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How do I cultivate inspiring thinking?

The word "inspiration" first originated in Greece, and its original meaning is "the breath of God". It is when poets and artists inhale the spiritual energy of "God" when they are creating and conceiving, that their thinking activities are in a state of intoxication and ecstasy, thus producing miraculous creative abilities, which is "speaking on behalf of God".

There is no god in the world, and naturally there is no literary and artistic creation that relies on divine power. The reason why inspiration is considered "spiritual" is that it is sudden, accidental and short-lived, making it difficult for people to grasp it. In fact, inspiration, a complex spiritual phenomenon, seems to come and go without a trace at first glance, but in fact it can be traced. From a reflection perspective, the emergence of inspiration is a leap in the author's understanding; from a psychological perspective, inspiration results from the sudden communication of specific neural connections. Therefore, although inspiration appears in an accidental form, it embodies inevitable content and laws, and is the dialectical unity of accident and necessity.

It is true that due to the suddenness and accidental nature of inspiration, it is impossible for people to arrange the arrival of inspiration in a planned way, but science has proven that: ① Inspiration is an objectively existing creative idea, and learning and practice are the key to obtaining it. The premise and basis of inspiration. ②Inspiration has a brewing process in the subconscious mind. ③Inspiration may suddenly appear when inspired by related things during the brewing process. ④Inspiration is easy to express when thoughts are highly concentrated and emotions are high. Therefore, inspiration can be cultivated. Moreover, based on years of practical experience, I believe that cultivating inspired thinking is the most important, and there are some effective methods.

The first is passionate thinking. "When you climb a mountain, you will be full of emotions, and when you look at the sea, your meaning will overflow into the sea." (Liu Xie, "Wen Xin Diao Long·Shen Si"). Only by observing the world with eyes full of emotion can the world become poetic. The ancient Roman historian Cicero also wrote: "I once heard that if a person does not have the spark of the soul and an almost fanatical temperament, he cannot become a good poet." This shows that poetry, like all literary creations, should be connected with the writer's emotions. My feeling is: love is like the sea and poetry is like the tide. Only the sea of ??emotion can create the waves of poetry. The truer, deeper, and more excited you are about the world, the stronger your ability to perceive the world and the more inspiration you will have. For example, Li Bai was exiled to Yelang by Emperor Suzong of the Tang Dynasty for his involvement in the affairs of the Yongwang shogunate. He was very excited when he was pardoned on the way. Therefore, his poetry flourished again, and his poetry creation reached another climax. The famous "Early Departure from Baidi City" is based on his passion. Written in high spirits. The same is true for Du Fu's "Wen Guanjun Takes Henan and Hebei". Du Fu's mood at that time was the same as Li Bai's mood at that time, with tears streaming down his face and emotion in his heart. Li Bai thought about "returning a thousand miles to Jiangling in a day", and Du Fu also thought about returning home a thousand miles: "That is to say, cross Wu Gorge from Ba Gorge, then go down to Xiangyang to Luoyang." We ourselves have also written proud works under excitement and passion. experience. I remember that in June 1993, I went to Daqing and stopped by Anda to visit Mr. He Zhong. During the dinner, I promised not to drink too much, but more than ten people could recite my poems to persuade them to drink. For example, "I still see words and books as close friends as wine, and every time I hear poetry, I am as drunk as mud." ("Self-mockery") "Today's only thing is I hope you can get drunk and drink a cup of poetry." ("Farewell to Yitong Poetry Friends") This not only exposed my drunkenness, but also made me extremely excited and excited, and also inspired me to write a poem. He raised his glass and said: "The glass is full of true love and no words can be said. We meet each other several times in life. We all carry wine to mobilize inspiration, and we pawn the spring breeze to talk and buy poems." ("The Kindness of Xie Anda's Poetry Friend Raising a Glass to Encourage Drinking") and drank the wine in one gulp. All. This is how a poem comes out. I still vividly remember the writing process of this poem. If it hadn't been so emotional and exciting at the time, I'm afraid this poem wouldn't have been written. Speaking of passion being very important, there is another thing that left a deep impression on me, and that is the poem I wrote "Xi'an Nostalgia". Originally, I lived in Xi'an for two years when I was in the military academy. I am still willing to visit places of interest. It should be said that I have seen all the good places in Xi'an. But I didn't write poetry at that time. After writing poems, I always want to recall the scene at that time to make up for this shortcoming. However, I still can’t write it down. Why? There is just no spark of passion and no feeling.

