Homesickness was written by Mr Yu Guangzhong in Taipei in the 1970s. Later, it was sung by overseas travelers, became the most popular and moving homesick poem, and was selected as a Chinese textbook for middle schools. To read this poem well, we must first have a good understanding of the poet and the poem itself.
Mr. Yu Guangzhong, whose ancestral home is in Fujian, is a scholar who is deeply influenced by China traditional culture and has a strong national complex. Due to historical reasons, he moved to Taiwan Province Province and wrote many homesick poems, so he was called "homesick poet".
The poem "Homesickness" consists of four sections. In chronological order, the poet compares the abstract "homesickness" to concrete stamps, boat tickets, tombs and straits, and expresses deep homesickness in four stages: youth, middle age and old age. The whole poem is neat, and each section consists of four sentences with similar structures, the first sentence is "Qi", the second sentence is "Cheng", the third sentence is "Zhuan" and the last sentence is "He", which forms the mode of "Lian He". The strict restriction of word balance, branch division and sentence similarity brings great difficulty to reading aloud, which easily gives people a monotonous and rigid feeling. It sounds boring, so I might as well read it myself. However, the first two verses and the last two verses of this poem express different feelings. Therefore, when reading the poem "Homesickness", we must break the shackles of words and sentence patterns and pay attention to the situation, rhythm, pause, speed, stress and so on. Of course, we can't ignore the various laws of poetry, express it at will, drag the tone, which sounds meaningless, long and short, high and low, without any constraints.
When I was a child, a small stamp, thousands of miles away, carried a letter full of my mother's concern. After experiencing the danger of losing it at any time, it was tightly attached to the poet's young chest and warmed the poet's heart.
One:
In childhood
Nostalgia/Yes/Small/Stamp?
I'm here/here.
Mother/over there
"Small" goes up, the first half, the tone should not be too high, then "time", rising tone, stretching gently, "waiting" and reading softly ends. "Homesickness" is flat. When it first appeared, the mood was not particularly strong. "It's a small stamp", which has been read over and over again, corresponding to the movements and postures of teenagers. "Stamp" is my mother's expectation for a letter when I was a child. It is a bit heavy on format, light on "post" and heavy on "ticket". Here I am foreshadows the poet's boyhood. After continuous reading, the tone of "this end" is higher as "Yang", while "that end" goes down with the trend, and the low weight is "suppression", which seems to be a sentence that goes down again and stops in the middle. At this time, my mother was still a middle-aged woman, and "homesickness" was separated by a natural distance, so I couldn't take it seriously.
After growing up, the feelings of mother and son gradually became the feelings of husband and wife. Although there is a space barrier of "I am here and the bride is there", a narrow boat ticket has become a wild goose for the poet to express his feelings and tell his wife about his peace and thoughts. People are divided into two places and feel the same.
Two:
When I grow up
Homesickness/is a/narrow/boat ticket.
I'm here/here.
The bride/over there.
"Long" pitch, even the word "big", the sound is removed, which is aggravated and a little aggravated. When you grow up, you should have a "pause" to attract attention and highlight the change of "homesickness" from teenagers to young people. "Boat ticket" is concrete, which is more obvious than "narrow ticket", while "at that end" lasts for a short time and then pauses, turning to middle age.
Later, I was no longer young. I became a father, my wife became a mother, and my former mother became a grandmother. However, the wanderer is still the same. The temporary grave on one side has become the poet's eternal regret, making up for the emotional redemption in the busy, coming and going, bustling.
Three:
Later/ah
Nostalgia/yes/once/briefly/solemnly
I/I/am outside
Mother/inside
"Later" is slowly extended, and it is particularly long and deep to read, like a white-haired old man who has gone through vicissitudes of life standing up slowly, leaving the table, slowly recalling and explaining, full of emotion and affection. The modal particle "ah" should be dragged a little longer and sighed. The "homesickness" here should be elongated when it rises high, and then it stops slightly. "Short" should be pronounced and pronounced at the end, but it should not be too high and cannot float away. Should be heavy, transferred to the "grave", should be heavy, slow, giving people a sense of desolation. At this time, "I" has reached middle age, and "I/I/I" naturally read the mature feelings of "people reaching middle age". When "I" stops, I will speak a little slower when "I" stops, and "Mom" is a little harder to read than the last one. At this time, "mom" has already left, so we should read the feelings of sadness and missing. "Inside" should read guilt and regret, "inside" gradually weakens, and "head" is slightly raised and slightly closed, which seems to have a vibrato. Read aloud here and pay attention to your expression. You can't be without a little emotional change, and you can't be as sad as you just lost your loved ones. You should remember with thoughts, sadness and affection.
Now, a shallow strait has become a crack in the poet's heart and a deep scar of an ancient nation. "I am here and the mainland is there" is not only a geographical barrier, but also a man-made reason. Therefore, "homesickness" is not only the lovesickness and anguish in the poet's heart, but also the wish and hope of all people in China, Qian Qian. Poetry thus has a profound symbolic significance, and the artistic conception has also been sublimated here.
Four:
And/or now
Homesick/Yes/A Bay/Shoal/Channel
I/I/This way.
On the mainland/in/beyond.
The "and/now" poet turns the pen, the tone rises, the voice falls, the feelings rise, but he has to hold on. There is a long pause here, leaving the audience with suspense: What's going on now? The next sentence "homesickness/yes/a bay/shallow strait", the affection between mother and child, husband and wife, has become the national condition of home. The poet's feelings have changed from "small" to "big". Every word should be followed by "frustrated" to emphasize the "shallow strait" behind it and make "shallow" feel bad. "I/am/head" is immediately above. When the word "I" is mentioned, it is almost full. The word "na" in "mainland/zai/tou" is pronounced heavily, and the word "tou" is long, so it should be closed slowly. The whole sentence of "mainland/in/over there" is different from the previous format. The ending is the sublimation of emotion, so you should read it deeply. The strength of this sentence should be lengthened, such as "the mainland-at that end", which is meaningful, arouses the audience's feelings, allows the audience to integrate into it, generates expectations, and echoes endlessly.
It can be seen that, in terms of the change form of voice rising and falling, the tone of the whole poem changes little, stretching gently, and it is mainly "flat"; In intonation and priority, the speech speed is slow, emphasizing more and less, emphasizing more and less, and the voice is strong and concentrated, with "worry" as the main tone. When reading, you should be fluent, and there is no rush without bumping. You can't speak too fast, too much, quietly, with a sense of jumping, and without showing a pleasant and brisk atmosphere. However, if you read the whole poem in one breath, go with the flow, speak bluntly, word by word, with the same height and length, without any priorities, you will inevitably feel slow and lifeless. Therefore, we should look for ups and downs in stability, unevenness in law and differences in stress. Turn or stop, raise or suppress, read out changes, feelings and personalities.
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