古代散文詩篇一：中國古代散文 評論

自由與樂觀

個人關(guān)于古代散文的評論

“土地平曠，屋舍儼然，有良田美池桑竹之屬。阡陌交通，雞犬相聞�！边@是出自東晉文人陶淵明筆下的桃花源。故事里的人們不問世事，悠然自得，平和安樂，這既是作者陶淵明所向往的世外桃源，在我看來，大概也是許許多多文人向往的地方吧。

文人，向來是充滿藝術(shù)與浪漫氣息的人，對于古代的文人來說更甚。而恰恰是因為這種與生俱來的理想主義，讓他們大多不得不迫于現(xiàn)實的壓力選擇遠離對于他們來說紛亂復雜的塵世，或隱居山林或逃避離世。而如今能夠被我們所記住的那些文人，多數(shù)不是因為他們做出了多偉大的貢獻，而是因為他們向往自由和平的氣節(jié)堅毅而執(zhí)著，他們筆下的世界，是和那時候的紛亂所不同的一個世界。他們只是用寥寥幾筆，用大氣磅礴或者樂觀豁達的筆描畫出了清秀美麗的景致；他們只是把自己的情感寄托于山山水水之間，淺淺的一筆帶過。即使因為種種無奈而沮喪不平，無法在朝廷發(fā)揮自己的才能，可至少能把感情寄托于山水，也算是一種了不起的安慰吧。依然記得在中學時接觸到的那篇《醉翁亭記》，不同于桃花源似有若無的存在，歐陽修描繪的是真實存在的風景，比起理想化的桃花源，這反而更能讓人感受到字里行間對自由平和生活的希冀�！白砦讨�意不在酒。山水之樂，得之心而寓于酒也。”歐陽修和大部分不得志的文人一樣，雖然心中有萬般的抑郁和不平，可如此寄情于山水，暫時放下那些不快的情緒，應當算是文人之間共通的做法了。

放到現(xiàn)在這個和平的環(huán)境中來閱讀古代散文，想要真正做到靜下心來體會其中的意義所在，可能也變成了一件難事。我們擁有的太多，反而開始缺少那種追求自由安定的堅毅了，在擁有物質(zhì)的同時也在慢慢失去一些最初的東西。從這些或成功或失意的作者筆觸中，我看到的不僅僅是清秀的風景，而是面對人生崎嶇坎坷的心態(tài)。在這個腳步匆匆的世界中，停下腳步靜下心來細細品讀那些文人用心記錄下的人生，即使我們面對這個世界的不公平和不和諧無能為力，至少做個像歐陽修那樣的人，暫時把自己的不快放下，試著以豁達樂觀的態(tài)度面對這個世界。

我們無法做到像文人那樣放下一切隱居離世，可是我們可以做到像他們那樣的豁達樂觀，追求自由平和的生活。我想，這是我讀古代散文最大的收獲。

古代散文詩篇二：古代散文欣賞

古代散文欣賞

（五）第五單元：“散而不亂，氣脈中貫”（把握散文的邏輯性和抒情性）

本單元主要從形與神的角度欣賞古代散文。要提醒學生：散文之“散”，表現(xiàn)了自然從容、姿態(tài)橫生之美，并沒有刻意安排的痕跡，而內(nèi)中自有很強的思想邏輯性和情感邏輯，要細細體味方可。

如何把握文章中的思想情感脈絡？

提要鉤玄；因聲求氣→仔細理會；沉思力索；融會貫通（探究·討論）反復推敲

關(guān)于提要鉤玄：是韓愈提倡的讀書方法。語出韓愈《進學解》：“記事者必提其要，纂言者必鉤其玄�！币庵笇W習記載史事的書（資料性的書）必須提出它的要領(lǐng)，學習立論的書（理論性的書）必須探究它的精義。這是一種在閱讀中抓要點、找本質(zhì)的讀書方法，要求學習者在學習讀書過程中抓知識的要領(lǐng)，抓精髓之所在，探索其精神實質(zhì)。如此，所讀之書就是再多，也能若網(wǎng)在綱，被系統(tǒng)掌握。

