A model essay on classical poetry discourse
Leaders, distinguished guests and poets,
Hello everyone!
The xx Poetry Association and xx Experimental Middle School jointly held the xx Cup Poetry Competition for middle school students in xx City to promote Chinese traditional culture and cultivate new people in the field of poetry in the times. There is no doubt that this is a good thing with boundless merits, far-reaching significance and far-reaching influence. At the unforgettable end of Wu Jia, the victory of the poetry contest came to an end. As a literary lover of Bishan Press, I feel very honored to be invited to attend this award ceremony.
First of all, on behalf of xx Academy of Educational Sciences and xx Wu Culture Education &; Middot Academic Committee, warm congratulations on the complete success of the contest! Canal Experimental Middle School held the "Canal Cup" poetry contest, which has a unique flavor and is very memorable. In the current wave of marketization, "living poetically" seems to be a beautiful long-cherished wish. At the moment when "shallow reading" is popular, the living space of poetry is constantly being squeezed. Here, I would like to express my heartfelt respect to the organizers of this poetry contest, the college students, middle school students and the judges who created the contest!
Poetry and songs are the treasures and quintessence of China culture, with a long history and rich connotations, which have nourished generations of Chinese people. On September 9th this year, x_ visited Beijing Normal University and made it clear that he "strongly disapproved" of deleting ancient classic poems and essays from textbooks. It was very sad to "de-China". He said with great emotion: "The classics of ancient poetry have been integrated into the blood of the Chinese nation and become our genes." "Chinese classes should learn ancient poems and classics and inherit the excellent traditional culture of the Chinese nation." In just a few words, I pinned the hope of the General Secretary to revive Chinese traditional culture. "Very disapproving" refers to the attitude of excluding ancient classic poems and essays from textbooks; "Very sad", to China. Just a few words, like a boulder falling into a lake, stirred up ripples and waves, which made China people feel a little more reflective.
How to treat tradition is how to treat tomorrow. British scholar Terry &; Middot Terry Eagleton said, "There is an interesting phenomenon today: people who have never read a line of Marx's works dare to laugh at Marx." There is a similar phenomenon in treating traditional culture today. The criticism of "de-China" is actually a criticism of "total westernization", a self-awareness and self-confidence of "China", and a break and reconstruction of the western centralism discourse system. The awakening of a nation is first of all the awakening of culture. It can be said that classic poetry represents the excellent traditional culture of China and is a vital strategic resource. For China's classical poems, we should cultivate the national cultural self-confidence with the sense of cultural consciousness, so as to realize the Chinese dream of cultural self-improvement.
X_ emphasized in a speech at the Central Party School: "Learning poetry can be emotional, ambitious and beautiful." The spirit of this important speech is an important action guide to carry out classical poetry education and carry forward Chinese traditional culture. This is not only the need of cultural inheritance and innovation, but also the need of educating people with poetry. We must combine the reality of China's education and poetry circles and conscientiously implement them.
Plant trees for ten years and educate people for a hundred years. Education is always a long-term plan. China is the hometown of poetry. In the land of xx, a large number of great poets such as Li Shen, You Mao, Jie Jiang, Ni Zan and Chen Weisong were born. Poetry education in Wuxi should be further developed, optimized and deepened. The poetry chapters in Chinese textbooks for primary and secondary schools and the poetry content in the appendix of curriculum standards are very limited. It is suggested that schools actively develop school-based poetry courses with Wu culture as the core. Wuxi Yangshan Middle School is an advanced base of poetry education in Jiangsu Province, and Canal Experimental Middle School is also one of the pioneers of poetry education. Their achievements and experience are very valuable. It is our sacred mission to conscientiously sum up and actively promote it, so that more students can truly appreciate the wonderful realm of China's handed down literature.
The ancients said that goodness is like water. In the new historical period, Wuxi Poetry Association, Bishan Printing Society and xx Canal Experimental Middle School organized the "Canal Cup" ancient poetry contest, with the theme of promoting the xx ancient canal and promoting Wuxi's high-quality characteristic poetry education, showing a new era. This poetry contest makes me feel more cordial, because I was born on the bank of the cloud and grew up drinking canal water. On June 15 this year, China Grand Canal Project was successfully selected into the World Cultural Heritage List, which made me even more proud.
