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吕叔湘先生说:“语文教学一半是科学,一半是艺术。”既然一半是艺术,那么,语文教学就离不开一个“美”字。事实也是如此,对语文学科性质的争论,已得出这样的结论:语文既是人类交际的工具,又是人类文化的载体,它负载着丰富的情感、深邃的思想和人类绵绵不绝的文明。换句话说,它还具有人文性。语文学科的人文性不是凭借简单直白的道德说教文字承载的,而是借助于一篇篇融自然美、生活美、情感美、艺术美、语言美等于一炉的有血有肉的文学作品表现出来的。如果离开美,语文教学,特别是语文课堂教学就将是一张失血的脸,显得苍白无力。因此,语文教学,特别是语文课堂教学必须求美。语文课堂教学的美表现是多方面的。就课文本身而言,如杜甫的《春望》、陶渊明的《饮酒》有“有我之境”与“无我之境”的境界美;朱自清的《绿》、茅盾的《风景谈》有“美在典型”的典型美;曹禺的《雷雨》、鲁迅的《祝福》,有忧愤深广的悲
Mr. Lv Shuxiang said: “Chinese teaching is half science and half is art.” Since half is art, then Chinese teaching can not do without a “beautiful” character. The same is true. The debate over the nature of Chinese subjects has led to the conclusion that Chinese is not only a tool of human communication but also a carrier of human culture. It carries a wealth of emotions, profound thoughts and an inexhaustible civilization of mankind. In other words, it is also humanistic. The humanistic nature of the Chinese subject does not come from the simple and straightforward morals but through the flesh-and-blood literary works that combine natural beauty, life beauty, emotional beauty, artistic beauty and language beauty. If you leave the United States, Chinese teaching, especially Chinese language teaching will be a blood loss, pale and weak. Therefore, Chinese teaching, especially Chinese classroom teaching, must seek beauty. The beauty of Chinese teaching is multifaceted. In terms of the text itself, such as Du Fu’s “Spring of Hope,” Tao Yuanming’s “drinking” has the beauty of the realm of “having my realm” and “my realm of no self”; the “green” of Zhu Ziqing, There are typical beauty in the landscape, beauty in the typical, the thunderstorm in Cao Yu, the blessing of Lu Xun, the grief