古代散文诗

古代散文诗篇一：中国古代散文 评论

自由与乐观

个人关于古代散文的评论

“土地平旷，屋舍俨然，有良田美池桑竹之属。阡陌交通，鸡犬相闻。”这是出自东晋文人陶渊明笔下的桃花源。故事里的人们不问世事，悠然自得，平和安乐，这既是作者陶渊明所向往的世外桃源，在我看来，大概也是许许多多文人向往的地方吧。

文人，向来是充满艺术与浪漫气息的人，对于古代的文人来说更甚。而恰恰是因为这种与生俱来的理想主义，让他们大多不得不迫于现实的压力选择远离对于他们来说纷乱复杂的尘世，或隐居山林或逃避离世。而如今能够被我们所记住的那些文人，多数不是因为他们做出了多伟大的贡献，而是因为他们向往自由和平的气节坚毅而执着，他们笔下的世界，是和那时候的纷乱所不同的一个世界。他们只是用寥寥几笔，用大气磅礴或者乐观豁达的笔描画出了清秀美丽的景致；他们只是把自己的情感寄托于山山水水之间，浅浅的一笔带过。即使因为种种无奈而沮丧不平，无法在朝廷发挥自己的才能，可至少能把感情寄托于山水，也算是一种了不起的安慰吧。依然记得在中学时接触到的那篇《醉翁亭记》，不同于桃花源似有若无的存在，欧阳修描绘的是真实存在的风景，比起理想化的桃花源，这反而更能让人感受到字里行间对自由平和生活的希冀。“醉翁之意不在酒。山水之乐，得之心而寓于酒也。”欧阳修和大部分不得志的文人一样，虽然心中有万般的抑郁和不平，可如此寄情于山水，暂时放下那些不快的情绪，应当算是文人之间共通的做法了。

放到现在这个和平的环境中来阅读古代散文，想要真正做到静下心来体会其中的意义所在，可能也变成了一件难事。我们拥有的太多，反而开始缺少那种追求自由安定的坚毅了，在拥有物质的同时也在慢慢失去一些最初的东西。从这些或成功或失意的作者笔触中，我看到的不仅仅是清秀的风景，而是面对人生崎岖坎坷的心态。在这个脚步匆匆的世界中，停下脚步静下心来细细品读那些文人用心记录下的人生，即使我们面对这个世界的不公平和不和谐无能为力，至少做个像欧阳修那样的人，暂时把自己的不快放下，试着以豁达乐观的态度面对这个世界。

我们无法做到像文人那样放下一切隐居离世，可是我们可以做到像他们那样的豁达乐观，追求自由平和的生活。我想，这是我读古代散文最大的收获。

古代散文诗篇二：古代散文欣赏

古代散文欣赏

（五）第五单元：“散而不乱，气脉中贯”（把握散文的逻辑性和抒情性）

本单元主要从形与神的角度欣赏古代散文。要提醒学生：散文之“散”，表现了自然从容、姿态横生之美，并没有刻意安排的痕迹，而内中自有很强的思想逻辑性和情感逻辑，要细细体味方可。

如何把握文章中的思想情感脉络？

提要钩玄；因声求气→仔细理会；沉思力索；融会贯通（探究·讨论）反复推敲

关于提要钩玄：是韩愈提倡的读书方法。语出韩愈《进学解》：“记事者必提其要，纂言者必钩其玄。”意指学习记载史事的书（资料性的书）必须提出它的要领，学习立论的书（理论性的书）必须探究它的精义。这是一种在阅读中抓要点、找本质的读书方法，要求学习者在学习读书过程中抓知识的要领，抓精髓之所在，探索其精神实质。如此，所读之书就是再多，也能若网在纲，被系统掌握。

课堂教学的有效性：关键的不在于教师教了什么，而在于学生学了什么。

1、注重章法。(来自:WWw.zHaoqT.net 蒲公 英文 摘:古代散文诗)反复朗读课文，注意体会文章中的流动、起伏和回旋，这是把握文章气脉的前提条件，是挖掘文章思想价值的基础。章有章法，读有读法。朗读时，要“因声求气”，慢慢地将身心沉浸到作品中，从音节字句中感受文章的气韵。比如《六国论》和《祭十二郎文》都是值得反复诵读的名篇，切不可把疏通词句作为教学重点而忽略了对这些文章的品读。