課堂教學的有效性：關(guān)鍵的不在于教師教了什么，而在于學生學了什么。

1、注重章法。(來自:m.91mayou.com 蒲公 英文 摘:古代散文詩)反復朗讀課文，注意體會文章中的流動、起伏和回旋，這是把握文章氣脈的前提條件，是挖掘文章思想價值的基礎(chǔ)。章有章法，讀有讀法。朗讀時，要“因聲求氣”，慢慢地將身心沉浸到作品中，從音節(jié)字句中感受文章的氣韻。比如《六國論》和《祭十二郎文》都是值得反復誦讀的名篇，切不可把疏通詞句作為教學重點而忽略了對這些文章的品讀。

2、注重學法。教學中應引導學生把握文章的思想脈絡的方法，練習歸納各個段落的主要內(nèi)容，列出提綱，體會段與段之間的聯(lián)系，這樣才能理清全文的結(jié)構(gòu)。比如《文與可畫筼筜谷偃竹記》中，文章的結(jié)構(gòu)看似閑散隨意，但是如果逐段理清主要內(nèi)容就不難發(fā)現(xiàn)，從闡述繪畫主張，到追憶二人的真情交往，到最后說明寫作的緣由，文章始終都是以畫竹及蘇文二人的情誼為中心點的。

3、注重積累。為了便于學生理解，教師可以補充一些背景知識，比如蘇家的一些情況等。這不僅是學生深入理解文本的需要，也是積累作文素材的需要。

4、注重比較。本單元所選文章都較為經(jīng)典，可以在比較中讓學生有更多的發(fā)現(xiàn)和感悟，體味作者的感情，尤其要充分重視文后的比較類型的“探究·討論”題。

5、注重模仿。本單元是一個非常適合學生寫作模仿謀篇布局的好散文！

現(xiàn)在的學生似乎真的不會寫作文，翻來翻去總是那統(tǒng)一的格式：若是議論文，則是先擺出觀點，接著就是舉例1，所以觀點是正確的；然后舉例2，所以觀點是正確的……還可以再舉下去，一直到800字為止。學生作文問題是很明顯的：缺少分析，沒有論證過程。為什么會這樣？難道學生就不想分析？我說，不是的，是學生不知道什么叫分析，更不知道怎樣去分析。然后我們再想想自己又做了些什么呢？是不是只在作文講評的時候強調(diào)一下“要分析”，學生就真的會分析了呢？是不是只給學生讀個一兩篇范文就能解決問題的呢？我的看

法是，學生寫作技能的提高還是離不開課堂上的點點滲透。

怎么模仿？——嘗試是條思路。

本單元的六篇文章都很典型，結(jié)構(gòu)完整，感情充沛，我們不僅要教會學生欣賞這種“散而不亂，氣脈中貫”的妙處，還要教學生嘗試著去模仿。

議論文性散文可嘗試學寫《六國論》和《伶官傳序》的框架結(jié)構(gòu)和論證過程。如《六國論》，雖然我們在必修二第三專題“歷史的回聲”中已經(jīng)學過，學科指導意見里也沒有要求上，但本文在行文結(jié)構(gòu)方面帶有范式性，體現(xiàn)了議論文論證嚴謹?shù)奶攸c。如文中的總分式結(jié)構(gòu)，對比、假設、舉例等論證方法，其論證周密、說理清晰的邏輯性和文中從開頭一直貫注到結(jié)尾的沉痛激切的抒情文氣完美融合，對那些不會寫議論文的人來說，再帶著新眼光來讀肯定是不一樣的，定會在溫故知新中提升。

抒情性散文可嘗試學寫《祭十二郎文》和《文與可畫筼筜谷偃竹記》的抒情線索。如《祭十二郎文》以情感領(lǐng)起全篇，以骨肉至情貫串始終的寫法。

記敘性散文可整合第三單元《過小孤山大孤山》（敘事）《項羽之死》（寫人）的寫法。

怎么模仿？——仿寫是條思路。淺層的可以仿其形：

例如：“清軍潰敗，非力不足，勢不眾，弊在技窮。技窮而力虧，潰敗之道也�；蛟唬呵迨移埡�，怨技窮耶？曰：茍和者源技窮也。蓋屢戰(zhàn)敗，不能僥存。故曰；弊在技窮也。”——《過清論》這段文字顯然仿寫了《六國論》的第一段，顯得新奇獨到。

