Ma Zhiyuan's "Clear Sand? Appreciation of Qiu Si
( 1)
On the one hand, this poem has won such high praise because it depicts a wonderful late autumn evening scene and truly shows the loneliness and sadness in the world. Although depressed, it reflects the depressing atmosphere of the times at that time and has certain social significance. On the other hand, more importantly, it has high artistic achievements. The obvious features are:
1. Simple and profound interdependence
The ancients Song Yu used it? Increasing one point is too long and decreasing one point is too short? Describe the beauty of the body, just right. The refinement of the characters in Tianjingsha Qiu Si can also be said to have reached the point where one word cannot be added or subtracted. There are only five sentences and twenty-eight characters in the whole article. No exaggeration, no allusions. It is a vivid picture outlined by pure line drawing: in the late autumn evening, a travel-stained wanderer rode a thin horse and walked alone on the ancient road against the chilly west wind. He walked past an old tree covered with withered vines and saw crows hovering in the treetops at dusk. He crossed the small bridge across the stream and came to the doors of several families by the stream. At this time, the sun is about to set, but he hasn't found a place to stay. It will be a long night, and he can't help feeling sad and deeply sad. As for why the wanderer drifted here? Where on earth is he going? These meanings can be left to the reader to imagine. This poem is really a masterpiece with simple words and rich meanings, and less wins more. There are eighteen words in the first three sentences of the poem, and * * * wrote nine things: rattan, tree, crow, bridge, water, home, road, wind and horse, one word at a time, one scene at a time. Is it true?/You don't say. Cherish ink like gold? . However, brevity is not simple. Before the names of nine things, there are modifiers expressing their own characteristics, such as withered, old, faint, small, flowing, human, ancient, western and thin, which make all things have distinct personalities and make unrelated things form a unity in the desolate late autumn twilight. The author has no place to write these things, nor does he write about the relationship between these things and the activities of vagrants, but readers can imagine them and connect them closely. In simplicity, you can see depth and fineness.
2. Static and dynamic scenes set each other off.
The artistic effect of Tianjingsha Qiu Si is also due to the successful use of foil techniques. The author brings many relatively independent things into a picture at the same time, thus forming the mutual contrast between motion and stillness, light and shade, background and subject: dynamic? Running water? , and in a static state? Joe? Others? Set each other off into interest, but also show the quiet environment; ? West wind? With what? Ancient road? Set each other off and make the road more desolate; On the autumn scenery map sketched by the author, on the one hand, the dead vines, old trees and crows are gloomy in the autumn wind and small showers, and on the other hand, the afterglow of the sunset paints the dead vines, old trees and crows with a touch of gold; ? Small bridge and flowing water? It presents an elegant and comfortable scene, which is in harmony with the wandering foreign land, making? Heartbroken man? Add more sorrow. Judging from the whole composition, the first four sentences are about scenery and the last one is about people. But people are the main body and scenery is the background of people's activities. When the background is written, the main body is set off. This is the wonderful use of mutual contrast.
3. Scenery and emotion blend together
Poetry expresses ambition. This poem aims to express the sorrow of the people who were born. But people's thoughts and feelings are abstract and difficult to express. The author uses the traditional writing method of attaching affection to things to portray this bitterness and sorrow incisively and vividly. Dead vines, old trees, faint crows, westerly winds, thin horses, sunset, tangible and sensible things all have obvious late autumn colors, which are similar to intangible and abstract bitterness. Only by seeing and touching can people feel concrete and vivid. Like? How much sadness can you have? Like a river flowing eastward? ,? Worried? With what? Water? There is no connection, but the author borrows as much water as he can. What are these two? Like what? At the same time, it is very meaningful to express infinite sadness with the scenery of the river flowing eastward. Natural scenery originally had no thoughts and feelings, but when the poet incorporated these objective things into his aesthetic comprehension and feelings, they were endowed with emotional colors and merged with people's thoughts and feelings. ? Small bridge and flowing water? , but it is a very ordinary ordinary scenery, but when it is related to? Heartbroken people at the end of the world? When they are in the same picture, it is no longer an isolated landscape, but a career? Heartbroken man? The trigger of heartbreak and heartbroken brings a sad atmosphere to the picture. So-called? Love comes from the scene, and the scene comes from love? That's the truth. "Tianjingsha Qiu Si" can be called a masterpiece with feelings in the scene, scenery in the feelings and a seamless scene.
(2)
In order to further understand the artistic achievements of this poem, we might as well make the following comparative appreciation. According to Ren Yuansheng Ruzi's Old Learning Series, Ma Zhiyuan's Tian Jing Sha actually has three songs.
One is:
Thin rattan (Yuefu New Voice)? Dead vine? ) The old tree is dim.
