Lu Xun's Snow, in this article, what are the imagination, association, direct lyrical and indirect lyrical sentences?

The reason why we call for the wildness and love of nature is precisely to inject vitality into the real battles in the world. Lu Xun declared that he was "not sensitive to the beauty of nature, so even if I admire the beautiful scenery, I am not very moved", but he never forgets the "relics" that contain the history of human struggle. Lu Xun was essentially an ideological fighter with a strong sense of society and history. It was meaningless to him without the nature and natural beauty of social life. He appreciates nature and natural beauty, focusing entirely on discovering society and himself in it.

From this aesthetic point of view, the natural beauty that Lu Xun loved was: "the scenery formed by the hard struggle between people and nature", that is, from which we can find the deep, majestic, magnificent and ancient power of the struggle spirit of society and life. beautiful. In "Weeds", Lu Xun also described the beautiful scenery of Jiangnan, but in general, he was "not sensitive" and said bluntly: "I don't love Jiangnan. Delicacy is delicate, but stingy." He criticized The scenery in Hangzhou "appears to be small-minded and not very impressive", and he believes that "the scenery in the north is great. If it is not desolate day by day, it will be more suitable for living." (Qian Liqun's "The Quest of the Soul")

"Standing on the desert, looking at the flying sand and rocks, you will laugh when you are happy, shout when you are sad, and curse when you are angry, even if you are beaten all over by the gravel. , My head is bleeding, and I touch my coagulated blood from time to time, and I feel like there are patterns." (Lu Xun's words)

Students exchanged the results of the discussion, and the teacher made it clear:

The author's thoughts and feelings are. It is expressed through the praise of the snow in the north. "Snowflakes in the Shuofang" announced its existence to the world with a lonely and uncompromising attitude. In its loneliness, it composed the most moving piece of music: "Under the cold sky", the snow in the north is like a fighter, it "vigorously "Flying hard" permeates the space, "making the space rotate and rise and shine", like an unrestrained challenger. The peaceful and tranquil beauty like the snow in the south of the Yangtze River can certainly make people happy. In comparison, the most praiseworthy thing is the snow in the north that fights alone in a lonely situation. The snow in the north most vividly embodies the independent and public personality spirit that Lu Xun valued.

While flying hard, the snow in the north seemed a little lonely, but it was this loneliness that highlighted the value of sticking to oneself. This is what makes Lu Xun different from other writers. Place: Being willing not to be understood, not looking back, determined to live towards death, "to be saved from hopelessness".

The author embeds an urgent "but" in a seemingly unnecessary turning point, which further clarifies the author's emotional tendency and is the embodiment of Lu Xun's unique language style.

(1) Snow (Author: Lu Xun)

In "Snow", Mr. Lu Xun uses detailed and vivid pen and ink to show readers two different styles of snow: Jiangnan's In the comparison between snow and Shuofang's snow, his tendency is obvious. The key to reading this prose poem is to understand why he is particularly fond of Shuofang's snow. In other words, what characteristics of Shuofang's snow attracted the author and made him resonate? When reading, you may wish to find sentences and words with profound meanings to help analyze the main theme of the text.

1 From what aspects does the article describe the beauty of Jiangnan Snow?

The author describes the beauty of Jiangnan Snow in two aspects: First, he describes the rich colors of Jiangnan Snow: blood-red camellias, white plum blossoms with faint green, dark yellow wintersweet, cold green weeds , showing Jiang Nanxue's "moisturizing beauty". The second one reproduces one aspect of the beautiful childhood life - "Shaping the Snow Arhat". The children held their little hands, which were red from the cold and looked like purple buds of ginger, and seven or eight of them came together to shape the Snow Arhat. In the happy children's world, there are adults with childlike innocence mixed in, which adds to the fun of life. "Sitting in the snow with burning eyes and red lips" is a poetic image. It not only embodies Jiang Nanxue's "moisturizing and beautiful" qualifications, but also contrasts with the previous scenery description, making the situation more novel. Chic, full of life, charming and charming.

6 Snow

Text Discussion

1. Overall Perception

Understood the last sentence of this article: "That is lonely Snow is the dead rain, the spirit of rain." This is how we understand the purpose of this article. This sentence makes a tendentious judgment about the natural scenery mentioned in the article - the snow in Jiangnan and the snow in Shuofang. The snow in Jiangnan is dead, while the snow in Shuofang sublimates in the lonely rotation. Became the spirit of rain.