2、注重学法。教学中应引导学生把握文章的思想脉络的方法，练习归纳各个段落的主要内容，列出提纲，体会段与段之间的联系，这样才能理清全文的结构。比如《文与可画筼筜谷偃竹记》中，文章的结构看似闲散随意，但是如果逐段理清主要内容就不难发现，从阐述绘画主张，到追忆二人的真情交往，到最后说明写作的缘由，文章始终都是以画竹及苏文二人的情谊为中心点的。

3、注重积累。为了便于学生理解，教师可以补充一些背景知识，比如苏家的一些情况等。这不仅是学生深入理解文本的需要，也是积累作文素材的需要。

4、注重比较。本单元所选文章都较为经典，可以在比较中让学生有更多的发现和感悟，体味作者的感情，尤其要充分重视文后的比较类型的“探究·讨论”题。

5、注重模仿。本单元是一个非常适合学生写作模仿谋篇布局的好散文！

现在的学生似乎真的不会写作文，翻来翻去总是那统一的格式：若是议论文，则是先摆出观点，接着就是举例1，所以观点是正确的；然后举例2，所以观点是正确的……还可以再举下去，一直到800字为止。学生作文问题是很明显的：缺少分析，没有论证过程。为什么会这样？难道学生就不想分析？我说，不是的，是学生不知道什么叫分析，更不知道怎样去分析。然后我们再想想自己又做了些什么呢？是不是只在作文讲评的时候强调一下“要分析”，学生就真的会分析了呢？是不是只给学生读个一两篇范文就能解决问题的呢？我的看

法是，学生写作技能的提高还是离不开课堂上的点点渗透。

怎么模仿？——尝试是条思路。

本单元的六篇文章都很典型，结构完整，感情充沛，我们不仅要教会学生欣赏这种“散而不乱，气脉中贯”的妙处，还要教学生尝试着去模仿。

议论文性散文可尝试学写《六国论》和《伶官传序》的框架结构和论证过程。如《六国论》，虽然我们在必修二第三专题“历史的回声”中已经学过，学科指导意见里也没有要求上，但本文在行文结构方面带有范式性，体现了议论文论证严谨的特点。如文中的总分式结构，对比、假设、举例等论证方法，其论证周密、说理清晰的逻辑性和文中从开头一直贯注到结尾的沉痛激切的抒情文气完美融合，对那些不会写议论文的人来说，再带着新眼光来读肯定是不一样的，定会在温故知新中提升。

抒情性散文可尝试学写《祭十二郎文》和《文与可画筼筜谷偃竹记》的抒情线索。如《祭十二郎文》以情感领起全篇，以骨肉至情贯串始终的写法。

记叙性散文可整合第三单元《过小孤山大孤山》（叙事）《项羽之死》（写人）的写法。

怎么模仿？——仿写是条思路。浅层的可以仿其形：

例如：“清军溃败，非力不足，势不众，弊在技穷。技穷而力亏，溃败之道也。或曰：清室苟和，怨技穷耶？曰：苟和者源技穷也。盖屡战败，不能侥存。故曰；弊在技穷也。”——《过清论》这段文字显然仿写了《六国论》的第一段，显得新奇独到。

高明的可以仿其神：

早在1980年高考作文《读〈画蛋〉有感》时，有位考生立意与众不同。别的考生大多谈的是达?芬奇的坚持与毅力，而他说的是名师与高徒的关系。开篇第一段是这样的：

人说“名师出高徒”，这话实是不假。依我看，这原因有二：其一是师之教有方，其二是徒之学不怠。离开了这两条，既称不上“名师”，也出不了“高徒”。名画家佛罗基奥手下出了一代宗师达?芬奇，便是很好一例。

这段共四句话，第一句正面阐述中心论点，第二句将中心论点拆分成两个分论点，第三句从反面阐述论点，第四句简明扼要概括命题材料，搭设材料与中心之间的桥梁。四句活层次清晰，笼括全篇，堪称读后感开篇的经典，它就明显有《六国论》首段的影子。

再笨一点的，先让他背出来再说

……

总之，只要我们老师多动脑子，肯定可以找到许多路子。

（六）第六单元：“文无定格，贵在鲜活”（体会散文的灵活性和趣味性）

散文在我国，与诗歌同样历史悠久，样式多样，风格众多，写作手法更是屡翻屡新。

就笔法而言，前人就有“对偶” “借影”“写照”“进步”“虚托”“巧避”等说，李白的《春夜宴从弟桃花园序》属于“旷达”一类，《种树郭橐驼传》则是带有寓言性质的“无中生有”一类，树立这一形象明理以托讽，《侍坐章》“一字立骨”，《苦斋记》“就题字生情”，《游沙湖》“奇异”，《项脊轩志》则为“感慨”不一而足。

