[Read the poet's poem, read yourself in the poem] Poets read poems.

After poetry entered Chinese curriculum and teaching, people's way of learning poetry has gone through a long and tortuous road. In recent years, due to the influence of western reception aesthetics, it is believed that after the creation of a work, it has nothing to do with the author, and what remains is the reader's interpretation of the text, so some people deny the traditional teaching process in the past, such as introducing the author to the writing background of the work first, and then to the text, and think that it is no longer necessary to introduce the author and writing background in teaching. Because Giselle, one of the representatives of reception aesthetics, divides the text into "the first text" and "the second text". The "first text" is an art created by artists, which has nothing to do with readers and is a comfortable existence; The "second text" is an aesthetic object that has a relationship with readers. It is no longer an isolated existence outside people's consciousness, but an artistic emotion and image that is perceived, interpreted and melted by readers. The "first text" stopped contact with the author after the creator finished his creation, and the text we taught was the "second text", which had nothing to do with the author. This teaching concept also affects the teaching of poetry. But after all, the first paragraph contains the author's emotions and thoughts, which is the basis for us to understand the content of the poem and is also very helpful to enrich our emotions and life experiences. Poetry, in particular, is the instant generate of the poet's emotions and emotions, and this strong emotion is unique, such as Li Bai's pride of "Oh, how can I grovel to high officials" and his confidence of "I was born useful"; Du Fu's scholar-bureaucrat feelings of "if you are rich, you will help the world, and if you are poor, you will be immune to it"; Tao Yuanming's poetry "is not suitable for vulgar rhyme, and naturally loves autumn mountains" is indifferent ... and the function of poetry is more inclined to aesthetics and enlightenment. Therefore, when we appreciate poetry, we should not only feel the beauty of their poems, but also feel the personality charm they convey in their poems. In guiding poetry appreciation, it is necessary and primary to interpret poetry close to the poet's emotions. Therefore, we must not ignore the following two steps in teaching:

First, read the poet's poems.

Reading a poet's poems is to understand what the poet wrote and why. Therefore, it is necessary to collect some materials related to the author, mobilize students' experience, and try to be close to the author's original intention to interpret poetry. What should I do to restore the author's original intention to the maximum extent?

(a) "Understanding people and discussing the world"

"Knowing people and discussing the world", the language "Mencius? Zhang Wan II: "Ode to his poems and read his books, but you don't know who he is, do you?" "? Is based on its world. Understanding people and discussing the world is used to appreciate classical poetry, that is, to understand the author and writing background of poetry. Understand the author, including his life, thoughts, creative path, artistic style, etc. Understand the writing background, including the background of the times when the works were produced, the author's mood when writing and similar works by other contemporary authors. Shen Deqian's Shuo Shi in Qing Dynasty? Ceng Yun: "Another example is painting landscapes. If there is a place name to press, be sure to write the meaning of landing; Depicting a character with facts will send out the meaning of knowing people and discussing the world. " Shen Deqian's words show that when poets write, they all vent their feelings because of the outbreak of emotions at a certain moment. Then, when we interpret poetry, we should understand the background of the poet's writing. Only by knowing people and exploring the world can we have a dialogue with the poet's poems, and it is possible to understand the poet's poems to the greatest extent and get close to the poet's emotions.

In the Tang Dynasty, Zhang Ji wrote a poem "Fu for Women", in which he wrote: "You know that I have a husband, and give me two pearls, which makes your heart linger. It is connected with the red Lolo, and my tall building rises from the garden. My lover holds a halberd in the light, knowing that your heart is like the sun and the moon, and my husband vows to live and die together, and your tears fall. I hate to see you before marriage. " When we read this poem for the first time, we will think that it has the same theme and similar skills as Han Yuefu's Ode to Shang Mo. What is shown in the poem is that a virtuous woman says that she is unmoved by the situation; While thanking each other for their kindness, be firm and tactful. However, if we look at the subtitle of the poem, "A Message to Dongping Li Wei Shi", we can see from the background of the work that when Tang Xianzong was a vassal state, Pinglu made Li Shidao fight for hegemony, colluding with court officials and scholars, with no good intentions. Li Shidao also wanted to buy off Zhang Ji. He used this poem to compare the loyalty of a good woman to show his rejection of Li Shidao.

Another example is Li Bai's "Towards a White City": "When you bid farewell to the colorful clouds in Bai Di, you will return to Jiangling for a day. The apes on both sides of the strait can't stop crying, and the canoe has passed Chung Shan Man. " The whole poem has both scenery and lyricism. If you don't know the background of writing, many students will only regard it as a poem about scenery. At this time, the teacher must properly provide the writing background of this poem, because this poem does not express such feelings at all. According to records, in the 14th year of Tianbao (755), the Anshi Rebellion broke out, and Li Bai joined Li? This team only found that they competed with Su Zong for the throne, and Su Zong destroyed Li? Li Bai was convicted and exiled to Yelang (now Tongzi County, Guizhou Province). The poet cried silently: "I have never shed tears in my life, so I can't stop crying here." ("Jiang Xia Bie Song Zhi") Fortunately, he was released in the middle of the Amnesty. The poem "Chaofa Baidicheng" describes the extremely happy mood of Li Bai when he was pardoned.

There are many such poems. If we don't know the background of the above poems, we can't correctly explain the meaning of the poems. Knowing these backgrounds, we can better understand the feelings expressed by poets.

(2) Teaching should pay full attention to the "enlightenment" of poetry.

