Poetry mainly uses narration, description, discussion and lyric, among which description and lyric are the key points. Different description methods, such as dynamic and static combination, virtual and real combination; Yes (lyrical way? There are two main ways: direct lyric and indirect lyric. ) Express your feelings directly, express your feelings through the scenery, cherish your feelings in the scenery, and blend the scenes. Because scenery is full of feelings, all scenery words are emotional words.

2, structural form:

The structural form of poetry, the common concern from beginning to end, comes straight to the point, goes deep at different levels, generalizes first and then divides, scenery first and then feelings, and then shows one's ambition, transition, bedding and foreshadowing.

3. Rhetoric:

The main rhetorical devices are: \ "antithesis \" \ "metaphor \" \ "personification \" \ "metonymy \" \ "exaggeration \" \ "parallelism \" \ "repetition \" symbol \ "and so on.

4. Writing skills:

Writing skills include: Fu Bi's arousing, setting off, comparing, rendering, expressing ambition, making the finishing point, seeing the big picture from the small, trying to promote before suppressing, associating imagination and reversing word order.

5. Artistic style:

Including vigorous, broad-minded, bold, natural and unrestrained, diluted, depressed, sad and graceful.

3. emoticon:

1, borrowing scenery to express feelings or blending scenes: When a poet has a feeling about a scene or an objective thing, he puts his feelings and thoughts to be expressed in this scene and expresses them by describing this scene and this thing. This lyric way is called borrowing scenery or borrowing things to express feelings. In China's ancient poems, pines, bamboos, plums, orchids, rocks, streams, deserts, ancient roads, border crossings, sunset, jathyapple, cool breeze, drizzle and weeds are often the objects for poets to express their feelings. For example, Bai Juyi's "The Mountain Fire is Unfinished, and the Spring Breeze is High" expresses its irresistible natural law with the tenacious struggle of "the grass on the original".

Affection in the blending of scenery (or things) and scenes is a way to express feelings indirectly and implicitly through the description of specific natural scenery or life scenes. For example, Du Fu's "Good rain knows the season, when spring comes." Sneaking into the night with the wind, moistening things silently ",the scenery contains the joy of spring rain; Liu Yong's "Where to Wake Up from Drunk Tonight, Yang Liuan, the Wandering Moon" contains the poet's sadness and hatred in the description of the scenery.

In general, it is the happy scene of Syaraku's feelings, and the sad scene expresses the sadness, but it is also useful to express the sadness with the happy scene or sad scene of Syaraku's feelings. For example, the metabolism of the Tang Dynasty was rather muddy, and "Xie Ting Farewell" said: "When my brother misinterpreted the boat, the red leaves and green hills rushed. It's still far from waking up at sunset, and it's raining down the west building. " The beautiful and poetic scenery of the first "Red Leaves and Castle Peak" in the League reflects the poet's feelings of leaving sorrow and not hating. "Jiang Zhai Shi Hua" said: "Writing elegies with happy scenes and mourning for Syaraku with sad scenes will double the sadness and joy.

The poet writes poems to express his thoughts and feelings. In order to achieve this goal, he needs to write scenes-scenes in or around nature to arouse feelings and convey them to readers. The handling of feelings and scenes is very important. If handled properly, he will arouse the feelings of readers and make them resonate with him. Such a poem is well written and touching.

The handling of emotions and scenery is not just a matter of poetry. Other arts, such as novels, plays, movies and paintings, also have this problem. Generally speaking, love and scenery are in harmony. Take movies for example. When a disaster is about to happen, movies often let us see lightning and storms, so that the audience can be psychologically prepared and foresee future disasters. In the movie, when two men and women are in love, or when couples are newly married, they will go for a walk in the park. The weather is fine and spring blossoms, which is a refreshing sight. This kind of scene coordination is similar to writing poems in movies or other arts. This is called "scene setting" or "scene fusion".

