Hongyufa information
Back to Didi Cuiting on the 27th, Yang Fei's play, butterflies are buried in the incense burial, swallows are crying and red with tears.
Wen Jing fan si
Tearing the fan for the thirty-first time made my daughter laugh out a white-headed binary star because of Kirin.
Impromptu comment
Back to the village, grandma is a nonsense, and my brother is determined to be at the bottom.
Sanjie Xin' an
Back to the sixty-fifth Jia Er-she secretly married You Er-Yi You Sanjie, and thought of marrying Liu Erlang.
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1, Yu Pingbo on the language resources of A Dream of Red Mansions
In the development of the novel itself, A Dream of Red Mansions not only inherits the twists and turns of tang legends literature, but also inherits the profound, touching, concise and meaningful dialect tradition; In addition, it also developed the vivid vernacular tradition with complex narrative and diverse plots in the vernacular literature of the Song Dynasty. Combining the two, learning from each other's strong points, the artistic achievement of A Dream of Red Mansions has reached such a peak. Therefore, although it is mixed with some classical Chinese, it seems that it not only does not hinder the fluency of vernacular Chinese; Because of the simplicity and profundity of classical Chinese, the spirit of vernacular Chinese has been enhanced, making it more lively. Moreover, the proportion of this kind of classical Chinese in the book is very small, and the book is basically written in fluent vernacular. These fluent spoken languages are especially successful in character dialogues.
Beijing dialect is the most beautiful language in China. Almost all the dialogues in A Dream of Red Mansions are in Beijing dialect, which are processed and refined by red writers. It's really vivid. For example, on the thirty-sixth time, Xifeng laid off her servant girl. Don't blame her, thank her. Xifeng's confused character and tone would never be so vivid without fluent and mellow Beijing dialect.
You can draw such good pictures and sounds in Beijing dialect, but not in other places? Of course not. You can still do it. But Beijing dialect is cheaper: it is widely spread and can be used all over the country. A dream of red mansions uses it to let everyone understand the vivid places in the book; Unlike novels written in other dialects, no one can understand them except the people there.
2. Yu Pingbo on the language accuracy of A Dream of Red Mansions.
Once upon a time, there was a saying that articles could not be added or subtracted. I don't believe it. I think it's a bit exaggerated, so I said it. Recently, in the Story of the Stone, it is often found that adding and subtracting a word becomes a joke. We know that what the ancients said was not a lie to me.
For example, in the 2nd1Back to Bao Zhen Yu in Chen Jiao Town, Xi Ren, Xi 'an, there is a passage written by Zhi Yanzhai Chen Geng:
Aroma sneered, I dare not get angry, but don't enter this house from now on. Anyway, someone is waiting for you. You don't have to tell me what to do. I'm still waiting for the old lady.
Just say, "don't go into this house from now on." Who doesn't come into this house? There seems to be a word missing. Look at the original Cheng Jiaben. Introduction to Cheng Jia's article:
Aroma sneered, I dare not be angry, but you are not allowed to enter this house from now on. ……
All the books are similar (with the original and the word "you"). "Just don't enter this house from now on", although the meaning is clear, the word "you" can be considered. You see, how can xiren tell Baoyu not to come into his house? Why not drive the monk out of the temple? How about changing it to' I'? For example, "I just don't want to enter this house from now on" makes no sense. Xiren is in this room, and she can only go out, but it doesn't matter if she enters. It should be said that "I just won't stay in this house from now on". But the words in this book are not like this.
One word "you" doesn't make sense, and another word "I" doesn't make sense. How can we tell the difference? As long as you don't use this word, it will be like a thick book. This sentence has no subject. You can't make sentences without a subject. Although it is said in general grammar, you can't copy them mechanically in literature and art.
