Add classical Chinese to vernacular Chinese

1. Classical Chinese and vernacular Chinese 1. Classical Chinese is a written language formed on the basis of spoken language in the pre-Qin period. The vocabulary is mainly monosyllabic words, so the sentences are short and pithy. When translated into modern Chinese (vernacular), which is mainly disyllabic words, the number of words in natural vernacular is much more.

Second, language develops with the development of the times, but after the classical Chinese became a written language, it gradually separated from the spoken language. Form a situation in which spoken language deviates from written language. The later the age, the greater the distance from spoken English. At that time, people thought in spoken language, but expressed in ancient written language, so it took a process of brain translation and writing, and long-term study and training to master it better. This is the way you learn classical Chinese now. However, people still hope that written language is closer to spoken language when expressing it. Therefore, from the Wei, Jin, Southern and Northern Dynasties, we can see that a lot of oral components were added to some works, forming a written language-ancient vernacular, which is different from classical Chinese. That is to say, since then, two different ways of writing have gradually formed.

Third, in the middle and late Qing Dynasty, China was poor and weak, and was bullied by western powers. People are rethinking and looking for reasons. One of them is the most direct communication tool and thinking tool-language. Zhang Zhongxing said in "Vernacular and Classical Chinese": "The May 4th Literary Revolution attacked extinct language, a classical Chinese, and advocated using vernacular Chinese instead. What is the relationship between vernacular Chinese and spoken English? It's not clear yet. However, there is a sentence in Hu Shi's "Improvement of Literature": "From this world, China literature should be the most prosperous in the Yuan Dynasty; There is no doubt that Yuan Dynasty is the most immortal work. When it is true, China's literature has recently been a fusion of words and texts. " "With the prosperity of various writers, the literature of Latin death has been replaced by' living literature'; With living literature, there will be a national language that combines language and literature. " Now it seems that some meanings may be that I didn't think clearly at that time, or at least I didn't make it clear. For example, against classical Chinese, the core of the problem is whether writing with a pen should be divorced from daily spoken English. If not, write in vernacular, from writing national history to writing notes; Opening one's mouth and closing one's mouth is always "literature", which narrows the problem or ignores it. Secondly, even if oral writing is the condition of a good work, it can only be a necessary condition, not a sufficient condition; As long as the vernacular works are superior, it is obviously prejudice. Here we only talk about the consistency between words and writing. They repeatedly praised "the unity of words and characters", which shows that the consistency in their minds is "reasonable".

The consistency of language and writing makes written language far away from spoken language, which can speed up the progress of learning culture, better express thinking and help develop people's wisdom. This is really aimed at the social situation where illiteracy was everywhere at that time.

Or Zhang Zhongxing's "vernacular and classical Chinese" said: "It started in the early years of the Republic of China, provoked the banner of vernacular Chinese and threatened to stop using classical Chinese. This is an old mess, because the end of absolute monarchy and the input of Mr. De and Mr. Sai in western culture have become more obvious. Shit, the way to save it is of course to get rid of the old cloth and make a new one. The old one includes many aspects. Some intellectuals saw the classical Chinese, which was called "literature" at that time, and felt that the content and expression were very bad, so they advocated using vernacular Chinese. In this way, there are actually two motives for vernacular Chinese to oppose classical Chinese; If it is divided by distance, the internal cause is far and the external cause is near. This proximate cause, to put it bluntly, is that we think the method of classifying western languages is good, and we should follow it. For example, Hu Shi said in the article "Forced to Mount Liangshan" (see Forty Readings): "If there were no living languages of various countries as new tools, and if modern European scholars insisted on using dead Latin as tools, would modern European literature still be prosperous? "Shortly thereafter, he put forward nine suggestions. The first one is" Today's classical Chinese is a half-dead writing ",and the second one is" Today's vernacular Chinese is a living language ". He said these words in America 19 16. Almost twenty years later, he wrote "An Introduction to China's New Literature Series" and "On Construction", and talked about the three most important reasons for the vernacular movement. The third article is: "Our maritime ban has been opened, and we have been exposed to world cultures. With reference and comparative materials, especially the history of the second generation of national languages and literature in modern European countries, we have learned the history of our own national languages and literature, and we have boldly advocated the establishment of our own literary revolution. The phrase "contact with world culture" shows that the driving force of innovation is foreign. In fact, this can be clearly seen from the people who participated in the war and the subsequent victories, because most of them drank foreign ink. This kind of external motivation has the color of hating all traditional cultures, but it is prominently manifested in opposing classical Chinese, such as "eight noes" put forward by Hu Shi in On the Literary Revolution of Construction, not creating words that are "nothing to say", not creating words that are "disease-free * * *", not using classics, not using rhetoric, and not emphasizing duality-literature must be parallel, and poetry must be abandoned. "

To fully grasp this problem, we need more in-depth study and thinking. It is recommended to read Zhang Zhongxing's "Vernacular and Classical Chinese" mentioned twice above.

