Chapter 15 Chapter 14 The Boundary of Literacy

14.1.1 Literal Boundary Issues There is a difference between classical Chinese and vernacular. Generally speaking, classical Chinese is based on the written language of Qin and Han Dynasties. Specimen is a text written out of the spoken language, and the vernacular is a text written with reference to the spoken language at that time.But the two are inextricably linked.That is to say, in terms of vocabulary and syntax, they have differences, but there are also many similarities.Also, in history, although they were separated, the division was not complete. Not only did you come and go a lot, but sometimes they even lived together.This makes us have to think about the problem of boundaries.This problem is prominently manifested in the fact that if a site is divided into two halves, and it is stipulated that one half will be used for classical Chinese works and the other half for vernacular works, and this task is entrusted to us, will we be able to complete it smoothly?I'm afraid it will be very difficult, because the situation is complicated and some works will be difficult to deal with.

Naturally, this problem has existed since ancient times, but it was not surfaced until the May 4th period, because before that, classical Chinese and vernacular Chinese coexisted peacefully, and there was neither need nor thought of the issue of family separation.Hu Shi was the first to talk about this issue.He preached that classical Chinese is a dead language, and the literature created is a dead literature; vernacular is a living language, and the literature created is a living literature.How do you know?So he wrote "History of Vernacular Literature", proving that in history, all valuable works are vernacular.Only the first volume of this literary history was written, ending with Yuan Zhen and Bai Juyi in the Tang Dynasty.Looking at the catalogue, there were Wang, Meng, Gao, Cen, Li, Du, etc. before Yuanbai, and they only talked about Du. Words", this is all vernacular, and I am afraid that no one will agree with it except himself.He himself probably felt that this would be a lonely battle, so he said in the "Preface":

I have broadened the scope of "vernacular literature", so it includes those works in old literature that are clear and close to speaking.I have said before that "Baihua" has three meanings: one is the "white" spoken on the stage, that is, words that can be spoken and understood; The "white" is the clear words.According to these three criteria, I believe that there are many vernaculars in "Historical Records" and "Hanshu". Especially Yuefu quatrains - there are also many vernacular works. It seems that these three meanings can be used alone, even if only one condition is met. If this is the case, then as far as "Mencius" and "Warring States Policy", as far as "Chun Zaitang Essays", they have become vernacular works , because it is not only clear, but also unadorned.Such an enlargement of the scope will of course result in the blurring of the boundaries between classical Chinese and vernacular Chinese, as Zhou Zuoren said in his article "The Literary Revolutionary Movement": "That is, Mr. Hu Shizhi proposed a part of the poems of the Tang Dynasty that he regarded as vernacular literature. But there is no clear line of choice. That is to say, it is difficult to distinguish ancient Chinese and vernacular, and it is even more difficult to determine whether it is alive or dead." ("Chinese New Literature Series·Historical Materials·Index")

14.1.2 Cases with unclear boundaries Difficult to separate, because the division was not clear.It is also difficult to distinguish clearly, because classical Chinese and vernacular are two languages ​​that have diverged from each other, not two languages ​​that have come from different paths.This "one kind" stipulates that they have many similarities, such as the use of Chinese characters, similarities and differences in vocabulary, and similar syntax; what is more important is that the users belong to a group of so-called descendants of Yan and Huang. It is literary but not white or white but not literary, but it is always unavoidable that some people unknowingly take advantage of the freedom of their writing to switch between literary and prose, or both prose and prose.This kind of situation where the text is broken and continuous has different degrees of severity. Below, we will talk about some of the more obvious ones, from mild to severe. (1) Many words and sentence patterns are common to both classical Chinese and vernacular Chinese.Such as:

(1) If the peaches and plums don't say anything, the next will form a path. ("Historical Records Biography of General Li") (2) The family is poor and has never been met. There are two husbands and wives living in Pengmen, a humble alley. ("The Spectacle of Modern and Ancient Times: Jin Yu Nu Beats His Lover with a Stick") Example (1) is classical Chinese, and example (2) is vernacular, but except for "窗", the words can be used interchangeably; the sentence patterns are also common in both places.This shows that the classical Chinese and the vernacular, even if they are not from the same family, are always close relatives of the same clan.

(2) The vernacular has absorbed elements of classical Chinese, such as idioms and some idiomatic expressions. Although it can be regarded as a part of the vernacular vocabulary, the color of classical Chinese is obvious. Such as: (3) The next day, Yun Gongsun went to the hall to thank his relatives and set up a banquet for drinking.At the end of the banquet, return to the new house, set up the wine again, and the husband and wife raise their eyebrows together.At this time, Miss Lu took off her heavy clothes and changed into some elegant and light clothes.Ju Gongsun raised his eyes and looked carefully, he really had the appearance of sinking fish falling geese and closing moon shame flowers.Three or four servant girls and adoptive mothers take turns to serve.There are also two personal maids - one is called Caiping and the other is called Shuanghong, they are both graceful and graceful, very colorful.At this time, Yun Gongsun seemed to be traveling in Lang Yuan Yuan Peng Lai, Wu Shan Luo Pu. (tenth chapter)

(4) Talented people are originally sad and sick. They want to smell the chicken and get angry and see the moon and hurt their hearts. As soon as I arrived in Shanghai, I met a bitch again.When going whoring, you can gather ten or twenty young girls together, who look alike, so he feels like Jia Baoyu; produced.Most of the content is that only talented people can pity those beautiful women who have fallen into the wind, dust, and fall, and only beautiful people can recognize talented people who have not met. After suffering all kinds of hardships, they finally become They became married couples, or they all became gods. (Lu Xun's "Two Hearts Collection A Glimpse of Shanghai Literature and Art") Although these dotted words can be regarded as having been incorporated into the vernacular, the traces of borrowing classical Chinese are obvious.

