《诗经·小雅·采薇》的汉英翻译（合集）

第一篇：《诗经·小雅·采薇》的汉英翻译

英汉翻译学期论文

《诗经·小雅·采薇》的

汉英翻译 学期论文题目: __

学 院 外国语学院 专 业 英语专业

班 级 ___ XXXXXXXXXXX_______ 学 号

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姓 名

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指导教师

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教务处制 二Ｏ一三年一月七日

C-E Translation of shijing·xiaoya·caiwei

By

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Under the Supervision of

XXX

Submitted in Partial Fulfillment of the Requirements

for the Term Paper For English-Chinese Translation

School of Foreign Studies

Jan.7, 2013

ABSTRACT

C-E Translation of shijing·xiaoya·caiwei

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shijing is the earliest collection of poems in the world;caiwei is selected from xiaoya, and is an aulic song.The C-E translation of shijing can be traced back to the 18th century, and until now, there has been many translators both from China and abroad translating it.The thesis is divided into three chapters.Chapter one analyzes the poetry through its theme, style and artistry.Chapter two discusses its translations by predecessors, and analyzes their differences.Chapter three is the author’s personal opinions on its translation.Key words: caiwei;translation;different versions;personal opinions

摘要

《诗经·小雅·采薇》的汉英翻译

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《诗经》是世界上最早的诗集，《采薇》选自《诗经》中的“小雅”，是宫廷乐歌。其中的“昔我往矣，杨柳依依。今我来思，雨雪霏霏”被称为《三百篇》中最佳诗句之一。而《诗经》的汉英翻译，可追溯到18世纪，至今已有中外数名翻译学家对其进行翻译。

本文分为三个章节。第一个章节通过《采薇》的主题，艺术手法等对其进行分析。第二章探讨了前辈们对其的翻译，分析不同译本的不同之处。第三个章节是作者个人的翻译观点。

关键词：采薇；汉英翻译；不同译本；个人观点

Introduction Shijing has 305 poems, and can be divided into three parts, feng, ya, and, song.caiwei is selected from xiaoya, but it also use overlapping syntactical structure and bixing technique like guofeng.This poem mainly shows frontier soldiers’ lives and emotions, and expresses dissatisfaction for the war and longing for home.The first three parts set off the long time away home and the desire for home by the growth of wei, which is very vivid and appropriate.The forth part shows the soldiers’ discipline through full bloom of changdi.The sentence “昔我往矣，杨柳依依。今我来思，雨雪霏霏。

行道迟迟，载渴载饥。我心伤悲，莫知我哀！”(“When I left here, willows shed tear.I come back now, snow bends the bough.Long, long the way;Hard, hard the day.My grief overflows.Who knows? Who knows?”)in the last part respectively shows the scenery and the emotion when going to war those years and when surviving at present.This sentence is considered to be the best-known one in shijing ever.The origin of English versions of Book of Poetry can date back to the 18th

century.The English versions have been a part of international communication.The research on the various versions studies how Book of Poetry spread in the world as well as their development.(Han 12)There are several versions of the translation of predecessors, and they all have their own strong points, so it is hard to judge which one is the best.The author can only express some superficial views by their forms of expression, aroma and styles.The thesis discusses different translations of Xu Yuanchong, Wang Rongpei, James Legge, and Arthur Waley.Professor Xu called himself as “书销中外六十本，诗译英法唯一人”, and he created a theory of “three beauties”, namely, “meaning beauty, sound beauty, form beauty”.Foreign scholars and readers all speak highly of his poetry translations.Professor Wang has made breakthrough progress in terms of C-E translation of Chinese classical literature and comparison between Chinese and Western cultures and so on.He is well up in poetry translation, and holds an idea of “要给人原诗的生动逼真的印象，需要尽可能保持原诗的风貌，也就是通常所说的以诗译诗”(To give vivid expression of the original poem, and as much as possible to maintain the original style of poetry, which is commonly referred to as poetry to poetry translation).James Legge is a famous sinologist in modern England, and is the first people who studies and translates Chinese

classics systematically.He has made a great contribution for the diffusion of Chinese Confucian classics.Arthur Waley is also a famous sinologist in United Kingdom.The Encyclopedia Britannica describes him like this: "he was the most outstanding orientalist in the first half of the 20th century, and also the most outstanding translator who translated oriental languages into English.........He was a poet and a innovator of poetry.Thanks to his translations, it became easier for Western readers to understand Chinese literature.”

