In short, the appreciation of ancient poetry should be based on the characteristics of poetry language, with a clear aim, and accurately understand the language of poetry, from the surface to the inside, from the superficial to the deep, which is the premise and foundation of appreciating poetry. The foundation is not firm, and the ground shakes.
So, what are the characteristics of ancient poetry language and how to understand it accurately? Let's take 20 1 1 college entrance examination questions of ancient poetry as an example to talk about the characteristics of poetry language and the methods of understanding.
What are the characteristics of ancient poetry language?
1. Image overlay. Due to the high conciseness of poetic language, in the process of scenery description, images generally do not need the connection of function words such as auxiliary words and conjunctions, but are mostly the superposition of images or the connection of real words such as verbs and adjectives. Therefore, the basic forms of poetic scenery description language organization are "image+image" and "image+verb (adjective)+image". For example, 20 1 1 Liaoning ancient poetry examination questions:
The fifth part of Fangzheng Huajia (I)
Huang tingjian
Hui Chong returned home in misty rain, sitting in my Xiaoxiang Dongting.
I want to call the boat home, so my old friend said it was Dan Qing.
The first three sentences describe the scene, the first sentence is the superposition of three images, "Hui Chong+misty rain+returning to the wild goose", and the last two sentences are variations of the second form: sitting (verb)+I am in the Dongting Lake in Xiaoxiang (image), wanting to call (verb)+boating (image)+returning (verb). Ma Zhiyuan's "Tianjingsha Qiu Si" is the representative of this language feature: "The old vines are faint crows, the bridges are flowing, the ancient roads are thin, the sun is setting, and the heartbroken people are in the end of the world." The superposition of images paints a beautiful picture for poetry and shapes a dreamlike artistic conception. This is one of the linguistic features of poetic scenery description.
2. Semantic jump. Because of the superposition of images, semantic connection is often omitted, which leads to jumping. Sometimes the semantic jump is great, and the greater the span between images, the more difficult it is to understand. For example, 20 1 1 National Outline Volume:
Guanhe order
Zhou Bangyan
When it is cloudy in autumn, gradually change direction. Become a cold palace. Standing in court listening to autumn, I miss the trace of Hongyan in the depths of the vast sea of clouds.
Deeper people go into silence. But the lonely lights in the mirror set each other off. The strong wine is gone. How did you stay up until dawn?
Among them, the sentence "Listen to the cold, the clouds are deep without the shadow of geese" omits the following contents: (Poet) Listen to the cold (standing in the courtyard, ears pricked up), (looking up) The clouds are deep (but there is no shadow of geese (flying). For example, in the first sentence of Liaoning ancient poetry above, the following contents are omitted from three images: (monk painter in Northern Song Dynasty) Hui Chong (painting landscapes) misty rain (and) returning to geese. There is a great semantic jump between the second sentence and the third sentence and the first sentence, and the following contents should be omitted: (The poet looks at the beautiful scenery in the beautiful painting and imagines himself in the scene of the picture, as if) sitting by the Dongting Lake and looking at the boat in the distance, trying to ask him to go back by boat. Only by understanding the jump between the first sentence and the second and third sentences can we truly understand the meaning of the upper and lower poems and successfully solve the first question in the test paper.
3. The word order is reversed. Due to the influence of rhyme, duality and ideographic meaning, the word order of poetry is often prone to inversion and dislocation, which is very different from modern Chinese. This requires discerning people to know the order and adjust the word order before they can understand the meaning and get through the meaning. For example, Sichuan Volume:
I am wise with the classics, so I visited it.
the Chen Dynasty
In February this year, the frost first melted, and I slept in the east of Tiaoxi Green.
In Hakka poems, the news of apricot blossoms is in the rain.
The Zen master in Xi 'an is still ill, while the Confucianism in Beizha is only poor first.
Suddenly, I remembered that I was looking for my second son in a canoe. I tried the spring breeze with a black silk towel and a crane.
The word order of the third and fourth sentences of this poem should be adjusted to "the time in Hakka poems, the news of apricot blossoms in the rain." This feature of poetic language requires us to understand the meaning of poetry, not to stick to the original word order of poetry, but to make adjustments when necessary. In high school textbooks, Su Shi's Niannujiao Chibi Nostalgia and Xin Qiji's Forever Fishing in Jingkou Gubeiting Nostalgia have this typical phenomenon of word order inversion.
4. Implicit and euphemistic. Poetry is good at using the expression skills of "what is said here means what is meant there". This objectively creates an obstacle to understanding. People who don't understand this way only look at the superficial semantics, and it is difficult to explore the subtleties of poetry. Qian Zhongshu once concluded that the invisible is much richer than the visible. For example, the national outline volume "Listen to the cold sound, the clouds are deep and there is no wild goose shadow". "Cold sound" not only refers to the cold autumn sound, but also refers to the poet's inner desolation. "The wild goose flies without a shadow" not only means that there is no shadow of the wild goose flying, but also implies the loneliness and sadness that the poet can't wait to write home (The Story of Red Rock), expressing the poet's deep yearning for his hometown. This poetic language is full of words and meanings, so we should pay special attention to it when we appreciate it. Don't be short-sighted to try.