Carry forward the main theme and spread positive energy. This "xx Cup" poetry contest for college and middle school students is a pioneering work with historical significance, which deserves full affirmation and praise. Love one's hometown, love one's motherland, love poetry, express one's ideal ambition and feelings for one's hometown and country, depict embroidered mountains and rivers with the charm of Wufeng Chu Yun, praise the construction achievements of charming Wuxi, and strive to realize the "Chinese dream" of the great rejuvenation of the Chinese nation, which are the profound themes embodied in most poetry works.
There are two aspects of this poetry contest that deserve special praise. On the one hand, China's poetry, as a traditional art form, will exude great beauty with the spirit of the times as long as it keeps pace with the times and constantly absorbs the fresh elements of life in the new period. On the other hand, the organizing committee and jury of this poetry contest are exemplary in adhering to the principles of fairness, justice, truth and beauty.
Poetry is the wind of youth, and the tree of life is evergreen. 100 years ago, Percy &; middotbich & middot； Percy bysshe shelley (1792- 1822) once chanted, "If winter comes, can spring be far behind?" Bathed in the warm winter sun, I seem to smell the breath of spring and hear the footsteps of spring.
The new year's bell is about to ring.
I am convinced that classic poetry will be reborn in the great rejuvenation of the Chinese nation and take on a new look; The splendid spring of poetry education in primary and secondary schools will surely come; Teenagers love, read, learn and write poems, which will surely become a fashion trend.
I wish: under the correct guidance of the Municipal Poetry Association and Bishan Printing Society, through the joint efforts of teachers, poets and lovers, xx's poetry creation and poetry education are becoming more and more prosperous, and poetry competitions are becoming more and more prosperous.
How high the heart is, how high the wings of poetry can fly; As far as the road is, the wings of poetry can fly. Let's achieve the highest, most beautiful and brilliant flight in the poetic sky in the south of the Yangtze River.
I wish you good health, a happy new year, all the best and full of poetry!
Thank you!
A speech on classical poetry
These problems have been on my mind recently, and they have also been mentioned in previous seminars, such as the xx meeting in July and the xx meeting in June, 10. Here, I want to be more detailed.
First of all, ask a question. If I say that the things in Bai Juyi's Pipa Trip are totally untrue. This fellow has never been to Xunyang at all, and of course he has never seen a pipa singer. Will people believe me? No way, don't talk about me, even the most authoritative scholars say so, and no one will believe it. If I say it again, the hut in Du Fu's Song of Autumn Wind Breaking the Cottage is not Lao Du's at all, but the bachelor's next door. "My San Mao" is the San Mao of the bachelor's family, and this "I" is actually a bachelor. Can you believe it? I don't think anyone present believes it. That's right. People don't believe it because we have firmly established the idea that ancient poetry is essentially a record of the author's experience, experience and thoughts, and can't be fabricated as a whole like novels. So, is it true that ancient poetry did not make up a whole novel like a novel? Not necessarily. First of all, some famous figures in Yuefu poems have surnames, such as Mulan in Mulan Ci and Luo Fu in Sang. I'm afraid it's hard to say whether these characters are historical or not, or they may be completely fictional. But before this fiction became a poem, there was probably a legend. In other words, this fiction is not necessarily entirely created by poets. Just like Chang 'e, she wrote many poems, but it can't be said that Chang 'e was invented by poets, because there were myths and legends before that. The other is the first-person narrator. The ancients liked to write the first-person narrator, and the object of endorsement was often women, thinking of women, maids and so on. The poems of the first-person narrator are much shorter, such as quatrains and poems. Characters generally have no names, but only a few postures, such as "leaning against the watchtower alone" and "leaning against the tower under the moon", and the posture of "leaning against the tower" is often used. Because the heroine of the first-person narrator's poem is a woman, it will not be confused with the identity of a male author. In Long Yusheng's book Lyrics of Tang and Song Dynasties, I found that there are nearly 20 poems in front of me as examples, most of which are about women's wandering-thinking, some are about women's thinking, and some are about wandering. Because the authors of these words are all men, in the reader's subconscious, anyone who thinks of women is considered fictional; Everything is a wanderer's tone, thinking that it is the author's own actual experience. For example, on page 2 of Lv Benzhong's Nan Gezi, "People say that the left bank of the Yangtze River has good scenery, but it is not the way to return to the Central Plains and become desolate". Everyone will think that this is a documentary work in which the author lives in Jiangdong.
It seems that we can sum up several characteristics of fiction in ancient poetry:
1 The main body of ancient poetry is the author's own experience, experience and thoughts, and the "I" in poetry is generally the author himself; Even if there is no clear first person "I", the default protagonist is the author himself.