This thesis is only a try to express some ideas of translating caiwei, and can not be comparable with the masters’ work.The author gives some views on the poem’s rhetorical devices, technique of expression and its rhythm.In the end of the thesis, the author attempts to translate this poem using the predecessors’ versions for reference.Chapter One Analysis of Caiwei

Caiwei is a poem selected from shijing·xiaoya·lumingzhishi.There are various versions about its creative age.But according to its content and other historical records, it is probably the work during the age of Zhouxuan king.Xianyun(the Huns)had been very powerful, and they often invaded the Central Plains, which brought disaster to the people living in the North.In terms of the content of caiwei, it should be written when soldiers came back from the battleground.The poem expresses soldiers’ hard life and their nostalgia.The poem is reproduced below.采薇采薇，薇亦作止。曰归曰归，岁亦莫止。靡室靡家，玁狁之故。不遑启居，玁狁之故。采薇采薇，薇亦柔止。曰归曰归，心亦忧止。忧心烈烈，载饥载渴。我戍未定，靡使归聘。采薇采薇，薇亦刚止。曰归曰归，岁亦阳止。王事靡盬，不遑启处。忧心孔疚，我行不来！彼尔维何？维常之华。彼路斯何？君子之车。戎车既驾，四牡业业。岂敢定居？一月三捷。驾彼四牡，四牡骙骙。君子所依，小人所腓。四牡翼翼，象弭鱼服。岂不日戒？玁狁孔棘！昔我往矣，杨柳依依。今我来思，雨雪霏霏。行道迟迟，载渴载饥。我心伤悲，莫知我哀！

We gather fern which springs up here.Why not return now ends the year? We left dear ones to fight the Huns.We wake all night;the Huns cause fright.We gather fern so tender here.Why not return? My heart feels drear.Hard pressed by thirsty and hunger worst.My heart is burning for home I’m yearning.Far from home, how to send word now? We gather fern which grows tough here.Why not return? The tenth month’s near.The war not won, we cannot rest.Consoled by none, we feel distressed.How gorgeous are the cherry flowers!How great the car of lord of ours!It’s driven by four horses nice.We can’t but hie in one month thrice.Driven by four horses alined, our lord before, we marched behind.Four horses neigh, quiver and bow ready each day to fight the foe.When I left here, willows shed tear.I come back now, snow bends the bough.Long, long the way;Hard, hard the day.My grief overflows.Who knows? Who knows?(Xu 182)This poem is written during Western Zhou dynasty, and is the thought of a soldier who is on his way home just from the battleground.And it also expresses his passion for the country.This poem describes such scenery: it was a cold sleeting winter, a soldier who just came back from the battleground walked alone on the way home.The road was bumpy, and the person was hungry and thirsty.However, home was close.He recollected the days of guarding frontiers.At this moment, all sorts of feelings welled up in his mind, so came out this poem.The whole poem has six sections, and could be divided into three levels.The preceding three sections are the first level, which is a recollection of his nostalgia and a narration of reasons for why cannot go home.The preceding four sentences express homesick feelings by clarifying meanings using repetition of reduplicated words and by advancing in regular order.This sentence reflects the hard lives of frontier soldiers.“Fern which springs up here”, “tender here”, “tough here” depict vividly the growth of Wei.They show the lapse of time and the long years of garrison, as well as “Why not return now ends the year?” and “The tenth month’s near.” They have a strong desire for home, but for the reason of garrison, they could not go home.This really makes a soldier with a limited life worried.The last four sentences give a reason for why he can not go home, and the fundamental reason is Xian Yun.Thus, one hand is the longing for home;another hand is the consciousness for fighting.They are two contradictory feelings which constitute the main key of the poem.The forth and the fifth sections describe the nervous life of marching and fighting.And the emotion also changes from distress to excitement.The previous four sentences in the forth section show the sense of pride specific to soldiers.And the following sentences describe the scene of fighting focusing on the chariots, and then depict the scene of fighting in detail focusing on soldiers.We can see from the contradictory emotions throughout the poem that the soldier has a strong responsibility as well as a longing for home.So it is very natural to recall the garrison life on the long way home.The main emotions enveloping the whole poem are nostalgia.The snow coming unexpectedly awakes the soldier from his memory and then to a deeper sadness.“昔我往矣，杨柳依依。今我来思，雨雪霏霏。”(“When I left here, willows shed tear.I come back now, snow bends the bough.Long, long the way;Hard, hard the day.My grief overflows.Who knows? Who knows?”)is a description of scenery, and also an expression of the soldier’s nostalgia.During the changes of “today” and “yesterday”, “come” and “go”, the soldier feels the lapse of time, and the negate of life made by war, thus creates an atmosphere of sadness for us.“My grief overflows.Who knows? Who knows?” The whole poem ends up with a sigh over lonely and helpless.In terms of arts, “When I left here, willows shed tear.I come back now, snow bends the bough.Long, long the way;Hard, hard the day.My grief overflows.Who knows? Who knows?” is considered to be the best sentence in three hundred poems.The theme is sober.The poem is lined with impressive natural scenery description: the growth of wei, the tender of wei, the strong of wei, the blossom of changdi, the willow, and the snow.Here are the true thoughts of soldiers, and the distressed emotions do not diminish its value as a patriotic poem.On the contrary, this reflects the plainness of people with understandable thoughts.It is this pure authenticity that gives the poem a strong vitality and appeal.In terms of writing, it uses detail description, feeling and setting blended, qixing and harmonious rhythm, and makes the content and theme deepen step by step, thus strengthen its musical beauty and rhythmical beauty.There are narration, discussion, scenery, expression and psychological description in it, and all in an appropriate way.So caiwei is definitely one of the best poems in shijing.Chapter two Analysis of different translations Poetry is a literary style that reflects social lives with a compact language, vivid rhythm and special connotation, and it contains the poet’s personal emotions and imaginations.Because of all the above, poetry is difficult to translate.Most poems in shijing are Chinese classical poems with lines of four characters each which rhyme with each other every other sentence, but there are still changes in syntactical structure, including two characters, three characters, five characters, six characters, seven characters, and eight characters.The poems also use a lot of reduplication, alliteration, and vowel rhyme which strengthen the vitality and artistry of language.The thesis chooses the last part of the poem to analyze the style of different translations.At first, when we set out, The willows were fresh and green;Now, when we shall be returning, The snow will be our marching;We shall hunger;we shall thirst.Our hearts are wounded with grief, And no one knows our sadness.---------tr.By James Legge James Legge was born at Huntly, Aberdeenshire, and educated at Aberdeen Grammar School and then Kings College, Aberdeen.After studying at the Highbury Theological College, London, he went in 1839 as a missionary to China, but remained at Malacca three years, in charge of the Anglo-Chinese College there.The College was subsequently moved to Hong Kong, where Legge lived for nearly thirty years.A Chinese Christian, Keuh Agong accompanied Legge when he moved in 1844.He returned home to Huntly, Aberdeenshire, in 1846–7, taking with him three Chinese students.Legge and the students were received by Queen Victoria before his return to Hong Kong.(Wikipedia)“这首译诗忠实地再现了原文的字面意义，使译文读者易于直接体会到诗的意境, 有‘身临其境’之感”(“This version faithfully expresses the meaning of original poem, and let the readers know the artistic conception of the poem, and they could also have an immersed sense”)(Ding 50).Legge’s version is the representative of prose-style

