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英语笔译 卞王倩 Bian Wangqian 202170081563

Europeanized Chinese and Cultural Factors Behind it 卞王倩

Abstract

Europeanized Chinese language is directly originated from translation, and first appeared in the translation of scriptures by western missionaries in China in the early 18th century. Translation activities in the late Qing dynasty and Modern Vernacular Chinese Movement and New Culture Movement in 1915 contributed to the Europeanization of the Chinese language. Europeanized Chinese language is mainly manifested in the fact that Chinese has been influenced by English via translation, and thus shows the characteristics of English word formation from the lexical level and syntactic level. In terms of cultural factors behind it, the literary translation boom at the end of the Qing Dynasty and the beginning of the Republic of China promoted the formation of a “western paradigm” in Chinese writing; during the May Fourth Era, scholars rejected traditional literature and favored foreign literature, while advocating the Europeanization of translations; after May Fourth, translators pursued a literal translation style in translating foreign literary works to retain the heterogeneous character of foreign language, mainly English. In terms of the effect, Europeanized Chinese language can be divided into benign Europeanization and malignant Europeanization, the former being the positive and the latter negative. In fact, the malignant Europeanized Chinese language has long been criticized by literary scholars and critics in China, but nowadays, against the backdrop of increasingly close cultural exchanges between China and western countries, a fresh look at the Europeanized Chinese language will bring us new inspiration.

Key words

Europeanized Chinese; Cultural Factors; Literary Translation, Modern Vernacular Chinese Movement; New Culture Movement

Introduction

This paper mainly discusses Europeanized Chinese language and its cultural factors. It consists of a literature review and three main parts. The first part is a cases analysis of Europeanized Chinese language, that is, specific examples are given here to illustrate nine elements of Europeanized Chinese language, which are: abuse of subjects and passive voice as well as longer modifiers in a sentence and longer sentences, the former four being counted from the syntactic level; abuse of nouns, conjunctions, articles, pronouns and “的”, the latter five being discussed from the lexical level. The second part is the classification of Europeanized Chinese language, malignant Europeanization and benign Europeanization respectively. Most of the nine elements in the first part can be included as malignant Europeanization, while for benign Europeanization, four types are introduced here, they are more disyllabic words, the multi-class and class shift of words, conjunctions and adverbs that makes sentences’ logic clearer and loanwords, which all remind us of the positive effect of cultural exchange in a certain background. The third part, also the last part, explains what leads to the Europeanization of the Chinese language: one is the importation of strong western culture, and the other is the Chinese language being in a transition around the May Fourth period, both contributing to the Europeanized Chinese language.

Literature Review

According to Yu Guangzhong, a great scholar in modern China, Europeanized Chinese language was massively introduced during the May Fourth period, when the Modern Vernacular Chinese Movement was initiated and the vernacular Chinese came to take place of the classical Chinese as the language mainly used by the literary field and New Culture Movement significantly popularized the vernacular Chinese that was later used by the ordinary people. In the beginning, new-born vernacular Chinese was actually not mature, so such famous scholar and reformist as Lu Xun advocated the introduction of western language forms, especially of English, into the new-baby vernacular Chinese so as to transform it by enriching this new form of language featuring simplicity and being easily understood. In fact, this can be seen as a cultural interchange, to which translation is the best bridge. As a result, translation has emerged as the main source of Europeanized Chinese language, which is mostly seen in translated works. (Wang Li, 1954: 209). Moreover, literary translation contributed to the majority of the formation of Europeanized Chinese language. Accordingly, Europeanized Chinese language initially often existed in translated foreign works and the literary circles and therefore was often appeared in many works by some famous writers and literary men.

As a result, the vernacular Chinese came to carry many characteristics of English in terms of expression forms. The scholars during that period and later were no doubt hit by this wave, there being famous essayists Zhu Ziqing, Zhou Zuoren, Yu Pingbo and master of Chinese culture Qian Mu (Si Guo, 2002: 88). Put it specifically, their works, especially proses, all presented prominent Europeanized features in the use of words and sentence structures, which include the abuse of the abstract nouns, indefinite articles, owner pronouns, conjunctions, prepositions and the increasing loanwords and passive voice and long attributive modifiers and so on, which were often seen in English compared with Chinese. Some literary critics, therefore, criticized the use of Europeanized elements in the Chinese language ruining the independent identity of Chinese and its purity and distinctions and even led to the falling of Chinese. This is eventually reduced to what Yu Guangzhong called “Malignant Europeanized Chinese” (Yu Guangzhong, 2014: 129). In contrast, benign Europeanized Chinese is often seen in high-quality works by excellent writers or translators who have been proficient in both Chinese and any other foreign language.

Actually, Europeanized Chinese language not only presents the negative side as has been mentioned above but also carries the positive side. Foreign languages forms and expressions in Chinese have greatly enriched the treasury of Chinese, making it a multi-genres language and thus a distinctive national language. What’s more, it is the result of Sino-foreign exchanges and the reflection of the great impact of cultural factors. As China opens up wider to the outside world, Europeanized Chinese language is no longer abrupt and intolerable. Instead, it comes to be an integral part of the modern Chinese language and gets increased in popularity among international learners.

However, as Yu Guangzhong stressed, benign Europeanized Chinese is a good tool for those able masters, while the rest or most of the translators or translation learners are dealing with malignant Europeanized Chinese language and thus produce awkward Chinese and Chinese translations. And this impact extends to modern times and the field of translation. Europeanized expressions in Chinese are often seen in modern Chinese translation students and even professional translators. In this respect, this is what this writing aims for: to clarify the Europeanized Chinese language and find out its cultural factors. it’s hoped to bring some inspiration for how to correct this mistake and relieve the negative consequences of Europeanized Chinese after this concept and phenomenon is realized and made clear.

Section One Cases Analysis of Europeanized Chinese Language

As has been mentioned before, Europeanized Chinese Language can be found in Europeanized features in the use of words and sentence structures(Peng Xuan, 2003: 88), mainly in terms of the syntactic level and lexical level. The Europeanization seen from the syntactic aspect can be evidenced by the frequent use of subject, long modifiers and passive voice in a sentence and longer sentences and more judgment sentences.

(1)More Subjects in a Sentence

As we all know, Chinese has been seen as a parataxis language while English a hypotaxis language(Dong Xiaobo, 2013: 156). That is to say, Chinese is logically implicit, and is not closely tied by all conjunctions, even the subjects in Chinese sentences are often not a must, as it unfolds around some certain theme. In contrast, English is logically explicit, and often forms a close sentence structure by means of all complete sentence components and conjunctions and so on, especially a subject that almost is never absent. But as the Chinese came to get Europeanized and carry the features of English, more subjects can be seen in the sentences worked out by some famous writers.

Example 1我在康桥时虽没马骑，没轿子坐，却也有我的风流，我常常在夕阳西下时骑了车迎着天边扁大的日头直追。（徐志摩，《我所知道的康桥》）

Example 2脊背微俯，双手松松拢住车把，他活动，利落，准确；看不出急促而跑得很快，快而没有危险。（老舍，《骆驼祥子》）

From Example 1 and Example 2, we can see Chinese is loosely organized and thus contains many clauses. Example 1 and Example 2 both have a personal subject, “I” and “he” respectively. But compared with Example 1, Example 2 is more in accordance with the features of Chinese expression, that is, simplicity, straightforwardness and subject omission. To put it specifically, the same personal subject was used three times in Example 1, while the figure is one in Example 2, which depicts a skillful coachman as the hero clearly.

(2)Longer Modifiers in a Sentence

Example 3 那些自骗自的相信不曾把他们自己的人格混到著作里去的人们，正是被那最谬误的幻见所欺的受害者。（周作人，《文艺批评杂话》）

Example 3 vividly shows how long an attributive modifier could be. Of course, we never deny there are modifiers or modified clauses in Chinese, but not those awkward ones. For Example 3, a more Chinese version could be as follows:

Example 4 有些人自己骗自己，相信不曾把自己的人格混到著作里去，这种人实在是被那谬误的幻见所欺。（王力，《中国现代语法理论》）

Compared with Example 3, Example 4 transformed such a long attributive into two descriptive clauses, providing a smooth and natural premise for the following conclusion “这种人……”.

(3)Passive Voice in a Sentence

Despite a thematic language, Chinese has seen a more active voice in its writing unless there is a necessity or intention to emphasize some information or to describe something unsatisfied or unwanted. (Wang Li, 1954: 340) English, instead, usually prefers passive voice in expression, and so the major information that is placed at the beginning of a sentence as the subject is well emphasized. As a result, Europeanized Chinese language is dotted with “被”, a Chinese character marking a positive voice.

Example 5 昨天捉着的嫌疑犯，经警察局证明无罪，已被释放了。

For the suspect, his release is never a bad thing or unwanted. Therefore, “被” in this sentence can naturally be deleted, so we get: 昨天捉着的嫌疑犯，经警察局证明无罪，已经释放了。

There are many other similar examples:

a.English expression b.Europeanized translation with “被” c.Natural Chinese

a.Be murdered or killed b.被害 c.遇害

Be buried 被埋葬 下葬

Be regarded as 被视为 算是、算得上

Be guided 被领着 有人领着

Be passed 被通过 予以通过

Be protected 被保护 受到保护

Be entrusted 被委托 受人之托、受到委托

Be reduced 被处于……（某种不好的境地） 沦为

Be reported 被报道 据报道

So we can see that translated Chinese with “被” is totally influenced by English expressions with positive voices, which can be changed into active voice via translation and thus tend to be more authentic and acceptable for Chinese.

(4)Longer Sentences

Given the difference between Chinese and English, the same information will be expressed in simple and short sentences in Chinese due to its less use of conjunctions, while organized and relatively complicated ones in English via conjunctions or prepositions. But as the Europeanization spread in Chinese, longer sentences are emerging.

Example 6 我这本书只预备给一些“本身已离开了学校，或始终就无从接近学校，还认识些中国文字，置身于文学理论、文学批评，以及说谎造谣消息所达不到的那种职务上，在那个社会里生活，而且极关心全个民族在空间与时间下所有的好处与坏处”的人去看……

According to this long sentence, the major part is “I’m writing this book for those who…”. It will never mind if there is a long sentence that serves as an attributive clause after “who” in English, but it will be never the way a Chinese writes by inserting a long long attributive clause inside a sentence with a simple structure. So Yu Guangzhong criticized it as the “aftermath of malignant Europeanization”. From the perspective of vocabulary, the Europeanization of the Chinese language can be seen from the abuse of abstract nouns, indefinite articles, owner pronouns, conjunctions, prepositions and the increasing number of loanwords and so on.

(5)Noun Plague

One of the distinct differences between Chinese and English lies in the fact that Chinese is a dynamic language as it favors verbs, while English a static one as it is rich in abstract nouns and prefers practicing nouns (Dong Xiaobo, 2013: 67). Example 7 It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife. This famous line comes from Pride and Prejudice written by Jane Austen, and could be a convincing example of the generous use of nouns in English. Not only literary texts. As a result, the Europeanization of the Chinese language directly leads to the popularity of nouns among Chinese scholars and talents.

One is the increased affixes in Chinese. For words ending with the suffix “-ism”, “主义” is coined in Chinese; for words ending with the affix “anti”, “反” is created in Chinese. So we get 科学主义(scientism)爱国主义(patriotism)、形式主义(to practice formalities for formalities’ sake)、反帝反封建(anti-imperialism and feudalism)、反倾销(anti-dumping) and so on. Second is a growing number of loanwords, mainly nouns. 谷歌 translated from Google and推特 from Twitter; 可口可乐 from Coca-Cola and 瑞幸 from Luckin; 福特 from Ford and 粉丝 from fans; 辉瑞from Pfizer and 新型罐装病毒 from Covid-19, etc., all of those words have been known to Chinese and even used in their daily life. Third, stiff translation transplanting of abstract nouns in English results in the presence of such suffixes of Chinese noun phrases as “度”（-th or -ity）, “性(-ity or -ce)”, “化(-ize)”, “感(-ness)”, which are often seen in “相关度(relativity)” “宽度(width)” “可能性(possibility)” “重要性(importance)” “现代化(modernization)” “挫败感(sadness)” “幸福感(happiness)” and so on.

(6)Abuse of Conjunctive Words

As it is stressed before, Chinese sentences are loosely organized, as it uses few conjunctive words. But in English, all kinds of conjunctions and prepositions both contribute to the close structure of sentences. Affected by such an impressive feature, the Chinese is unavoidably getting assimilated.

For example, 和 is translated from and; 而且 from what’s more or moreover; 然而、但是、可是 from but; 因此、于是、结果 from therefore or as a result; 倘若、如果、要是 from if; 在……中、里 from in or on; 对于……、关于……、就……而言 from as for, with regard to or in terms of. According to Wang Li (1954: 352), there were really no some of those conjunctive words, but Europeanized Chinese language took advantage of some verbs in traditional Chinese to create such responses, and finally get what we have been universally using today.

Example 8 宝玉说丫头们不会放，自己放了半天，只起房高，便落下来了。急得宝玉头上的汗都出来了。

These two lines are chosen from Cao Xueqin’s A Dream of Red Mansion, and lively depict Precious Jade’s poor skills at flying kites and consequent anxiety. But this information is conveyed in even two sentences that have been cut, and with few conjunctive words used.

(7)Abuse of the Articles

The articles are often used before nouns in English sentences, and can be classified into the definite article “the” and indefinite articles “a” and “an”. Once being translated into Chinese, they can be “这个” "那个”“一个” and “一种”. But in fact, there is no responding words in Chinese, so such expressions as “一个” and “一种” will never be a Chinese ones. But in Europeanized writing, such touch is everywhere to see. It can be said, wherever there is an indefinite article in English, there will always be a “一个”“一种” in Chinese. (Wang Li, 1954: 378)

Example 9 一个有钱的单身汉一定想要一个老婆，这是一条举世公认的真理。

This sentence is translated from Example 7, which is a good example that the articles are universally used before nouns in English. But it will never be a good translation as presented in Example 9 if we preserve those articles. The problem lies in that the Chinese use them little or never. In contrast, the version by Sun Zhiyi, a famous Chinese translator, is short and pithy, more Chinese most importantly:

有钱的单身汉总想要娶位太太，这是一条举世公认的真理。

English articles are seen not only in translated Chinese, but also in the Chinese works that were written by those writers affected by western philosophy and English grammar.

Example 10 但一个人要写他最心爱的对象，不论是人是地，是多么使他为难的一个工作？（徐志摩《我所知道的康桥》）

According to Si Guo(2002: 90), the two “一个” used in this sentence is never better than no use of them, even the second “一个” is a wrong use. Despite the wrong use, isn’t the sentence without superfluous articles more enjoyable for readers:

但人要写他最心爱的对象，不论是人是地，是多么使他为难的工作？

(8)Abuse of Pronouns

Here Europeanized Chinese language caused by personal pronouns and adjectival possessive pronouns is discussed here. Firstly, we have to make it clear that, the vernacular Chinese during May Fourth Period came to use personal pronouns in a frequent and general manner. But before that, “他” (he in English) could be the only choice. In English, however, personal pronouns are so diversified: first person singular “I”, first-person plural “we”, second person singular and plural “you”, for third-person singular, “he” is used to refer to man, “she” refer to woman, and “it” refers to inanimate objects or any living creatures except for humans, and their common plural “they”. So are adjectival possessive pronouns: my, your, his, her, its and their. Such rich expressions are once introduced, they will definitely affect the Chinese. As a result, “我”(I in English) “他”(he), “她”(she), “它”(it), “我们”(we) and even “他们”“她们”“它们” and “我们的”“我的”“他的”“她的”“它的”“他们的” and so on, all have joined the Chinese language.

Example 11 我们的祖母，我们的母亲的少女时代已无从想象了，因为即使是想象，也要凭藉一点亲切的记亿。我们的姊妹，正如我们，到了一个多变幻的歧途。最使我们怀想的是我们那些年青的美丽的姑姑，和那些快要消逝了的闺阁生活。 何其芳，《哀歌》

He Qifang was an excellent poet and essayist in the 1930s literary circle in China and was just as famous as Xu Zhimo. This extract consists of three sentences, in which the writer should use the personal pronoun two times and the adjectival possessive pronoun four times. This is unimaginable. The same problem also appears in Zhu Ziqing’s Rush.

Example 12燕子去了，有再来的时候；杨柳枯了，有再青的时候；桃花谢了，有再开的时候。但是，聪明的，你告诉我，我们的日子为什么一去不复返呢？——是有人偷了他们罢：那是谁？又藏在何处呢？是他们自己逃走了罢：如今又到了哪里呢？

我不知道他们给了我多少日子，但我的手确乎是渐渐空虚了。

According to Yu Guangzhong, firstly, the abuse of pronouns in this part leads to a confusing reference; secondly, the third “他们” is indeed groundless, as we failed to find what it really referred to in this context.

(9)Abuse of “的”

The Chinese character “的” is generally placed after the adjectives in Chinese to form their unique suffix. And with its help, the adjectives can be used as the noun modifiers, along with the noun, forming the subject or attributive in a sentence; as the predicate placed at the end of a judgment sentence; or frankly as a noun to denote one’s identity or career.

Example 13 鲁镇的酒店的格局，是和别处不同的。（鲁迅，《孔乙己》）

The wine shops in Luchen are not like those in other parts of China. (Yang Xianyi)

For the Chinese sentence of example 13, the subject “酒店的格局” consists of a noun and an adjective as its modifier and is modified by a noun modifier with a suffix “的” to denote the wine shop’s location and where this story begins. And its predicate is an adjective ending with “的”. In general, it is a judgment sentence with “的” playing three roles. But it’s worth our attention that the translation from Yang Xianyi contains no adjective. So we can conclude that, for English, it can rely on all kinds of sentence components to form the modifiers to support and enrich the whole sentence, and even a list of adjectives arranged in a sentence will never look weird. But for Chinese, such coordinated modifiers as a list of adjectives in a sentence is tolerable but is never a good way to convey the same information as that in English.

