Mr. Qian Zhongshu 19 10 was born in Wuxi, Jiangsu Province; 1933 graduated from the Foreign Languages Department of Tsinghua University; 1935 went to Oxford University, England, and obtained a Bachelor of Arts (Oxon) degree. Later, he went to Paris University to study French literature. After returning to China, he served as professor of foreign languages department of National Southwest Associated University, director of English Department of Kunming National Normal University, professor of foreign languages department of Shanghai Jinan University and editor-in-chief of foreign languages department of Central Library. After liberation, he was appointed as a professor of Tsinghua University Foreign Languages Department. 65438-0953 was transferred to the Institute of Literature of China Academy of Sciences as a researcher and a member of the Department of Philosophy and Social Sciences. In the new period, he served as a researcher at the Institute of Literature of China Academy of Social Sciences, vice president of China Academy of Social Sciences, and invited consultant of the institute. He also served as a member of the Sixth China People's Political Consultative Conference and the Standing Committee of the Seventh and Eighth China People's Political Consultative Conference.
Mr. Qian is knowledgeable, versatile and knows several foreign languages. He has made outstanding achievements in literary creation and academic research. Before liberation, he published a collection of essays, China 16, 17 and18th century English Literature written on the edge of life, a collection of short stories, Man, Beasts and Ghosts, a novel Fortress Besieged and a review of literary theory and poetry. Among them, Fortress Besieged has a unique achievement, which has been translated into many languages and published abroad. Mr. Lu concentrated on the study of the West, and his views were incisive and original. After liberation, Mr. Qian published five volumes, including Selected Poems of Song Dynasty, Guan Cone, Qi Zhuan Ji and Huai Ju Shi Cun. Mr. Qian also participated in the foreign language translation of Selected Works of Mao Zedong. He presided over the compilation of the Tang and Song Dynasties in the History of China Literature. His Notes on Selected Poems of Song Dynasty is quite insightful in selecting and annotating poems, and also accurately expounds some regular problems in Chinese and foreign poetics. Guan Cone Pian is an academic masterpiece about Justice of Zhouyi, Justice of Shi Mao, Justice of Zuo Zhuan, Notes on Historical Records, Notes on Lao Bi, Biography of Liezi, Biography of Jiao's Family, Songs of the South Hong Xing, Records of Taiping Guang, and all the ancient three dynasties, Qin and Han dynasties and six dynasties. The characteristics of Mr. Qian's academic research are the integration of Chinese and western learning, the mutual understanding of ancient and modern times, the integration of various disciplines, the exploration of the subtle and the connection with the abstract, which makes him unique in contemporary academic circles. Because of its achievements in many aspects, it is known as the "master of culture".
Perceive the whole and grasp the meaning of the text
1. Students read the text, understand the main idea of the text, and divide the structural levels.
Clear: This article can be divided into four parts.
The first part (paragraph L) explains the author's basic position on poetry.
The second part (the second paragraph) discusses the overall development characteristics and laws of China's poetry.
The third part (from "Your country's Allan Poe advocates the shorter the length of poetry, the better" to "I have explained in detail elsewhere the pure poetry produced by your country's Allan Poe's poetic method, which existed in our poems thousands of years ago") focuses on the various characteristics of China's poetry. This part is divided into three layers:
On the first level (from "Your country's Allan Poe advocates the shorter the poem, the better" to "China poets hope that you can see infinity from" Yi "), from the length of the poem, it is discussed that China's poems are short, and the reason for their formation is the requirement of rhythm.
On the second level (from "China said a poet" to "silent sigh in tears"), this paper discusses the beauty of rhyme in China's poems, which is full of hints.
On the third level (from "Western blasphemers also think that China's poetry is weak in brushwork" to "it was in our poetry thousands of years ago"), the style of China's poetry "weak in brushwork and gentle in writing" is discussed in detail by means of comparison.
The fourth part (from "So, talk about China's poems ..." "Studying our poems will make you ... feel the sweetness of your expedition hometown") discusses the overall characteristics of China's poems, and enlightens people that the discussion of poetry must be based on national culture, and only in this way can it be comprehensive and scientific.
2. Students accurately screen the information in relevant paragraphs and summarize the characteristics of China's poems with appropriate language.
After thinking, the students made it clear that compared with western poetry, China's poetry has the following characteristics.
First, China's poetry emphasizes lyricism, reaching a lofty realm overnight, and then lacks change and gradually corrupts. (The Development of China's Poetry)
Secondly, China's poems are short in length, and "poetic style" meets the needs of "poetic heart".