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2. Classical Chinese and vernacular Chinese 1. Classical Chinese is a written language based on the spoken language in the pre-Qin period, with monosyllabic words as the main vocabulary, so the sentences are short and pithy.

When translated into modern Chinese (vernacular), which is mainly disyllabic words, the number of words in natural vernacular is much more. Second, language develops with the development of the times, but after the classical Chinese became a written language, it gradually separated from the spoken language.

Form a situation in which spoken language deviates from written language. The later the age, the greater the distance from spoken English. At that time, people thought in spoken language, but expressed in ancient written language, so it took a process of brain translation and writing, and long-term study and training to master it better.

This is the way you learn classical Chinese now. However, people still hope that written language is closer to spoken language when expressing it. Therefore, from the Wei, Jin, Southern and Northern Dynasties, we can see that a lot of oral components were added to some works, forming a written language-ancient vernacular, which is different from classical Chinese.

That is to say, since then, two different ways of writing have gradually formed. Third, in the middle and late Qing Dynasty, China was poor and weak, and was bullied by western powers.

People are rethinking and looking for reasons. One of them is the most direct communication tool and thinking tool-language.

Zhang Zhongxing said in "Vernacular and Classical Chinese": "The May 4th Literary Revolution attacked extinct language, a classical Chinese, and advocated using vernacular Chinese instead. What is the relationship between vernacular Chinese and spoken English? It's not clear yet.

However, there is a sentence in Hu Shi's "Improvement of Literature": "From this world, China literature should be the most prosperous in the Yuan Dynasty; There is no doubt that Yuan Dynasty is the most immortal work. When it is true, China's literature has recently been a fusion of words and texts. "

"With the prosperity of various writers, the literature of Latin death has been replaced by' living literature'; With living literature, there will be a national language that combines language and literature. " Now it seems that some meanings may be that I didn't think clearly at that time, or at least I didn't make it clear.

For example, against classical Chinese, the core of the problem is whether writing with a pen should be divorced from daily spoken English. If not, write in vernacular, from writing national history to writing notes; Opening one's mouth and closing one's mouth is always "literature", which narrows the problem or ignores it.

Secondly, even if oral writing is the condition of a good work, it can only be a necessary condition, not a sufficient condition; As long as the vernacular works are superior, it is obviously prejudice. Here we only talk about the consistency between words and writing. They repeatedly praised "the unity of words and characters", which shows that the consistency in their minds is "reasonable".

The consistency of language and writing makes written language far away from spoken language, which can speed up the progress of learning culture, better express thinking and help develop people's wisdom. This is really aimed at the social situation where illiteracy was everywhere at that time. Or Zhang Zhongxing's "vernacular and classical Chinese" said: "It started in the early years of the Republic of China, provoked the banner of vernacular Chinese and threatened to stop using classical Chinese.

This is an old mess, because the end of absolute monarchy and the input of Mr. De and Mr. Sai in western culture have become more obvious. Shit, the way to save it is of course to get rid of the old cloth and make a new one.

The old one includes many aspects. Some intellectuals saw the classical Chinese, which was called "literature" at that time, and felt that the content and expression were very bad, so they advocated using vernacular Chinese. In this way, there are actually two motives for vernacular Chinese to oppose classical Chinese; If it is divided by distance, the internal cause is far and the external cause is near.

This proximate cause, to put it bluntly, is that we think the method of classifying western languages is good, and we should follow it. For example, Hu Shi said in the article "Forced to Mount Liangshan" (see Forty Readings): "If there were no living languages of various countries as new tools, and if modern European scholars insisted on using dead Latin as tools, would modern European literature still be prosperous?" Shortly thereafter, he put forward nine opinions. The first one is that "today's classical Chinese is a half-dead writing" and the second one is that "today's vernacular Chinese is a living language".

He said these words in America 19 16. Almost twenty years later, he wrote "An Introduction to China's New Literature Series" and "On Construction", and talked about the three most important reasons for the vernacular movement. The third article is: "Our maritime ban has been opened, and we have been exposed to world cultures. With reference and comparative materials, especially the history of the second generation of national languages and literature in modern European countries, we have learned the history of our own national languages and literature, and we have boldly advocated the establishment of our own literary revolution.

