传诵和传颂有什么区别啊?用法有什么不同?

脍炙人口:原来比喻美味人人爱吃,后来比喻美好的诗文人人称赞传颂.

是
脍炙人口

用来形容情景——已经看不到成功的希望打算放弃时,又忽然发现眼前的事情有了转机.

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！

这句诗,是出自屈原的《九歌·湘夫人》中的一句.
为何会成为千古名句,且看最后三个字“木叶下”.在此处,“木叶”指的就是树叶,而后来诗人常引用,或化用之.有如李白的“天秋木叶下,月冷莎鸡鸣”,又如王安石“冉冉木叶下,萧萧山水秋”,皆是引用.化用中,也出现了千古名句,如同杜甫的“无边落木萧萧下,不尽长江滚滚来”,此处“落木下”也是和“木叶下”一样的.
结论：为何能成为千古传颂的名句.那是因为它是值得借鉴的,无论是古人,还是现在.而且说明,屈原的诗词歌赋对后人的影响还是极深远的.

劝君更尽一杯酒,西出阳关无故人.
山回路转不见君,雪上空留马行处.
海内存知己,天涯若比邻.

1.诗人不以成败论英雄 2.他认为英雄的成功总存在一些机遇 3诗人感叹自己如果有机遇也能成功,含蓄的表达了自己的感慨抑郁和忧愤
满意请采纳

谁言寸草心,报得三春辉.

D

(A喧—暄；B励—厉；C青一轻)