In some narrative Yuefu, there are famous people with surnames and complicated stories. Whether these characters exist in history, whether these stories are based on some historical facts, or whether there are pre-texts or oral legends before the creation of these poems seems to be impossible to verify, at least there is no evidence that these characters and stories are independently fabricated by the author. The famous new Yuefu in the later period, the characters are all historical figures, and the stories are all based on historical facts or legends. For example, the story of Chen Yuanyuan and Wu Sangui in the Garden Song; The story of Sai Jinhua and De Monsieur beaucaire in Colorful Clouds; The story of Hu Die, Zhang Xueliang and Dai Li in Butterfly Music; Wait a minute.
In the short poems and short poems of the first-person narrator, some characters can probably be regarded as created by the author. These characters generally have no names, simple plots and only a few pose. Although some have names, this name is completely universal and has become a universal reference symbol. For example, Mochow, the name of the Lu family is Mochow, and the name of the Wang family is Mochow. A thoughtful woman can be called Mochow, and even a beautiful woman can be called Mochow.
This is obviously different from the novel. The fiction of this novel is completely fiction. It is particularly noteworthy that the author took the initiative to create celebrities with surnames and fabricated very complicated and complete stories. No one will think that the "I" in the novel is the author himself. This shows that the novelist's fiction is highly conscious, and there are many theories, while the poet's fiction seems to be less conscious, and almost no fictional words are involved in poetry.
So, the question now is, can we write poetry as a whole like a novel? I think it's possible. I have written poems and many characters in recent years, especially people in the mountains, because I grew up in the mountains. Such as chopping wood, hunting, digging winter bamboo shoots, and so on. These people can be said to be myself or not. On the other hand, some works are more fictional. For example, ghost stories, and the little girl named Chu' e next door. These are all in my submitted works, as you can see. "Chune" is the first time that I have made up a named character in my poetry. If I don't say it here, people may not think that this is a fictional character and a fictional story. Of course, my novel is still very preliminary. as soon as...
These are one or two fictional characters and part of their lives. This kind of novel does not go beyond the category of the ancient first-person narrator. The second step I am considering now is whether I can create some characters and more complicated and complete stories like novels and movies. As we all know, there are many characters in novels and movies, and their age, identity, personality and conduct will change with the interpretation of the story, and various associations and conflicts will also occur between the characters. Because poetry is short, it is impossible to complete this change in one work. A poem can only describe a fragment of life. But can we understand and treat it this way: each poem is equivalent to a fragment of a novel and a movie, and all these fragments are strung together to form a "great poem", which is equivalent to a relatively complete novel or movie, in which the characters may have changes in age, identity, personality and conduct, as well as various contradictions and conflicts between the characters. Obviously, this kind of "big poem" is very different from the current "group poem".
The writing of this kind of "big poem" poses a brand-new challenge to poetry writers, requiring them to have the dual abilities of poets and novelists, especially the ability to choose typical fragments. These fragments are independent of each other, echo each other and relate to each other, like being strung together by an invisible line, without much explanation (such as a small sequence), otherwise they will drag on. This is very different from the novel. The narrative of the novel can be very coherent and dense, but the narrative of this "great poem" is incoherent and echoes from afar. So far, I haven't found anyone who has tried this writing. I would like to be the first person to eat crabs. I am currently staying in Dayu, Jiangxi, which is a mining area. I want to write about a miner's family, from "The Giant Panda Opens" to write about their fate. As for the form of poetry, there are several considerations. First, Yuefu poems, in which each capital takes a person as the protagonist, are repetitive and overlapping in narration. This is influenced by biographies in history books. For example, Liu Bang, Xiang Yu, Sean and Fan Zeng are the protagonists of a narrative poem. When writing the story of the Hongmen Banquet, there are intersections, and the narrative presents a certain degree of repetition. The second is ci, which is more suitable for narration than metrical poetry. Write a scene and a fragment with dozens of words, and connect them with an invisible line to form a complete story. The third is the number of songs and sets, which is actually a script, but the script method is not new and I don't want to use it.
