If you are strong, you can help the world, if you are poor, you can be alone
——Tao Yuanming
1. Presupposition
In the literary circles of Wei and Jin Dynasties, Tao Yuanming swept away the mystical Buddhist philosophy, lack of emotion and image, and achieved his own unique style, which is: straightforward, plain, natural and thoughtful. Critics of all ages have praised this. Zhong Rong commented on Tao's poems: "The style is simple and clean, and there are almost no long words." Su Shi said: "Yuanming's poems seem loose and slow at first glance, but they are strange and interesting when you are familiar with them. ... Like a great craftsman moving a heavy weight, there are no ax chisel marks. Those who don't know it will be exhausted and exhausted until they die without a word." Chen Shan in "Mulida Xinhua" " said: "When I read Tao Yuanming's poems at first, they seemed dull, but after a long time they were interesting. Dongpo loved them so much in his later years that he said they were not as good as those of Li and Du." Yuan Haowen commented on Tao Yuanming's poems: "One sentence is natural and eternal, and the luxury is gone. "Seeing the true and pure", Su Shi also said: "Yuanming did not write many poems, but his poems are rich in quality and plump in fat." Many knowledgeable people in later generations have repeatedly emphasized this aesthetic essence of Tao's poems.
In view of this characteristic of Tao's poems, I originally wanted students to rewrite Tao Yuanming's "Returning to the Garden and Living in the Fields, Part 1" into a modern prose that blends scenes, using vivid natural images. The description of the scenery reflects the artistic style of Tao Shi's "quality but solid beauty, fat and solid plumpness", stimulating students' ability to associate and imagine. Then they communicate with their classmates and add comments, and then communicate and comment with the whole class, but the whole work is completed. Later, I randomly checked the compositions of several classmates and found that the students wrote essays with very strong self-feelings. Although there were many vivid descriptions of scenery, the cultural connotations were very strong. There is a conflict between pre-class presets and student generation. Should we proceed according to our own presuppositions, or should we make mistakes according to the students' generation, and focus this composition review on spiritual enjoyment with rich cultural significance? I think Tao Yuanming is great. His greatness is not only reflected in his poetry creation, but more importantly, his personality charm. He leads a new culture - the consciousness and independence of the Chinese humanistic spirit. His poetry and its Isn’t the artistic style shown here the externalization of this “charm” and “spirit”?
2. Process description
Teacher guidance: The Wei, Jin, Southern and Northern Dynasties were an era of constant wars, with frequent changes in political power, serious questions on etiquette and moral ethics, and destruction of social, economic and political affairs. The outlook on life and culture handed down since the Xia, Shang and Zhou dynasties and the Warring States, Qin and Han Dynasties also fell apart.
The social conditions at that time caused many scholar-bureaucrats to pay the price of their lives in the activities of ethics and education, and experienced the baptism of blood, which made them realize that the way to "advantage and benefit the world" has been decided. In this turbulent atmosphere, in the face of increasingly harsh reality, intellectuals began to reflect on society and culture. As a result, a spirit of individualism with literati and officials as the main body emerged, whether in philosophy, literature, calligraphy and painting. On the other hand, the spiritual temperament full of individual consciousness and humanism began to dominate.
Literature-minded officials who "have to live alone if they are poor" pursue individual transcendence and self-entertainment. They believe in profound theories that are mysterious and even far-fetched. They like to be "light" on weekdays, although they dare not object to frequent changes. monarch, but also adopted an uncooperative attitude. This new spirit of the times marks the consciousness and independence of ancient Chinese humanistic spirit, and is called "Wei and Jin style".
In the Eastern Jin Dynasty, Tao Yuanming, one of the most representative poets in Chinese history, flaunted and led the fashion of Chinese literati for thousands of years. He was "unwilling to bend his waist for five buckets of rice." The song "Come back and come back, the fields will be barren and the wild beasts will not return" depicts a beautiful, peaceful and uncontested "paradise" to the world. At that time and in subsequent years, when literati and officials could not find a way out in the real world, they looked for support in the spiritual world, expressed their yearning for "Utopia" in the world of art, and implicitly expressed their longing for the real world. dissatisfied.
Teacher-student exchange: Three students, Lian Qing, Du Qing and Wang Yang, took the initiative to read out their articles. After each reading, teachers and students started a lively discussion with the readers as the center.
At the same time, the teaching will be more concise and more relevant to the students. One of the most important advantages of this kind of teaching based on learning is that it always maintains students' strong emotions and interests. However, in actual teaching, we often replace students' creation with teachers' presuppositions, or ask students to act according to teachers' will. We seriously ignore students as an important resource in the educational process, resulting in a huge waste of educational resources. From this, I also thought: Should teachers spend a lot of time writing detailed lesson plans before class? Instead of doing this, it is better to spend a lot of time checking relevant information and reading relevant articles to cope with unexpected problems that may arise at any time in the classroom. , or spend a lot of time on summary and reflection after class, which may have better results.
In terms of instrumentality, the task of Chinese language education in schools, in the final analysis, is to advance students' Chinese proficiency toward the goals of "written language", "standardization" and "literary". The focus of Chinese language teaching in schools should be on the differences between "written language", "literary language" and "spoken language" in Chinese. Developing students' "written language" and "literary language" should improve their original "spoken language" ability. Therefore, in class, let students speak as much as possible if they can speak, let students write as much as possible if students can write, and let students communicate as much as possible if students can communicate. Continuous experience is the direction of their language. "Written", "standards" and "literary" shortcuts, which cannot be achieved by the teacher's endless talk.
As far as humanism is concerned, the task of Chinese language education in schools is to guide students on what to say, write and communicate. In Yuan Zhenguo’s words, it is “carrying out liberal arts education with a humanistic spirit”. Gain spiritual freedom on the basis of understanding and expression, perceive things in a personalized way, experience society and human relationships, and express life creatively.