Characteristics are the product of contrast, and only contrast makes it more necessary to narrate. The fifth chapter introduces the characteristics of classical Chinese, mainly from the different aspects of vernacular. To introduce the characteristics of vernacular now, of course, we should also focus on the different aspects of classical Chinese. Verse 11.1 above says that many aspects of vernacular Chinese are not as complex as classical Chinese. This is because it is written according to spoken language, spoken language is common, even if some fastidious is not very much. Also, although there are big differences between classical Chinese and vernacular Chinese, there are also some minor similarities, such as glyph, pronunciation and so on, which have been mentioned before, of course, there is no need to say again. We can talk about the following aspects. One, of course, is the difference in vocabulary and syntax. There are a large number of words and many sayings in the vernacular, which are not used in classical Chinese. This kind of phenomenon, whether looking at the vernacular of the Middle Ages or the modern vernacular, can be clearly felt. Examples, of course, can be found everywhere, but here are just a few. Let's start with vocabulary. Records of the Grand Historian: Chen She Family records that after Chen She proclaimed himself king, an old acquaintance from a time when he was poor came to see him. When he walked into the palace, he was surprised to see the wealth that Chen She enjoyed and said,! Involved in it is the king's heavy one. Huo Yi is an interjection, a vernacular word, which is not used in classical Chinese except for the shadow and sound. Another example is "Shi Shuo Xin Yu · Qiao Yi" chapter records that Gu Kaizhi's paintings are not eye-catching, people ask him, he said: "The vivid portrayal is in the middle of Ah Du." A Du is the vernacular, meaning this, but also in addition to the shadow and sound, not used in classical Chinese. Later, for example,cosmetic plastic tube, "Beijing Popular Novels: The Ghost of a Cave in the Western Hills" said that Wu Xiucai "had no money", and that no, what and money were all vernacular, and they were not used in classical Chinese. A large number of words in modern vernacular, especially new or newly borrowed words, such as macro, feedback and so on, have nothing to do with classical Chinese, which we all know. Let's talk about syntax. The same meaning, in the vernacular, is in another way,metal cosmetic tubes, and examples are everywhere. For example, there are two sentences in The Ghost of a Cave in the Western Hills in the Popular Novels of the Beijing Edition: "All the children come to teach him a lesson" and "a person will come in", which are not found in classical Chinese syntax. Modern vernacular, such as "ba" sentences, two verbs with an object, the use of the auxiliary word "de" to introduce complements, and so on, are also not found in classical Chinese. There are many translations in modern vernacular, most of which are very exotic, which is even farther away from classical Chinese. In addition, the difference between vernacular and classical Chinese is more obvious in the way of expressing tone, which has been mentioned in the previous section 2.3.3 and will not be repeated. Secondly, the people related to the works are of different classes. As far as the author and readers are concerned, most of the people involved in classical Chinese are from the upper class, and most of the people involved in vernacular Chinese (with the exception of modern vernacular Chinese) are from the lower class. The reason is very simple, in the eyes of people in the old times, classical Chinese and vernacular can be divided into elegant and vulgar, temples and scholars should use elegant, and those who lead cars to sell pulp can only use vulgar. If you take a look at the literature collection, this distinction will become even more apparent. Nine out of ten authors of classical Chinese books are officials of one kind or another. As for the vernacular, take the novels for example. Most of the early novels were written by artists, and of course they had to be anonymous, even if they were anonymous, pump tube ,plastic packaging tube, such as Luo Guanzhong, Shi Naian, and so on. Even Cao Xueqin, who was born in an aristocratic family, was no exception. If the Cao family had not fallen, or if he had risen and become a high-ranking official such as a minister or an assistant minister, a Dream of Red Mansions would not have been written. As for readers, or those who expand their appreciation, the distinction between classes is also obvious. The first volume of Su Shi's "Dongpo Zhilin" records: "The child in the lane of Tu (Tu) was poor, and his family was tired of suffering, so he sat together with Qian Ling and heard the old saying." There is also a sentence in Lu You's poem that "I heard of Cai Zhonglang in Mancun". In addition, books such as "Tokyo Menghua Record" and "Capital Jisheng" have recorded the situation of Wawang (also known as Washe) performers telling stories. It can be seen that the place of telling stories is limited to villages and markets, and "elegant gentlemen" do not listen to them. After the Song and yuan Dynasties, novels became more popular, and some of the scholar-bureaucrats turned from ignoring them to hating them. For example, at the beginning of Shu Ying, written by Zhou Lianggong in the early Qing Dynasty, there is a record of his father's family precept-style work, Guan Zhai's Forty Auspicious Appearances, in which the first appearance is that "there are no obscene books on the desk", and there is a small note under it that says: "In the past, people said that Huang Luzhi wrote erotic words to disturb people's hearts with evil words, and his crime was not to stop falling into evil ways. Recently, novelists are more than just erotic words! Extraordinary retribution, everyone sees it with their own eyes. If there is a piece of paper on the desk, it should be burned.
Bad mind, mourning line stop, all these books lure. The Duke of Zhou had no power, so the burning was limited to his own desk. As for the royal family, from Shunzhi to Tongzhi, almost all the Dynasties banned the burning of the whole country. The above is to say that there is a gap in class. But this gap is not insurmountable, because the vernacular, a tool for expressing feelings, can not only tell stories, but also philosophy. This refers to the quotation, which comes from the monk's talk about Zen. The Neo-Confucianists of the Song and Ming Dynasties learned it and used it to talk about nature and reason. The great monks and Neo-Confucianists, of course, are all upper-class people. In addition, people's hearts are different, each has its own face, especially in modern times, the upper class will also have a small number of people like the so-called popular literature, such as Yu Yue's revision of "Three Heroes and Five Gallants" and Liu E's "Travels of Lao can". Thirdly, the speed of development and change is different. When I talked about classical Chinese, I often talked about shaping, meaning that this is the case at a certain time, and it is still the same after that; even if there are changes, they are sporadic. The vernacular has no such shape. Obviously, the reason is that it has to be written according to the spoken language, and when the spoken language changes, it has to change with it. Before the Tang Dynasty, we could hardly see the pure vernacular of the whole article, regardless of it. After the Tang Dynasty, there are still some scripts of the Song and yuan Dynasties, which are both pure and complete, and can be regarded as the representative of the vernacular of that period. When we read it now and compare it with Dream of Red Mansions and Heroes and Heroines, we will find that the charm has been quite different, and if we compare it with Scream and Midnight, it will be even more different. Classical Chinese changes slowly because it is not only possible to use the old, but also happy to use the old. For example, the crowning ceremony has long been out of date. People in the Ming and Qing Dynasties wrote in classical Chinese to express adulthood, but also to say that the crown is weak or has been crowned. Otherwise, it seems that it is not elegant enough. Basically, the vernacular can not copy the old, such as "Xu-", "-Ze Ge" and so on, which can be seen everywhere in the script, not in a Dream of Red Mansions, and of course not in Midnight. On this point, the vernacular has a stronger personality than classical Chinese,empty lotion tubes, and there are always different faces in different periods. Fourthly, the coexistence of classical Chinese and vernacular inevitably influences each other, but the power of influence. emptycosmetictubes.com