Pausing techniques in ancient poems, pausing division in ancient poems?

The subject stops, the verb stops, and the phrase is a whole.

The pause division of the outstopper? "Out of the Stopper" Don Wang Changling.

In the Qin period, the bright moon and the Han period, the Long March has not yet been returned.

But so that the dragon city will fly there, and do not teach Huma to do Yin Mountain.

Translation: Since the Qin and Han dynasties, Mingyue has been following the Guansai like that, leaving home for thousands of miles on an expedition, and the soldiers have not returned so far. If Wei Qing and Fei General Li Guang, who attacked Longcheng, were still there, they would not have allowed the enemy army to cross Yinshan.

Appreciation of works: This is a famous poem by Biansai, which expresses the poet's hope that he will be a good general, quell the war in Biansai as soon as possible, and enable the people to live a stable life. Most people see sideplugs as a way to gain fame.

Some intellectuals, most of whom had the experience of living in Biansai, mainly described the life of Wang Fan in Dailingcha, which formed the so-called "Biansai Poetry School". The poet starts with the description of the scenery, and the first sentence outlines a desolate scene of the cold moon shining on the border. "Qin Shi Mingyue Han Shi Pass" cannot be understood as the Qin Shi Ming Moon Han Dynasty Pass.

Here is the staggered use of the words Qin, Han, Guan, and Yue, which is called "intertextuality" in rhetoric, which means the bright moon in the Qin and Han dynasties, and the guan in the Qin and Han dynasties. "Qin Shi Mingyue Han Shi Pass", the bright moon is in the sky, shining on the border of thousands of miles, showing the outline of the frontier and the depression of the scenery. In front of "Yue" and "Guan", it is modified with "Qin and Han Dynasty", which makes the artistic conception more lofty, leads us to distant antiquity, and is more thought-provoking

Since the Qin and Han dynasties, the border wars have been continuous, and they have continued to this day, which has really dragged on for too long! This is a long-standing description of the side plug from the perspective of time. The poet suggests that the war here has been uninterrupted since the Qin and Han dynasties, highlighting the longevity of time.

The second sentence "the Long March has not yet returned", "10,000 miles" refers to the distance between the border plug and the mainland, although it is a virtual finger, but it highlights the vastness of space. "People have not returned" reminds people of the disasters brought about by war, and expresses the poet's feelings of grief and indignation.

Poetic rhythm division.

1. The natural rhythm of ancient poems.

In the era of the Book of Songs, the dominant form of poetry was the four words. Under its influence, ancient poems gradually formed the rhythm characteristics of two syllables (i.e., two Chinese characters) as a beat.

For example, "In the past, I went back, and the willows followed; Now I come to think, rain and snow Feifei" ("The Book of Poetry, Xiaoya Caiwei").

Although five-seven-word poems are also based on one beat and two syllables, they are different from four-word and six-word poems, in addition to several complete beats, there is also a distorted monosyllable, five-word is two beats plus a distorted monosyllable, and seven-word is three beats plus one monosyllable. Monosyllabic has two functions: one is to more easily reflect the rhythmic beauty brought by the rhyme of poetry.

The rhythm of five words and seven words is generally two two one and two two one one. The second function is to make the poem more beautiful with frustration and change.

Such as: the tide is flat on both sides of the river, and the wind is hanging (Wang Wan's "Second North Solid Mountain").

Gushan Temple North Jia Ting West, Water Surface Chuping Cloud Foot Low (Bai Juyi's "Spring Trip to Qiantang Lake").

2. The structure of meaning in ancient poems.

The reason why Wuqiyan poetry has become the mainstream form of classical poetry has a lot to do with its stronger function of meaning expression. It is found that the distorted monosyllabic in each sentence is so conspicuous that it naturally becomes the center of expression. Of course, depending on the need for meaning, the position of the monosyllable can be placed not only at the end of the sentence, but also in the middle of the sentence.

In this way, two common structures of meaning appear in ancient poems: first, the monosyllabic at the end. Five-character poems are two-two-one, and seven-character poems are two-two-two-one, which is in line with the natural and classic rhythm of the rhythm.

Second, monosyllabic in the middle of the sentence. Five-word poems are 212, and seven-word poems are 2212, which is also relatively common.

Such as: There are confidants in the sea, and the end of the world is next to each other (Wang Bo's "Send to Shaofu to Ren Shuzhou").

The spring silkworms are dead to the end, and the wax torch turns to ashes and tears begins.

Ancient poems account for a large proportion of the teaching content of ancient poems in primary school textbooks, which plays an important role in cultivating students' humanistic qualities and emotions. As a teacher in the new era, it is our bounden duty to let students feel the charm of ancient poetry in a relaxed and natural way. The penetration and implementation of the new curriculum concept put forward higher requirements for us.

So what are the general principles that should be followed in the teaching of ancient poetry in the primary school Chinese curriculum? Let's talk about my specific practices in actual teaching based on my own teaching cases.

A ...The principle of reading and memorization.

The new curriculum standard stipulates: "Recite ancient poems, consciously improve one's appreciation taste and aesthetic taste in the accumulation, perception and application." "Reciting classical poems, what you get is a kind of enjoyment, a kind of accumulation, and it is the integration of the soul and poetry

When the ancients made articles, they were full of emotions and full of emotion, so the form was in the works. At that time, from feelings to sounds, and words, today's readers can only follow the original track and go backwards if they want to understand the works of that time. The author's feelings at that time were pinned on the sound, and today he reiterates his feelings by chanting and reciting them in unison.

It can be seen that people's understanding of the text is based on the basic premise of recitation, and the recitation of the most valuable ancient poems is also a kind of traditional intuitive language teaching. Therefore, I believe that the teaching of ancient poems in the primary school Chinese curriculum should follow the principle of "reading".

For example, when reciting the poem "The Shepherd Boy", I try to guide students to fully understand the meaning of each line of poetry, and at the same time, turn the poem into a beautiful landscape painting, and let them paint a colorful painting by themselves, so that they can experience the joy of creation and be influenced by beauty at the same time. After the students have started to draw, I guide me to draw the poem, and the students imagine and summarize which sentence is depicted.

Teacher: Do you see the vast wilderness and the green grass?

Sheng: I see...

Teacher: What does it look like?

Sheng: "The grass is spread across the field for six or seven miles".

Teacher: The evening breeze is blowing the weeds, and I haven't seen the shepherd boy returning, but I first hear the melodious flute of the shepherd boy coming with the wind, which is getting closer and closer, and the flute is intermittent and fluttering with the wind.

Sheng: "The flute makes three or four sounds of the evening breeze." (The student rushes to answer).

Teacher: When the shepherd boy came back and had a full meal, it was already after dusk.

Sheng: "Returning full after dusk".