Later, I went to Xi'an again in 2000, stayed there for only two nights, and then wrote "Xi'an Nostalgia": "Qin Opera and Tang music have been heard in ancient and modern times, how many kilograms of hegemony are left after drying? The Wei River has dried up into a well, and the beacon smoke condenses To be the tomb of an emperor. A fang burns up all the stars and divides the fire, and the wild goose pagoda is robbed and the clouds gather the dust. Someone blows the xun alone at the top of the city. "Why didn't I write it for ten years, but it was written in two days?" That's what I said, emotions are the ocean and poetry is the waves. If the ocean of emotions is not stirred up, the waves of poetry will not appear. Therefore, we must do everything we can to make ourselves excited and emotional.

The second is reverse thinking. Reverse thinking is also called different thinking. It is a way of thinking about common things or opinions that seem to have become a foregone conclusion. Dare to "think the opposite way", let your thinking develop in the direction of the opposite, conduct in-depth exploration from the opposite side of the problem, create new perspectives, and create a new image. For example, my song "Inscribed on Nagarjuna in Confucius Temple" is the result of reverse thinking. In 1999, I went to the Confucius Temple and saw a large cypress tree called "Dragon Tree" in the yard. On the main trunk of the tree was a large, thick and curved dragon-shaped pattern that was integrated with the tree. No matter how you looked at it, They are all a bit like a dragon coiled up, so they are also very strange. However, the tour guide explained that the reason why this tree grew like this is because Emperor Qianlong leaned on this tree. Although this statement is not believable, it made me think in the opposite direction, so I wrote: "The shade of the temple is ancient, and the Confucian spring scenery is surrounded by the sound of birds. The article about the world is not wrong. The old tree has turned into a dragon after listening to the sutra. "In this poem, I attribute the reason why the cypress tree turned into a dragon shape to "listening to Confucian scriptures." In fact, another interpretation can be made, that is, "Old Dragon Fushu is listening to the scriptures." However, both explanations are the result of "thinking the opposite way". Another time, I went to Mount Tai to watch the sunrise. I climbed the mountain at night and waited for the sun to come out when I reached the top of the mountain. Before the sun comes out, many people have gathered on the top of the mountain. People are vying to stand on the favorable terrain so that they can see the beautiful sunrise of Mount Tai at the first time. At this time, I suddenly had a "rebellious" idea: "Why don't I sit down and let the sun come to see me." As soon as this idea came out, a prototype of a poem was immediately formed, which was compiled into a poem after returning home: "Walking on Mount Tai at night with a black horn, the half moon of the waning moon covered the road with moss. Apes bumped into each other on the passing water and empty mountain road, and harriers flew over the cliffs in the morning. Jade Emperor The fog on the top of the Golden Peak has just begun to open, and the mountains and peaks are knee-deep. I sit firmly in front of the pine tree and lean on the stone table to greet the red sun to see me.” "Sit firmly in front of the pine tree and lean on the stone table, beckoning the red sun to see me." The whole train of thought took a 180-degree turn. Moreover, this train of thought was very interesting, and the poem came naturally.

Reverse thinking is not mysterious. What we often say is to be prepared for danger in times of peace, which is a kind of reverse thinking. In 2011, I went to Beidahuang with the Chinese Poetry Research Institute to collect folk songs. When I arrived at Heixiazi Island, I naturally had the idea of ??being prepared for danger in times of peace: "It is easy to return to this trip when losing land, but it is difficult to appreciate the height of the East Pole Tower. The border line is as thin as Paper, don’t say peace to the country." ("Reflections from Climbing the Tower of the "First Post in the East Pole" on Heixiazi Island) Originally, Sino-Russian relations were at their best period in history, and half of Heixiazi Island was recovered, and the border looked like it was. Feel calmer and safer than ever. However, there is no eternally peaceful border. "Border lines are as thin as paper" and one day someone might poke them with a finger and break them. These are all inspirations triggered by reverse thinking. In addition, reverse thinking is the basis for writing reversal poems in ancient and modern times. Therefore, we who write poems should try our best to master it.

