What are the other works of literary vernacular

1. What are the other works of vernacular literary works

The vernacular literary works are mainly found in the novels of Ming and Qing dynasties.

The classic ones are: The Four Great Masterpieces + The History of Confucianism + Liaozhai Zhiyi (Liaozhai Zhiqi)

The better ones are:

The chivalrous ones are: The Three Heroes and the Five Righteousnesses (with Zhanzhao and Bai Yu Tang), and The Seven Heroes and the Five Righteousnesses (Seven Heroes and the Five Righteousnesses)

The crime solving ones are: The Case of the Duke of Pao, and The Case of Shi Gong (Shi Gong)

The heroes of the battlefield ones are: The Complete Tales of the Sayings of Yue, and the Heroic Acts of the Yang Family (Sui and Tang Revivals of Qin Qiong and Cheng Biao Jin). The Heroes of Sui and Tang Dynasty (Qin Qiong, Cheng Bite Jin, etc.)

For the city's people: "Three Words and Two Beats" (five books, a collection of short stories)

For the talented and beautiful: "The Legend of the Heroes of the Children and Daughters" (chivalry+romance, with the chivalrous Thirteen Sisters)

For the divine and the demonic: "The Feudal Deity" (Jiang Ziya and Nezha)

These are basically the most important of all the books. >

All of these are basically long stories, and it's only interesting if there are twists and turns in the storyline, right? They're all more readable, and the writing is more shallow. You can pick and choose what interests you. I first read the Battlefield Heroes and Chivalry ones.

If you're interested in how ordinary people in ancient times lived their lives and how they were treated, you can read The Three Words, which I like.

Of course in terms of ideological and artistic achievements, of course you should read the four great masterpieces. Dream of the Red Chamber" and "Romance of the Three Kingdoms" are more difficult with elegant words and more ancient texts. You can look at the Water Margin and Journey to the West.

"Rulin's History" I took out N times, just can not read, that is the adult read.