(3) There is also a mixture that does not melt into it.The use of vernacular in classical Chinese works has been mentioned in the previous chapter, and only the use of classical Chinese in vernacular works is mentioned here.Such as: (5) That Baoyu was also a child, not to mention that he was born with a clumsy and remote nature, and he regarded sisters and brothers as one, and there was no difference between closeness and distance.Now I live with Daiyu in Jiamu's room, so I am a little more familiar with it than other sisters.Once you are used to it, you will feel more intimate; if you are intimate, there will inevitably be some unforeseen gaps ("Mencius Li Loushang" as "Unexpected Reputation"), seeking perfection and destroying it. (fifth round)

(6) Pause for a while, the noise calmed down a bit, only to hear that there was a young man in the front seat under the stage, about thirty years old, with a Hunan accent, saying: "When I was studying, I saw the ancients describe the benefits of singing, I don't understand the words "·Yu·Yin·Wailing·Liang,··三·日·不·结论'. Assuming in the air, how could the lingering sound be around the beam? How could it last for three days? After listening to Mr. Xiaoyu's storytelling, I realized the wonderful diction of the ancients. Every time I listened to his storytelling, my ears would always be filled with his books for several days. No matter what I did, I would never be absorbed in it. The word "three days" is too little, or Confucius' "three months. I don't know. Meat. Taste", and the word "three months" is more thorough." The people next to him said: "Mr. Mengxiang The discussion is extremely thorough, and I have a heart in my heart." (Second Chapter)

These dotted words are all borrowed from ancient classical Chinese classics. (4) Some genres fluctuate between classical Chinese and vernacular, and it is difficult to simply say that it counts as literary or white;The most obvious examples are Yuefu poems and tunes.The problem comes from the morning and evening of time.The early works came from the folk, and according to the tradition of our literary history, they cannot be counted as vernacular.But what we can see, one is that it may not be very early, and the other is that most of them have been refined by literati.Xiurun will always gradually move from vulgarity to elegance, or in other words, the style will increase.To what extent can it be no longer considered vernacular?Also, when literati imitate, they always become more and more literary. Do they all count as classical Chinese, or do they only count as classical Chinese when they are literary to a certain extent?This kind of problem, if we read the "Dunhuang Song Ci Collection" and the like, if the purpose is just to appreciate, of course we can ignore it, or we can't think of it; if we want to distinguish classical Chinese from vernacular, we can't avoid it.How to deal with it is appropriate, and leave it to Section 14.2.2 below; here, in order to illustrate the nature of the problem, the following two types of works are given as examples.

(7) Yuefu "Xianghe Geci·Jiangnan Song" In the south of the Yangtze River, you can pick lotus, lotus leaves and He Tiantian, and fish play among lotus leaves.Yuxilian leaf is east, Yuxilian leaf is west, Yuxilian leaf is south, Yuxilian leaf is north. (Ancient Ci) Volume 26, the same as the next two poems) The Gui Ji should be rotated late, and the light side will be buckled by the shore.The purple lotus is fishing for carp, and the silver basket is filled with short lotus.When people return to Pukou, it will take a long time to return to the boat. (Prepared by Emperor Wen of Liang Jian) The tide of Yanchang has just fallen, and the river flowers are not yet exposed.Chunzhou frightens the jadeite, and Zhufu makes Fangfei.The smoke of the painting boat is shallow, and the sky of Qingyang is faint.The brocade sails are wet from surfing, and the sleeves are brushed in the running clothes.Let go of what you pick with affection, and sigh and cherish Liuhui. (Prepared by Tang Liu Xiyi) (8) The word "Bodhisattva Man" Feifei went back to Tangyu little by little, both talking in Mandarin ducks.The fragrance of burning wild flowers, Yiyi golden willow yellow.The girl on the Yingying River dances by the stream in twos.Bright and beautiful, Luo Guang, lightly clouded and powdered. ("Dunhuang Music Lyrics Collection") The flowers are bright and the moon is dark and the mist is dark. It's better to go to Lang's side tonight.Socks with step incense steps, hand-held gold-thread shoes.See you at the south bank of the painting hall, snuggle up and tremble for a while.It is difficult for a slave to come and go, and teach the king to pity you freely. (Written by Li Yu, see "The Second Subject of the Southern Tang Dynasty") The Milky Way twists and turns three thousand times, and the bathing ducks fly and the egrets are green.Where to look for the return boat?The sunset river goes upstairs.The sky hates plum blossoms, so it snows on the branches.Looking at the rolling curtain in the deep courtyard, I feel sorry for the cold on the river at night. (by Zhou Bangyan, see "Pianyu Ji") There are three songs in each category, arranged by time in the morning and evening.The earliest one, no matter in terms of origin or writing, is considered vernacular, and most people would agree.On the contrary, the later one should be regarded as classical Chinese according to the origin and writing.If the two ends are fixed, what about the middle one?Without colored glasses, we seem to have to say that it is sitting on the fence. It is okay to calculate vernacular from one side, and it is not impossible to calculate