Analysis by Text Hierarchy "
Jiangnanchun
Du Mu
Jiangnan, the sound of green and red flowers, the waterside village in the foothills.
More than 480 ancient temples were left in the Southern Dynasties, and countless pagodas were shrouded in wind and rain.
We can analyze the aesthetic structure and internal aesthetic form of Du Mu's Jiangnan Spring from three aspects: the language level, the image level and the aesthetic level of literature.
The moral of three aspects.
First, the level of speech. First of all, it has the verbal meaning of literature. This involves the issues of artistic truth and objective truth. In the poem "480 halls of southern dynasties", "480 halls" refers to concrete things. Does it want to show 480 temples in the Southern Dynasties? Of course not, the potential point of superficial proverbs is a phenomenon in the society where Buddhism prevailed at that time. Secondly, most of China's poems are based on emotion, and Lu Ji also said in his prose: "Poetry is beautiful because of emotion." We can know that one of the characteristics of China's classical poetry is the combination of emotion and environment. Judging from the psychological implication of literary language, "Ti Ying is green and red, and the water town is full of wine flags." In the first two sentences, we can see that in the beautiful natural landscape, the wine flag is swaying, quiet and serene, and the poet's happiness at this time can be felt through the words. But then the pen turned: "Four hundred and eighty halls in the southern dynasties, how many towers are misty and rainy." These two sentences are the most common at ordinary times, but they are endowed with specific feelings by the poet in a specific situation. Faced with the current situation that Buddhism wastes people and money, the poet's worries overflow from these ordinary words, and these last two sentences are precisely the key to grasp the poet's feelings from the whole poem. This poem is fluent in sentences, so we will not analyze the resistance of literary language.
Second, the level of literary image. One of the basic characteristics of literary image is the unity of subjectivity and objectivity. In Jiang Nan Chun, "A thousand miles of warblers singing green and reflecting red" is an objective natural image, while "the wind of fruit wine flags in Shan Ye, a water town" is a subjective image with a strong market flavor. "misty rain" is an objective image, and "balcony" is a subjective image. The wonderful thing is that Du Mu put the subjective image of the street in the objective natural environment, and the combination of the two achieved good artistic results. Secondly, many people will think that "480 temples" is unreliable when reading this poem for the first time, but this is exactly the number of temples that the poet unifies his hypothesis with truth, but there are actually no such temples. This is the unity of literary image hypothesis and truth. In addition, the whole picture firmly grasps the title of "Spring in the South of the Yangtze River", and Du Mu uses the freehand brushwork of Chinese painting to enter the poem, creating a series of very picturesque images-"Yingying", "Green reflects red", "Water town", "Mountain fruit" and "wine flag style". A series of common images in Jiangnan Spring, with a few strokes, have formed an image with unique artistic charm in the poet's pen. Lightweight, the unity of individual and general literary image, certainty and uncertainty has been achieved.
Third, the level of literary implication. People pay special attention to this quatrain, not only because it is full of fresh and beautiful aesthetic meaning with skillful lyric techniques, but more importantly, it has a special historical content behind it. Although the poet said "Southern Dynasties", he actually showed us a vivid historical cross-section of the late Tang Dynasty. In fact, the poet wants to express his concern for social reality and warn his superiors at last by shaping his image through the superficial words of the "480 Temple in the Southern Dynasties".
The whole poem "Jiangnan Spring" is worthy of scrutiny in terms of words, images and even implications. Throughout the poem, the poet describes beautiful scenery with beautiful sentences, but he can express his thoughts with beautiful scenery, which has to make people gasp in admiration!
Zhou Chengping pointed out the embarrassment and embarrassment encountered by contemporary literary criticism: many writers claim that they don't read literary criticism articles, some disdain them, and some sneer at them; Many readers stay away from literary criticism and don't understand what literary criticism is all about. More sadly, Lian Wenxue critics themselves are not satisfied with literary criticism: a considerable part of literary criticism is very stubborn and alienated from society and people; Some articles are obscure and have no guiding function; Some articles flatter blindly and are suspected of flattering; Some articles pretend to be profound and are keen to show off terminology.
Zhou Chengping believes that in the face of embarrassment and misunderstanding, contemporary literary criticism in China should be "completely operational", overcome problems such as "friendship criticism, peer criticism, regional criticism and cruel criticism", and let people with real opinions express their views.
Chinese classes in primary and secondary schools include both language and literature. Language, is to learn to write well; In literature, it is to learn to feel, taste and understand the "literariness" of literary works and write articles with certain literariness. Writing is an important way of Chinese practice in primary and secondary schools. Teachers study languages and literature.
Learn to judge students' writing level from two aspects. In terms of language, it is required not to write typos, to be fluent in arts and sciences, to be as concise and accurate as possible, not sloppy and unambiguous, and not to write confusing words. As for literature, it depends on whether there is literary consciousness, literary pursuit and literary meaning in the choice of words and sentences and the layout of articles.
Emphasizing the "China character" of literary criticism requires us to write good articles when engaging in literary criticism. Today's literary criticism, "Chinese" is probably more worthy of attention than "academic". Poor handwriting and low-level mistakes everywhere are not uncommon in today's literary criticism.
Empty talk is not based on evidence, it must be proved by examples. I recently read a review article, which can provide enough examples. Many years ago, I bought the book "The Rise of a Nation-Missing the Poet and Translator Mu Dan" in a second-hand bookstore. The book was published by Jiangsu People's Publishing House in June 1987+0 1. This is a collection of Mu Dan's memorial works, which contains more than 20 articles about recalling, remembering, introducing and studying Mu Dan. I haven't read this book carefully since I bought it. Recently, because some students took Mu Dan as the topic of their thesis, they found this book and wanted to read it carefully. It should be said that this book is not without reference value for studying Mu Dan. However, the article "On the Evolution Track and Characteristics of Mu Dan's Poetry" by Professor Lan Dizhi included in the book makes me feel quite sad to read. This article about Mu Dan's poetry should have at least 10,000 words. I crustily skin of head read a third, really can't read, so I have to give up. To tell the truth, there are too many "China issues" in this article, which is unbelievable. I might as well give some examples of the first third I have read.