Yuanshan (Yuefu New Sound)? Joe? ) flowing water people.
The ancient road and the west wind are thin. Sunset (Yuefu New Sound)? Sunset? ) west.
Heartbroken people go to the end of the world (Yuefu New Voice)? In Tianya? )。
The second is:
The flat beach is covered with fine grass. The winding stream gurgled. Trapped in the clear autumn and early cold. A new goose. Huang Yun has red leaves and green hills.
The third is:
The west wind is holding Hu Jia. Yueming immediately plays the pipa. Then (? So what? Word into doubt) Zhao Jun hate (? how much is it? The word is in doubt). Li xialing Light smoke, rotten grass and yellow sand.
Two or three songs, although they are all about autumn scenery, are all about more than seven or eight kinds of scenery in fewer words, but none of them have the sunset and dusk atmosphere in Tianjingsha Qiu Si. The second song has no scenery, and the third song quotes allusions, with resentment and sadness, and the autumn is not strong. As for the first song? Fine rattan? Distant mountain? Sunset? Go to Tianya? Such words may be Ma Zhiyuan's first work, or it may be a copy mistake. If you compare it with Jing Tian Sha Qiu Si, let alone Saito? Are you online? Thin? ,? Distant mountain? ,? Sunset? Are you online? Tilt? And then what? Go to Tianya? Are you online? Going? As far as the meaning of these words is concerned, their phonological appropriateness is far less accurate than what we see in Tianjingsha Qiu Si. ? Fine rattan? With what? Dead vine? Compared with? Fuck? It is more characterized by aging and decay. Thin? Chinese characters are mostly used to describe people and animals, but rarely used to describe vegetation. Are they used here? Thin? Word, with the following? Thin horse? Repetition is obviously inappropriate; ? Distant mountain? With what? Joe? Compared with the previous sentence, withered vines, old trees and faint crows are a group of closely connected landscapes, and bridges, running water and people are also a group of interdependent landscapes, and since you can see the running water of the stream, it should be a close-up view. Joe? Than? Distant mountain? More suitable; ? Sunset? With what? Sunset? Compared with? Sunset? Also known as sundial and sunset? It is the sun in the evening, and it is more accurate to use the sunset; ? Go to Tianya? With what? In Tianya? Compared with? Tianya? Speaking in a foreign language here, the living environment of tourists is already a foreign land. In a foreign land? Natural proportion? Go to a foreign land? More real.
What did the ancients call refined poems? It's a long story . Through the above comparison, we can better understand the diction and sentence-making skills of Ma Zhiyuan's poem Tianjingsha Qiu Si, and we can also see its artistic ingenuity in expressing ideas.
Ma Zhiyuan's "Clear Sand? Qiu Si's original text.
Tianjingsha? Melancholy Qiu Si
Old vines and faint crows, small bridges and flowing water. The ancient road and the west wind are thin. When the sun sets, heartbroken people are at the end of the world.
Ma Zhiyuan's "Clear Sand? Qiu Si's translation.
(1) withered vines, ancient trees, a listless crow in the sunset, flapping its wings and landing on the bare branches. Exquisite and chic small bridges and flowing water, low and shabby huts are getting quieter and warmer. On the desolate ancient road, a thin and haggard horse was carrying the same tired and haggard wanderer in a foreign land, wandering in the west wind of a foreign land. The sun is setting, but where is the home of the wanderer? Where is your hometown? With this in mind, how can a wandering wanderer not be heartbroken!
(2) Dead vines are entangled with ancient trees, and crows fly back to the trees at dusk to live. Under the small bridge, the stream flows through the people on both sides. There is a traveler riding a tired thin horse, facing the biting autumn wind, slowly marching on the ancient desolate road. As the sun sets, travelers are extremely sad and wander far from home.
Ma Zhiyuan's "Clear Sand? Reflections on the Teaching of Qiu Si
Fully preparing lessons is the premise of a good class. To improve the quality and effect of classroom teaching, we must first do a good job in preparing lessons. Only in this way can we be comfortable in the classroom and establish a lofty image in the hearts of children. Secondly, preparing lessons is to prepare students, because students are the main body of learning (new curriculum standard) and the yardstick to test our teaching effect. Therefore, in the teaching process, we should design more interactions and exchanges according to students' level, knowledge composition and living environment. Let the children have a * * sound with the teacher intellectually and emotionally, thus forming a good learning atmosphere in the classroom. At the same time, poetry itself is abstract and difficult for students to understand. At this time, it is necessary for our teachers to give appropriate guidance to turn abstract images and artistic conception into concrete and sensible images, so that children can learn in happiness and get happiness in learning.
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3. Tian Jingsha's Qiu Si cursive calligraphy works
4. Classic Poetry Recommendation: Heartbroken people are at the end of the world.
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