从体裁上看，有传、语录、序、志等样式。记人记事、抒情、议论、描写都有，既有散体，也有骈体。就内容而言,有的重形象美和文辞美；有的侧重于情；有的侧重于理；有的则情理兼用，互相渗透；有的则是表现一种趣味。文虽短小而情味

隽永，形式新颖生动，不拘一格，贴近生活，富有情趣的篇目，值得反复研读品味。

前面已经学习了从“创造形象、诗文有别”（理解散文的形象性）、“散而不乱、气脉中贯”（把握散文的逻辑性和抒情性）两方面把握古代散文的方法。本单元鉴赏角度是 “文无定格、贵在鲜活”，目的是引导学生把握散文的灵活性和趣味性这些特点，同时也利用这一点来培养学生对古代经典作品的兴趣，提高学生的语文素养。编写者的意图是想将古代散文相对集中编排，有助于学生通过学习来认识散文的文体特征，这样能够从大处抓住与散文文体本质属性有关的主要之点，避免过繁过细，有助于初学者掌握运用。（韩大胜）

三、对教材内容调整的想法，意在“抛砖引玉”

一是选择——从各单元（专题）中选择最经典或最具学习价值的篇目；二是选择后重组——打破原来单元或专题的安排，选择相关篇目自组单元或专题，可以选择后重组来教学。选择相关诗文，组成如下单元：

一是按照 文学史线索 来安排——“先秦诗文”“汉魏两晋南北朝诗文”“唐宋诗文”“元明清诗文”，一是按照 写作要素 来安排——“立意篇”“形象篇”“意境篇”“手法篇”“语言篇”，把诗文合在一起，再把鉴赏方法揉进去来教学。

教学中，可以根据单元教学的安排补充进自己喜爱的名篇或者你认为比教材中的选文更为经典的名篇。

古代散文诗篇三：古代散文名篇英译1

中国古典散文英译（第一辑）

目录

1.岳阳楼记

2.项脊轩志

3.滕王阁序

4.前赤壁赋

5.桃花源记

6.醉翁亭记

7渔夫

8.鸿门宴

9.鱼我所欲也

10.邹忌讽齐王纳谏

11.马说

12.为学

13塞翁失马

14.庖丁解牛

15.苛政猛于虎

16.孔子世家赞

17.爱莲说

18.师说

19. 前出师表

20. 核舟记

1、岳阳楼记 （宋）范仲淹

庆历四年春，滕子京谪守巴陵郡。越明年，政通人和，百废具兴。乃重修岳阳楼，增其旧制，刻唐贤、今人诗赋于其上。属予作文以记之。

予观夫巴陵胜状，在洞庭一湖。衔远山，吞长江，浩浩汤汤，横无际涯；朝晖夕阴，气象万千。此则岳阳楼之大观也。前人之述备矣。然则北通巫峡，南极潇湘，迁客骚人，多会于此，览物之情，得无异乎？

若夫霪雨霏霏，连月不开，阴风怒号，浊浪排空；日星隐耀，山岳潜形；商旅不行，樯倾楫摧；薄暮冥冥，虎啸猿啼。登斯楼也，则有去国怀乡，忧谗畏讥，满目萧然，感极而悲者矣。

至若春和景明，波澜不惊，上下天光，一碧万顷；沙鸥翔集，锦鳞游泳；岸芷汀兰，郁郁青青。而或长烟一空，皓月千里，浮光跃金，静影沉璧，渔歌互答，此乐何极！登斯楼也，则有心旷神怡，宠辱偕忘，把酒临风，其喜洋洋者矣。

嗟夫！予尝求古仁人之心，或异二者之为，何哉？不以物喜，不以己悲；居庙堂之高则忧其民；处江湖之远则忧其君。是进亦忧，退亦忧。然则何时而乐耶？其必曰“先天下之忧而忧，后天下之乐而乐”乎。噫！微斯人，吾谁与归？

