As we all know, China has a vast territory and abundant resources, and different regions have their own dialects. However, the use of the same Chinese characters makes people in different parts of the world unable to understand each other's words and can communicate with each other, which lays a cultural foundation for the unification of all parts of China.
As well as the use of classical Chinese, the words that record culture are separated from the vernacular Chinese that is close to oral Chinese, avoiding the interruption or misunderstanding of cultural tradition inheritance caused by the development and change of oral Chinese:
Not to mention a hundred years, it is elderly people who come to listen to today's children. I'm afraid there are many things that are incomprehensible, not to mention thousands of years.
According to historical research, Hakka dialect in the southeast coastal area is the closest pronunciation and language to ancient Chinese, and Cantonese in Guangdong carries a lot of grammar and sentence structure of ancient Chinese. Moreover, the Mandarin we speak today is not the most authentic Chinese, but the product of mixing with dialects of all ethnic groups in the north!
The development of network language proves that we don't know what the language will look like tomorrow.
But as long as you have received basic literacy education, you can read 300 poems, including Yuefu, Tang poetry, Song poetry and Yuanqu. There is not much difference in grammar and sentence patterns between historical records two thousand years ago and a modern classical Chinese.
The use of classical Chinese not only simplifies the materials consumed in China's historical records as much as possible, but also ensures the continuity and inheritance of culture.
Unfortunately, the New Culture Movement not only completely denied Confucianism, but also completely denied classical Chinese, which was equivalent to destroying the two cornerstones of China culture.
I hope you can read more classical Chinese and make up your traditional culture class.
2. Why do you have to take the classical Chinese exam in China? Can't you take the song test? There are two questions to answer:
On the first question: Why did China take the classical Chinese exam?
Because classical Chinese is an important part of China language.
Since written records, the history of China has been handed down in the form of classical Chinese. If you don't know classical Chinese, it is difficult to overcome the language barrier of learning and understanding history.
Secondly, modern Chinese did not come into being out of thin air. It inherits ancient Chinese and classical Chinese. China users who don't know ancient Chinese and classical Chinese will not become Chinese experts.
On the second question: why not use "try songs" or "try poems" instead of classical Chinese?
If it is a "song", it belongs to the category of music, not "China Chinese", and you can take other subjects.
If it is "poetry", it is only a project of Chinese. China Chinese should also be tested, but it can't replace the classical Chinese test.
3. Why do you want to recite classical Chinese? The Chinese nation has a civilization history of 5,000 years, and its development course and essence are concentrated in the vast ancient China.
Ancient prose refers to the characters in the Spring and Autumn Period, Warring States Period and previous ancient books. Xu Shen said in "Shuo Wen Jie Zi Xu": "Mrs. Zhou wrote fifteen pieces of Da Zhuan, which is different from ancient Chinese." Compare the ancient prose with the big seal script, saying that the ancient prose is a general term for the characters before the Book of Poetry.
Because the ancients had no pen and ink, they used bamboo sticks to draw and write on bamboo tubes. This is called book deed, also called bamboo slips. Because bamboo is hard and greasy, writing is not smooth, and the words written are thick and thin, like tadpoles, so it is called tadpole book or tadpole essay. The lacquer books on bamboo slips can all be called tadpoles, not necessarily books written by him or tadpoles.
Ancient prose mainly refers to the characters in ancient books, such as the Book of Changes, The Analects of Confucius, Chunqiu, Shangshu, Zhou Li, Shilu Chunqiu and Xiaojing. This is an early writing style.
Compared with parallel prose, it is a kind of prose with strange sentences, single lines and no dual temperament. Parallel prose prevailed after Wei and Jin Dynasties, paying attention to duality, neat syntax and gorgeous words. Su Chuo opposed the flashy style of parallel prose in the late Northern Dynasties, and imitated the style of Shangshu to write Dayu, thinking that the article was a standardized genre, called "ancient prose", that is, writing articles in the prose language of the pre-Qin Dynasty. Later, in the Tang Dynasty, Han Yu, Liu Zongyuan and so on. It is advocated to restore the tradition of rich content, free length, plain and smooth prose in the pre-Qin and Han dynasties, that is, to call such prose ancient prose. After writing Ouyang Sheng's Mourning, Han Yu said, "The more ancient it is, the worse it is to read its sentences. You can't see the ancients, but learn the ancient road. " Teacher Shuo said: "Li, ... is good at ancient Chinese prose and six arts. He studies in his spare time regardless of time." They all formally put forward the names of ancient Chinese prose, which were used by later generations. The outstanding ancient prose writers in the Tang Dynasty, although calling for retro, are full of innovative spirit. They not only emphasize the importance of "Tao", but also attach great importance to the role of "Wen", advocating creation, advocating that "only the ancient words must be their own" and "Wen follows the words to know his duties" (Han Yu's Epitaph of Nanyang Fan Shaoshu). The ancient prose they wrote is actually a new type of prose, which was extracted from the spoken language at that time and became a new written language. It has its own personality and the reality of the times, some of which are more difficult but not mainstream. He Jingming, who advocated that "literature should be in Qin and Han Dynasties" in Ming Dynasty, said: "The prose in Sui Dynasty was invincible, Li Han revived, and the ancient prose method died in North Korea" (On Poetry with Kong Li). It can be seen from this sentence that Han Yu's so-called ancient prose is different from the pre-Qin and Han dynasties, which has both inheritance and innovation.
