A style formed after Wei and Jin Dynasties in ancient China. Also known as Pianliwen. The Northern and Southern Dynasties were the heyday of parallel prose. Parallel prose is relative to prose. Its main feature is that it focuses on four or six sentence patterns and pays attention to antithesis. Because of the opposite sentence pattern, it is like two horses running neck and neck, so it is called parallel prose. In phonology, pay attention to the use of flat tones and harmonious rhythms; Rhetorically, it pays attention to decoration and allusions. Parallel prose pays attention to formal skills, which often restricts the expression of content, but it can also enhance the artistic effect of the article if used properly. There were also many profound parallel prose works in the Southern and Northern Dynasties. For example, Bao Zhao's Wu Chengfu reveals the luxury of the ruling class and expresses the luxury and uncertainty of life by comparing the ups and downs of Guangling in the past. Kong's Biography of Beishan satirizes the false hermit who is in the Jianghu and whose heart is in Wei Que. Yu Xin's "Jiangnan Fu" describes his own sadness, denounces the fatuity of the monarch and ministers in the Liang Dynasty, and expresses his nostalgia for the motherland. These are excellent parallel prose. After the Tang Dynasty, the form of parallel prose became more and more perfect, and four or six sentences of parallel prose appeared, so it was generally called parallel prose in the Song Dynasty. Parallel prose was popular until the late Qing Dynasty.
Also known as "parallel prose", "parallel prose" or "parallel prose"; Because it is commonly used in four words and six sentences, it is also called "Liu Siwen" or "Parallel Four Wives and Six". The whole article is mainly composed of two sentences (even sentences, even sentences), paying attention to the neatness of the antithesis and the loud melody. From the Han Dynasty to the Six Dynasties, there appeared the opposition between "writing" and "writing" in China's prose. The so-called "prose" is a kind of parallel prose, which is bound by flowery rhetoric, words and melody. The so-called "pen" is a kind of prose that focuses on clearly expressing ideas and is not bound by words and melody. After the style split, parallel prose became a style compared with prose. Parallel prose prevailed in the Six Dynasties, and the representative writers were Xu Ling and Yu Xin. After the ancient prose movement in the middle Tang Dynasty, it declined slightly. Become a masterpiece in the Yuan and Ming Dynasties. In the early Qing Dynasty, authors rose in succession. Luck is the last writer. For example, Yu Xin's Preface to Mourning Jiangnan:
Guangdong, Chen Wunian, Haiyue made, thieves moved to the country, Jinling collapsed. Yu Nai fled to a deserted valley, regardless of public or private. Huayang fled for his life and there was no turning back. ZTE Road sales, poor in armor. I cried in the pavilion for three days and was imprisoned in another museum for three years. I am the star in the sky, and things are the opposite. Fu Xie felt sad about his life and had nowhere to live; Yuan Anzhi will naturally cry every time he reads about the royal family. At that time, the ambition of Mount Hengjun was Du Yuankai's life. He wrote a book, which was customized by himself. Pan Yuezhi's literary talent began to describe his family style; Lu Ji's Ci Fu preceded Chen Shide's. At the beginning of the new year, there are two hairs, that is, every funeral is a displacement, as for the teeth of twilight. Yan Songyuan, grief and indignation did not win; Chu and Lao meet, where to cry? Afraid of rain in Nanshan, I suddenly practiced Qin Ting; Let the East China Sea coast eat Zhou Su. Wandering in the pavilion, Gao Qiao is on the journey. Chu songs are not happy, and Lu wines are not used to forgetting worries. Pursue this fu, talk to remember words, no words of danger and suffering, only sorrow.
Twilight is far away, and there is no world on earth. When the general left, the tree fell; The strong man does not return, and the cold wind is bleak. Jingbi's column was bullied by Liancheng; Zhong Yi, a gentleman, entered the prison of Nanguan, a pedestrian in Ji Sun, and lived in Xihe Museum. First broke the land of Shen; Cai's tears are all gone, plus blood. Diaoyutai moving willow is not the hope of Yutong; Huating crane, the river bridge can smell!
Sun Ce regards the world as three points, and all talents are a brigade. Ji Xiang used the descendants of Jiangdong, but only 8,000 people. So he split mountains and rivers and dominated the world. Have millions of righteous teachers ever rolled up their armor and cut it down like grass trees? There is no barrier between Jianghuai and the embankment, and there is no barrier on the pavilion wall. Those who want to get together at the head meeting should be combined with each other; Hoe? People who admire the backbone follow the trend. It will be 300 years before you show your arrogance? Knowing how to annex Liuhe is a disaster; Mix a load of books to save Pingyang. Oh! Landslides are not only a dangerous fate; In the spring and autumn iteration, there must be the worry of parting. God, you can be sad! The situation is poor, and Xinghan can't take it; The wind is crazy and the road is blocked, Penglai has no time to come. The poor must keep their words, and the workers must sing their stories. Liu would like to hear and clap his hands; Zhang sees it and is ugly, so it is appropriate!
