The so-called artistic conception, the traditional understanding refers to the artistic realm formed by the combination of the subjective feelings of the author (sometimes including the reader) and the objective physical environment reflected by the work. Emotion and scenery are the two most basic factors that constitute artistic conception. "Scenery is the medium of poetry, and emotion is the embryo of poetry" (Xie Zhen's Four Styles of Poetry, Volume III), "Scenery and name are inseparable" (Wang Fuzhi's Forever Evening Preface? Internal editing "), they interact, penetrate each other and touch 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.
Therefore, in the teaching of poetry (especially China's classical poetry), it is absolutely difficult to understand its connotation and appreciate its artistic charm without deeply understanding its artistic conception.
However, it is a pity that the current poetry teaching is often a mere formality and one-sided, focusing only on the interpretation of words and expressions and the simple translation or superficial understanding of poetry, while ignoring the taste of artistic realm created by poets, making classroom teaching monotonous and difficult to cultivate students' reading ability, thinking ability and aesthetic taste.
Then, in the teaching process, how should we teach students to appreciate the artistic conception of poetry and cultivate their aesthetic ability? In my opinion, mastering the unique language of poetry is the premise of deepening the artistic conception of poetry and appreciating the deep connotation.
First, learn the language, grasp the jump
As we all know, poetry is the product of the poet's thinking in images. Whether it is scenery description or narrative lyricism, poets always use rich associations and imagination to pour their deep feelings and passionate emotions between the lines of poetry. At the same time, good poetry needs to reflect the social life and the changes of the times in a short space. Therefore, it pays special attention to the refinement of words and sentences, and pays attention to conciseness, implication, image and vividness, which makes poetry show obvious jumping phenomena in images, verses and chapters, and the intentionally omitted turning points and related words become "blanks" for readers to imagine, think and supplement.
The leap of this language is a major feature of poetic language. The so-called jumping refers to the combination of different images beyond the limitation of time and space: or using the fuzziness and implication of words to consciously hide the connotation and artistic conception behind words, so that readers can discover and appreciate them through the gaps between the lines. This unimaginable leap in other styles is an important artistic technique to realize the refined and implicit language, vivid image and beautiful artistic conception of poetry.
From the perspective of language jumping, the poems selected in the current reading and writing textbooks for normal schools can be roughly divided into the following categories.
1, emotional jump. The poet gave no explanation in his poems, but between the lines, he clearly reflected the ups and downs of emotions and thoughts. For example, the fifth and sixth sections of Xu Zhimo's Farewell to Cambridge (the first volume of reading and writing in normal schools) say: "... a ship full of glory, singing in glory." But I can't sing. It's the separation of Xiao Sheng quietly ... ". In pursuit of "rainbow-like dream", the poet walked to the greener grassland with a long pole and "a boat full of stars", immersed in the beautiful aftertaste of the past, as if he had recovered his dream of the past, temporarily forgot the reality that he was about to leave Cambridge, and could not help but sing aloud. The poet's inner happiness reached its peak, and the melody and artistic conception of poetry were extremely enthusiastic and unrestrained. But later, "but I can't play songs", why? There is nothing in the poem, but we can understand that the poet suddenly wakes up in the joy of fantasy and aftertaste and thinks about the reality that he is about to leave Cambridge. After all, he thought that his lost dream would never be found again. Loneliness and melancholy suddenly came to my mind. Finally, he could only "quietly" play farewell Xiao Sheng and chew the sadness of parting in silence, and the melody of the poem turned into deep sadness. During this period, the feelings jumped greatly.
2. Time and space jump. Or from ancient times to today, or from now to the future, or from one place to another, in which transition and continuity are omitted. Poets break through the shackles of time and space, disrupt the rigorous logical procedures of life, and create new images in a very free world. For example, in Wang Changling's "Joining the Army" (the fourth volume of reading and writing in normal schools), "There are long clouds and dark snow-capped mountains in Qinghai, and the lonely city overlooks Yumen Pass", the dramatic leap in poetic space depicts the face of the whole northwest frontier stretching for thousands of miles with 14 extremely refined words, showing a profound artistic conception of emptiness, obscurity, remoteness, loneliness and sadness. At the same time, it is closely connected with the last two lyrics ("Yellow sand wears golden armor in hundreds of battles, but it will never be returned without breaking Loulan"), which vividly depicts the lofty aspirations and firm determination of soldiers to defend their country.
