How to accurately grasp the thoughts and feelings in ancient poetry

"Six Methods" for Appreciating Chinese Classical Poetry

Chinese classical poetry has attracted generations of Chinese people with its unique, outstanding quality and natural and ingenious form. His eyes are also looking down at the world literary world where there are many leading figures and talented people.

The beautiful artistic conception makes her fascinating, and the implicit and timeless make her more charming; however, implicit and incomprehensible seem to be twin brothers, and artistic conception and imagination are always difficult to separate.

How to clear the language barrier and appreciate her profound heritage? How to experience her profoundness in person? This article attempts to answer the above questions in six points and eighteen words.

1. Review the title

The distance between ancient and modern words makes it difficult for modern people to understand classical poetry. Faced with this difficult-to-understand beauty, how do we understand her heart? First we can look into her eyes—the title—and into her soul. People often say that the eyes are the windows to the soul, and the title is the eye of the article, because the title can not only attract readers, but also reveal the content and theme.

But people are often eager to capture the heart of this beauty and ignore the confession of her bright eyes. When adults teach young children, they often start with "Moonlight in front of the bed" and ignore the title "Quiet Night Thoughts". When students analyze, they often focus on understanding the poems and neglecting the title is a common situation. Why not analyze the title carefully? In fact, the titles of ancient poems often have a controlling effect on the content of the poems, and the titles reveal the inner voice of the poems. Once you understand the meaning of the title, you will have a preliminary understanding of the content of the poem. Of course, except for the case where the first sentence is used as the title like in the Book of Songs.

The "review" in "review the title" means to look carefully, which requires readers not only to pay attention to the title, but also to comprehensively analyze the title and add appropriate reasoning and imagination.

Modern Chinese grammar divides single sentences into two categories: subject-predicate sentences and non-subject-predicate sentences based on their structure. We might as well divide the titles of classical poems into two categories: those with verbs and those without verbs. Titles without verbs only account for a small part. Take the generally recognized "Tang Poetry Appreciation Dictionary" (1983 edition of Shanghai Dictionary Publishing House) as an example. Titles without verbs account for 22% of the total number of titles in the book. Although this data comes from a partial analysis of Tang poetry, it is a statistics of the essence of classical poetry, so it should be representative.

Titles without verbs are often nouns. These titles directly indicate the object of the author's recitation: either a character, such as "The Fisherman" (Liu Zongyuan), "The Prime Minister of Shu" (Du Fu); or Time, such as "Moonlight Night" (Du Fu), "Spring Dawn" (Meng Haoran); or place, such as "Woyi Lane" (Liu Yuxi), "Stone City" (Liu Yuxi); or natural scenery, "Frost Moon" (Li Shangyin) , "Jiang Snow" (Liu Zongyuan). Poetry is a carrier for expressing emotions. No matter what the poet chooses as a title, he will pour his own feelings into it. Therefore, this verb-less title indicates both the object of the poet's description and the sustenance of the poet's emotions. After clarifying the meaning of the title, the appreciator must further think: What kind of feelings will the author express when facing these chanting objects? Relatively speaking, the number of such titles is smaller and easier to understand.

The vast majority of titles contain verbs. Some of these titles have only one verb, such as "Ascend the High" (Du Fu) and "Beautiful Grudge" (Wang Changling); some have multiple verbs. , such as "Jing Xia Pi Fei Bridge Huai Zhang Zifang" (Li Bai), "Wen Letian Granted Jiangzhou Sima" (Yuan Zhen). Multiple verbs, some state the same subject, and some state different subjects. This issue will be elaborated on in "Finding Verbs".

In addition to distinguishing whether the title has a verb, there is another important point: the consideration of the title should be throughout the overall understanding of the poem, that is, the factor of the title should also be taken into consideration when understanding specific verses. Inside.

Let's take Meng Jiao's "After Admission" as an example to see the role of title review in understanding the main theme of the poem. "The sordid past is not worthy of praise, but now the dissolute thoughts are boundless. The spring breeze is proud of the horseshoes, and I can see all the flowers in Chang'an in one day." The title "After Admission" clearly tells that the content of this poem is after enduring the hardships of the cold window and finally winning the imperial examination. situation.

