Where can we tell what kind of person Xiangling is in Xianglingxue's poems?

Xiang Ling is a poor woman, originally from Suzhou, and comes from a rural eunuch family. She was abducted at the age of three. When she grew up, she was bought as a concubine by Xue Pan, the idiot king. She then went to Beijing with the Xue family and lived in Lixiangyuan in Rongfu. She has to serve Xue Pan on weekdays and is rarely free. This time, because Xue Pan was away on business, Baochai took her into the Grand View Garden to keep her company. The change in the environment inspired Xiang Ling to learn to write poetry. Baochai laughed at her for "having to go to Long to look at Shu" and advised her to "wait a minute", but she was very impatient, so she went to find Daiyu.

The above is the background of this story.

At the beginning of the story, Xiangling expressed her intention to ask for advice as soon as she saw Daiyu, and Daiyu readily agreed. The following describes the whole process of Xiangling learning to write poetry under Daiyu's guidance, which can be roughly divided into two stages: Daiyu's guidance in reading poetry and Xiangling's practice of writing poetry.

Guidance on poetry reading was reflected in two conversations: the first time, Daiyu briefly talked about the composition, antithesis, and obliqueness of rhymed poetry, and emphasized that "with strange sentences, even the oblique, oblique, false, and true will not be correct." , Xiangling was deeply inspired. Continuing with this, Daiyu pointed out that "concept" is the most important thing in poetry, "If the meaning is true, the connected words and sentences do not need to be modified, it is good"; at the same time, she warned Xiangling not to like those superficial poems, and gave her I made a list of books and arranged the order of reading. At the end of the conversation, Daiyu lent Wang Wei's collection of five-character poems to Xiangling and asked her to read the poems with red circles in them and "recite one poem at a time." The second time was after Xiangling read Wang Wei's five-character poems. Daiyu called it a "stressful discussion", but it was actually to check Xiangling's understanding of Wang Wei's poems. Xiangling really lived up to her expectations. She explained the calligraphy skills in Wang's poems very clearly. When it came to the sentence "A lonely smoke in the ruins", she also linked it to the scene of the village at dusk when she came to Beijing, and brought the poetic scene to life. . And Daiyu is worthy of being called a "teacher". She also translated Tao's poem "Warm and warm in the distant village, Yiyi in the smoke in the ruins" and showed it to Xiangling, inspiring her to understand the principle of translating the poems of her predecessors. Xiangling also practiced writing poems under Daiyu's guidance, including propositions and limited rhymes, comments on exercises, and guidance on methods; Baochai also participated in the guidance.

Xiang Ling wrote three drafts of her poem. The first draft was written after hard thinking when "I had no interest in eating or drinking, and I was restless". Baochai looked at it first and said, "This is not good, it's not the way to do it." Daiyu thought, "The meaning is there, but the wording is inelegant," and instructed her to "throw away" this song and "free up your courage" to compose another one. . After Xiangling got this instruction, she "didn't even enter the house, but only sat under the trees by the pond, or sat on the rocks in trance, or squatted on the ground digging at the soil", "frowned once" and "smiled once again", it was simply It reached the point of being mesmerized; but the second draft written in this way still didn't work. Daiyu said that it was "too thorough and had to be written separately." Baochai thought that it was off topic. Instead of writing "month", it wrote "Moon". "Moonlight". Despite another failure, Xiangling was not discouraged and walked alone to the bamboo in front of the steps to conceive her third draft. She "searches for everything" and has no other ambitions. As a result, Tan Chun's "You can take your time" was interpreted as "the word 'Xian' deleted in the fifteenth century", and in turn Tan Chun was said to have "wrong rhyme". On this day, all Xiangling thought about was poetry, and she was still fascinated by the lamp at night. She went to bed at three o'clock, and did not fall asleep until five o'clock. Finally, she actually finished the poem in her dream, and said with a smile: "But now, isn't this one good?" When Baochai woke her up, she immediately copied the poem down - this It was her third draft, which later won unanimous praise from all the sisters: "Not only is it good, but it is also novel and interesting."

This story was titled "Mu Ya Nu Ya Gathering and Reciting Poems" in the original chapter of the novel. The word "suffering" is the main theme of the whole article, and the poem written in a dream is the most vivid embodiment of "suffering".