There is not only no subject here, but also no subject. I froze when there was a topic. The meaning of this sentence is really aimed at Baoyu. Baoyu's black family went to Xiangyun's room in Daiyu during the day, so xiren said "never enter this room again" was both angry and ironic, and the word "you" should have existed. But at the time, her identity
Status, in this book, but can't say "you". When I say you, I'm not saying that xiren excused herself, but that she banished Baoyu. So it's full of nonsense, not to mention who shouldn't enter this room, just like Baoyu and herself. She is talking about Baoyu, and she is extremely "waving five strings to see Hong Fei", so she holds it very flexibly. Later generations don't know that the word "you" is added for nothing. Although there is only one word difference, there is still a difference between immortals and mortals.
There are even jokes because of the reduction of one word, and a simple and clear example is also given. For example, the tenth time "Zhang Taiyi talks about the source of illness and poverty" has such a passage:
A woman sitting next to her said, is that right? A real gentleman speaks like a god, but we don't need to say it. At present, several doctors in our family are watching, but they can't be so true. Some people say it's happiness, others say it's disease. This is irrelevant. This is afraid that there will never be the truth around the winter solstice. Please understand the instructions. The gentleman said that grandma had this disease, but you were all worried. If you want to take medication during your first period, I'm afraid it will be all right by this time. (Cheng Jiaben)
Later engravings, such as Cheng Yiben and Daoguang Benben, were the same. With women in your mouth, the word "gentlemen" certainly refers to women. This is not easy to understand. Why did the gentleman blame the woman for Qin's illness? Can they do it? I used to feel a little awkward when I saw this place.
Look at the original text, fat Geng Ben, this sentence has one more word "that", as follows:
But those gentlemen were ignored.
This is a little good. And "gentlemen" refers to the doctors in the hospital, that is, Mr. Zhang's colleagues, who are arrogant and dissatisfied and conform to the doctor's tone. If the word "that" is deleted to refer to what a woman said, it is not only ridiculous, but also inappropriate to say people in person.
The word "that" is probably called demonstrative adjective in grammar. Generally speaking, there doesn't seem to be much difference between the word "na" and the word "na"; Some places have great access rights, such as here, so they cannot be deleted.
Judging from these two simple examples, the article does have the realm of not adding a word and not reducing a word, which is not what the predecessors said or boasted. This point has been fully proved from the collating work of A Dream of Red Mansions, so the title "Adding one point is too long and subtracting one point is too short" is borrowed from Song Yufu's words.
4. Zhou discusses the narrative language of A Dream of Red Mansions.
Throughout A Dream of Red Mansions, the author seldom speaks directly. Quoting two poems of Xijiang Moon at the beginning is a form of introducing characters in the tone of traditional novels under the influence of ancient Chinese prose. When A Dream of Red Mansions was written, the formal hedging was completely shelved. Cao Xueqin adopted this form when Baoyu appeared, which is very unique in the whole book. These two "Xijiang Moon" can be said to be a comprehensive "appraisal" of Jia Baoyu. There is not a good word to belittle Jia Baoyu. Cao Xueqin used this form to impress readers, saying that Baoyu is useless, and there are very few such people in the world. Cao Xueqin described the protagonist in the book as the worst person. Why? Cao Xueqin has no scruples. He didn't underestimate the readers. He is afraid that the following characters he has devoted his life to shaping will be misunderstood by readers. Cao Xueqin dares to write like this. In addition to saying that Baoyu's "cleverness" is a positive praise for Baoyu through the mouth of the police fairy in the dream, it can be said that the author has never praised Baoyu positively in the whole eighty chapters of A Dream of Red Mansions. Call him crazy, crazy and stupid; Say that you are not familiar with the world, afraid to read articles, and speak eccentrically; Said he didn't like manners ... and so on. In addition, he belittled Baoyu from various angles. For example, thirty-five times "Taste Lotus Leaf Soup" is about a scene that two women in the Fu family saw at the scene. After they came out, they chatted and said, "It's strange that some people say that their Baoyu looks good, and his heart is very confused ... He burned his hand and asked others (Yuchuan) if it hurts. Isn't this stupid? " The author also said that Baoyu "often cries and laughs when no one is around;" Talk to swallows when you see them, talk to fish when you see fish in the river, and talk to stars and moons when you see stars and moons. He is either sighing or muttering ... "... This is an" evaluation "of Baoyu from a woman's perspective. It takes a lot of courage for Cao Xueqin to show it to Jia Baoyu like this. Will future generations misunderstand the positive image he has worked so hard to create? I guess he thought about it, but it didn't affect his performance, and his final artistic achievement was still so brilliant!
