China has been a country of poetry since ancient times. In the field of ancient poetry, the stars are bright and the horn is outstanding. People have created a large number of ancient poems, leaving us with valuable cultural heritage. How to guide students to read and appreciate classical poetry, and to deeply explore its aesthetic significance, is an important topic in Chinese teaching in middle schools. Expressing profound thoughts, impassioned sentimental feelings, towering peaks, roaring rivers and lakes, and even people's voices, expressions and gestures are all based on language. Therefore, guiding students to understand the linguistic beauty of classical poetry is the premise and basis for appreciating and evaluating classical poetry.
To guide students to learn classical poetry, we must first let them master the imagery beauty of classical poetry.
In the description of objects, China's ancient poems have reached the realm of exquisite workmanship, and they can often create extraordinary objects through one or two sentences. For example, Xin Qiji's poem "The Bright Moon Surprises the Magpie", in which the moon rises and magpies occasionally fly at night, is totally irrelevant. However, the author uses the words "don't" and "surprise" to connect two unrelated things and inject endless interest: the bright moon seems reluctant to leave the branch, and the branch is also reluctant to leave. Just when they were inseparable, they accidentally alerted the magpie living on the branch. The natural phenomenon, which was very common, has an unnatural taste in the author's pen. The original irrelevant images can be organically integrated by the author.
The imagery beauty of classical poetry language is also reflected in the description of color. Ancient poets achieved perfection in color selection, color collocation and color contrast. Not only some masters, but also three-foot men who are wet behind the ears have reached a very subtle understanding of color. For example, Luo wrote the well-known "Goose" when he was a child: "Goose, Goose, Goose, Xiang Tiange, white hair floating green water, Anthurium playing clear waves." When students close their eyes, a picture will appear in their minds: a curved pond, crystal clear, with several white geese singing in the sky, frolicking, frolicking and chasing in the water, and red geese's feet stirring the green water. This description constitutes a colorful picture of wild geese playing in the water, with good sound, color and shape. After reading this poem, we can't help but marvel at such emotional ability at an early age.
The linguistic beauty of China's ancient poems is also reflected in the conciseness of language. The language of China's classical poems is extremely concise, rich in connotation and concise. In order to reach the realm of careful choice of words, ancient poets worked hard. Du Fu's poem "For human nature, words never stop", Lu Yanrang's poem "Sing a word, twist a few stems" and Jia Dao's poem "Two sentences for three years, one song with two tears" are all evidences of the ancients' refining words. For example, Jiang Xue of Liu Zongyuan said, "There are no birds in hundreds of mountains, and there are no footprints in thousands of paths. A boat, a bamboo cloak, an old man fishing in the cold river-snow. " The poet painted a quiet environment with several crosses. Draw a "Li Weng" in the vastness of "Qian Shan" and "Wan Jing", and there is a word "Yu" in the cold silence of "Jue", which makes people in the whole poetic scene move in silence. The whole poem shows us that the world is so pure and quiet, the fisherman's life is so cold and lonely, and the old fisherman's character is so arrogant. If we contact the author's writing background again, this poem will bring us more information: after the failure of Wang's political reform, its main members were wiped out, Yongzheng innovation vanished, and Liu Zongyuan was thrown out of the political rights center. In the desolate and remote south, I began a long exile. In Liuzhou, although he got the title of Sima, he had no official position and was greatly stimulated and depressed mentally. Therefore, by describing the mountains and rivers and praising the fisherman who lived in seclusion between mountains and rivers, he expressed his lofty and aloof feelings and his political frustration and distress. Therefore, in a cold and quiet environment, an image of a fisherman who is fearless of ice and snow, selfless, devoted to fishing, lonely in body and lofty and aloof in personality is a true portrayal of Liu Zongyuan's lofty and aloof image. A small poem with a cross of twenty actually contains so much information that we can't help but marvel at the conciseness of classical poetry language.
Poetry is solidified music, and China's ancient poetry has formed an indissoluble bond with music since it came into being. For example, "Lu's Spring and Autumn Annals and Ancient Music" contains: "The joy of the past, three people fuck the oxtail, and cast their feet with songs." "... lack of singing, endless dancing, foot dancing. "Ancient poetry can be sung, so it is inextricably linked with music. The musical beauty of China's classical poems is manifested in many aspects. The harmony of tones and the fluency of syllables are all manifestations of the musical beauty of classical poetry. For example, Li Qingzhao's "slow voice and whisper" means "searching, cold and clear, sad and miserable." The use of fourteen overlapping words has a very harmonious tone, and its originality has been praised by critics in previous dynasties. This is mainly due to Yi 'an's great attention to "five tones, five tones, six rhythms and clear turbidity" (Li Qingzhao's comments on Ci). We should also pay attention to the interlacing of tongue and teeth sounds, such as the fourteen overlapping words above, which form the relative and adhesion of flat tones respectively, so as to achieve the harmonious and scattered tones and form the musical beauty of lingering sound. This kind of language is really memorable and has the feeling of "I don't know the taste of meat in March".
On the fluency of verve, Li Bai's "Into the Wine" is particularly prominent: "You see how the water of the Yellow River moves out of the sky and into the ocean, which is gone forever. You can't see the lovely hair in the bright mirror of the high room. Although it is silky black in the morning, it has turned into snow at night. " The first two groups of long sentences, such as wind, sea and rain, come from the air, magnificent and unstoppable. The whole poem flies in the sky smoothly, in one go, just as Yan Yu said when commenting on Li Ji, "If you are affectionate and can't admire words, you can cover other people's poems with a pen. It's too white, but you can use chest spray. This is its strength. "
Therefore, to appreciate classical poetry, students should first master the linguistic beauty of classical poetry, and on this basis, have a deeper understanding of the natural beauty, social beauty and artistic beauty of classical poetry, so as to improve the appreciation level of classical poetry.