Why does the author have a special liking for the snow in Shuofang? This emotional logic is elaborated in the article. At the beginning of the article, I first mentioned the rain in the warm country. In the eyes of knowledgeable people, it is monotonous. What has rich and colorful beauty is the snow in Jiangnan. Here, the author writes about the snow in the south of the Yangtze River in his memory with full of emotion. It has a colorful environment, with all kinds of flowers growing in the snowy fields. "Many bees are busy", which makes people think of, " Winter has come, can spring be far behind? "In the author's eyes, the snow in Jiangnan is still associated with the joy of children. Although the snow makes the children's hands red from the cold, it also brings them happiness. game. The vivid description of the snow-sculpted Arhat permeates the author's tenderness. The image words "white", "bright" and "gleaming" are not only integrated into the author's beautiful memories of the winter in the south, but also through the children's emotions. Eyes to depict delightful scenes. The snow in the south of the Yangtze River reveals abundant vitality and contains life.

However, in the next paragraph, the author's tone changes subtly. Snow Arhat is the most cherishable memory in the snowy days in Jiangnan, and it is also a symbol of beauty. But on the next day, "the sunny day came to clear away his skin again, and the cold night made him freeze again." Time makes the beauty fade, "The rouge on the mouth has also faded away." Beauty seems to be stained with some disharmonious colors.

At this time, the "Snowflake of Shuofang" appeared, announcing its existence to the world with a lonely and uncompromising attitude. It "gleams brightly in the sunlight, like a heavy fog containing flames". In the loneliness and loneliness, the snow in the north composes the most moving music: under the "cold sky", the snow in the north is like a Fighter, it "flys vigorously", permeates the space, "makes the space rotate and rise and shine", like an unrestrained challenger.

Judging from the description of the snow in the north and south, Lu Xun appreciated "the snow in Shuofang" more. The snow in Jiangnan is beautiful, but in Lu Xun's eyes, this beauty cannot last long without being tempered. What Lu Xun valued more was an independent and public spirit of individuality. This spirit was also Lu Xun’s consistent motivation for moving forward. As he said in an article, “Standing on the desert and watching the flying sand and rocks, When you are happy, you laugh, when you are sad, you shout, when you are angry, you curse. Even if your body is roughened by gravel and your head is bruised and bleeding, you can always touch your own clotted blood and feel that there are patterns." In the article, the snow in the north "never sticks", "flys hard", "rotates" and "ascends" is the most vivid embodiment of this spirit.

As he was flying hard, the snow in the north seemed a little lonely, but it was this loneliness that highlighted the value of sticking to oneself. This is why Lu Xun was different from other people. The place of a writer: being willing not to be understood, not looking back, determined to live toward death, "to be saved from hopelessness."

2. Problem Research

1. "Snow" is the clearest piece in Lu Xun's collection of prose poems "Wild Grass". Its descriptions of scenery are detailed and vivid, and its wording is accurate. The article describes the snow scenes in the south of the Yangtze River and the north, and reflects the author's tendency in the comparison. The snow in the south of the Yangtze River is beautiful, but it is a gentle beauty. In comparison, the most praiseworthy thing is the snow in the north that fights alone in a lonely situation. This emotional orientation requires careful analysis when reading.

2． Lu Xun's language style is very unique. For example, after describing the snow in the south of the Yangtze River, he uses a sharp "but" to describe the "snow in Shuofang". It seems that no turning point is needed, but after adding this "but", the emotional tendency becomes more obvious. This needs to be understood carefully.

Exercise instructions

1. What associations does the author’s description of the snow in the south of the Yangtze River and the snow in the north evoke in you? What do you think the author's thoughts and feelings are expressed in the full text?

The purpose of setting the question is to guide students to initially grasp the main content and main ideas of the article as a whole. The purpose of this article is relatively obscure and students should be allowed to have different understandings.

The author's thoughts and feelings are expressed through his praise of the snow in the north. The peaceful and tranquil beauty like the snow in the south of the Yangtze River can certainly make people happy, but the more sublime beauty should be like the snow in the north, which dares to face the bleak life and is sublimated in the tragic battle.

2. Understand the following sentences based on the full text and explore the questions in brackets.

The purpose of setting the topic is to gain a deeper appreciation of the connotation of the article by understanding the key sentences in the article.

1． The rain in warm countries has never turned into cold, hard and brilliant snowflakes.

(Using "cold", "hard" and "brilliant" to modify "snowflake" emphasizes what?)

"Cold" and "hard" emphasize the unyielding nature of snow spirit, and this spirit is "brilliant" and the most worthy of admiration.

2． It is the message of youth that is still looming, and it is the skin of a very strong virgin.

("Blooming news of youth" and "Extremely strong virgin skin" respectively describe what characteristics of Jiangnan snow?)

