1, spring and autumn brushwork: one word is praised and criticized, entered the narrative, reserved and cautious, and has a tendency. People call it "spring brushwork".
2. Knowing people and discussing the world: "Mencius? Zhang Wan said, "Ode to his poems and read his books. I wonder if he is a man. "? It is based on its world, but it still exists. Mencius believes that it is not enough to analyze the spiritual essence of the work only from the work itself, but also to contact the author's life thought, environment and background of the times.
3. Fu: The original meaning of "Fu" is "laying out facts", which is a means of expression in the Book of Songs. In the late Warring States period, it developed into an independent style, which first appeared in Xunzi's prose and prevailed in the Western Han Dynasty. This style is between poetry and prose, and its basic characteristics are exaggerated content and gorgeous rhetoric.
4. Clear: refers to the prose style in Jian 'an period. The so-called honest and strict, that is, concise, refers to the simple language, sharp words, against cumbersome and pedantic. The so-called free and easy, that is, casual meaning, refers to willfulness, expressing true feelings, saying whatever you want, not bound by Confucian classics.
5. Su Hai and Han Dynasty: Su Shi and Han Yu both have heroic styles, so they use the tide as a metaphor. It is said that the article is magnificent and free.
6, June 1 Fengshen: simple and natural, euphemistic and tortuous, and even strongly lyrical. Plain nature is the * * * nature of Song Dynasty prose, while euphemism and twists and turns are the personality of Ouyang Xiu's prose. Therefore, Ouyang Xiu's prose has a unique charm of twists and turns, forming a so-called "June 1 Wind God" that sings with emotion, euphemistically twists and turns, and is complacent.
7. Ancient prose: "Ancient prose" is compared with the parallel prose called "modern prose" at that time. He regarded the parallel prose that emphasized rhythm, rhetoric and parallelism since the Six Dynasties as popular prose, and thought that his prose inherited the tradition of articles in the pre-Qin and Han Dynasties, so it was called "ancient prose". Ancient prose refers to the characters in the Spring and Autumn Period, Warring States Period and previous ancient books.
8. Wen: Parallel prose pays attention to duality, rhetoric, allusion and temperament. Sentences are mainly composed of four sentences and six sentences, and Li Shangyin named his parallel prose collection Fan Nan Si Liu, so it is also called Wen. Parallel prose was called Song Liusi in Song Dynasty.
9. "Tao is the purpose, and text is the means: Tao is the content, and text is the form. Literature should serve Tao, that is, the form of literature should serve authentic Confucianism.
10, if there is injustice, it will sound: more emphasis is placed on expressing strong feelings, expressing the author's self-experience and heartfelt wishes in the real society, and prose is required to be closely linked with reality.
1 1, the arts and sciences are natural, and the posture is full of vitality: the composition is flowing, and there is no definite quality at first, but it often does what it should do, and often stops at what it should do. Natural arts and sciences, full of vitality.
12, righteousness and law: "righteousness", that is, "words have substance", mainly lies in "explaining Taoism and teaching" or "helping politics and religion", that is to say, it must be described according to the purpose of Confucian classics. "Fa", that is, "having a preface", mainly refers to the layout, composition and wording of the article, and the specific requirement for wording is "elegance and cleanliness".
Second, short answer questions
1. Pre-Qin prose is "deeper than metaphor" and "deeper than taking pictures".
Answer: "Deeper than Xing" and "Deeper than taking pictures". Chen Xun's "Wen Ze" Volume III: "Easy to have images, make good use of them." It is pointed out that Zhouyi has the artistic technique of "taking images and understanding". Zhang Xuecheng, literature and history? Xia even said: "The writing in the Warring States period is deeper than that in Bixing, that is, deeper than the person who took the photo. The fables in "Zhuang" and "Liezi" also show that the country can be founded when it is rough, and the banana deer can hear the lawsuit. " Li Sao also expresses anger, so the emperor can spend nine days and the ghost can visit nine places. If he speaks freely, he flies into the stream of sexual intercourse, and the more strange and incredible the peach stalk question and answer. "The so-called" deeper than metaphor "and" deeper than image "means that the article is vivid, which generally means making good use of metaphor and fable. This is indeed a major artistic feature of pre-Qin prose. There are famous metaphors in Shangshu, such as "if the network is in the key link, it will be orderly" and "the fire burns in the original, but it can't reach you". The metaphors in Mencius and Xunzi are also excellent, especially Xunzi often uses a series of metaphors to illustrate a problem. There are more than 70 fables in the Warring States Policy, among which Zhuangzi, Fable 19 and Han Feizi are the first in pre-Qin prose. Fables flourished in the pre-Qin period, and most of the famous fables in China were produced in the pre-Qin period, but they did not exist objectively, but were used by prose writers to enhance the visualization and persuasiveness of reasoning.