Example 14 She had such a kindly, smiling, tender, gentle, generous heart of her own.

a. 她是厚道的、乐观的、温柔的、和蔼的以及大度的。

b. 她心地厚道，为人乐观，性情温柔，待人和蔼，气量又大。

So according to how Chinese is organized and Chinese expressions, for Example 14, translation b is always better than translation a, because the abuse of “的” is not what Chinese favors. However, the fact is that, even in modern times, affected by English grammar and poor ability to freely use Chinese, many translation learners, with the writer herself included, will often have the difficulty in avoiding using “的” too much while organizing the sentence in Chinese. Just as Yu Guangzhong (2014: 60) commented, “unfortunately, Chinese and the knowledge of Chinese literature have been the weak spots of those students in colleges of foreign languages, where most translation talents are cultivated.” It couldn’t be right anymore.

Section Two Classification of Europeanized Chinese Language

In fact, there is no clear classification of Europeanized Chinese language. But Yu Guangzhong, Si Guo and Jin Shenghua and other respectable experts all referred to this problem in their works, and explicitly called them examples of Europeanized Chinese language “malignant Europeanization”. Accordingly, they also approved the positive sides of the Europeanization of the Chinese language, which here is called “benign Europeanization.”

Let’s first come to malignant Europeanization. It is also called “servile Europeanization” (Si Guo, 2001: 99) Of course, such a saying is aimed at some cases of malignant Europeanization. That is, some awkward Chinese expressions are produced, as we stressed before, due to disqualified translators or writers who fail to get rid of the restriction of English texts and grammar. This is the relatively objective reason. But for another, the Europeanization of Chinese texts is some group’s progressive choice due to their applauding or blind imitation for English and its grammar. This is what we call “servile Europeanization”. Anyway, malignant Europeanization has caused a negative impact on translation and Chinese, blocking translators from producing high-quality translation works and writers from producing native and special works of all fields.

So what are the examples of malignant Europeanization of the Chinese language on earth? Actually, 9 aspects from the perspective of syntactic and vocabulary respectively listed above could be almost included in the category of malignant Europeanization. These problems are lingering now so that generations of Chinese are often unable to produce totally Chinese works. Especially for those students who major in English and are devoted to translation, they are exposed to such an environment where real and pure Chinese is far from their needs and in turn produce strange and unsatisfactory translations but fail to get the point of the problem. So for malignant Europeanization, we all should realize it on our own initiative and correct such problems while engaged in our translation practice.

Given the Europeanization of the Chinese language is the result of cultural exchange, there must be some positive impacts. So benign Europeanization is sure to emerge and has come to be integral of the Chinese.

Benign Europeanization can be seen from such aspects as follows:

(1)More Disyllabic Words

Classical Chinese is a monosyllabic language. As the vernacular Chinese was introduced and got popularized, disyllabic words were followed. And translation from English has promoted this trend and greatly increased the bank of Chinese vocabulary. One is synonymous disyllabic words, such as 资本、权利、甜蜜、解放、活动。The other is disyllabic words evolved from monosyllabic words, such as 情感、丰富、健康、工作、旅行。

(2)The Multi-class and Class Shift of Words

In terms of word formation, the multi-class and class shift of words are distinctive features of English and other European languages. (Liu Zhengbing, Ding Yuanyuan, 2020: 21) Naturally, Europeanized Chinese language has caught this feature. For example, “科学”“迷信”“精神” in Chinese can serve as nouns and adjectives; “明白”“团结”“亲近” can be used as verbs and adjectives; and “便宜”“方便”“麻烦” even can be regarded as noun, verb and adjective respectively in different contexts. The diverse word classes, therefore, determine the flexible shift of word class according to specific contexts. As a result, the use of words is more flexible and Chinese expressions are more various.

(3)Conjunctions and Adverbs Make Logic Clear

Despite featuring being loosely organized, the Chinese have to rely on a certain number of conjunctions and adverbs to make clear or explicit the logic in their professional texts that are not as easy and understandable as the general texts. So the introduction of rich conjunctions and adverbs in English is not always a bad thing. Instead, it will make professional writing more friendly to its layman readers.

(4)Importation of Loanwords

A great many loanwords come to China as the exchange between China and western countries is increasingly close. With translation, more and more newcomer loanwords are known to Chinese people and are playing an important role in their daily life. For example, many smart acronyms are universally used by the Chinese when they refer to or describe something, such as WTO in trade, CCTV in media, PK or KO in game and so on. In conclusion, although malignant Europeanization is more discussed and gets more criticism, benign Europeanization shouldn’t be overlooked. According to Yu Guangzhong, benign Europeanization is usually seen in first-class translation works and outstanding writings, as for the translators and writers involved, Europeanized Chinese can be flexibly used to better serve their translation or writing. The excellent is the minority. So there is still a long way for us most translators or translation learners to go.

Section Three Cultural Factors Responsible for the Europeanization

(1)Importation of Western Culture

Since the early Republic of China, western culture was imported in large quantities through English and translation. The disparity in the political situation at that time determined that western culture was in a strong position, and also determined that the Chinese people were more possibly forced or active to accept the western culture. At the same time, under the influence of the current philosophy of “create the knowledge and serve the society”, literary translations emerged in the late Qing, with the translation of novels playing an important role (Wang Hongzhi, 2000: 43). In this translation boom, in order to take into account the reading needs of the general public, the language used in translated novels was not only the classical one, but also the vernacular one, or a mixture of classical and vernacular. (Lin Yanmei, 2011: 51) Later, the concept of translated literature tended to preserve the heterogeneous elements of western literature that were different from Chinese literature, thus gradually forming a “western paradigm” of literary translation, and the influence of western literature and western culture on the language of translation or Chinese at that time had to have been penetrated into Chinese grammar and syntax.

(2)Chinese Language was in a Transition

During the New Culture Movement, the classical language had become rigid and failed to meet the needs of the times, while the development of the vernacular Chinese was still in its infancy, immature and limited in its ability to be used for expression, and therefore it entails further growth. At the same time, at the beginning of the New Culture Movement, various literary leaders advocated new literature and opposed traditional Chinese literature, and favored foreign literature. And the movement advocators in general (Qian Xuantong, Lu Xun, Fu Sinian, Zhu Ziqing, etc.) believed that western languages were more accurate than Chinese and thus advocated extreme Westernization or Europeanization, especially in the area of writing. During the May Fourth period, calls for total Europeanization was also made. As a result, the tide of Europeanization in the Chinese language was raging, and the Europeanization of translations even was a fashion.

The vernacular Chinese movement of the late Qing Dynasty, together with China's inherent tradition of the vernacular Chinese, led to the growing engagement of literary translation in vernacular Chinese (Deng Wei, 2010: 72), and the tendency to Europeanize the language of the translated literature became more and more obvious. Facing such a landscape, translators pursued the literal translation technique, which was the most direct technical reason for promoting Europeanization; and the original works were designed to imitate western grammar to achieve the effect of Europeanization.

To conclude, the Europeanization of the Chinese language is the result of joint efforts of the literary translation boom in the early Republic of China, the Modern Vernacular Chinese Movement and the New Cultural Movement. They are exactly the cultural factors behind this phenomenon.

Conclusion

In fact, Europeanized Chinese is a new and diverse literary style that has gradually formed since the New Culture Movement and late May Fourth Movement, and it encompasses simple and well-formed classical Chinese and orderly-organized English, and friendly and natural vernacular Chinese. Its influence continues to this day.

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英语笔译 曹姣 Cao Jiao 202170081564

Research on court culture in the Tang Dynasty from the perspective of poem -- take Changhenge for example 从诗歌视角浅谈唐朝宫廷文化——以《长恨歌》为例 曹姣CaoJiao

Abstract

As a realistic poem with romantic characteristics, Bai Juyi's The Everlasting Regret tells the love story between Li Lung-chi(李隆基, an emperor in Tang Dynasty) and his beloved Yang Kuifei(杨贵妃, a concubine of the emperor). In addition, it has a unique literary aesthetics in which many of the sentences record the history in realistic details, so it has a profound significance for historical research, playing the role of complementing and interpreting history. This article, inspired by Chen Yinque's “mutual verification of poetry and history”, will analyze The Everlasting Regret from the perspective of history, and discuss it from three aspects: women's makeup and headgear, court banquet, and imperial palace and architecture. This will give us a more comprehensive and authentic look of the cultural life of the court in the Tang Dynasty.

Keywords

Changhenge or The Everlasting Regret; Tang Dynasty; court culture; mutual verification of poetry and history

Introduction

1.Research significance Bai Juyi was a Chinese ancient realist poet. In many of his works, there are descriptions related to the cultural life of the Tang Dynasty court. These descriptions are not made up out of groundless rumor or supposition, but are from his careful observation and speculation on this kind of subject matter, which makes the descriptions appear meticulous and vivid. In this context, his poems not only carry aesthetic function, but also are of great historical significance. Among his masterpieces, "Changhenge", also known as The Everlasting Regret(《长恨歌》), is a distinguished one, composed in realistic means with romantic characteristics, with a name of “a poetic masterpiece through the ages”.

The Everlasting Regret is a long narrative poem, with 979 Chinese characters in total. It interprets Li Longji (also Tang Xuanzong) and Yang Yuhuan's love tragedy against the backdrop before and after the Anshi Rebellion（安史之乱） in the middle Tang Dynasty; meanwhile, it covers a variety of themes, such as eulogizing love, lamenting fate and admonishing Kings. The first part of The Everlasting Regret mainly describes Li and Yang's love story and the lavish and luxurious court life, implying an allegory of the emperor's adultery and mismanagement of the country. The second half is full of poignant and sympathetic description of Xuanzong's profound love for her, praising the constancy of their love. The whole poem adopts the realistic writing technique with romantic characteristics so that the narrative and lyric feelings complement each other, which has become the artistic feature of The Everlasting Regret, and also leaves an endless aftertaste and research space for the future generations. What’s particularly valuable is that it contains a lot of information reflecting Tang Dynasty court culture life details, and involves the depiction of characters, women’s dress and makeup, court architecture, music of court banquets and so on. In this sense, The Everlasting Regret as an unprecedented literary masterpiece unseen in ten centuries, is of great historical value in the study of court culture in the Tang Dynasty. (c.f: Yao Ronghua 2012,121-127)

2.Research background China’s research on court culture has come to the fore for a long time. Throughout Chinese history, Tang Dynasty is a unique period when the aspects including culture, politics, economy, and diplomacy have registered very high achievements, symbolizing the golden age of China’s history. (The culture in Tang Dynasty represents the following features: first, the cultural system is inclusive and comprehensive, showing an increasingly high-level development; second, the culture of Tang Dynasty is very open; third, the Tang culture seemingly approaches the people, emphasizing the real world and not adhering to the ancient system. ) As a significant part of its culture, the court culture of the Tang Dynasty plays a complementary role. Therefore, understanding the court culture of the Tang Dynasty helps us to better comprehend the history of this dynasty.

Liu Zunming, a famous scholar from Hubei University, believes that court culture should be composed of material and non-material culture, and is the sum collection of lifestyles, ideologies and products created by the imperial aristocracy. Then the scope of court culture should include imperial architecture, politics, system, economy, religion, education, literature and art, lifestyles in court and so on. In this context, many renowned scholars have studied court culture in the Tang Dynasty including the system of court diet, banquet music, eyebrow-painting, architecture, and so on. Zhang Yan conducted research on the system of court diet in the Tang Dynasty. His paper introduced the whole system of court diet from five aspects including its historical development, the supply and management of food materials in Tang Dynasty court, the court diet management institutions in Tang Dynasty (like Food Department, Guanglu Temple, Shangshi Bureau, and diet management institutions for the East Palace), the food system embodied in the court ceremonial activities and the bestowed dinning after the morning audience, and the characteristics of the system of court diet in the Tang Dynasty. In conclusion, the system of court diet was further embellished and perfected in the Tang Dynasty, which had a profound influence on the diet system of the later dynasties. Xu Shuqi, in A Study on the Music of Court Banquets in Ancient China in 2021, made a comparative analysis, through comparative research method, of the differences in music forms in the court banquets of past dynasties, and explored the development process of the music of ancient China’s court banquets. Tian Miao, in A Critical Exposition on the Development of Women's Eyebrow-painting in Tang Dynasty published in 2003, did a very detailed study of the characteristics of women's eyebrow makeup in different historical stages of the Tang Dynasty.

Concerning the poem Changhenge, many discussed whether it's a realistic or romantic one, and some argued whether it's a love story more than an allegorical one. At present, the academic circles have yielded fruitful results in the aspects of the composing purpose, artistic achievement, influence on later generations, and the situation of overseas dissemination. However, there are relatively few works on the analysis of court culture in Tang Dynasty based on the Everlasting Regret. The major works include Li Xiaojiao’s (李晓娇, 2020) Folkloristic Viewpoint for the Study of Song of Everlasting Regret; Deng Wenrui’s Reflections on Cultural Life in the Palace of Tang Dynasty Based on Everlasting Regret; Yao Ronghua’s “A Study of Song of Unending Sorrow and the Cultural Life of Palace in Tang Dynasty”, and “Research on the Poem “Changhenge” from the Perspective of Tang Dynasty’s Court Culture”, and so on. These works have made a detailed interpretation of the court culture of Tang Dynasty and the Everlasting Regret. But as the part of the court banquet in palace culture, they all neglected a very important part -- lychees. Lychees are Yang’s favorite fruit, which is too delicate to stand long journey. In today’s China, with developed science and technology, it is not difficult to eat fresh lychees; while in the Tang dynasty, it was not.

Literature review

With regard to the research on court culture in the Tang Dynasty from the perspective of the Everlasting Regret, there are some studies done by other researchers.

For example, Li Xiaojiao’s (李晓娇, 2020) Folkloristic Viewpoint for the Study of Song of Everlasting Regret elaborated on folkloric culture hiding in the Everlasting Regret. She introduced folkloric culture encompassing three respects: folkloristic costume, activities and Taoism of the Everlasting Regret. Inspired by Chen Yinque's(陈寅恪) method of “mutual verification of poetry and history”, her paper compared and verified the original text of the Everlasting Regret with relevant historical documents and artistic works of the Tang Dynasty, explored the folk elements in it, and tried to make a comprehensive analysis and research.

Deng Wenrui’s(邓文睿，2019) Reflections on Cultural Life in the Palace of Tang Dynasty Based on Everlasting Regret, from women's jewelry and hair accessories, women's makeup, and the Tang Dynasty spring outing in the Everlasting Regret, expounded that this poem has not only shown that cultural life of the court of Tang Dynasty, but also provides the basic theoretical material for the scholars to study the culture of Tang dynasty.

Yao Ronghua’s （姚榕华，2012）“A Study of Song of Unending Sorrow and the Cultural Life of Palace in Tang Dynasty”, and “Research on the Poem ‘Changhenge’ from the Perspective of Tang Dynasty’s Court Culture”, made even more comprehensive explanations of the cultural life of court of the Tang Dynasty. Yao, in his dissertation, also adopted Chen Yinque’s “mutual verification of poetry and history” to talk about his topic in six respects: in chapter 1, he talked about the hairstyle jewelry and the ornamental of hairpins in the poem; in chapter 2, he studied women’s makeup style of in Tang Dynasty; in chapter 3, he talked about the sleeve patterns of women’s dresses; then, he expounded the music and dance in the poem in the 4th chapter; he also elaborated court banquets and springtime excursion in Tang Dynasty; finally, he stressed the significance of the historical and cultural study of ’’the Everlasting Regret’’. At last, he pointed out: ’’the Everlasting regret’’, after all, is a long poem rather than a history book; it’s a work of art, not a historical record. His dissertation is of strong logicality and is well-argued and precisely reasoned.

These works have made a detailed interpretation of the court culture of Tang Dynasty and the Everlasting Regret. Thereby, on the basis of previous studies, my paper adds the transport of lychees, which are Yang’s favorite fruit, to confirm the poetry with historical materials, and outline the authentic and complete appearance of the cultural life of the palace in the turning period of the Tang Dynasty.

Methods and Theories

This paper adopted the literature research method and the theory of “mutual verification of poetry and history ”.

By the literature research method, a large number of relevant literature is collected through a variety of ways and channels. In the literature collection channels, the author draws support from CNKI, Baidu Scholar and Google Scholar, etc.; two main ways to search the literature are utilized, searching in light of keyword or subject, and reference. Moreover, the author in the search for literature with a clear direction. For example, the keywords of this article are "palace culture" or “court culture” and "The Everlasting Regret," so the author enters these two keywords to search the pertinent literature, selects the appropriate one to study, and also searches the literature listed in the references, to help the author form a clear and systematic understanding of the research topic.

The theory of "mutual verification between poetry and history" was first put forward by Huang Zongxi, and the academia unanimously recognized that Chen Yinque and other people made exemplary contributions to this theory. The reason that poetry and history can be each other’s "mutual evidence" is that poetry, as a literary form of expressing aesthetic emotion, can not be separated from the specific historical figures, time and space; the apprehension of poems depends on rich historical details. Mr. Chen, in his "Manuscript of the Investigation of Yuan’s and Bai's Notes and Commentary on Poetry", made an explanation of the " mutual verification between poetry and history ": first, using poetry to verify historical records or supplement historical information, namely, "to prove history with poetry"; second, explaining poetry by means of history, so as to obtain the complete meaning of the poetry, that is, "to explain poetry with history."

