《新雷》诗歌赏析

《新雷》诗歌赏析（共5篇）

1.《新雷》诗歌赏析 篇一

一.诵读诗歌的技巧

面对优秀的诗歌作品, 怎么读?这是学生最先需要获得的技能。诵读是学习诗歌的重要手段。通过诵读, 把无声的文字符号转化为声音符号, 替作者传递心声, 也为自己与作者的心灵交流架起一座桥梁。在课时不多的情况下, 教师应首先着力于传授诵读技巧, 指导学生在有限的阅读训练中, 读出样子, 读出诗味, 为下面读懂诗意, 进而得到美的熏陶和思想启迪打下基础。

(一) 确定基调

基调是诗歌表现出来的最基本的感情或情绪, 或高亢, 或低沉, 或欣喜, 或悲伤。基调的确定, 主要以诗歌的主题以及思想内容为依据, 学生可从诗歌的背景介绍、自读提示或注释中获得。比如学习艾青的《我爱这土地》, 提示中明确指出“……喷发出强烈的爱国热情”;再比如杜甫的《茅屋为秋风所破歌》, 诗歌背景分析中有这样一段话:此时的诗人因弃官为民穷困潦倒而由上层社会融入百姓之中, 他不仅有对苦难生活的切身体会, 更有对广大人民疾苦生活的理解和挂念。由此, 诗人忧国忧民的深沉郁结之情奠定了全诗沉郁悲愤的感情基调。

基调确定以后, 教师应指导学生如何用声音表现诗歌的基调, 如语速的快慢、声调的高低、语气的轻重。以《再别康桥》为例, 其基调是深沉而略带忧伤的, 所以诵读时总体语速要慢, 声调不能太高, 语气总体较轻。读《沁园春·长沙》则应根据其高昂奋进的基调将声调提高, 多处需要重读, 又根据其深沉的感情, 采用缓慢的语速。当然, 有的诗歌基调会随着诗歌内容的变化而变化, 诵读时又需灵活掌握。

(二) 注意停顿

掌握好停顿, 既可以读出诗歌的节奏感, 体现诗歌的音乐美 (这是诗味的重要方面) 。又可以给诵读者以思考回味的时间, 便于理解和接受。停顿分为语法停顿和心理停顿。语法停顿是根据诗句的标点符号来处理的, 一般顿号、逗号停顿较短, 分号较长, 句号、问号、感叹号停顿最长, 而冒号、省略号、破折号则要根据具体语言环境而定。较难掌握的是心理停顿, 心理停顿是根据诗句表现出来的思想感情或作者的思维线索来处理的, 所以不能一目了然。《再别康桥》中“寻梦?撑一支长篙……在星辉斑斓里放歌”一节与“但我不能放歌……”一节之间的停顿就要比通常节与节之间的停顿长一些。原因在于这里不仅有语法停顿, 更因作者从“彩虹似的梦”中清醒过来的寂寥以及从“星辉斑斓”的最高潮坠落到沉默的现实中的幽怨, 作者需要时间去接受事实, 适应情感的落差, 读者也应读出这个“此时无声胜有声”的心理停顿。教师要帮助学生建立这样一个概念:诵读中的停顿绝不是思维的停顿和情绪的间断, 反而是上下诗文之间思想感情的酝酿或延续。因此语法停顿也好, 心理停顿也好, 都需建立在对诗歌内容的理解之上。另外古诗诵读的停顿还有特别之处, 如一般五言两顿 (迢迢‖牵牛‖星, 皎皎‖河汉‖女。) 四言一顿 (氓之‖蚩蚩, 抱布‖贸丝) ;楚辞作品中“兮”字的停顿 (身既死兮‖神以灵, 于魂魄兮‖为鬼雄) 。停顿掌握好方能读出诗歌特有的味道, 也能激发学生进一步学习诗歌的兴趣。

(三) 分辨重音

人说文似看山不喜平, 读诗也要一波三折。根据诗的内容, 诵读时对诗句中的某些词语必须重读。先不谈轻重之分对表达诗歌感情的重要, 首先要读出诗歌的音乐美。还以“氓之蚩蚩”为例, 若读出“强—弱—弱—弱”的节拍来, 就会很动听, 这种重音的朗读规律是容易掌握的。还有一类词语的重读是由诗人情感的脉搏决定的, 比如陶渊明的“误落尘网中, 一去三十年”, 为了表达诗人对污浊官场的厌恶以及对涉足官场的悔恨, 必须重读“误落”与“三十”两个词。这种语义的重读需要一番训练, 尤其要求学生对诗歌的思想内容有一个准确的把握。

二.赏析诗歌的技巧

读诗是为了赏诗。很多教师生怕学生读不懂, 干脆把自己对诗歌的理解或收集来的赏析资料和盘托出。学生被动接受, 全无独立思考的时间。对诗歌的赏析是一种再创造, 如果教师讲得太透彻, 反而会占满学生思想的空间, 从而抹杀学生的创造性。我们教学的根本任务是“授之与渔”, 使学生获得学习的方法, 举一反三。所以教师不必把时间花在讲透诗歌上, 而应讲清赏析的要领, 大致可从以下几方面入手。

