春節(jié)的詩(shī)精選(九篇)
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第1篇：春節(jié)的詩(shī)范文
據(jù)說(shuō)貼春聯(lián)的習(xí)俗，大約始于一千多年前的后蜀時(shí)期，這是有史為證的。此外根據(jù)《玉燭寶典》，《燕京歲時(shí)記》等著作記載，春聯(lián)的原始形式就是人們所說(shuō)的“桃符”。
在 中國(guó)古代神話中，相傳有一個(gè)鬼域的世界，當(dāng)中有座山，山上有一棵覆蓋三千里的大桃樹(shù)，樹(shù)梢上有一只金雞。每當(dāng)清晨金雞長(zhǎng)鳴的時(shí)候，夜晚出去游蕩的鬼魂必趕 回鬼域。鬼域的大門坐落在桃樹(shù)的東北，門邊站著兩個(gè)神人，名叫神荼、郁壘。如果鬼魂在夜間干了傷天害理的事情，神荼、郁壘就會(huì)立即發(fā)現(xiàn)并將它捉住，用芒葦 做的繩子把它捆起來(lái)，送去喂虎。因而天下的鬼都畏懼神荼、郁壘。于是民間就用桃木刻成他們的模樣，放在自家門口，以避邪防害。后來(lái)，人們干脆在桃木板上刻 上神荼、郁壘的名字，認(rèn)為這樣做同樣可以鎮(zhèn)邪去惡。這種桃木板后來(lái)就被叫做“桃符”。
到了宋代，人們便開(kāi)始在桃木板上寫對(duì)聯(lián)，一則不失桃 木鎮(zhèn)邪的意義，二則表達(dá)自己美好心愿，三則裝飾門戶，以求美觀。又在象征喜氣吉祥的紅紙上寫對(duì)聯(lián)，新春之際貼在門窗兩邊，用以表達(dá)人們祈求來(lái)年福運(yùn)的美好 心愿。為了祈求一家的福壽康寧，一些地方的人們還保留著貼門神的習(xí)慣。據(jù)說(shuō)，大門上貼上兩位門神，一切妖魔鬼怪都會(huì)望而生畏。在民間，門神是正氣和武力的 象征，古人認(rèn)為，相貌出奇的人往往具有神奇的稟性和不凡的本領(lǐng)。他們心地正直善良，捉鬼擒魔是他們的天性和責(zé)任，人們所仰慕的捉鬼天師鐘馗，即是此種奇形 怪相。所以民間的門神永遠(yuǎn)都怒目圓睜，相貌猙獰，手里拿著各種傳統(tǒng)的武器，隨時(shí)準(zhǔn)備同敢于上門來(lái)的鬼魅戰(zhàn)斗。由于我國(guó)民居的大門，通常都是兩扇對(duì)開(kāi)，所以 門神總是成雙成對(duì)。
唐朝以后，除了以往的神荼、郁壘二將以外，人們又把秦叔寶和尉遲恭兩位唐代武將當(dāng)作門神。相傳，唐太宗生病，聽(tīng)見(jiàn)門 外鬼魅呼號(hào)，徹夜不得安寧。于是他讓這兩位將軍手持武器立于門旁鎮(zhèn)守，第二天夜里就再也沒(méi)有鬼魅搔擾了。其后，唐太宗讓人把這兩位將軍的形象畫下來(lái)貼在門 上，這一習(xí)俗開(kāi)始在民間廣為流傳
春節(jié)的傳說(shuō)之二：萬(wàn)年創(chuàng)建歷法說(shuō)
相傳，在古時(shí)候，有個(gè)名叫萬(wàn)年的青年，看到當(dāng)時(shí)節(jié)令很亂，就有了想把節(jié)令定準(zhǔn)的打算。但是苦于找不到計(jì)算時(shí)間的方法，一天，他上山砍柴累了，坐在樹(shù)陰下休息，樹(shù)影的移動(dòng)啟發(fā)了他，他設(shè)計(jì)了一個(gè)測(cè)日影計(jì)天時(shí)的晷儀，測(cè)定一天的時(shí)間，后來(lái)，山崖上的滴泉啟發(fā)了他的靈感，他又動(dòng)手做了一個(gè)五層漏壺，來(lái)計(jì)算時(shí)間。天長(zhǎng)日久，他發(fā)現(xiàn)每隔三百六十多天，四季就輪回一次，天時(shí)的長(zhǎng)短就重復(fù)一遍。當(dāng)時(shí)的國(guó)君叫祖乙，也常為天氣風(fēng)云的不測(cè)感到苦惱。萬(wàn)年知道后，就帶著日晷和漏壺去見(jiàn)皇上，對(duì)祖乙講清了日月運(yùn)行的道理。祖乙聽(tīng)后龍顏大悅，感到有道理。于是把萬(wàn)年留下，在天壇前修建日月閣，筑起日晷臺(tái)和漏壺亭。并希望能測(cè)準(zhǔn)日月規(guī)律，推算出準(zhǔn)確的晨夕時(shí)間，創(chuàng)建歷法，為天下的黎民百姓造福。
有一次，祖乙去了解萬(wàn)年測(cè)試歷法的進(jìn)展情況。當(dāng)他登上日月壇時(shí)，看見(jiàn)天壇邊的石壁上刻著一首詩(shī)：
日出日落三百六，周而復(fù)始從頭來(lái)。
草木枯榮分四時(shí)，一歲月有十二圓。
知道萬(wàn)年創(chuàng)建歷法已成，親自登上日月閣看望萬(wàn)年。萬(wàn)年指著天象，對(duì)祖乙說(shuō)：“現(xiàn)在正是十二個(gè)月滿，舊歲已完，新春復(fù)始，祈請(qǐng)國(guó)君定個(gè)節(jié)吧”。祖乙說(shuō)：“春為歲首，就叫春節(jié)吧”。據(jù)說(shuō)這就是春節(jié)的來(lái)歷。冬去春來(lái)，年復(fù)一年，萬(wàn)年經(jīng)過(guò)長(zhǎng)期觀察，精心推算，制定出了準(zhǔn)確的太陽(yáng)歷，當(dāng)他把太陽(yáng)歷呈奉給繼任的國(guó)君時(shí)，已是滿面銀須。國(guó)君深為感動(dòng)，為紀(jì)念萬(wàn)年的功績(jī)，便將太陽(yáng)歷命名為“萬(wàn)年歷”，封萬(wàn)年為日月壽星。以后，人們?cè)谶^(guò)年時(shí)掛上壽星圖，據(jù)說(shuō)就是為了紀(jì)念德高望重的萬(wàn)年。春節(jié)拜年短信,猴年春節(jié)拜年短信
春節(jié)的傳說(shuō)之三：熬年守歲
第2篇：春節(jié)的詩(shī)范文
因?yàn)閷?shí)習(xí)的原因，今年春節(jié)只能請(qǐng)到5天的假期，不夠回家，就窩在學(xué)校湊合過(guò)這個(gè)春節(jié)。第一次感覺(jué)到權(quán)利被剝奪的無(wú)奈，就當(dāng)是告別學(xué)生生涯的里程碑吧。
昨晚跟公安局的師兄玩到3點(diǎn)才回到宿舍，今早7點(diǎn)起床趕車，到現(xiàn)在還是頭暈暈，不知道是因?yàn)樽蛲砗鹊木凭诿曰笪业囊庾R(shí)，還是連續(xù)奮戰(zhàn)的疲勞在折磨我的眼皮……
昨晚是公安局民警親屬慰問(wèn)宴，我這個(gè)小角色當(dāng)然也要跟過(guò)去混飯吃。最開(kāi)心的就是見(jiàn)到幾個(gè)家屬的小孩，實(shí)在是太可愛(ài)了，真想在他們臉上掐幾把，不過(guò)，還是yy算了，老實(shí)一點(diǎn)……
最痛苦的時(shí)候來(lái)了——幾個(gè)領(lǐng)導(dǎo)拿著盛了六分之一紅酒的杯子，一桌一桌過(guò)來(lái)敬酒，他們泯一小口，我們可得喝光，害的我這個(gè)一杯倒的最后到廁所把胃里的東西都還給這個(gè)酒店了。
師兄們玩的都很開(kāi)心，我傷心……不過(guò)還好第二part是去唱k，終于輪到我的最愛(ài)，搶了話筒馬上開(kāi)唱（其實(shí)是為了避免喝酒），好好表現(xiàn)一下我的娛樂(lè)才能給領(lǐng)導(dǎo)知道，以后說(shuō)不定會(huì)以藝術(shù)特長(zhǎng)給我來(lái)個(gè)特招，嘿嘿……最重要的，還是要在在場(chǎng)的靚女們面前好好表現(xiàn)一下唱功，爭(zhēng)取機(jī)會(huì)
風(fēng)從昨晚開(kāi)始越刮越大……