Without looking at the poems, just looking at the title, readers can imagine the incomparable joy of "working as a farmer in the morning and ascending to the emperor's hall in the evening". Then the meaning of the two keywords "dirty" and "debauchery" in the poem should be different from the meaning in modern Chinese. "The sordid past" should be the embarrassment before passing the college entrance examination; "the present debauchery" should be the pride after passing the college entrance examination. "Dirty" and "debauched" are no longer derogatory terms. With the reminder of the title, it is not difficult to grasp the feeling of pride and joy after the gold medal title that permeates the whole poem.

On the contrary, if the title is not examined, the understanding of the main idea will be greatly reduced or even misinterpreted. Let’s take a look: “The petrel flies to the west as the sun sets, and Tianmen looks at the house of the five princes in the distance. The tower is locked and no one can reach it, and all the first flowers of the east wind fall.” - When the sun sets, the petrel flies to the west, looking at the palace of the princes outside the forbidden gate of the capital. "The heavy building is closed and unoccupied", only the flowers fall in the lonely east wind. This is a landscape poem that is not too difficult to understand. But after reading the title, you will find that its purpose is not that simple. "The guest has a divination but fails to stay and travels to Long." - A foreigner wanted to live in Chang'an but could not, so he temporarily visited the Long area, so he wrote a poem with his feelings. Once you understand the meaning of the title, you can understand that the petrel flying west is just a poor man who can't find a place to live in Chang'an. In the evening when the birds return to their nests, he can only look at the long-uninhabited high-rise buildings in Chang'an City. In the courtyard, we are solitary and fly far away. This satirical poem not only expresses the dejection of the visitor who failed to make a fortune, but also reflects the reality of "the decline and fall of the Tang royal family." The purpose of this poem can only be understood accurately after clarifying the title.

In short, "reviewing titles" is both a method and a concept. When viewers pay attention to the title, things will be much easier to handle.

2. Find verbs

This is the key to clearing the textual obstacles of ancient poetry, and it is also the most important of the six methods for appreciating ancient poetry. This method is not only suitable for understanding titles, but also for understanding poems.

Why are we looking for verbs?

First of all, poetry, as a literary style, has the characteristic of reflecting on human beings themselves and nature. This kind of observation is reflected in the experience of the state, development and changes of oneself and nature. Verbs are words that express actions, psychological activities or development changes of people or things, so verbs are the words that best express human beings’ experience of themselves and nature.

Secondly, although the composition of ancient poetry is different from that of ancient prose, there are also similarities. The similarity is that, in general, the predicate is not omitted, and the verb is the main force acting as the predicate. Therefore, verbs are generally not omitted in ancient poetry. Therefore, grasping the most expressive and rarely omitted verbs is undoubtedly the key to clearing the barriers to text comprehension.

The situation with verbs in ancient poetry—declarative words to be precise—is more complicated. There are roughly four situations:

(1) Each sentence has only one verb;

(2) Each sentence has two or more verbs;

(3) Although there are no verbs in each sentence (some are), the adjectives are also declarative;

(4) There are no verbs in each sentence.

Readers should distinguish the situations and treat them differently. In either case, you should first find out the verbs one by one (including adjectives with declarative functions), then find their declarative objects, then clarify the objects controlled by the verbs, and finally make a comprehensive analysis and grasp the overall situation.

In this process, the situation where there are multiple verbs in a poem is the most complicated: multiple verbs may state the same subject, or they may state different subjects; or some of them may have a statement function, while others may state the same subject. Part of it serves as a modification. For statements with the same subject, pay attention to the continuity of several verbs; for statements with different subjects, find out what their subjects are, especially the omitted subjects, and discover the logical relationship between them. From a grammatical point of view, the verbs in a poem may not all be on the same level. Grasping the first level is the key, and verbs that modify them should be treated separately. Below we illustrate this method through examples:

Example 1: "The bright moon shines among the pines, and the clear springs flow up the rocks." (Wang Wei in "Mountain Dwelling in Autumn")

This is each sentence There is only one verb.

The actors of "illumination" and "liu" are "bright moon" and "clear spring" respectively, while "among the pines" and "on the stone" can be regarded as both modifiers and recipients. In this way, we can initially know that this is a couplet describing the mountain scenery at night, and we can also feel the wonderful combination of movement and stillness in the poem.

