China's poetry is a tool to express his ambition and feelings. Bai Juyi's Nine Books to the Yuan Dynasty says, "Poetry is rooted in emotion, Miao characters, Hua Sheng and poetic art". Therefore, China's poetic language is full of rhythm and musical beauty. The so-called musical beauty is to form regular cadences through the orderly arrangement of languages. The meaning of "Hua Sheng" is nothing more than two layers: one is the beauty of rhythm, and the other is the beauty of language. Of course, this is the most prosperous poetic language in the Tang Dynasty and the inevitable choice for the long-term development of China's poetic language. If we trace back to the history of China's poetry, the evolution of China's poetic language is clearly discernible.
We don't know how long the history of China's poems is, but The Book of Songs is the first collection of poems, which has been more than 2,600 years. We can only regard The Book of Songs as the beginning of China's poetry history. Although it is not very appropriate, it is beneficial to academic research. Therefore, we might as well study the evolution of China's poetic language from the poetic language of The Book of Songs.
Poetry in the era of The Book of Songs has a close relationship with the country's governance, so the language of poetry should be simple and simple in the voice of local customs, "move with the wind, teach it", "gain and loss, move the world, feel ghosts and gods" and "expression, stop at courtesy". The poetic language in Feng Wang Gentleman in Service is unpretentious;
A gentleman is in service. He doesn't know its date.
What is this? Chickens live in nests,
In the evening, the cattle and sheep came down.
A gentleman is in service, and in a few days or months,
What is this? Chickens live in the street,
At the end of the night, all the cattle and sheep gathered around.
If a gentleman is in service, will he be hungry?
The poetic language of this poem is nothing more than the simple language of an ancient woman's heartfelt monologue, which is expressive and used to express her thoughts about her long-serving husband. It is unpretentious, which embodies the pure and simple beauty of ancient poetry language. If we talk to the old people who speak vernacular (Cantonese), their conversation will have the same simple language as this poem. If they have been in contact with you for a long time, they will say "I know you very well", just like the sentence and tone of "the day has gone", and they will also say "day and night", just like "day and month". The poetic language in the era of The Book of Songs may evolve into the ancient "Mandarin", deeply rooted in China, and become the common language for thousands of years, that is, "Elegant Words".
Another example is "Nan Zhou Guanluo":
My beautiful lady, I beg it,
If you can't pursue it, the black nightclub misses her during the day.
Miss Long, I can't sleep over and over again.
The language of "carefree" or "happy" is only commonly used in vernacular (Cantonese), but it is not without expressiveness. It is the phrase "long, tossing and turning" that boldly reveals simple feelings. It is really "touching the world and feeling ghosts and gods".
Another example is "Qin Feng Without Clothes":
How can you say that you have no clothes and you have the same robe as your son?
In spoken English, it is often said that "whoever says there is no shirt, * * * you will be together".
Of course, without beautiful tone and rhythm, poetic language can't be achieved. Such as "Nan Zhou Guanju":
Guan Guan hence, in Hezhou,
A beautiful and virtuous woman is a good spouse of a gentleman.
Another example is "Qin Feng Jiajian":
The Millennium is frost,
The so-called Iraqis are on the water side.
Another example is Xiaoya Cai Wei:
I'm leaving, willow yiyi,
The road is muddy and difficult to walk, and people are thirsty and hungry.
The Book of Songs was preserved in ancient China, which is the great fortune of our Chinese nation. Needless to mention, it gives us a general understanding of the characteristics of poetic language at that time, such as accuracy, simplicity, innocence, frankness and innocence. Moreover, it is the healthiest poetic language. Therefore, many revolutions in China's poetic language are based on this. The poetic language of The Book of Songs is the most solid cornerstone of the development and evolution of China's poetic language, and it is also the glorious beginning of China's ancient poetry. It has played an important role in the formation and development of China's excellent literary tradition and is the pride of our Chinese nation. We have no reason not to show great respect and gratitude to the poetic language of this era, which will always be a model of our poetic language.
