如梦令常记溪亭日暮

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如梦令常记溪亭日暮范文第1篇

1、《如梦令·常记溪亭日暮》：常记溪亭日暮，沉醉不知归路。兴尽晚回舟，误入藕花深处。争渡，争渡，惊起一滩鸥鹭。

2、《如梦令·昨夜雨疏风骤》：昨夜雨疏风骤，浓睡不消残酒。试问卷帘人，却道海棠依旧。知否，知否？应是绿肥红瘦！

3、《如梦令·常记溪亭日暮》，作者为宋代的李清照，这是一首忆昔词。寥寥数语，似乎是随意而出，却又惜墨如金，句句含有深意。开头两句，写沉醉兴奋之情。接着写“兴尽”归家，又“误入”荷塘深处，别有天地，更令人流连。最后一句，纯洁天真，言尽而意不尽。 这首《如梦令》以李清照特有的方式表达了她早期生活的情趣和心境，境界优美怡人。

4、《如梦令·昨夜雨疏风骤》这首小词委婉地表达了作者怜花惜花的心情，也流露了内心的苦闷。词中着意人物心理情绪的刻画。以景衬情，委曲精工。轻灵新巧而又凄婉含蓄。极尽传神之妙。

（来源：文章屋网 ）

如梦令常记溪亭日暮范文第2篇

寻寻觅觅，冷冷清清，凄凄惨惨戚戚。乍暖还寒时候，最难将息。三杯两盏淡酒，怎敌他、晚来风急？雁过也，正伤心，却是旧时相识。

满地黄花堆积。憔悴损，如今有谁堪摘？守着窗儿，独自怎生得黑？梧桐更兼细雨，到黄昏、点点滴滴。这次第，怎一个愁字了得！（守着窗儿 一作：守著窗儿）

2、《武陵春·春晚》朝代：宋代，作者：李清照。

风住尘香花已尽，日晚倦梳头。物是人非事事休，欲语泪先流。

闻说双溪春尚好，也拟泛轻舟。只恐双溪舴艋舟，载不动许多愁。

3、《如梦令·常记溪亭日暮》朝代：宋代，作者：李清照。

常记溪亭日暮，沉醉不知归路。

兴尽晚回舟，误入藕花深处。

如梦令常记溪亭日暮范文第3篇

2、溪亭，点出地点是溪边的亭子;日暮，点出时间是一天的傍晚。沉醉一句，出现了作品的抒情主人公，即词人自己。

3、兴尽晚归舟，误入藕花深处。接下来，用了兴尽一语，高度概括了整整一天的欢乐活动，而把其中的具体细微之处，全都留给读者去想象。

4、既然已是沉醉不知归路，当然就会误入藕花深处，词中的情节发展是非常自然的，清澈的水面上，覆盖着丛丛密密的硕大荷叶，无数只粉色或白色的荷花，在绿叶的簇拥下，迎着阵阵晚风悄然绽放。

5、一只漂流的小船，载着一位优雅的少女，就在这荷花深处的翠绿暗香之中，迷失了回家的方向。

6、争渡争渡，惊起一滩鸥鹭。词的结尾，重复使用了两个争(怎么)渡，意思是怎么才能把船划出去呀，生动地再现了少女词人当时那焦急的情态和迫切的口吻。

如梦令常记溪亭日暮范文第4篇

争渡，争渡，惊起一滩鸥鹭。

一连两个“争渡”，表达了主人公急于从迷途中找寻出路的焦灼心情。正是由于“争渡”，所以又“惊起一滩鸥鹭”，把停栖洲渚上的水鸟都吓飞了。至此，词嘎然而止，言尽而意未尽，耐人寻味。

《 如梦令·常记溪亭日暮》是宋代女词人 李清照的词作。这是一首忆昔词，寥寥数语，似乎是随意而出，却又惜墨如金，句句含有深意。开头两句，写沉醉兴奋之情。接着写“兴尽”归家，又“误入”荷塘深处，别有天地，更令人流连。最后一句，纯洁天真，言尽而意不尽。 全词不事雕琢，富有一种自然之美，它以女词人特有的方式表达了她早期生活的情趣和心境，境界优美怡人，以尺幅之短给人以足够的美的享受。