Example 2: "Listen to the spring rain in the small building all night, and sell apricot flowers in the deep alley in the Ming Dynasty." ("The First Spring Rain in Lin'an" by Lu You)

This also has only one verb in each sentence. But it is different from Example 1. "Listening" and "selling" are neither "small buildings" nor "one night", nor are they "Ming Dynasty" and "deep alleys". Who is it? It is the omitted "person", the person who listened to it in the small building all night, and the person who hawked in the deep alley tomorrow morning. The people listening to Chunyu and the people hawking in deep alleys are not the same people. It should be the people listening to Chunyu who imagined that there would be people selling apricot flowers in deep alleys in the Ming Dynasty. If the omitted subject is not supplemented, questions will arise. Could it be listening in a small building or hawking in an alley?

Example 3: "The noise of the bamboos returns to Huan Nu, and the lotus leaves move on the fishing boat." (Wang Wei in "Dwelling in the Mountains in Autumn")

This is a sentence with more than two verbs - - "Xiao", "Gui", "Huan", "Dong", "Xia", "Yu". Who is making noise? bamboo forest? No, it’s people making noise in the bamboo forest. Who returns? Huannu. What's moving? Lotus, lotus flower, lotus leaf. What next? The fishing boat goes down the river. Although "Huan" and "Yu" are also verbs, they are not the main verbs of the poem. They modify "女" and "zhou" respectively. They are not on the same level as "Xiao", "Gui", "Dong" and "下". of.

Example 4: "Looking back at Chang'an, there are piles of embroidery, and thousands of doors are opened on the top of the mountain." (Du Mu in "Passing Huaqing Palace")

This is also a sentence with multiple verbs, The difference from Example 3 is that the relationship between these two sentences is not parallel, but continuous. What you "looking back" see is not only the splendid palace, but also the many doors on the top of the mountain that open one after another. It is not only necessary to find out whether the actors of these verbs are the same, which is often the case, but also to find out what the logical relationship is between these different actions and different actors, so as to form a complete understanding.

Example 5: "The palace maids are like flowers all over the spring palace, but now only partridges are flying." (Li Bai, "Looking at the Ancients in Yue Zhong")

This is a poem that is also descriptive in adjectives. . In the first sentence, there is no declarative verb except "ru" which expresses metaphor, but the adjective "man" also has declarative properties similar to verbs. The word "Man" vividly describes the scene of the former Yue King's palace where beauties were singing and dancing like clouds. The beauty of "man" is no less than the "green" in "The spring breeze turns green on the south bank of the river"; and this word "man" forms a strong contrast in content with the word "only" in the next sentence "Now only partridges can fly" . It can be seen that adjectives also have a descriptive function, and even surpass verbs in sentiment. This shows that when "looking for verbs", adjectives with declarative functions cannot be ignored.

Example 6: "The wind is strong, the apes high in the sky are screaming in mourning, and the white birds are flying back from the clear sand in Zhugong." ("Deng Gao" by Du Fu)

This is the verb and adjective "*** For example, the verbs "Xiao Ai, Fei Hui" state the states of apes and birds, and the adjectives "Jiu, Gao, Qing, Bai" state the states of "wind, sky, Zhu, and sand". Comprehensive analysis, we have before our eyes a beautiful picture of what we can see from a high altitude.

Based on the above, it is not difficult to see that the role of "finding verbs" in understanding poetry is overwhelming. The same applies to understanding titles, so there’s no need to go into details here.

Example 7: "The building boat sailed across Guazhou in the snowy night, and the iron horses dispersed in the strong autumn wind." ("Shu Ang" Lu You)

Example 8: "The old tree withered vines and the crows are dim , small bridges and flowing water, people." (Ma Zhiyuan in "Tianjingsha·Qiu Si")

Both of these examples are famous sentences without verbs. This situation is relatively rare and needs to be considered from another angle. We will discuss this issue in the following article "Thinking about the villain".

3. Understanding sentence patterns

If "finding verbs" can help readers quickly clear the obstacles in understanding text, then "arguing sentence patterns" can help readers solve sentence patterns Difficult question.

There are similarities between ancient poetry and ancient prose in the use of verbs, but they are very different in terms of sentence structure.

Special sentence patterns in ancient prose have their own usage rules, but ancient poetry does not. This is determined by the characteristics of ancient Chinese poetry. In order to meet the requirements of rhyme, antithesis, rhythm, equivalence, etc., poets sometimes have to break the normal language order. The new order does not follow the rules of the special sentence patterns of ancient Chinese, which results in modified sentences that are confusing to readers. It is another obstacle to understanding poetry. It must be organized into normal sentence patterns in order to accurately understand the content of poetry.

