Appreciation of a classic junior middle school ancient poem
Mount Emei Yuege
Li Bai [Tang Dynasty]
In the autumn of the first half of Mount Emei, the Pingqiang River reflected.
In the evening, Qingxi went to the Three Gorges, but the four gentlemen did not see Yuzhou.
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This poem was written by Li Bai on his way out of Shu in the 13th year of Kaiyuan (725). This poem has clear artistic conception, simple language and smooth rhyme. The whole poem is one of Li Bai's masterpieces with beautiful artistic conception and natural style.
"In the first half of Emei Mountain in autumn, Pingqiang River reflects." In front of Mount Emei, there is a half moon hanging.
The poem begins with "Emei Mountain Moon", pointing out that the season of traveling far away is in autumn. The word "autumn" is upside down at the end of the sentence because of its rhyme. The autumn is crisp and the moonlight is particularly bright. The word "autumn" also describes the beauty of moonlight, which is natural and wonderful. The moon is only "half a circle", which reminds people of the beautiful artistic conception of the castle peak spitting the moon. There is Pingqiang River in the northeast of Emei Mountain, now Qingyi River, which originates from Lushan County, Sichuan Province, flows to Leshan County and joins Minjiang River. The second sentence "shadow" refers to the shadow of the moon, and the verbs "into" and "flow" form a conjunction, which means that the shadow of the moon is reflected into the river and goes with it. Life experience tells us that no matter how the river flows, the moon shadow in the water is fixed. "When the moon is gone, I will go." Only when the viewer goes down the river can he see the wonderful scenery of "shadow into the river" Therefore, this sentence not only describes the beautiful scenery of Qingjiang River reflected by the moon, but also describes the darkness of sailing in autumn night. Artistic conception is ethereal and wonderful
"Qingxi went to the Three Gorges at night, and the four gentlemen did not see Yuzhou." The last two sentences say, take a boat at night, leave Qingxi and go straight to the Three Gorges. Miss you, hard to meet, reluctant to part with Yuzhou.
There is someone in the second sentence, and the person in the third sentence has appeared: he is leaving Qingxi Station overnight, entering the Minjiang River and heading for the Three Gorges. This young man, who fought bravely to serve his country and left his relatives to travel far, fell in love with his old friends at first sight and was reluctant to part. Seeing the moon on the river is like seeing an old friend. However, the bright moon is not an old friend after all. I can only "look up at the bright moon and send my feelings for thousands of miles." The last sentence, "I miss you, I don't see you in Yuzhou", expresses my infinite feelings of parting, which can be described as concise and meaningful.
Five place names are used in the poem in succession, which are ingenious and leave no trace. The poet passes through Emei Mountain-Pingqiang River-Qingxi-Three Gorges-Yuzhou in turn, and the poetic scene gradually unfolds a map of the Shu River for readers. Apart from the "Emei Mountain Moon", there is almost no more specific description of the scenery in the poem; Except for the word "four kings", there is no lyric. However, the artistic image of "Emei Mountain Moon" runs through the whole poetic realm and becomes a catalyst for poetic sentiment. It has rich implications: the mountains and the moon accompany Wan Li, which can be seen every night, making the feeling of "missing you" deeper and deeper. The bright moon is approachable and unattainable, which is a symbol of missing friends. Where there is a bright moon singing, where there is a feeling of missing friends in the river, which is intoxicating. Using five place names in a row can make a trip in an exquisite place, which is both heroic and homesick. The language flows naturally, just like "clear water produces hibiscus, natural carving"
Originally, short quatrains are easily restricted in expressing the change of time and space, so they are generally written differently or beyond time and space. But this poem has reached the position of galloping freely in the span of time and space. There are five place names in 28 words, and the word 12 counts as * * *, which is unique among the ten thousand quatrains in the Tang Dynasty. People not only don't feel repetitive, but also think it's a swan song. The reason is that the poetic landscape permeates Jiang Xing's experience and the feelings of missing friends, and the symbolic artistic images of mountains and moons are everywhere, unifying a vast space and a long time. Secondly, the treatment of place names is also full of changes. "Emei Mountain Moon" and "Pingqiang River" are names attached to the scenery, which are empty; "Faqingxi", "Xiangsanxia" and "Xiayuzhou" are practical, with different positions in the sentence, and they feel intangible and natural.