Make-up and headgear in The Everlasting Regret

1. On eyebrow makeup “That she outshone in six palaces the fairest face”（六宫粉黛无颜色）, “Until the Lady Yang was killed before the steed”（宛转蛾眉马前死）, “Willow leaves like her brows and lotus like her face”（芙蓉如面柳如眉） and “Eunuchs and waiting maids looked old in palace deep”（椒房阿监青娥老） these four lines depict the female makeup in the imperial court. In the first sentence, "Fendai"（粉黛） refers to beauties in the imperial palace except for Yang, because aristocratic women in the heyday of the Tang Dynasty often adorned their faces and eyes with makeup. However, the two words "fen"(粉) and "dai"（黛） have their own meanings respectively: "fen" is the powder used by ancient women to lighten their complexions; "Dai" is the brunet mineral used when drawing eyebrows, especially in ancient times. According to the differentiated shades, they could produce different eyebrow make-up like black eyebrows or emerald green ones. In this case, “dai” refers to the color of eyebrow make-up. The other three sentences describe eyebrow makeup from the aspect of eyebrow shape, reflecting the two most popular eyebrow makeup forms in the Tang Dynasty – “the willow-leaf shaped eyebrow”（柳叶眉） and “the moth eyebrow”（蛾眉）. The moth eyebrow was the most prominent eyebrow makeup in the Tang Dynasty. It is broad in shape, vaguely ethereal in outline, light and natural in color, and looks like the wings of a moth in appearance, hence the name. As can be seen from the name, the willow-leaf shaped eyebrow is a slender eyebrow makeup similar to willow leaves. It is slightly thick in the middle and tapers at both ends, which can increase the charm of feminine charm. Historical data did not record Yang wearing willow-leaf shaped eyebrows clearly, but from a host of Tang poetry and painting materials, it is easy to judge willow-leaf shaped eyebrows are one of the popular eyebrow makeup styles in the Tang Dynasty, and whether court ladies or ordinary girls are happy to draw it to present their dignified and beautiful amorous feelings. (c.f: Tian Miao 2003,108-112)

2.On headgear

The description of female jewelry in The Everlasting Regret can be seen frequently, such as " flowerlike face and cloudlike hair, golden-headdressed"（云鬓花颜金步摇）, " golden bird and comb with which her head was crowned "（翠翘金雀玉搔头） and " for him to carry back, hairpin and case of gold "（钿合金钗寄将去）. In these sentences, descriptions like “golden-headdressed” or “Zan”（簪）, " golden bird "（金雀）, "Jade headdress"（玉搔头）, "golden hairpin"（金钗）, " case of jewelry "（钿盒） and other things related to women's headgear. Women’s headgears in ancient China were used mainly for hairstyles, with its original function as hair constraint. With the development of society, the specification of women’s headgear became increasingly complex. Consequently, a new feature appeared: headgear was not only the embodiment of a girl well into her adulthood, a demonstration of wealth, and a sign of social status, but also a part of etiquette. There are four main types of headgears mentioned in The Everlasting Regret: Zan, Chai, Buyao, as well as Dianhe or cases of jewelry (inlaid with gold, silver and jewels).

2.1 Zan

Zan（簪） is the most antique and widely spread in ancient China, also the oldest appliance for hair constraint in China. In the early days, most of them were made of natural materials such as wood, bamboo, animal bone, stone, etc., with practical function in general. By the Tang Dynasty, due to the social function of Zan becoming more and more obvious, great progress had been made in materials selection, production technology and decorative design, etc., and Zan, made of jade, gold and silver, emerald green feathers, and shells, appeared. On top of the change in material, its decorative graphics have also seen great changes, more complex and delicate.

2.2 Chai

The main function of the Chai（钗） tends to be a decorative one, compared with Zan. Women decorated hairstyles with them in order to project their charm, and show off wealth and status, so the Chai in the Tang Dynasty became the most important headgear. A set of Chai often contains two pieces each, with symmetrical patterns, inserted in hair with one on the left and the other right. However, women in the Tang Dynasty often wore multiple Chai at the same time, and the number of them varied in light of the height of chignon. The higher the chignon was, the more Chai there would be. Unlike Zan, the foot of the Chai is divided into two sides, which are inserted into the chignon to fix hairstyle, and were called "Chai thighs". In The Everlasting Regret, the sentence “keeping one side of the case and one wing of the Chai" tells that Yang Yuhuan broke the golden Chai into two from the part of the Chai thighs, which well embodies the modeling characteristics of Chai thighs.

2.3 Buyao

Buyao（步摇） is another kind of traditional Chinese women's headgear, which is interpreted in an ancient book as: Buyao, with drooping beads over it, will shake the beads as a wearer is walking. Therefore, the name of "Buyao" is taken from the meaning of "shaking as stepping". The buyao vibrates with the steps of women, and the intertwining of beads, jade, gold and silver makes it appear colorful, which can best reflect the graceful bearing of women's vigor and vitality. By the Tang Dynasty, with the increasing prosperity of the social economy and the increasing extravagance and pomp, the etiquette symbolized in gold Buyao started to tamper among the aristocracy and gradually became popular among ordinary people. The popular shape of Buyao in the Tang Dynasty was like " a gold phoenix, with a bottom at below, a pin at the front, decorated with colorful jade beads shaking as stepping by."(Yao Ronghua,2012)

Court banquets

1. Banquets

In addition to embodying the deep love between Yang and Li， those two sentences "in revels as in feasts she shared her lord’s delight"（承欢侍宴无闲暇） and “drunk with wine and spring at banquet in Jade Tower”（玉楼宴罢醉和春） can also reflect the frequency of holding court banquets or banquets for all. Court banquet（宫廷宴会） generally refers to the feast held by the emperor for rewarding reasons, attended by officials at all levels and envoys from all over the world, in which court music, dance and acrobatics performances on a certain scale would be arranged. If it was on a larger scale, where even ordinary people may attend, it was called "banquet for all"（酺会）, normally lasting for several days. Rulers held banquets for all, also known as "bestowing banquets"（赐宴）, and the whole country was covered in huge hilarity in the banquet hall during the events. Both the aristocracy and the common people could find their freedom and happiness in the private banquet. Concerning the purpose of bestowing banquets, on the one hand, it was to satisfy the cultural needs of the people as well as seek cohesiveness from them; on the other, was to consolidate its feudal regime, demonstrate the rulers' authority and give benefits to the people. (Yang Guoyu,2016)

2. The exclusive affection and lychees

2. 1 The exclusive affection for Yang The Everlasting Regret also says, " In revels as in feasts she shared her lord’s delight, His companion on trips and his mistress at night. In inner palace dwelt three thousand ladies fair; Her beauty served the night when dressed in Golden Bower Or drunk with wine and spring at banquet in Jade Tower. On her alone was lavished royal love and care. " These sentences reflect the inseparable love between the Emperor and Yang. These descriptions, especially “on her alone was lavished royal love and care”, are not fabricated by personal imagination, or merely literary exaggeration, but can be tested through history. New History of the Tang Dynasty (《新唐书》) has a record of Yang like eating litchi: "Concubine Yang is fond of lychees, especially fresh ones. So the post station knights travel day and night, speeding up tirelessly, running thousands of miles. Without changing the flavor, lychees have been sent to the capital. " This record indicates that the Emperor gave orders to the national post system, which was originally used to pass state documents and administrative personnel back and forth, to transport fresh lychees for Yang, which is enough to prove the high status of Yang in the eyes of the emperor. No wonder Du Mu, a poet in the Middle Tang Dynasty, once said, " Viewed from Chang'an, Mount Li seemed a piece of embroidery; Countless gates opened one after another on a hill-top. At a horse raising red dust the imperial concubine smiled; No one knew it was for the litchi fruit it had brought. " --Passing Huaqing Palace(1) from Du Mu

2. 2 Lychees Everyone knows that Yang Kuifei likes lychees. But where did lychees be sent from and how were they transported to Chang 'an, the capital of Tang Dynasty?

Yan Gengwang, a prestigious Chinese historian, had compared the records of lychee transporting in the Tang dynasty with the Song Dynasty’s, and found an intriguing phenomenon: Tang people generally believed that litchi comes from Lingnan, while after the middle of the Northern Song Dynasty, it is believed that litchi comes from Fuzhou, Sichuan Province (now Fuling District, Chongqing Province). However, litchi is a delicate fruit with characteristics of the color changing in one day, the fragrance changing in two days, and the taste changing in three days. From Lingnan to Chang 'an is no less than five thousand miles. If computed in line with the fastest speed available in that dynasty, it is difficult to avoid taste change. However, it is only more than 2,000 miles from Fuzhou to Chang 'an. Therefore, Scholars Li Long and Cai Dongzhou considering many factors such as mileage, lychee varieties, preservation technology and Yang's lot, believe that Yang's favorite lychees mainly comes from Fuzhou. Due to Yang's affection, combined with the high appraisal from the respectable prime minister Zhang Jiuling, officials probably have tried to transport lychees grown in Lingnan to the capital. (Li Long and Cai Dongzhou, 2016, p. 5)

So what could be the delivery route of lychee in that dynasty? In light of Yan Gengwang's fourth volume "Tianbao Litchi Road" in his book "Traffic Map Examination of Tang Dynasty", we can roughly outline the route map of litchi transportation: Fuling--Wanzhou--Dazhou--Wanyuan--Xixiang--Yang County--Meridian Valley--Chang 'an. Scholars Wang Fei, according to historical records, combined with field investigation, determines the basic route of Litchi Road more specifically: Fuling-Dianjiang-Liangping-Dazhu-Daxian-Xuanhan -Pingchang County (Yan Kou village, Ma 'an village) --Wanyuan City (Ying Bei village, Ming Yang town in Miao Ya village, San Guan Chang town in Qin He village, Yudai village, Wei village)--Tongjiang County (Longfeng village, Hong Kou village, Jibo village)--then Wanyuan City again (Zhu Yu village, Hongqiao village) --Zhenba County, Dingyuan, Yue Jiulong Zhai (Chen’s Tan) Yang Jiahe, Si Shang, Luo Zhenzhai-- Ziwu Town in Xixiang County, into the Meridian Road, and ultimately arrived in Chang’an City. [涪陵——垫江——梁平——大竹——达县——宣 汉 ( 大成乡瓦窑坝折入三桥、隘口、马渡) ——平昌县 ( 岩口乡、马鞍乡) ——万源市 (鹰背乡、庙垭乡名扬、秦河乡三官场、玉带乡、魏家乡) ——通江县 (龙凤乡、洪口乡、澌波乡) ——再入万源市 ( 竹峪乡、虹桥乡) —— 镇巴县，定远，越九龙砦 ( 陈家滩) 杨家河、司上、罗镇砦——西乡县子午镇， 进入子午道，到达西安] The whole journey was more than 1000 kilometers, which was more reasonable.(Wang Fei, 2016, p.2-3)

Although the Everlasting Regret does not mention the word "lychee" at all, the poem speaks of the two's affection, so I have to mention it to testify to their love, which is exactly one of the forms of the research method “mutual interpretation between poetry and history ”.

Palaces and architectures

Among the names of palaces or places mentioned in the poem, some of which are authentic, while some are fictitious for artistic reasons.

“She bathed in glassy water of Huaqing Pool”（春寒赐浴华清池）, “ in lotus-flower curtain she spent the night blessed”（芙蓉帐暖度春宵”）, “her beauty served the night when dressed in Golden Bower ”（金屋妆成娇侍夜）, “drunk with wine and spring at banquet in Jade Tower”（玉楼宴罢醉和春） etc., these parts describe the Huaqing Pool, Golden Bower（Jinwu）, Jade Tower and other palaces or places served as living rooms for the imperial family. These descriptions have three functions: First, they describe the places where Tang Xuanzong and Yang Yuhuan dated and spent time together; Second, the poet describes the content of their life submerged in love, selecting some representative scenes, including bathing in Huaqing Pool, daily feasts and playing scenes; Third, as royal palaces, the poet has depicted the magnificence and glory of these architectures, in order to foil the noble identity of Tang Xuanzong and Yang Yuhuan as Emperor and Keifei(贵妃), and also render their love story.

In the sentences of " Knocking at the western gate of palace hall, he bade"（金阙西厢叩玉扃）, " days and months appeared long in the fairyland halls"（蓬莱宫中日月长）, "Jin Que" or “ Palace Hall”（金阙）, and "Penglai Palace"（蓬莱阁） both are palaces existing only in Chinese mythology, which are set off as the background for the appearance of this imperial concubine. Sentences "love and happiness long ended within the wall of Zhaoyang Palace"(昭阳殿里恩爱绝) and “on the seventh day of the seventh moon when none was near the Eternal Youth Palace(七月七日长生殿)” are still closely related to the theme of the whole poem -- love, indicating Yang’s unswerving love to Li. Among those two sentences, "Zhaoyang Palace" (昭阳殿)refers to the palace where they lived together during those years, while "Golden House"（金乌） and "Jade Tower"（玉楼） are also set off with the sentence " on the seventh day of the seventh moon when none was near the Eternal Youth Palace". These palaces witnessed their sweet love, but this love no longer existed. However, "Penglai Palace" in the poem implied that Yang's longing for Tang Xuanzong was everlasting and would never die away.

Conclusion

In summary, descriptions of women’s makeup and dressings, the cultural life of the court, and architecture in The Everlasting Regret were meant to reflect the love between the two, and show us what the history was. On the other hand, regarding this poem as part of the historical materials provides a significant perspective on historical research.

Some scholars (especially literary researchers) have questioned the approach of mutual verification of poetry and history. In many cases, actually, the poet can exaggerate and imagine the narrative material according to the needs of artistic expression, creating a new version of the historical facts that will greatly enhance the artistic impact of the poem and further deepen the impression and understanding of the artistic recipient of the historical events described. In this sense, it would be too harsh and unfair to poetry as a work of art to examine the poems in a completely historiographical way, or to trace whether the time, people and geography narrated in the poems are faithful to historical truth. In The Everlasting Regret, in addition to revealing information about "special historical facts" such as time, place and people, the poem also contains "universal historical facts" such as the characteristics of the Tang people's lifestyle, the distinctive aesthetic colours of the Tang period and the sentimental feelings towards the prosperous world. These are currently new areas of research on The Everlasting Regret, and need to be studied in depth in conjunction with historical sources. Only in this way can we get a clearer insight into and a deeper appreciation of the "splendor of the Tang Dynasty" as outlined in The Everlasting Regret.

Preferences

• Yao Ronghua姚榕华.(2012).唐代宫廷文化视野中的《长恨歌》研究[Research on the Poem Changhenge from the Perspective of Tang Dynasty’s Court Culture].南京师大学报(社会科学版)Journal of Nanjing University (Social Science Edition)(06),121-127.
• Yao Ronghua姚榕华.(2012).《长恨歌》与唐代宫廷文化生活研究[A Study of Song of Unending Sorrow and the Cultural Life of Palace in Tang Dynasty](博士学位论文,山东大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CDFD1214&filename=1013140595.nh
• Yang Guoyu杨国誉.(2016).“开禁”还是“飨宴”?——汉唐北宋赐酺举措缘起、背景与施行动因的再探讨[On the Causes of the “Giving Drink Feast” Measure in the Han，Tang and Northern Song Dynasties]. 北京社会科学 (Social Science of Bejing)(12),4-12. doi:10.13262/j.bjsshkxy.bjshkx.161201.
• Tian Miao田苗.(2003).唐代妇女眉妆演变考论[A Critical Exposition on the Development of Women's Eyebrow-painting in Tang Dynasty]. 西北大学学报(哲学社会科学版)Journal of the Northwest University (Philosophy and Social Sciences Edition)(02),108-112.
• Li Long & Cai Dongzhou李龙 & 蔡东洲.(2016).杨贵妃所嗜荔枝贡地考辨[Exploration of the Provenance of the Tribute Litchi to Yang Guifei]. 西南石油大学学报(社会科学版)Journal of Southwest Petroleum University (Social Science Edition)(05),86-90.
• Wang Fei王飞.(2016).荔枝道与杜甫荔枝诗[Litchi Road and Litchi Poems of Du Fu ]. 杜甫研究学刊Journal of Dufu Studies(04),16-22.

Terms and Expressions

The Everlasting Regret 《长恨歌》 the Anshi Rebellion 安史之乱 eyebrow makeup 眉妆 headgear 头饰 the willow-leaf shaped eyebrow 柳叶眉 the moth eyebrow 蛾眉 golden-headdressed; Zan 簪 Chai 钗 Buyao 步摇 court banquet banquet for all 酺会 bestowing banquet 赐酺 Huaqing Pool 华清池 Golden Bower（Jinwu） 金屋 Jade Tower 玉楼 Jin Que or Palace Hall: 金阙 Penglai Palace：蓬莱阁

英语笔译 陈路瑶 Chen Luyao 202170081565

Ancient Chinese Values Handed Down Until Today Chen Luyao

Abstract

Values exist in every society, and with the development and progress of society, values will continue to change and progress. This process is very long. When we study the values of a certain group, we can not only understand the development history of this group, but also investigate the role of social, economic, political, cultural and other conditions that have caused changes in values. Based on the analysis of the development and changes of China's values in different periods, we can grasp the development direction of China's values. At the same time, we can learn from previous experience, take its essence, discard its dross, educate the younger generation with better values,and lead the development of Chinese society.

Key words

Ancient values; Development; Conditions

Introduction

This paper mainly discusses the ancient Chinese values that have been handed down to this day. It includes literature review and five main parts. The first part introduces the definition and origin of values. The second part classifies the values. According to the different communication objects, the values are divided into three categories: the values generated by the interaction between people, the values generated by the interaction between people and nature, and the values generated by the interaction between people and themselves. The third part expounds the main values from Xia, Shang and Zhou Dynasties to modern times. The fourth part is to screen the values mentioned above and summarize the retained values. The fifth part explains the influence of the values that have been spread to this day on Contemporary China.

Literature Review

At present, the research on Chinese values mainly has the following achievements: first, it discusses the basic theoretical issues such as the concept, basic content, basic characteristics, significance and ideological resources of Chinese values; second, it studies the practical issues such as the construction and dissemination of Chinese values. The main deficiencies in the study of Chinese values are: at the basic theoretical level, there are inconsistent definitions and content induction. Looking forward to the future, the study of Chinese values should focus on the deepening of basic theories, and at the same time, it should further understand the problems of the construction subject and the communication subject at the practical level.