classical Chinese from the other side. (5) Another situation is that different works of classical Chinese and vernacular are often not equal in the degree of vernacular, but some are pure, some are not very pure, and some are even very impure.This is because both classical Chinese and vernacular have different genres, come from different eras and have different authors.If two works, one article and one white, are both pure in writing, they will be far away from the perspective of language; if they are not pure, they will be close in language perspective.The close distance will also make the boundary between text and white appear blurred.Such as: (9) There are two measures of general appearance and expressing ambition.Yiyun: "I have enough in my life, only food and sleep, and I will be successful in the future. When I am full, I will sleep, and I will sleep and eat." One said: "It's different for me. When I eat and eat again, why don't I go back to sleep?" Samadhi also. (Su Shi's "Dongpo Zhilin" Volume 1 "Cuo Da Eat") (10) Black hat, quail clothes and calf-nosed coat, romantic and proud of the grandson.Only after the endowment of the three capitals did they become famous, and the Baichiloutou was respected.Stop holding the inkstone if your hands are not real, your eyebrows are not Guo Guo's daring to accept kindness.According to the book on the beauty side, the boss Liang Hong never gets married.Xiaosheng Han Shixun is also from Maoling.When you are hungry and full, you are fat when you are thin.People push Anren in this life, and draw up Zhang Xu from that year.Although she is lustful, she is ashamed to be a disciple in her heart; she is also passionate, and her fate is only due to Song Yu.Unfortunately, the two parents passed away early, the family is in a bad situation, the surroundings are desolate, and there is no plan for marriage.Lai Youxiang Da Qi Buchen was a good friend of the first emperor's alliance. He was brought up since childhood and studied with his son Qi Youxian at the same school.Today is New Year's Day, and we need to clean up our clothes and wait for him to come out to celebrate the new year. (Li Yu's second birth in "Kite Mistakes") Example (9) is the notes of a literati, which is counted as classical Chinese as usual; Example (10) is the guest words of an opera, which is counted as vernacular as usual.But when we read it, we will feel that the latter example is more literary; or at least we must admit that the former example is classical Chinese that is closer to vernacular, and the latter is vernacular that is closer to classical Chinese.The two are close, and if they are so close that they are indistinguishable, the problem of the boundary between Wenbai will become more complicated. (6) What's more troublesome is that you can still find some, such as between the text and the white, and you can't get along with each other.Mr. Lu Shuxiang cited many examples in this article, two of which were quoted in Section 2.1 above, both from classical Chinese classics; here are some additional ones from other sources. (11) The Buddha told Ananda: "You practice Vimalakirti and ask about illnesses." Ananda said to the Buddha: "World Honored One! I can't bear to ask him about illnesses. So what is the reason? Recalling the past, the World Honored One had a small illness. When milk was used, I held a bowl and stood at the door of the Great Brahman's house. At that time, Vimalakīrti came and said to me: "But, Ananda! Why do you live here with a bowl in the morning?" I said: "Layman! The World Honored One has a small illness. , You should use cow’s milk, that’s why you come here.” Vimalakirti said: “Stop, stop, Ananda! Don’t make such words. The body of the Tathagata, the body of a diamond, all evils have been eliminated, and all good things will be universal. Why should you be troubled? Go silently, Ananda! Don’t slander the Tathagata, don’t let strange people hear such rude words, don’t let the mighty and virtuous gods and Bodhisattvas from other pure lands hear these words. Ananda! The wheel-turning holy king With few blessings, you will still be free from disease, how much less the Tathagata, who will win all with boundless blessings! Let it go, Ananda! Don't make us feel ashamed. If you hear this remark, Brahmacharya of the heretics should think it is: What is the name of the teacher?Self-illness cannot be saved, but people with all kinds of diseases can be saved?You can go quickly, so that no one can hear it.You should know, Ananda!Such as the coming body is the body of dharma, not the body of thinking and desire; the Buddha is the World Honored One, transcending the three realms;With such a body, what disease should there be? 'It's me, World Honored One!I'm really ashamed, so I didn't get close to the Buddha and listened wrongly?That is to say, I heard a voice in the air saying: 'Ananda!As the layman said, but for the sake of the Buddha, he came out of the evil world of the five turbidities, and practiced the Dharma to liberate all living beings.That's enough, Ananda! Don't be ashamed to take milk. 