Mu Jiang Bai yin ju yi
A sunset gradually sank into the river, half green and half green.
The loveliest thing is the ninth day of September. The bright pearl's bright crescent moon is shaped like a bow.
(1) The sunset shines on the river, and the poet said "pave the way" instead of "shine". How is the expression effect?
Answer: (1) This is because the sun is close to the horizon, almost shining on the ground, really like "paving" on the river, which reflects the accuracy and image of the poet's words; At the same time, the word "paving" also describes the softness of the autumn sunset and the calmness of the river, giving people a sense of leisure.
Keyword answer:
Q: One word is the key to the whole poem. Why?
Solution analysis: ancient poetry is very particular about conception, and often a word or a word constitutes the clue of the whole poem. Grasping this word proposition can often test the examinee's grasp of the whole poem.
Answer steps: The role of the word (1) in highlighting the main idea. (2) Consider the role of words in the structure of poetry.
Example of answer:
One spring night, Li Bai heard the flute in Los Angeles.
Yu Di's dark flying sound scattered into the spring breeze in Los Angeles.
Who can't get homesick when they hear that there is another village in the serenade?
The word "folding willow" is the key to the whole poem. What is the moral of "breaking willow"? Do you agree with "key"? Why? (2002 college entrance examination questions)
A: "Folding willow" means "parting", and the theme of poetry is homesickness (the first step). This homesickness is caused by hearing the flute sound of the song "Broken Willow" (the second step). It can be seen that "folding willow" is the key to the whole poem.
Language feature analysis answers:
Q: What are the linguistic features of this poem?
Question variant: What is the language style of this poem? Talk about the language art of this poem.
Solution analysis: this question type does not require trying to figure out the clever use of individual words, but tastes the language style of the whole poem. Words that can be used to answer questions generally include: fresh and elegant.
Simple, natural, lively, simple, gorgeous, euphemistic, implicit, concise, washy, depressed, frustrated, forceful, dignified, and use spoken English more often.
Understood, unpretentious, gorgeous, easy to understand, elegant in style ...
Answer steps: (1) Use one or two words to accurately point out the language features. (2) Analyze this feature with relevant sentences in the poem. (3) Point out how the author's feelings are expressed.
Sample answer 1:
Heartbroken in spring
Get rid of the oriole, get rid of all the music on the tree.
They woke her up when she dreamed that she went to meet him in Liaoxi camp.
Please analyze the linguistic features of this poem.
A: The language characteristics of this poem are fresh and natural, colloquial (the first step), and "yellow" is a child's voice, which shows the innocence of women. "They woke her up when she was dreaming and said that she had gone to the camp in western Liaoning to meet him there." In simple language, the oriole was beaten because it disturbed her dream of missing her husband (step 2). This naturally shows the woman's longing for her husband (step 3).
Example 2:
Four Long Dry Songs (Part I) Cui Hao
"Tell me, where do you live? ? Near here, next to the fishing pond? . "
Stop the boat. Sorry, if we belong to the same town. ..
Q: Please comment on the linguistic features of this poem. (4 points)
A: The language of this poem is simple and natural, lively and fresh, like a folk song. Where to live, in Hengtang, through the dialogue form of self-questioning and self-answering, with simple oral language, without carving, a simple and true image of a boatman woman is set off.
Appendix Poetry Language Appreciation Knowledge:
1. Appreciate the beauty of words
(A) the deformation of China's poetic language
To appreciate poetry, we must first understand the characteristics of poetic 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 college entrance examination.
Compared with other styles, poetic language is more lyrical, implicit, refined and jumping. China's poems are mostly short lyrics. There are not many words in a poem, but the images it contains are very rich. Poetry should express rich thoughts and feelings with the help of a very frugal language shell, and to meet the needs of phonology, it is necessary to deform the language. In fact, few people write poems about China in the language they usually speak.
Grammatically, the distortion of language by poetry is mainly manifested in changing part of speech, reversing word order and omitting sentence components. The main purpose is to establish meter, create the beauty of music, and leave room for artistic imagination and re-creation for readers. 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 the poet.
