"Interpreting Ancient Poems for Children" - It turns out that reading poetry is to cultivate the mind

At present, the teaching concept of meritocracy leads us to learn ancient poetry will not go deep, rather than brushing vibrato, watching videos, it is better to calm down and read the book, understand the inspiration behind the ancient poetry.

In the process of reading this book, the author mentioned the most is the group of words "poetic heart", which is very different from the deliberately stacked flowery rhetoric, and good poetry has had the effect of finishing touches since ancient times.

If the language is too casual and too popular, it will not show its wisdom and demeanor. The embellishments that resemble the strokes of God add to the importance attached to their acceptance of invitations.

The difference between ancient poetry and vernacular is to extract interest from a very ordinary thing, and present a long-lasting aesthetic in the form of a neat battle, Professor Li Tianfei uses a large number of familiar verses to emphasize this unique and profound love.

If you translate "The Seeker Does Not Meet" into the vernacular, in fact, there is nothing special, if you want to dig deep into the story line contained in this ancient poem, you may need a novel of more than 100,000 words to explain in detail, but the original text of a few crosses has created a mood for us, this very picturesque association can resonate with most people, and even many people are still struggling to find it.

When I often teach ancient poems to students, I will pay attention to guiding students to experience the thoughts and feelings that the author wants to convey from the poems. After reading the book "Interpreting Ancient Poems for Children", I cut into a perspective that I had never had before, and I found that the beauty of nature did not exist objectively, but sprouted from the poet's abundant heart.

"Looking at each other is not tired, only respecting the pavilion mountain", "I see how feminine the green mountain is, and the green mountain is expected to see me as I should be", "A pine and a bamboo true friend, a good brother of the mountain bird and mountain flower" and so on. In the author's view, we as human beings sometimes really have to be "self-indulgent."

This expression of subjectivity makes the image of the poet stand up resolutely, and perhaps we do not care about their appearance, and the illustrations in the books are just abstract concepts derived from the poems.

"Only if we have feelings for ourselves can we pour our feelings into something else in this world." My understanding of this sentence is even worse than this, feelings are the bridge of communication between people, whether it is you and me face to face, or across the ages of time and space dialogue, there is temperature, insight, occasionally a little emotion will appear vivid, lively, appear looming.

The sensitivity and fragility of poetry lies not in the aria of nature, but in the appearance of nature, looking at the landscape and the landscape, extravagant and free, its heart is nothing more than a sharp version of the earthquake, a scene and a thing, a flower and a grass, it seems to have an anthropomorphic borrowing, the charm of Xingfa moving lies in the incomparable entanglement and self-anesthesia of the spiritual world, just like Liu Bang, who has no experience in writing poetry, casually recited the "Great Wind Song".

"Classical Chinese poetry can make people's hearts immortal", perhaps the word "death" is too sensitive for ordinary people, but if your thoughts transcend life and death, you will not care about the additional interpretations that these words bring.

I have seen on the Internet that every popular phrase today can find an elegant and powerful expression in ancient poetry. Compared with the current unthinking, the ancients were elegant and more polite, but as long as you dismantle the characters in it, you will find the zhengzheng pride hidden in the situation.

"Look up at the sky and laugh and go out, my generation is a basil person"; the urgency of "the fear is inexhaustible, the pedestrians are about to open the door"; "people don't know where to go, the peach blossoms still laugh in the spring breeze" regret and loss.

If you are accustomed to the nourishment brought by ancient poetry, every frustration, every pain, every indescribable torment is sublimated from the inside out under the reflection of poetry.

From the dialogue between Confucius and his disciples, Professor Li Tianfei extracted four ways to interpret poetry: "Xing", "Guan", "Group", and "Resentment". "Xing" is the reconciliation of the self; "contemplation" is the perception of others; "group" is the empathy of others; and "resentment" is the use of the appearance of poetry to pinpoint the shortcomings of the times.

Before, someone asked me, how is her poem written? Through the ideas in the book, I also learned to analyze, to combine the characteristics of the characters and the background of the writing. The quality of a poem often depends on the three aspects of true feelings, genre rhythm, and language art.

Looking at the ancient poems in the texts, the objective embodied emotions such as "homesickness" and "parting" account for a large proportion, and the current information society makes the thoughts short and the expectations become distant, so the stories we write are too beautiful, or we have been far away from the real poetic heart since we never wrote a long letter.

Zeng Shan of the Tang Dynasty wrote a poem "Envoys Entering Beijing" on the way to the Anxi Capital Protectorate, and I saw the tenderness of a three-foot boy from the poem, and even a message was "double-sleeved dragon bell".

"Poor indeterminate river bones, like the people in the dream of spring boudoir", when we see this word, is it a little sad, the spring boudoir has long become a white bone, and the strong contrast during the period is lacking in modern poetry.

I read that the book also mentions the poems pieced together by the database, and if it were not for the author's layers of analysis, we might still be proud of it in modern times. Even if you have accumulated too many allusions, good poetry is still encounterable and unattainable.

In Professor Li's eyes, those poems that are entertaining and flattering are not good works, and even the virtual emotions created in the compositions of primary school students will be scorned.

In this way, the sneaky diaries of the students, despite the language barrier, recorded their ignorant childhoods, which also made me know them better. I often tell them that composition is nothing more than a long sentence that spreads from a core word, like a poem building block. If we understand the true disposition of writing articles, we will bring us to the best state of appreciating poetry.