The third is coherent thinking. When you think about something continuously for a period of time, you will find that inspiration comes easily. Why? Because thinking is coherent. The coherence of thinking lies in your high sensitivity to the problem you are thinking about, and at the same time waiting for you to think deeply about this problem. It is also the law of nature that things are ripe and ideas fall, and inspiration comes from thinking continuously. From continuous thinking to enlightenment on this issue. Lu Shiyi of the Qing Dynasty once said: "There is self-enlightenment in all human nature, and we must work hard to achieve enlightenment. Just like there is fire in a stone, we must keep knocking it before the light of fire appears." It can be seen that "continuous work" and "constant knocking" are indeed the key.

For example, wood and football are two unrelated concepts, but associative thinking can make a connection between them: wood - woods - fields - football field - football. According to this rule, we can understand the ancient poem "The scent of horseshoes returns after stepping on flowers". Once upon a time, students were asked to make a painting based on this ancient poem. One student drew a few butterflies chasing horse hooves and got full marks. This student uses associative thinking, and his associative circuit diagram is: horseshoes - grassland - fragrance of flowers - butterflies. This kind of association by drawing inferences from one instance to another usually proceeds from here to there, from near to far.

Some people divide association into close association and long-distance association. According to the practice of poetry creation, in order to facilitate the operation, I once divided association into six types. Here are four brief explanations:

(1) Association by shape. When I passed by Daban in Turpan, Xinjiang, I heard this story: An old man living in Turpan went to Urumqi for the first time in his 70s and found that it was much cooler than Turpan. When I came back and passed by Daban, I found that the fan blades of all the wind turbines were facing the direction of Urumqi, so I suddenly realized: "No wonder our place is hot and Urumqi is cold. There are so many fans blowing towards them. !" Although this is a joke, the old man's association was generated through the similarity. Another example: "When I was young, I didn't know the moon, so I called it a white jade plate. I also suspected that the Yao mirror was flying in the blue clouds." (Li Bai's "Gu Long Yue Xing") Therefore, the full moon is like a jade plate and a bright mirror. The full moon is associated with the similar shapes of these two objects. Another example: The shape of the Big Dipper is like a big spoon. I used this to start my association, and I once wrote a poem: "Line up in a poem formation and chant for a long time, chanting to the earth, the sky, and the past and present. I chant until my love is still in the sky, the big spoon "The Beidou scoops up the nebula." ("The Establishment of the Kanto Poetry Formation in Shiga")

(2) Make associations with spiritual similarities. Similarity is mostly a long-distance association. For example, beans and humans are not the same kind, and it seems difficult to make an analogy, but Cao Zhi did it: "Cooking beans burns the bean sprouts, and the beans weep in the cauldron. They are originally from the same root, so why fry each other in a hurry." Cao Zhi's poem (" "Poetry in Seven Steps") was able to write so quickly because it would have been impossible without this association of "originally from the same roots." I went to Tibet twice and read dozens of prose and poetry books describing Tibet. I wrote more than a hundred poems about Tibet, some of which describe Tibet in terms of spiritual similarities. For example: "The snow-capped mountains in the distance are scattered with light, and the June fields on the plateau are vast. In a square of colorful turbans, three or five yaks gnaw at the sunset." ("Plateau Pasture") The last two sentences of this poem regard the pasture as "a square of colorful turbans." , "Three or five yaks gnawing at the sunset" are also used as the "pattern" in this "colorful headscarf", which is also a poetic feeling derived from the association of spiritual similarities.

(3) Use the names of places, things and people to make associations. Around 1990, I went to Tieling, Liaoning Province to visit Mr. Yu Haizhou. He happened to be away at that time, so I visited Longshou Mountain alone. Associating it with the name of the mountain, I wrote: "The divine dragon cocked its head into the clouds. When I arrived at the mountain, I didn't see you." I want to express my thoughts to the willows, but I am worried that the leaves will fall and return home." ("Visiting Friends in Longshou Mountain") In addition, I went to Zhangjiajie in 2002 and wrote "Holding a golden whip in the evening wind, and giving a command to move the mountains." "The Son of Heaven, rules over millions of peaks in central Hunan" ("Tianzi Mountain in Zhangjiajie") is also associated with the place name. For another example, you can write poems by making associations based on people's names. In this way, the name Qingquan once gave me the inspiration for poetry: "It is not only the name of poetry and wine, but also the character of the character. The water of the world is muddy, but the spring of my heart allows me to be clear."