(一) 了解诗歌的创作背景

由于诗歌有着高度的概括性, 一首诗省略了的信息是大量的, 如果就诗的字面理解, 可以这样也可以那样, 甚至会让人摸不着头脑。只有准确地掌握诗歌的创作背景才能准确理解诗歌的思想内容。诗歌的创作背景包括时代背景和作者独特的经历。以《死水》为例, 单看表面, 作者描写了一个臭水沟, 可为什么要写臭水沟呢?只有当学生了解了有关背景材料, 他们才可能明白这臭水沟象征着腐朽的执政府以及干疮百孔死气沉沉的社会现状, 作者是怀着无比的痛心和厌恶之情创作这首诗的, 这样学生就比较容易理解作者以丑为美的写法了。所以要指导学生联系创作背景解读诗歌, 这是读懂较难诗歌的先决条件。

(二) 抓住关健字

这里所说的关健字通常有两种:一种是起到纲领作用的。比如《沁园春·长沙》中的“立、看、帐、问”, 这四个动词串起了上阕内容。尤其一个“看”字, 引领了七句, 抓住这几个关键字, 一个面对滔滔江水, 浓浓秋色, 凝神深思的抒情主人公形象顿现脑海;同时, 很容易把握诗文的内在联系, 易于背诵。另一种是文彩飞杨, 收到奇效的关健字, 如“鹰击长空”的“击”, “鱼翔浅底”的“翔”。教师如能引导学生讨论这两个字好在哪里, 学生就会注意到诗歌炼字的妙处。久而久之, 他们就能自觉赏析这样的关健字了。

(三) 抓住主要意象

有人说:诗歌是形象的艺术。这里的形象指的就是诗歌中的意象, 诗人通过各种意象和意象群创设一种意境, 让读者置身其中, 与诗人一同呼吸, 一同感受。意象既包含诗歌描摹的外物之形态 (象) , 又包含了作者投射于物象之中的情感意志 (意) 。这二者相辅相成, 密不可分, 其中又遵循着以“意”统“象”的原则。“诗歌是主观的艺术。”这句话很有道理。一片落叶在平常人眼中也许没有任何意义, 但诗人看到之后, 或有回归之欣慰, 或有飘零之忧伤。原因就在于诗人用主观情绪来解读眼中物象, 一切景语皆情语, 在诗歌的世界中, 一切物象都深深打上了诗人主观意志的烙印。当然, 意象的选择并非随意而为, 诗人会选择那些最能表达自己情感的意象, 这些意象的特征总与诗人的情感有着内在的契合点。以舒婷的《祖国啊, 我亲爱的祖国》为例, 当学生面对“老水车、矿灯、失修了的路基、搁浅的船”这些意象时, 就会因为陌生而不能了解诗人的情感。学生会想, 诗人要表达对祖国的热爱, 为什么不写灿烂的古代文明, 丰收的麦田, 热火朝天的工业生产, 却要去写一些破旧的、沉重的事物呢?这时, 教师应趁势指导学生解读这些意象的方法。诗歌的创作背景是十年浩劫, 生产停滞, 文明倒退, 中华五千年的灿烂文化似乎就要毁于一旦, 人民对于祖国富强的憧憬似乎已成幻影。舒婷作为一个有个性、会思考的年轻诗人, 对此作了痛苦的反思。她用矿灯来表现中国无数次在黑暗中爬行摸索的艰难, 用老水车的破旧来表现中国沉重的前进步伐, 用路基、船只的废弃来表现祖国停滞不前的现状。通过这样的分析指导, 学生才能明白原来对祖国落后贫瘠的焦虑痛苦也是对祖国的爱, 而且更深沉;学生也能悟出要想准确地解读诗歌意象, 一要抓住创作背景, 二要找准意象的特征。

(四) 抓住诗歌的写作特点

诗歌的写作技巧包括创作风格 (如朴素的、华美的) , 布局谋篇 (如重章复唱, 首尾呼应) , 各种修辞手法的运用等等。引导学生关注诗歌的写作技巧, 提出诸如“为什么要这样写, 这样写有什么好处”的问题, 会使学生更深入地感受诗歌的形象, 感悟诗歌的思想感情, 也能对他们的写作有所帮助。例如《硕鼠》一诗, 通篇打比方, 这就是“赋、比、兴”中的“比”。让学生讨论这样的“比”有什么好处, 学生们都知道:把不劳而获, 贪得无厌的奴隶主写成大老鼠, 形象生动, 更具讽刺意味。其实, 这种分析只是个手段, 学生们更大的收获是通过了解人们对老鼠的态度进而领会诗中奴隶们对奴隶主的憎恶之情;或者让学生们分析这首诗中重章复唱的手法, 也可达到同样目的。

综上所述, 诗歌教学应注重诵读和赏析方法的指导, 授之以渔。指导的目的是使学生愿意读、会读、读懂。但愿通过教师的导读, 学生们在潜心涵咏之时能够心随声动, 情伴意游, 从中获得美的享受和思想的启迪。

参考文献

[1].罗鲜花《意象与诗歌鉴赏》, 重庆, 科技信息 (学术研究) 2008年第16期.

[2].彭静《实现语文教学有效性的研究》, 中国优秀硕士论文数据库, 2006年.

[3].曹占宏《诗歌赏析从何入手》, 甘肃教育革新, 2009年第1期.

