When classical Chinese meets vernacular Chinese

1. How to write the narrative when classical Chinese meets modern Chinese

On the first day of school, you walked at a brisk pace and came to our class with a smile on your face.

You attract us with your enthusiastic self-introduction and humorous class style. Your way of dictation is unique: whenever students want to dictation, you don't use the way of quick decision, which makes us unprepared.

instead, let's open the book first, recite it carefully, and then talk about the error-prone parts of the dictation, and then start dictation. This way of dictation can not only deepen the students' impression of the content of dictation, but also enable everyone to face every dictation calmly and confidently.

this is really a wonderful method! You are a good teacher who is tolerant and generous: when you ask a classmate to answer a question in class, the classmates often have the situation of "fear of war and sweating like pulp". At this time, you won't scold loudly: "What's the matter? This will not? " You just smiled understandingly and said kindly, "Well, please sit down.

can anyone answer this question? " The students here are secretly cheering for you. Since then, the students have become brave and can answer questions quickly.

However, you will lose your temper sometimes! When our Classical Chinese is not done seriously, you are worried and angry: "What a good book! You can't waste it in vain! " We all bowed our heads with guilt. In your "bash one's brow at a thousand fingers", we see your worries and expectations of us, and our learning attitude is more serious! You are good at praising others, including me.

you make us confident and sunny! You are like a rainbow in the sky, giving people beautiful enjoyment; You are like a star in the sky. Every dark night, you will shine in our starry sky, illuminating the direction for us. You are like a passionate sun, giving us light and warmth! Thank you, Miss Zhou! Meeting you is our fate and our happiness. 2. Classical Chinese and Vernacular Chinese

1. Classical Chinese is a written language based on oral English in the pre-Qin period, and its vocabulary is mainly monosyllabic words, so the sentences are short and concise. When translated into modern Chinese (vernacular) with disyllabic words as the mainstay, the number of words in natural vernacular is much more.

second, language develops with the development of the times, but after classical Chinese became written, it gradually separated from spoken English. The situation that spoken language deviates from written language is formed. The later the times, the greater the distance from spoken language. People think in spoken language at that time, but express in ancient written language, so they need a process of translation and writing in their brains, which needs long-term study and training to be better mastered. This is how you learn classical Chinese now. However, people still hope that the written language is closer to the spoken language when expressing it. Therefore, from the Wei, Jin, Southern and Northern Dynasties, we can see that some works have added a lot of oral components, forming a written language-ancient vernacular that is different from classical Chinese. That is to say, since then, two different written styles 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 classical Chinese dead languages and advocated writing in vernacular Chinese instead. What is the relationship between vernacular and spoken language? It is not clear. However, there is such a saying in Hu Shi's "On the Improvement of Literature": "From the perspective of this world, China literature should be the most prosperous in the Yuan Dynasty; There is no doubt that the Yuan Dynasty is the most immortal work. When it was, China's literature was recently integrated with words and texts. " "With the prosperity of various writers, the literature of Latin death was replaced by' living literature'; There is living literature and then there is a national language that combines language and literature. " Now it seems that there are some meanings that I probably didn't think clearly at that time, or at least I didn't make clear. For example, against classical Chinese, the core of the problem is whether writing with a pen should be divorced from common spoken language. If not, it should be written in vernacular, ranging from writing national history to writing notes; Opening one's mouth and keeping one's mouth shut is always "literature", which narrows the problem, or overlooks it. Secondly, even if writing in oral English is a condition for 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 of words and writing. They have repeatedly praised the "unity of words and writing", which shows that the consistency in their minds is "reasonable".

Consistency in language and writing, keeping written language from being divorced from spoken language, can speed up the progress of learning culture, better express thinking, and help develop people's wisdom, which was indeed targeted at the social situation where illiteracy was everywhere at that time.

or Zhang Zhongxing's "Vernacular and Classical Chinese" said: "It was from the early years of the Republic of China that we provoked the banner of vernacular Chinese and threatened to stop using classical Chinese. Doing so is an old mess, because the end of absolute monarchy and the so-called 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 new ones. The old one includes many aspects. Some intellectuals saw classical Chinese, which was called "literature" at that time, and felt that the content and expression were very bad, so they advocated using vernacular. In this way, the vernacular opposed to classical Chinese, in fact, there are two kinds of motivation; If it is divided into 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 separating western languages from each other is good, and we should follow it. For example, Hu Shi said in the article "Forced to Mount Liangshan" (see Forty Readings): "If there is no living language of various countries as a new tool, and if modern European literati still have to use the dead Latin as a tool, is it possible for modern European literature to flourish?" Shortly thereafter, he put forward nine opinions, the first of which was "Today's classical Chinese is a half-dead writing" and the second was "Today's vernacular is a living language". He said these words in America in 1916. Almost twenty years later, he wrote the Introduction of China New Literature Series and Construction Theory Collection, and talked about the three most important reasons for the vernacular literature movement. The third one is: "Our maritime ban has been opened, and we have contacted the world culture, and we have reference and comparative materials, especially the history of the second generation of the national language literature in modern European countries, which makes us understand the history of our own national language literature and make us boldly advocate the establishment of our own literary revolution. The phrase "contact with the world culture" shows that the driving force for innovation is foreign. In fact, we can clearly see this from the people who participated in the war and the subsequent victory, because most of them drank foreign ink. This foreign motive force has the color of aversion to all traditional cultures, but it is prominently manifested as opposition to classical Chinese, such as Hu Shi's "eight noes" put forward in "On the Literary Revolution of Construction", not making words that are "nothing to say", not making words that are "disease-free * * *", not using classics, not using cliches, not emphasizing duality-literature must be parallel, and poetry must be abandoned.