About 300 years after the Book of Songs is the era of Songs of the South, which was originally a Songs of the South, and its poetic language is mainly based on the voice of local customs. However, Chu is rich in products, developed in economy and fancy in language, and the modal particle "Xi" is commonly used. Such as "the song of obedient boys":
The water in the rough waves is clear, so I can take my tassel with me.
The turbid water in the rough waves can be used to drown my feet.
Another example is Qu Yuan's Huai Sha:
Xia Meng Xi is everywhere here, with a wide vegetation coverage.
Another example is Qu Yuan's Li Sao:
Emperor Levin is a descendant of Miao nationality, and I am the emperor Kao Boyong.
Even the Emperor Gaozu Liu Bang's "Big Wind Song":
The wind is flying, the weaver girl returns to her hometown in the sea, and the valiant soldier guards everywhere.
"Xi" is a major feature of poetic language in the era of Chu Ci, with a strong local color. In particular, Qu Yuan's Li Sao and other works, with their gorgeous language and beautiful rhyme, are also extremely important in the evolution history of China's poetic language, which has a great influence on the evolution of later poetic language.
The era of Chu Ci was followed by the era of Han Yuefu. There are similarities between the poetic languages of Han Yuefu and Li Sao, but there are also differences. In the Book of Songs, "Happiness without lewdness, sadness without injury" can be seen in ancient style, while Han Yuefu is "sadness without injury". Such as "East Gate":
Out of the east gate, regardless of return; To start, I want to be sad.
There is not a bucket of rice in the angel, and there are no clothes hanging on the shelf.
Draw your sword and go to the east gate, leaving the second child and mother holding clothes and crying:
"I hope his family is precious, my concubine and you * * * feed Mi.
Use canglang for no reason, use this yellow mouth next time. Not today! "
"Duh, ok! I'm too late to go! Who has lived long with white hair? "
The poetic language of grief, sadness, helplessness and attachment has aroused the cries of people all over the world, so it is easily welcomed by the people.
Another example is the peacock flying southeast:
Seventeen years old is the wife of a gentleman, and her heart is often bitter and sad.
Since you are a government official, you are loyal to your chastity.
Chickens crow into the weave and can't rest every night.
It's too late to tame five horses in three days, my Lord.
If you don't knit late, your wife will have a hard time!
The language of sad poems is faint, touching and touching. However, the poetic language of this era is concise and vivid, with concise and decent tailoring and compact structure, which has also deeply influenced the evolution of later five-character poems and their poetic language, so I won't go into details.
As for Yuefu in Wei, Jin, Southern and Northern Dynasties, there is no need to go into details, because the evolution of poetic language in this era is based on the poetic language of the previous generation, which has the characteristics of the poetic language of the previous generation, but it is not complete and perfect.
The Tang Dynasty was the heyday of feudal society in China, and the art of poetic language reached its peak. Poetic language: high and low, far and near, light and shade, shallow and deep, big and small, fine and rough, clever and clumsy, strong and weak, everything. The tone of poetic language: elegance, boldness, profundity, broadness, elegance, leisure, novelty and obscenity. Due to the freedom of poetic language, three-character, four-character, five-character, six-character, seven-character, miscellaneous words, Yuefu, Gexing, modern poetry and other genres have been chosen, so the evolution of poetic language has reached the most complete and perfect stage. With the perfect development of poetic language, Tang poetry has also locked in the techniques of poetic language art such as rhythm and antithesis, making metrical poetry the most active poetic genre in Tang poetry and creating the heyday of poetic language evolution. China's poetry entered the golden age, and "Hua Sheng" became the symbol of the evolution of poetry language in the Tang Dynasty.
For example, Shi Yu named "Twenty-one An Xi in Song and Yuan Dynasties" as the highest quatrains in Tang poetry:
The rain in the early morning moistened the dust of the land, the inn of the inn, the branches and leaves of the inn, and a new leaf
Sincerely advise friends to drink a glass of wine, and it is difficult to meet their loved ones when they go out to Yang Guan in the west.
Another example is Du Fu's poem "Ascending the Mountain":
The wind is fast and high, the ape cries sadly, and the birds are circling in the white sand.
Under the rustling leaves, I watched the long river roll forward.
