"Peach trees, apricot trees and pear trees are all full of flowers if you don't let me or I won't let you. Red is like fire, pink is like chardonnay and white is like snow. Flowers are sweet; When I closed my eyes, the tree seemed to be covered with peaches, Xinger and pears. Hundreds of bees are buzzing under the flowers, and butterflies of different sizes are flying around. Wildflowers are everywhere: miscellaneous, named and unnamed, scattered in the grass, like eyes, like stars, still blinking. " (Zhu Ziqing, "Spring")
It is not difficult to find that in this passage, the author writes about Spring Flowers from these aspects: 1 Describe the flowers in spring from the perspectives of vision, hearing and taste. 2. Using rhetorical devices such as metaphor, personification and parallelism, the characteristics of spring flowers are vividly described. 3. Enrich the connotation of the Spring Flower Map with the combination of reality and activity. Along this line of thought, we can do further analysis: First, through direct observation of natural scenery, experience and perception gained by using vision, hearing and taste; Second, it is the product of observation, rich language accumulation, rich imagination and association, and proper use of various rhetorical devices; Thirdly, from the perspective and level of our observation, in the process of writing, orderly combination according to the needs of liberal arts composition is the highlight of artistic techniques. Therefore, through the above analysis, we can draw a preliminary conclusion that to write a good landscape, students must be guided to master the following methods:
First, grasp the characteristics of the scenery.
There are no two identical leaves in the world, and the landscape characteristics in different periods are different. Yang Wanli, a poet in the Song Dynasty, put it well: "After all, the scenery of the West Lake is different from that in June." The text of unit 3 is written all year round: in spring, "grass slips out of the soil and is green"; In summer, "the fine sandy grass on the hillside grows into thick hair, and the faint smoke on the forest belt condenses into the black Great Wall"; Autumn, "the grass is wider in the sound of crickets"; In winter, "in some places, the snow is thick, and in some places, there is grass color", "one is white and the other is dark yellow". The same vegetation shows different charms in different seasons. When Zhu Ziqing wrote Spring, he first grasped the characteristics of spring mountain, spring water and spring day, and outlined the outline of spring scenery vividly. Then, the pictures of spring grass, spring flowers, spring breeze, spring rain and spring welcoming are described in depth. When describing these pictures, we should grasp their different characteristics and carefully describe the overall characteristics of "novelty", "beauty" and "strength" of spring.
Grasping the characteristics of scenery is the premise of writing this kind of article well. Students should be guided to observe the scenery carefully and keep what they have observed in mind. As the saying goes, "observe silently and study hard." At the same time, the scenery should be carefully compared. The characteristics of the scenery are objective. Some students describe scenes that are similar, even similar, because they don't observe the scenery carefully and are not good at finding and grasping the characteristics of things through comparison. Successful and distinctive scenery description is the result of the author's painstaking observation and repeated comparison of the scenery he wrote. Therefore, students are required to be good at grasping the unique changes of scenery in different seasons, different times and different regions in terms of color, shape, sound and smell, so as to grasp the characteristics of the scenery and describe it. Therefore, we should pay attention to the characteristics of different seasons. There are four seasons in a year: spring, summer, autumn and winter. The change of seasons will cause the change of scenery. The scenery of each season has its own characteristics; Second, we should pay attention to the characteristics of time change. Some scenes often have their own characteristics at different times. Day, night, morning and dusk all depict the scenery in different colors; Third, we should pay attention to the different characteristics of climate. The same scene presents different landscapes in rain, wind, fog and snow. Fourth, we should pay attention to different geographical features. South, north, city, countryside, plateau and flat land, different regions have their own different landscape characteristics, which should reflect local colors. When instructing young writers, Lu Xun put forward: "Now the world environment is different, and there must be local colors in art, so it will not be the same." He also said: "Local colors can also increase the beauty and strength of painting. People who grew up in their own places are used to it, or they don't feel anything, but people in other places are unique. "
Second, choose a good description angle.