'World Honored One!Vimalakīrti’s wisdom and eloquence is like this, so I don’t let him ask questions. "(Kumarajiva's translation of "The Sutras Said by Vimalakirti·Disciples") (12) There is a big country in Tianzhu in the past, named Shravasti City.The majesty of its king vibrates with nine levels, the wind blows up eight forms, the waves calm down on three sides, and the dust on four sides is clear.The virtuous prime minister of the auxiliary country has the name Xu Daduo, and he is good at a few strategies in his chest, and the timing of the hole is at hand.Known as the pillar stone, the German heavy salt plum.Every time he harbors wrong views, he does not worship the Three Jewels;There are several children in the family, and the younger one is a fiancee.Because of the festival, I suddenly thought to myself: "My family has nothing (poor), and the country is respected. The boy is unmarried and crowned, so he must pay the respects in time. If there is no husband and wife in this country, send an envoy to a foreign country to ask for it. " On the same day, the family was dealt with, so he opened his treasury, took a thousand taels of gold, several rings of white jade, soft brocade, thousands of pieces, and a hundred strong elephants. Be limited by what you can get, don't cherish money.But the heart of my son will be rewarded again in the future. " Farewell is over, I will do what I promise, I will run around day and night, and I will reach the previous place.Patrol the streets and alleys, pour your ears and hearts. ("Dunhuang Bian Anthology", Volume 4 "Conquering Demons and Bian Wen") (13) The gifted man, surnamed Tang Mingyin, styled Bohu, was extremely intelligent, learned a lot, knew everything about calligraphy, painting, and music;He is unrestrained and has the ambition to be arrogant.Born in Su County, his family lives in Wu Chao.When I was a scholar, I used to imitate Lianzhu style, and wrote more than ten poems of "Huayue Yin", in which there are flowers and moons, such as "the shadows in the sky move the flowers to welcome the moon, and the people in the deep courtyard return to the moon body flowers", "clouds break through the moon to peek at the flowers". The benefits, such sentences as the flowers sleeping deep at night and the moon shining in the middle of the night, are praised by people.Cao Feng, the prefect of the house, saw him and loved his talent very much. He was worthy of the master's scientific examination, and Cao Gong recommended him for his talent. ("The Wonders of the Present and Ancient Times: Tang Jieyuan Plays Surprises") (14) Xuande saw that Kong Ming was eight feet long, with a face like a crown jade, wearing a lun scarf, and a crane cloak. He looked like a fairy.Xuande bowed down and said: "The last man in the Han Dynasty, a fool in Zhuojun County, has heard of Mr.'s name for a long time, and his name is like thunder. Yesterday, he paid two visits to Jin Dynasty, but he didn't see him once. The book has a lower name than Wenji. Can you read it without trial?" Kong Ming say: "The savages in Nanyang are lax and lazy. They are often visited by the general in vain. They are very ashamed." After the ceremony, the two sat down as guests and hosts, and the boy offered tea.After tea, Kong Ming said: "Looking at the meaning of the book yesterday, it can be seen that the general is concerned about the people and the country; but I hate Liang, who is young and talented, so I made a mistake and asked." Xuande said: "Sima Decao's words, Xu Yuanzhi's words, Is it empty talk? I hope that you will not abandon your lowliness and give me a lesson." Kongming said: "Morality, Yuanzhi, the world's top scholars. Liang is the ear of a farmer, and he dares to talk about world affairs! The two publics are absurd. General How can I give up the beautiful jade and ask for the stubborn stone?" Xuande said: "A man who possesses world-class talents, how can he grow old in vain under the forest spring. I hope that you will take the common people of the world into consideration, prepare the foolish and enlighten me." (Chapter Thirty-eighth) ) (15) It's time to explore autumn again.Sitting alone in an empty boudoir, no one asked questions, and I was full of worries.I'm afraid that after dusk, there will be such emotions under the window.On the left side of Yinghu Mountain, there are a few leaves of plantains, and the empty steps are quiet and scattered to disperse the rain.After the talented man left, he leaned on the railing and stood there.The blue clouds are light, the Chu sky is wide, Zhenghong crosses the south, and flies over Jianjiapu.The cicadas are noisy at night, and the smoke is fascinated by the ancient trees.On the west bank of Wangye Bridge, Xiaoqigujiu is Chang'an Road. (Volume 4 of "Dong Jieyuan West Chamber") (16) [Gou Shanyue] The gold powder has not died out, and it smells the fragrance of the Six Dynasties, and the tobacco all over the world breaks people's intestines.I'm afraid that the letter of urging flowers will be tight, and the ups and downs will miss the spring. [Jinzhang Road] Looking at Pingkang, there are green poplars at Qianmen Gate in the east of Fengcheng.Purple silk rein all the way, lead Youlang, whose family has both breasts and swallows.After the spring waves, the blue smoke dyes the window; leaning on the sunny day, the red apricot peeks at the wall.The leader of the Banqiao area is busy pointing teahouses and wine boats, listening to the sound of selling flowers, and passing through the deep alleys.Insert a branch of dew willow delicate yellow. [Sound of geese passing by] Look carefully, the windows are bright and the courtyard is open, and you have come to the gentle sleeping village early.Luansheng and Fengguan sound in the clouds, the strings are melodious, and the jade ding-dang, the sound disturbs my tender intestines.Soaring twin phoenixes.Hainan's exotic products are blowing in the wind, wanting to tickle the hearts of beauties. [Xiao Taohong] walked to Wufeng by mistake, added some wandering thoughts, and hurriedly forgot about the appearance of a fairy.Chunxiao, Huayue, and Xiu become a lie, and it is difficult to deny the good relationship, and they are ready to go to Gaotang. (Kong Shangren's "Peach Blossom Fan·Wang Cui" sang live) (17) Yufeifei's shop