4. Zhou Zhongming on the beauty of language in A Dream of Red Mansions.
The beauty of the language of A Dream of Red Mansions lies in the fact that its words are not particularly gorgeous and bright. On the contrary, it is simple, as simple as daily life. This kind of beauty lies in the simple language of daily life, but it shows extremely profound social content and places strong and full feelings on the characters. It has produced a dazzling spark of struggle for ideals.
The fresh and profound artistic beauty of the language in A Dream of Red Mansions is not won by the power of philosophical logic, but by its vivid emotional power. Therefore, the sublime, pure and full emotional beauty is another feature of the language beauty of A Dream of Red Mansions.
Because the language of A Dream of Red Mansions has great ideological and emotional capacity, its linguistic beauty has another feature: the beauty of olives. In the writer Cao Xueqin's own words, it is: "Reading in the mouth is like an olive weighing thousands of pounds. (Forty-eighth time) This is Cao Xueqin's comment on the language attainments of Wang Changling's frontier poems through Xiangling's mouth, which actually illustrates the realm of this kind of language beauty that Cao Xueqin himself pursues and achieves in A Dream of Red Mansions. What is an "olive beauty"? This is that every word must stand chewing, never tire of reading, thought-provoking, intriguing, full of fragrance and endless mellow beauty. Baochai said that Daiyu listened to the old lady's words that "enemies don't get together", so she "bowed her head and chewed the taste of this sentence ..." (back 29). When Daiyu read The Peony Pavilion, she also "chewed" the words "as beautiful as flowers and jade, like water flowing for years", "but she felt that these words warned people that they were full of fragrance" (the 23rd chapter). The repeated language requirements of the characters in A Dream of Red Mansions are "chewing", "tasting", "remembering", "lingering fragrance", "abstaining from fascination", "intoxicated" and "not crying", which obviously reflects the writer's own efforts and aesthetic requirements in this respect.
The beauty of language in literary works is ultimately the beauty of images. Without characterization, no matter how beautiful the language is, it is like a flower without soil. After all, it's ugly, lifeless and intoxicating. The beauty of the language in A Dream of Red Mansions lies in his ability to depict characters. In this respect, in addition to the artistic beauty, emotional beauty and olive beauty mentioned above, the characters have been greatly enriched, improved and attracted, and the language of A Dream of Red Mansions is particularly vivid in characterization.
5. The language innovation and conciseness of the literary theory A Dream of Red Mansions of the Dynasty.
Only from the unity of opposites of language creativity and language conciseness can we correctly understand the language superiority of A Dream of Red Mansions and its advantages of "meaning beyond words, engraving in words, confusing in meaning", that is, the traditional poetic theory emphasizes subjective feelings such as "touching things to arouse feelings" and "expressing feelings through objects", and the advantages of expressing such feelings by means of comparison. If there are too many useful books in Li He's poems, it is inevitable that the meaning of the words is obscure. However, the language of A Dream of Red Mansions does not contradict the aesthetic needs of most readers, but has the advantages of implicit content and being able to withstand repeated chewing. For example, as early as in Zhiyanzhai, I noticed that it was originally a line drawing in the chapter "Lost Fragrance Building in Qin Keqing", and later it was changed to "Qin Keqing sealed the dragon and banned the captain". This sentence describes the reaction of the Jia family who died: "... at that time, the family knew everything and everyone was suspicious", which shows that narrative language has the advantage of implicit content. The fat comment pointed out: "Nine words are written all over the world, writing without writing." Of course, it would be an exaggeration to say that these nine words have written the secrets of her father-in-law Jia Zhen and daughter-in-law Qin Keqing. However, it is undeniable that this kind of "surprise" and "doubt" are implicit and accurate in the spiritual reflection on the unexpected events in Ningfu and the description of hearsay, speculation and views between Jia Zhen and Qin, which goes beyond the relationship between Weng and his daughter-in-law. This kind of description, for careless readers, should be said to be a desirable artistic technique if it will cause a "why" question. For the aesthetic needs of readers who want to read stories and find something from them, these nine words are an expressive and inspiring language, that is, they inherit and carry forward the advantages of language in traditional literature and art-"meaning is beyond words".