When describing the scenery, we should choose the appropriate observation angle. For the same scene and the same scenic spot, the impression of the scene will be different due to different observation angles. To choose a good description angle, we must first establish a good observation angle. Students should be instructed to observe and describe the unique features and charm of the scenery from far, near, up and down according to the needs of expression.
1. Fixed-point observation: that is, the foothold of observing the scenery is fixed. The so-called foothold refers to the position where people stand when observing things. When we go to a scenic spot, we have a fixed foothold, and our eyes can move up and down, left and right with our bodies, so we can write the scenery from multiple angles: looking up, looking down, looking around and farsightedness, so that we can write the scenery layer by layer, make it clear and vivid, and give readers an immersive feeling. To describe the scenery with fixed-point observation, students should understand: first, we should pay attention to choosing the right foothold, and choose the foothold where the object of description can be best expressed and the best artistic effect can be produced. Second, we must explain our foothold clearly.
2. Change the scenery: that is, the foothold changes with the change of the whereabouts, while walking and watching, where to go and where to see, and write down the scenery step by step. Is the continuity of fixed-point observation. When students write in this way, first, they should pay attention to the exchange of clear foothold. If they don't explain clearly, it will confuse the readers. Second, we should pay attention to the characteristics of the scenery to describe it, and we can't write it as a "running account". On the one hand, the local scenery seen from different angles should have their own characteristics, on the other hand, all the local scenery together should reflect the overall appearance and characteristics of the object to be described, so as to describe the scenery successfully.
3. Decentralized observation: it is to select a number of scenic spots within a certain range to observe separately, which is the dispersion of fixed-point observation. Take Lao She's Winter in Jinan as an example. The ancient Jinan has beautiful scenery and is known as "every family has willows every spring" and "one city has mountains and half a city has lakes". How can we better show these beautiful scenery to readers? There is a problem of writing about scenery. Mr. Lao She first gave readers a bird's eye view of the whole city, and got a panoramic view (the second paragraph), and then gave readers a full view of the mountains and sunset after the snow (the third and fourth paragraphs). Finally, he led the readers to the weeping willow bank and enjoyed the waterscape where "the water is not frozen, but steamed on the green duckweed" and the algae are getting greener (the fifth paragraph). As far as each picture is concerned, the description angle of fixed-point observation is adopted, and as far as the three pictures are concerned, the description angle of changing the scene is also adopted. In this way, from the fixed point to the moving point, from the mountain to the water, the levels are clear and the context is clear. Naturally, this is between major levels, and only from the inside of major levels, there are similarities and differences. For example, from the perspective of overlooking the city, Jinan under the sun is written, and from the perspective of looking up, the mountain scenery under the light snow is vivid and flexible.
Third, arrange the description order
Scenery description should also pay attention to the order of description. Proper order can make the description clear, natural and harmonious, complex but not chaotic, complex but not miscellaneous.
1. Write the scenes according to their azimuth order (i.e. spatial order). Each scene has its own position, so students should choose a place to observe it, and describe the situation and style of the scene according to the azimuth order from far to near (or from near to far) and from inside to outside (or from outside to inside), so that the picture of the scene can be unfolded in an orderly manner. For example, the winter scenery in Jinan is written in terms of distance and details, often from near to far, from fine to big, or from far to near, from big to fine, and the writing is closely related to promoting nature. For example, the scenery in the fifth section, from near to far, from fine to large: first, the water is steaming, then the algae, then the weeping willows, and then the sky above the water, even the air and the sky. The scenery in the fourth paragraph is from far to near, from big to small: first write outside the city, then write on the hillside outside the city, then write on the small village on the hillside, and then write about the snow on the roof of the small village. This kind of writing not only conforms to the narrative spatial order, but also meets the visual needs of readers. The distance is right, so the scenery is either a hundred miles long or a thousand miles long.
2. Write the scenery in chronological order. Different seasons have different scenery, even at different times of the day, the color, color and situation of the scenery will not be the same. Therefore, we should guide students to draw different landscape maps according to the change of time.
For example, Zhu Ziqing not only used spatial order to write from inside the city to outside the city, but also used the time sequence from day to evening to lighting, which was both time and space, and * * * outlined the "unique beauty" of the peaceful and harmonious spring rain map.
