1. Stirring of life and catharsis
"A group of Maotengteng's descendants", "as simple as that piece of sorghum", "on the Loess Plateau, bursting out in a how magnificent, how bold, What a magnificent, bold and fiery dance on the Loess Plateau - Ansai Waist Drums!" "Afterbirth", young life, like the sun, shining, "Maotengteng" boiled with the passion of life; young life "simple", do not make a show of not flaunting not floating, like the "sorghum", "sorghum", "the yellow earth plateau," bursting out a how magnificent, how bold, how fiery dance wow - Ansai waist drum! "Sorghum" like no flashy and thriving, natural health; such life, is the original, not artificially sculpted, not half a bit of pollution, unadulterated any impurities, complete life. Such a life rushing enthusiastically on the "Loess Plateau", the ancient gullies, the land, carrying such a young, passionate and perfect life, "Ansai drums" to give them a form of catharsis.
2. Unstoppable power
The "youngsters" overflowing with the power of life, "look calm and quiet", life in the accumulation of passion, waiting for the outbreak. Sure enough, they "a whack up on the hard, forgetful, lifeless", the passion of life once released, there is nothing to stop the power of the gush. Come on: "like the rain, is the rapid drumbeat; like the whirlwind, is the flying tassel; like the chaotic frog, is the hopping footsteps; like the sparks, is the pupil of the flash; like the fighting tiger, is the strong style. People are no longer the concept of "people", but simply the carrier of life, the carrier of power, only catharsis catharsis catharsis catharsis, jet jet jet jet, people and life unity, unity with the power. "This drum, so that the cold air immediately became hot, so that the quiet sun immediately became splash, so that the sleepy world immediately became excited," these rotating life out of the hot power searing everything around. Life as a thunderbolt like a landslide came to the top of the pressure, so that everything has become small, only the energy of life between heaven and earth whistling, "can not be bound, can not be detained, can not be closed", such life, such power, and who wants to bind and who can be detained it? Life becomes "a force that breaks free, breaks through, and crashes through!" --Great, majestic, impassioned, rugged, perhaps a little wild and even destructive, but it is the true, primitive, natural outpouring of life, and what could be more precious, more exciting, more breathtaking than such a force? -- "The arms, the legs, the whole body of the postulants, wrestled powerfully, swiftly, with great ups and downs," and their movements would not be so delicate, neat, and rhythmic as those of a dance on the stage, but their power pounced upon them and "Shocking you, burning you, forcing you", "it makes you never feel the existence, activity and strength of life so vividly", so that people can not believe that people "can actually release such a strange and majestic energy! ". In the face of such life, such power, what will people do? --Perhaps some people think that such a life is too naked and overbearing and brutal, but it will break the layers of people's hard shell, so that life is cathartic in heaven and earth, and do not have to be concerned about fame and fortune, do not have to worry about, do not have to be pale and emaciated, so that people "left all the miscellaneous "and "the pain of the mountains and rivers, vigorous imagination", so that people understand the reason why people are people, the reason why life is life.
3. Primitive energy
The author gives this life catharsis, the power of the eruption of the "Loess Plateau" "Ansai Waist Drums", there is its profound meaning. "Loess Plateau ah, you gave birth to these vitality of the latter, and only you, can withstand such a thrilling fight!" Compared with the Loess Plateau, the author feels that "the watery Jiangnan is a fragile glass, where you can't play such a waist drum", and then once again laments that "except for the Loess Plateau, where else can you find such a thick, thick layer of soil!" Why is the author so fond of the Loess Plateau? In the author's opinion, the people of the Loess Plateau are "simple," "calm," "quiet," and they have preserved the "vitality" of life. ", compared with the developed commodity economy of Jiangnan, less fickle, lack of some worldly knowledge. Thick earth contains the original life, accumulating the power of the commotion, while the watery Jiangnan, has passed many, many, many changes.
4. Writing characteristics
This article, content and form achieved a perfect unity.
