On how to guide students to understand the artistic conception of ancient poetry

The artistic conception in the ancient poetry of "Chinese Syllabus for Junior High School" promulgated by the State Education Commission points out that junior high school students should "initially have the ability to appreciate literary works". As one of the literary genres, poetry, including lyrics, songs and other works derived from poetry, is arranged in all volumes of junior high school textbooks. Thirty or forty poems and songs were selected from six textbooks. Choosing these works is of great significance to developing students' thinking ability in images, cultivating students' aesthetic taste and improving their literary accomplishment. The so-called artistic conception, meaning emotion, refers to the poet's subjective thoughts and feelings; "Jing" is the realm, which refers to the artistic picture depicted in the poem, that is, the people, things and scenery depicted by the poet in a specific language. "Yi" and "Jing" are inseparable. "Yi" should be expressed through "Jing", which needs "Yi" as its soul. The so-called poetic artistic conception is a picture that reflects the author's subjective thoughts and feelings. So, how to guide students to understand the artistic conception in poetry and music? Below, I will talk about my own practice: 1. Combine the author's life with the background of life when writing. The creation of ancient poems and songs is far from our life, and the works are the reflection of the author's thoughts and feelings, which is called "poetry expressing ambition". As for "speech" and "ambition", it is necessary to understand the author's life and life background in order to make it clear. For example, I didn't introduce the background of Du Fu's poem "On Meeting Li Guinian in the River". I just asked the students to read it carefully several times, and then explained it word by word, with special emphasis on the last sentence, indicating that the "falling flower season" in this poem not only refers to the natural scene at that time, but also shows the poet's down and out situation at that time, and the poem is full of sadness. Students take notes while listening, but ask them if they really understand the poet's feelings and the artistic conception of poetry, but they can't say clearly. Because they know nothing about the background of the times, they just listen passively and have no real understanding of the connotation of the works. So, I introduced the social background of the poet's meeting with Li Guinian to the students. Du Fu and Li Guinian met for the first time in the Tang Dynasty. As an outstanding musician, Li Guinian was singing in the mansion of the King of Qi, and Du Fu was invited by the King of Qi for his outstanding talent. Decades later, the two met again in Jiangnan. At this time, after eight years of turmoil, the Tang Dynasty was falling from the peak of prosperity, Du Fu's own situation was extremely bleak, and Li Guinian also lived in the south of the Yangtze River. It is precisely because of the great contrast between reunion and first meeting that the poet wrote this quatrain, expressing his myriad feelings: although the scenery in Jiangnan is just right, thinking about the past, no matter how good the scenery is, it can't dispel the sadness in his heart at this time. Isn't the poor situation like falling flowers in front of your eyes? After listening to the supplementary introduction of the background, the students no longer seem confused, but have some understanding and a deeper understanding of the vicissitudes of the poem. Another example is Cao Cao's Yuefu poem "Looking at the Sea". From the surface of the poem, students can feel the magnificence of the sea. To deeply understand the poet's thoughts and feelings, we must first understand the background of the poet's writing this poem. In the "reading tips" and notes before the text, the teacher can also add an introduction to the students: Cao Cao was bent on reunifying China, and at this time he led a great army to win the battle. On the way to triumph, he climbed Jieshi Mountain and wrote this magnificent poem in the face of the surging sea. Knowing this, it is not difficult for the poet to express his ambition of unifying China and making contributions through the image of swallowing the sun and the moon. The above two examples have different artistic conception. The former is miserable and the latter is generous and heroic, but their original intention is to introduce this method of understanding artistic conception. It can be seen that guiding students to understand the artistic conception of poetry and introducing the writing background can not be ignored. 2. Grasping keywords and entering the country with words depends on the context. Reading any work, you can't dissect it and analyze it. Reading poetry is the same as music. The method of sentence-by-sentence analysis, even explaining poetry in vernacular, destroys the artistic beauty of the works and is meaningless. When reading poems and songs, we should grasp the key words. Starting with the words, this paper analyzes what is written in the works, how the author describes these things, and how these things are related, so as to form a complete picture in my mind, and then try to figure out the author's thoughts and feelings conveyed by these pictures. For example, there are two sentences in Li Bai's "Looking at Tianmen Mountain": "Tianmen cuts off the Chu River and Higashi Shimizu flows back here". If you explain the meaning of these two poems word for word, it will be straightforward. Isn't it Tianmen Mountain and Yangtze River water? Yes, but to really understand the artistic conception, we must grasp the key words and then drive away the imagination. In the previous sentence, the mountain is "broken" and the river is "open", which seems to write that the mountain is real and the river is vast, which will lead to "Tianmen breaking"; The last sentence seems to describe water as a mountain. Water flows and returns here. Why is it a "return"? It was blocked by the majestic Tianmen Mountain. From the verbs of "break", "open", "flow" and "return", a magnificent picture of the rushing river and towering mountains on both sides will appear in your mind. Read the last two sentences again: "The green hills on both sides of the strait are