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Contemporary written language is the product of the May 4th vernacular movement. Before the popularization of vernacular Chinese, China intellectuals used to use classical Chinese, so the written language at that time was classical Chinese. Although vernacular newspapers appeared as early as the late Qing Dynasty, and even put forward the idea of "I write my mouth by hand" (Huang Zunxian's language), it was not until the literary revolution initiated by Hu Shi and Chen Duxiu that vernacular Chinese finally replaced classical Chinese. The vernacular movement can begin with 19 17 Hu Shi's "Improvement of Literature". He said: "I think today's literary improvement must start from eight things. What are the eight things? In short, there must be something to say; Second, do not imitate the ancients; Third, grammar must be taken seriously; Fourth, don't moan if you are not sick; Fifth, don't go to rhetoric; Sixth, no code; Seven days, don't talk about confrontation; Eight words, do not avoid common words and sayings. " Among them, "non-archaizing people" is against classical Chinese, and "non-avoiding common sayings" is advocating vernacular Chinese. Hu Shi believes that classical Chinese is extinct language, and the literature created is dead literature; Vernacular is movable type, and the literature created is living literature. In the past century, after the baptism of this literary revolution, China's written language has become "universal, not vernacular". 0nU[XGo%
At present, written Chinese is white, but there is no unified standard for its so-called "vernacular". We might as well start with the comparison of early vernacular. Please see: 4mb}B5i
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But both western thought and China thought entered the world, unlike Indian thought, which was unprecedented in China. (Wang Guowei's On Academic circles in Recent Years) x) "p] qgd
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One of the most famous phenomena in literature in recent years is the input of new words. t 5wDV4z}4
It is practical and popular to restrain the characteristics of China people; The characteristics of westerners, whether speculative or scientific, are better at abstraction and classification. (Wang Guowei, "On the Input of New Learners", g = 6 ei
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Although Wang Guowei's words above are not classical Chinese, they are by no means spoken. It can be said that this is a "non-vernacular" transitional style when classical Chinese turns to vernacular Chinese. It is characterized by "literary and white doping, non-literary and non-verbal". Look at Chen Yinque's words again: 0h)j|domM.
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The person I want to invite and the apprentice I want to take must have free thinking and independent spirit. It's either that or it's not my student. I don't know if your opinion was the same as mine before, but it's different now. You are no longer my student. Zhou Yiliang and Wang Yongxing are both my students, otherwise they are not. Take an apprentice in the future, too (Chen Yinque's reply to the Academy of Sciences) WRK
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This is not classical Chinese, nor is it spoken and spoken. The vernacular that is really close to spoken language belongs to Yu Min's writing. For example: stvhxzp =&;
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It's a bit difficult to analyze' other' or' husband' alone. ... but once I turned to Tibetan, I found the right idea. The Tibetan word' agi' is an indicator, meaning' over there' or' over there'. When you use him, you can put it in the prefix specified by him, but you can also put it behind ... If you want to compare with him, we can understand. (Yu Min's Linguistic Essays P174) ~ K}1Z ('
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This way of writing is close to spoken English and full of Beijing flavor (underlined part). Unfortunately, Mr. Yu Min's vernacular is not typical of contemporary written vernacular. Mao Zedong and Fei Xiaotong are the most typical contemporary vernacular Chinese. Although Mao Fei's article has been regarded as a model of vernacular Chinese, there are still traces of classical Chinese that have not been eliminated. For example: q vF X
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Of course, this does not mean that all ethnic groups living in these areas have been absorbed into the Han nationality. This is not the case, that is, there are still ethnic minorities living together in areas where Han people live in concentrated communities. (Fei Xiaotong's "The Development of Ethnic Minorities in China" 8q YF i+)
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Only these six or seven crosses contain the remains of classical Chinese such as extension, absorption, not so, present, residence and interior. In fact, this is not surprising, because many popular vernacular styles are the following: =6S.ec[o]
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Writing an article, occasionally quoting one or two poems to enhance the weight of the content, of course, but this kind of quotation still appears in the face of classical Chinese, without "melting into modern Chinese", which is not the quotation mentioned in this article. On the other hand, when you are in the mood, you can grasp some classical Chinese words and put them into modern Chinese, which is not the so-called reference in this article. Take its method, its spirit and its shape; Or occasionally use a few words, although this is a form, it is logical in modern writing, and it can express the meaning more appropriately, like some works by Mr. Lu Xun, which is certainly good. In short, we should integrate the things in classical Chinese into our own words, rather than mixing them in our own articles. (catch-up in classical Chinese by Zhang Zhongxing) I>- me! we? A
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This passage not only represents the popular style of contemporary written language, but also explains the source and basis of this style, that is, the blending of literature and white-contemporary written language is the product of the blending of literature and white. Is the "text" unfinished? Or "no"? In my opinion, a typical formal written style cannot be without the elements of classical Chinese. As a "spoken word" like Mr. Yu Min, writing academic papers is not formal enough. If used as newspaper editorials and international announcements, it will inevitably be indecent. This is probably why only Mr. Wang has done it so far. In any case, the fact is that formal style must be transformed into classical Chinese. Classical Chinese and vernacular Chinese are not and cannot be completely separated at present. This is the first point to be pointed out in this paper.