I think the form and style of A Dream of Red Mansions has a China characteristic different from western art, which is similar to the stage art of Chinese painting or Chinese drama. It does not win by creating the illusion of realism, but mainly expresses the artist's feelings about life. For example, instead of emphasizing the direct reproduction of scenery, we emphasize the special points of character modeling and action to express the special points of the environment. So when I read it, I feel that I have found more things than I feel directly. When I read it, I always feel new.
Many rough narratives in A Dream of Red Mansions contain themes that are neither superficial nor conceptual. Since it is hidden, of course, it has yet to be discovered by readers. For example, the description of Jia Lian and Feng's struggle for power and profit in the sixteenth time seems to be unreasonable in artistic form, but its life content is not traceable. If you watch it again, it can be said that the conversations between Xifeng and Jia Rong, Jia Lian and Jia Qiang are simultaneous. It is not difficult to understand Cao Xueqin's satire on ugly things and realize the harmonious unity of profundity and popularity. At the same time, we can also see Cao Xueqin's outstanding pen power in writing characters. In order to welcome the imperial concubine to visit her mother, Jia Qiang will go to Gusu to deal with various things, such as inviting teachers, buying girls and learning drama in costumes, and so on. Before leaving, when Jia Rong and Jia Rong came to see Jia Lian and his wife, we could see the artistic beauty of plain but not plain language from a conversation between them. It may arouse readers' corresponding experience and even analysis, so as to deeply understand the inner secrets of the characters and the will of the author.
Jia Rong (quietly asking Xifeng) What does Aunt want? ……
Xifeng (laughs) Don't fart your mother! I have no place to put my things. I want you to sneak around.
Jia Qiang (quietly asks Jia Lian) what she wants, and by the way, she knits it to honor her.
Jia Lian (laughs) Don't be sharp! Just learn to do things, learn this trick first. I missed something, so I will write to tell you, don't stop there.
Fat comments only focus on art, praising Jia Lian for "making this statement again and not committing Afeng". This means that it is not only a foil to the description of Xifeng, but also a description of her words and deeds. Lippi has repeatedly commented that "A Feng deceives others": "From beginning to end, if you look closely at the way A Feng treats Rong Qiang, you can become one. However, you still cheat Rong in this way, and it will be known by others. " Although this statement does not go deep into the depth of the problem, it also shows that Zhi Yanzhai is careful in reading. He seems to have noticed Cao Xueqin's writing about the relationship between Feng and Jia Lian in personality (greedy for money and pretending to be serious), and also saw their differences (the former didn't say it directly, the latter dared to say it directly), and saw the advantages of the author's unambiguous but implicit writing about these characteristics. As long as we contact the low-energy works that treat the masses as fools, we can clearly feel that Cao Xueqin's description, which is approachable in form and superficial in content, insists on writing her prude only because she wrote her prude and portrayed her immorality more deeply-how much she respects readers. The language in A Dream of Red Mansions is ingenious, simple, creative and realistic, both natural and meaningful. This description makes the serious and satirical ideological content expressed through an art form that is not superficial and therefore intriguing. This kind of description not only avoids the decadent style of carving sentences, but also shows the author's outstanding achievement of "speaking with events"
