China's classical poetry, with its unique and outstanding quality and natural and ingenious form, attracts the attention of generations of Chinese sons and daughters, and also overlooks the world literary world with its leading figures and talented people.
Beautiful artistic conception makes her fascinated, and implication makes her charming; However, implication and incomprehension seem to be twin brothers, and artistic conception and imagination can never be abandoned.
How to clear the writing obstacles and taste her profound details? How to personally feel her profundity? This paper tries to answer the above questions with the word 6. 18.
I. Trial topics
The distance between ancient and modern characters makes it difficult for modern people to understand classical poetry. In the face of this incomprehensible beauty, how should we observe her heart? First of all, we can look into her eyes-the title-and walk into her heart. People often say that the eyes are the windows of the soul, and the title is the eyes of the article, because the title can not only attract readers, but also reveal the content and theme.
But people are often eager to catch the beauty's heart and ignore her bright eyes. When adults teach young children, they often start with "the bright line at the foot of my bed" and ignore the title "Think of a quiet night"; Students' analysis often focuses on the understanding of this poem, and it is common to ignore the title. Why not analyze the topic carefully? In fact, the title of ancient poetry often controls the content of poetry, and the title reveals the voice of poetry. Find out the meaning of the topic, and you will have a preliminary understanding of the content of the poem. Except, of course, when the first sentence is a title like The Book of Songs.
"Examining the topic" means looking carefully, which requires readers not only to pay attention to the topic, but also to conduct a comprehensive analysis of the topic and add appropriate reasoning imagination.
Modern Chinese grammar divides simple sentences into subject-predicate sentences and non-subject-predicate sentences according to their structures. We might as well divide the titles of classical poems into two categories: those with verbs and those without verbs, and those without verbs account for only a small part. Take the recognized Appreciation Dictionary of Tang Poetry (Shanghai Dictionary Publishing House, 1983 edition) as an example. Titles without verbs account for 22% of the total number of books. Although this data comes from the local analysis of Tang poetry, it is a statistic of the essence of classical poetry, so it should be representative.
Titles without verbs are often nominal, directly indicating the object of the author's chanting: or characters, such as fisherman (Liu Zongyuan) and book fragrance (Du Fu); Or time, such as moonlit night (Du Fu) and Xiao Chun (Meng Haoran); Or places, such as Wuyi Lane (Liu Yuxi) and Shitou Town (Liu Yuxi); Or natural scenery, Shuang Yue (Li Shangyin) and Jiang Xue (Liu Zongyuan). Poetry is the carrier of expressing feelings, no matter what the topic is, the poet will pour his feelings, so this verb-free title is not only the object of the poet's description, but also the sustenance of the poet's feelings. Appreciators must think further on the basis of clarifying the meaning of the question: what kind of feelings will the author express in the face of these chanting objects? Relatively speaking, such titles are few in number and easy to understand.
Most titles have verbs, and some titles have only one verb, such as Gordon (Du Fu) and Forever in My Heart (Wang Changling). Some of them have multiple verbs, such as "I was pregnant with Zhang Zifang after crossing the Piqi Bridge" (Li Bai) and "Wenle was blessed with Jiangzhou Sima" (Yuan Zhen). Multiple verbs, some stating the same subject, some stating different subjects. This problem will be elaborated in "finding verbs"
In addition to distinguishing whether there are verbs in the topic, it is also very important that the consideration of the topic should run through the overall grasp of the poem, that is, the factors of the topic should also be considered when understanding the specific poem.
This paper tries to take Meng Jiao's After Graduation as an example to see the role of title in understanding the theme of poetry. "In the past, it was not enough to boast, but now there is no end to debauchery. Spring breeze is proud of horseshoe disease, and you can see Chang 'an flowers all in one day. "The topic" After the Senior High School Entrance Examination "has clearly told us that the content of this poem is what happens after studying hard at a cold window and finally winning the imperial examination title. Without reading poems, readers can imagine the incomparable joy of "going to Tian Shelang and entering the Imperial Palace at dusk". Then the meanings of the two keywords "indecent" and "debauchery" in the poem should be different from those in modern Chinese. " The filth of the past should be the embarrassment before graduation; Today's debauchery "should be the pride after graduation." Dirty and debauchery are no longer derogatory terms. With the tip of the title, it is not difficult to understand that the feeling of elation after becoming the first place permeates the whole poem.
