How to stimulate students' interest in learning classical poetry and seek answers

Poetry appreciation is a process in which the reader's emotion meets the poet's emotion in the work. This process first lies in how to arouse readers' emotions, so as to induce readers to be happy and make them enter the situation of the work step by step. Here, the role of teachers is not only to impart knowledge and culture, but more importantly, to guide students, stimulate their interest in learning, and let them use their brains to become active learners, rather than passive note-taking and memory machines. In the long-term teaching practice, the author gradually summed up some more effective methods, the steps are as follows. 1. Guide students to enter the psychological state of reading and appreciating poetry (1. Scientifically guide a class to play or show some audio-visual and picture materials related to the content of the work first, so as to create a certain classroom atmosphere for adjusting and mobilizing students' psychological emotions. For example, students can listen to the ancient song "Moonlight on a Spring River" in the lesson of Zhang, a Tang Dynasty poet. Speaking of the pastoral school in the prosperous Tang Dynasty, we can show some ancient pastoral paintings with rich meanings. If there are no audio-visual materials that directly reflect the content, you can also play or show some audio-visual and picture materials that are close to the work in style. This direct and vivid image provided to students in hearing and vision will soon arouse students' emotions and make them enter a specific psychological state, so that they will be more natural and fluent in the next learning session. (2) The author's introduction to the author is an essential part of appreciating classical poetry. When introducing the author, don't describe his life experience like a running account, but show his spiritual world, including thoughts, feelings and personality temperament. The purpose is to guide students into the author's psychological state, attract and impress students with the writer's unique psychological quality, and make them have a kind of spiritual harmony with the writer, which will undoubtedly play a necessary psychological foreshadowing role in understanding and appreciating the works. When telling, teachers should not only rationally and calmly analyze the writer's personality temperament with analytical language, but also show the writer's unique personality charm with vivid language and emotion. Teachers should fully understand and ponder the author's spirit and personality when preparing lessons. They must first be attracted and moved, and then explain their simple understanding of the author (not the understanding of others in books) through emotional tone, intonation, eyes and gestures in class. In teaching and analysis, we should pay attention to two points: first, we should introduce every writer objectively and accurately, neither belittle him nor arbitrarily raise him. All the works that can be handed down from generation to generation in the history of literature are sincere expressions of every writer's psychological quality and his real experience of life. Only in this way can poetry have a touching and exciting power. It is because of this sincere emotion that we should respect its author. When talking about writers, especially those great masters, we should treat and tell them with a normal heart and treat them as living people, which will narrow the distance between the ancients and the present, and between the classical and the modern. Only in this way can we attract and impress students and make them understand and appreciate the writer's works more correctly. Second, pay attention to quoting the material that best reflects the writer's spiritual temperament. For example, when introducing Meng Haoran, in order to let students better understand his charm as a reclusive poet, a portrait painted by Wang Wei can be used as the introduction material. This painting has been lost. According to the person who saw it that day, it was "Xiangyang (Haoran word Xiangyang), tall and long, steep and thin, dressed in a white robe, wearing boots and a hat, riding on a horse, carrying a child's total number, carrying a book, and following the sound of the piano, the wind fell and stood awe-inspiring." [6] Among them, "tall and long, steep and thin, wearing a white robe, wearing boots and hats, riding on a horse" vividly reflects Meng Haoran's lofty and refined temperament. The introduction of this material not only increases the vividness and vividness of the lecture, but also makes students feel the writer's spiritual temperament very intuitively and concretely. I have made necessary knowledge reserves and psychological preparations for reading and appreciating Meng Haoran's works. (3) Teachers recite works with emotion. After students have a certain understanding of the writer and the materials related to the works, teachers should read the works with emotion. The teacher's handling of tone, the frustration of words, and the emotional input when reading the works all explain the works to a great extent, which will play a guiding role in stimulating students' interest in