"Youth" and "Virgin" are both The most vital state, here refers to the snow in the south of the Yangtze River, which contains life and is related to the soft and gentle state.

3. Yes, that is the lonely snow, the dead rain, and the soul of the rain.

(What do "lonely snow", "dead rain" and "rain spirit" mean?)

One of the characteristics of northern snow is loneliness, here It is also represented as dead rain. The sublimation of snow in the north is associated with death, and it is the complete dedication that makes it become the soul of rain - the soul that condenses all the strong cores.

3. The text describes how to shape the Arhat in the snow, and "From Baicao Garden to Sanwei Bookstore" describes how to catch birds in the snow. The descriptions are very vivid and vivid. What games have you played in the snow? Try writing a paragraph to describe it. Students who have never seen snow can write imaginative essays.

Teaching Suggestions

1. Lead students to read aloud and feel the beauty of the language of the article.

2. Let students find sentences describing snow in the south and snow in the north respectively, and understand their different meanings.

3. Lu Xun once said that all his philosophy is in "Weeds". It is still difficult for students to understand "Weeds" at present, but they can pick out a few articles describing natural scenery in "Weeds". Such as "Autumn Night", "Good Story", "Winter Leaves", etc., allowing students to feel the difference between realism and symbolism in natural descriptions.

Relevant information

1. Exploration of the soul (excerpt) (Qian Liqun)

(Lu Xun) The reason why he wants to call for the wildness and love of nature, It is precisely to inject life into the real battles in the world. Therefore, he repeatedly stated that what he emphasized was "to overcome all difficulties with one's own efforts, not to persuade people to go to the mountains"; he himself was absolutely unwilling to hide in the pastoral poem of "the cranes chirped and the white clouds rose gloomily" Go, he wants to "live in the world", even if he is isolated and excluded by people, he still will not leave the "sea of ????people", let the "sunken bell" of life always "ring deep and lonely in the bottom of the sea of ????people" ". It is in this sense that Lu Xun declared that he was "not sensitive to the beauty of nature, so he was not very moved even if he saw the beautiful scenery on good occasions." However, he never forgot the "relics" that carry the history of human struggle. Lu Xun was essentially an ideological fighter with a strong sense of society and history. It was meaningless to him without the nature and natural beauty of social life. He appreciates nature and natural beauty, focusing entirely on discovering society and himself in it.

From this aesthetic point of view, the natural beauty that Lu Xun loved is "the scenery formed by the hard struggle between people and nature", that is, from it, we can discover the beauty of the deep, majestic, magnificent and ancient power of the struggle spirit of society and life. .

In "Weeds", Lu Xun also described the beautiful scenery of Jiangnan, such as "Good Story". His focus is still on capturing "beautiful people and beautiful things" from "always vivid and always unfolding". The beauty of "flying", thus feeling the existence of a kind of vitality. But in general, he was "not sensitive" to the beautiful Jiangnan scenery. He said bluntly: "I don't love Jiangnan. Delicacy is delicate, but stingy." He criticized Hangzhou's scenery for "looking small-minded and not very impressive" and believed that "the northern scenery is great. If it does not become desolate day by day, it would be more suitable for living." In "Weeds·Snow", "Compared with the "snow in the south of the Yangtze River" which is so nourishing and beautiful, he is obviously more fascinated by the "snowflakes in Shuofang"——

After the flying, but forever Like powder, like sand, they will never stick together. They can be sprinkled on the house, on the ground, or on the withered grass, just like that. The snow on the house had already been digested because of the warmth of the fire in the house. In addition, under a clear sky, when a whirlwind suddenly comes, it flies vigorously, shining brightly in the sunlight, like a thick fog containing flames, rotating and rising, filling the space, causing the space to rotate and rise.

In the boundless wilderness, under the cold sky, what is shining and rising is the spirit of rain...

What is shining and rising is also the spirit of human beings. , the spirit of Lu Xun - striving, upward, and shining.

Lu Xun finally discovered and affirmed people and himself in the broad and moving "nature".

(Excerpt from "The Quest of the Soul", Peking University Press 1999 edition)

2. The Scream in the Iron House (Excerpt) (Lee Oufan)

("Weeds") Perhaps the best lyrical chapter in the collection is "Snow". The lyrical scene here is inspired by the contrast between the two kinds of snow in the south and the north: the two images of snow have become the poet's past youth. and current metaphors for him. The description of the snow scene in the south is rich in color: blood-red camellias, white plum blossoms with hints of green, dark yellow wintersweet, cool green weeds, and as the central image, the brightly colored snowy arhat built by the children. But the snow in the north where the poet lives now is colorless, like powder and sand, and never sticks together. It can be said that these descriptions are all real scenes, but when the snow turns into rain, the scenery described is not so realistic:

In the boundless wilderness, under the cold sky, shining and rotating What rises is the spirit of rain...