From the current research results, the academic research on the basic theory of Chinese values mainly involves some of the most basic issues, such as concept definition, basic content, basic characteristics, significance and ideological resources. There is no consensus on the definition of Chinese values in the academic circles. Most researchers confuse Chinese values with Chinese cultural values, and only a few scholars define this concept from different angles. Luo Ping defines "Chinese values" from the perspective of significance and function, and believes that "Chinese values are a value system that reflects the spirit of the times, fully displays China's national image and reflects the soul of China's national soft power". Liu Minzhu defined "Chinese values" from the perspective of practical basis and theoretical origin, It holds that "Chinese values are the overall understanding of value relations formed by the Chinese people in the process of participating in the great practice of socialism with Chinese characteristics. They are a value system formed by the Chinese people based on the requirements of the times, practice and their own demands, and integrating many essence of socialist core values, Chinese traditional cultural values and western modern cultural values. They have the attributes of socialism and contemporary China". Chen Guofu defines "Chinese values" from the perspective of essence and function, and points out that "as an important part of socialist ideology with Chinese characteristics, Chinese values are not only the source of social theory, but also the driving force to promote economic and social development, but also conducive to highlighting the discourse power of socialism with Chinese characteristics."

Methods and Theories

This paper mainly adopts the literature research method in the writing process. Literature research method is to collect and analyze a large number of relevant literature through multiple channels. The author first puts forward the subject of this paper, designs the framework of the paper, then collects the literature, and finally compiles the review after the literature is sorted out. The literature method transcends the time and space constraints. Through the investigation of ancient and modern Chinese and foreign documents, we can study a wide range of social situations. This advantage is impossible for other investigation methods.

Introduction

1.The Introduction to Values

In modern society, 'values' is a common word. According to Marxism, values are the understanding, theory and doctrine of value, and the fundamental views of people on what is value and how to create value. Yanhui, a scholar, defines values as: values are the understanding of whether an object has value and how much value it has formed by individuals and organizations in a specific environment. In short, values are the cognition, understanding, judgment or choice made by people based on certain thinking senses, that is, a kind of thinking or orientation that people identify things and distinguish right from wrong, so as to reflect the certain value or function of people, things and things.

Values can be traced back to the written Xia Dynasty. At that time, the Chinese people gradually got rid of the savage lifestyle and emerged private ownership, followed by the concept of state and ruler. In general, the values of the Chinese people are influenced by the natural environment, cognitive level, scientific and technological level and other factors, and show a trend of progress and improvement. With the passage of time, the values inconsistent with China's social development gradually disappeared, while some values have been inherited for thousands of years. Values are characterized by stability and persistence, historicity and selectivity, and subjectivity. It plays a very important role in the orientation and regulation of people's own behavior, and determines people's self-awareness.

2.The Classification of Values

Chinese traditional values are different from the ancient Greek "truth-seeking" values, but a "goodness seeking" value focusing on the ethical relationship between people. The "good" here is manifested in paying attention to the realistic human relations, pursuing the harmonious coexistence of the realistic human relations, specifically advocating the harmonious coexistence between people and nature, and realizing the improvement and perfection of personal moral quality through self-cultivation.

Values are generated by the interaction between people and surrounding things. Specifically, it can be divided into two kinds: the values generated by the interaction between people, the values generated by the interaction between people and nature, and the values generated by the interaction between people and themselves.

Contents in Different Periods

In different periods, China has different values. The following introduces the background and reasons for the emergence of China's main values in five stages from three aspects.

1.Xia, Shang and Zhou Dynasties

The first is the values generated by interpersonal communication: women are required to maintain chastity.

In Chinese history, China belonged to the matrilineal society before the Xia, Shang and Zhou dynasties, and then changed into the paternal society, which lasted for thousands of years. The marriage form and female status in matrilineal society are determined by the level of productivity. The low level of productivity determines the division of labor between men and women. Women engaged in gathering can provide relatively stable means of living than men engaged in fishing and hunting. In addition, women are responsible for processing animal skins, grinding bone needles, sewing clothes and domesticating wild animals. With the development of productive forces, farming has become the main production activity, and men with strong physical strength gradually occupy a leading position in the production sector. The changes of the mode of production and lifestyle have shaken the material foundation of matriarchal society. At the same time, with the increase of products and uneven distribution, the gap between the rich and the poor arose, and the matriarchal clan public ownership was challenged. The differentiation of interests led to wars between groups, which strengthened the trend of male leaders' increasing power, status and wealth. Then they asked to change the tradition of lineage inheritance, that is, from female lineage to male lineage inheritance. At this time, the marriage and family system of monogamy and multiple concubines with paternal parents as the main body was gradually established. With the establishment of private ownership, in order to ensure that property is passed on to their own offspring, compulsory measures for women to maintain chastity have gradually emerged.

The second is the values generated by the interaction between man and nature: worship nature and revere nature.

In recent decades, archaeological data, documentary records, ethnological investigations and research results of related disciplines have been mutually confirmed and comprehensively analyzed, outlining a rough picture for the study of people's worship in ancient times. It is found that the God system of people in the Xia, Shang and Zhou Dynasties is a pluralistic and complex system. The worship of gods can be divided into natural God worship, ghost worship, totem worship and ancestor worship.

The earliest is the worship of nature. Nature is not only the giver and dependent object of human life, but also constantly brings various disasters to human beings. Because the ancients had a low level of understanding and could not correctly understand various natural phenomena, they had a sense of mystery, dependence and fear of natural gods. The ancients believed that there was a God behind everything. They were as conscious and thoughtful as people. These gods were omnipresent, mysterious and moody. They sometimes gave gifts and sometimes came disasters. They were the masters of human destiny. So the ancients regarded the sun, moon, stars, wind, rain, lightning, mountains, lakes, animals and plants as gods and worshipped them.

Finally, it is the values generated by the interaction between people and themselves: respecting morality and cultivating morality.

After the gradual formation of private ownership, the ruling tool of the state also appeared. But the worship of nature formed before this time is still deeply rooted. In order to gain more power, the rulers took measures to strengthen their status and required the people to follow certain self-cultivation concepts.

In order to prove the rationality of the regime, the rulers put forward the idea that "the emperor has no relatives, but morality is the auxiliary". As long as a ruler has virtue, heaven will give him rights, that is, endowments to virtue. Therefore, respecting and cultivating morality naturally became an important mission of social members in this period. So how to respect and cultivate virtue? The rulers took advantage of the situation and formulated the ethical norms of "respect for relatives" and "respect for respect" with the core idea of "respect for etiquette and performance, respect for ghosts and gods". Be close to the people you should be close to, and respect the people you should respect. The members of the society should follow the strict etiquette that conforms to their hierarchical status, so as to strengthen the monarchy, patriarchy and husband power, and sanctify the patriarchal concept of moral order and status hierarchy. In addition to solidifying class interests, from the perspective of governing the country and stabilizing the country, under the guidance of the consciousness of "respecting morality and cultivating morality", the people-oriented thought of "loving the people as a son" emerged as the parents of the people.

2.Spring and Autumn Period and Warring States Period

The first is the value of interpersonal communication: benevolence.

In dealing with the relationship between people, although there were many schools of thought and diversified values in this period, they came to the same goal through different paths, taking "heaven" as the root of "Virtue" and the real life of people as the focus of attention. Linking "heaven" with "Virtue" and "discussing virtue with heaven" were the ways for various schools of thought to prove the rationality of the values they advocated during this period. Mencius believed that "benevolence" was the necessary meaning of "good nature", while "good nature" was determined by "heaven". To achieve morality is to "know the heaven", "do the heaven" and "be worthy of the heaven". In order to persuade everyone to implement his value proposition of universal love, Mozi introduced the concept of "heaven" sanctions. The will of the emperor of heaven is that all people should love each other. If they practice universal love, they will be rewarded by heaven, otherwise they will be punished. Zhuangzi believed that "Virtue" means giving full play to self

However, the natural ability of nature, "Virtue" makes people human, and the only way to obtain "Virtue" is to conform to heaven. In addition to the view of heaven and man of "discussing heaven with virtue", various schools of thought in this period elaborated their concern for human beings from different ways. Confucius poured rich humanistic care into his thought of "propriety, filial piety and benevolence" and affirmed human dignity and value. Ritual is not only a form of life, but also a cultural phenomenon containing human nature and emotional needs. The thought of filial piety reflects the children's duty of serving their elders and their love for others. His benevolent thought of "benevolent, people also" expresses a high degree of concern for people themselves.

The second is the values generated by the interaction between man and nature: the unity of heaven and man.

In dealing with the relationship between man and nature, the ecological view of the unity of man and nature seems to have become the core value orientation of this period. Confucianism and Taoism have expounded this ideal in different ways. Confucius advocated that the moral code of interpersonal relationship "benevolence" should be applied to the field between man and nature. If man can love nature, his behavior will be good, otherwise it will be evil. At the same time, Taoism expressed the attitude of protecting natural resources with the idea that everything is the same and nothing is noble or inferior. Benevolence towards all things, the unity of heaven and man, starting from people's rational emotions, made the ecological protection thought in this period more active and conscious than the ecological concept of pursuing advantages and avoiding disadvantages and following the natural laws in the Xia, Shang and Zhou dynasties.

Finally, it is the values generated by the interaction between people and themselves: ideal personality.

"Ideal personality" of the national self-cultivation concept. During this period, the value concept of dealing with the relationship between people and themselves has made a breakthrough under the guidance of the humanistic spirit. All schools have put forward the concept of self-cultivation with the ideal personality as the goal, from the son of heaven to the common people, in order to make social members meet the requirements of "heaven" for people's "Virtue" cultivation. Confucius put forward the self-cultivation thought with "benevolence, righteousness, courtesy, wisdom and faith" as the core content, and advocated that individuals improve their personality cultivation through a series of self-education methods such as determination, diligent thinking and introspection. Mencius emphasized the main role of moral practitioners and learners, and advocated self-cultivation methods such as "being intentional, having few desires, nourishing qi, sharpening ambition, knowing shame, correcting mistakes, thinking sincerely, reflexively, loyal and forgiving". During this period, Taoism also put forward the concept of self-cultivation education, which was guided by the principles of imitating nature, practicing the harmony between nature and Taoism, embracing simplicity and truth, and being weak and indisputable, and followed the path of teaching without words, promoting moral education, promoting emptiness and quietness, and abandoning wisdom.

3.Qin and Han Dynasties

The first is the values generated by people's interaction: the three cardinal principles, namely, the monarch is the subject, the father is the son, and the husband is the wife.

"Three cardinal principles" refer to the three main ethical and moral relationships between people in feudal society, that is, "the monarch is the subject, the father is the son, and the husband is the wife". Han Fei, a representative of Legalist school, once talked about these three relations: "the minister is the king, the son is the father, and the wife is the husband. If the three go along, the world will be governed, and if the three go against, the world will be in chaos. This is the common way of the world. In the Ming Dynasty, the monarch, the virtuous minister, and the Buddha will change." Confucius also talked about the hierarchical relationship between the emperor and his subjects. In the Analects of Confucius, Yan Yuan said, "Duke Qi asked Confucius about governance. Confucius said to him, 'the emperor, his subjects, father and son.' the public said: good! Faith is like a king without a king, a minister without a minister, a father without a father, and a son without a son. Although there are millet, I will eat it. 'after clarifying the hierarchical relationship between the emperor and his subjects, father and son, and husband and wife, the society can be in order, and the country can be peaceful and harmonious. Dong Zhongshu's "three cardinal principles" thought obviously inherited the moral education thought of pre Qin Confucianism, and at the same time integrated the relevant thoughts of Legalists, and put forward the theory of the relationship between monarchs and officials that adapted to the feudal rule of the Han Dynasty, It also uses religious theology and the theory of yin and yang to demonstrate the rationality of the thought of "three cardinal principles": "the heaven is revealed for the king, and held by the officials. The Yang is born for the husband, and the Yin is helped by the woman. The spring is born for the father, and the summer is raised for the son. The autumn is a coffin for death, and the winter is a pain and funeral. The three cardinal principles of Wang Dao can be found in the heaven." "The righteousness of monarch and minister, father and son, and husband and wife is based on Yin and Yang. The monarch is Yang, and the minister is Yin; the father is Yang, and the son is Yin; the husband is Yang, and the wife is Yin. The vagina does nothing alone.

The beginning should not be dedicated, and the end should not be divided. It has both meanings. It is the reason why the minister owes both to the king, the son to the father, the wife to the husband, the Yin to the Yang, and the earth to the heaven. " According to the view that Yang respects Yin and is inferior to Yin in the theory of yin and Yang, in these three relationships, the monarch, father and husband are Yang, and the minister, son and wife are yin. Yin must be completely subject to Yang, so the minister, son and wife must also be subject to the monarch, father and husband. After Dong Zhongshu's demonstration, the thought of "three cardinal principles" has achieved the supreme status of being in harmony with the way of heaven, thus making the feudal autocratic concept of political power, monarchy and husband's power become a natural and inviolable creed, and its purpose is to make the hierarchical order of patriarchal society absolute and eternal. This set of theories, which is very naive today, played a role in maintaining the feudal autocratic rule under the historical conditions at that time.

The second is the values generated by the interaction between man and nature: the coexistence of traditional gods and newly created gods.

During this period, people had long-term contact with nature. Before this, people worshiped nature extremely, and then changed into the unity of heaven and man. In the Qin and Han Dynasties, the object and focus of people's worship changed again. People changed from worshiping natural gods to the supreme ruler, and then to some outstanding and representative figures. At this time, traditional gods and newly created gods coexist.

There are many gods inherited from the pre-Qin period, including various natural gods such as wind, rain, thunder and lightning related to agricultural production, various functional gods that protect people from old age and death, ancestral gods that shade future generations, as well as loyal gods who make unremitting efforts to consolidate the state power but eventually die of immorality The ancient sages and sages who have paid a lot of blood for the development of national culture and the progress of Chinese civilization, and the plague God who has brought serious threats to human production, life and health.

In addition to the traditional gods, many new gods appeared in the Qin and Han Dynasties, such as emperors such as Liu Bang, contemporary saints and sages represented by Xunli, loyal and virtuous men represented by Luan Bu and Liu Zhang, imaginary gods represented by Bao Jun and Shi Xianshi, and local ordinary gods introduced by local people. Such as emperor Gaozu of the Han Dynasty and Emperor Xuandi of the Han Dynasty can be regarded as symbols of their deification.

Finally, the values generated by the interaction between people and themselves: five constants, namely benevolence, righteousness, propriety, wisdom and faith.

"Wuchang" refers to the five moral concepts of "benevolence, righteousness, propriety, wisdom and faith", which are the moral principles that individuals should achieve. It reflects the moral principles of China's feudal autocratic society. Mencius discussed the "four ends" of human nature from the perspective of the original goodness, that is, "compassion, benevolence, shame, righteousness, respect, courtesy, right and wrong, wisdom. Benevolence, righteousness, courtesy and wisdom are not from the outside, but from the inside."

Dong Zhongshu's "three cardinal principles and five standing principles" has normative and mandatory characteristics compared with the ethics and moral concepts of the pre Qin period. For example, Confucius emphasized the mutual restraint of the morality of both sides when talking about the relationship between the monarch and the minister. "The monarch and the minister should be polite, and the minister should be loyal to the monarch." the monarch and the minister are equal, and the minister has a certain restrictive effect on the monarch, that is to say, the loyalty of the minister to the monarch is based on the courtesy of the monarch to the minister, otherwise the minister can not be loyal to the monarch. Dong Zhongshu's "three cardinal principles and five permanent principles" unilaterally emphasized the absolute obedience of the lower to the upper, which made the Confucian ethics and morality into a feudal hierarchical rule theory, which was mandatory, and its purpose was to maintain and strengthen the centralization of power. This has played a decisive role in the relationship between human relations and morality in the traditional Chinese society, and has a far-reaching impact on the Chinese people's ideas and interpersonal communication. This concept of hierarchy still affects the Chinese people's thinking and values, whether overt or covert, tangible or intangible, and affects the socialist democratic process. Its negative impact should be highly valued and should be clearly criticized and rejected.

4.Song, Yuan, Ming and Qing Dynasties

The first is the value of interpersonal communication: filial piety and universal love.

From the end of the feudal separatist regime of the Five Dynasties and Ten Kingdoms by zhaokuangyin in 960 A.D. to the establishment of the Song Dynasty, to the middle of the Qing Dynasty, moral education has developed rapidly in the history of more than 800 years. Both the content and the form of moral education are constantly developing and changing, showing unique characteristics. This is not an accident, but a certain historical inevitability.

The ethics education in feudal society has always been the top priority of its education. It "standardized the obligations of people to each other, and its purpose is to achieve the harmony of interpersonal relations". Therefore, the content of moral education advocated by moral education textbooks in the song, yuan, Ming and Qing Dynasties always put "filial piety" in the first place. Teach children to be filial to their parents, to love their brothers and sisters, to push themselves to others, not only to love and respect their parents and relatives, but also to respect other people, so as to "love all".

During the Ming and Qing Dynasties, the feudal autocracy was continuously strengthened and Neo Confucianism was constantly flourishing. The rulers needed to further strengthen the imprisonment of the people's thoughts, and the Confucian ethics became more and more rigid. In this way, the ethical principles of "filial piety, benevolence and righteousness" and "universal love for the people" became the focus of moral education. Therefore, the length of moral education textbooks in this period was reduced and shortened, However, the content of human relations education has not been reduced. Moral upbringing textbooks such as children's language and Di Zi Gui still retain this important educational content. They not only teach children to be filial to their parents and teachers, but also give specific guidance in their lives. Therefore, it can be seen that the educational content of "filial piety and universal love" occupied an important position and played an irreplaceable role in the moral education textbooks in the song, yuan, Ming and Qing Dynasties.

The second is the values generated by the interaction between man and nature: the use of nature.

Urban public gardens, which began to flourish and develop in the Song Dynasty, are the garden types that can best embody political economy, social culture and landscape aesthetics, and are most closely related to urban life and spatial form. As an important part of urban and rural space, public gardens affect the daily life of urban and rural residents and the composition of urban and rural spatial form. They are one of the important material carriers of China's historical landscape garden culture. Compared with the royal gardens and private gardens of the same period, urban public gardens not only embody the Confucian concept of "sharing happiness", but also, as the stage of daily life of all levels of society, show a close relationship with the corresponding development of social economy and folk culture, which is a subject worthy of attention in the history of cities and gardens.