（来源：文章屋网 ）

如梦令常记溪亭日暮范文第5篇

阳光明媚，风和日丽，是郊游的好天气。记得那天，我划着小船，来到溪边的凉亭内观赏这绝妙的夏日美景。波光粼粼，绿盈盈的水面上，铺满了嫩绿色的浮萍，好似一那满塘浓郁的荷叶，我一眼望去，都是那千姿百态的荷花，我只觉得自己被眼前的荷花深深的吸引住了。盛开着的荷花，洁白柔嫩得像婴儿的笑脸，甜美、纯洁、惹人喜爱。远远望去，这些荷花就像是一个数世同堂、生生不息的大家族，这些景象构成了一幅充满诗意的《夏日荷花图》。

看着这美妙绝伦的景象，我深深陶醉其中，自己仿佛也变成了一株荷花，在微风的吹拂下翩翩起舞。我坐在小船里一边观赏着这只有天上人间才有的美景，一边品尝着千年陈酿。没想到才喝了几杯，就酩酊大醉了，只觉得自己的身子飘飘悠悠，仿佛自己来到了人间仙境。我又觉得自己真是快活似神仙呀！

不知不觉中，天已经渐渐暗淡了下来，我摇摇摆摆的划着小船，想要回家去。可正在这时，我把回家的路线给抛到九霄云外去了。我只好凭着自己朦胧的记忆前进。可是行的船跌跌撞撞，好像是一个刚刚学会走路的孩童一样。没想到，我竟然把小舟给摇到了藕花的深处。此时，我惊出了一身冷汗，顿时酒也醒了，看到自己身处在藕花的深处，四周都被荷花给笼罩着。我顿时惊慌失措不知如何是好。我拼命的摇着船橹，可这荷花比我人还要高，怎么划也无济于事。我摇橹的声音却惊动了荷叶丛中的一群水鸟，它们扑棱棱地飞起，直上云霄。

如梦令常记溪亭日暮范文第6篇

那是一个天气晴朗的下午，温和的阳光洒在大地上，使人感到十分惬意。我漫步走入“溪亭”，欣赏着湖边美景，心中顿生喜悦的感觉。我又端来一壶美酒，伴着微风，饮了一杯。再看看湖中那些美丽的荷花，如同妙龄少女般的典雅、柔和：

有的“犹抱琵琶半遮面”，半掩着脸，只留给人们一个含苞待放的笑脸；有的依然鼓着苞儿，涨红了脸，似乎正在寻找机会，好好展现一番她那曼妙的身姿；有的已经展开了，似乎说着：快来看，我多漂亮！”如同小孩的笑脸一般可爱、耐人寻味；还有的在风中翩翩起舞，正在展现她的舞姿，多么令人陶醉呀！真所谓“出淤泥而不染”！

看着这一幅美妙的“荷花图”，我不禁连饮几杯，竟忘了自己“一杯就倒”的酒量，顿时感到头晕乎乎的，眼前事物都有“分身术”是的，眼花缭乱。突然见到天色昏暗了，意识到：天色不早，该回家了。可看的湖面的平静与柔和，不禁撑起小船，在湖面游玩。也不知为何，可能是喝醉了的原因，摇橹时向左，它却向右；往右摇，它又向左，仿佛故意在与我作对般。不知不觉中，我竟然将船摇到了荷花池深处，看着这星罗密布的荷花，无奈的摇了摇头，大呼道：“该怎度过该怎度过？”一阵凉风吹来，使我不禁裹紧了衣裳，脑中只有一个念头：快快离开。于是我便使劲摇橹，发出的声音太大，将正在休息的鸥鹭惊了起来，往天空飞去……

如梦令常记溪亭日暮范文第7篇

教学目标：

1、能正确、流利、有感情地朗读课文,背诵课文。

2、通过学习,想象词所描绘的情景,感悟词人的快乐心情及对大自然、美好生活的热爱。

3、初步了解词的有关知识以及学习词的方法。

教学重点:品读字词,想象词境,领悟情感,并能用语言表达出来。

教学难点:

有感情地吟诵词,并能吟出“沉醉”的感觉。

教学过程：

一、话题引入，通读全词。

1、了解诗与词的不同

出示李清照的词，比较诗与词有什么不同？

——诗每行字数一样，词不一样，有长有短。

——读起来的气势不一样。

——题目的不同。（了解词牌名）

2、认识诗人——李清照（课件出示：李清照生平简介）

二、初读体会，把词读“胖”