Example 9: Modified Sentences: Guarding the empty boat at the mouth of the river, the moon shines brightly around the boat, the river water is cold. ("Pipa Tour" by Bai Juyi)

Standard sentences come and go at the mouth of the river to guard the empty boat, the moon is bright around the boat, the river water is cold.

This is a relatively simple one, and it does not affect understanding if it is not sorted into normal word order. The following examples are different.

Example 10: Throughout the ages, there is no hero like Sun Zhongmou. ("Yong Yu Le·Jingkou Beigu Pavilion Nostalgia for the Past" Xin Qiji)

Throughout the ages, there is no place where the hero Sun Zhongmou can be found.

Example 11: I am wandering about my homeland, I should laugh at my affection, and I will be born early. ("Niannujiao·Chibi Nostalgia" by Su Shi)

I am wandering around my homeland, so I should laugh at my sentimentality and give birth to beautiful hair early.

Example 12: Haiyan flies to the west and the sun sets. Tianmen looks at the house of Wuhou in the distance. ("A guest has a divination but fails to stay in Longyin" by Xu Hun)

Haiyan flies westward and the sun sets, looking at the houses of the five marquises of Tianmen in the distance.

This is a type of word order reversal in a sentence. If these sentences are not organized into normal sentence patterns, it will be difficult to accurately grasp the actor of the verb, resulting in changing the subject into the actor. , the consequences of the inversion of the subject-object relationship create obstacles to the correct understanding of poetry.

Example 13: Forty-three years later, I still remember the beacon fire on Yangzhou Road. ("Yong Yu Le·Jingkou Beigu Pavilion Nostalgia for the Past" Xin Qiji)

Looking forward, I still remember that in the forty-three years, the Yangzhou Road was in flames.

Example 14: I brought hundreds of couples on a trip and recalled the glorious past. ("Qinyuanchun·Changsha" Mao Zedong)

Recalling the glorious past, I brought hundreds of couples to visit.

Example 15: I heard a wanderer singing a song of departure in the morning, and I first crossed the river with a slight frost last night. ("Farewell to the Capital of Wei Wan" by Li Qi)

Last night there was a slight frost when we first crossed the river, and I heard the wanderers singing songs of separation.

This is a type of sentence order reversal. If it is not restored, it will be more difficult to understand or even misunderstood.

How to judge the above abnormal word order? Connect the context based on logical relationships. Xin Qiji, who advocated resistance to the Jin Dynasty, climbed to Beigu Pavilion, nostalgic for the past and regretting the present. He praised Sun Quan who had made great achievements here. He could not call himself a hero, but should praise Sun Quan as a hero; Su Shi's "The wandering mind of the motherland, the sentimental should laugh at me" is There is controversy. One party thinks it is "Zhou Yu laughs at me", and the other party thinks it is "Su Shi laughs at himself". The author agrees with the latter statement; Tianmen refers to the Forbidden City, and the Wuhou family is naturally in the Forbidden City. Based on the previous article, it should be Haiyan flying to the west. Looking at Tianmen in the distance; "The Beacon Fire Yangzhou Road" happened "forty-three years ago", they should be the objects of "still remembering"; the "Zeng" in "bringing hundreds of couples to travel" indicates that this sentence is about "remembering the past" below One of the contents; the chronological order of "Chao" and "Yesterday" should be well understood.

There is a certain proportion of modified sentences in ancient poetry, so understanding sentence patterns has become a necessity to clear obstacles to understanding. Readers should be aware of the existence of this phenomenon. When a sentence is difficult to understand, they should try to sort out the sentence structure so that some problems can be easily solved.

4. Look at the background

When studying history, there is a saying that "knowing people and analyzing the world" is not the same when understanding ancient poetry. Bai Juyi proposed that "articles are written together to suit the occasion, and poems and songs are written together to suit the occasion." In fact, it is not a bad idea to remove the word "合" because this is the law of literary creation. Just like any poem has its social basis, any poem also has its individual psychological basis. Understanding the social basis of poetry allows us to see broader, and understanding the psychological basis of poetry allows us to see deeper.

If you understand the life of Wang Weiyiguan Yiyin, it is not difficult to understand the Zen thoughts in "Mountain Residence in the Autumn Ming".

If you understand the national situation of Tang Xuanzong's "three thousand dotes on Yang Guifei" and the devastation caused by the Anshi Rebellion to the Tang Dynasty, it is not difficult to understand Du Mu's "riding a mortal concubine to laugh". Ironic taste.