translation of shijing.His version was the first translation of shijing published in Hong Kong in 1871.There were detailed notes and comments apart from the translation, and it became the basis of the later ones.Long ago, when we started, The willows spread their shade.Now that we turn back, The snow flakes fly.The march before us is long, We are thirsts and hungry.Our hearts are stricken with sorrow, But no one listen to our plaint.----------tr.By Arthur Waley This version is based on iambus, but not very strict.There are no metrical feet, but more rhythmical than Legge’s.His many translations include A Hundred and Seventy Chinese Poems(1918), Japanese Poetry: The Uta(1919), The No Plays of Japan(1921), The Tale of Genji(published in 6 volumes from 1921-33), The Pillow Book of Sei Shōnagon(1928), The Kutune Shirka(1951), Monkey(1942, an abridged version of Journey to the West), The Poetry and Career of Li Po(1959)and The Secret History of the Mongols and Other Pieces(1964).Waley received the James Tait Black Memorial Prizefor his translation of Monkey, and his translations of the classics, the Analects of Confucius and The Way and its Power(Tao Te Ching), are still regarded highly by his peers.Dutch poet J.Slauerhoff used poems from A Hundred and Seventy Chinese Poems and More Translations from the Chinese to write his 1929 adaptation of Chinese poetry, Yoeng Poe Tsjoeng.These translations are widely regarded as poems in their own right, and have been included in many anthologies such as the Oxford Book of Modern Verse 1892-1935, Oxford Book of Twentieth Century English Verse and Penguin Book of Contemporary Verse(1918-1960)under Waley's name.(Wikipedia)Shijing translated by Waley is a representative of blank verse.Waley translated “杨柳依依” into “The willows spread their shade”.These rhetorical devices of personification remind us of lush willows stretching out and shade the ground.This style is more close to the original poem.When I set out so long ago, Fresh and green was the willow.When now homeward I go，There is a heavy snow.The homeward march is slow, My hunger and thirst grow.My heart is filled with sorrow;Who on earth will ever know.---------tr.By Wang Rongpei This version combines meaning and rhythm ingeniously, using [əu] as the rhyme.Thus expresses a feeling of sorrow and is in accordance with the difficult pace.This version is closest to original poem in terms of “three beauties”, and is identical with the theory “closest natural equivalence” put forward by Nida, a famous western translator.When I left there, Willow shed tear.I came back now, Snow bends the bough.Long, long the way;Hard, hard the day, Hunger and thirst Press me the worst.My grief overflows.Who knows? Who knows?

---------tr.By Xu Yuanchong Professor Xu’s version is very simple.There are four syllables each line, which is same as the original poem.He translated “行道迟迟，载渴载饥。” into “long, long the way;hard, hard the day.Hunger and thirst press me the worst.” This version has come to a point of zenith both in beauty of meter and rhyme.The sentence “Snow bends the bough” vividly describes the state of trees overburdened by snow, which is full of charms.And this also implies the freezing cold of the weather, adding difficulties to the journey.These are analysis of different translations of caiwei, however, different people may hold different ideas, because it is very hard to translate poetry perfectly.If the version could convey the connotation, beauty of poetry and stick to the principle of “faithfulness, expressiveness, elegance”, this could be a successful translation.Chapter three