Second, the relationship and boundary between literature and vernacular ==5Fd$o3
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Undoubtedly, some vernacular Chinese are too literary and some are too white. Too much classical Chinese is too strong and too much spoken English is too white. Both will cause communication difficulties: too difficult to understand, too vulgar to understand (dialect barriers, such as "Wu"). More importantly, Wen Tai is not like "writing", too white and not solemn. This is the second point that this article wants to clarify. P % R $ Q`u * { & amp
Strictly speaking, there can be no classical Chinese in vernacular Chinese. But can Wen and Bai be separated? Of course, there is a difference between classical Chinese and vernacular Chinese: classical Chinese is a specimen of written language in Qin and Han dynasties, separated from spoken language, while vernacular Chinese is written with reference to spoken language at that time. But ... Zhang Zhongxing said again: H! o & lt& ltd，(
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"The two are inextricably linked. There are differences in vocabulary and syntax, but there are also many similarities. Also, although it was separated in history, it was not completely separated. Not only do you frequent each other, sometimes they even live together. This makes us have to think about boundaries. " (Zhang Zhongxing's Classical Chinese and Vernacular Chinese) D9`3
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The difficulty of demarcation is "what is white?" Hu Shi in vernacular literature history? The preface says: Dk}%IF0
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I have expanded the scope of "vernacular literature" to a large extent, so it includes those works in old literature that are clear and close to words. As I said before, "vernacular" has three meanings: one is "white" on the stage, that is, things that can be said and understood; The second is innocent "white", that is, if it is not washed white; The third is to understand "white", which means to understand Xiao Chang's words. According to these three criteria, I think there are many vernacular Chinese in Historical Records and Hanshu, so most of Yuefu's lyrics are vernacular Chinese, and the words in Buddhist scripture translation are also vernacular Chinese or very close to vernacular Chinese. There are also many vernacular works in Tang poetry, especially Yuefu quatrains. Bokn，*A/=
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Hu Shi's definition is really "white", but it is difficult to solve the problem. Zhang Zhongxing retorted, "It seems that these three meanings can be used independently, even if there is only one condition. If this is the case, it will be as far as Mencius and Warring States Policy, and as close as Notes of Yuewei Caotang and Essays on Spring in the Class, which have all become vernacular works, because they not only understand Xiao Chang, but also do not whitewash it. " Expanding the scope in this way, the result is of course that the boundary between classical Chinese and vernacular Chinese is more blurred. No wonder Zhou Zuoren said in the article "Literary Revolutionary Movement": T{[_#E,
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"That is to say, in Mr. Hu Shizhi's place, he put forward some Tang poems that are considered as vernacular literature, but there is no clear route for their choice. In other words, ancient Chinese and vernacular Chinese are inseparable, and their life and death are even more difficult to decide. " (China New Literature Series, Historical Materials and Index) }gI4'yjd
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It is difficult to distinguish between ancient Chinese and vernacular Chinese, but is contemporary vernacular Chinese clear? The articles cited by Fei Xiaotong and Zhang Zhongxing are all in the vernacular, but their vernacular is still mixed with classical Chinese. In fact, other people's articles are not all like this? Please see Wang Li's "Cheating" (cross-hatched part):}? Zr(~
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A stingy person, we call him stingy; A jealous person, we also call him stingy. Being stingy is naturally not great enough; If not an out-and-out villain, at least it should be said that he is a concrete and tiny villain. However, if the stingy person is one of the villains, and the villains are all over the world, there are too few people who can be called gentlemen. * ' ospp