On the other hand, if you don't examine the questions, your understanding of the main idea will be greatly reduced or even misinterpreted. Try saying, "Haiyan flies west and the sun sets, and the Tianmen looks at Wuhou's house. The balcony is locked and no one is there, and it is the beginning of the east wind. " -Haiyan sunset, looking at the prince's mansion outside Beijing's forbidden door. "Heavy buildings are empty," and there are only fallen flowers in the lonely east wind. This is a landscape poem that is not too difficult to understand. But after reading the title, you will find that its main idea is not that simple. "A stranger wanted to live in Chang 'an, but he couldn't help but travel in a long area temporarily, so he wrote a poem. If we understand the meaning of the topic, we can understand that Haiyan Xifei is a poor man who can't find a place to live in Chang 'an. In the evening when the birds returned to their nests, he could only look at the long-term uninhabited high-rise buildings in Chang 'an and fly away. This satirical poem not only expresses the feelings of the guests who have lost their souls, but also reflects the reality of "the decline of the royal family in the Tang Dynasty". Only when the title is clear can we accurately understand its theme.
In a word, "test questions" are both a method and an idea. When the viewer pays more attention to the title, things are much simpler.
Second, find verbs.
This is the key to clear the obstacles of ancient poetry, and it is also the most important method in the six methods of appreciating ancient poetry. This method is not only suitable for understanding titles, but also for understanding poems.
Why are you looking for verbs?
First of all, poetry, as a style, has the characteristics of observing human beings and nature. This observation is reflected in the experience of the present situation, development and change of oneself and nature. Verbs are words that express the actions, psychological activities or development of people or things, so verbs are the words that can best express human experience of themselves and nature.
Secondly, although the composition of ancient poems and sentences is different from that of ancient prose, they also have similarities. This similarity lies in that, in general, the predicate is not omitted, and the verb acts as the main force of the predicate. Therefore, ancient poetry generally does not omit verbs. Therefore, grasping the most expressive verbs that are rarely omitted is undoubtedly the key to clearing the obstacles of text understanding.
Verbs in ancient poetry sentences-to be exact, declarative sentences-are more complicated. There are roughly the following four situations:
(1) Each sentence has only one verb;
(2) Each sentence has two or more verbs;
(3) Although there are no verbs in each sentence (some exist), adjectives are also declarative;
(4) Every sentence has no verbs.
Readers should distinguish between situations and treat them differently. In either case, we should first find out the verbs (including adjectives with declarative function) one by one, then find out their declarative objects, then find out the dominant objects of the verbs, and finally comprehensively analyze and grasp them as a whole.
In this process, the appearance of multiple verbs in a poem is the most complicated: multiple verbs may state the same subject or different subjects; It is also possible that some of them have a declarative function and the other part has a decorative function. For people who state the same subject, we should pay attention to the continuity of several verbs; For stating different subjects, it is necessary to find out what their subjects are, especially the omitted subjects, and to find out the logical relationship between them. From a grammatical point of view, the verbs in a poem are not necessarily at the same level. Grasping the first level is the key, and the decorative verbs should be treated differently. Let's illustrate this method through examples:
Example 1: "Moonlight in the pine forest, crystal stone in the stream." ("Mountain Autumn Night" Wang Wei)
This is a sentence with only one verb. Zhao and Liu are agents and clear springs respectively, and they are both modifiers and patients. In this way, we can initially know that this is a antithesis describing the mountain scenery at night, and we can also feel the wonder of the combination of motion and static in poetry.