(1) Resounding phrases
The text uses many phrases to express the content. For example, "a group of Maotengteng's students" succinctly expresses the passionate exuberance of young life; "forgetfulness, no life" powerfully expresses the boiling life, the power to gush unstoppable scenario; and others, such as "the setting sun shines on the flag" "only to hear a big flag", "I can hear a big flag", "I can hear a big flag".
(2) impassioned prose
This article uses a lot of prose, there is a sentence within the sentence, sentence and sentence, paragraph and paragraph between the prose, not only staggered, and a series of many, such as "reminds people of the ......" "more and more intense", are a series of three prose paragraphs, as if the river a leak a thousand miles unstoppable. Many of the prose, the contrast is neat, such as "rain like, is the rapid drumbeat; cyclone, like, is flying tassels; chaotic frog, like, is the jumping feet; sparks, like, is the pupil of the flash; fighting tiger, like, is the strong wind posture" a paragraph, momentum; there are also prose layer by layer, such as "it Shocked you, burning you, forcing you", like a mountain of people can not breathe.
(3) Rhythm
The text maintains a fast pace from beginning to end. One prose after another, one climax after another, does not let people have a chance to catch their breath. The fast pace makes the content expressed more passionate and stirring, and fully expresses the divinity of life and power spilling out.
●On Practice
I. Read the whole text aloud repeatedly.
The purpose of this question is to make students appreciate the rhyme and rhythm of the text.
Say what you think about the phrase "There is no room for bondage, no room for restraint, no room for closure. It is the strength that breaks free, breaks through, and crashes through".
The purpose of this question is for students to appreciate the expression of life and strength.
See "Text Description".
Thirdly, this article makes a lot of use of prose, including prose within sentences, between sentences, between paragraphs, try to give examples to illustrate, and say the role of prose in expressing the thoughts and feelings of the article.
The purpose of this question is to guide students to appreciate the unity of content and form in an essay.
See "Explanation of the Text".
IV. Taste and explain the meaning of the following statements.
The purpose of this question is to enable students to y understand the meaning of the text.
1. It makes you marvel at the body wrapped in that peasant's clothing, the body that digests the old pumpkin with red bean horns and horns, that can release such a strange and majestic energy!
Maybe many people think that the peasants of the yellow land have been tortured by the frost of the years and the barrenness of the land has lost its vitality.
2. The watery Jiangnan is fragile glass, where such a waist drum cannot be beaten.
Jiangnan water has dissipated the life of the "energy", there is no bearing such primitive life force of the "thick earth".
3. When it came to an abrupt end, the world was surprisingly silent, so that people felt very unfamiliar with her.
People have been convinced by the power of life and moved by the boiling, when the drums "came to an abrupt end", people are not accustomed to such a silent, cold world.
4. There was a distant cockcrow.
When the sound of drums stopped, people were still immersed in passion, as if the silence after the heat, this time to "chicken cries" to contrast the silence (can also be considered this is the actual writing).
●Teaching suggestions
I. To guide students to learn this text, we should grasp the central point of the catharsis of life and power, so that students can y comprehend the power of life celebrated by the author.
Second, to understand the author's discussion of the Loess Plateau and Jiangnan around the burst of life, do not make unnecessary disputes.
Third, you can combine the first unit of the "fear of life" and "love of life" content, for comparison reading.
●Related Information
I. Author's Profile
Liu Chengzhang, born in 1937, is a native of Yan'an City, Shaanxi Province.He graduated from the Chinese Department of Shaanxi Normal University in 1961. He is currently the vice chairman of Shaanxi Writers' Association and the executive director of Chinese Prose Society. He has published six collections of prose, including Sheep Thinking of Clouds, which won the first Lu Xun Literature Prize.
Second, I read Liu Chengzhang
and Chengzhang never met, only a few letters. I have read some of his works. He is very "big". Its pen "prose" itself does have a big weather, big realm - like the pale and vast Loess Plateau; like a whirlwind, rain-like Ansai waist drums! Here, I come to "read" his person and his article.
