The four units of poetry have their own emphasis on content, and the selection scope covers not only European and American masterpieces such as Britain, France, Germany, Russia and the United States, but also oriental masterpieces such as Iran and India. From the time range,/kloc-works after the 8th century account for the majority, and there are also a few ancient poems. Its purpose is to let students feel the charm of foreign poetry and appreciate the artistic characteristics and expression skills of poetry by contacting specific famous foreign poems. According to the different expressions, some units of prose are divided into four units: narration, writing, lyricism and discussion. Each unit includes four texts, two of which are read by the teacher and two by the students independently under the guidance of the teacher. The fifth unit is mainly narrative prose. The main feature of these essays is to use a variety of narrative techniques to tell their own or others' experiences, express their feelings about life and give people inspiration in life. The sixth unit mainly studies the prose of remembering people. Unit 7 Learn lyric landscape prose. Learn philosophical prose. You can't put out the fire.
Dickinson
You can't put out the fire-
There's something to be angry about.
Can spontaneously ignite, without human points—
When the long night has just passed—
You can't wrap up the flood—
Put it in the drawer—
Because the wind will find it—
Tell your pine flooring—
About 1862 years
Jiang Feng's Translation of Beethoven's Centennial Celebration
Bernard Shaw's
A hundred years ago, a 57-year-old stubborn single old man could still hear thunder, but he was so deaf that he couldn't hear a large symphony orchestra playing his own music. He raised his fist at the roaring sky for the last time and then passed away, still as abrupt as before, proud of the world. He is the embodiment of resistance; Even when he met an archduke and his entourage in the street, he couldn't help pressing his hat tightly and strode straight through them. He has the demeanor of a disobedient steam roller (most rollers are obedient and not so naughty); He doesn't pay attention to clothes, especially the scarecrow in the field: in fact, he was once arrested as a tramp because the police refused to believe that a man dressed in such rags could become a great composer, let alone that this body could hold the most surging soul in the pure tone world. His soul is great; But if I use the word greatest, that is, greater than Gandel's soul, Beethoven himself will blame me; Who can boast that the soul is greater than Bach? But it is no problem to say that Beethoven's soul is the most surging. He can easily control his surging power, but he often doesn't want to control it. This funny humor of laughing with him can't be found in other composers' works. Now the little boy mentioned syncopation, which seems to be a new way to make the rhythm of music the strongest and most powerful; However, after listening to Beethoven's "Prelude No.3 of Leonora", the most fanatical jazz sounds as gentle as "A Girl's Prayer". To be sure, any black carnival I have heard will not cause the darkest dancers to jump like the last movement of Beethoven's seventh symphony, and no composer can use the feminine beauty of his music first, and then suddenly let the audience completely melt into the realm of tears. No one can control Beethoven except Beethoven; After the madness, he always deliberately let himself out of control, so he became uncontrollable.
This rush, this intentional disintegration, this ridicule, this reckless and arrogant disregard for traditional Feng Shang-these are the places where Beethoven is different from other law-abiding musical geniuses in the 17th and 18th centuries. He was a huge wave in the spiritual storm that triggered the French Revolution. He didn't recognize anyone as a teacher. Mozart, the predecessor of his peers, was clean, beautifully dressed and natural in front of princes and nobles from small to large. Mozart was the mistress of the French emperor Louis XV when he was a child, and gave it to Madame Pompo (172 1- 1764). He was so powerful that he lost his temper for almost twenty years and said, "Who is this woman? She didn't even kiss me, even the queen kissed me. " This kind of thing is unthinkable for Beethoven, because even at the age of pale bear, he is still an untamed cub. Mozart was gentle in nature and in tune with the tradition and society at that time, but he also had the loneliness of his soul. Mozart and Gluck are as delicate as Louis XIV's court. Haydn was as elegant as the most cultured squire of his time. Compared with them, Beethoven is an unruly artist in social status and a radical activist who doesn't wear tight pants. Haydn never knew what jealousy was. He once called Mozart, who was younger than him, the greatest composer of all time, but he just couldn't stand Beethoven. Mozart was far-sighted. After listening to Beethoven's performance, he said, "He will be famous one day." However, even if Mozart lived longer, the two men were hard to get along with. Beethoven was morally disgusted with Mozart. Mozart added a charming circle of holy light to the prodigal Don Juan in his music, and then, like a natural dramatist, with moral flexibility, he added the glory of God to a character in Mozart's opera The Magic Flute, giving the lyrics in his mouth an unprecedented tune, which would not appear out of proportion from God's mouth.
