Chapter 35 (12) Discussion on Immediate and Leaving

Verlaine used the beautiful eyes behind the veil as a metaphor for the poetic scene, which seems to go back ①, like a secluded place.In front of the scenery, between the thin barriers, if it is close to each other, it seems to be close and far away, and the interest will increase every time.Xie Maoqin's "Complete Works of Four Ming Mountain People" Volume 23 "Poets Straight Talk"②: "Every poem should not be lifelike. It's like looking at the green hills in the distance. The beauty is hidden and lovely. The beauty is that you can see the hand." Looking at the moon through the curtain and looking at the flowers through the water, the meaning is between the distance and the near, and it is also the method of writing." "Quan Tang Wen" Volume 528 Gu Buweng "You Supplements Wujun Zhu Jun Collection Preface" ④ called it as :

"It's like a deep mountain and a clear moon, with the roar of apes. It's like the water of Xin'an River, with salmon and colorful stones, which can be counted every time. It's quiet and rustling, as if someone's clothes are full of stalks and hidden female dills"; it is also separated and transparent, Its writing is neither hidden nor obvious.The ancient Roman poet Martial tasted appreciation, "The grapes are hidden in the glass curtain, but they are not hidden, just like the women's body hidden in the gauze, and the stones under the clear water are countless."

The 17th-century English poet Herrick's "Lotus in the Crystal" expresses this meaning particularly well, including roses under square gauze, grapes in a glass, amber at the bottom of a clear spring, and a woman's body in a sensual body, all of which belong to "light and shadow." Bright as ignorant" is enough to add charm and beauty. Visit the 150-page "Supplement" on the left mountain "Rafting on Daming Lake" ⑤: "It is better to see the mountains and rivers at the bottom of the mountain." The modern Austrian poet Hofmannsthal said that art is good at writing the background ⑥, and the light and shadow are as bright If the secret is ignorant, it is like a garden surrounded by high fences. When outsiders see the lush greenery, they are poor and fascinated. "Lotus in the crystal", "grape behind the glass", and "amber with stone in the clear spring" are all out of reach, and they are still hidden when you see them. They are similar to flowers in the mirror and the moon in the water. "Park" ⑦, Liu Chenweng said "If you want to stay away from you, you want to get closer" ⑧, it is true. (593-595 pages)

Guo Xi's "Linquan Gaozhi? Landscape Training" ⑨: "The mountain wants to be high. If it is fully exposed, it will not be high; if the haze locks its waist, it will be high. The water is far away.If you go out as much as possible, it will not be far away; if you cover up and cut off its veins, you will be far away. This can be interpreted in Han Zhuo's "On the Pureness of Mountains and Waters? Recognition of Painting" ⑩'s discussion of "rhyme" so-called "concealed and erected shape"; Also, that is what Xie Maoqin called "the beauty lies in the Hu".Visit "Supplement" on page 1358 of "Guan Zhuan".An American poetess once said that the veil behind the curtain makes it difficult to see the whole picture⑾, so it is enough to add beauty and beauty, so the beauty does not want to reveal her true appearance.The metaphor of Jude Verlaine comes from "beautiful eyes behind the veil". ("Qian Zhongshu Research" pp. 28-29) ① Verlaine: Paul Verlaine, a French poet in the nineteenth century.

② "The Complete Works of Siming Mountain People": written by Ming Xie Zhen (styled Maoqin, self-named Siming Mountain People), twenty-four volumes. "Poets Straight Talk" is one of the volumes, namely "Siming Shihua". ③Dong Xuanzai: Ming Dong Qichang character.He has written nine volumes of Rongtai Anthology, four volumes of poetry anthology and four volumes of other collections. ④ "Complete Tang Wen": a collection of Tang Wen compiled during the Jiaqing period of the Qing Dynasty, one thousand volumes.Gu Bu Weng: Gu Kuang, a poet of the Tang Dynasty.

⑤ Remaining Mountain: The Jin Dynasty writer Yuanhao question mark. ⑥ Hoffmannsthal: Austrian poet and playwright in the nineteenth and twentieth centuries. ⑦Run Lang: Song Yan Yu, named Cang Lang Bu Ke. 8. Liu Chenweng: Poet of the Song Dynasty. ⑨: Painting Theory written by Song Dynasty landscape painter Guo Xi, one volume. "Landscape Training" is one of them. ⑩ "Shanshui Chunquan Lun": The top theory written by Song Dynasty landscape painter Han Zhuo (character Chunquan), five volumes. "Looking at Paintings" is the title of the article. ⑾ American poetess: refers to contemporary Emily Dickinson.

Liu Chenweng and Yan Yu used the fragrance of flowers as a metaphor for the charm of poetry. It cannot be expected, attained, or "realistic" its image, but it must never be separated from flowers for a moment. This is indeed a wonderful state.Verlaine uses the beautiful eyes behind the veil as a metaphor for poetry, Martial uses grapes under a glass cover as a metaphor for poetry, Herrick uses amber at the bottom of a clear spring as a metaphor for poetry, and the body of a woman in white silk as a metaphor for poetry, although these metaphors are different. , the reason is the same, they all emphasize "like secluded but not hidden", "if you are far away, you seem to be close and far away, every time you increase the interest", the artistic style is hazy, lingering, lingering, and subtle.Ming Xiezhen called the poem one "not suitable for vividness" and the other "the beauty lies in containing Hu", talking about the two aspects of this artistic style that are suitable and taboo.The painter Dong Qichang combined his own creative experience, saying that painting is "like looking at the moon through a curtain, looking at flowers across a water, and the intention is between the distance and the near". The meaning of "also separated and transparent, neither hidden nor obvious".The Austrian poet Hoffmannsthal's so-called art is good at writing the background, and Yuan Haowen's so-called looking at the bottom of the mountain, just like the so-called reflection in today's photography and painting, are all affirming implicit expression techniques in order to produce charming charm.It can be seen that the views and opinions of art talkers in ancient and modern China and abroad are interlinked.

The second one leads to the experience of Guo Xi, a landscape painter in the Song Dynasty: if you want to make the mountain high, you need to paint some haze on the mountainside, so it will appear tall; .If the mountain is high and the water is far away, the artistic effect will be counterproductive.This principle is in the same line as Han Zhuo's "Concealment and Formation", that is, revealing and concealing are interlaced to produce "qiyun" and "spiritual charm".Jiang Kui said in "Shi Shuo" that "the language is expensive and implicit, the sentences have aftertaste, and the text has more meaning, and the good ones are also good", and what Yan Yu called "poems with charm", "the words are exhausted and the meaning is endless."

is a meaning.It can be seen that regardless of the narrative of romance and emotion, the important thing is not to be detailed, but to leave room for thought-provoking and thinking.