Interpretation of the Literal Meaning of China's Poem 1 Interpreting Qian's Children.

As a scholar's prose, Qian Zhongshu occupies a very important position in the history of modern literature in China.

Yuan's Prose of Three Scholars in Wartime: Liang Shiqiu, Qian Zhongshu and Wang (Northern Social Sciences 19980 1) holds that scholars' prose is mainly used for expression, not for expression. Scholars' prose mainly convinces people with reason and enlightens people with knowledge. The second main feature is strong logic. It relies on analysis, judgment, reasoning and argumentation to convince and inspire people. The reason why it is not a paper but an essay is that its reasoning is not a boring syllogism, but an artistic joke. Therefore, the third feature of scholars' prose is humorous and even full of interest, which makes people laugh, even laugh. Scholar's prose often calls itself or is called prose because of its humor. This kind of humor is the humor of the knower, the wit and taste of the knower are more elegant, and there is no such kitsch. The above three characteristics are the vitality of scholar's prose, and also the fundamental difference between it and general prose.

Fu Demin's "At the Turn of the Century: Scenery of China's Prose" (Contemporary Literary World 199704) says that scholars' prose is rich in knowledge, profound in knowledge and superb in writing skills. This kind of prose combines knowledge of history, philosophy, music, art, etc., but it is not a "book bag", but blends allusions into literary talent, which is brilliant in literary talent, profound and dignified, with heavy cultural awareness and profound sense of history. Scholars' prose also has a strong speculative color. In other words, we should use modern vision, modern ideas and modern consciousness to trace the footprints of history and culture and think about the present, so as to put forward the views that warn people.

It is most appropriate to comment on Qian Zhongshu's On China's Poems with the above viewpoints. It can be said that Qian's prose is very consistent with each of the above. For such characteristics, we summed up the word "pass" for him. The first is to connect the past and the present. The second is to connect China and foreign countries. The third is general theory.

(1) connects the past and the present. It can be seen from the article that Qian Zhongshu's vision is very broad. Qian Zhongshu knows the history of China's poetry development, the characteristics of China's poet's growth, the essential characteristics of China's poetry, what the China people think of poetry, and how China poets write poetry, which fully shows the cultural accomplishment of a great scholar.

For example, regarding the history of poetry, Qian Zhongshu's views are different from others. He thinks that there is no epic in China, and drama poems come into being far after the most perfect lyric poems. The essence and peak of pure lyric poetry appeared in China's poems very early. Such a conclusion is impossible if you are not familiar with China's poems.

When talking about the profound meaning of China's poems, Qian Zhongshu quoted "Silence is better than sound", "Knowing the subtlety of silent strings", "There is a real meaning in it, and I forgot what I said when I tried to distinguish it", "Indifferently speaking, I stayed alone and played in unison" and "How beautiful she is, sitting in a frown with the pearl window sash open; You can see the bright tears on her cheeks now, but not the one she loves deeply. ""When I asked your student, under a pine tree, "My teacher," he replied, "Go to herbal medicine", but how can I tell which corner of the mountain, through all these clouds? " And other languages (the quotation in 16).

When talking about the expression of China's poems, Qian Zhongshu also waved, "All the strong men are dead, and the rest are at ease"; "Where is the emperor in today's pavilion, the Yangtze River flows freely outside the threshold"; "The color of flowers has changed this year, who will bloom next year"; "Where are the people who come to play with the moon? The scenery is vaguely like last year "; "Spring is gone, where are people? Where is spring where people go? " There are many such examples.

(2) Visit China and foreign countries.

Among modern scholars in China, Qian Zhongshu has the most thorough understanding of Chinese and Western cultures. Some people call it cultural Kunlun, which is probably the reason. From this article, we can also see that. In this article, the author stands at the height of history and culture and freely controls all the literature and history materials at home and abroad. We only take foreign literature and history materials as an example:

1) A person with literary conscience and discernment ... He will remember the poet Blake's quip: "It is a fool to introduce" (once in English)

2) He can't do his duty to the whole China's poetry, because he can't "transcend the image and get the ring" and has a lofty view. (Latin once)

3) China has no epic, and China people lack what Voltaire called "epic mind". (once)

4) The Sanskrit "Hundred Similes Classic" says that an Indian fool wants to live in three floors, and two floors are not allowed to be built below. China's artistic and ideological structures are often castles in the air. (Print once)