2.诗歌赏析的几个要点 篇二

一、对诗歌主题的鉴赏

“文载道, 诗言志, 词言情。”诗歌和所有文学作品一样, 总是要反应一定的思想内容, 表达作者的观点态度:或怀古, 或讽今;或思乡, 或忆友;或离别的忧愁, 或重逢的喜悦;或穷困的愤激, 或通达的豪迈;或杀敌卫国的雄心壮志, 或隐居山林的闲情逸致。

诗歌炽热的爱国情怀, 是中华民族千百年咏唱不衰的主题。在诗歌鉴赏中, 尤其更要好好把握。崔颢的《黄鹤楼》与李白的《登金陵凤凰台》, 最大区别就在于前者仅思乡——“日暮乡关何处是, 烟波江上使人愁”, 后者却忧国——“总为浮云能蔽日, 长安不见使人愁”, 境界要比前者高得多。

二、意象的把握

中国古典诗词, 喜欢用特定的意象来表达意旨。所谓“意”, 即作品中借景所抒之“情”, 咏物所言之“志”, 所谓“象”, 即作品中所写之“景”、所咏之“物”。“意”与“象”的完美结合, 就是“意象”。它既是现实生活的写照, 又是诗人审美创造的结晶和情感意念的载体。因而既是融入了主观情意的客观物象, 又是借助客观物象表现的主观情意。如“明月”表思乡, “沙鸥”表隐居, “折柳”、“杨柳”表离别, “浮云”、“黄云”表游子, 而“梅”却带着清芳高洁、傲雪凌霜的意趣等等。因而, 揭示意象内涵便是诗歌鉴赏的重要选点, 从诗歌的意象入手, 往往能够迅速地把握主题。

三、典故的使用

有典即使诗意含混晦涩, 也使诗歌典雅工整。于是, 诗歌鉴赏有必要分析典故的出处和意义, 体味典故使用的精妙, 使诗意明确。李商隐《锦瑟》“庄生晓梦迷蝴蝶, 望帝春心托杜鹃”就用了庄周梦化蝴蝶和杜宇化鹃啼血两个典故, 抒发了诗人忆华年时的怅惘。杜甫《咏怀古迹》“群山万壑赴荆门, 生长明妃尚有村。一去紫台连朔漠, 独留青冢向黄昏。画图省识春风面, 环佩空归月夜魂。千载琵琶作胡语, 分明怨恨曲中论”, 诗中借用王昭君因君王昏庸 (画图省识春风面) , 尽管国色天香, 也只能演出“独留青冢向黄昏”“环佩空归月夜魂”的人生悲剧的典故, 抒发了怨恨之情:君王昏庸, 杰出人才往往只能演出人生悲剧。

四、炼字与炼句

古代诗歌特别讲究用词、用句的准确与凝练, 世有“推敲”佳话流传。李白“两岸青山相对出, 孤帆一片日边来”的“出”字, 不仅使本来静止不动的山带上了动态美, 而且逼真地描绘出天门山特有的姿态———夹江对峙, 似乎正迎面走来, 欢迎江上来客, 同时, 也寓含了舟中人见“出”时的新鲜喜悦之感。杜甫《旅夜书怀》“细草微风岸, 危樯独夜舟。星垂平野阔, 月涌大江流”, 既以“细”、“微”、“危”、“独”来营造冷寂、孤独的艺术氛围, 更以“垂”、“阔”、“涌”、“流”营造宏大的意境来反衬旅夜的凄凉与落寞, 用词凝练, 意蕴丰富。

五、映衬和烘托

这一手法, 提法多种多样, 有的称其为渲染, 有的称其为烘云托月, 有的称其为正衬和反衬。高适《别董大》“千里黄云白日曛, 北风吹雁雪纷纷。莫愁前路无知己, 天下谁人不识君”, 用“千里黄云白日曛, 北风吹雁雪纷纷”的黯淡景象来映衬离别之情, 而王维《渭城曲》“渭城朝雨浥轻尘, 客舍青青柳色新。劝君更尽一杯酒, 西出阳关无故人”, 却用“渭城朝雨浥轻尘, 客舍青青柳色新”来反衬离别之情。杜甫《绝句》“江碧鸟逾白, 山青花欲燃。今春看又过, 何日是归年”, 在“江碧鸟逾白, 山青花欲燃”中, 以“江碧”衬“鸟归”, 以“山青”衬“花红”, 不仅如此, 两句还共同对后文“今春看又过, 何日是归年”形成反衬, 以乐景写哀情, 表现诗人乡思之深厚, 时光流逝之倏忽。

六、虚实的结合

诗歌的主题总是要通过一些手法来表达, 虚实便是其中重要的一种。诗歌中, “虚”即是抒情言志, “实”就是写景叙事。“一切景语皆情语”。鉴赏时, 要分清哪是虚, 哪是实, 是情由景生, 还是借景抒情;是触景生情, 还是情景交融。李白《闻王昌龄左迁龙标》中, “杨花落尽子规啼, 闻道龙标过五溪”, 先就写景叙事, 属于实写, 随后“我寄愁心与明月, 随风直到夜郎西”, 却是直抒胸臆, 属于虚写, 形成由实及虚的格局。刘禹锡《石头城》“山围故国周遭在, 潮打空城寂寞回。淮水东边旧时月, 夜深还过女墙来”, 也是句句写景, 所写之景融合着诗人那故国萧条、人生凄凉的深沉感伤, 寓情于景, 白居易读《石头城》后赞道:“我知后之诗人无复措辞矣。”