3. A leap in logic. This kind of jumping is more done in a parallel or progressive way. Through the combination of images with certain logical connection, the theme of poetry is displayed and the connotation of poetry is excavated, and the change of emotion is the link, so its essence can also be said to be the leap of emotion. For example, The Cricket written by Liushahe (the second book of reading and writing course for normal schools): "I think of carving bamboo to make a cage/calling lanterns to hedge/thinking of moon cakes/………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………
Second, give full play to the imagination and fill the "blank"
From the above analysis, we can see that due to the unique language combination of poetry, there are emotional, time and logical obstacles in poetry, forming a vast "blank". Then, in poetry teaching, how should teachers guide students to overcome these obstacles, stimulate reasonable association and imagination, supplement the "blank" of poetry, and connect the starting point and the end point of jumping, so as to appreciate the unique artistic image, vivid lyric picture, rich life content and profound ideological significance of poetry?
1, seize the clues of the poet's ideological and emotional development, inspire students to associate, imagine and supplement along the way, and connect the jumping parts. On the surface, the leap of poetic language is puzzling and unpredictable, but in fact there are rules to follow. No matter how great the leap of poetry is, there is always a poet's concise, deep, complete and orderly emotion between the lines that are greatly transferred and crossed. This is like a triple jump in track and field. There is a weak wired connection between several footholds. Reflected in poetry is a clue to the poet's feelings, thoughts and poetic content. Although this line is hidden, it is continuous, orderly and perceptible. For example, "The Cricket" written by Liushahe takes "Cricket" as the clue of the whole poem's content and emotional development, from tracing the historical origin of cricket singing to presenting objective reality in time and space, showing the suffering, loneliness and loneliness of the Chinese nation with a series of dense and desolate images, and excavating the unique cultural tradition and historical background of this nation. Grasping this clue, students can not only understand the structural order of poetry, but also deeply understand the true attachment of people on both sides of the strait that "blood is thicker than water" from the life picture revealed by poetry. Therefore, as long as we closely follow the clues of the poet's emotional development and develop reasonable association and imagination in teaching, even if the poem jumps over a large span, it will not hinder students' understanding.
2. Keep an eye on poetry. The poet's eyes are the focus of poetic significance, the soul and commander-in-chief of poetry, and the burning point of poet's feelings. No matter how big the span is, it is also closely around the eyes of poetry. Therefore, by grasping the eye of the poem, we can get a glimpse of its center and guide the whole poem, so that the external structure of the poem is intertwined and stitched, and the internal meaning is well connected. For example, in the poem "The Tomb of the Mountain" (the second volume of selected works of reading after class in normal schools), Xu Jingya unified life and death with the common phenomenon of "the grave grass is green" and poured out the pieces in her heart. "Death" is an evil force that takes away people's youth, ideals and life. But after ten years of turmoil, freedom was trampled, democracy was trampled, life was destroyed, and the dark years were suffocating. In order not to succumb to the evil forces of darkness, honest and pure people would rather fight to the death; However, the "mountain tomb" can bury the body, but it can't bury the unyielding soul of the "dead". Green grave grass is the embodiment of this pursuit. In the transition between life and death, the poet changed from a heavy sense of frustration to a full passion, expressing his firm belief that life will eventually overcome death and light will drive away darkness. In teaching, if teachers can closely follow the poetic eye of "green grave grass", inspire students to expand their association, give full play to their imagination, open up channels for emotional communication with students, and stimulate their feelings, they can unfold the "blank" picture contained in the poem, go deep into the artistic conception of the poem and get the concrete feeling of beauty.
3. Grasp the poet as a symbol of expressing feelings. It is necessary to grasp what kind of image and artistic conception the poet uses to express his feelings, find out the typical meaning contained in this image or artistic conception, and use this as a medium to arouse students' association and imagination. For example, when organizing the teaching of Guo Moruo's Song of Phoenix Nirvana (the third volume of normal reading and writing), teachers must guide students to grasp the image of Phoenix and the typical significance of Phoenix Nirvana, so as to truly realize that poetry is based on the legend of Phoenix, and the story of Phoenix's self-immolation and rebirth symbolizes the destruction of old China and the poet's old self, new China and the poet's new self.
4. When necessary, we can properly use auxiliary materials such as wall charts and illustrations, as well as modern audio-visual teaching methods such as slide pictures, related videos, reading aloud and recording, and create intuitive and concrete images of things through pictures, audio and other means. The leap of poetry makes poetry contain extremely rich content, which is difficult to express clearly by language alone. Timely and appropriate use of the above means can not only show the concrete and sensible image of poetry, but also inspire students to make intuitive and reasonable association with the shape, color and sound of the image, thus supplementing the "blank" left by the leap of poetry.
In short, in the process of poetry teaching, teachers should make full use of all kinds of favorable factors, grasp the characteristics of poetry language, help students eliminate the obstacles of emotion, time and space, logic, strive to expand the condensed meaning of poetry, supplement the reduced components, weld the process of omission, connect the jumping emotions, make up for the inner feelings between lines and sections in poetry, reproduce the image and picture of poetry, and let students enter naturally.