In China's and Western's poems, we can find examples of poets successfully dealing with the coordination or integration of emotion and scenery.

Take China's poems as an example. The following two sentences are very successful in matching emotions with scenery.

Fisherman Ao () (Song) Fan Zhongyan blocked the scenery, but Hengyang geese ignored it and left. The four sides are connected with each other. Thousands of miles away, the long smoke closes. A glass of turbid wine is Wan Li's home, but Ran Yan hasn't come home yet. The pipe strength is covered with frost. People don't sleep, and the general has white hair and tears. At that time, Fan Zhongyan was sent to Yan 'an to guard the border and defend Xixia. This word is his personal experience. The time is autumn, the place is Xiaxia, and the specific place is Gucheng. The characters are generals and recruiters. They left home thousands of miles away, saw the geese flying south beyond the Great Wall, heard the sad creaking sound and the sound of Qiang pipes, and naturally they were homesick, but they couldn't go back without success. Drinking cloudy wine makes you insomnia. The sad scenes written in the ci fully fit the mood of the people at that time, and the scenes blend, so that readers can appreciate the mood of these people guarding the frontier.

Look at another word and write a happy scene:

Feng Rensong (title wine shop) C Song) Jade spends money like water in spring and gets drunk by the lake every day. Yu Qian used to know West Lake Road and was arrogant in front of the restaurant. Singing and dancing in the fragrance of red apricots, swinging in the green Yang Ying. The spring breeze is ten miles beautiful, and the flowers on the head are biased. The original boat carries the spring home, and I pay for the lake smoke. Tomorrow, I will go to the lake to look for the lost flower shop with the residual drunkenness.

It says here that when the spring is bright, among the apricot blossoms and poplars, tourists take a boat trip, drink, sing and dance. Let readers fully feel the joy of spring outing.

You can also set off people's sadness with happy scenes. Wordsworth said in the poem Two April Mornings that on an April morning, he went to Shandong with his friend Matthew. It was a beautiful spring day, the sun was shining, and the grass and running water were refreshing, but Matthew stopped and sighed. Wordsworth felt comfortable walking in the wild in bright spring and asked Matthew why he sighed. Matthew stared at the top of the mountain in the east, and then said that such fine weather and beautiful clouds reminded him of a day exactly thirty years ago. Thirty years ago, the weather was as good as it is now, and the clouds were as beautiful as it is now. He took the fishing rod and went to his daughter's grave. His daughter Emma is not yet nine years old. She's cute. Everyone in the village likes her. She sings.

You must listen like a nightingale. But she has been lying in the cemetery. Matthew saw his daughter's grave that day. Next to a yew tree in the cemetery, he saw a girl with rosy cheeks. She has beautiful eyes, dew in her hair and a basket on her arm, and she walks briskly. Matthew said, I sigh in pain. I can't help it I looked at her again and again, but I didn't want to treat her as a relative. No matter how good my daughter dies, no one else's daughter can replace her. The poem mourns the death of her daughter, but it is written about sunny days, flowing grass and beautiful clouds, which is a scene comparison. Recalling sad things in the beautiful spring increased his sadness. Facing the joyful scene, the poet felt more and more sad. This is a happy scene to a sad scene.

Now let's look at the following poem "The Golden Tomb" (Tang Dynasty). The Weihe River drips, and birds sing like dreams in the Six Dynasties. Ruthlessness is a willow in Taicheng, but it is still a smoke cage. Zhuang Jinling is Nanjing. There were Wu in the Six Dynasties; Eastern Jin, Song, Qi, Liang and Chen (A.D.