Appreciation of Classical Poetry in Junior Middle School
Meet Li Guinian at the lower reaches of the river
Du Fu [Tang Dynasty]
In the Qi family, I often see your performances; Before urging the wine hall, I praised your art many times.
Never thought, in this Jiangnan scenic area; It is the season of falling flowers, and I can meet you, an old acquaintance.
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Poetry is sentimental and indifferent. Li Guinian was a singer in the early years of Emperor Xuanzong of the Tang Dynasty, who often sang in the aristocratic giants. Du Fu's talent was outstanding when he was a teenager, and he often went in and out of the gates of Li Longfan, the king of Qi, and Cui Di, the supervisor of Chinese calligraphy, and he was able to appreciate the art of singing. The first two sentences of the poem are to recall the past and communicate with him, and express the poet's concern for the prosperous times in the early years of Kaiyuan. The last two sentences are feelings about the decline of state affairs and the erratic artists. Only four sentences sum up the vicissitudes and life changes of the whole Kaiyuan period (note: the Kaiyuan period is 7 13-74 1 year). The language is extremely plain, but the connotation is infinitely rich.
Li Guinian was a "special singer" in the Kaiyuan period. Du Fu met Li Guinian for the first time in his high-spirited youth, when it was the "golden age of Kaiyuan". Du Fu has long been appreciated by Li Fan, King of Qi, and Cui Di, the secretary supervisor, and can enjoy Li Guinian's singing in their mansion. In Du Fu's mind, Li Guinian is closely connected with the prosperous Kaiyuan era and his romantic youth life. Decades later, they met again in Jiangnan. At this time, the Tang Dynasty, which suffered from the eight-year Anshi Rebellion, has turned from prosperity to decline, and the evening scenery of the two of them is also very bleak. This encounter naturally leads to Du Fu's pent-up sense of infinite vicissitudes. This poem spans several decades in Cang Sang. The changes of society and the description of scenery convey the poet's feelings about the decline of the world. The whole poem has profound rhymes, rich connotations and high artistic achievements.
"It's a common thing in Qi Wang's family, and Cui has heard it several times before." I often watch your performances in the Qi Palace. In front of Cui, I have also appreciated your art many times. Although the first two sentences are reminiscing about past contacts with Li Guinian, they reveal deep nostalgia for the flourishing age of Kaiyuan. The following language seems light, but it contains heavy emotions. "King of Qi", the younger brother of Emperor Xuanzong of the Tang Dynasty, and Li Fan, the son of Tang Ruizong (Li Dan), was named King of Qi, who was famous for his love of learning and talents and elegant temperament. "Cui Jiu" named Di is the younger brother of the secretary of China Academy of Sciences. He frequented the palace, was a favorite of Emperor Xuanzong of the Tang Dynasty, and served as a secretary supervisor. He ranks ninth among his brothers, so he is called Cui Jiu. "Qi Wangzhai" and "Cui" seem to blurt out, but in the eyes of the parties, the names of these two literary celebrities in the heyday of Kaiyuan are enough to evoke good memories of the past. In those days, it was common to meet an art star like Li Guinian, but in retrospect, it was an impossible dream. When two poems are repeated, it seems that they want to prolong the aftertaste. The feelings of heaven and earth contained here need to be combined with the following two sentences to taste.
"It's the beautiful scenery in the south of the Yangtze River, and it's the season of falling flowers." This is the beautiful scenery of Jiangnan in late spring. I didn't expect to meet your old acquaintance at the time of falling flowers. The past has passed, and dream-like memories can't change the helplessness in front of me. The last two sentences' feelings about the decline of state affairs and the wandering artists summed up the vicissitudes of the whole Kaiyuan period. Jiangnan, with beautiful scenery, was originally a place where poets yearned for a visit in peacetime. Now, I'm really in it, but what I'm facing is a wandering artist covered in withered flowers and hoary heads. Autumn is not only an impromptu work, but also a kind of intentional or unintentional interest. Readers who are familiar with the times and Du Fu's life experience will definitely think of the decline of the world, the social situation and the decline and illness of the poet, and will not think that the poet is deliberately making metaphors. Therefore, this writing seems a bit muddy. The two function words "exactly" and "you" have ups and downs, but also between the lines, which contain infinite feelings.