Liu Chengzhang "debut" very early: still in high school freshman year, his bunch of new poems (*** nine) was selected in the province of young writers in the "Poetry Selection" - just! In this way, he wore the laurel of "poet" and began to participate in the literary world. Later on, he changed from a "poet" to a "lyricist" and became addicted to writing lyrics; later on, he became a professional playwright. He turned to write "prose" after the "new period", but in 1982 (when he was already 45 years old), he started to write "middle age". "middle-aged change": from now on "specializing in prose"! His creative trajectory of starting from "poetry", then "lyrics", then "drama", and finally ending up in "prose The trajectory of his creation, molding and fulfillment of him. He once said later: "Where exactly is one's "outstanding talent"? Often even he could not recognize it. He had no choice but to "try" several forms of art (the process of trying is the process of recognizing and discovering) in order to finally figure out where his artistic "cells" are. After "trying" the above forms of art, he said, "It seems that I am more suitable for prose writing"; "However, my efforts in writing poems, lyrics and scripts were not in vain, and they were all put to good use in prose. They all come in handy in prose." This is true. The "prose" he wrote afterward was indeed "regenerated" from the spiritual field of his original poems, lyrics, and plays-not "copied" from the external appearances It was not a "copy" of external appearance, but an "application" of inner essence. It brought a new vitality and freshness to the "prose" he wrote!
He wrote the most and the best type of prose is the so-called "flavor - rhyme prose". The earliest published "Turning Nine Quarters", although it inspired and motivated him to take a key step in the "middle-aged change"; but looking back it is not without regrets: not only does it mean that some of the "characters" (such as Ye Ye, Dabeou, Qiao Daughter-in-Law, etc.) are This not only means that some of the "characters" (such as Ye Ye, Big Back Head, Qiao Daughter-in-Law, etc.) have traces of "weaving", which seems to be intentional; but also that the punctuation point at the end of the piece makes people read "Yang Shuo's flavor", which falls into a routine, indicating that it has not been able to stand on its own two feet in terms of art. According to my own thinking: he was enlightened in 1985 (known as the "Year of Concept" in the literary world), and his artistic sense was suddenly enlightened, and his works such as Old Yellow Wind and High-heeled Shoes Ringing Through the Streets of Suide were already quite brilliant. Look at "Old Huang Feng Ji", how well it is written! It is still on the other side of the mountain (at least ten miles), has not yet blown over, but its "might" has already made people feel. When it comes, you can see it again: "The crops, large and large, fall on the ground. Flying birds crashed to death on the mountain rocks. Chickens fly and dogs jump over the walls." And the sky? Tons and tons of dirt and sand were thrown everywhere. The sky darkened, and the sun "became like a broken basin soaking in the muddy Yellow River." And the people? "like being a giant hand shoving, can not stand, walk unsteadily, body can not help it, internal organs are shaken, like eggs messed up yellow." The "old yellow wind" in northern Shaanxi, also known as the "black boy wind", "child horse wind", "donkey wind". "Called donkey wind" - this unique "male wind", really let the "chapter wa" this pen to write "Absolute"! Write "wind" of course, is also to write "people", write people's "spirit". When the old yellow wind rampage, running wildly, unbeatable, you look at those men, aunties, they are so calm and collected, calm, laughing! This is the inside and outside in line with the surface of the real "Shaanbei soul"! Read this article when you know: the treasure of northern Shaanxi, its "natural environment" is robust, wild atmosphere; its "human spirit" is optimistic and humorous, bold and vigorous. The end of this article: "it's not like composting the red armband?" Can really be said to be a "stroke of genius" carry on! High-heeled shoes, ringing through the streets of Suide", write the oldest small town in northern Shaanxi, but now the most modern a beautiful scenery. Write "regional flavor" and can be dyed "era characteristics", this article can be said to be an example. After this, his 1986 book Ansai Waist Drums brought this kind of prose to a new height. The vigor of Ansei Waist Drums is shocking. If Jia Pingwa's "Qinqiang" is his discovery and writing of the spiritual "characterization" of the Qin people from "Qinqiang", then Liu Chengzhang's "Ansei Waist Drums" is his discovery and writing of the spiritual "characterization" of the Qin people from the dance and drums