总之, 赏析点的选择, 对诗歌赏析有着重要的意义。不过, 赏析点的确定, 一定要根据诗歌材料本身而定, 选取其中最重要的要点。

3.诗歌赏析中美感心理功能的调遣 篇三

关键词：语文教学,诗歌赏析,美感心理功能,调遣

美是人的本质力量的对象化, 是人的本质力量在客观对象上的自由显现。美感就是这一本质力量得到对象化或者自由显现之后, 我们对它的感受、体验、观察、欣赏和评价, 以及由此而在内心生活中所引起的满足感、愉快感、幸福感、和谐感和自由感, 它是人类精神生活中所达到的最高享受和最高境界。也就是说, 美感是一种“心物感应”的过程, 一方面它是客观美的反映, 随外物而生而灭;另一方面它是一种心理活动、心理的结构和因素, 必然对美感的形成产生重大的作用。美感既然是人的各种心理功能的综合表现, 固然离不开理智、意志和感情, 但美感又是一种特殊的心理活动, 在这一活动过程中, 感情占据着主导地位, 理智和意志到了美感中都化成了感情。也就是说, 没了感情, 不可能有美感。因此, 美感的心理功能, 主要体现为感情在审美过程中的不同层次和不同表现。

一、感受和直觉产生了美感的起点

美感的起点是心接于物, 这就是感受。有了感受, 就有了感情。在感受的过程中, 自我的感情与外物相呼应, 融会到外物中, 刘勰说:“登山则情满于山, 观海则意溢于海。”这就是说, 心接于物, 情随之生。在对美的感受中, 我们的心理功能最初表现为直觉。直觉把我们所感觉到的外物, 经过心灵的综合作用, 表现为形象。形象是直觉的对象, 这形象, 一方面是物质的感情形式, 另一方面又是心灵的情趣表现。

这一阶段, 反映到诗歌赏析课的教学中, 就是初读课文、初步感受、形成印象的阶段。以舒婷的《致橡树》为例, 教师在学生朗读、感受的基础上, 首先要引导学生把握诗中的物象:攀高枝的凌霄花、痴情的鸟儿、送慰藉的泉源、衬托威仪的险峰、无处不在的日光和春雨、有“铜枝铁干”的橡树和有“红硕花朵”的木棉等等。诗歌的语言是高度浓缩的, 而这一阶段又是美感的起点和基础, 所以教师要让学生把握住每一个物象, 为进一步鉴赏奠定扎实的基础, 因为感受的物象越全面, 审美活动的基础就越广泛、越深厚。

二、知觉和表象的运用形成了“心物感应”

美感开始于感受和直觉, 得到进一步发展是在知觉和表象中。直觉经心灵的综合作用形成形象, 但还是分散的、个别的印象。知觉则把这些印象加以区分和概括, 形成完备的整体。它不再专注于对象的外观形象, 而是把一定概念赋予事物的感性形象, 形成感性与理性的统一。当知觉把感性的形象转化为内心的印象或意象, 变为内心的形象, 便形成了表象。这一阶段, 我们的美感活动已把人的主观情感赋予了客观世界, 使客观世界从“麻木不仁”的状态中醒来, 充满了生命, 变成了有人情味的、与人的感情相呼应的自然。这实际上就是中国古典诗文中所强调的“心物感应”, 是心物之间的交流。

仍以《致橡树》一文的教学为例。在学生初步感受的基础上, 教师就开始引导学生领会诗中的物象寄托了作者什么样的主观情思, 分析诗中意象的丰富内函。诗人以“攀高枝的凌霄花”和“痴情的鸟儿”等一系列特殊的意象, 表现了以男性为主体、以女性为依附的传统爱情观, 并对之大胆否定。然后, 诗人把自己的抒情主体化为一株木棉的形象, 象征有自主意识的现代女性;用有“铜枝铁干”的橡树, 象征爱情关系中的男性。通过两棵树“站在一起”、“根, 紧握在地下, 叶, 相触在云里”的外在形态, 显示了并肩携手的形象, 表达了作者建立在彼此平等、人格独立基础上的相知相依相恋的理想的爱情观, 流露了一个现代女性内心的期待和渴望。很显然, 凌霄花、鸟儿、泉源、险峰、日光、春雨、橡树和木棉等物象已不再仅是客观的自然物, 而是融入了作者主观情感的自然, 已成了作者主观情感的一个载体, 冷冰冰的现实世界一变而成了充满感情的人的世界。这样, 我们的美感活动, 通过知觉、表象这一桥梁, 从感受到感悟, 从感性走向了理性, 从有限走向了无限。

三、联想和想像拓宽了美感的时空

在知觉和表象的基础上, 联想和想像又进一步拓宽了美感的时间和空间领域。

原有的知觉表象与新的知觉表象相互重叠、组合, 转化为联想, 成为生生不已的审美意象, 使美感的天地, 向着时间与空间两方面拓展, 层层创新, 显示出无穷的魅力。

感情的逻辑, 就是想像。美感离不开感情, 所以美感也离不开想像。想像比联想更进一步, 它在已有的知觉、表象及其相互联想的基础上, 重新组合安排, 创造出新的知觉和表象, 并且赋予它们新的形式和意义。想像可以上下古今纵横驰骋, 可以“精骛八极, 心游万仞”, 美感的生动性、自由性、丰富性, 以及它那极富魅力的创造性, 都来自于想像。黑格尔说:“最杰出的艺术本领就是想像。”丰富而灵动的审美欣赏, 也是通过想像来完成的。欣赏者是在作家想像创造的基础上, 通过想像来进行再创造。敖陶孙的《臞翁诗评》就是典型的例子:

魏武帝如幽燕老将, 气韵沉雄。曹子建如三河少年, 风流自赏。鲍明远如饥鹰独出, 奇娇无前。谢康乐如东海扬帆, 风日流丽……

这段诗评凝炼、恰切、形象, 表现力极强。以第一句为例, 我们仿佛看到曹操横刀立马、指挥若定的雄风, 语言的涵盖力令人拍案叫绝。不凭借丰富而奇特的想像, 不足以如此传神的概括出曹操的诗风。

在赏析课中, 教师调遣学生的联想和想像, 完成对文学作品的再创造, 是至关重要的一环。高尔基说:“只有作家描写的一切历历浮现在读者的眼前, 使读者能从个人的经验、个人积累的印象和知识出发, ‘想像’出作品可提供的画面、形象、人物和性格, 而且对这些有可补充的时候, 作家的作品才能够在某种程度上打动读者的心。”由此可见, 在教学中引导学生展开联想和想像是何等重要。

以王之涣的《登鹳雀楼》一诗为例略加分析。此诗用“白日依山尽, 黄河入海流”这十个字, 就描绘出了一幅白日近山、黄河入海的阔大场景, 把万里河山收入短短的十个字中, 使咫尺有万里之势, 为读者留下了极大的想像余地。为了启发学生的想像力, 教师可设计如下一系列提问:一轮落日已沿着山峰缓缓而下, 山之态势如何?山之色彩如何?奕奕白日和逶迤群山可尽收眼底, 诗人的立足点——鹳雀楼的高度如何?黄河入海是怎样一番雄姿?你听到了什么样的声响?这一连串的提问, 给学生插上了想像的翅膀。他们在丰富、自由的想像中, 看到了一轮辉煌的落日, 向着鹳雀楼前那一望无际、郁乎苍苍、连绵起伏的群山缓缓西沉, 在视野的尽头冉冉而没;看到了奔腾咆哮、一泻千里的黄河归大海的壮丽景象;听到了滔滔黄河水洪钟大吕般的鸿声巨响;甚至, 还看到了正登高远眺、极目千里的诗人的俊骨丰神……这样一些形象, 是学生根据诗歌提供的形象化语言而联想和想像出的审美意象, 真正做到了“视通万里, 思接千载”, 极大的丰富了原作的形象层次, 完成了对这首诗歌的审美过程。

4.浅谈诗歌诵读赏析课中氛围的营造 篇四

1 巧用背景知人论世

作为诗人抒情发慨的载体, 诗歌中常常会留下作者在社会历史变迁过程中的思想情感痕迹, 也无法避免地打上时代的烙印。因此, 要想让学生能够充分诵读赏析诗歌, 走进作品、走进诗人, 理解作品所蕴含的思想感情, 我们可以从时代着手, 从作者的生平着手, 知人论世。

例如, 北朝诗歌多写战争、军旅生活, 南朝诗歌多言情感生活, 盛唐多边塞诗, 晚唐多悯农诗, 等等。在这样的社会背景下生活的诗人, 也往往会呈现出不同的创作内容和风格, 掌握了社会背景、诗人自身的创作风格和内容, 我们就不难读出杜甫诗歌中“朱门酒肉臭、路有冻死骨”的悲凉, 李白“仰天大笑出门去, 我辈岂是蓬蒿人”的豪情, 文天祥“人生自古谁无死, 留取丹心照汗青”的气概, 等等。学生有了这些知识的积累, 理解诗歌中的思想情感就会轻松、准确, 自然在诵读时能够注入准确、深切的情感。如陆游的词《卜算子·咏梅》中写道:“驿外断桥边, 寂寞开无主。已是黄昏独自愁, 更着风和雨。……”我们联系背景即可知, 陆游一生坚持抗金救国, 自始至终与投降势力进行斗争。他曾经称赞梅花“雪虐风饕愈凛然, 花中气节最高坚”, 在这首词中梅花是开在郊野的驿站, 破败不堪的“断桥”, 它不仅不去“苦争春”, 即使不堪雨骤风狂的摧残, 纷纷凋落, 也要“香如故”, 细想这梅花便是陆游一生的遭际。了解了这样的际遇, 这样的诗人、这样的背景, 我们便很容易读出诗中陆游展现出的那孤傲不屈、坚贞自守的傲骨。

2 赏曲展画增设情景

要想让诗歌优美的意韵在课堂中恰到好处地呈现出来, 利用多媒体的手段创设出与诗人情感相匹配的氛围和情景不失为首屈一指的有效途径。学生能够在这种氛围中受到感染和熏陶, 自然会激发接近作品、走近诗人的兴趣, 这便为诗歌诵读赏析提供了情感的保障。