2. The characteristics of the chronicle of Spring and Autumn Annals.
A: Chunqiu is short in words and concise in narration. It often notes one thing in one or two short sentences, which is somewhat similar to today's headlines. The most prominent feature of Chunqiu is the "Chunqiu brushwork", which combines praise and criticism with comments. The narrative of Spring and Autumn Annals is "simple and orderly", with precise language and meticulous words. The brushstrokes described in Spring and Autumn Annals are flexible and varied, with concise language and clear organization.
3. How does Feng Xuan guest Meng Changjun shape the image of Feng Xuan?
A: Feng Xuan in Feng Xuan's Visit to Meng Changjun is also a typical example of various military strategists during the Warring States Period. He is willing to serve his bosom friend, with his insight and foresight, assess the situation, and use the complicated relationship between governors to consolidate Meng Changjun's position in Qi. The article depicts the image of Feng Xuan, trying to promote it first and then suppress it, and the deeper it gets, the weirder it gets. I began to write about his "bad" and "incompetence", but I sang repeatedly and asked for preferential treatment. Once you have a car, you show it off to your friends like a villain. Later, he wrote that he volunteered to collect debts for Meng Changjun, which was unexpected and absurd. I didn't see the cleverness until I returned to Xue. At this time, Feng Xuan had further plans to "dig two caves again" for Meng Changjun. Until the end of this paper, Feng Xuan's foresight and chivalrous demeanor can be fully displayed. The article also describes that Feng Xuan was "laughed at" and "hated" by people around Meng Changjun, and that Meng Changjun was "unhappy" with Feng Xuan's "city righteousness", in order to contrast Feng Xuan's eccentric personality and extraordinary knowledge.
4. Personality characteristics of the characters in the Analects of Confucius.
A: Confucius is amiable, good at persuasion and tireless in teaching others; Lutz's directness and recklessness; The modesty and prudence of You Ran and Gong Xihua: Zeng's indifference and freedom; They all left a deep impression on people.
5. The artistic features of Mencius' prose.
A: The outstanding feature of Mencius is that it pays attention to the art of argument. In the debate, he paid special attention to the methods and skills of argument. Mencius used metaphors from private to public, from small to large, and finally left Qi Xuanwang speechless and had to "talk about him from left to right" and "Mencius was good at metaphors" (Meng Ziming by Zhao Qi). He is good at using concrete and vivid metaphors to illustrate things, state opinions, turn abstraction into concrete feelings, and turn profundity into simplicity. Mencius' writing style is sharp and magnificent. There is a magnificent and unrestrained trend. Mencius often speaks frankly, has no scruples, and his words are aggressive. Mencius often used parallelism, truthfulness, questioning and other means to enhance the momentum of words. The article form of Mencius is better than that of The Analects of Confucius, which develops concise quotations into long articles. It marks an important stage in the development of pre-Qin philosophers' prose, that is, the change from documentary style to thematic prose.
6. Similarities and differences between Jia Yi and Chao Cuo's prose.
A: Both Jia Yi and Chao Cuo advocated attaching importance to agriculture and restraining business, weakening the power of governors and fighting against the intrusion of Xiongnu, because they were outspoken and eager to speak their minds. However, Jia Yi's theory is pedantic, unlike Chao Cuo's articles, which are not so specific and seldom empty talk. Jia Yizhi is rich in literary talent and has the style of the Warring States Period. Chao Cuo's prose is magnificent, vivid and fluent, thorough in analysis, cold and rigorous, quite like the pre-Qin Legalists.
7. Why is Historical Records "the swan song of historians"?
A: The so-called "The Historian's Farewell" is first of all a literary and historical work that combines the pre-Qin and early Han dynasties. Its weight, volume and content are unprecedented. Its records are extensive and profound, which comprehensively describe the political, economic and cultural development of China from ancient times to the third day of Han Dynasty, and it is a great summary of the ancient history of China.
Secondly, the tight structure and complete system of Historical Records can be said to be unprecedented. Sima Qian's biographical style of general history has set rules for later historians.
Third, it is the spirit of "record" in Historical Records, which is unprecedented, at least in class society.
8. Similarities and differences between the ancient prose movement in the middle Tang Dynasty and the Northern Song Dynasty.
A: The ancient prose movement in the Northern Song Dynasty is the continuation and development of the ancient prose movement in the Tang Dynasty under the new historical conditions. It is the same as the ancient prose movement in the Tang Dynasty in promoting ancient prose, but there are also differences. First of all, the ancient prose movement in the Northern Song Dynasty is closely related to the poetry innovation movement, but has nothing to do with the Tang Dynasty. Secondly, the ancient prose movement in the Tang Dynasty mainly opposed the glitz and delicacy of the style of writing. The ancient prose movement in the Northern Song Dynasty not only demanded to get rid of the flashy and delicate style of writing, but also opposed the difficult and eccentric tendency, which avoided the defects of the ancient prose movement in the Tang Dynasty to some extent.