3 17-589). These six dynasties all established their capitals in Nanjing, and the time was very short. The Six Dynasties were famous for their luxury. By the time of the Tang Dynasty, the Six Dynasties had passed and its luxury had declined. Therefore, when poets in Tang Dynasty visited Nanjing, they always mourned for the Six Dynasties. The poet was very sad to see the scene of the rain clearing, the grass growing and the warblers flying, and the desolation and decline in front of him. He thought that the extravagance of the Six Dynasties had passed away like a dream. But when I came to Taicheng, I saw that ten miles away, the spring was bright, the catkins were flying, and the smoke cages were lingering. He thought that the natural scenery was still so beautiful, but the personnel were all wrong, and the glory of the past-gone forever, added another sadness. Therefore, this little poem has both background and contrast. In this way, the combination of the two enhances the appeal and effect of the poem, which is a very successful work.

2. In poetry appreciation, emptiness and reality are relative, as the book says, there is truth and no emptiness; Evidence is truth, and false support is empty; Objective is true, subjective is virtual; Concrete is real, hermit is empty; Actions are true, but words are empty; The present is true and the future is empty; The known is true, the unknown is false, and so on.

Firstly, it introduces the "emptiness" in poetry.

In the traditional techniques of Chinese painting, emptiness refers to the part with sparse strokes or blank parts in the picture. It gives people room for imagination and endless aftertaste. Poetry and painting are the same, and poetry draws on this method of Chinese painting. The emptiness of poetry means that you can't touch it intuitively, but you can appreciate the ethereal images and ethereal realms between the lines. Specifically, the "emptiness" in poetry includes the following three categories:

1, the dream world of immortals and ghosts. Poets often use this nothingness to contrast reality. This is the so-called representation of reality with virtual images. For example, Tianmu Mountain Wonderland climbing in the dream is a virtual image. But now the sun and the moon light up the gold and silver platform, wearing rainbow clothes and riding the wind, with tigers as their pipa players and phoenixes as dancers, and rows and rows of fields like hemp are lined with fairy images. Li Bai painted a beautiful picture, reflecting the darkness of reality.

2. Past scenes. This kind of virtual scene is a scene that the author has experienced or happened in history, and now it is out of sight. For example, in Li Yu's Yu Meiren, "the jade carving fence should still exist, and Zhu Yan should change it", and the "jade carving fence" in the sentence "old country" exists, but it is no longer in sight at this time, and it is also a virtual image. The author compares the Jade Carving Column to Zhu Yan, which has a sense of desolation of the old country, and things are different. Another example is Su Shi's "Niannujiao Chibi Nostalgia", which says: "When talking and laughing, it will disappear." It reproduces the historical facts of burning Chibi. Obviously, it didn't happen in front of us, so it was also a virtual scene.

3. Imagine the future. This virtual environment has not happened yet, and its feeling will continue to extend into the future. Therefore, writing funeral music will double its funeral music; Syaraku will have more fun. For example, Liu Yong's "Yulinling" reads "Where do you wake up today? There is a waning moon on the bank of Yangliu. " This is an imaginary landscape after parting: a boat leaves the shore, and the poet wakes up after drinking, only to see a breeze blowing the willows, and the waning moon hangs high on the willows. Many of Cui Yingying's farewell words in The West Chamber and The Pavilion are imagination of the future. Tonight in the middle of the month, I watched it alone from the window of her room, because our boys and girls, poor little babies, are too young to know where the capital is.

Look at the "reality" in poetry again.

In Chinese painting, truth refers to the meticulous and rich brushstrokes in the picture. In poetry, "truth" refers to the real images, facts and reality existing in the objective world. For example, the dark reality of Tianmu Mountain ascended to heaven in a dream; "When is the Spring Flower and Autumn Moon" in Young Beauty; In Niannujiao Red Cliff Nostalgia, there is still a lack of description of the precipitousness of Red Cliff. In Yulin Ridge, Shangque wrote about the separation of two people, such as "cold and sad, dying for the pavilion" and "holding hands and looking at each other with tears, speechless and choking." Wait a minute.