时六年九月十五日。

译文：

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、《项脊轩志》

项脊轩，旧南阁子也。室仅方丈，可容一人居。百年老屋，尘泥渗漉，雨泽下注；每移案，顾视无可置者。又北向，不能得日，日过午已昏。余稍为修葺，使不上漏。前辟四窗，

垣墙周庭，以当南日，日影反照，室始洞然。又杂植兰桂竹木于庭，旧时栏楯，亦遂增胜。借书满架，偃仰啸歌，冥然兀坐，万籁有声；而庭阶寂寂，小鸟时来啄食，人至不去。三五之夜，明月半墙，桂影斑驳，风移影动，珊珊可爱。

然余居于此，多可喜，亦多可悲。先是庭中通南北为一。迨诸父异爨，内外多置小门，墙往往而是。东犬西吠，客逾庖而宴，鸡栖于厅。庭中始为篱，已为墙，凡再变矣。家有老妪，尝居于此。妪，先大母婢也，乳二世，先妣抚之甚厚。室西连于中闺，先妣尝一至。妪每谓余曰：“某所，而母立于兹。”妪又曰：“汝姊在吾怀，呱呱而泣；娘以指叩门扉曰：‘儿寒乎？欲食乎？’吾从板外相为应答。”语未毕，余泣，妪亦泣。余自束发读书轩中，一日，大母过余曰：“吾儿，久不见若影，何竟日默默在此，大类女郎也？”比去，以手阖门，自语曰：“吾家读书久不效，儿之成，则可待乎！”顷之，持一象笏至，曰：“此吾祖太常公宣德间执此以朝，他日汝当用之！”瞻顾遗迹，如在昨日，令人长号不自禁。

轩东，故尝为厨；人往，从轩前过。余扃牖而居，久之，能以足音辨人。轩凡四遭火，得不焚，殆有神护者。

项脊生曰：“蜀清守丹穴，利甲天下，其后秦皇帝筑女怀清台；刘玄德与曹操争天下，诸葛孔明起陇中。方二人之昧昧于一隅也，世何足以知之？余区区处败屋中，方扬眉瞬目，谓有奇景。人知之者，其谓与坎井之蛙何异？”

余既为此志，后五年，吾妻来归。时至轩中，从余问古事，或凭几学书。吾妻归宁，述诸小妹语曰：“闻姊家有阁子，且何谓阁子也？”其后六年，吾妻死，室坏不修。其后二年，余久卧病无聊，乃使人复葺南阁子，其制稍异于前。然自后余多在外，不常居。

庭有枇杷树，吾妻死之年所手植也，今已亭亭如盖矣。

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·《滕王阁序》

豫章故郡，洪都新府；星分翼轸，地接衡庐；襟三江而带五湖，控蛮荆而引瓯越。物华天宝，龙光射牛斗之墟；人杰地灵，徐孺下陈蕃之榻。雄州雾列，俊采星驰。台隍枕夷夏之交，宾主尽东南之美。都督阎公之雅望，棨戟遥临；宇文新州之懿范，襜帷暂驻。十旬休假，胜友如云；千里逢迎，高朋满座。腾蛟起凤，孟学士之词宗；紫电清霜，王将军之武库。家君作宰，路出名区，童子何知，躬逢胜饯。

时维九月，序属三秋。潦水尽而寒潭清，烟光凝而暮山紫。俨骖騑于上路，访风景于崇阿。临帝子之长洲，得天人之旧馆。层峦耸翠，上出重霄；飞阁流丹，下临无地。鹤汀凫渚，穷岛屿之萦回；桂殿兰宫，即冈峦之体势。披绣闼，俯雕甍，山原旷其盈视，川泽纡其骇瞩。闾阎扑地，钟鸣鼎食之家；舸舰迷津，青雀黄龙之舳。云销雨霁，彩彻云衢。落霞与孤鹜齐飞，秋水共长天一色。渔舟唱晚，响穷彭蠡之滨；雁阵惊寒，声断衡阳之浦。

遥襟甫畅，逸兴遄飞。爽籁发而清风生，纤歌凝而白云遏。睢园绿竹，气凌彭泽之樽；邺水朱华，光照临川之笔。四美具，二难并；穷睇眄于中天，极娱游于暇日。天高地迥，觉宇宙之无穷；兴尽悲来，识盈虚之有数。望长安于日下，目吴会于云间；地势极而南溟深，天柱高而北辰远。关山难越，谁悲失路之人？萍水相逢，尽是他乡之客。怀帝阍而不见，奉宣室以何年？

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