Learning to read ancient Chinese requires a deep knowledge of writing. From the early 1920s to 1980s, "root-seeking culture" became hot again, and "Chinese studies" became hot again in the 1990s, which is the reflection and face-up of modern people on traditional culture. Today is the repositioning of traditional culture in today's multicultural China and even the world. Today, the world has reached a historical period of western learning spreading to the east and cultural transformation. Carrying forward Chinese culture is the unshirkable responsibility of every Chinese descendant. A country's learning is also. Life with land is on it, because there is a country, and people with a country have their own knowledge. People who study, learn the knowledge of a country, think it is useful for the country and govern it. "(Lecture on Chinese Studies, Journal of Chinese CuisineNo. 19) Mr. Deng's view on Chinese studies is very extensive, but he mainly emphasizes the practicality of Chinese studies. : "All the past cultural history of China is our' national heritage'; Studying all these past history and culture knowledge is a "national heritage", and the province is called Sinology. "Hu Shi's point of view has the widest influence because of his high position in academia. Modern people's understanding of "Chinese studies" mostly evolved from Hu Shi.
Now, Sinology can also be called Sinology, which is based on the pre-Qin Confucian Classics and philosophers' studies, and covers a unique and complete set of cultural and academic systems such as Confucian Classics in Han Dynasty, Metaphysics in Wei and Jin Dynasties, Buddhism in Sui and Tang Dynasties, Neo-Confucianism in Song and Ming Dynasties, Parallel Prose in Tang and Song Dynasties, novels in Yuan, Ming and Qing Dynasties, and historiography in past dynasties, and constitutes four magnificent classics, history, philosophy and collections.
At present, Professor Wang Furen of Shantou University has put forward the concept of "New Sinology", which he thinks is the need to adapt to the academic development of contemporary China. "New sinology advocates the overall concept of China culture, saying that Hu Shihao is good, but it does not deny the greatness of Lu Xun. Don't take the opposition of various cultures so seriously, every part is indispensable. " It regards China culture as a whole structure, which is the general name of China's academics, including China's ancient academics and China's modern and contemporary academics. "The new Chinese studies emphasize that politics, economy and culture are a whole, and no one can lack anyone.
Thousands of years of history and experience tell us that the prosperity of Chinese culture leads to the prosperity of the country, and the historical and traditional culture is full of cohesion, appeal and creativity. The vast majority of China ancient prose has been circulated for a long time, during which there are many wonderful works like clouds. Once you get into it, you will be fascinated!
It is true that it is as difficult for beginners to read ancient Chinese as it is to read gobbledygook. We can go from shallow to deep, step by step. The ancients could also read "hang your head over your head". Today, TV, Internet and other modern information dissemination tools have created very good conditions for us to learn ancient prose, and ancient prose education is becoming more and more intuitive. With a little effort, it is not difficult to learn real prose.
4. Why do China people learn classical Chinese? First, we must have relevant historical knowledge. As the saying goes, literature and history are not separated. Everyone lives in an era, and the politics, economy and culture of this era will certainly have an impact on him. Therefore, only by understanding the era of this person's life can we understand the connotation of his works. For example, Qu Yuan advocated reform and hoped that Chu would be strong, but the king of Chu was "confused by Zheng Xiu at home and bullied by Zhang Yi abroad", alienated Qu Yuan first, and then exiled him to the Miluo River, which made his reform ambition impossible and buried him in the river. Knowing this history, it is much easier for us to understand Li Sao.
Second, have relevant cultural common sense. China's ancient culture is profound and rich in connotation, and many contents are constantly evolving with the development of history. Such as name and title, official position and imperial examination, geographical knowledge, patriarchal manners and customs, clothing and utensils, calendar criminal law, ancient book annotation style, etc., are greatly different from ancient times to modern times. Although students don't need to master all these contents, they should also accumulate what they encounter in their studies as their own knowledge reserves, so that they can call them at any time in classical Chinese learning and exams.
Third, learn to "solve the belly of the ancients with the heart of the present." We live in today's society, and in the face of disasters, we will unite as one. In the face of ugliness, they will attack and lash; We will work together to resist external humiliation. In fact, this kind of thoughts and feelings are in the same strain. In the face of external humiliation, Wen Tianxiang wrote: "Since ancient times, no one has died, keeping the heart of Dan to shine in the history of history." Facing the sufferings of the people, Du Fu wrote: "The wine in Zhumen stinks and the bones on the road freeze to death." Therefore, when we study ancient Chinese, we should be good at comparing and associating the feelings of the ancients with those of today, so as to try to figure out the thoughts of the ancients and accurately understand the essence reflected by classical Chinese.
Fourth, grasp the teaching materials and lay a solid foundation for classical Chinese. When learning classical Chinese, we must master the knowledge points that appear in textbooks: ① Phonetic sounds, including polyphonic characters and different reading characters. ② Meaning, including ancient and modern different meanings, polysemy and flexible use of parts of speech. ③ Sentence patterns in classical Chinese, including special sentence patterns and complex sentences in classical Chinese.
Fifth, to learn a classical Chinese, we should do the following: first, grasp the article as a whole and understand its main contents; Secondly, put the understanding of paragraphs into the overall grasp of the text; Third, in the specific language environment, we can further understand the words in the context; Finally, on the basis of the first three conditions, further understand the deep meaning of the article. In short, if you can do the above in your usual study, you will lay a solid foundation for the college entrance examination.