The author’s personal views

The above translations all reproduce the poem’s original meanings, but there are still some differences.Time in the first sentence in the last part is past, and the second is today.So the tense of the first sentence should be past tense, and the second should be present tense.But Legge used future progressive to replace present tense, however, this seemed a little affected.Waley and Leege both translated the last sentence “我心伤悲，莫知我哀”(“my grief overflows.Who knows? Who knows?”)into declarative sentence which was faithful to the original poem in form and content.Waley’s version seems less vivid compared to the others in terms of expressing artistic conception and verve.Xu’s version is concise and cadenced.And he conformed to the principle of “three beauties” he pursed all the time.A text to be translated is like a particle in an electric field attracted by the opposing forces of the two cultures and the norms of two languages, the idiosyncrasies of on writer(who may infringe all the norms of his own language), and the different requirement of its readers, the prejudices of the translator and possibly of its publisher.(Newmark 19)According to the predecessors’ translations, the author gives some personal views on caiwei’s translation.Below is the final version.Yesterday when I out, Willows swung in the wind;Today when I come back, Snow flies in the air.March is so long and hard, That I feel hungry and thirsty.No one could read my sorrow Just in my heart.This is a prose-like version without meter or rhythm.The first two sentences adapt the same syntactical structure which is the similar style to the original poem.It conveys the meaning of the poem, but lacks the beauty of rhythm and artistic appeal.The two adjectives “hungry” and “thirsty” merely describe the situation and state facts, and

cannot compare with Legge’s “hunger and thirst”.This is only the author’s personal opinion, if it has any unreasonable point, please oblige the author with your valuable comments.Conclusion Translating poetry could face a lot of trouble in forms, and this is self-evident.But, the real perfect translations could throw all restraints, and show the original poetry’s verve and rhythm.If a translation could be read thousands of times by readers, this is certainly a good version.When translating poetry, one should grasp the poetry’s artistic conception and meter, and use all skills flexibly, thus convey the poetry’s beauties to a maximum limit.Works Cited Bake, Mona, ed.Routledge Encyclopedia of Translation Studies.Shanghai: Shanghai Foreign Language Education Press，2004.Ding, Xiaofeng.[丁小风], 《小雅·采薇》英译赏析[J].《池州师专学报》，2000，(1).Fowler, H.W.A Dictionary of Modern English Usage.Oxford: Oxford University Press，1965.Han, Kun.[韩昆], 论许渊冲的翻译美学思想[D].上海：上海外国语大学，2009.Leech, Geoffrey.Semantics: The Study of Meaning.Harmondsworth: Penguin, 1981.Legge, James.The Chinese Classics: With a Translation, Critical and Exegetical Notes, Prolegomena, and Copious Indexes [M].Hong Kong: The Author’s, 1871.Legge, James.The Book of Poetry—Chinese Tests with English Translations[M].Shanghai: The Chinese Book Company, 1931.Newmark, P.Approaches to Translation[M].Oxford and New York: Pergamon, 1981.Nida, E.A.Toward a Science of Translating[M].Shanghai: Shanghai Foreign Language Education Press, 1993.Poe, Edgar Allan.The Poetic Principle[A], G.Richard Thompson, ed.Essays and Reviews[C].New York: Library of America, 1984.Steiner, George.After Babel.3ed[M].Shanghai: Shanghai Foreign Language education Press, 2001.Waley, Arthur.The Book of Songs[Z].New York: Grove Press, Inc.1960.Wang, Rongpei.[汪榕培], 传神达意译《诗经》[J].《外语与外语教学》，1994，(4).Wang, Rongpei.[汪榕培], The Book of Poetry[M].长沙：湖南人民出版社，2008.William, Epson.The Science of Translation: Problems and Methods [M].Shanghai: Shanghai Foreign Language Education Press, 2001.Xu, Yuanchong.[许渊冲], 翻译的艺术[M].北京：中国对外翻译出版公司，1984.Xu, Yuanchong.[许渊冲], Book of Poetry[M].长沙：湖南出版社，1993..

第二篇：《诗经·小雅·采薇》赏析

《诗经·小雅·采薇》赏析

《诗经》本命“诗”或“诗三百”，传说由孔子修订，为六经之一。作为我国第一部诗歌总集，共305篇，还有6篇笙诗（有题目无内容之诗）。通过这些诗句，我们仍能够感受到千年前的人们所拥有的喜怒哀乐，仍然能够在其中找到与我们灵魂共鸣的思想。

对于305篇的诗经，其实并没有读过很多，还是选修了这门课才知道“诗经”起源于周易卜辞或上古歌谣，知道了“采诗说”、“献诗说”和“删诗说”。而在我读的为数不多的作品中，《采薇》可以说是我最喜欢的。

先看题目《诗经·小雅·采薇》，“雅”是《诗经》分类的一种，依据音乐分为“风”“雅”“颂”三类。“雅”又分为《大雅》和《小雅》。《采薇》便是《小雅》中的一首，是典型的战争徭役诗。除此之外，祭祖颂歌、农事诗、宴飨诗、怨刺诗和婚恋诗都是《诗经》的主要题材内容。可以说十分具有现实主义色彩，可谓“饥者歌其食，劳者歌其事。（”东汉何休）“薇”，豆科野豌豆属的一种，种子、茎、叶均可使用。《采薇》这个题目也可以说很具有代表性，以动植为题目名，又像《关雎》、《卷耳》，在读诗的同时也让我们“多次于鸟兽草木之名”（《论语·阳货》），可谓一举两得也。