The utilization of water in Song Dynasty also reached a new height. Water conservancy has been a national public project in China since ancient times, which also makes Chinese society branded as a water conservancy society. From the large-scale flood control and water conservancy projects for national security carried out by Dayu in ancient times, to Dujiangyan in Chengdu Plain, zhengguoqu in Guanzhong, Lingqu in Guangxi and Jiangnan canal completed only in the Sui Dynasty in the Qin and Han Dynasties, water conservancy projects before the Tang and Song Dynasties often focused on large-scale agricultural and transportation water conservancy projects at the national level. By the Tang and Song Dynasties, water conservancy projects were gradually combined with the process of urbanization, and urban water conservancy projects were generally rising. Scenic spots formed by suburban lakes such as Hanzhou West Lake, Fushun West Lake, Hangzhou West Lake, etc. had been praised by poets in the Tang Dynasty. Under the influence of the gradual maturity of the landscape culture and the popularization and secularization of cities, the water conservancy facilities in the Song Dynasty were more garden like than those in the Sui and Tang Dynasties, and had become a necessary measure for various water conservancy projects, thus becoming an important public garden carrier in various places, forming a number of famous cities for the construction of water culture gardens, such as Hangzhou, Suzhou, Yangzhou, Nanjing, Guilin, Ningbo, Jinan, Yingzhou, etc, It has become a mature era for the construction of urban water culture gardens in ancient China.

Finally, the values generated by the interaction between people and themselves: valuing morality; Let go of human desires and preserve natural principles.

The Chinese nation has always been famous for its civilization and morality, and has the reputation of "a land of etiquette". In the song, yuan, Ming and Qing Dynasties, moral education textbooks emerged in endlessly. They are part of Chinese traditional culture and the inheritance of traditional culture with "valuing morality" as the core, and have extremely important value. Because only by emphasizing the cultivation of the spirit of "filial piety, benevolence and righteousness, benevolence and love", can it be conducive to the cultivation of the concept of loving oneself and others; Only by attaching importance to the establishment of the concept of "determination and morality, diligence and honesty" can we strengthen moral education and improve the moral quality of the whole people; Only by attaching importance to the cultivation of moral concepts and the training of moral behaviors, can it contribute to the cultivation of social morality. In a word, the moral education textbooks in song, yuan, Ming and Qing Dynasties are of great benefit to inherit and carry forward the excellent Chinese traditional culture with "valuing morality" as the core, and to the construction of the spiritual civilization world of the Chinese nation, future generations and even the whole mankind.

5.Since the Founding of New China

The first is the values generated by interpersonal communication: collectivism weakened and individualism strengthened.

In 1972, under the leadership of Deng Xiaoping, China began to implement reform and opening up, and the socialist market economy was gradually established. In this context, the values of the Chinese people have quietly changed. With the establishment of market economy, the society has stepped into a stage of rapid development, and social competition is becoming increasingly fierce. People get rid of the psychology of relying on the collective society and become self reliant, so as to improve their own ability and personal competitiveness. "Natural selection, survival of the fittest" has become people's Creed. The awareness of self-worth was significantly enhanced. Market economy requires full affirmation and respect for personal material interests. Therefore, an atmosphere of respecting knowledge and talents has been formed, which has strengthened people's growing "self-awareness". In the process of pursuing value, they began to pay attention to their personal interests and roles, and asked to put "self" in its proper position.

The second is the values generated by the interaction between man and nature: protecting nature.

In the early stage of reform and opening up, due to the urgent need of economic development, we are still repeating the old road of "pollution first, governance later" and other capitalist countries. For this reason, it has brought about such environmental problems as the sharp reduction of forests, water, soil and air pollution, soil desertification and rocky desertification, and the ecological environment is almost on the verge of collapse.

With the increasing expansion of international exchanges, the impact of the introduction of international environmental protection ideas on China, the positive appeals of domestic scholars and the increasingly serious domestic ecological problems, our party's view of nature has also undergone new changes. Silent spring reminds people that they must re-examine the relationship between man and nature and choose a new ruler to measure the relationship between man and nature. In particular, the Research Report "our common future" published by the United Nations World Commission on environment and development in february1987 put forward the idea of "sustainable development". It warns people that we should guide people from simply considering environmental protection to effectively combining environmental protection with human development. This report has had a profound impact on our party.

As the report of the 18th National Congress of the Communist Party of China incorporated the construction of ecological civilization into the "five in one" overall layout of the cause of building socialism with Chinese characteristics and into the important construction content of a beautiful China and the Chinese dream, the construction of ecological civilization has further risen to the will of the party and the country, our party's view of nature has ushered in new development, and the status of nature has been further confirmed. After the theory and practice since the reform and opening up, the concept that nature is the foundation of human survival and development has gradually taken root in the hearts of the people. In particular, China has implemented real-time monitoring of air quality since December 2011, and released PM2.5 monitoring data in the air quality index of major cities, which constantly reminds people to pay attention to environmental issues. However, the consensus of the whole Party has not yet been formed, and the backward concept of "pollution before treatment" has not been completely eliminated. Therefore, General Secretary Xi has repeatedly warned the whole party on the issue of environmental protection We have no other choice, because we cannot follow the old path of development of the United States and Europe in building a modern country.

Finally, the values generated by the interaction between people and themselves: patriotism, dedication, honesty and friendliness.

Patriotism has always been a personal character emphasized by the Chinese nation since ancient times, and it is also a symbolic collective spirit of Chinese society. Putting patriotism in the first place of socialist core values at the individual level fully illustrates its importance. As early as 2000 years ago in the bookofsongs, a song "Guofeng · Qinfeng · Wuyi" firmly expressed the patriotic spirit of unity and common resistance to foreign humiliations.

Dedication is an important value requirement for citizens' personal behavior. As an important part of the core values at the individual level of our citizens, the development of the country and the progress of the society are inseparable from the working state of dedication. Dedication is to require individual citizens to have a serious and responsible attitude towards their work or career, to maintain a sense of dedication and responsibility in spirit, and to adhere to diligent learning and improve professional skills in practice. Dedication is not only an important value criterion for citizens to participate in social work, but also a basic professional ethics requirement for citizens.

Honesty is undoubtedly an important core value in any society. Perhaps it is because the integrity standards before and after the reform have changed. People often express their dissatisfaction and worry about the current integrity with a nostalgic mood and a critical eye. We must admit that the integrity issue in China is indeed in a difficult construction process. There is an essential difference between the political "honesty" in the planned economy period and the contractual "honesty" under the market economy system. "Honesty" is bound to be fragile in the transformation from the traditional relational society to the modern open society.

The last is kindness. As the core value goal at the personal level, friendliness is the basic criterion for dealing with interpersonal relationships. As a social moral code and value orientation, friendliness requires people in the society to treat each other with an open-minded and kind-hearted attitude. In reality, the driving force of market economy to maximize people's interests has transformed the traditional acquaintance society into an open stranger society, resulting in the alienation of interpersonal relations and the lack of friendliness in the society. With the continuous deepening of China's social reform and opening up, many unknown contradictions and conflicts will be touched. To maintain a harmonious social environment and eliminate conflicts, contradictions, estrangements and misunderstandings in human relations, friendship is an important guarantee.

Take the Essence and Discard the Dross of the Values that Have Been Handed down to this Day

The above part lists three values in the five main periods, among which the values of interpersonal communication have gone through the changes from "requiring women to maintain chastity" to "benevolence", to "three cardinal principles, namely, the monarch is the subject, the father is the son, and the husband is the wife", to "filial piety and universal love", and finally to "the collective interest is weakened and the personal interest is enhanced". The values of communication between man and nature have experienced the changes from "worshiping nature and fearing nature" to "the unity of heaven and man", to "the coexistence of traditional gods and newly created gods", to "using nature", and finally to "protecting nature". The values of people's communication with themselves have gone through "respecting morality and cultivating morality" to "ideal personality", to "five constants, i.e. benevolence, righteousness, courtesy, wisdom and faith", to "valuing morality; eliminating human desires and preserving natural principles", and finally to "patriotism, dedication, honesty and friendliness". After thousands of years of development, these values are generally developing towards science and in line with the trend of the times. In this process, backward values have gradually disappeared in the long river of history.

The first is the values generated by interpersonal communication. The values in this aspect show an overall trend of equality, and selfish individualism has been eliminated. The second is the values of communication between man and nature. Due to the deepening of man's understanding of nature, the feedback from nature and the development of philosophy, protecting nature has become the mainstream values. Finally, the values of communication between people and themselves, as a whole, are developing in the direction of improving self morality.

Influence of Values that Have Been Passed down to the Present

On the whole, Chinese values are based on Confucianism, which leads to many details. From the perspective of the values spread from ancient times to now, the values pursued by Confucianism still occupy the mainstream position.

First, let's look at the characteristics of the system form of Confucian core values. The core values of the Confucianists are based on the five cardinal principles and the three cardinal principles. The five cardinal principles are based on benevolence and propriety, and emphasize the unification of propriety with benevolence. Benevolence and propriety are closely linked with the value order and value norms of the three cardinal principles, and can complement each other in terms of theoretical connotation and form. As far as the systematic structure of the core values of Confucianism is concerned, the five permanent principles and the three cardinal principles respectively regulate the basic values of human social life from the two levels of universality and particularity, while sex, heaven and Taoism constitute the theoretical basis for its transcendence, and at the same time, the individual personality perfection implemented in the life values constitutes a universal and special, metaphysical and metaphysical Group order and individual pursuit are perfectly combined as a justice system, which closely conforms to the fundamental national conditions of the autocratic monarchy hierarchical society based on the traditional family standard in China. In this sense, the form of the Confucian core values system is worthy of our reference, which inspires us to make the core concepts more prominent and the justice system more compact in the construction of socialist core values.

Second, the characteristics of the specific content of the Confucian core values system. The core values of Confucianism have a huge and far-reaching impact on the traditional Chinese society, and are people's basic living standards and even the ultimate spiritual concern. Huang Daozhou, a great Confucian in the Ming and Qing Dynasties, died in the war against the Qing Dynasty. His dying blood book "the principles of justice will last forever. Heaven and earth know me, and my family will have no worries". It points out the way for the creative transformation and innovative development of Confucian core values. As the core values of Confucianism, the three cardinal principles and the five constant principles are more integrated with the ethical relations and political rule of reality, and their specific norms should be changed with the development of the times. The five constant principles reflect more universal value pursuit, and should be combined with the life style of modern society to transform their ideological connotation. The three cardinal principles and the five constant principles correspond to the birth of heaven, the integration of all things The core values of Confucianism, such as inner sage and outer king, are also valuable ideological resources for us to construct a new value philosophy and value ideal today.

Conclusion

In the new era, with the interweaving of socialist modernization with Chinese characteristics, world modernization and economic globalization, cultural diversity and cultural conflict and integration in the process of international exchanges have become one of the important characteristics of the world, and the people's needs for values are also increasing. Contemporary Chinese values are both generated and dependent on cultural self-confidence. They point out the direction for integrating and leading diversified social thoughts and various social consciousness, and also converge into a powerful force to promote social harmony. Through the necessary sublation and innovation, we can further enrich and expand people's cultural vision and spiritual realm. At the same time, in the face of today's international society with cultural differences and diverse values, enhancing the recognition and self-confidence of contemporary Chinese values is of great significance for coping with the challenge of global diverse values, improving China's cultural soft power and its discourse position in the international community.

Reference

Yan Hui 晏辉.(2009). 现代语境下的价值与价值观[Values in the modern context]. Beijing Normal University Press北京师范大学出版社.

Liu Caihong 刘彩虹.(2014). 当代中国社会价值观念变迁与人的全面发展[The changes of contemporary Chinese social values and the all-round development of human beings]. Inner Mongolia University内蒙古大学.

Lin Hongtao 蔺宏涛.(2016). 社会主义核心价值观的源流研究[Research on the origin of socialist core values]. Hunan University 湖南大学.

Zhao Fujie 赵馥洁.(2004). 论中国主体价值观念的起源[On the origin of the concept of value subject in China]. Journal of Humanities 人文杂志, 000(005), 46-52.

Wang Chuanman 王传满.(2008). 夏商周:贞节观念滥觞[Xia, Shang and Zhou Dynasties: the beginning of the concept of chastity]. Journal of Hubei University of Economics 湖北经济学院学报,6(4):4.

Li Qiuxiang 李秋香.(2015). 文化认同与文化控制:秦汉民间信仰研究[Cultural identity and cultural control: a study of folk beliefs in the Qin and Han Dynasties]. Henna University 河南大学.

Mao Huasong,Zhang Xingguo 毛华松,张兴国.(2016). 城市文明演变下的宋代公共园林研究[Research on public gardens in Song Dynasty under the evolution of urban civilization].Chongqing University 重庆大学.

Terms and Expressions

values 价值观

matriarchal society 母系社会

improve virtues 敬德修德

benevolence 仁

harmony between heaven and man 天人合一

ideal personality 理想人格

the three cardinal guides as specified in the feudal ethical code 三纲

the five constant virtues as specified in the feudal ethical code 五常

Be filial to elders and friendly to others 孝亲泛爱

individualism 个人主义

collectivism 集体主义

to build socialism with Chinese characteristics, the overall layout is a five in one process: economic, political, cultural, social and ecological progress 五位一体

patriotism 爱国

be dedicated to work 敬业

be honest 诚信

be friendly 友善

Questions

1.What three values are involved in this paper?

2.What is the overall direction of these values?

3.Has collectivism been strengthened since the founding of new China?

Answers

1.The values of interpersonal communication, the values of interpersonal communication with nature, and the values of interpersonal communication with oneself.

2.These values are generally developing in the direction of science and in line with the trend of the times.

3.Yes.

英语笔译 崔晓凡 Cui Xiaofan 202170081566

China Central Plain Culture Cui Xiaofan

Introduction

The Central Plain of China was the political, economic, cultural and transportation center of ancient China, as well as the place where North and South cultures collided in the country, so there is a saying that "the ancients compete for the Central Plain can only establish the world". Central Plain culture is the sum of material culture and spiritual culture based on the Central Plains region. It is the foundation and backbone of Chinese culture.

Broadly speaking, Central Plain culture is the general term for culture in the middle and lower reaches of the Yellow River. Geographically, it mainly takes Henan as the core and radiates outside to neighboring areas in the middle and lower reaches of the Yellow River. In ancient times, Yuzhou lived in Kyushu, known as Zhongzhou, also known as the Central Plain, including most of Henan Province. Therefore, the Central Plain culture mainly relies on Henan Province. In a restricted sense, Central Plain culture refers to Henan culture. The birthplace of the world's major civilizations, as we all know, is surrounded by the major rivers in its territory, and China has always called the Yellow River the "Mother River". The middle and lower reaches of the Yellow River are the birthplace of Chinese civilization and the cradle of the Chinese nation.

A great quantity of prehistoric cultural artifacts have been discovered in Henan, according to archaeology findings. Four of the eight ancient capitals of China are located in Henan, namely Zhengzhou, Anyang, Luoyang and Kaifeng. Among them, the last capital of the Xia Dynasty was built in Luoyang Yanshi, Zhengzhou in the middle of the Shang Dynasty, and Anyang in the late Shang Dynasty. The civilization of the Xia, Shang and Zhou three dynasties can be said to be the cradle of Chinese civilization. On this basis, hundreds of thought, especially Confucianism, Taoism, Mohism and other ideas, originated in the Central Plain and occupied an prominent position in China's centuries-old feudal ruling mentality, and has been continuously inherited and developed. Therefore, from the perspective of historical development, the main feature of the distinction between Central Plain culture and other regional cultures in China is that it is closely tied to Chinese culture and is the source of Chinese culture. Central Plain culture plays an extremely important role in the formation and development of the Chinese nation and Chinese culture.

Nine Main Parts of the China Central Plain Culture

The China Central culture is a combination of the material and spiritual culture of the Central plain region, covering all aspects, and many of which have been passed on as the mainstream culture of the Chinese nation to this day. In terms of content, this kind of culture can be roughly divided into the following categories. 2.1 Prehistoric Culture Prehistoric culture. Prehistoric culture refers to the human culture before the emergence of writing. The prehistoric culture in the Central Plains region is very rich, with a large number of sites related to the Peiligang culture of the middle and late Neolithic period 8,000 years ago, the Yangshao culture of 7,000 years ago, the Longshan culture of 5,000 years ago, and the Erlitou culture of 4,000 years ago, all found in Henan. The continuous and large-scale occurrence of these prehistoric sites in Henan fully proves that Henan has always been in the leading position in China's prehistoric civilization. The Pei Ligang culture, Yangshao culture and Longshan cultural sites in the Neolithic era of the primitive society were found archaeological achievements here. The earliest record of these cultures were seen in 1324 BC, and the Book of Songs, the Analects of Confucius, the Classic of Mountains and Seas and other works have recorded this place. In 526 BC, Confucius and Lord Ye discussed the policy of governing the country here, leaving a famous saying that “those who are near will be pleased, those who are far will come”. Since the middle and late period of Yangshao culture, the number and scale of settlements in various places had expanded steadily and finally reached its peak until the period of Longshan and Erlitou culture. With the growth of settlements and population, agriculture and livestock breeding had also developed rapidly. Animal and plant archaeological research shows that the mature rice and millet mixed agricultural economic form and pig-based livestock breeding industry had developed since Yangshao culture in the Central Plain. From the late stage of Yangshao culture, urban sites began to appear in some regional center settlements. By the Longshan culture period, the discovery of prehistoric city sites was quite common in all parts of the Central Plain. According to the archaeological inference, the construction of such a city site requires the organization and mobilization of several settlements to complete together. It can be seen that the central settlement already has a considerable degree of social organization and management functions. 2.2 Totem Culture Dragon is the symbol of China, signifying qualities such as auspiciousness, wisdom, courage, dignity and so on. To this day Chinese still call themselves the heirs of the dragon, which shows that the dragon is not only a national symbol in China, but also a spiritual one. Henan is known as the hometown of dragons, and archaeologists have found a large number of dragon-shaped artifacts in Henan, the most famous being the Puyang "Benglong" (6400 years ago), which is known as the "first dragon in China". Turquoise dragon-shaped artifacts dating back 3,700 years were also found at the Erlitou site, which is known as the "Chinese dragon". During the Western Zhou Dynasty, Pingdingshan, Henan province was the fiefdom of the Marquis of the King of Wu, and Ying State took the eagle as the totem, so Pingdingshan City was also known as Eagle City.(曲） The pottery of Erlitou culture is mainly gray pottery. The shallow scratches include dragon patterns, snake patterns, fish patterns, tadpole patterns, animal surface patterns and human-shaped patterns, other patterns like clouds and thunder patterns, circle patterns and petal patterns.

