Poetry rhetoric and its function

Combined with specific works, this paper analyzes the lyric discourse mode and its expression effect in the works.

Common lyric discourse patterns include metaphor and symbol, exaggeration and contrast, paradox and irony, repetition and duality. The concepts of metaphor, symbol and irony here have been described from the language skills of the whole literary creation in the fourth quarter of the third chapter. The following descriptions of these three concepts are only from the perspective of the discourse mode of lyric literature.

(A) Metaphor and symbol

Metaphor is a lyric discourse form to express this thing through other things, which can be abstracted into images, thus vividly conveying the poet's idealistic philosophical sentiment or abstract emotional sentiment. In this way, metaphor has become an important lyric means to turn virtual into real. Cao Zhi's Interpretation of Sorrow wrote: "Sorrow is a thing, but only embarrassment. Come uninvited, just push. I don't know when I'm looking, but I don't have a palm. Christmas Eve, or groups or parties. I can't go well, I'm fine. " Here, he compares "worry" to something inexplicable, which can be pushed, held, come, go, more or less, thus materializing and visualizing some intangible psychology of "worry". There are many such examples, such as: Yu Xin's "Who knows an inch of heart, there are Qian Qian's worries", and "worries" can be measured; Li Qingzhao's words: "I'm afraid I can't carry a lot of worries, because I'm afraid I'm sailing on a boat in Shuangxi." "Trouble" can be carried; Li Houzhu's poem "Leave Sorrow" means "Leave Sorrow", which can be cut. All the above are used to describe the feelings of things and inner sadness, thus materializing, concretizing and visualizing "sadness". Others directly quoted natural things to visualize "sadness", such as Li Houzhu's "How much sadness can you have, just like an eastward flowing spring". In contemporary poetry, Yu Guangzhong's Homesickness is also a masterpiece. Homesickness is an intangible and invisible abstract emotion, but the poet skillfully uses metaphor to boldly turn it into a "small stamp", "narrow boat ticket" and "short grave", and finally "homesickness" becomes a "shallow strait", thus expressing the complicated family ties as vividly as possible.

Symbol is a lyric discourse form that indirectly expresses thoughts and feelings with concrete things or images. "The more accurate meaning of this term should be that thing A implies thing B, but as a means of expression, thing A itself needs full attention." [1] That is, the symbols in the works imply something or an object outside this image or image system with a specific image or image system, which not only expresses the nature and significance of what it represents, but also expresses a profound ideological, emotional or abstract meaning. In the interpretation of this kind of lyric works, we should first pay attention to the image interpretation on the surface of the text, and then move from the surface to the deep symbolic meaning. Symbol, a lyric discourse, makes the language of lyric works more concise and the emotional connotation more abundant and implicit, thus bringing readers a broader aesthetic imagination space and receiving long-term and far-reaching artistic effects in aesthetic experience. Poems such as "to see the sun, for all his glory, Buried by the Coming Night" and "Moonlight in the Pine Woods, Crystal Stone in the Stream" have become typical symbolic words because of their strong suggestibility. There are many such symbolic lyric words in China's ancient lyric works, especially in his pastoral poems. In the west, in the 20th century, especially after the rise of symbolism poetry school, it was regarded as a symbol of expression. In Baudelaire, Eliot and other symbolist masters, symbolism has become a poetic principle that implies the spiritual world with vivid images. This "vivid image" is the symbolic noumenon, which implies the spiritual world and conveys some universal emotional significance. For example, Zhou Dunyi's Lotus, Mao Dun's Poplar, Korolenko's Firelight, Jia Pingwa's Ugly Times, and even Baudelaire's Monster on Our Back. ...

The expressive effect of metaphor and symbol is vivid and implicit, which opens up a broader aesthetic imagination space, induces readers to have richer emotional experience and rational thinking, and thus obtains more aesthetic enjoyment.