采薇采薇，薇亦作止。曰归曰归，岁亦莫止。靡室靡家，玁狁之故。不遑启居，玁狁之故。

采薇采薇，薇亦柔止。曰归曰归，心亦忧止。忧心烈烈，载饥载渴。我戍未定，靡使归聘。

采薇采薇，薇亦刚止。曰归曰归，岁亦阳止。王事靡盬，不遑启处。忧心孔疚，我行不来！

首句便采用起兴的手法，“先言它物以引起所咏之词也”（朱熹）。这三段都以薇菜开头，而薇菜却分别是“薇亦作止”、“薇亦柔止”和“薇亦刚止”，从春到秋，薇菜从嫩到老，时光在无情地流逝。而戍卒们仿佛也在一边采薇充饥，一边计算归乡的日子。诗人把天地四时的变化融入到几句诗中，让我们看到的不仅仅是植物的轮回，也是戍卒的思乡之情。而这三章的后半部分也点明了戍卒们不能归家的原因，因为玁狁之故，因为战事频频，因为王差无穷……

彼尔维何？维常之华。彼路斯何？君子之车。戎车既驾，四牡业业。岂敢定居？一月三捷。

驾彼四牡，四牡骙骙。君子所依，小人所腓。四牡翼翼，象弭鱼服。岂不日戒？玁狁孔棘！

虽然思念家乡，虽然一直在曰归曰归而不得回，但是作为军人，也会自然地为自己骄傲。战车的描写，体现了威严的军容和高昂的士气，“象弭鱼服”也显示出装备的精良，可仍需要日日戒备，可见当时边关的形势。一面是身为战士的骄傲，一面是对家乡的思念，这种矛盾复杂的感情交织，让人不禁想起范仲淹的《渔家傲》来，“浊酒一杯家万里，燕然未勒归无计”。而或许也是因为爱故乡爱的深沉，才会在战场上浴血奋战吧，昔我往矣，杨柳依依。今我来思，雨雪霏霏。行道迟迟，载渴载饥。我心伤悲，莫知我哀！

在最初读前四句时，只觉得有一种缠绵柔情，根本无法将之与战争诗联系起来，倒觉得其与“死生契阔，与子成说。执子之手，与子偕老”放在一起读更合适，可没想到的是，这句话出自的《国风·邶风·击鼓》，也是一首战争诗。能把战争诗描写的如此含蓄隽永，意味深长的，怕是也只有《诗经》了吧。而“昔我往矣”四句也被公认为《诗经》中最好的句子，昔我往矣与今我来思的景色对比，让人感慨，季节的变换，时光的流逝，何人送我？又有何人等我？漫天风雪中只有一个载饥载渴的征人，步履蹒跚地走着，不知“何日平胡虏，良人罢远征？”（李白《子夜吴歌》）

再次读一遍全诗，总会觉得回味无穷。运用重章叠句，使内容和情趣得以层层递进，渐渐深化。而韵律和谐，也加强了整体的节奏感和音乐美。其实，我更愿意把这首诗理解为战争结束后的和平时期，戍边归来的征人对往日生活的追思与怀念，就像一首同名歌《采薇》中唱的：

卿尚小，共采薇，风欲暖，初成蕊，问离人，山中四季流转又几岁？

卿初嫁，独采薇，露尚稀，叶已翠，问征人，何处望乡一枯一葳蕤？

卿已老，忆采薇，草未凋，又抽穗，问斯人，等到野火燃尽胡不归？

昔我往，杨柳垂，今我来，雪霏霏，问故人，可记当年高歌唱《采薇》？

第三篇：诗经采薇

诗经·采薇

采薇采薇，薇亦作止。曰归曰归，岁亦莫(mù)止。靡室靡家，玁(xiǎn）狁(yǔn)之故。不遑启居，玁狁之故。

采薇采薇，薇亦柔止。曰归曰归，心亦忧止。忧心烈烈，载饥载渴。我戍未定，靡(mǐ)使归聘。

采薇采薇，薇亦刚止。曰归曰归，岁亦阳止。王事靡盬(gǔ)，不遑启处。忧心孔疚，我行不来！

彼尔维何？维常之华。彼路斯何？君子之车。戎车既驾，四牡业业。岂敢定居？一月三捷。

驾彼四牡，四牡骙(kuí)骙。君子所依，小人所腓(féi)。四牡翼翼，象弭(mǐ)鱼服。岂不日戒？玁狁孔棘！

昔我往矣，杨柳依依。今我来思，雨（yù）雪霏霏。行道迟迟，载渴载饥。我心伤悲，莫知我哀！

第四篇：《小雅·采薇》教案

《小雅·采薇》教案

学习目标：

1、疏通文，整体感知这首古代诗的思想内容和艺术特色。

2、反复诵读文，深入理解诗歌中反映的社会生活和作品表现出来的艺术特色。

3、背诵并默写文，归纳《诗经》的艺术特点，鉴赏文的思想内容和艺术形式。学习方法：

颂读法；讨论法；文本研习法教学时间：一时教学过程：

一、知识前提详解

1、作者作品简介《诗经》是我国第一部诗歌总集。相传为孔子所编定而成。《史记·孔子世家》说：“古者〈诗〉三千余篇。及至孔子取其重，取可施于礼义。……30篇，孔子皆歌弦之。”一般认为，现存的《诗经》基本上经孔子删汰选编而成的。孔子（前1年——前479年），我国历史上伟大的思想家和教育家，也是春秋末期儒家学派的创始人。政治上主张严格遵守“礼”，特别强调“仁”，对我国古代教育事业做出了重大贡献，整理编定了古代的文化典籍《诗经》《尚书》《礼记》《乐》《周易》《春秋》。其言论，主要记载在《论语》中，其思想，从汉朝后，成为封建社会的正统思想。