回到熟悉的學(xué)校，該走的都走光了，冷冷清清的校道上只我一個(gè)。無(wú)情的寒風(fēng)，也仿佛要將我擊倒……一路小跑回宿舍，終于感覺(jué)到溫暖了，兩個(gè)禽獸還在睡覺(jué)，真想踹上幾腳。
有同伴，不用說(shuō)話……
打電話回家，媽跟我說(shuō)家里的情況，有點(diǎn)擔(dān)憂，又開(kāi)始責(zé)怪自己的無(wú)能為力。
是不是，有很多的無(wú)奈，等著我們?nèi)ッ鎸?duì)，去感受？
沒(méi)能和家里人一起過(guò)年，這感覺(jué)真是糟糕……
啊目那頓牛肉火鍋看來(lái)是吃不到了，其他人記得幫我吃回來(lái)啊！
第3篇：春節(jié)的詩(shī)范文
It was a snowy day in the November of 1982, and Huang’s boss had just instructed him to organize a TV gala for the upcoming Spring Festival, a task that would make or break his career. It was just a few years after the end of the Cultural Revolution, and the growing popularity of televisions, along with a sharp public hunger for entertainment―which had been left languishing through the last decade―meant that Huang was on the brink of either a monumental breakthrough or a humiliating failure. Thankfully, Huang wouldn’t have to completely invent the wheel. Back in 1956, China’s Central News Documentary Film Studio had forged a rough blueprint with their film“Grand Get-together at Spring Festival,” which celebrated the year’s end with a motley group of entertainers, literary figures, military officials, businessmen and scientists.
This provided a template for later shows to follow, but it was not until China emerged from the televisual doldrums of the Cultural Revolution that a similar format saw the light of day. The 1978 broadcast of CCTV’s “Gala to Welcome the New Year” marked the beginning of the show’s modern evolution. While it pioneered the integration of old and new forms of entertainment―storytelling, crosstalk, Peking Opera, singing and dancing―the show only reached a limited audience due to the paucity of television sets in Chinese homes at the time.
It wasn’t until the following year, when Deng Xiaoping’s Reform and Opening Up led to an explosion in the number of television sets, that the gala grabbed hold of national consciousness. Most recall the 1979 broadcast as their first experience watching the gala, which from then on would become a yearly tradition.
Videotaped in advance, the event made bold leaps that would become entrenched in subsequent years; there was, for instance, the monumental decision to open the show with a dance routine rather than a series of turgid political slogans. It also defined what would become the nature of the gala by bringing the audience closer to the stage, creating an intimacy as if they were taking part in a tea party.
But despite these improvements, the first few shows, which were all prerecorded and broadcast nationwide on New Year’s Eve, largely failed to impress. Too staid, the audience said; too much politicking, they complained.
This was the history that was hanging over Huang’s head as he organized a flurry of meetings with TV executives in an attempt to bring the 1983 show to life. During one such meeting, a coworker proposed inviting the TV audience to participate by phoning in requests for their favorite songs. By degrees, this innovative notion of interaction was expanded, leading to the landmark decision to broadcast the whole show live.
This meant a whole new level of excitement―and danger. Anything could happen on a live broadcast, and if it wasn’t to the liking of the audience (or, more importantly, the authorities), there would be no do-overs.
