Why is the whole article centered on konoha?

Lin Geng is a famous scholar in China. Works handed down from ancient times include A Comprehensive Review of Tang Poems.

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"Muye" means "leaf", but it is very rare to use "tree" and "leaf" in ancient poetry. As a scholar and poet, the author has profound knowledge and rich associative power, so he made a very detailed aesthetic analysis of the differences in poetic artistic conception caused by "tree" and "wood", "leaf" and "leaf" and "falling wood", which made us understand the art of ancient poetry. Learning this text requires us to read it carefully word by word, so that we can run through the whole article and grasp the meaning of the text.

Word reserve

Love: To love (children or the younger generation) especially.

Wash: (language, writing, skills, etc. ) concise and neat. And do washing exercises.

Dynamic π: It is a panacea. Ingot, a hard block made of non-drugs, is for patients to swallow, grind juice for oral or external use.

Quán: Leave no trace in language use. Sasakawa, fishing for bamboo.

Be sparse and clear.

X \u s \u: onomatopoeia, which describes the tiny friction sound.

Autumn: ① (flowers, leaves, etc. ) fall; Fall. (2) metaphor lose dependence, life is unstable.

Meticulousness: (words, deeds, thoughts) meticulous and thoughtful.

Far away: far away.

Text analysis

1. Content structure combing

There are seven natural paragraphs in this paper, and the main contents of each paragraph are as follows.

The first paragraph explains that "Mu Ye" has become a favorite image of poets since Qu Yuan's Nine Songs. This paper takes Yuefu in Xie Zhuang, Song of Linjiang King Festival by Lu Jue and Crossing Hebei by Wang Bao as examples.

The second paragraph explains that "Muye" is a leaf, but it is very rare to use "tree" and "leaf" in ancient poetry. The extensive use of "wood leaves" has developed into "falling wood".

The third paragraph explains the difference between "wood leaf" and "leaves" and "fallen leaves". The key lies in the word "wood". In poetry, words with the same concept may also have great differences in image.

The fourth paragraph explains the first artistic feature of "wood": it contains fallen leaves. From the occasions of using "wood", we can see that since Qu Yuan began to use "wood" in autumn, later poets have used it to achieve the vivid image effect of autumn scenery. The author compares the "tree" image in Cao Zhi's poems with the "wood" image in Wu Yun's poems. "Tree" has no image of falling leaves, while "wood" is obviously a scene of falling leaves.

The fifth paragraph explains why "wood" has this characteristic. Because behind the concept, poetic language still hides suggestibility, which seems to be the shadow of the concept. As the concept of "tree", "wood" also has the shadow of general "wood", "wood" and "board". This potential image reminds us of tree trunks, not leaves, so "leaves" are often excluded from the image of "wood", which implies fallen leaves. The images of "tree" and "leaf" are very consistent. The author takes Zhou Bangyan's Ci as an example to illustrate it.

The sixth paragraph explains the second artistic feature of "wood": it has a slight yellow feeling of fallen leaves, bringing a sparse autumn atmosphere. It is precisely because of this feature that the "konoha" in "Nine Songs" is so vivid. The "fallen leaves" in Cao Zhi's Beauty are dense leaves full of moisture; The yellow leaves in Cousin Lu Lun's Sleepover by Sikong Shu are in the drizzle, so there is no sense of dryness, so they are all different from the images of Konoha. As for "falling wood", it is more spacious than "konoha". "Leaves" of "konoha" have a lingering side. "Muye" is a mixture of sparse and dense, and "falling wood" has even washed away the secret meaning left by the word "Ye".

The seventh paragraph shows that "konoha" and "leaf" are almost the same in concept, but almost thousands of miles apart in artistic image.

To sum up, the full text can be roughly divided into three parts. The first to third paragraphs are the first part, which lists a phenomenon in the history of China's ancient poetry, that is, "Mu Ye" has become a favorite image of poets. The key to the image of "Muye" lies in the word "wood". The fourth to sixth paragraphs are the second part, explaining two artistic features of "wood" and why there are these features. The seventh paragraph is a summary.

The author of this article is both a scholar and a poet. With profound knowledge and rich associations, he made a very detailed aesthetic analysis of the differences in poetic artistic conception caused by "tree" and "wood", "leaf" and "wood leaf" and "falling wood", which made us have a deeper understanding of the subtleties of ancient poetry art and deserve our attention.

2. Discussion on key issues

(1) What's the difference between "tree" and "wood" in classical poetry in terms of artistic features, implications, emotional appeal and applicable occasions?

(2) Take the association of fallen leaves caused by "wood" as an example to explain the characteristics of poetic language and its significance to the poet's creation.

Pay attention to the suggestibility of poetic language.

(1) "suggestibility seems to be the shadow of this concept"

Literally, "wood" is "tree", which is the same concept, but the different images and colors of the two words lead to different associations. "Wood" has the shadow of "wood", "wood" and "board", or the image color of wood, which makes people think more of trunk and less of non-wood leaves. Therefore, "leaves" are often excluded from the sparse image of "wood", suggesting fallen leaves. The so-called "suggestibility" refers to the image color and associative meaning of words.

(2) "Colorful words"

A. A poet should be sensitive and cultured;

"Sensitivity" means that the poet can understand all the potential forces in language images, that is, he not only understands the meaning of word concepts, but also is familiar with their rich and subtle image colors and emotional colors.

