Why does classical Chinese poetry have a constant artistic charm? Try to give an example to illustrate the influence of classical poetry on contemporary literature and art.

In the history of the development of ancient Chinese literary thought and literary theory, mood has become an important aesthetic category with the typical manifestation of Buddhist and Lao thought, and it is still difficult to find an equivalent concept or term in Western literary theory.

The so-called mood is traditionally understood as the artistic realm formed by the intermingling of the author's (and sometimes the reader's) subjective feelings and the objective objects reflected in the work. Emotion and scenery are the two most basic factors constituting mood, "Scenery is the medium of poetry, and emotion is the embryo of poetry" (Xie Hazel's "Four Diming Poetry"), "Scenery is the medium of poetry, and emotion is the embryo of poetry" (Xie Hazel's "Four Diming Poetry"). (Xie Hazel's "Sihuming Poetry? Volume III"), "Scenery is called two, but it cannot be separated from it" (Wang Fuzhi's "Introduction to Yutang Yongzhi"), and they interact with each other. They interact with each other, penetrate into each other, and are evocative of the situation and the scene. According to Wang Guowei, the mood formed by the fusion of true scenery and true feelings is the enduring artistic charm of classical Chinese poetry.

So, in the teaching of poetry (especially classical Chinese poetry), it is absolutely difficult to understand the connotation of poetry and appreciate the artistic charm of poetry without a deeper appreciation of the mood.

However, unfortunately, the current teaching of poetry is often formal and one-sided, focusing only on the interpretation of words and phrases and the simple translation of verses or surface understanding, while precisely ignoring the artistic realm created by the poet's flavor, resulting in monotonous and boring classroom teaching, and it is difficult to cultivate the students' reading, thinking ability and aesthetic taste.

So, in the teaching process, how should we teach students to savor the poetic mood, cultivate aesthetic ability? I think that grasping the unique language of poetry is a prerequisite for delving into the poetic mood and appreciating the deeper connotations.

A study of language, grasp the jump

As we all know, poetry is the product of the poet's image thinking, whether it is a copy of the scene, or narrative, the poet is always their deep feelings and emotions, with the help of rich associations and imaginations, poured out in the poetry of the words between the lines. At the same time, good poetry requires a highly concentrated and generalized reflection of social life and changes of the times in a short space. Therefore, it pays special attention to the refinement of words and phrases, focusing on condensation, innuendo, image and vividness, which makes the poems show obvious jumping phenomenon in the imagery and verses and chapters, and the transition and related words and phrases that are intentionally omitted in the middle of the poem become "blanks" left for the readers to imagine, ponder, and supplement.

This kind of language jumping is one of the major features of poetic language. The so-called jumping refers to the combination of different images beyond the limitations of time and space: either by utilizing the multiple meanings and implicit characteristics of words, or by consciously hiding the connotations and meanings behind the words, so that readers can discover and appreciate them through the gaps between the words and the lines. This kind of unimaginable jump in other genres is an important artistic technique to realize the refined and implicit language, vivid image and mood shaping of poetry.

The poems selected from the current Reading and Writing textbooks for secondary school teachers are roughly as follows in terms of language jumps

1. Emotional jumps. The poet does not give any explanation in the poem, but the great ups and downs of emotions and thoughts are clearly reflected between the lines. For example, Xu Zhimo "Farewell to Kangqiao" (Middle Division, "Reading and Writing", Book 1), stanzas 5 and 6: "...... full of a boat full of starlight, and play songs in the starlight. But I can't play the song, quietly is the parting pith ......". Poet in pursuit of "rainbow-like dream", holding a Penny, canoeing to the grass is more green, "full of a boat full of starlight", immersed in the past good memories, as if looking for the dream of the past, a moment to forget that they have to leave the reality of Kangqiao to go, can not help it! The poet's inner happiness reaches its peak, and the melody and emotion of the poem are extremely warm and unrestrained. But then, "But I can't sing", why? The poem does not explicitly say, but we can understand, the poet in the fantasy, reminiscent of the joy of the sudden awakening, the thought of the reality of the Kangqiao and the disappearance of the dream after all can not be recovered, loneliness, despair immediately surged to the heart, and finally, "can not play the song," can only be "quietly Finally, he could not sing, and could only "quietly" play the parting shengxiao, chewing the sorrow of parting in silence, and the melodic mood of the poem turned into a low and mournful one. The emotional jumps shown in between are great.