“There were political risks one took to host a gala,” Huang later said in an interview with Tencent News. “Each time I made decisions it was like crossing a river by feeling the stones.” One of the controversial decisions he made was to appoint crosstalk actors as the gala hosts. Though it may seem an innocuous move now, in the aftermath of the Cultural Revolution, entertainment was still expected to be instructive rather than―well, entertaining. The worry was the crosstalk actors would be too vulgar for China’s still fragile sense of decency. But Huang knew a live show would require hosts who could think on their feet and enliven the atmosphere with improvised jokes and asides, a skill that crosstalk actors have in spades.
Yet even the best laid plans have a tendency to go awry. As soon as the show opened, the hotlines were inundated with requests for the song “Love for My Hometown” (《鄉(xiāng)戀》Xi`ngli3n), which had previously been banned for containing “personal sentiments” that were thought to be too decadent for the society of the time. The studio executives chewed their thumbs and ignored the requests. But the audience kept calling, eventually forcing the then-Minister of Broadcasts, Radio and Television, who was in charge of the evening, to throw out the rulebook and broadcast the banned song.
The chaos in the studio stood in marked contrast to the eerie quiet that had settled on the winter streets outside. “Before the show started, firecrackers could be heard exploding everywhere in the city, but they gradually subsided and did not start up again until the end of the show,” Huang recalled in an interview with Beijing Times.“It felt as if every family was riveted to the TV, watching the gala.”
Fast forward to the present and the gala has installed itself as a holiday fixture in Chinese homes, alongside other traditions like reunion dinners and playing with fireworks. “As big a country as China is, it suddenly feels remarkably small when Spring Festival arrives, as if every family is watching the same channel at the same time,” says Afra, a Beijing-based reporter with Singapore’s The United Morning Post.
“the Waterloo epiSode”
over the last nearly 30 years, CCTV claims the gala has consistently drawn the most viewers of any show broadcast at home or abroad on the Chinese New Year’s Eve. It is a remarkable feat, and Huang attained near-hero status in China for his initial success. But in 1985 the ambitious director overreached to catastrophic effect. In attempting to host the gala in an outdoor stadium, Huang overlooked the limited resources he had at his disposal. It was a disaster. Audience members could barely make out the faces of the performers and the subtitles were out of sync. Even before the show had finished, furious audience members were dialing CCTV to criticize the station. The discontent grew to such an extent that the then-Vice Minister of Broadcasts, Radio and TV was greeted the next morning by everyone he met with the same question “What the hell kind of gala did you just hold?”
In the following week, sacks of complaint letters landed on CCTV’s doorstep, and the incident was branded “The Waterloo Episode” in a caustic comparison with Napoleon’s epic defeat of the English navy. The brouhaha culminated in CCTV taking the unprecedented step of issuing an official apology on its daily news broadcast, and the authorities launching an investigation into the causes of the failure.
a Stage For oVernight SucceSS
the gala also retains an established reputation for catapulting unknown performers from obscurity to super stardom almost overnight. Before the 1987 gala, Taiwan-born singer Kris Phillips (費(fèi)翔F-I Xi1ng) was a nobody, his unsold albums lining the back shelves of record stores across the country. Yet his rendition of the song “A Torch of Fire in Winter” (《冬天里的一把火》D4ngti`n L@ de Y# B2 Hu6) during that year’s gala instantly transformed him into a household name. The song’s chorus, “You’re just like a torch of fire in winter, whose flames warm my heart”(你就像那冬天里的一把火，熊熊火光溫暖了我N@ ji&xi3ng n3 d4ngti`n l@ de y# b2 hu6, xi5ngxi5ng hu6gu`ng w8nnu2nle w6) caught the public’s imagination and drove
Phillip’s album to sell 1.6 million copies. The song was so popular that a bemused Phillips was even blamed for a wildfire that caught in the forests of northeast China shortly after that year’s Spring Festival.
The example of Phillips and others like him inspired a train of wannabe stars to journey to Beijing and petition for a place on the show. Zhao Benshan (趙本山), renowned as the “King of Skit,” is now a gala fixture, having appeared on every show bar one since his debut in 1990. The dongbei native and his dark blue Maoist-era suit(中山裝 zh4ngsh`nzhu`ng) instantly won over nationwide audiences with skits taking off rural customs and speech, and punchlines that became public catchphrases overnight.
But it took a degree of perseverance for Zhao to get his start on the show. At his first attempt in 1987, Zhao was encouraged by crosstalk actor and 1983 gala host Jiang Kun to set out for Beijing on a mission to transform his local notoriety into national fame. His suitcase was loaded with videotapes of his performances, as well as a canny secret weapon―10 bottles of Maotai Chinese liquor, with which he intended to bribe gala directors for his shot at fame. But the rustic Zhao didn’t even make it past the front door, let alone get a chance to ply decision-makers with expensive bottles of liquor. Frustrated, he spent the remainder of his time in the capital cooped up in a hotel, polishing off one bottle of Maotai a day. When the last drop was finished, he returned home, but still managed to get his troupe to reimburse him by claiming he had dished out all the bottles as bribes. How’s that for chutzpah? It was a humbling experience, and a far cry from Zhao’s current position as one of the show’s major draws.
Yang Xue, a 26-year-old woman from Jilin Province, recalls that her family used to eat dumplings around midnight on New Year’s Eve in keeping with tradition in northern China. But in recent years, they’ve polished off the dumplings ahead of time to ensure they’re ready for Zhao’s skit, which usually takes place just before midnight at the end of the four-hour show.
Yang’s family is by no means unique in having centuries-old traditions altered by the advent of the gala. Mr. Zhu, a Shanghai native in his fifties, recalls that his pre-TV New Year’s Eve ritual involved offering sacrifices to the ancestors and performing a kowtow ceremony, before gathering the whole family for a reunion dinner. After the meal, the younger kids would spend most of the night outside lighting firecrackers and playing with peers (though hopefully not at the same time), while their elder siblings helped parents prepare more food: steaming buns and rice cakes, stir-frying peanuts, sunflower seeds and pine nuts, as well as making meat balls and dumplings.
