Three hundred Tang Poems (optional, if the foundation is not very good, you can buy a book with rich annotations)
Selected works of famous artists in Tang and Song Dynasties (recommended by Shanghai Ancient Books Publishing House)
The above three books are the best reading materials for ancient Chinese literature and poetry. You must be familiar with them. If you write well, you can recite them. After that, your knowledge of ancient Chinese will be solid.
Look only at the notes of ancient Chinese, not at the translation. Generally speaking, there is no standard for translation, and the so-called translation is actually the general idea of the article.
The dictionary should be turned over more, because there will be more rare words in ancient Chinese, and you will be familiar with them after reading more.
When reading ancient Chinese, don't stick to grammar, because the flexible use of parts of speech and inverted sentences are common, as long as you understand the meaning.
We can start with relatively simple articles and read some difficult articles step by step, such as articles from Tang and Song Dynasties to pre-Qin Dynasties, and from ancient vernacular to ancient Chinese.
Good poems should be read and read. "Reading a book a hundred times is self-evident." It can also help to feel the cadence of Chinese and the beauty of ancient Chinese, especially poetry and music. Finally, I am a person who likes classical Chinese very much, and I have gained a lot of fun and edification from it. I hope you can learn it well and feel its charm.
2. How to appreciate ancient prose, an expressive comment.
The forms of expression are narration, description, lyricism and discussion. The so-called evaluation of expression means the ability to distinguish which expressions are used in poetry and their functions.
1, narrative. Explain and introduce the characters and events in the works, such as "Prepare chicken rice for me, so you entertain me on your farm" (Meng Haoran's Crossing the Ancient Village) and "Bow in the corner of the wind and the general hunts the acropolis" (Wang Wei's Hunting). "Gou Jian, the king of Yue, destroyed Wu Gui, and the soldiers returned home dressed in gold" (Li Bai's Visit to Vietnam)
2. description. Give a concrete and vivid description of people, things, environment and other forms and characteristics in vivid language. Let readers see their people, such as hearing their voices and seeing their affairs, such as their surroundings. For example, "there is moonlight in the pine forest and crystal stone in the stream" (Wang Wei's "Mountain Living in Autumn Evening"), "Three mountains and a half fall outside the sky, and a water egret island" (Li Bai's "On boarding Nanjing to Phoenix Terrace").
3. Lyric. Express subjective feelings and self-feelings in the works, such as "I would like to put down my sword to cut Loulan" (Xia Sai Qu by Li Bai), "We met. We understand. What is the relationship between acquaintances? " (Bai Juyi's Pipa Trip) and so on.
4. discuss it. Explain the views and attitudes directly in the works, such as "Life is a hero, and death is a ghost hero" (Li Qingzhao's "Summer quatrains"), "There are many talented people in Jiangdong, and it is unknown to make a comeback" (Tu Mu's "Title Wujiang Pavilion").
These four expressions are not completely separated in specific applications, but often fused together. We need to pay attention to this point, for example, "But before he conquered, he was dead, and the hero cried on their coats from now on" (Du Fu's Book of Letters), which combines four expressions: narration, description, lyricism and discussion.
Second, the appreciation of artistic techniques.
1, the artistic technique of description: from the perspective of description, there are positive description and side description; From the description of pen, there are meticulous and line drawing; From the content of description, there are scenery description and character description.
2. Artistic techniques of lyric: There are two main ways of lyric: direct lyric and indirect lyric. Most ancient poems express their feelings with the help of scenery. As the saying goes, "All scenery words are sentimental words", and there are usually four relationships between scenery and emotion: appreciating Syaraku's feelings; Write sad feelings with sad scenes; Happy to write mourning; Mourn the situation in Syaraku.
3, foil technique: involving positive contrast and negative contrast.
4. Contrast technique.
5, Fu Bixing technique.
6. Use allusions.
7. Virtual writing and real writing.
8. Symbolism.
(See Appendix for details. )
Third, appreciation of rhetorical devices.