In view of the above characteristics of the language of ancient poetry, we should pay attention to the following points when understanding poetry.
1. In a complete ideographic hierarchy, it should be connected up and down. Understand the whole poem as a whole, avoid the one-sided and fragmented understanding of the sugar-coated gourd string, and do not add a reasonable sequence. Only in this way can we get a clear idea and understand poetry. For example, Chongqing Volume 20 1 1:
Du Jiang
[Ming] Zhang Bi
The Yangtze River has attracted several concerns, and the storm is like an old guest worrying about a new guest.
Xifei was busy with me during the day and went to Qingshan to sneer at southerners.
Lonely pillow can't win the dream of my hometown, and I still carry the dust of the imperial city.
My friends fell down, and all the stars were scattered, singing for Sha Ou.
How to understand "guest worry"? We should not only contact the first sentence, but also pay attention to the relationship between "the first few people in the Yangtze River are interested in it" and "the guest worries", which shows that the poet has passed the Yangtze River ferry many times, which contains the worry of running around, which is the first expression; It should also be linked with the following six sentences, which are multi-level understanding, and appreciation of poetry should also have this multi-level understanding consciousness. Only in this way can we fully understand the multi-layered meaning of "guest worry", which should include: worrying about running around, worrying about one person, worrying about homesickness, and worrying about friends being scattered.
Complete ideographic level, which is relative, sometimes refers to punctuation at the end of a sentence, and sometimes refers to punctuation at the end of multiple sentences. This requires us to have a sense of hierarchy and analyze it according to specific poems.
2. Use reasonable imagination to enrich images and supplement the space for jumping between images. This is determined by the high conciseness and ideographic leap of poetic language. When understanding poetry and sentences, you can't just look at the words without looking at the meaning; You can't just look at the words in front of you, but you can't see the meaning of mountains and seas behind these words. Otherwise, appreciating poetry is bound to be tasteless and boring, and it is difficult to appreciate the taste of poetry. For example, Anhui Volume 20 1 1:
Langyaxi
[Song] Ouyang Xiu
Empty mountains and snowy streams rise, and tourists cross streams and ancient rivers.
I don't know how far the stream is, but I see flowers flowing out of the mountains.
If you don't use reasonable imagination to understand those three or four sentences, it will be difficult to understand the poet's speculation about the source of Langya River and the profound meaning of the mountain flowers floating in the stream. Only by reasonably and boldly imagining, supplementing the omitted content in the images of the brook source and the mountain flowers, and supplementing the jumping content between them, can we realize that the poet writes about the spring scenery in the mountains, imagines the depths in the mountains, the streams are cool, the spring flowers are brilliant, and the spring scenery is attractive, which is intended to express the poet's love for the natural scenery of the Langya River, and embodies the poet's feelings of caring for the mountains and rivers, carefree and quiet. Without the participation of imagination, it is difficult to taste the poet's meaning and inner world.
3. Follow the key words closely with an emotional attitude to understand this poem. In the appreciation of ancient poetry, keywords mainly refer to verbs, adjectives and adverbs. They often activate the scene, hint at the poet's emotion and show the sad and joyful nature of the image. Such words are the eyes of sentences or poems. If you master them, you will be on the fast track of understanding and appreciating poetry. For example, Tianjin Volume 20 1 1:
torrential rain
Song Kazuki Watanabe musician
The black clouds in oxtail pour thick ink, and the wind and rain blow the axle.
The surging waves instantly rolled up the beach, and a hundred thousand troops roared down the waterfall.
The shepherd boy lives in Xixi Canal and invades Niumuxi North.
Rushing across the stream in the rain, the rain suddenly cleared and the mountains were green.
The two verbs "Juan" and "Hou" in the third and fourth sentences are the key to understanding these two sentences. These two verbs describe the rapid situation and grand momentum of this sudden rain from the visual and auditory perspectives respectively. If these two verbs are ignored, it is difficult to accurately understand the characteristics of the shower described in this poem.
Another example is the "cold" in the "sound of standing cold" in the national outline volume "Guan He Ling", which shows the characteristics of desolate environment; Adjectives such as "silence" in "deeper people go into silence" and "loneliness" in "but a lonely lamp in the mirror sets each other off" show the poet's lonely situation; The interrogative adverb "How" in How to Make a Nightingale Forever expresses the poet's sadness that he can't sleep at night and amuses himself. These keywords play an important role in understanding poetry and cannot be taken lightly. Grasping the key words can achieve the effect of appreciating poetry from point to area and from one to ten.
In short, know yourself and know yourself, and you will win every battle. Only by understanding the language characteristics of ancient poetry and prescribing the right medicine can we get rid of diseases and strengthen our health. When the obstacles to understanding the language of poetry are removed, the language understanding of ancient poetry can be accurate, comprehensive and profound, and the appreciation of poetry will come naturally.