6. Leo and Qiu Chou Tzuyu discuss the lexical treatment of A Dream of Red Mansions.
When reading A Dream of Red Mansions, we often encounter such a linguistic phenomenon, that is, some words used by the author are common and common, and they are always on people's lips in life. However, once they are quoted in the book, they have unexpected expressive force and appeal. It seems that the author has the magic of turning stone into gold, and he is artistic at once. This linguistic phenomenon is the unity of the commonness of word meaning and the artistry used in books, which some rhetoric works call the artistry of ordinary words. The fourteenth time I wrote about the anger of Xifeng when she helped Qin to go to the funeral: "Look at Xifeng's eyebrows, I know she is annoyed." Among them, the word "Mei Li" is an example. In spoken or written language, it is unusual for the eyebrow to appear separately from the eyebrow. However, in A Dream of Red Mansions, as soon as these two words were linked together, Feng's angry expression immediately appeared. Think about it. I'm so angry that my eyebrows stand on end. What a terrible look! Fat commented: "Words are like gods." Later, the word "eyebrow stand" was changed to "anger", which washed away the aggressive and angry look of the wind. Linguistically, this can be said to be a touch of gold.
How can we unify the generality and artistry of word meaning in literary works? The experience of A Dream of Red Mansions is that the writer skillfully conveys the spirit in form in a specific language environment, that is, arouses the vivid and concrete imagination of readers by mobilizing the inherent image sense of vocabulary, and thus conveys the charm of characters or the trend of events.
Its technology is varied, and some important technologies are listed below:
1. Choose appropriate verbs to convey the appearance and expression of characters under certain conditions.
The above-mentioned "looking at Xifeng's eyebrows" is an example. Another example is the sixty-fifth time when Xing Er wrote that he saw Lin and Xue, "I dare not vent my anger, for fear that this anger will blow Lin down;" Warm, blow the name of Xue. " How expressive the two general verbs "Tao" and "Hua" are! As written in the 26th time:
"Where to?" Redjade asked. Zhui Er said, "Tell me to bring him in." Say, running all the way. Redjade just walked to the front of the Bee Waist Bridge when Zhui Er led Jia Yun there.
The word "just arrived" here is very vivid, which tells Redjade's secret heart: because Jia Yun picked up the handkerchief and was interested in it for a long time, but she hated telling her what she wanted when she met. It's a godsend to know from Zhui Er that Jia Yun will come to the garden soon. Why not try to meet her? So she can't leave, she must wait. But if you stand still and are afraid of being found, just walk slowly and wait far away. The word "just arrived" is a very concise and implicit expression, that is, walking slowly and staring at the garden gate. Fat commented, "Wonderful, I don't want Redjade to go, and I don't want to go. The word "just arrived" shows that Redjade is selfish. If you say that you must not go, you must go. That word is rigid and the edges and corners are too exposed. It is not a pen for writing children. "
2. Incorporate common words into new words to reveal the aesthetic characteristics of characters' hearts and appearances.
For example, in chapter 24, the maid Xiang Hui was "born very beautifully". The word "water show" is such a new word that it is really hard to praise. Lippi commented: "This word is unique, and how much femininity includes one. There was no such thing in ancient unofficial history. " For another example, Daiyu called Liu Wei "mother locust" in the 42nd time, because she remembered that she had a meal in the Grand View Garden a few days ago in order to please the grandmother, and made a big scene, and she cherished the painting entitled "Eating locusts" in the Grand View Garden. These two statements, taken apart, are very common words, and together they are extremely novel. After listening to the latter, the sisters all laughed their heads off, and Xiangyun even fell off her chair with laughter. Baochai even made a detailed analysis: "What's more, it's a narrow mouth ..... it's a sentence to sum up the rude words, cut out the complicated ones, and then polish the examples. The word "mother locust" shows all the sights of yesterday. Thanks to his quick thinking. " Zhi Yanzhai also commented: "The more strange, the more strange." Zhou Bangyan, a famous lyricist in Song Dynasty, is a master of casting new words with everyday words as materials, such as Little Lip for Rhyme, Beautiful Water and Beautiful Love, High Anvil Rhyme, Little Bridge for Rain, etc. Cao Xueqin was inspired by him!