2. Problem Research

1. What is the reason for Xiangling's success in studying poetry?

It is no accident that Xiangling wrote such a good poem when she first started writing poetry. The author believes that this is because she "studied poetry diligently and gathered all her energy", which means that she devoted all her energy to writing poetry and persistently pursued and achieved her goals. This is the main reason for her success. But in addition, there are also some factors that cannot be ignored. First, Xiangling has good qualifications. Even though she was busy with housework before entering the kindergarten, she was able to "take some time" to read a few poems during her busy schedule, which proved that she was by no means a "common person"; after she entered the kindergarten, she listened to Daiyu's poems and her She reacted very quickly. For example, Daiyu said that "with strange sentences, even the plain, empty, and true are wrong." She immediately realized that "style and rules are not the end of the world, as long as the words and sentences are novel." This also proves her ability to perceive. Extraordinary.

Secondly, there are good guides, whether Daiyu or Baochai, who use guidance to Xiangling and point out the key points in a few words, so that Xiangling knows the choice and gradually understands the Samadhi in the poem. Thirdly, the Grand View Garden is a beautiful place, which is in sharp contrast to the dark and dirty environment outside the garden. Xiangling feels like she has entered another world when she comes here, especially the love and praise given to her by Baoyu, Tanchun and others. Make her feel the warmth of the world. She was spiritually liberated, and her intelligence finally came to light. As Baoyu said, "This is exactly the 'spiritual person of the earth', and God is born with a true nature."

2． What are the characteristics of Daiyu’s teaching method?

Daiyu’s lecture on poetry was very targeted. At the beginning of the lecture, she pointed out that beginners of poetry are easily bound by rhythm. She pointed out that there is no need to ignore the rhythm if there are odd sentences, and then talked about the concept of "concept". importance, which not only solved Xiangling's doubts, but also clarified the essentials of reading poetry. Then, in view of Xiangling's tendency to like simple and close poetry, he compiled a bibliography for her. In accordance with the idea that "poetry must flourish in the Tang Dynasty" at that time, the three great poets Wang Wei, Du Fu and Li Bai were placed in prominent positions, with the purpose of improving Xiangling's Ling's taste in poetry. After Xiangling finished reading Wang Wei's five-character poem, Daiyu "discussed" with her again, and deepened the artistic conception of the poem step by step. She was really good at teaching.

Daiyu's guidance to Xiangling in writing poems is also quite unique. For example, after the proposition, the rhyme part is specified. This seems a bit strict, but there are quite a lot of words that belong to the "Fourteen Colds", and there is no limit. Words give you a lot of freedom. Another example is that she criticized Xiang Ling's first two drafts very harshly, but encouraged Xiang Ling to "make another work" without saying a word about how to "make another work". This kind of guidance can be described as strict but not harsh, leading but not triggering, which is very suitable for Xiang Ling who is "studying to learn poetry".

It can be said that Daiyu’s correct guidance is also an important reason for Xiangling’s rapid progress.

3. What kind of profile does the author use?

Xiang Ling studied poetry hard, and because Baochai lived with her in Wuyuan, he saw the most and felt the most deeply. She said, "This person must be crazy" and "He is really a poetry demon." Phrases such as "Your sincerity is so sincere" all have the effect of highlighting from the side. In addition, Baoyu said, "We often sigh that it is a pity that a person like him has become vulgar. Who knows that he will be here today", which can also be seen as a reflection of Xiangling's study of poetry in the hearts of the people around him.

Exercise Instructions

1. The novel details Daiyu’s guidance on how to learn poetry, Xiangling’s experience of reading poetry, and Xiangling’s painstaking writing of poetry. Which of these contents do you think is relevant? Are you inspired by your reading or writing?

The purpose of this question is to enable students to understand some principles of reading and writing poetry, and to summarize some experiences and lessons in connection with their own reading and writing practice. This is an open question, and the answers are arbitrary. There are three criteria for measuring answers: (1) whether it is closely tied to the text; (2) whether it is connected with one's own reality; (3) whether the content is specific. Empty talk about "studying hard", "mastering the essentials", etc. is actually of no use. For this reason, before answering the question, you should make a little analysis of the three aspects mentioned in the question stem: "Dai Yu's guidance on how to learn poetry, Xiang Ling's experience of reading poetry, and Xiang Ling's painstaking writing of poetry." This question can also be used as an extracurricular assignment, asking students to write two to three hundred words.