"The combination of the virtual and the real" refers to the mutual connection, mutual penetration and mutual transformation between the virtual and the real, so as to reach the realm of the coexistence of the virtual and the real, thus greatly enriching the images in the poem, opening up the artistic conception in the poem, providing readers with a broad aesthetic space and enriching people's aesthetic taste.

The relationship between the virtual scene and the real scene sometimes forms a sharp contrast, thus highlighting the center. For example, the imaginary scene in Jiang Kui's "Yangzhou Slow" refers to the "ten-mile spring breeze" and describes the prosperity of the ten-mile long street in Yangzhou City in the past; The real scene is "the wheat is green", which is the bleak situation that the lyricist saw today. From these two contrasting pictures, the poet's feelings about the past prosperity and decline are conveyed.

The relationship between the virtual scene and the real scene sometimes complements each other, forming a rendering contrast, thus highlighting the center. For example, Ouyang Xiu's "Walking on the Sand": "When the pavilion is fragrant with plum blossoms, the bridges are sparse with willows, and the grass is warm and swaying. Sadness is getting farther and farther away, and the distance is like spring water. Inch by inch, my heart is tender, my eyes are full of tears, and the height of the building is not close to the dangerous fence. At the end of Pinger, there is Chunshan, and pedestrians are outside Chunshan. " What is lacking is realism, which sets off the departure of "pedestrians" through the scenes in early spring. The lower part is insufficient. Write melancholy thoughts by setting a railing where a "pedestrian" misses his wife and a sad image of a "pedestrian". The wife misses her husband and the husband misses her. Reality and reality are a natural pair, thus expressing the feelings of parting incisively and vividly.

4. Structural model (from beginning to end, straight to the point, in-depth layer by layer, first generalization, then subdivision, first scene, then emotion, then death, transition, bedding, bedding)

Verb (abbreviation of verb) rhetoric (\ "antithesis \" \ "metaphor \" \ "personification \" \ "metonymy \" \ "exaggeration \" \ "repetition \" symbol \ "sustenance)

1, contrast: this is a technique in Chinese painting, which uses ink or color to render and set off the outline of an object, making the object stand out obviously. Used in poetry creation, refers to deliberately describing from the side, as a foil, so that what is needed is obviously prominent. It can be the contrast between people, for example, in Qin Luofu, the amazing beauty of Qin Luofu is set off by the reactions of the walkers and teenagers, or it can be the contrast between things, such as "cicadas make the forest quieter, the palace hill more secluded", "monks knock on the moon door" and "birds sing at the full moon". More things are compared with people, such as writing the moon in the river three times in Pipa, which compares the beautiful and charming timbre of Pipa and the sad, lonely and sad mood of the characters respectively.

2. Association and imagination: mostly adopted by romantic poets. For example, Li Bai often integrates reality with dreams, fairyland, nature with human society. His "Climbing Mount Tianmu in a Dream" is full of poems that let go of thoughts, and the poet's imagination is like a wild imagination. The dreamland and fairyland depicted by him are the bright and beautiful ideal world he yearns for. "I don't know the moon when I am young, but I cry white." "I am worried about the bright moon, and I will go to the west at night." "I sing. The moon encourages me and I dance around "is a clever combination of whimsy and natural truth."

3. Allusions: that is, quoting historical facts and using allusions in poetry. Ancient poetry attaches great importance to the use of allusions, which can not only refine the language of poetry, but also increase the richness of content, increase the vividness and implicitness of expression, receive concise and thought-provoking effects, and enhance the expressive force and appeal of works. Such as Xin Qiji's "Never Meet Happiness"? There are five successful allusions in Gubei Pavilion in Jingkou: Sun Quan, Emperor Wu of Song, Liu Yilong and so on. With the help of these historical facts, the poet expressed his thoughts and feelings implicitly, naturally and fully.