Yuan Pei? Mr. Wang believes that poetry is of declarative and enlightening significance. Declaring meaning is the meaning that poetry clearly conveys to readers by means of language; Revelation is the meaning given to readers by poetry with its language and images, including pun meaning, emotional meaning, symbolic meaning, deep meaning and implication. The meaning of statement is easy to grasp, but the meaning of revelation is not easy to understand. If you get it wrong, it will be different from what the author originally wanted to express, or even completely deviated from it. For example, when we treat images, we should have a continuous connection with the images displayed in poems, which literary appreciators call "following the waves to find the source". Liu Xie's Wen Xin Diao Long? Bosom friend: "The husband who wrote the sketch was moved to resign, and the viewer put on the sketch and entered the mood. Seek the source with the waves, although it will be obvious. "Especially some commonly used images, such as willow, moon, running water and peach blossom, we should know their prototype images; Some symbolic images, such as "vanilla" and "beauty", should know what they mean. Because poets always inherit traditional culture unconsciously, only by understanding and understanding can we better understand what the author is expressing. Like in the Book of Songs? " The picking scene at that time was described by singing and sighing polyphony. We know the scene of women's happiness conveyed in the poem, but we don't know why we feel this way, but when you understand? It can cure women's dystocia, let them have children, and nourish the lungs and replenish essence, so you can better understand why these women are so happy. The traditional images inherited from The Book of Songs should be something we need to understand, and also something we must explain when we interpret poetry.

Second, read yourself in poetry.

The new curriculum standard emphasizes: "we should pay attention to the practical activities of reading and appreciating works, pay attention to the personalized interpretation of works, fully stimulate students' imagination and creative potential, and strive to improve students' aesthetic ability." "I call it" reading yourself in poetry ". Self-reading requires students to have their own unique appreciation perspective on poetry and express it in a unique language. But how to make students read individually? I have two ideas:

(A) create a situation to fully mobilize students' cognition and emotion.

Middle school students have a lot of experience in reading poetry and other literature since childhood, and they have a feeling about many life experiences around them. Their aesthetic quality and taste have accumulated in junior and senior high schools. But different people have different life experiences and different aesthetic potentials, which requires teachers to pay attention to the characteristics of students' thinking development. The development of students' thinking has different characteristics at different ages. Even students of the same age are "one flower and one world" and "one tree and one bodhi". For example, some students' cognition is emotional, and emotional stimulation can make him enter the reading state quickly; Some students are rational, and the attraction of knowledge can make them enter their own reading state. Therefore, in the process of guidance, teachers should cross-use strategies to stimulate emotions and strategies to trigger knowledge and experience.

For example, teaching Du Fu's "Climbing the Heights" takes care of students' two cognitive tendencies. When analyzing the poem "Take me through a hundred years of sorrow and climb this high alone", contact the students when they are sick and lonely, and let them know what this scene will feel like. Emotional students will soon have a feeling that Du Fu's mood at this time is multiple sadness, not ordinary sadness; For rational students, when I explained this poem, I listed the views of some historical figures when reading this poem. I said, "Some people read the poet's four sorrows, some people read eight sorrows, and some people read nine sorrows. How much sadness can you read from this poem? " So they began to analyze the poem. If we often take care of students' cognitive and emotional characteristics and create situations, it will undoubtedly increase their perception of poetry.

(B) Teaching activities focus on the "blank" of poetry.

Due to the limited space, ancient poetry can't fully present the development of events to readers, and can only intercept the most enlightening side, leaving the rest for readers to associate and supplement themselves. In other words, there are great "blanks" in ancient poetry, and these blanks are the key points for teachers to guide students to read individually. How to focus on these "blanks" and supplement these "blanks" is the focus of ancient poetry teaching.

For example, Du Fu's "Spring Hope": "Where the petals have fallen like tears, where the lonely bird has mourned." Some people explain that flowers and birds are supposed to be entertainment, but they hate parting because of their feelings, which makes the poet cry. Some people also explain this, using flowers and birds to personify people, sad when leaving, flowers also splash tears, birds are also surprised. Although the two theories are interlinked in spirit, they are completely appreciated from different angles, one touching the scene and the other empathizing, which shows the richness of good poetry.

Another example is Du Fu's "On Encountering the River": "I saw a lot in Qi Wang's house and heard it several times before Cui. It is a beautiful scenery in the south of the Yangtze River. " This "falling flower season" contains a lot of contents, which is not only the season when Ming and Syria met, but also a metaphor for the decline of the Tang Empire from prosperity to decline. Moreover, as the years of life, the two have reached the twilight of the fallen flower season, and these four words are written very deeply and implicitly. The word "you" expresses the poet's feelings of remembering the present and the past.

As long as teachers are good at inspiring students to pay attention to these "blank" points, students will have a lot of aesthetic potential to discover the beauty that others have not discovered and to interpret the bright spots that others have not interpreted.

In short, in poetry teaching, teachers must guide students to approach poets. Only by knowing the poet in poetry can we know the poet's poems, get out of them and have our own unique understanding.

Bibliography:

① Chinese Education and Chinese Literacy, Guangdong Education Press.

(2) Chen Xiaoying's freehand brushwork-an important principle of poetry teaching, Chinese teaching in middle schools, April 2006.

(3) Zhou Hongbo's On the Enlightenment of Reception Aesthetics to the Teaching of Classical Literature, and Hubei Social Sciences.

(Author: Chinese Department of East China Normal University)