2. The jump in time and space. Or from ancient times to today, or from the present to the future, or from this place to another place, which omits the transition and continuity. The poet breaks through the boundaries of time and space, disrupts the rigorous logical program of life, and creates new images in a very free world. For example, Wang Changling's "Marching from the Army" (Book 4 of Reading and Writing for Intermediate Teachers): "The long clouds of the green sea darken the snowy mountains, and the lonely city looks at the Jade Gate Pass from afar." The poem's drastic spatial jumps depict the entire northwestern border stretching for thousands of miles in an extremely concise fourteen-word sequence in a highly generalized manner, demonstrating a kind of empty, misty, and faraway, The deep mood of emptiness, misty, distant, lonesome and bleak, from which reflects the loneliness and hardship of the soldiers' life on the border; at the same time and the last two lines of the lyric ("the yellow sands of the hundred battles through the gold armor, do not break the Loulan will not return") are closely linked to the generals to defend the country and the border of the great ambition and determination of the generals portrayed to the fullest extent, touching to the depths of the heart.

3, the logic of the jump. This kind of jump is more often used in juxtaposition or progressive to complete, through a certain logical connection of the combination of imagery, to show the theme of the poem, to explore the poetry of the inner meaning of the poem, which is more to the emotional changes as a link, so its nature can be said to be the jump of emotion. For example, Liushahe's "It's the Cricket" (Reading and Writing, Book 2): "Think of the bamboo cage / Think of the lamps and hedges / Think of the mooncakes / ...... / Think of the years that have secretly flowed away many, many, many, many, many, many, many, many, many, many, many, many, many, many, many, many, many, many, many, many, many", through the recollection of the innocent and romantic childhood, to "By recalling the innocence and romance of childhood, and using a series of childlike images to express the mother's love of ****, it reveals the cultural bond between the people on both sides of the Taiwan Straits, where the blood is thicker than the water.

Second, give play to the imagination, supplement the "blank"

From the above analysis, it can be seen that, due to the unique language combination of the poem, the mood of the poem, time and space, logical barriers, the formation of a vast "blank". So, in the teaching of poetry, how should teachers guide students to overcome these obstacles, inspire reasonable association and imagination, to supplement the "blanks" of poetry, to connect the starting and finishing points of the jump, so as to appreciate the unique artistic image of poetry, distinctive lyrical picture, rich life content and profound ideological significance?

1. Holding the clues to the development of the poet's thoughts and feelings, inspire students to follow the line of association, imagination, supplementation, the jump part of the connection to the embellishment. The jumping of the language of poetry seems puzzling and elusive on the surface, but in fact there is a rule to follow. No matter how much the poetry jumps, between those lines that are drastically shifted and spanned, there is always the poet's condensed and deep, complete and orderly emotions. This is like the triple jump in track and field, between several landing points, there are hidden lines connected. Embodied in the poem, it is the thread of the poet's emotions, thoughts and the content of the poem. Although this line is hidden, it is continuous, orderly and perceptible. For example, in Liushahe's "That Cricket", which has been cited earlier, the poem uses "cricket" as a thread connecting the content and emotional development of the whole poem, from tracing the historical origin of singing crickets to presenting the objective reality in space and time, and using a series of heavy and bleak imagery to show the suffering, disassociation, loneliness, and loneliness of the Chinese nation, and to explore the unique cultural traditions and historical background of the Chinese nation. It is a series of heavy and bleak imagery showing the suffering, loneliness and solitude of the Chinese nation, and tapping into the unique cultural tradition and historical background of the nation. Grasping this clue, students can not only understand the structural order of the stanzas, but also be able to y comprehend the true attachment of the people on both sides of the Taiwan Strait to the fact that "blood is thicker than water" in the picture of life revealed in the poem. Therefore, as long as the teaching of the poet's emotional development of the veins of the clues, to develop a reasonable association and imagination, even if the span of the poem jumps again, but still no obstacle to the students' understanding.