2. Xiangling studied poetry like a charm. Find relevant descriptive sentences from the text and appreciate the vividness of these descriptions.

This question is intended to enable students to understand the role of detailed description in shaping character. Xiangling is extremely dedicated in studying poetry, and is not afraid of failure. She will never give up until she achieves her goal, which shows her persistent character. Only by looking at the descriptions and details of her expressions from this perspective can we appreciate their vividness. For example: "... just under the trees by the pool, or sitting on the rocks in trance, or squatting on the ground digging soil... frowning, and then smiling to myself." This paragraph of text expresses Xiang Ling's concentration when she was imagining the idea. . "Being in a trance" is because "gods and things wander" (Liu Xie's words), which means that she is already thinking about things at the moment. "Digging out the soil" means to go to great lengths, describing her repeated deliberation when coming up with the idea. "Frowning" may mean that the word used is not good; "smiling" may mean that you are satisfied with the strange sentence. In short, this is the whole process of the conception of Xiangling's second draft. It can be seen from the following words such as "Xiangling happily went to Daiyu again" and "I think this song is wonderful". I feel pleased with the result of my groaning.

3. △The following is the third draft of Xiang Ling’s trial work (i.e. the poem “Income from a Dream”). Savor it carefully and talk about the advantages of this poem compared with the previous two drafts. Where.

It is difficult to cover up the essence, but the shadow is beautiful and the soul is cold.

An anvil strikes a thousand miles of white, and half a chicken sings the fifth watch.

Listen to the flute in the autumn on the green coir river, and lean on the railing at night in the red-sleeved building.

To win over Chang'e, you should ask yourself, why not reunite her forever?

Note: The main theme of the poem is to write about the feeling of parting. The first couplet describes the moonlight and its shape; the chin couplet describes the scene under the moon; the neck couplet describes missing relatives and friends, expressing the author's loneliness; the last couplet summarizes the main theme of the whole poem.

This question is intended to improve students' poetry appreciation level. This is also an open question. The answers are eclectic: comments can be made in terms of ideological content or writing characteristics. The requirements should not be too high, and you can say as much as you can. Before commenting, the three drafts should be explained one by one and make full use of the comments about the poem by other characters in the text.

The first draft just said that the moon is beautiful and bright, for viewing, the meaning is simple, and there is no aftertaste to be found. The two sentences "the poet adds to the fun" are indeed as Daiyu said, and the wording is inelegant. The language of the second draft is almost poetic. Although it uses elaborative techniques, it simply means that the moonlight is beautiful. Daiyu criticizes it as "too thorough", which can be said to be clear. These two poems have one thing in common, that is, they do not put themselves into the poems. In fact, they write poems for the sake of writing poems. Reading them will inevitably make people feel bland and tasteless. This is not the case in the third draft. It writes about the moon in every sentence, and parting in every sentence. Finally, the author's loneliness and helplessness are integrated into Chang'e's "self-questioning" - this is what she has done since she left her parents at the age of three and is now ten years old. Feelings that have been building up in my heart for many years. With this kind of emotion, the poem also has the author's self-image, so he looked at the moon and thought that "the soul is cold", and then looked at the best parts under the moon - "Anvil Knocking", "Chicken Singing", "Wearing the Flute" and " "Leaning on the railing", almost all of them arouse her thoughts of her hometown and the desolation of her own life experience, which is indeed thought-provoking. The sisters said that this poem was "ingenious and interesting", which was by no means a compliment.

Teaching Suggestions

1. There are many proper nouns and terms in the text that are difficult to understand, but the plot is vivid and interesting. Students should be required to preview the text, read the annotations carefully, and become familiar with the main idea of ??the story. . When arranging previews, it is best to give a little introduction to Xiangling, so as to arouse students' interest in reading.

2. It is still necessary to skim the full text in class. First divide the text into two or three parts, and then explain the doubts and point out the important points paragraph by paragraph. The purpose is to deepen the overall perception.

The explanation of doubts should be carried out through teacher-student interaction. It can be students asking questions and teachers answering, or teachers asking questions and students answering. Make the classroom more active.

Example: ① Daiyu said that Xiangling was "a very smart and intelligent person", while Baochai said that she was "originally dull." What is the explanation for their different views? (The key lies in how to interpret "stupid". Is it a derogatory term or a compliment? It must be explained based on the facts.)