The rhetorical devices commonly used in ancient poetry include metaphor, analogy, exaggeration, metonymy, antithesis, rhetorical questions and puns. When appreciating poetry, we should be able to distinguish these rhetorical devices and analyze their artistic effects.
(See Appendix for details. )
Attachment: Examples of artistic and rhetorical techniques.
1, Bixing technique: Fu Bixing is a summary of the poetic expression technique in China's earliest poetry collection The Book of Songs. Later poems inherited the expressive techniques of Fu, Bi and Xing. Fu describes the scenery in detail and expresses the author's attitude, such as The Book of Songs? In Cutting Dalbergia Dalbergia, "Cutting Dalbergia Dalbergia is like cutting Dalbergia Dalbergia, and the river is dry", "If you don't get enough crops, you won't hunt. If there are gentlemen in counties and counties in Hu Zhaner's court, you won't eat vegetarian food!" Describe a group of logging slaves cutting ebony for slave owners to make cars. In the arduous labor, they think that slave owners get something for nothing and can't restrain their inner anger. Storytelling compares the slave owner to a big mouse, using the method of comparison. Xing means "say something else first to arouse the words to be sung", such as The Book of Songs? "The river is clear and rippling" in Chopping Tan belongs to "Xing", which leads to the following narrative. "Xing" and "Bi" are often combined in a poem. For example, the beginning of Peacock Flying Southeast and Wandering Five Miles is both "Xing" and "Bi".
2, direct and indirect lyricism: express your feelings directly, that is, express your feelings directly, also called express your feelings directly. By describing, describing or discussing something or a problem, we express our feelings implicitly, that is, indirectly. China's classical poetry pursues implication, so it is often indirect lyricism, in order to achieve a blend of scenes. "All scenes have feelings", and scene blending is a common method in classical poetry. Whether there is artistic conception is also a sign to judge whether classical poetry is excellent or not. For example, Zhang Kejiu's "[Double Tone] Qingjiang Tone? Qiu Huai: The west wind came to Wan Li and asked me if geese would sing red leaves before returning. People are intoxicated by the yellow flowers and banana rain and hear Qiu Meng. The poet grasped the meaning of the topic and painted a bleak autumn scenery with west wind, wild geese, red leaves, yellow flowers, plantains and rain. The arrival of the west wind is related to the uncertainty of the return date. Because of "Banana Rain", I was worried about fame and fortune, tossing and turning. Every sentence is about scenery, and every sentence is lyrical, with a high degree of unity between emotion and scenery.
3. How to appreciate classical Chinese 1? Basic methods: literal translation and free translation.
There are two basic methods of classical Chinese translation: literal translation and free translation. The so-called literal translation refers to the word-for-word translation of the original text with modern Chinese words, so that the content words and function words are as opposed as possible. The advantage of literal translation is the implementation of every word; Its disadvantage is that sometimes the translated sentences are difficult to understand and the language is not fluent enough. The so-called free translation means translating according to the meaning of the sentence, conforming to the original intention as much as possible, and taking care of the original intention as much as possible. Free translation has certain flexibility, which can add or subtract words, change the position of words and change sentence patterns. The advantage of free translation is that the text is coherent, and the translation conforms to the expression habits of modern languages and is fluent, fluent and easy to understand. Its disadvantage is that sometimes the original text cannot be realized word by word. These two translation methods should be mainly literal translation, supplemented by free translation.
Second, specific methods: leave, delete, supplement, change, adjust and change.
"Stay" means to keep. Words with the same meaning in ancient and modern times, as well as ancient names such as names of people, places, things, officials, countries, years and units of measurement, can remain unchanged when translated.
"Delete" means delete. Delete function words that do not need to be translated in classical Chinese. For example, "Pei Gong joined Fan Kuai"-Fan Kuai, Pei Gong's bodyguard. "This is also" is an ending auxiliary word, which is not translated.
"Supplement" means supplement. (1) Turn monosyllabic words into disyllabic words; (2) make up the omitted elements in the ellipsis sentence; (3) Fill in the omitted sentences. Note: Fill in the omitted components or sentences with brackets.