Yes, that is lonely snow, dead rain, and the spirit of rain.

In these lyric poems, the description of natural scenes seems to have been soaked in fantasy and metaphorical images. This not only gives Lu Xun's prose a poetic flavor, but also determines the "modernity" of Lu Xun's prose poetry because of his bold departure from the use of natural imagery in ancient Chinese poetry. Pushke once argued that Lu Xun's prose poems read very much like Baudelaire's "Little Prose Poems". Although Lu Xun's novels have many symbolist attributes, they are still based on realism. His prose poems absolutely belong to the structure of symbolism, coupled with the techniques of many novels and dramas, and seem to be telling a fictional "story" in the realm of dreams or fables.

(Excerpt from "The Scream in the Iron House", Yuelu Publishing House 1999 edition)

3. The perfect unity of "beauty" and "magnificence" (excerpt) (Zhang Xiangdong)

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At the end of the year in 1924, it snowed in the north. On December 31st, Lu Xun wrote in his diary: "Rain and snow... It cleared in the afternoon and snowed again at night." The next day, the sky cleared up and there was wind. "Lu Xun's Diary" also recorded: "The strong wind blew snow filling the sky." The seven characters are quite poetic. It can be seen that the author "follows the four seasons and sighs for the passing of time, and looks at all things and thinks about them" (Lu Ji's "Wen Fu"), and at this time the creative impulse has sprouted. Seventeen days later, the prose poem titled "Snow" was born. Obviously, the impression given to the author by the natural scene in reality was the opportunity for "Snow" to be produced.

But "Snow" is not a simple reproduction and expansion of the natural landscape. The author spreads the wings of imagination and associates the snow in front of his eyes with the snow scene in the south of the Yangtze River. His thoughts are tossed between memories and reality, and finally he turns his emotions into a wonderful poem. Pictures of snow scenes in the south and north:

The snow in the south of the Yangtze River is extremely moist and beautiful; it is the message of youth that is still looming, and it is the skin of an extremely strong virgin. In the snowy fields, there are blood-red camellias, single-petaled plum blossoms with hints of green in the white, and dark yellow bell-shaped wintersweet flowers; there are also cold green weeds under the snow. There were indeed no butterflies; whether bees came to gather honey from camellias and plum blossoms, I can’t remember exactly. But before my eyes I seem to see winter flowers blooming in the snowy fields, with many bees flying busily, and I can hear them humming.

This snow scene is written in a crystal clear and colorful way. At the beginning, the four words "moisturizing and beautiful" accurately summarized Jiang Nanxue's characteristics; then the two metaphors of "a vague breath of youth" and "extremely strong virgin skin" were used, one false and the other true, to launch a "fog-free" The hazy beauty of "Looking at Flowers" evokes infinite reverie, and the author's high spirits and emotions are fully revealed when writing. And in the snowy wilderness - against a pure white background, dotted with the blood red of camellias, the light green of single plum blossoms, the dark yellow of wax plum blossoms and the cold green of weeds, what a colorful world! The "beautiful beauty" of Jiangnan Snow "It became further concrete. The last two sentences are a stroke of genius. The author writes about bees flying and noisy among the flowers. He uses "cannot remember" to explain "seemingly", and uses the blur of memory to contrast the vividness of the things in front of him. It is very natural and real, just like the famous sentence "Red Apricot" "Spring on the branches" is punctuated by the word "noisy", and the whole picture is full of vitality due to the existence of this imaginary bee. Isn't this the vague "breath of youth"?

Jiangnan is the author’s hometown and the place where he lived in his childhood. It has left many beautiful memories in the author’s mind. Such as the magical life world of young Runtu ("Scream·Hometown"); the boat where he and his friends eat mangosteen at night ("Scream·Community Opera"); the Baicao Garden with countless stories and endless fun ("Morning Blossoms Plucked at Dusk") ·From Baicao Garden to Sanwei Bookstore")...the author's writings are all full of poetic and picturesque flavor. Before and after writing "Snow", the author often recalled the scenery of his hometown and the scenes of his childhood life. Within one month after the completion of "Snow", he successively wrote works such as "Kite" and "Good Story" involving this aspect. Therefore, in "Snow", the author not only depicts a bright and beautiful snow scene in the south of the Yangtze River with meticulous brushwork and color, but also reproduces a scene from his beautiful childhood life.

