1. Why is Chinese becoming more and more important
First of all, Chinese is our mother tongue, and Chinese is a tool for thinking. Through learning, hazy thoughts can be turned into clear thoughts, and Unclear language becomes organized language. Chinese is a tool for communication. If we learn Chinese well, our communication and communication with others will be smoother and more appropriate. In addition, among all subjects, Chinese is a basic subject. Only when a person has a certain knowledge of Chinese, a certain amount of language accumulation, and masters the necessary grammatical knowledge can he be qualified to learn other subjects.
Chinese learning, whether it is words, ancient poems or ancient prose, requires daily memorization and recitation. (You must learn to integrate knowledge points and classify the information that needs to be learned and the knowledge to be mastered. You can make it into a mind map or knowledge point card, which will keep your brain and thinking clear and facilitate memory, review, and mastery.) 2. Study The importance of classical Chinese
The most direct importance is: you have to pass the exam, if you don't study and fail the exam, you will be unlucky. (This is a joke)
Classical Chinese is the carrier of China’s thousands of years of cultural accumulation. By studying classical Chinese, you can broaden your horizons and cultivate your own cultural heritage. Chinese civilization has continuity, and Chinese culture is integrated. Much of the knowledge we need now can be found in ancient classics. If you don't know anything about classical Chinese, you won't be able to study it in depth. Moreover, classical Chinese is not something that only those who study liberal arts need to learn. For example, if you want to be a physicist, there is a lot of physics knowledge in ancient documents, which are recorded in the form of essays or notebook novels. You need to refer to these documents, but no one will help you translate them into modern Chinese. You can only hold ancient books and read ancient texts by yourself. For another example, if you want to be an entrepreneur, there are many management philosophies in ancient times that you can learn from, and you need to learn from ancient books. Isn’t it miserable if you can’t understand classical Chinese?
In terms of personal cultivation, by studying classical Chinese, you can improve your own literacy and deepen your own thoughts, which has an impact on your personal temperament and life attitude.
So, if you are interested, study hard. If you are not interested, at least lay a foundation. It will come in handy one day. 3. Why is it meaningful for middle school students to learn classical Chinese?
Why is it meaningful for middle school students to learn classical Chinese?
Excuse me, what exactly do you want to ask?
Wrong sentence
Remind you to study Chinese well.
The significance of learning classical Chinese:
In terms of mastering classical Chinese
Reading other people’s translations and translating yourself are two different things
Although there are many There is already a translation but forcing students to translate it is nothing more than a practice process
Memorizing the meaning of "of" and "of" ten times is not as profound as taking an article and practicing it yourself
p>
The effect of repeated and boring memorization is definitely not as good as the actual effect of combining it several times... Does the so-called doing it just make you impressed?
In terms of the necessity of learning classical Chinese< /p>
I have always felt that many of the ideas of the ancients are still relevant today
There are even many that you can understand at different levels at different ages
Many of them are the essence of the ancient people’s understanding and grasp of life. It doesn’t hurt to see it.
Is the significance of learning classical Chinese lies in mastering the means of communicating with the ancients?
Many of the translated things are Plus the translator’s understanding (not just classical Chinese)
And the same words used in classical Chinese may be understood differently by everyone. How can you dig out the true meaning if you don’t even have a basic understanding? ?
In the same realm of "inaction", how many people can have as many kinds of understandings?
You can also say that I can live a good life without learning classical Chinese or even knowing how to read, so why bother to spend so much effort?
Of course, it is also true that what kind of spiritual level determines you? The world in your eyes
So~it depends on how you understand and choose
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But it is useless to say that what is in front of you is useless< /p>
So how many things do you think we can use in the future through exam-oriented education?
In a very utilitarian sense, is it all one point? Then why should we consider the points? Do you still need to consider which part is a waste of time? You just do it.
(littleve) 4. Why should we learn ancient Chinese
I have also worried about it before, but if you think about it, ancient Chinese can be said to be the essence and crystallization of our Chinese national culture. It is a part of our culture. If we abandon it, Without ancient Chinese, it can be said that China has no culture to be proud of, just like the Russians abstain from drinking. Also, why are our cultural habits different from those in Europe and America? That's because of the influence of ancient prose and other ancient cultural heritage, you should be proud, haha. Ancient prose is also a kind of cultural literacy. We modern people learn it not just to inherit from our predecessors, but mainly to improve our own cultural literacy! In order to optimize your knowledge structure, the so-called reference books, just like the name "tools", are to assist in mastering ancient Chinese. If someone tells a simple allusion and you have to rely on reference books to solve it, it would be too much. Haha, don't you think so? . 5. Why should we study classical Chinese?