4. Figurative symbol: This is a rhetorical device to compare one thing with another. Used in poetry is also called Bi Xing. This technique is often used in poetry to achieve the artistic effect of vivid image and turning reality into emptiness. For example, Zhu Qingyu's "To Secretary Zhang on the Eve of the Examination" in the Tang Dynasty skillfully used the bride's nervous and hopeful psychology before meeting her in-laws, and wrote her nervous and eager to be appreciated before the exam. He Zhangzhi's "Liu Fu": "Jasper is dressed as a tree, and thousands of green silk tapestries hang down. I don't know who cut the thin leaves, and the spring breeze in February is like scissors. " When the new leaves sprouted in spring, the poet suddenly had a whim in a surprise. It was Miss Chun who fiddled with spiritual scissors with her dexterous hands and cut out thin leaves! Metaphor makes description virtual, image more dynamic and emotion more intense. If this concrete image runs through the whole story, it is a symbol. For example, Li Bai often places his ideals and symbolizes his talents with magnificent and extraordinary things, such as Dapeng, Tianma, Xiong Jian and mountains and rivers. I like to choose noble and beautiful things, such as bright moon, phoenix, pine and cypress, beauty and so on. , to symbolize the integrity of the newspaper; He often chooses the events of people who were destroyed and imprisoned to compare his experience and situation.

5. Exaggeration: deliberately exaggerating or narrowing things to express the poet's unusual feelings. Reasonable exaggeration is unreasonable, but reasonable. In romantic poetry, exaggeration can be seen everywhere. For example, "the roof is18,000 feet, and at this point, it begins to turn southeast." (Li Bai's "Climbing Mount Tianmu in a Dream") "White hair is three thousands of feet, and sorrow is like a long beard" (Li Bai's "Song of Autumn Pu"). Another example is that "three cups spit infinite, five mountains are light" (Li Bai's "Chivalrous Journey") takes five mountains as light, exaggerating the weight of chivalrous journey; "Speak softly, trust friends, and face the Jiuning wind." (Li Bai's Song of Praise) Use mountain peaks to exaggerate the estrangement and suspicion between friends.

Contrast, metonymy, intertextuality (such as "My master has dismounted and my guest has boarded the boat" in Wang Changling's The Great Wall, The Bright Moon in Qin Dynasty and Bai Juyi's Pipa Trip), pun and metaphor are also commonly used in ancient poetry, and their characteristics and functions are similar to those used in general articles, so I won't repeat them here. In addition, we should also pay attention to some common "artistic dialectics" techniques in ancient poetry. For example, when we describe things or scenery, we often combine far and near, motion and stillness, sound and color, reality and emptiness, and have achieved good artistic results.

6. Common styles in ancient poetry

1, vigorous: vigorous refers to the maximum strength and momentum of qi. Its characteristics are: strong bones, magnificent mountains and rivers, lofty universe, magnanimity, grandeur and grandeur. It is like a roaring sea, not like the rippling West Lake. If it turned out to be Kunlun Mountain, it would not be a small and pleasant Suzhou garden. In specific works, some are ambitious and resolute, such as Liu Bang's Song of the Wind; Some are generous and sad, such as Xiang Yu's Gaixia Song; Some are open-minded and full of lofty sentiments, such as Cao Cao's "Watching the Sea". Boldness is the era style of poetry in the prosperous Tang Dynasty, which embodies the prosperous scene and vitality of the prosperous Tang Dynasty. Wang Changling's "The Great Wall" (the bright moon in Qin Dynasty, the custom in Han Dynasty) is magnificent and magnificent; Wang Zhihuan's "The Embankment" (the Yellow River is far above the white clouds) has rich imagination and broad realm; Meng Haoran's "Clouds and Clouds Rising in the Valley, Besieging Yueyang City" ("Lindongting") is magnificent; How sublime and magnificent Wang Wei's "Lonely Smoke in the Desert, Long River Falling in the Yen" ("Let it get stuck in traffic jams") is! What can really be called "vigorous" are frontier poets represented by Gao Shi and Cen Can. In their works, there are wolf mountains, deserts, secluded fields, isolated cities, extreme cold and heat, grief and indignation of unity, and determination to defend the frontier to the death.