“The children, with their little hands that were red from the cold and looked like purple buds of ginger, came together to shape the Snow Arhat.” In the joyful children’s world, there are actually adults who have not lost their childlike innocence. In the meantime, it adds to the fun of life. Here, the author focuses on the image of the Snow Arhat, which is connected with the joy of the children. At first, "Although it was just a small pile on top and a big one on the bottom, I couldn't tell whether it was a gourd or an Arhat. However, It's very white, very bright, and it's bonded with its own moisture, and the whole thing is sparkling." After the children decorated it with longan kernels and rouge lipstick, it "sat in the snow with burning eyes and red lips." What a poetic image this is! It not only embodies the "moisturizing and beautiful" beauty of Jiangnan snow, but also contrasts with the previous description of the northern scene, making the artistic conception more novel, unique, full of life, and charming. .

However, Shuo Xue in the poem is a different story. It does not have the "moisturizing beauty" of Jiang Nanxue, nor is it accompanied by exotic flowers and plants, but it has an independent, uninhibited and high-spirited character. You see:

On a sunny day, a whirlwind suddenly comes and flies vigorously, shining brilliantly in the sunlight, like a fog containing flames, spinning and rising, filling the space and making the space rotate. And it sparkles soaringly.

In the boundless wilderness, under the cold sky, it is spinning and rising...

What a desolate and tragic scene it is! What a majestic spectacle it is! Is it a photo of a natural landscape? This artistically exaggerated description is a vivid expression of the author's surging passion. It is understandable that the author describes Shuoxue in this way.

We know that although the author has many "beautiful people and beautiful things" in his memories and dreams ("Weeds: Good Stories"), the real environment he lives in is extremely harsh. However, for "warriors like Lu Xun", this can sharpen the will to live and inspire the passion for fighting. Therefore, when the author writes about Shuoxue, he focuses on describing it three-dimensionally from three dimensions to highlight the soaring Shuoxue's unstoppable momentum that sweeps through thousands of armies: "in the boundless wilderness, under the cold sky", "permeating the space" "The flying snow, "like a heavy fog containing flames", not only "rises", "rotates" and "brightly shines" by itself, but also causes the entire space to "rotate and rise and shine". In just a few strokes, the power of the flying snow in the north to shake the heaven and earth is revealed. Its force is so compelling that readers naturally think of the author's arduous and fascinating battle in those dark years!

Beautiful Things express the beauty that is in a state of relative unity and balance of contradictions, often manifesting in form as harmony, tranquility, elegance and other characteristics; sublime beauty is different, it is the subject and object of things in the intensification of contradictions, thus creating an unstoppable momentum and overwhelming power. From the previous brief analysis, we have seen that the author has mastered the essence of artistic conception creation and is familiar with the dialectics of artistic description. When writing about the snow scenes in the south of the Yangtze River, he focused on describing the static beauty. He often used warm-toned adjectives, and his brushwork was dense and soothing, giving people a sense of peace and tranquility. The buzzing of bees and the laughter of children further enhanced the pastoral pastoral. A tranquil atmosphere. When writing about the snow scene in Shuofang, the emphasis is on dynamic expression. Shuoxue's "like powder, like sand" seems lonely and lonely, but its "never sticking" already implies movement and trend. The brush strokes are bold, rough and rapid, which results in "Yao Jiao Lian Nian" [Yajiao Lian Nian] : It means to bend and stretch freely. 〕, the smoke and clouds are lingering, which is an extremely spectacular artistic realm like a jade dragon soaring into the sky. The so-called "the scene that is difficult to describe is as it is now, with endless opinions beyond words" (Mei Yaochen [Mei Yaochen: (1002-1060) poet of the Song Dynasty. See Ouyang Xiu's "Six One Poetry Talk".]), in This kind of use of movement to contrast stillness, taking advantage of movement and contrasting descriptions, makes two pictures full of the author's emotions appear on the page, "as if they are now", creating a strong artistic appeal.

However, how are these two different types of aesthetic forms unified into a perfect artistic whole?

In "Snow", although the author writes very much about the beauty of the snow in the south of the Yangtze River, the joy of children, and the fun of the Snow Arhat, it expresses the nostalgia for his hometown, and the dissolution of the Snow Arhat reveals his feelings for the snow. It is a pity that beautiful things cannot last forever, but the author is not indulging in a beautiful but empty fantasy to seek spiritual comfort. What he really yearns for is the magnificent real-life combat life, eager to draw the courage and strength of struggle from the power of nature, and maintain fighting youth forever.