老骥伏枥 志在千里

娌￠棶棰?鎴戣繖灏卞幓缁欎綘鎵炬潵!鍏ㄩ儴鏄?粡鍏镐腑鐨勭粡鍏告垨鑰呮槸缁忓吀鍚嶈憲涓?渶缁忓吀鐨勭墖娈?互璇佃?,互閾?.
NO.1 Youth
Youth is not a time of life; it is a state of mind; it is not a matter of rosy cheeks,red lips and supple knees; it is a matter of the will,a quality of the imagination,a vigor of the emotions; it is the freshness of the deep springs of life.
Youth means a temperamental predominance of courage over timidity,of the appetite for adventure over the love of ease.This often exists in a man of 60 more than a boy of 20.Nobody grows old merely by a number of years.We grow old by deserting our ideals.
Years may wrinkle the skin,but to give up enthusiasm wrinkles the soul.Worry,fear,self-distrust bows the heart and turns the spirit back to dust.
Whether 60 or 16,there is in every human being鈥檚 heart the lure of wonders,the unfailing appetite for what鈥檚 next and the joy of the game of living.In the center of your heart and my heart,there is a wireless station; so long as it receives messages of beauty,hope,courage and power from man and from the infinite,so long as you are young.
When your aerials are down,and your spirit is covered with snows of cynicism and the ice of pessimism,then you鈥檝e grown old,even at 20; but as long as your aerials are up,to catch waves of optimism,there鈥檚 hope you may die young at 80.
NO.2 Three Days to See(Excerpts)
Three Days to See
All of us have read thrilling stories in which the hero had only a limited and specified time to live.Sometimes it was as long as a year,sometimes as short as 24 hours.But always we were interested in discovering just how the doomed hero chose to spend his last days or his last hours.I speak,of course,of free men who have a choice,not condemned criminals whose sphere of activities is strictly delimited.
Such stories set us thinking,wondering what we should do under similar circumstances.What events,what experiences,what associations should we crowd into those last hours as mortal beings,what regrets?
Sometimes I have thought it would be an excellent rule to live each day as if we should die tomorrow.Such an attitude would emphasize sharply the values of life.We should live each day with gentleness,vigor and a keenness of appreciation which are often lost when time stretches before us in the constant panorama of more days and months and years to come.There are those,of course,who would adopt the Epicurean motto of 鈥淓at,drink,and be merry鈥?But most people would be chastened by the certainty of impending death.
In stories the doomed hero is usually saved at the last minute by some stroke of fortune,but almost always his sense of values is changed.He becomes more appreciative of the meaning of life and its permanent spiritual values.It has often been noted that those who live,or have lived,in the shadow of death bring a mellow sweetness to everything they do.
Most of us,however,take life for granted.We know that one day we must die,but usually we picture that day as far in the future.When we are in buoyant health,death is all but unimaginable.We seldom think of it.The days stretch out in an endless vista.So we go about our petty tasks,hardly aware of our listless attitude toward life.
The same lethargy,I am afraid,characterizes the use of all our faculties and senses.Only the deaf appreciate hearing,only the blind realize the manifold blessings that lie in sight.Particularly does this observation apply to those who have lost sight and hearing in adult life.But those who have never suffered impairment of sight or hearing seldom make the fullest use of these blessed faculties.Their eyes and ears take in all sights and sounds hazily,without concentration and with little appreciation.It is the same old story of not being grateful for what we have until we lose it,of not being conscious of health until we are ill.
I have often thought it would be a blessing if each human being were stricken blind and deaf for a few days at some time during his early adult life.Darkness would make him more appreciative of sight; silence would teach him the joys of sound.
NO.3
What I Have Lived For
Three passions,simple but overwhelmingly strong,have governed my life:the longing for love,the search for knowledge,and unbearable pity for the suffering of mankind.These passions,like great winds,have blown me hither and thither,in a wayward course,over a deep ocean of anguish,reaching to the very verge of despair.
I have sought love,first,because it brings ecstasy---ecstasy so great that I would often have sacrificed all the rest of my life for a few hours for this joy.I have sought it,next,because it relieves loneliness---that terrible loneliness in which one shivering consciousness looks over the rim of the world into the cold unfathomable lifeless abyss.I have sought it,finally,because in the union of love I have seen,in a mystic miniature,the prefiguring vision of the heaven that saints and poets have imagined.This is what I sought,and though it might seem too good for human life,this is what---at last---I have found.
With equal passion I have sought knowledge.I have wished to understand the hearts of men.I have wished to know why the stars shine.And I have tried to apprehend the Pythagorean power by which number holds sway above the flux.A little of this,but not much,I have achieved.
Love and knowledge,so far as they were possible,led upward toward the heavens.But always it brought me back to earth.Echoes of cries of pain reverberate in my heart.Children in famine,victims tortured by oppressors,helpless old people a hated burden to their sons,and the whole world of loneliness,poverty,and pain make a mockery of what human life should be.I long to alleviate the evil,but I cannot,and I too suffer.
This has been my life.I have found it worth living,and would gladly live it again if the chance were offered me.
NO.4
When Love Beckons You
When love beckons to you,follow him,though his ways are hard and steep.And when his wings enfold you,yield to him,though the sword hidden among his pinions may wound you.And when he speaks to you,believe in him,though his voice may shatter your dreams as the north wind lays waste the garden.
For even as love crowns you so shall he crucify you.Even as he is for your growth so is he for your pruning.Even as he ascends to your height and caresses your tenderest branches that quiver in the sun,so shall he descend to our roots and shake them in their clinging to the earth.
But if,in your fear,you would seek only love鈥檚 peace and love鈥檚 pleasure,then it is better for you that you cover your nakedness and pass out of love鈥檚 threshing-floor,into the seasonless world where you shall laugh,but not all of your laughter,and weep,but not all of your tears.Love gives naught but it self and takes naught but from itself.Love possesses not,nor would it be possessed,for love is sufficient unto love.
Love has no other desire but to fulfill itself.But if you love and must have desires,let these be your desires:
To melt and be like a running brook that sings its melody to the night.
To know the pain of too much tenderness.
To be wounded by your own understanding of love;
And to bleed willingly and joyfully.
To wake at dawn with a winged heart and give thanks for another day of loving;
To rest at the noon hour and meditate love鈥檚 ecstasy;
To return home at eventide with gratitude;
And then to sleep with a payer for the beloved in your heart and a song of praise upon your lips.
杩欎簺閮芥槸濂芥枃绔犲櫌.浼犺?鍗冨彜绠椾笉涓?鑴嶇倷浜哄彛鍚?甯屾湜浣犱細鍠滄?.

少壮不努力,老大徒伤悲.
珍惜时光及时努力,不要虚度光阴

《竹石》一诗中当今广为传诵的句子是（千磨万击还坚劲,任尔东西南北风 .）
这是一首寓意深刻的题画诗.表现了诗人自己不怕任何打击的硬骨头精神.

（1）一、二句中的“落更开”和“燕飞来”写出了春景怎样的特点?
春光没有尽逝,生机犹存.
（2）诗的三、四两句意蕴深刻,为历代传诵.请对这两句诗作赏析.
子规不停地啼叫,不信唤不回已渐渐消逝的春光.诗人借此表达顽强进取、执著追求美好未来的坚定信念和乐观精神.