"Liaozhai Zhiyi" is not strong in vernacular, and it is difficult. "Faithfulness" means being faithful to the original text and not distorting its meaning. Do not increase or decrease the number of words at will, add branches or leaves, interpret the meaning of the text, or make it up out of thin air; and do not do what you want to do, leaving the original text behind. "Da" is to be smooth and fluent, not only to make the sentence perfect, retain the tone of the original; but also to avoid the dullness of the statement, with the literary gas. And "elegant" is to comply with the norms of modern Chinese language, the text should be vivid and beautiful, concise and fluent. In short, the translation of the Chinese language requires the use of standardized modern Chinese language, accurate and fluent expression of the original content. "The basic method of translating from Chinese is to keep, change, adjust, quote, add and delete. Because of the different meanings and grammars of words in ancient and modern times, the translation of the Chinese language should be based on the different situations of the sentences and the imaginary and real words that make up the sentences, and the corresponding methods should be adopted. First, stay Retain the words in the original text, where there are words with the same meaning in ancient and modern words, words and names of people, places and objects, book names, country names, official positions, years, posthumous names, measurement units and other ancient special nouns. Translation should not be changed, to retain the original word. For example: Qian has no donkey, but a good man carries it in his boat. ("Qian Zhi Donkey") -- There has never been a donkey in Qianzhou, but a man who likes to be nosy carried a donkey there in a boat. The meanings of the words "donkey" and "boat" are exactly the same in ancient and modern times, so their original meanings should not be changed when translating. In the spring of the fourth year of the Qingli reign, Tou Zijing was banished to guard the Baling County. （In the spring of the fourth year of the Qingli era, Tou Zijing was banished to be the governor of Baling County. "Qingli" is a year, "Tou Zijing" is a person's name, and "Baling County" is the name of the county, so it is enough to keep them in the translation and copy them into the translation. In addition, there are a lot of idioms in the literary text, which are often used in modern Chinese, such as "披荆斩棘", "气象万千", "千钧千", and so on, which are generally understood by the general public, and do not need to be translated. The translation, on the contrary, does not seem to be fluent. Replacement Replacement of words. The meaning of many words in the literary text is still useful now, but modern Chinese no longer uses the original words, but uses other words. When translating, we need to replace them with words that have the same meaning in modern Chinese. For example: ten years in the spring, the Qi division to attack me. （In the spring of the tenth year of Duke Zhuang of Lu, the army of Qi attacked our state of Lu. In the sentence, "division", "cut" to be "army", "attack" to replace. Also, since the same word is commonly used in both the literary language and modern Chinese, but the content of the word is different, you should not use the modern meaning to infer the ancient meaning, but replace it with a modern Chinese word that has the same meaning as the one in the literary language, so as not to cause misunderstanding. For example: I brought my wife to this desperate place. (The Tale of Peach Blossom Garden) --Leading his wife, children and fellow villagers to this isolated place. There is a big difference between the ancient and modern meanings of "wife" and "desperate place", so you can't apply the modern meaning to them. Adjust the word order. Some special sentence patterns in the Chinese language, such as: subject-verb inversion, object antecedent, gerund postposition, determiner postposition, etc., should be adjusted according to the grammatical laws of modern Chinese when they are translated. For example: What's more! You don't favor me. (《愚公移山》) (subject-verb inversion) --You are too unwise. How can I fight? ("Cao Yu on Battle") (object preposition) --What do you fight with? I'm still in Yangzhou. ("Hurt Zhongyong") (gerund postposition) -- from Yangzhou home. D. Deriving the Meaning of Words. The phenomenon of multiple meanings of a word is quite common in the literary language, often a word can have two, three or more meanings, these meanings are not created out of thin air, but derived, expanded, and extended from one of the original meaning of the word, you can choose to use words that fit the context of the original to express the meaning of the derivation of the word to translate. For example, he rebuilt the Yueyang Tower, adding to its old system. ("The Records of Yueyang Tower") -- So, the Yueyang Tower was rebuilt and enlarged to its original size. The original meaning of the word "increase" is to increase, which is extended to enlarge; the original meaning of the word "system" is to make, to manufacture, which is extended to rules and regulations, which is then extended to scale. When translating, choose their derivations. Add words or sentence components. When translating the Chinese language, the following situations require the addition of words or sentence components. 1. The majority of Chinese words are monosyllabic, so when translating, the monosyllabic words in Chinese should be supplemented with the corresponding bisyllabic words in modern Chinese. For example: the big country, difficult to measure, fear of ambush. ("Cao Yu on the war") - the reality of the big country is difficult to speculate, I am afraid that they have soldiers and horses in ambush. "Measurement", "fear", "ambush" are monosyllabic words, should be translated into two-syllable words "speculation" (or) "guess"), "fear", "ambush". 2. In Chinese, number words are placed directly in front of nouns or verbs without measure words, which should be added when translating into modern Chinese. For example: A ventriloquist sits in a barrier with a table, a chair, a fan and a ruler. (Ventriloquism) -- The ventriloquist was sitting in a curtain, in which there was only a table, a chair, a paper fan, and a piece of wood. 3. The omission of functional powder in sentence planning is a common phenomenon in the literary language. Translation should be faithful to the original, according to the grammatical requirements of modern Chinese and the need for expression, make the necessary additions, and strive to understand the original meaning of the exact expression. For example: When he saw the fisherman, he was greatly surprised and asked where he came from. （The people in the village were surprised to see the fisherman and asked him where he came from, and he answered us in detail. The original text omits two subjects and one object. The meaning will be clear only when they are added in the translation. 4. Some sentences, it is not easy to say what words or sentence components it omitted, just for the sake of contextual coherence, in accordance with the custom of modern Chinese, to add some words, read only feel catchy, the expression is also smooth and understandable. For example: In the middle of the Jin Dynasty, the people of Wuling fished for a living. Walking along the stream, forgetting the distance of the road ...... (《桃花源记》)--In the Taiyuan period of the Jin Dynasty, (there was) a man from Wuling who made fishing his profession. (One day), he traveled along the stream (by rowing a boat), forgetting the distance of the journey ...... VI. Delete Delete without translation. Some of the imaginary realities in the Chinese language, only in the sentence to play a certain grammatical role, there is no real meaning, there is no corresponding words in modern Chinese, can be deleted without translation. For example: Chen Sheng is from Yangcheng. （Chen Sheng is a native of Yangcheng. The phrase "...... is also a native of Yangcheng" in the original text is a common sign of judgmental sentence structure in the Chinese language. In the original text, " is also " is a common mark of judgment in the literary language. The word "者" serves as a punctuation mark and "也" indicates a judgmental tone. When translating, both "者" and "也" can be deleted without translation. Sometimes, in order to make the translation.

3. What is the difference between literary language and vernacular language

Literary language is a kind of written language in China, which mainly consists of the written language based on the spoken language of the pre-Qin period. It is commonly known as "the literary language". During the Spring and Autumn and Warring States periods, the items used to record the text have not been invented, the record of the text with bamboo slips, silk and other things, and silk is expensive, bamboo slips are bulky and the number of words recorded is limited, in order to be able to write down more things on the "volume" of bamboo slips, the need to delete the unimportant words. It can be said that "wen yan wen" is the world's earliest written records "compressed" format. Later, when "paper" was used on a large scale, the use of "official documents" by the ruling class had already been stereotyped, and knowing how to use "literary language" had evolved into a symbol of literacy. The vernacular language, as opposed to the literary language, is an article written in the vernacular language, also known as the vernacular language. In ancient times, the official literary style was the literary language. In ancient times, before the Eastern Han Dynasty, the use of bamboo slips, silk and silk as the carrier of documents necessarily required that the text be simple and concise. Vernacular language

The invention of papermaking in the Eastern Han Dynasty, with the improvement of the process, coupled with the invention of movable-type printing in the Song Dynasty, all these laid the material foundation for the emergence of the vernacular style of writing.

