commonly used angles to describe scenery in ancient poetry. In the college entrance examination proposition, the topics of analyzing poetry's reality and static and dynamic techniques appear frequently, and candidates are easily confused in detailed analysis. The combination of reality and fiction in poetry refers to the artistic technique of setting off, infiltrating and transforming scenes, things and events in reality and imaginary scenes, things and events, and interweaving them to express the same thought or emotion. It can greatly enrich the images in poetry, open up the artistic conception of poetry, provide readers with a broad aesthetic space and enrich people's aesthetic taste. In literary works, "reality" and "emptiness" are only relative. The so-called "reality" refers to the scenes, objects and environments existing in the objective world, including all kinds of objective, concrete, well-founded, tangible, knowable, realistic and fascinating "images". The so-called "virtual" refers to virtual scenes, objects and environments, including subjective and intangible, unfounded, hypothetical, past or future scenes, as well as dreams and the world of gods and ghosts. For example, the word "Yulin Ridge" written by Liu Yong was written in vain at the end, except that "I miss thousands of miles of smoke and the dusk is heavy." What I wrote was the real scene in front of me. The screenwriter and the sweetheart could not bear to be separated and had to distinguish other moods. The next movie mainly describes another idea of life after life, which is all fiction. The combination of truth and falsehood vividly expresses the feeling of being reluctant to leave. Another example is Li Bai's Dream of Mount Tianmu and Ancient Style (West Lotus Mountain) and Li Qingzhao's three poems about immortals, all of which reflect the darkness of real society by describing grotesque fairyland. In poetry, the relationship between virtual scenes and real scenes sometimes forms a sharp contrast to highlight the center. For example, in Jiang Kui's "Yangzhou Slow", the prosperous scene of Shili Long Street in Yangzhou City in the past was faked, and the bleak scene of "wheat full of green" after the war was actually written. The contrast between the two paintings is sharp, which deeply expresses the poet's sadness of parting. Sometimes the two complement each other, forming a rendering relationship and highlighting the center. For example, Ouyang Xiu's "Walking on the Sand" was written in the first part, and the parting sadness of pedestrians was compared through the scenes in early spring. It was written in the second part for nothing. By imagining his wife leaning against the fence and missing the sad face of pedestrians, he wrote down melancholy thoughts. His wife misses her husband and her husband misses his wife.
Motion and stillness are dynamic or static descriptions of scenery and objects in poetry. They often vividly describe the characteristics of the scenery or convey the author's thoughts and feelings through rhetorical devices such as metaphor, personification and exaggeration. Dynamic and static set each other off, forming a situation and interest. For example, in Wang Wei's Autumn Night in a Mountain, the combination of dynamic and static and the combination of reality and reality was successfully used in the first three parts, which painted a quiet and tranquil pastoral picture for readers, with paintings in the poems and poems in the paintings. This paved the way for the later authors to express their hermit thoughts.
College entrance examination questions playback
1, (Tianjin Volume of College Entrance Examination in 2006) Read the following poems and answer the questions. (5 points) Notes on Liangzhou Ci
Border town, geese fly low at dusk, asparagus gradually gathers. Countless clocks have passed the cymbals, so you have to carry them to Anxi. Note: moraine desert. Practice, white silk, a kind of silk fabric.
(2) This poem uses the artistic techniques of contrast and virtual reality. Please make a brief analysis.
A: The contrast between far and near, high and low, dynamic and static, inhibition and promotion. The first two sentences actually describe the scene of the border town: flying in the dusk, geese flying low, asparagus growing well in the desert oasis, and the last two sentences are mainly about imagination, thinking about the scene of the wolves marching long distances, both imagination and reality.
2. Read the following Yuan Sanqu and then answer this question. (8 points) [Gong Zheng] Qiu Hong Xunyang is the scene (Zhou Deqing) ①
Wanli Yangtze River is as white as practice, and Hu Aishan Mountain is as green as a lake. Fan Jiang is like an arrow, and the mountain spring thousands of feet flies like electricity. The sunset dew, the new moon is a beginner, and the word "rainbow" comes like a line.
