Based on specific works, analyze the lyrical discourse methods and expression effects in the works.

Common lyrical discourse methods include metaphor and symbol, exaggeration and contrast, paradox and irony, repetition and duality, etc. The concepts of metaphor, symbol and irony here were discussed in Chapter 3, Section 4 Having described the language skills of the entire literary creation, the following explanation of these three concepts is only from the perspective of the discourse method of lyric literature.

(1) Metaphor and symbol

Metaphor is a form of lyrical discourse that uses other things to express something. It can turn abstraction into images, thereby conceptualizing the poet's ideas. Philosophical insights or abstract emotional insights are conveyed visually. In this way, metaphor becomes an important lyrical means of turning fiction into reality. Cao Zhi's "Explanation of Sorrow" wrote: "Sorrow is a thing, but it is in a trance. It comes by itself without being called, and it cannot be pushed away. When you look for it, you don't know where it is, and you can't hold it in your palm. It is silent for a long night, or there is a group of people. Or the party. It comes and goes without direction, messing with my spirit." Here, he compared "sorrow" to something inexplicable, which can be "pushed" and "held", can come and go, can be more or less. This materializes and visualizes a certain kind of invisible psychological "sorrow". There are many such examples, such as: Yu Xin's "Who knows that there are thousands of sorrows in an inch of the heart", "sorrow" can be measured; Li Qingzhao's poem: "I'm afraid that a boat in Shuangxi cannot carry many sorrows", "sorrow" It can be recorded; Li Hou's main line is "if you keep cutting, the reason will remain chaotic, it is the sorrow of separation", and "sorrow" can be cut. The above are all used to describe the feeling of objects as a metaphor for the feeling of sadness in the heart, thereby materializing, concreteizing and visualizing "sorrow". There are also those who use natural objects to directly describe "sorrow" and visualize it, such as Li Houzhu's "Asking you how much sorrow you can have is like a river of spring water flowing eastward." Among contemporary poems, "Nostalgia" by Yu Guangzhong is also a masterpiece. "Nostalgia" is originally an abstract emotion that cannot be touched or seen, but the poet skillfully uses metaphors to sometimes turn it into a "little stamp" and sometimes into a "narrow boat ticket" ", and then boldly transformed it into a "low grave", and finally "nostalgia" turned into "a shallow strait", which vividly expresses the complex feelings of longing and reluctance. The heart of a filial son finally pushed the strong homesickness to the extreme, giving the work a charming artistic charm.

Symbol is a form of lyrical discourse that uses specific objects or images to indirectly express thoughts and feelings. “The more accurate meaning of this term should be that thing A implies thing B, but thing A itself, as a means of expression, also requires full attention.”[1] That is, the symbol in the work is a specific image or The image system implicitly refers to the image or things or objects outside the image system. It not only expresses the nature and meaning of the things it represents, but also expresses a profound thought, emotion or abstract meaning. In the interpretation of this type of lyrical works, we must first pay attention to the image interpretation of the surface layer of the text, and then move from the surface layer to the appreciation and exploration of the deep symbolic meaning. Symbolizing this lyrical discourse method makes the language of lyrical works more condensed and the emotional connotation richer and more subtle, thus giving readers a broader space for aesthetic imagination and receiving long-lasting and far-reaching artistic effects in the aesthetic experience. Poems such as "The setting sun is infinitely beautiful, but it is only near dusk", "The bright moon shines among the pines, and the clear spring flows over the rocks" have become typical symbolic discourses due to their strong suggestiveness. There are many such symbolic lyrical words in ancient Chinese lyrical works, especially landscape and pastoral poems. In the West, in the 20th century, especially after the rise of the symbolism poetry genre, symbols as a form of expression have become even more highly regarded. For masters of symbolism such as Baudelaire and Eliot, symbolism has become a poetic principle that uses vivid and vivid objects to hint at the spiritual world. This "bright and vivid object image" is the symbolic ontology, and it is through it that it hints at the spiritual world and conveys some universal emotional meaning. Such as the "lotus" in Zhou Dunyi's works, the "white poplar" in Mao Dun's works, Korolenko's "fire", Jia Pingwa's "ugly stone", and even the "monster" that Baudelaire put on each of our backs...

The expression effect of metaphors and symbols is vivid and implicit, and thus opens up a broader space for aesthetic imagination, inducing readers to have richer emotional experiences and rational thinking, thereby gaining more aesthetic enjoyment. .

(2) Exaggeration and contrast

Exaggeration is a form of lyrical discourse that uses imagination and transformation to exaggerate certain characteristics of things to express emotions.