高明的可以仿其神：

早在1980年高考作文《讀〈畫蛋〉有感》時，有位考生立意與眾不同。別的考生大多談的是達?芬奇的堅持與毅力，而他說的是名師與高徒的關(guān)系。開篇第一段是這樣的：

人說“名師出高徒”，這話實是不假。依我看，這原因有二：其一是師之教有方，其二是徒之學不怠。離開了這兩條，既稱不上“名師”，也出不了“高徒”。名畫家佛羅基奧手下出了一代宗師達?芬奇，便是很好一例。

這段共四句話，第一句正面闡述中心論點，第二句將中心論點拆分成兩個分論點，第三句從反面闡述論點，第四句簡明扼要概括命題材料，搭設材料與中心之間的橋梁。四句活層次清晰，籠括全篇，堪稱讀后感開篇的經(jīng)典，它就明顯有《六國論》首段的影子。

再笨一點的，先讓他背出來再說

……

總之，只要我們老師多動腦子，肯定可以找到許多路子。

（六）第六單元：“文無定格，貴在鮮活”（體會散文的靈活性和趣味性）

散文在我國，與詩歌同樣歷史悠久，樣式多樣，風格眾多，寫作手法更是屢翻屢新。

就筆法而言，前人就有“對偶” “借影”“寫照”“進步”“虛托”“巧避”等說，李白的《春夜宴從弟桃花園序》屬于“曠達”一類，《種樹郭橐駝傳》則是帶有寓言性質(zhì)的“無中生有”一類，樹立這一形象明理以托諷，《侍坐章》“一字立骨”，《苦齋記》“就題字生情”，《游沙湖》“奇異”，《項脊軒志》則為“感慨”不一而足。

從體裁上看，有傳、語錄、序、志等樣式。記人記事、抒情、議論、描寫都有，既有散體，也有駢體。就內(nèi)容而言,有的重形象美和文辭美；有的側(cè)重于情；有的側(cè)重于理；有的則情理兼用，互相滲透；有的則是表現(xiàn)一種趣味。文雖短小而情味

雋永，形式新穎生動，不拘一格，貼近生活，富有情趣的篇目，值得反復研讀品味。

前面已經(jīng)學習了從“創(chuàng)造形象、詩文有別”（理解散文的形象性）、“散而不亂、氣脈中貫”（把握散文的邏輯性和抒情性）兩方面把握古代散文的方法。本單元鑒賞角度是 “文無定格、貴在鮮活”，目的是引導學生把握散文的靈活性和趣味性這些特點，同時也利用這一點來培養(yǎng)學生對古代經(jīng)典作品的興趣，提高學生的語文素養(yǎng)。編寫者的意圖是想將古代散文相對集中編排，有助于學生通過學習來認識散文的文體特征，這樣能夠從大處抓住與散文文體本質(zhì)屬性有關(guān)的主要之點，避免過繁過細，有助于初學者掌握運用。（韓大勝）

三、對教材內(nèi)容調(diào)整的想法，意在“拋磚引玉”

一是選擇——從各單元（專題）中選擇最經(jīng)典或最具學習價值的篇目；二是選擇后重組——打破原來單元或?qū)ｎ}的安排，選擇相關(guān)篇目自組單元或?qū)ｎ}，可以選擇后重組來教學。選擇相關(guān)詩文，組成如下單元：

一是按照 文學史線索 來安排——“先秦詩文”“漢魏兩晉南北朝詩文”“唐宋詩文”“元明清詩文”，一是按照 寫作要素 來安排——“立意篇”“形象篇”“意境篇”“手法篇”“語言篇”，把詩文合在一起，再把鑒賞方法揉進去來教學。