(B) exaggeration and contrast

Exaggeration, using imagination and deformation, exaggerates some characteristics of things, which is a lyric discourse form to express emotional service. Exaggeration is often an artistic means of "arguing irrationally" under the condition that "fine words can't be pursued to the extreme", which expresses an essential and psychological truth. For example, "Don't you see how the water of the Yellow River moves out of the heaven and into the ocean, and never comes back" (Li Bai's Coming into the Wine), "Frost and skin rain for forty weeks, and the top of it, Wang Yuqing and thousands of feet, are in the heaven" (Du Fu's A Tour of Cooper), and "Why should the Qiangdi complain about the willow and lack of spring breeze" (Wang Zhihuan's Out of the Plug). The strong artistic appeal in the above poems is the artistic effect brought by exaggeration. Ye Xie, a writer in Qing Dynasty, commented: "There is no such thing. It is really the language of family. " [2] It can be seen that exaggeration serves the needs of emotion. In How the Water of the Yellow River Moves Out of the Sky, the poet wants to express his strong psychological feelings when facing the roaring Yellow River, rather than examining the source of the Yellow River. "Forty Rains in first frost" emphasizes some psychological feelings of Cooper, a former poet, who is tall and majestic, but does not really mean Cooper's height and thickness; And "the spring breeze is not enough to cross Yumenguan" emphasizes the desolation outside the customs and the sadness of the garrison outside the customs, because how can there really be no spring outside Yumenguan? Lyric works often use this exaggeration to write things that seem illogical in fact, but lyricists can accurately express some real feelings through these. Because feelings are true, the illogical facts in lyric discourse become reasonable and true, which is what we call artistic truth.

Contrast is a form of lyric discourse that combines words with opposite sensory characteristics or meanings to form contrast, so as to strengthen the expressive force of language. As an aesthetic law, contrast is based on the contrast and association of human thinking. As a kind of lyric discourse, contrast is not mainly reflected in form, but in content. As long as there is a strong contrast in the sense of things, it can cause contrast and association, highlight the object to be expressed and produce artistic appeal. There is a direct and sharp contrast, such as Du Fu's "Zhu Men smells like wine, and the bones on the road freeze to death", "Our capital is full of nosy people, and you are a lonely and helpless poor man". There is also the contrast between reality and reality brought by Lenovo. For example, "Those who cover Luo Qi are not silkworm farmers" (Zhang Yu's Silkworm Girl), "Poor bones by the Wuding River, still living in a dream" (Chen Tao's Longxi) and so on. There is also "in the faded old palace, the peony is red, but no one comes to see it" in Yuan Zhen Palace. The white-haired implication of ladies-in-waiting and the grand occasion of Xuanzong debate are completely conveyed through association and comparison. Today's palaces are "sparse". What about before? -the theory of ups and downs; Nowadays, palace flowers are in full bloom. What about the past? -Nature is eternal; Today, the ladies-in-waiting are bald. Once? -youth is perishable; In addition, the "red" of the blooming palace flowers is in direct contrast with the "white" of the white-headed lady. It is indeed "concise and memorable." And this kind of "infinite taste" is based on the association of various comparisons between reality and reality.

Generally speaking, exaggeration and contrast, as a form of lyric discourse, have played a role in accurately expressing and strengthening emotional content in the lyric process. By forming exaggerated and contrasting literary images, conveying emotional content implicitly and strongly, expanding aesthetic space, artistic appeal is greatly enhanced.

(C) Paradox and irony

Paradox refers to a lyric discourse form in which two contradictory aspects appear in a sentence at the same time, which makes it self-contradictory on the surface, but expresses the complex state of emotion on a higher real level. As the Russian poet Necrasov said, "You are poor, rich,/strong, weak,/Russia, my mother." On the surface, "poor" and "rich" are contradictory, and "strong" and "weak" are relative. But it is through this contradictory and contradictory discourse organization that a lyricist's complex psychological feelings about the motherland can be expressed more truly and accurately in a higher sense. Let's look at a lyric line in Romeo and Juliet: "Ah! Noisy love, resentment of kissing! Ah, out of thin air! Heavy frivolity, serious arrogance, neat chaos, lead-cast feathers, bright smoke, cold flames, gaunt health, eternal awakening sleep, negative existence! The love I feel is such a thing ... "How does Romeo feel about love? Perhaps we can feel a certain balance of opposites from the mutual conflict, mutual exclusion and mutual cancellation of the language in this passage, and it is this balance of opposites that accurately expresses the complex feelings of the lyric hero for love. In fact, the real world and subjective life are always full of contradictions of one kind or another, which determines the contradiction, complexity and richness of people's thoughts and feelings. Paradox, a lyrical discourse form, can accurately express people's extremely complex and rich inner world. As the German romantic critic F Rajgl pointed out: "The world is contradictory in nature, and only an ambiguous state can grasp the contradictory integrity of the world." [3]

Irony, some emotions and comments expressed in this kind of discourse are often contrary to those implied in the facts. Generally, it is the product of strong indignation and serious thinking. Such as Wen Yiduo's "Dead Water":

This is a backwater of despair,

The breeze doesn't move at all.