2.3 Ideological Culture During the Spring and Autumn Warring States Period, princes competed for hegemony in the Central Plain, which promoted the emergence and development of the thoughts of hundreds of thought. Confucius was the founder of Confucianism. His lectures, lobbying and other activities are mainly carried out in the Central Plain. Song agency was founded by the brothers Cheng Hao and Cheng Yi, who pushed Confucianism to a new level. Taoism's thought of innocence, Mohism's thought of "universal love, non-offensive" were all formed in the Central Plain. 2.4 Chinese Character Culture Chinese characters are one of the oldest characters in the world, and the important nodes of their creation and development were completed in the Central Plain. It was first written by Cangjie during the Yellow Emperor period, and now the Cangjie relics are found in Nanle, Yucheng, and Kaifeng, Henan Province. Oracle found in Anyang, Henan Province is the earliest systematic script found in China and has important research value. Li Si (Shangcai, Henan) in the Qin Dynasty helped Qin Shihuang to complete the important tasks of "same script" and created small seal fonts, which was the first national standardized font in Chinese history. Xu Shen (a native of Luohe, Henan) wrote the world's first dictionary, Shuowen Jiezi, and systematically introduced the six writing rules of Chinese characters. The world-famous movable type printing originated in Henan. The computer font "Song Style Character" we are now using is said to have been created by Qin Hui in Kaifeng, Henan. The five-stroke font input method was invented by Wang Yongmin from Henan Province. To a certain extent, the development history of Chinese characters in the Central Plain is a history of the development of Chinese characters. 2.5 Science and Technology Culture Science and technology culture. In ancient times, the Central Plain was the center of development of science and technology in China. It is said that the Yellow Emperor's concubine Leizu invented the method of planting mulberry and raising silkworms, and now Xiping, Henan Province, was named the Township of Leizu Culture in China. The Houmuwu Tripod excavated in Anyang, Henan Province, and the Lotus and Crane Square Hu excavated in Xinzheng, Henan Province, represent the most advanced bronze smelting technology of the time. The compass, paper-making and gunpowder, among the four great inventions of China, all originated in Henan. The earliest form of compass was Sinan, and the earliest spoon diagram of Sinan was unearthed in Nanyang, Henan; the earliest use of gunpowder for military practice also occurred in the Central Plain during the Han and Tang dynasties; Cai Lun invented paper-making method in Luoyang in the Eastern Han Dynasty. The stargazing platform in Dengfeng, Henan, and the Zhougong Scenic Observatory are the oldest existing astronomical structures. In the Tang dynasty, the idea of "stars on their own" was first proposed by Monk Yixing (a native of Nanle, Henan), more than 1,000 years before British astronomers made a similar claim. 2.6 Art Culture

 In terms of music, the Central Plain is one of the three major cradles of Chinese music culture. The Jiahu Bone Flute, unearthed in Wuyang, Henan Province, is known as the "First Chinese Flute" and is the earliest musical instrument found in China, dating from 9,000 to 7,700 years ago. In this area，Ge Tian's music of the ancient tribe, the music and dance "Da Xia" of the Xia Dynasty, Shennong piano making, the rock of the Shang Dynasty, and the songs and dances of the Shang and Zhou Dynasties were generated.  In the archaeological activities in Henan Province, portrait bricks engraved with bell and flute and drum bands, as well as a large number of musical materials in the Song and Yuan Dynasties, reflecting the continuous inheritance and development of the music culture of the Central Plain.
  In terms of drama, Youling, the predecessor of Chinese opera, appeared in the Xia Dynasty, and Nuoyi( 傩仪） existed on a large scale in the Shang and Zhou dynasties. During the Han, Sui and Tang Dynasties, Luoyang, Henan Province was the active center of acrobatics or Baixi(百戏）; Kaifeng, Henan Province, was the birthplace of Song operas; Henan opera ranked first among various local operas in China, and it is still inherited and innovated constantly on a large scale so far. 

In terms of painting, the painting art of the Central Plain began in the Neolithic Age, and a large number of valuable murals, silk paintings, stone portraits, etc. have been excavated in the historical sites of the Central Plain. During the Northern Song Dynasty, the painting level in the Central Area had reached the peak of the whole country, and the most famous work was the Riverside Scene at Qingming Festival based on Bianliang (now Kaifeng, Henan). 2.7 Poetry Culture The Central Plain is the birthplace of Chinese literature. Among the 15-nation style of The Book of Songs-China’s first collection of poems, the eight national styles come from the Central Plain, accounting for more than half of the total. During the Eastern Zhou Dynasty, Luoyang historians sorted out the earliest collection of prose in China-The Book of Documents. During the Han and Wei Dynasties, there was a saying that "half articles in the Han and Wei dynasties originated in Luoyang”. and the poetic style of Cao’s family(Jian’an Fenggu) was also born in the Central Plain. During the Western Jin Dynasty, Zuo Si's "Ode to the Three Capitals" handed down the good story of "Luoyang paper is expensive". Among the more than 2,000 poets in the Tang Dynasty who left their names, Henan people accounted for one fifth. 2.8 Martial Arts/Wushu Shaolin Temple, Dengfeng, Henan Province, is now a famous cultural brand in Henan, and Shaolin Kung Fu is even more famous all over the world. Chen's Taijiquan in Jiaozuo, Henan Province is an important part of Taijiquan in China, also well-known in the world at present. To study Chinese martial arts culture, we must study the martial arts of the Central Plain, because the Central Plains gave birth to two famous boxing species in the world, namely Songshan Shaolinquan, Chen's Taijiquan in Wen County, and the Xijia Boxing and "Zhongqi Boxing" founded by Nai Zhou during the Kang and Qian period，which are the treasures of the Central Plain martial arts culture. When people talk about Kung Fu, they often say that "the world's Kung Fu comes out of Shaolin"; when people compete with martial arts friends in a mild manner, Chen’s Taichiquan is also naturally talked about. Chinese Wushu pays attention to "Qigong", and an important work that systematically discusses Wushu Qigong is the "Zhongqi Theory" written by Pei Naizhou, a priest of Rongyin, which is also the essence of Chinese Wushu culture. Wushu in the Central Plain has a long history, rich culture, profound connotation, and profoundness and breadth, which is a valuable cultural heritage constantly accumulated and developed by the people of the Central Plain in their long-term life and practice. According to the statistics of the "Chinese Wushu Atlas", there are 129 martial arts styles in China. A few were initially formed as a system before the Qing Dynasty, and most of them were formally formed in the Qing Dynasty. The different schools of Chinese martial arts are mostly based on the regional culture, and are bred from the regional culture. "The origin is orderly, the boxing principle is clear, the style is unique, and it is a self-contained system." Among the many schools of Chinese martial arts, there are more than 40 types of boxing that have been formed and popular in Henan Province. Although regional culture is a cultural type marked by geography, its formation and development are inseparable from the historical environment and cultural context. Central Plain martial arts is a characteristic cultural form that grows in the vast Central Plain. In the process of its development, it has been deeply influenced by political, economic, military, scientific and technological, educational, cultural, artistic, folklore and other factors in different periods in the Central Plain, and has gradually formed, completed and improved in these specific historical and cultural atmospheres. Today, the martial arts culture has been listed as an intangible cultural heritage, which has attracted more and more people's attention and preference. Shaolin Kung Fu and Taijiquan have been included in the first batch of intangible cultural heritage lists in the country, and have been further disseminated and promoted. The Central Plain Wushu integrates into Chinese traditional culture, so that it not only has a profound cultural heritage, but also has the distinctive characteristics of devine skills, magical and wonderful. It enriches the connotation of Chinese martial arts culture, enhances some qualities of Chinese martial arts culture, and sublimates the humanistic spirit of Chinese martial arts culture, as well as owns a higher level and taste of cultural spiritual realm, which is the reason why the general public and international friends love and learn the Central Plain Wushu.

2.9 Medical Culture In terms of medicine, Yellow Emperor is recognized as the inventor of traditional Chinese medicine, and the Inner Canon of Huangdi （黄帝内经）plays an important role in the history and development of traditional medicine. The Central Plain brings together many masters of traditional Chinese medicine and giants of traditional Chinese medicine. The Theory of Typhoid and Miscellaneous Diseases (伤寒杂病论）written by Zhang Zhongjing (now from Dengzhou, Henan) is still one of the main basic courses offered by domestic traditional Chinese medical colleges.

 The Yellow Emperor's Internal Classic: The publication of the Inner Canon of Huangdi during the Spring and Autumn Period and the Warring States Period marked the formation of the theoretical system of acupuncture and moxibustion，which is the first summary of acupuncture academics in history. Most contemporary researchers of the Inner Canon of Huangdi believe that the this masterpiece was written in the Central Plain. The theoretical system of acupuncture and moxibustion formed in the Central Plain directly guided the academic innovation and development of later generations.

For example, the second comprehensive summary of acupuncture and moxibustion is "Acupuncture and Moxibustion Jia and Yi Classic" (written by Huangfu Mi of Jin Dynasty) and the third "Complete of Acupuncture and Moxibustion" (written by Yang Jizhou of Ming Dynasty), both of which are based on the Inner Canon of Huangdi to compile. Zhang Zhongjing’s The Theory of Typhoid and Miscellaneous Diseases: The medical saint Zhang Zhongjing (Nanyang native in Henan province) founded the six classics dialectics. In this book, he not only left many effective classic prescriptions for later generations, but also advocated the combination of acupuncture and medicine, as well as proposed acupuncture, moxibustion, smoking, burning acupuncture, and warming acupuncture, which had a significant impact on later generations of physicians. Cui Zhiti and "Moxibustion Prescriptions for Bone Steaming Diseases": Cui Zhiti (615-685), a medical scientist in the Tang Dynasty, was born in Yanling (now under the jurisdiction of Henan). Good at moxibustion bone steaming method. In this book, the method of selecting "Sihua Points" is described in detail and the map of acupoint selection is attached，which was adopted by later doctors to treat this series of disease. There are different acupuncture and moxibustion treatment methods in most of his works. He also compiled the book of "Moxibustion Method for Hemorrhoid". Wang Huaiyin and "Taiping Shenghui Prescription": Wang Huaiyin, a medical scientist in Song Dynasty, was born in Juyang, Songzhou (now Shangqiu, Henan). In 992 AD, he and other physicians compiled 100 volumes of "Taiping Shenghui Prescription", which contained a large number of acupuncture and moxibustion contents, mainly concentrated in volumes 99 and 100. Volume 99 is The Classic of Acupuncture and Moxibustion, Volume 100 is The Classic of Moxibustion (also known as the Classic of Moxibustion in Mingtang). Zhang Congzheng: Zhang Congzheng (about 1156 to 1228), one of the four great masters of Jin and Yuan Dynasty, was born in Kaocheng (now Lankao County or Minquan County in Henan Province). In addition to using drugs to treat diseases, Zhang was also good at acupuncture, Bianstone shooting, fumigation, ironing, massage, guidance, qigong and other treatment methods. He is especially good at piercing the collaterals and draining blood, which highlights the application of the ideas of "breaking down" and "removing evil" in acupuncture. Zhang's bloodletting method had a great influence on later generations, who was an outstanding physician daring to innovate and he was also a master of the Gengxia School, who had made outstanding contributions to the development of traditional Chinese medicine. The above shows that many traditional Chinese medicine technologies originated in the Central Plain. Many physicians in this region have written a large number of acupuncture works, which had played an important role in the development of acupuncture academics and made important contributions to the development of Chinese medicine and world medicine.

(10) Food Culture

In terms of diet, Henan cuisine is the oldest cuisine in China. It began in Xia and Shang Dynasties and was designated as a national banquet dish in the early days of the founding of the People's Republic of China.

The book "Exploring Henan", edited by Wang Ying and published by Beijing Publishing House, uses a variety of pictures to present a food map with unique Henan characteristics for readers from the perspective of sightseeing and tourism，combines Henan's tourist attractions with the specialties of various regions, and vividly displays Henan's local food culture. The book "Exploring Henan" consists of eight parts. The first part takes Zhengzhou, the capital city of Henan Province, as the introduction object. On the basis of studying Zhengzhou's geographical location and customs, it makes a comprehensive discussion from five aspects: eating, housing, transportation, play and shopping, focusing on Zhengzhou’s local cuisine, such as stewed noodles, mutton soup, jar meat, etc., which fully highlights Zhengzhou's Regional characteristics; the second part transitions to Kaifeng, a neighboring city in Zhengzhou. Kaifeng not only has a long history and civilization, but also has a strong and distinctive food culture, such as soup dumplings, pot stickers tofu and lotus cakes； the third part expounds the peony city - Luoyang, whether it is pulp noodles, even soup slices or Horseshoe Street’s wontons, they fully demonstrate the gourmet characteristics of “soaked in soup and water" in Luoyang area; the fourth part focuses on the introduction of Laozi's hometown, Zhoukou city, where the main delicacies include Xiaoyao Town Hu maeuntang soup, Baiji steamed bun and grainsed fish; the fifth part shows the food culture from the perspective of Shangqiu City in eastern Henan, introducing delicacies such as water-flavored buns, white sugar fermented bean curd and whistle soup; the sixth part is the city of Jiaozuo located at the foot of Taihang Mountain, whose donkey soup is a masterpiece of Jiaozuo cuisine. the last two parts respectively introduce Nanyang and Xinyang, two water-adjacent cities, including Nanyang delicacies such as Wozi noodles, steamed vegetables and Jiangmi lotus, as well as Xinyang delicacies such as stuffed pot meat and beef tripe.

Main Characters of Central Plain Culture

3.1The Root of Chinese Culture

The history of the Central Plains has a long history, running through the formation and development of the entire Chinese nation, which is long and lasting. From the beginning of the Three Sovereigns and Five Emperors, Chinese civilization began to sprout in the Central Plain. The root can be traced back to the period before the Yellow Emperor. It is said that the Central Plain first belonged to the Shennong (also known as Emperor Yan) tribe, who tasted all kinds of herbs and started farming. It is said that Fuxi, the ancestor of China, first established his capital in the Central Plain, today, there are still Fuxi Taihao Mausoleum ruins in Huaiyang, Zhoukou, and activities to commemorate him, such as the "Human Zuhui" on February 2, which shows the deep and broad inheritance of Fuxi culture. However, what is more well-known to the public is the Huangdi of the Xuanyuan clan after Shennong and Fuxi, whose capital was built in Youxiong (now Xinzheng, Henan). For the first time, the Yellow Emperor ruled the world, and the Central Plain area became the political center at that time. In historical research, people generally agree that the creation of writing, silkworm farming, boats, medicine, rhythm, arithmetic, and technology all began in the period of the Yellow Emperor. The influence of the Yellow Emperor culture on the Chinese nation is very far-reaching, even up to now, all the Chinese, especially overseas Chinese, still calls themselves "the descendants of Yan and Huang". After Xuanyuan Yellow Emperor Period, the rule of Zhuanxu (颛顼）and Diku（帝喾） among the five emperors was also concentrated in the Central Plain. Now there are two emperors' mausoleums in Anyang Neihuang（内黄）, which are the legendary tombs of Zhuanxu and Diku. In terms of archaeology, a large number of early human civilization cultural sites such as Peiligang Culture（裴李岗文化）, Yangshao Culture（仰韶文化）, Longshan Culture （龙山文化）and Erlitou Culture（二里头文化） have been found in Henan . It can be said that the civilization of the Chinese nation began and originated in the Central Plain. No matter from myths and legends or from archaeological achievements, the Central Plains culture is in a position of origin and matrix in the Chinese civilization system. 3.2The Inclusiveness of the Culture The Central Plain is located in a vast area, which is fertile and suitable for human beings to live for a long time. The Central Plains had long been in the political and economic center of the Chinese nation in Chinese ancient times, therefore, the area once became a key place for rebel fighters. As the old saying goes, "Whoever wins the Central Plains wins the world”. Many famous battles in history took place in the Central Plain, which also promoted the integration of all ethnic groups in China to some extent. In a series of political, economic and cultural exchanges such as war, alliance, migration and exchanges, the Central Plain culture has shown a trend of inclusiveness. After the cultural collision of various ethnic groups, the Central Plain culture has been absorbing the excellent parts of other cultures and continuously integrating and developing. At the same time, it has covered widely, that is, the boundary between two cultures is not obvious, and various cultures are often intertwined and dependent on each other, which makes the Central Plain culture a whole and integrated into the daily life of all walks of life. This kind of cultural sharing has enhanced the Chinese nation’s high sense of identity with the Central Plain culture. The tolerance and coverage of Central Plain culture has given itself a strong vitality, so that the culture can continue to develop and last for a long time in the long river of history.

Conclusion

Henan has a long history and rich culture. As an important birthplace of the Chinese nation and Chinese civilization, Henan had once been the political, economic and cultural center of the country for three thousand years out of the five thousand years of Chinese civilization history. There is a saying in historical circles: Shanghai represents the past 100 years in China, Beijing represents 1000 years, Shaanxi 3000 years, and Henan 5,000 years. For the Central Plain culture to occupy such an important position in Chinese culture, it must be inseparable from its rich and profound cultural heritage.