Classical Chinese established the vocabulary system of our nation. To this day, some classical Chinese words are still alive in our language.
Learning classical Chinese can help us understand our own language more deeply and use it appropriately. Chinese should be a miracle in the history of language. After thousands of years, its vocabulary system has changed, but its stability is still its distinguishing feature.
Today, although we rarely use the word "bells ringing and cauldrons eating", we often use "people's voices ringing loudly" and "helping with great help". Although the utensil "ding" has disappeared for a long time, the meaning it carries has settled down. Students in the third grade of primary school should be able to use this word.
If he doesn't know what "ding" is, he will definitely not understand the word "crowd of voices" accurately, and of course he won't be able to use it appropriately. In addition, we often use the word "to the point". Many people only know that "kenji" means "vital, key", but they may not know that this is not the original meaning of the word, but its metaphorical meaning.
If you read "Zhuangzi: The Master of Health Care", you will know that "Kenqi" originally refers to "the place where the muscles and bones are intertwined", which is a place that is not easy to decompose when killing cattle. In this way, we will consider its weight when using this word and will not use it indiscriminately.
Another example is the following sentence: "Brush, ink, paper and inkstone have not disappeared due to the popularity of high-tech means, but continue to display the simplicity and agility of the Chinese nation in the art of calligraphy and painting." At first glance, This sentence is neat, concise, and beautifully worded, which is worthy of praise.
Not really. The original meaning of the word "very noisy" refers to the chaos of the army, the noise is loud, and the dust is flying.
Later, it was used to describe the rumors. Nowadays, it mostly refers to a certain kind of speech that is very arrogant and often has a derogatory connotation.
Let’s take another look: Escape, high mountain scenery, vows, comfortable living in IKEA, graceful lady, worried, reviewing the past and learning new things, food and drink in the basket, benevolent people love others, there is a long way to go, knowing that it cannot be done, doing it, the lost dog, To kill a chicken with a bull's knife, to do it with ease, to be a blockbuster, to be bustling, to contradict oneself, to talk about others...these wonderful words all come from ancient Chinese. If you have read the corresponding allusions, then you will see these words When the time comes, what appears in your mind will no longer be abstract meanings, but vivid pictures! Expression will no longer be a pain, but will become a wonderful enjoyment! Furthermore, vocabulary has scientific and associative meanings. Scientific meaning is explicit and fixed, while associative meaning is implicit and temporary.
The issues discussed by Lin Geng in the article "Speaking of "Konoha"" are worth pondering. From Qu Yuan's "Dongting waves under the wooden leaves" to "the boundless fallen trees rustling under the trees", the scientific meaning of "wood" and "leaves" has not changed much. However, the poet did not use "fallen leaves", "dead leaves" and "yellow leaves". and other words, but he chose "Konoha" and "Luomu" from many word combinations to compose his work, because he took a fancy to the associated meanings they attached.
"The willow bank, the dawn wind and the waning moon" Who can say that this is just a pile of scientific significance? Because of the associative meaning, the use of language has moved from a tool to an art. The associative meaning is not an objective reflection of the real world. It is the poet's artistic exploration of the expressive function of language in a specific situation.
When we read those classic classical Chinese works, we can feel that the Chinese world has been so exquisite and charming after generations of descendants of the Yan and Huang Dynasties. The continuous accumulation of these associative meanings has formed colorful and profound images: when talking about plum blossoms, I think of nobility and loneliness; when talking about the moon, I feel longing; when talking about willows, I feel sentimental and separation... These images have been condensed into Cultural factors flow in our blood.
This is probably the essential characteristic that makes Chinese people different from Americans, British and French people! Let's read the famous modern prose works: "Moonlight over the Lotus Pond", the fragrance of lotus and the moonlight melting into the water, quaint and quiet; "Autumn in the Old Capital", the sorrow for autumn and the longing for the country penetrate into the bones, desolate and deep... Which one Isn’t it an accurate inheritance of the cultural genes of the Chinese nation? Thirdly, in the historical changes of ancient Chinese, the beauty of its phonetics has been gradually discovered, making the inner essence and outer form of the language achieve a high degree of harmony.
Throughout the development of ancient Chinese, from four-character poetry to five-character poetry, from Sao style poetry to Han Fu, from Han Fu to Tang poetry, Song lyrics, and Yuan opera, every exploration of language forms has promoted a huge leap in the Chinese language.