Example 2: "The small building listens to the spring rain all night, and the deep alley sells apricot flowers." ("Lin' an Spring Rain" Lu You)
This is also a sentence with only one verb, but it is different from the example 1. Listening and selling is neither a "small building" nor an "overnight", nor a "Ming Dynasty" nor a "deep alley". who is it? It's the omitted "person", the person who listened all night in the small building, and the person who peddled in the deep alleys of the Ming Dynasty. The person who listens to the spring rain and the person who sells things in the deep alley are not the same person. It should be that people who listen to the spring rain imagine that someone will sell apricot flowers in the deep alleys of the Ming Dynasty. If you don't add the omitted subject, you will have doubts. Could it be that the small building is listening and the alley is selling deeply?
Example 3: "The sound of bamboo calls the washerwoman to return, and the lotus leaves are collected in front of the fishing boat." ("Mountain Autumn Night" Wang Wei)
Every sentence has more than two verbs-Noisy, Ghost, Happy, Moving, Xiaxia and Fishing. Who is shouting? Bamboo grove? No, there are so many people in the bamboo forest. Who will come back? Huannv. What move? Lotus, lotus, lotus leaf. Under what? The fishing boat went downstream. Although "Huan" and "Yu" are also verbs, they are not the main verbs in this poem. They modify "woman" and "ship" respectively, which are not on the same level as "noisy", "returning", "moving" and "chivalrous".
Example 4: "Chang 'an looks back at the embroidered pile, and thousands of doors are open at the top of the mountain." ("Guo Huaqing Palace" Du Mu)
The same is true of multiple verbs in a sentence. Different from Example 3, the relationship between these two sentences is not juxtaposed, but inherited. Looking back, not only can you see the magnificent palace, but also many doors on the top of the mountain are opened one after another. It is necessary not only to find out whether the actors of these verbs are the same-there are often many different situations, but also to find out the logical relationship between these different actions and different actors, thus forming a complete understanding.
Exodus 5: "The ladies-in-waiting are like full spring palace, but only partridges are flying today." ("Vietnam's visit to the ancient times" Li Bai)
This is a poem whose adjectives are equally declarative. In the first sentence, there are no declarative verbs except the figurative "such as", but the adjective "person" is also declarative like a verb. The word "male" vividly tells the scene of beautiful women in the past. The beauty of "fullness" is not inferior to the "green" of "spring breeze and green Jiang Nanan"; Moreover, the word "full" is in sharp contrast with the word "only" in the next sentence "Only partridges fly today". It can be seen that adjectives also have declarative functions, even surpassing verbs emotionally. This shows that adjectives with declarative function cannot be ignored when looking for verbs.
Example 6: "In the sharp wind from the vast sky, apes are sobbing, and birds fly home on the clear lake and white sand beach." ("Ascending the Mountain" Du Fu)
This is an example of the verb and adjective "* * * is in charge of state affairs". The verb "moaning and flying back" states the state of apes and birds, and the adjective "urgent, high, clear and white" states the state of "wind, sky, bamboo and sand". The comprehensive analysis shows us a beautiful picture we saw when we climbed the mountain.
To sum up, it is not difficult to see that the role of "finding verbs" in poetry understanding can be described as an outline. The understanding of the topic is the same, so I don't need to repeat it here.
Exodus 7: "Snow on the boat at night, iron horse in the autumn wind." ("Book Wrath" Lu You)
Exodus 8: "The old vine is faint, and the bridge is flowing." ("Tianjingsha Qiu Si" Ma Zhiyuan)
Both of these cases are famous sentences without verbs, which are relatively rare and need to be considered from another angle. In the following article, we will talk about this problem in The Thinking of Little People.
Third, reasonable sentence patterns.
If "finding verbs" can help readers quickly clear the obstacles to understanding words, then "rational sentence patterns" can help readers solve the problem of difficult sentence patterns.
There are similarities in the use of verbs between ancient poetry and ancient prose, but there are great differences in sentence patterns. Special sentence patterns in ancient Chinese have their own usage rules, but not in ancient Chinese poems, which is determined by the characteristics of China's ancient poems. In order to achieve the requirements of rhyme, antithesis, rhythm and flatness, poets sometimes break the normal language order, and the new order does not follow the law of special sentence patterns in ancient Chinese, resulting in variant sentences that are puzzling to readers. It is another obstacle to understanding poetry, and it must be arranged into normal sentence patterns in order to accurately understand the content of poetry.