9. The origin of the title of "Eight Masters in Tang and Song Dynasties".
A: "Eight Great Writers in Tang and Song Dynasties" is the collective name of eight outstanding prose writers who appeared in Tang and Song Dynasties in the history of China's prose development. They are Han Yu and Liu Zongyuan in Tang Dynasty, Ouyang Xiu, Wang Anshi, Su Xun, Su Shi, Su Zhe and Ceng Gong in Song Dynasty.
10, the language features of Han Yu's prose.
A: Han Yu's various essays have their own characteristics. The general characteristics are majestic, unrestrained and changeable. This feature is that Korean is as profound and powerful as rivers and seas; But it is turbulent, unconventional and often unexpected. This is what his thesis "Speak Persuasively and Appropriately" advocates. The stylistic features of Korean are rich and varied, that is, the Korean conception is strange and changeable, there is no definite style, no conclusion, no definite sentence, and it is "suddenly original" completely according to the needs of narration, reasoning and lyric. Korean is concise, accurate, vivid and vivid.
1 1, Su Zhe's Theory of Nourishing Qi.
A: Su Zhe's thesis advocates the theory of "nourishing qi". He inherited Mencius' thought of "nourishing qi" and Han Yu's thought of "moderation", and emphasized the important role of nourishing qi in his article. Su Zhe's "Qi" refers to the author's ideological accomplishment and mental state, which is manifested as momentum in his works. Qi is not born, but cultivated. Nourishing qi includes two aspects, one is to strengthen inner cultivation, and the other is to increase experience and knowledge.
12, the characteristics of Gui Youguang's prose.
A: In terms of content, Gui Youguang's prose mostly records some trivial matters of daily life, and there are no surprising events or tortuous processes. However, because the author is good at capturing the details of life, seeing the big from the small and expressing affection in the tiny details, it is extremely impressive. From an artistic point of view, he is good at expressing emotions on the spot, depicting some fragments of daily life with simple and concise brushstrokes, and pinning his feelings and ideals. He is unpretentious and eloquent, as if talking about his family, kind and touching. As the saying goes, "I have no intention of touching people, but the joy and sadness in my heart are beyond words."
Third, the essay questions
1. On the germination of China's ancient prose.
A: The emergence of prose is inseparable from the development of writing. The earliest recorded language is Oracle Bone Inscriptions in Shang Dynasty, about 3000 years ago. This can be said to be the bud of China's prose. However, the inscriptions on bronze inscriptions, Zhouyi and Shangshu in the Zhou Dynasty are more complete than those in Oracle Bone Inscriptions, and some descriptions are vivid, which is a good start for the development of China's prose. Prose and historical prose of pre-Qin philosophers developed on this basis.
2. Ideological tendency of the Warring States policy.
A: Different from Guoyu and Zuo Zhuan, the thought of Warring States Policy has made a major breakthrough in traditional thought, and its ideological content has new features: although it also shows the people-oriented thought, exposes the cruelty and debauchery of the ruling class, and warmly praises just people who have a sense of justice, foresight and can help the poor, its main thought has broken through the shackles of Confucianism. It shows new ideas that are completely absent in Shangshu, Chunqiu, Guoyu and Zuozhuan, such as not talking about heaven and ghosts, hierarchy, loyalty and filial piety, but advocating strategy, pursuing wealth, vertical and horizontal trends, long and short skills, cunning and fraud. On the whole, it mainly embodies the distinct thinking of strategists.
3. The artistic features of Zhuangzi.
A: The immortal artistic charm of Zhuangzi's prose largely comes from its complex artistic image. These artistic images are superimposed in the middle of Zhuangzi, which makes people get extraordinary aesthetic enjoyment in surprise and horror, while their real thoughts are often hidden in strange images without trace. Such as: Giant Kunpeng, God-like man who sucks the wind and drinks dew, seemingly vague scenery, fragmented shape, chaos without seven orifices, Kan Kan's skull, Hebo who looks at the ocean and sighs, its five-legged turtle ... such bizarre pictures are endless and beautiful. For example, the well-known "Touching Barbarians": on a pair of insignificant little snails, a vast and tragic war scene was unexpectedly transformed. This is obviously a satire on the reality that the princes were fighting for hegemony and fighting endlessly at that time. Through such image description, readers are introduced into an artistic realm that transcends time and space and cannot distinguish between ancient and modern. This is the unique charm of Zhuangzi, and it is also a great artistic achievement that he is superior to other scholars in the late Zhou Dynasty. Lu Xun said that the brilliant artistic achievement of Zhuangzi's prose is "the works of late Zhou philosophers, so it can't be the first" (Outline of China Literature History). In fact, even in the whole history of China literature, this is rare. Its unexpected conception, extraordinary imagination, fantastic artistic conception and Wang Yang's wanton writing are not only unprecedented, but also unattainable. It has opened up a new realm of prose art and promoted a new leap in literature itself.