People who are reluctant to part with money are called stingy. It turns out! I work hard to make money. I can't easily agree to donate it, even if it's a treat or a gift. How can I make it equal to "white flowers" without any calculation? On the positive side, we should accumulate grain first if we can; On the negative side, we should take advantage of it. The smaller the gas, the bigger the stomach; The larger the amount, the flatter the stomach. A miser has his own miser philosophy. If you pull out a dime today and a dime tomorrow, your reputation will spread. 450 million compatriots, everyone wants to pull one. Is this still available? dv# 1Dxm6
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This is the vernacular, no problem. But there are indeed many places that are very "literary", so it is still written in white. Look at the article now. Who hasn't written classical Chinese? In fact, the more formal and solemn an article is, the more inseparable it is from the elements of classical Chinese. For example: "Strive for modernization!" In this contemporary slogan of "informal without saying", "for ……" is by no means verbal. Not to mention that this sentence is difficult to say in spoken English, and even if it can be said, it will not be so solemn and powerful. I think: the solemnity of language can not be separated from classical Chinese. In addition, the contemporary formal written form creates an independent form, which is neither classic nor spoken (see Feng Shengli 2003). For example: YwiE=iqVd
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The social system must be constantly reformed. U# t\nqh/
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Don't use "to" or "to" in spoken English, for example. u "} h。
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(a) Give the car back to B) A: "Look! Your rolling is not working, it must be repaired! @|RV？ l
(a) Give the car back to B) A: "Look! Your scrolling doesn't work. Must fix "+; 5 iMg8H
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However, in formal occasions (such as traffic rules), the same thing can be expressed as:! q2#7T82v
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The skin rolling is out of order and must be repaired! c{，& amp8i7U
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Therefore, we can draw the conclusion that there is no absolute white in contemporary written language (formal style), although absolute writing has been eliminated. In other words, the relationship between literature and Bai is not a simple "boundary" problem. This can be seen from the following three aspects. First, if "Wen" refers to classical Chinese and "Bai" refers to colloquialism, then the boundary between Wen and Bai does not exist, because what ordinary people say does not have the "classical Chinese" component quoted above. Secondly, if "Wen" refers to contemporary written language and "Bai" refers to contemporary spoken language, then the two are not just a boundary problem, but two independent systems, because the formal style of contemporary writing not only has "classical Chinese", but also has its own independent form, that is, it is neither classical Chinese nor spoken language. Of course, when discussing the boundary between literature and vernacular Chinese, "literature" refers to classical Chinese and "vernacular Chinese" refers to vernacular Chinese (contemporary written style). Even so, the boundary between Chinese and English is not the core of the problem. Because a large number of classical Chinese elements have been integrated into contemporary brushwork and become organic elements, which are inseparable. If "text" becomes "white" (part of it), then this is not a simple demarcation problem. The real question is: which "texts" (classical Chinese) can be transformed into "white" (vernacular Chinese)? What "words" have become "white"? And theoretically why "words" need to become "white". The current fact is: Is the whole world in vernacular Chinese? However, the mystery for a hundred years is: Why is vernacular Chinese still inseparable from ancient Chinese?
Third, the judgment of words and articles is not just me. ? Dmq83
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Why don't contemporary vernacular Chinese completely abandon the elements of classical Chinese? I think it's not that she didn't give up, but that she couldn't do it. Mr. Huang Jigang, a master of Chinese studies, has long predicted this point: VH5 _. * See.