"Change" means replacement. Replace ancient words with modern words. For example, replace "I, Yu, Yu" with "I" and "II, Ru" with "You".
"Adjustment" means adjustment. Adjust ancient Chinese inverted sentences to modern Chinese sentence patterns. When translating subject-predicate inversion sentences, prepositional object sentences, prepositional object postposition sentences and attributive postposition sentences, the word order should generally be adjusted to conform to modern Chinese expression habits.
"Change" means flexibility. On the basis of being faithful to the original text, relevant words are vivid. If the waves are calm, you can make the lake calm.
Translation formula of ancient Chinese
Classical Chinese translation has its own order, so you can read the whole article first and grasp the main idea.
Understand the theme first, collect information, from paragraphs to sentences, from clauses to words,
Understand all, be clear, and be careful when dealing with difficult sentences.
Take care of the previous paragraph, connect with the next sentence, think carefully and try to figure out the tone.
Strive to be reasonable, reasonable and closely related.
If omitted, fill in the original intention and put brackets to indicate the gain.
Names and place names, without translation, names, as usual,
I and Yu are mine, and Er and You are yours. Omitting inversion is regular.
Content words and function words, with the interpretation of the text, sensitize the sense of language, and vary from sentence to sentence.
After translation, you must carefully compare the sentences and understand the tone.
The sentence was fluent, and then I stopped writing.
4. I think it's ok to appreciate ancient Chinese (I wrote it myself) 1. You can translate the whole poem first. 2. Write down the description of each sentence and the ideas expressed. 3. Refine individual words in ancient poetry (the so-called word refining means that the individual words used in ancient poetry are particularly accurate and can particularly reflect the main idea. Or vividly reveal the artistic conception. ) 4. Combining the above, dredge the success of the whole poem and the places worth learning. 5. Talk about the feelings and enlightenment of appreciating the whole poem with personal experience. This is my way of appreciating ancient poetry, I hope it will help you ~! This poem is about the feeling of missing my hometown on a silent moonlit night. The first two sentences of this poem, "There is such bright light at the foot of my bed, is there frost already?" , is the poet in a foreign country when a guest moment of illusion. A person living alone in a foreign country is busy during the day, but it can dilute his sadness. However, in the dead of night, the waves of missing his hometown will inevitably surge in his heart. What's more, on a moonlit night, what's more, it's moonlight frost on an autumn night. "Could there have been frost?" The word "doubt" in the poem vividly expresses that the poet woke up from his sleep and mistook the Leng Yue in front of his bed for the thick frost on the ground. It is better to use the word "frost", which not only describes the bright moonlight, but also expresses the cold of the season, and also sets off the loneliness and desolation of the poet wandering abroad. The last two sentences of the poem "Looking up, I found that it was moonlight, which deepened my homesickness. The word "Wang" takes care of the word "doubt" in the previous sentence, indicating that the poet turned from obscurity to sobriety. He stared at the moon eagerly, and couldn't help thinking that his hometown was under the bright moon at the moment. Naturally, he came to the conclusion that "it sank back again, and I suddenly thought of home". The action of "bowing down" depicts the poet completely lost in thought, and the word "thinking" leaves readers with rich imagination space: the mountains, waters, grass and trees in that hometown, the lost years and the past are all in my thoughts. The word "thinking" contains too much content. Amin Hu Yinglin said that Hu Yinglin said, "The quatrains are too white, and they are all made of words. The so-called people who have no intention of working are unemployed. " ("Poetry? The internal version (Volume 6) Wang Shimao thinks: "In the prosperous Tang Dynasty, only Violet (Li Bai) and Long Biao (Wang Changling) were extremely interested. Li is more natural, his former residence. " (Excerpted from Art Garden) How can it be considered "natural" and "no work and no heart"? This poem "Thinking on a Quiet Night" is an example list, so Hu specially put it forward, saying it is "the wonder of ancient and modern times". This little poem has neither strange and novel imagination nor exquisite and gorgeous rhetoric. It only uses narrative style to write the