(4) All-round Lenovo. Comprehensive association means not being limited to a certain way of association, but mobilizing all possible association methods for association. For example ("Inscribed on the Stone Wall of Changbai Mountain": "The wind is blowing on the top wall of the Great Wilderness, and the water is flowing in thousands of valleys. The cloud tents scatter into rainbow rain and dew, and the spring nest flies out of the summer, autumn and winter." This poem first originated from the name of Changbai Mountain's original name "Dahuang Mountain" then I thought of the Songhua River, Tumen River, and Yalu River rushing down from Tianchi; then I thought of clouds and rain, and from rain I thought of rainbow and dew; finally, I thought of the birds flying out of the bird's nests in the mountains and thought of the "Dahuang Mountain". The four "big birds" of spring, summer, autumn and winter flew out of the "nest".

It can be said that this poem goes from near to far, from earth to heaven, from reality to illusion. Some people say that this is a stroke of genius, but I know that it is the result of the use of association.

The fifth is life thinking. In short, "life thinking" means respecting nature, respecting all things, and establishing an equal and cordial relationship between man and nature. Its expression has three aspects:

Giving life to things. That is to say, all living and inanimate objects are regarded as living, emotional, soulful, and even thinking. For example: "I sat admiring the golden lotus in half a pond, and suddenly the flowers fell asleep among the blue clouds. But the light boat passed by in the pond, and I woke up with a boat full of dreams." ("Appreciating Water Lilies") Water lilies are also a kind of lotus, and they are alive in themselves. . When it is called a "water lily," it is already personified. But at this time, she was only able to "sleep" in people's minds, and her "life thinking" was not simply anthropomorphic. This poem assumes that the water lily can "sleep" and further imagines that she "can dream" and that her dream will be "rocked awake" by a boat in the pond. Therefore, the author took pity on her. Before she could finish her sweet dream, she was shaken awake by the passing of that little "light boat". This beautiful budding dream is enough to load a small boat!

Objectification of self. That is to regard human beings as a part of nature, things and myself are the same, and heaven and earth are the same. Objects can be transformed into life, and life can also be transformed into objects. For example, a poet can imagine himself as a tree, a mountain, a drop of dew, etc., and experience objects in this way. For example, "Passing through Ramoche Temple in the Morning": "The smoldering smoke surrounds the sutra hall, and the monks in the main hall are extremely busy. I am sitting in front of the stone lion, with a Buddha in my heart that has not yet been consecrated." Here, I imagined myself as a stone lion, and thought that lions should also If you have a heart, then you will think of the common Buddhist saying that "the heart is the Buddha". It implies that even the "Buddha" in the lion's chest at the door of the temple has not been "consecrated", let alone a passer-by. This poem in turn gives the stone lion soul and life by "materializing" itself. This materialized self is another interpretation of life thinking.

Regard the invisible as tangible. That is to say, intangible, silent, and senseless things are regarded as tangible, sound, and sentient things. For example, "Appreciating Apricot Blossoms in Baolawendu, Baicheng": "The red dust and purple streets enter my heart, and I slowly express my poetic thoughts. I lie on the mountain path with my head resting on the sound of birds, and a stack of apricot blossoms in my hand.", "The green and yellow grass buds in the vast desert "The spring breeze came into the farmhouse last night. I sat in the forest until the sunset, and watched the apricot blossoms at dusk." These two poems have the same characteristic, which is to regard the invisible as the tangible. The sound of birds is invisible, how can it be "pillowed" on it? The wind is invisible, so how can it hold "a stack"? Dusk is invisible, how can it be "raised"? However, in the author's state of "life thinking", this has become a "reasonable imagination": First, in the ten thousand acres of apricot blossom forest, the sound of birds is everywhere and extremely dense. In such an environment, lying on the mountain path, it seems that there are "birdsong" under your head, which can of course be said to be "birdsong on the headrest"; secondly, in the apricot blossom forest, there are clusters of flower branches, fallen flowers, and wind. There are flowers among them, and there is wind among the flowers. In extreme excitement, the author feels that the wind in his hand is also piece by piece. He can fold it up like petals and bring it to his nose to smell its fragrance. Third, the passion for flower viewing does not diminish as the sun approaches dusk, but the "night" of dusk slowly falls. Dusk is invisible, but "night" seems to be "feelable". So the author "stirred up dusk" in his imagination, not wanting "night" to fall, so he could take a long look at the apricot blossoms that haunted him.