教學中，可以根據(jù)單元教學的安排補充進自己喜愛的名篇或者你認為比教材中的選文更為經(jīng)典的名篇。

古代散文詩篇三：古代散文名篇英譯1

中國古典散文英譯（第一輯）

目錄

1.岳陽樓記

2.項脊軒志

3.滕王閣序

4.前赤壁賦

5.桃花源記

6.醉翁亭記

7漁夫

8.鴻門宴

9.魚我所欲也

10.鄒忌諷齊王納諫

11.馬說

12.為學

13塞翁失馬

14.庖丁解牛

15.苛政猛于虎

16.孔子世家贊

17.愛蓮說

18.師說

19. 前出師表

20. 核舟記

1、岳陽樓記 （宋）范仲淹

慶歷四年春，滕子京謫守巴陵郡。越明年，政通人和，百廢具興。乃重修岳陽樓，增其舊制，刻唐賢、今人詩賦于其上。屬予作文以記之。

予觀夫巴陵勝狀，在洞庭一湖。銜遠山，吞長江，浩浩湯湯，橫無際涯；朝暉夕陰，氣象萬千。此則岳陽樓之大觀也。前人之述備矣。然則北通巫峽，南極瀟湘，遷客騷人，多會于此，覽物之情，得無異乎？

若夫霪雨霏霏，連月不開，陰風怒號，濁浪排空；日星隱耀，山岳潛形；商旅不行，檣傾楫摧；薄暮冥冥，虎嘯猿啼。登斯樓也，則有去國懷鄉(xiāng)，憂讒畏譏，滿目蕭然，感極而悲者矣。

至若春和景明，波瀾不驚，上下天光，一碧萬頃；沙鷗翔集，錦鱗游泳；岸芷汀蘭，郁郁青青。而或長煙一空，皓月千里，浮光躍金，靜影沉璧，漁歌互答，此樂何極！登斯樓也，則有心曠神怡，寵辱偕忘，把酒臨風，其喜洋洋者矣。

嗟夫！予嘗求古仁人之心，或異二者之為，何哉？不以物喜，不以己悲；居廟堂之高則憂其民；處江湖之遠則憂其君。是進亦憂，退亦憂。然則何時而樂耶？其必曰“先天下之憂而憂，后天下之樂而樂”乎。噫！微斯人，吾誰與歸？

時六年九月十五日。

譯文：

Yueyang Pavilion

Fan Zhongyan

In the spring of the fourth year of the reign of Qingli, Teng Zijing was banished from the capital to be governor of Baling Prefecture. After he had govern the district for a year, the administration became efficient, the people became united, and all things that had fallen into disrepair were given a new lease on life. Then he restored Yueyang Pavilion, adding new splendor to the original structure and having inscribed on it pomes by famous men of the Tang Dynasty as well as the present time. And he asked me to write an essay to commemorate this. Now I have found that the finest sights of Baling are concentrated in the region of Lake Dongting. Dongting, nibbling at the distant hills and gulping down the Yangtze River, strikes all beholders as vast and infinite, presenting a scene of boundless variety; and this is the superb view from Yueyang Pavilion. All this has been described in full by writers of earlier ages. However, since the lake is linked with Wu Gorge in the north and extends to the Xiao and Xiang rivers in the south, many exiles and wandering poets gather here, and their reactions to these sights vary greatly. During a period of incessant rain, when a spell of bad weather continues for more than a month, when louring winds bellow angrily, tumultuous waves hurl themselves against the sky, sun and stars hide their light, hills and mountains disappear, merchants have to halt in their travels, masts collapse and oars splinter, the day darkens and the roars of tigers and howls of monkeys are heard, if men come to this pavilion with a longing for home in their hearts or nursing a feeling of bitterness because of taunts and slander, they may find the sight depressing and fall prey to agitation or despair. But during mild and bright spring weather, when the waves are uuffled and the azure translucence above and below stretches before your eyes for myriads of li, when the water-birds fly down to congregate on the sands and fish with scales like glimmering silk disport themselves in the water, when the iris and orchids on the banks grow luxuriant and green; or when dusk falls over this vast expanse and bright moon casts its light a thousand li, when the rolling waves glitter like gold and silent shadows in the water glimmer like jade, and the fishermen sing to each other for sheer joy, then men coming up to this pavilion may feel complete freedom of heart and ease of spirit, forgetting every worldly gain or setback, to hold their winecups in the breeze in absolute elation, delighted with life. But again when I consider the men of old who possessed true humanity, they seem to have responded quite differently. The reason, perhaps, may be this: natural beauty was not enough to make them happy, nor their own situation enough to make them sad. When such men are high in the government or at court, their first concern is for the people; when they retire to distant streams and lakes, their first concern is for their sovereign. Thus they worry both when in office and when in retirement. When, then, can they enjoy themselves in life? No doubt they are concerned before anyone else and enjoy themselves only after everyone else finds enjoyment. Surely there are the men in whose footsteps I should follow!