(Note) ① Zhou Deqing (1277- 1365) was born in Gao 'an (now Jiangxi). ② Lake: indigo, blue dye.
(2) One sentence and one scene of this Sanqu together constitute a colorful landscape map of Xunyang. Please make a brief appreciation of this Sanqu from the perspective of the sequence of scenery writing and the combination of static and dynamic.
Answer (5 points) From the order of landscape writing: one or two sentences are written about the Wan Li of the Yangtze River, with many distant mountains, and they are written about the big place and the future; Write three or four sentences about the light sail on the river, the mountain spring flowing, the individual, and a close look; Turn from day to night, and then from the ground to the sky. From a dynamic and static point of view: one, two.
The sentence focuses on the magnificence of rivers and mountains and is static; Three or four sentences focus on the swiftness of the river sail and the rapidity of the mountain spring, which are dynamic. (Give 2 points in the order of far and near answers; Answer the order of day and night, and give 1 minute; If you answer static and dynamic angles, give 2 points. Just answer the meaning correctly. )
Fourth, other categories.
1, metaphor/symbol
Metaphor is analogy, which compares one thing with another according to the similarity between things, making the language expression more vivid. The basic structure of metaphor includes ontology, vehicle and figurative words, which can be divided into simile, metaphor and metonymy in form. For example, in Bai Juyi's Pipa, the change of the sound of the piano is described as follows: "The big strings hum like rain, and the small strings whisper like a secret. Humming and whispering-and then mixing them together is like pouring pearls, big and small, into a plate of jade. " The poet used "torrential rain", "whispering" and "pearls" to describe the changing sound of the piano. For example, in the fifth and sixth sentences of Luo's Chant, the rhetorical devices are purely metaphors: "exposure" and "abundant wind" to describe the pressure of social environment; "Difficult to fly" is a metaphor for political dissatisfaction; "Loud voice is easy to sink" means that speech is suppressed. Cicadas are like this, so are people. The poet of the whole poem uses cicada as a metaphor to express his unrequited ambition.
Symbol refers to the artistic creation technique of expressing some abstract and profound concepts, thoughts and emotions by describing the external characteristics of specific images. There is no necessary connection between the ontological meaning and symbolic meaning of symbols, but the prominent description of the characteristics of ontological things through artistic definitions will make readers have some one-to-two associations, so as to understand the abstract meaning of ideas, opinions and emotions expressed by artists. Symbols can be bound according to people's habits and conventions, and people often choose familiar symbols as ontologies to express a specific ideological meaning. For example, magpies symbolize good luck and crows symbolize bad luck; Pigeons symbolize peace, Yuanyang symbolizes love and so on. Symbols can concretize and visualize abstract concepts, and also make complex and profound truths simple and clear.
In poetry, natural things such as pine, bamboo, plum blossom, sun, moon and stars, birds and animals are often endowed with certain emotional and symbolic meanings, and poets use them to express certain thoughts and feelings. For example, Yongmei by Lu You and Bridled Eyebrows by Wang Mian. It was fragrant all night at once, and they all used the method of holding things and expressing their aspirations. Through the image of Mei, they expressed the author's ideal pursuit and the poet's thoughts and feelings of not colluding with the secular.
In a word, there are great differences between metaphor and symbol: the former requires ontology and vehicle to be "similar" or "similar in spirit", while the latter requires symbolic meaning and ontology to be "similar in spirit"; The former is to compare things with other things, and the object of metaphor is concrete objects that people can see, hear and touch, while the latter is to express meaning by things, that is, to make readers associate and understand, without directly explaining the meaning, and the symbolic meaning is often abstract and unpredictable; The former is limited to modifying sentences, while the latter, as the basic method of literary creation, is mainly based on the full text, at least a layer or a paragraph of the article.