She was guarding an empty boat at the estuary, with no one to accompany her except the bright moon and cold water. ("Pipa" Bai Juyi)
She is guarding an empty boat at the estuary. The moon beside the boat is bright and the river is cold.
This is a relatively simple one, and if it is not sorted according to the normal word order, it will not affect the understanding too much. The following situation is different.
Exodus 10: Throughout the ages, heroes can't find Sun Zhongmou. ("Yong Yule Jingkou Gubeiting Nostalgia" Xin Qiji)
Throughout the ages, the figure of the hero Sun Zhongmou is nowhere to be found.
Exodus 1 1: I am wandering in my motherland, I love Ying Xiao Wo, and I was born very early. ("Niannujiao Chibi Nostalgia" Su Shi)
Old country fugue, Ying Xiao Wo affectionate, early life in France and China.
Example 12: Haiyan flies to the west and the sun sets, and Tianmen looks at Wuhou's home. ("The guest has divination and is not good at traveling." Xu Hun)
Haiyan flies west and the sun sets, looking at Tianmen, the hometown of Wuhou.
This is the type in which the word order in the sentence is reversed. If these sentences are not arranged into normal sentence patterns, it will be difficult to accurately grasp the actor of the verb, which will lead to the result that the subject becomes the actor and the relationship between subject and object is reversed, which will hinder the correct understanding of poetry.
Example 13: in forty-three years, I still remember that in hope, I caught fire on Yangzhou Road. ("Yong Yule Jingkou Gubeiting Nostalgia" Xin Qiji)
Watching, I still remember, forty-three years, bonfire Yangzhou Road.
Example 14: I took 100 couples to travel and reminisce about the past. ("Qinyuanchun Changsha" Mao Zedong)
Recalling the eventful years in the past, I took 100 couples to travel.
Example 15: Chao Wenyou sang a farewell song to cross the river at the beginning of frost last night. ("Farewell to Weiwan" Li Wei)
I sang a farewell song for the wanderer when I crossed the river at the beginning of frost last night.
This is an inverted sentence order, which is more difficult to understand or even misinterpret without reduction.
How to judge these abnormal word orders? According to logical relations, contact the context. Xin Qiji, who advocated anti-gold, boarded Gu Beiting to cherish the past and hurt the present. He praised Sun Quan for his contribution here. He can't call himself a hero, but should praise Sun Quan as a hero. Su Shi's "Wandering Hometown in Ying Xiao Wo" is controversial. One side thinks that it is "Zhou Yu laughs at me", while the other side thinks that it is "Su Shi laughs at himself". The author agrees with the latter statement. Tianmen refers to the Forbidden City, and the Wuhou family is naturally in the Forbidden City. Contact the above, it should be Haiyan of Wangtianmen in Xifei; "Beacon Yangzhou Road" happened forty-three years ago, and they should be the object of "remembrance"; "Zeng" who "took a hundred couples on a trip" shows that this sentence is one of the following contents of "reminiscing about the past"; The time sequence of "tide" and "yesterday" should be well understood.
Variant sentences account for a certain proportion in ancient poetry, so it is necessary to clear up the obstacles to understanding. Readers should be aware of this phenomenon. When sentences are difficult to understand, they should try to sort out sentence patterns in order to solve some difficult problems.
Fourth, look at the background.
Learning history, there is a saying that "knowing people and discussing the world", and understanding ancient poetry is not like this. Bai Juyi put forward that "articles should be combined with the times, and poetry should be combined with things". In fact, it is not bad to remove the word "he", because this is the law of literary creation. Just as any poem has its social foundation, any poem also has its individual psychological foundation. Understanding the social basis of poetry can make us see more widely, and understanding the psychological basis of poetry can make us see more deeply.
If we understand Wang Wei's secluded life, it is not difficult to understand the Zen meaning of "Mountain Residence in Autumn Night".
