The combination of reality and imagination is a common expressive technique in classical Chinese poetry. “Reality” refers to the tangible scenes, events, and environments that exist in the objective world, which can be captured through visual, auditory, and other sensory perceptions; “Imagination” refers to the emotions, ideas, and dreams that exist in subjective consciousness, which are derived from the subjective imagination of ancient people. The interplay of reality and imagination means that the real scenes and events are contrasted and intertwined with imagined scenes and events. This technique can expand the artistic conception of poetry, making it rich and subtle, and providing readers with a broader aesthetic space. The forms of expression in the interplay of reality and imagination mainly include the following:
1. Directly depicting reality while indirectly suggesting imagination. For example, in the Han Yuefu poem “Mo Shang Sang”: “The sun rises in the southeast corner, shining on my Qin family tower. The Qin family has a beautiful girl, who calls herself Luo Fu. Luo Fu loves silkworms and mulberries, picking mulberries in the southern corner of the city. Black silk is tied as a cage, and osmanthus branches serve as hooks. With a low bun on her head and moon-shaped pearls in her ears. Xiangqi serves as the lower skirt, and purple silk as the upper garment. Passersby see Luo Fu, adjusting their burdens and stroking their beards. Young men see Luo Fu, removing their hats and putting on their headscarves. Farmers forget their plows, and those with hoes forget their tools. They come back resentful, but just sit and watch Luo Fu.” The poem vividly describes Luo Fu’s attire, which is a direct depiction; it also describes the infatuation of the passersby, which is an indirect suggestion. The combination of direct and indirect depictions creates a beautiful and captivating image of Luo Fu.
2. Detailed writing represents reality, while brief writing suggests imagination. For example, in Jia Dao’s poem “Visiting the Recluse but Not Finding Him”: “Under the pines, I ask the boy, who says the master has gone to gather herbs. He is somewhere in this mountain, but the clouds are deep and I do not know where.” The author elaborates on the boy’s response, which is a representation of reality; the content of the “question” is omitted, which suggests imagination. The author employs the technique of combining reality and imagination to express admiration for the recluse and the melancholy of not being able to find him.
3. Specific details represent reality, while abstract ideas suggest imagination. For example, in Wang Changling’s poem “Sending Off Xin Jian from the Lotus Pavilion”: “The cold rain connects the river, entering Wu at night; in the morning light, I send off my guest, with the solitary Chu Mountain. If my friends in Luoyang ask, my heart is as pure as ice in a jade pot.” The first two lines clarify the time and place of the farewell, which is a representation of reality; the third and fourth lines shift to commentary, expressing the author’s noble character and strong will, which suggests imagination.
4. Describing scenery represents reality, while expressing feelings suggests imagination. For example, in Wei Yingwu’s poem “Chuzhou West Stream”: “I alone cherish the secluded grass growing by the stream, above it the yellow oriole sings in the deep trees. The spring tide brings rain, rushing in the evening; the wild ferry has no one, and the boat is horizontal.” The author cherishes the secluded grass by the stream, indifferent to the high and charming yellow oriole. The leisurely scene of the wild ferry with rushing water and a horizontal boat reveals the author’s tranquil disposition and the helpless and sorrowful feelings of being out of place and not being utilized.
5. The present represents reality, while memories suggest imagination. For example, in Pan Lang’s poem “Jiuquan Zi”: “Longing for West Lake. All day leaning on the railing, looking out: a few fishing boats here and there, the islands are just in the clear autumn. The sound of the flute is faint among the reeds, white birds suddenly take flight. After a long time of tidying the fishing rod, I think of the cold water and clouds.” The first two lines express the author’s lingering thoughts of West Lake, leaning on the building all day in contemplation; the last two lines express the act of tidying the fishing rod, eager to return to the seclusion of West Lake, expressing present feelings, which is reality; the middle part describing the scenery shifts to memories, depicting the beautiful scenery of West Lake in the past, which suggests imagination.
6. The present represents reality, while the future suggests imagination. For example, in Li Shangyin’s poem “Night Rain Sent North”: “You ask when I will return, but there is no set date; the night rain in Bashan raises the autumn pond. When will we cut the candle at the west window together, and talk about the night rain in Bashan?” This poem employs the technique of the interplay of reality and imagination; the first two lines are a representation of reality, using the night rain in Bashan to highlight the sorrow of not being able to return home to meet loved ones. The third and fourth lines suggest imagination, envisioning a joyful scene of reuniting with loved ones, cutting window flowers and talking late into the night, contrasting joyful scenes with sorrowful feelings.
7. One’s own feelings represent reality, while the feelings of others suggest imagination. For example, in Gao Shi’s poem “New Year’s Eve”: “In the cold lamp of the inn, I cannot sleep alone; what is the matter with the guest’s heart, turning so sadly? Tonight, my hometown thinks of a thousand miles away; my frosted hair will be another year by morning.” The first two lines depict a strong atmosphere of New Year’s Eve, surrounding the poet in the lonely inn with a cold lamp, evoking feelings of solitude and sadness. The author seems to want to express his emotions at this moment, but in the third and fourth lines, he shifts his focus, writing from the perspective of others. “Tonight, my hometown thinks of a thousand miles away,” meaning that the loved ones in his hometown must be missing the author, who is a thousand miles away, worrying about how he spends this night alone. The author skillfully uses this technique to express the sincere feelings of missing home in a subtle and moving way.
8. Objective reality represents reality, while imagination suggests imagination. For example, in Huang Tingjian’s poem “Wang Jiang Dong”: “The river water is separated by smoke trees on the west side, and I cannot see the road to the east of the river. I think only dreams come and go, and I am not afraid of the river blocking me.” The poem employs the technique of the interplay of reality and imagination, expressing the lyrical protagonist’s longing for distant loved ones. The first part of the poem describes the protagonist standing on the “west side,” gazing at the “east road” across the “river water” and “smoke trees,” which is a representation of reality; “I think only dreams come and go, and I am not afraid of the river blocking me,” suggests imagination, as in real life, it is impossible to reunite with loved ones, so the protagonist hopes to achieve his wishes through dreams, a desire that seems to transcend time and space, crossing the great river.
Source: Yuwen Bao, High School Edition, Issue 923