1、播放音频：听读

2、自己试读，挑生朗读。

3、把词读“胖”

根据课件提示的注释，理解词意，试着用自己的话说一说自己读懂了那句词或哪个字的意思。

自由交流。

三、深读品味，把词读“瘦”

1、我们能不能把这首词读成一个字？看看，这首词是围绕这里边的哪一个字来写的？小声地读一读，品一品。

自由交流。

2、围绕“醉”字美读全词，想象画面。（板书：醉）

——醉态一：醺醺沉醉，忘记了回家：“常记溪亭日暮，沉醉不知归路”。

——醉态二：醺醺沉醉，找不到回家路：“兴尽晚回舟，误入藕花深处”。

（1）你强调了“晚”，为什么强调它？①喝酒喝了很长时间②天色晚，看不清。

（2）你强调了“深处”，说说看！想象一下：①放眼望去，你看到……②深深地嗅一下，你会感觉……

诗人真的是喝醉了，（板书：酒醉）

——醉态三：醺醺沉醉，不找回家路：“争渡争渡，惊起一滩鸥鹭”。

让我们想象一下：

视觉上，那时的天空……荷塘……鸥鹭……（关注色彩：绿叶、红花、白鹭、余霞，落霞与鸥鹭齐飞，荷塘与天空同色，这是一种梦幻的色彩）

听觉上，你的耳边萦绕着……（鸥鹭扑棱声、鸣叫声；水声，惊叫声、划桨声、嘻笑声、歌声、岸边的偷笑声……）

深深地闻一闻，沁入心脾的是……；皮肤上感受到的还有……甚至，还有惊起一滩鸥鹭之后的无限遐想。

哦，诗人在这美景中被陶醉了。（板书：景醉）

（3）当我们的感觉这样流动着，交织着，你的心底，弥漫着一种什么情绪？（欢乐的，轻松的，愉悦的，美好的，沉醉的，梦幻的……）

美酒加美景，给了她美丽的心情，这种心情，让我们读着，看着，也跟着陶醉了。

齐背《如梦令》。（板书：人醉）

3、你听——（《如梦令》歌词）播放蔡琴《如梦令》，尝试跟着唱和。

四、对照比读，延伸课外课件出示李清照的另一首词《如梦令·昨夜雨疏风骤》，比较：这两首词有什么相似的地方？生仔细观察后交流。

这就是《如梦令》这种词牌名的词的特点。字数、句式和韵律都是一样的。这首词咱们以后还有机会细细地品味。

五、课后作业

推荐朗读：李清照的《声声慢》。走进李清照，了解李清照前后期作品的不同。

板书设计如 梦 令

酒醉、景醉、人醉

【《如梦令》教后反思】

在教学《如梦令》一课时，我认真研读了《语文课程标准》中对古诗词的教学建议：“阅读诗歌，大体把握诗意，想象诗歌描述的情景，体会诗歌的情感。受到优秀作品的感染和激励，向往和追求美好的理想。”所以，我用了以下方法：

一、诗与词的对比。在课堂开始，我先让学生了解了诗与词的不同，从而更好的认识词、学习词。

二、朗读全词，读出节奏。诗词具有音律美，读来抑扬顿挫。通过配乐配图范读，再让学生自读、指名读等方式，使学生能读出词的节奏、初步了解词的情感。

三、结合注解理解内容。古诗词的教学，最忌逐句串讲。由于这首词的意思浅白，贴近生活，学生易于理解，再加上学生课前已经预习过，因此，教学时我充分发挥学生的学习主动性，首先让学生在注释的帮助下，把这首词的大概意思读明白；接着全班交流，请学生说说哪些句子的意思，让学生明白我们在不知不觉中读懂了词的内容，而作者却只用33个字就把一次郊游的经历写清楚了，感悟古诗词语言的凝练、含蓄。

四、把握重点品味语言。教学时先让学生自己品读，发现哪个词最能概括表达词的意境，并联系词的内容说出自己的体会。要求学生不仅要感悟哪个词用得好，还要说明为什么好，具体表现在哪里。

如梦令常记溪亭日暮范文第8篇

[b]Nanchang University, Nanchang, China.

*Corresponding author.