If you understand Li Bai and Du Fu, your understanding of the ups and downs of "Looking at the Ancients in Yue Zhong" and the sorrow of old age, illness and loneliness in "Deng Gao" will not stop at the literal meaning.

This places higher demands on the appreciator: not only to clear the obstacles of words, but also to fill in the gaps in the background.

Let’s take a look at Wen Tingyun’s "Jing Wuzhangyuan": "Iron horses and cloud eagles stand against the dust, Liuying high-pressure Han Palace spring. The murderous atmosphere in the sky is clear, and the demon star shines on the Weibin in the middle of the night. The country is lying in the sky, lying in the sky. Lord, it is not up to people to get deer in the Central Plains. There are no words in the elephant bed and the treasure tent. From now on, Qiao Zhou is an old minister." There is no difficulty in the wording and sentence structure of this poem, and the title is concise and clear. However, if you don’t understand the background of the Three Kingdoms, especially in the later period of the Three Kingdoms, when Zhuge Liang personally led the army to attack Wei, garrisoned in Wuzhangyuan, and fought against the army who died of illness for a hundred days, it would be difficult to understand this poem. For a person who is not very high in literature but is familiar with the story of the Three Kingdoms, it is easier to understand it. Because vivid words such as "Tun Guan You", "Midnight Demon Star", "Wolong", "Delu", "Xiang Bed Baozhang", "Qiao Zhou" etc. are already describing that regrettable history.

Background knowledge cannot be acquired overnight, and daily accumulation is fundamental. The relationship between a glass of water and a bucket of water is equally valid when understanding ancient poetry.

In short, the more you know about the relevant background, the deeper and more accurate your understanding of the poem will be.

5. Thinking of the villain

The "villain" here is by no means the antonym of "gentleman". It is more appropriate to read it as "little man". The technique of metonymy is used here.

Thinking of little people is a process in which the viewer converts the text information of the poem into image information in his mind through association and imagination. The focus of this image is a person. This person can be the poet himself, a "self-oriented" poet, or any person. When Mr. Zhu Guangqian talked about the realm of literature, he said: "The difficult thing in literature and art is to create a realm. All the characters, personalities, events, etc. can only be revealed through the realm. The realm is an independent and self-sufficient world where scenes blend and things are consistent. Its reality Nature lies in its coherence and perfection.” The question before readers now is that the poet has accomplished the difficult task of “creating a scene” and done it well. How can readers fully experience this “situation”. What about an independent and self-sufficient world that blends principles and principles?” ——Rely on association and imagination. It can be said that there is no literary appreciation without association and imagination. Unlike painting, which uses intuitive methods such as lines, light and shade, and color, literature uses words and sentences to reflect the objective material world, which is direct. Especially words that represent the names of things, which are the starting point for association and imagination. Withered vines, old trees, dusky crows, each word is an image, and a poem is an organically combined set of images. This requires readers to go through a process of reconstruction, and the tools for reconstruction are association and imagination. "To appreciate Chinese classical poetry, one is to extract the information directly announced by the language carrier, that is, based on the description of the words, the appearance of things emerges in the mind, and the use of reconstructed imagination to create new images. The first is to generate based on the hints of the words Potential information, and use it to form a new artistic realm of high interest." (Zhao Jingbo's "Poetic Beauty and Potential Message") This requires the viewer to turn the potential information into concrete objects, mobilize association and imagination, and complement the poems left behind. The blank space forms a beautiful flowing picture, because one of the biggest characteristics of Chinese classical poetry is that there are paintings in the poems. Furthermore, "there are a thousand Hamlets for a thousand readers." Therefore, as long as the association, imagination, and reasoning based on the poems are reasonable, there is nothing wrong with it.

When reading "The bright moon shines among the pines", one must have a thought in the mind: "The sky is already dark, but there is a bright moon in the sky; the flowers have faded, but there are green pines like a canopy" ("Dictionary of Appreciation of Tang Poetry", Shanghai Dictionary Press) picture. This picture is not isolated. It must be connected with the time and space background of "after the new rain in the empty mountains, the weather is late and autumn comes", and with the smiling face and voice of "the rustling bamboo returns to the coon girl, and the lotus moves down the fishing boat". The Huan Nu's appearance, clothing, and laughter can be customized according to the viewer's wishes.