If we understand Tang Xuanzong's misunderstanding of Yang Guifei's "gathering with three thousand treasures" and the profound disaster brought to the Tang Dynasty by the Anshi Rebellion, it is not difficult to understand the ironic taste of Du Mu's "riding a concubine and laughing in the world of mortals".
If you know Li Bai and Du Fu, then the ups and downs of "Vietnam's visit to the ancient times" are impermanent, and the understanding of the old illness and loneliness of "going up the mountain" will not stay literally.
This puts higher demands on the audience: not only to clear the obstacles of the text, but also to fill the blank of the background.
Look at Wen's "Zhang Jingwu Yuan": "The iron horse is carved in the clouds, and Liu Ying is in the Han Palace. The horn of Kansai War Drum sounded in Hanguguan, and a star landed on the bank of Weihe River. People can't help the deer in the Central Plains. If the bed treasure account has no words, Qiao Zhou has been an old minister since then. " This poem has no difficulty in wording and sentence making, and its title is concise and clear. However, if you don't understand the background of the Three Kingdoms period, especially in the late Three Kingdoms period, when Zhuge Liang personally led the army to attack Wei and stationed in Wuzhangyuan, it would be difficult to understand this poem. It is easier to understand for a person who is familiar with the story of the Three Kingdoms with a low literary level. Because vivid words such as "Tunguan Right", "Night Demon Star", "Wolong", "Delu", "Elephant Bed Treasure Account" and "Qiaozhou" are already telling the regrettable and sighing history.
Background knowledge is not acquired overnight, but usually accumulated. The relationship between a glass of water and a bucket of water is equally reasonable in understanding ancient poetry.
In short, the more you know about the relevant background, the deeper and more accurate your understanding of poetry will be.
Five, want to villain
The "villain" here is by no means the antonym of "gentleman". It is more appropriate to pronounce it as "villain", and metonymy is used here.
The thinking of villains is the process that the appreciator transforms the literal information of a poem into the image information in his mind through association and imagination. The focus of this image is a person, who can be the poet himself, a "self-centered" poet or anyone. When talking about the realm of literature, Mr. Zhu Guangqian said: "The difficulty of literature and art lies in the creation of realm, and all events of character can only be revealed by realm. The realm is an independent and self-sufficient world where scenes and facts blend, and its authenticity lies in its integration and perfection. " The problem now facing the readers is that the poet has done the arduous task of "creating the environment" well, and he has done it well. How to make readers fully experience this "independent and self-sufficient world where scenes and facts blend"? -relying on association and imagination. It can be said that without association and imagination, there is no literary appreciation. Different from painting with lines, light and shade, color and other intuitive ways, literature reflects the objective material world with words and expressions, which is direct. Especially the words that express the names of things are the starting point of association and imagination. Every word is an image, and a poem is an organic combination of images. This requires readers to have a process of reengineering, and the tools of reengineering are association and imagination. "To appreciate China's classical poetry, one is to extract the information directly declared by the language carrier, that is, according to the description of the text, the appearance of things emerges in the mind, and a new image is created by using the recreated imagination. First, it is necessary to generate potential information according to the hints of words, and thus form a new artistic realm with high interest. " (Zhao Jingbo's "Poetry Beauty and Hidden Information") This requires the appreciator to turn the potential information into concrete objects, mobilize association and imagination, make up for the blank left by poetry, and form a beautiful and flowing picture, because one of the greatest characteristics of China's classical poetry is that there are pictures in it. Furthermore, "a thousand readers have a thousand Hamlets", so as long as the association, imagination and reasoning based on poetry are reasonable, it is understandable.
When reading Moonlight in the Pine Forest, a picture of "It is dark, but there is a bright moon in the sky, and the flowers have faded, but it is as loose as a cover" (Tang Poetry Appreciation Dictionary, Shanghai Dictionary Publishing House) will appear in my mind. This picture is not isolated. This should be related to the time and space background of "empty mountain after rain, standing in late autumn" and the smiling face and voice of "the washerwoman returns with bamboo, and the lotus leaves are harvested before the fishing boat". The appearance, dress and laughter of a happy girl can be filled according to the wishes of the viewer.