Received 29 June 2013; accepted 2 October 2013

Abstract

The rapidly rising cognitive poetics at the late 20th century is the novel interdisciplinary scientific tool between cognitive linguistics and literary criticism to interpret literary works. Figure and background separation principle is one of its main researches. Initially using this principle to study literary works, Stockwell and Tsur focus on the readers’ psychological cognitive mechanisms involved in comprehending literary discourse and conclude that figure and ground segregation principle are the fundamental characteristics of literary stylistic analysis. This paper mainly discusses its realization in Li Qingzhao’s poems and Ci-poems and its effects on formation of artistic conception, in hope of providing a new model for studying Chinese classical poems.

Key words: Figure and ground theory; Cognitive poetics; Realization; Foregrounding

FANG Lijun, GUAN Fenfen (2013). The Realization of Figure and Background in Li Qingzhao’s Poems. La Réalisation de la Figure et Fond dans les Poésies de Li Qingzhao. Cross-Cultural Communication, 9(5), -0 . Available from: http///index.php/ccc/article/view/j.ccc.1923670020130905.2755

DOI: /10.3968/j.ccc.1923670020130905.2755.

INTRODUCTION

Tang and Song poetry, the peak of the development of Chinese ancient poetry, intrigues lots of scholars, researchers and common people. Li Qingzhao’s poems and Ci-poems were notable among her peers and comparable to many of the famous male poets in the Song Dynasty. Her Ci-poems also prevailed in the Ming and Qing dynasties. Li Qingzhao’s poems and Ci-poems are also popular with people even now. Her works have been spread into many countries and translated into many languages. Li Qingzhao’s works are also studied from different aspects at home. Some scholars (e.g., Bingxin, Chu Dagao, Weng Xianliang, Xu Zhongjie, Xu Yuanchong) translate Li Qingzhao’s works into English and stress the characteristics of her Ci-poems.

Most people study Li Qingzhao’s poems and Ci-poems from traditional perspectives, such as literature, history, and aesthetics. However, only few related researches are conducted from cognitive poetics angle, particularly, using the principle of figure and ground, except for Kuang fangtao, Wen Xu, Linagli, Chen Lei, who make research on Tang poetry, and Li Zhengquan, Yang Li, Fu Jianhua, who attempt to study Li Qingzhao’s poetry by way of cognition. In combination with analysis on the structure of literary works and readers’ perception in cognitive poetics, this article tentatively explores the realization of figure and ground in Li Qingzhao’s poetry and Ci-poems, as well as its role in formation of artistic conception.

1. THEORETICAL FOUNDATIONS

As cognitive linguistics branched off general linguistics further and combined with literary criticism, a new branch of language research, cognitive poetics, emerges and comes to become a useful interpretation tool for literary works (Tsur, 1992, 2003; Stockwell, 2002; Gavins & Steen, 2003). Cognitive poetics is an outstanding achievement of interdisciplinary study. The principle of figure-ground segregation is one of its basic cognitive principles. “The notions of figure and ground were introduced by Danish psychologist Edgar Rubin almost a century ago and later integrated into the more comprehensive framework of perceptual organization by the gestalt psychologists” (Ungerer & Schmid, 2001).Rubin was interested in the way that humans direct their attention to stimuli that appear to be more salient than others, and the way that we seem to consider the less salient stimuli to be a kind of background to the outstanding ones. Gestalt psychologists employ it to research perception especially vision and hearing as well as the description way of space organization. Gestalt psychologists think that the perception domain is composed of figure and ground. “Figure” refers to the prominent part of cognitive conception and perception, the function of ground is to stand out the figure. Figure and ground appear in the perception domain at the same time, however they can’t be perceived meanwhile. Rubin’s famous face/vase illusion confirms the perceptual prominence, but face and vase can’t be perceived at one time. When the faces are perceived, the vase acts as the ground to foil the figure, vice versa. This phenomenon is called figure-ground segregation. From linguistics perspective, it is valuable to use the figure-ground relation to account for the expressions of spatial relations in natural language. Based on Tamly’s identification of the definitional and associated characteristics of the figure and the ground, Kuang and Wen (2003) added two associated characteristics: time length and predictability (Ground lasts longer than figure and ground is more predictable than figure). According to these characteristics, we can interpret many figure-ground phenomena in languages.

2. REALIZATION OF FIGURE AND BACKGROUND IN TEMPORAL AND SPATIAL STRUCTURE

All objects described in art works exist in certain time and place. The images expressing poets’ feeling in poetry integrate with time and space to form artistic conception. So it is said that time and space are the original power to intrigue writers’ poetic inspiration. During the period of creation of artistic conception, space-time consciousness plays an active role.