When reading "When a concubine in the mortal world smiles, no one knows it's a lychee", in addition to thinking of the fast horse that is as fast as a spark of fire, we should also think of "Looking back and smiling, a hundred charming people", which can make "the king not come to court early" Concubine Yang even thought of smiling at the beacon fire and destroying Bao Si of the Western Zhou Dynasty.

When reading "The palace maids filled the spring palace like flowers, but now only partridges can fly", one should think of the historical sentimentality of the past and present decline across time and space.

Thinking about the little person and finding the verb should go hand in hand. When the verb is found and the text barrier is cleared, the words should be converted into pictures. The whole poem will be a set of flowing pictures.

6. Appreciating Emotions

This set of pictures in my mind is not a frozen comic book, but a vivid and affectionate film and television shot. “All art is lyrical and must express a kind of spiritual feeling, obvious emotions such as joy, anger, love, hate, sadness, melancholy, etc., subtle emotions such as excitement, decadence, melancholy, tranquility, and all kinds of indescribable emotions. The moods that come and go." (Zhu Guangqian) The characteristic of poetry lies in lyricism, and this emotion "comes from the emotions recalled in silence" (Wordsworth). Therefore, the emotion in poetry is the taste contained in keywords and montage. The taste needs to be savored, and the emotions need to be carefully discerned.

How to taste feelings?

First of all, regardless of Tang poetry and Song lyrics, generally speaking, there is a tendency to put scene first and emotion later or situation first and then event. Although scene and emotion, matter and emotion are not completely separated, the emphasis is still obvious. This fact already tells readers how to appreciate feelings.

Secondly, the emotions in poems often have hidden characteristics. Except for a few sentences that directly express the heart, the emotions in poems are often permeated in the modifiers. By guessing the modifiers, you can find out the poet's emotional tendency. For example, "Mountain Dwelling" "Autumn Mist" for example, "After the new rain in the empty mountains, the weather is late and autumn comes. The bright moon shines among the pines, and the clear springs flow up the rocks. The bamboos return to the Huannu, and the lotus moves down the fishing boat. The spring fragrance rests at will, and the kings and grandchildren can stay." "New Rain" The word "new" in "Xin" shows the poet's love for rain. The "empty" in "empty mountain" expresses the poet's yearning for a life far away from the hustle and bustle of the world. Why? Because the mountain is not empty - there are Huan girls returning home late, and there are fishing boats floating around. It is said that this is an empty mountain, just because the poet's inner mind is "empty". The last two sentences, "Let the spring fragrance rest at will, and the kings and grandsons can stay here" more directly express the poet's love for the secluded life. He not only lives in the mountains himself, but also persuades the kings and grandsons to stay here. Following this line of thought, we can further explore: Why do poets have such different feelings from ordinary people? Contact "Look at the Background" and we will have a deeper understanding.

Thirdly, for poems that describe scenery throughout, readers should place themselves in the scene, or even a scene within the scene. "It is difficult to describe a scene as a whole, but it is even more difficult to embody emotions in the scene." Liu Yuxi's "Stone City" is such a model. How to taste the love in this scene? You might as well put yourself in the scene, as if you are a scene in the painting. You have to "imitate the object" and experience the feelings of the object. "The mountains surround the motherland, and the tide hits the empty city and returns lonely." You are the "tide", "lonely" beating the empty city where the mountains and rivers are still the same. It is said to be an empty city, but is it really empty? No, it’s you (Tide) who feel it’s empty, compared to the fact that it was the ancient capital of six dynasties. Not a single word in excellent ancient poetry is redundant. You must feel the flavor of each word with your heart. "The old-time moon is east of the Huai River, and you still cross the female wall late at night." After reading this, your identity is no longer the tide, but the moon, and it is the old-time moon. It seems that you have traveled through a time and space tunnel, and you have enjoyed the six scenic spots beside the Qinhuai River. The never-night scenery of the dynasty has seen too much drunkenness, love and hatred, too much wild bones on the roadside, and the joys and sorrows. Now you are exploring the short wall of the city again on a night when the spring breeze is intoxicating. Do you want to see any new tragedies and comedies in the world? In this deserted land, you are the moon, the earth, and the tide, silently thinking about your own thoughts. In fact, this is what the poet is thinking. What are you thinking? Contacting Liu Yuxi's life background, it turns out that he was thinking about the decline of the national destiny. This kind of artistic conception is not as straightforward as "the stars are still the same stars, and the moon is still the same moon", but it is more chewable and worth pondering. The beauty of ancient poetry can only be seen by wearing special glasses.