C

【网上找不到原文】
传诵远迩,咸谓地灵人杰之相符信不谬矣
===
【远近都在传说,都说这个地方人杰地灵,果然不错啊!】
士之应祥而起,殆将联翩【很少有这样的古文用法呢!】而多焉!
===
【大家都应和着吉兆揭竿而起,几乎能将所有的都能联合起来,人又岂能不多呢!】

A、春风又绿江南岸.（视觉） B、两个黄鹂鸣翠柳.（听觉）
C、踏花归去马蹄香.（嗅觉） D、一枝红杏出墙来.（视觉）

被那女士的执着、坚持以及女士对丈夫的爱

龚自珍的.我劝天公重抖数,不拘一格降人才

【没找到原文】
【传诵远迩,咸谓地灵人杰之相符信不谬矣】
===
【远近都在传说,都说这个地方人杰地灵,果然不错啊!】

名句： 白水暮东流,青山犹哭声. 存者且偷生,死者长已矣! 夜久语声绝, 如闻泣幽咽. 连云列战格,飞鸟不能逾. 兔丝附蓬麻, 引蔓故不长. 宿鸟恋本枝, 安辞且穷栖. 老妻卧路啼, 岁暮衣裳单. 积尸草木腥, 流血川原丹.

辄,在这里是立即,就的意思.夸,在这里是夸耀的意思.

不识庐山真面目
只缘身在此山中

习题
1.怎样理解“汝记吾言,三十年后,世上人更不道著我也!” 2.每一篇到,欧阳公为终日喜,前后类如此.感受到欧阳修什么的品格 3.这篇文段表现了苏东坡诗文的成就,在写法上有什么特点 4.用/标出下面句子朗读时的停顿处 落 笔 辄 为 人 所 传 诵 5.类（ ） 是（ ） 夸（ ） 6.从“每一篇到,欧阳公为终日喜,前后此类推”这句话中,你感受到了什么?
习题答案
1、这句话的意思是：你记住我这句话,30年后,世上的人们更不会谈及我!说的是欧阳修感叹苏东坡后生可畏,已经赶超过做为前辈的自己,人们已经将目光与焦点从老一辈人聚焦到了新一代后辈的身上.表现出欧阳修善于奖掖人才、提拔后辈的开阔胸襟.2、因看到别人诗文成就高而感到高兴,表现出欧阳修关心后辈人才,心胸开阔的品格.3、在写法上采用侧面反衬的手法表现苏东坡的诗文成就.作者没有正面说苏东坡诗文如何如何,而是通过欧阳修的预言,崇宁、大观年间士大夫争诵苏东坡诗文禁而不止的事实来反衬.4、落 笔 / 辄 为 人 所 传 诵 类（ 大抵,大致） 是（ 这） 夸（ 炫耀,夸耀） 6.感受到了欧阳公谦虚的心理.

互文的修辞.
好就好在花落去,燕归来,意象的选取,及互文修辞的运用.

因看到别人诗文成就高而感到高兴,表现了欧阳修关心后备人才广阔的胸襟.

