How to appreciate the language of ancient poetry

One of the series of teaching plans for appreciation of ancient poetry: 1. The use of words in appreciation (1) To appreciate the deformation of language in China's poems, we must first understand the characteristics of poetry language, that is, to understand the "poet's language" and the deformation of poetry to language. This is the basis of poetry appreciation. At the same time, it is also one of the key contents of poetry appreciation in the college entrance examination. Literature is the art of language, and poetry is of course the art of language. The basis of artistic analysis of poetry is language at first. Yan Yu said that "poetry has different materials", but in fact, poetry also has "different words". Compared with other literary styles, poetic language is more lyrical, implicit, refined and jumping. Most of China's poems are short lyric poems. There are not many words in a poem, but the images contained in it are very rich. To express rich thoughts and feelings with the help of a very frugal language shell, and to meet the needs of phonology, poetry must deform the language. In fact, few people write poems in the language they usually speak, and if they do, they are ridiculous limericks. (Quiet night thinking is an exception! Grammatically, the distortion of language in China's poems is mainly manifested in changing the part of speech, reversing the word order, omitting sentence elements, etc. The main purpose is to establish metrical rules to create musical beauty and leave readers room for artistic imagination and re-creation. These places are often the focus of the college entrance examination. Knowing the rules of poetic language organization can quickly enter the context of poetry. (1) Grasp the change of part of speech and experience the "meaning" refined by poets. In order to refine words and meanings, ancient poets in China often changed the parts of speech of some words in their poems, and these places are often the eyes of a poem or a word. Make a detailed distinction. For example, He Xun said, "The night rain drips empty steps, and the dawn lights leave the room in darkness." (The first two sentences: If the water is injected into the east, it will not return to the west. This article describes the scene of saying goodbye to friends. "Rain at night" is a famous sentence that has always been recited, which plays up the atmosphere when saying goodbye to friends. The previous sentence was written outdoors: the night was deep and silent, and only raindrops fell on the steps, making a monotonous sound. Although there is no description of people's activities and feelings in the poem, we can observe the desolation in people's hearts through the scene of "the rain drops on the steps at night", and the cold raindrops seem to drop on their hearts. The last sentence is written indoors: it is dawn, the oil lamp is about to burn out, and the room full of sadness is dark. The room feels dark at dawn, but not at night and during the day. How careful the observation is! From "rainy night" to "dawn light", it implies that a sleepless night has passed, while "empty steps" and "leaving the room" render people's mood sad. Example 1, Wang Wei "I dismount from my horse and I offer you wine" ("Farewell" Wang Wei: I dismount from my horse and I offer you wine, and I ask you where you are going and why. You say because life is not proud, go back to live in the mount zhongnan mountain. Just go, I need to ask again, look at the white clouds are boundless drift. This poem is written to send a friend to seclusion. It seems that the sentence is bland, but when read carefully, it is shallow and full of carefree meaning.) Wang Wei's pen is a hermit, and he has his own shadow. As for why he is not satisfied, there must be a lot of complaints from Lao Du and others, but it is only a passing phrase here, which shows the elegant temperament of the characters, his rejection of the secular world and his yearning for seclusion. Example 2, "the sun is tempered by green pines" ("xiangji temple" Wang Wei: not knowing the way to the Temple of Heaped Fragrance, under miles of mountain-cloud I have wandered. Ancient trees towering but no pedestrian path, where the mountains in the temple bell. The spring water in the mountain hit the dangerous rocks, and the sun in the pine forest was also cold. In the evening, come to the empty pool, quietly Zen meditation to suppress the heart dragon. [Comment] This is a poem about sightseeing, which mainly describes the scenery. The title is written about the mountain temple, but it does not depict the front, but uses the profile environment to show the quiet victory of the mountain temple. "Yunfeng", "Ancient Wood", "Deep Mountain", "Dangerous Stone", "Qingsong" and "Empty Pond" are the characters of the temple. Finally, when I saw that the deep pool was empty, I thought that the fierce dragon mentioned in the Nirvana Sutra had been subdued, which meant that the monk's wishful thinking had been subdued, and he unconsciously realized the profundity of Zen. The whole poem does not write about monasteries, and monasteries are already among them. The idea is wonderful and the words are