如以描写自然风光、农村景物见长的山水田园诗, 隽永优美、风格恬静、语言清丽洗练, 在诵读教学中就十分适于配以恬淡宁静如古筝曲、葫芦丝、钢琴曲一类的音乐。在执教陶渊明《归园田居》一诗时, 考虑到其宁静的本质, 教师可以选取古筝名曲《高山流水》, 环绕在悠扬回转的古音中, 学生原本浮躁的心灵也不觉寂静下来, 掌握作者背景资料、粗略诵读之后, 随着淡淡的古筝声, 学生不仅能够顺利诵读, 同时也读出了一丝淡淡的情感, 整个课堂中音乐与琅琅读书声曼妙地结合, 课堂氛围达到了高潮。此外, 有不少古诗词本身就是广为流传的千古绝唱, 如《短歌行》、《一剪梅》等。诗歌与音乐有密不可分的必然联系, 在教学中把复杂多变的情感与悦耳动听的音律沟通起来, 尽可能地将古诗中的“情”化为可作用于听觉的音律, 有利于学生感受语言文字的精妙、掌握诗歌蕴含的情感。

音乐可调动人的听觉引发想象, 绘画则可调动人的直观感觉, 正所谓“诗中有画, 画中有诗”, 为抒发情感, 诗人在作品中描绘的一个个场面即是一幅幅美丽的画卷。学生在欣赏这些画卷的同时, 也会有身临其境的感受。执教《蒹葭》一诗时, 每个学生都在脑海中有一个想象的“伊人”形象, 长发披肩, 在水一方。但是, 由于大部分学生受生活经验所限, 学生难得见到“蒹葭”的真实面目, 也未必恰当地构想出芦苇、细水、美人共处一画的场面。因此, 在上这一课时, 教师可以找几张描绘此景的图画, 并配以邓丽君的名曲《在水一方》, 学生便很快进入情境, 在诵读的过程中, 赏着名画, 伴着音乐, 不自觉地读出了主人公内心对理想的那份执着, 同时也兼具心中求而不得感伤。人们常说, 诗是流动的画, 画是凝固的诗。每一首诗即为一幅画, 我们完全可以在适当的时机将这幅画展现出来, 一定会在诗歌的教学中取得意想不到的效果。

3 巧抓触点因势利导

诗歌诵读教学中氛围的营造需要讲究时机, 抓住这一时机, 便能准确触发学生情感、恰到好处引导学生入境, 这就是一节课或者一首诗中学生的“触点”。作为一名语文教师要独具慧眼, 抓住教学的时机, 善于捕捉生活中稍纵即逝的瞬间, 不失时机地将这种氛围营造的媒介引入诗词, 恰如其分地引导学生融入诗境。如执教《蒹葭》一课时, 学生通过初步朗读, 虽然明确了主人公对伊人的苦苦追求, 在朗读时也体现出诗人追求伊人而不得的苦楚, 但是, 这种情感似乎只停留在较浅的情感层面上。这时, 教师可以提出一个问题:“所谓的伊人仅仅是一个人吗?”, 这个问题触发了学生的思绪, 他们开始纷纷寻找伊人背后更深刻的含义, 通过对种种意象以及诗人写作的指向进行分析, 学生似乎明白了, 文中的伊人还可以指诗人一切美好的追求、崇高的理想。至此, 学生再次朗读诗歌时就很容易读出主人公那生命不息、追求不止的一份执着和坚定, 而不单单是之前的那种失恋似的苦楚和沮丧。

一个恰当、浓郁氛围的营造对学生知诗意、悟诗情来说极为重要, 当然, 营造氛围的手段也是多种多样的, 但是, 这些方法必然要以遵循教学规律和学生认知规律为前提, 不能为了营造氛围而去营造。只有这样, 才能最大范围地发挥其对诗歌教学的作用, 取得事半功倍的效果。

摘要：作为诗歌教学的一个重要手段——氛围的营造越来越受到语文教学工作者的重视, 其不仅可以帮助诗歌尽显其美感, 更能促进学生大胆创造。通过结合教学实际, 对诗歌教学中这一重要环节的关键要素加以总结论述, 以发挥其最大的作用。

关键词：诗歌教学,诵读赏析,氛围营造

参考文献

[1]郝明.浅谈如何上好经典诗文诵读课[J].中国教师, 2012, (z2) :35.

5.《新雷》诗歌赏析 篇五

关键词：忽必烈汗,想象,语言,意义

Introduction

Kubla Khan is a famous poem by Samuel Taylor Coleridge, which is one of Coleridge’s most haunting and beautiful poems.Some critics argue that it is unique in English poetry or one of the greatest English poems.Furthermore, this visionary poem is one of the most famous poems of the Romantic Period.A manuscript copy of Coleridge's“fragmentary vision”is a permanent exhibit at the British Museum (London) .[1]All of these fames deeply attract us, and we will try to reveal the veil in the following aspects:fantastic vision, rhymed language and profound theme.

1. Summary

The poem is different in style and form from other poems composed by Coleridge.Kubla Khan is subtitled a“fragment”, but it lacks aspects of Coleridge's other fragmentary poems.Instead, its incomplete nature represents aspects of the creative process through its form and message.Its language is highly stylised with a strong emphasis on sound devices that change between the poem's original two stanzas.The first stanza of the poem describes Khan's pleasure dome built alongside a sacred river fed by a powerful fountain.The second stanza of the poem is the narrator's response to the power and effects of an Abyssinian maid's song, which enraptures him but leaves him unable to act on her inspiration unless he could hear her once again.Together, they form a comparison of creative power that does not work with nature and creative power that is harmonious with nature.

