NEW Top 6 Bài soạn “Nghị luận về một bài thơ, đoạn thơ” lớp 12 hay nhất mới 2021

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Khuyến nghị:

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I. Concepts

1. Essay on poetry (verse, poem):

It is a synthetic use of theoretical manipulations to clarify the ideological content and artistic style of poetry (which has impacted under the writer’s aesthetic feelings, artistic thinking and deep associations).

II. Essay on a poem

1. Topic: Analysis of Ho Chi Minh’s poem “Late scene”

“The sound of the stream is as clear as a distant song

Moon cage ancient tree shadow flower cage

The late night scene is like drawing people who haven’t slept yet

Not sleep, worrying that country”.

a. Learn the topic

Circumstances of the poem’s release:
Time: The early years of the resistance war against the French
Location: Viet Bac War Zone. At this time, President Ho Chi Minh is directly leading our people’s arduous but extremely glorious resistance war against the French.
The ideological and artistic content of the poem
The beauty of the mountains and forests at night in the Viet Bac war zone
The image of the poet and revolutionary soldier Ho Chi Minh (loving nature, deeply worried about the country).
Art: Harmonious beauty between ancient and modern
b. Make an outline:

Introduction: Composing circumstances, thesis, poem quotes
Post body:
Thesis 1: The beautiful scenery of the moonlit night in the Viet Bac war zone
Argument: The first two verses
Beautiful picture
Poetry: Moon, flowers, ancient trees, streams.
Thesis 2: The image of a lyrical character: poet-soldier
Argument: last 2 sentences
Mood: still haven’t slept
Love: love nature, worry about water
Thesis 3: Harmony between ancient and modern beauty
Classical: quartet poetic form, descriptive writing style, natural images
Modern: The lyrical character is not a recluse, but a soldier (the main inspiration is patriotism).
Thesis 4: Evaluate the ideological and artistic content of the poem
Affirmation of the poem
My own feelings about Uncle.


The object of the essay on poetry is very diverse (a poem, a verse, a poetic image…). With this type of song, it is necessary to learn the words, images, sounds, rhythms, structures, etc. of that poem or verse.
Articles usually include the following:
Introduction to the poem and the poem
Discussing the content and artistic values ​​of poems and passages
General evaluation of poems and passages.


Analyze the following verse in Huy Can’s Trang Giang:

Layers of high clouds extruding silver mountains

Little winged bird: dusk shadow

The heart of the countryside is wonderful with the country

No smoke sunset also homesick.


New poetry appeared as a sad and emotional choir, but the most “imaginary” is the soul of Huy Can’s poetry. Commenting on this man’s poetry, Xuan Dieu wrote: “In Vietnamese poetry, a sad enemy voice is heard. Not a flute, not a love song, not a lyrical story about an “I”, but a long mournful version: is it the dull sound of bamboo groves and reeds; is the lament of riverbanks, sandy beaches; Is the moon alone feeling sorry for the stars?… Poetry Huy Can? Who reminds me of the rough things of thousands of generations, who touches the layer of sorrow at the bottom of the human soul, the eternal words that are whispered in the heart of all things, who narrates but is so heartbroken?”

There is no need for the sacred volume, even the poem Trang Giang alone is enough to create the soul of a “virtual brain” poem – Huy Can. And this is the most profound and earnest stanza in the sad school of Trang Giang:

Layers of high clouds extruding silver mountains

Little winged bird in the evening shadow

The country’s heart flutters with the water

No smoke in the sunset is also homesick

Layers of layers of clouds make up the mountain of clouds

If in the first three stanzas, the poet’s sad mood – “generational sadness, sadness that can’t find a way out, so it seems to continue forever” (Huy Can) of the poet spreads along the immensity and indeterminacy of the river. water, then by the last stanza, that mood has been raised to height, spreading in the twilight space of the late afternoon:

Layers of high clouds extruding silver mountains

Birds tilting the little scene in the evening shadow

“Nature, a sad creature but sometimes reveals a wonderful and strange beauty”, is the author’s self-commentation about these two verses. Indeed, nothing is more joyful and exciting than the dawn, but nothing is as sad as the end of the day, when the “shadows fall”. But at that time, in Huy Can’s poetry, the place “Trang Giang” shone with magnificent beauty with “layers” of clouds forming a giant “cloud mountain” illuminated by the sun’s rays into “silver mountain”. It is a real scene, but the palace is a wonderfully beautiful artistic image. To write the image of “silver mountain”, the poet must have a very keen sense of beauty, and it must be a poetic soul that loves the homeland and the country. That image of “silver mountain” is more vivid and majestic through the verb “extrusion”: “The white clouds layer after layer after layer like white cotton buds blooming in the sky, the afternoon light before it fades out and shines brightly. beautiful” (Huy Can). The poet confided: He learned the word “extrusion” in the translation of Do Phu’s poem:

The back of the sky ripples in the deep river bed

The ground is cloudy and the gate is far away

We see during the journey of Trang Giang, the image of a lonely poet in each scene changes but the same appearance: floating, hazy, lost, unknown: a dry branch of firewood floating on the waves (Firewood). a dry branch lost a few lines), a bunch of green water hyacinth floating on the river (Where is the row after row) … And to the last stanza of the poet’s image, the poet’s sadness is faintly hidden in an image. lonely, lost again, a very poor image. It was a small bird, a bird carrying a heavy load of evening shadows, tilting its wings to try to fly towards the distant horizon.