Yet even Zhu reserves his nostalgia for the days when neighbors would sit together to watch the gala on a black and white TV set. “There were few choices of TV channels and programs in the 1980s. Unlike today’s pop stars who frequently hold individual concerts, the gala was a once-a-year opportunity for us to see a whole range of stars all at the same time.”
a Summary oF the year
The gala strives not only to showcase the talent of the moment, but also to serve up lighthearted references to the key events of the preceding year. In 1998, the blockbuster movie “Titanic” wowed audiences at Chinese movie theaters, capturing the heart of millions at a stroke and prompting a curious piece of stagecraft from the directors of the 1999 gala. In the skit “The Experienced Takes the Lead” (《老將出馬》L2oji3ng Ch$m2), Chinese actors re-enacted the classic scene in which Rose stretches out her arms and falls back into Jack’s embrace. However, in a playful attempt to introduce some Chinese characteristics to the scene, the directors replaced the iconic ship’s deck with a large orange tractor.
The parody of “Titanic” is just one instance of the gala playing out sketches that parallel current cultural phenomena. In 1999, the huge popularity of the TV drama “Princess Huanzhu” (《還珠格格》Hu1nzh$ G9ge)―a comedy about an unruly adopted daughter of Qing Dynasty(1616-1911) Emperor Qianlong―earned the female lead “Little Swallow” (小燕子xi2oy3nzi) a role as one of the gala hosts, while another actress in the drama also appeared on stage in a sketch.
diminiShing popularity
While the gala focuses on light pop culture, a show rarely unfolds without at least a passing nod toward important political and social events. In 2009, the directors were faced with a particularly sticky conundrum, as the previous year had proved a momentous one in good ways and bad, encompassing the tragic Sichuan Earthquake, the Beijing Olympic Games and the successful launch of the Shenzhou 7 Manned Space Mission, not to mention the onset of the global financial crisis. This smorgasbord of key events provided rich source material for the writers and choreographers, and the show featured appearances from astronauts, Olympic champions and “Cola Boy,” made famous by asking for a cold bottle of Coke the moment he was rescued after being buried in debris for 80 hours following the Wenchuan quake.
But the format drew sharp criticism from some corners for leaning too heavily toward a political agenda. The complaints brought into relief an ongoing argument over the true popularity of the gala, especially with younger generations. A well-known joke illustrates the debate: a Chinese guy registers an account on a matchmaker website in search of a marriage partner. One day, he is surprised to find that all the girls who have shown interest have deleted him from their friend lists. He inspects his profile carefully and finds out that someone has secretly logged into his account and changed his “hobbies”to include “watching the CCTV Spring Festival gala and walking with caged birds” (a common hobby among old Chinese men).
Xiao Shufeng, a woman in her thirties from Shandong Province, hasn’t watched the gala for three years. “Boring,” is her immediate response when asked for her opinion on the show. “Every year it’s the same old faces. The skits are stale and superficial, always following an inflexible model of trying to be amusing while sprinkling in sentimental elements. I felt like I was watching a CCTV News broadcast instead of an entertainment program,” she said.