Fourth, skillfully use association, imagination and various rhetoric.
The reason why Zhu Ziqing's Spring is refreshing and intoxicating is that the author combines observation with thinking activities such as association and imagination, and from the orchard full of fruits and flowers, he thinks that "it seems that the tree is full of peaches, Xinger and pears". Mr. Lao She's thinking is more peculiar. He associated the scene of snow and grass mixed together on the hillside outside Jinan with "white and dark yellow" as "putting a floral dress with waterline on the mountain", and then creatively imagined that "this floral dress seems to be blown by the wind, which makes you want to see more beautiful mountain skins", thus recreating a new picture from reality to nothingness, making the scenery more magical and beautiful. This also mobilizes the imagination of readers and makes people feel immersive.
This magical effect and function of associative imagination should guide students to ponder and learn from each other in practical teaching. At the same time, students should be taught to accumulate through reading, improve their language literacy, enrich their vocabulary, and learn to use various rhetorical devices flexibly in the description of scenery.
When students study "Spring", let them see the author write flowers, "You won't let me, I won't let you, it's all full of flowers to catch up", and draw a picture of flowers blooming and falling, competing to open; Write rain, "like ox hair, like needles, like filaments", and use metaphor and parallelism to write the characteristics of thin, bright and long spring rain; Write the wind, "like a mother's hand touching you", and use metaphors to express the warm and gentle characteristics of the spring breeze. At the end of the article, the author always uses three metaphors to describe spring, from a newborn doll to a beautifully dressed girl to a strong young man, and writes different scenes in different periods of spring, which is intriguing. Let the students realize that the article begins with "the footsteps are near", ends with "leading us forward", begins with personification and ends with personification. Its conceptual layout and rhetorical embellishment are ingenious, which makes the article fragrant and unforgettable.
Fifth, mobilize all kinds of sensory experiences and sentiments.
Students observe the scenery and are used to feeling descriptions with their eyes. As a result, the article is like a still and lifeless plane painting. Let students realize that the article will be much more vivid if they can mobilize a variety of senses and describe the scenery from different angles.
Yu Guangzhong, a famous writer, said: "The prose we expect should be vivid, colorful and bright." In the article "Spring", Zhu Ziqing first wrote "Red as fire, pink as chardonnay, white as snow" with vision, then wrote "Flowers are fragrant" with sense of smell, and also wrote "Hundreds of bees buzz under flowers" with hearing. Such a three-dimensional picture of spring flowers is displayed in front of our eyes, living "all love can't be caged"! When painting the spring breeze, in order to highlight the warmth, fragrance and sweetness of the spring breeze, firstly, write "like a mother's hand touching you" with the help of the sense of touch, secondly, write "the smell of newly dug soil", "the smell of grass" and "the fragrance of flowers" with the help of the sense of smell, and finally write the songs of birds "crisp" and "dancing" and shepherds "cheerful" with the help of the sense of hearing. In this way, in many ways, the invisible and colorless spring breeze is written with sound and taste, concrete and vivid, wonderful and touching.
Six, contrast, make the scene image more vivid.
If you want to write a good landscape, you have to use a comparative method. Of course, the practical application of this method is difficult for students at first, but it is not difficult for students to master it as long as teachers guide, guide and train properly over time. For example, in Winter in Jinan, Lao She set off a bun of white flowers on the top of the tree with a short pine, blue and black color; Set off the blue sky with all-white peaks; There is a piece of white on the hillside, which sets off a dark yellow; With a yellowish sunset, Bo Xue's slightly pink is set off. Colorful and pleasing to the eye, they are all wonderful pens that set each other off. The "Yellow Grass Mountain" and "Little Gray Shadow" mentioned in the article should be said that they are not very beautiful in themselves, but the author puts them in the "ethereal blue crystal", and these images show their beauty. Indeed, some scenery is beautiful in itself, and it is even more beautiful against other scenery; There are also some landscapes that are not very beautiful in themselves, but they are beautiful against other landscapes. Therefore, when we write the scenery, we can get unexpected magical effects by skillfully using contrast and timely contrast. Of course, some scenery itself is beautiful, but once it is set off with other scenery, it loses its original beauty. As Mr. Lu Xun said, "Carving a Preface to the Lanting Pavilion with a square-inch ivory edition is still called a work of art, but if it is hung on the wall of the Great Wall in Wan Li or at the foot of the Zhangba Buddha statue in Yungang, it will be too small to be seen. Even if enthusiastic people try their best to give directions, they will only give birth to viewers. In this way, students should carefully use the methods of contrast and contrast when describing scenery. Therefore, to write the scenery well, the key is not only to set off, but also to set off properly. Properly set off, they can complement each other and turn mediocrity into magic.
