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《岳阳楼记》是范仲淹的不朽名篇,这里仅从一个侧面谈谈它的艺术表现特色。文章的题目是《岳阳楼记》,而其大部分篇幅却是描绘洞庭景色。乍看起来,似乎是文不对题。其实不然。他在写景抒情时都是紧紧扣住“楼”与“湖”来构思和着笔的。作者在第一自然段概括地介绍作“记”的缘由之后,第二自然段开头就提纲挈领地交待——“予观夫巴陵胜状,在洞庭一湖”。这里所说的“巴陵胜状”;显然是指站在“岳阳楼”上鸟瞰的洞庭湖景物。正如吕温所说:“襟带三千里,尽在岳阳楼。”然而“巴陵胜状”究竟如何?这里还只是提出了命题,紧接着作者用了“衔远山,吞长江,浩浩荡荡,横无际涯,朝晖夕阴,
“The Story of Yueyang Tower” is an immortal title of Fan Zhongyan. Here we talk about its artistic expression from only one aspect. The title of the article is “Yueyang Tower”, and most of its space is depicting the scenery of Dongting. At first glance, it seems that it is not correct. actually not. When he wrote the lyrical scene, he was confining and writing with a tight grasp of “building” and “lake.” After the author describes the reason for making a “remember” in the first paragraph, the second natural paragraph begins with an outline of the territory and confession: “Government of the Balings will be given to the Lake of Dongting.” The “Bailingsheng” mentioned here is obviously the Dongting Lake scenery standing on the bird’s-eye view of Yueyang Tower. As Lv Wen said, “Take 3,000 miles and walk in Yueyang Tower.” However, what exactly is the “Bailing Shengzong?” This is just a proposition, followed by the author’s use of the title of “Yuan Yuanshan, swallowing the Yangtze River, and Drifting, boundlessness, Zhaohuixiyin,