Long Yusheng (1902-1966), known as Mu Xun, in his later years, he endured the cold with a character line. Jiangxi Wanzai people. One of the most prestigious lexical masters of the 20th century, together with Xia Chengtao, Tang Guizhang, and Zhan Antai, he was called the "Four Great Poets of the Republic of China". He is the author of "Introduction to Song and Song", "Ten Lectures on Lexicology", "Tang and Song Dynasty Word Grammar", "Wind and Rain Dragon Yin Room Words", "Selected Words of Famous Artists of Tang and Song Dynasties", "Selected Words of Famous Artists in the Past Three Hundred Years" and so on.
"Ten Lectures on Lexicology", also known as "Leaning Acoustics", is a textbook written by Professor Long Yusheng when he taught in the Shanghai Theater Academy's Xiqu Creation Research Class in the early 1960s.
As the saying goes: a famous teacher makes a high disciple. Mr. Chen Bohong, the class teacher, understands this principle and in order to cultivate senior artistic talents in the city, he tries his best to hire famous professors to teach the research class. In addition to the original teachers of the Drama Academy, such as Mr. Chen Guyu, an opera expert, Professor Zhou Yibai, a well-known expert in the history of drama, was also invited from the Central Academy of Drama in Beijing, and Professor Long Yusheng, a famous lexicographer, was invited from the Shanghai Conservatory of Music. Every gentleman has their own strengths, and Mr. Long's lexicography class is especially popular with his classmates. After the "Gang of Four" was smashed, the students of the research class returned to the school for a discussion, and the famous playwright Sha Yexin said with passion: "Teacher Long Yusheng's class was really good. Mr. Fang Shiming, director and researcher of the Institute of History of the Shanghai Academy of Social Sciences, also said to me a few years ago: "Long Yusheng taught at Jinan University and Central University in his early years. ”
Mr. Long emphasizes both theoretical cultivation and skills training. Each lesson is taught and practiced repeatedly until it is fully mastered. When they were undergraduates, the students had systematically studied literary and art theory, Chinese literary history, ancient Chinese, and selective reading of works, and some had also listened to a variety of special topic courses, which really laid a deep foundation in theory. Especially in the late 1950s, Soviet literary theory was introduced in large quantities, and what critical realism, socialist realism, people's nature, ideology and the like were endless. As for specific works, although they can talk about a set of theories "big and big", they have no understanding of the internal laws of the work, and even do not understand how poetry can level out and rhyme. To start a course in such a historical context, Mr. Long must first have a certain courage to stand up to the trend and disregard the Soviet set of theories. At the same time, it is necessary to make up for what is missing according to the current level of students, promote their strengths, and avoid their shortcomings. Therefore, the classes he taught were very timely, and the students could not help but feel fresh and practical, which really played a great role in reversing the atmosphere of the literary world and promoting chinese studies.
Ten Lectures on Lexicology, Long Yusheng, Beijing Publishing House, August 2016.
One
"Ten Lectures on Lexicology" is the main course of the study class, and the lecture notes are all newly written. On average, mondays begin in February 1962 and end before the summer holidays in July of this year. At that time, I was a representative of the lexicography class, and I often retrieved the handouts from the Xiangshan Apartment on Nanchang Road to the xiangshan apartment of Mr. Yu's residence a few days before the start of the class. Mr. Li's living room is still spacious, quiet and elegant, and full of book aroma. The bookcase is filled with lexicographic books, and the "Tsumura Series" is particularly eye-catching. He was a protégé of Zhu Xiaozang, one of the four great poets of the late Qing Dynasty. The second half of the "Tsutomu Mura Series" and the "Tsumura Language Industry" were published by Mr. Mun's hand, and the Jiahui Cilin is not to be said. At the time of his death, Zhu Mo Eryan, who had proofread the words in his life, was awarded to Mr. Zhu, and the sickbed was passed on, which became a good story in the lexicon at that time. Xia Jingguan, Xu Beihong, and Tang Dingzhi all painted the Zhiyan Tuzhi. When I went to the mansion to collect manuscripts, my husband once showed me one of them, and on the right side of the painting was a hut with double stones on the table, behind the house was a strange stone far away mountain, and in front of the house was a willow tree leaning on the lakeside. The gentleman was picking up the stairs, and the village went out to greet him. The artistic conception in the painting is far-reaching, and people can't help but have unlimited reverie and heartfelt respect. When the gentleman showed this painting, I secretly resolved to live up to mr. Wang's high expectations, learn this lesson well, and aspire to become the successor of lexicography.
