关于高中古典诗歌教学以及学生对教材古典诗歌诵读篇目熟悉程度的调查问卷显示，当下高中古典诗歌学习现状普遍存在诗歌鉴赏能力较弱、诗歌储备积累不足和缺乏诗学理论指导等问题，而高中古典诗歌教学现状存在鉴赏撰写能力淡化、诗学理论运用较少、格律教学浮于表面等不足。基于对上述学生学习现状和教师教学现状的反思以及对目前已有古典诗歌教学方法和目标的研究借鉴，以中国古典诗歌格律、多义、境趣三大审美特征和高中古典诗歌教学以学生为主体的基本原则、增加诗歌储备的重要原则、传统文化认同的最终目的为立足点，笔者采用实验研究、问卷研究、个案研究等方法，在以兰色姆“肌质论”和叶燮“原诗”为代表的中西诗学理论的观照下展开高中古典诗歌教学新型模式的探索。 其一，借助兰色姆“肌质论”这一西方诗论，引导学生自主建构文本分析模式，以更为理性的方式触碰文本脉络，重新审视诗作细节，思索文本本身内涵。文中的教学实践是“雪天闲话”，学生面对已经熟知的古典诗歌篇目，在“肌质论”理论指导下深化对诗歌情感和诗歌文本的联系的认识。即明确诗作整体的情感“逻辑结构”之后，不断挖掘文本细枝末节的深意与价值。 其二，清代叶燮“源流”“正变”这一古典诗论，在辨析古典情感层次、建立古典情感逻辑、开展格律教学方面为古典诗歌教学提供灵感。其中，情感层次和情感逻辑都是从诗作内容角度切入来谈“原诗”带给教学的启发，而格律教学则是从诗作形式方面出发的。文中的实践探索涵盖语文教学常见的三大方面：试题讲解类“秋情之辨”，新课分享类“《锦瑟》情感逻辑”和寒假作业类“格律教学”。 中西诗论的借鉴致力于更为直接地解决学习现状中的缺乏诗学理论指导和教学现状中的诗学理论运用较少这两大缺漏。同时，“肌质论”致力于探索解决学生诗歌鉴赏能力较弱和教学淡化鉴赏撰写能力的科学新路径，而“源流”“正变”则侧重在学生诗歌储备量、格律教学浮于表面的相关问题上提出新思路。 文中四次教学实践探索均没有脱离对中国古典诗歌审美特征和高中古典诗歌教学原则、目的的考量。尽管新型教学模式在推广度方面有一定程度的缺陷，但是分级课堂教学和多元考核方式有助于减少推广阻力。

The survey about Chinese classical poetry teaching in high school and students’ familiarity with Chinese classical poetry in textbooks reveals that the students had the problem of weak poetry reserve, and lack of guidance on poetic theory. The questionnaire also reveals the current situation of classical poetry teaching in high school. There are problems such as the weakening of appreciating writing skills, the less use of poetic theories, and the superficiality of metrical teaching. Based on reflections on the above learning status and teaching status and on the study of the existing teaching methods and goals of classic poetry, I used experimental research, questionnaire research, case studies to explore the teaching of classical poetry in high school. There are two bases for exploration. The first is the three aesthetic characteristics of Chinese classic poetry: metrics, multiple connotations, the concept of combining artistic conception and interest. The second is the three pedagogic principles of Chinese classical poetry teaching: the basic principle of students playing the main role, the important principle of increasing the reserve of poetry, and the ultimate purpose of identifying traditional culture. In addition, the teaching attempt is from the perspective of the theory of Chinese and western poetics represented by Ransom’s “Structure-Texture” theory and Ye Xie’s “Yuan Shi” theory. Firstly, “Structure-Texture” theory is a western theory which is used to guide students to construct their own text analysis’s model, touch the textual context in a more rational way, re-examine the details of the poetry, and contemplate the connotation of the text itself. Related teaching practice is “chatting in snowy days”---we share Chinese classical poetry about snow in class. Facing the familiar classical poetry, the students deepen their understanding of the relationship between poetry’s emotions and texts under the guidance of “Structure-Texture” theory. In other words, the students excavate the profound meaning and value of the text details after understanding the logical structure of the poetry’s overall emotion. Secondly, as a classical poetic, “Source and Flow” theory and “Tradition and Change” theory put forward by Ye Xie in the Qing Dynasty provides inspiration for the analysis of the multi-dimensional emotion, the establishment of emotional logic, and the development of metrical teaching in classical poetry teaching. Among them, emotional level and emotional logic both are inspired by “Yuan Shi” from the point of view of poetry content, while the metrical teaching is an inspiration from the poetic form. The related practice covers three common aspects of Chinese teaching. First, explain the exam questions about differentiation of autumn feelings. Second, take the analysis of emotional logic of “The Inlaid Zither” as an example to teach a new lesson. Third, write winter vacation homework with contents of poetry rhythm. The application of Chinese and Western poetry theory is conducive to more directly addressing related issues in the learning status, such as the lack of guidance of poetic theory in the learning process, and the limited application of poetic theory in the teaching process. In the meanwhile, “Structure-Texture” theory helps to find a scientific way to improve students’ poor ability to appreciate poetry and teachers’ less attention to the writing of poetry appreciation. And “Source and Flow” and “Tradition and Change” theory put emphasis on new ideas about the solution to students’ weak poetry reserve and the superficiality of metrical teaching. Four pedagogic practices in the paper all adhere to aesthetic characteristics of Chinese classical poetry and pedagogic principles and purpose of Chinese classical poetry. Although there are shortcomings in the promotion of the new teaching model, hierarchical classroom teaching and multiple assessment methods are beneficial to reducing the obstacles of popularizing innovative teaching pattern.