5) In your country, Poe advocates that the shorter the poem, the better. (once beautiful)

6) Compared with western novellas, China's long poems are just a light kite scissors in rhyme. (English once)

7) foreign short poems are sharp and incisive. China poets want you to see infinity from simplicity. (English once)

8) Sort out the realm of not being famous and difficult to get together in the most accurate and certain form, which is exactly in line with the conditions of Welland's poetry theory. (once)

9) There is a formula of "Where is" in Latin poetry in the Middle Ages to lament that death does not forgive people. This formula has been used in English, French, German, Italian, Russian and Czech poems, and the most wonderful one is Wei Rong's Song of Ancient Beauty (once in English, French, German, Italian, Russian and Czech).

10) the duke in Shakespeare's twelfth night may say. (English once)

1 1) China poets, they all asked like Byron's Greek Sorrow. (English once)

12) The tone of western poetry is like an orchestral ensemble, while the tone of China's poetry is relatively thin, only playing reeds. (English once)

13) Sion in French is not as strong as Sion in English and German, while Sion in English and German is heavier and lighter than Sion in Latin. Our wildest crazy songs are softer than yours; China poets are crazy, but they have the immortal significance of Feng Ling. Your poet is crazy! China's poems are not the so-called "barking" of Whitman in your country, but the words of civilized people, which are dialogues, not speeches, and have a quiet and thin voice like conscience. (once in England, once in Germany, once in France, once in America)

14) There are many social poems and few religious poems in China. That's all. (Latin once)

15) However, since the sixth poem in the second volume of Roman Horace's satirical training set, works of the same type as China's pastoral poems stand out among western poems. (meaning once)

16) I try to compare two very common foreign poems. The first one is two verses from Gray's Mourning in the Cemetery. (English once)

17) The second song is Goethe's "The Wanderer's Nocturne". (Deyi)

18) said that the quietness of China's poems reminded him of Velander's style. (English once)

19) Pure poems produced by your country's Edgar Allan Poe have existed in our poems for thousands of years. (once beautiful)

20) Greek mystics have long said that life is nothing more than having a home, going out and going home. (Hope once)

From these quotations, we can easily understand Qian Zhongshu in the modern academic history of China.

(3) General theory.

The so-called general theory means that Qian Zhongshu has a profound understanding of the comparative literature involved, and he can convey profound questions to readers (listeners) through simple language, so as to achieve the compatibility of elegance and vulgarity, elegance and elegance, and vulgarity and mediocrity. And every truth he expounded is well-founded. The full text wants to introduce the characteristics of China's poems to foreigners. He will not put forward a few dry theories stiffly, but explain them in simple terms, using all possible analogies (poetry, painting, music, stories, legends and fables, etc.). ) introduce his exposition to readers. For example, it is reasonable to tell readers at the beginning that it is necessary to use comparative and relevant viewpoints to evaluate a poet or a country's poetry. Moreover, we should have the spirit of a serious scientist and avoid high hats and empty words like generalities. In order to explore this truth, Qian Zhongshu made a comparison between ancient and modern China and foreign countries. Finally, the conclusion is drawn, "China's poems have the quality of the so-called' West', and western poems also have the composition of the so-called' China'. It is fragmented and weak in our children, but it has developed clearly and satisfactorily in yours. And vice versa. " This conclusion is both reasonable and prudent. On the writing of layout, China's poems are also unique. Its main feature is that it takes synthesis as the key link, takes comparison as the net, is compatible with China and foreign countries, takes into account ancient and modern times, and is ingenious everywhere, which makes readers memorable.

For example, answer "What's your overall impression of China's poetry?" Qian Zhongshu cleverly set a trap for this problem. He told us that it was inappropriate to ask such a question. Only by comparing Chinese and foreign poems from a lofty perspective can we draw a reasonable conclusion. And tell readers that this method is the method of comparative literature. There are only a few words in the full text, but the author's fundamental views and principles are clearly stated. Almost every discussion below contains comparison and synthesis.

For example, The History of China's Poetry is led by Voltaire. However, it is different.

When it comes to the length of China's poems, it was Poe who argued. This paper not only points out the characteristics and reasons of China's poems, but also points out the special features of China's poems: short poems can have far-reaching meaning, and contraction does not hinder extension, as if to look farther, and each eyebrow frowns. China poets want you to see infinity from "easy completion".