of "Ansei Waist Drums". Liu Chengzhang's "Ansai Waist Drums" is his discovery of the spirit and soul of the northern Shaanxi people from the dance and sound of the "Ansai Waist Drums"! Ansai Waist Drums" is a fiery ode to the life and vitality of the people of northern Shaanxi, and a poetic salute to the sedate, heavy interior of the Loess Plateau. After this, his article "Mountain Mount", written in 1988, pushed this poetic writing one step further - it is simply a prose poem with a beautiful rhyme. While celebrating the landscapes and customs of northern Shaanxi, "The Mountain Mount" organically unites and combines mountains and rivers with characters, legends and reality. After reading the "mountain mount" scroll and think, suddenly realized: the original mountain mount of the tall and majestic, precisely because it is a simple and noble soul of the illusion! 1994 he wrote a prose can be called such a work of the pressure volume of the "carrying rafters tree", so that this "style - rhyme prose In 1994, he wrote "Carrying the Rafters", which is the finale of this kind of prose. This piece of work of great vigor, the realm of high, according to my humble opinion is indeed unprecedented! "Carry rafters tree", is a kind of willow in northern Shaanxi Province. But willow and not Mei, vigorously upward, each branch can do rafters, each tree can cut sixty or seventy roots, "born cut, cut the birth, and so on endlessly." If you add up the dedication of its life, each tree is a forest! Obviously, this is the barren land on the sad dedication! Liu Chengzhang discovered the "rafter tree" and at the same time discovered himself. He wrote this willow lonely waiting for millions of years, "the Pacific Ocean water depth of ten thousand feet, not as deep as this willow waiting for my love!" When they meet, the author uses a large splash of ink and a capitalist style of writing to freely splash, drizzle and enjoy himself to the fullest. The degree of spiritual liberation, freedom of mind, and spontaneity of the writing in Carrying the Rafter Tree are all first-rate.
"Shaanbei born in Shaanbei long, because you soul this place" - "write Shaanbei", for fear that no one can write Liu Chengzhang. He wrote Shaanbei, the pursuit of "earth" (i.e., national and local color): poetic earth, spiritual earth, to the "Xin Tian You" close. This seized the "soul" of northern Shaanxi, but also showed his prose "spirit"! Not only "old yellow wind record", "Ansai drums", "mountain mount" and "carry rafters tree" and so on is a real "art prose", unforgettable to read; that is, or like the "milfoil fugue", "shaanxi paper-cutting", "look at the terracotta warriors" and "loess writing" and other short chapters of the pen at will, in the art of the right to prepare for a style. I think, only this Shaanbei "flavor - charm prose" of the great success, "Zhangwa" can have no regrets and no complaints carry on!
What's more, he also wrote a number of self-exposing lyrical prose. However, the number of such works is not large, and the impact is not as great as that of the works mentioned above. Among them, "Tiger Shoes" was the earliest, a story about the first time he put on "tiger shoes" when he was born just after the "full moon". The "subject" of the narration was so small at that time, and the story was purely "heard" later on, and I took great pains to "retell" the story, but I still feel that it is not real but not true; The deliberate prominence of "Mama Tong" (Liu Zhidan's wife, Tong Guirong) is also a weakening of "my" subject position. Comparison of the subsequent "sedan chair" is much better: it is written "I" was six or seven years old when a period of old events - because of the re-married mother to the new home and lost as a boy "sedan chair" right. "I was six or seven years old. At the painful juncture when my emotions were suppressed and my heart was hurt, a girl named Qin Juan, who was ten years older than me, made a wish: when she got married, she promised to ask me to press the sedan chair. The promise was honored, and I was saved from a heartache. In terms of "style", The Sedan Chair is impeccable - it can also include "Tiger Shoes" and "When We Were Like Pearls and Balls", which all have a certain "autobiographical" and "childlike" character. They all have a certain "autobiographical nature" and "childishness" (suitable for children and teenagers to read), and I think these accounts of "old childhood stories" may be regarded as "autobiographical essays". To widen the scope a bit, I think Three Little Birds can also be counted in: it writes about his three children, it is "looking down", flesh and blood, all in it. To widen the scope, "In the Ancient Land" can also be included. It is written "I" and "mother" life and death, inextricably linked, with "looking up", it is a moving "Ode to Mother! This is really an emotional "Ode to Mother"! The above essays, counting the "grass color shouting continuous fresh blue", "I seem to be cloudy mountain peaks", "fire gourd", "the feeling of laundry", "extraterritoriality", etc., in the expression of the deep and real "self" - from the artistic point of view, it is really not that Artistically speaking, they are not so "spot on". He did have some very profound understanding, such as he once said: (write prose should) "do not forget me"; "which chapter get 'I' which chapter new"! From writing something that belongs uniquely to "me" (such as those northern Shaanxi "flavor - rhyme prose"), he did; from strengthening the "self" consciousness, showing that the "self" consciousness, the "self" consciousness, the "self" consciousness, the "self" consciousness, the "self" consciousness, the "self" consciousness, the "self" consciousness and the "self" consciousness. Self" consciousness, the expression of the "subject" of the deep human nature of this point, but he did not do enough. This is a bit strange. Why is that? I think there are two reasons: First, he is afraid of the contradiction between "big self" and "small self" in the depths of his thought (this is true for most of the people who have been educated for seventeen years like him), and he tends to have a deeper understanding of the "small self" and the "small self". He tends to avoid and minimize the attitude of "ego"; secondly, his own life, experience and psychology are more complicated, and some of them are quite "difficult to say". In fact, this is not a problem. If you can "tell the truth" and "write the truth" with the courage to poke through the windowpaper, his unique "self" mind, on the contrary, more profoundly reflect the reality of life in this era, it may, on the contrary, be outstanding. It could be outstanding. It's a great opportunity, don't miss it!
Of course, he also has some other essays, some of them are very wonderful, such as "remember the kitten", "wildlife revelation", "Hukou Falls", "to see the good aunt", etc., there is no need to say more here.
(Liu Xi-Qing, from Literature and Art Newspaper, Issue 116, October 5, 1999)
Three: Appreciation of Ansai Waist Drums
This is a hymn of life, a hymn of strength.
In the article, Ansai Waist Drum is not simply a carrier and a symbol of the power of human life; it is the cohesion of the power of human life, the fullest and most complete manifestation of itself. In this way, the author naturally wants to pour down all the enthusiasm and penpower to sing and praise, a song and two praise is difficult to exhaust, then there are three songs, three praise.
In the author's writing, it is almost impossible to distinguish which is the form and content, which is the object and the subject, and the two have truly gained the unity of the interminable.
The author does not take the long and cumbersome, dull and weak sentences, but more concise and powerful, crisp and loud short sentences; there are no long and complicated paragraphs, a word or two that is self-contained.
Large use of prose, the form of prose and strive for variety: both within the sentence prose, more sentences and sentences, paragraphs and paragraphs between the prose, and can be linked to the next paragraph, staggered each other.
Not only directly depicting the waist drum release of the majestic energy, but also from the human feelings, human associations and mountains, the earth and other surroundings of the reverberation, multi-directional rendering of its peculiar effect.
From the beginning to the end of the use of marching, dynamic description, do not make a static description, and make that the movement of the human body and the sound of the drum, in the *** tense mutual excitement and mutual dissolution, merge into one, from the art of a performance of the source of life and the fountain of power as a whole.
-The pursuit of all these forms creates a rapid rhythm in the article, a hot and burning atmosphere, and a mountainous momentum, which is complementary to the power of human life that the author wants to sing about.
The Ansai drums belong to the Loess Plateau. Only the people who live on this land can create such wonders, and can also unleash their stored power by virtue of it. The author is a native of Shaanxi, and from his description, we can see his infinite fascination and love for the Loess Plateau and the Ansai waist drums. Only in this way can he also write soundly and with great skill.
This article is similar to Qiao Liang's "Plateau, My Chinese Color". If Qiao Liang's work is a general grasp of the character traits of the Chinese nation, then Liu Chengzhang's "Ansai Waist Drums" is to objectify and concretize it. Readers can read the two works together and compare them with each other, they will be more y aware of the true color of our national character and its expression of life force.