Therefore, a poet can write two kinds of poems, one is "my poem" and the other is "my poem". The so-called "my poem" is a traditional writing method based on the author's experience and knowledge, and the so-called "non-my poem" is a fictional story of the author. Readers often can't judge whether a poet's works are "my poems" or "non-my poems". This requires the author to indicate it himself. If the author doesn't indicate it, there may be some misunderstandings, because we have always had the tradition of "proving history with poetry". Hundreds of years later, when people come to study your life story, they often take your poems as evidence. You haven't been anywhere, but the "I" in your poem is always there. If you don't specify, people won't know whether this "I" is you or your fictional character. Novelists do not have this kind of trouble, because we all think novelists are fictional. At best, we can guess that he has some experience through his novels, but we won't take the novels as irrefutable evidence. I am thinking that the first-person narrator, the object of an ancient person, is often the opposite sex. Do you also have concerns about being confused with yourself? I am a man, and the hero in my poem is a woman. You'll never think of me again. In short, if the whole fiction, that is, fiction such as novels and movies, is included in our current poetry writing, then it is necessary and necessary for the author to mark "my poetry" and "non-my poetry". Although "non-self poems" are fictional, the emotions and thoughts expressed in them are still the author's own, even more fully than "self-poems". Novels and movies are often stories in which the author wants to express some thoughts or feelings more fully. The same is true of poetry. In other words, "non-self poetry" is more literary. Poetry, as a kind of literature, should be based on literary standards. In this sense, "non-self poetry" should be advocated.
Contemporary poetry faces many problems, nothingness and immateriality, which are two commonly used words in my criticism of contemporary poetry writing. In fact, these two words are related to the question I said today. Let me talk about such a problem. It's a bit whimsical, but the eyes are high and the eyes are low. Please correct me if it is wrong.
The Charming Language of China's Poetry
After studying China's classical literature, I feel that poetry is the most beautiful, moving and lyrical literature in ancient China. They are deep and quiet, meaning eternity. Sometimes the beauty is extreme, but also the boldness is extreme. Elegant mood, broad-minded, generous and touching. Thoughtful, but also the most charming words.
The beauty of Song Ci needs to be realized with sincerity and true feelings. Amazing first reading is only superficial intuition, and the true feelings are the charm of words. If the concise language of poetry makes poetry philosophical, then poems that directly express one's mind are often not as popular as those that are meaningful, so words are not. The space in the text is enough for poets to express their personal feelings freely and eloquently. The process of reading ci is actually the process of trying to figure out the poet's feelings, and the beauty of ci can only be felt by those who know ci.
Ci originated from the lyrics of the Tang Dynasty, and the sentences are long and short, which are closely combined with music and can be sung. Due to the development of commerce, the prosperity of cities and the increase of citizens in Song Dynasty, touching words are more suitable for the entertainment life in the market than other forms of literary works. At that time, class contradictions and ethnic contradictions were sharp, and irregular sentences were more convenient to express people's thoughts of worrying about the country and the people, so they gradually flourished and replaced poetry as the mainstream of literature.
In the process of the development and prosperity of Song Ci, the guiding role of the whole society is also very obvious. If the poets in the Tang Dynasty were just tools and toys of the royal family and rulers to some extent, then the poets in the Song Dynasty have jumped from being appreciated to becoming the protagonists in the political arena in the Song Dynasty. Every emperor in Song Dynasty loved Ci, and every minister in Song Dynasty was a poet. Song Dynasty politicians Fan Zhongyan, Wang Anshi, Sima Guang and Su Shi were all famous poets at that time. Li Qingzhao, a woman who never appeared in feudal society, has also become synonymous, and her name will last forever.
Song ci is different from ordinary Song ci in prose and discussion. Good at combining lyricism with writing real scenes perfectly. On the basis of the poems of the Tang and Five Dynasties, the Song Dynasty played many middle and long tunes, which blended closely with the scene in twists and turns, and some of them were even better than the Tang poems. Song Ci is also good at comparison, expressing complex and secluded feelings through scenery with subtle and meticulous comparison, and often relying on the tradition of vanilla beauty to express political feelings, which is touching. Song ci has formed a variety of artistic styles. Although Song Ci followed the tradition of lyricism and spirituality in the Tang and Five Dynasties, it formed the division of "poetic rhyme", and graceful was the Sect. However, due to the changes of the times and the expansion of the theme, artistic individuality has been valued and artistic techniques have become more and more diverse. Therefore, the style of Song Ci is not only graceful and unrestrained, but also diverse, ranging from telling the truth to being open-minded, elegant and precise, and appealing to both refined and popular tastes.
