http://blog.stnn.cc/StBlogPageMain/Efp_BlogLogView.aspx? Cb log log =1001888977 here is a talk about association in the appreciation of ancient poetry. There is a wonderful description in Wen Xin Diao Long: "So, I am silent and anxious, thinking for thousands of years;" Quietly moved, see through Wan Li. Between chanting, breathing the sound of pearls and jade; Before, the color of the storm. " This is of course an indispensable ability for literary creation and appreciation of ancient poetry. Ibsen said: "Not only writers are creating, but readers are often more like poets than poets." Without association and imagination, it is impossible to truly and comprehensively understand and appreciate ancient poetry. When we appreciate it, we readers often re-create and accept it on this basis. However, in actual appreciation, Lenovo should not be rambling, but should be focused and targeted. Breakdown, there are the following situations. 1. The appreciation of background associative poems should know people and discuss things, and only by knowing people and discussing things can we take into account the whole article. Poetry, as the product of the poet's expression of personal thoughts and feelings, inevitably involves his own life experience and experience. Personal misfortunes, vicissitudes of life and ups and downs of fate can all be found in poetry. If you don't understand the great contrast between Li Yu's being the emperor and being a prisoner, you won't understand his deep sorrow and great pain of "coming out of the water, spring will come, and the world will be gone" and "asking how much you can worry about is like a river flowing east" If Li Qingzhao didn't have the unfortunate experience of losing her husband in exile in her later years, how could she write Searching, Loneliness and Pain? The key to the associative writing background is to be able to set an imaginable specific situation, so that you can be in it, carefully taste and experience the author's state of mind at that time, and be meticulous and thorough. Therefore, Li Bai, who is elegant and unrestrained, will feel relaxed and happy after being pardoned and exiled. Du Fu, who has been ill, bitter and poor for more than a hundred years, will have the breadth and depth of "falling leaves like waterfalls, and I think the long river always rolls forward". 2. The details are associated with China's classical poems, which are short in length and rich in connotation. The ancients used "taste" to describe poetry and emphasized that poetry should be "wandering", which was aimed at the delicate and implicit characteristics of poetry. It is extraordinary that a good writer works hard on seemingly ordinary details. The so-called "small things have infinite smoke waves." Looking at the college entrance examination questions in recent years, most of them are set on the details of poetry. These places seem ordinary, but there are actually many articles. To fully understand the details, we must rely on association and savor them. For example, in Autumn Night by Du Mu, a poet in the late Tang Dynasty, Qiu Guang painted a cold screen with a small silver candle fan flapping at fireflies. Day and night are as cool as water. Sit and watch the morning glory and Vega. This poem describes the lonely life of a maid-in-waiting There is not a lyrical word in the whole poem, only a subtle description of the scenery and movements. However, if you think about it, Qiu Guang, a silver candle, shows a little bleak and cold, and a small fan implies the fate of being abandoned. "Flying Firefly" is about the boredom and loneliness of a maid-in-waiting, and "Night is as cool as water" means that the night is already deep. The story of Petunia and Weaver Girl must have reminded her of her miserable life. For another example, the understanding of the detail of "knocking chess pieces and falling into snuff" in the college entrance examination questions also requires careful and reasonable association to get the correct answer. Paying attention to details can't stick to details and blindly seek the so-called "truth of life", which will undoubtedly kill poetry and ruin interest. 3. Blank Association A foreign literary critic once said: "Poets' thoughts are like children, because their thinking weakens logic, but is a leap. "It is precisely because of the leap of the poet's thinking and feelings in his creation that the language and narration of the poem suddenly stopped, resulting in a huge gap. Of course, these gaps are not a vacuum, but "silence is better than sound", which contains the infinite realm of the ethereal world. As Mr. Yuan Xingpei said: "The difficulty in writing poetry often lies not in taking, but in giving up. Those places without words in poetry also need careful management. "It can be seen that the blank in poetry is the author's originality, and these blanks need our readers' association and imagination to fill in order to fully tap the glory of poetry and complete the re-creation of works. For example, there are two lines in The Journey to the West's poem by Chen Tao, a poet in the Tang Dynasty: "The poor are living in a dream of spring." At first glance, it is difficult to put these two unrelated images together. After careful association, I know that the husband of the expedition has already died in the battlefield, and the poor wife is still dreaming of reunion at home! The abrupt transition from "Bones by the River" to "Dream Man" is really amazing, which gives readers great imagination. Mr. Zong Baihua said: "Emptiness and enrichment are two elements of artistic spirit". Only through deep association and imagination can we enter the "ethereal" space of poetry, and we can better explore and appreciate the rich side of poetry, which is the beauty of poetry appreciation. 4. Contrast, association and contrast are commonly used in poetry writing. Only by comparing on the basis of association can we fully tap the expressive force of comparison. Some poems use contrast throughout, such as Farewell My Concubine, written by a female poet in the Tang Dynasty: "My husband guards the border and my concubine is in Wu, and the west wind blows my concubine and worries about her husband. A line of words is full of tears, so cold that clothes are gone? " Almost every sentence is written in a comparative way, which vividly shows the wife's yearning and concern for her husband who is far away from the border. The use of contrast also strengthens the tragedy of the whole poem and reveals the pain brought by the war to the people. Contrast is more expressive than direct narration, leaving readers a broader imagination and more infectious. Another example is Li Bai's "Taking the Ancient from the Chinese". The author broke the routine of writing quatrains. The first three sentences try to describe the glory and celebration after Gou Jian destroyed Wu: soldiers returned home in golden clothes, singing and dancing in the Spring Temple, and the last sentence suddenly fell, "Today there are only partridges flying." Things are different, and the sudden contrast forms a huge contrast, which makes people feel long.