everyone
Xia Chengtao (February 10, 1900 – May 11, 1986) was a famous chinese lexicographer, poetry writer, and educator from Wenzhou, Zhejiang Province. In his early years, he liked to read poetry, and later specialized in lexicology, and in 1930 he became a professor of Chinese literature at The Jiang College of Arts and Sciences in Hangzhou. After liberation, he successively served as a professor at Hangzhou University, a part-time researcher at the Institute of Literature of the Chinese Academy of Sciences, a director of the Chinese Writers Association, and the director of the Literature Research Office of Hangzhou University. His major works include: "Baishi Song Side Score Identification", "Tang and Song Dynasty Lyricist Chronology", "Tang and Song Dynasty Word Series", "Jiang Baishi Word Chronicle School", "Yuelun Mountain Word Theory Collection", "Qu Hair On Words and Sentences", "Xia Chengtao Word Collection", "Tianfeng Pavilion Word Collection", "Tianfeng Pavilion Word Diary", "Xia Chengtao Collection" (eight volumes) and so on.
Listening to Mr. Xia Chengtao's words is a great enjoyment. Forty years ago, the scene of listening to him say Jiaxuan in class is still vivid in front of me. Mr. Xia said that the words did not need lecture notes, eloquent and eloquent, solemn and mixed, and the class erupted into cheerful laughter from time to time, which really made people feel like sitting in the spring breeze. Mr. Xia's teaching attitude is very different from the seriousness of another lecturer, Mr. Ren Xinshu (Ming Shan). Mr. Ren is an old student of Mr. Xia when he was at Zhijiang University, and is regarded as a feared friend by Mr. Xia, who once advised Mr. Xia to be serious in class, but Mr. Xia said that his nature is like this and cannot be changed.
Mr. Xia's words are dashing and calm, lifting heavy weights, being able to enter and exit, being able to put back and forth, such as Dongpo's composition, "often do what you should do, often stop at what you have to do", there are water flowing clouds, touching the magic of spring everywhere. I think this is the best way to explain the context of the word, it seems that the word is ambiguous, otherwise it cannot be broken. Mr. Xia is a lyricist by nature, and he speaks in the way of a lyricist, so that he can have the pleasure of calmness and self-satisfaction, and can move the audience with it and enjoy it with others. Mr. Xin Shu has specialized in classics and primary schools in his lifetime, and he is upright in nature, does not smile, and the solemnity and seriousness of his lectures are also comparable to his nature and the learning he governs.
The biggest feature of Mr. Xia's words is that he is good at deeply analyzing the context and understanding the heart of the words, he will never "tear down the Qibao Terrace", chew on the words, see the small and lose the big, but can be from shallow and deep, from the surface and the inside to attract people, to show a perfect word situation in front of you. For example, he said Jia Xuan's "Xi Jiang Yue" (Bright Moon Bei Zhi Que), pointing out that this song is the feeling of the lyricist on the Huangsha Road at night when he lived in seclusion on the Rao Belt Lake. The upper film writes about the sunny, the lower film writes about the rain, and each has its own depth and priority and the change of mood. The first sentence, "The bright moon does not startle the magpies", writes that the bright moon in the night sky suddenly appears, and the magpies see the light and fly. The "other branch", away from the branch, agreed with Su Shishi's poem "Yueming Frightened Magpie Not Anzhi", rather than the Tang Dynasty "cicada dragging the remnants of the other branch" as "another branch" to solve the "other branch". What the gentleman said is in line with the situation, so he can solve the problem in a few words. The second sentence "the wind in the middle of the night cicadas", although in the middle of the night, the cicadas do not stop, it can be seen that the weather is very hot, then foreshadowing the rain in the next sentence. "Rice flowers say a good year, listen to the sound of frogs" two sentences, for the film's main writer. In the middle of the night, no one will "talk about a good year", neither a farmer nor a lyricist talking to himself, but a frog sound overflowing with the fragrance of rice and flowers! This method of side foil is more vivid and profound than the positive expression of the joy of the harvest. The next film writes about the rain and the mood of the rain, which is very layered. "Seven or eight stars outside the sky", writing that clouds rise in the air before the rain, and several stars are revealed in the dense clouds, indicating that there is no rain before it rains. "Two or three o'clock before the rain mountain", writing about the first scene of summer showers, a few points of fluttering, Tuotuo follows, it is different from the spring rain with the wind sneaking in, quietly silent. "In the old days, the maodian community was on the edge of the forest, and the road turned to the creek bridge was suddenly seen", writing the mood of pedestrians in the rain, first anxious, sudden rain, anxious to find a place to shelter from the rain, remember that there is a rural thatched shop on the side of the temple forest in that land, you can go to avoid the rain, rest your feet. So he hurried across the creek bridge, and the hoped-for thatched shop did appear, and his mood could be imagined. "Road turn" is also the turn of the mood from anxiety to joy, and thus a turn and abrupt closure, which makes the words fluctuate and ripple.
This kind of small words, seemingly plain, but Mr. is good at stringing together the imagery in the word, mentioning the meaning, and seeing the internal connection and emotional logic in the wordless, so as to reproduce a complete artistic conception.