exquisite. "a rillet sings over winding rocks, the sun is tempered by green pines" has been praised as a model of refining Chinese characters. Example 3, Chang Jian "here birds are alive with mountain-light, and the mind of man touches peace in a pool." (The Temple after the Broken Mountain Temple) Chang Jian: in the pure morning, near the old temple and where early sunlight points the tree-tops. A winding path leads to a hidden spot, and the Buddhist temple is surrounded with boughs and flowers. Here birds are alive with mountain-light, and the mind of man touches peace in a pool. And a thousand sounds are quieted, only heard the chimes. [Comment] The poem aims to praise the quietness of the scenery in the post-Zen Temple and express the feelings of the mountains and rivers. In the early morning, the poet climbed the broken mountain in Changshu county and entered the broken mountain temple (impromptu temple), showing his admiration for Buddhism and architecture in the rising sun and illuminating the scenery of the mountain forest. Then go to the quiet backyard, face the wonderful scenery, enjoy it with ecstasy, and pin your feelings of seclusion. "my path has wound, through a sheltered hollow, of boughs and flowers, to a Buddhist retreat", the artistic conception is especially quiet. On the contrary, the antithesis of the sentence is not neat. Although it belongs to the five laws, it has the charm of ancient poetry. Wang Changling's "brighten with pure light the water and the grove, and flow like a wave on our window and our door" Example 5. Wang Anshi's "Spring Breeze and Green Jiang Nanan" Example 6. Jie Jiang's "streamer is easy to throw people away, cherry is red, banana is green" Example 7. Zhou Bangyan's "wind is old, rain is fat, plum is young. Plums are ripe, and the flesh is fresh and round ("the wind is old and the warbler is young, and the rain is fat." Although it describes the early summer in Jiangnan, it can't resist the temptation of "old" and "fat" and put it in spring. The wind is "old" and the rain is "fat" for plums. Our ancients used to use words, adjectives and nouns flexibly, all of which can be used as verbs, and they are vivid and vivid as soon as they are written. I think it is not a day-to-day time for the yellow-billed nestling bird to grow up with feathers, and then spread its wings and leave the nest. It takes a long time to treat the hard work of its parents, and it takes a long time. In the end, it only has the word "old", which is really intoxicating. Our thoughts are wandering in the word "old", and a few months have passed without paying attention. Another rainy "fat" plum. How many rains have you experienced? It should be from "the light rain is fine and the wind is fine" to "the willows are drunk with spring smoke", to "an apricot comes out of the wall", to "the flowers fade and the red apricots are small", and finally it is rich in rain. Write the dynamic, write the form, think that plum from green and small shy, to yellow and fat round and sweet, that yellow and faint red richness, how can it not be coveted! ) The words "dark", "drinking", "cold", "pleasant", "empty", "light", "green", "red", "green", "old" and "fat" in the above sentences are all adjectives, and these words have their own wonderful uses, but one thing is * * *. (2) Restore the inverted word order and grasp the poet's true intention and emotional focus. Typical examples are: 1. Cui Hao's poem "Yellow Crane Tower" is placed after the subject: "every tree in Hanyang becomes clear in the water, and Parrot Island is a nest of sweet grasses." It means that "Qing Chuan (on a sunny Yuan Ye) has a vivid Hanyang tree, and the grass of Nautilus Island is flourishing", "Hanyang Tree" and "Nautilus Island" seem to be objects after "vivid" and "flourishing", but in fact they are the objects to be stated. 2. prepositional object Du Fu's poem Moonlight Night: "her cloudy hair is sweet with mist, her jade-white shoulder is cold in the moon." In fact, it is "fragrant fog and wet clouds, clear and cold jade arms." The poet imagined that his wife, who was far away in Zhangzhou, was just looking at the moon in her boudoir. The misty mist with delicate fragrance seemed to wet her hair, and the clear moonlight made her white arms feel cold. Here, "wet" and "cold" are both so-called causative usages, and "cloud" and "jade arm" were originally the objects they dominated, but the result was put in front and seemed to be the subject. Xin Qiji's "He Xinlang" words: "Say the wine pavilion. Look at Yuanming, the romantic style is similar, and Wolong Zhuge. " How can Tao Yuanming in Jin Dynasty resemble Zhuge Liang in Three Kingdoms? It turns out that the author used both of them as metaphors for his friend Chen Liang, respectively explaining Chen Liang's literary talent and martial arts, which literally means "seeing the romantic life resembles Yuan Ming and Wolong Zhuge". The object "Yuanming" ran to the position of the subject. Another example is Qian Qi's poem from my study at the mouth of the valley a message to censor yang: "you will love the bamboos new with rain, and mountains tender in the sunset." Pity the bamboo after the new rain and love the mountain at sunset. ) 3. The subject and the object are transposed to Ye Mengde's He Xinlang: "Autumn is getting late, and the frost letter reports the yellow flowers." It is also obviously the meaning of "yellow flowers repay frost letters". The word order of this subject-object transposition is still in the form of "subject-verb-object" on the surface, but it must be understood in the opposite sense. Another example is Bai Juyi's "Song of Eternal Sorrow", "Sisters and brothers are all listed in the soil, and, because she so illumined and glorified her clan" (the door is full of glory), and Lu Lun's "Sai Xia Qu" poem "the woods are black and a wind assails the grasses, yet the general tries night archery" (the forest is dark and the wind is frightened). 