2、背景介绍

《诗经》的30篇诗歌，多是西周初年至春秋中叶的作品，产生于今山西，陕西，河南，山东，湖北等地。大体上说，《风》是民间乐歌，《雅》是宫廷乐歌，《颂》是宗庙乐歌和舞歌。《风》的绝大部分及《小雅》的少部分作品，具有较高的思想性和艺术性，代表了《诗经》得最高文学成就。这些产生于民间的作品，或揭露当时的社会政治的黑暗，或反映徭役，兵役的痛苦，或表现劳动生活的苦乐，或描述爱情婚姻的悲欢，从各个侧面广泛的展示了古代社会，政治和日常生活的图景。

3、相关资料《诗经》的语言特点《诗经》的基本句式是四言，间或杂有二言直至九言的各种句式。运用了赋、比、兴的表现手法，常常采用重章叠唱的形式，大量使用双声、叠韵、叠字的语汇。《诗经》是中国诗歌，乃至整个中国文学一个光辉的起点。《诗经》的重章叠唱及表现手法《诗经》善于运用重章叠唱来表达思想感情，即重复的几章间，意义和字面都只有少量改变，造成一唱三叹的效果。增强了诗歌的音乐性和节奏感，更充分的抒发了情怀。《诗经》里大量运用了赋、比、兴的表现手法，加强了作品的形象性，获得了良好的艺术效果。所谓“赋”

是“敷陈其事而直言之”。这包括一般陈述和铺排陈述两种情况。“比”

是“以彼物比此物”，也就是比喻之意。而“兴”则是《诗经》乃至中国诗歌中比较独特的手法。“兴”字的本义是“起”。《诗经》中的“兴”

是“先言他物以引起所咏之辞”，也就是借助其他事物为所咏之内容作铺垫。它往往用于一首诗或一章诗的开头。大约最原始的“兴”，只是一种发端，同下文并无意义上的关系，表现出思绪无端地飘移联想。

二、让学生提前预习文。尤其是重点字词，句式，大体翻译。1．学生朗读，整体把握。思考讨论：这首诗表现了什么样的主题？《采薇》是《小雅》中的一篇，表现了普通士兵在离乡出征的岁月里的艰苦生活和内心伤痛，字里行间表达了对战争的不满和对故乡的思念。2．再读诗歌，疏通词句。译文：野豌豆苗采几把，一些豆苗已长大。说回家啊难回家，岁末又将来临啦。没有屋来没有家，只因匈奴太凶煞。没有空闲坐下来，只因匈奴久徘徊。野豌豆苗采几把，豆苗柔嫩刚发芽。说回家啊难回家，心总忧愁总牵挂。忧心如焚烤艳阳，又饿又渴实难当。战事难将帐安定，无人归家问音讯。野豌豆苗采几把，豆苗茎叶老又硬。说回家啊难回家，转眼又去半年啦。朝廷差事不停遣，没有一处可休闲。忧心积郁成久痛，只恐死讯往家送。路边何花争娇艳？白棣花开一片片。路边何车真威武？将军出征将路堵。战车前方套上马，四匹马儿真高大。如此怎敢图安乐？一月捷报一箩箩。趋车策马征四方，马儿强健势浩荡。将军树威车旁立，兵士也靠车隐蔽。四马雄威多整齐，雕弓箭袋不曾离。哪敢一日不戒备？匈奴战事催人急。想我当年出征日，杨柳春风真美丽。如今归来返故里，却是雪花纷飞时。行路迟缓路漫漫，又渴又饿不胜寒。无限伤悲在我心，谁人知晓叹伶仃。3．理清思路，把握内容。第一章，写士兵为抗击外族的侵犯，背井离乡，久久不得归家，而产生的悲伤、厌战和对外族的仇恨。首四句，以薇菜渐次生长和时间的推移来起兴，来表达士兵久役于外不得归家的怨敌、思家与盼归的心情。“靡室靡家”和“不遑启居”是这一心情产生的主要原因。朱熹引用程子的话说：“古者戍役，两朞而还。今年春莫（暮）行，明年夏代者至，复留备秋，至过十一月而归。又明年中春至，春暮遣次戍者皆在疆圉。如今之防秋也。”（《诗集传》）这段话告诉我们，当时的兵役制度是二年为期限，可是本诗中的战士的服役看上去没有期限，士兵归家变得遥遥无期，这自然要引起征卒的不满和对家乡更强烈的思念。以下几章都是围绕着这个基调叙写的。第二、三章，写军旅生活之劳苦。朱熹在《诗集传》中说“言戍人念归期之远，而忧劳之甚，然戍事未已，则无人可使归而问其室家之安否也。”诗仍以薇菜逐渐长得柔嫩、粗硬起兴，暗示时间流逝，易年更岁，可是役期却无止境，军旅生活又异常痛苦，转战不止，饥渴劳顿。而“靡使归聘”和“我行不来”，则表达了边关和故乡相隔万里，关山阻断，音讯全无，由此而引发的强烈的思归之情。第四、五章，直接写战事。这两章是在前面基础上的对战争场面的具体描写，通过对马、车、象弭、鱼服、将帅和士兵生动而形象的刻划，从另一个侧面反映了“忧心烈烈”、“忧心孔疚”的原因，也使前面的“王事靡盬”落到了实处。从而进一步强调了正是因为战争频繁，居无定所，作为兵营中最底层的士兵才归家无望，思乡心切。第六章，写戍卒归途中悲伤痛苦的心情。有了前面的一系列铺垫，经过出生入死的战斗之后，战争的幸存者终于踏上了归家的路途。但作品并没有写士卒胜利后的喜悦，而是营造了昔日杨柳依依、如今雨雪霏霏的场景，写的是历经磨难之后内心深处的凄凉和悲苦，而且“行道迟迟，载饥载渴”，归乡的路依然那么艰难。4．明确特点，熟读成诵。从艺术上讲这首诗很有特点。首先，诗歌十分注重用具体生动的细节来展现生活图景，比如，对战争场面的描写，并不是直接写刀光剑影和厮打拼杀，而是写战车、战马，写象弭、鱼服，写劳累奔波，写饥渴难当，但我们通过这些描写可以想见战争的残酷。其次是情景交融，诗末章首四句，历代传诵不已，被视为情景交融的佳句。王夫之在《薑斋诗话》里说：“昔我往矣，杨柳依依；今我来思，雨雪霏霏。以乐景写哀，以哀景写乐，倍增其哀乐。”再次，是它的旋律协调，音节和谐，一唱三叹，诗的前三章开头句式相似，反复吟唱，一方面以植物的生长暗示时间的流逝，另一方面也在鲜明的节奏中表现出诗歌特有的音乐之美。

