They can speak to such an extent that when reciting their own compositions, they can add elements that are not included in the composition, so that it sounds appropriate to themselves and others; they

They can speak to such an extent that when reciting their own compositions, they can add elements that are not included in the composition, so that it sounds appropriate to themselves and others; they can also do the same when reading it themselves. . When others read it, they will only be able to use what is contained in the composition based on their general reading habits, but they cannot make something out of nothing. This will be missed. As for learning to speak, the main thing is to rely on speaking; reading more vernacular Chinese will help and promote to some extent, but the main thing is to rely on speaking. If you only focus on reading and writing and neglect speaking, you will naturally become a person who is good at writing but not good at speaking. As for Mr. Li Changzhi’s mention of Mr. Lu Xun, that is another matter. Mr. Lu Xun can speak, but he is not very good at speaking Peiping dialect. What he wrote was vernacular, not vernacular. Mr. Changzhi praised the "The True Story of Ah Q" that Mr. Gu Sui read at the symposium, saying, "I think Lu Xun's use of Peking's spoken language is really good." I was not present at the time, so I think half of it should be attributed to Mr. Gu's recitation.

Besides, reciting vernacular poetry in a spoken tone is even less equivalent to speaking than reciting vernacular poetry. As mentioned above, poetry is a refined language, which is naturally much different from ordinary speech. Refinement relies on suggestion and overlap. Suggestions rely on fresh metaphors and economical sentences; overlap is not mechanical, it must be varied and diverse. It's almost song-like and musical. This musicality is the power of concentration, like a special shot in a movie. Only by concentrating your attention can you go deep into every word and sentence and unleash the hidden meaning. This is why poetry is poetry. Vernacular poetry should not be musicalized. Musicalization will cover up the personality of vernacular poetry and wear away its twists and turns. Vernacular poetry does not have a fixed tone spectrum, and I think this is why. This is why vernacular poetry should be read in the spoken tone. On the one hand, it is not impossible for vernacular poems to be completely devoid of music and be written in the tone of ordinary speech. But this is only suitable for short stories. Because short stories can be refined without overlapping, but longer ones cannot. The poems of Soviet Russia's Mayekovsky are usually written in the tone of ordinary speech, but they are suitable for recitation. His poems are mostly short stories. There are also some people in China who are working hard in this direction, including Mr. Tian Jian. Needless to say, this kind of poem should be recited in a spoken tone. The recitation may be similar to the colloquial vernacular, but it must be emphasized. Because the text is short, if you read it too fluently, it will be over in an instant and there will be no more, so you have to be more thorough.

In fact, poetry reading generally needs to be more realistic. On the one hand, it is flexible, but on the other hand, it needs to be stagnant, so it is difficult. Both recitation movements focused on poetry, which was regarded as a critical challenge in art. But reciting is just a training skill, and you should also start with reciting easy texts.