It feels like a tightly structured literary language, obscure and difficult to understand compared to modern languages, but with a high word capacity, one word often contains a lot of content, and the vernacular language is relatively easy to understand, with shallow content.

4. What is literary language,what is vernacular language

Originally Posted by Hangbin

What is literary language? (1) The literary language is wonderful. This is certainly undoubtedly true. It is the literary language that constitutes the bulk of traditional Chinese culture. This shows that the history of China's modern civilization is still very short, and deconstructing or interpreting traditional culture is still a necessity for modernization, because the inheritance of traditional wisdom is founded on the correct interpretation of the literary language. (2) The literary language is knowledge. This is true because the literary language is no longer a language; it is purely textual. But the literary language is knowledge, and the oracle bones are also knowledge, so why not learn the oracle bones? By the way, it is precisely because the oracle bones are a more primitive script that the literary language is the basis for further study of the oracle bones and other traditional advanced scripts (studies). (3) Literary language is also skill. Chinese expressions, depictions, combinations, transformations, metaphors, laying of comparisons, and deductions ...... fully carry the style of Han civilization in the expression of ideas. If you master the physical structure of the literary language, you will have a deeper understanding of modern Chinese, and you will have a "law" to follow in the construction of the new Chinese language. (4) "Wenyinwen" is the opposite of "Baihuawen". The structure of this word is like this: Wenyan - Wen. The first "文" is "writing" and "言" is language. The word "literary" means "written language". It suggests two meanings: first, it specifies that literary language was originally a language; second, this language was later literalized. The meaning of "literalized" language is also twofold: firstly, there can be a culture with language but no writing, for example, most ethnic minorities have only language but no writing; secondly, the function of language has withdrawn from life and become history in the form of writing. The literal meaning of "literary language" should be: a style of written language. The latter "文" refers to the style of writing. (5) Does the literary language have any "future" other than archaeological research? Or rather, is there any life application value? I think there is. In the traditional forms of life fade away appear

5. What is the difference between the vernacular and the literary language

Hello!

I've selected some important sentences, so to save your time, take a look at the bolded part.

"Mandarin and vernacular, the physical object is ancient, but the name has only become popular in recent decades." Both are written languages, but the difference is that "WenYan means language that is only seen in writing but not spoken. The vernacular, white is to say, words are said, the general meaning of the oral language can be seen, with the spoken word of the affinity and estrangement is the biggest difference between the vernacular and the written language.

But in fact, the relationship between the literary language and the spoken language is also quite close, only that the so-called standard of the spoken language is different. The reason is that literary language is a written language of ancient Chinese based on the spoken language of the pre-Qin Dynasty, and the spoken language we are talking about here is based on the northern language of the Tang and Song dynasties, and the vernacular language we use today, that is, the written language of modern Chinese Mandarin, is formed on this basis.

Of course, in real life, there is no shortage of spoken works that meet people's oral communication habits, from the "Shishu Xinyao", "Yan's Family Trainings", it should be said that each generation has produced a considerable number of works in the vernacular, but it has not been able to shake the dominance of the written language, and the vast majority of them can only be dispersed in the people.

And then, in 1917, the New Culture Movement, the vernacular language movement was pushed to its limits.

To put it bluntly, vernacular language (also known as vernacular language) refers to a written language that is based on modern spoken Chinese and has been processed, whereas literary language is a purely literary language. Mandarin, on the other hand, is purely ancient written language. It's like the name of lychee, we people call it "lychee", but the book is written "concubine smile, commonly known as lychee".

2. The difference between vernacular and modern languages

. This is an introduction to modern language

It should be said that modern language is the vernacular and literary language through the continuation and development of a style of writing, that is, we see the language of the books, it is easy to understand and has a certain flavor of written language. Modern reading is the focus of the language, naturally, it is very important.

3, the vernacular language translated into modern Chinese

This problem should be very simple, most of the vernacular language and modern language is no difference, the difficulty is that some of the vernacular language is processed in the language of the people in the contemporary, some of the words are difficult to understand, and you need to consult the information before you can translate. This depends on your reading level.

The above content is edited by me after consulting the information, and it is also a modern text oh

Any questions, please ask. When translated into modern Chinese (vernacular), which is dominated by two-syllable words, it is natural that the number of words in vernacular Chinese is much higher.

