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Qi-based literary translation
In ancient literary theory, Cao Pi of Wei was the first to mention verve. He said:

"The article is based on qi, which is turbid and has a body, and cannot be caused by force." For example, although all kinds of music have the same curvature and rhythm, as for uneven air intake, they are skillful and well-known. Although they are brothers and sisters, they cannot transfer their children to other schools. "Qi here refers to the author's unique appearance in the article, which is equivalent to the" temperament "of people. Everyone can feel the existence of temperament, but it is illusory and floating clouds in the mountains.

After a person's temperament is formed, it is relatively fixed. However, the qi in this article fluctuates, so it is more appropriate to call it "Yun Qi". In this regard, Han Yu of the Tang Dynasty emphasized it most clearly. He talked about this in his reply to Li Yishu: "Qi, water is also; Words, floating objects; When the water is big, things float and the size floats. " Qi as it says, gas as it says, is suitable for people who speak briefly and have a high voice. "In some books,' qi' is often interpreted as the author's ideological accomplishment, which is wrong. A person who has never read a book has his own anger. If it is shown in a China work, then this work also has its own spirit. For example, every ups and downs of a calligraphy can't reveal the author's ideological accomplishment, which clearly shows the spirit and unique rhythm in the author's heart. Han Yu wrote countless articles in his life, and his content changed accordingly. But the ups and downs are similar, and people compare it to "tide". Reading Han Yu's article, we can feel the surging tide, one wave is going away and the other is approaching. The so-called "Han Dynasty and Su Hai" concisely summarizes the verve style of Han Yu and Su Shi, two great essayists in the Tang Dynasty.

The qi in the article can be actually felt, but it is also empty, which should be presented through certain factors. These factors include the feelings brought by syllables, long and short sentences and vocabulary in sentences. Among them, the rhyming changes of lexical feelings are often ignored. In fact, this is the most commonly used in literary works.

The charm of words has two obvious characteristics. The first is the unity of overall charm. A good work shows the same charm from beginning to end. For example, we often say what it feels like to read Du Fu's poems and Li Bai's poems. In other words, an author can certainly write works with different charms, and Du Fu is not only depressed and frustrated. He also has two sentences, such as orioles singing green willows. But different charm can't stay in the same work, otherwise it will be chaotic. It is said that someone once picked out the most beautiful melody from the most beautiful music of all times and synthesized a new song in order to create beautiful music. But all he heard was a series of chaotic movements. This unified charm in the article should be read at the beginning. If you don't understand it, then this article is not a good article. "Have a plan" doesn't mean that every line and every color level of the picture has been built before you start writing. It is out of the question. Before you start writing, you only have one full-length spell in your mind.

The second feature of charm is its ups and downs in the text. The phrase "the text seems to look at the mountain but doesn't like being straight" means that the charm must change. The change of charm must meet people's aesthetic needs, and no one can stand the spirit of going straight. When building an expressway, in order to avoid the driver's physical and mental fatigue during driving, it is necessary to draw various signs rhythmically on the expressway. When it reaches a certain distance, it needs to design a turn. The same is true of reading articles. Some articles are written. But it is uncomfortable to read, because it ignores the ups and downs of the charm. There are many kinds of ups and downs of charm. The simplest is of course repetition. One, two, one, the rhythm of three-step and four-step drumming in dance music can prevent people from getting bored when they feel them. Then there is radioactivity, which can be expressed by one, two and three. Such scenes are common in American blockbusters. When a person successfully does something, first one person applauds, then several people. At last, everyone applauded him. Or one person dances on his birthday, which is surprising at first, then one person joins in, and then two, until everyone dances wildly with the rhythm. Of course, the change of charm in a literary work is complicated, and more is the comprehensive application of various forms. What the viewer feels from beginning to end is the author's own unique charm and style.

When reading a novel, people are moved by the story and think it is really touching. They seldom think of the key role of charm. In fact, which touching story is not ups and downs? The story is like this, and so are the sentences and paragraphs in the article. A good sentence must have a change of charm. Just writing a fact will not bring endurance and beauty. "Since then, I have been waiting for him in this city. Unexpectedly, this kind of sentence is moving, and the change of charm plays an important role in it. The works of famous contemporary writers have their own charm and style. What I can feel most directly is Mo Yan. Mo Yan has reached the point of unscrupulous writing. After reading his article, it feels as if he wrote it to vent. Of course, the role of charm is important, but it doesn't mean that you can make a good article with charm. There are many factors in a good article. But an attractive article will not be boring to read. This is already very important. Think about it. How many articles are there?