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Words are polished into articles, and words follow the rules. Therefore, if you write a narrator, you should seek the brevity of his words or travel far, and you must also adopt beautiful chapters. Jane's beauty cannot be equated with speech, that is to say, language is a literary people, and there must be differences. If not, say there are no words. Some people say it's a kiss, it moves with the world; Written in a book, its nature is solidified. Therefore, there are interpretations of poems and books in Erya. Jessica Hester Hsuan is a masterpiece. 88; JGB & gt；
The common language tends to be new, the articles follow the old ones, and Fiona Fang and Germany are different, so elegance and vulgarity are different. Besides, everything his wife does is based on him, and she rarely creates it herself. Ni Xiaoyu, Zhuang Yue, Tao Ran, if it comes from nature. However, the article has both fixed style and public comments on beauty and evil. World famous articles, neither profit nor profit. The posturing put forward must be the articles of the previous generation. The model has been put away for a long time, assimilated, and every sentence has sound and rules to follow. Therefore, although the poem is wide, the user does not exceed 457 words; There are many texts, and most constant observers stop at three or five thousand words. z:vcF & gt； 1
No wonder language is fashionable and articles serve the present. Taste the way of changing voice and follow the time from the ground. From the ground, the special environment is not connected, and from the time, it is easy to replace foreign countries. So "Mountain Tree" is translated from Chu language, and Qin language is dull and melancholy. A when Yan Zheng and Xiao Fang ("Book of Rites" note: "Zhao Gao also insurrection, or shine on you, black out of yellow. People follow it, and this language still exists today "). As far as recent events are concerned, Kunqu opera is white, and non-Wunong hates its hook; Wang Yan of Yuan Dynasty must have been fascinated by his sentence reading now. If it is true, it is both a language and a lingua franca, which is suitable for all Hu. If you don't grasp the past first, you must follow the same law. *[ ||r7
To sum up, words and sentences are judged by modification, transfer, copy release and similarity. This is just a lie. (Huang Kan diary199) VW&; Z0Xi？
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Here are four reasons why written language and spoken language are different. Among them, two sentences, "saying is new, writing is old, so it is refined and popular" and "language follows the times, and writing is elegant by using the ancient", are the most incisive, which reveal the fundamental reason why vernacular Chinese is popular but classical Chinese is still immortal: formal style must distance itself from oral style, and classical Chinese is a necessary means to distance itself from oral style. In today's words, the difference between written language and spoken language is inevitable rather than artificial, and it is an inevitable product that formality and elegance must be distinguished from informality and popularity. This is also the reason why the vernacular Chinese in the twentieth century is still inseparable from the elements of ancient Chinese. At this point, the traditional study of Huang Zhang is indeed prescient. At first, it was the distance between classical Chinese and spoken English, but now it is the distance between vernacular Chinese and spoken English. Although the content is different, the essence is the same. From the very beginning, "I wrote by hand" to today's vernacular writing process and facts, which are enough to prove Mr. Ji Gang's foresight. Of course, we can't forget that without the initial vernacular movement, there would be no difference between today's vernacular style and popular spoken language. This was unexpected not only by those who opposed the vernacular movement at that time, but also by those who advocated vernacular Chinese. In short, language has its own laws, and the difference between classical Chinese and vernacular Chinese, and the difference between vernacular Chinese and spoken Chinese is the function of this law.
Fourth, the distinction between elegance and vulgarity 2Mey |#yG
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In fact, Chinese style has a long history of elegance and vulgarity. Hanshu? Yi Wen Zhi said: Shangshu is outspoken. "To put it bluntly is the vernacular. In other words, the so-called vernacular has existed since ancient times. However, this does not mean that oral composition can be completely blank. Zhang Taiyan said: XyEM9* ~
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"The article is wonderful, but when applied, the vernacular style is also available. If it's written in words, it's written in words. If it's beautiful, it's written in rhymes like poems. If it's beautiful, it's also written in words. In short, the narrative is simple, prose is used, and things are complicated. It can be used for parallel styles. It doesn't have to be strong, and it doesn't have to be verbally attacked, but it should be appropriate. " -"Zhang Taiyan's Lectures on Chinese Studies" edited by Mr. Tang Zhijun F _ V6.J