appreciation and guiding them to understand the inner meaning of the works. All the above steps are aimed at arousing students' interest in learning and adjusting their appreciation psychology. Second, appreciate the text of the work. To appreciate a poem, we must first understand its literal meaning. For students, the understanding of words and phrases is not a difficult problem when reading and appreciating, so teachers can arrange this work for them as preview content first. In addition, regarding the creative background of the works, teachers can also provide corresponding materials for students to understand. Then, the focus of classroom teaching should be to grasp the situation and internal meaning of the work. The process of poetry appreciation is the process in which the reader's emotion meets the author's emotion, and the expression of the poet's emotion is mainly expressed through the description of things. Therefore, the process of appreciation is also a process in which readers restore the poet's inner meaning according to the external image of poetry. Therefore, understanding poetic imagery is the key to appreciating poetry, and the methods of understanding imagery are association and imagination. Readers can revive and restore the scene presented by the work through association and imagination, and try to figure out the author's feelings from it. At the same time, due to the formal characteristics of poetry, its reflection on life can only be cross-sectional and fragmented, hiding the author's rich emotions in a simple form. This requires us to supplement the concise content of the work through imagination when we appreciate it, so that the author's emotions can be clearly and completely presented. Therefore, after doing the above preparatory work well, teachers should guide students to make a preliminary imagination of the content of poetry according to their own life experience and knowledge reserve. Imagination is a very subjective activity, therefore, the subject of imagination is students, and the teacher is just a guide and guide. (A) according to their own life experience, restore and supplement the imagination of the scene depicted in the poem. Students silently read the works, independently associate and imagine the scenes presented in the works. Then the teacher asks questions and lets the students tell their feelings and imagination. Ask students to describe their feelings in vivid language, describe a specific scene, describe their feelings in pictures, or express their feelings in vivid metaphors instead of generalizing them in general and abstract words. In order to cultivate students' ability to describe images. The poet's emotions are hidden in the images on the surface of poetry, some of which are natural scenery and some are worldly things. For poems that mainly describe natural scenery, we should closely follow the characteristics of the scenery described in the poem and accurately restore it when appreciating it. For example, Du Fu's quatrains: "Two orioles sing green willows, and a row of egrets rise to the sky. The window contains autumn snow in Xiling, and the Wu Dong Wan Li boat stops at the door. " Painted a beautiful picture of spring. Everyone has his own impressions and feelings about spring, but how to unite him with the scenes described in Du Fu's poems? Without unity, it is impossible to correctly understand the feelings expressed by poets in their poems. Perhaps the initial association of spring in students' minds at first can't completely match the scenery painted in the poem. At this time, the teacher should let the students imagine the characteristics of the scenery in the work more concretely and carefully, and remind them to pay attention to some key words in the poem, such as adjectives such as "yellow", "emerald", "white" and "green" in the poem, and pay attention to what color characteristics they give to the scenery. In addition, we should also pay attention to the verbs such as name, Shang, Han and Bo in the poem. What behavioral characteristics do these verbs give to the scenery? Carefully understand the psychological feelings generated by the characteristics of these scenes when reading. In this way, the students gradually approached the bright, vibrant, peaceful and harmonious spring scenery presented in the poem. Some experience on the close relationship between the scenes presented in the works and the poet's inner feelings. In this process, we should not only accurately capture the characteristics of the scenery endowed by the key words in the poem, but also arouse associations through the characteristics of the scenery, carefully taste the feelings they evoke in people's hearts and the strength of their feelings, and then satisfy the poet's feelings with our own feelings. In the process of this encounter, of course, we should combine our own understanding of the author's life experience, personality and temperament and the background of the work. Similarly, for those works that describe events, we should also grasp their characteristics to restore imagination. Such as the poem "Bodhisattva Man, the mountains overlap and the gold disappears": "The mountains overlap and the gold disappears, and the clouds want flowers and