When it comes to the rhymes and special expressions of China's poems, we can see their similarities from foreign poets such as Welland, Keats, Wei Rong, Shakespeare and Byron.

And its ending is even more profound. As mentioned above, the problems related to China's poems have been explained. The conclusion should be at the end, but the author implies that China's poems are only China's. Good is natural, but it depends on different people. The deeper you know about it, the more prominent its advantages will be. On the other hand, if you don't intend to understand it, then it is aboveboard. Just like people treat poodles. Coincidentally, the author also hints to those who are ill-intentioned and ignorant here. So the best way is to go back to the poem itself. If you don't believe this, let the pug bite you. Let's say, "This West fills China, and China is a small animal of the West, sharpening its teeth and biting those who speak Chinese and Western cultures". Most importantly, only when China's poems are put on a comparative scale can a fair conclusion be drawn. This brings us back to the beginning of the article.

It has been pointed out that Qian Zhongshu's "quotations" are many, but they do not make people feel the sense of life that Aristotle called the head, abdomen and tail of a beautiful prose. The real meaning of this, in my opinion, is nothing more than two. First, Qian Zhongshu inherited the' family style' of China's traditional literati composition. Second, Qian Zhongshu has a high language sensitivity, so the quoted poems are generally familiar and ingenious, plus the author's own remarks, quotations and arguments complement each other. " (Hu Heqing's On the Hairdressing of Qian Zhongshu's Articles and China's Self-study 9 1/02) This statement is very reasonable. The beauty of Qian Zhongshu's language is an indisputable fact. This article is no exception. It was originally a highly theoretical speech, but after some clever arrangements by the author, it was rich and colorful. The composition of this feature comes from the metaphor of money.

For example, in order to show that critics should take the object of their comments seriously, the author wrote, "People with literary conscience and discernment, like serious scientists, avoid high hats and empty words like generalities." Only "literary conscience and discrimination" and "like a serious scientist" are enough to illustrate the importance of the author's point of view.

In order to illustrate the development law of China's poetry, the author made a corresponding metaphor with the development of Chinese painting. For example, in China's painting, the technology of objective portrait has not yet developed, but it has developed a "pure painting" style like "Impressionism" and "Post-Impressionism". It can be said to be a revelation. For this extraordinary state of development, Qian Zhongshu's wonderful metaphors have solved big problems.

In order to illustrate the shortness of China's poems, the author used a western phrase "light kite to cut and plunder". This metaphor is used lightly and freely.

"If shoes form feet, feet also form shoes; Poetic style may be the product of poetic heart and meet the needs of poetic heart. Compared with western poets, China poets can only be regarded as sculptors with cherry stones and two-inch ivory squares. However, a short poem can have a distant meaning, and contraction does not hinder extension, as if we want to see farther and every eyebrow is frowning. " This metaphor is more profound. Compared with "China's poetry chose its poetic style for the need of expression, and this poetic style is undoubtedly closely related to its expression", it is more vivid and self-evident.

Others compare the "proportion" of China's poems to "cobwebs are to barbed wire" and "only the reed flute is playing". It is attractive to compare China's wild poems to "the words of civilized people, and they are dialogues, not speeches, as quiet and thin as the voice of conscience-but all people with conscience can hear them".

In addition, for example, "let pugs sharpen their teeth and bite those who speak Chinese and western cultures." "Don't trust our commercial advertisements with ten characteristics". "All our emotional, intellectual and will pursuits or attempts are just the homesickness of the soul. We want to find a person, a thing, a place, and let our body and mind have a home in this vast and desolate world, as if the patient went to bed and the prodigal son went home. The purpose of traveling is to go home, otherwise you don't have to remember the impression of the journey. " "Learning our poems will definitely make you have a higher understanding of your own poems, just like your stay in China can increase your love for your own country, and you will feel that your sweet hometown has become sweeter because of the expedition", and so on, which is shocking and touching. Read it carefully.

The beginning of this article takes the general idea, the pawn chapter shows the spirit, and the middle layout is consistent, forming a whole.

1. The first paragraph comes from "What is the overall impression of China's poetry? To "this position is comparative literature". Explain the author's fundamental position on poetry.