In the "Ten Lectures on Lexicology", the following articles are listed: The first lecture, the special form and development law of Tang and Song song lyrics; the second lecture, the evolution of Tang dynasty near-body poetry and song words; the third lecture, selecting tones and rhymes; the fourth lecture, on the relationship between sentence length and expression; the fifth lecture, on the relationship between rhyme arrangement and expression; the sixth lecture, on duality; the seventh lecture, on structure; the eighth lecture, on the four yin and yang; the ninth lecture, on Bixing; the tenth lecture, on appreciation and creation. The whole book is self-contained, which not only tells the history of the emergence and development of words, but also carefully dissects the internal structure of this special literary form. In the past, he published many lexical papers in the "Lexical Quarterly", some of which have been incorporated into this lecture; some have been published in a collection, such as "Introduction to Song and Song" and "Long Yusheng Lexical Papers"; and there are also lexical theories that have not yet been written into papers, which are published through this lecture. It may be said that the "Ten Lectures on Lexicology" is the crystallization of Master Yusheng's lifelong efforts in curing words. He has integrated his decades of research experience and word-filling experience into one furnace, thus constituting a unique academic monograph. Theoretically more general, more profound, and more systematic than before.
"Tang and Song Dynasty Ci GeLu", Long Yusheng, Beijing Publishing House, November 2019.
What makes it unique is that this book is lexicographic, with a special emphasis on the musicality of words. Musicality is the life of words. All poems should have musicality, but words based on Yan music are particularly musical. Although the score is early, from the melody of the ups and downs, people can still feel the special sentiment and artistic conception of the words. Therefore, Mr. Long pointed out in the first lecture of the book that words "are cultivated by music, and must be in harmony with the beat of the music in terms of sentence reading and rhyme." Knowing this, we can know why words are "not one family" (Li Qingzhao's "Theory of Words"),and why it is said that "words are the body, they should be repaired, and they can speak poetry but cannot say what they can" (Wang Guowei, "Human Words and Words, Deleted Drafts"). To understand the musicality of words is to grasp a key to the study of words, to use it to open the door of lexicology, and then to enter the room and uncover the mysteries of words.
Since musicality is the main feature of words, in addition to the first and second lectures on the form and performance of words, from lecture 3 to lecture 8 - a total of six lectures, all focus on the musicality of words, thus constituting a complete system of lexical theory. The eighth lecture is to guide people how to appreciate and create through the aesthetic appreciation of this most musical literary form. Among them, there are four most profound points: First, the relationship between the length of sentences in words and expressions. Mr. Long pointed out: "The arrangement of each lyric and sentence is always harmonious and angry in syllables. Generally speaking, the long sentence is more soothing and gentle, and the short sentence is urgent and sharp. The second is the relationship between rhyme and expression. The Wenxin Carved Dragon Sound Rhythm says: "The different sounds are subordinate to the sum of the words, and the same sound is corresponding to the rhyme." Starting from this principle, Mr. Long pointed out: "The general harmonious tune, for example, takes the interval sentence or three sentences as the standard, the rhyme is uniform, and the flat rhyme is more selected, and the rate is more likely to present the posture of 'Shu Xu wei Yan'. Such as "Partridge Heaven", "Little Heavy Mountain" and so on. He also pointed out: "In the same tune, where a sentence rhymes, the voice is more urgent. "In the short tone, "Ruan Lang Gui" and the long tune such as "Six States Song Head" are. The third is to talk about the choice of tone and rhyme when filling in words. There are differences between mourning and rhyme, so when writing joy, it is necessary to choose a musical tune and use musical rhymes, while the lyrical sadness is to use mourning and mourning. Some authors do not understand this theory, and often fill in the mourning words with mourning tones and musical tones. Reading the third lecture of this book, it seems that this mistake can be avoided. Fourth, Mr. Long has a lot of insight in discussing the "top grid character", he is more thorough and detailed than the "top character" discussed in the "Word Law" of the Qing Dynasty Wanshu, thinking that the top grid character is mostly used in the long tone of "turning and falling", often using the sound word to close the above text, and bringing up a few even sentences below, and the tone is particularly loud. The above points are all things that I understood when I was listening to the lectures, and I can't help but miss a million.