In order to refine the meaning of words, ancient poets in China often changed the parts of speech of some words in their poems, and these places were often the eyes of a poem or a word. Make a detailed distinction. For example:
He Xun's "Night Rain Drips Empty Steps, Morning Lights Dark Out of the Room", Wang Wei's "I Dismount and I Offer Your Wine" ("Farewell to Wang Wei"), "Qingsong Tiaori" ("Crossing Ji Xiang Temple") Wang Wei,
"Here, birds live in the mountain light, and people's hearts feel quiet in the pond." (Broken Mountain Temple behind the temple), The Riverside Scene at Qingming Festival by Wang Changling and Spring Breeze and Green Jiang Nanan by Wang Anshi.
Jie Jiang's "Time is fleeting, cherry is red, banana is green", and Zhou Bangyan's "Old oriole looks young in the wind, plums look fat in the rain". We ancient people used to use words, adjectives and nouns flexibly, and all of them can be used as verbs, which are vivid when written. As the saying goes, "Plums are full with rain", how many rains have you experienced? It should be from "light rain, sunny weather" to "the willow is drunk with spring smoke", then to "the apricot is out of the wall", then to "the flowers are small and the red apricot is small", and finally the rain is abundant. Write about the dynamics and forms, thinking that the plums have gone from being young and shy to being yellow and fat and round and sweet, and the yellow and faint red is full, how can it not be mouth-watering! The words "dark", "drinking", "cold", "pleasant", "empty", "light", "green", "red", "old" and "fat" in the above sentences are adjectives, and they have their own uses, but one thing is * * *.
(2) Pay attention to the ellipsis in poetry and fill the blank left by the poet with imagination and association.
In poetry appreciation, 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. Ellipsis in poetry is related to the combination of images. Therefore, you can also use imagination to fill in the omitted parts. Jia Dao's See the Guest: "I asked your student, under a pine tree," he replied, "My teacher went to collect medicine." However, through these clouds, how can I know which corner of the mountain it is facing? Obviously, it takes three questions and three answers, and it takes at least six sentences to complete the dialogue. The author reduced it to twenty words by answering questions. This is like the montage technique in the movie, one image after another, one picture after another, leaving a lot of gaps between the 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 can be directly combined between words, images and images with the help of parataxis of Chinese grammar, and even words that play a connecting role can be omitted. For example, Xin Qiji's phrase "the bright moon surprises the magpie, and the breeze knows in the middle of the night" (using familiar words such as "the bright moon" and "the breeze"), but when they are combined with "other branches surprise the magpie" and "knowing in the middle of the night", they form a deep artistic conception with rich sounds and dynamic Xian Yi, and people even ignore the level and level confrontation of these two sentences. "Moon" and "Surprising Magpie", "Wind" and "Singing Cicada" are not simple things listed, but have internal relations and causal relationships. ) "The bright moon in the Qin Dynasty broke off in the Han Dynasty", "A glass of wine in the spring breeze of peaches and plums, Yi Deng in the Jianghu for ten years"
The first sentence recalls the joy of meeting in Beijing, and the next sentence describes the depth of lovesickness after parting. The poet got rid of the usual situation and didn't say "we met in those days" in general, but came up with the word "a glass of wine". "A glass of wine", this is too common! But it is only common and can give people rich hints. Shen Yue's "Don't be fascinated" said: "Don't say a bottle of wine, it will be difficult to hold it tomorrow." Wang Wei's "Send Yuan Er An Xi" says: "There is no reason to go out to the West for a glass of wine." Du Fu's "Memories of Li Bai in Spring" said: "When is it important to drink a bottle of wine and write a detailed discussion?" When old friends meet, talk or write papers, they always have some wine. With a glass of wine, I wrote down the scene of two people meeting. The poet also chose the words "peach and plum" and "spring breeze". These two words are also familiar, but it is because of their familiarity that the smoke scene in Yangchun can be called to readers at once, and these two words can be used to set off the beauty of a glass of wine and show the joy of friends meeting each other.