However, some of those who agree with Xiao still can’t tear themselves away. “Though the gala is boring, I’ll still watch it,” writes one blogger, “otherwise I’d be hopelessly ‘out’ the next day when everyone starts criticizing it on the internet.”
Even creator Huang Yihe has conceded that the proliferation of Chinese entertainment shows has chipped away at the gala’s reputation, with many younger viewers now having more fun criticizing it online than actually watching the performance.
Conversely, overseas Chinese represent an increasingly loyal audience. For Mr. Guan, who emigrated from China to the US city of Philadelphia, the show’s appeal lies in its evocation of his hometown, family and traditional Spring Festival celebrations. “It doesn’t matter whether the gala itself is engaging,”Guan says. “What matters is that the whole family sits around the dinner table and enjoys the rare occasion of a reunion with the TV on.”
pretender to the throne
第4篇：春節(jié)的詩(shī)范文
仲春初四日，春*正中分。綠野徘徊月，晴天斷續(xù)云。
燕飛猶個(gè)個(gè)，花落已紛紛。思婦高樓晚，歌聲不可聞。
2、《詠廿四氣詩(shī)·春分二月中》唐代：元稹
二氣莫交爭(zhēng)，春分雨處行。雨來(lái)看電影，云過(guò)聽(tīng)雷聲。
山色連天碧，林花向日明。梁間玄鳥(niǎo)語(yǔ)，欲似解人情。
3、《癸丑春分后雪》宋代：蘇軾
雪入春分省見(jiàn)稀，半開(kāi)桃李不勝威。應(yīng)慚落地梅花識(shí)，卻作漫天柳絮飛。
不分東君專節(jié)物，故將新巧發(fā)陰機(jī)。従今造物尤難料，更暖須留御臘衣。
4、《春分后一日雪》宋代：韓淲
尚覺(jué)梅花發(fā)，元知柳絮飛。舞回風(fēng)蕩激，灑急雨霏微。
解凍群芳盛，馀寒百卉稀。小窗還附火，買酒典春衣。
5、《春分與諸公同宴呈陸三十四郎中》唐代：武元衡
南國(guó)宴佳賓，交情老倍親。月慚紅燭淚，花笑白頭人。
寶瑟常馀怨，瓊枝不讓春。更聞歌子夜，桃李艷妝新。
6、《二月二十七日社兼春分端居有懷簡(jiǎn)所思者》唐代：權(quán)德輿
清晝開(kāi)簾坐，風(fēng)光處處生。看花詩(shī)思發(fā)，對(duì)酒客愁輕。
社日雙飛燕，春分百囀鶯。所思終不見(jiàn)，還是一含情。
7、《中和后一日吳門阻雪距春分才三日》宋代：曹彥約
梅容慘不競(jìng)，烏語(yǔ)噤無(wú)聲。二月朔已告，三日春當(dāng)分。
第5篇：春節(jié)的詩(shī)范文
春天是詩(shī)的季節(jié)，你瞧，她已經(jīng)悄悄地來(lái)到了我的身旁。紅紅的太陽(yáng)出來(lái)了，路邊的小草更顯得生機(jī)勃勃。它們不再是干枯的土黃色，而是漸漸地變成了幽幽的綠色。馬路也不再是冰冷的了，而是開(kāi)始漸漸地變溫暖了詩(shī)的季節(jié)是多么美呀！綠總是在人們不經(jīng)意間悄悄爬上枝頭與樹(shù)梢，冬天樹(shù)葉落沒(méi)了的枝頭又迎來(lái)了一樹(shù)新的綠葉，似乎比上一年春天的還要綠，還要美。遠(yuǎn)望，樹(shù)葉那完美無(wú)缺的形狀似乎是那么不可思議；近看，那一條條細(xì)細(xì)、精致的精絡(luò)是那么巧奪天工，這精致細(xì)膩的紋理呵！都是詩(shī)的季節(jié)那詩(shī)的魔法變出的罷？那么細(xì)致入微的，細(xì)小的……
詩(shī)的季節(jié)啊，歡樂(lè)與抒情同在呵！當(dāng)我看見(jiàn)那滿地的紅黃紫白的小花朵，那滿枝頭的碧葉嫩芽，我的心一下子就被吸引與陶醉了，我是多么希望融入其中！
詩(shī)的季節(jié)，春！詩(shī)的季節(jié)，生機(jī)勃勃的季節(jié)！
詩(shī)的季節(jié)是溫暖的，是美好的，是歡樂(lè)的，是抒情的！
杭州市蕭山區(qū)勁松小學(xué)六年級(jí)：張佳怡
第6篇：春節(jié)的詩(shī)范文
一個(gè)天使攔住他倆，為難的說(shuō)：對(duì)不起，現(xiàn)在天堂只剩下一個(gè)名額，你們兩個(gè)中必須有一個(gè)去地獄。
主人一聽(tīng)，連忙問(wèn)：我的狗又不知道什么是天堂什么是地獄，能不能讓我來(lái)決定誰(shuí)能去天堂呢？
天使鄙視地看了這個(gè)主人一眼，皺起了眉頭，她想了想，說(shuō)：很抱歉先生，每一個(gè)靈魂都是平等的，你們要通過(guò)比賽決定由誰(shuí)上天堂。主人失望的問(wèn)：哦，什么比賽呢？
天使說(shuō)：這個(gè)比賽很簡(jiǎn)單，就是賽跑，從這里跑到天堂的大門，誰(shuí)先達(dá)到目的地，誰(shuí)就可以上天堂。不過(guò)你也別擔(dān)心，因?yàn)槟阋呀?jīng)死了，所以不再是瞎子，而且靈魂的速度跟肉體無(wú)關(guān)，越單純善良的人越快。主人想了想，同意了。
天使讓主人和狗準(zhǔn)備好，就宣布賽跑開(kāi)始。她滿心以為主人為了進(jìn)天堂，會(huì)拚命往前奔，誰(shuí)知道主人一點(diǎn)也不忙，慢吞吞地往前走著。更令天使吃驚的是，那條導(dǎo)盲犬也沒(méi)有奔跑，它配合著主人的步調(diào)在旁邊慢慢的跟著，一步都不肯離開(kāi)主人。天使恍然大悟：原來(lái)，多年來(lái)這條導(dǎo)盲犬已經(jīng)養(yǎng)成了習(xí)慣，永遠(yuǎn)跟著主人行動(dòng)，在主人的前方守護(hù)著他。可惡的主人，正是利用了這一點(diǎn)，才胸有成竹，穩(wěn)操勝券，他只要在天堂門口叫他的狗停下，就能輕輕松松贏得比賽。
天使看著這條忠心耿耿的狗，心里很難過(guò)，她大聲對(duì)狗說(shuō)：你已經(jīng)為主人獻(xiàn)出了生命，現(xiàn)在，你這個(gè)主人不再是瞎子，你也不用領(lǐng)著他走路了，你快跑進(jìn)天堂吧！
可是，無(wú)論主人還是他的狗，都像是沒(méi)有聽(tīng)到天使的話一樣仍然慢吞吞地向前走，好像在街上散步似的。
果然，離終點(diǎn)還有幾步的時(shí)候，主人發(fā)出一聲口令，狗聽(tīng)話地坐下了，天使用鄙視的眼神看著主人。
這時(shí)主人笑了，他扭過(guò)頭對(duì)天使說(shuō)：我終于把我的狗送到天堂了，我最擔(dān)心的就是它根本不想上天堂，只想跟我在一起……所以我才想幫它決定，請(qǐng)你照顧好它。
天使愣住了。
主人留戀地看著自己的狗，又說(shuō)：能夠用比賽的方式?jīng)Q定真是太好了，只要我再讓它往前走幾步，它就可以上天堂了。不過(guò)它陪伴了我那么多年，這是我第一次可以用自己的眼睛看著它，所以我忍不住想要慢慢的走，多看它一會(huì)兒。如果可以的話，我真希望永遠(yuǎn)看著它走下去。不過(guò)天堂到了，那才是它應(yīng)該去的地方，請(qǐng)你照顧好它。
說(shuō)完這些話，注入人向狗發(fā)出了前進(jìn)的命令，就在狗到達(dá)終點(diǎn)的一剎那，主人像一片羽毛似的落向了地獄的方向。他的狗見(jiàn)了，急忙掉轉(zhuǎn)頭，追隨著主人狂奔。滿心懊悔的天使張開(kāi)翅膀追過(guò)去，想要抓住導(dǎo)盲犬，不過(guò)那是世界上最純潔善良的靈魂，速度遠(yuǎn)比天堂所有的天使都快。
第7篇：春節(jié)的詩(shī)范文
新年好!