homesickness of distant guests, but it is meaningful and infectious. For thousands of years, it has attracted readers so widely. Strangers in a foreign country will probably feel this way: just one day, in the dead of night, homesickness will inevitably ripple in my heart; What's more, it's a moonlit night, what's more, it's an autumn night with a bright moon like frost! The white frost on the moon is clear, which is the night scene of clear autumn; Describing moonlight with frost color is also common in classical poetry. For example, in the poem "Cool in Xuanpu" by Emperor Liang Jianwen and Xiao Gang, there is a sentence "jathyapple is like autumn frost"; Zhang, a poet in the Tang Dynasty who was earlier than Li Bai, wrote an ethereal and clear moonlight with "frost flowing in the air" in "Moonlight on a Spring River", which gave people a three-dimensional sense, especially a wonderful conception. But all these things appear in the poem as a rhetorical device. "Is there frost already?" This poem is a narrative, not a figurative word, but an illusion created by the poet in a specific environment for a moment. It is not difficult to imagine that these two sentences describe the situation that the guest can't sleep in the middle of the night and had a short dream. At this time, the courtyard was lonely, and the bright moonlight hit the bed through the window, bringing a cold autumn chill. At first glance, the poet was in a blur and trance, and it really seemed that the ground was covered with frost. But a closer look, the surrounding environment told him that this is not a frost mark, but a moonlight. Moonlight inevitably attracted him to look up, and a Juan Juan Su Ling hung in front of the window. The space in autumn night is so clear! At this time, he was fully awake. The moon is especially bright, but it is very cold. For a lonely traveler, it is the easiest to touch his yearning for autumn, which makes people feel depressed and the years fly by. Staring at the moon is also the easiest way to daydream, thinking about everything in my hometown and my relatives at home. Thinking, thinking, head gradually lowered, completely immersed in meditation. It vividly reveals the poet's inner activities from "doubt" and vividly outlines a vivid picture of homesickness on a moonlit night. Just four poems, written fresh and simple, such as clear words. Its content is simple, but it is also rich. This is easy to understand, but it is endless. The poet didn't say much more than he had already said. Its conception is meticulous and profound, but it blurts out that there is nothing at all.
5. How to appreciate ancient Chinese 1. Analysis on the necessity of creating a good atmosphere for learning ancient Chinese.
The new Chinese curriculum standard emphasizes: "Reading simple classical Chinese can help you understand the basic content with notes and reference books." It can be said that the new Chinese curriculum standard reduces the requirements for learning classical Chinese, and the items of the classical Chinese examination in the senior high school entrance examination are limited to textbooks. Theoretically, there should be a fairly ideal result, but the result is quite unexpected. The author investigated more than 50 Chinese teachers in middle schools, and found that in the process of classical Chinese teaching, most teachers pay great attention to sentence translation, memory and targeted exercises, and the teaching process is rigorous.
However, in the process of learning classical Chinese, most students think that the process of learning classical Chinese in this way is boring and inefficient, just like learning another foreign language. They even think that teaching classical Chinese well is teachers' wishful thinking, and students can only "roll with the punches". The reasons for the low learning efficiency of classical Chinese are: 1. Students leave the situation of understanding classical Chinese.
Classical Chinese is really not like modern Chinese, which makes students read fluently and understand the meaning. It is difficult for students to accept the complexity of translation, to understand the expression of stubborn teeth in classical Chinese and to understand the true and rich expression of ancient people's feelings.
For example, in Zou Ji satirizes the King of Qi, Zou Ji asks his wife, concubine and guests the same question: "Who am I, Xu Hongmei in the north of the city?" The wife said, "Your Majesty is very beautiful. How can Xu Can Palace compare with you?" The princess said, how can I compare with you? The guest said, "Xu Gong is not equal to your beauty." They replied with one voice, with the same meaning but different sentence patterns, and slightly changed words, but expressed different tones and different psychology of different characters.