Four poems, from Village of Emperor Qi's "Smell" song to Cui's face, and then to the emphasis on "Hui", "Wen" and "Hui" in the south of the Yangtze River, connect the vicissitudes of the times and great changes in life in the past 40 years. Although no poem directly relates to the life experience of the times, through the poet's recollection, it shows the great shadow that brought havoc to the material wealth and cultural prosperity of the Tang Dynasty, as well as the great disaster and trauma caused to people. It can be said that "the chaos of the world, the rise and fall of the New Year, and the desolation of each other are all among them" (Sun Zhu's comment). Just as there is no set on the stage of an old play, the audience can imagine a very broad spatial background and event process through the singing performance of the actors; Also like a novel, it often reflects an era through a person's fate. The successful creation of this poem shows that a short genre like quatrains can have a great capacity for a great poet with high artistic generalization and rich life experience, and when expressing such rich content, it can reach an effortless and seamless artistic realm.
Appreciation of Three Classical Poems in Junior Middle School
Two autumn ci poems, the first part
Liu Yuxi [Tang Dynasty]
Since ancient times, I feel sad and lonely every autumn. I think autumn is more than spring.
There is no one in the clear sky in Wan Li, and a crane, Ling Yunfei, has aroused my meditation on the blue sky.
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Liu Yuxi's Autumn Poetry is abnormal in tone and novel in style. It eulogizes the beauty of autumn with enthusiasm. What's more rare and valuable is that "Autumn Ci" is the work of the poet after he was relegated to Langzhou, which makes people admire Liu Yuxi's attitude towards others. There are two original poems, and this is the first one.
"Since ancient times, autumn has been sad and lonely. I say autumn is better than spring." Since Song Yu left a famous sentence in Nine Arguments, sadness has become a hue and an emotion in autumn. Sadness has become the autumn in my heart. However, at the beginning of the poem, the poet begins with a discussion, categorically denying the previous concept of sorrowful autumn, showing a radical and upward poetry. I'm talking about the poet's self-confidence, which, although infected, is an unfortunate color. However, the poet's broad mind has significantly resolved this misfortune. "Winning the Spring Dynasty" is the poet's full recognition of autumn scenery. This kind of recognition is not only a temporary emotional impulse, but a poet's rational thinking on autumn at a higher level.
"Clouds are scattered by cranes in the clear sky, which brings poetry to Bixiao." The poet grasped the unique landscape of "a crane flying in the sky" in autumn, showing the open scene of crisp autumn, clear skies in Wan Li and white clouds fluttering. The crane in Lingyun, also carrying the poet's poems, swam to the sky together. Although this crane is lonely, its momentum is extraordinary. The meaning of a word "beat" is self-evident. Perhaps, the poet uses "crane" as a metaphor, or perhaps, the poet regards "crane" as an unyielding embodiment. There is philosophical implication, artistic charm, thought-provoking and memorable. It gives readers not only the vitality and plain color of autumn, but also a noble spirit and noble sentiment.
Reading such a poem, we don't have a sad breath in our hearts. With the poet's "poetry" and the wings of the poet's imagination, we gallop in the blue sky like horses. As a result, the crane flies into the sky, and its poetry is far-reaching. The combination of "reality" and "emptiness" gives you a good feeling of inspirational emotion.
The whole poem is magnificent, artistic conception is magnificent, emotion, scenery and reason are integrated in one furnace, showing high spirit and broad mind, singing the extraordinary Qiu Ge and leaving us precious spiritual wealth.
Appreciation of Classical Poetry in Junior Middle School
Listen to the night flute from the wall of Shouxiang
Li Yi [Tang Dynasty]
Before returning to Lefeng, the sand was like snow, and the moon outside the city was like frost. (Selected Works of Le Hui Feng: Feng).
I don't know where the bleak reed flute blows and I look at my hometown all night.
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This is a poem describing the homesickness of soldiers guarding the border. This poem is characterized by implication, which implies the feelings to be expressed in the description of scenery and modality. The first two sentences of the poem describe the scenery under the moon when entering the city. Deserts such as frosty moon and snowy moon are typical environments that cause homesickness. The description of the environment shows the feelings of the characters. On this silent night, the night wind brought the bleak and bitter flute, which aroused the feeling of looking forward to hometown. "Looking after people overnight" does not mean homesickness or homesickness. But through the modal behavior of the characters to express their psychology and write endless homesickness.