opposite, and the sails come from the sun alone." A word "out" makes the mountain "live". The poet sailed in the direction of Tianmen Mountain in a solitary sail. In the mist, trance-like mountains suddenly appeared from both sides of the river. This scene is so vivid. Pay attention to the last sentence again, write sail and sun. There is no word color, but a colorful picture is drawn: there is no hull, only white sails coming from a distance under the red sun. In this way, grasp the key words of the whole poem, analyze and play them, and a picture of "strangeness" and "beauty" will appear in your mind, and readers will naturally form an emotional song with the poet: it's so beautiful, the mountains and rivers of the motherland! Another example is "Spring and Snow in the Qinyuan" written by President Mao Zedong, which says that "a thousand miles is frozen, and snow drifts in Wan Li", "a thousand miles" and "Wan Li" are so vast and magnificent. People who are looking forward to it: The Great Wall, the River, the Mountain and the Original are all so majestic and magical. The mountains and rivers of the motherland are so magnificent, how can the poet not praise them loudly! Xiagan, the word "cherish" is affectionate, and he deeply regrets that the ancient emperors were "slightly literary" and "slightly coquettish". But the fly in the ointment has passed, and the lofty sentiments gushed out at the end of the word: "Count the romantic figures, but look at the present!" The people are the real heroes who have made great achievements! In this way, students are guided to grasp several key words, understand the poet's praise for the mountains and rivers of the motherland, praise for the people, and understand the artistic conception of the word. The words written by a generation of great men have aroused readers' love for the mountains and rivers of the motherland, and what kind of feelings will Ma Zhiyuan's well-known Tianjingsha Qiu Si bring to readers? Let's also start with the text and experience it in detail. This poem only takes 28 words, but it writes ten things, plus a "heartbroken man". Guide students to pay attention to the modifiers added before things, and find that modifiers are particularly sensitive, especially words such as "withered", "old", "faint", "ancient", "thin", "late" and "heartbroken". What kind of emotional color is it? After a moment's thinking, students will use words like "sad", "sad" and "sad" to describe their feelings. Being able to say these feelings, students will have a general understanding of this song. Then guide the students to arrange the things modified by these words one by one in their minds to form a complete picture. This painting conveys a bleak atmosphere. In such a state, it is not difficult for a heartbroken person to understand the wandering thoughts expressed in his works. 3. Combine life experience, exchange psychological positions with the author, and understand the artistic conception of the work. Good poems, words and songs are all close in meaning and far in meaning. To understand the artistic conception, we must be able to combine our own life experience, melt our thoughts and feelings, and reach the realm of "harmony between man and nature" with the author. For example, learning Li Qingzhao's Dream can guide students to recall their experiences of outing. It seems that the main body of the word is themselves, and even the screams of panic when they get lost and the laughter after a false alarm can reverberate in their ears, so that they can truly feel the innocent fun of Li Qingzhao's girlhood and friends going out, and arouse our nostalgia for the past. As mentioned above, when students study Qiu Si in Tianjingsha, they can quickly use some gloomy words to describe the realm depicted in the work, which is also the application of their own life experience. Autumn scenery, people see * * *, has its own feelings; It's far from home, and the night is getting dark. Looking at the smoke curling up on the roof of someone else's house, I don't know where it fell tonight. At this time, how would you feel if you turned yourself into the main body of your work? Students can answer words like "homesickness" and "loneliness" by themselves. So, is it necessary to have a direct life experience to have a * * * sound with the author? Not necessarily. For example, when we study Looking at Tianmen Mountain from afar, students who have swam across the Yangtze River will feel very real, while those who have never been to the Yangtze River can also associate themselves with the indirect experience given to us by pictures and focal planes, and imagine themselves as poets, standing at the bow and enjoying the scenery of the Yangtze River all the way. The ship sailed so fast, the green hills on both sides of the river receded, and the river was foggy, only the mountains in front of it emerged from the water. This admiration will naturally come from your heart and mine. Reading the northern folk song "Song of Chile", we southern students have no experience of grassland life, but we can also imagine ourselves as a herder, grazing on the grassland. Looking up at the sky, the sky is so blue, looking around the fields, the grassland is endless and boundless. Cattle and white sheep, a group of east and a group of west, are everywhere. At this time, why don't you praise your beautiful and rich home in your heart? Your lofty sentiments drive you to sing about the beautiful grassland. From this point of view, in the teaching of poetry music, students are often guided to stand in the author's position in the first person way, put themselves in the author's shoes, and understand the author's thoughts and feelings, which is helpful to understand the artistic conception of the work more deeply. Through several years of teaching practice, I have noticed that students are often particularly interested in learning poems and songs, and they attach great importance to the reading of poems and songs. Naturally, this has a lot to do with the rich rhythm, harmonious phonology and catchy language of such works. But with a little attention, you will find that their reading is often superficial. At this time, teaching them to further appreciate the artistic beauty of poetry and music will be more helpful to cultivate students' deeper love for the cultural heritage of the motherland.