In the Qing Dynasty, Wu Qiao said, "the ancient poems are full of love, and the later poems are full of scenery.". For example, in the nineteen poems, Meng Dong is cold, and in the book of giving Ding Yi, the son of Jian'an, there are few people who are cool in the early autumn; in the day of prosperity, Liang and Chen are prosperous, and in the end of Tang Dynasty, there is no such thing as emptiness, which is nothing about temperament, and painting is not poetry. Fu Poetry is based on emotion and the scenery is the object. The scenery is not self-sustaining, but the emotion is changed. When the emotion is sad, the scenery is sad. When the emotion is happy, the scenery is happy. Tang poetry can integrate the scenery into the sentiment, and place the sentiment on the scenery, such as Zimei's: "there is no dry land near the tears, and clouds are broken in the low sky"; shenxiaxian '. Hongjia people, who made sentences based on the fur of the Tang Dynasty, had no intention of merging with the scenery. What's more, they wanted to describe the scenery in a broad and far-reaching way, which had nothing to do with their feelings. For example, they used boards as covers in cold nights and hung iron armour naked. "
这其中便揭示了诗的创作原则:“情为主,景为宾”,“景物无自生,惟情所化”,“融景入情,寄情于景”。至于孰轻孰重,不言而明。
This reveals the creation principle of the poem: "the emotion is the main, the scenery is the object", "the scenery does not have its own life, but the emotion is changed", "melts the scenery into the emotion, places the emotion in the scenery". As for which is more important, it is clear without saying.
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