三、布置作业：完成《学习与评价》相关练习。

第五篇：《小雅·采薇》教案[定稿]

1、疏通课文，整体感知这首古代诗的思想内容和艺术特色。

2、反复诵读课文，深入理解诗歌中反映的社会生活和作品表现出来的艺术特色。

3、背诵并默写课文，归纳《诗经》的艺术特点，鉴赏课文的思想内容和艺术形式。学习方法：颂读法；讨论法；文本研习法 教学时间：一课时 教学过程：

一、知识前提详解

1、作者作品简介

《诗经》是我国第一部诗歌总集。相传为孔子所编定而成。《史记·孔子世家》说： “古者〈诗〉三千余篇。及至孔子取其重，取可施于礼义。„„305篇，孔子皆歌弦之。”一般认为，现存的《诗经》基本上经孔子删汰选编而成的。孔子（前551年——前479年），我国历史上伟大的思想家和教育家，也是春秋末期儒家学派的创始人。政治上主张严格遵守“礼”，特别强调“仁”，对我国古代教育事业做出了重大贡献，整理编定了古代的文化典籍《诗经》《尚书》《礼记》《乐》《周易》《春秋》。其言论，主要记载在《论语》中，其思想，从汉朝后，成为封建社会的正统思想。

2、背景介绍

《诗经》的305篇诗歌，多是西周初年至春秋中叶的作品，产生于今山西，陕西，河南，山东，湖北等地。大体上说，《风》是民间乐歌，《雅》是宫廷乐歌，《颂》是宗庙乐歌和舞歌。《风》的绝大部分及《小雅》的少部分作品，具有较高的思想性和艺术性，代表了《诗经》得最高文学成就。这些产生于民间的作品，或揭露当时的社会政治的黑暗，或反映徭役，兵役的痛苦，或表现劳动生活的苦乐，或描述爱情婚姻的悲欢，从各个侧面广泛的展示了古代社会，政治和日常生活的图景。

3、相关资料

《诗经》的语言特点

《诗经》的基本句式是四言，间或杂有二言直至九言的各种句式。运用了赋、比、兴的表现手法，常常采用重章叠唱的形式，大量使用双声、叠韵、叠字的语汇。《诗经》是中国诗歌，乃至整个中国文学一个光辉的起点。《诗经》的重章叠唱及表现手法 《诗经》善于运用重章叠唱来表达思想感情，即重复的几章间，意义和字面都只有少量改变，造成一唱三叹的效果。增强了诗歌的音乐性和节奏感，更充分的抒发了情怀。