In space perception, we can define eight fundamental spatial locations for a geometric figure: above/over, under/below, before/in (the) front of, after/behind, in/insides, out /outside, besides/nearby/by, attached (上，下，前，后，里，外，边，附着）. According to whether the spatial relations change along with the change of the observer’s vantage point, they are classified into two general types: topological and projective. The figure-ground relation in topological orientation spaces is asymmetrical, that is to say, one of the two objects in topological spaces can only act as a figure, while the other as the ground but not vice versa. We call this absolute segregation. “In/inside, out/outside, attached” belong to topological orientation spaces, the rest belong to projective ones (Kuang & Wen, 2003).

Being observant of objective scenes which are going to be depicted is actually its cognitive process. During observation, various scenes work on poets in different ways, but the switch from these scenes to images cannot be conducted simultaneously and equally. Some salient ones will be perceived as figure, while others may be background.

如梦令

常记溪亭日暮，沉醉不知归路。兴尽晚回舟，

误入藕花深处。争渡，争渡，惊起一滩鸥鹭！

Tune like a Dream

Often times of old

In the Brook Pavilion,

When the sun was late

I drank and lost my way.

When my wild mood was o’er

I homeward turned my boat.

Confused I pushed it on

Through a forest of lotus flowers.

Struggling to go across

I frightened every bird,

Each gull and egret

On the river bank.

(By Bing Xin)

“常记溪亭日暮” the first couplet of this Ci-poem sets its overall background, the pavilion, lotus flower, boat, all bathe in this twilight. At first, the pavilion came into the poet’s vision and became figure, but the figure changes when the poet’s vision changes. I turned my boat through the forest of lotus by chance. Here the figures and backgrounds are movable and interchangeable, from the twilight, to the pavilion, boat, and then lotus flower. The poet and all beings are beset by this overall background. By selecting only a few pieces in life, the salience of figure and background in spatial and temporal structure has been obtained, which depicts out the youth’ good mood when they enjoy the beauty of the nature by fusing the movable scenes with the mood of the poet. The impulse on canoeing in the forest of lotus flower with her, the unpolished beauty of the nature, and the spirit of lingering there came into the readers’ minds vividly.

《凤凰台上忆吹箫・香冷金猊》

香冷金猊，被翻红浪，起来慵自梳头。任宝奁尘满，日上帘钩。生怕离怀别苦，多少事，欲说还休。新来瘦，非干病酒，不是悲秋。休休，这回去也，千万遍阳关，也则难留。念武陵人远，烟锁秦楼。惟有楼前流水，应念我，终日凝眸。凝眸处，从今又添，一段新愁。

Thoughts from the Women’s Quarter to the Tune

“Nostalgia of the Flute on the Phoenix Terrace”

The incense is cold in the gold lion

My quilts are tumbled like red waves

I get up lazily

Not yet myself, I comb my hair

My toilet table is unopened

I leave the curtains down till

The sun shines over the curtain rings

I am afraid of this idleness

Which permits dark sorrow to overcome me

There are so many things I would like to write

But I let them go

I have become thinner this year

Not due to sickness, not to wine

Not to the sorrows of autumn

Finished. Finished

This time he is gone for good

If I sang The Sunlight in the Pass

Ten thousand times

I could not hold him

I think of him far off at Wu-Ling Springs

Alone in my Ch’in pavilion

Locked in by fog

Only the green flowing water

In front of the pavilion

Knows my eyes that stare and stare

Where new layers of sorrows pile up

(by Kenneth Rexroth & Ling Chung)

Dust to the toilet table, flowing water to the pavilion, they are figures and grounds segregation in spatial relation. Just by this contrast, we can understand her laziness to making up for missing her loved. The flowing water reflects her thin figure waiting for her loved and witnesses her infatuation in her eyes. Furthermore, the situation under which the poet suffers from separation from her loved refreshes.