Beethoven is not a dramatist. It is disgusting cynicism that he gives morality flexibility. He still thinks Mozart is a master among masters (this is not an empty hat, it really means that Mozart is a composer admired by composers, far from being a pop composer); However, he is an official attache wearing tight pants, while Beethoven is a radical and activist wearing loose trousers; Similarly, Haydn was a squire in a traditional uniform. There was a French Revolution between Beethoven and them, which separated18th century from19th century. But for Beethoven, Mozart is not as good as Haydn, because he plays with morality and writes evil as beautiful as virtue with charming music. Like every real radical, Beethoven's Puritan character made him oppose Mozart, although Mozart inspired him with various innovative possibilities of music in the19th century. So Beethoven can be traced back to Gandel, an old bachelor as stubborn as Beethoven, who regarded him as a hero. Han Lu despises the hero Gluck worshipped by Mozart. Although the pastoral music in Han Lu's Messiah is very close to the scene of vilen, vilen shows us heaven in his opera Oflo.
Thanks to radio broadcasting, millions of people who have little contact with music will hear Beethoven's music for the first time in the year of his centenary birth. Hundreds of commemorative articles are full of praise indiscriminately added to great musicians as usual, which will make people have usually rare expectations. Like Beethoven's contemporaries, although they can understand Gluck, Haydn and Mozart, what they get from Beethoven is not only an unexpected music that puzzles them, but sometimes they can't even recognize the chaotic sounds made by orchestral instruments. It's not hard to explain. Music in the eighteenth century is dance music. Dance is a symmetrical pattern composed of pleasant steps; Dance music is a symmetrical style composed of sounds, and it sounds good without dancing. Therefore, although these musical forms were only simple chessboards at first, they eventually became similar to Persian carpets with the development, complexity and enrichment of harmony. And composers who design music like Persian carpets no longer expect people to dance to this music. To dance with Mozart's symphony, you need the ability of a wizard to play the whirlwind. Once, I really invited two well-trained young dancers to dance with Mozart's prelude, and they were almost not tired. Even the original terms about dance in music are gradually disappearing. People no longer use suite forms, including Sarabando, Simone Pavan Palace Dance, Galfut Dance and Minutia Dance. Instead, I express my music creation as sonatas and symphonies, and all the voices contained in them are simply called movements. Each chapter records the speed in Italian, such as Allegro, Adagio, Scherzo and Allegro. However, in any period, from Bach's Overture to Mozart's Symphony of the Gods, music always presents a symmetrical acoustic style, which gives us a pleasure of dancing as the form and foundation of music.
However, the function of music is not limited to creating pleasant musical forms. You can also express feelings. You can enjoy a Persian carpet or listen to a Bach overture with relish, but the fun stops here. However, after listening to the prelude of Don Juan, you can't be without complicated feelings, which makes you mentally prepared to face a terrible doomsday tragedy, which will drown out that delicate but demonic joy. When you listen to the last chapter of Mozart's Symphony of the Gods, you will feel that it is carnival music, just like the last movement of Beethoven's Seventh Symphony: it plays an intoxicating melody with loud drums, interwoven with an unusual sad beauty from beginning to end, which is even more refreshing. This movement of Mozart is a masterpiece of music design from beginning to end.
But what Beethoven did was that some great men of his time had to regard him as a madman, and sometimes he would make a fool of himself when he was awake or showed a low style, because he completely used music as a means to express his mood, and he didn't take the design of music as his purpose at all. Yes, he used the old music style very conservatively all his life (by the way, this is also the characteristic of radicals); But he gave them amazing vitality and passion, including the highest passion produced by the height of thought, which made the passion produced by feeling seem to be just sensory enjoyment, so he not only disrupted the symmetry of old music, but also often made people unable to recognize what style existed under the emotional storm. His Heroic Symphony began with a musical form (which borrowed a prelude from Mozart's childhood), and then used several other beautiful musical forms. These musical forms were endowed with great internal strength, so in the middle of the movement, they were violently dismantled; Therefore, from the point of view of a musician who only pursues music, Beethoven is crazy. He throws out terrible chords that use all the tones on the scale at the same time. He only did it because he felt it was necessary, and he made you feel it was necessary.
This is the mystery of Beethoven. He has the ability to design the best music form; He can write beautiful music and let you enjoy your life; He can pick out the most boring melodies and make them so attractive that you can find something new every time you listen to them a hundred times: in a word, you can describe him with all the words used to describe composers who are good at music; But his symptoms, that is, what distinguishes him from others, are his exciting qualities. He can excite us and surround us with his unrestrained feelings. Berlioz was very angry when he heard a French composer say "I like music that can make me fall asleep", because Beethoven's music made him uncomfortable. Beethoven's music is the music that wakes you up; And when you want to be alone for a while, you are afraid to listen to his music.
Knowing this, you have taken a step forward from the18th century and the old-fashioned dance band (jazz, by the way, Beethoven's old-fashioned dance band). You can not only understand Beethoven's music, but also understand the most profound music after Beethoven.