The poem begins with a description of a magnificent palace built by the Mongolian ruler Kubla Khan during the thirteenth century.The enormous“pleasure-dome”of the poem's first few lines reflects the Khan's sovereign power, and the description of the palace and its surroundings convey the grandiosity and imperiousness of his character.In contrast to the structured dome and its gardens, the landscape surrounding Kubla's domain is wild and untamed, covered by ancient forests and cut by a majestic river.While it initially appears that harmony and cohesion exist between these two worlds, the narrator then describes a deep crack in the earth, hidden under a grove of dense trees.In the second stanza, the tenor of the poem shifts from the balance and tranquility in the first few lines to an uneasy suggestion of the preternatural.A woman calls to her daemonic lover and the Khan hearkens to“Ancestral voices prophesying war.”Soon, the vast distance between the ordered domain of Kubla's palace and the savagery of nature—the source of the fountain that feeds the river flowing through the rocks, forests, and ultimately, the stately garden of Kubla Khan—becomes apparent.As the river moves from the deep, uncontrolled chasm of the earlier lines back into Kubla's world, the narrative shifts from third to first person.Afterwards, the poet relates his vision of a dulcimerplaying Abyssinian maiden and recounts the sense of power that exudes from successful poetic creation.

2. Fantastic Vision

Kubla Khan is romantic in the sense that, we can see distant lands and far-off places in this poem, Xanadu, Alph, mount Abora-belong to the geography of romance and Our attention is almost shifted from the pleasure-dome of Kubla Khan to the poet and his extravagant fancy, imagination and poetic creation.The speaker describes the“stately pleasure-dome”built in Xanadu according to the decree of Kubla Khan, in the place where Alph, the sacred river, ran“through caverns measureless to man/Down to a sunless sea.”Walls and towers were raised around“twice five miles of fertile ground, ”filled with beautiful gardens and forests.A“deep romantic chasm”slanted down a green hill, occasionally spewing forth a violent and powerful burst of water, so great that it flung boulders up with it“like rebounding hail.”The river ran five miles through the woods, finally sinking“in tumult to a lifeless ocean.”Amid that tumult, in the place“as holy and enchanted/As e’er beneath a waning moon was haunted/By woman wailing to her demon-lover, ”Kubla heard“ancestral voices”bringing prophesies of war.The pleasure-dome’s shadow floated on the waves, where the mingled sounds of the fountain and the caves could be heard.The picture of the divinely inspired poet in the closing lines can be considered a work of pure fancy, the result of imagination, the dream-like atmosphere.“It was a miracle of rare device, ”the speaker says, “A sunny pleasure-dome with caves of ice!”

opium dream.The poem was inspired by the poet's dream of the pleasure-dome.The bright gardens, the incense bearing trees with sweet blossom, the sunny spots of greenery, rocks vaulting like rebounding hail, the sunless caverns-these are highly sensuous images.In addition to that the second part of the poem mainly deals with the poet himself.He could see an Abyssinian maid in his vision who en-kindle his imagination.The speaker says that he once saw a“damsel with a dulcimer, ”an Abyssinian maid who played her dulcimer and sang“of Mount Abora.”He says that if he could revive“her symphony and song”within him, he would rebuild the pleasure-dome out of music, and all who heard him would cry“Beware!”of“His flashing eyes, his floating hair!”The hearers would circle him thrice and close their eyes with“holy dread”, knowing that he had tasted honeydew, “and drunk the milk of Paradise.”

John Lowes claimed that“with a picture of unimpaired and thrilling vividness, the fragment ends.And with it ends, for all save Coleridge, the dream.'The earth hath bubbles as the water has, and this is of them.'For'Kubla Khan'is as near enchantment, I suppose, as we are like to come in this dull world.And over it is cast the glamour, enhanced beyond all reckoning in the dream, of the remote in time and space–that visionary presence of a vague and gorgeous and mysterious Past which brooded, as Coleridge read, above the inscrutable Nile, and domed pavilions in Cashmere, and the vanished stateliness of Xanadu.”[2]

3 Rhymed Language

The poem according to Coleridge's account, is a fragment of what it should have been, amounting to what he was able to jot down from memory:54 lines.Originally, his dream included between 200 and 300lines, but he was only able to compose the first 30before he was interrupted.The second stanza is not necessarily part of the original dream and refers to the dream in the past tense.The rhythm of the poem, like its themes and images, is different from other poems Coleridge wrote during the time, and it is organized in a structure similar to 18th-century odes.

“Kubla Khan”is famously incomplete, and thus cannot be said to be a strictly formal poem--yet its use of rhythm and the echoes of end-rhymes is masterful, and these poetic devices have a great deal to do with its powerful hold on the reader’s imagination.The chant-like, musical incantations of“Kubla Khan”result from Coleridge’s masterful use of iambic tetrameter and alternating rhyme schemes.The first stanza is written in tetrameter with a rhyme scheme of ABAABCCDEDE, alternating between staggered rhymes and couplets.The second stanza expands into tetrameter and follows roughly the same rhyming pattern, also expanded—ABAABCCDDFFGGHIIHJJ.The third stanza tightens into tetrameter and rhymes ABABCC.The fourth stanza continues the tetrameter of the third and rhymes ABCCBDEDEFGFFFGHHG.