4. The position of the attributive is in the radical phrase, with the attributive in front and the head language behind, which is the general situation of ancient and modern Chinese. However, the position of the attributive in poetry is quite flexible, and it can often move forward and backward without the head language it modifies. The following are examples respectively. A. the attribute moves forward. Wang Changling's poem "Joining the Army" reads: "There are dark snow-capped mountains in Qinghai, and the lonely city looks at Yumenguan." The "lonely city" in the next sentence refers to Yumenguan, which is the appositive attribute of Yumenguan, but now it is moved before the verb "overlooking", which is easily misunderstood as standing on another lonely city overlooking Yumen. Liu Cha's poem "Joining the Army": "No one is heard on the flute, and the red flag goes straight to Tianshan Snow." (Smelling the flute) are all examples of the same kind. Lu You's poem "Sleeping in the Day" reads: "Incense gives birth to fog in the tent, and books accumulate in the mountains beside the pillow." There is a fragrant mist in the tent and a mountain of books on the pillow. ) B. After the attributive is moved. Li Bai's poem tianmu Mountain Ascended in a Dream: "my heart and my dreams are in Wu and Yueh, and they cross Mirror Lake all night in the moon." It means "flying across Jinghu Lake on January night". The phrase "moonlit night" was originally an adverbial of time at the beginning of a sentence, but now it is split into two parts. The attributive "moon" is far away from the head language and at the end of the sentence, which seems to be the central part of the object. However, it is obvious that the author can only fly across the mirror lake, but not the moon. And the poem "Delighting in Rain on a Spring Night": "Look at the red and wet place, and the flowers are heavy in Jinguan City." 5. Adverbials in the form of objects. "People don't know where to go, but peach blossoms still smile in the spring breeze." On the surface, "laughing at the spring breeze" is a verb-object phrase. In fact, "autumn wind" and "spring breeze" are not dominated by "moving" and "laughing", but mean "moving in the autumn wind" and "laughing in the spring breeze" respectively. This kind of situation is more common in poetry, for example, Du Fu's "Autumn Xing" is the second of eight poems: "Thousands of mountains are in Claire Kuo from Zhaohui, and the Ririjiang Building is sitting in Cuiwei." (Claire Kuo, a thousand mountains in Zhaohui, sits in the green of Jianglou every day. ) Li Shangyin's poem "Anding Tower": "I always remember that the rivers and lakes are white-haired, and I want to go back to heaven and earth and enter the boat." (I will always remember that the rivers and lakes will return when they have white hair. ) are examples of the same kind. Others: Su Shi's "Nian Nujiao" words: "The old country is wandering, passionate about Ying Xiao Wo, and born early." (Ying Xiao Wo is affectionate. For example, Mao Zedong's words "Independent in cold autumn, Xiangjiang River going north, orange island", students can quickly rearrange it as "Cold autumn, (I) independent (in) orange island, (seeing) Xiangjiang River going north"; The more typical "but you widen your view three hundred miles, by going up one flight of stairs", which students are familiar with, can be quickly rearranged as "I want to see thousands of miles". After the history of the country, it is hard to find a hero like sun quan. First, it is the requirement of temperament. The mature "modern poetry" in the early Tang Dynasty and the later lyrics and songs, besides rhyming and word limitation, should also pay attention to the deployment of flat and parallel words and the stability of the confrontation. In order to meet the requirements of temperament, the poet had to make some changes in word order. The sentence "Water is poor everywhere, while Yun Qi is sitting and watching" in the poem Linjiangxian by Chao Wuqi is originally a sentence copied from Wang Wei's poem my retreat at mount zhongnan. Wang Shizheng is writing "I will walk till the water checks my path, then sit and watch the rising clouds". Secondly, for the special needs of rhetoric. Wang Wei's poem "bamboos whisper of washer-girls bound home, lotus-leaves yield before a fisher-boat" in an autumn evening in the mountains said: "According to the action sequence in the objective environment, it was originally the