Thirdly, China's poems are suggestive.
Fourthly, China's poems are light in pen and gentle in words.
Fifth, the content and style are not much different from those of western poetry.
3. Students discuss the characteristics of this article in groups. Please give an example.
Clarity: The main features of the text layout of this paper are: comprehensive as the key link, comparison as the net, compatibility between China and foreign countries, consideration of ancient and modern times, originality everywhere, and endless aftertaste for readers.
For example, answer "What's your overall impression of China's poetry?" Qian Zhongshu cleverly set a "trap". He told us that it was inappropriate to ask such a question. Only by comparing Chinese and foreign poems from a lofty perspective can we draw a reasonable conclusion. And tell readers that this method is the method of comparative literature. The basic ideas and principles were explained clearly in a few words. Almost every discussion below contains comparison and synthesis.
For example, The History of China's Poetry was led by Voltaire, and then he published his own unique views.
If we say the length of China's poems, we will argue with Poe's words. This paper not only points out the characteristics and reasons of China's poems, but also points out the special features of China's poems: short poems can have far-reaching meaning, and contraction does not hinder extension, as if to look farther, and each eyebrow frowns. China poets want you to see infinity from "easy completion".
When talking about the rhymes and special expressions of China's poems, he quoted the opinions of foreign poets, such as Vyrlan, Keats, Wei Rong, Shakespeare and Byron. Rich in materials and convincing. Method 1: Students find their own interesting sentences and speak freely.
Method 2: Teachers show the sentences in the projection for students to analyze.
If you use the second method, you can take out the following sentences for students to taste.
1. So China's poems are precocious. The price of precocity is premature aging. China's poetry reached a lofty realm overnight, and then it lacked change and gradually became corrupt.
2. There is no such thing as gravity in China people's mind. They just jump up. The Sanskrit "Baiyujing" says that an Indian fool wants to live in three floors and is not allowed to build two floors below. China's artistic and ideological structures are often castles in the air, because China people are both clever and vicious.
3. Ask without answering, answer with asking, and give you a worrying whereabouts, and submit to humiliation without following. ..... All that remained was silence, drowned in tears and sighs.
There is a pug with curly hair and a concave nose. You call it "Beijing Dog" and we call it "Western Dog". The "western fancy pug" in A Dream of Red Mansions. This little beast, who is full of China in the west and regarded as the West in China, should sharpen his teeth and kill those who speak Chinese and Western cultures.
Reading foreign poetry will bring you back to your native language poetry. It's not surprising that this happened.
Teacher's tip:
1. The ontology of this sentence is not "China's poems" in a general sense, that is, it does not refer to a certain kind of works in China's poems or the works of a poet, but refers to the development characteristics of China's poems. Precocity refers to "the essence and peak of pure lyric poetry, which appeared unusually early in China's poems"; Premature aging refers to "China's poetry reached a lofty realm overnight, and then it lacked change and gradually became corrupt" (corruption refers to the ideological content and artistic value of poetry). With the help of metaphor and the contrast between metaphor ("precocity" and "premature aging"), this sentence briefly explains the artistic characteristics of China's poetry and its negative impact from the perspective of poetry development.
2. This sentence has two meanings: one is to explain China's shortcomings in art and ideological structure with the help of Sanskrit Bai Yujing, aiming at criticizing; The second is to point out the root cause of this deficiency. Buildings like "an Indian fool wants to live on three floors, but two floors are not allowed below" are "castles in the air". Taking this as a metaphor, the author criticizes China's art and ideological structure for lack of strict logic, often divorced from objective reality and without a solid foundation, and the result will definitely affect the healthy and stable development of art. This criticism is quite sharp, and the metaphor has a strong irony. The word "Qiao" in the sentence is ironic, and it is a way of thinking that does not grasp the law of artistic creation but only relies on speculation. Wei's "cleverness" is nothing but self-deception. "The pernicious influence is infinite", which sharply points out the harm of the above-mentioned way of thinking-the wrong things have not been criticized and resisted for a long time, but have been passed down angrily, causing endless harm.
The meaning of this sentence is that China's poems have profound implications, but the expression style is very peaceful.
This sentence implies those who don't pretend to understand western culture.
The deeper you know about foreign poetry, the more you can feel your own poetry. By means of comparison, this paper discusses the characteristics of China's new poetry compared with China's ancient poetry in content and form.
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