Exaggeration is often an artistic method adopted when "precise words cannot be taken to the extreme" and "strong words can express the truth". It expresses an essential and psychological reality. For example, "If you don't see it, the water of the Yellow River comes up from the sky and rushes to the sea and never returns" (Li Bai's "Jingjinjiu"), "The frosty skin is raining forty times, and the dark color is two thousand feet into the sky" (Du Fu's "A Journey to Ancient Cypresses") , "Why should the Qiang flute blame the willows? The spring breeze does not reach Yumen Pass" (Wang Zhihuan's "Crossing the Fortress") and so on. The strong artistic appeal in the above poems is exactly the artistic effect brought about by exaggeration. Ye Xie, a litterateur in the Qing Dynasty, commented on this: "It must not be true, but it is really the words of emotion." [2] It can be seen that exaggeration serves the needs of emotion. In "The Water of the Yellow River Comes from the Sky", what the poet wants to express is some kind of strong psychological feeling when facing the roaring Yellow River, rather than investigating the source of the Yellow River; "The frost skin and the rain fall around forty" emphasize that The poet's specific psychological feeling in front of the tall and majestic ancient cypress does not refer to the height and thickness of the ancient cypress; and "The spring breeze does not pass through Yumen Pass" emphasizes the desolation outside the pass and the sorrow of the soldiers stationed outside the pass, because How could there really be no spring outside Yumen Pass? Lyrical works often use this exaggeration technique to write things that in fact seem to be illogical, but the lyricist can accurately express some real emotions through these. Because the feelings are real, the illogical facts in the lyrical discourse also become reasonable and real, which is what we call artistic truth.

Contrast is a form of lyrical discourse that combines words and sentences with opposite sensory characteristics or meanings to form a contrast to enhance the expressiveness of language. As an aesthetic law, contrast is based on contrastive associations in human thinking. As a lyrical discourse, contrast is not mainly reflected in form, but focuses on content. As long as a strong contrast is formed in the emotions of things, it can arouse contrasting associations, highlight the objects to be expressed, and produce artistic appeal. There are direct and sharp contrasts, such as Du Fu's "The wine and meat smell of wine and meat in the rich family, and there are frozen bones on the road", "The capital is covered with crowns, but the people here are haggard" and so on. There is also a contrast implicit in the virtuality and reality brought about by association. For example, "Those who are covered with silkworms are not silkworm raisers" (Zhang Yu's "Silkworm Woman"), "The poor bones by the Wuding River are like those in a spring boudoir's dream" (Chen Tao's "Longxi Journey"), etc. In Yuan Zhen's "The Palace", the meaning of "the ancient palace is lonely, the palace flowers are lonely and red. The white-headed palace maid is here, sitting around and talking about Xuanzong" is completely completed through the contrast in association. Today's palace is "sparse", but what about before? ——The principle of rise and fall; today the palace is in full bloom, but what about the past? ——Nature is eternal; today’s palace maids have bald heads, but what happened in the past? ——Youth is fleeting; in addition, the "red" of the palace flowers in full bloom and the "white" of the white-headed palace maid form a direct and sharp color contrast. It is indeed "fewer words but full of meaning, with infinite flavor". And this "flavor of infinity" is based on various contrasts between virtuality and reality based on association.

Generally speaking, as a form of lyrical discourse, exaggeration and contrast play a role in accurately expressing and strengthening emotional content in the lyrical process. With the help of exaggerated and contrasting literary images, the emotional content is conveyed both implicitly and strongly, the aesthetic space is expanded, and the artistic appeal is greatly enhanced.

(3) Paradox and Irony

Paradox refers to two contradictory aspects appearing in a sentence at the same time, causing it to appear contradictory on the surface, but in a higher sense. A form of lyrical discourse that expresses complex emotional states on a real level. For example, the Russian poet Nekrasov's poem: "You are poor and rich,/strong and weak,/Russia, my mother." On the surface, "poverty" and "rich" are contradictory, and "strong" It is opposite to "weak", but it is precisely through this contradictory and contradictory discourse organization that in a higher sense, it expresses the lyricist's complex psychological emotions towards the motherland more truly and accurately. Let's look at a very lyrical line from "Romeo and Juliet": "Ah! Noisy love, intimate resentment! Ah, everything that comes out of nothing! Heavy frivolity, serious arrogance, neat chaos , feathers of lead, bright smoke, cold fire, haggard health, ever-awakening sleep, denial of existence! This is what I feel about love..." How does Romeo feel about love? Perhaps from the conflict, mutual exclusion, and mutual cancellation of languages ??in this passage, we can feel a certain balance of opposites. It is this balance in opposition that accurately expresses the complex feelings of the lyrical protagonist about 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 emotions. Paradox, a form of lyrical discourse, can accurately express people's extremely complex and at the same time extremely rich inner world. As the German romantic critic F. Schlegel pointed out: "The world is essentially paradoxical, and only an ambiguous state can capture the contradictory wholeness of the world." [3]

< p>Irony, certain emotions and evaluations expressed by such words are often diametrically opposed to the emotions and evaluations actually implied. It is generally the product of intense indignation and serious thinking. For example, I heard Yiduo's "Dead Water":

This is a ditch of hopeless stagnant water.