return of' Huan Nv' that caused the' bamboo noise'; Under the fishing boat, it leads to' lotus movement'. However, if it is so mechanically stated that "Huan women return to the noisy bamboo and the fishing boat moves the lotus", then the center of the picture is attributed to the passive factors "bamboo" and "lotus"-this is the end point of the action process. As the action ends here, the picture will be still. " According to the order in the poem, "Bamboo Noisy" and "Lotus Moving" become the introduction of "Huannv" and "Fishing Boat". So the center of the picture moved to the active factors of the action' Huannv' and' Fishing Boat'. The movements of "Huan Nv" and "Fishing Boat" are not only more obvious than those of "Bamboo" and "Lotus", but also serve as the starting point and motive force for the movement, which enables the process to continue. This greatly enhances the action and distinctiveness of the picture. " In fact, the emergence of special word order in poetry and music, the requirement of temperament and the need of rhetoric often have both. For example, Wang Changling's "Joining the Army" and Du Fu's "Delighting in Rain on a Spring Night" are two examples. The attributive "Gu Cheng" moved forward and "Jin Guan Cheng" moved back, in addition to conforming to the level-setting format of the seven wonders and the five laws, the purpose is to highlight and emphasize the isolated and abrupt terrain where Yumenguan is located and the scene of flowers falling in the poet's imagination after the spring rain. (3) Pay attention to the ellipsis in poetry, and fill the blank left by the poet with imagination and association. Mr. Jin Kaicheng pointed out that the appreciation of poetry is always inseparable from the word "Xiang". Mr. wu shichang also said that reading words requires imagination. In the appreciation of poetry, reconstructing imagination according to the "reconstruction conditions" stipulated in poetry can supplement the blank left by the poet intentionally, restore the scene of poetry and obtain higher aesthetic enjoyment. This is a necessary part of poetry appreciation. The ellipsis of poetry is related to the combination of images. Therefore, it is also possible to fill in the omitted parts with imagination. Jia Dao's "No Encounter for a Visitor": "when I questioned your pupil, under a pine-tree, "My teacher," he answered," went for herbs ". But toward which corner of the mountain, how can I tell, through all these clouds?. " Obviously, it takes three questions and answers, and it takes at least six sentences to complete the dialogue. The author uses the method of answering questions and reducing them to twenty words. This is just like the montage technique in movies, one image after another, one picture after another, leaving a lot of gaps between shots, so that our readers can supplement and improve according to the logic of life, the accumulation of experience and their own cultivation. In fact, the combination of images in China's classical poems, with the help of the parataxis of Chinese grammar, can be directly combined between words, images and images, or even omit the words that play a connecting role. For example, Xin Qiji's phrase "The bright moon surprises the magpie, and the breeze sings cicadas in the middle of the night" (using familiar words such as \ "the bright moon \" and \ "the breeze \"), however, when they are combined with \ "the other branches surprise the magpie \" and \ "the cicada sings in the middle of the night \", they form a deep and secluded artistic conception with both sound and sound and movement in Xian Yi. \ "Moon \" and \ "Surprising Magpie \", \ "Wind \" and \ "Singing Cicada \" are not simple lists of things, but are intrinsically related and causal. ) The first sentence of "The Moon in Qin Dynasty is off in Han Dynasty" and "A glass of wine in the spring breeze of peaches and plums, a ten-year lamp in the night rain in rivers and lakes" recalls the joy of gathering in Beijing, and the next sentence expresses the depth of lovesickness after parting. The poet got rid of the usual situation, without the general saying "we met in those days", but came up with the word "a glass of wine". "A glass of wine", this is too common! But it is only common, which can give people rich hints. Shen Yue's "Don't Fan Ancheng" says: "Don't say a bottle of wine, it will be difficult to hold it again tomorrow." Wang Wei's "Send Yuan Er Shi An Xi" says: "I advise you to have a glass of wine, and there is no reason to go out to Yangguan in the west." Du Fu's "Remembering Li Bai in Spring" says: "When is it important to drink a bottle of wine and write a detailed paper?" Old friends always eat wine when they meet, talk or write a paper. Just with a glass of wine, I wrote the scene of two people meeting. The poet also chose the words "peach and plum" and "spring breeze". These two words are also very familiar, but just because they are familiar, they can call the smoke scene in Yangchun to the readers at once, and use these two words to set off a beautiful glass of wine and show the joy of meeting friends. Think again, it is not so easy to write two people's parting and parting thoughts in seven words. Poet but