The perfection of rhetorical devices such as parallelism, parallelism, and rhyme, as well as the staggered matching of sentence lengths, promote the perfect combination of prose and verse. Among the famous prose works that have been circulated, the best ones such as "Preface to the Lanting Collection", "Preface to Tengwang Pavilion", "Afang Palace Fu" and "Chibi Fu" have achieved the perfect combination of ideological content and language form.
After getting "Preface to Prince Teng's Pavilion", we have the desire to read it aloud, because without reading it aloud, it is not enough to express the emotion of the work and our admiration for the diction and the author. "Therefore, I know that life and death are false, and mourning is a vain attempt." "The ambition of falling into the blue clouds", "The stars are shining brightly, and the makeup mirror is opened; the green clouds are disturbing, and the servant girls are combing at dawn; the Wei River is swollen and greasy, and the fat water is discarded; the smoke is slanting and the mist is horizontal, and the peppers and orchids are burning; the thunder is startling, and the palace is shocked. "The car is passing by; the wind is heard from afar, but I don't know where it is." "Sending a mayfly to the sky and the earth is just a drop in the ocean."
What a clever use of the characteristics of Chinese syllables! This kind of profound understanding and utilization of Chinese syllables is currently difficult to match in modern Chinese.
As the essence of national culture, couplets developed on the basis of ancient poetry give full play to the beauty of Chinese syllables and rhymes, emphasizing antithesis and artistic conception. The couplet has not disappeared until now, but it is already in a state of decline.
During the Spring Festival, every household still hangs Spring Festival couplets, wedding couplets and elegiac couplets for funerals. But either the content is outdated, or it is superficial and straightforward, with no charm at all.
Nowadays, merchants have started to give away couplets during the Spring Festival. It is often found that many families in a community post the same couplets: "Welcome the New Year with happiness and peace, and celebrate the festival with peace and prosperity." As a result, the couplets As it becomes more and more symbolic, the cultural factors it carries will become less and less until they are lost.
There was even a so-called couplet like "Raising pigs can make you rich" appeared in the college entrance examination! One day, people will see posters in every house that say nothing. 6. Why do Chinese people no longer use classical Chinese and gradually become vernacular?
During the May Fourth New Culture Movement 90 years ago, "New Youth" launched a vigorous movement with the slogan of "promoting vernacular and opposing classical Chinese" "Literary Revolution".
This "revolution" directly "revolutionized" the old fate of "classical Chinese" that had taken root in the land of China for thousands of years. Vernacular Chinese washed away the frustration of having been in the "second room status" of culture for a long time and made its debut. At this point, the entire Chinese nation seemed to be immersed in a sense of freedom that was free from the shackles of feudal culture. In fact, the debate between classical Chinese and vernacular Chinese has been going on for a long time. "New Youth" was just one of the battles to rewrite the situation. What was the situation before "New Youth"? Why did "New Youth" rewrite it? What happened after that? How to evolve... We might as well start from the beginning - 1. Historical entanglements. Classical Chinese and vernacular Chinese, both are written languages. The difference is that "classical Chinese means a language that is only seen in writing but not spoken.
Vernacular, Bai means speaking, words means what is said, and the general meaning is the spoken language." [1] The only difference between the two lies in their proximity to spoken language.
In fact, both classical Chinese and vernacular are based on spoken language, but the so-called spoken language standards are different. Classical Chinese is the ancient Chinese written language based on the spoken language of the pre-Qin Dynasty, while vernacular Chinese is based on the spoken language since the Tang and Song Dynasties. Based on Northern dialect. The language we speak now is developed on the basis of the northern dialect since the Tang and Song Dynasties. It is no wonder that we find the vernacular to be clearer and easier to understand.
When we overthrew "classical Chinese" ninety years ago, an important reason was that "the separation of Chinese and Chinese language hindered social progress." Here we need to explore the emergence of this phenomenon from a historical perspective.
In the initial stage of the development of the Chinese language, language and language were integrated. Those ancient Chinese classics that seem abstruse and obscure now were actually vernacular works at that time. For example, in the "Book of Songs", we know that most of the "winds" in it are folk songs, and we can be sure that many of them were composed directly orally.
Another example is "The Analects", which is a collection of quotations by Confucius, and its relationship with spoken language is self-evident. Due to historical changes, the spoken language used in people's daily communication has changed, while the written language has remained unchanged, so that since the Six Dynasties, there have been obvious signs of separation between classical Chinese and spoken language.