2、《項脊軒志》

項脊軒，舊南閣子也。室僅方丈，可容一人居。百年老屋，塵泥滲漉，雨澤下注；每移案，顧視無可置者。又北向，不能得日，日過午已昏。余稍為修葺，使不上漏。前辟四窗，

垣墻周庭，以當南日，日影反照，室始洞然。又雜植蘭桂竹木于庭，舊時欄楯，亦遂增勝。借書滿架，偃仰嘯歌，冥然兀坐，萬籟有聲；而庭階寂寂，小鳥時來啄食，人至不去。三五之夜，明月半墻，桂影斑駁，風移影動，珊珊可愛。

然余居于此，多可喜，亦多可悲。先是庭中通南北為一。迨諸父異爨，內(nèi)外多置小門，墻往往而是。東犬西吠，客逾庖而宴，雞棲于廳。庭中始為籬，已為墻，凡再變矣。家有老嫗，嘗居于此。嫗，先大母婢也，乳二世，先妣撫之甚厚。室西連于中閨，先妣嘗一至。嫗每謂余曰：“某所，而母立于茲�！眿炗衷唬骸叭赕⒃谖釕�，呱呱而泣；娘以指叩門扉曰：‘兒寒乎？欲食乎？’吾從板外相為應答。”語未畢，余泣，嫗亦泣。余自束發(fā)讀書軒中，一日，大母過余曰：“吾兒，久不見若影，何竟日默默在此，大類女郎也？”比去，以手闔門，自語曰：“吾家讀書久不效，兒之成，則可待乎！”頃之，持一象笏至，曰：“此吾祖太常公宣德間執(zhí)此以朝，他日汝當用之！”瞻顧遺跡，如在昨日，令人長號不自禁。

軒東，故嘗為廚；人往，從軒前過。余扃牖而居，久之，能以足音辨人。軒凡四遭火，得不焚，殆有神護者。

項脊生曰：“蜀清守丹穴，利甲天下，其后秦皇帝筑女懷清臺；劉玄德與曹操爭天下，諸葛孔明起隴中。方二人之昧昧于一隅也，世何足以知之？余區(qū)區(qū)處敗屋中，方揚眉瞬目，謂有奇景。人知之者，其謂與坎井之蛙何異？”

余既為此志，后五年，吾妻來歸。時至軒中，從余問古事，或憑幾學書。吾妻歸寧，述諸小妹語曰：“聞姊家有閣子，且何謂閣子也？”其后六年，吾妻死，室壞不修。其后二年，余久臥病無聊，乃使人復葺南閣子，其制稍異于前。然自后余多在外，不常居。

庭有枇杷樹，吾妻死之年所手植也，今已亭亭如蓋矣。

The Nape

Gui Youguang

The south passageway from our sidedoor known as the ―Nape‖ is barely ten square feet, just big enough to serve as a room for one. Our house is a hundred years old. Dust used to fall and rain to drip through the ceiling, and I could find nowhere else to move my desk. Moreover, facing north and getting no sun, the room grew dark after noon. I patched it up so that it no longer leaked, opened windows in front and built a wall south of the courtyard to reflect the sunlight and brighten

up the place. I also planted orchids, cassias and bamboos, showing off the old balustrades to better advantage. My shelves are piled with books, and here I rest and sing or sit quietly listening to the sounds all around in the stillness of the courtyard. Small birds alighting in search of food do not fly off at the approach of men, and when a full moon casts its bright light over half the wall the mottled shadows of the cassia trees stir in the wind with a dappled loveliness.

For me this place has happy occasions as well as sad ones. The north and south buildings were formerly connected, but my uncles divided up the house, adding various small walls and doors here and there, so that a dog on the east side barks at the west side, to enter the dining-room guests have to pass the kitchen, and hens roost in the hall. First fences were built in the courtyard, later walls, renovated more than once. An old family maid used to stay in this little chamber. Because she had been my grandmother's maid and nurse in our house for two generations, my mother showed her special consideration. Her chamber opened into the inner apartments and my mother sometimes visited her there. This old nurse told me where my mother had stood, recalling, ―When your elder sister was crying in my lap, your mother would tap on the door and ask, 'Is the child cold? Does she want to be fed?' And I would answer through the wooden door.‖ Before she finished my eyes were wet, and hers, too.