Think again, it is not so easy to write two people's parting and parting thoughts in seven words. The poet chose Jianghu, Raining at Night and Ten-year Lamp, and made touching descriptions. The word "Jianghu" can be associated with circulation and vagrancy. Du Fu's "Li Bai's Dream" said: "From rivers and lakes-storms, shipwrecks, fear is a boat." "Rain at night" can arouse people's feelings. Li Shangyin's "Sending Friends to the North on a Rainy Night" says: "Ask Jun to return, and the rain will rise in the autumn pool at night." Listening to the "rain at night" in the "Jianghu" adds a sense of desolation. It rains at night, so we need to light a lamp, so we chose the word "lamp". "Lamp" is a common word, and "Ten-year lamp" is the author's initiative. The connection with "Jianghu in the rainy night" can stimulate readers' imagination: two friends, each wandering in the Jianghu, are alone with the lamp every rainy night, missing each other and can't sleep at night. And this scene has lasted for ten years! Lu You's Worry Book, "The night snow in the building, the iron horse and the autumn wind scattered", and the article "The cock crows like a thatched cottage, and the frost on the bridge is deserted" are all related by nouns. The aspect of "image" seems to be isolated, but the aspect of "meaning" has internal deep connection, which seems to be divorced from reality and reality, leaving readers room for imagination. The last two sentences of Du Mu's "Crossing Huaqing Palace": "When the world of mortals rode the princess, no one knew it was litchi." There is no related word between "riding the world of mortals" and "concubine laughing", and they are put together directly. It can be said that "Riding the World of mortals" made "the concubine laugh"; It can also be said that the princess showed a smiling face in "Riding the World of mortals", like an overlay of two shots. Both of these understandings seem possible, but they are not exact. The poet just puts two contrasting images in front of the reader. The connection between the images needs you to imagine and supplement, but it is not allowed to solidify them. Once solidified, it loses its poetry; The charm of poetry lies in its ambiguity. Another example is Ouyang Xiu's "Butterfly Loves Flowers": "The rain and wind are crazy in March, and the door covers the dusk, so there is no plan to stay in spring." Omitting the conjunction of "door cover" and "dusk" can be understood as closing at dusk, closing at dusk and closing at dusk, which may have three meanings. Anyway, the young woman has a closing action, and the time is dusk. This action shows his loneliness, disappointment and melancholy.
(3) Restore the inverted word order and grasp the poet's true intention and emotional focus. Typical examples are
1. Subject is postpositioned. Cui Hao's poem "Yellow Crane Tower": "Every tree in Hanyang is clear, and a nest of herbs in Nautilus Island." It means "There is a vivid Hanyang tree in Qingchuan (on a sunny Yuan Ye), and the grass on Nautilus Island is lush". "Hanyang Tree" and "Nautilus Island" seem to be the objects after "vividness" and "lush", but they are actually the objects to be stated.
2. Preposition object. Du Fu's poem "Moonlight Night": "Clouds are fragrant and foggy, and jade shoulders are cold." In fact, it is "fragrant fog and wet clouds, cold and jade arms." The poet imagined that his wife in Zhangzhou was just looking at the moon in her boudoir. The misty mist with a delicate fragrance seemed to wet her hair, and the clear moonlight made her white arms feel cold. Here, "wet" and "cold" are the so-called causative usages, and "cloud" and "jade arm" were originally the objects they dominated, but the results came first and seemed to be the subjects. Xin Qiji's "He Xinlang" words: "Say wine pavilion. You see, it's round and bright, and the wind and the moon are similar, and Wolong Zhuge. " How can Tao Yuanming of Jin Dynasty be like Zhuge Liang of Three Kingdoms? It turned out that the author used these two words to compare his friend Chen Liang, explaining Chen Liang's literary talent and martial arts respectively, which literally means "seeing a romantic life is similar to Yuan Ming and Wolong Zhuge". The object "roundness" ran to the position of the subject. Another example is a poem in Qian Qi's "I'm in Taniguchi's Study", "You will like the bamboo that has just rained and the gentle mountains in the sunset." Pity the bamboo after the new rain and love the mountain in the sunset. )