醉花阴

薄雾浓云愁永昼，瑞脑销金兽。佳节又重阳，玉枕纱厨，半夜凉初透。

东篱把酒黄昏后，有暗香盈袖。莫道不消魂，帘卷西风，人比黄花瘦。

Ninth Day, Ninth Month

To the tune-drunk with flower Shadows

Thin fog under thick clouds

Sadness endures through the long day

Auspicious dragon incense

Rises from the gold animal

Again it is the Ninth of the Ninth Month

At midnight my jeweled pillow

And gauze-curtained bed

Were saturated with the chill

Now in the yellow twilight

I drink by the Eastern wall

And a mysterious perfume fills my sleeves

And carries away my soul

The west wind blows the curtains

And I am frailer than the yellow chrysanthemums

(by Kenneth Rexroth & Ling Chung)

“东篱把酒黄昏后”，“帘卷西风”demonstrate the temporal relation of figure and ground, which better the depiction of the poet’s missing and worry for her husband who travel afar but not return. The west wind blows the curtains and I am frailer than the yellow chrysanthemums. The theme of this Ci-poem stands out against this figure and ground segregation, thus creating the artistic conception of “strong miss, deep sorrow”.

3. REALIZATION OF FIGURE AND BACKGROUND BY VIRTUE OF FOREGROUNDING

Stockwell believes that “the obvious correspondence of figure and ground theory is foregrounding in concept of literary criticism. Foregrounding can be implemented in different ways, such as repetition, different naming, new description, original syntax structure, pun, alliteration, rhyme emphasis, metaphor and etc (Stockwell, 2003). Here two major ways of foregrounding introduced in Li Qingzhao’s poems are: repetition and metaphor.

Repetitive words are also a feature of Li Qingzhao’s early Ci poems. Sometimes she uses sentence repetition; sometimes she changes one or two words but the total words number unchanged. For instance, “知否？知否？”of 《如梦令・昨夜雨疏风骤》, the repetition here is the requirement of Tune Like a Dream (《如梦令》) and it’s most difficult to set it in this Ci-poem. Surprisingly, Li Qingzhao uses it very wisely, showing euphemistic blame for the careless maid and the poet’s anxious mood as to cherishing the spring time vividly. “争渡，争渡”（《如梦令・常记溪亭日暮》）“浮槎来，浮槎去”（《行香子・草际鸣蛩》）“阴满中庭，阴满中庭”,“点滴霖霪，点滴霖霪”,“有还秋色，有还寂寞”all have the feature of “neat pattern, fluid mood, and bright rhyme”.

A representative poem using repetition of her Ci-poems is Slow Slow Song (《声声慢》). Seven pairs of repetitive words are employed boldly but successfully at the beginning of the Ci-poem: “寻寻觅觅，冷冷清清，凄凄惨惨戚戚”. There are two rhyme schemes: level(平) and oblique (仄), and ten difficult-articulated dental sound “寻寻”、“清清”、“凄凄”、“惨惨”、“戚戚”. All the characteristics are rather unique even in Song poetry, encompassing and unifying three levels of meanings, among which “寻寻觅觅”aims at expressing human action, demeanor and the poet’s psychological feeling of loneliness and emptiness, in hoping to search for the beauties in her past life but in vain; “冷冷清清”paints desolate environment to salient the coldness in heart; and“凄凄惨惨戚戚”further focuses on deep sorrow in her inner world.

Cognitive linguists claim that the conceptual metaphors we have in our language are based on our bodily and physical experience. “No metaphor can ever be comprehended or even adequately represented independently of its experiential basis” (Lakoff & Johnson, 1980). As we all know, no concept is able to be objectively reflected in our mind. In fact, all concepts are structured on the basis of the experience, and the experience is a product of our body or interactions between us and physical environment or other people within our culture. Richards also emphasizes the functions of human mind in understanding metaphors and thus transfers traditional rhetoric studies on metaphor to the cognitive perspective. And with the research on metaphor into semantic level from linguistic level, the linguists realize the cognitive research value of metaphor. And Lakoff & Johnson found that metaphor as a concept, metaphor means conceptual metaphor; “metaphor is pervasive in everyday life, not just in language but in thought and action” (Lakoff, 1980). Moreover, they regarded metaphor as a basic way of thinking we live by. As a result,“metaphor is not only a matter of language, but also a perceptual and conceptualized tool for people comprehending the world in nature” (Shu, 2000).

The process during which the poet expresses poetic artistic conception is in fact to paint a picture using brief language. At the same time, common natural things or body experience is given deeper meaning. When readers read it repetitively, the previously- existing images will be activated through the poetic lyrics, promoting the formation of figure and ground in his mind so as to the produce endless and stunning images (Ma, 2010).