To fully grasp this problem, we need to study and think deeply. It is suggested to read Zhang Zhongxing's book Vernacular and Classical Chinese mentioned twice above.

? from=like& Retcode= 3. How to write the narrative "When Classical Chinese Meets Modern Chinese"

On the first day of school, you walked at a brisk pace and came to our class with a smile on your face. You attract us with your enthusiastic self-introduction and humorous class style.

Your dictation method is unique: whenever students want to dictation, you don't take the quick decision, which makes us unprepared. Instead, let's open the book first, recite it carefully, and then talk about the error-prone parts of the dictation, and then start dictation. This way of dictation can not only deepen the students' impression of the content of dictation, but also enable everyone to face every dictation calmly and confidently. This is really a wonderful method!

You are a good teacher who is tolerant and generous. When you ask a classmate to answer a question in class, students often feel "war-stricken, sweating like a pulp". At this time, you won't scold loudly: "What's the matter? This will not? " You just smiled understandingly and said kindly, "Well, please sit down. Can anyone answer this question? " The students here are secretly cheering for you. Since then, the students have become brave and can answer questions quickly.

however, you will lose your temper sometimes! When our Classical Chinese is not done seriously, you are worried and angry: "What a good book! You can't waste it in vain! " We all bowed our heads with guilt. In your "bash one's brow at a thousand fingers", we see your worries and expectations of us, and our learning attitude is more serious! You are good at praising others, including me. You make us confident and sunny!

You are like a rainbow in the sky, giving people beautiful enjoyment; You are like a star in the sky. Every dark night, you will shine in our starry sky, illuminating the direction for us. You are like a passionate sun, giving us light and warmth! Thank you, Miss Zhou!

meeting you is our fate and our happiness! 4. classical Chinese and vernacular Chinese

1. classical Chinese is a written language based on oral English in the pre-Qin period, and its vocabulary is mainly monosyllabic words, so the sentences are short and concise.

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

The spoken language deviates from the written language. The later the times, the greater the distance from the spoken language. People think in spoken language at that time, but express in ancient written language, so they need a process of translation and writing in their brains, which needs long-term study and training to be better mastered.

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

That is to say, since then, two different written genres 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 classical Chinese and advocated writing in vernacular Chinese instead of dead languages. What is the relationship between vernacular and spoken language? It is not clear.

However, there is a saying in Hu Shi's "My humble opinion on literary improvement": "From the perspective of this world, China literature should flourish in the Yuan Dynasty; There is no doubt that the Yuan Dynasty is the most immortal work. When it was, China's literature was recently integrated with words and texts. "

"With the prosperity of various writers, the literature of Latin death was replaced by' living literature'; There is living literature and then there is a national language that combines language and literature. " Now it seems that there are some meanings that I probably didn't think clearly at that time, or at least I didn't make clear.

For example, against classical Chinese, the core of the problem is whether writing with a pen should be divorced from common spoken language. If not, it should be written in vernacular, ranging from writing national history to writing notes; Opening one's mouth and keeping one's mouth shut is always "literature", which narrows the problem, or overlooks it.

Secondly, even if writing in oral English is a condition for 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 of words and writing. They have repeatedly praised the "unity of words and writing", which shows that the consistency in their minds is "reasonable".

Consistency in language and writing, keeping written language from being divorced from spoken language, can speed up the progress of learning culture, better express thinking, and help develop people's wisdom, which was indeed targeted at the social situation where illiteracy was everywhere at that time. Or Zhang Zhongxing's "Vernacular and Classical Chinese" said: "It began in the early years of the Republic of China to provoke the banner of vernacular Chinese and threaten to stop using classical Chinese.

This is an old mess, because with the end of absolute monarchy, the so-called input of Mr. De and Mr. Sai in western culture has become more obvious. Shit, the way to save it is, of course, to get rid of the old cloth and make new ones.

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

this proximate cause, to put it bluntly, is that we think that the method of separating western languages from each other is good and we should follow it. For example, Hu Shi said in the article "Forced to Mount Liangshan" (see Forty Readings): "If there is no living language of various countries as a new tool, and if modern European literati still have to use the dead Latin as a tool, is it possible for modern European literature to flourish?" Shortly thereafter, he put forward nine opinions, the first of which was "Today's classical Chinese is a half-dead writing" and the second was "Today's vernacular is a living language".

He said these words in America in 1916. Almost twenty years later, he wrote the Introduction of China New Literature Series and Construction Theory Collection, and talked about the three most important reasons for the vernacular literature movement. The third one is: "Our maritime ban has been opened, and we have contacted the world culture, and we have reference and comparative materials, especially the history of the second generation of the national language literature in modern European countries, which makes us understand the history of our own national language literature and make us boldly advocate the establishment of our own literary revolution.

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

This external motivation has the color of aversion to all traditional cultures, and it is prominently manifested as opposition to classical Chinese, such as Hu Shi's "eight noes" put forward in "On the Literary Revolution of Construction", not making words that are "nothing to say", not making words that are "disease-free * * *", not using classics, not using cliché s and not emphasizing duality-literature must be abolished. "To fully grasp this problem, we need more in-depth study and thinking.

I suggest reading the book Vernacular and Classical Chinese written by Mr. Zhang Zhongxing mentioned twice above. ? from=like& retcode=。 5. Translation of classical Chinese (translated into vernacular)

A castle in the air

Once upon a time, there was a rich man who was stupid and ignorant. Once, he went to another rich man's house and saw a three-story building, which was tall and big, magnificent, spacious and clear. He was very envious and thought to himself, "My money is not less than his. Why didn't I think of building such a building before?" He immediately called a carpenter and asked, "Can you build a beautiful building like that one?" The carpenter replied, "I built that building." The rich man said, "Then build me a statue now."