The poem relies on many sound-based techniques, including cognate variation and chiasmus.In particular, the poem emphasizes the use the“æ”sound and similar modifications to the standard“a”sound to make the poem sound Asian.Its rhyme scheme found in the first seven lines is repeated in the first seven lines of the second stanza.There is a heavy use of assonance, the reuse of vowel sounds, and a reliance on alliteration, repetition of the first sound of a word, within the poem including the first line:“In Xanadu did Kubla Khan”.The stressed sounds, “Xan”, “du”, “Ku”, “Khan”, contain assonance in their use of the sounds a-u-u-a, have two rhyming syllables with“Xan”and“Khan”, and employ alliteration with the name“Kubla Khan”and the reuse of“d”sounds in“Xanadu”and“did”.To pull the line together, the"i"sound of"In"is repeated in“did”.Later lines do not contain the same amount of symmetry but do rely on assonance and rhymes throughout.The only word that has no true connection to another word is“dome”except in its use of a“d”sound.Though the lines are interconnected, the rhyme scheme and line lengths are irregular.

“Kubla Khan”is a poem clearly meant to be spoken.So many early readers and critics found it literally incomprehensible that it became a commonly accepted idea that this poem is“composed of sound rather than sense.”John Bowring stated“The tale is extraordinary, but'Kubla Khan'is much more valuable on another account, which is, that of its melodious versification.It is perfect music.The effect could scarcely have been more satisfactory to the ear had every syllable been selected merely for the sake of its sound.And yet there is throughout a close correspondence between the metre, the march of the verse, and the imagery which the words describe.”[3]Its sound is beautiful--as will be evident to anyone who reads it aloud.

4. Profound Theme

Kubla Khan is about poetry and the two sections discuss two types of poems.The power of the imagination is an important component to this theme.The poem celebrates creativity and how the poet is able to experience a connection to the universe through inspiration.As a poet, Coleridge places himself in an uncertain position as either master over his creative powers or a slave to it.The dome city represents the imagination and the second stanza represents the relationship between a poet and the rest of society.The poet is separated from the rest of humanity after they are exposed to the power to create and are able to witness visions of truth.This separation causes a combative relationship between the poet and the audience as the poet seeks to control his listener through a mesmerising technique.The Preface, when added to the poem, connects the idea of the paradise as the imagination with the land of Porlock, and that the imagination, though infinite, would be interrupted by a“person on business”.The Preface then allows for Coleridge to leave the poem as a fragment, which represents the inability for the imagination to provide complete images or truly reflect reality.The poem would not be about the act of creation but a fragmentary view revealing how the act works:how the poet crafts language and how it relates to himself.

Through use of the imagination, the poem is able to discuss issues surrounding tyranny, war, and contrasts that exist within paradise.Part of the war motif could be a metaphor for the poet in a competitive struggle with the reader in order to push his own vision and ideas upon his audience.As a component to the idea of imagination in the poem is the creative process by describing a world that is of the imagination and another that is of understanding.The poet, in Coleridge's system, is able to move from the world of understanding, where men normally are, and enter into the world of the imagination through poetry.When the narrator describes the“ancestral voices prophesying war”, the idea is part of the world of understanding, or the real world.As a whole, the poem is connected to Coleridge's belief in a secondary Imagination that can lead a poet into a world of imagination, and the poem is both a description of that world and a description of how the poet enters the world.

Hence, despite the plentiful criticism it has elicited, most assessments of“Kubla Khan”remain unable to answer with any degree of certainty the question of the poem's ultimate meaning.In part due to its status as a verse fragment and the continued controversy surrounding its origins, “Kubla Khan”has tended to discourage final interpretation.Nevertheless, most critics acknowledge that the juxtaposed images, motifs, and ideas explored in the poem are strongly representative of Romantic poetry.As such, critics have found numerous indications of a thematic reconciliation of opposites in the poem.Similarly, “Kubla Khan”is thought to be principally concerned with the nature and dialectical process of poetic creation.The work is dominated by a lyrical representation of landscape—a common feature of Romantic poetry, in which landscape is typically viewed as the symbolic source and keeper of the poetic imagination.Guided by Coleridge's complex rhyming and metrical structure, “Kubla Khan”first describes the ordered world of Kubla's palace and then—with an abrupt change in meter and rhyme immediately following—depicts the surrounding natural world that the Khan cannot control, even as it provides the foundation of his power.This pattern of contrast between worlds continues throughout the poem, lending it both a purpose and structure that, critics suggest, represents Coleridge's ideal of a harmonious blend of meaning and form in poetic art.

5. Conclusion

Kubla Khan is a dream poem and related to works describing visions common to the Romantic poets.Though it is only a piece of fragment, the poem was endowed with ever-lasting charm for its fantastic vision, rhymed language and profound theme, which got to an art of ecstasy that“willing suspension of disbelief for the moment”.[4]Particularly the rhymed language is highly praiseworthy by the Western literary critics.When talking about the poem, Leigh Hunt claimed it“is a voice and a vision, an everlasting tune in our mouths, a dream fit for Cambuscan and all his poets, a dance of pictures such as Giotto or Cimabue, revived and reinspired, would have made for a Storie of Old Tartarie, a piece of the invisible world made visible by a sun at midnight and sliding before our eyes...”[5]

参考文献

[1]飞白.世界名诗鉴赏辞典[Z].桂林:漓江出版社, 1989.

[2]王佐良.英国浪漫主义诗歌史[M].北京:人民文学出版社, 1991.

[3]杨德豫.神秘诗!怪诞诗!——柯尔律治三篇代表作[M].北京:人民 文学出版社, 1992.

[4]http://www.phrases.org.uk/meanings/suspension-of-disbelief.html