(A) the formal characteristics and aesthetic characteristics of parallel prose
The form of parallel prose is the first layer of understanding the meaning of parallel prose, so there are many books and papers on the formal and aesthetic characteristics of parallel prose. Firstly, the general characteristics of parallel prose are introduced, aiming at restoring its true colors, such as Zhang Huien's On the Characteristics of Parallel Prose (Yindu Journal No.4, 1985) and Tan Jiajian's On the Basic Characteristics of Parallel Prose (Journal of Liaoning Education College). Then gradually go deep into the internal form of parallel prose, such as "A new theory of literary fu: the internalization of parallel prose features and the formation of mindset" (Journal of East China Normal University, No.4, 1988) and "On the morphological characteristics and cultural connotation of parallel prose" (Journal of Jianghai, No.2,/kloc- They discussed the deep characteristics of parallel prose form and explained it in the sense of cultural history. This paper discusses the psychological basis of formal beauty of parallel prose by Xiang Chaoshan (Journal of Jishou Normal University 1986 No.3), the aesthetic basis of parallel prose by Mo (Journal of Liuzhou Normal University 1996 No.2) and the aesthetic form of parallel prose. Shi Li and the Rhythm of Parallel Prose (Journal of Liaoning Normal University 1994No. 1 issue) and several monographs, and discussed the aesthetic functions of various features, such as the balanced and symmetrical beauty of tailoring, the neat architectural beauty of sentence patterns, the elegant and implicit beauty of official business, the gorgeous color beauty of algae ornaments, the harmonious musical beauty of timbre and so on. For example, Mo Daocai's General Theory of Parallel Prose, the fourth chapter, the structural form and sentence pattern of parallel prose, the fifth chapter, the rhetorical form and cultural connotation of parallel prose, and the sixth chapter, the aesthetic characteristics and aesthetic effects of parallel prose, all discuss the formal characteristics and aesthetic characteristics of parallel prose. The author thinks that the structural form of parallel prose has the structure of starting, dispersing and knotting, and the free configuration of collar, lining and clip; The sentence patterns of parallel prose also have structural pattern characteristics, such as Sao-style sentences, poetic sentences and overlapping sentences. On the other hand, the sentence patterns of parallel prose have strong structural patterns, such as single-linked sentences, double-linked sentences and mixed-linked sentences. The General Theory of Parallel Prose also discusses the rhetorical forms and cultural connotations of parallel prose, such as duality, rhyme, ceremony and decoration, and discusses its aesthetic characteristics such as balance, harmony, music and elegance. It can be said that after more than 20 years of discussion, the understanding of the formal and aesthetic characteristics of parallel prose has reached a deeper level. Through research and discussion, it is of great significance for us to correctly view the existence value of parallel prose.
(B) the relationship between parallel prose and other styles
Parallel prose is a style divided from the perspective of rhetoric, which is inextricably linked with other styles. Therefore, exploring the relationship between parallel prose and other styles is also an important aspect of parallel prose research. Wu's On the Relationship between Prose and Parallel Prose in the Tang Dynasty (Ideological Front 1987No. 1 period), On the Differentiation between Parallel Prose and Prose by Ancient Writers in the Tang and Song Dynasties (Wen Shizhe 1988 No.3) and Gao Guangfu's On Parallel Prose in a Dream of Red Mansions Two Thoughts on Fu Interaction (Journal of Ningde Teachers College 1997No. 1 Issue), Three Comments on Yu Jingxiang's Parallel Prose (Journal of Guangxi Normal University 1996 No.2), Xiong and Zhang. The existence of parallel prose has an important influence on other styles, which is ignored by people. To explore the relationship between parallel prose and other styles is to acknowledge the important position of parallel prose in the history of China literature. There are still many topics to be done in this research. For example, the influence of parallel prose on Tang legends, Dunhuang Bianwen, Songhuaben, Yuan Zaju, Ming and Qing novels and operas has not been specially studied so far, which needs to be explored by scholars.
(C) The historical evolution process and laws of parallel prose
The study of parallel prose history is an important part of parallel prose research, including its emergence, development and rise and fall. How to correctly understand and evaluate the development and evolution of parallel prose is still an urgent problem in the study of parallel prose. Because the denial of parallel prose in the past began with an incorrect understanding of its occurrence and development. Xie's On the Deep Causes of the Development of Parallel Prose (Journal of Xiangtan University, No.4, 199 1) and The Generation of Parallel Prose from the Cultural Perspective (China Literature Research, No.3, 1992) focus on parallel prose. Zhong Tao's parallel prose and the particularity of China's language and writing (Chinese Character Culture No.2, 1997) discusses the origin of parallel prose from the perspective of the particularity of language and writing. Other papers on the formation of parallel prose are The Formation and Prosperity of Parallel Prose by Yu Jingxiang (Literature Review No.6, 1996) and The Transformation of Aesthetic Consciousness and the Formation and Prosperity of Parallel Prose by Mo (Journal of Liuzhou Teachers College No.2, 1997).