传诵一时：诵:称诵、传述.在某一个时期内,人们到处传述.
争相传诵

　　百尺竿头,更进一步. 化用古诗文
　　笔落惊风雨,诗成泣鬼神. 杜甫
　　不是东风压倒西风,就是西风压倒东风.
　　不飞则已,一飞冲天;不鸣则已,一鸣惊人.
　　不患寡而患不均,不患贫而患不安.
　　不到长城非好汉,屈指行程二万.
　　不塞不流,不止不行.
　　不识庐山真面目,只缘身在此山中. 苏轼
　　不积跬步无以至千里,不积小流无以成江海. 荀子
　　曾经沧海难为水,除却巫山不是云. 元稹
　　蝉噪林逾静,鸟鸣山更幽. 王绩
　　长风破浪会有时,直挂云帆济沧海. 李白
　　臣心一片磁铁石,不指南方不肯休.文天祥
　　沉舟侧畔千帆过,病树前头万木春. 刘禹锡
　　城中桃李愁风雨,春在溪头荠菜花. 辛弃疾
　　出淤泥而不染,濯清涟而不妖.
　　春色满园关不住,一枝红杏出墙来. 叶绍翁
　　春蚕到死丝方尽,蜡炬成灰泪始干. 李商隐
　　从善如登,从恶如崩.
　　等闲识得东风面,万紫千红总是春. 朱熹
　　东边日出西边雨,道是无晴却有晴. 刘禹锡
　　独在异乡为异客,每逢佳节倍思亲. 王维
　　读书百遍,其意自见.
　　度尽劫波兄弟在,相逢一笑泯恩仇. 鲁迅
　　凡事预则立,不预则废.
　　非学无以广才,非志无以成学. 诸葛亮
　　粉身碎骨浑不怕,要留清白在人间. 于谦
　　风萧萧兮易水寒,壮士一去兮不复还.
　　夫水所以载舟,夫所以覆舟.
　　夫文章乃经国之大业,不朽之盛事,安可草率乎? 曹丕
　　富贵不能淫,贫贱不能移,威武不能屈. 顾炎武
　　凫胫虽短,续之则忧;鹤胫虽长,断之则悲.
　　工预善其事,必先利其器.
　　公则生明,廉则生威.
　　苟余心之端直兮,虽僻远其何伤.
　　故书不厌百回读,熟读深思子自知. 苏轼
　　海内存知己,天涯若比邻. 王勃
　　海上升明月,天涯共此时. 张九龄
　　海阔凭鱼跃,天空任鸟飞. 化用古诗文
　　何当共剪西窗烛,却话巴山夜雨时. 夜雨寄北. 李商隐.
　　红军不怕远征难,万水千山只等闲.
　　黄沙百战穿金甲,不破楼兰终不还. 王昌龄 从军行选二
　　会当凌绝顶,一览众山小. 杜甫 望岳
　　横眉冷对千夫指,俯首甘为孺子牛. 鲁迅
　　华而不实,怨之所聚也.
　　忽如一夜春风来,千树万树梨花开. 岑参
　　黄河之水天上来,奔流到海不复回. 将进酒（李白）.
　　回狂谰于既倒,支大厦于将倾. 苏轼
　　祸兮福之所倚,福兮祸之所伏. 老子
　　己所不欲,勿施于人.
　　寄意寒星荃不察,我以我血荐轩辕. 鲁迅
　　机关算尽太聪明,反误了卿卿性命.
　　积土成山,风雨兴焉;积水成渊,蛟龙生焉;
　　积善成德,而神明自得,圣心备焉. 荀子 劝学
　　及时当勉励,岁月不待人.
　　既来之,则安之.
　　即以其人之道,还治其人之身. 朱熹
　　兼听则明,偏信则暗.
　　见贤者思齐焉,见不贤而内省自也.
　　江山代有人才出,各领风骚数百年. 赵翼
　　羌笛何须怨杨柳,春风不度玉门关. 王之涣的《凉州词》
　　近水楼台先得月,向阳花木早逢春. 苏麟
　　尽信书,不如无书.
　　精诚所至,金石为开.
　　君子坦荡荡,小人长戚戚.
　　任选其三即可

木秀于林,风必摧之.——《运命论》
从别后,忆相逢,几回魂梦与君同,今宵剩把银釭照,犹恐相逢是梦中.——晏几道《鹧鸪天》

“随风潜入夜,润物细无声”已成历代传诵的名句,常用来比喻无微不至的关爱和和风细雨般的教诲


发生：催发植物生长,萌发生长.
潜：暗暗地,静悄悄地.
润：使植物受到雨水的滋养.
俱：全,都.

东坡诗文,落笔辄为人所传诵.每一篇到,欧阳公为终日喜,前后类如此.一日与棐论文及坡,公叹曰：“汝记吾言,三十年后,世上人更不道著我也!”崇宁、大观间,海外诗盛行,后生不复有言欧公者.是时朝廷虽尝禁止,赏钱增至八十...