2, unrestrained: unrestrained, called unrestrained. Its characteristics not only show the characteristics of the poet as the subject, but also show the characteristics of the depicted object as the object. As far as the subject matter is concerned, the emotion is stirring and the style is high; Imagination is strange and exaggerated; Ambitious and broad-minded; Suck into the universe and pull up mountains and rivers; Arrogant and rough, wild and unrestrained. As far as the object is concerned, it is often huge in size and strength, showing its unique grandeur and sublimity, or showing a vast and boundless scene, so it is magnificent, magnificent and ethereal. Li Bai is a master of the uninhibited school, which is characterized by intense emotion, high style, strange imagination and exaggeration. "Don't you see how the water of the Yellow River flows down from the sky into the ocean and never comes back?" ("Into the Wine") magnificent, a thousand miles; "The grass is green and white, and the west is restored to the east." ("Antique") depicts the rapid passage of time and the speed of personnel change, in one go, seamless; "Yanshan Snowflakes as Big as a Seat" ("Popular in the North") "White hair is three thousands of feet, and sorrow is long." Although exaggeration is unreasonable, it makes sense. Su and Xin are the most outstanding representatives of the unrestrained school of Song Ci. Su Ci pays attention to integrating impassioned, tragic and desolate feelings into Ci, and is good at winning with heroic images, majestic momentum and magnificent scenes when writing people and chanting things. Nostalgia on Red Cliff is a masterpiece. The sentence "The River Never Returning" captures all the people who are active in the vast and long time and space, and it is magnificent. "West of the Old Base Area" to "Dust" is an ancient ode with lofty and deep feelings, while the sentence "Sculling in the Air" combines magnificent situation, bright colors and loud sounds, giving people a kind of "hug". A few words of "wandering in the old country" turned to myself, and my feelings also fell from excitement to depression. The whole word has a magnificent tone and sings "You must be a big shot in Kansai, holding an iron plate".

3. Depression: If boldness is a volcanic eruption, then depression is an undercurrent. When the poet is elegant and chic, he is uninhibited; When the poet meditates and is anxious and angry, he becomes depressed. Li Bai is bold, light and lucid, so he rises to the sky, and wild cranes are free and elegant everywhere; Du Fu was depressed, and his weight made him fall heavily, diving into his heart, stirring his feelings and tossing and turning. What is depression? Depression refers to the profundity, richness, anxiety and suggestibility of emotions. "Sinking or not floating, it is not thin." Du Fu's poems are extremely rich. Sadness is the main content of Du Fu's poems. His sorrow is not only personal, but also national, national and people's. Therefore, this kind of sadness has rich emotional levels, which makes him depressed and gain deep feelings and lofty values. His "Three Officials", "Three Farewells", "Car Shop" and "Cottage Broken by Autumn Wind" are all melancholy masterpieces.

4, sadness: touching the scene, seeing things hurting people, tragic and generous, called sadness. Generally, poets lament the ever-changing diseases, the speed of youth passing away, the seriousness of people's disasters, the ups and downs of fate and the anger of unfulfilled ambition, while those who are concerned about the country and the people and are generous and sad look at them with sadness. It can be seen that compassion is the voice of the times and the cry of the poet. Faced with the turbulent reality, the poet expressed compassion out of a serious sense of responsibility. Chen Ziang's poems are famous for their sadness. Youzhou rostrum is the most exciting elegy. With great grief and indignation, the poet climbed the tower with tears in his eyes. Facing the vast land in the sky, draw a continuous time picture of the past, present and future with a pen like a rafter, and draw a vast picture of space. Its solemn and stirring song resounds through the sky, and its generosity transcends space. Another example is Xin Qiji's words.