However, because Chinese characters are ideographic characters, the difference in pronunciation does not hinder people's reading comprehension, so the inconsistency between words and texts has not attracted enough attention. At the same time, because the classics of the pre-Qin and Han Dynasties were all written in classical Chinese, and these works are the source of Han culture, the literati of later dynasties consciously insisted on a kind of imitation of classical Chinese creation, which artificially intensified the Chinese language. Inconsistent situation, and ultimately formed a long-term inconsistency in Chinese language.
During this period, vernacular writing actually showed its presence everywhere.
From "Shishuoxinyu" and "Yan Family Instructions" to Dunhuang Bianwen, Tang and Song quotations, Song and Yuan scripts, and Ming and Qing novels, along the way, each dynasty and each generation has produced a large number of vernacular works, but unfortunately Unfortunately, it failed to shake the dominance of classical Chinese, and most of it could only be scattered among the people. Although they were aggrieved, they could not escape the fate of "second wife".
[2] All this was reversed until the late Qing Dynasty. At that time, the country was in a bad situation, and the Chinese people first wavered in their cultural self-confidence. This was a prerequisite and the fundamental reason for the future changes in Chinese culture.
It is this mentality that makes the Chinese people put tradition on the dock for the first time and count its sins. Classical Chinese, as the main carrier of traditional culture, must bear the brunt of the impact [3]. So Huang Zunxian wanted to "write by hand and speak by mouth", while Qiu Tingliang claimed that he "favored the vernacular and abandoned classical Chinese", thus starting the vernacular movement.
During the New Culture Movement in 1917, the vernacular movement was pushed to the extreme. In January of that year, Hu Shi published "A Preliminary Opinion on Literary Reform" in "New Youth", arguing that "vernacular literature is the authentic form of Chinese literature", advocating the abandonment of classical Chinese and the use of vernacular, and proposed that articles should be written fluently, without allusions, formulas, or formulas. When speaking antitheses, do not avoid common sayings, pay attention to grammar, do not imitate the ancients, and speak meaningfully.
Chen Duxiu also published "On Literary Revolution" in February, using the "three major principles" to echo Hu Shi's "eight propositions". This combination can be said to have truly opened the curtain on this vigorous cultural and sports revolution.
In 1918, all articles in "New Youth" were written in vernacular, and various vernacular magazines such as "New Wave" and "Weekly Review" followed suit. In September 1920, the Ministry of Education ordered all national schools to switch to Mandarin for the first and second years of Chinese studies from the fall of this year.
At this point, vernacular Chinese has achieved officially recognized legal status. After reviewing this period of history, I always feel that the thousand-year battle between classical Chinese and vernacular Chinese has turned around suddenly. The authentic status of classical Chinese for thousands of years seems to have been overturned overnight. Classical Chinese, which once symbolized identity, seems to have been overthrown. Overnight, they were beaten into the remnants of feudal culture and the main culprit that hindered the progress of the nation.
After thousands of years of training, the vernacular has finally got rid of the shadow of "second room" and stands at the center of the Chinese cultural stage. Although the pace of reaching this center is a little hasty and unsteady, it has finally been completed. Positive result. What caused a millennium war to change the situation in a hurry? 2. The Battle of the New Culture Movement In the New Culture Movement, classical Chinese and vernacular Chinese were defeated in the battle. The reasons are roughly as follows: (1) The crisis awareness of the Chinese people. The reason why classical Chinese can continue its supreme status for thousands of years is from a certain aspect It seems that it is because the Chinese nation has been strong and prosperous in the world for thousands of years.
This kind of prosperity has created the Chinese people's admiration and trust in traditional Chinese culture based on classical Chinese. After the late Qing Dynasty, the country's power declined and foreign powers invaded, which shook the self-confidence of the once proud Chinese people. Among them, the first thing to bear the brunt was the shaken cultural self-confidence.
Suffering from not being able to figure out the reason for the "sudden weakening", he directed all his grievances towards tradition. Driven by this mentality, tradition was no longer regarded as a treasure, but became The object of criticism. As the main carrier of traditional culture, classical Chinese is bound to bear the brunt of the impact.
It can be said that the darkness of society, the peril of the nation, and the weakness of the country created the crisis consciousness of that generation, and the irrationalization of this crisis consciousness formed a so-called concept, that is, "Cultural backwardness". The formation of this concept inspired Huang Zunxian to "write by hand and speak by mouth", while Qiu Tingliang claimed that "I worship the vernacular."