One day, after I have bound up my hair and started studying in this chamber, my grandmother came in to me and said, ―Child, I haven't seen so much as your shadow for days. Why shut yourself up here all the time, quiet as a girl?‖ On leaving, as she closed the door she mused, ―The men of our family have studied all these years without success, but perhaps this child will get somewhere.‖ So she came back with an ivory tablet and told me, ―My grandfather carried this tablet when he went to court as officer of ceremony. Who knows but some day you may use it?‖ It seems just like yesterday when I look at these relics, the sight of which now sets me weeping, unable to stop.

There used to be a kitchen east of this chamber, and as time went by I learned to recognize the steps of the passersby behind closed doors. Four times the place caught fire but was never destroyed, as if under the protection of kindly spirits.

The Master of the Nape comments: Widow Qing of Sichuan, who kept a cinnabar mine, was the richest women in the land — the First Emperor of Qin built a tower to commemorate her.

When Liu Bei and Cao Cao were contesting for power, Zhuge Liang arose in Longzhong. Yet while the widow and the wise man were staying quietly in their different corners, the world knew nothing of them. My content in this shabby room, where I hold forth with dancing eyebrows and sparkling eyes on the wonders around me, must remind those who know me of the proverbial frog in the well. That is why I have made this record.

Five years later, my wife came to our house. She often slipped into this chamber to ask about bygone days or practise her writing at my desk. Returning from a visit to her family, she told me her younger sister wanted to know, ―What is that passageway we hear your house has?‖ Six years later my wife died, I let the place go to ruin. After another two years, lying ill for months with nothing much to do, I got men to rebuild this south passageway with some slight changes. But since then my frequent absences from home have rarely allowed me to stay here. The loquat tree which I planted in the courtyard the year that my wife died has grown up now to give shade. 3、王勃·《滕王閣序》

豫章故郡，洪都新府；星分翼軫，地接衡廬；襟三江而帶五湖，控蠻荊而引甌越。物華天寶，龍光射牛斗之墟；人杰地靈，徐孺下陳蕃之榻。雄州霧列，俊采星馳。臺隍枕夷夏之交，賓主盡東南之美。都督閻公之雅望，棨戟遙臨；宇文新州之懿范，襜帷暫駐。十旬休假，勝友如云；千里逢迎，高朋滿座。騰蛟起鳳，孟學士之詞宗；紫電清霜，王將軍之武庫。家君作宰，路出名區(qū)，童子何知，躬逢勝餞。

時維九月，序?qū)偃�秋。潦水盡而寒潭清，煙光凝而暮山紫。儼驂騑于上路，訪風景于崇阿。臨帝子之長洲，得天人之舊館。層巒聳翠，上出重霄；飛閣流丹，下臨無地。鶴汀鳧渚，窮島嶼之縈回；桂殿蘭宮，即岡巒之體勢。披繡闥，俯雕甍，山原曠其盈視，川澤紆其駭矚。閭閻撲地，鐘鳴鼎食之家；舸艦迷津，青雀黃龍之舳。云銷雨霽，彩徹云衢。落霞與孤鶩齊飛，秋水共長天一色。漁舟唱晚，響窮彭蠡之濱；雁陣驚寒，聲斷衡陽之浦。

遙襟甫暢，逸興遄飛。爽籟發(fā)而清風生，纖歌凝而白云遏。睢園綠竹，氣凌彭澤之樽；鄴水朱華，光照臨川之筆。四美具，二難并；窮睇眄于中天，極娛游于暇日。天高地迥，覺宇宙之無窮；興盡悲來，識盈虛之有數(shù)。望長安于日下，目吳會于云間；地勢極而南溟深，天柱高而北辰遠。關(guān)山難越，誰悲失路之人？萍水相逢，盡是他鄉(xiāng)之客。懷帝閽而不見，奉宣室以何年？

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