When students understand the above content, they often start with words and sentence patterns, and then rush to answer the teacher's question "Why is the tone different?" Instead of experiencing it in a specific story situation. This understanding of classical Chinese is superficial, dull, vivid and not profound, and the mastery is hasty, hasty, unstable and firm.
2. Students leave the situation of using classical Chinese. Zhao Pu's Half Analects of Confucius Governing the World illustrates the importance of applying what you have learned.
However, in daily life, students' communication is not deliberately expressed in classical Chinese, and they think it is a rather pedantic performance. Kong Yiji's "Too much is too little, too much" is a proof. In the teaching class, our teachers may also ignore the particularity of the flexible use of classic sentences in different situations.
For example, teachers often describe it as a high-profile performance of the United States singing bad human rights at the United Nations, which is interpreted as ulterior motives. But at this time, "The Drunken Pavilion" should not be understood in this way.
In fact, the use of classical Chinese also requires students to have a certain cultural taste. Due to the limitation of students' cultural quality, students have a special liking for the emerging and simple network language, but ignore the use of classical Chinese.
3. Students leave the classical Chinese humanistic situation. Classical Chinese is rich in poetry and painting, exudes unique cultural charm and embodies profound national feelings.
However, students seem unable to understand the subtleties of classical Chinese. For example, in the article Born in Worry and Died in Happiness, students understand the important knowledge of "sense of worry" and "success in adversity". However, when asked about the modern significance of their sense of hardship and how to make themselves talents, students are at a loss.
The key lies in the lack of humanistic situation. The creation of humanistic situation in classical Chinese requires students to pay attention to contemporary social and cultural life, pay attention to the cultivation of their own quality, and strive to be well cultivated in the study of classical Chinese, improve their life quality and cultivate healthy personality.
For example, the creation of the humanistic situation of "anxiety consciousness" makes students worry about the war in peacetime, the environment of developing society, and the incurable diseases in a better life ... Let students learn from the broad mind of the ancients, shoulder the responsibility of inheriting excellent civilization, and establish a correct outlook on life and values. It can be seen that it is very necessary to create a good atmosphere for learning classical Chinese.
2. Strategic thinking on creating a good atmosphere for learning classical Chinese. Since learning classical Chinese requires a good situation and it is so important to create a good atmosphere for learning classical Chinese, we should think strategically.
1, intonation, irony and intonation is to ask students to read aloud, read correctly and fluently, visualize the language in cadence, beautify and deepen their emotions. Let the students immerse themselves in it, understand the taste of the article and gain something.
"Old books are never tired of reading, and children know themselves when they are familiar with them." "They are familiar with 300 Tang poems, and they can sing even if they can't write poems." This is a subtle presentation of chanting. For example, the repeated reading of "sending 900 people to guard Yuyang and stay in osawa Township" in Chen She Family is different from "sending 900 people to stay in osawa Township", which deeply understands the history of Qin Xing's corvee and people's garrison.
After Zou Ji satirized the King of Qi as a "capable minister", Qi Weiwang said "goodness". Concise and just right, it reflects Qi Weiwang's affirmation of Zou Ji and shows that he is an enterprising and enlightened monarch.
Therefore, when reading the word "goodness", we should read the majesty and wisdom in short notes and the heroic mind in high notes. Such a generation of wise men can be said to have both form and spirit to force Xiao. 2, taste perception, rebuilding the body's teaching of classical Chinese, Mr. Ye Shengtao believes: "When reciting, we should not only rationally understand what we have learned, but also sincerely experience it. Unconsciously, the content and truth become the readers' own things, which is the most precious realm. "
A good example is Tao Yuanming's reading, "appreciating anecdotes and analyzing doubts" and "the governor forgets to eat". When we recite Fan Zhongyan's great political ambition of "worrying about the world first, and enjoying the world later" in Yueyang Tower, we should realize the practical significance of "enjoying the world first and enjoying the world later".
When we sing the sacredness of "sacrifice one's life for righteousness" in "I want fish", we should feel the will of people with lofty ideals to sacrifice their lives for the country and go to disaster generously throughout the ages. Through the feeling of taste, let students have a cordial experience and make classical Chinese learning interesting; Students' unique aesthetic taste also makes the connotation of classical Chinese shine.