2. The eye of the poem. The eye of the poem is the focal point of the poem, is the soul of the poem and the commander, is the poet's feelings of the burning point. The jump of the span is even bigger, are closely around the eye of the poem to develop. Therefore, if you grasp the eye of the poem, you can see the center and unify the whole poem, so that the external structure of the poem is interwoven and sewn together, and the internal meaning of the poem is coherent. For example, Xu Jingya in his poem "Mountain Tomb" (Book 2 of "Extra-curricular Reading Anthology" for secondary school teachers) uses the common phenomenon of "green grave grass" to unite life and death together and pour out the barriers in his heart. "Death is a sinful force that takes away people's youth, ideals and life; however, during the ten years of turmoil, freedom was trampled, democracy was ravaged, life was destroyed, and people were suffocated by the darkness of the years; in order not to succumb to the darkness of the obscene power, the righteous and pure people would rather die than to resist; however, the "graves But the "tomb" can bury the body, but can not bury the "dead" unyielding soul, green grave grass is the embodiment of this pursuit. In the conversion of life and death, the poet transitioned from a heavy staccato to a full-bodied impassioned, expressing the firm belief that life will eventually overcome death, and light is bound to drive away the darkness. Teachers in the teaching, such as the "green cemetery grass" this poem eye, inspire students to develop associations, play imagination, open up the channel of communication with students' feelings, arousing feelings **** Ming, can unfold the verse embedded "blank" scroll, in-depth poetic mood, to obtain the beauty of the concrete feelings. The first time I saw the movie, I was able to get a good sense of the beauty of it all.

3, grasp the poet as a symbol of emotional expression. To grasp what kind of image and mood of the poet, as the virtue of expression of feelings, to figure out the image or mood of the typical significance, and as a medium to trigger the students' associations and imagination. For example, when organizing the teaching of Guo Moruo's "Phoenix Rehabilitation Song" (Middle Division "Reading and Writing" Book 3), teachers must guide students to grasp the image of "phoenix" and the typical significance of "Phoenix Rehabilitation", in order to truly appreciate the poem to the phoenix legend as a source material, borrowing the phoenix "as a means of expressing their feelings. The teacher must guide the students to grasp the image of "phoenix" and the typical meaning of "phoenix rebirth" in order to truly understand that the poem uses the legend of the phoenix as the material and the story of the phoenix "burning itself on a fragrant wood and then rebirth from the ashes" to symbolize the destruction of the old China and the poet's old self and the birth of the new China and the poet's new self, and to understand the poet's revolutionary spirit of the "May Fourth" Movement. The spirit of revolution during the May Fourth Movement is understood by the poet.

4. If necessary, the use of wall charts, illustrations and other auxiliary materials, as well as slide pictures, related videos, readings and other modern means of electrochemical teaching can be used to create an intuitive, concrete and sensible image of things through pictures and sound. Poetry jumps so that poetry contains extremely rich content, relying solely on language is difficult to express clearly, timely and appropriate use of the above means, not only can show the concrete and palpable imagery of the poem, but also inspire the students to the imagery of the shape, color, sound, etc. to carry out intuitive and reasonable associations, and then supplement the poem jumps after the blank left behind! "

These are the most important things that you can do for your children.

In short, in the process of teaching poetry, teachers should make full use of various favorable factors, grasp the characteristics of the language of poetry, help students to eliminate the emotional, spatial and temporal, and logical barriers, and strive to expand the meaning of the condensed verses of the poem, add to the reduced components, weld up the process of the omission, connect the jumping emotions, and make up for the inherent sentiments in the poems between the line and line, between the stanzas and stanzas, and reproduce the images and images of the poem.

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