② Baoyu said: "We often sigh and say that it is a pity that a person like him (referring to Xiangling) is so poor." It’s so vulgar, who knows what it will be like today.” What does this sentence mean? (We need to explain Xiangling's qualifications and previous encounters, and we also need to find out Baoyu's attitude towards Xiangling.)

③ Is it wrong to say that the third draft of Xiangling's poem was done in a dream? reality? (To look at the whole process of writing poems by Xiang Ling, we need to understand the dialectical relationship between the truth of art and the truth of life.)

Pointing is to guide students to grasp the key points of the content, which can be done by pointing or pointing. Use questions.

Example of guidance: Daiyu gave Xiangling a bibliography, implementing the idea that "poems must flourish in the Tang Dynasty", so she listed the poems of Wang, Du and Li first. Wang Wei's five-character rhymed poems best demonstrate his "pictures in poetry" style, which is easy to read, so he started there; Du Fu's seven-character rhymed poems (mainly late works) best display his melancholy style, which can It is thought-provoking, so it is continued here; Li Bai's seven-character quatrains best show his elegant and unrestrained style, which are more difficult to learn, so they are placed at the end. Only by reading the above-mentioned works of these three great poets can you improve your appreciation of poetry.

Examples of questions: ①What issues did Daiyu talk about when she gave Xiangling advice on how to learn poetry?

②Baoyu said that Xiangling had obtained the "samadhi" in the poem. What did he mean? (The artistic conception of a poem can be understood but cannot be expressed in words; it can be expressed in just one word.

)

3. Discuss the reasons for Xiangling’s success in studying poetry. This is the focus of study. In the discussion, we should not only highlight Xiangling's "bitter ambition", but also talk about the guidance of Daiyu, Baochai and others, as well as the superior environment of the Grand View Garden.

The ancients often said: "Poetry has different talents." According to this, you might as well use the question "Does Xiangling have the talent to learn poetry" to introduce it, and encourage students to express different opinions. When talking about Xiangling's "Studying Poems with Hard Wills", you can use Exercise 2 to let students analyze the vividness of the description of relevant details, so that students can have a more vivid impression of this character. After the discussion, you can ask several students to answer the questions in Exercise 3, and then assign written assignments.

4. The introduction of the author and "Dream of Red Mansions" should be brief.

Relevant information

1. Introduction to Cao Xueqin

Cao Xueqin (1724?-1764), whose given name was Qinxi and Qinpu. Xueqin was his The number belongs to the Zhengbai Banner of Manchuria. From the early Qing Dynasty to Xueqin's generation, the Cao family was a "century-old prominent family". In the second year of Kangxi (1663), the Qing Dynasty established Jiangning Weaving, which was an important financial position. The first person was Xueqin's great-grandfather Cao. After that, father, son and brothers succeeded one after another for about 60 years. Emperor Kangxi trusted Cao and his son very much. During his reign, he used Jiangning Weaving Department as his palace during his five southern tours. In the early years of Yongzheng's reign, when Xueqin was about four years old, his father Cao Cao was removed from Jiangning's weaving job because he was involved in the court struggle; a year later, his home was confiscated again. When Qianlong succeeded to the throne, Cao was pardoned and appointed as a member of the Ministry of Internal Affairs, Wai Lang, and his family fortune was slightly restored. When Xueqin was in her early twenties, the Cao family suffered another major blow. From then on, this "century-old family" was in complete ruin.

After losing her family and losing her fortune, Xueqin lived in a dilapidated house in the western suburbs of Beijing. He is good at painting, but he can only support his life of eating porridge all year round by selling paintings. During the autumn and winter of the twenty-eighth year of Qianlong (1763), Xueqin's only son died of illness. He was so sad that he died of illness on New Year's Eve of that year. "Dream of Red Mansions" was written during this period - he only wrote the first eighty chapters, and Gao continued to write the last forty chapters.