我們?cè)诮?jīng)歷了xx年的輝煌之后，又度過(guò)了xx不平凡的春秋。過(guò)去的一年，旅游市場(chǎng)跌蕩起伏，給我們企業(yè)的、經(jīng)營(yíng)帶來(lái)很大的變數(shù)。我們攜手并肩，互相激勵(lì)，共同努力，終于取得不俗的成果。我們?cè)卩嵵菪碌墓荆{(lán)圖繪就、開(kāi)始盈利。愿意和企業(yè)一起奮斗、成長(zhǎng)的各位同仁，將在一個(gè)新的平臺(tái)上繼續(xù)創(chuàng)業(yè)的征程。
各位同仁：我們迎來(lái)了企業(yè)騰飛的曙光。事實(shí)證明，我們已經(jīng)有能力實(shí)現(xiàn)我們多年的愿望 建設(shè)一個(gè)現(xiàn)代化的旅游企業(yè)集團(tuán)，這是我們多年來(lái)共同奮斗、勵(lì)精圖治的結(jié)果，是對(duì)我們多年來(lái)相濡以沫、不離不棄的回報(bào)。企業(yè)是我們共同的大家庭，她承載著我們太多的憧憬、希望和幸福，我們應(yīng)該珍惜和愛(ài)護(hù)她。
企業(yè)的創(chuàng)立，離不開(kāi)積極勤奮、風(fēng)雨同路的創(chuàng)業(yè)伙伴;企業(yè)的發(fā)展，更需要新鮮血液的不斷加盟。不同背景、不同經(jīng)歷、不同層次的人才薈萃，沖擊碰撞、互相激勵(lì)，才能成就一番事業(yè)。
我們的企業(yè)集團(tuán)好像大家庭一樣，以她廣博的胸懷，接納、包容了全國(guó)各省區(qū)的弟子包括境外的同胞。你們家境、品性不同，年齡、愛(ài)好不同，文化程度、社會(huì)歷練、從業(yè)經(jīng)驗(yàn)各異，但在企業(yè)中卻扮演著不同的角色，你們都是企業(yè)的驕傲，都是企業(yè)的主人公。
企業(yè)大家庭又是一個(gè)學(xué)校，一座熔爐。我們通過(guò)宣傳、培訓(xùn)、考核，通過(guò)學(xué)習(xí)、工作和鍛煉，在工作中學(xué)習(xí)，在前進(jìn)中成長(zhǎng)。同時(shí)，企業(yè)提供給員工發(fā)展的平臺(tái)、表演的舞臺(tái)、客觀公正的評(píng)價(jià)。我欣喜地看到，在我們企業(yè)從小到大的發(fā)展過(guò)程中，已經(jīng)培養(yǎng)和造就了大批人才，他們?cè)谄髽I(yè)的各個(gè)崗位發(fā)揮著越來(lái)越重要的作用。
時(shí)常縈繞在我腦海的是在企業(yè)發(fā)展過(guò)程中作出貢獻(xiàn)的員工這里沒(méi)有職位高低之別，不分是指揮若定的高管、現(xiàn)場(chǎng)管理的中層還是勤勤懇懇、默默奉獻(xiàn)的普通員工，只要他給我們企業(yè)作出過(guò)貢獻(xiàn)，我們同樣不會(huì)忘記。
第8篇：春節(jié)的詩(shī)范文
到了老家，我第一件事是去鄰居玉蘭花家玩，這個(gè)名字很怪吧，其實(shí)，她叫王小蘭。
正月十二日，我和玉蘭花在院子里玩打雪仗，玉蘭花從地上抓起一小塊雪，揉成一個(gè)圓圓的小雪球，身我砸來(lái)，當(dāng)然，我也用一小塊雪做成小雪球向她砸去，啊呀！我忘了帶手套，真冷呀。算了，不帶也沒(méi)事，正當(dāng)我回過(guò)頭時(shí)，一塊雪球砸過(guò)來(lái)，弄的我滿臉都是雪，氣的我也猛咂她，可我每次都失手，而且她把咂成了個(gè)大雪人，她還哈哈大笑。
過(guò)了一會(huì)，她感覺(jué)渾身上下都是冰的，大家可別告訴她，其實(shí)我不砸她的頭，我專門砸她的身子，不一會(huì)兒，我也把她砸成了一個(gè)大雪人。我一看，她全身上下都是雪，就像是從面缸里鉆出來(lái)的一樣，我也不由的哈哈大笑起來(lái)。
第9篇：春節(jié)的詩(shī)范文
光陰流逝的速度永遠(yuǎn)都是這么的快速，轉(zhuǎn)眼間又是一年的春節(jié)啦，說(shuō)到春節(jié)，你們知道壓歲錢的由來(lái)嗎?下面是小編為大家?guī)?lái)的有關(guān)春節(jié)壓歲錢是怎么來(lái)的_春節(jié)的傳說(shuō)都有哪些，但愿對(duì)你有借鑒作用。
春節(jié)壓歲錢是怎么來(lái)的壓歲錢，又稱“押歲錢”、“守歲錢”等，是年俗的節(jié)物之一。
壓歲錢最初的用意是鎮(zhèn)惡驅(qū)邪。人們認(rèn)為小孩容易受鬼祟的侵害，所以用壓歲錢壓勝驅(qū)邪，幫助小孩平安過(guò)年，祝愿小兒在新的一年健康吉利。
不過(guò)最早的壓歲錢的“錢”不是市面上流通的貨幣，而是專門鑄成錢幣的吉利品或避邪品，是小兒身上帶的護(hù)身符。因?yàn)椤八睢迸c歲諧音，所以壓歲錢有“厭勝鬼祟”的巫術(shù)作用。
宋代以來(lái)，人們用現(xiàn)實(shí)流通錢幣作為壓歲錢，明清時(shí)代廣泛流行。明清時(shí)代的壓歲錢，由長(zhǎng)輩用紅線將銅錢串起來(lái)，吃過(guò)年夜飯后直接給予晚輩，或者在晚輩睡下后放置在床腳或枕邊。
如果貪睡的小孩已入夢(mèng)鄉(xiāng)，長(zhǎng)輩則要留一份，壓在其枕邊底下。第二天早上，孩子起床后從枕下翻出，一番驚喜。使用鈔票后，家長(zhǎng)們則喜歡選用號(hào)碼相連(相聯(lián))的新鈔票，因?yàn)椤奥?lián)”與“連”諧音，預(yù)兆后代“連連發(fā)財(cái)”、“連連高生”。而紅紙包鈔票，這種壓歲錢稱為“吉利紅包”壓歲不僅用錢，跟壓歲有關(guān)的還有壓歲盤，壓歲果子等。
壓歲錢數(shù)多少不一，但能給小兒帶來(lái)自主消費(fèi)的喜悅。近年來(lái)隨著生活水平的提高，壓歲錢的數(shù)量與日俱增，通常視家庭經(jīng)濟(jì)情況而論，少則幾十多則幾百幾千。這一方面給兒童帶來(lái)了年節(jié)的歡喜，但同時(shí)也有很大的消極影響，壓歲錢越來(lái)越多，兒童本身不能理性支配如此大數(shù)目的錢財(cái)，應(yīng)該怎樣合理的利用呢?