"The sand is like snow before returning to Lefeng, and the moon outside the city is like frost." Described the unique scene of the frontier in the moonlight. From a distance, towering beacon towers stand on the winding hills for dozens of miles. Under the beacon tower is an endless desert, like a snowy wasteland in the moonlight. Look closely, the moonlight outside the high city is bright, such as late autumn frost. A desert is not a snowfield. The poet said it was "like snow", moonlight was not autumn frost, and the poet said it was "like frost". The poet's pen-shifting is to use this bleak scenery to render his sadness. It is this snow-like desert and frost-like moonlight that makes the night of surrender city seem particularly empty and desolate. It also makes the poet feel lonely in the frontier fortress and feel homesick.
"I don't know where to play the flute, and I want to look forward to my hometown all night." Then write positive feelings. In the silence, the night wind brought the sound of reeds. The flute reminds the poet: Which guard on the beacon tower pours out endless worries through the flute? How much homesickness has the plaintive flute touched? In this long night of frontier fortress, they got up in clothes one by one, and their melancholy eyes swept across the snow-like desert, such as the frost moon, staring into the distance for a long time. "I don't know where" wrote the poet's confused mood when he heard the flute on a moonlit night, reflecting the emptiness and loneliness of the night scene. "One Night" and "All Hope" also show the depth and urgency of the people's expectations for their hometown.
Judging from the whole poem, the first two sentences are written in color, and the third sentence is written in voice; The last sentence expressed my feelings in my heart and wrote about love. The first three sentences set off and pave the way for the direct lyric of the last sentence. The visual image inspires homesickness at first, and then the auditory image leads the undercurrent of homesickness to the torrent of emotion. The first three sentences are more ready, and the last sentence is usually written directly. Yi Lee, on the other hand, found another way, making the feeling of full pregnancy make a detour at the end, expressing it with an imaginary lens that people look forward to their hometown, which makes people feel that the sentence is absolutely endless, and it still ripples one after another at an abrupt end. The artistic success of this poem lies in the integration of scenery, sound and emotion, and the integration of emotional appeal, artistic conception and musical beauty into a complete artistic whole, which has the characteristics of muddy artistic conception, simple and ethereal spirit and endless meaning.
This poem is beautiful in language, gentle in rhythm and affectionate in scenery, which describes the scenery in front of you and the feelings in your heart and is touching. Poetic and picturesque, profound and unforgettable. Liu Yuxi mentioned Li Yi in "Saying" xianggong "with Hu Ling to send Yang Shaoyin to the river", and there is a phrase "the moon is empty and the reed pipe is autumn", which refers to this poem. It can be seen that this poem was widely circulated at that time. Chronology of Tang Poetry says that this poem was recorded at that time. Appreciating the artistic conception of the whole poem carefully is indeed a good product for composition and painting. Therefore, it was put into a string tube and sung all over the world, becoming one of the outstanding masterpieces in the quatrains of the middle Tang Dynasty.
Appreciation of Five Classic Poems in Junior High School
Yellow Crane Tower
Cui Hao [Tang Dynasty]
The fairy of the past has flown away by the yellow crane, leaving only an empty Yellow Crane Tower.
The yellow crane never revisited earth, there have been no long white clouds for thousands of years.
Every tree in Hanyang has become clear due to sunlight, and Nautilus Island is covered with sweet grass.
But I looked home, and the twilight was getting thicker. The river is shrouded in mist, which brings people deep melancholy.
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This poem is full of scenery before writing, and lyrical after writing, which is natural. Even a generation of Li Bai, who is known as the "Poet Fairy", can't help admiring again and again, and thinks it is better to stop writing for a while. To this end, Li Bai also sighed with regret and said: "There is no good scenery in front of me, and Cui Hao wrote a poem on it!"
The Yellow Crane Tower is named after its Yellow Crane Mountain (also known as Snake Mountain) in Wuchang. Legend has it that in ancient times there was a fairy who crossed here by yellow crane (see Zhi); It is also said that Fei went to the immortal to drive a crane (see "Taiping Universe", quoted from "Tu Jing"). Poetry is to think about the origin of the name of a building, from legend to writing, and then grow out. What is the fairy crossing the crane? What is it now? If it is said to be "gone forever", there will be regrets that the years are gone and the ancients are gone; The fairy went to the empty building, leaving only the white clouds in the sky, which lasted for thousands of years and could show the boundless generosity of the world. The poet's strokes describe the feelings that people who boarded the Yellow Crane Tower at that time often felt, with boundless spirit and sincere feelings.