Two
Complemented by the Ten Lectures on Lexicology is the Tang and Song Dynasties (renamed Tang and Song Ci Ge Law in 1978 when published by the Shanghai Ancient Books Publishing House). It is a textbook specializing in the Tang and Song dynasties. The word card is one hundred and fifty-three tones, divided into five categories. In order to help students understand the tone of each word card from the sensibility, there is a song to several famous poems of the Tang and Song dynasties. In this way, the text corresponds to the rhyme symbols one by one, which is easy for people to understand the beauty of the sound of the work, and it is easy to master the method of selecting and filling in the tune. The above focuses on skills training. It is also theoretically guided. Literature and art as ideology are a reflection of a certain social life in people's minds, so every word must have a social basis for its production. When Mr. Long speaks of each word, he must explain the history and evolution of its production. Because the relationship between words and music is extremely close, words pay more attention to the distinction between four sounds and yin and yang than poetry, so Mr. Long often takes the work as an example, analyzes it in depth, and analyzes it. For example, when talking about Zhou Bangyan's "Six Ugly Roses And Later Works", Yun "spring returns like a wing, and there is no trace of it", the former sentence is Ping Ping Ping, and the latter sentence is Ping Ping Ping. The sound of "over the wing" is to go in, the word "one to go" is to go in, plus the "trace" of the rhyme is into the sound, all of which are short and cut, so the speed of spring return is displayed in the tone. Mr. Long believes that the phonetic characters in these places cannot be replaced by other slang characters. When we recite it in this way, we feel that sound and emotion have been subtly combined, and we are highly musical.
Because Mr. Long's lexicon was exquisite and easy to understand, the students quickly learned the method of filling in the words. Some talented students immediately filled in the words in the classroom, such as Sha Yexin's classmates who improvised a poem after listening to the lecture of "Bodhisattva Man", Yun: "Twenty-three years of misery and sorrow, the merit of the name is not established and ashamed." When is China, and the drama world is gorgeous? Why should the old man sigh, the instrument must be late. Since the heavens have descended, they will eventually become dragons and phoenixes. In fact, Ye Xin was not old at that time, he was prosperous, and he was born with a child's face, before he published an article criticizing Yao Wenyuan in Wen Wei Po, "How the Aesthetic Nose Reaches out to Debussy", the editor-in-chief Chen Yusun summoned a conversation, and could not help but play yun: "Where do you look like a graduate student, it looks like a junior high school student." Ye Xin set the ambition of "the drama world is beautiful", and later wrote a series of sensational plays at home and abroad, such as "If I Am True" and "Mayor Chen Yi", and became a famous playwright. Mr. Long always arranges the study for each word card. In my study work "Man Jiang Hong", I wrote about my feelings for returning from the Korean battlefield to the literary world, Yun: "Bullet rain gun forest, reminiscences of the past, the beginning of Cheongcheon. The night before, the enemy was at night, and the chariots were turning upside down. Horses gallop and splash snow, and swords swing the moon. Show the long wisp, to be tied to Ridgway, Xinwen Jie. Unload the military uniform, wear the blue dragon; Yu Han, attack the drama. For the Fangfei world, Hugh is inferior. Vow to shake the mountains, may the blue sea whale salamander. Happy east wind, blowing a hundred flowers, people rejoice. The words were quite rough, but Mr. Ran Long gave encouragement and gave the words "Little Heavy Mountain" a word cloud: "Huaihai Wei Yang a handsome man, cherish the bitter body in the period." "I was so relieved that I still can't forget it."