2. Introduction to "A Dream of Red Mansions"

"A Dream of Red Mansions" is a great realistic work among Chinese classical novels. It takes the four major families of Jia, Shi, Wang, and Xue as the background, and uses the love tragedies of Jia Baoyu and Lin Daiyu as the main clues to describe the rise and fall of the Jia Jiarong and Ning mansions, and fully exposes the corrupt nature of the landlord class aristocratic group. and its inevitable historical fate of decline, it also eulogized the rebellious youth and certain slaves in this class for their rebellious behavior. The book creates a series of artistic images with typical characters such as Jia Baoyu, Lin Daiyu, Xue Baochai, Qingwen, Wang Xifeng, Xiren and Xiangling. The book is large in scale and rigorous in structure. It not only mirror-likely reflects the broad picture of real life in the late feudal society, but also extensively touches on ancient Chinese cultural knowledge such as officialdom, etiquette, architecture, medicine, music, painting, etc., including " "Encyclopedia of Chinese Feudal Society".

3. Supplementary Notes

① [The virtual versus the real, the real versus the imaginary] This theory should be doubtful. It is very likely that this is in terms of the poetic realm, such as "The weaver's silk threads are like the night moon, and the stone whale's scales are moving in the autumn wind" (Du Fu's "Qiu Xing Qi Qi"). The sentence is a virtual realm, and the couplet is a real realm. For example, as far as the part of speech is concerned, it can only be real versus real, imaginary versus imaginary.

② [One, three, and five are irrelevant, but two, four, and six are clear] Modern poetry (rhymed poems and quatrains) has strict regulations on the level of verses, but can also be handled flexibly. If the first, third, and fifth characters of each sentence are in plain tone, they can be replaced by oblique tone, and vice versa; but the second, fourth, and sixth characters must strictly abide by the regulations and cannot be changed at will.

③ [You must not learn such poems] This is Daiyu’s criticism of Lu You’s two poems. Note: The quoted poem by Lu is from the citation of "Jiannan Poetry Collection". The original title is "The study is bright, and there is dancing all day long. When tired, I will go to the small garden with my stick and compose a long sentence - Part 2". From this we can know that this is a leisure poem. This work cannot be said to have any profound artistic conception. The ancients said: If the Dharma is above, you can only get it from within; if the Dharma is below, you can only get it below. Daiyu advocated learning the poems of Wang Wei, Du Fu, and Li Bai first, which means "the law is superior to them"; she looked down upon leisure works, so she said "you must never learn such poems."

④[Wanzhu] mooring. Bay, a book called "Wan".

⑤[Zijuan] Daiyu’s girl.

⑥ [The place of understanding is not many] "Many" is regarded as "far".

Note: This sentence comes from "Shishuo Xinyu·Yu No. 2": "Jian Wen (Sima Yu, Emperor Jian Wen of the Eastern Jin Dynasty) entered Hualin Garden. He said to his left and right, 'The place of understanding does not have to be far away, and it will be hidden by the forest and water. There is Hao Pu Jian Xiang (referring to Zhuangzi's philosophy of life). '" Baoyu means that when commenting on poetry, one should focus on personal inner experience, and there is no need to abandon the near (personal experience) for the distant.

⑦ [Fourteen Colds] Ancient Chinese rhyme books grouped words with the same rhyme into one, and each rhyme was titled with one word, arranged in sequence. In "Peiwen Yunfu", the order of "Han" rhyme is ranked fourteenth in Shangping, so it is called "Fourteen Colds". "Fifteen deleted" below shows that the order of "deleted" rhymes is ranked fifteenth in the upper level.

⑧[Into the painting] Xichun’s girl’s name.

⑨ Regarding Xiangling’s poem: In the fifth chapter of "A Dream of Red Mansions", Taixu Illusion Realm Bo Mingsi has the main volume, supplementary volume and further supplementary volume of "The Twelve Hairpins of Jinling". There is a poem on the first page of the supplementary volume: "A lotus root and a stem of fragrance are hurt by reality in life. Ever since a lonely tree grew in two places, the soul returned to its hometown." This poem summarizes Xiangling's life.

4. Comments on the third draft of Xiangling's poems

① [It is difficult to cover up the essence if you want to hide it] The main idea is that the moonlight is so bright that you can't cover it up even if you want to. Essence, the Taoist saying "sun essence and moon essence", means brilliance and brilliance.

② [Ying Zijuanjuan Po Zihan] Its appearance is so beautiful, but the back is so desolate. Shadow here refers to the front side of the moon. Po, the back side of the moon, the side that is not exposed to sunlight. Judging from the composition, the word "cold" in this sentence is the backbone of the article. The following uses "anvil knocking", "chicken singing", "listening to the flute" and "leaning on the railing" to write about separation and thoughts about the hometown.