Second, the language with the development of the times and the development of the language, but the language became a written language is gradually detached from the spoken word. The formation of the spoken and written language deviated from the situation, the later the era, the greater the distance from the spoken language. People thought in spoken language at that time, and to express themselves in ancient written language, they needed a process of translation and transcription in their brains, and this process also required long-term study and training to master it better. That's the process you're going through now when you're learning the language. People still want the written language to be closer to the spoken language when they express themselves, so from the Wei, Jin, and North and South Dynasties onwards, we can see that some works have added a lot of spoken elements, forming a written language with a different appearance from the literary language - the ancient vernacular. In other words, since then, two different systems of written language have gradually formed.

Third, in the middle and late Qing Dynasty, China was poor and weak, and was bullied by the Western powers. People were reflecting and seeking reasons. One of them is people's most direct tool of communication and thinking - language. In Zhang Zhongxing's "The Vernacular and the Literary Language", he said, "The May Fourth Literary Revolution attacked the literary language as a dead language and advocated the use of the vernacular. What exactly is the relationship between the vernacular and the spoken language is not clearly stated. But Hu Shi, "Ruminations on the Improvement of Literature", has this to say: "In the eyes of the present world, Chinese literature is most flourishing in the Yuan Dynasty; the immortal works can be handed down, when the Yuan Dynasty is the most: there is no doubt that this can also be. At that time, Chinese literature was recently united in words and writing." "Until the rise of the great writers, the Latin dead literature was replaced by 'living literature'; there is living literature and then there is the national language of the unity of speech and writing." In hindsight, there are some meanings that were probably not thought through, or at least not clearly stated, at the time. For example, in opposing the literary language, the question centered on whether writing with a pen should be divorced from the common spoken language. If not, then even the writing of national history, as small as writing notes, should be in the vernacular; open mouth always "literature", is to narrow the issue, or look at the wrong. Secondly, even if writing in the spoken language is a condition for good works, it can only be "a" necessary condition, not a sufficient condition; as long as it is a vernacular work must be superior to the view is clearly prejudice. Here or just talk about the issue of consistency of speech, they have repeatedly advocated "unity of speech", visible in their minds is the consistency of "reason" should be consistent.

The consistency of the language, do not let the written word from the spoken word, can accelerate the progress of learning culture, can better express the thinking, is conducive to the development of people's wisdom and other benefits, which is illiterate at the time of the social situation of the whole world is indeed targeted.

Or Zhang Zhongxing "vernacular and literary", said: "pick up the banner of the vernacular, threatened to stop using the language, from the early years of the Republic of China. In doing so, it is the old mess, because the end of the monarchy, the Western culture so-called German, Sai two Mr. input, and become more obvious. The way to save the mess was, of course, to get rid of the old and bring in the new. The old included many aspects. Some intellectuals saw the literary language, then called "literature", and felt that both the content and the form of expression were very bad, so they advocated the use of the vernacular instead. In this way, the vernacular rose up against the literary language, and the motivation was actually internal and external; if divided into far and near, the internal cause was far, and the external cause was near. The proximate cause, to put it bluntly, is that the Western approach of not separating the vernacular from the written language is good, and we should follow it. For example, Hu Shi said in the article "Forced to the Liangshan" (see "Forty Autobiographies"), "If there is no living language in various countries as a new tool, if modern European literati are still required to use the dead Latin as a tool, is it possible for the modern literature of Europe to flourish?" Shortly thereafter, he made nine points, the first of which was that "today's literary language is a half-dead script" and the second that "today's vernacular is a living language." He made these remarks in the United States in 1916. Almost twenty years later, he wrote the "Introduction" to the "New Chinese Literature Series - Construction Theory Collection", which talked about the three most important reasons for the vernacular literature movement, and the third one was: "After the opening of the sea embargo, we came into contact with the world's cultures, and had reference and comparison materials, especially the history of the national language and literature of the modern countries of Europe, which enabled us to understand the history of our own language and literature, and made us bold enough to understand the history of our own language and literature. In particular, the history of modern European countries in which Mandarin literature was produced one after another made us understand the history of our own Mandarin literature and made us boldly advocate the establishment of our own literary revolution." The phrase "came into contact with the culture of the world" indicates that the impetus for renewal was foreign. In fact, the uprising and the subsequent victory can be clearly seen in the people who participated in it, because most of them had drunk foreign ink. This foreign impetus has the color of aversion to all traditional culture, and the prominent manifestation of the opposition to the language, such as Hu Shi in the "construction of the literary revolution" put forward in the "eight not doctrine", do not do "words without substance" text, do not do "no disease ***". "no disease ***" text, do not use the dictionary, do not use set language bad tone, not heavy couplets - the text must be abolished parallelism, poetry must be abolished law, do not do not grammatical text, do not copy the ancients, do not avoid the vulgar word vulgar word, that is, to the literary language said."

To fully grasp this issue requires more in-depth study and reflection. It is recommended that you first read Mr. Zhang Zhongxing's work, "Vernacular and Literary Language," mentioned twice above.

?from=like&retcode=0