There used to be a saying that "writing is based on qi". The first four sentences of this poem seem to be spoken casually, spinning in one breath and going down the trend without hindrance. The word "Yellow Crane" appears repeatedly, but because of its momentum, readers "wave five strings to see Hong Fei" and read on in a hurry, which is a taboo in metrical poems. The poet seems to have forgotten that he wrote the seven laws of "floating before cutting", and every word has a fixed tone. Try it: the five or six words in the first couplet are the same as "Yellow Crane"; The third sentence is almost all snoring; The fourth sentence ends with a three-level tone such as "empty leisurely"; No matter any confrontation, it is based on the syntax of ancient poetry. Is this because the seven laws were not finalized at that time? No, there are already seven standardized laws, which were written by Cui Hao himself. Is it the poet who deliberately writes disharmonious laws? Not necessarily. He is different from Du Fu's later metrical poems in that he deliberately created his own tune. It seems that I still ignored it. As Lin Daiyu said when she taught people to write poems in A Dream of Red Mansions, "If there are strange sentences, even the truth is wrong." Here, Cui Hao practiced according to the principles of "focusing on intention" and "not hurting meaning with words", which is why he wrote such a rare poem in the Seven Laws. Shen Deqian commented on this poem, thinking that "the meaning is like the first, the implication is between the lines, and he writes with a vertical pen, so he is good at making great achievements through the ages" (Volume 13 of Tang Poetry), which means this.
In the first half of this poem, put things right, and in the second half, I wrote about what I saw and felt in the building, and wrote about the homesickness caused by the grass and trees overlooking Hanyang City and Nautilus Island from upstairs. This is put first and then collected. If you just let nature take its course, don't accept it, don't stick to the rules, and don't return to the meter, then it's not seven tones, but seven ancient ones. This poem seems to be divided into two parts. In fact, the text is the focus from beginning to end, with only one breath in the middle. This seemingly continuous connection is also the most organized from the perspective of the beginning, inheritance, transformation and combination of rhythmic poetry. When discussing that the second couplet of legal poems should be attached to the first couplet, Yuan Yang wrote several poets and legalists: "This couplet should be broken (the first couplet), like a dragon ball, and should be firmly adhered to." This is the case in the first four sentences of this poem, which tells the legend of a fairy riding a crane. Couplets and puzzles embrace each other and are integrated. Yang Zai also said that the "turn" of the neck couplet: "Avoid the meaning of the former couplet, and change it, such as thunder breaking the mountain, the viewer is amazed." The metaphor of thunder is intended to show that there should be a sudden change in the first five or six sentences, which is unexpected. At the turning point of this poem, the style turns from right to right, and the realm is completely different from that of the former couplet, which just meets this requirement of the law. The sudden death of a native Syrian yellow crane gives people a feeling of unknowability. Suddenly it became a grass tree in Qingchuan, and I can vividly see the scene in front of Manchuria. This contrast can not only dye away the sadness of those who climb the building and overlook, but also make the literature change. It is also in line with the law of poetry to let poetry return to the invisible state at the beginning to cope with the "combination" in front, such as the tail of a leopard.
It is precisely because of its superb art and great success that this poem is regarded as the swan song of the Yellow Crane Tower, which is understandable.
Later, Li Bai went upstairs, also full of poetry. When he found Cui's poems in the building, he repeatedly shouted "wonderful, wonderful!" " According to legend, Li Bai wrote four "doggerel poems" to express his feelings: "Hit the Yellow Crane Tower with one punch, and kick over Parrot Island with one foot. There is a scene in front of him in which Cui Hao wrote a poem. " I stopped writing. Young Ding laughed at Li Bai: "The Yellow Crane Tower is still intact, but it can't be beaten." Li Bai also explained in a poem: "It's really a disaster. It was only because the yellow Crane Immortal cried to the Jade Emperor that the Yellow Crane Tower was rebuilt, and the yellow Crane Immortal returned upstairs. " It's really serious. That's great. Later generations built a pavilion on the east side of the Yellow Crane Tower, named Li Bai's Writing Pavilion, to show his ambition. On the double eaves, it re-entered the Tao and became a place for Yan You. In fact, Li Bai's love for the Yellow Crane Tower is hard to find. He is passionate and even called it "one guest in Qingyun, three guests in Yellow Crane Tower". Mountains and rivers depend on humanities, and the name of Yellow Crane Tower is more prominent.