脍炙人口,家喻户晓

　　虽然主人自私地紧闭园门,好像要把春色关在园内独赏,但“春色满园关不住,一枝红杏出墙来”.这后两句诗形象鲜明,构思奇特,“春色”和“红杏”都被拟人化,不仅景中含情,而且景中寓理,能引起读者许多联想,受到哲理的启示：“春色”是关锁不住的,“红杏”必然要“出墙来”宣告春天的来临.同样,一切新生的美好的事物也是封锁不住、禁锢不了的,它必能冲破任何束缚,蓬勃发展.因游赏受阻而扫兴又得兴,这应该看作是一种精神奇遇.此诗就是记录这种精神奇遇的,它是一首无法成游、却胜于成游的别具一格的记游诗.首句又作“应嫌屐齿印苍苔”,我却嫌这“嫌”字不好,它似乎在表现园主人闭门谢客、远离尘嚣的清高,但清高得有点做作.倒是“怜”字有情致,高齿的木板鞋（屐,音jī）不避苔滑路僻,去探访春天消息,其锲而不舍的精神是值得怜惜、同情,尽管它吃了“闭门羹,轻拍木编门扇（柴扉,音fēi）而久久不见打开.“嫌”是从推测园主人感情的角度落笔,“怜”则是从探访春色者的 游兴的角度落笔,后者更贴合“游园不值”、无缘进门的诗题.无缘 进得园门,游赏的愿望受阻,未免有点扫兴.但扫兴之余惊喜地发现奇遇、奇兴,由一枝红杏出墙,想象着墙内满园春色灿烂夺目,这就把“屐齿游园”转化为“精神游园”了.失望后的意外精神补偿,弥足珍贵.春色在这么一“关”一“出”之间,冲破围墙,溢出园外,显示出一种蓬蓬勃勃、关锁不住的生命力度.到底自然界比园主人更能体贴游人的情趣,这就不仅是游人怜屐,而且春色派遣红杏使者也 来怜屐了.从某些语句上看,此诗点化了陆游的《马上作》一诗：“平桥小陌雨初收,淡日穿云翠霭浮.杨柳不遮春色断,一枝红杏出墙头.”不过陆游此作未免平展,有点马上观花,不及叶绍翁之作那么精神专注,在深挚的精神体验和心理波折中,迸发出春光难锁、喜从天降的生命力度,以及情趣盎然的精神哲学的启悟了.可见名家之诗不一定都能省心地成为名作,非名家一旦对生命与诗进行精诚开发,也可能出现奇迹.
　　名句赏析
　　“春色满园关不住,一枝红杏出墙来.” 诗以“游园不值”为题,本是说自己游园的目的没有达到.可是诗人却由此生发感想.他想,这可能是因为主人怕踩坏园中的青苔,怕破坏了园中的美景,因此才不让自己进来的缘故罢.短短两句,写出了诗人的善解人意,也写出了他那一片怜春惜春的情怀!但这首诗更为脍炙人口的还是后两句.柴门虽然不开,满园春色却难以关住,你看一枝红杏探出墙头,不正在向人们炫耀着春天的美丽吗?“关不住”、“出墙来”,简单的几个字,写出的并不仅仅是园中美丽的春色,还写出了春天的勃勃生机,写出了一片春意盎然.尽管主人没有访到,但作者的心灵已经被这动人的早春景色完全占满了!　　1.突然,有惊喜之情.　　2.包含哲理：某种生机活力不可限制；“见微知著”.

留传千古或脍炙人口······

　　这是一首题在湖阴先生壁上的诗.湖阴先生,即杨德逢,自号湖阴先生,住在南京钟山,与王安石既是好友,又是邻居.这首诗,显然是王安石住钟山时写的.
　　前两句写杨家庭院之景,上句写庭院的洁净,下句写庭院的秀美.后两句写杨家周围的自然环境.本诗描写湖阴先生庭院和环境之美,也赞扬了湖阴先生爱勤劳、爱洁净、爱花木和热爱自然山水的良好品性和高尚的情趣.
　　本诗的特点是熔写景写人于一炉.全诗写景,前两句是庭院之景,干净无苔是由于主人的“长扫”,“花木成畦”是由于主人的“自栽”,写景又写人.后面句写自然环境之美,水“将绿绕”,山“送青来”,山水本是无情之物,可诗人说水"护田",山"送青",水对田有一种护措之情,山对人有一种友爱之情,这就使本来没有生命的山水具有了人的情思,显得柔婉可爱,生动活泼.本来水是环绕着绿色的农作物,但诗人没说具体的植物,而是用植物的色彩来代替,说"将绿绕",环绕着绿意；青色,也是虚的,是没法送的,诗人却说山要"送青来",这就化实为虚,诗意盎然.事实是湖阴先生的房屋与山距离很近,主人开了门,就会看见青苍的山峰.可如果写成开门见青山,那就全无诗味了,诗人换了个说法,从对面落笔,让山做了主语,化静为动,顿成佳句,人的寄情山水的性情也体现其中,也表现了主人爱好山水的情趣.描写景物亦以表现人,写景见人,人熔景中,表现了客观景物的美,又写出了人的美,真是一箭双雕.
　　其次运用映衬和拟人手法.如果说庭院的美是人工创造的美,那么环境的美是天然施设的美.两者互相映衬,组成了一幅内与外、人造与天然美结合的完美的境界.特别是后面一联,把册水拟人化,青山为主人送来秀丽的风光,居然闯门而入,把主人对自然景物的爱和自然景物对主人的爱融和一起,生动地表现了主人爱美的情趣,因而成了传诵的名句.