③ [An anvil (zhēn) strikes a thousand miles of white] The bright moon is in the sky, the silver light pours out thousands of miles, and the sound of women's clothes can be heard everywhere. Anvil, a stone placed underneath when beating clothes. Li Bai's "Midnight Wu Song" says: "There is a moon in Chang'an, and the sound of thousands of households' clothes. The autumn wind can't blow away, but there is always the love of the Jade Pass. When the Hulu are pacified, the good man will stop the expedition." Xiang Linghua uses this poetic mood to express women The longing for her husband who is far away from home - this longing becomes more intense when the moon comes off.

④ [Half-wheeled rooster sings at the end of the fifth watch] The moon is missing in the sky, and the rooster sings loudly. It is the time when the fifth watch is about to end. The fifth watch is equivalent to four to six o'clock in the morning. This is not simply a description of a scene. The ancients mostly traveled at dawn, so writing about dawn scenes was just to write about farewell feelings. For example:

"The smoke in the spring mountains is about to disappear, the sky is pale and the stars are few and far between. The waning moon is bright on the face, don't cry at the clear dawn." ("Shengchazi" by Niu Xiji of the Later Tang Dynasty)

"The moonlight is gone, the clouds are light and frosty, and the sky is dawning. Visitors from the west are in a bitter mood at this time. Cui'e holds her hand, sends Linqi off, and rolls open Zhuhu." ("Order of Picking Lotus" by Liuyong of the Song Dynasty)

"Holding my hand, the frosty wind blows my shadow on my temples, leaving my wandering mind behind. I can't hear the sadness in other words. The railings upstairs are horizontal and the handles are exposed, and the cold people are far away, and the chickens are corresponding." ("Butterfly Love Flower" by Zhou Bangyan of the Song Dynasty)

< p>Xiang Ling's poem integrates the three typical details of "half wheel (moon)", "rooster singing" and "fifth watch", which is precisely to exaggerate the sad atmosphere of parting.

⑤ [The sound of the flute on the green coop river in autumn] Green coop generally refers to people on the river, not limited to fishermen. Listening to the flute in autumn can be understood as listening to the flute under the moon on an autumn night. The sound of the flute is clear and distant, which can make people miss their hometown and relatives and friends far away. Li Bai's "Hearing the Flute on a Spring Night in Luoyang" says: "The sound of someone's jade flute is flying silently, spreading into the spring breeze all over Luo City. In this nocturne, when you hear the broken willows, who can't help but love your hometown?" This sentence of Xiangling expresses exactly that. This feeling.

⑥ [Leaning on the railing at the head of the building at night] "Leaning on the railing at the head of the building at night", or more precisely, "leaning on the railing at the head of the building and looking at the moon" has become a term used to express lovesickness in ancient poetry. Typical details of love. For example, "I want to come to you after hearing the Tao. I look at the moon in the west tower when it will be full" (Wei Yingwu's "Send to Li Dan and Yuan Xi"), "I rest and lean alone high in the Mingyue Tower, and the wine fills my heart with sadness, turning into lovesickness" (Fan Zhongyan's "Su Muzhe") wait. Xiangling’s sentence is no exception.

⑦ [Chang'e should ask herself, why not reunite forever] The general idea is that when Chang'e saw such a strong separation in the world, she couldn't help asking herself: "Why can't those separated relatives be reunited?" "Together, never separated?" One said, this is Chang'e's question because of the phenomenon of waxing and waning of the moon. She hopes that the moon will be full every night. Xiangling ends the poem with this and expresses her hope of being reunited with her parents.

5. A moving movement of teaching and learning - Appreciation of "Xiang Ling's Poetry" (Wang Xuehua)

Reading "Xiang Ling's Poetry", I can't help but marvel at Lin Daiyu's profound knowledge and The art of education was also deeply moved by Xiang Ling's humility, studiousness, and hard work.

Lin Daiyu deserves to be a good teacher who is well versed in poetry and teaching, and Xiangling deserves to be a good student who is smart, smart, and extremely understanding. In the 48th chapter of "A Dream of Red Mansions", they performed a moving piece of teaching and learning together, showing the unique aspects of the characters' personalities.