snow. Too lazy to draw a moth eyebrow, too late to make up and wash. Look in the mirror before and after the flowers, and look at the flowers. The new post embroidered Luo Luo, both of which are gold. " It describes a scene where a woman gets up in the morning and dresses, in which the emotional expression of the characters is very obscure. When students imagine the scene, they should also be reminded to pay attention to some key words, such as "lazy", "late" and "double", and pay attention to the characteristics given to the characters by these words, which reveal the clues of the characters' inner feelings. These keywords are like the eyes of the work, revealing the sacred place of the work, which is the so-called "poetic eye". Of course, there are eyes in the poem and eyes in the text. The former is often the key word and word in a sentence, while the latter is often the most vivid and concentrated poem (sometimes words and words) that expresses the poet's feelings. For example, the last sentence of Liu Yong's poem "Yu Lin hanling Zen Seven" is the crowning touch of the whole poem, because it embodies the feelings of parting expressed by the whole poem. Finding and chewing the eyes of poetry is an effective way to appreciate classical poetry. However, the situation of poetic eyes is more complicated, and not all works can adopt this method, especially those works with natural artistic conception, and they can't be far-fetched and confined to pursuing poetic eyes. Some poems are concise in expression, forming the characteristic of "breaking words and returning to the meaning". These poems often have the characteristics of jumping in the combination of images, and the poet's thoughts are like a winding and ethereal river. When we appreciate this kind of works, we should connect the blanks formed on the surface through imagination and supplement them, so that the clues of the author's feelings can be clearly presented. For example, Li Qingzhao's "Like a dream, the rain suddenly dispersed the wind last night": "The rain suddenly dispersed the wind last night, and a deep sleep did not consume wine. Asked the shutter man, but said' Haitang is still there'. Do you know that?/You know what? Do you know that?/You know what? It should be green, fat, red and thin. "This word has formed a leap of meaning between each sentence, because the poet omitted it when expressing the situation. Then, when students are asked to imagine, they should be reminded to pay attention to the logical connection between sentences and use imagination to supplement the missing logical clues. Only in this way can we find out that the original word is that the poet woke up in the morning after a night of wind and rain and drunkenness, and immediately asked the maid how the begonia flower was, despite the hangover. The other party replied, "Begonia flowers are still the same as before." The author immediately corrected: "Do you know? Do you know that?/You know what? It should be more green and less red. "Through this supplementary imagination, we can find that the words express the poet's concern about the flowering of begonia, which is very strong in the morning after the storm. Because of this, poets drown their sorrows in wine. Through supplementary imagination, what we realize is the poet's strong love for spring. (2) Inspired by the discussion, Wang Fuzhi, a scholar in the Qing Dynasty, said: "No matter poetry or long sentences, they are all based on meaning. Italy is still very handsome. " [7] Therefore, when reading and appreciating poetry, it is the first priority to explore the author's original intention. But the search results are not necessarily uniform. Poetry has both the certainty of intention and the richness of meaning. This is mainly because the appreciator has certain subjective initiative. Different appreciators will have different feelings because of their different experiences, knowledge, opinions and interests, and their different moods, situations and angles of appreciating poetry. Just as it is often said that there will be a thousand Hamlets in the hearts of a thousand audiences, every student may have different feelings when reading the same work. In addition, from the artistic characteristics of poetry, the image of poetry is the poet's reflection of objective things, the instantaneous unity of rational thinking and perceptual thinking, and the natural integration of the poet's inner feelings and external images. It has a strong subjective color, and at the same time it is presented to readers with an intuitive image. Because of the intuitiveness and vividness of poetic images, it provides readers with more thinking space, so when reading and appreciating, there are often polysemy of images, which also contributes to different understandings of the same work. Especially those works with infinite scenes and artistic conception have more room for appreciation. For example, Wang Wei's Abatis: "There seems to be no one on the empty mountain, but I think I hear a voice. The sun shines on me from the green moss. "This poem describes the tranquility of the mountain forest at sunset in the evening. The poet instantly took a close-up of nature: a ray of returning sunset shone on the moss