Why don't you throw more rubbish,

Throw out your leftovers.

Maybe copper will turn green into jade,

A few rusty peach petals on the tin can;

Let greasy weave a layer of Luo Qi,

Mold steamed some clouds for him.

……

This is a backwater of despair,

This is definitely not beauty.

Why don't we leave it to ugliness to cultivate,

Look at the world he created.

Many beautiful things such as Emerald, Peach Blossom, Rocky and Xia Yun are used to describe the stagnant water in this ditch. The ugly things are beautifully written, and the so-called ugliness is beauty. But we found that the more beautiful and ugly, the more disgusting. And this gnashing hatred is the author's true emotion. At the end of the poem, in this ironic way, with anger, he wrote the deepest feelings for the motherland among the strong dissatisfaction, from which we can see the patriotic enthusiasm of "the deeper you love, the more you hate".

Paradox and irony, as lyric words, can fully express people's multiple psychological connotations, extremely complicated and even contradictory life experiences and feelings in their spiritual life. Irony can also make the expression of thoughts and feelings more vivid and combative.

Repetition and duality

Repetition refers to deliberately repeating a word, phrase, sentence or sentence pattern in order to highlight a certain meaning and emphasize a certain feeling. Dai Wangshu's Rain Lane is a typical example. There are recurring words in the poem, such as "wandering in a long, long/lonely rain lane" and "mourning in the rain,/mourning and wandering"; Repetition of phrases: "like me,/like me,/lonely, sad and melancholy", "like a dream,/like a dream, sad and confused"; Repetition of sentences or sentence patterns, such as: "She has lilac color, lilac fragrance and lilac sadness", "In the elegy of rain,/her color has faded,/her fragrance has dissipated,/even her sighing eyes,/lilac sadness." In this way, Rain Lane gives people a sense of emotional circulation from part to whole, which greatly strengthens its lyrical aesthetic effect. Yu Guangzhong's Homesickness, Xu Zhimo's Farewell to Cambridge, etc. All have the above characteristics. In some works, repetition can also make the lyricist express his strong feelings incisively and vividly, giving people a hearty and strong feeling. Such as many poems in Guo Moruo's Goddess. The repetition of this lyric discourse can be traced back to the repetition of words and sentences in the Book of Songs. Therefore, we can regard it as an ancient lyric discourse with national tradition.

Duality refers to two phrases or sentences with the same or basically the same structure, the same number of words and close meaning, which are symmetrically arranged to form a unique form of expression. Among all lyric discourse forms, antithesis has the most national characteristics. In ancient poetry, antithesis is often used to form neat sentence patterns and distinct rhythms; Through duality, the images of different time and space can be combined together, so that the lyricist can break the limitation of time and space and express his feelings freely in a broader background. "The ship is snowing in Guazhou at night, and the iron horse is scattered in the autumn wind." (Lu You's book of wrath) One sentence is winter, the other is autumn, the other is southeast and the other is northwest. Here, duality is like a bridge, combining two different groups of time and space images, and emotions can be freely expressed in free imagination. "Leaves fall like the spray of a waterfall, while I watch the long river roll forward." The first sentence focuses on the vastness of space, and the second sentence focuses on the length of time, thus showing endless autumn colors and deep and long emotions. In modern poetry, duality is also widely used, and it is more flexible because it breaks through the limitations of various traditions. The unique expressive force of duality is embodied in: the form is quite musical, the rhythm is neat, and the timbre is sonorous; The content is refined and concentrated, complementary and rich in meaning.

Repetition and duality, these two forms of lyric discourse with national characteristics are related to the musicality of lyric language, and their application makes the expression of emotion in lyric works more full and musical.