3. Adjective verbs that describe people's demeanor.
For example, I wrote for the eighth time that Baoyu was talking to them at Baochai's house. "Before I finished, Lin Daiyu staggered in." "Shaking" is an adjective of verbs, which appropriately describes Lin Daiyu's elegant and romantic figure. Comments: "The second source of calligraphy and painting (paragraph)". Verb adjectives that express a character's demeanor should be consistent with his identity, age and personality, otherwise the image will be distorted. For example, Cheng Ben added a word here, which became "wobbly" and used adjectives to overlap. With this, it is not the graceful and romantic Daiyu, but the real Hua Dan on the opera stage.
4. Verbalized nouns are used to describe the special actions of characters.
The fourteenth time, Feng deliberately made fun of Baoyu, saying that he would not give the people in the room a paper with cards. "When Baoyu heard this, he asked the monkey for Feng's card." The word "monkey" was originally a noun, and here it is verbalized, which means that Baoyu's actions are like those of a monkey. It is vivid and cannot be changed. If it is more "flapping", it is not only inaccurate, but also unsightly. Pang commented: "There is a method of refining words in poetry, which is unexpectedly wonderful in the Story of the Stone." Others, such as the word "bay" that Xiangling said in Chapter 48: the word "bay"
5. Accurately choose function words or words with unclear real meaning to express the situation and complex state of affairs of the characters in a specific situation.
There is a passage in the fifth verse about two jade in anger, in which the word "you" is vividly used, which shows the complexity of the situation. Its text is:
On this day, I don't know why, their words are somewhat different. Daiyu was so angry that she cried alone in her room. Baoyu regretted his language collision and went to bow down. Daiyu gradually turned around.
In this regard, Pangpang commented: "The word' you' is wonderful and makes up for the endless tears these days. This is a faint way of writing, so that the following text will not come suddenly. " He also said: "Where the word' you' is used, such as the confrontation between two peaks, there are always two jade texts that complement each other." For example, Zhou Rui's family asked Baochai for the seventh time whether Baoyu had collided with her in the next two or three days. Baochai said with a smile, "This is my illness again." ""Fat commented, "The word" that "and the word" I don't know why "of the first two jade are natural and provincial.
6. secretly judge someone or something in ordinary words
The implication is beyond words, which stimulates people's imagination and has artistic appeal. This can be said to be a kind of spring and autumn brushwork in novels, that is, historical brushwork. For example, after the death of Qin Keqing for the thirteenth time, "everyone in the family knew everything at that time, but they were very skeptical". Zhi commented: "Nine words write everything in Tianxiangge, which is not written." Cheng Ben changed to: "Everyone is puzzled and a little sad." Using "doubt" instead of "injury" erases the implication of Tianxiangge (Jia Zhen committed adultery with his daughter-in-law Qin Keqing and was discovered by his wife You Shi, and Qin Keqing hanged himself in Tianxiangge), and also loses the role of historical writing.
7. The derogatory term is in use, while the commendatory term is in reverse use.
A derogatory term is being used. For example, in the sixth time, Liu said to his mother, Grandma Liu, "... but you and I are such faces, how can we walk to his door ..." He also wrote that Grandma Liu said, "... What am I? "Like the reverse. For example, the ninth time, Jia Zheng scolded Baoyu for "learning some exquisite pranks." If used in this way, the common language will be particularly artistic.
In addition, some common words have been used specially, and the effect is wonderful. For example, the fifteenth time: "In case of the elderly population in Beijing, it is very cheap to put them here." The 42nd time, I wrote that Wang Dong said, "... actually, I don't need to take medicine, just a little lighter ..." and so on.