is smoke-free.Yu Ying flies money, rubs cotton with willow thread.Houses with green water, courtyards with remnants of flowers, swings for beautiful women.Buy wine and spring clothes to code yourself, who is pity for homesick guests?Beside the first bridge, I live in love with Liuying, but I don't believe in singing cuckoo. (Zhang Kejiu's "Shuangtiao · Zhegui Ling" [Cold Food on the Lake]. See Sui Shusen's "Quanyuan Sanqu", the same for the next song) If you are sad, don't ask about the past court affairs, and return to the Yuewangtai.Where the partridge crows, Dongfeng grass Green, blooming afterglow.Feeling sad and lonely, the old country of the green hills, the trees and moss.At that time, the bright moon, Yiyi Suying, where did it fly from? (Ni Zan's "Yellow Bell·Man and Moon") (18) Young people wear purple clothes early, and beautiful women are their wives.Painting halberds horizontally to challenge Hulu's fear, and embroidered flags are spread far and wide with strange names.The wealth and glory of the world are exhausted, and the orchids and jade trees are all under the knees.A happy relationship leaves a wonderful mark, and after a hundred years, it will return to the pure and empty fruit.Although it is said that there is no melancholy in the romantic life, there are still unfinished questions.The Zheng family is like the daughter of a businessman from Zhao, and she is a partial wife in Guixie's mansion.Virtuous and gentle without jealousy, benevolent and generous with little suspicion.Respecting father-in-law and aunt, there is no shortage of hunger and cold rituals in the morning and evening; and sisters, there is no competition for size and ceremony in the boudoir.It's really enviable to be so human, and it should be like a husband and wife.Pregnant and late in labor, Xie Yuhui secretly believed in slander and became suspicious.It makes the sages hold hatred, although the grievances are white, the resentment remains.If you don't give birth to a son like your own father, once the clarity turns into emptiness.In the first life of Changzhai, he cultivated his true nature, so he had to be the concubine Fu Ji of the Immortal Palace.Although God has achieved a positive result, the situation in the previous life is still lingering.Chen Fangsu, who is also a beautiful woman, also has to practice Taixu.The Jade Emperor granted her the title of Incense-burning Girl, and she was still infatuated with her.At this time, the Great Yuan Dynasty had already ascended to the Ninth Five-Year Plan, and the wise ancestors decided Huayi.The country was passed down to the emperor of the Yuan Dynasty, and the new lord, Long Fei, was in charge of the country.It is appropriate for foreign lands to come to Korea and rule the country without disturbing the frontiers.Jiuzhong is virtuous, heavenly and heart-satisfied, so we must choose talents and Zuo Gunyi. (Chen Duansheng's first episode) (19) Su people have a second son-in-law who is a talented scholar and second-time scribe.The second son-in-law hates it very much, please try.Weng pointed to the camellia in front of the court as the title, and chanted: "According to the tea tree in front of the court, how can it violate the limit and not bloom? If you believe in the card, you will go to the east wind, and it will sprout in the Ming Dynasty." Weng said: "Poetry is not unreasonable, but it is pure. It's the spirit of the Yamen." Order Yongyue again, and Yongyue said: "Do you have official documents to leave the sea? How can you send a letter to the end of the world? It is still forgiven to go to Guanjin privately, and it is not suitable to enter someone's house at night." Weng laughed and said: "Ru Da Uncle also has this poem, why don’t you learn from him?” Please recite it, and when you hear the first sentence, “A piece of clear light shines on Gusu”, you shout: “This sentence is wrong, does the moon shine on Gusu? The clouds shine on Gusu. Wait." (Feng Menglong's "Laughing House", the same for the next one) There are poor people who are very discouraged, and when they see there are steamed buns in the market, they pretend to call out to the ground.Owner Asked the reason in surprise, he said: "I am afraid of steamed buns." The owner put dozens of steamed buns in the empty room and closed the scholars inside, and Ji Xiang smiled because he was sleepy.For a long time.But when he opened the door, he saw that he had been fighting for more than half of his food, he asked him, and he said, "I don't know why I don't feel afraid." The master said angrily, "Is there anyone else to be afraid of when you have nothing?" Two bowls of bitter tea." (20) I know, it should be like this.Everyone has followed this fact and there is no concealment, so they will naturally receive the care of the alliance forever.Encourage it!The denunciation will be held until Zhang Kai comes for an interview.Zhang Kai is very uncompromising, and I want to depose him from Jiangsu.It is extremely paradoxical to see that all the performances are correct.What are the comments made by Jiangsu officials and people, and the actual deeds of Yiju officials? (The first volume of Yongzheng's "Zhu Zhu Yuzhi", the same as the next article) I have a lot of things to do every day, I don’t have a sundial, I don’t care about me, and I have a lot of things at the end of the year, so I have time to read this guest article!Kuang I have repeatedly been instructed, only to wait for the autumn to be relieved, the winter snow is only a sign of the coming year, why is it so exaggerated!I don't think you are conscientious, if you don't give up on repeated training, you will be foolish. Example (11) is a translation of Buddhist