有的年輕人一味追求錢的多少，互相攀比。如果對(duì)壓歲錢管理不當(dāng)，可能造成不良的社會(huì)后果。
總之，不論壓歲錢采用何種形式，壓歲錢都是喜慶的賀歲之禮，也是長(zhǎng)輩給予晚輩以保護(hù)的力量。直到今天人們?nèi)员３种o壓歲錢這一傳統(tǒng)。
春節(jié)發(fā)壓歲錢的傳說(shuō)春節(jié)發(fā)壓歲錢的由來(lái)一
關(guān)于壓歲錢，有一個(gè)流傳很廣的故事。古時(shí)候，有一種小妖叫“祟”，大年三十晚上出來(lái)用手去摸熟睡著的孩子的頭，孩子往往嚇得哭起來(lái)，接著頭疼發(fā)熱，變成傻子。因此，家家都在這天亮著燈坐著不睡，叫做“守祟”。
有一家夫妻倆老年得子，視為心肝寶貝。到了年三十夜晚，他們怕“祟”來(lái)害孩子，就拿出八枚銅錢同孩子玩。孩子玩累了睡著了，他們就把八枚銅錢用紅紙包著放在孩子的枕頭下邊，夫妻倆不敢合眼。半夜里一陣陰風(fēng)吹開(kāi)房門，吹滅了燈火，“祟”剛伸手去摸孩子的頭，枕頭邊就迸發(fā)道道閃光，嚇得“祟”逃跑了。第二天，夫妻倆把用紅紙包八枚銅錢嚇退“祟”的事告訴了大家，以后大家學(xué)著做，孩子就太平無(wú)事了。
春節(jié)發(fā)壓歲錢的由來(lái)二
另有一說(shuō)源于古代“壓驚”。說(shuō)是太古時(shí)有一種兇獸叫“年”，隔365日后之夜，就要出來(lái)傷害人畜、莊稼。小孩子害怕，大人則以燃竹響聲驅(qū)“年”，用食品安慰小孩，即為“壓驚”。年久日深，便演變?yōu)橐载泿糯澄铮了伪阌小皦后@錢”。據(jù)史載，王韶子南陔，因被壞人背走，于途中驚呼，才被皇車所救，宋神宗即賜了他“壓驚金犀錢”。以后才發(fā)展為“壓歲錢”。
原來(lái)八枚銅錢是八仙變的，暗中來(lái)保護(hù)孩子的。因?yàn)椤八睢迸c“歲”諧音，之后逐漸演變?yōu)椤皦簹q錢”。到了明清，“以彩繩穿錢編為龍形，謂之壓歲錢。尊長(zhǎng)之賜小兒者，亦謂壓歲錢”。所以一些地方把給孩子壓歲錢叫“串錢”。到了近代則演變?yōu)榧t紙包一百文銅錢賜給晚輩，寓意“長(zhǎng)命百歲”。對(duì)已成年的晚輩紅紙包里則放一枚銀元，寓意“一本萬(wàn)利”。貨幣改為紙幣后，長(zhǎng)輩們喜歡到銀行兌換票面號(hào)碼相連的新鈔票給孩子，祝愿孩子“連連高升”。
小孩的是“壓祟錢”，老人的才是“壓歲錢”。老人的“壓歲錢”是指為了他們不再增長(zhǎng)歲數(shù)，可以多活幾年。
春節(jié)的傳說(shuō)都有哪些
相傳，中國(guó)古時(shí)候有一種叫“年”的怪獸，頭長(zhǎng)觸角，兇猛異常。“年”長(zhǎng)年深居海底，每到除夕才爬上岸，吞食牲畜傷害人命。因此，每到除夕這天，村村寨寨的人們扶老攜幼逃往深山，以躲避"年"獸的傷害。
這年除夕，桃花村的人們正扶老攜幼上山避難，從村外來(lái)了個(gè)乞討的老人，只見(jiàn)他手拄拐杖，臂搭袋囊，銀須飄逸，目若朗星。鄉(xiāng)親們有的封窗鎖門，有的收拾行裝，有的牽牛趕羊，到處人喊馬嘶，一片匆忙恐慌景象。這時(shí)，誰(shuí)還有心關(guān)照這位乞討的老人。只有村東頭一位老婆婆給了老人些食物，并勸他快上山躲避“年”獸，那老人捋髯笑道：婆婆若讓我在家呆一夜，我一定把“年”獸攆走。老婆婆驚目細(xì)看，見(jiàn)他鶴發(fā)童顏、精神矍鑠，氣宇不凡。可她仍然繼續(xù)勸說(shuō)，乞討老人笑而不語(yǔ)。婆婆無(wú)奈，只好撇下家，上山避難去了。
半夜時(shí)分，“年”獸闖進(jìn)村。它發(fā)現(xiàn)村里氣氛與往年不同：村東頭老婆婆家，門貼大紅紙，屋內(nèi)燈火通明。“年”獸渾身一抖，怪叫了一聲。“年”朝婆婆家怒視片刻，隨即狂叫著撲過(guò)去。將近門口時(shí)，院內(nèi)突然傳來(lái)“砰砰啪啪”的炸響聲，“年”渾身戰(zhàn)栗，再不敢往前湊了。原來(lái)，“年”最怕紅色、火光和炸響。這時(shí)，婆婆的家門大開(kāi)，只見(jiàn)院內(nèi)一位身披紅袍的老人在哈哈大笑。“年”大驚失色，狼狽逃躥了。
第二天是正月初一，避難回來(lái)的人們見(jiàn)村里安然無(wú)恙十分驚奇。這時(shí)，老婆婆才恍然大悟，趕忙向鄉(xiāng)親們述說(shuō)了乞討老人的許諾。鄉(xiāng)親們一齊擁向老婆婆家，只見(jiàn)婆婆家門上貼著紅紙，院里一堆未燃盡的竹子仍在“啪啪”炸響，屋內(nèi)幾根紅蠟燭還發(fā)著余光……欣喜若狂的鄉(xiāng)親們?yōu)閼c賀吉祥的來(lái)臨，紛紛換新衣戴新帽，到親友家道喜問(wèn)好。這件事很快在周圍村里傳開(kāi)了，人們都知道了驅(qū)趕"年"獸的辦法。