(1) The Ultimate Teaching

In the work "A Dream of Red Mansions", sentimentality, frailty, aloofness and acrimony are Lin Daiyu's main characters, but in this article we see But he is a good teacher who is knowledgeable, enthusiastic and generous, and has the temperament of a poet. When Xiang Ling asked her for advice, she did not shirk due to etiquette and rules like Baochai. Instead, she took up the responsibility of being a teacher with great interest. She said: "If you want to write poetry, you should come to me as your teacher. Even though I am not knowledgeable, I can still teach you." She was willing to be a teacher, and she was proactive, straightforward, and confident. She first encouraged Xiangling to build up her confidence: "What is so difficult" about learning poetry? "You are also a very smart person. In less than a year, you will no longer be a poet!" With self-confidence, Xiangling naturally became more motivated and continued to learn with confidence and interest. Lin Daiyu simply and clearly put forward the essentials of poetry writing, which relieved Xiangling of many concerns and quickly shortened the distance between teaching and learning. She described the "course" with a clear outline, a high-level view, rules, clear gist, vivid images, and simple explanations, which made Xiangling understand the importance of "taking the law first." She actively guides students step by step in teaching and pays attention to accumulation and insights. Let’s take a look at Lin Daiyu’s teaching method:

In the first unit, "carefully study and thoroughly understand" one hundred of Wang Wei's five-character poems, first experience the unity of the scene, and enter the poetic and painting mood.

In the second unit, read one or two hundred of Du Fu's seven-character rhymed poems to further appreciate "real scenery and true feelings" and understand the power of poetry.

The third unit, read one or two hundred of Li Bai's seven-character quatrains, "return to nature" to cultivate the personality and imagination of poetry.

The three tutorials arranged by Lin Daiyu focus on the basics, comprehensive implementation, and emphasis on reading and understanding. These are the three levels of realm summarized by later generations.

Not only that, Lin Daiyu emphasizes self-study in her teaching, and attaches great importance to comprehensive training in reading, speaking, dictation, and practice; she emphasizes practice and inquiry, and attaches great importance to the cultivation of ability. "How many poems do *** remember?" "Have you got a taste of it?" "You need to pay attention to discussion to make progress. Come and let me listen." "You actually composed one."... Lin Daiyu is well versed in teaching. Based on the principle, we can timely check feedback, communicate and discuss, and revise and summarize, so as to comprehensively improve performance. When Xiangling wrote her first poem, Lin Daiyu promptly reminded her: "The meaning is there, but the wording is inelegant." At the same time, she helped her find out the reason for her failure: "You read few poems, and you are bound by him. "And actively guided her to dare to innovate: "Put this one away and write another one. Just let go of your courage and do it." When Xiangling brought the second poem to write, Lin Daiyu felt deeply regretful - "Naturally. It's hard for him." But she still sought truth from facts and strictly demanded: "This one is too thorough, so I have to write another one." Until she finally wrote a new and interesting masterpiece.

Here, Cao Xueqin describes the teaching process perfectly. When we read the section "Xiang Ling learns poetry", we can completely taste the different Lin Daiyu. She is not only a poet, but also a poet. Teacher, a good teacher who is poetic, spiritual, understanding, patient, creative, has rich teaching experience, and has vitality and vitality. Daiyu is so good at teaching, she will soon bring spiritual energy to her students, and make them happy to learn. This is inevitable in her realm, and this is of course Cao Xueqin's proud work.

(2) The realm of learning

I am afraid that there are not many people who are as knowledgeable as Xiangling. She is smart and smart, eager to learn from teachers, sincere and pure. She is not only eager to learn, but also good at studying and studying hard. Finally, she achieved impressive results through her own efforts.

1. Happy to learn. Although Xiang Ling is a concubine, she has the blood of poetry and calligraphy flowing in her bones. She has long had a true yearning for poetry, and has long had the desire to learn poetry in her heart. However, due to lack of opportunity, she had to write a book by herself. I only read two old poems when I had the time, so there are poems in her heart such as "The heavy curtains are not rolled up and the fragrance lingers for a long time, and the ancient inkstones are slightly concave and gather a lot of ink." Her study of poetry is definitely different from the leisurely leisure of boring aristocrats and the clinging elegance of vulgar people. It is a persistent and tenacious self-return, a poetic daughter's persistent pursuit of poetic feelings, poetic personality and even poetic ideals. As soon as she entered the kindergarten, she asked Baochai for advice, showing a proactive spirit of learning. Unfortunately, although Baochai understood poetry, she put etiquette and rules first and declined Xiangling's request.