scriptures, which is meant to be popular, but cannot break away from the style of classical Chinese.Example (12) is Bianwen, which is of course more popular, but because it is not like a translated scripture, it is still bound by the original text, so it is often more deeply influenced by classical Chinese.Example (13) is a quasi-huaben, which is no longer written down like the earlier scripts, so the style of classical Chinese has increased.Example (14) is a chapter novel, many of which were created by literati or have been modified by literati, and some literati do not pay attention to using vernacular, so it is easy to become a spoof.Example (15) is Zhugong Diao, and Example (16) is opera, both of which are said and sung, and the libretto is elegant, so they have to borrow a lot of rhetorical techniques from classical Chinese.Example (17) is Sanqu, and Example (18) is Tanci, both of which oscillate between popular and elegant, both in intention and in wording.Example (19) is a joke. After the Middle Ages, the content and terminology were sought to be popular, but after all it was written by literati, so many of them still have a lot of classical Chinese style. Example (20) is the emperor's antiphonal It seems that I want to say it casually, but because I am familiar with classical Chinese, I still can't write without it.All of the above are located at the junction of the text and the vernacular, so there are reasons to count both classical Chinese and vernacular, because positive evidence can be found in terms of vocabulary and syntax; but they are all difficult, because they can also be found in terms of vocabulary and syntax evidence to the contrary.The literary-white boundary sometimes becomes a troublesome issue, mainly because there are these works that sit firmly in the middle and are pushed to either side. 14.1.3 Classical Chinese used to cross the boundary From the examples in the previous section, it can be seen that the boundary between classical Chinese and vernacular is not clear, mainly It is the classical Chinese that crosses the boundary and mixes with the vernacular, not the vernacular that crosses the boundary and mixes with the classical Chinese.The reason for this is very simple. Before the "May 4th Movement", classical Chinese had always been powerful.This manifests itself in several ways.One is that classical Chinese has a fairly strict lexical and syntactic system modeled on works of the Qin and Han dynasties. This "strictness" is self-contained, and it is difficult for expressions outside the system to break in.For example, when narrating the previous situation, classical Chinese usually uses "初" to start, and "前前" must never be used instead.The second is that classical Chinese has an "elegant" vocal cord, and those who write and write, including those of low class, are always willing to use the old tune.This custom has not been extinct until now. If you invite someone to come, you still have to write "come".The third is that if you are used to a certain style, it will be laborious to change it.On the positive side, Li Er of the Sui Dynasty is a good example. He loudly opposed the parallel style, but the memorial used all the parallel style.On the contrary, those who called for a literary revolution during the "May 4th" period were a good example. They were determined to switch to the vernacular, but at first they were always unable to do what they wanted, and instead they were not as comfortable as using classical Chinese.Since the Yuan and Ming Dynasties, many vernacular works have mixed with the style of classical Chinese. Apart from the intention to seek elegance, the literati are familiar with classical Chinese, so they unconsciously understand it. This is probably the most important reason.The fourth is that many rhetorical devices in classical Chinese have strong expressive force, which is like a good tool, and everyone is willing to use it, and even cannot use it.Take two examples.One is the writing method of blending scenes, which is the most common in poems, many of which are excellent, and the libretto of operas also wants to be like this, so they are absorbed into it and become "blue sky, yellow flowers, westerly wind, north geese fly south. Xiao Who will be stained with frost and the forest will be drunk? Always leave people in tears." (The fourth book, the third Zhedan singing) The other is the antithesis, which is used almost everywhere in vernacular works, such as "The concubine's surname is Li, and the word is Zhenli, The wonderful department of fireworks, the famous class of Fengyue; growing up in the old courtyard, welcoming and seeing off the long bridge; the plum blossoms have not faded, but the charm is still there. Cultivate a fake girl, gentle and small, to accompany the tortoise shell banquet; The tent of hibiscus." (Second out of Xiaodanbai) These two places have to be published and appealed to the ears, and if this is the case, it is not to mention writing for the eyes. The boundary between writing and writing is not clear. In addition to the great influence of classical Chinese, it is also the reason why people in the old era did not have the thinking to draw the line as clearly as they did during the May Fourth Movement.The early vernacular is to remember what the speaker said, so it has to follow the spoken language.But this is only due to the situation, not the ideological requirement.Later, the situation changed, and oral writing became literati writing. Since there was no need to draw a clear line of thinking, we always followed the literati's own habits and wrote as it was convenient.This has the possibility of becoming a pure vernacular, but it is more likely to accommodate more or less classical Chinese elements.Because according to the views at that time, even if people wanted to be easy to understand, they would not think that the vernacular must be the same as the spoken language to be easy to understand.In other words, in their eyes, using some simple and simple classical Chinese is also easy to understand.In short, the boundary between literary and vernacular is not clear, and nine out of ten are due to the transgression of classical Chinese, but this transgression is not intrusion, but mixed in because of being welcomed. 