There are more than 30 images used as metaphors in her poetry according to data analysis: water, wind, letter, hair, mountain, shadow, rain, cloud, sun, moon, night, day, spring, autumn, evening, flower scent, plum, willow, dew, grass, greengage, lotus, geese, gulls, egrets boat, candle, building, grounds, courtyard, contain, letters, jades, wine, and etc.

点绛唇

蹴罢秋干，起来慷整纤纤手。露浓花瘦，薄汗轻衣透。

见客入来，袜（chan）金钗溜。和羞走。倚门回首，却把青梅嗅。

Rouged Lips

The lass gets off the swing, too tired to clean her hands

So fair, she stands

Like slender flower under heavy dew;

With sweat her robe’s wet through.

Seeing a guest come, she feels shy;

Her stockings coming down, away she tries to fly.

Her hairpin drops;

She never stops

But to look back. Leaning against the door,

She pretends to sniff at mume blossoms once more.

(translated by XuYuanchong)

In this Ci-poem, the happiness in her mind is like the greengage, actor but sweet. As a result, the smell and taste of the source domain greengage are mapped on to the target domain love, and it seems that we can smell the poetess’ happiness by the Ci-poem.

“征鸿过尽，万千心事难寄” (Returning swans not heard, clouds break in azure skies) is one couplet of 《念奴娇・春思》. In the classical work, there are allusions for pigeons for family letter, so as pigeons, geese, and other birds are endowed with the function family letters. “雁 (Yan)”, also named “鸿雁 (Hong Yan)”, is a kind of migratory birds. When one dies, the bird alive will never find another spouse. Later it is often connected with loneliness, disappointment and misery in literary composition. Specifically, “雁” can refer to sadness of people away from home and their eagerness to go back home; it symbolizes deep love and letter agents for people. It has appeared eight times in Li Qingzhao’s Ci poems. It is called “雁” five times and “鸿” three times. We can find more examples in her Ci-poems: “雁字回时，月满西楼” (When wild geese come, I’ll wait); “一春鱼雁无消息” (At moonlit bower’s gate); “暮天雁断，楼上远信谁传？” (Nor fish nor swan has brought his news all the spring long).

“梧桐 (Wu Tong)” is another image rich in cultural meanings, thus being given colorful metaphorical meanings, such as noble character, loyal love, and the feeling of lonely sorrow. As early as two thousand years ago, it was connected with the mysterious legendary bird―phoenix. It was said that the tree was the only tree a phoenix would choose to perch on. In the old legend, “梧” was the male and “桐” was the female. There grew and died together. They are tall, straight, and deeply-rooted, which becomes symbol of royal love in poet’s pen. There is a saying that “one leaf falling down announces the coming of autumn”. The sorrow triggered by autumn is often seen in old poetry. The simple two Chinese characters embrace rich meanings. “梧桐应恨夜来霜” (The plane tree should have suffered from the frosty night); “西风催衬梧桐落” (To see the west wind hastens the fall of plane leaves); “梧桐更兼细雨” (On plane’s broad leaves a fine rain drizzles).

CONCLUSION

The figure-ground segregation theory is an interesting topic in cognitive language and has been discussed by many cognitive linguists. The paper intends to interpret Li Qingzhao’s poems and Ci-poems from cognitive linguistics perspective by employing the figure-ground theory. We find that this theory also has explanatory power in Chinese classical poetry. It mainly discusses the realization of figure-ground in temporal, spatial structures and the ways of foregrounding such as repetition and metaphor. This theory offers a good way to interpret Chinese classical poems and Ci-poems, which vice verse can work as its historic study text.

REFERENCES

Kuang, F. T., & Wen, X. (2003). Realization of figure-ground. Journal of Foreign Languages, (4).

Lakoff, G., & Johnson, M. (1980). Metaphors we live by. Chicago: Chicago University Press.

Liang, L., & Chen, R. (2008). Realization of figure-ground in Tang poems and its effect on artistic conception. Journal of Foreign Languages, (4).

Ma, L. D. (2010). A cognitive study of Wang Wei’s pastoral poetry with figure-ground theory. Journal of Hebei Polytechnic University (Social Science Edition).

Rexroth, K., Ling, C., & Li, C. C. (1979). The complete poems. New Directions.

Shu, D. F. (2000). Studies in metaphor. Shanghai Foreign Language Education Press.