The author thinks that when commenting on China's poems, it is necessary to have a comprehensive understanding of the poet and take concrete facts as evidence. Moreover, we must draw a conclusion on the premise of relative comparison, that is to say, we must look at it from the perspective of comparative literature. "A person who only reads China's poems will never have this problem. He can see that he can't generalize like this. He wants to distinguish the special and unique beauty of each poet. " In the author's opinion, it is not necessarily appropriate to judge a China poet with one or two sentences. He must "like a serious scientist, avoid high hat and general talk." Only in this way can we truly have a literary conscience and the ability to judge literary works. On the other hand, if you can't "transcend the image and get it in the ring" and have a "condescending view", then the conclusion may not be appropriate.

2. This passage is from "according to the opinions of several literary historians" to "China's artistic thought structure ... is full of perniciousness and brilliance". This paper discusses the general development characteristics and laws of China's poems as a whole.

Generally speaking, the development of poetry is in the order of epic-drama poem-lyric poem, but the author thinks that the development characteristics of China's poetry are just the opposite, and it is in the order of lyric poem-drama poem-epic poem: "China has no epic, China people lack Voltaire's so-called" epic mind ",and the best drama poems in China are far behind the most perfect lyric poems. The essence and peak of pure lyric poetry appeared in China's poems very early. So China's poems are precocious. " And "the price of precocity is premature aging." Therefore, "China's poems reached the highest level overnight, and then there was no change". Its general feature is that "China's artistic thought structure is often a castle in the air".

3. This passage ranges from "Your country's Allan Poe advocates that the length of poems should be as short as possible" to "I have explained in detail elsewhere that the pure poems produced by your country's love for Allan Poe have existed in our poems for thousands of years". This paper focuses on the characteristics of China's poems.

(1) (From "Your country's Allan Poe advocates the shorter the poem, the better" to "China poets want you to see" infinity "from the Book of Changes") This passage discusses from the length of the poem: China's poems are short, and the reason for their formation is the requirement of rhythm.

According to Poe, "the longest poem can't be read for more than half a minute". Qian Zhongshu supports Ai's point of view, but he only focuses on foreign poems. China's poems are more prominent in this respect: China's poems are like "blitzkrieg in literary appreciation", with an average of only two or three minutes. Compared with western novellas, China's long poems are just a light kite scissors in rhyme. The reason is that "it is forbidden to rhyme a word twice in a poem, which limits the length of China's poems".

(2) (From "A China Poet" to "Silence of Tears and Sighs") This passage discusses the rhyme beauty of China's poems and is full of hints.

On the basis of discussing the length of China's poems, the author changed a pen and put forward the topic that China's poems are short and pithy. The author points out that foreign poets have exactly the same views on poetry as China poets. Foreigners say "vagueness is linked with accuracy", while China people say "words are endless" and "difficult scenery is in front of us; It is the same to say that there is endless meaning. And they all have "the characteristics of China's poems, which are considered by general western readers as full of hints". It shows the superiority of "silence is better than sound" and "understanding the mystery of silent strings" Even reaching the state of "it makes sense in it, I have forgotten what I want to say" and "leaving a single ensemble and being indifferent to what I said" gives people endless aftertaste.

(3) (from "Western readers also think that China's poetry is weak in brushwork" to "pure poetry, which was in our poetry thousands of years ago") This passage specifically compares and discusses the style of China's poetry: "China's poetry is weak in brushwork and harmonious in words"; "Proportion" and "lower than western poetry"; "The tone of China's poems is relatively thin, and he only plays the flute" (the tone of western poems is like an orchestra ensemble). The reason is "related to the nature of language". Moreover, it is related to the temperament pursuit of China people: "The ancient poets in China always regarded shouting as inferior". "China's poems ... are all words of civilized people, and they are conversations, not speeches, and the voice like conscience is quiet and thin." This seems to be similar in China and the West. "There is little difference in content between China's poems and those of the West". If there is any difference, it is that "there are many social poems and few religious poems in China, that's all".

(4) (This passage is from "So, tell me about China's poems …" to "Studying our poems will make your hometown … feel sweet because of the expedition") About the overall characteristics of China's poems. It also enlightens people that poetry must be discussed according to the cultural foundation of the country. Only in this way can we achieve comprehensive science. The author agrees with the American view that there is nothing special about China in China's poems. If we want to say something different, it is "China's poems are only poems, and they should be poems, which are more important than China's". For such a problem, we should have a comprehensive macro view, not a one-sided view. Don't believe or exaggerate, but keep the poetry true. Only by finding the essence of poetry can we understand the meaning of poetry more clearly. It also implies that the author likes China's poems.