Sixth is environmental thinking. Environmental thinking refers to the different styles of works produced by human thinking under the influence of different environments. As the saying goes, "The iron horse and the autumn wind block the north, and the apricot blossoms and the spring rain in the south of the Yangtze River" are true. There are two main ways to acquire environmental thinking, namely direct acquisition and indirect acquisition.

Directly acquired environmental thinking. It is the inspiration that the poet obtains when he goes to the environment he wants to express, or allows his past life experiences to reappear, and appreciates and feels the atmosphere of the environment. Maybe everyone has this experience. Sometimes I want to write a poem about an outing, but I can't write it after a few days at home. But once I leave the house and go to the countryside or deep mountains and forests, the poem will naturally come into being. In July 2003, I traveled to Tibet. Due to severe altitude sickness, I went to Jiuzhaigou Valley in Sichuan.

As soon as I stepped into the paradise-like environment of Jiuzhaigou, I suddenly felt as if I had come to the earth for the first time in another world: "The water plays music under the cliff, and wild flowers hang upside down and bloom beside the stream. I am a foreigner in the global village, and the mountain bed is covered with moss in my dreams." "("Visiting Jiuzhaigou") Because I have entered the environment here wholeheartedly, this poem is as natural as the spring water flowing out of the valley. This shows that writing poetry requires immersion in the situation. Only with this "environment" can there be "environmental thinking." After writing poetry for more than 20 years, I have a feeling that whenever I write military poetry, a state of mind will naturally appear. The one that impressed me the most was when I worked in the county Armed Forces Department for many years and kept tens of thousands of guns in the weapons depot, but I didn’t feel how important it was. When I went back to my hometown for border defense, I saw sentries holding steel guns on the border. , Fang felt the weight of the gun in the hands of soldiers. He quickly wrote: "The sentry post in the birch forest stands at dusk, and the blue sky in my eyes is the gate of the country. A three-foot steel gun closes the country, and a body of honor and disgrace is tied to the world." ("Hometown Border Journey No. 2")

Obtained indirectly Environmental thinking. The main way is to read. When I recently wrote "Hundred Tibetan Quatrains", I discovered that none of the approximately 500 scattered poems I had accumulated was of any use. Later, I finally realized that the original scattered poems were all produced in environments outside Tibet. Naturally, it does not reflect the special environment of Tibet. So, I decided to go back to Tibet's natural environment, living environment and language environment to search for Tibetan poetry. In this way, not only did I go to Tibet for the second time to experience the environment there, but I also spent eight months reading more than 20 documentary essays about Tibet with about 5 million words in my spare time. This did produce a very good effect, and one poem after another about Tibet was produced in a specific "environment". For example: "Peck at the pastoral song to borrow a dream, spread its wings in the sky towards Pingwu. A hook of cold sunset blood, tearing apart the remaining snow in the wasteland." ("Snowy Eagle") "Snowflakes are stored in the plateau, filling the mountains and rivers. . Occasionally, the wind from the sky passes by, carrying a few pieces to the world." ("Appreciating Snow in the Snow Mountain") It can be said that these poems can only be produced in the environment of Tibet. After reading for several months, I was in the vast and vast atmosphere of Tibet. Wandering there, meditating under the prayer flags like cordyceps. This fully proves that reading a certain type of books frequently and repeatedly is also an important way to generate environmental thinking.

Of course, there are other ways to cultivate inspired thinking, which should be chosen with emphasis according to each person's thinking habits. For training, I just made a summary of my own poetic thinking. In fact, this article is modified based on the "Cultivation, Capture and Expression of Inspiration" that I published in "Chinese Poetry" ten years ago. There is also part of the content in the article "Modern Construction of Poetic Thinking" published in the "Chinese Poetry Yearbook" in 2011, so some people may read it "familiarly".