《诗经》里大量运用了赋、比、兴的表现手法，加强了作品的形象性，获得了良好的艺术效果。所谓“赋”是“敷陈其事而直言之”。这包括一般陈述和铺排陈述两种情况。“比”是“以彼物比此物”，也就是比喻之意。而“兴”则是《诗经》乃至中国诗歌中比较独特的手法。“兴”字的本义是“起”。《诗经》中的“兴”是“先言他物以引起所咏之辞”，也就是借助其他事物为所咏之内容作铺垫。它往往用于一首诗或一章诗的开头。大约最原始的“兴”，只是一种发端，同下文并无意义上的关系，表现出思绪无端地飘移联想。1．学生朗读，整体把握。

思考讨论：这首诗表现了什么样的主题？ 《采薇》是《小雅》中的一篇，表现了普通士兵在离乡出征的岁月里的艰苦生活和内心伤痛，字里行间表达了对战争的不满和对故乡的思念。2．再读诗歌，疏通词句。

译文：野豌豆苗采几把，一些豆苗已长大。说回家啊难回家，岁末又将来临啦。没有屋来没有家，只因匈奴太凶煞。没有空闲坐下来，只因匈奴久徘徊。

野豌豆苗采几把，豆苗柔嫩刚发芽。说回家啊难回家，心总忧愁总牵挂。忧心如焚烤艳阳，又饿又渴实难当。战事难将帐安定，无人归家问音讯。

野豌豆苗采几把，豆苗茎叶老又硬。说回家啊难回家，转眼又去半年啦。朝廷差事不停遣，没有一处可休闲。忧心积郁成久痛，只恐死讯往家送。

路边何花争娇艳？白棣花开一片片。路边何车真威武？将军出征将路堵。战车前方套上马，四匹马儿真高大。如此怎敢图安乐？一月捷报一箩箩。

趋车策马征四方，马儿强健势浩荡。将军树威车旁立，兵士也靠车隐蔽。四马雄威多整齐，雕弓箭袋不曾离。哪敢一日不戒备？匈奴战事催人急。

想我当年出征日，杨柳春风真美丽。如今归来返故里，却是雪花纷飞时。行路迟缓路漫漫，又渴又饿不胜寒。无限伤悲在我心，谁人知晓叹伶仃。3．理清思路，把握内容。

第一章，写士兵为抗击外族的侵犯，背井离乡，久久不得归家，而产生的悲伤、厌战和对外族的仇恨。首四句，以薇菜渐次生长和时间的推移来起兴，来表达士兵久役于外不得归家的怨敌、思家与盼归的心情。“靡室靡家”和“不遑启居”是这一心情产生的主要原因。朱熹引用程子的话说：“古者戍役，两朞而还。今年春莫（暮）行，明年夏代者至，复留备秋，至过十一月而归。又明年中春至，春暮遣次戍者皆在疆圉。如今之防秋也。”（《诗集传》）这段话告诉我们，当时的兵役制度是二年为期限，可是本诗中的战士的服役看上去没有期限，士兵归家变得遥遥无期，这自然要引起征卒的不满和对家乡更强烈的思念。以下几章都是围绕着这个基调叙写的。

第二、三章，写军旅生活之劳苦。朱熹在《诗集传》中说“言戍人念归期之远，而忧劳之甚，然戍事未已，则无人可使归而问其室家之安否也。”诗仍以薇菜逐渐长得柔嫩、粗硬起兴，暗示时间流逝，易年更岁，可是役期却无止境，军旅生活又异常痛苦，转战不止，饥渴劳顿。而“靡使归聘”和“我行不来”，则表达了边关和故乡相隔万里，关山阻断，音讯全无，由此而引发的强烈的思归之情。第四、五章，直接写战事。这两章是在前面基础上的对战争场面的具体描写，通过对马、车、象弭、鱼服、将帅和士兵生动而形象的刻划，从另一个侧面反映了“忧心烈烈”、“忧心孔疚”的原因，也使前面的“王事靡盬”落到了实处。从而进一步强调了正是因为战争频繁，居无定所，作为兵营中最底层的士兵才归家无望，思乡心切。第六章，写戍卒归途中悲伤痛苦的心情。有了前面的一系列铺垫，经过出生入死的战斗之后，战争的幸存者终于踏上了归家的路途。但作品并没有写士卒胜利后的喜悦，而是营造了昔日杨柳依依、如今雨雪霏霏的场景，写的是历经磨难之后内心深处的凄凉和悲苦，而且“行道迟迟，载饥载渴”，归乡的路依然那么艰难。4．明确特点，熟读成诵。从艺术上讲这首诗很有特点。

首先，诗歌十分注重用具体生动的细节来展现生活图景，比如，对战争场面的描写，并不是直接写刀光剑影和厮打拼杀，而是写战车、战马，写象弭、鱼服，写劳累奔波，写饥渴难当，但我们通过这些描写可以想见战争的残酷。

其次是情景交融，诗末章首四句，历代传诵不已，被视为情景交融的佳句。王夫之在《薑斋诗话》里说：“昔我往矣，杨柳依依；今我来思，雨雪霏霏。以乐景写哀，以哀景写乐，倍增其哀乐。”

再次，是它的旋律协调，音节和谐，一唱三叹，诗的前三章开头句式相似，反复吟唱，一方面以植物的生长暗示时间的流逝，另一方面也在鲜明的节奏中表现出诗歌特有的音乐之美。

三、布置作业：

完成《学习与评价》相关练习。