This kind of good body of word heart and good understanding of the word context comes from Mr. Li's profound lexical cultivation and literary and historical background. He has written the "Annals of Tang and Song Dynasty Poets", is familiar with the life and creative process of famous Tang and Song poets, knows people and discusses the world, is good at placing words on a certain time and space coordinates for observation, and can combine his rich life experience to confirm and imagine, and can effortlessly quote the works of predecessors to compare with each other, so that people feel reasonable and heartfelt, both profound and intimate. For example, Mr. Jiaxuan's "Qing Ping Le" "drunken Wu Yin is charming, white hair who is weng miao", that is, it is different from the usual "drunk" predicate person with drunkenness, and the predicate person hears someone talking with a soft and delicate Wu yin with drunkenness, at first thought that it was a young man and woman talking, fixed his mind, but found that it was a white-haired elderly couple! Using the inverted chapter method, first smell its voice, and then see its person, unexpectedly, only then can people smile in surprise. This kind of artistic effect similar to the cross-talk "shaking baggage" not only makes the rhythm of the words ups and downs, but also through the humorous tone, it is not difficult to appreciate the lyricist's affectionate praise for the love and harmonious life of this rural elderly couple. Mr. Xia's explanation is very pertinent, and if you can ask about it, you should also laugh. I remember that Mr. Zhou Ruchang also expressed his deep appreciation for this.
Mr. Xia speaks words, not only can understand the heart of the words, meticulous, but also can look at the history of words, grand and broad. He said that Dunhuang Quzi, Huajian, Wenwei, Southern Tang Junchen, Su Shihao, Yi'an, Halal, Jiaxuan, Andong, etc., can be seen in small ways, and through specific works, they can show the key meanings of lexicology such as the change of word music, the similarities and differences of word styles, the tone and sound of words, and the sustenance and non-sustenance. When the reader appreciates the words, he is guided by this good teacher, not only can he experience the twists and turns of the word heart and the deep beauty of the word context, but also can obtain a lot of specific and vivid knowledge of word history and word theory, and understand the door of learning words.
Mr. Xia is known as the "contemporary lexicography", he rules the history of words, word theory in a furnace, and himself is an outstanding lyricist, many years of experience in word management and rich experience in lyrics, so that he has a very deep understanding of the ancients' words in chapters, syntax, orthography, over-the-top, ending, use of codes, etc. In the words, that is, it is appropriate to point out, the golden needle is not shallow, and Jiahui hou is not shallow (Mr. Intends to write a monograph on this, known as "Lexicon", which has been a number of manuscripts, but it is not finished).
When he spoke, he quite appreciated the Proposition of the Changzhou School of Words that "the author is not inevitable, why should the reader not be", and he often starts from one point, from which and that, from the surface and the inside, derive some profound art and philosophy of life. Forty years ago, I went from being a gentleman to a cane, and I had to be affectionate, and every time I heard the words, I had a sense of empowerment. I remember once, Mr. Zhang Yutian said two sentences in Zhang Yutian's "Qing Ping Le": "There is only one sycamore leaf, I don't know how many autumn sounds?" From "Huainanzi" "Seeing a leaf fall and knowing that the age will be twilight", talking about the evolution of Tang poetry into "a leaf falling to know the autumn of the world", and then talking about Du Fu's "a piece of flower flying down but spring", the story is endless, the victory and righteousness are diverse, and thus points out the sensitive hearts of the literati, the knowledge of the micro, and the dialectical relationship between "one" and "many" in artistic expression. At that time, Mr. Li sat on a rattan rocking chair, shaking and saying, leisurely and relaxed, this scene is unforgettable. There was a saying about zhiyun: "The rain is falling one after another, and the spring breeze is rising." ”
When the gentleman speaks the words, he must first recite them, and his voice changes with the mood of the words, and the long chants and short chants are suppressed and frustrated, which makes people moved. I once listened to him recite Lu You's "Night Tour Palace", the first piece was passionate and generous, and the intestines were full of breath; the sound of the film was miserable; to the end of the few sentences, it was undulating and changing, and the tone of his voice turned three times: "Since Xu Fenghou is in Wanli", the high-pitched vibration rose; "Who knows", a sudden meal, a short rest; and then in a swaying and agitated voice, the two sentences "Although the sideburns are crippled, the heart is not dead", sighing and sad, depressed, and the voice of the heart of the man can be heard. Mr. Qi's female disciple Qi Jun (Pan Xizhen, a famous essayist in Taiwan), was very fascinated by Mr. Wang's chanting, and when mr. Jing recited it, he had already understood most of the meaning of the poem. I feel the same way. Unfortunately, there was no recording equipment at that time, and it was impossible to record the recitation of the gentleman. A classmate who knew music once memorized the tone of his husband's recitation of several poems as a simple score, but later lost it. This is a big pity.
This "Appreciation of Tang and Song Dynasties" was explained by Mr. Tang and Song more than forty years ago for the needs of the vast number of readers to appreciate the Tang and Song dynasties, and most of them were recorded and sorted out by Mr. Huai Shuang, mr. Huai Shuang, revised by Mr. Tang and Song Dynasty, and published in newspapers and periodicals in Hangzhou, Shanghai and Hong Kong. Compared with the unrestrained talk, the vivid meaning of these recorded words seems to have been reduced; and because of the limitations of the environment at that time, some words could not be spoken very smoothly, and it was inevitable to say a few clichés, but the essence of their opinions and the distinctive characteristics of their words still existed. Although it is different from Mr. Tang's lexical monographs, it can be said for the public, in-depth and simple, and has strong readability, making the Tang and Song dynasties oriented to a wider readership, which is also a great merit of Mr. Tang and Song.
Xin Wei Mu Waiting, on the shores of Xizi Lake
Appreciation of Tang and Song Dynasties, by Xia Chengtao, Beijing Publishing House, July 2016.