14.2.1 Wenbai has different faces The above said that the boundary between literary and vernacular is not clear, which means that there are mixed phenomena in some works, which is not the same as saying that there is no difference between literary and vernacular.In fact, when we say that there is a mixture of literary and white, we have already admitted that there is a difference between literary and white, because if there is no difference, it will be one and not two, and there is no such thing as a mixture.Classical Chinese and vernacular Chinese are different in nature and have their own characteristics. This has been discussed many times before.Let’s talk about it in general again here. If we choose the big and the small, we should say that there is a clear difference between classical Chinese and vernacular.Many reasons can be cited.The most important thing is of course the vocabulary and syntax system. Classical Chinese has its own set, while vernacular Chinese has its own set, and quite a few of them cannot be used in common.It is very important to distinguish the differences that cannot be used universally, just like distinguishing two people. They belong to human beings and naturally have many similarities, but we can recognize that one is Zhang San and the other is Li Si, because they are always the same but different.The same is true of classical Chinese and vernacular Chinese. For example, "Who deceived me" is classical Chinese, "You are angry" is vernacular, and the words "who", "deception", "sheng" and "qi" are common in classical Chinese and vernacular, but there are still some that are not common. , I, the vernacular should say "I", whoever deceives, the vernacular should say "whom", you, the classical Chinese should say "Jun", "Ru", etc., when angry, the classical Chinese should say "angry", la, classical Chinese does not have such a tone word.In this way, based on the differences, we can easily conclude whether a book or an article is in classical Chinese or vernacular.Even as few as one or two sentences are like this, such as "In a moment, the snake disappeared" (the first chapter), "It seems like this is all ruined" ("The Peony Pavilion: A Dream"), we can distinguish, " "Xu Mou" and "broken well and ruined walls" are classical Chinese, while "the snake is gone" and "like this is given" are vernacular.Because of the obvious difference, in our literature inventory, classical Chinese works and vernacular works are divided into two piles as usual, which means that according to common sense, there is a clear boundary between classical Chinese and vernacular.In addition, the writings of some old writers since the "May 4th Movement" can also prove it. They often write in vernacular for most people to read, write for a few people to read (such as letters) or just memorize (such as diaries and notes) ) in classical Chinese, which means that in their minds, and in fact, classical Chinese and vernacular are indeed two different languages. 14.2.2 The principle of demarcation and its application There is a clear difference between classical Chinese and vernacular, and it is concluded that certain texts (including long and There is a basis for whether it is classical Chinese or vernacular.Let's use this basis to talk about the problem of dealing with the boundary between writing and writing. Modern vernacular can be dismissed first, because modern vernacular rarely has unclear boundaries between vernacular and vernacular.As mentioned in section 11.2 above, modern vernacular has defeated classical Chinese and has achieved a dominant position.In this way, classical Chinese disappears, and naturally there will be no more cross-border phenomena.This meaning can also be said to be more specific. Before and after the "May 4th Movement", those who actively participated in the literary revolution knew classical Chinese, but when they picked up their pens, they never forgot the revolution.The next generation and the next two generations, some have been exposed to classical Chinese, some have not been exposed to classical Chinese. In short, compared with the older generation, they are all unable to understand classical Chinese, and naturally they cannot use classical Chinese expressions to express their ideas.Because of this, the vernacular works of more than half a century have been pure vernacular (the meaning is only non-classical vernacular, not the same as colloquial vernacular), almost no vernacular mixed.If the vernacular is not mixed, it is very easy to demarcate the boundary, or in other words, there is no longer the problem of demarcation, because it must be placed on the side of the vernacular.Some people may say that, in fact, there are also mixed texts. For example, Mr. Lu Shuxiang cited two articles in the article "Two Cases of Evil Letters" ("Chinese Learning" June 1984 issue). The following is the second of them. The title of this article is "The Peony Garden". ...It was not our intention to rise up at dawn when we heard the rooster, and go to enjoy the beauty and fragrance of the country by stepping on the stars; but