"Educated" refers to the poet's ability to interweave and combine the potential power in language images with the meaning in concepts to become colorful and complicated words.

B the artistic effect of poetry should be long story, infectious and inspiring;

"It's a long story" refers to the hidden characteristics of poetry, which is determined by the suggestibility of poetry. In the text notes, the words in Zhuangzi are quoted: "The speaker thinks too much and forgets his words with pride." This "meaning" is beyond the literal meaning of words, that is, the "potential power" of language image mentioned in this paper.

"Infection and inspiration" means that the suggestibility of poetic language can arouse the imagination and association of the appreciator most, and thus be infected, such as the association of fallen leaves caused by "wood".

(3) What is the unique meaning of "Konoha" in "Autumn wind is curling and Dongting waves are under Konoha"? How to explain the meaning of "Mu Ye" in the text?

Analysis shows that "Konoha" is a yellowish leaf, falling in the air. This is determined by the artistic characteristics of "wood": "wood" not only means falling leaves, but also makes people feel yellow and dry.

By contrast, the "fallen leaves" in Cao Zhi's poems are dense and moist leaves at the turn of spring and summer, which are green and soft. The "leaves of wood" in Qu Yuan's poems are rustling and yellowish leaves with different colors, textures, densities and movements. The "yellow leaves" in Sikong Shu's poems have no dry feeling and wandering meaning of "wood leaves", and the color is wet yellow instead of withered yellow. "Muye" is the rustle of dead leaves in the wind, which belongs to the wind but not to the rain, and belongs to the clear clear sky but not to the heavy cloudy day. It is a typical clear autumn figure.

(4) Du Fu broke through the tradition of "leaves of wood" and wrote a famous sentence that "leaves fall like the waves of a waterfall". What's the difference between Falling Wood and Konoha in meaning and artistic conception?

"Wood" means sparse, and "leaf" means dense. Qu Yuan's "Muye" is the unity of "wood" and "leaf", and the interweaving of sparseness and density sets off the beautiful character image of Mrs. Xiang. Du Fu's "Falling Wood" replaces "leaf" with "wood", which cleanses the strong meaning of the word "leaf", makes the artistic conception more spacious, vividly depicts the autumn colors of the Three Gorges, and effectively sets off the feeling of sad autumn.

Learning method guidance

A way to appreciate poetry

1. Reveal the images in the poem. In short, images are images and pictures that contain the poet's emotions. Image is a major feature of poetry. Understanding the lexical meaning and grammatical meaning of poetry does not mean stepping into the door of poetry. Only through the link of language symbols, the images and pictures described by poetry emerge in your mind, can you really enter the appreciation stage.

Ye Shengtao once suggested that reading poetry should not only open your eyes to see the words, but also open your eyes to see the pictures triggered by the imaginary words. "The smoke in the desert is straight, and the long river sets the yen" are two ancient poems written by Wang Wei in the Tang Dynasty. Ye Shengtao said: "To understand these two poems, you have to open your eyes. I only saw ten words. Yes, I want to make it clear: open your eyes in your imagination and look at a picture made up of these ten words. This picture is very simple, only four scenes are selected: desert, long river, solitary smoke and sunset; Spread the impression that the north is vast and desolate. Adding the word "straight" to "solitary smoke" means that there is no wind, and of course there is no wind, so it gives people a more silent impression. Adding the word "circle" to the "sunset" is not only a "circle", but the "circle" can only be seen when the "sunset" hangs on the horizon. A' sunset' quietly sets off behind the' long river'. What a peaceful state this is! A "straight" and a "circle" are simple lines in the picture, which complement the vast and desolate desert, long river, solitary smoke and sunset. In this way, a picture of a frontier fortress is vividly displayed-if you stare at the text and can't see a picture from it, you won't feel this happiness. " Ye Shengtao's words enlighten us that only when poetry is not arranged according to certain grammatical rules and has certain lexical and grammatical significance before our eyes, but is contaminated with emotional images of hearing, vision, touch and movement, can it enter the realm of poetry.

2. Explore the meaning of poetry. In the process of reading poetry, images and pictures appear in front of your eyes through words and phrases, and you can't say that you appreciate the end of reading. Only by grasping the meaning of a poem, that is, the concrete image in the poem and the spiritual content in the picture, can we say that reading appreciation has reached a deep stage. When we read poetry, especially modernist poetry, we should not only understand the superficial meaning of this poem, but also dig its deep meaning. For example, Wang Zhihuan, a poet in the Tang Dynasty, wrote in the Heron Pavilion: "The mountains cover the daytime, and the sea drains the golden river. But as long as you go up a flight of stairs, you can broaden your horizons by 300 miles. " Reading this poem, people can't help but see a picture of a wanderer boarding a mirage and daydreaming: a touch of sunset sinks towards the endless rolling mountains in front of the building, and Ran Ran disappears at the end of the field of vision; The Yellow River, which flows under the facade of the building, roared and rolled south, turning to the east in the distance and flowing to the sea. The picture is magnificent and magnificent. However, if the reader just stops here, we say, "But you have broadened your horizons by 300 miles and climbed a flight of stairs", which can be understood as not only writing the process of climbing the stairs directly, but also being profound and chewy. Its deep meaning is that people should have enterprising spirit and far-sighted mind. It tells a lofty and profound philosophy: only by standing high can we see far.