Understanding and appreciating ancient poetry is a complex and advanced artistic activity. Mastering the above eighteen characters does not mean you can enter the hall, but these eighteen characters can indeed bring a lot to our reading of ancient poetry. Great convenience.

When understanding an unfamiliar ancient poem, the above six aspects are complementary to each other. They have no absolute order, but should go hand in hand. This is particularly important. This article is divided into sections only for ease of explanation.

How to guide students to accurately grasp the thoughts and emotions of a poem

What is the most difficult thing about poetry appreciation? Can't read a poem (words). What does it take to understand a poem (word)? It means being able to understand the thoughts and emotions of poetry (ci) accurately and comprehensively. Please take a look at the following poem expansion question:

Read the poem below, expand your imagination, and expand the fourth sentence to about 60 words.

Caught in light rain on the Jianmen Road

Lu You

There are traces of dust and wine on his clothes, and there is no trace of his soul when he travels far away.

Does this fit the poet? Xiao Yu rides a donkey into Jianmen.

One of the classmates expanded it like this:

It was drizzling in the sky, and Lu You was singing songs, drinking wine, and leisurely riding on the back of a donkey. It didn’t take long. Sword Gate.

Although this student's imagination is not sufficient, there is still no problem in terms of description. However, such expansion cannot get full marks. Why, because this student used the wrong word, that is, "leisurely" . This shows that he did not understand the poem and failed to accurately grasp the emotion of the poem.

How to accurately grasp the thoughts and emotions of a poem? You might as well proceed from the following aspects:

First, figure out the title.

Some titles point out the emotional tone of the poem. For example, the word "xi" in Du Fu's "Spring Night Happy Rain" sets the emotional tone of joy in the whole poem. Some titles indicate the main idea of ??the poem. For example, the word "difficult" in Li Bai's "The Road is Difficult" is a pun. Not only is the "road" difficult, but the journey of life is also difficult.

Although some titles cannot express the thoughts and emotions of the poem, they can help us understand the thoughts and emotions of the poem. For example, the title of "Mountain Emei Moon Song" highlights the location and scenery. Combining the whole poem, we understand that Emei is related to a friend, and "Mountain Moon" has become a symbol of friendship. Another example is the title of "Listening to the Flute in Luo City on a Spring Night", which points out the season, place, and event. The event "Listening to the Flute" conveys the hometown sentiment that the poem wants to express. Another example is the title "Guest Arrival", which points out the event and at the same time brings out the joy of welcoming guests, the emotion that the poem wants to express. Another example is "Climbing the Yueyang Tower". As soon as you look at the title, you know that it is a poem about things. From the time and space, we can feel the sorrow of the poet's life experience and the worries of his family and country that the poem wants to express.

In short, the title of a poem is the eye of the poem and contains a lot of important information, and some of this information is the emotional code.

So by trying to figure out the title, we can grasp the time, place, people, things, events, clues of the poem, emotional tone, type of work and many other information, or perceive the poet's way of embodying feelings in scenes and things. Emotions such as nostalgia, sadness, nostalgia, side chanting, and melancholy can help you understand the poet's certain views on life, life, and society, and also understand certain ideals and ambitions that the poet places on you.

The second is to know people and judge the world.

The thoughts and feelings expressed in ancient poems are often related to the poet's life experience, ideological ambitions and the era in which he lived. For example, Lu You's "Light Rain on the Sword Gate Road" listed above, the reason why students misread it is that they only read poems and do not understand people and the world. Imagine if students had the following understanding of the author and the era in which he lived, it would not be a joke.

Lu You, a patriotic poet. Born in the early years of the Southern Song Dynasty when the Jin soldiers invaded, he had been determined to restore the Central Plains since he was a child. Only when he was nearly fifty years old was he able to go to the front line of Shaanxi and live a military life of "Iron Horse Autumn Wind". This poem was written by Lu You when he was transferred back to Chengdu from Nanzheng and passed by Jianmen Mountain. From the battlefield to the metropolis, it is obvious that danger is the only way to go and work is easy, but this is not the ideal of Lu You, a patriot. Therefore, this poem expresses the following emotions of Lu You:

His talents are not recognized, he has no way to serve the country, his sincerity is hard to express, his ambition is hard to realize, so he can only laugh at himself in depression and laugh at himself in pain.