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Terms and Expressions

Confucianism:儒家 Taoism：道家 Mohism：墨家 Peiligang culture：裴李岗文化 Yangshao culture：仰韶文化 Longshan culture：龙山文化 Erlitou culture ：二里头文化 the Book of Songs：《诗经》 the Analects of Confucius：《论语》 the Classic of Mountains and Seas：《山海经》 Puyang：濮阳 Cheng Hao and Cheng Yi：程灏，程颐 "universal love, non-offensive”：兼爱非攻 Cangjie：仓颉 Oracle：甲骨文 Li Si ：李斯 Xu Shen：许慎 Shuowen Jiezi：《说文解字》 Song Style Character：宋体字 Houmuwu Tripod：后母戊鼎 Lotus and Crane Square Hu： 鹤莲方壶 Sinan：司南 Cai Lun ：蔡伦 Jiahu Bone Flute：贾湖骨笛 Wuyang：舞阳 Shennong：神农 Henan opera：豫剧 Nuoyi：傩仪 the Riverside Scene at Qingming Festival ：《清明上河图》 poetic style of Cao’s family(Jian’an Fenggu)：建安风骨 Zuo Si：左思 Ode to the Three Capitals：《三都赋》 Shaolin Temple：少林寺 Dengfeng：登封 Taijiquan：太极拳 Kung Fu：功夫 Qigong：气功 Yellow Emperor：黄帝 the Inner Canon of Huangdi ：黄帝内经 Zhang Zhongjing：张仲景 The Theory of Typhoid and Miscellaneous Diseases ：伤寒杂病论 acupuncture and moxibustion：针灸 stewed noodles：烩面 mutton soup：羊肉汤 jar meat：罐子肉 soup dumplings：灌汤包 pot stickers tofu ：锅贴豆腐 lotus cakes：莲花酥 Zhoukou ：周口 Xiaoyao Town Hu maeuntang soup：逍遥镇胡辣汤 Baiji steamed bun ：白吉馍 grainsed fish： 糟鱼 Jiaozuo ：焦作 Taihang Mountain：太行山 donkey soup：驴肉汤 Zhuanxu ：颛顼 Diku：帝喾 Neihuang：内黄

Questions

1.What are the most representative martial arts in China? 2.Please list the prehistoric cultures in Central Plain. 3.Give the most notable medical works generated in China Central Plain.

Answers

1.Shaolin Kung Fu in Songshan Mountain and Chen’s Taichiquan in Wen County. 2.Peiligang, Yangshao, Longshan and Erlitou culture 3.The Inner Canon of Huangdi written by Yellow Emperor and The Theory of Typhoid and Miscellaneous Diseases written by Zhang Zhongjing

英语笔译 邓阳林 Deng Yanglin 202170081567

A type of verse popular in the Yuan Dynasty Deng Yanglin

Abstract

Yuan Qu is a literary form prevailing in the Yuan Dynasty, the wisdom of the Yuan scholars, including Zaju and Sanqu, and sometimes it specially refers to Zaju. It embodies unique characteristics in ideological content and artistic achievement and owns a status as important as that of the Tang poetry and Song poem.The three kinds of literatures have become three important milestones in the history of Chinese literature. Generally speaking, the objects depicted and written in Yuan Opera are not limited to beauty, ugliness, elegance and vulgarity and it shows a rich and broad expressive force. Different from Tang poetry and Song poem, Yuan Qu revealed the profound reality of the time in an alternative way, including extensive subjects, plain words, lively forms, fresh styles, vivid description, and changeable techniques. It often describes revolting against the political dictatorship, scolding the dark fighting glory of the society, and is full of the mood of resistance. This paper mainly consists of six parts including introduction, literature review, methods and theories, text and conclusion, aiming at introducing the development process, social value and artistic value of Yuan Qu, so as to gain insight into the social status quo and folk suffering at that time.

Key words

Yuan Qu；the Yuan Dynasty; Guan Hanqing; Zheng Guangzu; Bai Pu

Introduction

After Tang poetry and Song ci, Yuan Qu, which is a flourishing literature, has its unique charm. On the one hand, Yuan Qu inherits the elegant and graceful poetry. On the one hand, the society of the Yuan Dynasty placed the scholars in the position of "eight prostitutes, nine scholars and ten beggars", political monopoly and social darkness, which made the Yuan Song radiate the brilliance of fighting and showed the mood of resistance. The sharp point is directed at social malpractice, the society in which "people who do not read are the best, those who do not read are the best, and those who do not know things boast of their beauty", and the world in which "people are ashamed of their lives and do not see money". The works describing love in the Yuan Dynasty are also more aggressive and bold than the poems of the past dynasties. All these are enough to keep its artistic charm forever. The rise of Yuanqu had a profound influence on the Chinese national poetry development, cultural prosperity and outstanding contributions. As other art flower, it is not only a scholar xu chi lines as handy tool, but also to reflect the yuan dynasty social life provides the people happy new art form it arises immediately showed exuberant vitality. This thesis aims to study the four masters Guan Hanqing of Yuan Qu; Ma Zhiyuan; Zheng Guangzu; Bai Pu and his works to understand the development of Yuan Qu, so that readers can have a general understanding of the rise and fall of Yuan Qu, so that the unique artistic characteristics of Yuan Qu for the world to understand.

Literature Review

Pan Chaoqing and Tu Ping pointed out in On the Inheritance and Development of Yuan Opera to The Humorous Culture of Song Dynasty that Yuan Zaju inherited and developed the basic form of Song Zaju, developed into a relatively complete drama structure, and performed a variety of drama styles. Is different from other art forms, the key is rooted in drama guan mu structure of internal texture, the drama structure has been mature art form, will not easily change by conversion of aesthetic fashion, but also as a comic effect the structure of the fragment, as well as the flexibility to thrust in the drama structure, and can be organically integrated into the drama, As a plot factor to show conflicts and shape characters, the widely used "three branches of law" and the "teasing" mode of two people are typical representatives.

In the Development Background of Yuan Opera and its Special Language Phenomenon, Wang Qinghua points out that Yuan Opera is mainly composed of miscellaneous songs of Yuan Dynasty, supplemented by sanqu, which is the inevitable result of its rich and complicated language for the audience of all levels. When we appreciate yuan qu, we should not only understand the background of its language formation, but also pay attention to the regional dialects, common falsities and common features, which are of great benefit to us to appreciate yuan literary works better.

Li Sheng pointed out in The Development of Opera Criticism from the Evolution of the Four Masters of Yuan Opera that Strictly speaking, the so-called "four masters of Yuan Opera" are the "Guan, Zheng, Bai and Ma" four people assessed by yuan People. Their arrangement order is influenced by the drama theory of each era and their position changes, from which we can also see the development of drama theory. Generally speaking, it has experienced the smooth development of the heavy tone and rhyme. To stress the standard of melody and lyrics of the emotional "nature", and finally to pay attention to the script writing such a process. Today we look at the "four everybody", natural need not limited to, zheng, white and Ma Siren, Mr Tan Zhengbi wrote the biography of yuanqu six people slightly, he will be wang shifu and georgie also included, reflecting the view of his opera, but we don't need to in the "four everybody" wenxuan, but from another Angle to look at it, There must be something else in it.

Methods and Theories

This paper adopts the method of literature research.It mainly refers to the method of collecting, identifying and sorting out literature, and forming a scientific understanding of facts through literature research. Literature method is an old and vigorous scientific research method. General process The general process of literature method includes five basic steps, which are: putting forward a topic or hypothesis, research design, collecting literature, sorting out literature and conducting literature review. The proposed topic or hypothesis of literature method refers to the idea of analyzing and sorting or reclassifying relevant literature according to existing theories, facts and needs. The first step in research design is to establish research objectives. Research objectives are designed into specific, operable and repeatable literature research activities based on the subject or hypothesis in an operable definition, which can solve special problems and have certain significance. The main advantages (1) The literature method transcends the limitation of time and space, and can study a wide range of social situations through the investigation of ancient and modern Chinese and foreign literatures. This advantage is not possible with other survey methods. (2) The literature method is mainly written survey. If the literature collected is real, it can obtain more accurate and reliable information than oral survey. Avoid all kinds of recording errors that may occur in oral investigation. (3) Literature method is an indirect and non-interventional survey. It only investigates and studies various literatures without contacting the respondents or intervening in any reaction of the respondents. This avoids all kinds of reactive errors that may occur during the interaction between the surveyors and the respondents in the direct survey. (4) Literature method is a very convenient, free and safe survey method. Literature investigation is less restricted by the outside world, so as long as the necessary literature is found, research can be carried out anytime and anywhere; Even if there is a mistake, it can be remedied through re-study, so its safety factor is high. (5) Document method saves time, money and high efficiency. Literature survey is based on the achievements of predecessors and others, which is a shortcut to acquire knowledge. It does not require a large number of researchers or special equipment, and can obtain more information than other survey methods with less manpower, money and time. Therefore, it is an efficient survey method.

Zheng Guangzu and Yuan Qu

Zheng Guangzu was born in the early years of the Yuan Dynasty (1264 AD). His courtesy name was Dehui, han nationality, and he was a famous composer of zaju and sanqu in the Yuan Dynasty. He lived in Xiangling, Pingyang (xiangfen County, Linfen City, Shanxi Province today). We know from zhong Sicheng's Book recording Ghosts, a drama writer of the same period as Zheng Guangzu, that he studied Confucianism as his career in his early years, and later was appointed as an official of Hangzhou Road, so he lived in the south. He was "upright" and not good at communicating with officials, so they looked down on him. As you can imagine, his official life is very difficult. The beautiful scenery of Hangzhou and its clever singing girls constantly aroused his feelings. Zheng Guangzu was engaged in the creation of zaju all his life and devoted all his talents to this folk art, enjoying a high reputation in the art circle at that time. Lingling people all respected him as Mr. Zheng, his works through the dissemination of many Lingling people, had a wide influence in the people. He had a close relationship with the Lingren in Suzhou and Hangzhou. After his death, he was cremated by lingyin Temple in Hangzhou. Zheng Guangzu, one of the "four masters of Yuan Opera", was deeply influenced by Wang Shifu for his plays depicting the love lives of men and women. Its " Mei Xiang cheated the Hanlin Fengyue" and "fan Qingsuqian Girl left the Soul" two works are obviously influenced by "Romance of the Western chamber", but the achievements are different. " Mei Xiang" can be called the failure of The Yuan Song, and "A Beautiful Girl Leaving her Soul" is a masterpiece. There are various reasons for this phenomenon, but one of the important reasons is that the author adopted two different attitudes when learning and inheriting the Romance of the Western Chamber: imitation and innovation. "Innovation is the soul of a nation's progress and an inexhaustible driving force for its prosperity... Innovation requires constant emancipation of the mind, seeking truth from facts and advancing with The Times." Therefore, we can also deduce that only innovation can literary works have the development of inheritance in the real sense. " Mei Xiang" in "set number, appearance, all ritual" West Wing ", predecessors make this evaluation is too strict, but basically in line with the reality. Because it does too much imitation of the "Romance of the Western Chamber" traces, and finally annihilated in the full bloom of the Yuan Qu garden. In contrast, the author of "A Beautiful Girl Leaving her Soul" is not satisfied with the existing achievements of "Romance of the Western Chamber", but made some new development and development to it, thus achieving the brilliant author and work.

Guang Hanqin and Yuan Qu

Guan Hanqing (about 1234 - 1300), original name unknown, word Han Qing, name Yizhai (also known as Yizhai, Yizhai Sou), Han nationality, jiezhou (now Yuncheng, Shanxi Province), also born in Dadu (now Beijing)and Qi Zhou (now Anguo, Hebei Province), etc. [6] Founder of Yuan Zaju, Together with Bai Pu, Ma Zhiyuan and Zheng Guangzu, guan Hanqing is the first of the four masters of Yuan Qu. His life was rich in drama. There are more than sixty plays, most of them lost. His drama, tragedy, comedy, broad themes, deeply exposed the dark and decadent social reality of the Yuan Dynasty. His works "Dou E Yuan", "Save the Wind", "Wangjiang Pavilion", "Lu Zhailang" and "Shan Dao Hui" are all popular works. His "grows DouE case" is the best the most glorious yuan drama script, it is an outrage to the rulers of the yuan dynasty a campaign by the tragedy of the pure, good DouE, revealed the social usury exploitation, bullies, wandered and yuan dynasty official graft, proposes the crimes, tackling a social chaos of the yuan dynasty, the ugly nature of malformation and eat people. In the long-term creation practice, he has formed a profound theme, rigorous structure, lively and vivid image, sharp language simple zaju characteristics. He is a writer with the most works and the greatest achievements in the history of Chinese drama.

Ma Zhiyuan and Yuan Qu

Ma Zhiyuan (c. 1250 -- 1321 -- autumn 1324), also known as Dongli, was a writer of opera, sanqu and essayist in the Yuan Dynasty. And Guan Hanqing, Zheng Guangzu, Bai Pu said the "Four masters of Yuan Qu". Ma Zhiyuan was born in a rich and have the family of literacy, keen to obtain fame when he was young, once seemed to prince borjigin, real gold sing and so was the officer, probably due to the death of borjigin, real gold after towns in jiangsu and zhejiang provinces services officer, yuan zhen years after early early (1295-1297) participated in the "yuan zhen book will", later lived in hangzhou, He died in the first year of Zhi zhi (1321) to the first year of Taiding (1324). In the aspect of opera creation, Ma Zhiyuan experienced the transformation from Confucianism to Taoism in music thought. In the creation of sanqu, he has the characteristics of rich and profound thought content and superb artistic skills, and in the creation of zaju, he has the tendency of sanqu and the beauty of the combination of virtual and reality. Ma Zhiyuan received Confucian education from his childhood. He was full of poetry and books, studied the six arts, followed the rites and music, and had a special liking for the art of guqin. The Confucian rites and music thought played a major role in his early musical life. After middle age, with the change of his political career, Ma Zhiyuan's music thought underwent a transformation from Confucianism to Taoism. At that time, Ma Zhiyuan specialized in the creation of zaju and sanqu, whether it is to express feelings and lament the world sanqu, or the fairy Taoist zaju, reveal the obvious Taoist thoughts. Confucian thought of rites and music

Scholars and literati in the feudal society learned the six arts from their childhood, and paid attention to the shaping of people by rites and music, that is, "flourishing in poetry, standing in rites, becoming and music" (" The Analects of Confucius · Taibo "), so as to cultivate their morality and cultivate their temperament, so as to prepare for the future "learning the arts of literature and martial arts, and being a good emperor" (" Pang Juan night walking maling Road "). Like many ancient scholars, Ma Zhiyuan received Confucian education at an early age and abided by Confucian ritual and music culture. He "lived up to his dreams at night and respected his teachers" and "buried himself in poetic rites and pottery feelings" (" Happy Spring Comes · Six Arts · Ritual "), but he had his own understanding of some problems in Confucian ritual and music culture. In terms of The Times, these understandings have a certain progressive significance, which is mainly reflected as follows:

① As for the influence of "Qin Music" on people, literatures such as Zuo Zhuan and Bai Hu Tong argue that "Qin music" can enlighten people's mind by regulating their morality, while fu Qin can enlighten people, but restrict the artistic and aesthetic function of guqin. As a traditional literati, Ma Zhiyuan respected and loved guqin and believed that music had the role of cultivating emotions, regulating moods and relieving depression, which was more comprehensive than Confucianism's emphasis on guqin ritual and music restraint, which was more in line with the characteristics of "guqin music" art and had certain significance. ② As for the influence of music on politics, as early as in ancient times, there was a saying of "the voice of subjugations". However, Ma Zhiyuan realized that music itself was not the bane of the country, but because the emperor was addicted to music and ignored government affairs, it would delay government affairs and lead to the country's demise. That is, the rise and fall of the feudal dynasty is mainly determined by personnel, not music itself.

Taoist thought of retreat Like many scholars, in the case of full of scriptures without serve, Ma Zhiyuan to born road, specializing in opera creation, in drunk, the piano to express their own feelings and ambitions, the creation of lines as sigh the sanqu and immortal, tao in the drama reveals obvious Taoist thoughts, he prowled the of Confucianism. Its main performance is:

(1) In the suite "Happy Spring come · Six Arts", Ma Zhiyuan thinks that since the "long-cherished night and sleep" to comply with the ethics still did not get the desired success and fame, it is better to break with the world of honor and disgrace, even if only get a "wave name"; At the same time, Ma Zhiyuan repositioned the role of "rites", that "body latent poem rites" can be tao sentiment, and yearning for peng Ying, drunk life.

(2) in the suites, four pieces of jade, sigh the Ma Zhiyuan described himself to the change in temperature of disappointment and desire to escape from this world, reveal their searches and riches and honour after middle age to the life, view of music: "stay away from dust dry zhangs wave, big to carefree happy", and "fight for fame and wealth, riches and honour, is crazy", and "in the life all MoGang, at any time sent Sue gave birth to the". At the same time, in the disillusionment again and again, Ma Zhiyuan in his later years to live in seclusion, shengxian tao interest, thus creating a lot of fairy drama. Deeply influenced by Quanzhen Religion, his plays of immortals and Taoism often show his determination to convert to religion and his pure and distant music creation thoughts.

Creation of the genre The ideological content is rich and profound

Ma Zhiyuan's thought of sanqu is rich in content, involving the themes of chanting history, sighing the world, retreat, boudoir and narration in the Yuan Sanqu, and each of his achievements has expanded the theme range of sanqu. Its main performance is:

(1) In his works, Ma Zhiyuan expressed his views on life, reality and history by evaluating the achievements and losses of the ancients, and repinned his mind. He paid more attention to the value of life, and returned to nature.

(2) About half of ma Zhiyuan's extant sanqu is a sigh for the world to return to work, these works set Ma Zhiyuan unrecognized lonely anger, unfulfilled ambitions of the sad, detached from the unrestrained in a body, full of generous and carefree feelings, a profound reflection of the social reality at that time.