從此每年除夕，家家貼紅對(duì)聯(lián)、燃放爆竹;戶戶燭火通明、守更待歲。初一一大早，還要走親串友道喜問(wèn)好。這風(fēng)俗越傳越廣，成了中國(guó)民間最隆重的傳統(tǒng)節(jié)日。
貼春聯(lián)和門神
在中國(guó)古代神話傳說(shuō)中，有一個(gè)鬼域的世界，當(dāng)中有座山，山上有一棵覆蓋三千里的大桃樹(shù)，樹(shù)梢上有一只金雞。每當(dāng)清晨金雞長(zhǎng)鳴的時(shí)候，夜晚出去游蕩的鬼魂必趕回鬼域。鬼域的大門坐落在桃樹(shù)的東北，門邊站著兩個(gè)神人，名叫神荼、郁壘。如果鬼魂在夜間干了傷天害理的事情，神荼、郁壘就會(huì)立即發(fā)現(xiàn)并將它捉住，用芒葦做的繩子把它捆起來(lái)，送去喂虎。因而天下的鬼都畏懼神荼、郁壘。于是民間就用桃木刻成他們的模樣，放在自家門口，以避邪防害。后來(lái)，人們干脆在桃木板上刻上神荼、郁壘的名字，認(rèn)為這樣做同樣可以鎮(zhèn)邪去惡。這種桃木板后來(lái)就被叫做“桃符”，后來(lái)就形成了春節(jié)貼門神的傳統(tǒng)習(xí)慣。
春節(jié)回家過(guò)年祝福語(yǔ)1、竹爆平安，春節(jié)來(lái)臨，祝福親人，財(cái)源滾滾!祝福朋友，新年亨通!祝福冤家，善良仁慈!祝愿情敵，桃運(yùn)連連!
2、新春好，好事全來(lái)了!親人朋友笑，喜氣圍你繞!歡慶節(jié)日里，生活美滿又如意!喜氣!喜氣!一生平安如意!
3、讓我這份新年的祝福通過(guò)電波，跨過(guò)重重高山，越過(guò)滔滔江水，掠過(guò)高樓大廈，飛到你身邊。
牛年快樂(lè)!
4、我把一分祝福一分盼望一分眷戀一分期待一分摯情一分等候一分陶醉一分美好一分鐘愛(ài)一分憧憬當(dāng)十分想念送你!
5、祝朋友新年行大運(yùn)!仕途步步高升、萬(wàn)事勝意!麻雀得心應(yīng)手、財(cái)源廣進(jìn)!身體棒、吃飯香、睡覺(jué)安，合家幸福，恭喜發(fā)財(cái)!
6、年末到，送你送對(duì)聯(lián)，愿你紅紅火火，事業(yè)步步高;送你紅酒，愿你幸福久久;送你大紅包，愿你生活處處順，心情天天好，快樂(lè)不會(huì)少!
7、夢(mèng)里有個(gè)神仙對(duì)我說(shuō)穩(wěn)，準(zhǔn)，狠，忍我一直不明白。
直到坐火車時(shí)才體會(huì)到真諦。我把箴言傳給你，祝你回家過(guò)年時(shí)能搶個(gè)座位!新年快樂(lè)!
8、除夕透著溫暖，溫暖里有團(tuán)圓，團(tuán)圓中是幸福，幸福里伴歡樂(lè)，歡樂(lè)中有吉祥，吉祥中有祝福，除夕到了，愿你年年有余，好運(yùn)相伴。
9、鐘聲敲響年終的訊息，同時(shí)也帶來(lái)新年的訊息，在這個(gè)性的日子里，獻(xiàn)上我對(duì)你的祝福，愿你在這一年里，事事順心如意!
10、真心祝您在新的一年里平安快樂(lè)身體健康，愿您所有的夢(mèng)想都能在春節(jié)得以實(shí)現(xiàn)。
11、父母早已在家等候，盼兒女一路平安，愛(ài)人早已期盼容顏，盼另一半身體康健，佳節(jié)來(lái)臨期盼團(tuán)圓，望你早日回家過(guò)年，一家團(tuán)圓笑聲連連。
12、一杯水會(huì)感動(dòng)路人，一滴水會(huì)感動(dòng)小草，一片云會(huì)感動(dòng)天空，一份愛(ài)會(huì)感動(dòng)世界。
除夕即將到來(lái)，提前送上祝福會(huì)感動(dòng)朋友!
13、愿甜美的笑容爬上你臉龐，真摯的情誼溫暖你心房，金銀珠寶裝點(diǎn)你富貴的殿堂，祝福與企盼遞送你春節(jié)的吉祥!
14、祝您笑容常在笑口常開(kāi)，身體健康萬(wàn)事如意!
15、牛年佳節(jié)到，我給兄弟問(wèn)個(gè)好，祝你好運(yùn)天天交，生計(jì)也是步步高，嘴巴味道天天妙，愿你家的墻面長(zhǎng)鈔票。
16、春節(jié)未到，祝福先到;祝愿朋友，財(cái)源滾滾;吉祥高照，鴻運(yùn)當(dāng)頭;幸福圍繞，健康相伴;一生平安，萬(wàn)事順心;笑口常開(kāi)，新年快樂(lè)!
17、爆竹聲中一歲除，攜妻帶子入江湖，雙肩大包后備箱，只許進(jìn)來(lái)不許出，若問(wèn)灑家劫什么，紅包大餐和祝福!
18、我讓白云帶走你的憂郁，讓風(fēng)兒吹走你的煩惱，讓陽(yáng)光給你的生活填充色彩，讓月亮和星星送來(lái)浪漫美滿。
新春佳節(jié)快到了，祝你快樂(lè)!
19、春節(jié)至，夜似水，思如月，戀友情更切。
短信至，問(wèn)候寄，關(guān)懷無(wú)可替。祝福情，有誠(chéng)意，愿你好運(yùn)永不缺，幸福永不絕。祝你新年快樂(lè)!