Three
In the course of lexical teaching, he also used his own works as an example. Here are two examples. One of them, Partridge Sky, cloud:
Open all over the East Wind Peach plum branches, habitually blue eyes note Yan words. Smell the chicken dancing heart is still strong, waiting for the leakage of clothing is not too late. Huai Luo, Xing Zi Zi, Qing Hong Qian Zhang's protective period of thoughts. The lonely flying old crane listens to the singing phoenix and repays the morning sun!
This is written for the female classmate Wu Zhaofen, Zhaofen originally sang Xiao Xuyun: "The lexicography teacher is more than a year old, grading homework for my class, often until three o'clock in the evening, this scene, I am particularly grateful, to write "Partridge Day". Word cloud: "The first branch of the east wind is first tried, and the green lamp and white hair are embellished with new words." A few times scratching his head still with a smile, the sound of the beat was late. Affectionate, diligent, word for word. Knocking on the window cold rain hypnotized urgently, do not know the teacher's love Bill crazy. What Zhaofen wrote was a fact, and Master Long wrote the lecture and corrected the homework, often until late at night, such as the end of the fourth lecture of the "Ten Lectures on Lexicology": "Written in the morning of March 7, 1962"; the seventh lecture was clouded: "On April 17, 1962, it was written in the wind and rain of the small window." Lecture 9 Clouds: "Early morning freehand on May 22, 1962." It can be seen that Mr. Despite his old age and frailty, he often stays up all night, and when cultivating his classmates, he does not know how much energy and effort he spends!
Mr. Another "Little Heavy Mountain" was asked to be paid by his classmates, and the original singer Yun:
Peach plum yin thick a small path, look at Zhu Shiman, open firewood. Ten years of trees swirling around. The east wind is good, the world is always Fangfei. ("Spin" changed to "Xun") Faith does not backfire. The aura is ashamed of the temple, and the smile is majestic. Zhuang Huaitong chased Xiao Yunfei, attentively, and primrose.
Note at the end of the chapter: "The day after International Labour Day in 1962." The Lexicography Class of the Shanghai Theater Academy set up a high seat for me, and suddenly the scene when I listened to the old monk's speech in jueyuan garden thirty-nine years ago, and in a panic, I used Mr. Pu Chunhuang (Kan) to visit the high-seat temple Yun Jizhi with cold food, and asked for classmates and works. Long Yusheng, May 4. "Huang Kan's words can be found in "Selected Words of Famous Artists in the Past Three Hundred Years". The first film is full of joy and encouragement for the rapid growth of his classmates, and the second film is a pause to express his gratitude for socialism. There are many classmates and works, and because of their age, they are no longer remembered. On the occasion of the celebration of the Shanghai Theater Academy in December 1995, I remembered Mr. Long's earnest teachings and earnest hopes for us, and tasted Yi Yun and Yi Yi, which are recorded below to summarize this article:
The art garden is rebuilt into too small, full of peach and li yan, and reflects the forest. Talents are gathered in a circle. On the 氍毹, Baihui Dou Fangfei. Long-cherished wishes have been violated several times, and the pen has been cultivating for thirty years, competing for wonders. The original grass, the intention is primrose.
More than forty years have passed in an instant, and the talents carefully cultivated by Mr. Shaoguang have made gratifying achievements on all fronts of drama creation and lexicology research, and some have served as important literary and artistic leaders. Dear Teacher Dragon, it's time to smile at the Nine Springs!
In 2004, he was in the Institute of Literature of the Shanghai Academy of Social Sciences