in the mountain forest, which objectively and truly reproduced the silence of the mountain forest. So what is the meaning of the poet in this poem? It is a feeling, a state of mind and an empty state of mind that the poet suddenly coincides with the environment at that time. The expression of this mental state is completely intuitive. Because the poet didn't use rational thinking to sort out this feeling and didn't point out a direction for appreciation. People will naturally form different, rich or unspeakable feelings when reading such works. Of course, although the feelings are different, they cannot be completely divorced from the overall artistic conception of the work, which is determined by the internal meaning of the work. It is the certainty of conception and the uncertainty of appreciation that makes the work have a lasting charm that people can't chew when enjoying it. In view of the above characteristics of classical poetry, in order to make students understand and appreciate a work more deeply and comprehensively, free discussion can be adopted in classroom teaching, so that students can express their opinions, inspire each other, open their minds and carry out various associations and imaginations. Teachers can also participate in the discussion and discuss the rich meanings in poetry works with students. Moreover, teachers can also use the method of "analogy" when explaining the works, and express the feelings contained in the works with vivid metaphors (which often have the characteristics that the concept can't describe) to inspire students to associate freely. In fact, this method was used by Confucius, a great educator in China, more than two thousand years ago. For example, the Eight Books of the Analects of Confucius said: "In summer, I asked what' smiling and looking forward to' meant? Confucius said:' Painting is afterwards. Say,' After the ceremony? Confucius said:' enlightened people are also businessmen. It's time for poetry! [8] This passage means that Confucius explained his understanding of this poem with a metaphor of painting (painting must take powder first). This practice of Confucius further reminded Xia Zi of the connotation of poetry, and Xia Zi's association inspired Confucius' thinking. This is a teaching method of mutual inspiration and discussion, which arouses students' initiative in learning and plays a very positive role in developing students' imagination and appreciation ability. At the same time, teachers should not be limited to one point of view when explaining a work. After expounding the idea of the work, they should also introduce different viewpoints for reference. In this way, students can not only gain extensive knowledge, but also inspire them to think in many ways, so that their thinking is not limited by a fixed framework. (3) Interpretation of Typical Images Due to the accumulation of history and culture, some images in poetry have some special and relatively fixed meanings. We should not only imagine and understand these images literally, but also integrate historical and cultural factors. For example, the image of "willow" often appears in poetry, which not only means a willow tree, but also means "farewell". This is because since the Han Dynasty, there has been a folk custom of breaking willows to bid farewell, which has affected the creation of poetry and prose and made the word "willow" have cultural meanings other than material attributes. For example, it is said that in the word "remembering Xiao Shengyan" written by Li Bai, Xiao Shengyan and Qin E dreamed of breaking Qin Louyue. Qin Louyue, willow color every year, Baling sad farewell ",summed up the endless sadness of Baling parting with willow color generation after generation. There are many similar situations, such as the word "moth eyebrow", which originally refers to the curved eyebrows of women, but because of Qu Yuan's "Li Sao" (a moth eyebrow that many women are jealous of, it is rumored to be lewd. ") It is compared to the beauty of virtue and ambition of a talented person, creating the poetic tradition of vanilla beauty, and the word has gradually evolved into a symbol representing people's good character. If readers don't have rich knowledge of literature and culture, they can't understand the historical and cultural connotations contained in these images, which will certainly affect their profound understanding of poetry. In this way, the teacher should change from a guide to the subject of teaching and explain the meaning of these unique symbols. After explaining the meaning of these special images, let students appreciate the works again, and they will have a new and deeper understanding. 