In both ancient and modern poetry, just portraying the image of a lonely bird has evoked something lonely and sinful, evoked the sadness and emptiness in the soul, let alone in poetry. Huy Can, it is again a bird “slanting its wings” and carrying heavy “afternoon shadows” that fade away in contrast to the majestic image of “silver mountains” in the vast sky and water. That contrast makes the scene “Trang Giang” already immense, far away even wider, more remote, and the already sad “Trang Giang” even sadder. Listen to more of the author’s comments:

“The flying bird, although it evokes a bit of warmth for the scene, is too vague and the sadness here is even more intense in the nostalgia. It is not framed in the river landscape in front of it, but opens up to the horizon of the distant countryside.”

The image of a bird flying in the sunset is a conventional and symbolic image in ancient poetry. That space, that bird wing used to be the place where ancient poets dropped their earnest feelings and soaked spoons into it. And perhaps it will still be a place for eternal poets to send their deepest feelings. In that line of thought, once again, the lonely, lonely, and lost bird in Trang Giang “tilts its wings” in Trang Giang reminds us of the mind, the lonely and empty sadness of a distant traveler. The countryside is lonely dropping soul fragments along the “tired bird’s wings” trying to fly to the distant horizon to find a place to stop:

“Thousands of morning winds blow tired birds”

(Mrs. Huyen Thanh Quan)

That is the harmony and sympathy between the modern and the ancient in Huy Can’s poetry. That bird wing, that “afternoon shadow” besides Huy Can is hard to find in the new Poetry village. And just like Hoai Thanh commented: “In the new literature, Huy Can did a daring thing: to find the old scene, where so many people were bogged down – I mean falling into the cliché. He told me the sadness of the narrow shop, the high pass, the sadness of the long river and the wide sky, the sadness of the traveler…”

The first two lines of the last stanza are very good. If the verse “layers of high clouds extruding silver mountains” evokes the height and floating of the sky and clouds, the next verse is like the image of “afternoon shadow”. The word “sa” is very nice. Perhaps that evening shadow is carrying the poet’s nostalgic feelings, so the word “sa” is there, not “far”, because if it is “the shadow of the distant afternoon”, the poet’s sadness is simply It’s just a sad sadness in front of the scenery at the time of change, not the “generational sadness, the sadness that can’t find a way out, so it seems to be a constant extension” of the poet. The lonely mood and the “sorrow of the world” seem to be frozen and unable to be released in the space of that “afternoon shadow”, and it is also deeply reflected in the image of the poet standing alone in the middle of the universe. immensity, quietly feeling the eternity, the infinity, the infinity of space in contrast to the finite human life:

The country’s heart flutters with the water

No smoke in the sunset is also homesick

During the journey of “Trang Giang”, we always encounter slang words: “message”, “parallel”, “dull”, “class”… like a sad song with intense tones, and The ending note is “ripple”, it evokes all kinds of waves: water waves, heart waves. “Riggy” describes the poet’s awe at the immense sky and water in the moment of sunset associated with the love of homeland and homeland:

Stop, stop, sky, mountains, water

A piece of me with my own situation

(Passing Ngang Pass – Ba Huyen Thanh Quan)


Homeland in the shadow of the sunset

On the river smoke waves to sad anyone

(Hoang Hac Lau – Translated by Tan Da)

Evoking from those four poems of Thoi Hieu, two lines of Tang poetry:

The country’s heart flutters with the water

No smoke in the sunset is also homesick

Also the “country love” picture of Huy Can. But this is a more passionate, deeper and stronger country love, because that “country love” is expressed in a poem that is both ancient and modern: ancient in the old scene: smoke and waves, in the structure of Tang poetry; modern in the opposite way of saying Cui Hieu – a new and unique innovation of a poetic soul full of “romantic”. In the past, standing on the Hoang Hac floor, Thoi Hieu saw the smoke and waves covered in the river, but the love of his hometown sobbed. But now Huy Can does not need the blur of smoke and waves affecting vision, perception, nor the cold that penetrates the skin – no need for things that are inherently sad (smoke waves) to affect, but “love” hometown” Huy Can still surges:

No smoke in the sunset is also homesick

It is clear that Huy Can’s sentiment is deeper and more intense, it is always in the soul and is always ready to radiate and permeate everything. Huy Can once confided: the “remembering” here is not simply the memory of the city. Ha Tinh – the place where each other’s navel is buried, but “missing home” should be understood in a broad sense as missing the homeland and the country of Vietnam. He also said: When the Nazis invaded France and occupied Paris, the poet Aragon felt lost in my own hometown. Up to now, in the face of the miserable, miserable people, living a life of slavery under the domination of the French colonialists, poet Huy Can has that lost soul. Therefore, Huy Can said: “At that time, I was sadder than Cui Hieu in the Tang Dynasty”. Poet Huy Can’s love for his hometown and country is really deep.

The stanza has ended about the four poems, but the deep, sad, sad country love seems to extend, echoing forever with the “floating like waves of Trang Giang water” tone of the last two verses.

This is a very beautiful stanza: it is a beautiful combination of traditional poetry – the ancient features of Tang poetry with modern features; or in the cosmic emotion expressed in the majestic, poetic natural beauty but imbued with the poet’s sadness – “sadness in mountains, sadness for the fatherland” (Huy Can). Sorrow originates from the mind to the outside, and from the outside back to the heart – quietly but profoundly and intensely:

A little soul

Bringing ancient sorrow

I miss the wide sky and miss the long river. The inspiration of that foreword is spread in the first three stanzas, then gathers and crystallizes in the last stanza – the stanza can be considered as a wonderful quatrain, expressing the most authentic and profound expression. the author’s hometown love. And in the situation that the country was trampled by the invaders, the more deeply he loved his homeland, the more “brave” and “sad” the poet became.

Someone has said: True poetry lifts people’s hearts, evokes the most beautiful things hidden in the depths of the soul to reach the noble. Trang Giang, especially the last stanza, has really aroused in the hearts of readers a sacred and noble love – love for the country.

Nguồn tổng hợp

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