Long-distance visitors in the autumn of Wanli, with my hundred years of sadness, climbed this height alone.
After all the hardships and hatred, the white hair is full, and the wine glasses are damaged.
Because of the freedom of poetic language in Tang Dynasty, Bai Juyi's satirical poems can criticize feudal rulers without fear. For example:
My family's taxes are gone, so I can take this to satisfy my hunger.
Another example is:
What will happen next year when you sell mulberry land and rent official land?
Strip our clothes and take the food from our mouths.
If you abuse people and hurt things, you are a jackal. Why do you have to cut your teeth and eat human flesh?
Another example is:
People who don't know the cold should keep warm, take less clothes and make lichens.
And Du Fu's:
The wine and meat in Zhumen stink, and the road has frozen bones.
Other famous satirical poets are Liu Yuxi and Du Mu. The Tang Dynasty was an open society, and feudal rulers did not persecute poets. Therefore, the language of poetry and songs in the Tang Dynasty has been fully exerted, which has contributed to the great achievements of Tang poetry, thus creating the most perfect and healthy literature and art in China, which is incomparable in any era.
Among the poems of Song, Liao, Jin and Yuan Dynasties, Song Ci and Yuan Qu are the most prominent. In Song Dynasty, people lived in luxury, and the poetic language was inevitably influenced by this trend. However, the Yuan Dynasty was dominated by Mongols, and the Han culture failed to prevail. Therefore, the poetic language of Song, Liao, Jin and Yuan Dynasties was spoken by nobles, which inadvertently created a bad source for the evolution of poetic language. Such as Li Qingzhao's words:
Who planted banana trees in front of the window?
The atrium is overcast.
Sunlight filled the atrium,
Leaf's heart is full of affection.
Sad pillow on the rainy night,
Drop by drop,
Drop by drop,
I'm afraid I'm not used to listening when I leave people.
Another example is the words of Liu Yong:
……
Sigh for the coming year,
Why stay so long?
Miss beauty,
Get dressed, look up,
Some mistakes,
God knows the boat.
Trying to get to know me,
Leaning against the railing,
I'm worried!
Another example is Bai Renfu's song:
……
I don't mind killing people,
I don't mind killing people.
He quarreled with all kinds of rain.
China's poems suffered from literary inquisition in the Ming and Qing Dynasties, and many poets lost their lives because of a single word in the poem. Therefore, at this time, the poetic language can not develop healthily on the poetic avenue, the literati dare not give full play to the freedom of poetic language, and the rude words of rural villagers can not be elegant. There was a heyday in Ming and Qing dynasties, but there was no heyday in the evolution of poetic language. This is the greatest sorrow in the evolution of poetic language, so I won't go into details.
The poetic language in the Republic of China evolved in a chaotic world, which made the poetic language confused. Seeing the exotic thoughts of foreign countries changed the language of China's poems, as if singing in the mouth of eating raw fish and cream, it stinks. Tang poetry built a palace of gorgeous poetic language, which was smashed in this way. Without that shining pearl, the flute blew out the sound of the guitar, which is neither China nor foreign, and it is difficult to embody the tradition nor become modern. China's poetic language is crying in the cold palace.
What contemporary poetic language draws from modern poetic language is whether it is nourishing or confusing. Contemporary poetic language may have entered a maze and failed to find its own way, just like the lost way in North Island:
Whistle with pigeons.
I'm looking for you
The high forest blocks the sky.
Shanlushang
A stray dandelion
Take me to the blue-gray lake
In the slightly swaying reflection
I found you.
Those unfathomable eyes
Minority languages have replaced traditional Chinese characters to become modern Chinese, while western languages have invaded China, and sick sentences have become poetic languages. China's poetic language has no backbone, just like the ears of rice in the wind, which is the end of the evolution of China's poetic language for three thousand years. I hope this is not the end of evolution.
Throughout the evolution of China's poetic language, the trajectory is high and peaceful, reaching the perfect peak of "Hua Sheng" in the Tang Dynasty, and then falling back slightly, leading to a great decline. Today, the reputation of a poetic country needs our generation to revive.
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