The breeze cannot blow any ripples.

It is better to throw away more scraps and scraps of metal,

Just throw in your leftovers.

Maybe the copper will turn green into jade,

A few peach blossoms will rust out on the iron can;

Let the grease weave a layer of silk,

The mold steamed up some clouds for him.

......

This is a ditch of hopeless stagnant water.

This is definitely not a place of beauty.

It is better to let ugliness take over the cultivation.

Let’s see what kind of world he creates.

In the poem, many beautiful things such as "emerald", "peach blossom", "luoqi" and "yunxia" are used to describe the "stagnant water" of the ditch, and the ugly things are written beautifully. The so-called " Use ugliness as beauty.” But we find that the more beautiful the ugliness is written, the more disgusting it becomes. And this gnashing of teeth hatred is the author's true emotion. At the end of the poem, in this ironic way, the deepest feelings for the motherland in the midst of strong dissatisfaction are written with anger, from which we see the fire-like feeling of "the deeper the love, the deeper the hatred." Patriotic fervor.

Paradox and irony, as a form of lyrical discourse, can fully express the multiple psychological connotations in people's spiritual life, as well as extremely complex and even contradictory life experiences and perceptions. Irony can also make the expression of thoughts and emotions more vivid and effective.

(4) Repetition and Duality

Repetition refers to the deliberate repetition of a word, phrase, sentence or sentence pattern in order to highlight a certain meaning and emphasize a certain emotion. Dai Wangshu's "Rain Alley" is a typical example. There are repetitions of words in the poem, such as "Wandering in the long, long/lonely rain alley", "Sorrowful in the rain,/Sad and hesitant"; repetition of phrases: "Like me,/Like me/Walking silently "It's like a dream, / cold, desolate, and melancholy", "like a dream, / like a dream, sad and confused"; repetition of sentences or sentence patterns such as: "She has a color like lilac, a fragrance like lilac, /Sorrow like lilacs", "In the mournful song of the rain, / her color disappears, / her fragrance disperses, / even her / breath-like eyes, / lilac-like melancholy." , "Rain Alley" gives people a certain emotional looping and continuous feeling from part to the whole, which greatly strengthens its lyrical aesthetic effect. "Nostalgia" by Yu Guangzhong, "Farewell Cambridge" by Xu Zhimo, etc. all have the above characteristics. In some works, repetition can also allow the lyricist to express the passionate emotions to his heart's content, giving people a feeling of joy, intense and unrestrained. Such as many poems in Guo Moruo's "Goddess". The repetition of this form of lyrical discourse can be traced back to the widely used "tautology" and "repetition of chapters and sentences" in the Book of Songs. Therefore, we can regard it as an ancient and nationally traditional way of lyrical discourse.

Dualship refers to a unique expressive discourse form formed by two phrases or sentences with the same or basically the same structure, equal number of words, and closely connected meanings, arranged symmetrically. Of all the forms of lyrical discourse, antithesis is the most nationally distinctive. In ancient poetry, duality is often used to form neat sentence patterns and distinct rhythms; through duality, images from different times and spaces can be combined together, allowing lyricists to break the limitations of time and space and freely express themselves in a broader context. Express emotions. "The building boat crosses Guazhou in the snowy night, and the iron horse disperses in the strong autumn wind." (Lu You's "Shu Ang") One sentence refers to winter, one sentence refers to autumn, one sentence refers to the southeast, and one sentence refers to the northwest. Here, duality is like a bridge, combining two different sets of time and space images, allowing emotions to be expressed freely in free imagination. "The boundless falling trees are rustling, and the endless Yangtze River is rolling in." (Du Fu's "Climbing High") The first sentence focuses on the vastness of space, and the second sentence focuses on the long time, thus showing the boundless autumn colors and deep and long-lasting emotions. .

In modern poetry, duality is also widely used, and because it breaks through various traditional restrictions, its use is more flexible. The unique expressive power of the duality is reflected in: the form is quite musical, the rhythm is neat, and the tone is sonorous; the content is refined and concentrated, complementing each other and rich in meaning.

Repetition and duality, these two forms of lyrical discourse with national characteristics are related to the musicality of lyrical language. Their use makes the expression of emotions in lyrical works more fully and musically beautiful.