The phrase "contact with world culture" shows that the driving force of innovation is foreign. In fact, this can be clearly seen from the people who participated in the war and the subsequent victories, because most of them drank foreign ink.

This kind of external motivation has the color of hating all traditional cultures, but it is prominently manifested in opposing classical Chinese, such as "eight noes" put forward by Hu Shi in On the Literary Revolution of Construction, not creating words that are "nothing to say", not creating words that are "disease-free * * *", not using classics, not using rhetoric, and not emphasizing duality-literature must be parallel, and poetry must be abandoned. "To fully grasp this issue, we need more in-depth research and thinking.

It is recommended to read Zhang Zhongxing's "Vernacular and Classical Chinese" mentioned twice above. ? from = like & ampretcode=0 .

In ancient times, people used classical Chinese or vernacular Chinese in their daily life. Officialdom literati use semi-written and semi-spoken dialect, while ordinary people use spoken language and dialect.

The Tang Dynasty used Cantonese similar to today's communication, and the Song Dynasty used Hakka similar to today's communication. Cantonese is the official language of the Tang Dynasty, and Hakka is the official language of the Song Dynasty, which is very close.

Classical Chinese: refers to the popular written Chinese based on ancient Chinese before the May 4th Movement.

Classical Chinese: An article written in classical Chinese

Therefore, it is obvious that classical Chinese is an ancient Chinese written language different from vernacular Chinese. What is emphasized here is written language, which is only used for writing, not for oral communication.

The spoken language of the ancients is different from the classical Chinese, but it is similar to the spoken language we use today.

For example, Peacock Flying Southeast is a folk song widely sung in the Northern and Southern Dynasties, so the language in it is very close to the spoken language at that time. Please look at the first sentence: "Peacock flies southeast, falling in five miles" is relatively simple, although it is not quite the same as today's spoken language, but it is not big. This can reflect the characteristics of spoken English.

Besides, Four Great Classical Novels's other three novels, except A Dream of Red Mansions, are all created on the basis of folk stories or stories told by storytellers, and their language features also have certain oral nature, which is what we call "half writing and half writing".

After the May 4th Movement, written language and spoken language were basically the same, so we can judge that the spoken language in modern China is similar to our spoken language today from the written language today or before liberation.

I am eager to turn vernacular Chinese into classical Chinese. The original stories of the great gods are so unreasonable that I have hardly changed them.

In the past, Dong Fangshuo was an alchemist at the foot of Orient Mountain. It's strange that the Eight Immortals wander here. The lakes and mountains are leisurely and carefree, and Tao Tao is a fairyland on earth. When an alchemist was fruitless, it was impossible to live forever.

Aunt fairy wants to help, and often wanders around Crescent Moon, but Crescent Moon doesn't care. Aunt fairy is angry.

It was July, and the lake was charming. The fairy hurt many flowers in her hand and left.

Junyoko was embarrassed when he heard it. Yin stirred the soup with his sword and messed up his pharmacology. The fairy thought it was over, so she waved a treasure to stop it.

Pinch tactics, fight treasure and dust. Landslides caused lakes to crack, furnaces to collapse and medicines to fall.

Lift up the soup for rain and sprinkle it on the lake. After a while, the shadow of the fairy appeared on the lake, and the shape of the fairy was measured on the lake.

After the fight, Xiangu thought she would pay the price. Her musical instrument hung high and turned the stone into black iron. The lakeside town is bustling.

Since then, people have named this lake Cihu. There are sleeping beauty, Cihu ancient town and magnets by the lake.

5. Translate the ancient poem "Red Sun" into vernacular, with appropriate details. This is a poem written by Shi Naian for you. For explanations, please refer to:

The sun burns like fire.

the Ming Dynasty

Source: Water Margin

Literary genre: seven-character quatrains

Author: Shi Naian

The sun is like fire, and the wild Tian He is half burnt.

The farmer's heart is like soup, and the son Wang Sun shakes it.

To annotate ...

1 Red Sun: Red Sun; In the hot sun, Du Fu's poem "Yixian" in the Tang Dynasty said: "The bitter fog opens to the south for 30 days, and the red sun shines from the west."

② scorching: drying. It is often used to describe plants in dry days.

translate

The hot sun is like a fire in the sky.

Burned the rice and grain in the field,

The farmer's impatience is like soup.

Grandson shook his fan and shouted for heat.