4. Recite repeatedly and appreciate the charm. Recitation plays a great role in poetry appreciation. China's classical poetry is characterized by cadence in form, which is the dual product of sound and emotion. In his creation, with the prosperity of emotion and the surge of thinking, the poet's inner feelings naturally gushed out with the sound of kissing and chanting, so Liu Xie said in his "Laws" that "the words flow as lips and teeth" [9] and "breathe the sound of pearls and jade" [10](246). [10](299) "This is a beautiful painting with sound and written in words." [10] (300) Therefore, the ancients wrote poems, which are also called poems. They not only write poems by chanting things, but also change poems by chanting things. Du Fu said in a poem: "Cultivate the spirit and keep the matrix, and new poems change from chanting." [1 1] chanting comes out with the poet's feelings, and at the same time it breeds the poet's feelings. The voice and emotion are accompanied by each other, and the final work is a written record of the poet's voice and emotion. Then, when reading, readers can try to figure out the poet's voice and intonation by chanting, and reach the realm of mutual communication between their own hearts and the author's hearts through the voice. Therefore, reciting is one of the effective ways to read and appreciate poetry. The ancients have noticed the wonderful use of recitation in learning classical poetry. For example, in the Qing Dynasty, Zeng Guofan emphasized the importance of reciting and reciting when guiding his son to learn classical poetry: "Reading is like four books, poems, books, the Book of Changes, Zuo Zhuan, Zhao Ming's selected works, poems of Li, Du, Han and Su, poems of Han, Europe, Zeng and Wang, without making any noise. [12] "Reading aloud" can reflect the momentum contained in the works and arouse readers' interest. Dark Singing can arouse readers' thinking and savor the meaning and rhyme of the work. In a word, chanting is a method that can arouse readers' emotions, enter and experience poetic situations. Therefore, when teaching poetry, we should pay attention to reciting works. Poetry can be recited by yourself or by others, and both methods can play a sensational role. We say that when appreciating a work, teachers can read it with emotion as a guide to students' emotions (in fact, this step can also be replaced by playing audio materials of some famous poems), which is already the application of chanting method. After a certain understanding of the connotation of a poem, students can read the work with their own understanding and feelings. When students read aloud, teachers should guide them to pay attention to the rhythm of poetry and the rhythm of rhyme formation. Where the sentence stops, where the pronunciation is lengthened, how to pay attention to the flat rhythm of poetry when reading, and so on. These are all different because of the different styles of poetry. They belong to some basic common sense when reciting poems, and teachers should briefly introduce and give directions in class. Of course, these basic common sense are not immutable formulas, and will change endlessly because of different readers and different poetry contents. The key is to read poetry with your own understanding, and convey the unique sigh meaning of poetry when expressing your feelings with cadence and cadence. Only in this way can we further understand the touching power and unique artistic charm contained in the poem. Recitation is a kind of perceptual and intuitive education to feel and appreciate poetry through sound. It can cultivate people's intuitive perception of poetry, which can only be formed through repeated practice. Therefore, students should be trained regularly in this respect, and a certain period of time should be arranged for chanting activities in each class, so as to deepen their understanding of the works by chanting by themselves or listening to others. For our primary education major, which aims at training primary school teachers, it is particularly important to strengthen this training. Because primary school is not only the best period of memory, but also the most intuitive period. Starting from the educational purpose of "attaching importance to people", the purpose of primary school students learning ancient poetry is not only to learn the knowledge of ancient poetry and simply recite poems, but more importantly, to cultivate their direct feeling ability and aesthetic feeling of ancient poetry, and to obtain a kind of spiritual pleasure from it. Then, recitation, as a perceptual and intuitive way of education, is an effective way to cultivate children's direct perception of ancient poetry. Mastering this method is the basic quality that every primary school Chinese teacher should have. Therefore, recitation training should be highly valued and advocated in the poetry teaching of classical literature courses for primary education majors. Finally, it should be noted that the above is just my initial exploration on how to cultivate students' ability to appreciate classical poetry in the classical literature course of primary education in the long-term teaching process. However, poetry appreciation is a very complicated issue, which needs further study. This paper only deals with several basic aspects of how to teach poetry appreciation, that is, the excavation of poetry emotion, and there are many important aspects and teaching links that cannot be described in this paper. At the same time, poetry appreciation is a job that requires the subjective initiative of the appreciator, so the steps of appreciation are not rigid. Moreover, each poem uses different artistic skills and contains different emotions, so it can't be appreciated by fixed procedures, but should be analyzed in detail.