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This is only in terms of the differences between literature, art and style. In fact, the main reason why "white" can not be separated from "literature" is not the pursuit of art and the means of rhetoric; In fact, to distinguish the difference between spoken and written language, we should widen the distance between them. The so-called distance is to distinguish between formal and leisure, elegance and fashion. What is appealing to both refined and popular tastes? Mr. Huang Kan said: d|S49aD:
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Song Ci originated from Tang Poetry, and Song Yuan originated from Song Ci, just like a filial son. Although the temperament and figure are similar, they are different when they meet and act differently. Elegant and popular customs are passed down from generation to generation. At the beginning, both refined and popular tastes were shared. It has been pure and vulgar for a long time, and this has changed. Elegance and vulgarity are easy to shape, but they are vulgar at first, elegant in literary talent and elegant for a long time. This change is also upward. From the former, Gao Wen can flow into one; From the latter point of view, Yu Fu can become beautiful words. But the two are actually two lines in the world, so a generation must have popular writing methods in time, and it must also follow the ancient writing system. Looking at Yuan Qu, Hu Yucun talked about it, but it was mixed, and the words were also expressed by the words in the poem. You can know why elegance and vulgarity are wrong. When the husband's order changes, the so-called elegant person still exists; The so-called common people are no longer universal. EAC:？
Therefore, people who study Song Ci can only wander at the threshold of Wujiang, and there is no way to reach Liu Zhou's door; Those who write lyrics in the north are familiar with Yu Ming and Jane, but when they arrive in Mongolia, they finally feel that someone is there. What is this? Times have changed, fashions have changed, dialects have changed, common language has changed, habits have changed, and they are addicted to the same but can't. Husband and wife are private, clothes are upside down, ancient and modern things are different, and the road is different. "When you come, you will be like your partner." Slander of Song people; "Dare to cross the steel shovel and smash the paper shovel" is also an insult to Yuan people. Can anyone solve it today? Therefore, a writer is also a writer. It can't be effective, but it doesn't have to be vulgar. Just follow the right path. (Huang Kan Diary) QQ
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This passage by Mr. Ji Gang does not seem to attract people's attention, but its incisiveness and profundity will eventually affect the study of the development and evolution of literary style, not only in the fields of linguistics and China history, but also in the study of literature and literary history. Here, Mr. Ji Gang not only involves the history, differences and mutual changes of elegance and vulgarity, but also points out that they can go hand in hand and have their own division of labor and functions. "Each generation should have its own popular style and its own ancient word system", that is to say, each generation should have its own popular style and its own formal style. This is equivalent to announcing the inevitable result that vernacular Chinese will eventually be independent of spoken Chinese from the perspective of the opposition between elegance and vulgarity, because they have different functions in language expression. The so-called "Fiona Fang's morality is different, so elegance and vulgarity are different". Not only that, Mr. Huang also pointed out the different ways of "downward change" and "upward change" in the transformation from refined to popular. Isn't the so-called "elegance in writing at the beginning of vulgarity" and "Yu Cansong turned into beautiful words" exactly the road of "elegance from vulgarity" followed by the development of vernacular Chinese from the language of ordinary people to today's formal styles such as "engaging, practicing and acting"? According to Mr. Ji Gang's theory, today's formal writing style is a kind of "variation". Of course, the application of elegance and vulgarity also begins with "Hu dialect in a village, but it is mixed with it". When "using Jin language", elegance and vulgarity can be "wrong". Undoubtedly, this is another historical road followed by today's formal brushwork. Interestingly, Chinese can actually be a mixture of ancient and modern, and the characters are staggered. This is unique, if not unique, in other languages. What is the reason why Chinese can be mixed from the past to the present and harmonious? This is another mystery to be discussed in this paper.
Five, prosodic grammar-the historical reason for the compatibility of Chinese and English o Xm2 1?