But Xiangling did not lose her confidence in learning. After encountering a weak point, she went to Xiaoxiang Hall and asked Daiyu to teach poetry, and finally received Daiyu's teachings. There is an old saying: "Those who know well are not as good as those who are good at it, and those who are good at it are not as good as those who enjoy it." Xiangling studied poetry, both liked it and enjoyed it, so he had a learning effect of getting twice the result with half the effort.

2． Good at learning. Xiangling is very good at learning. She not only listens carefully to the teacher's lectures and follows the teacher's requirements, but also pays attention to organizing and summarizing the content taught by the teacher and digesting it in time. In the learning process, focus on reading, understanding and perception, and focus on accumulation and application. Let’s take a look at how Xiang Ling understood poetry: “In my opinion, the benefits of poetry are that there are meanings that cannot be expressed in words, but they are realistic when you want to go. There are things that seem unreasonable, but they are reasonable and sentimental.” In the first stage of her career, she realized the taste and true meaning of poetry. His words are simple and his reasoning is profound. She organically combines poetic imagery with life experience. By associating and imagining the two wings of the poem, she allows her simple sensibility to rise into the realm of profound rationality, showing her unique ability to comprehend poetry. His emphasis on meaning over things, emphasis on understanding over interpretation, directly follows the ethereal poetic state of "the antelope hangs its horns, leaving no trace to seek for". After reading, comprehending, and talking about poetry, it was natural to compose poetry. Xiang Lingtong wrote a poem about the moon three times. The first two times were either dull and stiff, or boring and monotonous, but she was not discouraged and worked seriously. Summarize your writing experience, find out your own shortcomings, and finally capture fresh images and write vivid poems.

3. Study hard. As the saying goes: "There is a road to the mountain of books, hard work is the path, and hard work is the boat to the endless sea of ??learning." In the process of learning poetry, Xiangling not only relied on intelligence and understanding, but also relied on hard work and diligence. After Xiangling listened to Daiyu's teachings, he borrowed books and read them as required. "Xiangling took the poems and returned to Hengwu Garden. He ignored everything and just read them one by one under the lamp. Baochai urged him to sleep several times, but he didn't sleep." He was so painstaking and attentive. , cannot but be admired. When Xiangling got the title for writing a poem, she "thought hard again and wrote two lines of poems, but was reluctant to part with Du's poems, so she read two more poems. So she was uninterested in eating and drinking, and couldn't sit or lie down." She read, understood and wrote, speculating and selling now, and finally wrote a song. However, it was required to be rewritten because of its inelegant phrasing, harsh pronunciation, and dull monotony. Look at Xiang Ling, "she comes back silently, Yuexing doesn't even enter her house, she just sits under the tree by the pool, or sits on a rock, lost in thought, or squats on the ground and digs the soil... She frowns, then smiles to herself. "Return". Xiangling's hard work, concentration, and dedication have reached the level of obsession. No wonder even Baochai praised him: "It would be great if he could work as hard as him. You can't succeed in anything you learn." After the second poem failed, Xiangling She still worked selflessly and continued to work hard. She "walked to the front of the steps and strolled under the bamboo, searching her heart and soul without listening or looking away." She reached the point of madness. "In the evening, I regained my consciousness by the lamp. After the third watch, I went to bed and lay down, my eyes wide open. I didn't fall asleep until the fifth watch." She thought hard and was almost obsessed with it, but finally she won the favor of the Muse, the God of Poetry, with her hard work and sincerity, and found a good verse. The third poem seems to have come accidentally in a dream, but it is actually the crystallization of many painstaking efforts.

Xiang Ling’s process of learning poetry is consistent with the three realms of scholarship that have existed since ancient times. The first realm is the “suspense” stage: “Last night, the west wind withered the green trees, and I climbed up to the tall building alone, looking out. The road to the end of the world. "The second realm is the "hard work" stage: "The clothes are getting wider and I don't regret it, and I am haggard because of Yi." The third realm is the "enlightenment" stage: "I have searched for him for thousands of times, and suddenly I look back. That person is in the dim light." From suspense to searching to enlightenment, Cao Xueqin provides us with not only a reference for studying poetry, but also a reference for all artistic creation. This is where the value of typical characters lies.