(3) Ma Zhiyuan's boudoir song mostly write men and women's love, acacia separation of the bitter, think women complain women's aspirations, performance think women, lovers sincere feelings and the pursuit of happiness wishes, write deep, meticulous, vivid, vivid and no powder gas, no vulgar frivolous language. For example: "After parting, no one can hear from you. Every one I see, every one I see, because THEY say, 'If I do not believe you, your ears are not hot.'" Use shallow, instinctive color to be like the language of spoken language to apply colours to a drawing strongly to come out, it is no longer the sad wan of meek, lament, reflected the hero to love bold force beg, give a person with happy wet feeling, show the loyalty that pursues to love and affection.

In the creation of narrative long set, Ma Zhiyuan to text as music, the structure of prose magnificent into the song, such as the Yangtze River flowing thousands of miles, there are "Play a child · Borrow a horse", "Shao Biao · Zhang Yuyan cursive", "a flower · Chant Zhuangzong pleasure" and "collection of sages bin · Thinking" and other narrative long set of masterpieces. In these works, Ma Zhiyuan or outline the character's character characteristics, or describe the character's mood and situation, shaped a very vivid character image: love horse as life of the horse master, open mind Of Zhang Yuyan, only know to treat the pear garden zhang Yue Fu after the Tang Zhuang Zong, Jinshan Temple inscription of su Xiaoqing.

The artistry is highly accomplished Ma Zhiyuan makes the song exquisite art, long in the psychological description, is good at using a variety of rhetoric, to achieve a high artistic realm, the language of sanqu is clear and natural, the characters are lifely. full of painting and style elegant, unrestrained, old and spicy, pure Juan, artistic conception, improve the artistic conception of sanqu. Its main performance is:

① There are paintings in the song. Ma Zhiyuan gives full play to the richness and freedom of sanqu language, and gives subtle and vivid descriptions of color, form and state of things, arousing readers' association and imagination, and forming a vivid picture. Ma Zhiyuan, on the one hand, to seize the main characteristics of the things, not do XiSuo describe when pictorial synthesis, but subtly capture the most striking a and spectacular moment, put scenery neatly in a picture in the space, make the music scene with the layers, strewn at random, to highlight the rendering, like a picture show in the sight of the reader, and leave sufficient imaginary space to the readers. On the other hand, Ma Zhiyuan makes use of extensive use of luxuriousness in sensory language -- according to incomplete statistics, there are nearly 100 words of color in Ma Zhiyuan's sans-music. Some of his works have five or six or even more than ten words of color in just a few dozen words. The use of these words makes Ma Zhiyuan's sanqu more vivid, more bright, more picturesque, and can also trigger readers' association.

② Colorful language. On the one hand, Ma Zhiyuan often uses very popular and clear spoken language in sanqu, and rarely uses rare characters. The language of Sanqu is full of distinct personality in accordance with the specific situation of his works, and presents different styles in different themes, with the characteristics of swaying and colorful, gorgeous and matchless. On the other hand, Ma Zhiyuan is also good at the former verse for his own use, easy to use, like inadvertently coincidence, no trace with rich literary talent, elegant and free characteristics. Such as the Tang Dynasty Su flavor "fifteenth night of the first month" in the "fire tree silver, star bridge iron lock open" two sentences into "according to the star bridge fire tree silver" (" Green Brother · December · the first month "); The "gold well under wutong leaf" in Zhang Ji's "Princess Of Chu" in tang Dynasty was transformed into "Gold well carved at the beginning of Wutong Leaf" (" Green Brother · December · July "). In Tang Dynasty Li Bai's "Send congratulatory guests back to Yue", "If mountain Yin Taoist priest meet, should write Huangting in exchange for white goose" was changed into "write Huangting in exchange, Taoist Goose return" (" Whistle Everywhere · Zhang Yuyan cursive ").

The tendency of Sanqu Sanqu and zaju belong to different genres. Sanqu is a lyric poem in which the writer expresses his feelings directly, and the writer can speak freely. Zaju belongs to the drama of spokespersons in nature, and it is the basic requirement to write the characters' personalized language and lyrics. However, Ma Zhiyuan created zaju in the way of sanqu, which made his zaju have lyric poet's way of thinking and writing style under the coat of representative body, showing the tendency of sanqu. Its specific performance is as follows:

① The lyrical poetics of the way of speech. Throughout ma Zhiyuan's existing all drama know, Ma Zhiyuan's drama is not completely spokespersons, in the character of the aspect of extreme indifference, no matter how the identity of the character, its recitals and lyrics of the tone is absolutely different, its feelings are similar -- or express anger, or express the heart of hiding. Such as "the thunder jianfu memorial in the middle of the night," Zhang Gao don't cry of promotion, the west huashan Chen tuan high lie, Chen tuan lines, etc, on the surface is Zhang Gao inconsolable, Chen tuan's escape calm, in fact is Ma Zhiyuan borrow the characters of express their cynical of love and the feeling of death, and its main tendency in the genre, In the way of speech, there is an obvious tendency of sanqu, that is, the tendency of lyric poetry. ② The plot unfolds without drama. Ma Zhiyuan wrote plays in the form of sanqu, plot is not the main aesthetic goal he pursues, so in terms of the requirements of dramatic plot, Ma Zhiyuan's drama has the nature of non-dramatic plot development. First of all, from dramatic action, from conflict, especially the characters inner conflict of will and to achieve attractive drama, also should have concentrated the faltering, tension, features, while the drama Ma Zhiyuan mostly lack of fundamental conflicts, such as "the west huashan Chen tuan high lie," the play throughout the absence of conflict is actually a hypothesis; "Ma Danyang three degrees of any wind child" and "Lv Dongbin three drunk Yue Yang floor" in the conflict, one party is holding a decisive force, the other party is completely in the position of the decision, lack of "put the soul on the fire kao" inner tension. Second, in the development of drama action, character destiny happened sudden turn constitute the plot climax, emotional elicits the most turbulent time constitute the emotional climax, the shorter the distance between them, the stronger the drama inherent drama, the distance is zero can produce the strongest dramatic effect, and the characters in the Ma Zhiyuan drama actions lack of inner logic, After the climax of the plot, a whole fold of the length is used to render feelings, and it is difficult to find a clear climax, but the plot development is subject to the expression of feelings, leading readers and viewers to immerse themselves in the character's feelings and feel the stagnation of action. Finally, to the fourth fold to narrative, Ma Zhiyuan's drama highlights its action of artificial and far-fetched plot, snake feet repeatedly appear but no drama, with an obvious "spent force" problem, such as "Ma Danyang Three times as the Wind child" and "midnight Lei Hujian Fu Tablet" and other dramas, the fourth fold of the narrative is optional. ③ Focus on lyrical self-entertainment. The purpose of drama creation is nothing more than two, one is for entertainment, the other is to have some sustenance. Like the majority of drama writers, Ma Zhiyuan engaged in drama creation is to amuse himself first, entertaining people in the second. Because of their own experience, Ma Zhiyuan on apparent contradictions feeling to the deep, understanding of social problems from anger to negative bishi, therefore in the creation of drama put on their fantastic in the first place, to borrow a drama, reality of the line to amuse themselves, borrow the characters, to convey, experiencing the naivete of the zaju creation motive and leading tendency and description is not, Or to reveal social contradictions and express the sound of injustice; Or the performance of immortal tao, to express the heart of retreat.

The beauty of reality The artistic conception of literary works usually forms a related virtual image in addition to the concrete and tangible real image, so as to produce the artistic effect of complete speech and infinite meaning. In Ma Zhiyuan's drama, the beauty of "the image outside the image" and "the scene outside the scene" comes from the beauty of time and space, the beauty of galloping imagination, and the beauty of peace and dilute. These three kinds of aesthetic feeling are in harmony with each other and form the aesthetic effect of virtual reality in Ma Zhiyuan's drama.

The structure of drama has the beauty of the interlacing of time and space. One of the aesthetic characteristics of traditional opera is the virtual life, which includes the simplicity of stage design rather than heavy work, the performance props are more virtual than real, the characters sing more lyrical rather than narrative. This form of performance determines the characteristics of traditional opera freehand style, that is, simple and indulgent writing to depict the character's charm temperament, although the lack of western drama will be true to life on the stage realism, but increased the sense of space in the stage tense and the depth of the character's emotional diachronic state. This kind of aesthetic feeling is particularly evident in Ma Zhiyuan's dramas with the background of the present world. For example, in "Lonely Wild Goose Han Palace Autumn", the sentence pattern of reciprocating shows the ups and downs of the Emotion of Emperor Yuan of The Han Dynasty, and turns into the lonely figure of Emperor Yuan of the Han Dynasty after Wang Zhaojun left. The second compromise of Jiangzhou Sima Blue Shirt tears gives readers a sense of unpredictable things by describing the time of rapid progress, and conveys the vicissitudes of human feelings particularly clearly.

The figure has the beauty of galloping imagination. In the characterization of Ma Zhiyuan's drama, the characteristics of yuan dynasty painting are vaguely revealed: a vast and profound imagination space is constructed in the straightforward and concise style of writing and ink. Such as in "broken dream gu Yan Han Palace autumn" in shaping wang Zhaojun's image, to set off wang Zhaojun's beauty, wang Zhaojun will be compared to the Emperor of Han dynasty "came to this makeup behind, yuan to broad cold temple Chang e in this month is bright", leave infinite imagination space for readers. In Ma Zhiyuan with mass-tone he prowled the drama, the image of the word and not often virtual to real, more with the lyrics makes the intercourse of mental characters, such as "west huashan Chen tuan high lie" in "crested wild take a Taoist priest, with the wind the bright moon two idle people" will come out of a put in the world, beyond the meta born of the spirit of temperament.

The image selection has the beauty of peace and dilution. In Ma Zhiyuan's drama, the four images of mirror, flower, water and moon often appear in interlacing and uneven contrast, sketching the inner mood of the protagonist with obscure qubi brush, and harmonizing with Ma Zhiyuan's romantic lyrical temperament:

"Mirror" for the beauty of sad and lingering, such as in "broken dream gu Yan Han Palace autumn", After the Emperor of Han Yuan saw off Wang Zhaojun, back to the luan, facing Wang Zhaojun left the object, to think of people, full of sorrow and hatred to the mirror come clean.

"Flower" is the beauty of the desolation of the late evening, and women have a close relationship, and Ma Zhiyuan often lament the good female character in the drama "car crush residual flowers, jade people on, blow flute; Did not meet the official baby, is several degrees add white hair "(" broken dream gu Yan Han Palace autumn"), to the drama in bad character of the female is often cursed "a old gentleman pushed in the suburbs, ah you wave woman niang hug others sleep. Don't kill to how also bo elder brother, don't kill to how also bo elder brother, contend as I dream zhou Gong high lie in three pole day "(" Lv Dongbin three drunk Yueyang tower").

The beauty of "water" as the airy flow in the drama of Ma Zhiyuan, overall planning and water's charm lies in its plays phrasing of stream of consciousness, such as "the thunder jianfu memorial in the middle of the night," the sense of water in the stream of consciousness is in the plot ups and downs, outsize plot, character big zhong rape, emotions like earlier, all the various elements of art to the extreme, It has a fascinating charm.

"Moon" is a beautiful and smooth beauty. In Ma Zhiyuan's drama, the image of the moon has a poetic personality of Taoism, creating a quiet and elegant realm and a degree of human color of Buddhism, creating the beauty in the smooth beauty of Zen.

Bai Pu and Yuan Qu

Bai Pu (1226 -- 1310 A.D.) was a native of Yuzhou (now Jiuxian County, Hequ County, Shanxi Province). His original name was Huan, and his courtesy name was Renfu and Taisu, also known as Mr. Langu [3]. He was a native of yuzhou (now the hequ area of Shanxi), a native of Nanjing Bianliang (now Kaifeng, Henan), and a native of Zhending, Hebei (now Zhengding). In the seventeenth year of the Yuan Dynasty (1280), he moved to Jiankang (now Nanjing, Jiangsu province). He has written 16 kinds of operas, including two extant ones, Wutong Rain and Wall Top Horse. Another "Sounds of Nature collection", received words for more than 200, followed by more than 40 sanqu. Together with Guan Hanqing, Ma Zhiyuan, Zheng Guangzu, known as the four Masters of Yuan Qu.

White stinkwood Famous opera writer of yuan Dynasty. And Guan Hanqing, Zheng Guangzu, Ma Zhiyuan known as the "Four Yuan Qu." Bai Pu was born in a bureaucrat and scholar-official family. His father Bai Hua was jin Zhenyou three years (1215) jinshi, the official to the Privy Council judge, and his father Bai Ben was Jin Zhang Zong Tai and Jian Jinshi, who had done the county magistrate. His uncle died early, but had a poem name. White and Yuan Haowan father and son for family friends, close. The children of the two families often communicate with each other in poetry and prose.

Born in such a family, Bai Pu should have enjoyed leisure and leisure, reading and learning, in order to gain fame in the future. [5] His youth, however, was ravaged by war, and he spent his days with his family in terror and bewilderment. Soon after Bai Pu was born, the City of Nanjing Bianliang of the Jin Dynasty was surrounded by the Mongolian army. Bai Hua, who was in the center of the Jin Dynasty, was busy all day for the survival of the Jin Dynasty and had no time to take care of his wife, children and family. [6] In 1232, in the first year of Emperor Aizong's reign, the Mongol army attacked the city with tree guns. Emperor Aizong decided to leave the city north and go to Guide (today's Shangqiu, Henan province). Bai Hua had to leave his family in Bianjing and followed Emperor Aizong across the river. In March of the following year, bianjing city was destroyed, the Mongolian army column plundered the city, the ordinary people were killed, wealth was unprecedented looting. In the war, Bai Pu mother and son lost, fortunately, yuan Haowen was also in the city, just put him and his sister up, in chaos and famine to save his life. At the end of April, Yuan Hao-wen took bai Pu's sisters and brothers north across the River. They lived in Liaocheng and then resided in the Shogunate of Zhao Tian-xi, the magistrate of Guan Family (now Guan County, Shandong Province). Although Yuan Hao-ask is also the minister of the country, life is very hard, but he sees Bai Pu elder sister and younger brother as one's own, care to. Bai Pu was dying of the plague. Yuan Hao-wen held him in his arms day and night, but on the sixth day he sweated and recovered. Bai Pu was clever and clever, so he was fond of reading since childhood. Yuan Hao-wen cultivated him carefully and taught him to read and learn the classics and conduct himself, so that he received a good education when he was young.

Bai Pu's father, Bai Hua, surrendered to the Southern Song after the fall of the Jin Dynasty and became junzhou Tirou (Palpin officer). Soon, Bai Huasui went north to the Yuan Dynasty. In the ninth year of Emperor Taizong of Mongolia (1237), when Bai Pu was 12 years old, some fugitive ministers of The Bai Hua Kai Jin Dynasty came to Zhending and attached themselves to shi Tianze, a Mongolian general who was in Charge of Zhending. In the autumn of the same year, Yuan Haowen returned to Taiyuan from the Guan family and passed zhending. He sent bai Pu and his sister back to Baihua, so that they could be reunited after being separated for several years. When the father and son met, Bai Hua felt great joy. He wrote a poem called "Man Tingfang · Shiliezi Xin" to express his feelings at that time: "Light lu tai, generals pavilion, ten years in the middle of a dream. Short coat horse, see zhenzhou mountain again. Naehan was drunk, but the sarong is still tall and broad. Today, children in front of the lamp, floating happy to survive ". He is also very grateful to Yuan Hao-ask generation for the care of the children of the grace, had a poem thank yue: "gu me really become a bereaved dog, Lai Jun had to protect the nest."

As the north settled down, baek and his son settled down in Jinjeong. From then on, according to his father's request, he wrote poems and studied for the examination. He was very progressive in the study of law fu, and soon became famous for his ability to write good poems. At that time, Yuan Haowen, in order to write the history books of the Jin Dynasty, often visited The capital, so as to come and go to Zhending, concerned about his studies, every home, to guide him to the path of learning, a poem praised Bai Pu said: "Yuan Bai tongjia old, zhulang only ru xian." Encourage him to work hard and succeed in his career. However, the Mongolian ruler of the brutal plunder, so that bai Pu heart wounds difficult to recover, he is full of hatred of the Mongolian ruler, war and chaos in the mother and child, so that he often mountains everywhere sigh, more feel for the ruler's sad service. Therefore, he gave up the pursuit of fame and wealth in the official circles, and to the subogized people to adapt, to poetry as a special occupation, with the song vent their depression and dissatisfaction in the chest.

As she grew older and experienced more, she became more knowledgeable. Yuan Shizu zhongtong two years (1261), Bai Pu 36 years old. In April of that year, Yuan Shizu ordered the various xuanfu generals to recommend those who could take the examination for literary talents to be employed. Shi Tianze, who had been working as xuanfu generals in Henan Road, recommended Bai Pu to be an official, but he declined. He not only against shi Tianze recommended the idea, consciously inconvenient to stay in Zhending for a long time, to facilitate this year to abandon home south travel, but also to express his withdrawal depression, never official road determination. However, the feelings of his wife and son could not be cut off, and he often suffered from his own contradictory feelings and felt very painful.

Bai Pu first arrived at Hankou and then entered Jiujiang. At the age of 41, he returned north to Zhending, passing bianjing. After that, he went south again, traveling between Jiujiang and Dongting, and settled down in Jinling in 1280, the 17th year of the Yuan Dynasty. Around this time, probably due to the death of his first wife, he had returned to Zhending for the bereavement of his wife. On this occasion, someone suggested that he become an official in the Central Court, but he declined. Shortly thereafter, he returned to Jinling. From then on, he mainly traveled around Hangzhou and Yangzhou, south of the Yangtze River, until he returned to Yangzhou at the age of 81. After that, there was no trace of him.

Conclusion

Generally speaking, Yuan Qu is an extremely important milestone in the history of Chinese literature. Its development has experienced the initial stage of rise and the middle stage of prosperity, and its development is closely related to the style characteristics of the "four masters of Yuan Qu" : Guan Hanqing, Bai Pu, Zheng Guangzu and Ma Zhiyuan. They used different styles to describe the social scene and human conditions at that time from different angles of the society, and indirectly predicted the future trend of the society. Therefore, Yuan Opera is not only a work of art, but also a magnificent painting of the society of the time.

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