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As can be seen from the above, if you turn vulgarity into elegance, you can't resort to classical Chinese, and the result is that contemporary brushwork is intertwined. However, it is a thousand-year answer why China people and British people can blend together and how China people and British people make mistakes. In my opinion, this problem must be explained from linguistics. The former is a question of language history, while the latter is a question of contemporary written language grammar. Whether in history or in contemporary times, these two problems can be summed up as a law, that is, literature and prose are staggered by rhythm. Explaining the compatibility of Chinese language and literature from the perspective of rhythm is actually the application and promotion of the principle of "sound training" in Zhang's research. Mr. Ying Min (Lu Zongda), a former teacher, is diligent in preaching and teaching, and he never changes after repeated teaching; The essence of exegesis is sound. Sound, in Huang Zhang, is not only related to the source, the meaning of the test, but also the borrowing of the Ming Dynasty; At the same time, it is also the basis of Chinese word formation and sentence formation, that is, as Mr. Ji Gang said: wo k:0 &；;
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China's language is based on monosyllabic pronunciation, which must express the complete meaning, which is different from what westerners call multilingual family. If there are two tones at the same time, it must be nonsense, such as coral. (Huang Kan's Notes on Textual Research Phonology, 99 pages) 3|8RA/(a
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"China language sounds monosyllabic and complicated, so it often turns single words into double words. Each one has a single name and a double name. For example,' Heaven' is called' Imperial Heaven' and' Haotian'. Double names are essentially warts, but they must be used in classical Chinese. Because the voice is monotonous and complicated, the single name changes to two, so it is made into poetry, parallel prose, couplets and other styles. Like the language of rhythm, it is also formed from this. There are many people's languages and rhetoric in Shi Shuo Xin Yu, and so are the later generations. " (Huang Kan's Notes on Textual Research and Phonology +000 pages) [/TZ4]
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The so-called monosyllabic polyphony or monotonous polyphony (although the pronunciation is single but the intonation needs to be complex) is the prosodic mechanism of "syllable words (= monosyllabic)" and "disyllabic steps (intonation polyphony)" in today's words. The statement that "the same name is redundant in nature, but it must be written in classical Chinese" clarifies the fact that the language of books is elegant, so it is disyllabic (note: "classical Chinese" in the text means "elegance" or "literature"). We believe that without the prosodic mechanism of "monosyllabic repetition" in "language rhythm", there is no "integration", and poetry parallel prose is just one of them. Historically, the compatibility between classical Chinese and vernacular Chinese is the inevitable result of the historical development of Chinese. This can be seen clearly from the type change of empty verbs to light verbs. As we know, today's forms expressed by light verbs, such as "fishing", can be directly expressed by monosyllabic word "fishing" in ancient times, while the operations of light verbs such as "beating, taking off and engaging" were absolutely absent in ancient times. When and how did they appear? This problem is directly related to the later style of writing. To illustrate the problem, let's take a look at the syntactic structure of "fishing" and "fishing", as shown below: x/)&; ` = & lt
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That is to say, syntactically, the structures of "fishing" and "fishing" are the same (see Hale & Caesar 1993). Specifically, if the "fish" in the picture moves to the position of the empty verb DO, it becomes a "hidden" verb, which means "doing something with the object of fish" (that is, "fishing = fishing"). If the empty verb DO is realized by a light verb with sound morphology and semantic abstraction, then it is filled with a light verb like "da" and becomes an obvious verb-object phrase. The former is the product of syntactic homology: "fish" breeds milk and "fish" (see Feng 2003); The latter is the result of "phonetic" light verbs: "fish" is derived from "fishing". & gttO & gt； five
Obviously, the difference between ancient Chinese and modern Chinese lies in how to realize this empty verb DO. In ancient times, it relied on substitution, and later on "phonetic symbols" (= filling), which caused great differences between ancient and modern types. z2 6*)f！
So when and why did this silent DO (empty verb) become a "da" with sound? According to the study of historical prosodic syntax (Feng 2004), this problem can be preliminarily explained, that is, the internal reason to prevent the core words from shifting here is also the dual requirements of "disyllabic prosodic words" and "ordinary stress assignment". It is not difficult to imagine that the result of the shift is still monophonic (fish → fishing). Monosyllabic is not a step (although the tone is single, the language needs to be complicated), so tone sandhi alone can't meet the requirements of two-step in many cases, so it can't guarantee the realization of common stress (NSR). Under the double pressure of step and stress, the potential syntactic operation of "realizing empty verbs with light verbs" in UG was activated at that time to meet the needs of rhythm. Obviously, replacing (or merging) the empty verb DO with a light verb can not only lead to the prosodic effect of disyllabic words, but also meet the requirements of ordinary stress (stress can be given to its object through a light verb with sound, resulting in [w s] prosodic structure). This is the prosodic reason why empty verbs are replaced by light verbs. QPS ~g5Jm