At the same time, students also internalized the excellent cultural essence, achieved perfection, and improved their cultural literacy to varying degrees. 3. The accumulation and application of Ouyang Xiu's poems.
6. How to appreciate this ancient prose?
As we all know, Su Shi's ci has various styles. Some are as bold and unrestrained as wind and rain, thus creating a school of unconstrained style; Some are euphemistic and affectionate, no less than Liu and Qin. This song "Recent Love" is a tender and pure love story. It writes a man's unrequited love without any disguise.
The last movie recalls the whole process of love: first encounter-disillusionment-missing. Remember the first encounter on the screen, the beginning of this love is wonderful and unforgettable, and I still remember the first encounter with my beloved on the screen. But for some reason, the sudden termination of love is tantamount to the disillusionment of dreams, and all the yearning for happiness is in vain, so I immediately said, "Good dreams surprise me and I can't see Gaotang Road." "Gaotang" refers to the concept of Gaotang, also known as Gaotangtai. Gu Yunmeng Ze, Song Yu wrote in Gao Tang Fu and Goddess Fu that Chu Huaiwang and King Chu Xiang once met the Goddess of Wushan in this view, which means that lovers will never meet each other. "Swallows come and go, and the screens are screened several times in spring", which further describes the infatuation of the hero. Although it was a broken dream in the Tang Dynasty, the relationship was still closely linked: Shuang Yan came and went between the beams in autumn, and the bright spring scenery quietly passed by the window several times, but the yearning for her was not weakened by the passage of time. In particular, swallows fly in pairs, and spring scenery passes in front of the screen window, because these pictures are the most lovesick, which means that they have spent these years in extreme yearning and hopeless waiting.
The next film focuses on the sweetest meeting between them. "Where the embroidered curtains meet on that day", indicating the time and place of meeting. "Pretending to walk with low eyebrows and smiling at the fragrant clouds" vividly depicts the shyness of women: lowering their eyebrows and pretending to walk away, but smiling and arranging their hair with their hands (that is, fragrant clouds). A word "pretend" tells her shyness, and a word "smile" tells the secret of loving him. Keeping the best posture to please others is also an intimate performance. "It's hard to express shame at the spring mountain, and it's hard to speak lightly in front of people", which further describes the woman's inner activity: it's not that he frowns and doesn't speak unkindly, but that he is really shy. How can a girl pour out her love in front of people? But the more so, the more I see its innocence and love it. The whole word ends with this sweet memory, lively and measured, delicate and memorable.
The lovesickness described by the author here is naked and warm, but also healthy and simple, just like love itself, just like life itself. The heroine is naturally a figure in a brothel, and the hero is undoubtedly a young scholar in feudal society. They can show their love to the right person, but they have no right to decide their own marriage. The interruption of their love is by no means a woman's change of heart, let alone a man's negative feelings, but the oppression and obstruction of external forces. Because of this, it is worthy of the lovesickness of the leading actor; It is precisely because of this that people can think about this eternal mystery: why have beautiful women been so unlucky since ancient times? Why are you sentimental and idle since ancient times?
This word has two remarkable characteristics in art, one is the cross-use of sequence and flashback, which makes the structure patchy. The first one wrote "Dream of Love", and then the next one wrote a sweet party. Naturally, this is a flashback. As far as the first film is concerned, it is naturally a sequence from the first meeting to the rupture, and then to endless thoughts. This cross arrangement makes it have a simple plot, which is quite similar to the outline of modern lyric short stories, and has received a tortuous artistic effect.
The second is to compare the pain of separation with the joy of reunion by means of comparison. The next film of this word specially focuses on describing the charming party in detail, just to compare the pain of the protagonist's lovelorn love. Because only when you love so deeply can you think so deeply; Only when you have enjoyed such happiness can you have such pain. Isn't it sadder than saying anything
See for yourself ~! ! Thank you for your adoption! !