Song ci is a fragrant and gorgeous garden. Its colorful and changeable spirit is comparable to that of Tang poetry. Such as flowing clouds and flowing water, accompanied by romantic feelings, is the most lyrical. Write eroticism without delicacy, wealth without vulgarity. Although there are many styles of Song Ci, they can be roughly divided into bold and graceful schools. The bold and unconstrained writing is chic and detached, lofty and clear. Just like a hero on the battlefield, he is full of blood and has a grand and vigorous spirit. Graceful words, such as falling in love with apricot flowers and spring rain, are breathtaking. Elegant and exquisite, scene and scene blend, full of music.
Bold ci began with Su Shi. He liberated Ci from the world of entertaining guests and developed it into an independent lyric art. Su Shi's poems are all pearls, and any one of them is radiant. Scenery of mountains and rivers, scenery of farmhouses, traveling in all directions and ambition to serve the country have all become the themes of his ci. In addition to romantic tenderness, he also moved words from flowers and flowers to a broad social life, turning words into a tool to express his wishes.
He expresses himself in words, which is patriotic enthusiasm for resisting the enemy and enduring humiliation, and melancholy yearning for the past. He praised the great achievements of history with heroic and magnificent statements: "The river does not return, the waves are exhausted, and the romantic figures of the ages." He used a magnificent momentum to connect the vast historical time and space and run through countless heroes. He told us a glorious historical story with Nian Nujiao. He wrote a poem that portrayed Cao Cao, galloping Sun Quan, determined Zhuge Liang and resourceful Zhou Gongjin in gorgeous language. "Life is like a dream, and there is still a month for a bottle." The historical reality is shocking and makes people wake up. Since life is like a dream, why not send your love to the great rivers and mountains?
The content is ups and downs, absolutely ancient and modern. Past and present, philosophy and life run through his gorgeous rhetoric. It walks high and low, and after a smooth transition, it is passionate and generous. Reading his poems is to feel the warm and unrestrained style, to understand the short and powerful melody, and to return to quiet thinking after repressed thinking.
In the field of ci poetry, Li Qingzhao, an outstanding poetess who broke through the shackles, is famous for her gracefulness.
She showed us a lovely girl "leaning against the door and smelling her childhood" with euphemistic and delicate strokes and unique spiritual feelings of women. The fresh and lively language is concise and beautiful, and anyone can read the shyness and affection of that charming and graceful girl in her works.
She boldly expressed her sincere love for her husband in elegant and decent language. In "A Plum Branch", the metaphor of flowers and water, please move with the scene and blend in with the scene, which is casual and unpretentious. "Who sent the brocade book" reveals the suffering of lovesickness with the romance of the wild goose crossing the book. "Just frown, but in my heart", but it is endless. The words are fresh and vivid, beautiful in meaning and sound, and subtle.
After crossing the south, the country was ruined! Let this once happy family worry about wandering and lonely life. Her sense of loss, which is "searching" without sustenance, is only lonely in the "cold and lonely, sad and miserable" environment. "The geese cry", the geese that met in the past fly by, but the husband is dead, and there is nowhere to send this brocade book. Think about it, only "sad". Moved by this scene, she felt sorry for herself: "The yellow flowers are piled all over the floor, haggard and damaged, and now no one can pick them." Chrysanthemum is in full bloom, and I am haggard and emaciated because of sadness and sorrow, and I have no intention to pick flowers. If you can't stop, you will be lovesick!
It's like pouring pearls, big and small, into a plate of jade, which seems to have overlapping words. The fast rhythm and sad mood condense the hatred of national subjugation and the loss of her husband, which is vividly portrayed. Makes us feel sad. With tears in her eyes, she wrote Slow Sound, which is the most beautiful and delicate brushwork she described in her later years: what a sad sentence!
Taste Li Qingzhao's words, clear as water and pure as wine!
This is the beauty of Song Ci. The beauty lies in the patriotic passion of the poet and the affection of the poet. Thousands of years of wind and frost are ruthless, but after thousands of years, the poet's feelings are still vivid.
Song ci, a gorgeous flower in the garden of classical literature, is low and euphemistic and has a long rhyme; Or depressed, deep and desolate. With its unique artistic appeal and expressive force, it expresses the tortuous and subtle feelings in human hearts and expresses the complex and graceful artistic conception, which is loved by people. Its beauty of sound and rhyme, and the beauty of words are unparalleled. In the distant time and space, the wind is swaying, fragrant and charming, lingering in our hearts and echoing in the sky&; hellip& amphellip
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