The following examples can further illustrate that "the transformation from virtual verbs to light verbs" actually stems from the needs of rhythm. First of all, if the prosodic requirement is to cause disyllabic (light verb+object), then (1) the time to replace empty verbs should not be earlier than the time to establish disyllabic steps. (2) The creation and use of disyllabic light verbs must also be produced in the development of disyllabic words. That's what happened. Please see: 2 $; Tevis
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Work: dreaming, being quiet, farming, being a spouse, doing homework, having fun, getting married, being friends ... "Buddhist Collection"! 3jNt
Make a decision, make a shadow, play games, make a difference, make sacrifices, be friends ... "Buddhist Collection" ]esuxPSWO
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Xu Dan (2003) and Hu (2003) observed that a large number of concepts hidden in monosyllabic forms in ancient times appeared in the Han Dynasty (especially in the Eastern Han Dynasty). In fact, the reason why "hidden" can be "obvious" is mostly because of the filling function of light verbs. Interestingly, the appearance of light verbs coincides with the large-scale and substantial development of prosodic words in the late Han Dynasty and the Six Dynasties. At the same time, there were more than one light verb full of function words at that time (or later), such as "strike", "bosom", "hair", "qi", "zhe", "hug", "add", "xing" and "Chu". This shows that a large number of light verbs are needed to fill the position of empty verbs. In other words, many different filler words are the initial phenomenon of language development to adapt to the rhythm, otherwise it can't explain why a group of light verbs with semantic "warts" suddenly broke out in this period. ED~^zU
Of course, some of them are not all "light", but this is the result of our theoretical prediction. Because this is the first time in China's history that "lightness" is used to fill "emptiness". At that time, the language did not prepare light verbs in advance to use. Typical light verbs are the result of development, not the cause. At the same time, it doesn't matter whether the filled verbs are light or heavy, because the fundamental purpose here is not whether the filled words are light or heavy, but whether there is a "sound" or not and whether it can form a two-tone step. If you can, you can; If not, it's useless. In fact, it is precisely because of this requirement of rhythm that there is no light or heavy. At the same time, it is the requirement of this rhythm that makes some verbs in the position of function words, although they have real meaning, eventually become empty and light (otherwise they will quit the historical stage). Although prosody looks for disyllables regardless of reality, we can still see the active participation of some verbs that have always expressed abstract meanings. For example, the forms of "left", "big" and "law" such as "discovering, dreaming, silence and drumming" not only become vague verbs with extremely weak movements (in fact, "law, sound, qi, left and big" are light verbs themselves), but more importantly, "discovering and dreaming", that is, the so-called "big" today. More importantly, they all appeared in the era of the establishment of polyphonic steps in the late Han Dynasty, which absolutely did not exist in the pre-Qin period. It can be seen that at the end of the Han Dynasty (although not yet mature), there appeared sound-loaded light verbs, and the reason for its appearance was rhythm. In other words, the type transformation of ancient and modern Chinese began at the end of the Han Dynasty, and the motive force of the transformation originated from rhythm. Let's take the notional word "drum" as an example to see how it loses its function of "noun use". Compare:! @(S & amp；
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Drum = verb Fn*eHxM^f
After the rain, all kinds of infinite music. There is no sound of drums. Singing and praise are endless. "The Buddha Classic Volume II" 3G0({5 v
All the music. There is no sound of drums. Buddhist scriptures, volume 8. /[ 7y]C]
Supervisor: dFcj+
Boss+drum $8%V~xF
Playing gongs and drums in Laos. Do your best. Buckle it. Collection of Buddhist Scriptures Volume 8) (&; ^kf； 0]
Hold a chase in your hand. Drum, sixth dream. Q@ia-d, Buddhist Classics, Volume 36
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Beat+drum b*G.LH
Everyone heard the drums of joy ... Who suddenly dared to knock the drums of joy at my sugarcane seed gate? EuP s4wh| Volume 8, Buddhist Scriptures
Do your best. That is, playing the king's happy drum. YWog~Tr, Buddhist Scriptures Volume 8
Singing without drums, shining without withering ... That's why I'm happy today. The edge sounded the drums of joy. Buddhist anthology, volume 8
King Wade. Drums are infinite. Big drums and small drums. Snails that can't be blown out. Buddhist Scriptures Volume VIII \wc4D, \
The drummer becomes a monk and proves Bodhi. Buddhist bank collection