When reading "Riding a princess and laughing in the world of mortals, no one knows it is a litchi", we should not only think of a swift horse that comes and goes in a hurry, but also think that "if she just turns her head and smiles, there are hundreds of charms cast", which can make Yang Guifei, the king, not get rich early, even think of smiling at the bonfire and ruin her praise for the Western Zhou Dynasty.
When reading "Maid-in-waiting is like a flower in Man Chun Hall, only partridges fly at present", what we should think of is the historical sadness of past prosperity and decline that spans time and space.
Thinking of villains and finding verbs should be synchronized. When looking for verbs and clearing the obstacles of words, we should turn words into pictures, and the whole poem is a group of flowing pictures.
Sixth, taste feelings
This group of pictures in my mind is not a frozen cartoon, but a vivid and affectionate film and television lens. "All art is lyrical, and it must show a kind of spiritual feeling, such as obvious emotions such as joy, anger, love, evil, sorrow and sadness, subtle emotions such as excitement, depression and tranquility, and various indescribable erratic moods." (Zhu Guangqian) Poetry is characterized by lyricism, and this emotion "comes from the emotion recalled in silence" (Wordsworth). Therefore, the emotion in poetry is the flavor contained in keywords and hidden in montage. Taste needs to be tasted, and feelings should be carefully identified.
How to taste feelings?
First of all, regardless of Tang poetry and Song poetry, in general, there is a tendency to put the scene before the emotion or put the emotion after the event. Although scenes and emotions, events and emotions are not completely separated, the focus is still obvious. This fact has told readers how to taste feelings.
Secondly, there are many hidden emotional features in poetry. Except for a few sentences that directly express one's feelings, feelings in poetry often permeate modifiers, so we can find the poet's emotional tendency by trying to figure out modifiers. Take the autumn night in the deep mountains as an example, "after the rain, the mountains are empty and stand in the autumn night." The bright moon shed clear light from the cracks and cleared the fountain on the rocks. The bamboo forest is sonorous, the washerwoman returns, and the lotus leaves are swaying to get on the canoe. My friend's prince, what does it matter if spring is over and you are still here? The word "new" in "New Rain" shows the poet's love for rain. The "emptiness" in The Empty Mountain expresses the poet's aspiration to stay away from the hubbub. Why? Because Yamamoto is not empty-there are girls coming home late and fishing boats flowing, saying that this is an empty mountain because the poet's mind is "empty". The last two sentences, "my friend's prince, spring has passed and you are still here. What does it matter?" , more directly expressed the poet's love for seclusion. Not only did he live in the mountains by himself, but he also advised Wang Sun to stay here. Following this line of thought, we can further explore: Why do poets feel so different from ordinary people? Contact "looking at the background" and we will have a deeper understanding.
Third, readers should put themselves in the scene, even a scene in the scene. "It is difficult to describe the scenery with the whole body, and it is even more difficult to express feelings in the scenery." Liu Yuxi's Stone City is such a model. How to taste the love in this scene? You might as well put yourself in the scene as if you were a scene in the painting. You should "imitate things" and feel the feelings of things. "The old country is surrounded by mountains, and the tide is lonely and empty." You are the "tide" and "loneliness" of an empty city with mountains and rivers still beating. Say it's an empty city, is it really an empty city? No, you feel it is empty, but compared with it as the ancient capital of the Six Dynasties, it looks empty. No word of excellent ancient poetry is superfluous, so you should feel the affection of every word with your heart. "Old Moon Huai Shui Dong, late at night, I come to the female wall". After reading this, your identity is no longer the tide, but the moon, and it is an old moon, as if crossing just visiting. You have enjoyed the long night scenery of the Six Dynasties along the Qinhuai River, and you have seen too many drunkenness, complaining about others, too many wild bones on the roadside, joys and sorrows. Now you have explored the low wall of the city on a night intoxicated by the spring breeze. Do you want to see any new human tragicomedy? In this no-man's land, you are the moon, the earth and the tide, silently thinking about your own ideas. In fact, this is what the poet is thinking. Think about what? In connection with Liu Yuxi's life background, it turned out that he was thinking about the decline of the national movement. This artistic conception is not as straightforward as "the star is still the star, the moon is still the moon", but it is more chewy and memorable than it. The beauty of ancient poetry can only be seen with special glasses.