As mentioned earlier, the beauty of A Dream of Red Mansions lies in its poetic writing. Since the Tang and Song Dynasties, many poetry writers have paid attention to the appropriateness and refinement of words. And think that it is easy to extract real characters, but difficult to extract empty word. Du Fu, a poet sage, refined words in his poems, which was paid attention to and studied by writers of all ages. Ye Mengde's Shi Lin Shi Hua in Song Dynasty said: "Poets are well known for their words. However, the changes of Lao Du are surprisingly endless, and it is almost impossible to catch him. For example, "the mountains and rivers have Bashu, and the towers and terraces are all harmonious", which is thousands of miles apart, only between the word "you" and the word "zi", while swallowing the gas of mountains and rivers, pitching ancient and modern, all beyond words. ..... This is a wonderful work, beyond the reach of human resources. However, the old man was born carefree and could not see his strength. ..... "More than a thousand years after Du Fu, Cao Xueqin introduced the method of refining characters into novel creation, which had a green effect and really passed down!
7. How does Jiang Hesen read the poem A Dream of Red Mansions?
For a poetic work like A Dream of Red Mansions, I don't think we can stay on frozen feelings or mathematical intelligence. A truly wise philosophical mind should be the sublimation of warm feelings. Great philosophers and Dali theorists are emotional people, but they just take the form of logical thinking. Therefore, for A Dream of Red Mansions, a great literary heritage of the motherland, we should not only recognize it with advanced ideas, but also embrace it with warm feelings.
Learning exchange
1, Jia Baoyu once had a crush on Lin Daiyu and Xue Baochai. Based on a passage in Baochai's Love Story, this paper analyzes Jia Baoyu's different attitudes towards Lin and Xue from the language.
2. Xue Baochai overheard Redjade and Zhui Er's words, so she "threw the golden cicada out of its shell" and pretended to catch up with Lin Daiyu, causing Redjade to be wary of Lin Daiyu. Combine your understanding of Xue Baochai and discuss whether Xue Baochai is conscious of doing so.
3. Redjade is the maid of Jia family, and her language is clever, which won Wang Xifeng's appreciation. Who is the "grandmother" she mentioned in the message? Please find out the chapters describing girls' lives in the book and compare their different language features.
Grandma Liu's "nonsense" happened when she entered the government for the second time. Her speech this time is obviously different from that when she first entered Guo Rong Building. Why?
5. You Sanjie rebelled against the traditional female image and dared to flirt with the men of Jiafu. Try to compare the language differences between You Sanjie and Wen Jing, two characters with similar personalities.
6. Which sentences in A Dream of Red Mansions do you think are worth remembering, copying and sorting out?
7. Choose a topic from the reference topic of this topic, or write an article according to the learning content of this topic to communicate with your classmates.
Reference topic selection
One of my favorite poems in a dream of red mansions.
Dialects in A Dream of Red Mansions
Village Proverbs in A Dream of Red Mansions
Poetic Features of the Language in A Dream of Red Mansions
On the Rhyme of A Dream of Red Mansions
The Application of Proverbs in A Dream of Red Mansions
Dialogue Art in A Dream of Red Mansions
Sketch Art in A Dream of Red Mansions
The Art of Bending Writing in A Dream of Red Mansions
Appreciation of antithetical couplets in A Dream of Red Mansions
Appreciation of riddles in A Dream of Red Mansions
Irony in the Language of A Dream of Red Mansions
Ellipsis in the Language of A Dream of Red Mansions
"Scold" in A Dream of Red Mansions
Wang Xifeng's Language and Personality
A comparison between Xue Baochai and Jia Tanchun's language.
Linguistic Features of Granny Liu's "Nonsense"
On the language personality of A Dream of Red Mansions from You Sanjie's teasing of Jia Zhen and Jia Lian.