5, handsome: handsome and handsome, cool and fluent. The representative poet is Du Mu. His poems, whether ancient or modern, are full of lofty sentiments, talking about history, lamenting the disadvantages of the times, summing up lessons, worrying about the country and the people, having great ambitions to support the sky, and feeling that there is no way to serve. On the other hand, they are bold and unrestrained, chic and romantic, elegant and carefree, and refreshing. Such as "Crossing Huaqing Palace": "Chang 'an looks back at the embroidered pile, and the top of the mountain opens a thousand doors. Riding the world of mortals and laughing, no one knew it was litchi. "In a subtle and ironic style, it profoundly exposed the life of Emperor Xuanzong of the Tang Dynasty. He was extravagant, extravagant and extravagant, and lived a life of drunkenness. Another example is Red Cliff, which has a lively rhythm, Mountain Walking, which is light and swaying, Poems of Spring in Jiangnan (a thousand miles of birds sing green and reflect red), and A dream in Yangzhou for ten years leads to a poor brothel (Farewell).

6. Dilution: Dilution, that is, harmony but difference, has the characteristics of leisure, silence, indifference and far-reaching. Wang Wei's landscape poems are characterized by leisure, tranquility, lightness and remoteness. He is a master of dilution. Such as "people idle osmanthus, the night is quiet and the mountains are empty." When the moon rises, the birds are startled, and when the stream is deep, the song is deep. There seems to be no one on the empty mountain, but I think I hear a voice. The sun shines on me from the green moss. "(Abatis) Here, there is no noise of the city, no human disputes, no external interference, only the tranquility of nature and the vitality of flowers and birds. Poets indulge in enjoyment, admiration and intoxication, throw themselves into the embrace of nature and become an organism of nature. The nature described by the poet always beats the poet's pulse, whirls the poet's voice and shakes the poet's soul. Therefore, nature is personified. The nature described by the poet is the poet himself, reflecting the poet's diluted state of mind. The poet himself has integrated into nature. This kind of melting is to melt the subjective feelings into the objective scenery and pursue the emptiness without me, which is the extreme of dilution. However, dilution is not disillusionment and death, but full of vitality. It is the result of the poet's transformation of active life into solidified life, and the vitality changes from flow to tranquility.

7. Broad-minded: that is, unrestrained, open-minded, chic and elegant, noble and unique, and the representative writer is Su Shi. Su Shi's ci is not only bold, but also broad-minded in style. Su Shi, who has great talent but poor talent, should not only adhere to the tradition, but also conform to the current situation; It is necessary to "do your best" and "know your destiny" so that his character has typical "broad-minded" characteristics. "Life is like a dream, and there is still a statue on the moon" ("Niannujiao? Red Cliff Nostalgia ")" The old man talks about juvenile madness "("Jiang? Poems like Hunting in Michigan are obviously open-minded. Su Shi sometimes tries his best to get rid of himself and blend in with nature, so that his limited life can be eternal in the movement of nature without beginning or end; Let all kinds of troubles in life be freed from the pure and beautiful nature beyond reality, purify yourself from all kinds of contradictions with society, and live in harmony with the laws created by nature. For example, "Water Tune"? When did the moon begin to appear? It equates life phenomenon with natural phenomenon, philosophy of life with natural laws, and obliterates the boundary between time and space. Shang Kun regretted not being able to "go home by the wind" and immediately explained himself with "what is it like?" Xia Kun regretted that "people have joys and sorrows" and immediately explained that "the moon is full of rain and shine, and it is difficult to be complete in ancient times", thus getting comfort and inspiration from nature and getting rid of the troubles of life. Su Shi sometimes tries his best to enrich himself and strengthen his spiritual world to the maximum extent, so as to resist all external intrusions and achieve detachment. Sometimes, by being indifferent to one's ambition, longing for seclusion, leading an honest and clean life, or even binge drinking, talking about Zen and self-anesthesia, one can gain psychological detachment from the painful life, dark reality and dirty officialdom.