Seven, melt into the scenery and express subjective feelings.
Wang Guowei, a master of Chinese studies, once asserted that "all scenery words are sentimental words" .3 In the final analysis, the purpose of writing scenery is to express emotion and meaning. "Scenery gives birth to emotion, emotion gives birth to scenery, and scenery is integrated into one, one integrated mass" points out the relationship between emotion and scenery. The natural scenery itself has no emotions, likes and dislikes, praises and criticisms, but when the author observes and describes it with emotions (such as joy, sadness, depression, trouble, etc.). ), which gives the scenery a distinct emotional color. As the saying goes, "Climbing the mountain is sentimental, watching the sea is sentimental" (4) The petals have fallen like tears, and the lonely bird sings a sad song. Du Fu, a great poet in the Tang Dynasty, wrote that the color of the scenery is determined by the emotional color. Not all sunny days are sunny, but all cloudy days are sad. The same scene and the same natural scenery are different in the eyes of different authors. This difference is mainly due to the author's different feelings, which is reflected by the detailed description of different objects. In the autumn of the same year, He Qifang said: "Put down the sickle full of fragrant rice and put fat fruits and vegetables in the bamboo fence with a laundry basket", and the joy of harvest is between the lines; Ma Zhiyuan, on the other hand, said that "an old vine is a light crow" and "the old road is thin and the west wind is thin and the horse is thin", and tried to render the bleak and desolate atmosphere to express the homesickness of the wanderer. It is also necessary to guide students to integrate their emotions into the description of the scenery, so that they can understand the language with flowing emotions, which can be infectious and arouse readers' * * *. Therefore, students should naturally infiltrate their feelings between the lines of writing the scenery. To achieve the blending of scenes, things and me, so that readers have a * * * sound, and then bring readers a sense of pleasure and intoxication, bring readers into a specific scene, be influenced by beauty, and enjoy beauty.
Eight, the combination of static and dynamic, the combination of reality and reality.
Static and dynamic scenes exist objectively. Mountains, flowers, trees and buildings are often in a static state in our usual observation, while scattered clouds, flowers, leaves and grass swaying in the wind and rain are in a dynamic and changing state. When students observe and describe a scene, they should pay attention to its static and dynamic. If you only write static scenes, it is easy to make the article dull, while if you only write dynamic scenes, it may lose stability. When writing, we should combine the two, that is, there is movement in stillness and stillness in movement, and the two contrast and set off each other, so that the scenery will be lively and the articles written will be interesting. The study of this technique can guide students to understand and master the poems such as Looking at the Sea: the sea is rippling, which is dynamic; The mountains, rivers and islands stand still, setting each other off into interest, showing the vastness and majesty of the sea; When we wrote about vegetation, it was still static, second only to "Hongbo", and returned to dynamic, showing the amazing power and magnificent weather of the sea. All of the above are real scenes. "The trip to the sun and the moon, if unexpected; The four sentences of "If the stars are brilliant, if they are beyond" turn into empty writing, that is, the poet's subjective feelings, and with the help of strange imagination, show the grand spirit of the sea devouring the sun, the moon and the stars.
This paper discusses the general methods of scenery description from eight aspects. In fact, the methods of scenery description are far more than these. It is a comprehensive language art, and a vivid and concrete description of scenery should be the crystallization of the comprehensive application of various techniques. Therefore, in guiding students' writing practice, we must fully consider these methods and use them flexibly in order to get good results.