"The classic of love.
"Landscape is the medium of poetry, and emotion is the embryo of poetry". They interact with each other, penetrate each other, touch the scene, and take love as the scene.
Wang Guowei believes that the artistic conception formed by the fusion of true scenery and true feelings is the enduring artistic charm of China's classical poems.
Any good poem that has been passed down through the ages, whether it is to write the scenery first and then express feelings, or to write the scenery first and then express feelings, can achieve the integration of things and feelings.
Moreover, the relationship between scenery and emotion in poetry is also a key point of poetry appreciation in college entrance examination. From 2004 to 1 1, the relationship between scenery and emotion in poetry was investigated in the college entrance examination papers of various provinces.
For example, the new curriculum standard National Volume 20 1 1, Zhou Pu's "The State of Qin Nostalgia in Spring": the remote countryside is haunted by dreams and flowing water around the village.
Cattle and horses put more spring grass, and Harada plowed ancient monuments.
It's late in the snowy mountains, smoke from cooking stoves is accompanied by sunset, and the shadows of trees are faint.
Wan Li Huangsha, it's hard to look back at Qinyuan.
This poem examines the relationship between scenery and emotion in poetry, so what is the relationship between scenery and emotion in poetry?
For the basic grade of senior one and senior two, on the basis of extremely limited poetry reading, we can't simply leave the text for abstract theoretical explanation, but we should skillfully resolve this difficulty in poetry teaching in the appreciation and interpretation of specific texts.
"Qinyuanchun? Changsha is the first Chinese class in senior high school. Among these poems, the description of mountains and rivers is the most vivid.
"Qinyuanchun? Changsha is one of the best articles.
Although this word belongs to new poetry, the relationship between scenery and emotion in this word can largely represent the relationship between scenery and emotion in ancient poetry.
So the explanation of this word should focus on the relationship between scenery and emotion. Poetry, like other literary genres, uses images to express feelings, and these images are the images of poetry. However, these images do not exist in isolation, they are interrelated and form a concrete, sensible, inspiring and imaginative picture. Su Shi is saying: "There are pictures in poetry, and there are pictures in poetry, so you can watch them."
This sentence not only explains the characteristics of Wang Wei's poetry and painting creation, but also points out the artistic connection between poetry and painting. "Poetry expresses ambition" means "Shangshu? Yao Dian ",and the feelings of poetry are displayed to a great extent through pictures, which embodies the implicit characteristics of China's classical poetry.
And "Qinyuanchun? The typicality of classical poetry expressed by the word Changsha is reflected in the relationship between scenery and emotion.
The author thinks that the relationship between scenery and emotion in classical poetry presents various relationships in structure and content.
First, in the structural arrangement, the relationship between scenery and emotion.
"Qinyuanchun? From the perspective of picture composition, the word "Changsha" is mainly divided into four formats: independent cold and autumn pictures, Xiangjiang Qiu Jingtu, eventful year pictures, and mid-stream hitting water pictures.
These four pictures respectively contain the structural relationship between scenery and emotion. The first picture depicts the poet standing alone in Orange Island in late autumn, watching the Xiangjiang River gush and flow northward. The main scene is the rolling Xiangjiang River, which just detonated the revolutionary enthusiasm and indomitable spirit of the poet himself, and also brewed a good situation for the next lyric. Therefore, the relationship between scenery and emotion emphasized in the first painting is that the poet aroused his pent-up passion because of the scenery in front of him, and even described the poet's own ideological and emotional activities caused by touching the scenery. The relationship between the scenery and emotion presented in this picture is that touching the scene gives birth to feelings, because the scene gives birth to feelings, and the scene is in front and the feelings are behind.
After painting an independent picture of cold and autumn, Shang Que began to paint the Qiu Jingtu of Xiangjiang River incisively and vividly. The last three sentences of Shangque: "I am disappointed. I ask who is in charge of the ups and downs of the vast land?" In straightforward sentences, the relationship between scenery and emotion presented in the structural arrangement is that scenery is emotion first, and emotions are expressed by scenery, so that passionate emotional expression will not be abrupt.
There are two kinds of relationships between the scenery and the emotional relationship in the first half of this word, that is, touching the scenery and feeling, and the scenery and feeling; Scenery before emotion, lyrical with scenery.
As far as the whole poem is concerned, the upper part of the word is mainly scenery, and the lower part is mainly memories and narratives, and these memories and narratives mainly express the main theme through two pictures, namely the picture of an eventful year and the picture of hitting the water in the middle. For China's classical poems, the structure often adopted is that the first half is about scenery and the second half is about lyricism. For example, the first four sentences of Du Fu's poem "Ascending the Mountain" are about scenery, while the last four sentences are lyrical.
Foreground and emotion are integrated, and the whole poem is full of vigor and emotion; But at the end of this poem, when passionate fighting spirit and high-pitched feelings are most needed, a picture of a group of teenagers hitting the water in the middle stream is chosen as the end of the poem to wrap the whole poem, which is really full of charm and endless meaning.
Judging from the structural arrangement of the first words, this picture shows the relationship between scenery and emotion, that is, the scenery first, then the scenery, and then the feelings are settled by the scenery.
This relationship between scenery and emotion is actually very common in classical poetry.
For example, Cen Can's "Snow White praises the military judge's return to Beijing" ends with a bleak picture of "Then he disappeared at the corner of the pass, leaving only hoofprint" to express the deep affection and sadness of the poet and his friends.
Therefore, the relationship between scenery and emotion presented by this word from the conception of the whole is to touch the scenery and feel the scenery, and the scenery is born of emotion; Scenery precedes emotion and expresses emotion with scenery; Love has scenery, and love comes before scenery.
Second, in the content selection, the relationship between scenes and emotions.
Wang Guowei, a scholar in the Qing Dynasty, said in "Words on Earth": "In the past, there were differences between scenery and emotion in poetry, and I didn't know that all scenery and emotion were also feelings.
Digging deep into the meaning of this sentence, we can draw the conclusion that the scenery described in poetry is the carrier for poets to express their feelings. In order to express their feelings and aspirations, poets will definitely choose the scenery that can best convey their feelings, and what kind of relationship exists between the scenery chosen by the poet and the feelings to be expressed in the content selection.