4. Achievements of ancient prose movement in Tang Dynasty.
A: In political thought, the rejection of Buddhism and Lao strengthens the dominant position of Confucianism; In literature, it has innovated the literary style, style and language, established new essays that are practical and easy to express ideas, narrowed the application scope of parallel prose, produced many excellent literary essays, and promoted the development of other literary forms such as legends and essays. As far as the influence is concerned, it has had a far-reaching influence on the new movement of poetry and song in the Song Dynasty, the Cultural Revolution, the retro trend of the first seven scholars in the Ming Dynasty and the prose of Tongcheng School in the Qing Dynasty.
5. Han Yu's ancient prose theory.
A: Wen Zaidao; If it is unfair, it will make a sound; Eloquent, just right; If Chen is gone, it will spread; It's not specific. It's weird.
6. The artistic features of Han Yu's postscript to Zhang Zhongcheng's Biography.
A: The biggest feature is the close combination of discussion and narration. The first half is dominated by discussion, which refutes the fallacy of slandering Xu Yuan and supplements Xu Yuan's deeds in the refutation. The second half is mainly narrative, with touching stories of Nan Jiyun as the main part, supplemented by some anecdotes of Zhang Xun and Xu Yuan. The argument of the former is the "procedure" of the narrative of the latter, and the narrative of the latter provides factual evidence for the argument of the former. Secondly, the characters are vividly portrayed and radiant. Third, this paper is full of motivation and passion. No matter how lyrical, the author's subjective feelings are extremely strong, full of his trust and admiration for the protagonist.
7. Achievements of Liu Zongyuan's prose.
A: Liu Zongyuan's prose can be roughly divided into five categories: argumentative essays, biographies, fables, travel notes and Sao Fu.
Liu Zongyuan's essays are mostly used to expound his philosophical and political views. The center is clear, the argument is rigorous, the organization is clear, the debate is heroic and convincing, and it is a model of the author's political essays. Liu Zongyuan's biography has important social and practical significance. Its owners are mostly lower-class people or honest officials. Liu Zongyuan first chose characters from the perspective of exposing and criticizing reality, so as to select important events, cut them appropriately, and sometimes exaggerate and fabricate them on the basis of his own affairs, so some biographies are similar to fables and novels. Liu Zongyuan's fables inherited and developed the tradition of short and pithy fables of pre-Qin philosophers, which contained philosophy in images. These fables are novel in meaning, vivid in meaning and sharp in humor. Because of Liu Zongyuan's massive creation, fable has become an independent literary genre. Liu Zongyuan is a master of fable literature and has made great contributions to the development of China's ancient prose. The most wonderful part of Liu Zongyuan's prose is the travel notes of mountains and rivers. There are more than twenty articles, most of which were written after the relegation of Yongzhou, among which Eight Chapters of Yongzhou is the most famous and has become the eternal swan song of travel literature. Liu Zongyuan's landscape travel notes broke through the traditional habit of predecessors' objective description of scenery, poured his strong subjective feelings, expressed his resentment, wrote his love, and pushed the creation of landscape travel notes to a peak. Liu Zongyuan's travel notes on mountains and rivers are not only a model of mountains and rivers, but also a description of a complaining heart and mountains and rivers. This writing is obviously different from the landscape writing in the Southern and Northern Dynasties. Liu Zongyuan's Sao Ci and Fu, one is prose, the other is prose, in fact, they are all essays that satirize the times or express grief and indignation. Because his ambition, personality and ideological experience are similar to Qu Yuan's, he got the essence of Chu Sao and wrote it without any imitation or affectation.
8. The style of Su Shi's prose.
A: Su Shi's prose has a bold and unrestrained style. As he himself said, "it's like a spring, it's out of chaos", "it's like running water, it's uncertain at first", "it's natural in arts and sciences, and its posture is changeable" His exposition, citing historical facts, denounces the shortcomings of the times, is clear and thorough, magnificent and eloquent. Other articles are written freely, naturally and fluently, handy, concise and interesting. The so-called flowing water, natural arts and sciences, posture. The essays, letters and essays in Su Shi's prose are sometimes eloquent and interesting. Sometimes a few simple strokes paint a new realm. In the style of the article, Su Shi advocates nature and opposes carving.