Understanding and appreciating ancient poetry is a complex and advanced artistic activity. You don't have to master the above eighteen words to enter the room, but these eighteen words can really bring us great convenience in reading ancient poems.
When understanding a strange ancient poem, the above six aspects complement each other. There is no absolute order, but they should go hand in hand, which is particularly important. For the convenience of explanation, this article is only divided into several sections.
How to guide students to accurately grasp the thoughts and feelings of a poem
What is the most difficult thing about poetry appreciation? I can't understand a single poem (word). How to understand a poem (word)? It is to understand the thoughts and feelings of poetry (words) accurately and comprehensively. Please look at the expansion of the following poem:
Read the following poem, expand your imagination and write the fourth sentence, about 60 words.
It's raining lightly at Jianmen Road.
Lu you
Dust and wine stains on clothes make you disappear everywhere.
Is this body a poet? Riding a donkey into the sword gate in the drizzle.
A student expanded it like this:
It's raining in Mao Mao. Lu You sang and drank wine, rode leisurely on the donkey's back, and soon passed the sword gate.
Although this classmate's imagination is not enough, it is no problem from the description, but it is impossible to get full marks in such an expansion. Why? Because this classmate used the wrong word, it is "leisure". This shows that he didn't understand the poem and didn't accurately grasp its emotion.
How to accurately grasp the thoughts and feelings of a poem? May wish to start from the following aspects:
The first thing is to find a way to figure out the topic.
Some titles point out the emotional tone of poetry. For example, the word "Xi" in Du Fu's Delighting in Rain on a Spring Night laid the emotional tone of the poem. Some titles show the main idea of the whole poem. For example, the word "difficult" in Li Bai's it is hard to go is a pun, not only "difficult", but also the difficulty of life.
Although some titles cannot express the thoughts and feelings of poetry, they can help us understand the thoughts and feelings of poetry. For example, the title of "Emei Mountain Moon Song" points out the location and scenery. Combined with the whole poem, we understand that Emei is related to a friend, and "Mountain Moon" has become a symbol of friendship. Another example is the title of "Smelling the flute in Los Angeles on a Spring Night", which points out the season, place and event. The event of "Smelling the flute" conveys the homesickness that this poem wants to express. Another example is the title "Guests Arrive", which points out the events and brings out the feelings to be expressed in the welcome poem. Another example is "Climbing Yueyang Tower". You can tell from the title that it is a poem about an object. From time and space, we can feel the sadness of the poet's life experience and the worry of his home and country.
In a word, the title of a poem is the eye of a poem, which contains a lot of important information, some of which are emotional codes.
Therefore, when trying to figure out the topic, we can grasp the time, place, people, things, events, clues, emotional tone, work types and many other information of the poem, or feel the poet's nostalgia, nostalgia, chanting, worry and other emotions, or understand some of the poet's views on life, life and society, and also understand some ideals and ambitions entrusted by the poet.
The second is to know people and discuss the world.
The thoughts and feelings expressed in ancient poetry are often related to the poet's life experience, ideological ambition and his time. For example, Lu You's Rain in Jianmen Road listed earlier, the reason why students misread it is because they don't understand the world. Imagine that if students have the following understanding of the author and his era, they will not make jokes.
Lu You, a patriotic poet. Born in the early years of the Southern Song Dynasty when nomadic people invaded, he was determined to restore the Central Plains since childhood, and he was able to go to the front line of Shaanxi for nearly half a century and live an "iron horse autumn wind" military life. This poem was written by Lu You when he was transferred back to Chengdu from Nanzheng via Jianmen Mountain. From the battlefield to the metropolis, it is obvious that it is safe to go to danger and easy to work, but this is not the ideal for patriots to travel on land. So this poem expresses Lu You's feelings as follows:
I have no talent, I can't serve my country, I have no feelings to complain about, and my ambition is hard to pay. I have to laugh at myself in depression and in pain.