(Jin Mei, from Chinese Prose Appreciation Library? Contemporary Volume", Hundred Flowers Literary Publishing House, 1993 edition)
Four, "Ansai Waist Drums" Appreciation
Musical instruments are often used to create momentum, rendering the atmosphere, expression of feelings, it is due to the different regions and nationalities and so on and "Western" and "national" classification, but also due to the different regions and nationalities and so on and so on.
Musical instruments are often used to create atmosphere and to express feelings, and they are categorized as "Western" and "ethnic" because of different regions and nationalities, and they are also called "wind music", "strings" and "percussion" because of the different ways of constructing and "playing" them.
The Ansai waist drum is a "masterpiece" of the Loess Plateau, and its rugged, majestic, power-packed style is integral and inseparable from the local natural environment, geography, and folklore. Another point is also quite meaningful: it is a person, drums in one, there is not a musical instrument can be like it requires the combination of people and instruments must reach such a high level. The performance of the human and the instrument "performance" complete blended together, the two complement each other, complement each other. Therefore, a successful performance is a person borrowing the drum, the drum borrowing the power of people, sound, essence, gas, God without obstacles, a vein through.
The essay "Ansai waist drums" is to seize the "Ansai waist drums" of this feature, the description of people and drums on the same position and dish out.
At the beginning, people are quiet, quiet like a simple sorghum. The wind is blowing the leaves are set off by their stillness. The drums are the same, "dull" and "never seem to have sounded". This loess plateau of one hundred and ten to sorghum as the background of the drummer is destined to have an extraordinary performance!
Suddenly it erupted and exploded. The author uses metaphorical prose to create this "magnificent," "bold," "fiery" gesture: "sudden rain." "whirlwind", "chaotic frogs", "sparks", "fighting tigers". The waist drum changes people's feelings, triggers people's associations, and the culmination of all this is to "break free"-"bound", "break through"-"bound", "break through", "break through", "break through", "break through", "break through", "break through", "break through", and "break through", "break through". "breaks through" - "ties", "breaks through" - "closure". "closed".
True poetry requires repetition, as has been the tradition since the Book of Songs. Repetition and prose are necessary to create rhythm, render atmosphere, and express emotion. It should be reminded that "repetition" is not "repetition", it is not the simple appearance of the same word, sentence or paragraph more than twice. In "Ansei Waist Drums", each phrase "Good Ansei Waist Drums" has a new feeling, a new connotation and a new scene.
"A good Ansai drum" defines the basic pitch, color, atmosphere and the main spiritual direction for the whole piece, no matter how the upper and lower parts of the piece sway, develop, and fly, they will not go too far, which is one of the conventions of composition, and the reason why the article is "like this" instead of "like this". This is one of the conventions of essay writing, and the reason why the article is "this way" rather than "that way" at all. This article's "spiritual connotation" is also here: "Can't be bound, can't be detained, can't be closed. It is a force that breaks free, breaks through, and crashes through!" These two closely connected passages are the unchanging soul that flows through all the actions, scenes, chapters and sentences, and every subsequent exclamation and discourse never leaves it.
Please note the following places: in the paragraph "rumbling rumbling rumbling magnificent passion ......", the "paroxysm of occurrence and detoxification ...... "The sentence expresses the exhilaration and pride of the motherland coming into a new era after the reform and opening up; "Except for the Loess Plateau, where is such a thick, thick layer of soil!" Can be understood as a metaphor for the thousands of years of brilliant history of the Chinese nation, is the nation based on the local, and then create a solid premise and foundation of glory; four "more and more intense" led by the short paragraph and the short paragraph of the short sentence played a deepening theme, warming feelings, and enhance the role of strength.
The beginning is quiet, the end is also quiet into "another planet", this sudden outburst and the abrupt end of the arrangement is obviously a unique craftsmanship. The immediate effect is that the main body becomes more red, lively and powerful because of the quietness of the beginning and the end.
"Ansai waist drums" is rich in connotations, but "poetry is not exhaustive", different people can have different understandings. It's okay to just feel the rhythm, the momentum, the colors, the vitality of the latter, the sheer pleasure of reading.
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