The Chinese language of "both must and also"

Chinese text is divided into pronunciation

In terms of character nature, it is divided into virtual and real movement, and it is most suitable for matching

Recently read two books about Chinese language. "Creative Students of Chinese Language: Derivation of Literature Education and Knowledge in the Qing Dynasty" talks about the problems of the Qing Dynasty after the Sino -Japanese War of the Sino -Japanese War. Technology. As a result, the old Mongolian science gradually became a "Chinese class." Teaching methods are dominated from recitation and shift to lecture. The introduction of Western grammar and punctuation, intellectuals explore a new "national language". The author Lu Yan, who taught the "university language" course for many years at Peking University, what his book talks about "the earliest Chinese lesson".

Xu Jinru, the author of another book, "Chinese Class: The Fifteen Lectures of Chinese Culture", is said to like to wear gown when he was in school at Peking University and likes ancient poems. Over the years, I have taught people to write ancient poems, teach text and words. His view is very direct. He believes that the new culture movement breaks the pulse of Chinese literature. Chinese literature is originally a gentleman and is the knowledge of scholars. From time to time, Hu Shi, the flag bearer of the New Culture Movement from time to time. He believes that "the ultimate embodiment of the beauty of Chinese" "" should have higher literary value than ancient texts, and it should be regarded as the authentic of Chinese articles. "

These two books are in contrast to it, which is very interesting. There is such a fundamental question in the Chinese teaching reform at the end of the Qing Dynasty. Is it the ultimate purpose of educational writing articles? Is Chinese a tool to learn other knowledge, especially scientific and technological knowledge? Is classical Chinese the best language carrier of scientific knowledge? At that time, people dare not deny the "Four Books and Five Classics", and they dare not say abandoned classical Chinese. Tongcheng sent literati Wu Runlun and Wu Yansheng's father and son, all identified Chinese literature as "national essence". After Wu Runlun's death, Wu Yisheng said in the preface to the editor -in -law's "Tongcheng Wu's Ancient Reading", saying that the national and heaven must be stored between the heavens and the earth, not the partner of the others. He said that the ruler of China has changed, but the text is not abandoned, the Qinhuang is slow, and the Yuan Shizu is strong, and we cannot change our text. The vulgar back of the vulgarity is not important at all.

After the establishment of the Jingshi University Hall, Wu Runlun served as the position of head teaching, and Wu Yisheng also taught here. The Tongcheng School literati admires prose. When we went to middle school, we learned Yao's "Dengtai Mountain", which is the prose of Tongcheng School. The "Ancient Cultivation Class" edited by Yao Yan has also been highly respected. When Lin Shu taught at the University of Jingshi University, he used the ancient texts selected by Yao Yan and Zeng Guofan as the textbook.

Later, Huang Kan, Liu Shipei and others joined, and Huang Kan talked about "Wen Xin Diao Dragon", respecting the Wei and Jin dynasties represented by "Selection of Wen". This set off the dispute between ancient texts (prose) and essays, and Tongcheng sent literati to gradually leave Peking University. When Hu Shi and Chen Duxiu launch a new cultural movement, the ancient texts and the text were scolded. Qian Xuan said, "Choose the Evil of the Monster, the Tongcheng fallacy". Those who respect ancient texts. It is said that Huang Kan later took a class in 50 minutes, and was used to attack the vernacular movement in the first 30 minutes.

Hu Shi's "Literature Improvement" proposed the "eight no" claims, two of which said that there was no use of a classic and not talking about the match. He said that Shi Naiyu, Cao Xueqin, and Wu Yan were all literary authentic, while the ruling poems were true small ears. This statement is to use Western literary standards to look at Chinese literature, greatly improve the status of novels, and is disdainful of sterite literature. Xu Jinru disagreed with this, thinking that the characteristics of Chinese characters determined that China will inevitably produce steroids and must produce rhythmic poems.

From the perspective of philosophy, yin and yang are born with each other, and the battle is the aesthetic practice of this philosophical thought.

Sometimes, we have to admit that "tradition" is invented by us. The new cultural movement admires "Dream of Red Mansions". Later, it was gradually said that there was a "four masterpieces". A few days ago, I asked an expert from the Institute of Dream of the Red Louk. He said that the saying of "four masterpieces" will not be as soon as it was gradually became popular in the 1980s as early as 1978.

After reading these two books about Chinese language, I will inevitably have the idea of ​​"both" and "also" -not only use vernacular to read and write tools, use it to learn various scientific knowledge, but also understand a little bit. The particularity of Chinese literature.

I definitely prefer vernacular and English, and I do n’t have a cold to Gu Wen. But I also feel that there is something desirable in Chinese traditional Chinese learning. For example, recitation and pairing, children recite "Law Enlightenment", in fact, they understand the nature of words without the concept of modern grammar. When we were young, we really liked to fight against each other. For example, Du Fu's "boundless falling wood, and the Yangtze River rolled in the Yangtze River."

Send 2022.9.26 Total Issue 1062 "China News Weekly" magazine

Magazine title: Chinese language "both, also"

Author: Miao Wei

Edit: Wang Xiaoxia

Operation editor: Wang Lin

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