the master warned us: After dawn, there will be a lot of traffic to watch the peonies. If you don't get there first, you can only see the faces of thousands of people, not Appreciate the beauty of peonies.The host was sincere and affectionate, we washed our faces with cold water to relieve our tiredness, and then drove away from the hostel.Speeding to the east for more than ten miles, I suddenly heard a strong fragrance coming through the window-the car stopped, and this is the peony garden with a radius of 1,000 mu in Caozhou. As the stars set and the clouds rise, with the help of the twilight of the morning light in the east, I first saw a colored plaque standing on the side of the road. On the colored plaque, there was a horizontal writing "Caozhou Peony Garden", and the five gold characters were flying and flying, which reminded people of the author's proud work when he came back from enjoying the flowers. .Stepping into the red column with colorful cards, you can see the green leaves stacked like a sea; the morning breeze shakes the green leaves like a sea tide; the peony is shy and charming, like a beauty in colorful neon dresses dressing up against the blue waves... This is indeed a mixture of vernacular and vernacular, but it can be ignored when considering the boundary between vernacular and vernacular, because it is picking up some formulas from classical Chinese and stuffing them into vernacular to become "unreasonable" vernacular. What we are dealing with is qualified "works". What doesn't work doesn't count. Leaving aside the modern vernacular, the boundary problem is only between ancient vernacular and classical Chinese.Obviously, there are still too many works to count, so talking about qualitative and demarcating boundaries can only involve some principles, and cannot pass through all of them.The so-called principle refers to the way we can deal with a certain situation.The general principle is "seek truth from facts", that is, to pay more attention to the characteristics of vocabulary and syntax, to state truthfully and not to follow one's inclinations or echo what others say.When applied, this general principle can be varied or divided, so that it becomes the following. One is the principle of "conformity".This includes two meanings.One is to pay attention to the pattern, that is, to see whether the basic airs are classical Chinese or vernacular.For example, the tunes and lyrics of Yuan Zaju absorb a lot of classical Chinese words, but the structure is vernacular, and the classical Chinese elements are used in the vernacular structure, so they can be regarded as vernacular in general.The second is from the perspective of quantity, whether it is an article or a sentence, if most of them are classical Chinese and a few are vernacular, the total can be counted as classical Chinese, otherwise it can be counted as vernacular. The second is the principle of "classification".According to different sources, uses, etc., works can be divided into different categories, such as novels and operas.Classes have sizes, for example, opera is a major class, and Zaju is a small class.Works that fall into one category have the same characteristics, such as operas have both white and tune.The smaller the category, the more similarities. For example, Zaju is limited to 40% off, but Legend is not the case.The similarities between classes include terminology, so to determine whether a work is classical or vernacular, you can also refer to the nature of classes.For example, Bianwen, some of which are eloquent, if the degree of the writing is not too serious, considering the nature of the class, we might as well count it as vernacular.The same is true for the speeches of opera. If the degree of prose is not too serious, it should also be counted as vernacular.The third is the principle of "divide and rule".To draw the boundary between classical Chinese and vernacular, to determine the nature of the work Quality, first of all, of course, we must deal with the whole.The whole has size.For example, more than 20 kinds of official histories are in classical Chinese, and novels in the vernacular system are all in vernacular.To narrow it down, if it is in classical Chinese, it is in vernacular.Zooming out further, it can be said that a certain article is in classical Chinese, and a certain story is in vernacular.It can also be narrowed down and broken down as a whole, saying that a certain sentence is classical Chinese and a certain word is vernacular.This kind of hierarchy, the whole and the parts, can be reconciled in terms of the nature of the vernacular, but it is more likely that they cannot be reconciled. That is to say, there may be a small amount of vernacular in classical Chinese, or a small amount of classical Chinese in vernacular.In this case, we can adopt the method of dividing and conquering, for example, it can be said that the whole is classical Chinese, and some parts of it are vernacular; The vernacular of opera can be said to be vernacular as a whole, and some parts of it are classical Chinese.四是“随缘”的原则。这主要是对付上面第14.1.2节第（六）项提到的那些算文算白都不合适的情况。那类作品是坐在文白的中间，我们与其费力向两边推而推不动，无宁承认现实，同意它们坐在中间。这种脚踩两只船的作品，几乎都是常识认为属于白话那一堆的，而且大多是较小的个体，所以数量不大。但伤脑筋的是制造的麻烦不小。坐在中间，使我们不能一刀砍断，是麻烦。放在中间，许多人未必同意，也是麻烦。后一种麻烦牵涉到仁者见仁、智者见智，自然不是这里所能解决的了。 五是“放松”的原则。这比上一个原则又退一步，是近于不求甚解。不求甚解，是因为有少数文字（一般是简短的），就是难于断定是文言还是白话。上一节曾说，文言和白话有同有异。这样，至少在理论上，一个短句可以只有同点而没有异点，那就不能断定它是文言还是白话。另一种情况是，我们对古人的语言，并不时时处处都清楚，例如晋人杂帖和中有些话，在当时是文言还是白话，我们常常不能确切地知道。还有一种情况是文白可以转化，如“宁馨儿”，在里是白话，到里就成为文言；反面的例是有不少词语，尤其是很多成语，出于文言，可是已经化入白话。此外，可以推想，只要常接触书面，我们总会遇见不少难于分辨文白的情况。分辨不清，难于定性，根据总的实事求是的原则，似乎只有安于不知为不知才是上策。 文白界限问题是个很复杂的问题。问题来自无数的各式各样的具体作品，因而以几个概括原则为尺度去量一切，有时候是还会遇到麻烦的，但推想不会很多。