　　首先是他诗歌写得好,境界开阔,写景波澜壮阔,写人情透彻圆融；
　　其次,苏轼是个全才,诗、文、词、书、画样样精通,诗歌“风格多样,而以豪放为主,笔力纵横,穷极变幻”,被认为是李杜后的一集大成者；文是“唐宋八大家”之一,能与欧阳修并称“欧苏”；词可以与辛弃疾并称“苏辛”,书法造诣可比黄庭坚,与黄庭坚并称“苏黄”；画作方面,擅长画墨竹,米芾对他有极高的赞誉!
　　还有个更重要的原因：他的诗歌所表现的人生态度能引起各不同生活经历生活阶层的人的共鸣——很好的结合了文人品性和世俗的性情.苏轼文才极高,却不像李白那样孤高傲世,出生于世家大族,所以不像杜甫那样过于沉郁,无论为官的还是清高的玩文字的文艺家,都能在他的诗词中看见自己的影子产生共鸣而不抵触；他才华横溢,却又仕途坎坷,大起大落饱尝人世冷暖,不得志于时,然而却保持着乐观、旷达的胸襟,令人起钦佩.可以参照他的这首《定风波》：
　　定风波
　　苏 轼
　　三月七日沙湖道中遇雨.雨具先去,同行皆狼狈,余独不觉.已而遂晴,故作此.
　　莫听穿林打叶声,何妨吟啸且徐行.竹杖芒鞋轻胜马,谁怕,一蓑烟雨任平生.
　　料峭春风吹酒醒,微冷,山头斜照却相迎.回首向来萧瑟处,归去,也无风雨也无晴.

爷爷,我是随便写了两句——少壮不努力,老大徒伤悲黑发不知勤学早,白首方悔读书迟它也没有规定内容啊

醉翁之意不在酒

林语堂《苏东坡传》

春色满园关不住,一枝红杏出墙来x0d诗以“游园不值”为题,本是说自己游园的目的没有达到.可是诗人却由此生发感想.他想,这可能是因为主人怕踩坏园中的青苔,怕破坏了园中的美景,因此才不让自己进来的缘故罢.短短两句,写出了诗人的善解人意,也写出了他那一片怜春惜春的情怀!但这首诗更为脍炙人口的还是后两句.柴门虽然不开,满园春色却难以关住,你看一枝红杏探出墙头,不正在向人们炫耀着春天的美丽吗?“关不住”、“出墙来”,简单的几个字,写出的并不仅仅是园中美丽的春色,还写出了春天的勃勃生机,写出了一片春意盎然.尽管主人没有访到,但作者的心灵已经被这动人的早春景色完全占满了!.

