A style of writing produced since Wei and Jin Dynasties, also known as 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, it pays attention to the use of flat and harmonious rhythm; Rhetorically, it pays attention to decoration and allusions. Because parallel prose pays attention to formal skills, the expression of content is bound, but if used properly, it can also enhance the artistic effect of the article. During the Northern and Southern Dynasties, there also appeared many profound works, such as Yu Xin's Mourning for the South of the Yangtze River. On the one hand, he described the sadness of his life experience, on the other hand, he condemned the fatuity of the officials and ministers of the Liang Dynasty and expressed his nostalgia for his motherland. After the Tang Dynasty. The form of parallel prose is becoming more and more perfect, and there are four or six sentences of parallel prose throughout, so it is generally called parallel prose in Song Dynasty. Parallel prose was still very popular until the late Qing Dynasty.
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!
Research on Parallel Prose in Recent Twenty Years
Mo Daocai
In the first 30 years after the founding of the People's Republic of China, the study of parallel prose was basically in a lonely situation. According to the information retrieved by the author, there are only two articles about parallel prose in recent 30 years, one is the Difference between Prose and Parallel Prose by Qi Gong (Literature and Art Research No.4 1957), and the other is Prose and Parallel Prose by Xu Chi (Guangming Daily 1978). This is a bitter academic tragedy. Due to the influence of ultra-left ideological trend, the study of parallel prose was basically an academic forbidden area in the first 30 years after the founding of the People's Republic of China. In the late 1970s and early 1980s, Chinese mainland began to pay attention to the study of parallel prose.
The ideological emancipation movement, which began in the late 1970s, also broke through the forbidden area of parallel prose research. Three papers were published only in 1980, and three influential scholars, Hu and Cao Daoheng, successively published articles on parallel prose in the Six Dynasties (Liu Xie's evaluation of parallel prose in the Han, Wei and Six Dynasties, and Literary Heritage 1, 1980). Hu: The Development and Achievements of Parallel Prose in Wei, Jin, Southern and Northern Dynasties, Journal of Wuhan University, No.5, 1980. Cao Daoheng: Parallel Prose and Prose in Wei, Jin, Southern and Northern Dynasties, Literary Criticism Series 1980, No.7). He thinks that the parallel prose in the Han, Wei and Six Dynasties is a breakthrough, and the study of parallel prose is gradually on the right track. So far, the research on parallel literature has achieved fruitful results, with about 90 papers, 6 monographs and 9 selected works published. These six monographs are: On the History of Parallel Prose by Jiang (People's Literature Publishing House, 1986), On the History of Parallel Prose by Yu Jingxiang (Liaoning People's Publishing House, 199 1) and On Parallel Prose. 1994), Yu Jingxiang's Charm of Parallel Prose in Six Dynasties (Liaoning Ancient Books Publishing House, 1995), and Zhong Tao's Art Form and Cultural Connotation of Parallel Prose in Six Dynasties (People's Literature Publishing House, 1997). The nine selected works are: Selected Parallel Prose by Huang Jun, Bei and Tan Jiajian (Hunan Literature and Art Publishing House, 1986), Selected Parallel Prose by Xiong Xianqian (Guizhou People's Publishing House, 1986) and Selected Parallel Prose by Tan Jiajian. 1995), The Essentials of Parallel Prose in Past Dynasties edited by Yin (Shanghai Literature and Art Publishing House, 1995), The Essentials of Parallel Prose edited by Zhou (Shanxi Ancient Books Publishing House, 1996) and China Parallel Prose edited by Zhu. In addition, a number of literary works published before liberation have also been reprinted, such as Qu Dunzhi's Introduction to Parallel Prose and Liu's Parallel Prose. The study of parallel prose in Taiwan Province Province has also developed since 1960s, and a series of works have been published successively, such as Zhang Renqing's Selected Notes on Parallel Prose in Past Dynasties (Taiwan Province Zhonghua Book Company, 1963) and China Parallel Prose Development History (Taiwan Province Zhonghua Book Company, 1969). 1972), Analysis of China's Parallel Prose (Taipei Dongsheng Publishing Co., Ltd., 1980), Parallel Prose Literature (Taipei Literature and History Zhe Publishing House, 1984), Exploring the Source of Li Ci (Taipei Literature and History Zhe Publishing House,)
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 forms and sentence patterns of parallel prose, the fifth chapter, the rhetorical forms and cultural connotations 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.
And Zhu Shu's original text: "The wind and smoke are all clean, Tianshan Mountain * * *. Floating from the stream, anything. From Fuyang to Tonglu, Baili, Strange Mountains and Different Waters, chinese odyssey. The water is blue, and thousands of feet bottoms out. You can swim with the fine stones and look directly at them. If fierce wave rushes, how fast the arrow will go. Sandwiched between mountains, cold trees grow and compete with each other. Strive for higher heights, Qianfeng. Spring rock, crisp; Good birds sing, they rhyme. Cicadas are endless, and apes are endless. People flying in the sky, watching the peaks rest; Those who manage world affairs are eager to forget. The horizontal branches are covered, and the day is still faint; Sparse reflections, sometimes see the sun. " .
Zhu Tongshu's translation: "All the dust and smoke have disappeared, and the sky and the mountain peaks have the same clear color. Let the boat drift with the current, whether it is east or west. From Fuyang to Tonglu, Baili Waterway, Qifeng Strange Water, chinese odyssey. Rivers are all green, and thousands of feet can be seen at the bottom. Swimming fish and thin pebbles can be seen clearly. Rapidly flowing water is faster than flying arrows, and surging river waves are like galloping horses. Cold-resistant evergreen trees grow on the high mountains between the two banks. The mountains rely on the terrain to strive for upward, one higher than the other. Strive to point directly at the sky and form a thousand peaks. The spring water hits the stone and makes a crisp sound; Good birds sing in harmony with each other and weave beautiful melodies. Cicadas can't finish singing, and apes can't finish singing. People whose careers are soaring will calm their passion for fame and fortune when they look at such a beautiful mountain peak; People who are busy planning and managing secular affairs all day will linger when they see such a beautiful valley. Cross-sloping branches cover the sun, even during the day, it is as dark as dusk; Sparse branches shade each other, sometimes leaking points. " .