百川东到海,何时复西归?少壮不努力,老大徒伤悲. 本是同根生, 相煎何太急. 敕勒川,阴山下. 天似穹庐,笼盖四野. 天苍苍,野茫茫. 风吹草低见牛羊. 鹅,鹅,鹅,曲项向天歌.白毛浮绿水,红掌拨清波. 儿童相见不相识,笑问客从何处来. 不知细叶谁裁出,二月春风似剪刀 羌笛何须怨杨柳,春风不度玉门关. 白日依山尽,黄河入海流. 欲穷千里目,更上一层楼. 春眠不觉晓,处处闻啼鸟. 夜来风雨声,花落知多少? 醉卧沙场君莫笑,古来征战几人回? 秦时明月汉时关,万里长征人未还. 但使龙城飞将在,不教胡马度阴山. 洛阳亲友如相问,一片冰心在玉壶. 空山不见人, 但闻人语响. 返景入深林,复照青苔上. 劝君更尽一杯酒,西出阳关无故人. 独在异乡为异客,每逢佳节倍思亲. 遥知兄弟登高处,遍插茱萸少一人. 莫愁前路无知己,天下谁人不识君? 床前明月光,疑是地上霜. 举头望明月,低头思故乡. 小时不识月, 呼作白玉盘. 飞流直下三千尺,疑是银河落九天. 桃花潭水深千尺,不及汪伦送我情. 众鸟高飞尽,孤云独去闲. 相看两不厌,只有敬亭山. 孤帆远影碧空尽,唯见长江天际流. 朝辞白帝彩云间,千里江陵一日还. 两岸猿声啼不住,轻舟已过万重山. 两岸青山相对出,孤帆一片日边来. 两个黄鹂鸣翠柳,一行白鹭上青天. 好雨知时节,当春乃发生. 随风潜入夜,润物细无声. 千山鸟飞绝,万径人踪灭. 孤舟蓑笠翁,独钓寒江雪. 月落乌啼霜满天,江枫渔火对愁眠. 姑苏城外寒山寺,夜半钟声到客船. 慈母手中线,游子身上衣.临行密密缝,意恐迟迟归. 谁言寸草心,报得三春晖. 东边日出西边雨,道是无晴却有晴. 旧时王谢堂前燕,飞入寻常百姓家. 遥望洞庭山水色,白银盘里一青螺. 离离原上草,一岁一枯荣. 野火烧不尽,春风吹又生. 日出江花红胜火,春来江水绿如蓝. 锄禾日当午,汗滴禾下土. 谁知盘中餐,粒粒皆辛苦. 停车坐爱枫林晚,霜叶红于二月花. 清明时节雨纷纷,路上行人欲断魂. 借问酒家何处有,牧童遥指杏花村. 夕阳无限好,只是近黄昏. 千门万户曈曈日,总把新桃换旧符. 春风又绿江南岸,明月何时照我还? 墙角数枝梅,凌寒独自开. 遥知不是雪,为有暗香来. 欲把西湖比西子,淡妆浓抹总相宜. 不识庐山真面目,只缘身在此山中. 生当作人杰,死亦为鬼雄. 至今思项羽,不肯过江东. 王师北定中原日,家祭无忘告乃翁. 遗民泪尽胡尘里,南望王师又一年. 接天莲叶无穷碧,映日荷花别样红. 小荷才露尖尖角,早有蜻蜓立上头. 等闲识得东风面,万紫千红总是春. 春色满园关不住,一枝红杏出墙来. 不要人夸好颜色,只留清气满乾坤. 粉骨碎身全（浑）不怕,要留清白在人间 千磨万击还坚劲, 任尔东西南北风. 我劝天公重抖擞,不拘一格降人才.

好在这两句诗是全诗的主旨,是作者对即将分别的友人的劝慰：知心朋友,情深意重,即使远在天涯,也好象是近在咫尺.它既表现了作者和友人之间的深厚友情,又体现了作者的宽阔胸襟.它一洗诗中那种黯然伤感的离别情调,以其积极、健康的感情和旷达的胸怀给人以安慰和鼓舞,所以成为千古名句.

①视觉　
②听觉　
③嗅觉　
④视觉　
⑤听觉　
⑥味觉

对家乡的思念之情

东坡写的诗词,每一下笔（写成）就被人们传诵.每次有一篇（东坡的）文章送来,欧阳（修）一整天都为此高兴,前后（没看明白这2字）就像这样.一天与棐（某?）谈论文章 涉及到东坡,欧阳修感叹到：你记住我这句话,30年后,世上的人们更不会谈及我!崇宁、大观年间,海外的诗很流行,年轻的没有再谈论欧阳修的了.这时候 朝廷即使曾经禁止（海外诗）,赏赐的钱增加到80W,但是禁得更严密 传送更多,经常凭借（海外诗）多相互夸赞.士大夫（名词不用翻译）不能诵读东坡的诗,就自己觉得神气委靡,但有的人却说东坡的诗没韵律.
尚未修改的,自己修改一下.

忽如一夜春风来,千树万树梨花开”
-- 唐·岑参《白雪歌》
通过春天里千树万树盛开的梨花这一形象,描写了塞外雪后的壮观景象,把萧条悲凉的塞外场景,转变为春天般的美景,极富诗情画意.

因为一般诗歌结尾都是用来抒情,表达诗人思想感情的,或者作出评论的.
比较典型的有咏物诗,借景抒情的诗,都是前两句写物,后两句作出评论或抒情,所以比较精华的部分就在三四句

视，听，嗅，视

山随平野尽,江入大荒流.